PALM technology March - April 2018 by PALM AV-ICN Expo Magazine

™

SOUND & STAGE

DJ TECHNOLOGY

EXPO PUBLICATION

ENTERTAINMENT TECHNOLOGY CONVERGENCE AT PALM 2018

31.05 – 02.06.2018 BEC, Mumbai, INDIA

Features: OPERA HOUSE ACOUSTICS, NIRVANA FOR MUNRO

A Note from the Editor:

- In Conversation with Andy Munro

Audiovisual Convergence is not a pie in the sky

THE MIX MAGICIAN

- Interview with Shadab Rayeen MADAME TUSSADS - SIGHT & SOUND TO BEHOLD

- Audiovisual Case Study

Product Focus: Golden Ears: Line-up of Studio Monitors Microphone Array: Line-up of Studio Microphones

AIDAN WILLIAMS Co-founder/Chief Technology Officer Audinate provides in-depth revelations on audio networking

11 Questions STUDIO ISSUE

YAMAHA MUSIC INDIA PVT. LTD.

Email : support_in@inquiry.yamaha.com www.yamahaproaudio.com; in.yamaha.com

note

from the editor

Anil Shiv Raj Chopra

Audiovisual Convergence is not a pie in the sky Once again the slow thrill of PALM Preview, the 18th consecutive PALM Preview in 18 years! Then the show rises in Mumbai, attracting sound, light and audiovisual industry, from across India and the world. On the cover is a pie chart of the action across eight halls at the nesco fair grounds. Action across four major product segments. PALM covers the gamut - pro audio and AV, live sound and lighting. Entertainment technology is converging at PALM 2018 like never before. Even as Indian market is emerging, a remarkable aspect is the balance between the four major product categories on exhibit. AV is at a healthy 17% vis-a-vis 37% pro audio. Live sound 21% vis-à-vis 25% for lighting. Attendees will experience exposure to major brands in all segments. Satisfactory sourcing solutions are assured to trade. The show possesses the right balance. The reason visitors being assured of a good show, productive and useful for their business. In heading the PALM Expo one factor in mind has been the speed with which globally audiovisual is converging with pro audio. Convergence has gathered pace since the last three years in particular. The PALM team endeavours have been dovetailed in achieving the objective of serving the needs of a fast evolving marketplace. Essentially attracting new tech and convergence product in AV. I think the show has achieved this admirably. Both on the exhibit floor and in the Expo Features and Conference. Pro audio dealers have extended the scope of delivery to include integrated AV solutions. Have knowledge of IT, Bluetooth, IP, deliver video conferencing and audio networking solutions. The skill sets of manpower manning such dealerships has in fact risen. Distributors of pure pro audio are distributing AV hardware and offering integration services. PALM expo consequently has harnessed exhibit from serious Pro audio+ AV distributors. In the process engaging technology brands to support participation. All such endeavours have resulted in growing the show while enhancing product profile and wider range of technology on display. The pie-chart on the cover is in fact this story in full circle. PALM Preview [page 66] informs about new product* at the show. Exhibitors invariably at show time rue their laxity in informing in time their portfolio of new product. One last chance to get this info promoted is the PALM show magazine PT brings out at the show. Send your info now, today! Smita Rai, Managing editor of PALM Technology [this magazine!] is responsible for content at the show at the PALM Conference and PALM Soundscape. Smita has delivered a very critical mix of workshops, panel discussions, presentations covering cinema, live sound, and audiovisual, audio technology, and not to forget event and DJ technology and event business knowledge. Splendid programmes at both the Soundscape and Conference a must attend. We have our columnist Reji Ravindran [Hang the DJ] curating Soundscape this year, alongwith the DJ Championship, into its 8th consecutive edition. Cheers! The highlight am confident is going to be the IRAA awards this year. I was rather pleased in being reminded by Andy Munro of his own award at PALM. PT team met up with him sitting below the precarious speakers hanging from the nightclub ceiling at Taj Lands end, which Munro designed to convince the nightclub is enlightened on the pleasures of a listening year. ‘Opera House Accoustics Nirvana for Munro’ discloses Munro’s ecstasy is from musicians playing live in an regal opera house which has its accoustics pure, without angle and insulation [page 26]. AES – Audio Engineering Society will have a meaningful session this year. I am thrilled about the subject – ‘Has Bollywood Music Failed’. One more spoke in the wheel is the formation of a new association to obtain royalties for singers, ISRA, alongwith the IPRS, which collects royalties for composers and lyricists, the recording of the soundtrack royalty is paid to PPL, Phonograph Performance Ltd, which has music labels as its members. All you need is one hit song to sing lullabies for the rest of your life. Time to die to become a rock star again. So ironically all this royalty collection signifies that India is becoming a developed and m mature market. The irony is that this isn’t true for songwriters and successful albums! As far as I am concerned the movie industry as well the music industry has indeed failed Andy Munro, the man behind some of the best studios in India, met the PT team the music industry. and put forth his thoughts on acoustics, music and recording. From l-r: Smita Rai Live Sound is rocking at the show ’18 with the Live Are- Managing Editor, PALM technology magazine; Andy Munro; Anil Chopra - Editor, na, Qube demo, Line Array going strong. Cinema technolPALM technology and Kapil Thirwani, Partner - Munro Acoustics LLP ogy is the new excite. A lot of new technology proposed in cinema screen and sound aimed at disruption. As only disruption can alter the status quo to achieve success with new products where the USP is essentially a gimmick. The cinema theatre is rising upward to a citadel for rich to experience the frontier of technology with haute cuisine and high fashion in the aisle. More and more expensive and out of reach of the masses. There lies the trick to make a screen survive and profit. Screens costing half a million dollars and surround sound with as many speakers sufficient to confuse lucid listening. The Frankfurt show ’18 reconfigures and ’19 already promises to reconfigure. Halls keep hosting segments and shifting to get the right mix. With muzik and/or without the Messe it’s a messe. Pun intended. From juggling the halls ’19 will see Messe on level 1 and PL+S on level 0 reports one German mag. Pro Audio flags off each year with new boutique brands, regional to Europe, proclaiming global ambitions. Whether the world’s emerging markets can afford boutique brands with idiosyncratic design propositions is not a mystery. The world can afford only what is affordable. Period. PL+S is shrinking. While China at the Frankfurt show is growing. China is playing global ambitions while European brands are playing a regional tune. Core technologies from Germany are thriving, in microphones and pure audio, Ravenna an open platform for audio platform for networking over IP is gathering its force. Dante from Australia is to be reckoned with too, though Dante is a proprietary platform which actually doesn’t behove a ‘platform’ to be adopted by industry globally. We have 11 Questions for Aidan Williams who cracked the Dante code [page 93] Which brand and technology will work in ’19 in India, industry will crack the code at PALM ’19 in Mumbai, the entertainment capital of India, with the most entertaining expo in the PS+L business. Be there or be square. Cheers! Anil Shiv Raj Chopra - Editor *at time of going to press

March - April 2018

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PALM TECHNOLOGY EDITOR Anil Shiv Raj Chopra achopra@palmtechnology.in

MANAGING EDITOR Smita Rai

Madame Tussauds, Delhi; The task of conceptualizing and designing the Audiovisual install at the Delhi museum was entrusted to leading Delhi-based Pro AV Solutions Company, Hi-Tech Audio Systems Pvt. Ltd.

srai@palmtechnology.in Mob: +91 98209 43398

SUB-EDITOR Ankita Bhadrawale

Features

abhadrawale@palmtechnology.in Mob: +91 89668 12132

DJ EDITOR Reji Ravindran Mob: +91 98926 04095

ADVERTISING MANAGER Karan Bhardwaj kbhardwaj@palmtechnology.in

A Note from the Editor

Opera House Acoustic Nirvana for Munro

THE MIX MAGICIAN

Madame Tussauds – Sight & Sound to behold

Golden Ears

Mob: +91 91673 23756

DTP maNAGER Peter Pereira ppereira@palmtechnology.in

Circulation & Subscription Vaishali Teli

vteli@palmtechnology.in

Audiovisual Convergence is not a pie in the sky.

In Conversation with Andy Munro and Kapil Thriwani

Shadab Rayeen lets us in on the tricks of the trade

Madam Tussauds is at the forefront of AV technology as the New Delhi wax museum reveals

Product Focus on Studio Monitors launched in 2017

Entertainment Technology Convergence at PALM 2018 Cover Story PALM EXPO 2018 Preview

IMPRINT LINE Editorial & Advertising Office

PALM TECHNOLOGY

Honouring excellence in the domain of music recording and production is the 12th Edition of the glorious Indian Recording Arts Academy Awards (IRAA).

530, Laxmi Plaza, 5th Floor, Laxmi Industrial Estate, New Link Road, Andheri (W), Mumbai – 400 053. T: +91 22 4286 3900

PRINTED BY ABEC Exhibitions & Conferences Pvt. Ltd. 530, Laxmi Plaza, 5th Floor, Laxmi Industrial Estate, New Link Road,

Microphone Array

Recordings to Record

11 Questions

Glossary

Andheri (W), Mumbai – 400 053.

Printed at: M/s. Dhote Offset Technokrafts Pvt. Ltd. 2nd Floor, Paramount Etstate, Plot No-5a, Off Aarey Road, Near Kotkar Estate, Dindoshi Village, Goregaon (E), Mumbai-400063

March - April 2018

IRAA 2018 gears up for a grand 12th edition as nominations continue to pour in

Product Focus on Studio Microphones launched in 2017

A listing of good studio work done in Bollywood in 2017

With Aidan Williams - Co-founder/Chief Technology Officer, Audinate

Studio & Recording Glossary

Contents 06

Contents News 10

Sound & Stage

Pune invests in DiGiCo SD10; Wave Audio Announces SoundGrid Rach; Avid’s VENUE S6L Mixing Console; Mahesh sound scales invests DiGiCo SD10; Yamaha MG10XUF & MG12XUK; BMP DiGiCo SD10 & L-Acoustics K Series; QSC New Director Sales and Marketing; Beta Three India; HK Audio Elements Gala; DiGiCo S-Series; CODA Audio New Distributors; Martin Audio Ben Tucker; Allen & Heath AMM And Expansion Options; GET- Guangzhou Entertainment Technology Show 2018; DiGiCo takes center stage at Ragam; Rupert’s RMP-D8; NJSM Acquires d&b M4; Overtone Audio Hires Ravisankar Nadiyam; 360 Pro Solutions Distributing SKB Cases.

PT met up with Shadab Rayeen to talk about audio, plugins, mix, music and more

Columns

Audio and Music Production Waves Audio announces F6 Dynamic EQ; Krotos Weaponiser; Sound Devices MixPre-10M; API 529 Stereo Compressor; Stage Tec’s 4.4.1 Software; Universal Audio Neve Preamp Plug-In & Helios Type 69 Preamp and EQ Plug-In Collection; Jünger Audio’s TieLight; Tracktion Waveform 9 Music Production Software; PSI Audio A21-M; Abstract Data ADE-33 Event Boss; Acustica Audio’s Pink2 plug-in collection; Grace Design m908.

Studio Analogue - SoundIdeaz

The Bright Spark Viraf Pocha surprising steers away from lighting and talks about Sound in “My Sound Experience”. After sharing the consoles with Sound Guy for years, Pocha shares some ideas and opinions that he picked up on the way.

Audiovisual Avid Technology Terminates Louis Hernandez Jr & appoints Jeff Rosica; Studiomaster Professional ARC Series; Genelec India Tour The Ones; BOSE Professional leverages portable and installed sound solutions expertise in India; HARMAN Professional Solutions Brings World-Class Sound to India’s Republic Day Celebrations; HK Audio VORTIS 2; Fandom - party spot grooves with rcf & digico; Outline Newton; Audiocenter Energizes Showbar Exchange With an Audio Boost; Martin Audio’s Hybrid Double 18” Subwoofer; Sri Sathya Sai Premamrutham installs L-Acoustics; Grace Design m908; Genelec Appoints Michael Bohlin; Atlona On-Tour Roadshow; Mackie Sounds Off A Divine Experience at Holy Trinity Church; Dynatech fosters a divine experience at St Thomas Church; D.A.S. Audio Vantec20A and Vantec-118.

Lighting

Stage Sound & Tech

Hang the DJ

“Think and then invest and if you do not have the knowledge, then take Sound System Design Education very seriously or merely hire someone knowledgeable to do so,” advices Warren Dsouza in this article titled “Sound System Design Education”.

DJ Editor, Reji Ravindran elaborates on the journey, evolution & exposure of some legendary media players in the Indian market through the decades in his article “The Indian History of Popular Media Players for DJing”. Part 2 of the article will be continued in the May-June 2018 issue.

“

Chauvet Professional Rogue R1X and R2X Spot Fixtures; Elation Professional Acquires M-Series Controller Range; PR Lighting’s Omega Moving Zoom Bar; CHAUVET DJ Lighting Control App Btair; SGM’s VP Fixtures; MEGA-Lite Drama Profile Series; Ayrton Mistral-TC spot luminaire; ChamSys QuickQ Console Range; PR Lighting ARC LED 1360 Hybrid Strobe.

There really is a much better way to build AV systems than using piles of boxes and analogue cables!

DJ Technology Roland V-60hd Multi-Format Video Switcher; Pioneer DJ DDJ-SB3; AudioTechnica Shipping ATH-M50xBB; Denon DJ Update ENGINE 1.1; Ortofon Concorde MK2 Turntable Cartridge Line.

March - April 2018

Pramod Chandorkar informs about reverberations and types of reverberators. Part 2 of the article “Reverberations” will be continued in the May-June 2018 issue.

Aidan Williams, - Co-founder/Chief Technology Officer, Audinate

“

Voice Track Intelligence for Presentations and Conferencing.

AM-1 Real-Steering Array Microphone The AM-1 Real-time Steering Array Microphone System, is equipped with a built-in sensor to detect and track sound sources, and it captures voices clearly and continuously from either side, above or below. This frees speakers to move back and forth in the vicinity of the podium, turn or tilt their heads to address different sections of the audience, or gesture naturally without concern for the location of the microphone. Placed unobtrusively on top of the podium or pulpit, this innovative voice-tracking microphone completely eliminates the interference and inconvenience of gooseneck or handheld mikes. Intuitive parameter setting by iPad* adds further convenience. *iPad is a registered trademark of Apple Inc.

We supply sound, not equipment. www.toa.co.in

TOAINDIA

Sound & Stage

Audio Solutions, pune invests in DiGiCo SD10 When it comes to music scene in India, Pune undoubtedly steals the show. The people of Pune are connoisseurs of various music genres. With great music comes great sound inventory. And thus, DiGiCo entered Pune’s fast growing audio-video rental industry. Pune based AV companyAudio Solutions recently purchased DiGiCo SD10 console, to the company’s touring stock. This was their first DiGiCo purchase. Babloo Ramzani owner of Audio Solutions says, “I have been in the industry for a very long time and this is the first time that I have purchased DiGiCo SD10. DiGiCo India Distributor-Hi-Tech Audio Systems provided us this ace console.” He adds, “The SD10 offered features like 132 input channels at 48kHz/96kHz, upgraded withStealth Core2, includes Channel Delay, Single and Multi Channel presets, dual insert points, hi- and lo-pass filters at 24dB/octave, four-band Parametric EQ with band curve selection, 218 Dynamic EQ processors, 218 Multiband Compressors and 218 DiGiTubes. My existing PA sounds precise and superb with DiGiCo SD10. None of my previous consoles ever surpassed the rich audio texture and quality that you can achieve with DiGiCo consoles. Further it can be configured to operate like any old favorite console, but with hundreds of more features. My team and I are

amazed with the console’s warm FOH engineer Kuber Sharma was MADI connections. Beside these, tone, vast headroom and flexibility. overwhelmed with the features of the technical support from My investment is justified with DiGiCo SD10 and he expresses, “I DiGiCo was great and now I look DiGiCo SD10.” have worked on various consoles forward to work often with DiGiCo Bollywood music superstar Neeti that are regarded as industry’s best. consoles.” Mohan performed at the HSBC Annual Day held at Laxmi Lawns, Pune in the last week of February at. Team Audio Solutions took over the audio production control at the event. For the first time, Audio Solutions laid hands on DiGiCo SD10 at a live scenario and were backed by the technical support from Hi-Tech Audio Systems. “Whenever a client purchases DiGiCo consoles, we make sure to provide intense technical support during their first few shows with DiGiCo. It’s like introductory Pune based AV company Audio Solutions recently purchased DiGiCo SD10 console, sessions for the company’s making this their first DiGiCo purchase engineers and technical team where they become familiar But honestly working on DiGiCo With the grand success of the with the console’s functionality and SD10 is a peerless experience. It is event, Audio Solutions is now features,” says DiGiCo Sound Engineer really so easy and so logically laid confident to bag bigger events from Hi-Tech Audio Systems, Vanshaj out. It worked great all around. with DiGiCo SD10. Rajan Gupta, Sharma. Further he explains, “At the It was really easy to save all the Managing Director of Hi-Tech pre-event stage I set up everything settings and recall during the event. Audio Systems says, “It’s a great in the consoles, making it an easy The D2 Rack is designed to support moment for us to be the first to job for live engineers. It’s our prime and expand the DiGiCo SD Range’s enter Pune market with DiGiCo concern that the engineers who are higher sample rate I/O solutions. SD10. With this endeavour we are behind the consoles can only focus The D2-Rack offers a more compact, sure to expand our services far on what they are best at. We will efficient and affordable rack solution and wide within Pune. I would take care of the technical odds which for connection at either 48kHz or also like to congratulate Audio are generally minimal when you work 96kHz with no I/O reduction. This Solutions for their first DiGiCo with DiGiCo consoles.” comes with either BNC or CAT5 SD10 purchase.”

Wave Audio Announces SoundGrid Rach; Plug-in for Avid’s VENUE S6L Mixing Console Waves Audio has announced the launch of SoundGrid Rack for VENUE, enabling live sound engineers to run Waves plugins directly within Avid’s VENUE | S6L mixing console with tactile control from the console’s surface knobs and integration in the VENUE software, thus eliminating the need for a computer host or an external network switch. SoundGrid Rack is a plugin that runs within the VENUE | S6L environment and can load up to 8 SoundGrid-compatible Waves plugins

March - April 2018

per instance. All standard VENUE plugin features apply, including “Config” and “Show” modes, delay compensation, snapshot automation and detailed tactile control of plugin parameters. The user can run up to 128 mono or 64 stereo SoundGrid Racks within the S6L, each containing up to eight plugins. The included SoundGrid Inventory component manages the SoundGrid network and allows users

to monitor its status. With the WSG-HD card installed in the console’s engine, user can connect up to two Waves SoundGrid servers (primary and redundant) directly to the S6L system, with no additional interface, network switch or

computer host necessary – resulting in a focused, simplified, powerful setup to meet most grueling live sound demands. Mick Olesh, Waves EVP of Sales & Marketing, comments, “We are delighted to offer Waves SoundGrid technology to Avid, for integrated SoundGrid control and the use of Waves plugins on Avid’s VENUE | S6L live console, thus boosting its mixing capabilities and offering live sound engineers a significantly enhanced

(Continued on page 12)

Presents

THE NEW STANDARD IN ADVANCED AUDIO PROCESSING Outline is proud to introduce Newton, the next generation in audio system control and networking. Newton advances the management of sophisticated audio systems by combining new filter technology, multi-format audio signal routing, multi-format standards conversion and digital signal synchronisation in a single 1RU networkable chassis. Each Newton processor combines powerful WFIR filters (unique to Outline), clock management and a very high number of input and output channels (up to 216 x 216). Internal synchronous and asynchronous sample rate converters manage all I/O operations and Newton can be synchronised with any one of the 14 choices of clock sources. Mix and Match Matrix I/O routing allows translation and re-distribution of digital audio over multiple standards simultaneously. Combining power and flexibility with an easy to use control interface, Newton forms the nucleus of next generation audio systems. Multiple Newton devices are easily interconnected to form a network that is scalable to meet all audio applications. Powerful processing features and multiple audio network standards combine to make Newton the ideal control core for any audio system from Touring to Live Broadcast Events and Fixed Installations.

GLOBAL PRO-AUDIO MANAGEMENT Tel: +91-11-42576264 | Mobile: +91-9811225230 | Email: info@globalpro-audiomanagement.com ; gaurav@globalpro-audiomanagement.com https://www.facebook.com/Global-Pro-Audio-Management-1760733594210454/ | Website: www.globalpro-audiomanagement.com

Sound & Stage

MAHESH SOUND SCALES UP INVENTORY WITH DiGiCo SD10 Ahmedabad based audio rental company, Mahesh Sound have recently upgraded their inventory with DiGiCo SD10. The company delivers a comprehensive service for the touring and live events industry and has an uncompromising approach to technical excellence. The stateof-the-art console was purchased through Indian distributor of DiGiCo, Hi-Tech Audio Systems Pvt. Ltd. “We knew from the time of our company’s inception that we need to carry an inventory with maximum functionality and flexibility. The market is very competitive and client’s needs are vast. Thus DiGiCo SD10 with two D2- racks is our obvious choice to go with”, says Naresh Patni, owner of Mahesh Sound. Team Hi-Tech always goes the extra mile by providing exclusive training on DiGiCo consoles. “The training is an essential part of our after sales service. The owners and the engineers get well acquainted with the features of DiGiCo consoles. The DiGiCo technical engineer from our

company demonstrates the power It’s amazing indeed to do so much to work on DiGiCo SD10 with such and versatility of the consoles so that with this state-of-the-art console.” dynamic features.” rental companies can take advantage Hi-Tech Audio’s Technical Engineer, “Young entrepreneurs like of these training workshops,” says Vanshaj Sharma says, “DiGiCo consoles Naresh and Rakesh understand Nirdosh Aggarwal, Director Sales of are very user-friendly and comes with the need for advanced audio Hi-Tech Audio Systems. open configuration. For those who consoles that will add value to Rakesh Patni, co-owner of Mahesh Sound says, “As always Hi-Tech is best in support and trainings. The recent workshop was insightful and informative, making the console a child’s play for our engineers. It is now an indispensible part of our production and is capable of handling any scale of show. Thank you, Team Hi-Tech.” “The SD10 is a marvelous console to work with,” says Divyesh Patel, Sound Engineer of Mahesh Sound. “With 132 input channels, 218 dynamic equalizers, 218 Divesh Patel(L), Naresh Patni (C) & Rakesh Patni (R) with the newly acquired DiGico DiGiTuBes and other such SD10 Console cutting edge features, SD10 is the real powerhouse for production. always worked on analogue consoles their services. DiGiCo consoles The D2 rack has dual redundant can now easily move to SD10. The are well thought out for every power supplies as standard with LED entire interface of the console is major application as it is designed indicators on the front panel. It has based on analogue model and has for the art and science of sound a fixed format 48 inputs with 16 multiple physical fader access at one engineering,” concludes Managing outputs fitted as standard and the point without switching banks. Thus, Director of Hi-Tech Audio Systems, output count can be increased to 32. it is convenient for mixing engineers Rajan Gupta.

Yamaha Adds MG10XUF & MG12XUK, Third-generation MG Mixer Lineup Yamaha has announced the addition of MG10XUF and MG12XUK Mixing Console models to the popular MG Series lineup. Configurations & Attributes of MG10XUF and MG12XUK These new models add broader choice to the popular 10 and 12

direct visual feedback. The MG12XUK employs rotary knobs that contribute to more compact overall dimensions. With the release of these new models’ users gain greater freedom to choose configurations that best suit their individual needs. They also feature a USB 2.0 audio

as the included Steinberg Cubase AI. USB Audio Class 2.0 is also supported, allowing operation with USB Audio Class 2.0 compliant tablets and other devices without the need to install driver software. Both models are compatible with the Apple Camera Connection Kit or Lighting to USB Camera Adapter for seamless recording and playback of digital audio to and from an iPad or iPhone. All models are designed with emphasis on durability, incorporating practical features that ensure reliable operation in a wide range of challenging conditions. A powdercoated steel chassis provides improved structural strength, while

(Continued from page 10)

channel categories within the thirdgeneration MG Series lineup. While the adoption of linear faders in the MG10XUF offers fine level control and

March - April 2018

interface capable of 24-bit/192kHz quality for playback of digital content from a PC, and/or recording of the mixer’s output to DAW software such

and creative workflow.” “We’ve worked with Waves to deliver a completely integrated experience for our live sound customer community,” said Al McKinna, Director of Live System

the placement of the knobs above the surface of the chassis protects internal components by absorbing impact or pressure applied to the knobs themselves. Yoshi Tsugawa, general manager of Yamaha’s Pro Audio Division, comments: “The third generation of our MG mixer lineup was released in 2014 with an extensive choice of models. The MG lineup rapidly earned an enviable reputation with users in a wide range of applications all around the world. The new models announced here expand the lineup even further, providing additional choices that will ideally match the individual needs of more users.”

Product Management at Avid. “With Waves SoundGrid setup and plug-in control now fully incorporated into the VENUE software, S6L customers will enjoy the intuitive, lightning-quick workflows they need to mix the most demanding of live shows with ease.”

Sound & Stage

BMP opts for DiGiCo SD10 & L-Acoustics K Series 2 stages, over 200+ musicians, 50+ artists and thousands of fans came together at Asia’s Largest Bollywood Music Festival - Bollywood Music Project (BMP). The festival was hosted at the Jawaharlal Nehru Stadium, Delhi on

cool way of handling a situation with multiple stages,’ says Siddharth Chauhan, Director of Mega Sound. ‘And moreover the technical support team of DiGiCo from Hi-Tech Audio Systems handled everything related to DiGiCo SD10 and the sound

DiGiCo SD10 set up at BMP 2018 27th-28th January, for the second time by Event Capital & Talent Management. For two days the capital saw some of the biggest headliners from Bollywood enthralling audiences. Farhan Akhtar, Papon, Vishal Bhardwaj, Euphoria, Nooran Sisters, Richa Sharma, Benny Dayal, Aditi Singh Sharma, Anusha Mani, Shilpa Rao , Shruti Pathak, Raftaar, Amitabh Bhattacharya, Kutle Khan and a multitude of artists across Bollywood music electrified the venue with their live performance. One of India’s most cutting edge AV rental companies, with an impressive inventory and top of the line professional equipment - Udaipur based audio rental company Mega Sound, provided the sound production for the Stage 1 performance.

Digico SD 10 pumps up BMP DiGiCo SD10 consoles were used for the front-of-house audio in both the stages, which were supplied by the British manufacturer’s Indian distributor, Hi-Tech Audio Pvt. Ltd. ‘DiGiCo’s technical support and service are absolutely world class. It was a stellar show from an audio and visual standpoint. The SD system gives us a very

March - April 2018

much easier, even for someone who is working on SD10 for the first time,’ says Vanshaj, Technical Engineer from Hi-tech Audio Systems. Nirdosh Aggarwal, Director Sales, Hi-tech Audio Systems says, ‘There is always an amount of personal preference when it comes to choosing the right console for any given job, but for BMP audio production team what it comes down to is whether the consoles deliver the best possible sound for show. Vikram Mishra, Tanay Gajjar, Nikjil Mulay and few of the leading audio engineers of the country were behind the consoles at Bollywood Music Project. They appreciated what DiGiCo consoles are offering to make their job easy while working with various artists in this multigenre stage.‘ Bollywood’s eminent sound engineer Tanay Gajjar who was looking over the Stage 1

Fans grooving with the artists at BMP 2018

live mixing says, ‘DiGiCo is renowned for its support and the stability of its consoles. I like the workflow and flexibility they give me, making my work so easy and effortless during the show.’ ‘I was using SD10 for Stage 2 FOH. The entire system was simple to set up and it all worked perfectly.

L-Acoustics K2 at BMP 2018 engineers enjoyed working on the console, smoothly. You can count on team Hi-Tech Audio for any support.’ ‘Things are really easier for us with DiGiCo SD10. As we were using it for both stages at front-of-house, we have programmed the sessions for each artist four days before the show. This made managing the show so

During the event I’ve never had any stability issues, and the gain sharing at the rack gave us lots of headroom,’ says Tosief Shaikh, Mixing & Mastering Engineer. ‘It’s always a privilege for us to associate with Bollywood Music Project and a very good learning experience for the entire team. With the top-notch audio system brand

like DiGiCo and working with ace sound engineers of India, we can assure that the show will go on without any hitch,’ concludes Rajan Gupta, Managing Director, Hi-Tech Audio Systems Pvt. Ltd.

