Pro AVL Asia March–April 2023

Unica

March–April 2023

Editor’s Letter

With increasing frequency, our coverage of live events, art installations and content creation facilities has an immersive aspect. This March–April 2023 issue is no exception and may even mark a tipping point. The cover story pulls back the wraps on the splendid LG Arts Center in Seoul, which has relocated to spacious, newly built premises; one of its two theatres boasts an immersive d&b system controlled via d&b’s Soundscape sound design software on a DiGiCo SD12 console (p48). Elsewhere, the Graha Bhakti Budaya theatre in Jakarta has opened with an L-Acoustics L-ISA Immersive Hyperreal audio system (p54), while Onkio Haus studios in Tokyo has refitted an existing mastering suite with an Amphion spatial system to handle immersive formats including Dolby Atmos and Sony 360 Reality Audio (p56).

seminars like those that Grammy-nominated engineer Nick Rives has been conducting in has been exploring Dolby Atmos technology for music-only applications along with PMC, which has designed and built most of Universal Music Group’s flagship mixing rooms in the US, including at Capitol in Los Angeles, which Rives works out of. And visitors to Barcelona’s ISE 2023 certainly couldn’t ignore the spread of immersive technology across the show floor and demo rooms, including the debut of Jean-Michel Jarre’s new Oxymore composition (p68). So, get immersed in this issue which celebrates the best of our industry and, if you have any spatial projects of your own coming up, let us know!

Richard Lawn General manager rlawn@proavl-asia.com

Simon Luckhurst Senior reporter sluckhurst@proavl-asia.com

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

Sue Su

Guangzhou manager T: +86 13609001455 ssu@proavl-asia.com

Sue Gould Advertising director sgould@proavl-asia.com

Karen Wallace Editorial coordinator kwallace@proavl-asia.com

Chris Yardley Video editor cyardley@proavl-asia.com

Frank Shao Beijing manager T: +86 10 8652 5184 frank@proaudioasia.com.cn

Carolyn Valliere Sales associate cvalliere@proavl-asia.com

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

Adrian Baker Production manager abaker@proavl-asia.com

Marne Mittelmann Circulation manager F: +65 6491 6588 circulation@proavl-asia.com

Electro-Acoustics Systems celebrates 40 years at the top table

gala dinner at the Min Jiang at Dempsey on 9 December.

Gala attendees wore clothing with a touch of red – a subtle nod to the company’s ruby anniversary and year end festivities – and were welcomed into the spacious colonial building for an evening of celebrations. Situated amongst the lush greenery of Dempsey Hills, guests enjoyed the warm, homely ambience of the sophisticated setting. The curated dinner course included wood-fired Beijing duck in addition to house specialities, whilst a band provided the night’s musical entertainment.

sectors, its range of services encompasses conceptualisation and design, turnkey installation, project execution, after-sales service, maintenance, facility management and brand distribution.

The tone for the evening was set with executive director Lam Tze Tze welcoming the guests:

“When EAS was established in 1982, Lam Tong Loy and Eugene Chan saw the critical need for sophisticated audiovisual solutions,” Lam said in her welcoming speech. “Our founding leaders were bold in establishing EAS. In setting the strategic direction for EAS, we embrace

achievements and guests who travelled from around the world to join the evening’s celebrations by thanking them for their years of support and trust in the company.

According to Lam, EAS will continue to be focused on its mission, by building on its strong foundation through innovation, competence and commitment to growth in a sustainable manner.

“Our pioneers gave us a head start and we have accomplished a lot together in our first 40 years, fulfilling the needs of many organisations in the private and public sectors in Singapore and abroad. We are mindful of the need to

new applications will be unlocked, empowering people even more. Our spirit of adventurism will continue to lead us to new markets and opportunities.”

As EAS starts a new chapter, founder and CEO Lam Tong Loy affirmed that the company would continue to stay true to its core purpose and values: “Over the last 40 years we have been fortunate to work with high-quality, technically innovative and reliable partners. Most importantly, EAS lived up to its mission.”

www.easpl.com.sg

Datapath opens new Tokyo showroom

Continuing its global expansion, video processing specialist Datapath has recently formed a new entity – Datapath Japan GK –committed to providing a dedicated sales and support service to its APAC customers. Boasting a new APAC demonstration suite, 100m2 offices in the heart of Tokyo and a new solution for multi-source video management, Datapath is said to be well prepared for the ever-increasing demand for AVoIP in the region. Datapath has equipped its new offices in Japan’s capital with its new Aetria solution. “Throughout the Far East, there is still a tendency to rely on highly compressed 1G AVoIP, H.264 encoding or even video matrix switcher-led solutions for source distribution,” said Michael Austin, Datapath’s director of channel management for the region. “However, larger projects that require high quality and low latency for a large number of sources on numerous end points are now embracing the flexibility of AVoIP. Greatly increased visual quality has become possible by the availability

our new Tokyo offices allows us to explore its full capabilities with our customers far deeper than ever before.”

new skyscraper builds. “Business has been steady even throughout the pandemic,” revealed Austin. “Our APAC sales in 2020

were actually one of our strongest years to date.”

With the shackles of the pandemic now removed, travel throughout the region is now barrier free, allowing for productive face-to-face business and hands-on demonstrations.

Austin added: “Our sales and support team covers Southeast Asia as well as Japan, South Korea and Hong Kong. During Covid-19, it wasn’t possible to freely travel to customers and we have relied heavily on virtual communication to demonstrate our latest products. The establishment of Datapath’s new demonstration suite now allows our customers to enjoy a short vacation in Tokyo and experience Aetria’s full potential and flexibility for themselves, along with its military-grade encrypted security.”

Austin concluded: “With supply lines improving across the industry and Datapath well-stocked in its hardware offering, we can look forward to the future with optimism.”

www.datapath.co.uk

SINGAPORE

EAS executive director Lam Tze Tze (second from right) was attired with more than a touch of red JAPAN

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Christie to shine a light on sustainability

Christie has announced that through parent company Ushio’s co-sponsorship of a “Future Society Showcase Project” at Expo 2025 Osaka, Kansai, Japan, its RGB pure laser projectors will be used to deliver visual experiences in the main exhibition hall. Expo 2025 Osaka, Kansai, Japan is scheduled to run from 13 April–13 October 2025.

Ushio Lighting (ULI) will provide more than a dozen Christie Griffyn 4K50-RGB pure laser projectors for projection mapping during the opening and closing ceremonies, major events, as well as in support of Expo 2025

Osaka, Kansai, Japan’s theme “Designing Future Society for Our Lives”, which aims to bring and share the world’s knowledge to help resolve global issues.

Expo 2025 Osaka, Kansai, Japan will occupy an area measuring 1.55km2 and feature eight Signature Pavilions as well as the Future Society Showcase Project, which will embrace six main projects including smart mobility, digital, virtual, art, green and future life. The mega event is expected to attract 28.2 million visitors over its sixmonth run.

“We are honoured that the Japan Association for the 2025 World Exposition is partnering with Ushio to illuminate not only entertainment as part of the Future Society Showcase Project, but by shining a bright light on global sustainability issues and the United Nations’ 17 Sustainable Development Goals (SDG) for 2030. As a global lighting and technology company,

Ushio and Christie employees around the world work hard to minimise our impact and improve our environmental practices. We believe light has the power to change the future,” said Hideaki Onishi, chairman and CEO, Christie.

www.christiedigital.com

www.ushio.co.jp

SDVoE introduces Japanese-language translation

The SDVoE Alliance has announced the introduction of Japanese-language translation for SDVoE Design Partner certification. The SDVoE Alliance’s addition of Japanese-language translation is aimed to provide more accessibility for Japanese end users interested in obtaining certification through the SDVoE Academy.

Neutrik EMEA launches in Bavaria with familiar faces

Based in Dachau, Bavaria is the new Neutrik EMEA headquarters, home to the recently created Neutrik EMEA division, to operate alongside the existing facilities in the UK and France. Together the EMEA operation will serve all existing Europe, Africa and the Middle East. The new facility is intended to commence operations in Q4 2023, while the internal restructuring for the new European HQ has already commenced, paving the way for the new organisational structure under the leadership of Patric Keller, managing director. Joining Keller from Neutrik’s HQ in Liechtenstein are Stefan Frick (head of marketing) and Christoph Hellmuth (regional sales manager, MEA and India). Hellmuth has worked in the Middle East for more than a decade and shifted from global key

account management at Neutrik AG, where he was handling Neutrik’s top clients, to a regional sales role at Neutrik EMEA now.

Hellmuth commented: “I’m always up for new challenges and the Neutrik Group is currently going through big changes. I’m very grateful having the trust from the HQ to manage all Neutrik Group brands in the MEA region and India.”

Keller added: “With his experience, it was a logical step for us to assign Christoph for this role. He has established an extensive network of contacts in various countries and industries, which will be useful to achieve our ambitious targets for the next years.”

www.neutrikgroup.com

“The SDVoE Alliance established the SDVoE Academy to provide global AV professionals with resources to accelerate their careers,” said Justin Kennington, president of the

SDVoE Alliance. “The SDVoE Alliance supports many Japan-based members and supports a growing number of member events and industry tradeshows in the Japanese region. It’s important for us, as a global alliance, to provide our members with the necessary resources to support their growing needs. Now that our website and these critical elements of the SDVoE Academy are available in Japanese, we are better able to serve this important market for pro AV.”

www.sdvoe.org

Vizrt means MAM business

Vizrt has announced the creation of an Enterprise Media Asset Management (MAM) business unit for customers of its flagship MAM system, Viz One. Daniel Nergård, chief revenue officer at Vizrt Group, said of the move: “In conversations with our customers, we’ve determined they want an open, reliable platform to operate and scale themselves. They also want an expert team on hand, that understand the business, the platform, the customers’ needs and to act as trusted advisors to solve challenges.”

Harnessing Vizrt’s top MAM talent across the organisation, the Enterprise MAM business unit combines R&D, professional services, support and commercial into one team in a bid to improve efficiency, drive collaboration and ignite innovation through increased collaboration. The Enterprise MAM business unit will provide an end-to-end service, from sales through to end user training, to some of the world’s largest broadcasters and media companies.

The team will be led by new head of business unit, Enterprise MAM, Jochen Bergdolt, whose 20-year experience in the industry and technical knowledge make him a valuable addition to the team – particularly since half of his career

was spent at Vizrt. “The Enterprise MAM business is about the product and the people. With a focused, aligned and dedicated team, I am certain we will deliver an unprecedented customer-centric service,” said Bergdolt.

www.vizrt.com

L–R: MD Neutrik EMEA Patric Keller, RSM MEA and India Christoph Hellmuth, head of marketing Neutrik EMEA Stefan Frick and Chris Neethling, CSO Neutrik Group

Jochen Bergdolt

Televic acquires the Unite range

Televic Conference has announced that it has acquired the Unite product range from beyerdynamic. Unite is a DECT-based wireless communication system that strengthens Televic Conference’s current offering by adding wireless presenting, mobile interpretation and language distribution capabilities. The Unite product range allows Televic Conference to expand into areas such as guided tours and assistive listening for people with hearing loss.