L-Acoustics enthralls audiences ‘For such mega events you need cutting edge PA system. And L-Acoustics was the apt choice at FOH that was used for Stage 1 performance,’ says Siddharth Chauhan. ‘The K2 system flexibility makes it suited to touring applications and outdoor productions. For BMP Stage 1 set-up, we’ve installed K2 as main PA, along with L-Acoustics Kara for center fills, KS 28 for subs and LA12x amplifiers powering up the entire FOH. All of these speakers combined to ensure a crisp, precise sound image across the whole venue, which is vital for delivering the powerful sound in this environment.’ ‘L-Acoustics K2 system increases headroom of the system. It offers K1 performance in a rescaled package that makes it flexibly well-suited for both permanent installation and touring applications,’ says Vishrut V. Joshi, Chief System & Mix Engineer, Mega Sound. Nirdosh Aggarwal, Director Sales, Hi-Tech Audio Systems says, “L-Acoustics is considered as the industry benchmarks. Its sonic performance and fully integrated package features make it a complete rider-friendly choice.” The biggest takeaway one can have from this show was the imaging—no matter where you were in the venue, it was absolutely perfect. And that’s what the audience loved the most. You can hear the complete mix from every nook and corner around Stage 1. “At the end, our greatest achievement is when the artists, musicians and sound engineers get that splendid sound through L-Acoustics. We understand the festival management’s requirements and that’s why we have recommended the best. No doubt the end result is always amazing with L-Acoustics,’ concludes Rajan Gupta, Managing Director, Hi-Tech Audio Systems Pvt. Ltd.

Sound & Stage

QSC Names New Director Sales and Marketing in India QSC has announced Rajesh Mittal as Director Sales and Marketing, QSC India. In this role, Rajesh will lead the local sales and marketing team that serves the Systems, Live Sound and Cinema businesses for QSC. Rajesh joins QSC following his career at Samsung India Electronics where he served as General Manager of Visual Display

Solutions. During his tenure, Rajesh played a key role in developing Samsung into a market leader in Large Format Displays. “We opened offices in India last year to offer a local and dedicated sales and support team to our customers in the SAARC region,” said Ron Marchant, Senior Director Sales, QSC Systems, EMEASA. “Rajesh brings a wealth of knowledge and

experience to QSC, and we look forward to his integral role in helping us further develop our sales and marketing capabilities in the region.” “I am honored to join the growing team at QSC,” said Mittal. “There is a lot of exciting growth opportunity here and I’m looking forward to bringing QSC solutions to the SAARC region.” Rajesh Mittal will be based out of the QSC office in Bangalore, India.

Rajesh Mittal, Director Sales and Marketing, QSC India

Beta Three India to Bring New Products to PALM Beta Three Audio India Pvt. Ltd is a registered company under 3G Audio specializing in ‘Sale and Service’ of Pro Audio equipments PAN India. The company provides reliable products, strong technical support, marketing, and after-sales service to domestic and international customers. Their products are suitable for many applications where quality audio is required. Beta Three products are sold in over 80 countries and the product quality is recognized by all the users. Beta Three plans to increase

product awareness through improved visibility and effective communication with the target audience. The company believes that an opportunity for face-to-face interaction at PALM Show 2018 and later at various Road Shows and Exhibitions throughout India, will not only help in building trust and credibility but also help our buyers make informed purchases. Beta Three plans to introduce below models at Palm Expo 2018: Line Array Systems: - R5/R10a - R6/R12

HK Audio Unveils Elements Gala The German pro audio company, HK Audio has lauched ELEMENTS GALA, an all-in-one stereo columnar system with all the components of a full-blown PA. It features a vastly extended sub-bass range, a top end with even greater definition, and more powerful, punchier low mids. HK Audio states that, “ELEMENTS GALA comes with all the components needed to get the show started straight away – four E 835 columnar tops (each loaded with eight 3.5” highperformance speakers), a 15” system subwoofer to power the whole operation, two EF 45 bases, two EP 2 extension poles

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for applications requiring raised speakers, and two LS 10 Speakon cables. When the venues get very big or the music requires even more muscular bass, ELEMENTS GALA can also be extended using an HK AUDIO L SUB 1500A subwoofer. It’s a perfect fit, acoustically and visually.” Julian Fischer, HK Audio Product Manager, said: “Over the last couple of years, we asked many avid ELEMENTS users what they want. More bass, loftier highs and stronger low mids were at the top of their wish list. So we came up with a spot-on way of satisfying precisely these wishes – ELEMENTS GALA. We deployed a next-generation digital controller that lets us incisively shape the response. On top of that, our newly developed Class D power amps deliver plenty of power to provide the headroom that this far more dynamic response requires.”

- TLA21 - SLA10H Sigma Series: Hi- Fi & Classic Entertainment Systems: - ∑H115, ∑H118 Small PA Systems: - Meline S2- 111 Over the years Beta Three has maintained its vision of “Developing Beta Three as a globally recognized and respected Brand”. Beta three is constantly developing technology and innovation to offer leadingedge products and services that are cost effective at the same time competitive for our customers. Beta Three aspires to bring innovation, excellence and sustainability to revolutionize the sound industry.

DiGiCo Releases S-Series Offline Editor In order to expand its popular S-Series console functionality, DiGiCo, has announced the release of the new S-Series Offline Editor. Reportedly the S-Series Offline Editor is compatible with both Windows and Mac OS and can be used for both S21 and S31 console sessions. It comes with a familiar, high-resolution console screen interface and on-screen help facility. Parameter control is via a mouse wheel and a new Control Strip, along with a quick navigation facility, which can be accessed using keyboard shortcuts. Template sessions

are also provided for common DMI card / Rack setups. “The S-Series Offline Editor gives S-Series users the same ability to work on session files offline as they currently have with the SD Series,” says Roger Wood DiGiCo’s Head of Software Development. “This means that a whole show file can be written away from site and simply transferred to the console.”

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Sound & Stage

CODA Audio Appoints New Distributors in India CODA Audio has appointed A One Global Entertainment company as its distributors in India. The Chandigarh-based company has been a leading AV supplier, installer and major brand dealer since 1980, with an established and trusted reputation for technical excellence in this exciting and ever-growing market. During a visit to Musikmesse Frankfurt last year, A One’s attention was initially caught by the compact size and reduced weight of CODA systems. Further conversations led to A One visiting CODA HQ in Hanover and experiencing for themselves the power and quality of CODA systems at work. Nitin Thakur, Managing Director at A One, says, “When we visited Hannover, we were amazed by the potential and capabilities of CODA Audio systems. Listening was a treat for the ears and we were immediately sold on the idea

of a future partnership with CODA. was quick to see the advantages effective distribution partner. We’re Learning about the technology that CODA systems can bring to looking forward to working closely incorporated in the systems was a customers right across the sector with them in what is a large, real eye-opener and the performance and we’re certain that they will growing and fantastically diverse just blew us away. What also came prove to be a pro-active and highly marketplace.” across very strongly was the sense that the people behind CODA are totally committed to their vision, with an ethos of always striving to improve. There’s no doubt that the versatility of CODA systems make them effective for any number of applications. For installers and rental companies alike, I really am convinced that these systems are the future of the industry.” Paul Ward, Director of Global Business Development at CODA Audio commented: “A One is a highly reputable, extremely well-run operation with a thorough knowledge A One Global Entertainment Team with the CODA Audio Systems and understanding of the Indian market. The A One team

Allen & Heath Adds AMM And MARTIN AUDIO APPOINTS BEN TUCKER Expansion Options for SQ AS PRODUCT SUPPORT ENGINEER To support the current strong This allows us to better balance growth in sales, Martin Audio has different application demands added Ben Tucker to its Product coming from different regions at Support Group. different times Tucker has of the year. With worked for the runaway Millstone Sound success of recent and as a freelancer product launches live sound engineer and a host more designing, preparing to come in and deploying 2018, the timing audio systems couldn’t be for large scale better.” events as well as Speaking of carrying out console the opportunity operation duties Tucker responded, at both FoH and “Martin Audio monitors for various has a fantastic shows. reputation and an Ben Tucker, Product Support Dan Orton, Head Engineer exciting product of the Product portfolio that Support Group, commented, “This delights existing and new users appointment reflects the growth around the world. I’m delighted of the company and the demand to join the team, to learn and for in-field support for live sound to grow, and to be involved in production and training. Now the the increasing number of live six-strong team is set up to be productions Martin Audio is now adaptable, in order to support dealing with and to help its customers anywhere in the world, customer base get the most from rather than being region specific. its products.”

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Allen & Heath has introduced new expansion and advanced automatic mic mixing (AMM) capabilities for its SQ digital mixer series as part of a major firmware update. SQ V1.2 firmware supports the DX Hub, a hardware expansion hub which allows multiple DX168 stage box expanders to be connected to

an SQ mixer. DX Hub enables SQ users to source the full 48 channels from the stage, all at 96kHz, or to deploy up to eight portable expanders wherever required. V1.2 adds two independent AMMs, based on the proven D-Classic algorithm. The AMMs are part of Allen & Heath’s DEEP processing system, providing a zerolatency solution for mixing speech applications such as conferences, meetings, broadcast and panel

discussions. SQ can handle two simultaneous meetings with up to 24 mics each, or the AMMs can combine to manage a single conference with up to 48 channels. Other enhancements include a pair of new RackFX units for the SQ FX library - the Noo Phaser and Chorus - plus factory processing libraries to provide a starting point for new users and the ability to change channel colours to speed up engineers’ workflows. SQ Product Manager, Keith Johnson commented, “SQ is a superb console for AV and corporate work, and thanks to the power of our XCVI core and DEEP processing we’ve been able to add twin, class-leading AMMs without compromising our <0.7ms latency. DX Hub support lets you put the I/O wherever you want it, whether that’s getting all inputs from the stage or distributing up to eight 96kHz DX168 expanders around an installation. And probably the most asked-for feature of all is the freedom to assign colours to your channels, which really helps to manage your mix at-a-glance.”

Sound & Stage

GET- Guangzhou Entertainment Technology Show 2018, China The Guangzhou International Entertainment Technology Show, also called as the GETshow, and known as the largest sourcing platform in China for the professional lighting and audio industry, is scheduled to take place from May 8th to May 11th. The show will take place in the industrial base, Guangdong province, where 80% of nationwide entertainment enterprises are centralized. The event is organized by Industry Association of South China Entertainment Equipment SCEE and Guangzhou GETshow Exhibition Co. Ltd. The co-organizers include China Association of Stage Art, Audio Engineering Branch of China Electronic Institute, The Art Work Committee of China Radio & TV Social Organization Federation, Lighting Professional Committee of China Society of Motion Picture & TV Engineers, Guangdong Association of Stage Art, Guangdong Audio Video Lighting Sci-tech Promotion Society and Enping Electroacoustic Industry Association. The supporters are China Entertainment Technology Association. The total exhibition area will cover 80,000 sqm which will be occupied by 700 exhibitors, three pro-sound halls, five pro-light halls and one outdoor line array stage. Among them, they have independently set an international brand audio hall for the first time.

Exhibitor Range The list of exhibitors includes the famous names like ACE (JBL, Crown, Shure, Soundcraft, etc.), Meyer Sound, Yamaha，Ruisheng (German TW Audio, German SAL-acoustics line, German GLP Computer Lights, Australia LSC, etc.), Verity Audio, Pioneer, AV Media (Peavey Electronics), America QSC, Ac (Spain DAS, German KS Audio, Sound Works and Supplies (German D&B), Win-sound (Midas, Klark Teknik, Turbosound), Martin Audio, Racpro (L’ACOUSTIC, SENNHEISER, DIGICO), PAL Audio(C-Mark), Real Music (Canada ADAMSON), Portugal NORTON, Belgium APEX, France Active Audio, Digital Media Technology（Clair Brothers, DPA, DB Technologies).

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This year which marks the 10th anniversary of the GETshow will showcase a range of exhibits including DJ Show, Stage Audio System, Card Package KTV, Public Broadcasting, Conference System, Stage Lighting, LED Display, Laser Gear etc. industry exhibition this year, the GETshow is coming with the green exhibition concept of high-end silent show.

An indispensable classic event

GET show which will cover 80,000 sqm will boast of five pro-light halls

Outdoor linear array tour, 12 top-brand from home and abroad will be displayed (both the Made in China), R&D linear array products and the equipment’s imported from all over the world will be presented in front of the visitors to create a marvellous audiovisual feast with excellent audiovisual experience and magnificent atmosphere. This year also marks the 10th anniversary of the GETshow and for the celebrations, the Industry Association of South China Entertainment Equipment (SCEE) will conduct a grand party just one night before the show. Which will be attended by over 2,000 industry elites.

Exhibit Range

Also, some of the big domestic and overseas brand manufactures and

agents are invited to join the show. To be the most influential

The long range of exhibits will include DJ Show, Stage Audio System, Card Package KTV, Public Broadcasting, Conference System, Stage Lighting, LED Display, Laser Gear, Microphone, Amplifier, Stage Peripheral Device, Intelligent Lighting Control System, etc.

Sound & Stage

DiGiCo takes center stage at Ragam 2018 Each year the small yet busy city of Kerala, Calicut city, celebrates one of the biggest annual inter-college fest - Ragam. The vibrant youth fest is a cultural entity of the National Institute of Technology, Calicut. Previous editions of Ragam have

Nigam, Benny Dayal, Parikrama, Silk Route, Motherjane, to name only a few. The fest was also headlined by popular international artists like Swiss folk metal band Eluveitie, Sunburn Campus featuring DJ Diego Miranda, Harrison, Zaeden and Morgan J. The 13th Edition of this cultural

Vishal-Shekhar headlined the Pro Show at Open Air Theatre and the FOH was equipped with DiGiCo SD10 console for the performance. Bengaluru based AV rental companyTotal Productions provided the stateof-the-art DiGiCo SD10. The console was purchased from New Delhi based India Distributor of DiGiCo, Hi-Tech Audio Systems Pvt.Ltd.

team was very avid about the recently purchased SD10. I gave them a detailed introduction about the features of the console. The technical team of Total Production was amazed with the console’s high clarity digital processing, high quality preamplifiers and userfriendly workflow. The SD10 was put to the test during Vishal-

FOH engineer Farhad Daruwalla at the DiGico Console

Francis, proprietor of Total Production with SD10

seen performances by some of the biggest artists and bands in the country like Sunidhi Chauhan, KK, Farhan Akhtar, Shaan, Sonu

“Of late, sound engineers have specifically started to ask for DiGiCo consoles for live mixing. The product is user-friendly with an intuitive interface and wide range of feature sets. With its high fader count, high input and buss counts, dynamic equalizers, the SD10 is a lucrative addition for our rental stock”, says Francis, proprietor of Total Productions. Director-Sales of Hi-Tech Audio Systems, Nirdosh Aggarwal shares his market experience about DiGiCo, “At present the audio rental industry in India is flourishing. Rental company proprietors want to expand their business with innovative cutting-edge audio control equipments.” He further adds, “DiGiCo consoles are one of the most rider-compatible consoles in the industry. With our training sessions and live support services, we make sure that our clients’ experience with DiGiCo consoles is paramount.” Training on the SD10 was provided by Vanshaj Sharma, DiGiCo Sound Engineer from Hi-Tech Audio Systems Pvt. Ltd., who adds, “In my line of profession, I come across various rental companies who own an amalgamation of audio inventory. The recent DiGiCo SD10 training session with Total Productions was an overwhelming experience. The

and musical extravaganza was aweinspiring for the headlining artists and for the energetic music lovers. This year, Bollywood music duo

Rupert’s New RMP-D8 8-Channel Remote Control Dante Mic Pre-Amp The Rupert has launched its new RMP-D8 8-Channel Remote Control Dante Mic Pre and AD converter. The company states,” It offers the live sound world something that studios have always coveted: the sound of Rupert Neve Designs.” Features include: • 8 mic / line inputs with 48V phantom power, polarity reverse, input pad & high-pass filter controls • 1dB-stepped class-A mic preamplifiers with 60dB gain and remote-control capability • Custom Rupert Neve Designs transformers for the larger-than-life

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tone of Rupert’s classic modules • 24-bit / 192kHz Mastering-Grade Converters with precisioncontrolled internal clocking and enhanced jitter reduction • Ultra-reliable, redundant power supplies capable of operating anywhere in the world • Dante integration with redundant network ports for reliability • Gain-compensated secondary output option with +/-12dB range • 4 dual-channel AES outputs on XLR connectors • Large OLED display with full local control; accurate and easyto-read meters • Complete integration with Dante Virtual Soundcard and Dante Via for direct computer input • Reinforced steel chassis for enhanced RF shielding and rugged touring use in challenging environments

Shekhar’s performance at Ragam Fest and undoubtedly the client was happy.” Farhad Daruwalla, FOH Engineer for Vishal and Shekhar says,“I have been using and specifying DiGiCo consoles regularly in my tech riders since the past 7 years. The SD convert gives me the ability to seamlessly switch between different consoles across the entire SD range. At Ragam 2018 in Calicut I had an SD10 at FOH which I use regularly for Vishal and Shekhar. The stealth core 2 upgrade gives me a variety of features at my fingertips. With Digitubes combined with state of-the-art Dynamic Eqs and Compression, I don’t find the need to use any of the waves plugins while using the desk. The pristine sound quality, I/O capacity, reliability and flexible work surface make my life easy on tour even in the most demanding situations” “We are pleased to associate with Total Production by providing the best from DiGiCo. SD10 console fit well with Total Production’s target of becoming a high performance production company, capable of handling any scale of show,” comments Rajan Gupta, Managing Director, Hi-Tech Audio Systems.

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Digital Processors

Sound & Stage

NJSM Acquires d&b M4 for Better Stage Monitoring Mumbai Based Audio Rental company NJSM, recently acquired the d&b M4 Stage monitoring system. To have a good stage monitoring system is always necessary. Although today most of the A listed artists have started shifting their monitoring to a much personal IN Ear Monitoring, the concept of stage wedge is not being ruled out totally. “We have a great system but often our credibility was questioned because of the lack of a great sounding wedge on

stage”, says Sancheth Suvarna the chief sound engineer at NJSM. The Sale of this d&b M4 system was again facilitated by Ansata Computer Systems from Bangalore who have supplied 8 wedges with 2 D-20 Amplifiers to go with it. “We did a lot of study into what we should buy. Although we are aware technology is brining better things in the future, we had to get something where quality technology and cost center analysis on our balance sheet is worked together,” says Nixon Johny the founder of

THE NJSM crew with the d&b M4 stage monitors. From l-r: Nixon Jhonny, Sanchet Suvarna and Sachit Subramanian NJSM. For now, the crew at NJSM is very happy to announce this news and

are confident the added inventory will help them execute events smoothly and easily.

Overtone Audio Hires Ravisankar Nadiyam as the Head of Sales Overtone has appointed Ravisankar Nadiyam as the head of sales. He has a career history of 20 years which includes his roles at Avid where he was first appointed as the Product Specialist for Southeast Asia before he moved to the Avid office in Dubai as the Product Specialists Manager and then on to the position of Audio Sales Manager for the entire range of Avid audio products including live, studio, broadcast and retail. Vinod Subrmanian who started Overtone Audio in 2016 says, “Ravi brings an immense wealth of experience and ideas to Overtone in its foray of expansion into the Broadcast and Television markets in India. Overtone is glad to have him on board. In the very short period of time

that has elapsed since January 1st, 2018 when he officially joined, the amount of traction he has generated

Ravisankar Nadiyam

in the market for Overtone Audio is a forebringer of exciting times to come.” “After two decades in the audio industry where I was focused on one manufacturer’s products, to be able to offer a full range of the best in class gear giving the end user the flexibility of purchase based on the usage and the budget is what interested me when Vinod spoke to me. Vinod and I are equally passionate to make sure that the client gets the right pre-buy advice and the whole buying process through to after sales support

is unmatched. The relationship that Vinod shares with the owners and the top ranks in the companies that we represent, from having extensively used all these products, is testimony to his in-depth knowledge about the products,” says Mr. Ravisankar Nadiyam. Elaborating on his plans for Overtone Mr. Ravisankar commented that, “I am planning to introduce the TV broadcast industry to the array of top-of-the line products and solutions that Overtone has to offer. We are looking forward to letting the industry professionals experience pre and post sales service that is not just completely satisfying but also enjoyable. We offer the best advice on the apt technology and products to help the industry achieve global standard in audio quality.”

360 Pro Solutions Now Distributing SKB Cases in India Mumbai based Kiran Sales Corporation along with Circle Pro Audio had come together to form 360 Pro Solutions last year. Over the last one year the collaboration has come up with various innovative ideas, solutions and products that have been successful in the market and have been appreciated by customers. To take this leap ahead the company ventured into distribution

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of SKB Cases in India. SKB is an American based gun case manufacturing company which later

diversified into making cases for professional audio products and musical instruments. “SKB will do very well in the Indian market thanks to the need of light weight, good quality and cost-effective cases especially for the MI market”, says Biren Seth of Kiran

Sales. Currently the flight case market is having a lot of custom made cases. However, the SKB cases are far more superior thanks to its built and laser cut foaming which makes fitting of the products inside the case very precise and yet gives enough breathing for them. 360 Pro Solutions will exhibit the SKB products at the PALM Expo 2018 in Stall D-47.

INTERVIEW

Recording music in the black box tape era meant sci-fi acoustics and studios which reminded you of Stanley Kubrick, imagination of space where every sound recorded was primeval, spiritual, pure, so acoustics meant curves and waves and slanted triangular ceilings, sound absorption, double glass partitions, heavy doors and curtains and other ideas. Andy Munro was the man to design studios that recorded musicians on 2” tapes on Ampex heavy-duty 24 track machines. Internationally reputed with a portfolio of ‘big’ and ‘great’ studios it was indeed a matter of pride to have Bollywood studios designed by Munro accoustics. Andy designed some good studios in India. PALM Expo recognised Munro’s contribution to the art of recording sound and he was gracious to attend the show and accept his award. As PT met him, he made it a point to mention PALM award catches his eye now and then when he is restive. Today Andy’s greatest joy is in appreciation of acoustics in a grand opera house, scores of live musicians heard live in a space designed for acoustic musical instruments of the highest quality played by superlative talent. In the world of acoustics, Mr Munro believes there is no higher ground. He lives for such moments now while Munro accoustics designs hundreds of dubbing studios and lounge bars and home theatre again for acoustically good sound for the discerning listener. Joining the conversation was the ever-enthusiastic Kapil Thirwani, Munro’s man on the spot in India, who besides heading Munro India and handling ME and SE Asia, is also playing a stellar role in motivating and training Indian origin engineers to complete IOA’s (Institute of Acoustics) graduate entry Diploma in Acoustics and Noise Control and goading Indian engineers to international levels in acoustic excellence. The market has changed significantly while it has expanded and spread, however for dubbing content exploding across all media. PT is glad to produce Andy Munro’s thoughts on acoustics and music and recording. One passing comment for talent who wishes to make to global stardom is worth mentioning “Adele did it all in the bedroom (music albums) but at one point you need a studio to get the final mix track right” cheers!

Andy Munro delivering a talk on custom monitoring and acoustic design to CCTV engineers in China

T: What is your perception of the market?

AM: As technology becomes increasingly global, American companies are getting more and more global and breaking out of Hollywood. They are looking at much wider markets. Everybody is staggered at how many Cinemas have been built in China and how many movies are being seen there. China is opening up and India is rolling along with that. I think India is becoming much more global with its outlook in terms of audio. India in addition has its own very, very specific market and it has regional markets as well. India will always be a unique case in that respect. I think Sound is getting better now. There was a time when sound was getting very poor indeed, but now it’s turning around because

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Opera House Acoustics Nirvana for Munro ent languages. In order to do that, they need dubbing studios all over the world recording real voices, which are all sent back to either Burbank or London and they are all mixed back into the original movies or Television etc. Every one of those voices has to be mixed back into the original mix with exactly the same levels of sound. They have almost 200 studios around the world doing just that and their quality control is very high indeed, and we have designed almost half of those studios. So, the top level absolutely demand good acoustics and sound consistency. If you are doing Dolby Multichannel, it has to be timed correctly, it has to be EQed correctly and that is to some extent true for any level in the chain. Ofcourse somebody can sit in a room, make an album, and become a multi-millionaire by starting of just like that, but to get to the very top you still have to go into the studio. Digital has not really changed the need for acoustics. A microphone is still

I would now probably want to work on an opera house work. It’s a very specialized segment and they take years to come to fruition. For me an opera house is the pinnacle. It’s the real thing. Everything else is less than that.

streaming is getting very high quality and some of the newer products are almost as good as full linear audio. There is a future for audio and I think the bigger studios will start coming back again and I believe that market will grow. PT: In the context of technology becoming global, the whole attitude now is “who needs acoustics with everything in the digital acoustic solid state domain”. With all signals being recorded in digital memory, does the

studio require any acoustic treatment? This whole transition to digital has resulted into the decrease in big studios and emergence of small home studios that are all just digital! Do you think digital has killed the studio industry in a manner so to say? AM: Digital has definitely changed the scenario, but there are more studios than ever now; it’s just a question of levels. I’ll give you a good example. I do a lot of work for Disney. Disney releases almost 160 titles every year in 40 differ-

a microphone and what it picks up is your voice, plus all the other sounds in the room. That hasn’t really changed. In fact, it picks up even more information so the information needs to be even cleaner, even better. What has really changed is the economics. The reason why people don’t go for good acoustics is because they can’t really afford them. It’s as simple as that. A lot is becoming electronic but if you want to make an electronic album, especially the kind of music that goes into the clubs etc., and if you want to listen to the full spectrum, you need to be listening at very low frequencies but very high levels. Not many people have

the luxury of living in a house where they can produce a hundred and twenty decibels at 50 hertz and not annoy the neighbour. So, there is still a need for sound proofing. Sound proofing is part of acoustics but they are two separate entities. It’s very important that you get both correct. Sound proofing has to be appropriate for space, and the size and the location. If you want to build a studio underneath the flying path of an airport, you better make sure that you put something in there to stop the sound from getting in. Or you can be in the middle of the country side and you don’t have to worry too much about sound proofing. So it’s all very relative. PT: But then the concept of live recording of musicians for an album has changed completely forever, right? AM: The popular period for live recording was back in the seventies with bands like the Rolling Stones and Led Zeppelin and all the other 70s bands that put out live albums. Listening to them now, they sound pretty basic and rough because the editing and the possibilities of post-production really did not exist. PT: No, we meant to say recording of live musicians in the studio with musical instruments in an acoustical environment. AM: It’s true that the need for very large live recording studios has reduced, but the few that there are, are very much in demand specially for doing orchestral type scoring. There are three studios in London that can do full scale film music recording and they are busy every single day of the year. Hollywood movie makers have to queue up to get into those studio to create music for their films. There is a lot happening, but if you want to spend a million dollars to build a music studio for a rock and roll band, you would be ill advised. And there is still a need for acoustics. Any recording can be made better if the acoustics are good. Yes, you can record a voice in a bedroom but then it is only a demo really. If you want to get really

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in London for a singer/guitarist from Dire Straits. He built a very expensive studio for himself, not for anybody else. It is available commercially but he did not need to spend as much money as he did. PT: What are you content with now?

Kapil Thirwani in a music studio in Mumbai. Munro India is currently working on around 65 studio projects in India

good sound you need a proper acoustic space. It may not be a big one but you need it. When you get that tingle down the back of your neck during a concert – that is the sound that people want to hear when they go home and put on their television. PT: But 90% of all music released whether from the US, London market or Mumbai or anywhere is just recorded in the digital space. There is very little acoustic recording. Today you may have a complete album, but it may never had any musician playing because it’s all electronic so creation of music is in the digital space. In the past we had 20 violinists for a movie sound track in India who actually played the entire background, which is the way Hollywood also did it, but now it’s not possible to pay for 20 violinists and for 20 violinists to be playing on a score for a movie track even in Chennai, forget Mumbai. AM: That’s true but such music has very rarely turned into great original music. You can’t make it sound like 20 real violinists; for that you need 20 real violinist! In London, they still do it. They still have orchestras playing film music and film scoring. If you watch the credits of any major Hollywood movie, I would say almost 70% of time you will see recorded in London at Abbey Road studios or AIR studios etc. There are orchestras in Prague that do film work because they are basically cheaper. It also depends on what you call acoustics. Pop music would always be electronic, but it could be acoustically recorded. Albums of some of the bestselling, most successful artistes in the western pop world, like Coldpaly for example, are recorded acoustically, in the sense that there are real musicians

playing in a real studio. PT: But how much percent of the music is being created in an acoustic environment? AM: It’s probably less than it was certainly, but not entirely eliminated. There are certain genres of music that requires it to be performed electronically and recorded electronically because it’s that kind of music. In America, the biggest market is for RAP music. Rapping is a rather low-tech process but even there they do spend money on studios. A lot of them build their own studios as they have a lot of money. How many studios is Munro working on at the moment in India and do you think it’s a good time for the studio business in India? KT: We are doing around 65 studios, not necessarily like an Empire or a Yash

We are also doing Ranjit Barot’s studio in Bandra and we are doing the Vikrant Studios now in Andheri. So, studios are definitely there. In fact there are more number of studios coming up now than in the past, it’s just that they are away from the public eye. These include both music studios, as well the big broadcast studios. Then, there are so many companies that we never heard of who are doing stuff on Netflix and we are making studios for them. I think I’ve been getting busier by the day and we are growing as a company. In fact it’s a very good time right now. Studio are getting into other spaces as well, like studios for Youtube, jam rooms that can be used for production of videos and audio at the same time . There are various ways of producing music. It’s not just about someone sitting in a studio on a console. AM: A lot of the big studios closed down because of real estate issues. A lot

There is a future for audio and I think the bigger studios will start coming back again and I believe that market will grow.