“We welcome Unite to Televic Conference. The product acquisition further supports our growth ambitions to be the worldwide reference in each of our niche markets,” said Thomas Verstraeten, CEO of Televic Group.

“Televic stands for innovative and highquality products and systems – the Unite range complements our DNA perfectly.”

Bart Deschodt, general manager of Televic Conference, explained: “With the acquisition of Unite, as well as recent audio enhancements in our conference offering, our mission of ‘creating better understanding one meeting at a time’ expands from formal meetings into any other type of meeting. The Unite solution enables bidirectional communication and understanding where many alternatives are only one-directional. This drastically improves effective communication.”

Televic’s existing interpretation and infrared solutions are now said to be well complemented with Unite’s DECT solution. “We are pleased and confident that our beyerdynamic Unite range has found the perfect company that is sure to give Unite a promising future. As a German traditional manufacturer of superior audio solutions, with nearly a century of experience, it was of the utmost importance for us to find a reputable partner for Unite – the digital communication system, who upholds and furthers the same commitment to quality for Unite’s customers,” added Edgar van Velzen, CEO of beyerdynamic. Jurgen Van Muylder, sales and marketing director EMEA, added: “We hear great feedback about the Unite range from rental companies across the globe. We are looking forward to continuing the support of Unite to these companies and other existing customers. This will also enable us to offer a comprehensive extension of their current systems to fully address their needs.”

www.televic.com

Genelec introduces its Virtual Showroom

technologies in a set of realistic room settings. This allows customers across the studio, AV and home audio segments to access Genelec information and resources in a visually engaging interactive environment.

To further complement its growing global network of physical experience centres, Genelec has introduced its online Virtual Showroom, where visitors can explore a wide range of active loudspeaker systems and

Hosted on the Genelec website, visitors to the Virtual Showroom can experience the latest in VR technology to navigate separate and distinct areas for each segment, which showcase both stereo and immersive systems that comprise a range of key loudspeaker and subwoofer models. Visitors can then access detailed product information, video content and learning resources, at any time of day and from the comfort of their own environment.

“One of the powerful effects of the pandemic was to focus our minds on how

to communicate more effectively via digital marketing channels,” commented Genelec business development director, Ken Kimura. “So, we used that period of enforced disruption to explore how to engage closely with our customers in the virtual world, and the Virtual Showroom was a natural result of that planning process – complementing our well-established website and social media channels.

“In this fast-paced digital world, the Virtual Showroom has all the benefits of interactivity and instant 24/7 access, while our experience centres represent the gold standard in personal contact and critical listening opportunities.”

www.genelec.com

Sonnox joins Focusrite Group

Sonnox has announced that it has joined the Focusrite Group. Its range of plugins are used in a wide range of audio applications including mixing, mastering, live sound, broadcast, TV, film and even scientific and forensics projects.

Tim Carroll, chief executive officer of the Focusrite Group, said: “It is an absolute

pleasure to welcome Rod [Densham] and his entire team to the Focusrite Group. Sonnox products are globally recognised as best in class, making them a natural fit in our stable, and we are all excited about the opportunities and possibilities that lie ahead.”

Densham, founder and managing director

joining Focusrite with their scale, industry expertise and range of premium brands, we can continue to grow and deliver innovation and excellence to audio hobbyists and professionals alike.”

Adam Hall announces new integrated business vertical

Adam Hall has announced the creation of Adam Hall Integrated Systems – a new business vertical dedicated to serving the installed AVL market sector. With its own product team headed up by Gabriel Alonso Calvillo, Adam Hall Integrated Systems will act as a resource for AVL professionals to easily find and specify the products they need for their projects. All Adam Hall installation-friendly products are brought under one roof and application experts are on hand to offer expert advice and support at every stage of the project.

“We have been working on the development of our integrated systems portfolio for a few years now. I am proud to claim that we can offer a comprehensive product range to cover most commercial audio applications,” said Calvillo.

“It therefore makes complete sense to create a proper home for our installation range with its own distinct identity that will be both more visible

and accessible for our customers and the world dedicated installed sales team and are currently

Installation amplifier manufacturer, APEX, has been acquired by fellow Belgian professional audio business, Community Europe. Community Europe CEO, Ann Leroy, commented: “We are excited to welcome APEX into the Community Europe Group. APEX is a brand with a bright future and access to investment and knowledgesharing through Community Europe Group

Virtual Showroom

Adam Hall’s HQ

Ann Leroy

The K-array group comes together as one

Known for its audio and lighting solutions, the K-array group comprises three brands –K-array, KGEAR and KSCAPE. Together, these brands offer solutions for any AV space or application – large or small, complex or otherwise.

According to K-array president Alessandro Tatini, the time has come to consolidate the company’s offering for the AV market to make it easier for integrators, consultants and architects to specify the products they need for their projects.

K-array group products offer solutions for applications including corporate, education, hospitality, retail, public spaces, visitor attractions, marine and venues.

“We are passionate about sound and have been pioneering unique audio solutions for live events for over 30 years,” explained Tatini. “We wanted to bring that experience to the installed AV market, so the last few years have seen us develop a range of compact, aesthetically pleasing products that deliver the same levels of quality and innovation to the AV sector.

“Three years ago, we developed KSCAPE – an integrated audio and lighting solution for designconscious environments that puts wellbeing into focus. A year later, we launched KGEAR with the intention of offering simpler, less costly audio solutions for applications where quality counts. Now that we have all these elements in place, it’s time for us to have a more cohesive approach to the market.”

The first move is the creation of a dedicated K-array installed sound business unit. This will bring K-array’s three brands under one roof and act as a single resource for consultants and integrators looking to specify projects. To ensure timely delivery of product and circumvent the current supply chain issues faced by the industry at large, the K-array group has invested in both components and final assembled stock to guarantee a minimum of 12

the WIRELESS SOLUTION for LIVE EVENTS, SPORTS and MORE

months supply to ensure that solutions are available upon demand.

K-array has reportedly been working hard to develop strategic partnerships for increased operability and ease of use – namely Moodsonic for KSCAPE, Samsung LED walls for K-array and a vast array of plugins to ensure integration with most major control systems; namely Crestron, Q-SYS and Control4. K-array is also said to be the first manufacturer to adopt Audinate’s “Dante Ready” licensing programme.

www.k-array.com

provide our partners and customers with world-class products and service as the business levels up.” Community Europe SA has acquired 100% of shares in APEX’s parent company, GiVa Audiovisual Technologies BV. www.communitysa.com

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A tribute to Martin König Sr

It is with sadness that we report the passing of K&M president Martin König Sr. He was said to be the driving force behind many of the ideas that made König & Meyer what it is today. Just a few days short of 87, he was known as a major player in the German music instrument industry.

Martin König remained a managing partner of König & Meyer up until his death. He joined the König & Meyer company, founded by his father Karl König and Erich Meyer in the previous year in Wertheim, Germany, in 1950.

Martin König initially completed an apprenticeship as a toolmaker before going to university in Mannheim, where he studied mechanical engineering from 1957 until 1961.

After his graduation, he initially worked for the companies Philipps and BASF. In 1965, he rejoined König & Meyer as general manager. Following his father’s untimely death in 1967, he became joint CEO of the company. Together with Meyer, he continued to build the business and to steadily expand its product palette, workforce and production facilities. Martin König was particularly interested in the development of innovative products, the improvement of the production processes as well as the modernisation and expansion of the production capacities.

He was involved in the development of numerous innovations in the music area, many of which were patented. Typical examples are the classic music stand 101 or the microphone stand 210/2, but also instrument stands that can be stored inside the bell or a ring lock mechanism for stabilising speakers.

Martin König always promoted a team spirit, the human touch and a good, open corporate culture, with his other priorities being secure employment and supporting the next workforce generation.

In 1996, Wertheim awarded Martin König a silver medal of honour in recognition of his success and services to the town. Although he began to gradually withdraw from the day-to-day business operations in 2005, the company still benefited from his experience, and he continued to represent it as one of its

He was one of the founding members of the executive board of the National Association of German Musical Instruments Manufacturers (BDMH), as well as a member of the Musikmesse trade exhibition advisory board. In April 2015, he was awarded the MIPA Lifetime Achievement Award (Musikmesse International Press Award) in honour of a lifetime dedicated to the music industry.

The industry remembers Nico Mreches

person that we knew, a true inspiration for everyone he met. Nico, our dearest friend, thank you for everything. Your memory will live on with each one of us.”

by Kock & Mreches, which resulted in the Revoluto microphone. The idea of using unobtrusive array microphones on tables or ceilings was born.

Chris Hellmuth, integration manager at beyerdynamic during that time, said: “Nico was a big help during the merger between beyer and interkom. He was a knowledgeable all-rounder and somebody to learn a lot from. I always liked his calm, humble and friendly character.”

In 2008, Mreches started to work for Taiden and moved to Shenzhen, China. His multilingual skills helped to bridge language and cultural barriers in the AV industry.

Qingdong Zhou, president of Taiden, said of Mreches: “Nico’s connection with Taiden started in early 2008 and followed with a friendship to be cherished long after that. He contributed immensely to Taiden’s development in the international market utilising his sophisticated expertise and knowledge in the conferencing industry.

Taiden is very lucky and deeply grateful to have had Nico on board and he stayed as a valuable consultant after his happy retirement. He was very professional, meticulous and the most loving and genial

Fardad Zabetian, owner of MediaVision, worked closely with Mreches and commented: “My time with Nico goes back to 1997 when his German interkom conferencing business was a rising solution for meeting spaces. Later, as I started my own venture in the US, I sought out Nico’s partnership once more, and we grew interkom to become a major player in the conferencing market in the US. After he had sold his business, our paths crossed again, this time in China, he was always building international bridges – striving to expand the technology and support customers and partners. He was a very good listener, leading with empathy, Nico was an AV conferencing expert that all wanted to stay in touch with. He will be dearly missed. A true conferencing legend.”

Finally, Richard Lawn, managing director here at Blank Canvas Publishing, reflected on fond memories of Mreches: “We had the pleasure of knowing Nico for over 15 years and he truly was the archetypal gentleman. He always had a smile on his face when we met at a tradeshow and was always so gracious and willing to assist with any articles we were writing as well as being incredibly supportive of the magazines and our work. Our thoughts go out to his family, friends and the Taiden team, he will be truly missed.”

Martin König Sr

Nico Mreches

Biamp appoints Midwich for Southeast Asia

Biamp has appointed Midwich Asia to provide local inventory, account management, training and support in Southeast Asia as the manufacturer broadens its commitment to provide streamlined sales, support and product distribution in the region.