Raj though. There are big studios here owned by corporates. We did about 6-7 studios now of Sony Television. We are doing studios for Sony Sports, Star TV, Network 18, Colours , Bloomberg and Zee TV. Many musicians are now going to these studios. We have many studios in India; it’s just that it is shifting hands. We are putting six studios in Thane. The money being spent on the gear for these studios is more than what a big production house in Bombay can spend. Due to high real estate expenses, these studios have moved to Thane.

of people couldn’t afford the real estate and a lot of people could make a lot of money by selling the real estate. So quite a few big studios were sold purely to make money. It’s also about what people want. They want a good studio and they want to hear music as cleanly and as beautifully as possible. I can say why buy a Ferrari if I can’t drive around at 150 miles an hour, but I would still like to own a Ferrari. So similarly, there are other reasons for having a studio. It’s not all about technology or commercial applications. We built a very big studio

AM: My company is quite mature. I started it in 1980, so I’m at a point, where to some extent I can now choose what I want to do. I’ve got a good team in London and Kapil is running it smoothly here. So I’m looking at the business now more from a distance. I get involved in the projects all the time but the business is quite mature and quite established and we don’t have to fight for work, work comes to us. What we are trying to do is deliver the right project for the right client in the right way. We don’t try and steal anybody’s money. We just do a good job and that’s why we are busy. We don’t make promises we can’t keep and we don’t promise to deliver what we can’t deliver. We are always on time and we are always on budget unlike some other people. PT: And you now manufacture your own systems AM: We design our own speakers. We make customized systems. A lot of our stuff is customized because if you own a factory and you make a loudspeaker, the selling cost is approximately five times the production cost because you have distribution costs and marketing costs and various other costs. But, if you custom build something, you make it and sell it to the customer so it’s a different game. The systems we have just done for Abbey Road Studios are all custom built. They could have bought anything in the world and they could have almost been given anything in the world, but they bought our systems because nobody other than us could deliver an equivalent to what they wanted. They wanted an Atmos fim mixing system that had hi-fi quality. In a nutshell, that’s not easy to do except by custom building. PT: What would be your dream project for the future? AM: I would now probably want to work on an opera house work. In some countries it is called a vanity project. I think doing concert halls would be a perfect occupation, but it’s a very specialized segment and they take years to come to fruition. For me an opera house is the pinnacle. It’s the real thing. Everything else is less than that. You can’t be better than the real thing.

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Audio & Music Production

Waves Audio Announces F6 Dynamic EQ Update: Now with Real-Time Frequency Spectrum Analyzer Waves Audio, a provider of processing solutions has announced an updated addition to the F6 Floating-Band Dynamic EQ: a realtime frequency spectrum analyzer. The Waves F6 is a surgical dynamic equalizer with six floating, fully-adjustable parametric filter bands, advanced EQ and compression/expansion controls per band, mid-side processing options and much more. The new realtime frequency spectrum analyzer is easily accessible from the main

plugin interface. In addition, users can customize features to their personal needs. Additional analyzer features include adjustable resolution, adjustable reaction speed, RMS vs. peak response, pre-EQ, post-EQ and sidechain options, frequency, note and amplitude display based on cursor position, and diverse L/R monitoring options. With the F6, users can EQ more precisely, with filters that can be as narrow or as wide as user’s like, free-floating bands that can overlap,

variable EQ shapes, and thresholdsensitive EQ settings. F6 is ideal for isolating specific problems on individual tracks and fixing them transparently only when they pop out. The plugin’s advanced mid-side processing

capabilities give you even greater ability to carve out EQ space in a busy mix.

Krotos Releases Weaponiser- a Dynamic Sound Tool Krotos Audio has announced the release of our latest product – Weaponiser. Reportedly, it is the all-in-one solution for weapon sound design; providing a powerful and efficient workflow, a comprehensive library of professionally recorded weapons, carefully designed presets with high-end, real-time synthesis and unparalleled sound quality – making it the ultimate ‘go to’ tool-kit for creating dynamic assets. Key Attributes of Weaponiser It consists a library of professionally recorded real-world Shotguns, Rifles, Machine Guns, Assault rifles, Pistols and weapon Foley. Integrated with Sweeteners

and IRs, easily accessible via Krotos tag-driven browser via simple drag and drop and available in a variety

engines to design constituent

and Amount Envelopes. “If you need to create an exotic

elements and layers of shots with ease – Onset, Body, Thump and Tail. The plug-in

gun, this plug-in will help you create it. The Krotos libraries are clean and

also offer edit

powerful. Plus having the ability to

and randomize

load your own sounds gives you

Envelope or

endless possibilities! (Don’t let the

Knob Speed and

name Weaponiser limit you to using

Level for each

this plug-in to only create weapons!)”

bank, activate

says sound designer Bryan Celano.

the Synth button

of different mic positioning’s. Along with this, weaponiser has customized

This ability to load samples,

to synthesize

along with FM and AM synthesis,

and process

and an FX panel comprising EQ,

with FM or AM

Compression, Limiting, Saturation,

synthesis, choose

Ring Modulation, Flanging, Transient

from a selection

Shaping and Noise Gating also makes

of Carriers and Modulators, Pitch,

Weaponiser a useful option for

Duration, Gain and edit Amplitude

making unusual drum sounds.

Sound Devices Launches MixPre-10M for Musicians Sound Devices has introduced the MixPre-10M, a lightweight, ultra-portable multitrack audio recorder designed specifically for musicians and songwriters. The MixPre-10M is a 10-input/12-track recorder, mixer and USB audio interface that offers a suite of musician-focused features including overdub, remix, reverb, and metronome. The company states that, “this user-friendly MixPre-10M acts as a high-performance portable studio for musicians to capture their songs and ideas anytime and anywhere inspiration grabs them. Incorporating the

March - April 2018

core functionality of a Digital Audio Workstation (DAW), the MixPre-10M is intentionally simplified to allow musicians to focus on creating songs without letting technology get in the way. The MixPre-10M is the newest member of the award-winning MixPre Series (MixPre-3, MixPre-6 & MixPre10T) of audio recorders, mixers, and USB audio interfaces.” “Sound Devices has a rich heritage

of employees who are also musicians – so the MixPre-10M is truly a product designed by musicians for musicians,” says Matt Anderson, CEO of Sound Devices, LLC. “It’s an incredible device that simplifies songwriting and production to allow musicians to focus solely on creating and recording music the way it was before computers took over. With built-in overdub, metronome,

and effects like premium-quality reverb and vocal air, the travelsize MixPre-10M gives musicians the ability to record 12 tracks anywhere inspiration hits – from a tour bus, backstage, to a hotel room or live performance.” The MixPre-10M musician’s feature set includes: • Overdubbing – including Punch In/Out • Track Laying – up to 12 tracks • Bouncing - to allow for more tracks • Premium Quality Effects – Vintage Reverbs & Vocal Air • Metronome • Render (Export) – for sharing files

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Audio & Music Production

API Announces New 529 Stereo Compressor API has announced their latest 500 series module, the 529 Stereo Compressor. The new 529 compressor features API’s patented thrust circuitry for a punchy low

end, along with an Old/New switch that let the users choose between classic and modern compression characteristics: Old for vintagestyle feedback compression and new for today’s more common feed-forward compression. The Auto-makeup Gain button allows for ratio and threshold adjustment without affecting the output level. Using API’s discrete op-amps and transformer technology, the 529 provides the legendary analog sound of API.

Stage Tec’s New release 4.4.1 Software for AURUS & CRESCENDO Stage Tec, the Berlin-based manufacturer of digital audio technology, introduced the software release 4.4.1, which reportedly provides an interesting feature for AURUS customers in the areas of recording and post production in

particular. With the new software release, True Peak Metering and True Peak Limiter can be used in

AURUS platinum mixer configurations populated with the RMDQ DSP package. The measurements are made with eightfold oversampling and allow a more precise control of the signal to be processed. The True Peak Limiter and Metering are available in all channel types. The software release 4.4.1 also brings some improvements for customers with AURUS and CRESCENDO systems. The templates for channel configurations can now also be saved after editing and used as a template for new projects. The GUI interface has also been redesigned, displaying parallel consoles and virtual interfaces.

Universal Audio launches the Neve Preamp Plug-In & Helios Type 69 Preamp and EQ Plug-In Collection Universal Audio has announced the launch its new Neve Preamp Plug-In along with Helios Type 69 Preamp and EQ Plug-In exclusively for UAD-2 hardware and UA Audio Interfaces.

Helios Type 69 Preamp and EQ Plug-in Universal Audio states, “The new Helios Type 69 offers a groundup redesign of the original hardware’s famously bold passive three-band EQ. For the first time, the Helios Type 69 plug-in perfectly emulates the rich-sounding inductor saturation behaviors that keep radical EQ moves sounding ultramusical, even at extreme settings. “ Finally, owners of UA Audio Interfaces can track in real time with Helios’

vintage analog channel, like having the original hardware. The Helios Type 69 Preamp and EQ plug-in also supports Universal Audio’s Unison technology, giving UA Audio Interface users the Type 69’s all-important impedance, gain staging, and circuit behaviors that have contributed to making it an iconic hit-making console.

Neve Preamp Plug-In

Helios Type 69 Legacy plug-in

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Reportedly, this plug-in combines sonic attributes and features of both the coveted 1073 and 1290 designs and provides all the features, bandwidth, and attitude of Rupert Neve’s original hardware design, as heard on countless classic recordings. By thoroughly modeling the

The authentic Neve preamp sound in a simple two-knob plug-in dual-stage “Red Knob” preamp and output amplifier with obsessive detail, the Neve Preamp plug-in replicates the sound and behavior of the original preamp with stunning accuracy. Owners of UA Audio Interfaces can now track through an iconic Neve preamp in real time, with a low DSP use vintage analog channel. The Neve Preamp also supports Universal Audio’s Unison technology, giving UA Audio Interface users the Neve preamp’s all-important impedance, gain staging, and circuit behaviors that have contributed to making it a recording icon. UAD-2 hardware owners can also employ the Neve Preamp plug-in for mixing and tone shaping — without ever leaving the box. Also with its lower DSP usage, users can easily place Neve Preamp plug-in instances across multiple channels, turning to

their favorite DAW into a classic Neve console.

Neve Preamp Plug-In Key attributes: • An authentic end-to-end circuit emulation of the legendary class-A, Neve mic preamp, exclusively for UAD hardware and UA Audio Interfaces • Combines sonic attributes and features of both the coveted 1073 and 1290 designs • Thoroughly modeled dual-stage “Red Knob” preamp and output amplifier • Unison technology for UA Audio Interfaces offers authentic tone, touch, and feel of the classic Neve preamp, including precise impedance matching • Lower DSP usage for plug-in instances across multiple channels

Audio & Music Production

Jünger Audio’s New AIXpressor Platform & Optical Connection Called TieLight Jünger Audio has unveiled its new AIXpressor audio processing platform that will give broadcasters the freedom and flexibility to choose exactly the right audio processing products for their facilities and projects. The AIXpressor’s hardware unit is unique because it acts as a base for software-defined products that are created using Jünger’s new Flexible Audio Infrastructure flexAI. This means that by buying additional software licenses, broadcasters and post production facilities can customize this versatile audio processing system to suite their demand for processing capabilities and channel count. The necessary hardware, however, scales by the actual demand in processing power and will no longer be the defining factor. The system is equipped to simply cascade additional AIXpressors or

servers, whenever more processing power or media interfaces become Jünger Audio AIXpressor necessary. All software products created using flexAI will be Audio’s existing D*AP series of audio licensed flexibly, which means that processors. These include 3G/HD/SD users can easily incorporate additional SDI, MADI, Audinate DanteTM and functionality, increase their channel many more. Additional interfaces will count or may even be allowed to be available soon. shift licenses between devices. TieLight Optical Connection AIXpressor will be released to In conjunction with the new the public as the main basis for AIXpressor hardware, Jünger Audio products utilizing the new flexAI has also developed a new optical software infrastructure. The 19” 1RU connection called tieLight that can device is based on x86 processors transmit up to 1152 audio channels and equipped with a comprehensive in each direction. TieLight, which has range of built-in interfaces, including very low delay and compensated redundant Audio-over-IP with latency, is utilized for cascading full compatibility to AES67 and multiple devices and for setting up SMPTE ST2110, USB host and client larger systems that require several interfaces as well as MADI, AES/EBU processors. It is an inherent part of and analog I/Os. The unit also has the AIXpressor and will be available four slots for optional interfaces, all as a PCIexpress interface card to be of which are compatible with Junger

used in Jünger Audio’s upcoming line of servers. “We are very excited about our new AIXpressor audio processing platform and see this as a major development for both Jünger Audio and the wider broadcast industry,” Jünger Audio’s senior product manager Friedemann Kootz says. “With flexAI, we can create new products independently from our hardware base and give our customers easy access to Jünger Audio’s renowned audio processing technology, which is already the mainstay of many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities.”

Tracktion Announces Waveform 9 Music Production Software Tracktion Corporation has announced the Ninth Generation of their award winning DAW, Waveform. This powerful, easy to use and affordable platform has been designed to enable musicians, artists and composers discover and explore their own unique sound. Included in this major new release

the finest gear available. Users can combine this with the new Multi Sampler ‘one button’ import / slice tool to surgically dissect the beats and re-arrange them to produce alternative and unorthodox ideas. Used together, these potent new tools give users the facility to realize the very essence of their music, letting them stand out

control and power than ever before. The improved DAW’s other innovative qualities also inspire users to create and visualize their own distinctive sound. The expanded capabilities of the popular MIDI pattern generator include a global chord track, a custom plug-in faceplate designer, macro parameters

Plug-in Faceplace Designer

from the crowd. Waveform 9’s formidable, fully featured new Multi Sampler instrument, with revolutionary workflow enhancements, makes it simpler and faster for users to develop, create and build musical content, without the need for presets. Used in conjunction with the multi-screen set-ups of the new Modular mixing tool, this helps users customize the interface giving more

and track loops / presets. In addition, the new modifiers and the major enhancements to the fully modular ‘rack’ environment gives further opportunities to experiment and try fresh, new ideas, breathing life into compositions. James ‘Woody’ Woodburn,

is a compelling range of new features, add-ons and additional content to improve workflow and inspire creativity. Essential Features of Waveform Among the exciting range of new features, Waveform now offers an unprecedented library of exclusive 24 track drum loop construction kits, recorded using

March - April 2018

Multi-Sampler in Waveform

Tracktion Founder and Principal said, “Our team knows successful artists spend a lot of time creating libraries of sounds to use in their songwriting. We have spent time refining Waveform’s ability to discover, manipulate, store and retrieve user content in the Multi Sampler. This combined with the

universal ability to save presets (tracks, edits, plug-ins, racks etc.) with audible loop previews means users can quickly generate content, store it, locate it, and expand to original format faster than ever before. Waveform 9 empowers users to create their own, individual sound.”

Audio & Music Production

PSI Audio Updates A21-M with Maximize SPL and Audible Range Bandwidth In order to reach the new level of excellence PSI Audio have updated their popular studio monitor A21-M. The PSI Audio A21-M qualifies as a part of pro audio history. Ever since its inception as Studer A3 in 1996, this studio monitor has impressed those engineers who took the time to audition it. PSI Audio has continually improved the speakers over the last 20 years, striving for that little extra in purity and clarity. The fourth version of the A21-M boasts several small improvements. The

main aim was to increase the maximum sound pressure level and frequency range while retaining the natural sound reproduction the speaker is known for. To this avail, a new powerful driver was integrated, and modifications were made to filters and the adaptive output impedance. The new

iteration of the legendary reference speaker sets out to improve on the qualities of its predecessors.

Acustica Audio’s New Pink2 plug-in collection Acustica Audio has launched Pink2 - a VST/ AAX/AU plugin bundle which is based around a collection of wellknown late ‘60s American gear that enjoys a great deal of admiration among engineers. It is the first of Acustica plug-in based on CORE 12, a significant upgrade featuring new important features to improve

• PINK2 215 – Preamp module with 8 different circuit distortion models • PINK2 780 – 10 band graphic EQ • PINK2 1650 – 4 band EQ module with 4 selectable per band models • PINK2 2412 – Single band compressor • PINK2 7236 – Multiband compressor • PINK2 Channel Strip – Full channel strip with EQ, compressors and preamp options

both the performance and sonic quality of the products. The software consisting of 6 different plug-ins:

Abstract Data ADE-33 Event Boss; Module for complex Pattern, Rhythm creation and Manipulation Abstract Data has announced the debut of their rhythm and pattern creation and manipulation module - the ADE33 Event Boss. This product features 36 algorithms covering Variables, Multiples, Probability, Logic, Phase and Gates with complete CV control of all parameters. It takes regular clocks and generates rhythmic patterns, takes rhythmic patterns and generates new patterns, takes irregular and random patterns and generates new, irregular and probability-based patterns. These patterns of the ADE33 Event Boss can be rhythmic, continually evolving or entirely random and can be controlled and manipulated via multiple CV options. It can also be used as a utility module to perform Clock Division/ Multiplication, Phase-Shifting and Logic-related tasks.

Grace Design Unveils m908 Surround Monitor Controller Grace Design’s all new m908 is designed to provide a thoroughly comprehensive monitoring solution for audio professionals working in stereo, surround and immersive formats up to 22.2. Key Features of m908 • It features Geace Design’s latest generation of AD and DA converters, 4th generation s-Lock pill for vanishingly low jitter. • Powerful DSP processor for high resolution volume control, bass management, channel delay and dowmixing • Up to 24 channels for immersive surround formats such as ATMOS, DTS:X and Auro 3D and full bass management capability

March - April 2018

• Channel level and delay calibration • Comprehensive downmix control • Analog 16 channel Out / AES3 24 channel I/O

• ADAT 16 channel In / USB 24 channel In • AES3, S/PDIF, and TOSLINK Stereo In

• Optional Dante or DigiLink module for 24 channel I/O • Optional ADC module for 8 or 16 channel analog inputs • Powerful and ergonomic remotecontrol unit for access to all system controls • Built in SPL meter and pink noise source • Dual redundant external power supply • Reference quality headphone amplifier with cross-feed • Flexible talkback system with builtin mic on remote control and mic input for external talkback mics • Up to 3 stereo CUE outputs in addition to stereo headphone monitoring

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CPA33 Best Vocalist Mic

Professional Focus - Mix Engineer Interview Shadab Rayeen is Bollywood’s current in-demand mix engineer, with a resume boasting of numerous A-list mix credits spanning 17 years in the music industry. Apart from mixing Bollywood songs, Rayeen has worked extensively in multiple regional languages. PT met up with him at his studio in suburban Andheri in Mumbai to talk about audio, plugins, mix, music and more.

THE MIX MAGICIAN

Shadab Rayeen lets us in on the tricks of the trade

hadab Rayeen isn’t a household name (as yet), but the songs he mixes are! He has notched up hit numbers, which include “Channa Mereya” from Ae Dil Hai Mushkil, “Dhakkad” from Dangal, “Ban Ja tu meri Rani” from Tumhari Sulu, “Raabta” track from Raabta, to name just a few. He continues to work with some of the most celebrated names in the Bollywood music industry like Pritam, Amit Trivedi, VishalShekhar amongst others. When not in the studio, Shadab tours with multiple artists as an FOH engineer.

Origins

Shadab Rayeen in his studio in Mumbai

How Shadab pursed his “Bombay Dreams” and stumbled upon a flourishing career for himself, would warm the hearts of thousands of youngsters leaving their homes in their small towns in pursuit of a career in Mumbai. “I was a school dropout and I came to Bombay when I was around 17 years of age. I ran away from my hometown and came to Bombay to do just about anything in Bollywood. I started by doing menial jobs at film sets, until one day I landed up in a studio for some task I was assigned and saw this huge gadget with number of buttons and a guy sitting on a chair in front of this gadget. There were people surrounding him saying – ‘Sir, Sambhal lena thoda. Meri awaaz ko sambhal lena.” I also saw Pankaj Kapur dubbing something there. The gadget took my fancy and I decided that I would learn how to use it. I had learnt how to use the computer a bit,

so I worked out an arrangement with the engineer wherein I would teach him computer basics and he would teach me the basics of recording and mixing.“ Shadab’s ability to adapt and learn quickly ensured that in time to come he would add his magic touch to countless hit records. Recounting his beginnings he says, “Till 2000 I worked in Bombay Labs. In 2001, I shifted to Hyderabad and I worked there for six-seven years before returning to Bombay. I then did a lot of work for films with Aditya Modi who had a studio called PDMS in Malad. During that period, AR Rahman was doing a lot of work in Bombay and we did a lot of work for him. “ Rayeen has selected his own path to success, which meant blurring the lines between his personal and professional live. Today his average week has no space or scope for anything beyond his work. “I work all the time. I just take breaks when I sleep or eat. I don’t take breaks for festivals and I don’t go for holidays. I work all the time every day,” he says. On an average Rayeen mixes songs for almost 35-40 movies a year. “It is too much I know and I have been doing this for a couple of years now, but now I have slowed down and I don’t want to do that much.” Rayeen works out of New Edge Studios in Andheri West, the studio district of Mumbai. Alterations within his home called for some basic acoustic design to suit Rayeen’s Mixing styles. “I used to work in a studio for many years but now I can’t go back to studio. I can’t judge

March - April 2018

Some parts of the Kabira song were recorded by Rekha Bhardwaj on an iPhone as she was in Kashmir with no access to a recording studio at night. This recording was sent to Shadab for the final mix. The song went on to become a chartbuster without the slightest hint of how the song was actually recorded. anything in a studio now because I need that real-world sound with a little bit of noise and some disturbance. I believe there are so many things you can’t do if everything is comfortable. I don’t like dead rooms. I just have these basic acoustic panels in my mixing room, essentially only to cut down the reflection. Another benefit of having your own studio is that you can maintain a consistent monitoring environment. It’s not a perfect sounding room and some people may not understand it, but the people I work with, generally don’t bother about all these things. All they care about is a good end-product. When I started my career, I didn’t even have

a sound card and I didn’t have enough money to buy UAD plug-ins. I worked on basic plug-ins. Films like Cocktail and all of Amit Trivedi’s earlier films have been mixed without a sound card.”

Mix-ups Rayeen has an interesting approach to building his mixes. “There are a lot of times when we get processed tracks from music producers or composers or programmers with a lot of added reverbs to a particular source or it is compressed a lot because they want it that way. I totally respect their decision and don’t judge it. I don’t insist on a raw source, because I believe

that whatever they have done in the particular track is the part of the sound they want. I don’t treat that reverb as a separate entity. If that reverb is attached to a particular instrument, for me it’s a part of that instrument, “ says Rayeen. “Audio is based on science and math. We calculate frequencies, we calculate compressions and we calculate many things, but at the end of the day, still everything is about music and there is no particular mathematics to music. If I got a session and there is no kick in the session, I cannot say it is wrong because the composer wants the song that way and I have to respect that. I just add my expertise and perception to that. If we

had a right and wrong to sound, then all the songs would sound the same, “he adds. This belief has essentially affected Rayeen’s approach to mixing records on a technical as well as an artistic plane. “I mix for Vishal Shekhar, Amit Trivedi, Pritam and many more. I try to understand their wants, listen to their previous tracks and always look at the mix from the composer’s perspective. If I start working on a song from my perspective, then all the composers will start sounding the same. Once I close the session of one composer, that sound is shut for me. I definitely add my inputs, but I don’t try to change it. When you listen to an AR Rahman track on the radio, you know instantly that it’s AR Rahman. This is because of the sonic quality of the music. If I were to take Rahman Sir’s music and mixed it in a way, which strayed away from his signature touch, then his music would have not sounded the same.

Tech Talk Rayeen’s preferred technologies are not typical. “I love the Eve speakers. I am using Eve 305 speakers with Genelec sub-woofers. The subs are just for crossover. I worked on Genelec for almost 15 years and then I worked on Dynaudio. All the speakers are nice, but somehow this got my attention and I think these are one of the finest monitors I have

come across.” Rayeen belongs to the bridge generation who began their studio-engineering career in an analogue world, but is now on the leading edge of the transition to digital. Many mix engineers swear by their platform of choice, but Rayeen believes that all the major DAW’s are viable options and does not think that there are significant differences in the sound quality they provide. “I use many different DAWs like Logic, Cubase; Protools etc. Whatever DAW the music producer and composer are working on, I take that session and mix on that. I don’t take a Wave file and convert it and import it in my comfortable DAW; I don’t do that. If they are working on Logic, I will take the Logic session and mix on that, if they are working on Cubase, I will take that session and work on Cubase,” he asserts. Rayeen is hybrid in his use of outboard and EQs. “I have a lot of outbox gears to add flavor to a particular sound. I have lot of retro EQs and many modern EQs, lot of old sounding compressors and many new sounding compressors. Basically, the flavours I add to my mix depends upon what type of song I get. Initially I would mix in the box itself, but since the last four-five years, I have started using hardware. My favorite EQs are Pultec EQ and Maselec equalizer by Prism Sound. I love the Prism Sound EQ. It is one of the most transparent EQ hardware. It doesn’t alter the sound too much even after tweaking. Then I have some other EQs which change the sound a lot. Everything depends on the song, which is why I have hardware and plug-ins. An EQ that works for one song, may not necessarily work for another song,” he says. Rayeen’s important items are his various plug-ins. Plug-in processing has allowed him to micro-manage his mix. “I love added harmonics in the song. Even if I have a flat source and people want to keep it as natural as possible, I make it a point to tweak it a lot and add distortion and harmonics to it. I believe that

Audio is based on science and math. We calculate frequencies, we calculate compressions and we calculate many things, but at the end of the day, still everything is about music and there is no particular mathematics to music. harmonics is like polishing the work, to make it look good. I like a lot of highs silky highs, not the ear hurting highs, which is a very difficult thing to do. There are a lot of plug-ins I use to achieve this. UAD plug-ins is my favorite plug-in. Waves makes very good plug-ins. I use both these plug-ins and the other basic ones.”

Defining a great mix When it comes to defining a perfect mix, this one is rife with subjectivity. One engineer’s idea of a great mix may be another engineer’s sonic nightmare. What works for one genre of music, may be a disaster for another. Rayeen’s philosophy is simple and clear – “If I am listening to something and I am enjoying it, then that is a great mix for me. There are so many songs, which are technically perfect, but you don’t enjoy it. Musically if a song is sounding right and appeals to me, then it is a good mix for me. There is nothing like perfect. All of us are not even near to perfection. As technology moves relentlessly forward, we all are trying to constantly update our skills while managing to complete our mix sessions.” Many in the industry believe that mixing in mono is the best way to achieve a great sounding mix that sounds as good in your car as it does in the studio, but Rayeen is not one to subscribe to this theory. “I am not at all a mono guy. I don’t check my mix in mono. We live in a stereo world. Even your mobile phone speakers are stereo, so I don’t see a point in converting my mix to mono and then analyzing it and confusing myself in the process. I don’t sacrifice my stereo mix for someone who is listening in mono. In fact, I want my mix to sound wider and broader.

Tips of the trade “My advice to upcoming engineers would be, more than anything else they should listen to all kinds of music. Not only the kind of music you like, but every kind of music. It could be anything - classic, retro, modern new, electronic music, just anything because you can learn from every song and from all kinds of music. Only by listening to music will you understand why that particular track was mixed in a particular way. The “Balam Pichkari” song, which I had mixed, had a lot of information. If I had tried to clean everything and make it perfect, the song would not have the feel of an energetic, holi street song, so you need to understand why a song was mixed in a particular way,” he concludes.

Audiovisual

Avid Technology Terminates Louis Hernandez Jr and Names Jeff Rosica as Chief Executive Officer Avid Technology’s Board of Directors has terminated Louis Hernandez Jr, reportedly due to ‘violations of company policies related to workplace conduct’. He has been replaced by Jeff Rosica as Chief Executive Officer. In addition, Mr. Hernandez has also resigned from his position on the Avid Board of Directors and Nancy Hawthorne has been elected as Chairman of the Board. In a press release Avid states that, “with the assistance of independent external legal counsel, a Special Committee comprising independent members of the Board of Directors conducted a thorough investigation into allegations

of improper non-financial related workplace conduct by Mr. Hernandez. After reviewing the findings of the Special Committee’s investigation, the Board of Directors unanimously concluded that the findings warranted immediate termination of Mr. Hernandez’s employment.” Avid’s new CEO, Mr Rosica, is an industry veteran of more than 30 years. ‘Jeff’s deep experience as an industry expert coupled with his impressive knowledge of Avid’s business and strategy make him the natural choice to lead the company,’ commented Ms Hawthorne. ‘I am honored and excited for this opportunity to lead Avid through this important moment in the

Louis Hernandez Jr

Jeff Rosica

company’s history,’ said Mr Rosica. ‘The outlook for Avid is strong, and I look forward to working with the leadership team, the board and our incredibly talented employees as we

execute on our strategic priorities and continue our journey to be a best-in-class company and leader in our industry.’

Studiomaster Professional Presents ARC Series Installation Amplifiers Delivering a plethora of functional features in an unbeatable valuefor-money package, Studiomaster Professional’s ARC Series of installation amplifiers presents the perfect power-packed solution for general public address and installed sound applications like schools, restaurants, office/industrial premises, congregation halls, houses of worship and more. Encompassing 4 high performance models including the ARC 120A, ARC 120UB, ARC 240A and the ARC 240UB; the light, portable and rugged professional 19” 2U rack mounted

100V line amplifiers of the ARC series deliver high quality sonic performance on a 24V DC operation, delivering a frequency range of 80-15000Hz (+3dB), while offering ease of control with Bass/Treble & Master controls on the front panel along with a Low Cut switch at the back panel; and also sports dedicated LED indicators for ‘power on’, ‘signal’ and ‘clip’ modes. Emphasizing the input configuration, the ARC 120A and ARC 240A feature 4 dedicated Mic Line-ins while the ARC 120UB and the ARC 240UB feature 3 Mic Line-

ins along with a USB input and the added feature of Bluetooth – both of which are on-board to support media playback; thereby making the ARC series a complete package in itself. Also, all amplifiers in the series feature 1 auxiliary input (stereo summing), in addition to Pre-Out & Amp-In (Send/Return) which helps the units connect with external Equalizers

or EFX Processors. The amplifiers also sport an auxiliary line-out which allows the units to be connected to an external booster amplifier whenever needed. Plus, delivering unparalleled functional ease – the amplifiers sport switchable phantom power for CH 1 mic input and Vox Priority on Channel 1 which overrides all other input signals when activated.

Genelec India Tour Introduces The Ones

Genelec introducing “The Ones” in Bangalore Genelec recently toured India and conducted multi-city launch events for its newly introduced range of three-way coaxial monitors “The Ones”. The first launch event was conducted in Mumbai, which then continued on to Bangalore, Chennai and Delhi. The launch events featured

Studiomaster Professional’s ARC Series - ARC 120A, ARC 120UB, ARC 240A and the ARC 240UB

March - April 2018

presentations on loudness standards by Thomas Lund, Genelec’s Senior Technologist, followed by a technology presentation by R&D Director Aki Mäkivirta and a product demonstration from Sales Manager Clifford Pereira. The event concluded with a session on immersive audio by Mr. Makivirta.

Audiovisual

BOSE Professional leverages portable and installed sound solutions expertise in India with release of new path-breaking products and technologies Bangalore event featured Bose Professional’s new range of products including the debut of the recently launched S1 Pro system; as the brand reaffirms its commitment to the growth of portable and installed sound markets in India Bose Professional, a global leader in professional audio technologies and solutions, exhibited an exciting range of cutting-edge products aimed at revolutionizing portable and installed sound applications in India. The showcase event which took place at the Leela Palace in Bangalore on Monday, 12 March 2018, drew an attendance of over 180 professionals that comprised the region’s leading consultants, system integrators, sound engineers, performers and Pro AV dealers. The new products showcased at

near wall-ceiling boundaries, EdgeMax loudspeakers provide improved audio quality and coverage, while reducing the number of required units, compared to conventional dome-tweeter ceiling speakers. In the same stride, the audience also witnessed a live demonstration of the Bose Professional Panaray MSA12X, which is a selfpowered digital beamsteering loudspeaker that

Bose Professional team at the Bangalore Event

Vibhor Khanna, Country Manager – SAARC, Bose Professional (l) and Mr. Christian Liebenberg, Bose Professional Regional Sales Manager addressing the audience comprising of leading consultants, system integrators, sound engineers, performers and Pro AV dealers the event included Bose Professional’s EdgeMax in-ceiling premium loudspeakers, the MB210 compact subwoofers, the Panaray MSA12X loudspeaker and the debut of Bose Professional’s game-changer for the portable-sound market in India – the new S1 Pro multi-position PA system. Leveraging the brand’s commitment to the installed sound market, Bose spotlighted the EdgeMax series of in-ceiling premium loudspeakers which feature proprietary PhaseGuide technology with high-frequency compression drivers to create a new category that combines the room-filling coverage patterns typical of larger surface-mount speakers with the architect-preferred aesthetics of inceiling models. Designed to mount

enables improved room aesthetics, with outstanding vocal intelligibility and tonal consistency. The proprietary Articulated Array transducer configuration allows wide, 160° horizontal coverage throughout the room, and MSA12X’s modular design allows building of vertical arrays using 1-3 units. Dante digital audio network interface comes standard for connection with other Danteenabled products over Ethernet-based networks. Additionally, emphasizing its effort to redefine the concept of portable sound reinforcement, the brand showcased the new Bose Professional MB210 compact subwoofers which are designed for background/foreground music and small sound-reinforcement systems that require low-frequency extension

down to 37 Hz. The MB210 subwoofer features two (2) 10-inch high-excursion woofers, derived from the award-winning Bose Professional F1 subwoofer, in a compact, Balticbirch plywood enclosure optimized for fixed-installation applications. Featuring outstanding performance to size ratio, the MB210 is designed to complement Bose Professional loudspeaker lines, such as FreeSpace, Panaray, and RoomMatch Utility with additional bass impact. The debut of the brand new Bose S1 Pro multi-position PA system was the highlight of the night. The system is designed for musicians, DJs and performers as the ultimate all-inone PA, floor monitor and practice amplifier that’s lightweight, rugged and ready to be your go-anywhere Bluetooth music system for nearly

any occasion. The event included a special showcase to spotlight the S1 Pro system’s power, as the system was used for a high energy live performance by new pop sensation Jas Karan. Representatives of Bose Professional received an overwhelming positive response from the various consultants, system integrators, performers and dealers present at the event; with keen interest evoked about the respective products’ specifications, pricing and availability in India. The event was led by Bose Professional’s General Manager, Dr. Akira Mochimaru and Mr. Christian Liebenberg, Bose Professional Regional Sales Manager; who both emphasized the brand’s commitment to supporting the

(Continued on page 00)

Audiovisual

HARMAN Professional Solutions Brings World-Class Sound to India’s Republic Day Celebrations HARMAN Professional Solutions, the global leader in audio, video, lighting and control systems, including networked AV, announced that it had supplied an

guests for this year’s celebration included 10 heads of state from the ASEAN nations, adding even more significance to the event. Last year, HARMAN Professional

a long-standing relationship with the Indian Army, and deliver superior audio quality at one of the nation’s most important events,” said Prashant Govindan, Senior Director, HARMAN

The main HARMAN audio system at Rajpath is comprised of 250units of JBL CBT 70J-1 and 250 units of CBT 70JE-1 column speakers, 21 Crown DCi4|2400N high

JBL Professional, Soundcraft, Crown and BSS solutions deliver superior audio performance at Rajpath, for India’s 69th Republic Day parade extensive HARMAN Audio Solutions at India’s 69th annual Republic Day celebrations. Each year, more than 200,000 people attend the Republic Day parade at Rajpath, a ceremonial boulevard that runs from Rashtrapati Bhavan to the National Stadium in New Delhi. The chief

supported the Indian Army during the transition of Rajpath’s audio systems from analog to digital. After witnessing the system’s superior audio quality, the Indian Army decided to commission HARMAN audio solutions for the 69th Republic Day parades at Rajpath. “HARMAN is honored to establish

Professional Solutions, India & SAARC. “As industry’s leading provider of cutting-edge audio technology, the installation for Republic Day and later in the year on Independence Dayenables us to showcase our expertise in delivering world-class sound at one of the world’s largest events.”

performance installation amplifiers, 13 BSS BLU audio processors and six Soundcraft GB Series professional audio mixers.

BOSE Professional leverages portable... (Continued from page 00)

HK Audio Unveils first EN 54-24-certified install speakers - VORTIS 2 HK Audio has launched its new VORTIS 2 series install speakers developed in collaboration with Graf & Meyer, a company specializing in evacuation systems. HK Audio states that, “the VORTIS 2 speakers are certified to EN 5424:2008 and all future models of this line will follow suit. With this certification from the independent accredited testing institute CNBOP-PIB, these speakers can serve the dual purpose of sound reinforcement and voice alarming.” VORTIS 2 speakers deliver high sound pressure levels and provide the variable directivity needed to satisfy the statutory standards for speech intelligibility even in environments with challenging acoustics and high noise levels. Fabian Reimann, HK Audio

March - April 2018

Application Support Engineer and Product Manager Installation, said: “Things soon get complicated in a lot of projects where the requirements for harmonized safety standards, sound reinforcement technology and system integration converge. Working with our electronics partner Gräf & Meyer, we want

to provide the support technical planners, building services engineers, architects and system integrators need to successfully execute even very complex projects. The first EN 54-24-certified loudspeakers from HK Audio are an important tile in the mosaic on the path to implementing our new service offering.”

professional audio business in India with their path-breaking products and technologies. Mr. Christian Liebenberg added “These new product launches are key to Bose Professional’s vision of re-affirming itself as the game changer and technological leader in professional audio globally. We’re extremely pleased to share these products and technologies with the Indian market, and are excited about receiving a positive response from key trend influencers that shape the business landscape in the country.” In conclusion, Mr. Vibhor Khanna, Country Manager – SAARC, Bose Professional, stated, “Bose is committed to delivering superior technologies across India; and with the event in Bangalore receiving such a rousing response, we are confident that our new line of products will be met with equally great enthusiasm and acceptance around the country. A sincere vote of thanks to all the professionals who attended the event and who expressed their appreciation and support.”

Audiovisual

FANDOM - THE NEW PATY SPOT ON THE BLOCK GROOVES WITH RCF & DiGiCo One of Bengaluru’s most classy restro bar “Gilly’s Redefined” now

Prosound & Lighting. Since live performances will be the

Digico S21 with D-rack is deployed

sound engineers who managed the

in this inventory. Now the venue can

band’s mix says, “The clarity, punch,

has the hottest new entrant in the

major attraction, the sound system

handle any genre of live music with

low end capability, and definition

city’s clubbing scene- Fandom. This

for the stage were well-planned

the installed set-up,” explains Santana

produced by the RCF PA are really

sprawling party venue is spread

out by J Davis Prosound & Lighting

Davis, owner of J Davis Prosound &

impressive. Pentagram is very

over 4000 square feet approx, and

experts. A proper graphic simulation

Lighting.

professional with their acts and

includes a dance floor and VIP

was created prior to the installation

From day one of it’s opening,

they prefer top notch audio quality. These loudspeakers delivered the best. There is more than enough headroom to cover any genre of musical live concert. Moreover I was using DiGiCo S21 with D-Rack, a marvel in itself. Team Hi-Tech did a great job and it is always amazing to work with them.” “Being a concert venue for DJ and live music artists, it was vitally important that the sound be big and full throughout the venue. After carefully listening to the expectations of our client and observing what actually takes place inside the venue, we elected to use line array technology of RCF”, says Kallol Nath, Senior Application

Pro Audio Live Sound System Installed by J Davis Prosound & Lighting at Fandom.

Engineer from Hi-Tech Audio

area. The venue has everything

Fandom left an impact on the guests.

positioned the RCF HDL20A line

The opening was on 26th Jan and

array system and thus the audience

you need- great food, high

for proper understanding. “We have equipped the stage

Systems. “We have strategically

spirit drinks and ofcourse highly

with HDL 20 - 4 per side as the FOH

the venue organized Bacardi House

can experience the direct sound

explosive music.

system with 4 Sub 8006AS at centre

Party with DJ Anish, one of the top electronic artists of Bengaluru. The second day on 27th Jan had a different flavor of live music. One of the most electrifying bands in the country – Pentagram headlined the Budweiser gig at the venue. Fali Damania, one of India’s top Live

flow without any reflection.”

The management has

below the stage. On the mezzanine

recently installed a new sound

floor we have installed 4PRO series

reinforcement system at the club.

Point source speakers with Sub

To ensure the best possible audio

8004AS & 8005AS. For complete

performance, Pro audio Live sound

sound reinforcement management,

system from RCF were deployed

the entire audio system is controlled

by Bengaluru based J Davis

by a DSP- BSS Blue 103. Additionally

New Delhi based India distributor of RCF and DiGiCo, HiTech Audio Systems Pvt. Ltd. has provided the RCF PA system as well as DiGiCo S21 for the venue installation.

Outline Launches Newton - Advanced Multi-Source Audio Processor Outline has announced the next generation digital audio management and control, Newton (patent pending) is an all-new FPGA-based processing platform designed to be the management and control core for audio networks in touring, broadcast and fixed installation applications.

with simultaneous standards conversion and digital signal synchronization. Additionally, it incorporates powerful new filter technology along with clock and powering redundancy, all in a 1U networkable chassis. Newton’s I/O configuration will provide 216 channels in both directions

set-up are fully controllable via Outline Dashboard software for Mac OS. Newton is available in three hardware versions – Newton 16, Newton 16+4 and Newton 16+8 – to suit the requirements of differing applications or projects. All processed signals and direct outputs can be

Outline Newton – provides management of sophisticated audio systems by combining multi-format channel routing with simultaneous standards conversion and digital signal synchronization.

Newton provides management of sophisticated audio systems by combining multi-format channel routing

March - April 2018

simultaneously using a fully automatic clock source and audio signal switchover facilities. The system and

routed out of Newton using any of the available audio standards – Dante (AES67 compliant), AES3, Madi Optical

and Madi Coaxial. Internal processing is all at 96kHz, with an internal data depth up to 64 bits. In each processing section users have precise control over Level, Delay, Polarity and Raised Cosine Filters (implemented within WFIR Equalisers), all functions that are required to manage and optimise a loudspeaker system. While Newton 16 is an all-digital device, Newton 16+4 and Newton 16+8 add local analogue inputs and outputs. Newton 16+4 adds four auxiliary analogue inputs and outputs while Newton 16+8 adds 8 auxiliary analogue inputs and outputs. Each analogue input is also provided with additional processing and matrix allowing inputs to be processed, routed and mixed into the main matrix.

Audiovisual

Audiocenter Energizes Showbar Exchange With an Audio Boost Showbar Exchange, a prestigious nightclub in Candolim area of Goa that is popular for its mix of mouth watering food and refreshing beverages coupled with the mood-rejuvenating ambiance,

has recently added the KLA28 in its premises. To power the K-LA, the MVP8000 were coupled with it, a two channel Power Amplifier which churns out 800W RMS @ 2ohms per channel. The MVP8000 adopts Audiocenters latest Class H+ circuit technology to eliminate the Class H cross switching distortion. The power supply is covered with a steel shield. Extremely high-quality materials and technology ensure a very clean and clear sound with a high damping factor. This venue has now successfully asserted itself as a premium leisure dining and party destination in Goa, amalgamating a refreshing open-air ambience that provide a scenic panorama of the surrounding area, along with top quality and innovative FnB service in addition to a huge variety

Correction There was an error in our cover story titled “Top fifty products” on page no. 30 in Jan-Feb 2018 issue. The JBL EON Pro made it to our top 50 list, however the accompanying picture published in the article was that of JBL EON ONE. Published herewith is the amended picture and information on JBL EON Pro

March - April 2018

of straight spirits, cocktails and mocktails.

Features of K-LA28 It is a 2-way passive line array speaker, designed for the high requirements of touring performances,

rental and fixed installation on the highest standards throughout the country consistently. The HF driver

of K-LA28P is customized BEYMA driver from Spain, with composite membrane (2.84” voice coil), and the LF driver are two customized BEYMA 8” drivers (2.5” voice coil). K-LA28 can be suspended vertically. The integrated hardware with innovative fast lock mechanics built-in to the cabinet with high intensity 9.5mm pins making the installations easy

and very convenient. The system can be combined in modularization according to the coverage angle of place, which can meet the requirements of different applications. The K-LA28 is such that, when the system cannot be filed, customized frames are available that are suited for ground stacking, making it an adjustable product depending on the environment. While talking about the overall impact of the place many patron’s rave about the quality of music they experience at Showbar. They say it’s clear and impactful yet unobtrusive, which makes their leisure experience even more enjoyable. The management assert that this system is all that they were looking for, and more.

Martin Audio’s New Hybrid Double 18” Subwoofer Martin Audio has added a new subwoofer to its line up with the introduction of SXH218 – a hybrid passive subwoofer with two extremely high-powered 4.5” coil, 18” drivers. According to the company, it is designed to be a companion to Martin Audio’s new WPC optimized line array in low end heavy applications or high performance permanent installations such as nightclubs. Managing Director, Dom Harter,

JBL EON ONE Pro The EON ONE PRO is rechargeable lithium battery powered, compact, lightweight portable PA system and has integrated handles rendering it perfect for gigging musicians, DJs, educators, fitness studios, corporate environments and more. With a maximum SPL of 118 dB (peak), the EON ONE PRO provides detailed, distortion-free audio. An unobstructed 8” bass-reflex subwoofer delivers tight, accurate low-frequency

commented, “It looks destined to be the fastest selling subwoofer we’ve introduced in some time. We’ve

already received significant pre-orders from a key rental partner in the US;

response for DJs and playing back recorded music. The highfrequency section features JBL’s patent-pending Directivity Control Geometry, which optimizes the spacing and angles of the six-twoinch high-frequency drivers to deliver full and clear sound over a wide coverage area, ensuring that the entire audience hears the sound accurately and consistently. Its built-in seven-channel mixer with Hi-Z inputs and phantom

it’s already been installed into a new nightclub in Miami, and we’re pretty confident that when we showcase the subwoofer at our UK Open Days in March to our European partners, we will sell out of our initial production runs.” The subwoofer can achieve an impressive max SPL of 148dB and is powered by either one channel of an iK42 – from the company’s bestselling iKON amplifier range – or for full output a bridged pair of channels. SXH218 will ship worldwide from April 2018.

power enables users to connect microphones, instruments such as acoustic guitars, electric guitars and keyboards, and other sources. The mixer features bass, treble and reverb controls to optimize the sound. The unit also includes a pass-thru XLR connector for integrating additional units for more robust sound reinforcement.

Audiovisual

The sound of bliss at Sri Sathya Sai Premamrutham with L-Acoustics The Sri Sathya Sai Premamrutham, nestled admits the picturesque hilly backdrop of Muddenhalli in Bangalore, is a magnificent architectural edifice and hallmark of devotion towards Sri Sathya Sai Baba. This auditorium cum prayer hall, which is inspired by European classical architecture can seat around 10,000 people. The auditorium needed a sound

excellence. Bharat Kumar, Project Manager, Sri Sathya Sai Premamrutham shares, “For the management the project is a milestone to accomplish. We have invested our time and money to provide the best to the devotees. With such ambitious project, the technical audio install had to be taken into prime consideration in

in the auditorium. We went forward with L-Acoustics which is based on a “full system” approach including all enclosures, rigging, amplification, and DSP for the system. These results in a highly predictive, standard system with control and monitoring that satisfies the performance requirements of the venue,” explains Rajan Gupta, Managing Director, Hi-Tech Audio

Sri Sathya Sai Premamrutham auditorium, Bangalore

system that could blend into the exquisite architecture and would guarantee quality no matter what the location. This is where leading Delhi-based Pro AV Company Hi-Tech Audio Systems Pvt. Ltd came in to the picture. They were given the responsibility to supply, design and install the PA system at Sri Sathya Sai Premamrutham. Since past 25 glorious years, Hi-Tech Audio Systems Pvt. Ltd. is a name reckoned with quality, commitment and service par

order to create a spiritual ambience. The task of installing the PA speakers in the auditorium was entrusted to Hi-Tech Audio Systems. The company has a vast profile of projects under its banner and two decades of unmatched experience in the audiovideo industry.” “To maximize clarity in speech and music reinforcement, the client needed something that would be very clear, plus be focused to put the sound exactly wherever it is needed

Systems. He adds, “Being the India distributor for L-Acoustics, we wanted to provide consistent audio quality and the best to our client. We have collaborated with Bengaluru based audio rental J Davis Prosound & Lighting to integrate and install the audio system for the venue.” Hi-Tech’s Senior Application Engineer, Kallol Nath says, “From the pre-installation stage onwards, experts from L-Acoustics, Paris were involved in this project. They have designed

the entire system installation in SOUNDVISION, the 3D sound system design program capable of operating in real time. This has helped us a lot to implement the installation in the venue as we had a clear picture about the sound flow across the auditorium.” Kallol continues, “The inventory includes six KARAi per side for main PA left and right along with three SB18i arranged in cardio pattern for main PA subs. Since the venue is enormous in size, we have also installed four KARAi per side delayed stacks and two SB18i per side for delayed subs. The venue was a highly reflective zone with high reverberation time. This was the biggest challenge as we have to provide direct sound to the congregants who visit the auditorium. Thus we have integrated the system in such a way that we get a clean, natural sound throughout the prayer hall. In addition to the above mentioned systems, we have also installed eight 5XT in front-fills and two X12 for tackling the side-fills which is directly under the main PA and at a close vicinity to the stage. The entire installation is amplified through LA4X. I know that nothing comes easy in our profession but with L-Acoustics the end result is always marvelous and now the devotees can experience the tranquil sound in Sri Sathya Sai Premamrutham.” “It was a pleasure for me to work with the team at Hi-Tech Audio Systems and J Davis,” says Germain Simon, Applications Engineer at L-Acoustics. “Together, we were able to propose a solution that provides pristine sound to deliver a clear (Continued on page 00)

• Up to 24 channels* for immersive surround formats such as ATMOS, DTS:X and Auro 3D and full bass management capability

Key Features of m908

• Analog 16 channel Out / AES3 24 channel I/O

• It features Grace Design’s latest generation of AD and DA converters, 4th generation s-Lock pill for vanishingly low jitter. • Powerful DSP processor for high resolution volume control, bass management, channel delay and dowmixing

March - April 2018

• Powerful and ergonomic remotecontrol unit for access to all system controls • Built in SPL meter and pink noise source

• Channel level and delay calibration • Comprehensive downmix control

• Dual redundant external power supply • Reference quality headphone amplifier with cross-feed

• ADAT 16 channel In / USB 24 channel In

• Flexible talkback system with builtin mic on remote control and mic input for external talkback mics

• AES3, S/PDIF, and TOSLINK Stereo In • Optional Dante or DigiLink module for 24 channel I/O

• Up to 3 stereo CUE outputs in addition to stereo headphone monitoring

• Optional ADC module for 8 or 16 channel analog inputs

Composite Video & Audio Transmission

DVI Transmission

LED PROFILE

XLED300BEAM

OMEGA

DMX-USB-PRO

PAR COB

AQUA 480 BMS

DMX ETHERGATE MK3

PIXELATOR

F-27/5 Okhla Industrial Area, Phase II, New Delhi-110020 Mobile No.: +91 9871765571 / 9871622883 / 9811314206 info@mssworld.com, sales@mssworld.com, www.mssworld.com CE Certified :

LIGHTING / TRUSS / SOUND / VIDEO / INTEGRATION

Audiovisual

Genelec Appoints Michael Bohlin to Handle International Sales Genelec has announced the return of Michael Bohlin to the brand that brought him into the professional audio industry, almost 25 years ago. Taking the title International Sales Manager, Bohlin, a wellknown and highly respected figure in the European industry, will be based in Stockholm. Reporting to International Sales Director Ole Jensen, he will be responsible for the development and support of distributor, dealer and key user networks for Genelec’s professional monitoring segment within Europe. Bohlin entered the world of professional audio in 1994, working with Studioteknik, the Swedish Genelec distributor, as the brand’s national representative. The role

proved formative: “Two of the first people I met were Genelec’s LarsOlof Janflod and Studioteknik’s Jarmo Masko - now with Genelec himself - so that was the beginning of some very influential relationships,” he explained. He has likened his return to the Genelec brand to “putting the band back together - going back to a brand that I felt honored to work with two decades ago and that I still truly love. Joining Genelec feels a little like closing a circle. The company has very specific values that I haven’t seen often in my career, but which I value very highly - especially the commitment to sustainability. It feels like everyone in the company feels the same way, with the same priorities and the

same shared values. I think that’s amazing, I haven’t seen it before.” “Michael is an excellent addition to our international marketing and sales team and it’s a true pleasure to welcome back a member of our extended Genelec family,” said Genelec Managing Director, Siamäk Naghian. “As well as bringing tremendous professional audio expertise and experience to his new role, Michael also has a deep understanding and appreciation of our company values. We’re delighted that he has returned to Genelec in this particularly special anniversary year.” “This year, Genelec reaches its 40th birthday - an incredible achievement,” added Bohlin. “At the same time, the market is changing

Michael Bohlin, International Sales Manager, Genelec rapidly, and Genelec continues to discover new ways to evolve and grow. It feels great to be part of that again.”

Atlona On-Tour Roadshow Takes Training Initiatives to INDIAN AV Professionals The Atlona On-Tour Roadshow series, first launched in North America, is now spreading its wings on a globally. Recently, Atlona wrapped its first leg in Mumbai, India, following two successful events in Delhi and Bangalore. The “Zero to 60Hz” training sessions focused on education and pain points for AV professionals aiming to keep pace with the latest industry trends. Each day-long event offered focused segments on AV over IP, BYOD-powered collaboration, and networked control from Atlona Academy trainers, followed by an open house period for networking, hands-on product trainings, and personalized Q&A opportunities. “We’ve reached a critical point in time where end users in corporate, higher education and other facilities are confident and ready to move forward with transitioning their AV operations to the network,” said

The “Zero to 60Hz” training sessions focused on education and pain points for AV professionals aiming to keep pace with the latest industry trends

Sanket Sawant, Atlona’s director of business development, Middle East, India and Southeast Asia. “With better-then-expected turnout of more than 60 attendees at each stop, these sessions were built to help our partners accelerate these transitions from systems design and integration

perspective.” Parallel to each event, the Atlona Academy team conducted specialized trainings for regional dealers. This included AtlonaLevel 100 and 200 certifications for sales and technical teams, as well as InfoComm RUs that can be leverage for CTS certification

renewals. Specific demonstrations of Atlona’s OmniStream AV over IP platform, Velocity networked control solution, SW-510w BYOD presentation switcher, and HDVS-300 soft conferencing codec were also made available to all attendees.

and glass architectural elements and I’m proud to have been able to help the audience at Sri Sathya Sai Premamrutham enjoy a better worship experience.” Bharat says. “Team Hi-Tech Audio along with L-Acoustics experts has

done an excellent job in the design and installation of the PA speakers in the venue. Considering the fact that the acoustics of the auditorium had high reverberation time, the team has achieved very precise sound and music.” In-house Sound Engineer Pradeep

explains, “L-Acoustics systems are renowned for their uniform, full-range, natural sound. Clear, intelligible and powerful sound now reaches to the very last row of the seating area. Moreover the professional support and technical expertise provided by team Hi-Tech is outstanding.”

The sound of bliss... (Continued from page 00) message all across this holy venue, while blending into the exceptional architecture. The new KARAi system has solved acoustical issues from the challenging shape of the hall and some of the reflective doors

March - April 2018

All Leading Brands Under One Roof Try Your Hands On Latest Technology With Digital Audio Mixing Consoles & DJ Gears

31st May -1st & 2nd June NSC HALL No.1 Mumbai Goregaon

Audiovisual

Mackie Sounds Off A Divine Experience at Holy Trinity Church, Secundrabad The Holy Trinity Church at Bolarum in Secundrabad is an exemplary religious institution that sports a strong followership of locals. In recent times, the church has reinvigorated its services with a much needed dose of energy and enthusiasm, with the newly acquired Mackie Thump15A powered loudspeakers playing a crucial role in faithfully representing the word of god through the preacher’s voice. Mr. Nelson, who is a member of the church and one of the apex members of its audio-visual tech team shares his comment on the Mackie Thump saying “We were in the

The Holy Trinity Church at Bolarum in Secundrabad process of a complete overhaul and were seeking an efficient and aesthetically pleasing loudspeaker

system that would deliver top quality reinforcement for speech and music during our regular services.

We opted to go for the Mackie Thump15A powered loudspeakers owing to our trust in its great quality and delivery, and also for the fact that it was one of the most priceefficient product in its range. These speakers deliver a feature set that no other model in its class does and that’s what’s most impressive about it. We’re keen to add more of these units to our church sometime in the near future.”

Dynatech fosters a divine experience at St Thomas Church The St Thomas Catholic Church in Motinagar Chandrapur is one of the city’s most iconic religious structures in the city today. And sporting a followership of thousands of locals, the church has reinvigorated its services with the newly acquired Dynatech DEL115 loudspeakers, which is playing a crucial role in faithfully representing the word of god through the

St. Thomas Church acquires Dynatech DEL-115 Loudspeaker

preacher’s voice. Mr. Urjesh Gupta of Liberty Electronics who consulted with the church in the install process shares, “The priests and management of the Church were seeking an efficient loudspeaker

system that would improve the quality of speech and music delivery for their special celebratory services. After a brief look at the options available, they opted to go for the Dynatech DEL-115 loudspeakers owing to its great quality and delivery, and for the fact that it was one of the most price-efficient product in its range, delivering a feature set that no other model in its class did. And in the end, it worked out alright.”