“We are thrilled to partner with Midwich, which has an established team and presence across Southeast Asia,” commented Rashid Skaf, Biamp president, CEO and co-chairman. “Due to our explosive growth in the region, we are looking to add a partner to our existing team to help us further enhance our commitment to delivering extraordinary service excellence and driving growth for our integration partners.”

A joint investment in Midwich’s premises at Mountbatten Square, Singapore, has created a showroom for Biamp products, including Parlé videoconferencing bars, Cambridge speech privacy solutions and Tesira digital signal processors.

Midwich Asia Pacific MD, Dan Fletcher, said of Biamp: “This is not only a perfect addition www.biamp.com www.midwich.com.sg

Pink Noise Professionals brings Beyma to India

and its extensive nationwide dealer network. The company’s expertise and resources will help Beyma grow its presence in what has

Kramer partners with Westan NZ

Kramer has announced its distribution partnership in New Zealand with Westan NZ, one of the largest AV/IT media technology distributors headquartered in Melbourne, Australia. As a result, Westan NZ will be able to market, distribute and support Kramer’s entire portfolio while delivering audiovisual

experiences through its wide network of resellers, integrators, planners and architects across New Zealand. Customers will now have access to a dedicated team offering end-to-end audiovisual experience with reliable support.

Marc Remond, Kramer president APAC, said: “Together, customers in New Zealand will gain

access to Kramer’s secure and reliable AV products, boosted by the support from Westan NZ, driving innovative audiovisual experiences that power creativity, collaboration and engagement across New Zealand.”

Kam Aghtan, director at Westan, added: “Kramer stands for a high level of innovation.

a significant impact on the audio industry in the Indian market.”

www.pinknoisepro.com

The range of solutions ideally complements Westan’s wide-ranging product portfolios covering everything from interactive solutions for commercial to education verticals.”

www.kramerav.com

www.westan.net.nz

NST Audio joins up with Group Technologies Peavey Commercial

NST Audio has chosen Group Technologies as its exclusive distribution partner for the Australasian market. Group Technologies, based in Victoria, has been a staple in professional audio technology distribution for over two decades, having recently opened a new training and demonstration facility – said to be the largest of its kind in Australia.

“Group Technologies’ dedication to helping their customers get the very best out of their audio

Group Technologies’ director of sales, Shane Cannon, added: “We are thrilled to welcome NST Audio into our fold. They complement the line-up so well with their focus on audio quality and software ease of use – qualities we are keen to build on as we expand our customer support and service yet further.

“As business opens up again, and installation projects of all varieties are

the audiovisual needs of rapid industry growth within the Oceania region. For Peavey Commercial Audio, this new

www.nas.solutions

www.peaveycommercialaudio.com

L–R: Biamp CEO Rashid Skaf and Midwich MD Dan Fletcher

The Pink Noise team

L–R: Shane Cannon, director of sales GT, Dan Cartman, MD NST Audio, Scott Jamieson, technical products manager GT and Ben Goldsworthy, Generation AV

L–R: Shayne Thomas (GM PCA), Brad Kivela (NAS BDM), Shane Bailey (NAS MD) and Courtland Gray (Peavey Electronics COO)

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Audio Brands welcomes Fohhn to its Australian portfolio Snap One strengthens its presence with Fine Sounds

German loudspeaker manufacturer

Fohhn Audio has appointed Audio Brands as its exclusive Australian distributor. Founded in 1993, Fohhn is recognised for its beam steering technology, offering a wide range of loudspeaker products suitable for diverse applications ranging from churches and theatres to concert sound.

Audio Brands Australia is a consumer and professional audio distributor focused on the installation and production markets.

Audio Brands Australia has assumed responsibilities for Bosch Commercial Audio and Conferencing Systems, Earthworks, FBT, Frontrow IP paging systems and AV controllers, Linea Research, Mipro, Rane, RTS and Univox. Having relocated to larger headquarters and warehouse facility in Sydney’s western suburbs in early June 2021, its audio-centic portfolio has crossed into the

Proel partners with Alvinity Solusindo Jaya for Indonesia

in terms of how to grow the brand image in Indonesia. Our goal is to strive together, and we believe that Proel will have a successful future in this country.”

MonaLisa has already specified Proel for numerous upcoming installations in Indonesia. Early discussions with the distributor led to a two-week onboarding process where Proel’s product managers visited Alvinity Solusindo Jaya and trained the dedicated team primarily representing the brand.

M-Global’s Chandan Mahtani said: “It’s been an absolute joy knowing and working with Zandy and his team. The team is professional and well informed of the industry in Indonesia.”

Snap One has unveiled a new partnership with Fine Sounds APAC, a subsidiary of the audio manufacturer McIntosh Group, to increase availability and market awareness of Snap One solutions throughout China and Hong Kong.

Proel has announced an exclusive distribution deal with MonaLisa in Indonesia, which will include Proel Sound System, Proel Stage Equipment, Italian Stage and Axiom. MonaLisa has set up a separate distribution company, PT Alvinity Solusindo Jaya, to focus on managing all the brands under the Proel umbrella. With M-Global, the facilitator of

the deal, located in Singapore and Alvinity Solusindo Jaya based in Jakarta, the two companies have the opportunity to keep in close contact.

MonaLisa MD, Zandy Jong, said of the deal: “From the first time I met with M-Global and representative of Proel, Gabriella Di Giminiani, I believe that we immediately felt a connection

Gabriella Di Giminiani, export area manager for Proel, said: “I’ve known Zandy for only a few months, but immediately felt he was a great human being as well as an excellent professional. This relationship between the two brands will be built on trust, transparency, cooperation and loyalty.”

www.alvinitypro.com

www.proelworld.com

Adam Merlino, Snap One vice president and general manager for APAC, said: “Our partnership with Fine Sounds APAC will help increase local knowledge of our solutions and expand accessibility of our automation, audio and video, security and networking solutions for partners in China and Hong Kong.” Throughout 2023, Fine Sounds APAC plans to invest in multiple logistics centres in Hong Kong and mainland China to provide further availability and shipments of Snap One solutions across the region. The partnership also includes several local support initiatives – including the opening of a Control4 training centre to efficiently onboard partners, as well as an experience centre to host events and demos for architects, builders, designers and specifiers/ consultants.

Lionel Nunney, McIntosh Group CCO added: “Our complementary brands and products will provide our retailers and installers a compelling offer supported by continued training and marketing investment. We look forward to a long-term partnership with Snap One.”

www.mcintoshgroup.com

www.snapone.com

Mindstec becomes latest NewTek distributor

NewTek has announced Mindstec Distribution as its newest distributor in APAC, with a specific focus on India. With content creation and consumption on a continuous rise, the need for quality products for video production across various industries is steadily increasing.

Mindstec’s expertise in procurement and distribution of audiovisual system solutions are said to make it a perfect fit as a NewTek partner. With NewTek as part of its portfolio now, it widens its ability to support customers in need of AV-over-IP workflows, and those looking beyond broadcast-grade production solutions.

“With Mindstec, customers in India will have access to NewTek solutions with speed and efficiency, and NewTek will expand its global presence further in a region with no shortage of creative talent and demand. It’s an excellent match, which will see audiovisual solutions reach content creators who can make the best out of NewTek’s innovative technologies,” stated Sabarishan, regional director, Mindstec Distribution.

“The APAC tech market, especially with education tech, is expected to boom in the next few years. We have the most

accessible, complete and innovative solutions for the education sector, but also corporate, houses of worship, sports and esports, the list goes on. By partnering with strong distributors like Mindstec, we can ensure our technologies reach the hands of those that need our tech, but also that they have the local expertise and support. It’s a great match and we can’t wait to see the success stories start to emerge,” said Paul Dobbs, NewTek sales director, APAC.

www.mindstec.com

www.newtek.com

Don McConnell from AB flanked by Fohhn Audio’s Uli Haug and Jochen Schwarz

The Alvinity Solusindo Jaya team

Waring Hayes joins NST Audio Broadsign enlists Ong to lead Southeast Asian sales

strengthening Broadsign’s partner offering and growing its portfolio of DOOH (digitalout-of-home) clients across the region.

As former team leader of JCDecaux’s strategic and airport advertising accounts, Ong collaborated with major global brands buying ad space on the OOH leader’s network. During her tenure, she also managed sales for all media platforms in the Singapore region, from street furniture to retail malls, cinemas

“Broadsign is well established in Southeast Asia, and I’m impressed by its robust technology offering and high standard of customer service, which I experienced personally on the client side in my former role,” Ong shared. “It’s an honour and a privilege to be working with Remi Roques and the Broadsign team to help media owners unlock OOH’s full potential.”

Joining Broadsign from JCDecaux Singapore, Ong brings a wealth of OOH (out-of-home) knowledge and sales experience that will hopefully help the company further expand its SEA footprint. In the newly formed role, she will support the regional sales team in

“We’re incredibly thrilled to have Veronica join the team, especially at a very exciting time when we’re expanding our platform’s capabilities to support customer growth in 2023 and beyond,” commented Remi Roques, GM Broadsign APAC. “Her industry experience and passion for OOH are a tremendous asset to our team and will help us continue reaching our goals.”

www.broadsign.com

L-Acoustics unveils new Business Development team

Following the recent announcement of a new global sales and business development organisation, L-Acoustics has now unveiled its new Business Development team. Under the general management of CEO Laurent Vaissié, the new team is spread across three divisions: Sales and Sales Operations, Business Development and Strategy.

To offer a complete commercial and technical solution to end users and influencers, the Business Development team structure mirrors that of the Project Application, Vertical Market team led by David Dohrmann. It will focus on setting strategies and roadmaps in five key vertical markets. L-Acoustics veteran William Cornell takes the role of director, musicals and theatre, while Scott Wakelin has been promoted to director, hospitality. Paul Keating will assume a double role as managing director L-Acoustics Creations EMEA and director of the Architectural

architectural markets in all direct markets worldwide outside of the Americas.

company as business development director, sports facilities. Additionally, Tim Boot

Robe’s Poehlker widens his Asian net

Jens Poehlker has been made regional sales manager for Asia, while retaining his role as MD for Robe’s Singapore office.

Singapore-based Poehlker joined Robe as MD for Robe Asia Pacific in 2016 and has steered that operation diligently through many pandemic-related challenges, building a talented and stable team to work

alongside him. “It is now time to set the focus on bigger targets,” he said.

With a dedicated team and other resources in place at Robe’s Singapore office, he is perfectly placed to provide ad hoc service and support across the region. Pooling these resources will reportedly assist partners in other Asian countries to

service their Robe customers faster and even more efficiently.

Poehlker said: “By leveraging each other’s experiences, Asia as a region will become much more robust with the option of working together across companies and borders.”

www.robe.cz

joins L-Acoustics as business development director, Acoustics Solutions. Focused on developing the Ambiance Acoustics System, Boot will develop the strategy for this growing new vertical market. He will also contribute to product development and improvement via market and competitive analysis.

“This new organisation will deepen our expertise in key vertical markets, strengthen our network presence globally and allow us to plan a multi-year business roadmap that addresses both our current product offering and future innovations in loudspeakers, software, electronics and services,” concluded Vaissié. “With this team of outstanding professionals – who have proven their expertise within our team and throughout the industry – L-Acoustics will continue to elevate the listening experience for live entertainment and beyond.”

www.l-acoustics.com

NST Audio has announced the GUI and product industrial design, Hayes

Jens Poehlker

L–R: Scott Wakelin, Tim Boot, William Cornell and Olivier Roure

Veronica Ong

Waring Hayes

Riedel brings in Mauffrey

In a significant addition to the company’s global sales team, Riedel Communications has appointed Guillaume Mauffrey to serve as sales director APAC.

“Guillaume brings a great deal of Asia experience to Riedel’s business case, and a wealth of industry knowledge as well,” said Jens Miedek, executive director of global sales at Riedel.

“As a former COO of Ideal Systems, one of the biggest systems integration companies in Asia and a key Riedel partner in Taiwan and Hong Kong, he is already familiar with the company’s product portfolio and our footprint in the region. Guillaume is an ideal fit for this new role, and it will be great to work with him as part of the Riedel team.”

Mauffrey joins Riedel following nearly nine years with Ideal Systems Asia Pacific, where he managed global operations for the group and its 12 offices in 10 countries.

He earlier held sales leadership roles with communications and IT services provider

Outline celebrates 50 years with shake-up WORLD

To celebrate its 50th anniversary since incorporation, Outline has been working behind the scenes on what it describes as a “profound restructuring”, which has resulted in the appointment of a new management team. The new organisation stems from the retirement of Giorgio Biffi from his role of CEO.

specialist Wärtsilä, Seastema and Videlio-HMS. Industry-veteran Daniele Tebaldi will now lead Outline as general manager, following the collaboration that started between them at the beginning of 2022.

Michele Noselli said: “Celebrating Outline’s 50th anniversary this year seems like the perfect occasion

The director of sales role has been appointed to Fernando Rey Méndez, who joined Outline at the end of 2016. Rey Méndez forged his professional sound engineering skills with Italian musical theatre company Compagnia della Rancia, thereafter serving as startup and commissioning engineer in the integration market for naval

to up the ante, by renewing our commitment to a brighter, stronger Outline for the years to come – turning change into a most powerful advocate. Although this isn’t a farewell to Giorgio, as he remains a shareholding partner within Outline’s board.”

www.outline.it

sales for Northeast Asia, including the role of country manager for China.

Mauffrey’s early career roles with APAC businesses included business development manager for Globecomm Systems and Amadeus Group Limited, as well as Greater China sales manager for UPEK. Based in Hong Kong, Mauffrey reports directly to Miedek.

“I am excited to join a market-leading brand like Riedel and growing the customer base in a dynamic APAC region,” said Mauffrey. “I look forward to continuing to support our existing clients and providing the technology to new ones to unlock value in their respective industries. Broadening the presence of Riedel in China and India will play a large role in getting to the next level with the company in APAC.”

www.riedel.net

Guillaume Mauffrey

L–R: Daniele Tebaldi and Fernando Rey Méndez

AE Live’s Hurley has it covered in NZ A solid start with Carl Loo

Kaylene Hurley has been appointed as general manager of AE Live, responsible for leading its New Zealand operations, driving new growth initiatives and developing strategic partnerships. Hurley will focus on helping customers and partners adapt their business models to accommodate changing audience habits and increasing demand for mixed-reality

“This is an exciting time to be at AE Live, with strong growth potential in all our regions and especially here in New Zealand,” Hurley said. “We are continually strengthening our strategy around delivering solutions for clients across all our platforms both locally and overseas.

to serve the region and deliver live events. It also plans on building full-scale virtual production stages, which can then be used for event and commercial services for worldwide clientele.

“Loo has broad and quite unique experience, from both the service/ technology provider side and XR/VP operation and live event production, which we believe will be valuable for our company,” said Hideaki Takenaka, group CEO of Symunity.

“I’m truly excited to join such a competent and capable company. Symunity has been very successful in the AV entertainment industry and has become a frontrunner in XR and virtual production. I am certainly looking forward to developing the company further with a clear industrial ambition to dive into the future of immersive experience,” said Loo. www.symunity.co.jp

I’m delighted to join such an experienced team and I’m looking forward to exploring new opportunities with our key partners.” Hurley’s career includes two decades of media management and commercial expertise. Prior to joining AE Live, Hurley held senior management roles with Ovato NZ and Bauer Media Group.

Nick Baily, CEO at AE Live, said: “Kaylene’s extensive experience will further strengthen our management team in the APAC region as we look to deliver further growth and greater collaboration across our teams in Australia, New Zealand, Singapore and Malaysia.” www.ae.live

nna to lead d&b’s new immersive business unit

d&b has appointed Al McKinna as vice president of its new immersive business unit. Its creation will be a key enabler of d&b’s holistic immersive vision, spanning from audio, video, lighting and media up to extended Reality (xR). McKinna will report directly to d&b Group CEO Amnon Harman. The organisation under his lead is split across three divisions: Product Management and Architectural Design, Software Development and Customer

McKinna most recently held the position of head of product at Optimal Audio after spending 15 years at Avid in senior product management and sales roles.

“d&b is breaking ground with its integrated immersive vision and I am excited to play a pivotal role in making it a reality,” commented McKinna. “We see a huge opportunity to

enhance an audience’s experience with d&b’s immersive technologies and I am honoured to work with this exceptionally talented and experienced team to push the boundaries of what is creatively possible.”

“Today’s announcement marks the beginning of an exciting chapter for d&b, not only because we gain Al’s expertise and talents but also because this marks the transition of all d&b immersive endeavours under one business unit,” concluded Harman. “This new organisation, established right at the core of d&b, allows us to build an immersive business roadmap from an integrated viewpoint, considering both our audiotechnik and solutions customers.”

www.dbaudio.com

www.dbsolutions.com

Robert Adrian Tan to direct KV2 Asia sales

KV2 has selected seasoned industry professional Robert Adrian Tan to the post of director of sales, Asia. Based in Singapore, Tan brings over 20 years of experience as an

industries before moving into systems integration. Tan specialises in designing systems for acoustically challenging environments, be it in the live events or installed sound sector and is

“It’s an honour to be representing KV2 in the APAC region,” said Tan. “While KV2 has a certain presence in the region, I’m confident that I can continue to elevate the brand to even bigger and better things. Opportunities don’t just happen – you create them with hard work and passion and that’s exactly what I intend to do for KV2 – create opportunities.”

KV2 Audio CEO, George Krampera Jr, is said to be delighted to welcome Tan on board. “It’s been over two years since the untimely passing of our friend and colleague, Dave Croxton, and we still miss him every day,” said Krampera. “However, David and I had already talked about Robert, and we both felt that he would be a great fit for the KV2 family, both professionally and as a person. I’m sure that Robert will be able to take KV2 to the next level in Asia.”

www.kv2audio.com

Robert Adrian Tan

Al McKinna

Kaylene Hurley

Carl Loo

Caceres rejoins Brompton Technology

Sennheiser Group introduces new Executive Management Board

Following the realignment of the company with a focus on the professional audio business, the Sennheiser Group is entering 2023 with a newly formed management team. The audio specialist’s new Executive Management Board (EMB) includes representatives from the three business units: Professional Audio, Business Communication and Neumann, as well as Supply Chain, Corporate Functions and Development. The operational business of the Sennheiser Group will now be managed by a team of six. The new EMB includes Greg Beebe (executive vice president, Professional Audio), Ron Holtdijk (executive vice president, Business Communication), Ralf Oehl (CEO, Georg Neumann GmbH), Steffen Heise (CFO), Dr Andreas Fischer (COO) and Markus Redelstab (CTO). In the future, co-CEOs Dr Andreas

and Daniel Sennheiser will primarily focus on corporate management and strategy development and devote more time to customers, while the other EMB members will manage the operational business. Yasmine Riechers and Mareike Oer complete the leadership of the Sennheiser Group as an extended management team, representing the Corporate Development Office and Brand and Corporate Communication.

“With the integration of the business units into the EMB, our customers are moving even more into focus,” explained co-CEO Andreas Sennheiser. “In the future, their very different needs will be represented at the highest management level and included in all decisions, enabling us to act even closer to the market.”

Brompton Technology has welcomed back Cesar Caceres, who will be joining the company’s product development team as its product lead. He has already worked at Brompton, and later disguise and Votion Studios in Hong Kong. In his new role, Caceres returns to Brompton to help lead the way with new and existing products, liaising with key customers across the globe.

“We are very excited about Cesar rejoining us to take on this important leadership role,” concluded Richard

Mead, Brompton’s CEO, to whom Caceres will be reporting. “His ability to communicate technical concepts clearly and enthusiastically, combined with his extensive experience in the industry, mean he is uniquely qualified. This adds further strength to our team, which is Brompton’s most valuable asset, and gives us great confidence as we scale up to meet the needs of our growing customer base.”

www.bromptontech.com

Cesar Caceres

Visitors return to PLSG

International visitors are ready to return to Prolight + Sound Guangzhou, China’s largest entertainment and pro AV tradeshow in May

FOLLOWING THE MAJOR RELAXATION of China’s quarantine rule for inbound travellers starting from January, the latest edition of Prolight + Sound Guangzhou (PLSG) is preparing to welcome overseas buyers to see, hear and feel this exciting trade fair in-person.

Scheduled to take place from 22–25 May in Area A of the China Import and Export Fair Complex, Guangzhou, the 2023 edition will deploy strategic hall planning across 13 thematic halls spanning more than 130,000m of exhibition space. With digitalisation being widely adopted in China, the fair not only zooms into the entertainment and pro AV sectors, but also encourages industry integration with other vertical markets, including cultural tourism, building, commercial and education.

Get a sensuous experience of “Tech meets culture” at Immersive Experience Zones

Digital and immersive media technologies are increasingly providing inspiration for new forms of creative content and live performance. Highlighting this potential, PLSG’s signature “PLS Unicorn Series – Xtage” will once again be staged at the fair. The highly anticipated event welcomes a collection of specialist exhibitors, combining professional audiovisual solutions, media art, video and interactive installations to create a unique and entertaining cultural experience for audiences.

www.prolightsound-guangzhou.com

plsgz@hongkong.messefrankfurt.com

Bridging the gap

Harman

WHEN IT COMES TO PERFORMANCE,

the SRX900 Series checks all of the boxes: custom-engineered driver systems with precision waveguides provide superior fidelity, coverage and pattern control, and sophisticated yet intuitive DSP and softwaremanagement tools make system design, deployment and optimisation a breeze. Versatile rigging accessories let customers scale systems for any scenario. We sat down with Chris Gavin, product specialist on HARMAN Professional’s Performance Audio team, for a deep dive discussion to understand how the series addresses the growing need for affordable, scalable professional sound-reinforcement solutions that are purpose-built for rental companies, fixed installations and musicians.