D.A.S. Audio Releases New Vantec-20A and Vantec-118 With the addition of the Vantec20A and Vantec-118, D.A.S. Audio has expanded its Vantec Series of portable systems. The Vantec-20A is an active curved source line array that incorporates an arsenal of hi-tech solutions designed to provide the versatility needed by today’s sound hire professionals. Whether it be

stacked on the Vantec-118A companion subwoofer, flown in a compact array, or used alone on a speaker stand. The Vantec -20A can be used effectively in an incredible number of applications that include corporate A/V, mid-size sound reinforcement, and permanent installation. Designed for use in arrays of up

D.A.S. Audio Vantec-20A and Vantec-118

March - April 2018

to 5 units, the Vantec-20A is ideal for applications where the power and long-throw characteristics of large line arrays are not needed. Also, fast and simple deployment is guaranteed because of its exclusive DAS Click-Lock rigging hardware which allows the system to be securely flown from or stacked on the Vantec-118A. Individual units can be mounted on tripods with precise aiming possible thanks to the variable angle pole mount which allows for 13.5º up or down tilt. The DAScontrol interface allows users to easily configure the Vantec20A systems for use individually or in combination with other units. Selectable high pass filter presets

facilitate alignment with the Vantec-18A and Vantec-118A active bass systems without external processing. Throw compensation settings and array size selection can all be handled simply via the DAScontrol interface. When the Vantec-20A is used individually, the DASlink APP can be used to stream music in high definition stereo and remotely control the systems functions. The enclosure is manufactured using Baltic birch plywood and finished with the DAS ISO-flex coating. Power is supplied by a cutting-edge 1500 Wpeak Class D amplifier in a biamplified configuration driving a single DAS 12F4C loudspeaker and twin M-60 compression drivers.

AUDIOVISUAL INSTALL PROJECT

Madame Tussauds Sight & Sound to behold

Madam Tussauds is at the forefront of AV technology as the New Delhi wax museum reveals

est described as one of the most popular tourist attractions across the globe, Madame Tussauds is home to wax figures of some of the most famous and historic international personalities in every field of life, from sports to politics, movies and film characters. Founded in London by wax sculptor Marie Tussaud, the Madame Tussauds museum today has branches in 23 cities across the world. India, which till recently was not on this list, got its first Madame Tussauds in New Delhi on 1 December 2017 taking the number of Tussaud museums worldwide to 24. Construction consultancy Currie & Brown partnered with Merlin Entertainment to pave the path for the wax museum’s entry into India. Operator Merlin Entertainment which has a vast profile of projects under its banner, which includes theme parks, resorts, marine world, adventure world and more, is reportedly planning an investment of 50 million pounds over the next 10 years. The national capital, Delhi is a city of multi-ethnicity and multi-culture, having a futuristic outlook while being grounded to its rich history. Each year the city’s historical monuments, heritage sites and iconic museums attract many visitors from across the world and with the legendary wax attraction, finally opening its doors to visitors at the historic Regal Building in the country’s capital, clicking a selfie with

Nitin Gupta, Director, Hi-Tech Audio Systems and Ankit Gupta, Director- Finance & Marketing, Hi-Tech Audio Systems spearheaded the execution of this install project

March - April 2018

Madame Tussauds Delhi has a host of unique games in the attraction, which include, Virtual Hockey with virtual ball; interactive 7 Pod Boxing Game and a KBC theme interactive display. your favourite stars and celebrities has now become a reality. No matter what age you are, people always dream of meeting their idols and Madame Tussauds is famous for the ultimate celebrity experience it delivers with its wax figures. Located on two floors in the heritage Regal Cinema building, the museum houses over 50 wax figures, including that of: Prime Minister Narendra Modi; Sport Stars - Sachin Tendulkar, Mary Kom, David Beckham and Milkha Singh; Bollywood singers and superstars like Amitabh Bachchan, Madhuri Dixit, Asha Bhosle, Ranbir Kapoor and Hollywood stars like Kim Kardashian, Leonardo DiCaprio, Scarlett Johansson, Angelina Jolie, and Tom Cruise, to name just a few. To ensure that each visitor is able to experience the museum freely, entry is restricted to 450 people per hour. With such an ambitious project, the technical Audio Visual install had to be taken into prime consideration in order to create a visual identity, which would highlight the interactive fundamentals of the museum. The task of conceptualizing and designing the Audiovisual install at Madame Tussauds, Delhi was entrusted to leading Delhi-based Pro AV Solutions Company, Hi-Tech Audio Systems. Pvt. Ltd. “Everyone is aware of Madame Tussauds as a global brand and for Delhi we have to carry forward the legacy with everything we offer. The historical,

March - April 2018

historical, as well as a contemporary ambience with audio and visuals. The visitors should relate with the aura prevailing

ethical and educational tours should be impeccable for the visitors. Once you step into the place, you will experience the same grand vibe like any other Madame Tussauds across the world,” says Mr. Ankit Gupta, Director- Finance & Marketing, Hi-Tech Audio Systems. “Our past projects gave us the edge to bag this remarkable project and thus we got associated with Currie & Brown who are handling the project in Delhi. For us Madame Tussauds was challenging as well as a privilege to work on. Thöne & Partner GmbH & Co. KG who was the AV consultant for the project has framed the overall requirement based on user operational requirements, which needed to be designed and submitted for fully functional system. “Hi-Tech team made a tremendous contribution in implementing the global audio and visual concept of Madame Tussauds in Delhi. Team’s proactive approach, in-depth subject knowledge and experience all added up to make the systems fully functional as desired by the Global Madame Tussauds team,” says Mr. Faheem Beg, PMC, Currie & Brown. The entire venue was divided into different theme based zones- Film & TV, Sports, Music, Bollywood & Hollywood,

History & Leaders and Authentic History. Each zone had its own audiovisual characteristics that needed to be treated individually. Music, videos and light effects were at the core while designing the project. A special emphasis was placed on interactive displays and multimedia installations in the attraction

Setting Standards A high benchmark has been set for Madame Tussauds globally so that visitors have an even more entertaining, accessible and experimental experience. The product excellence division of Merlin Entertainment measures and analyses the experience of all their guests with the purpose of delivering the best offerings for all of its brands. As the first India venture for Merlin Entertainment, that owns and operates Madame Tussauds globally, the company was very specific that the brand guidelines and installations had to be in tandem with the other international museums. Mr. Nitin Gupta, Director, Hi-Tech Audio Systems says, “A lot of inputs have come from the client side as they are well aware of the attraction’s AV integration at an international level. We were entrusted with the task of creating a

at the attraction. Moreover, Merlin Entertainments also wanted to add the Indian tradition and heritage feel to the newly opened Madame Tussauds in Delhi. It has a music zone that plays Punjabi music, an exclusive party area with rocking Bollywood music and other such entertainment zones. So we had to create different experiences of a fairy tale world for the visitors to cherish each time they visit the attraction.”

Designed to create a legacy After an in-depth R&D process, Team Hi-Tech went into the first stage of designing the audio-video interfaces. Since the attraction is divided into several zones, the audio is centralized to the single master control hub. The system designer chose excellent speakers that would create the perfect ambience for each zone. “The inventory for Madame Tussauds mainly comprises of top AV brands of the world - Bose, Panasonic and Delta. It was our prime concern to offer world-class quality audio and video to the attraction’s visitors. Since there are different zones within the venue, we designed the speaker placement in such a way that the spillover between the zones is zero,” explains Mr.Gurpreet Singh, Project Manager, Hi-Tech Audio Systems. “Each zone is theme-based

insignia of engineering marvel that compliments the ambience of Madame Tussauds, Delhi. “The entry of Madame Tussauds in Delhi is big news for the country. The attraction is an amalgamation of Western artistry while keeping the es-

of-the-art AV equipments that enhance visitors’ experience. Being a Pro AV company with a legacy of two decades in India, Hi-Tech Audio Systems was the natural choice for us as the most reliable organization to execute this project. They have the expertise and

The Projection Area at the Museum and the throw of audio is controlled accordingly to compliment the ambience of the areas. We have installed Bose Free Space speakers, PowerMatch amplifiers with multi-channel audio player from Alcorn McBride.” The audio playback is prescheduled or operated by external contact or user, based on the theme requirement. The museum has 14 zones where different music is played simultaneously. Similarly for video, Panasonic display and projectors have been installed with BrightSign media players for precise and clear view. The entire system is sitting in on network through which centralized control and media change is done easily. Madame Tussauds Delhi has a host of

unique games in the attraction, which include, Virtual Hockey with virtual ball and 7 Pod Boxing Game which are specially imported from Vertigo Systems Germany and Rugged Interactive UK, respectively. Beside these, Hi-Tech Audio Systems has customized and installed interactive display like Mirror Interactive Photo Booth, KBC theme interactive display that lets visitors participate in the quiz show and innovative interactive book display. For outdoor LED signage and video wall, Hi-Tech used Delta outdoor 6mm & 8mm pitch LED tiles at the entrance and side wall displays. Further the indoor area is installed with 46 inch (2x2) LCD video wall. The entire installation is an

46 inch LCD video wall in the museum sence of an Indian vibe. 60 percent of the wax figures are Indian celebrities,” says Mr. Mohit Anand, Head of Operations, Merlin Entertainments India. “However, for an immersive showcase, proper audio and video is an essential part of the attraction. We wanted state-

extensive know-how to integrate world-class systems professionally.” Mr. Anand adds “The installation is note-perfect. The after sales support is remarkable. I can assure that visitors will treasure each moment at Madame Tussauds, Delhi.”

MM-107

Supercardioid Dynamic Microphone

MM-707P

Cardioid Condenser Microphone

MM-707B

Cardioid Condenser Microphone

Requires external phantom power 12~48V DC

MM-204 | MM-205 | MM-206

Gooseneck Microphones

www.mipro.com.tw | 100% Made in Taiwan

Distributed in India by Calibre Sound Systems Pvt Ltd | PO Box 4050, 290 Lamington Road Mumbai, 4000007 | Tel: (91) 22 2387 3615 | www.mrhdigital.com | Email: ajit@mrhdigital.com

Studio Analogue

very recording be it music or dialogue or sound effects, the idea of recording the audio is to reproduce that at a later time. Whenever it is reproduced it is supposed to give a similar auditory experience as it was during the recording. Hence it’s important that the reproduced audio is either similar to how the given instruments would sound naturally or it has to be as per the visualization or audiolization of the audio designer. A piece of audio when heard creates either an emotion or it can help the brain visualize a picture. The processing tools for audio help us create this illusion. One of the most important tools to create this illusion is Space. If you can create an illusion of space so that the listener can actually feel like be-

ing there, the job is done right. This space can be created by the right use of reverbs. In our day-to-day life we hear these reverbs, these reverbs are a part of the whole sound we hear. A dry signal never sounds natural to our ears because in nature nothing is devoid of any reflections. Naturally these reverbs are a bunch of reflections created within an acoustic space. Any audio signal, which hits a hard surface and reflects back, takes a little more time than the direct signal to reach our ears. So technically it’s a Delay, but since our brain processes it as delay only when return signal is delayed by more than 60 MS, than the original sound. Multiple delays very close to each other can be termed as reverb.

in having great reverbs in a plugin.

Type of reverberators Chamber reverberators In earlier days when there were no units to create reverb, chambers were built with specific acoustic conditions. A signal would be fed in to this room via a speaker and a microphone would capture the sound at the other end of the room. This would capture a real chamber sound. This technique is still used by some engineers. For instance even in

Pramod Chandorkar

- Founder, SoundideaZ Academy

Reverberation

E: pramod@soundideazacademy.com

March - April 2018

A recording studio is a controlled acoustic space. Depending on the size of the studio the reverb time (RT 60) is calculated and varies. In todays time space being very expensive it’s very rare to find large studios. Majority of recording studios are small rooms. A large studio generally has an amazing height, minimum being 20 feet. This height is the main aspect that gives the feeling of magnitude and also when you have a musical performance in this room it ads a nice natural reverb to it. Since today’s rooms have become smaller we tend to miss those natural reverbs, hence we add these reverbs via hardware or plugins to create the space artificially. The term “big sound”, which is being used all the time, has a lot to do with these spaces. Ideally the best way to record this big sound is to record in a large studio and capture the sound by both close microphones and room microphones spaced distantly. This largely applies to instruments having loud character. For instance Punjabi Dhol, Section of Dhol & Tasha. These instruments have a loud sound and will never sound right if captured only with close microphones. Have come across instances where a loud Dhol is recorded with close microphones in a small room and multiple tracks of that are recorded and the expectation from the mix engineer to make it sound BIG. It takes a lot of work and effort to even go close to it. The best way is to record it in the right studio with right Microphone placements. Since it’s not affordable for every one to hire a huge room we will discuss the use of reverbs in such situations. Plugins come with a lot of presets, which are a good starting point for deciding the type of space required. A hardware reverb unit has its own sound to it; this unit in it is a dedicated computer with its own Sound Card. Obviously since its supposed to do just one job of reverb processing its efficiency and output can not be compared with a plugin. Again the cost factor being the major criteria, plugins became very popular. Convolution technology has really given a huge breakthrough

a home studio you can use a bathroom as a reverb chamber, as long as you can avoid unwanted sounds getting in the chain. One of the biggest drawback in this is altering the reverb time.

Plate reverberators A plate reverb system uses an electromechanical transducer, similar to the driver in a loudspeaker, to create vibrations in a large plate of sheet metal. One or more contact microphones whose output is an audio signal, which may be added to the original “dry” signal, pick up the plate’s motion. In the late 1950s, Elektro-Mess-Technik (EMT) intro-

duced the EMT 140 a 600-pound (270 kg) model popular in recording studios, contributing to many hit records such as Beatles and Pink Floyd albums recorded at Abbey Road Studios in the 1960s, and others recorded by Bill Porter in Nashville’s RCA Studio B. Early units had one pickup for mono output, and later models featured two pickups for stereo use. A damping pad, made from framed acoustic tiles, can adjust the reverb time. The closer the damping pad, shorter the reverb time.

(Continued on page 64)

Product Focus

Studio Monitors

Golden Ears ADAM Audio S Series Adam Audio’s S Series comprises five models of increasing size: S2V, S3H, S3V, S5H & S5V. The S Series includes completely new woofers and mid-range drivers, newly designed waveguides for the S Series tweeter (and the mid-range driver on the S5 models), and a new DSP engine which provides crossover optimization, voicing options and expansion potential. Main Features include: • S-ART tweeter, handmade in Berlin. • The air velocity ratio of 4:1 during the sound generation by folded S-ART membrane. • Newly designed HPS and MPS waveguides, milled from a solid block of aluminum. • New midrange driver with one-piece hybrid dome/cone (DCH) design. • Custom-built Extended Linear Excursion (ELE) bass drivers. • Custom-designed Symmetrical Magnet Assembly (SMA). • Horizontal 3-way system with 2 x 10” woofers and 1 x 4” DCH midrange. • Spacious bass reflex ports on the front. • Highly efficient PWM ICE Power amplifiers. • Linear frequency response of 22 Hz to 50 kHz. • Maximum peak sound pressure per pair in 1 m ≥ 131 dB. • Custom DSP engine • Analog XLR input • Acoustically optimized and weightily constructed cabinets. Technical Specification: • Panel: Rear • Frequency Response: 22 Hz - 50 kHz • THD > 100 Hz: ≤0.3 % • Max. SPL per pair at 1 m: ≥131 dB • Crossover Frequencies: 250 Hz / 3 kHz • Max. Power Consumption: 900 W • Weight: 160 lb (72,6 kg) • Height x Width x Depth: 16,9” (430 mm)

Dynaudio Lyd 48 The LYD 48 features a 3-way speaker design, coupling an 8” woofer with a 4” midrange and a 1” tweeter, making it well suited for nearfield as well as midfield monitor applications. It is available in the sleek white and black design, as the original LYD range.

This series is comprised of three monitors, the Shape 40, Shape 50 and Shape 65. It is designed and developed to offer an unparalleled solution to meet the needs of those working in an environment with limited space.

Main Features include: • The woofers and the tweeter are powered by a dedicated Class D amplifier, delivering 80W / 50W / 50W of power per monitor. • The amp features a 96kHz/24bit signal path and selectable input sensitivity, as well as the same Standby Mode as the original LYD speakers. • Features Bass Extension, allowing for a choice between the default setting or pushing towards maximum bass or maximum volume.

Main Features of Shape 65 include: • Low directivity tweeter for a flexible listening position • Designed without a port allowing it to be placed near a wall • Numerous settings for optimal integration • Accurate control, even in the very high end • Flax sandwich cone: controlled and articulated bass, natural and detailed lower mid-range and upper mid-range registers • Threads for ceiling and wall mounts (fastening accessories not supplied)

Technical Specification: • Max SPL (1m, pair): 112dB • Principle: Bass reflex • Crossover Frequencies: 460Hz / 5.5kHz • Tweeter: 1inch Soft dome • Midrange: 4inches • Woofer: 8inches • Dimensions (W x H x D): 369 x 234 x 328mm • Weight: 12kg • Sensitivity (85dB @ 1m, free field):  +6dB: 50mV  0dB: 100 mV  -6dB: 200 mV • Amplifier:  Power (Tweeter/Midrange/Woofer): 50W/50W/80W  Type: Class D  Power consumption standby: <0.5W  Power consumption max.: 100W  Input voltage: 90 - 264V AC, 50 - 60Hz  Inputs: XLR balanced/RCA unbalanced  Outputs: N/A

Technical Specification of Shape 65: • Frequency response (+/-3dB): 40Hz 35kHz • Maximum SPL (musical signal): 109dB SPL (peak @ 1m) • Electronic section  Inputs/ Impedance:  Type XLR: balanced 10kOhms  Connectors RCA: unbalanced 10kOhms with sensitivity compensation • Midrange and low frequency amplifier: 80W, class AB • High frequency amplifier: 25W, class AB • Automatic standby  Standby on: After approximately 30

x 34,8” (885 mm) x 19,7“(500 mm)

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Focal Shape Series

A notable number of premium-quality monitors packed with distinctive innovations, were unveiled globally to the studio market in the year gone by. For the benefit of multiple numbers of studios springing up across the country and for our talented set of engineers in need of the latest brands in studio monitors, PT lines up a collection of six noteworthy options launched in 2017.

minutes with no signal  Standby Off: Signal detection > 3 mV • Electrical supply  Voltages: 220-240V (T1AL / 250V fuse) or 100-120V (T2AL / 250V fuse)  Connection: IEC plug and detachable power cord • Settings  High pass filter: Adjustable Full range 45/60/90Hz  Bass (0 - 250Hz): Adjustable, +/-6dB • Settings  Midrange/bass (160Hz, Q=1) Adjustable, +/-3dB  High (4.5 - 35kHz): Adjustable, +/-3dB  Power On/Power Off: On/off switch on rear panel • Standby consumption: < 0.5W • Displays and controls: LED for power on/ off and standby Transducers • Woofer: 6.5” (16,5cm) Flax Cone • Tweeter: 1” (25mm) ‘M’ profile AluminumMagnesium Cabinet • Construction: 0.6” (15mm) MDF • Finish: Vinyl, real walnut and black painting • Dimensions with four rubber feet (HxWxD): 14 x 8.6 x 11.2” (355 x 218 x 285mm) • Weight: 28.2lb (8.5kg)

Genelec The Ones Introduced in 2017, The Ones is the world’s smallest three-way coaxial monitor series comprised of the original 8351 threeway Smart Active Monitor plus two new models, the 8341 and 8331. They can be orientated horizontally or vertically using an

adjustable IsoPod base for isolation. Main Features include: • Acoustically Concealed Woofers Technology • Reflex Port Design • Minimum Diffraction Enclosure Technology • Smart Active Monitor Systems • Versatile Mountings • Protection Circuitry • Optimized Amplifiers • Minimum Diffraction Coaxial Driver Technology • Iso-Pod Stand • Intelligent Signal Sensing Technology • Directivity Control Waveguide Technology • Active Crossovers Technical Specification: • SPL110 dB • Frequency response: 38 Hz - 37 kHz (-6 dB) • Accuracy of frequency response: ± 1.5 dB (45 Hz - 20 kHz) • Driver dimension: 2x Oval Woofers 6 5/8 x 3 1/2 inch + Coaxial Midrange/Tweeter MDC™ 3 ½ / 3/4 inch + DCW™ • Amplifier power: Woofer 250 W + Midrange 150 W + Tweeter 150 W • Dimensions: H 370 x W 237 x D 243 mm, 14 9/16 x 9 3/8 x 9 1/2 inch, with IsoPod™ • Weight: 9.8 kg / 22lb • Connections: 1 x XLR analog input, 1 x XLR digital AES/EBU input , 1 x XLR digital AES/EBU output, 2 x RJ45 control network

M-Audio BX8-D3

• 8” Kevlar low-frequency driver with hightemp voice coil and damped rubber surround • 1.25” natural silk dome tweeter delivers superb transient details • Computer-optimized tweeter waveguide for precise imaging • Acoustic Space Control to fine-tune lowend response to your room • Optimized rear port for extended lowfrequency response • XLR balanced and 1/4” balanced/unbalanced inputs for connecting audio interfaces, mixers, synthesizers, DJ gear, and more • Volume control enables you to dial in the perfect monitor playback level • Wide range 37-22kHz frequency response covers full musical spectrum Technical Specification: • Type: 2-way near-field studio reference monitors • Low Freq. Driver: 8-inch (203 mm) Kevlar curved cone with high temperature voice coil and damped rubber surround, magnetically shielded • High Freq. Driver: 1.25 inch (32mm) magnetically shielded natural silk dome • Frequency Response: 37Hz – 22kHz • Crossover Frequency: 2.0kHz • Low Freq. Amplifier Power: 80W • High Freq. Amplifier Power: 70W • Maximum Peak Spl: 114dB SPL - Full Bandwidth Pink Noise Measured • Input Sensitivity: -12dBU • Input Connectors: 1x XLR balanced input connector 1x TRS balanced/unbalanced input connector

Driving the low-end and midrange, BX8D3’s 8-inch military-grade Kevlar woofers are rigid and lightweight studio monitor. These monitors have a rear- mounted bass port, meticulously engineered to the exact length and diameter, which deliver defined bass response with maximum bass extension and resolution. When combined with a smoothlyflared port, BX8-D3 monitors markedly reduce the audibly-intrusive air turbulence that results when bass is played back at high sound pressure levels (SPLs). Main features include: • Bi-amplified design with 150 watts (80 LF, 70 HF) for powerful, accurate sound

March - April 2018

STUDIO ANALOGUE • Input Impedance: 10kΩ balanced, 20kΩ unbalanced • Polarity: Positive signal at + input produce outward LF cone displacement • Protection: RF interference, output current limiting, over temperature, turn on/off transient, subsonic filter, external mains fuse • Power Voltage: 100–120V, 50/60 Hz / 220–240V, 50/60 Hz • Consumption: 150W • Fuse 220–240V~ T1AL, 250V / 100–120V~ T2AL, 250V • Cabinet: Vinyl-laminated high-acousticefficiency MDF • Dimensions (Width X Depth X Height): 9.8” x 11.9” x 15.1” / 250 x 302 x 384 mm • Weight: 23.1 lb / 10.5 kg

Mackie MR Series Mackie MR series is designed to offer professional performance, clarity and superior mix translation for home studios, content creators and multimedia. This series is available in MR524, MR624, and the MR824 plus the MRS10 companion powered subwoofer. Main features include: • Designed for superior mix translation and accuracy for professional results in any studio • Equipped with Mackie’s proven logarithmic wave guide design  Ultra-wide dispersion for enhanced stereo Imaging and listening sweet spot  Precise acoustic alignment offers In- credibly balanced sound across the entire frequency spectrum • 1” silk dome tweeter provides fast transient response for detailed high end and vocal clarity • Polypropylene woofer delivers responsive, dynamic low frequency response  M R524 - 5.25”  MRG24- 6.5”  MR824 -8” • Bi-amplified Class A/B amplification  M R524 - 50 watts  M R624 - 65 watts  M R824 -85 watts • Frequency response:  MR524- 45 Hz- 20kHz  MR624- 38Hz-2.0 kHz  MR824 -35 Hz-2.0 kHz • Optimize MR monitors for your mixing environment  Adjustable acoustic space fillers maintain flat response in typical placement configurations.  HF filter applies boost or cut to compensate for particularly dull or bright sounding rooms • Professional MDF cabinet design built to

(Continued from page 60)

 Custom designed internal brae I ng adds stiffness for reduced distortion and enhanced low frequency response • Flexible Inputs for simple connection lo almost any audio source • Acoustically optimized 1Vith sound-tightening acoustic absorption material • Add the companion MRSIO studio subwoofer for powerful, deep low frequency extension perfect for electronic music, hip -hop and more S Technical Specification: • Acoustic Performance:  Frequency Response (-3 dB): 57 Hz- ZO kHz (MR5Z4), 45Hz- ZO kHz (MR6Z4), 38Hz- ZO kHz IMR824)  Frequency Response (-10 dB): 45Hz ZO kHz IMR524), 38Hz- ZO kHz IMR624), 35Hz- ZO kHz IMR824) • Sound Pressure Level @ I meter, +4 dBu into Balanced Input: 102 dB SPL @ 1m (MR524), 105 dB SPL @ 1m (MR624), 107 dB SPL @ 1m (MR8Z4)

However, the pad never touches the plate. Some units also featured a remote control. This famous plate reverb from Abbey road studios is now made

available via a plugin “ Abbey Road Plates” by Waves & it fantastically delivers high quality reverbs.

Spring reverberators A spring reverb system uses a transducer at one end of a spring and a pickup at the other, similar to those used in plate reverbs, to create and capture vibrations within a metal spring. Guitar amplifiers frequently incorporate spring reverbs due to their

compact construction and low cost. Spring reverberators were once widely used in semi-professional recording due to their modest cost and small size.

Convolution Reverbs

• Maximum SPL Per Pair: 108 dB SPL @ 1m (MR524), 111 dB SPL @ 1m (MR624), 113 dB SPL @ 1m (MR8Z4) Physical Dimensions & Weight: • MR524:  Enclosure: 0.47 in /12 mm thick MDF with 0.83 in /21 mm MDF float panel  Dimensions: Height: 11.1 in/281 mm, Width: 7.1 in/180mm, Depth: 8.7 in/2 21 mm, Weight: 10.2 lb/4.6 kg • MR624:  Enclosure: 0.47 in /12 mm thick MDF with 0.94 in/24 mm MDF float panel  Dimensions: Height: 12.9 in/328 mm, Width: 8.3 in /210 mm, Depth: 11.2 in /284 mm, Weight: 16.5 lb/7.5 kg • MR824:  Enclosure: 0.59 in /15 mm thick MDF with 1.30 in /33 mm MDF float panel  Dimensions: Height: 15.7 in /400 mm, Width: 10.1 in/256mm, Depth: 12.0 in /320 mm, Weight: 23.0 lb/10.4 kg.

last and look great in any studio

In audio signal processing, convolution reverb is a process used for digitally simulating the reverberation of a physical or virtual space through the use of software profiles; a piece of software (or algorithm) that creates a simulation of an audio environment. It is based on the mathematical convolution operation, and uses a pre-recorded audio sample of the impulse response of the space being modeled. To apply the reverberation effect, the impulse-response recording is first stored in a digital signal-processing system. This

is then convolved with the incoming audio signal to be processed. The process of convolution multiplies each sample of the audio to be processed (reverberated) with the samples in the impulse response file. There are lots of plugins available which use this technology. A WAVE IR is one of the most popular.

To be Continued in May-June 2018 issue.

March - April 2018

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t n n e e g r m e 8 n i 1 v a n 0 t o 2 r c e t M y n g L E lo A P o n t h a c Te

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March - April 2018 66

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ummer is already on a roll, and temperatures are set to soar even higher with the excitement and energy among the global pro sound and light industry on a high, as PALM Expo 2018 opens its doors to visitors in less than two months from now. Hosted in Mumbai, India’s entertainment capital and city of Bollywood, the expo will take place from May 31st – June 2nd, 2018. The mega event spread across 6 halls at the Bombay Exhibition Centre, Goregaon, Mumbai, will provide access to the expo floors and the many prominent features taking place concurrent to the trade show activities.

of many international brands entering India on the wave of aggression in pro audio distribution. The redeeming factor is brands are willing to compete in a price sensitive market on technology and design against established market leaders,” says Mr. Anil Chopra – PALM Director.