How does the SRX900 Series fit into the JBL family of PAs?

This series was designed to be an entry into the professional line array product class. All SRX products, including this line-up and our popular SRX800 Series point-source models, are developed with the same principles in mind: to provide excellent value, but also bestin-class acoustic performance.

Who is the SRX900 customer?

The system targets a pretty wide audience –anybody from small- to medium-sized sound production companies to local bands or DJs. The SRX900 was designed to provide very affordable but also very scalable system solutions capable of covering a really diverse set of sound reinforcement requirements.

What were your priorities in bringing line array technologies to these systems?

The goal was to create a system that bridged the gap for customers who are experienced in running smaller, portable PA systems but need the functionality and capability of a modern line array solution.

To do this, we focused on features that are easy to use and understand but made the system capable enough that a professional PA company would be able to achieve mechanical and acoustical results that it would expect from a higher-end, modern system.

We wanted to keep the system very light so we used ultra-durable and reliable composite materials in the cabinets. We created a mechanically simple three-point rigging system, something that is very scalable, very functional, easy to learn and still maintains the VTX A-Series-style workflow that we are known for: single-pin angle selection. Then we developed a significant number of support accessories to make the system extremely versatile, scalable and applicable for just about any situation.

We also wanted to ensure that deployment of these systems was a breeze so we developed the JBL Performance app, which includes an intuitive drag-and-drop interface. We designed an IP control protocol that uses standard networking protocols, so it communicates using affordable and readily available off-the-shelf hardware.

How have the drivers been optimised for this system?

The SRX900’s outstanding sonic performance is based on time-tested JBL driver

technologies. Its custom-engineered and manufactured high-power-handling transducers deliver extremely low distortion, high fidelity and class-leading output to all four models in the series.

The compression driver used in both the SRX906LA and the SRX910LA features a neodymium magnet structure, a 3-inch titanium diaphragm and a 1.5-inch exit which creates crisp transients, superior dynamic range and extended sensitivity beyond 10kHz, adding up to a truly linear high-frequency response.

The 6-inch, 10-inch and 18-inch woofers that make up the SRX900 Series are based on our Differential Drive, dual-voice coil, dual-gap arrangement design, which delivers better heat dissipation, lower power compression and a much wider dynamic range than conventional single-coil designs could ever do. These transducers feature neodymium magnet structures, and the heat sinks are integrated into driver frames as well.

What does that translate to in terms of real-world benefits?

It’s really the whole system: when you couple our driver technology with our horn technology, which we call the RBI, or Radiation Boundary Integrator, we are able to deliver an extraordinarily linear acoustic response with industry-leading horizontal directivity control –

all in a lightweight, versatile system. The result in the audience and minimal stage noise from

systems are ready for the real world?

We have in-house test engineers in our Northridge, California facility to ensure we send all our products through a barrage of in-depth testing.

Some of our many test protocols include two in-house shaker tables that simulate continuous 1G shock loads in the X, Y and Z dimensions of our speaker boxes. That’s basically simulating the worst-case scenario in transporting the product.

Additionally, we cycle the products through numerous days of environmental simulations that span from a high-temperature, low-humidity environment to a low-temperature, highhumidity environment. This simulates changing seasons and ensures the components will continue to perform as expected in harsh environmental conditions, year after year.

We also do UV testing on all finishes as well as product drop testing, because accidents happen and that shouldn’t be the end of your product. To verify we don’t have any rust issues with grilles and other steel parts, we do extensive salt spray testing.

Most importantly, we acoustically test the products before and after putting them through these tests, to verify that the system continues to function exceptionally. The end result is an investment in a system that will continue to deliver remarkable performance and reliability throughout the lifetime of the product.

Professional dives deep into the groundbreaking JBL SRX900 line array series

Inside the SRX910LA

A slice of Nebula in Ho Chi Minh City

Christie HS Series 1DLP laser projectors have brought to life the fictional planet of Nebula – inspired by Avatar: The Way of Water, entertaining audiences with immersive visuals in a dome set up within Dam Sen Cultural Park, an amusement park in Ho Chi Minh City.

Titled Nebula – The Elemental Lighting Planet, this unique audiovisual showcase took place in an inflatable dome measuring 15m in diameter and 8m high. It employed various technologies including several Christie D20WU-HS laser projectors, interactive lighting, laser effects and realistic props. The concept was conceived and executed by Christie’s partner Alta Media, which specialises in systems integration, digital content and show entertainment technology.

“Nebula – The Elemental Lighting Planet tells the story of the four elements – air, earth, water and fire – which are seamlessly weaved

Hoang noted that the entire production of this project from conceptualisation to installation was completed within 10 working days, a feat not easily matched by systems integrators in Vietnam. “Thanks to our prior experience in large-scale, elaborate shows such as The Masked Singer Vietnam and numerous live performances, we were able to put together this elegant showcase using contents exclusively created in-house. I’m pleased that the contents are perfectly matched with the Christie HS Series projectors, which delivered eye-catching visuals that visitors both young and old can fully enjoy and appreciate during the annual Lunar New Year holiday.”

Jason Yeo, senior sales manager for Southeast Asia, Enterprise, Christie, commented: “Alta Media has outdone itself with this fascinating AV showcase that combines state-of-the-art technology, immense creativity and masterful storytelling that captivates visitors throughout its 10-day duration. I’m glad that the Christie D20WU-HS, with its high brightness, BoldColor Technology, compact footprint, quiet operation and omnidirectional capabilities, has delivered an amazing spectacle that makes visitors believe they have arrived on the fictional planet of Nebula.”

www.christiedigital.com

Both dine and dance at ØLTERRA

Located in one of Kolkata’s most fashionable districts, Greek-themed premium lounge ØLTERRA offers different experiences to different customers, depending on the time of their visit. During the day, for example, visitors can enjoy dining and drinks with background music that is conducive to conversation in a relaxed atmosphere, while music enthusiasts can dance the night away as the lounge increases the SPLs in the evening. This flexibility is achieved by a sound system that comprises a selection of Electro-Voice loudspeaker models driven by Dynacord L Series amplifiers.

The owners of ØLTERRA were already aware of both the Electro-Voice and Dynacord equipment following an installation by Standard Radio Service at its other venue in the city, Carpe Diem. However, this time around, the equipment needed to meet the very specific needs of the 1,200m2 venue. Standard Radio Service looked to the Electro-Voice installed loudspeaker portfolio to provide a made-to-measure solution, proposing EVF models with the high-output capacity to cover the main lounge and dancefloor areas for a full-on club experience at night, in combination with compact ZX1i and EVID-S models to cover the bar and terrace areas at lower levels during daytime dining hours – all powered by L Series amplifiers from Dynacord.

The main floor of the lounge is covered by a pair of EVF-1152S 15-inch tops with ample low-end support from two QRx 218S dual 18-inch subwoofers. Due to the differing uses of the venue, the plan was to have a smooth transition to lower SPLs as guests move away from the main dancefloor. To achieve this, gradually smaller loudspeakers have been deployed, starting with two EVF1122S 12-inch models before transitioning to four ZX1i 8-inch cabinets in the bar area. The physical sensation of the low frequencies is maintained by ELX200-18SP

18-inch powered subwoofers. Outside, the terrace is covered by six IP65-rated EVIDS5.2X weatherised speakers.

The entire system is driven by eight L Series amplifiers, with two L1300FD, two L1800FD and four L3600FD. Sonicue Sound System Software was used to configure and tune the system for optimal performance.

So far, the customer response to the new system concept has been extremely positive; even when the venue acts as a club, there are still quieter areas where customers can dine and chat.

www.electrovoice.com

www.dynacord.com

Built to last

Antiknock repays its supporters with TORUS

determine several important factors. One was the theme of the venue, bearing in mind the type of bands who perform there. Another was the physical shape of the venue and the construction of the building, as well as the size of the loudspeakers. And finally, of course, there was the capability of the loudspeaker itself. A speaker with mediumthrow capability would fulfil the demands of this venue and match the concept perfectly –and the new TORUS was the obvious solution.”

As a result, he specified a pair of T1215 onto two SXCF118 subwoofers per side,

in a simple ground-stacked configuration. Hashimoto confirmed that the height of the system had been carefully prearranged so that the size issue was resolved while achieving the optimum quality of sound. As TORUS has three compression drivers which have 35mm voice coils, he felt it would be sufficiently powerful for loud bands performing at Antiknock, while rasping lead vocals could be reproduced in the mix with improved intelligibility.

One challenge was the siting of the PA itself. Since sightlines on the audience floor are obscured by columns and joists and the floor level increases at the rear, the loudspeakers needed to be set inside the stage area. But TORUS can be flown from the T12GRID inverted, to allow stereo arrays to be mirrored with the highfrequency horn either to the left or the right, maintaining both the intelligibility and the wide L-R separation.

Since its opening in 1985, Antiknock has become a hall of fame for punk and hardcore bands, with many of today’s major artists originally setting down their roots there. Now the venue, situated in the Shinjuku district of Tokyo, has become the first in Japan to install Martin Audio’s new TORUS constant curvature array.

Speaking of the installation, Mr Sekikawa, CEO of Hardaway Corporation, which manages the venue, said the renewal of the sound system was a gift to the many artists and patrons who volunteered to sell T-shirts and make donations to keep the venue alive during the Covid pandemic. “This was my first thought when trying to thank them all

for their cooperation during those difficult times.”

The previous system was huge and featured old long-throw cabinets. Their disproportionate size not only made the stage look small, but the clarity of the low end during live performances left much to be desired. When seeking a replacement system, there were several key criteria that needed to be met: these included being suitable for multi-genres, with a reasonable size footprint, offering good stability.

Mr Hashimoto, CEO of Enter Sandman, who designed the new system, explained the rationale: “Having had a relationship with Antiknock for 10 years, I was able to

Hashimoto used Martin Audio’s DISPLAY3 throughout the process. “TORUS has a unique feature in that we could easily change the waveguide’s dispersion between 30–45°. We could also change the dispersion, setting the horn asymmetrically to avoid unnecessary reflections from the wall.”

Venue manager, Mr Yanagisawa, concluded: “A live venue such as this cannot survive on reputation or culture alone. The sound system is a good additional solution, and we believe TORUS can adapt to the many demands placed on it. Consequently, we believe it will help us rebuild the live scene.”

www.martin-audio.com

Jakarta International Stadium earns its stripes

Jakarta International Stadium, which stands at 73m tall, is one of the largest stadiums in Asia. The stadium façade features a tiger-striped-styled pattern designed with reference to Persija’s (Jakarta soccer club) colour and mascot, while the stadium shape itself is inspired by the shape of “Peci”, which is a cap traditional to Betawi, often used by Indonesians.

The stadium opened in 2022 after three years of construction, has three-tiered stands and is able to accommodate over 80,000 spectators at a time. Jakarta International Stadium is built to FIFA standards to accommodate various uses, such as music concerts and art events besides football and other sporting events.

Although the Jakarta International Stadium looks fascinating, it faces serious challenges that are common with stadiums of this kind. The first being that stadiums are highly reverberant spaces, which makes sound travel slowly and is usually unintelligible. The stadium also has a dome that is 90m high, which affects reverberation.

With the help of contractor PT Prabu Jaya Sentosa, the stadium used Bose Modeler’s software to determine the best sound system needed to solve its existing problems. The

venue has a retractable roof that can open and close depending on the event, which also affects the sound quality that the stadium has as the atmosphere completely changes when the roof is closed compared to when it’s open. Naturally, stadiums are subject to rain, so Prabu Jaya Sentosa opted for ArenaMatch outdoor loudspeakers, which consist of AM

10/80, 20/80, 40/60 and the ArenaMatch

Utility 208. For the subwoofers, the Bose Panaray LT MB12 and MB24 WR Compact subwoofers were selected. The speakers are placed at an ideal height of 80m. For the indoor area of the stadium, the client requested speakers with high coverage and voice intelligibility, which

wouldn’t disrupt the design of the interior. Ultimately, to meet these requirements, the DesignMax 6SE and 8S were selected. The new sound system reaches a total SPL of 111dB, which exceeds the FIFA standard of 105dB.

pro.bose.com

Can you afford to NOT look at ?

Quantum 225

Now more than ever, DiGiCo’s dedicated focus on the creative demands of tomorrow’s productions gives instant confidence to professional engineers. The new Quantum 225 has been designed to work with you, supplying unprecedented power, performance and flexibility, delivered today for less than you imagine.

www.digico.biz

Scan to find out

AFFORDABLE . CHALLENGE US TO DELIVER

DiGiCo goes to Bollywood with Bharat Music

“The SD10’s flexible layout and intuitive operation is greatly appreciated by its users. It’s a rider-friendly console and very much in demand among production managers,” noted Satyam Rajvanshi, application engineer at Hi-Tech Audio & Image.

Nirdosh Aggarwal, managing director of Hi-Tech Audio & Image, said: “Regular demos and trainings are major presales tools for us. We discussed Vicky Sahu’s requirements so we could advise on which console would be best suited for his inventory. To ensure the right products are provided, it’s very important to work together with clients. We welcome Bharat Music onboard with their newly purchased console to join us in our venture.”

SOUNDBITES

CALREC’S BRIO36 MIXER WINS THAI VOTE

Thai Parliament TV (TPTV) has taken delivery of Calrec Brio36 consoles for its digital audio mixing requirements. The Thai television channel broadcasts sessions from the National Assembly of Thailand including the House of Representatives and Senate to the Thai network.

Working closely with Advance Digital Tech Group (ADT), Calrec’s southeast Asian regional representative JAA Systems supplied the Brio36 solution to the Bangkokbased broadcaster. In addition, the OB mobile model has been customised with 36 faders dual layers, 96 DSP channels, an SDI de-embedder and a Br.IO stagebox.

Hi-Tech Audio & Image has supplied Udaipur-based rental company, Bharat Music, with its first DiGiCo SD10. “From small conferences to complex open-air concerts, the manufacturer has been the industry’s preferred choice for many years now,” said Vicky Sahu, director, Bharat Music. “Looking at technical features and market demand, we felt that the console definitely fits our work profile.”

Immediately after purchasing the SD10, Bharat Music supplied the console to various Bollywood artists’ live shows, including Papon, Guru Randhawa, Mika Singh and Stebin Ben. As an emerging audio-video rental company in Rajasthan, Sahu and his team are known for providing specialised services for big corporate and wedding events.

Rajan Gupta, CEO and founder of Hi-Tech Audio & Image, said: “The SD10 has just about everything a mixing engineer needs onboard to make an artist’s stage sound good. We have been distributing DiGiCo to the Indian market for almost a decade now with professionalism and proficiency.”

www.digico.biz

“With this investment, TPTV has become the first Brio36 mixer customer in Thailand,” commented ADT MD Supat Sirithamrat. “With the console’s many features, the TPTV engineers are quickly discovering the many inherent benefits included within the design.”

JAA Systems MD David Chan explained: “An increasing number of broadcasters in this region have become aware of Brio36’s power and versatility.”

www.jaasys.com

Sound soars like a phoenix at Guangdong Provincial Games

November 2022 saw the opening of the 16th Guangdong Provincial Games and the 9th Guangdong Provincial Games for Persons with Disabilities in Qingyuan and, with more than 20,000 athletes, coaches and related staff taking part, it was the largest Guangdong provincial games to date.

The main venue for the games, the Qingyuan Olympic Sports Center, is designed in the shape of a soaring phoenix and consists of a 30,000seat stadium, a gymnasium for 9,000 people, a natatorium with 2,000 seats and an Olympic

each providing 16 XLR inputs and eight XLR outputs, were also deployed for remote I/O over

The 9,000-seat gymnasium adopted the same dual SQ-7 configuration as the stadium, while the natatorium was fitted with the smaller 25-fader SQ-6 mixer to manage the sound reinforcement system.

“The Allen & Heath SQ mixing systems ticked all the boxes for this prestigious event; compact form factor, Dante compatible, high-resolution audio, and easy to set up and operate,” concluded Yangyang. “Additionally, the integrated channel and bus processing ensured that the speech and music were clear for the competitors, spectators and event staff. Everyone was happy with the results.”

sports park capable of hosting large-scale competitions, concerts and exhibitions.

Chinese AV solutions provider EZPro was handed the responsibility to supply the sound reinforcement system for the sports centre with two criteria in mind: “Firstly, reliability is absolutely critical for the sound reinforcement system when hosting large-scale competitions,” explained Zhang Yangyang, senior technical manager of EZPro. “Additionally, due to the long reverberation time of the large venue space, the sound field design needs to be augmented

with selective equipment to achieve the ideal sound pressure levels and, importantly, speech intelligibility.”

With these requirements in mind, EZPro decided to deploy Allen & Heath SQ mixers at the heart of the audio system. In the stadium, a pair of Allen & Heath SQ-7 mixers, with 32 onboard preamps and six layers of 33 faders, run as primary and backup systems to ensure no downtime in the audio output. Both SQ-7 mixers were equipped with SQ Dante cards with the primary and secondary ports being used to supply a redundant audio link to the power amps and loudspeakers. Three Allen & Heath DT168 Dante audio expanders,

The Bharat Music crew

AIE Film School opens up new avenues

AIE Film School has chosen Brompton Technology’s LED processing to power its Virtual Production volume on its Canberra campus soundstage, with plans for an expanded volume later this year.

AIE’s temporarily constructed 18.5m x 3.5m stage creates a single, large volume, made up of Liantronics LED panels and powered by Brompton Technology Tessera SX40 LED processing and Tessera XD 10G data distribution units. AIE plans to build a new permanent film studio, AIE Film Studios, featuring a larger 30m x 30m x 15m soundstage, with an expanded 24m x 6m volume (770m2 of LED panels) powered by Brompton LED processing. It will initially be used for feature film development, and later TV production, with students undertaking Work Integrated Learning (WIL) with AIE’s industry partners on the programmes.

“We have been exploring features of different LED processing options to make the right decision for our commercial and training project right here in Australia and in other countries in the future,” explained Lei Guo, president of strategic partnerships and investments at AIE. “Brompton was chosen because its Tessera interface was a lot easier to use than the previous system. It also provided extensive features for managing how colour is represented on our LED displays as well as offering a wealth of in-camera focused features like ShutterSync that allow for finer control of how the LED displays look on camera. We were also impressed with Brompton’s ongoing R&D work and incredible support throughout our journey.”

Guo said it had even reached out to its LED panel supplier to ensure the LED screens that were supplied to AIE were all configured with Brompton LED processing. “Brompton is the ‘Rolls-Royce’ LED processing solution. It’s easy to use, provides excellent support and is used widely by the film industry,” he added.

As well as Brompton Technology LED processing, AIE is said to be using the only Technodolly that is permanently available in Australia for motion control, which is used for all LED volume filming, while Unreal Engine is deployed for visualisation software.

The AIE Film School offers what is said to be the world’s first two-year, full-time

experience. The virtual production components of the course include previsualisation, virtual scouting techniques and virtual production filming using realtime environments that provide graduates with all the necessary, in-demand industry

“To get started in virtual production one must learn new techniques, and there is no better way of acquiring those skills than by doing it in real-time and on a real-life virtual production set, working with cutting-edge technology like Liantronics LED panels and Brompton Technology processing,” said Guo.

AIE is the only film school in Australia that funds and creates commercial feature films for global distribution. AIE recently worked with its production partner DEMS Entertainment on the theatrically released feature film Sissy, which was nominated

AACTA Awards.

“It’s great to see globally respected educational organisations like AIE Film School integrating virtual production technologies into their filmmaking courses. This shows students that this new technology is nothing to be frightened of. In fact, it can actually become a great new avenue for careers in film production,” said Luke Hurford, regional technical manager Asia Pacific at Brompton Technology. He concluded: “We are delighted that the AIE team have chosen Brompton LED processing for their current and up-coming VP facilities. Having fully functional virtual production environments is something that is going to really help students nurture their professional skills and kickstart their careers in film production.”

www.bromptontech.com

Made in Italy Zurich 2022

The virtual production studio

Marina Bay Sands is alive with The Sound of Music

Point Source Audio’s Confidence Collection CO2-8WLp has been specified by theatrical sound designer Shannon Slaton for The Sound of Music’s International Tour. The multi-year tour began at the Marina Bay Sands Theatre in Singapore before moving on to Kuala Lumpur and Taiwan.

With more than 25 years of experience as a theatrical sound designer and Broadway audio mixer, Slaton is said to have a deep understanding of what is needed to make a tour sound great. “When designing for a tour, I have to think about how much time people have to load the show in and out and the equipment has to sit in a certain amount of truck space,” he explained. “If you’re doing a Broadway show, you have three weeks and you

design pairs two microphone elements into a single housing to create a form factor that is intended to be ultra-low profile.

The paired elements are factory matched in frequency and sensitivity so that when a vital backup is initiated, any difference in audio performance is nearly undetectable.

“Over the years I’ve used Point Source Audio quite a bit and now I’m pretty consistently using their mics,” said Slaton. “I find that the connectors are very robust, and they don’t sweat out as often as other mics. They seem to last longer, and they sound really good. There’s not too much more that you care about in a microphone than those things.”

The dual element design is also an important factor in the

install the equipment where you want it. But with a tour you have 8–12 hours, so the equipment and ease of travel becomes part of the equation.