New Technology and Solutions at PALM The expo will showcase groundbreaking technology and powerful solutions for professional buyers looking

to conceptualise and deliver content on any entertainment event and entertainment production platform. The expo will deliver industry professionals an invaluable and privileged opportunity to meet all major distributors and importers and equally important top sound & lighting engineers and designers and AV consultants and systems integrators. The PALM Expo 2018 is all geared up to welcome 25,000 visitors over three days attending Exhibit Halls and features. The range of exhibits will showcase over 500 brands from over

Growing in tandem with market growth The Indian market continues to mature at a rapid pace. The entertainment event industry has seen phenomenal growth in the last decade with music festivals becoming a youth culture. The demanding concert riders of these international artists, has made it obligatory for rental companies and suppliers in India to invest in state-of-the-art equipment and has led to an improved industry setup. The events industry in India is expected to cross Rs 10,000 crore mark by 2020-21, as per an EY-EEMA report. According to the report, the industry, which was at Rs 5,631 crore in 2016-17 overall, has been growing at a 16% CAGR, even overtaking the Indian media and entertainment (M&E) industry, which is growing at 11-13% CAGR. Other reports predict audio market growth by $1 Billion in 2018 covering touring, rental and portable audio markets. Estimate of 5 million DJ set ups in India per annum is guidance on the value of the market. Controllers or consoles and CD players or Media players, mixers, speakers and amplifiers works up to a massive sound reproduction gear driving events across verticals. Top-end set-ups from premium brands would account for 10% or 50,000 DJ set-ups. The PALM Expo now in its 18th edition will propel this growth by encouraging connection between manufacturers, distributors, dealers and end users. The PALM expo which will impact Indian, as well as international markets and business in the coming year has grown by 10 % with 232 exhibitors, off which 81 companies are first time exhibitors at the expo and an exhibit area space increase of approx. 17% from 2017. (All figures at the time of going to press.) “PALM is witness to India’s robust consumption of audio install and stage rental business attracting distributors

March - April 2017

200 exhibitors representing the best technology and products in sound and light, cinema, and systems engineering & AV from USA, Europe, China and India. This will be a great show for product buyers, with major pro audio brands displaying an endless slew of pro-audio, lighting and AV products and turnkey solutions that include high-end professional speakers, line arrays, amplifiers, woofers & subs, mixers, consoles, patch panels, cables, connectors, mics, headphones, extended racks, stage lighting, lasers, smoke & fog machines and more. Hall 1 is the pro audio, no-sound hall. This hall maintains a business atmosphere, as sound, light and AV Rental companies, AV Consultants, Systems Integrators and dealers and distributors from across the country account for a major percentage. PALM’s evolution in providing total solutions in event entertainment technology has witnessed the largest gathering of system integrators than at any other expo in India. AV consultants necessarily attending PALM each year for sound and light solutions demand display and projection solutions integral to their project implementation. PALM 2018 is all set to be the new sourcing ground for LED displays, Videowall display and projection systems as

PALM 2018 is a transformed event with strong focus on Pro Audio in a no-sound area to provide a business environment. Audio Visual – AV and Display area is designated alongwith Pro Audio. PALM 2018 has witnessed dramatic increase in participation of Install Sound and Display, mainly LED, this year, reflecting the entry of numerous brands into the Indian market. The explosion in hospitality in the FSR & QSR [Full Service & Quick Service Restaurant] segment has seen demand for Install solutions expand, both international and major domestic brands are mushrooming across the country. Install in HOW, auditoria, education, corporate has risen sharply. As such the market in Install provides opportunity to new brands to penetrate easily, given the price advantage offered vis-à-vis product availability and satisfaction on quality specs. Pro Audio accounts for 37% of exhibited product. Pro Audio representing 37% of product includes recording and reproduction equipment. Loud speakers and monitoring speakers. Range of studio, DJ and live mixing consoles, amplifiers and microphones, as well DSP [Digital Signal Processing]. DJ equipment. And accessories like cables and connectors. Audio Visual which shares space this year with Pro Audio in Hall 1 accounts for 17% of show exhibit. LED product category leads in this segment in 2018. LED display scalability and applications and low entry hurdle has attracted scores of distributors, accounting for a major share of new exhibitors. Modular systems, and higher quality resolution, with tremendous upgrade in LED control technology has seen LED displays replace LCD displays in numerous high-end applications. Outdoor and indoor display installs have created a demand and supply has been met with gusto from distributors investing in imported inventory. PALM has indeed emerged as the favoured destination for LED display in entertainment and AV system integration. AV segment at PALM as such has improved remarkably, aside from Display, the gamut of AV product such as PA, audio networking, video conferencing and communication products and software are exhibited. Presence of Leading AV Consultants and System Integrators learning the importance of PALM for sourcing solutions in install sound and pro audio has resulted in participation of display, video and networking product. AV is on a sharp growth tangent at PALM. Live Sound accounts for 21% of exhibit and feature display at PALM 2018. Spread across Hall 1, Hall 5A Live Arena, Hall 2BC, and Hall 7 Line Array and the Qube stages in VIP Park ground. The major global line-up of Live mixing console brands, wireless stage microphone systems, power amplifiers. Cables& Connectors, talkback communication, trussing, rigging, staging, touring. Mojo of the event industry is the PALM Expo. Lighting in Hall 5 has seen a rush and wave of product representing the second highest segment at the show with 25% of exhibit space and product. Entertainment lighting for stage, event and hospitality is witnessed across tier1, 2, 3 and tier 4 towns. This has led to dealership and distribution centres in the big metros with surge of rentals in hundreds of cities. Exhibitors accounting for 25% are distributors from across the country. Lighting tech has moved out of the space of a few major international brands and become more egalitarian especially with LED the cost of development is more affordable for medium scale manufacturers. Digital tech in Lighting and LED control has further spurred new product and manufacturing. Many Indian brands are also exhibiting and entering the fray for a robust and long-term market.

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almost 20 LED screen, projection and display companies showcase their latest products in Hall 1. Hall 5 will house the best brands in Lighting and Laser while YAMAHA showcases and entire range of pro audio and backline equipment in its own independent hall – Hall 2B & 2C and five Demo Qubes demo state-of-the-art equipment from five major brands. The pie chart on page 67 indicates product wise segmentation at the PALM expo 2018. This last lap into the show is already abuzz with excitement among exhibitors, on the next killer product from their own portfolio, which they will bring to the expo floors. New Product section on page 73 provides a low-down on what to expect.

PALM Content and Demo Features: PALM has a very strong philosophy and belief in the assets it creates, their utility and purpose, contribution to evolving the industry to high professionalism, greater talent and better business. It is this sense of purpose that drives the 10 dynamic PALM features namely – PALM Conference & Seminar Programme, PALM Soundscape, PALM

March - April 2018

PALM 2018 is delivering critical sourcing to the industry in Live Sound, Pro Audio, Entertainment Lighting, and Audio Visual. It gives me the greatest pleasure in the participation of leading professionals in the PALM Conference and Soundscape. Motivating the market and Putting Technology in place has been the mantra for PALM Since inception. The gathering at PALM each year delivers business and investment. New brands establish each year. There is magic in the aisles. Be there or be square. – Anil Chopra - Director, PALM Expo

DJ Championship, PALM HARMAN Live Arena, PALM Lighting Design Showcase, PALM Indoor Compact Line Array Demo, PALM 3D Immersive Projection & Mapping, PALM Rigging & Trussing showcase, Indian Recording Arts Academy Awards and PALM Sound & Light Awards. The Dynamic features are truly Fantastic gatherings each year, proving beyond doubt that PALM expo, Mumbai is one of the most important platforms in Asia, and among the top three pro sound and light platforms in the world.

The three days of the show will witness the top honchos and tech gurus in the event, entertainment venue and music production business. New to PALM Expo this year is India’s first Indoor Line Array Demo, which will provide venue owners an opportunity to source sound systems after evaluating the sound quality in real-world conditions with reputed Electro-Acoustic consultant Mr. Milindrao Rane at the helm as Consultant for this feature. This novel feature will have national and international brands demoing top

of the line SMALL to MEDIUM format line arrays and sound systems in realistic indoor conditions. The prime objective of this feature is to assess the tonal quality, dispersion pattern, phase coherency and frequency response. In order to attain the right SPL, PALM has set a TARGET MAX SPL with tolerance band, both, on the SPL and the FRQ (Frequency Response). Get all the dope on the PALM features from page 70. The PALM Expo has always been a major “not to be missed event” marked on the calendars of the Indian pro audio, lighting, AV Install & integration and music recording industry. Each year the organizers have upped their game and this year too, the expo’s energy is all set to get more effusive with all the opportunities planned out at the venue to learn about and experience industry dynamics while sourcing the latest state-of-the-art equipment and acc. The PALM Expo has consistently evolved in tandem with the dynamic growth and expansion of the pro sound and light market, and as always, the expo will present limitless opportunities for business, brand building, distribution and promotion of technology.

WINNER

Importers: @alphatecAV

@alphatecAV

@alphatec.AV

/company/alphatec-audio-video-pvt-ltd/

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PALM FEATURES

PALM Conference & Seminar Programme

CONTENT FEATURES

Thought Leaders driving the PALM Conference & Seminar Programme The latest advancements in sound and lighting technology have transformed the entertainment event industry. The PALM Conference & Seminar Programme 2018 will focus on the current trends, technologies and practices shaping the industry and will bring together sound, lighting and audiovisual experts from across the nation on to this important platform. The Conference program will feature three days of inspiring standalone product presentations, workshops, Q&A sessions and interactive panel discussions designed to up

PALM Soundscape Programme

the knowledge quotient and cultivate technical skills of the numerous, engineers, designers, production crew and industry professionals attending the three day crucial “Gateway to Business Intelligence.” The adjoining box features some key sessions at the PALM Conference & Seminar at the time of going to print. YAMAHA Music India has yet again lent its support to the Conference platform by taking on the mantle of PLATINUM PARTNER AND SOUND PARTNER thus providing crucial impetus to the staging of this exceptional event

In the last five editions, The PALM Soundscape has evolved into one of the most awaited features of the PALM expo. It has been instrumental in bringing together top decision makers and influencers, shaping the present and future of the DJ, electronic music production & entertainment industries. Over a span of three days, industry practices and trends will be discussed and vital insider knowledge will be shared with all attendees. This is facilitated through interactive panel discussions, high value educational workshops & latest product demon-

DAY 1

Schedule

13:00 – 14:00 MEASURING AND ALIGNING SUB WOOFERS

Speaker – Rahul Samuel - Technical Support Specialist - Middle East, Africa and India at Meyer Sound

Schedule

14:30 – 15:30 YAMAHA PRODUCT PRESENTATION

12:00 – 12:50 Welcome Note Speaker : Reji Ravindran

17:00 – 17:30 OSRAM - THE EXPERT IN ENTERTAINMENT LIGHTING Speaker – Pavel Ptacek - Global Product Manager Entertainment lamps OSRAM

strations. The Soundscape will enable networking among industry stalwarts who will share their experiences and expertise through interactive sessions curated yet again by Reji Ravindran who is also the DJ Championship Director. A big shout-out to Platinum Partners - DENON DJ, Co Partners ANTELOPE AUDIO and Sound Partners - OHM for associating their brands with the PALM Soundscape and DJ Championship 2018. The strong impetus provided by the two companies reflects their pioneering spirit.

DAY 1

13:00 – 13:50 Psy-Fidelity: The story so far Moderator: Nitin Mahajan Speaker : Asad Zaidi aka. Freeatmah, Tarun Shahani, Brian Fernandes, Starling D’souza

17:45 – 19:00 DOES SIZE MATTER?

Moderator : Niranjan Shivaram – Chief Technical Officer at Audio Academy LLP Panelists: Sachit Subramanian – Co-Director, NJSM Rentals; Manish Mavani – Director - Sound & Light Professionals; Yogesh Malhotra – Group Head Production, Live Shows at Percept Live; Gert Sanner - Regional application and education manager for Asia Pacific , &b audiotechnik Asia Pacific Pte.Ltd; Sunil Karanajikar - Sr.

15:20 – 16:00 Delivering Big Stage Lights & Visuals Speaker : Nikunj Patel 16:10 – 18:10 DJ Battle

DAY 2

18:10 – 18:20 Entertainment – Special Performance 18:20 – 18:45 DJ Battle - DJ Championship - Announcement of Finalists

DAY 2

13:00 – 14:00 ACOUSTICS IN AUDITORIUM DESIGN

12:00 – 12:50 Artist Management : Beyond the Avatar Moderator: Mae Mariyam Thomas Speaker : Ayush Arora, Sushil Chhugani, Rahul Sinha, Nishant Gadhok

Speaker – Vijay Purandare - Auditorium Design & Acoustical Consultant 14:30 – 15:30 LED LIGHTING CONTROL AND ITS IMPACT ON DESIGN FOR INSTALLED VENUES

Speakers – Christian Hertel - Co-Founder – Inoage GmbH (Madrix Brand), Rasesh Parekh – Director – Integrated Entertainment Solutions (IES)

13:00 – 13:50 Artist, Repertoire & Publishing Speaker : Shatadru Sarkar, Subarna Roy

15:45 - 16:30 WOW FACTOR BY THE HELP OF AUDIO VIDEO Speaker – Rajeev Arora - Principal Consultant with Qubix Technologies

15:20 – 16:00 Delivering Big Stage Sound Speaker : Fali Damania, Manish Mavani

DAY 3

16:10 – 16:55 Workshop - Roland

11:00 – 12:00 VALUE OF EDUCATION FOR PROFESSIONAL AUDIO ENGINEERS International College of Music (ICOM), Malaysia Speaker – Makenthira Kanan - International College of Music (ICOM), Malaysia

17:10 – 17:50 DJ Battle 17:50 – 18:00 Entertainment – Special Performance

12:00 – 12:45 AES INDIA PALM OPEN FORUM on HAS BOLLYWOOD FAILED?

18:00 – 18:30 DJ Battle - Announcement of Winners & Prize Distribution

DAY 3

13:00 – 14:00 DOLBY ATMOS MIXING - CONCEPTS AND TECHNIQUES

12:00 – 12:50 The Great Indian Touring Phenomenon Speaker : Laiq Qureshi, Arjun Andotra

Speaker – Sreejesh Nair - Pro Audio Application Specialist, AVID 16:00 onwards INDIAN RECORDING ARTS ACADEMY AWARDS visit www.iraa.in

13:00 – 1350 Delivering Big Stage Festivals Speaker : Munbir Chawla, Varun Khare

* Conference Schedule subject to change

* PALM Soundscape Programme subject to change

March - April 2018

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HARMAN Live Arena Yet again HARMAN will be back with its much-awaited Live Arena, with a lineup of some of the best bands and musicians performing at the arena. The HARMAN stage will also showcase the most advanced technology of end-to-end Live solutions by HARMAN. The products on

stage at the arena will include newly launched products & solutions from all the HARMAN brands culminating in an audiovisual feast for the senses. HARMAN had not announced the inventory list or the Live Arena schedule at the time of going to press.

PALM FEATURES

Demo Qube The Demo Qubes which are conceptualized to serve as a ‘live’ demo area will feature five major brands this year that include Bose, Electrovoice, Pope, RCF and Rivera Digitech. The sound at these Demo Qubes can be manipulated, tested and heard at various volume levels, giving visitors an opportunity to listen to these systems at ease in acoustically treated cube structures. The Demo Qubes at PALM provide ample opportunities to visitors seeking demonstrations of high end speakers that are available in the market. With restriction in the Exhibit Hall on the sound level, Demo Qube has been an ideal concept for audio companies to demonstrate their products and latest features with an ease in a very private cube structure.

March - April 2018

Show Preview NEW PRODUCTS AT PALM EXPO 2018 Aerons (India) Exim Pvt. Ltd. Booth No. B47, Hall No. 1 HD series two-way speakers SUB series subwoofer LA 112 2 way single 12” compact line array which can be used for indoor and outdoor use.

Ansata Computer Systems Pvt. Ltd. Booth No. F19 & G19, Hall No. 1 - The d&b SL-Series; large format line array systems, which are complete system package designed for significantly sized arenas, stadiums and festivals. - d&b Soundscape; toolkit to enable creation of an unparalleled listening experience. This new technology allows creation of sound system designs with which acoustic environments can be created and sound sources placed and moved.

Circle Pro Audio Booth No. D47, Hall No. 1 - CPA CB-4 In Ear Combiner; Operates up to four wireless monitoring transmitters using one shared antenna. Power is supplied to the transmitters over the BNC cables, eliminating separate power supplies for the transmitters

Fester India Booth No. C76, Hall No. 5 - Truss Master; FIRST electric truss hoist to be manufactured in India. will showcase 1 ton and 0.5 ton hoists and hoist controllers.

Furtados Music India Pvt. Ltd. Booth No. G47, Hall No. 1 - Music Stand light 12242-000-55; Versatile light with 2 extra bright and long-lasting LEDs rated for 100,000 hours. - Orchestra Music Stand w Tablet Holder 11965-000-55; steel orchestra music stand. The music desk is removed and attached easily by a user-friendly and practical quick release mechanism. - Tablet PC Table Stand 19797-000-55; Stable Table Stand with Universal Tablet Holder for different models. - Table/Floor Microphone Stand 25995-300-55; versatile steel microphone table. User-friendly height adjustment and the comfortable

March - April 2018

swivel arm, facilitates quick microphone adjustment. - Monitor Stand 26754-000-55; modern studio monitor stand with a tiltable tray and a metal tripod base.

comes with a distinct feature of interchangeability which allows you to attach any mount i.e. mic mount/guitar mount/notation mount/ laptop or tablet mount and switch mount as per convenience. - X-16 Keyboard Stand; is an X style keyboard stand with an unprecedented 16 position locking mechanism. Its snap lock lever can be used by just by a single flick of the finger.

Ginni Spectra Pvt. Ltd. Booth No. F91, Hall No. 1 - NOWOPAN; A ready to use finished panel set, available in different frame combinations, design and size. Available in frame options - Wood, GI, Alluminium.

GKS Associate Booth No. C78, Hall No. 1 - 10 R Moving Head Beam Light - LF -23 TWO FOG MCHINE JET; Two colors fog jet effect.

G.M. Audio Booth No. E19, Hall No. 1 - DAS ALTEA SERIES; portable speakers, designed and built to offer musicians, DJs andsound providers great sounding systems that combine the latest in pro-audio engineering with great looks and an extraordinary set of user-friendly features. Two models are available, the ALTEA-715A and ALTEA-712A, both incorporating a rugged injection molded polypropylene enclosure. - DAS DX SERIES AMPLIFIERS; The DX80 and the DX-100 are four channel amplifiers offering 2000 W and 2800 W per channel at 4 ohms respectively. - DAS EVENT SERIES; Event series of line arrays and bass systems with two new powered models, the Event212A line array and the Event-121A subwoofer. - DAS IA SERIES AMPLIFIER; The new Class D amplifiers offer both two and four channel versions with a range of powering options and characteristics that are ideal for today´s sound installations requiring advanced features and flexibility. - DAS SF SERIES; two new subwoofer systems in the Sound Force Series line-up - SF-212 and SF-218. - DAS VANTEC 201 SPEAKER; two new products, the VANTEC-20A and the VANTEC-118A. The VANTEC-20A is an active curved source line array and VANTEC-118A is the companion subwoofer.

Modern Stage Service Booth No. D17, C24, C18, Hall No. 5 GrandMA3; with new system architecture, fixtures, features, advanced processing technology, improved effects and extreme working capabilities with no boundaries. It has a huge multi-touch screen with enhanced playback capabilities. Improved with the integration, connectivity and workflow, grandMA3 consoles are also compatible with shows created on grandMA2 consoles.

MX-MDR Technologies Ltd. Booth No. F09, Hall No. 1 - MX SIGNATURE 12 USB; Analog Audio Live Professional Mixers with USB and Bluetooth (12 Mono + 1 STEREO track input) . - DJ 1000; MX DJ Headphones DJ1000 White are a great solution to your audio needs. With an included bag for easy portability, the DJ-1000 from MX also sets itself apart by folding in on itself to make sure that you are able to keep it with you at all times. - MX UHF 400; a High compact & reliable dual channel UHF Wireless Microphone, UHF-400 features a dynamic microphone with a UHF high band transmitter and a sensitive noise squelch receiver. Ideal for: PA Applications, stage and auditoriums, seminar halls, places of worship and recreation centres. - MX CA-20; Professional Series Power Amplifiers delivers from 500 Watts to 6800 Watts of power in two to three rack spaces. High current transistors combined with low noise input amplifiers enable the MX Power Amplifier to deliver exceptional power.

New Elite Electricals

IA Stands Pvt. Ltd. Booth No. H99, Hall No. 1

Booth No. D06, Hall No. 5 - Prism King ISMHS0005; a high power

- Tripod; multi-functional stand which

11 prism and spectacular effects super beam moving head light. It is fixed with YODN 350W 17R,14 colors,1 fixed gobo wheel with 17 gobo.

Pink Noise Professionals Pvt. Ltd. Booth No. K63, Hall No. 1 - Icon Pro Audio Platform M+; DAW Controller, adding true tactile control via USB2.0 to your Digital Audio Workstation (DAW) and production system. The Platform M+ is a MIDI control surface designed for producers, engineers and musicians who want the hands on control of a mixing console and the flexibility of modern “in the box” digital music production within a smaller physical workspace. The Platform M+ integrates with most popular Digital Audio Workstations. - Yamaha CS700; video sound collaboration system, specifically designed as an all-in-one unit to equip huddle rooms with best in class audio, video, and screen sharing capability. - Work Pro Audio WFS 10CX; audio projector been designed for outdoor appliances. It incorporates a 10” coaxial transducer and a 1” compression driver. Its elevated IP range (IP 65) makes it very suitable for sports facilities, entertainment complexes, etc. - Work Pro Audio SL210A; new biamplified SL 210 A line array system from the The Arion Series, featuring two class D, 1000W power amplifiers. - Work Pro Audio Blueline Digital; a distributed audio system based on streaming using Ethernet. - Yamaha YVC1000; An intuitive unified communications audio solution, the Yamaha YVC-1000 is a Bluetooth® enabled conference phone system for medium to large conference spaces that calls for flexible audio, web, or video conferencing.

Sound Team Booth No. D72, Hall No. 1 GENELEC THE ONES – 8331, 8341 & 8351 SAM Three-way Coaxial Monitor System; Ultimate Point Source monitoring with The Ones. The award-winning 8351 is joined by the 8331 and 8341, the world’s smallest three-way coaxial monitors, to create a complete compact coaxial range that redefines near-field monitoring. With The Ones, Ultimate Point Source meets ultimate flexibility with Smart Active Monitoring (SAM), the ground-breaking Genelec technol-

Show Preview NEW PRODUCTS AT PALM EXPO 2018 ogy based on Genelec Loudspeaker Manager (GLM) 3.0 software for PC and Mac, incorporating AutoCal.

Harman International (India) Pvt. Ltd. Booth No. D09, Hall No. 1 AKG C636 WL- Made with handselected components and manually tuned for a pure transparent tone. It has retained the spirit of the classic AKG C535 condenser microphone, while being re-engineered to meet the demands of today’s top vocal performers. Its proprietary double shock suspension system provides unparalleled rejection of handling noise. JBL 305P MkII / 306P MkII / 308P MkII - Powered studio monitor makes legendary JBL performance available to every studio. With the revolutionary JBL Image Control Waveguide and refined transducers, they offer stunning detail, precise imaging, a wide sweet spot and impressive dynamic range that enhances the mix capabilities of any modern workspace. EON ONE PRO - First, portable, battery-powered, linear-array PA system in its class. With a lighter, more compact design and up to six hours of play time provided by a rechargeable lithium-ion battery. Soundcraft Vi1000 - Smallest member of the Vi-000 family, at just 86cm x 81cm (34” x 32”) in size, aimed at the live touring, install and corporate AV markets for applications where a highly compact, cost-effective but powerful console is required. Employing Soundcraft’s unique and highly intuitive Vistonics IITM channel strip control interface, together with FaderGlowTM. The console inherits the operating principles and workflows from the highly successful Vi3000, 5000 and 7000 consoles. In addition, it also integrates Soundcraft SpiderCoreTM, offering 40-bit floating point processing for class-leading audio quality. MAC Encore Wash - This new wash lighting is designed to produce rich color and premium white light in a wide variety of applications where light quality is critical. AKG EPS 1 / EPS 2 – Hand held dynamic microphone.

Pro Sound Inc. Booth No. F99, Hall No. 1 Beta4 QS-2000 / 3000, DJX -2.2 / 3.2 and AB-4000 – Dual channel power amplifier Beta4 HF-D450 - High frequency com-

pression driver Beta4 IB-590 / 690 / 990 and GM-50 microphones XEM 80U / 120U - P.A audio mixing console CUBE 150 and WPA 200 - Active portable speaker system

Hari Industries Booth No. B86, Hall No. 1 Granotone: Speaker cabinet coating for touring cabinets and road cases. Made from the state-of-the-art technology. They are available in roller, spray and sand finish. With safe, non-toxic formulation, that quickly dries in 3 hours, this paint creates a scratch and weather-resistant finish. It is water-based and low in VOC’s, with the availability in all major colors.

Guangzhou Shinestage Technology Co., Ltd Booth No. B24, Hall No. 5 Folding truss - It’s one of the heavy duty, hot sell folding truss, easy to transport and used for outdoor live show events. Aluminum Crowd Control Barrier - Can be used as riots in live concerts, in large-scale provincial, national or international conference security; sports security, security screening, etc. Barriers- General barrier, corner barrier, policeman barrier, cable barrier and gate barrier. They are approved by TUV and can bear 10528 N impact.

Sun Broadcast Equipments Pvt. Ltd Booth No. D66, Hall No. 1 Tascam DA-6400 - The premiere multitrack recorder/player for live and broadcast applications. It has 64-track recorder that records to an internal SSD drive caddy for live and event recording. Tascam CD-400U - A professional, versatile, and reliable media player offers the latest audio content playback options for institutions, music venues, retail, schools, restaurant applications, and more. Tascam SS-R250N / SS-CDR250N - Two-channel recorder/player for network applications with a variety of remote control options. An FTP client function is included – enabling the automatic uploading and download-

Show Preview NEW PRODUCTS AT PALM EXPO 2018 ing of recorded files. Tascam DR-701D - The Ultimate Portable Audio System for Video Production with 6-Channel recorder for single-shooter video production. Tascam Celesonic US-20x20 - Packs 20 channels of analogue and digital I/O into a single rack space with great sounding preamps and USB 3.0/2.0 connectivity. Eight Ultra-HDDA microphone preamps provide 56dB of gain and high headroom to make microphones sound their best. Up to ten channels of digital I/O are included on ADAT and S/ PDIF connectors, with word clock also provided for use with external clocks like Tascam ML-32D - Compact 1U converter which can convert 32-channel analog line input/output signals into Dante signals. Dante also supports redundancy (primary/secondary). Equipped with D-sub connectors as analog line inputs and outputs. The line-up includes “ML-16D”, which can convert 16-channel analog input/output

signals to Dante signals, to meet a wide variety of needs. CALREC Brio36 / Brio12 - Powerful and compact digital broadcast audio consoles in their class. They have a comprehensive broadcast feature sets to support a wider breadth of broadcasters, and the same market-leading levels of quality and customer support which Calrec is renowned for.

Voice Coil. Mackie MDB-1P/ MDB-2P - Passive direct boxes for stage and studio, offer clean, low-noise audio to a mixer irrespective of what instrument are being uses. The MDB-1P is perfect for livesound and studio applications whereas the MDB-2P is perfect for stereo sources like keyboards and media players. Mackie MDB-1A - Active direct box offering higher head-room for ultra-low noise and distortion-free performance. It is perfect for stereo sources like keyboards and media players. It’s merge switch allows connection of stereo sources which are then summed to mono at the output. Mackie MDB-USB - A USB stereo direct box which allows users to connect their computer directly via USB. Mackie MTEST1 - Featuring a simple 5-way switch to test every pin, even with mismatched connectors, the battery-powered MTEST-1 is an essential tool to have in the bag for every gig.

Sonotone Audio LLP Booth No. A03, B19, Hall No. 1 P Audio G15-800EL / 600MB / 400MB - 15”/ Ferrite Magnet/ 800W RMS/ 4” Voice Coil; 15”/ Ferrite Magnet/ 600W RMS/ 3.5” Voice Coil; 15” / Ferrite Magnet/ 400W RMS/ 3” Voice Coil P Audio G18-1400EL / 1600EL / 1000LF / 1200LF - 18”/ Ferrite Magnet/ 1400W AES/ 4” Voice Coil; 18”/ Ferrite Magnet/ 1600W AES/ 4.5” Voice Coil; 18”/ Ferrite Magnet/ 1000W AES/ 4” Voice Coil; 18”/ Ferrite 1200W AES/ 4”

PALM FEATURES

DJ Championship The first two days of the PALM Soundscape will conclude with the popular DJ Championship with pro and amateur disc jockeys battling it out for the coveted PALM DJ Championship title. With the best talent the country has to offer, DJ Championship has been instrumental in promoting and nurturing the upcoming DJ Talent since 2011, while also brining the best DJs in

Users can even manually test continuity between any two points with the included probes. Equipped with the most commonly used connector types including TRS, TS, XLR, RCA, Speakon, 3.5mm TRS, MIDI, and Banana jacks. Dynatech HDA-15 – It is a 15, 1600W powered loudspeaker designed in the United Kingdom. Equipped with Celestion high performance driver and has built-in 2-band EQ, microphone inputs and line input. Portable and with flexible mounting options, the HDA 15 delivers extraordinary performance at unmatched value. Dynatech DEL-115A - Portable and installed PA loudspeakers used in applications including sound reinforcement in Houses of Worship, Events, Clubs, Rehearsal Halls and Ballrooms etc. Dynatech DDJ-3BT - A 3-Channel Professional DJ mixer with multiple inputs (Line/Phono/Mic). It also features are talk over switch, cue button and headphone jacks for monitoring.

dreds of online registrations received, will get an opportunity to battle it out in the Elimination round on May 31st, 2018. 10 of the 20 contestants who are judged on the criteria of Track selection, Technical skills, Creativity, Confidence and Crowd Response will take their positions in the Finale Round on May 1st, 2018. The final three winners will be selected during the Finale. The DJ Championship gives upcoming talent a fantastic opportunity, while

the country on to the common stage. DJ Reji, DJ Championship Director has contributed a lot of energy to it that has added significantly to its success. In his opinion, the Championship is a boost that everybody needs. He asserts that most of the DJs who come for the Championship are mostly young enthusiastic kids who would want to be recognized and showcase their talent. 20 shortlisted contestants from hun-

also laying a lot of emphasis on the prizes. The focus is that winners go home with top quality DJ gear sponsored by the various prize partners. Validating their visionary spirit of inspiring Indian talent are: Platinum Partners - DENON DJ, Co Partners – ANTELOPE AUDIO; Sound Partner – OHM, Premium Prize Partner – RELOOP, and Prize Partners – AKAI, ALESIS, MX MDR, NUMARK and ROLAND.

PREMIUM Prizes

Winner

Runner-up

Reloop Touch

2nd Runner-up

Reloop BeatMix 4

Reloop MixTour

Other Prizes

Akai APC40MKII

March - April 2018

Alesis Q49

MX DJ 1000

Numark PT01 Scratch

Roland DJ-99

Show Preview NEW PRODUCTS AT PALM EXPO 2018 Sun Infonet Booth No. J09, Hall No. 1 Meyer Sound Ashby Series: Self-powered ceiling loudspeakers comprises of two flush-mount models: the Ashby-5C with a 5-inch low-mid cone driver and the Ashby-8C with an 8-inch low-mid driver. Both employ a concentric 0.75” metal dome tweeter and are housed in integral, quick-mount metal backcans with Phoenix connectors for fast, simple installation in new or retrofit systems. Meyer Sound LINA Series: Smallest. lightest and compact linear line array

loudspeaker with 750-LFC, a very compact low frequency control element. Audio Focus ARES 12: Self-powered 3-ways line array system featuring dual 12’’ speakers for LF, eight 3’’ drivers delivering outstanding MF and two 1’’ HF exit compression drivers coupled to a waveguide to provides smooth top end. The 4-ways Powersoft built-in amplifier is managed by AUDIOFOCUS DSP that uses SHARKS technology for zero latency filtering IIR and FIR. Audi Focus MTSub218MKII: Subwoofer designed for a wide range of sound reinforcement applications from outdoor

events and concert halls to theatres where high-end sound quality and return on investment are crucial. The design of this subwoofer is absolutely unique and has been made by our R&D department to ensure an exceptional sensitivity. Shure Axient Digital: Incorporates the most innovative wireless audio technology in the world. With an unprecedented level of signal stability and audio clarity, plus flexible hardware options, advanced connectivity and comprehensive control, this wireless system readily takes on the challenges of the world of wireless audio microphones.

Allen & Heath SQ-6: A next generation digital mixer, powered by Allen & Heath’s revolutionary XCVI 96kHz FPGA engine. Created to excel in demanding scenarios such as AV, corporate events, live productions and houses of worship, SQ-6 offers class-leading high-resolution audio fidelity and an ultra-low latency of <0.7ms. Allen & Heath DX168: It is a rugged, portable expander for adding remote I/O to a dLive S Class or dLive C Class system. Quest Audio QX-280: Specifically designed for AV installations and high end commercial sound, where hi-fidelity audio is required.

Show Preview

IRAA 2018 gears up for a grand 12th edition as nominations continue to pour in

onouring excellence in the domain of music recording and production is the 12th Edition of the glorious Indian Recording Arts Academy Awards (IRAA). The IRAA Awards which recognizes work of distinction and exceptional achievements in the field of Sound Recording and Music Production, has achieved critical attention from Indian recording engineers aspiring for recognition in their technical art. In its 12th consecutive year, the awards will continue to applaud those who exhibit the courage and creativity to bring about a transformation in the world of music, sound recording, thereby uplifting standards of excellence in sound recording in India. There are a lot of new young sound engineers who are doing great work in studios around the country. The IRAA 2018 constituting a three member committee headed by Anil Chopra, Founder & Executive Chairman, IRAA, Pramod Chandorkar, Honorary Chairman of the IRAA Award Committee 2018, and Aditya Modi, Award Director for IRAA 2018 have once again focused on scouting these new talents and bringing them into the spotlight and awarding them for superlative engineering work. The committee’s efforts and vision supported by a 10 member jury comprising of top audio engineers from across the country has translated into increased entries of the best music and recording from studios from all over the country. At the time of going to press, the esteemed Jury of India’s leading sound engineers had started assessing the large

body of hundreds of online nominations received on the IRAA website. The Jury will zero in on the winner through a collective evaluation and judging process, ensuring that all entries received are reviewed and judged fairly. With the objective of recognizing the regional music industry, the IRAA awards has also retained ‘Regional

nique and creative sound recording. IRAA recording categories and genre of music each year represent trends in music production. Sound recording fraternity from across India recognise the sincere endeavour of IRAA to award great recordings whether emanating from Chennai or Delhi or Mumbai, whether Bollywood or regional cinema.

At the time of going to press, the esteemed Jury of India’s leading sound engineers had started assessing the large body of hundreds of online nominations received on the IRAA website. Awards’ in the Audio Engineering, Audio Post Production and Music Production segments to honour talent outside Mumbai. For 2018, the IRAA committee and jury has introduced several new awards and award categories that are crucial to the recording and music production industry. The new categories include: • Sound mixing for Advertisement

We cherish this recognition and in turn award the best work in India. The commendable Jury is spending many hours of hard work and study despite being pressed for time, as the Jury itself comprises successful and busy engineering professionals. Nevertheless,

they contribute selflessly, as they too believe sound recording is an art. The entire IRAA team, work to one purpose – recognizing and applauding a job well done.” “I must state that IRAA 2017 process of identifying winners and the meticulous detail by Pramod Chandorkar and the Jury was exemplary. Pramod has indeed lifted the credibility of IRAA. It makes my task as an Award Director for 2018 much simpler, as well as much more challenging to meet these standards. I look forward to IRAA 2018 with tremendous enthusiasm and hope to bring the best work to light for categories that shall be meaningful for India’s sound recording fraternity,” said Aditya Modi. Nominations will close on 30th April and the winners will be announced at the IRAA award ceremony which will be hosted alongside the PALM Expo 2018 at the Bombay Exhibition Centre, Goregaon, Mumbai on 2nd June, 2018.

• Sound Designer for Foreign Films • Sound Designer for Documentaries/ Short Films • Dubbing Engineer for Documentaries/Short Films • Sound Editor (Effects & Ambience) for Documentaries/Short Films • Sound Editor (Effects & Ambience) for Documentaries/Short Films • Documentaries/Short Films Mixing Foley Artist for Documentaries/Short Films “Each year IRAA discovers good studios and talent which drives India’s experience in sound engineering techAnil Chopra, Founder & Executive Chairman, IRAA; Pramod Chandorkar, Honorary Chairman IRAA 2018; Aditya Modi, Award Director IRAA 2018

March - April 2018

MY SOUND EXPERIENCE

an a Light Guy talk about Sound? We may not understand the technology, the physics or the problems you sound guys face, but after sharing consoles for so many years, I think we have heard enough to form some opinions. The advantage is that the console is usually located in the sweet spot where the concert sounds the best. We’ve heard a huge range of bands and types of music. Shared many laughs at the console with you guys. Hated you when you blared the PA while we trying to focus light (or talk to our girlfriends for that matter). Envied you when we realised that your lame excuse of ‘Testing the system’ was a cover for you enjoying your favourite music pumped out at you louder than any wife or neighbour would ever tolerate at home. So please accept that we could have picked up a few ideas of our own lets share! In my view the single biggest problem afflicting sound guys is that a large number of them have never heard a Live acoustic instrument without any miking. So you miss the dynamics and harmonics of an instrument. Only when you listen to quiet music do you really hear (and hopefully differentiate) between different guitar sounds, piano tunings and flute materials. That’s not a criticism - that’s a fact. Sadly this is the lost art of our times. How many kids do you hear practising instruments at home. If you do its usually tuneless headache time. Not good grounding for a future sound engineer - unless you perk up and say - Hey how can I make this better. But that may just lead to some of the biggest problems for your future career. In the old days most audio companies produced what they called a ‘Reference speaker’. This pompous sounding name was them trying to place a benchmark on what they felt all speakers (or music) should sound like. Guitars, Pianos and Flutes were not designed to be heard by more than a handful of people (without amplification).

March - April 2018

If you wanted to add volume - you just added numbers. Two, three .... all the way up to a very famous band called Ten Guitars! For hundreds of years music followed that principal, leading to orchestras made up of a range of instruments. Barely a hundred years ago someone discovered microphones that quickly led to speakers and then PA was born. The PA has grown up today. Slimmer, more evenly distributed, clearer and bringing the joy of music to thousands of people to share and experience. Music is a great Bonding and / or Healing catalyst. Almost equal to or even surpassing alcohol. So it’s you sound guys that are up front and centre. If you ever had your heart broken you have probably spent some time listening to

speakers? In my opinion that should be your benchmark. To Start from at least. Then you can take it as far as you can. You have to start somewhere. Writers start with a blank page. Light Guys start with a Blackout. Musicians start with silence - You guys start with the first pluck or blow. Try to make that as clean and as pure as a blank page in a silent dark room. If you get that right the progression will be easy. That easy may be the most complex thing that you have done - but nobody should see that complexity. They just need to enjoy its simplicity. Isn’t that a contradiction ? Let me explain. Lets imaging you are designing a great concert hall. You have to make million calculations,

In my view the single biggest problem afflicting sound guys is that a large number of them have never heard a Live acoustic instrument without any miking. So you miss the dynamics and harmonics of an instrument. music in the dark. We light guys are redundant (And hey, we just too cool to ever have our hearts broken). You probably had your heart stopped by the greatest light show that supported your favourite band in concert. So the light guys have to deal with 0 to 100 acceleration - at our own pace. But if music is being played - you guys are always full on! It starts in the studio. Here’s where you capture sound and mix it up and add your little touches to create a sonic experience that will be shared with the world. How much you add to the recording process will depend on the musician and producer. But you have a contribution. Musicians have a clear idea (I hope) on what they need to sound like. You have to get them there. So why was I going on about acoustic instruments and Reference

work with so many different kinds of materials, make so may varying and uneven choices - and bring it all together with the interiors and the air conditioning and the safety requirements and the management issues to ensure that every seat can hear every note played in the space. Incredibly complex for you leads to an incredibly simple experience for the audience. Got it? I understand that most music today comes out of a computer. Remember the computer has not created a music instrument (yet). It can replicate one. Then add a huge variety of colouring to make it something else. But it started somewhere. You Sound Guys have your heads filled with so many things. You certainly have far more buttons and meters and knobs than any self respecting Lighting Console. It’s easy to forget basics. This little essay is

meant to urge you to rediscover your basics - in your own way. Then continue the journey. A journey to differentiate. As the world is getting larger - the odd thing is that choices are narrowing. Cars, food, clothes from every part of the world are melding into one taste or look or experience. Too many saris and kaftans and ethnic wear are being ditched for jeans. Still a great chef or a designer who perseveres and drapes the sari to bring out the female form in more attractive ways will always make a name of himself. Open your eyes to that. Today’s world of plastic powered speakers is the sound equivalent to jeans. Wear, tear a little and discard. Not cutting it. There’s a huge opportunity to make millions there if you become the next Mr Levis of sound. Just remember that it is because of the Mr Levis’ of the world that Mr. Armani and Mr. Versace were born and made names for themselves. Mr Levis made sturdy pants for miners. Mr Armani started with the basics and made them into something the ‘mine owners daughter’ spends his millions on. Your choice. I urge you to differentiate your sound. Try and make a unique sound for every band, every jingle, every movie you record. The road will be tough - but if you persevere and deliver, you will take the whole sound movement forward. Remember your entire industry with all its designers and technologies and investment and marketing is designed for only one thing. To create a limitless freeway to distribute an artist’s creation honestly and cleanly, to the maximum number of people to sample or revel in. Yeah. For guys like me who share the console with you to have a good day at the office !

(The views expressed by the author are his own personal comments and the magazine does not subscribe to them).

Lighting

Ayrton Launches Mistral-TC spot luminaire delivering 14,000 lumens Ayrton has launched its brandnew Mistral-TC spot fixture - a versatile, fully equipped 300 W spot designed for applications that require perfect colour reproduction. Mistral-TC is equipped with an entirely new LED module using a monochromatic light source calibrated at 7,000K with a native colour rendering index greater than 90, and extremely high TM30 readings. This high-output, low-etendue light source module enables Mitral-TC to produce more than 14,000 lumens. Its new 13-lens proprietary optical system delivers an 8:1 zoom ratio with a zoom range of 6.7°to 53° . The

optics, equipped with a 119mm frontal lens, can achieve an extremely uniform flat beam that can render images perfectly in all conditions and at any beam angle. Mistral-TC’s prolific list of features like its luminaire effects system consists of two wheels fitted with interchangeable abstract or volumetric HD glass gobos. One wheel has 7 indexable rotating gobos, and the other has 9 fixed gobos. Using these two gobos wheels in combination can achieve incredible morphing and graphical effects. Mistral also features a 15 blades iris diaphragm, a 5-facet rotating and indexable prism, a softedge frost filter, a strobe effect with

speed adjustment ranging from 1 to 25 flashes per second, a dynamic animation effect and an electronic dimmer from 0 to 100% without color variation. For optimum cooling and stability, Mistral-TC is equipped with a new liquid cooling system using a heat pipe that includes a silent mode designed for studio and theater applications and can be controlled by DMX-RDM, or wireless with the standard Timo from LumenRadio. Mistral-TC spot fixture - a versatile, fully equipped 300 W spot designed for applications that require perfect colour reproduction

ChamSys Announces New QuickQ Console Range ChamSys has introduced its latest series of QuickQ consoles which is designed with a quick and easy user interface, 9.7” touch screen, and a comprehensive feature-set that bring simplicity and power to the small console market. Its built-in Wi-Fi allows for remote control from a tablet or phone, which can also serve as a 2nd external monitor. Reportedly, these consoles are ideal for students, volunteers, or part-time operators, and comfortable to use even by professionals on small-scale shows. QuickQ series comes with three different models: QuickQ 10 – It supports one

universe, features dedicated hue and saturation control encoders for controlling LED and traditional conventional fixtures and 20 fixture faders. QuickQ 20 – Having all the features of the QuickQ 10, the QuickQ 20 supports two universes and includes four attribute encoders for controlling moving lights. QuickQ 30 – With all the features of the QuickQ 20, the QuickQ 30 has 40 fixture faders and supports four universes. All QuickQ console models use ChamSys’ extensive and continuously updated personality library with over

22,000 fixtures. The consoles support RDM, allowing them to detect, patch and configure RDM compliant fixtures such as the CHAUVET Professional Ovation, COLORado and COLORdash, without the need to address and set the mode manually for every fixture.

PR Lighting Releases the ARC LED 1360 Hybrid Strobe PR Lighting has unveiled the release of its new LED hybrid strobe: the ARC LED 1360 Strobe T/D. With its IP-67 weather resistant rating, making it perfect for use in all conditions both inside and out. The luminaire can function as a powerful graphic strobe, providing an unbelievable punch, as well as a blinder and flood. The LED 1360 hybrid strobe is available in cool white (6,500K) and warm white (3,000K), it also

March - April 2018

has a 120-degree field angle, an LED display with four-button, flick free operation for TV and film use. Deriving its light source from 360 1W Osram LEDs, the strobe flash rate is between 0-25 fps (with macros). Other features include a 0- to 100-percent linearly adjustable dimmer; LED board temperature and fixture usage time read-outs; over-temperature protection -- all packaged in a highintensity, die-cast aluminum IP-67 housing, with a weight of just 9kg

With all the features of the QuickQ 20, the QuickQ 30 featured here has 40 fixture faders and supports four universes. QuickQ consoles use the new QuickQ software, and their show files are compatible with the more advanced MagicQ show files, which enables users to progress freely throughout the ChamSys range.

Product Focus

Studio Microphone

Microphone Array If you are looking for a new studio microphone, the options are vast for vocal as well as instrument mics. The year 2017 heralded the launch of a wide range of new microphones for the studio. PT selects six distinctive microphones and details in the features and specs that matter when investing in a good studio microphone. Audio Technica AT5047 AT5047 captures the full, expressive character of a sound source, no matter how loud or how soft. And since it is equipped with a transformer-coupled output, the microphone maintains a constant load output impedance, even when capturing sources at extreme SPL, resulting in a stable relationship between the mic and a mic preamp or console input. Main Features include: • Exceptionally wide dynamic range captures the full, expressive character of instruments and voices – from the caress of drum brushes to powerful vocal performances. • Four rectangular diaphragms (2 micron)

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function together to provide a combined surface area twice that of a standard oneinch circular diaphragm. Discrete components carefully selected and optimized for maximum performance and compatibility with standalone microphone preamps and console inputs. Transformer-coupled output provides smooth sonic character. Hand assembled and inspected for 100% quality control. Advanced internal shock mounting decouples the capsule from the microphone body. Elegant, durable housing of aluminum and brass. Included advanced-design custom AT8480 shock mount provides superior isolation. Custom hard-shell carrying case with die-cut foam compartments offers protection during storage and transport.

Technical Specification: • Element: Fixed-charge back plate, permanently polarized condenser • Polar Pattern: Cardioid • Frequency Response: 20 – 20,000 Hz • Open Circuit Sensitivity: -29 dB (35.5 mV) re 1V at 1 Pa

March - April 2018

• Impedance: 150 ohms • Maximum Input Sound Level: 148 dB SPL, 1 kHz at 1% T.H.D. • Noise: 6 dB SPL • Dynamic Range (Typical): 142 dB, 1 kHz at Max SPL • Signal-To-Noise Ratio: 88 dB, 1 kHz at 1 Pa • Phantom Power Requirements: 48V DC, 2.7 mA typical • Weight: 592 g (20.9 oz) • Dimensions: 165.3 mm (6.51’’) long, 57.0 mm (2.24’’) maximum body diameter • Output Connector: Integral 3-pin XLRM-type • Accessories Furnished: AT8480 shock mount for 5/8”-27 threaded stands; 3/8” to 5/8” stand adapter; protective carrying case

Blue bluebird SL Bluebird SL is a large-diaphragm condenser microphone delivering pristine, highly versatile sound. With a high-pass filter and -20dB pad, Bluebird SL is ideal for capturing standout vocal performances, expressing the true tone of guitars, piano and more with extended upper clarity, smooth mids and rich lows. Main Features include: • Extended upper clarity with smooth mid frequencies for any voice or instrument • Hand-built proprietary largediaphragm cardioid capsule for full, open sound • High-pass filter and -20dB pad for ultimate versatility • Works great with home studio USB audio interfaces Technical Specification: • Transducer Type: Condenser, Pressure Gradient • Polar Patterns: Cardioid • Frequency Response: 20Hz – 20kHz • Sensitivity: 28.5 mV/Pa at 1 kHz (1 pa = 94 dB SPL) • Output Impedance: 50 ohm • Rate Load Impedance: Not less than 1k omh • Maximum SPL: 138dB

SPL (0.5%) • S/N Ratio: 82.3 dB-A • Noise Level: 11.7 • Dynamic Range: 126.3 dB • Power Requirement: +48V DC Phantom Power • Weight: 455g • Dimensions: 222.5mm x 47.5mm • HPF: 100Hz, 12db per octave • PAD: -20dB

Earthworks SV33 SV33 studio vocal microphone is designed to deliver vocal performances brimming with stunning detail. It provides freedom and ease to users for every recording session with an enormous sweet spot and incredible rear rejection, maintaining complete sonic accuracy for vocal performances. The SV33 eliminates limitations found in other high-end studio microphones and infuses ease into the process for both the vocalist and the engineer. With 140 degrees of freedom across the frontal hemisphere every moment of joy, longing, pain or elation will come through with clarity. Also, its discrete Class A circuitry allows the signal path to remain uncompromised, delivering the purest sound possible. Main Features of Shape 65 include: • Front Address • 14mm Capsule • True cardioid pattern • 30Hz – 33kHz • Handles up to 145dB SPL • Hand-tuned precision • Crisp, clear and authentic reproduction • Nextel Dark Black finish for low reflectivity and durability Technical Specification of Shape 65: • Frequency Response: 30Hz – 33kHz ±2dB at 5 inches (12.7cm) • Polar Pattern: Cardioid • Sensitivity: 10mV/Pa (-40dBV/Pa) • Power Requirements: 2448V Phantom, 10mA

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Max Acoustic Input: 145dB SPL Signal-to-Noise Ratio: 79dB A-weighted Output: XLR (pin 2+) Output Impedance: 65Ω balanced (between pins 2 & 3) • Minimum Output Load: 600Ω between pins 2 & 3 • Noise: 15dB SPL equivalent (A weighted)

Royer Labs R-10 The Royer R-10 is a passive mono ribbon microphone and can handle SPLs of up to 160 dB @ 1 kHz. It’s compact size and mounting system allows for flexible, unobtrusive positioning. The R-10’s built-in windscreen provides superior protection from air blasts and plosives. It also reduces proximity effect (bass buildup from close miking) so guitar cabinets and acoustic instruments can be close-miked with less bass buildup. The R-10 utilizes a David Royer custom designed transformer for high overload threshold, minimizing saturation at even extremely high sound pressure levels. The mic’s open grill design minimizes standing waves and associated comb-filtering effects and its smooth frequency response, phase linearity and lack of self-distortion make it ideal for all digital recording and live sound formats. Main Features include: • High SPL capabilities for electric guitar, brass and other close miking applications • Multi-layered wind screen provides superior protection to ribbon element • Internally shock-mounted ribbon transducer gives increased durability • Passive design and custom transformer minimize high SPL overload • Hum-bucking transducer design delivers extremely low residual noise • Ribbon element not affected by heat or humidity • Absence of high-frequency peaks, “ringing” and phase shifts • Equal sensitivity from front or back of the element Technical Specification: • Acoustic Operating Principle: Electrodynamic pressure gradient • Polar Pattern: Figure-8 • Generating Element: 2.5-micron aluminum ribbon • Magnets: Rare Earth Neodymium (Grade 52) • Frequency Response: 30Hz-15,000Hz +/- 3dB • Sensitivity: -54dBv (re. 1v/ pa) • Output Impedance: 100 Ohms • Maximum SPL: 135dB @ 50 Hz, 160dB @ 1kHz • Recommended Load Im-

pedance: 700 Ohms (or greater) • Output Connector: Male XLR 3-pin (Pin 2 Hot) • Dimensions: Length including mounting base: 5 7/8 inches (149 mm) Width 1 3/8 inches (35 mm) • Weight: 13 oz (368 grams) • Shipping Weight: Single: 2.5 lbs, Matched Pair: 4 lbs • Accessories: Microphone Holder, Mic Sock, Carrying Case • Microphone: Adjustable Swivel Mount (Black).

sE Electronics X1 S X1 S is an updated and refined condenser microphone with expanded features, completely overhauled circuit design, and superior performance - including the highest dynamic range and SPL handling capabilities in its class. Main features include: • Custom-Designed, Hand-Crafted Capsule: It utilizes a hand-made condenser capsule, meticulously constructed and tuned. • High-Performance Electronics: Its internal redesign also allows for improved sensitivity, dramatically increased SPL handling (up to 160dB!), and a huge reduction in self-noise. • Two Switchable Attenuation Levels: The -10 dB and -20 dB pad switches provide extended dynamic range, enabling a wide range of applications and close-mic techniques for even the loudest instruments. • Two Switchable Low-Cut Filters: Selectable at either 80Hz or 160Hz, these two filters help eliminate low-frequency rumble or footfall noise, as well as help compensate for excessive bass (proximity effect) with close-mic techniques. • All-Metal Housing and Premium Finish: The X1 S’s all-metal chassis provides efficient rejection of any electrical interference and noise - and the high-quality finish ensures a great look for years to come. • Gold-Plated XLR Connector: Ensures loss-free, reliable signal connection for years. Technical Specification: • Capsule Type: Hand-Crafted 1” True Condenser • Polar Pattern: Cardioid • Frequency range: 20 Hz 20 kHz • Sensitivity: 30 mV/Pa (-30.5 dBV) • Max SPL: 140 / 150 / 160 dB (0/10/20 dB pad) (0.5% THD @ 1kHz) • Equivalent noise level: 9

dB(A) • Dynamic range: 131 / 141 / 151 dB (0/10/20 dB Attenuation pad) • Signal to Noise Ratio: 85 dB • Low-cut filter: 80 / 160 Hz, 6 dB/Oct, switchable • Attenuation Pad: 10 / 20dB, switchable • Powering: 48 Volts according to IEC 61938 • Electrical Impedance: 125 Ohms • Recommended load impedance: >1k Ohms • Current consumption: 6 mA • Connectivity: 3-pin male XLR connector • Dimensions: Diameter: 58mm (2.28 in), Length 169mm (6.65 in) • Weight: 445 g (15.70 oz.)

Sony C-100 The C-100 two-way Condenser Microphone is suitable for critical vocal and instrument recording in recording studios, as well as live and broadcast situations. With the incorporation of newly developed double microphone capsules and noise elimination structure, the C-100 delivers a broad frequency range of 20 Hz to 50 kHz and excellent reproduction of vocal and musical qualities. Main features include: • Excellent Sound Quality: Two-way diaphragm structure realizes both broad high range and resonant mid-low range and gives great vocal presence • Wide Frequency Response: Broad frequency response (20 Hz to 50 kHz) provides superb sound reproduction quality for High-Resolution Audio • Noise Elimination Construction: Two-part metallic body structure succeeded from C-800G microphone prevents acoustic vibration resulting in low noise and clear sound • Switchable Polar Patterns: The C-100 microphone features switchable uni-directional, omni-directional and Figure-8 polar patterns for various recording applications • Low-Cut Filter: Low-Cut filter switch helps eliminate low-frequency noise and proximity effect • Pad Switch: An -10dB pad switch on C-100 microphone provides added headroom and minimizes distortion caused by transient peaks. Technical Specification: • Length: 6.89 in • Diameter: 1.57 in • Unit Weight: 1 lb • Transducer Type: Condenser • Polar Pattern: Cardioid, Bi-Directional / Figure-Eight, Omni-Directional • Frequency Range: 20 Hz - 50 kHz • Sensitivity: -36 dBV/PA (15.8 mV) • Max. Spl: Cardioid: 131 dB SPL / Omnidirectional: 137 dB SPL / Bi: 135 dB SPL

March - April 2018

Sound System ‘Design Education’

any of us wonder why we do not get the most of our loudspeaker systems and despite having great gear we have not managed to get the results we have envisaged based on our expectations out of our PA systems. Why such a scientific and logical method is such a black art for most. So many of the rental houses who have made strategic investments also ask me so many questions about how to get the best out of their sound systems and why does it sound so different in parity when they use it or silently feel so without a word of mention. The key aspect that I have seen over the years is that most rental companies lack what I call a ‘Design Education’ which according to me is the genesis of a successful total audio integration package of a turnkey sound system. And now that manufacturers over the years have seen that void, they are taking that power away from the customers and integrating everything into their tour sound systems package. Now what remains is that the customer just uses applications engineering of his investment to its fullest potential. Sound systems today are extremely costly to own and operate for most people, and within a period of 8 years you needs to replace that investment with whatever is the latest generation system. Modern line-arrays have made great leaps and bounds in rigging ease & flying, transporting, acoustical plumbing and well as, off course better driver component technology. Not far behind is the amplification that has been consolidated by the speaker manufacturers by buying of reputed amplifier manufacturers or developing their amplifier enterprise from ground-up. The hierarchy has been like this since you first choose your speaker systems (in the past) and then what amps you will drive them and not the other way around. This has not only allowed the speaker manufacturers to have a hold on consistency and quality of the PA systems but also allowed them to grow other verticals of their manufacturing process. The entire workflow of design and calibration using the companies proprietary software’s are

March - April 2018

directly proportional to how serious each of them are in their long term plan to action. A few organizations have pushed the boat out there in loudspeaker engineering and prediction software leaving the dust in the wind for many others, until they try and play catch up, till there is almost an entire new technology or new approach to do it. Being a designer (first) and integrator of sound systems in various venues across India and abroad for very diversified audio applications in sports, entertainment, enterprise and TV, these advances in loudspeaker technology completely fascinate me. What also fascinates me is the amount of money the companies

has now changed over the years to a conglomerate style of product development & manufacture, where there isn’t an iconic front that the entire organization relies on to make a speaker system. So the era of the Meyer, Heil, Forsythe, Andrew & Adamson - our leading families of loudspeaker design themselves have their founder/entrepreneur step back a bit for the sake of the enterprise to grow rather than an individual’s brand equity & iconism. Talking about the amplifiers of today, I would say that isn’t what we should call them any more. Its now a individual command centre of processing & power generation for todays line array elements both amp

Most rental companies lack what I call a ‘Design Education’ which according to me is the genesis of a successful total audio integration package of a turnkey sound system.

and their investors are willing to put in to fund research and development of great sound systems for entertainment purposes. On the other side of things so many end users who buy these products crib and complain of the huge costs they incur in their investments This leads me to the point of having to appreciate and understand why these things are costly and when you invest in an organization the product cost is nothing compared to the investment in the culture, design, research and future developments to make world class sound systems for the best artists in the world and for the punters in return (who fork ticket money for these concerts and our B2C customers) I love to see the intense competing at this level in research, design in Electro-Acoustics and the current times have been the best in all these years I have known in my career span. I have also seen how this very owner designer driven business

and speaker broken up into elements for the sake of portability. If your not in the game for a high power 4 channel 2U amp with processing horsepower of stallion, then make way for your competitors to run over you. Now that maximum complaints I have seen from customers is the sheer cost of each amplifier, I honestly urge most of the end users to understand that this is a relationship with the principal and if you don’t feel good about it don’t invest. That’s why your plan with a PA system manufacturer has to be very long term, because not only are you investing in their product, but you are also paying for their R&D to support you in return in the long run. You should now not call it an amp anymore but an ‘amplified controller’. The exciting developments have also been in the innovative rigging I have seen in the past two years too. They have been outstanding and nobody really understands how important the flying hardware

is in achieving very good acoustically qualities in various environments. Small angles can make such huge improvements in trajectory of PA systems over distances over 50 metres that your prediction software simply demonstrates the advantages, Imagine how much better it must be practically in the field. Wider coverage patterns and special boxes to cover the first 5 to 15 metres in a concert also have become of paramount importance and its ability the work with its narrower counterpart in the same array have made a few manufacturers take it so seriously that they have released the narrow and wider box at the same time since they were testing them parallel in the design stage rather than release wider boxes a year or so later because of the pressure they have received from their customers to do so. Assisted hardware for ease of measurements and calibration in the sound systems, like laser brackets, disto’s, rangefinders cover the field hardware use and many of them are indispensible tools for vital design accuracy. Prediction proprietary software’s to place a virtual microphone anywhere in the room to see how your sound system has been performing has been astonishingly good if the venue has been plotted well. And now the manufacturers are doing so for you too and most of the venues in Europe already have been mapped by the packaged loudspeaker and amplified controller companies, making your life even simpler. So what I am trying to say to all of you through my column is that, think and then invest and if you do not have the knowledge, then take Sound System Design Education very seriously or merely hire someone knowledgeable to do so.