“I designed the tour of The Sound of Music in the US for three years and this is the same production currently touring Asia,” continued Slaton. “The design for the international tour is pretty close to the US sound design.”

When it came to microphones, Slaton opted for Point Source Audio’s CO2-8WLp dual element lavaliers for the cast. The lavalier’s

selection. “Having that built-in redundancy gives you peace of mind,” explained Slaton. “My leads wear two mics and it’s nice that you can just pull them out of the box and put them on the actor; normally there’s a lot of work to get lavaliers to be two mics in one. Most of the cast only has one transmitter, but they have two mics which is great because if there is a problem you just have to switch the connector.”

www.point-sourceaudio.com

Reynold’s powers the arts in Goa

Serendipity Arts Festival (SAF) is said to be one of the largest multi-disciplinary arts initiatives in the South Asian region, spanning visual, performing and culinary arts, while exploring genres with film, live arts, literature and fashion. The festival also offers educational workshops, special projects and institutional engagements. The fifth edition of Serendipity Arts Festival in Panaji, Goa, which took place in December 2022, saw Reynold’s Sound and Lighting Services provide AV, lighting and trussing.

Reynold’s Sound and Lighting Services catered for 14 different venues across the festival, selecting audio systems ranging from KSL and SL-Subs from d&b audiotechnik, as well as Meyer Sound, Audiofocus and RCF. Control in most venues was managed by DiGiCo and Allen & Heath consoles, with audio distribution to speakers/amplifiers provided by Audinate’s Dante network.

The company has been part of the Serendipity Arts Festival since its inception in 2017, which Reynold’s Sound and Lighting Services said made the task of catering to a large-scale festival manageable. Another element that proved helpful was the use of Vectorworks, ArrayCalc and Capture, which helped speed up the design process by taking into consideration the inputs from all artists and the SAF team.

A notable challenge was ensuring the structural truss designs were accurate and selecting the appropriate equipment for each venue. Additionally, accommodating the needs of multiple artists performing across Panjim, Goa, and preparing for the daily changes in terms of lighting equipment was a major task. These challenges were overcome by working closely with the client and taking the time to understand its requirements over the course of six months, whether that be in-person or via Zoom.

Director of Reynold’s Sound and Lighting Services, Selwyn Remedios, said of the project: “I have been involved with the festival from the very beginning and have a strong appreciation for the SAF team. While there are definite challenges such as equipment changes, demands from artists and last-minute requests, they help us grow and improve as a team. At Reynold’s, we are committed to providing the highest level of customer satisfaction, even if it means putting in extra effort and going the extra mile. This dedication sets us apart and is what drives us to deliver exceptional results.”

Sky New Zealand reaches new heights with LAWO

Professional Audio & Television (PAT) has been selected for the supply and commissioning of a LAWO mc²56MKIII 48-fader production console to Sky New Zealand. Sky is a New Zealand-based entertainment company, home to a large choice of live sport, movies, shows, documentaries and breaking news. Sky offers additional viewing options, whether it’s through the Sky Box and companion app Sky Go for premium direct-to-home customers or through its streaming services Sky Sport Now for sport or Neon for movies and entertainment. Sky also owns free-to-air channel, Prime. When the time came for Sky to replace its old LAWO mc²66 console and Nova73 TDM-based

by two fully redundant, 1U LAWO UHD-Core audio engines. Integrated into the console is the RTW TM7 audio metering unit, giving the Sky audio operators reliable eyes on audio.

LAWO’s cloud-native management platform HOME is responsible for connecting, managing and securing all audio aspects of Sky’s live production environment and is supported by six PowerCore I/O gateway nodes with full support for ST 2110, AES67, Ravenna and Dante. The media network is clocked by a Meinberg M1000 with dual HPS100 High Precision PTP modules. Each card offers the ability to support up to 2048 PTP-Clients in Unicast, as well as more than 250,000 Delay Requests per

video processors integrated into its new IP workflows.

Justin Loza, platform owner broadcast core, Sky NZ, said: “Sky have been LAWO customers since the early 2000s and we have had a great experience with their technologies to date. When embarking on our first AoIP project, we wanted to align with a company that has a proven track record and understanding of IP technologies, has experience implementing large-scale projects and solutions, and were willing to become an extended arm of the Sky team – PAT has delivered just that. LAWO and PAT have gone above and beyond to meet our requirements, built strong relationships with our staff, collaborated on design and even accepted last-minute changes with no complaints and a smile on their face. We look

forward to building on this successful formula in the future.”

Mike Heard, senior solutions architect at PAT, commented: “When we were asked by the Sky team to join them on their migration over to IP and to replace their ‘tried and true’ LAWO mc²66 AP console, we instantly knew what to do. This project has been the perfect example of how trust, communication and collaboration can be used to successfully deliver a project on time, on budget and with the best result possible. It is great to see another LAWO mc² console paired with LAWO UHD IP audio processing cores in service in New Zealand and a massive thank you to the entire Sky team for trusting PAT and having us along for the ride.” www.lawo.com

L–R: Bruno Barrett-Garnier (Sky TV), Bryan Olding (Sky TV), Andreas Hain (LAWO) and Mike Heard (PAT)

Finding reliability in an Expedition Unknown

camera”. Even in deadly cold temperatures of the Ural Mountains, the Lectrosonics systems kept working, capturing sound. True to the series name, shooting Expedition Unknown involves shooting in wild, inhospitable and sometimes hazardous locations, like searching for El Dorado – the legendary Lost City of Gold –in a Colombian jungle, scuba diving to look for the alleged treasure of New York bootlegger/gangster Dutch Schultz and exploring 4,000-year-old tombs in Egypt. Stone and Curtis both praise Lectrosonics’ “durability, toughness and consistency of quality” throughout these ordeals. Stone said: “The gear is top shelf. The best professionals use it and there’s a reason why.”

Gates and Stone wear WM transmitters because the devices are watertight and they often get wet. Local experts – such as historians, geographers and librarians –get fitted with the SMQV transmitters for its on-camera appearances. For backup or out-of-range shots on motorcycles, in airplanes or tunnels for example, they use SPDR personal digital recorders. The beltpack units are all used with Sanken COS-11 lavalier mics.

www.lectrosonics.com

Cinematographer Evan Stone

India’s G20 presidency kicks off with palace projection

India’s G20 presidency started with a Sherpa meet in Udaipur from 4–7 December 2022, which was the first of 200 plan n ed events taking place over the period. Delegates were welcomed to the

city and the new host country with an evening of culture, dance, fashion and large-scale projection on the Udaipur City Palace. Splat Studio designed the visuals presented on the building, teaming

Dataton’s WATCHOUT with 12 projectors for coverage. Digital agency Howwl collaborated on the content creation for the show.

“The work done by Splat Studio was appreciated wholeheartedly and was truly a creatively satisfying project,” said Hitesh Kumar, Splat Studio. Long-time WATCHOUT users, Splat has a track record in both large-scale projection events and experience centres. The G20 event followed on from a similar mapping project in the region at the Rajasthan Vidhan

Sabha building in Jaipur and, just a few days later, Splat Studio was responsible for the visuals at the G20 working group meeting in Mumbai, also using WATCHOUT. Ashok Sharma, APAC regional sales manager at Dataton, commented: “The G20 presidency is of course a matter of great national pride as it is the first time India is the host for the summit. We’re very honoured that Splat Studio chose WATCHOUT to be part of the G20 events.”

www.dataton.com

NEXO amplifies beauty in motion in Korean art scene

SOUTH KOREA

Originally opened in 1963 as the country’s first performance venue equipped with modern facilities, Walkerhill Theatre has played an important role in Korea’s performing arts scene. Part of the Grand Walkerhill Hotel and Resort, this iconic venue is reborn again as a new cultural and artistic space

of 30 ID24s forming the main part of the system. Also selected are five IDS110 subs, four ID84 column speakers and four NEXO P15 point-source cabinets. Amplification and processing come from a network of 17 Danteequipped NEXO NXAMPMK2 fourchannel powered controllers.

featuring projections and sound technology to create Seoul’s largest immersive exhibition hall, the Theatre of Light.

This vast 3,100m2 venue with its 21m-high ceiling aims to immerse audiences in a brandnew way, so organisers opted for a three-dimensional soundscape delivered by NEXO ID and P+ Series.

NEXO’s ID24 uses twin 4-inch drivers in a V formation with an HF compression driver, with a total

The Theatre of Light opened last year with Gustav Klimt, Gold in Motion, reinterpreting the works of the Austrian symbolist painter. Klimt’s masterpieces are projected onto walls, columns and even floors with projection mapping techniques enhanced by localised soundscapes, further emphasising the beauty of the artwork.

www.nexo-sa.com

PXL Media invests in Martin Audio

PXL Media has recently added Martin Audio’s Wavefront Precision (WPL) line array to its inventory. In doing so, PXL Media is said to be India’s first WPL user. A production house known across South India for its LED screens, PXL Media launched SXL – a division centred around providing touring audio systems to audiences. “Together with VXL (video) and LXL (lights), we can provide a complete solution to our customers,” said Michael Pratheesh, CEO, PXL Media. This purchase also helps PXL Media make its mark as a significant player in the touring industry in Kerala, said to be one of the fastest-growing events and touring markets in India. “We will quickly expand into all of South India soon,” claimed Pratheesh.

system that delivers top-notch performance, is rider friendly, ensures efficiency and functionality, while being flexible and scalable,” said Sachin Babu, sound engineer, PXL Media. “Martin Audio was perfect for this.”

The system inventory for Pixel Media includes the WPL threeway bi-amp, two 12-inch largeformat line array elements, with

Tony Sawyer, applications manager at Generation AV, Martin Audio’s APAC sales representative, conducted the initial software and rigging training at the PXL warehouse in Kochi. “Martin Audio has always prioritised training and support. We ensure that our touring partners are taken care of and that their purchase is protected. The team at PXL are exceptional learners

and will soon be a force to reckon with,” continued Prashant Govindan, director at Generation AV India, said: “PXL Media has big plans and has taken a bold first step by launching with the WPL. We are excited by the possibilities that this opens up for them, and everyone at Martin Audio and Generation AV are here to support and help them with their growth.”

“It was great working with the PXL team throughout the sale, and we continue to back them with all the support.

Pratheesh, Biju, Sachin, Kiran and team have a long way to go and team VMT wishes them all the luck with their current system and the many more systems to come,” said Jeff Mandot, national sales manager, VMT, Martin Audio’s Indian distributor.

“We are very happy to have team PXL on board with us. With VMT, we are building a strong sales and support network for Martin Audio in India that will offer the best in the touring and installation sound markets,” said David McKinney, managing director, Generation AV. www.martin-audio.com

If you build the loudest, widest-bandwidth compression driver yet - engineers are going to want it smaller. After four years of development, two patents, and a reinvention of our in-house simulation techniques, B&C Speakers is proud to present the DCX354.