Warren D’souza - Founder, Managing Director, & Working Member of Sound.Com

#SoundGuyForlife #AudioEvangelist

STUDIO EXCELLENCE

Recordings to Record

In this feature PALM technology has put down a list of good studio work done in Bollywood in 2017. In trying to define the paradigm in studio recording, mixing and mastering, we chose what was popular. We have enlisted as many popular tracks as possible from Bollywood selected from a variety of studios, that made it to the top of music charts.

Baarish - Half Girlfriend Mix & Mastering Engineer: Eric Pillai

Phir Bhi Tumko Chaahunga Half Girlfriend

Mixing Asst. Engineers: Michael Edwin Pillai & Lucky

Recording Engineers: A Manivannan & Kaushal Gohil Mix & Mastering Engineer: Eric Pillai

Future Sound of Bombay

Mixing Asst. Engineers: Michael Edwin Pillai & Lucky

Zaalima - Raees

Future Sound of Bombay / Studio One / Living Water Music

Nazm Nazm – Bareilly Ki Barfi Vocals & Guitars Recording Engineer: Aditya Dev Mix Engineer: Aditya Dev Mastering Engineer: Shadaab Rayeen Mixing Asst. Engineers: Michael Edwin Pillai & Lucky

Future Sound of Bombay

Mix & Mastering Engineer: Shadab Rayeen Recording Engineers: Ashwin Kulkarni, Himanshu Shirlekar, Aaroh Velankar, Kaushik Das Recording Asst. Engineer: Abhishek Sortey

Humsafar - Badrinath Ki Dulhaniya Tamma Tamma Again - Badrinath Ki Dulhaniya Mix & Mastering Engineer: Eric Pillai

New Edge

Hawayein - Harry Met Sejal Recording Engineers: Ashwin Kulkarni, Himanshu Shirlekar, Aaroh Velankar, Aniruddh Anantha Mix & Mastering Engineer: Shadab Rayeen Asst. Engineer: Abhishek Sortey & Dhananjay Khapekar

Mixing Asst. Engineers: Michael Edwin Pillai & Lucky

Future Sound of Bombay

Ik Vaari Aa - Raabta Recording Engineers: Ashwin Kulkarni, Himanshu Shirlekar, Aaroh Velankar Mix & Mastering Engineer: Shadab Rayeen

New Edge

Mix & Mastering Engineer: Eric Pillai Sound Engineer: Julian Mascarenhas Mixing Asst. Engineers: Michael Edwin Pillai & Lucky

Future Sound of Bombay / Enzy Studios / J.S. Workstation

Dil Diyan Gallan – Tiger Zinda Hai Recording Egineers: Vijay Dayal & Chinmay Mestry, Mixing Engineer: Vijay Dayal

YRF Studios

Asst. Engineers: Abhishek Sortey & Dhananjay Khapekar

Trippy Trippy - Bhoomi Raabta - Raabta

New Edge

Recording Engineers: Ashwin Kulkarni, Himanshu Shirlekar, Aaroh Velankar Mix & Mastering Engineer: Shadab Rayeen Asst. Engineers: Abhishek Sortey & Dhananjay khapekar

New Edge

The Humma Song – OK Jaanu

Mix & Mastering Engineer: Eric Pillai Mix Asst. Engineers: Michael Edwin Pillai & Lucky

Future Sound Of Bombay

Mix & Mastering Engineer: Eric Pillai Mixing Asst. Engineer: Michael Edwin Pillai and Lucky

Bawara Mann - Jolly LLB 2 Mix & Mastering Engineer: Vinod Verma

Top Film Tracks - Album

Future Sound of Bombay

Sound Engineer Recording/ Mixing / Mastering Studio

March - April 2018

Safar - Jab Harry Met Sejal

Rashke Qamar – Baadshaho

Sweety Tera Drama – Bareilly ki Barfi

Recording Engineers: Ashwin Kulkarni, Himanshu Shirlekar, Aaroh Velankar, Aniruddh Anantha

Mix & Mastering Engineer: Eric Pillai

Live Instruments Recording Engineer: Vijay Dayal

Mix Asst. Engineers: Michael Edwin Pillai & Lucky

Mix & Mastering Engineer: Shadab Rayeen Asst. Engineers: Abhishek Sortey & Dhananjay Khapekar

Mix Asst. Engineers: Michael Edwin Pillai & Lucky Mix & Mastering Engineer: Eric Pillai

Future Sound of Bombay

Yashraj Studios / Future Sound of Bombay

Main Kaun Hoon - Secret Superstar

Sunn Bhavara - OK Jaanu

New Edge

Sahiba - Phillauri Sound Engineers: Shashwat Sachdev Mix & Mastering Engineer: Shadab Rayeen

Recording Engineers A.T. Studios: Shadab Rayeen, Asst. Engineers: Abhishek Sortey & Firoz Shaikh

Asst. Engineers: Abhishek Sortey

Recording Engineers YRF Studios: Shantanu Hudlikar

New Edge

Asst. Engineers: Abhishek Khandelwal & Manasi Tare Mixing Engineer: Shadab Rayeen

Mixing Engineer: Ishaan Chhabra & TR Krishna Chetan Mastering Engineer: Tony Joy

Ban Ja Rani - Tumhari Sulu Mix & Mastering Engineer: Shadab Rayeen

Mastering Engineer: Donal Whelan

O Re Manwa - Secret Superstar Recording Engineers, Mumbai: Shantanu Hudlikar Asst. Engineers: Abhishek Khandelwal & Manasi Tare Recording Engineers, Chennai: Siva Kumar, Pradeep Menon, Manoj Raman & Srinath Mixing Engineer: Shadab Rayeen Asst. Engineers: Abhishek Sortey & Dhananjay Khapekar Mastered by Donal Whelan

A T Studios, YRF Studios / A M studios, New Edge / Masteringworld

Suit Suit - English Medium Mix & Mastering Engineer: Eric Pillai

New Edge A.T. / YRF / New Edge/ Masteringworld - U.K.

Ullu Ka Pattha - Jagga Jasoos Chalti Hai Kya 9 Se 12 - Judwaa 2 Mix & Mastering Engineer: Eric Pillai

Audiospa & Future Sound of Bombay

Recording Engineers- Ashwin Kulkarni, Himanshu Shirlekar, Aaroh Velankar Mix & Mastering Engineer: Shadab Rayeen Asst. Engineers: Abhishek Sortey & Dhananjay khapekar

New Edge

Maana Ke Hum Yaar Nahi – Meri Pyari Bindu Recording Engineer: Shantanu Hudlikar, Abhishek Khandelwal, Mansi Tare Mixing Engineer: Shantanu Hudlikar

Swag se Swagat - Tiger Zinda Hai Recording Engineer: Vijay Dayal Mastering Engineer: Donal Whelan

Asst. Mix Engineers- Edwin Pillai & Lucky

YRF Studios / Mastering World Future Sound of Bombay

Laila Main Laila - Raees Udi Udi Jaye - Raees Recording Engineers: Yash Divecha and Nitesh Bisht Mixing Engineers: Yash Divecha and Nitesh Bisht Mastering Engineer: Donal Whelan Asst. Engineers: Priyank Sharma, Girish Patro, Shayan Chakraborty

Omgrown Music / Hafod Mastering

Recording Engineers: Yash Divecha and Nitesh Bisht

Galti Se Mistake - Jagga Jasoos Recording Engineers: Ashwin Kulkarni, Himanshu Shirlekar, Aaroh Velankar

Additional Percussion Recording Engineer: Julian Mascarenhas

Mix & Mastering Engineer: Shadab Rayeen

Mixing Engineer: Yash Divecha and Nitesh Bisht

Asst. Engineers: Abhishek Sortey & Dhananjay Khapekar

Mastering Engineer: Donal Whelan Asst. Engineers: Priyank Sharma, Sunil Mhatre, Girish Patro

Enzy Studio/ Omgrown Music/ Hafod Mastering

New Edge

Top Film Tracks - Album Sound Engineer Recording/ Mixing / Mastering Studio

March - April 2017

The Indian History of Popular Media Players for DJing (Part One)

indra Reji Rav

n 2018, we DJs are spoiled with choices as far as performing on various media players are concerned. However, it is important to know the journey, evolution and exposure of some of these legendary pieces of equipment within the Indian market through the decades (till date). Of course, the mother of all players is the infamous Technics SL 1200 MK2 direct drive turntable. Everything that has come out in the huge diaspora of players and controllers has taken (will take) cues from this mothership. So in our expedition, let us try and understand the times, technologies and various factors behind the popularity of various media formats and their respective players.

Vinyl vs Cassettes In 2018, we have come a full circle in regards with this debate as vinyl now is more popular and available than through the 80s and 90s world wide. You need to understand that in the decades gone by, there were only a few night clubs in the country; which meant fewer turntables and fewer DJs who knew how to work them. I remember vinyl being sourced by the owners of clubs (personally) on their trips abroad - so that they could update the music collection of their venue - to be at par with current international charts. I remember venues having a monthly budget to purchase and acquire music for their club’s music collection. Yes. The club had its own music collection - a practice that even continued later on in the digital music realm - contrary to the idea now where the venue relies on their resident DJ to purchase/source out the music. So, if you get an idea of these times then you would realise that music was scarce but highly cherished. However, with the boom in dance music through the 80s and 90s it was really tough for local record shops to be updated

with the latest dance hits as they totally relied on imports which would take months (and sometimes years) to hit our shores. Now through the 80s and 90s another media format was wildly popular i.e. the music cassette. Everything about this format was futuristic & ground breaking for that era - primarily its size & the fact that you could record your vinyl collection made it a worthy new contender. The Walkman and boom boxes were the icon of the 80s & many brave DJs used to attempt mixing cassettes using two Walkmen and a mixer. However, in DJing it is important to work on a format that was quick to jump through songs so that you can be instinctive about your performance and its delivery. Compared to the ease of just lifting a tone arm and then just dropping it on any groove of a record, cassettes were not as tactile. Heavily relying on its mechanics, the process included endlessly hitting the dreaded forward/rewind button of a cassette player and waiting to reach the right cue point. Our ingenious veterans though beat this problem by carefully compiling and cueing cassettes (with a pencil and another cassette player) but this required too much of prep work before the event. Besides these problems, another major issue was the lo-fi quality compared to vinyl and long term storage (as they were susceptible to fungal attacks on the magnetic tape during monsoons). On the flip side, the sales of cassettes were beating vinyl in India. They were heralded as the next big thing, cueing the sad demise of record pressing plants and availability of vinyl in India.

Compact Disc - The new contender The Compact Disc (CD) seemed to be the new format (& the answer) for issues related to the problems of its predecessors. It was the first proper digital format for consumer use. I mean, audio was digitised from sound waves into zeros and ones - which were written & read by high precision lasers - on slim plastic discs. Compared to cassettes, the sound quality was cutting edge. But the biggest convenience was the ease and quickness with which you could skip through tracks on this format. No more pressing the rewind,

forward and play/pause buttons endlessly till you reach the cue point of your choice. Along with this, the size was something that was appreciated by all DJs. Compared to vinyl (due to its weight & size), collecting and traveling with your music collection on CDs was something that saved the spines of many DJs. Of course vinyl, did prevail the test of time and is still the medium most apt for DJs to play with, but its scarcity and the existence of lesser turntables in the sub continent made it something that could be afforded only by elite venues and DJs. The popularity of CDs really picked up its momentum through the 90s. As music shops had now quickly adapted to stocking up cassettes, it didn’t take much for them to update their inventories with their CD counterparts. The availability and convenience of this media format turned out to be a curse and a boon for the Indian music industry. Due to smugglers & bootleggers, a lot of dance imports started hitting our shores almost on time with its global releases. Piracy was rampant, however due to easy availability of quality music, more and more people started to foray into DJing. It was no more a rich man’s game and in a way you could say that CDs democratised the art of DJing in India. In Mumbai, there were a few wee known music shops with fresh stock of cutting edge dance music every week and in turn these shops turned out to be buzzing day time hangs for all the DJs in the city.

New media = New media players One good thing about CDs were that you could manipulate and get much required features in their players (compared to cassettes) through circuitry. A lot of companies really saw this as an opportunity to make professional CD players for DJs. Pioneer and Denon were the first to give it a crack in the 90s. A simple feature like a +/-8% pitch control (a la Technics SL1200MK2) could be implemented easily with R&D in the digital domain. You need to understand that globally, vinyl was still the weapon of choice for DJs. International DJs used to travel all across the globe with kilos of records. But it took a lot of time (almost a decade later) for them to adapt to CDs. Due to the scarcity of current music on vinyl, the advent of .mp3s available on the Internet (thanks to P2P networks like Napster) and the easy availability of CD writers - we Indians were one of the earliest adaptors of CD technology for DJing. Now in this era, the cream of the crop were the Pioneer CDJ500 and CDJ500S players. They were top loading singular CD players with ground breaking features like Cueing, Master Tempo and Looping which are considered as staple DJ features in the current age. But they were very expensive due to which you could only find them in the most elite nightclubs in the country. By now having the latest music on a convenient format was the most important thing for most Indian DJs. Pitching and

March - April 2018

beat mixing came second as they could still keep the night going with the help of smart drop mixing - aided with deft track selection. So a majority of club and mobile DJs adapted to these times through endless trials & tests with good quality consumer CD players in comparison to the penultimate Pioneer and Denon players. Out of many of these models nothing was as solid and reliable as the Sony CDP-S45.

Popularly known as the S45s these players by Sony almost became a staple in India, before the advent of professional CD players for DJing. They were single loading CD players (with an ejecting tray mechanism) and came with an infra-red remote. Now you need to know that there were many Discmen available at that time too, however they were not as reliable as the S45s when it came to the lens quality and CD skipping due

to low frequency vibrations in loud environments. Remember these were players not meant for DJing, so a lot of DJs used to use the Play/Pause button till they reached the desired point and un-paused it when they needed to drop mix. This could be done by using the buttons on the player and the remote as well. Using the remote was again tricky as one remote could control the functions on both the players at a party. So DJs had adapted to it by cheekily palming the infra-red sensor of one player, while operating the other through a singular remote. Also, these players were not as quick as modern ones. There would be a 2 second delay in pressing the button and hearing the music. Beat mixing was achievable (not impossible) provided you chose 2 songs with the same tempo, cued (paused) on the right moment and drop mixed by considering the 2 second delays. The art of DJing was purely reliant on instincts with these - learnt the hard way through many frustrating moments. But it was great fun - requiring time tested skill sets from a DJ - which made fortunes for many mobile and professional DJs all over India.

To be continued in May-June 2018 issue

11 QUESTIONS WITH

Aidan Williams Co-founder/Chief Technology Officer, Audinate

Founder and Imaginator, Aidan Williams, fields 11 questions from Anil Chopra, Editor, PALM Technology, on Dante’s intrigue. The insight and in-depth revelations on networking in cyber space is future proof stuff. Has Audinate absolved the audio signal from purgatory? Was it a moment of epiphany that allowed you to brand your networking software as Dante? To cut to the chase could you succinctly explain exactly which code Dante cracked? Audio signals are trapped inside analogue cables today – they need to be freed! Dante allows audio signals to roam freely across the wide expanses of data networks installed by our IT cousins. The technical innovation behind Dante comes in a few parts. Firstly, we developed techniques for sending audio through standard IT networks with such low delay and tight synchronization that it is indistinguishable from running an analogue wire between the devices. Secondly, we developed plug and play and self-configuration techniques that made Dante really easy to use. We knew that the networking needed to be bulletproof and easy to use for AV professionals who don’t spend their lives in IT environments. Finally, we package up our solutions into a toolbox of solutions (cards, chips, modules, software) that are really easy for manufacturers and integrators to use.

Ethernet data transfer rates have increased from the original 2.94 megabits per second (Mbit/s)[3] to the latest 400 gigabits per second (Gbit/s). Can we ascribe all the miraculous Dante features to this fantastic leap in Data transfer? Some, but by no means al. It is certainly the case that increasing Ethernet speed enables higher performance media networking – both audio and video. For example, a single gigabit Ethernet cable can support over 512 audio channels. However, higher speed networks do not solve the problems we were addressing when we developed Dante (see above).

Are there some magical alloys in the hardware that account for the incredible specs Audinate offers? In some cases, yes. The highest performance Dante solutions use programmable hardware chips called Field Programmable Gate Arrays (FPGAs) to provide wire speed packet processing for hundreds of audio channels with only a few hundred microseconds of latency and microsecond synchronization.

In the case of PC and Mac software, we relax those performance requirements quite a bit!

Is optical fibre necessary to exploit Dante hardware and software features to their optimum? Certainly not – many people use CAT5/6/7 Ethernet cabling very successfully with Dante. A bonus of using copper cabling is that power can also be supplied to the device with the network cable using Power over Ethernet (PoE).

Did the design revelation occur at Motorola or NICTA? Or your work on real-time transfer protocol (RTP) on zero configuration networking while at IETF? Can you tell us how these various organisations contributed to the concept of Dante? When I was at Motorola Labs, I was working in the IETF on zero configuration networking – the plug and play networking technology now

At Audinate, we really want to enable the use of IT technology in AV systems. Networking is an enabler and has the potentially to totally change the way that people design and deploy AV systems for the better. Widespread use of networking enables people to do more with less but still improve the quality of AV solutions. 93

seen in many products (e.g. Apples Bonjour). I was also working in other areas – IPv6 networking and reliable multicast. The Dante project however, began at NICTA (now part of the Australian CSIRO research lab). The work we did at NICTA was entirely new, particularly around the synchronization and low delay aspects to ensure the required level of performance. It was very helpful to have a background in Internet Protocols and standardization, so one could consider Motorola contributed to Dante by training us well!

Are you at heart an engineer hell (pun intended) bent on becoming rich on the revelation or are you really a philosopher poet? More along the philosopher poet line I think.. 😉 I’m more motivated by the possibility of transforming the AV industry rather than by money. There really is a much better way to build AV systems than using piles of boxes and analogue cables! If we get it right, the money will take care of itself and along the way we will build a good company that employs many people.

You seemed to have conquered all the

March - April 2018

brands, who seem happy to be in your stables! Can you give us a downside on this (if any)? or better from the horse’s mouth which is the best competition to Dante? Right now, the competition is really analogue cabling. Many integrators still design systems they way they have done for many years – with analogue cables. Fortunately, when they try Dante for the first time, they discover that Dante makes the networking part easy, but we still need to convince them to make that first step.

It would be nice if you could recount some unique audio networking solutions Dante configured? This one is fun: https://youtu.be/inFPhq9pfRo They have lots of different types of equipment all hooked together with Dante. You’d have to be careful when upgrading the equipment in the lion enclosure!

Would you say Dante is “extremely affordable” or “rather expensive”? This often depends on the system. In many installations Dante greatly reduces cabling and installation costs – because the network is already there or because only a single set of cabling is needed. At Audinate, we continue to work on reducing the cost of Dante networking. I look forward to the day when AV products are no longer burdened by the cost of all those

analogue connectors and converter chips – those things are expensive! Check out our new AVIO products – these are very cost effective products for adding Dante to existing systems.

At what level do you think the Indian market is? Is broadband speed in India still a hurdle or are other areas still backward? I’m not intimately familiar with the AV market in India, however India has a strong reputation for IT knowledge, so I would expect technologies like Dante to be readily accepted and used in the Indian market.

We developed techniques for sending audio through standard IT networks with such low delay and tight synchronization that it is indistinguishable from running an analogue wire between the devices.

Broadband speed is not a big concern, because mostly people want to send audio signals around inside a building or a campus using fairly high speed local networks. High speed broadband would really only be necessary for sending audio between geographically distant sites.

What is your vision for Audinate going forward? At Audinate, we really want to enable the use of IT technology in AV systems. Networking is an enabler and has the potentially to totally change the way that people design and deploy AV systems for the better. Widespread use of networking enables people to do more with less but still improve the quality of AV solutions.

Check out answers from global industry leaders in the 11 Questions section. For more Log on to http://palmtechnology.in

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DJ Technology

ROLAND NOW SHIPPING V-60HD MULTI-FORMAT VIDEO SWITCHER Roland Professional is now shipping the V-60HD, a compact, integrated video switcher and audio mixer. Its sophisticated feature set is perfectly suited for live event production as well as

broadcast, recording and streaming. The V-60HD supports SDI camera inputs plus scaled HDMI inputs for data, computer, tablet and other video sources via a variety of video connections, plus a Program and

independent AUX bus for confidence, downstage monitor or side screens. It also offers advanced audio functionality including multi-channel embedded audio, XLR/TRS and RCA analog inputs, and multichannel embedded audio to two SDI outputs, plus comprehensive dynamics and auto-mixing. The V-60HD also features an 18-channel audio mixer with four TRS/XLR combo jacks with 48V phantom power, an RCA stereo pair, plus audio de-embed from the six video inputs. Audio processing

capabilities include powerful dynamics and effects, such as a high-pass filter, gate, compressor/ limiter, 3-band EQ, delay and the ability to select audio-follows-video channels. The unit’s innovative discreet multi-channel audio embedding function allows users to select which audio source to embed separately to SDI outputs 1 and 2. Also, an auto-mixing function automatically adjusts the audio level based on weighting, ensuring even levels for the room mix, recording and web streaming.

Pioneer DJ Launches DDJ-SB3 New Budget Serato Controller with Pad Scratch Feature Pioneer DJ has announced DDJ-SB3, the latest addition to its popular DDJ-SB controller for Serato DJ. With this new two channel DJ controller users can do transition between tracks using the new FX Fade feature and create and use scratch effects without the need for turntables.

KEY FEATURES OF THE DDJSB3 It has Pad scratch for easy, professional scratch performances By simply pressing the Performance Pads on the DDJ-SB3,

users can use the Pad Scratch feature to imitate eight different scratch techniques recorded by DJ Jazzy Jeff. Any track that users are palying or have cued up will be scratched, and the scratch speed automatically matches the track’s BPM. FX fade for smooth mixing Using the new FX Fade feature helps to reduce the volume and apply FX to a track at the same time. Whether someone is an experienced DJ or a beginner, this enables smooth transition of tracks, even if users are playing with different genres of music. There are eight

FX patterns to choose from, with two of each of the following types: high pass filter, low pass filter, loop playback and back spin.

Audio-Technica Now Shipping Limited Edition of its ATH-M50xBB Headphones Audio-Technica is now shipping the ATH-M50xBB Professional Monitor Headphones, a limited-edition blue/ black version of A-T’s popular ATHM50x and part of its M-Series line of headphones. The headphones feature metallic blue earcups and black accents including distinctive trimming, earpads, and headband. From the 45mm large-aperture drivers to its sound-isolating earcups and robust construction, the ATHM50xBB provides an unmatched experience for audio applications, including recording, live sound, broadcast, DJ, and personal listening.

The headphones incorporate technology drawn from AudioTechnica’s long history in the field of highperformance professional audio, providing exceptional power handling, very high SPL capability, and natural, accurate sound with impactful bass and high-

frequency extension. With professional-grade earpad and headband material and a collapsible design with detachable cable, the ATHM50xBB headphones remain comfortable throughout long monitoring sessions and transport easily. Audio-Technica’s new limited-edition ATHM50xBB are now available. They join the currently available ATH-M50x models in black (ATH-M50x) and white (ATHM50xWH).

Visual design enables intuitive performances The DDJ-SB3 feels natural to use because of its clear visual division of the player and mixer sections, which feature a hairline and glossy finish respectively. The aluminum jog wheels create a quality look and feel. OTHER FEATURES • Built-in sound card (audio interface) – plug and play by simply connecting the controller to your laptop using a single USB cable. • Class compliant – no need to install a driver. • Mic input circuit – clear audio without distortion, even with high input level. • USB bus powered. • Grab handles on both sides – easy to carry.

March - April 2018

DJ Technology

Denon DJ Adds an Update to its ENGINE 1.1 Management Software with Exciting New Features Denon DJ, has announced the introduction of its Engine Prime v1.1, the latest version of its proprietary music analysis and librarian software. Delivering extensive new features, Engine Prime v1.1 adds more power and flexibility for DJs to manage their digital music collection, integrating improved iTunes folder management, improved library search capability and performance enhancements too. Loops and cue points can now be added while a track is still being analyzed, and search performance is now much quicker and more efficient, enabling DJs to search text within multiple fields at once. Denon states, “DJs using iTunes as their core library application now have vastly improved visibility on their sub-folders, plus their favored iTunes playlists can now be dragged directly into the Engine playlist area. A multitude of improvements adds to this

major update for Denon DJ’s Engine Prime application, strengthening its position as the premier music library management and analysis tool for professional DJs.” New Engine v1.1 Features • Embedded iTunes structure now supports playlist folders and sub playlists. • Embedded iTunes playlists are easily imported to Engine Prime playlist and crater areas via right click menu or dragging. • Added support for custom iTunes XML database location. • Improved Searching. Users can now use spaces to search text within multiple fields at once. • Added ability for Loops and Cues to be placed before analysis is complete. • Added ability to right click within a playlist and renumber the playlist based on the current playlist sorting.

when selecting items in the lists. • Missing songs that could not be packed to a drive are now listed in a missing files crate. • New “Job Monitor” feature is accessible on the lower right corner of the application. This feature helps the scheduling of

• Filters now highlight all shown related compatible keys and BPMs

song packing to drives, adding tracks to collections, and other processes. • The number of songs selected is now shown at the bottom of the screen. • Stability enhancements and various bug fixes.

Ortofon Launches Concorde MK2 Turntable Cartridge Line Ortofon has launched its new Concorde MK2 turntable cartridges line series which has five different cartridges in it: MIX, DJ, CLUB, SCRATCH and DIGITAL - a product range for five applications and technological improvements for better performance. The bodies of the cartridge have been broadened, to offer greater stability during performances. Its unique 2-seqment body design creates a fresh and attractive aesthetic. The Concorde MIX offers a budget-friendly, yet high quality option capable of good all-round

performance, while the Concorde DJ is considered the jack-of-all-

trades, boasting accurate sound reproduction and excellent groove

handling. The Concorde CLUB features a special Elliptical diamond and offers the best sound quality achievable for traditional vinyl playback and offers an outstanding platform for archival and sampling. The Concorde SCRATCH allows turntablist and scratching DJs to achieve new levels of performance with an unprecedented tracking ability and extra high output, and the specially-optimized Concorde DIGITAL offers both of these features with a technology designed to extend the life of timecode vinyl and minimize errors in decoding.

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31.05 - 02.06.2018

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