Smaller, lighter, more ef cient, and surprisingly capable. Enjoy no-compromise point and line-source behavior from 400Hz to 20kHz at new high SPLs.

made in Italy

DCX354 Coaxial Compression Driver

The PXL Media, Generation AV and VMT team

Black Bunny Club brings the energy

Technologies, official distributors of LD Systems.

Ankit Vadodariya of Evenflow Eternal said: “The management insisted on a consistent and uniform sound experience throughout the entire premises without compromising on clarity or impact. It was also important that the loudspeakers blend well with the surroundings and the décor of the respective spaces. Based on this brief, we chose an eclectic mix of products from LD Systems since they met the performance and design specifications for each individual space.”

too is adorned by four units of the loudspeaker.

With dedicated spaces for a gymnasium, a CrossFit area, a pool area and game zone, a restaurant area and two cafés, Surat’s Black Bunny (BB)

Club is a modern space for fitness and entertainment. Evenflow Eternal was chosen to design and equip the venue with an audio system, supplied by Stagemix

Processing is a dream at Kaohsiung’s NY celebrations

Evenflow Eternal chose to rely heavily on LD Systems CWMS52 loudspeakers, opting for a calm and ambient soundscape at each of the cafés, which individually sport four units of the loudspeaker. The restaurant also features a total of eight units of the loudspeaker spread across key points to ensure as much coverage as possible. The poolside

The bowling area sports a dramatic shift in atmosphere with four CWMS52 coupled with a single unit of the SUB10A subwoofer for low-frequency fidelity. The trampoline section is fitted with four SAT82G2 speakers complemented by two units of the SUB10A subwoofer – all controlled through a single Dynatech UFX 12 mixer. The gym area at BB Club has been equipped with four ICOA 12 loudspeakers and two units of the ICOA SUB15A subwoofer – all powered by Dynatech CS 6001 power amplifiers and controlled through a Dynatech UFX 12 mixing console – whereas the Crossfit section sports a total of four SAT62G2 complemented by two units of the SUB10A subwoofer.

www.ld-systems.com

www.stagemix.com

TV5 kids vocal show sings TVU’s praises

For the finale of the popular vocal performance show, Sing Galing Kids, Philippine media company TV5 travelled to Manila’s renowned Metropolitan Theater for a live broadcast to determine the winner. The last two episodes of the season went live from the theatre on consecutive Saturdays. Producers at TV5 needed a remote production solution that could handle multicamera, live, remote production without

The TVU One 5G mobile transmitter was selected to provide encoding and transmission from the theatre to the TVU Transceiver/Server at the main TV5 studio. After switching, audio mixing, promotional video, subtitle and graphic insertion at a temporary studio onsite at the theatre, the main signal was output to the TVU One and then to the TVU Transceiver at the TV5 studio for decoding and simultaneous

An Aquilon RS4 4K/8K multi-screen presentation system from Analog Way was used by Formosa Television to provide coverage of the recent New Year’s concert and celebrations taking place in Kaohsiung, Taiwan. The event at Dream Mall, which was sponsored by Kaohsiung City Government, featured a double-sided performance stage, each with a different theme, and hosted an array of artists plus a gala midnight fireworks display. To support the event, the main contractor, Sing Tai Yang Stage, recommended the Aquilon RS4 as it was capable of providing up to 16 4K outputs and offered enough 4K

layers to display the content. Analog Way provided an onsite technician to support the event for Formosa Television’s contractor.

“This New Year’s Eve concert was the first time the organiser designed and built a double-sided stage with a field of view of up to 260°, which was able to accommodate a larger live audience,” explained Yee Tat Nam, business development and technical services manager at Analog Way Asia. “One side of the stage had a ‘Present’ theme and other side a ‘Future’ theme.”

The stage’s 600m2 LED backdrop featured 3.9 and 4.8 pixel pitch tiles that required a minimum of nine 4K60 outputs to drive the full setup. “Other brands needed multiple processors to cover the entire LED screen, but the Aquilon RS4 has 16 4K outputs in a single unit,” said Yee. “In addition to furnishing all that power in just one unit, the RS4’s Web RCS was easy to use and the 24 4K layers were really helpful for this setup.”

www.analogway.com

any bandwidth bottleneck, connectivity delays or latency issues for this high-profile show. As these final two shows revealed the ultimate winner, capturing as much of the drama as possible was essential to the success of the finale. Multiple cameras would need to be set up to capture various perspective shots of the performers, judges and members of the audience. TV5 approached the TVU Philippines team to discuss the best possible solutions for this live broadcast.

“This finale was a big draw for TV5,” said Paul Shen, CEO, TVU Networks. “They knew how important it was to have a smooth transmission. With our solution, they had a very successful live, multi-camera broadcast – without any signal bottleneck and without support of dedicated lines or satellite and microwave trucks. We couldn’t be happier with the results of the Sing Galing Kids finale.”

www.tvunetworks.com

TAIWAN

PHILIPPINES

ART 9-AX SERIES all colors of sound

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The ART 9-AX back panel features a large 2.4-inch color touch display and a push encoder to adjust all speaker settings on-the-fly.

Sydney Festival hones in on Kahlo and sustainability

“There are seamless floor and wall projections and unusual projection surfaces which took around a week of installation to set up and install,” Fitzgerald explained. “In creating the project, we worked closely with the Frida Kahlo Corporation and Layers of Reality to deliver a quick turnaround in a matter of weeks. We opted for laser because the technology lifts the colour and resolution of the projections and does so with a reduction in energy consumption.”

“Our clients are looking for greener, more energy-efficient technology and TDC was able to deliver that for Frida Khalo. Compared to lamp-based projection, laser projector technology uses much less cooling, they have fewer moving parts and are a more robust system. Also, the longevity of laser is far greater and the image produced is very uniform and stable,” added Drew Ferors, head of technical services at TDC.

Audiocenter powers the sound for the Astrodome

PHILIPPINES

The Tacloban City Convention Centre, also known as the Tacloban Astrodome or the Tacloban City Coliseum, is an indoor arena located in Tacloban, Philippines. Tacloban City serves as the main centre for the region of Eastern Visayas in the Philippines with a seating capacity of 4,500, after the local mayor approved an upgrade to the sound system for Astrodome.

Technical Direction Company (TDC), provider of event and entertainment technology solutions and sponsor of Sydney Festival, has announced its biggest involvement yet in the preeminent city-wide celebration of culture, creativity and live performance. Its team of technicians supplied creative design technology and projection mapping expertise for showcases at multiple events across Sydney from 5–29 January, including festival highlights featuring iconic feminist Frida Kahlo and mythic new opera Antarctica

Chris Fitzgerald, TDC technical project manager, said: “We are very excited to be a Sydney Festival partner once again in 2023. Organising and coordinating our sponsorship of Sydney Festival required extensive site surveys, scheduling, dealing with weather changes and attention to detail. It also gave us a unique opportunity for us to work in collaboration with some leading artists from all over the world using the latest projection mapping techniques and LED technology. We are proud to be involved and can’t wait to see audiences react to the wonderful experience.”

To provide visitors with the most incredible immersive experience and continuing TDC’s

commitment to sustainability, TDC has deployed the latest addition to its inventory –the Barco G62-W11 laser projector – which operates on a fraction of the energy used in lamp-based counterparts. Michael Hasset, founder and MD at TDC, said: “We worked to a specification and used projectors that were reliable and gave considerable brightness.”

For the first time in Australia, a unique biographical exhibition entitled Frida Kahlo: The Life of an Icon allows attendees a better understanding of Frida Kahlo, the woman whose perseverance, rebellion and talent placed her eons ahead of her time.

Co-created by the Frida Kahlo Corporation and the renowned Spanish digital arts company Layers of Reality, this multisensory experience features nine transformational spaces, from collections of historical photographs and original films, captivating holography, 360° projections and a virtual reality system that will transport visitors inside Kahlo’s most famous works. Barco G62-W11 laser projectors were rigged by a bespoke TDC system and played back using the latest high-powered media servers.

Antarctica, a new opera by Australian composer Mary Finsterer and librettist Tom Wright, was performed on home soil for the first time during Sydney Festival 2023, featuring renowned Dutch new music ensemble, Asko|Schönberg. Finsterer’s blend of Renaissance-inspired and contemporary music styles was performed on a futuristic digital set, with a backdrop of a 12m x 9m ROE Visual BQ4 Black Quartz LED wall specified, supplied and installed by TDC. The opera’s fascinating musical palette was amplified by the sounds of the Southern Ocean and the Antarctic itself. The LED screen was used as a set piece as well as an animated display whereby performers could enter and exit the stage through walkways created within the screen.

Francis Smith, technical project manager, TDC, commented: “Antarctica is a fantastic immersive experience for which we adapted an installation from the debut performance in the Netherlands. The screen sits in front of the scaffolding with elements of the set emerging onto the stage through cutouts. Not only did the screen have to perfectly accommodate the cutouts, the design specified there would be nothing to physically connect the screen to the scaffolding. We elected to design using the new ROE BQ4.6 as it was the strongest and sturdiest for a screen that size and that weight. Having the vertical bracing built into the LED panels themselves helped with structural integrity, keeping everything safe for performers and audience alike.”

www.tdc.com.au

MusicPro Electronics, based in Tacloban, took up this duty to install and pitch for this project with the support of Kolin Electronics Company, the distributor of Audiocenter in the Philippines. Audiocenter’s product application engineer, Roshan Malim, assisted with audio design of the project using EASE Focus, simulating the complete audio design including the SPL calculations, splay angles and even audio coverage across the whole Astrodome. Audiocenter’s K-LA210 DSP was selected for this project, which is an active dual 10-inch line array cabinet with horizontal coverage of 100° symmetric directivity output. A total of 30 cabinets were used, in order to try and provide 360° coverage for the Astrodome, with each hang consisting of five units of K-LA210DSP cabinets. The performance of the audio system has been recognised and praised by the management of Tacloban City Convention Centre, who are said to be delighted with the “highly controlled, high SPL and even coverage across all of the Astrodome”.

www.audiocenter.net

AUSTRALIA

The Frida Kahlo exhibition

A city in a garden

Located in the heart of Orchard Road, Singapore’s shopping and entertainment district, the Hilton Singapore Orchard was unveiled earlier this year following a $150 million makeover. This latest hotel is the group’s flagship hospitality property in the region and takes pride of place as the largest Hilton in the Asia Pacific region. The hotel interior exudes warmth, with local design touches and botanically inspired elements, following the “Singapore, a city in a garden” aesthetic.

To ensure a complete hospitality experience throughout the property, the Hilton Singapore Orchard management chose to install L-Acoustics audio solutions for the two main ballrooms. Local L-Acoustics Certified Provider, Concept Systems Technologies, participated in a bid-fortender process and won the contract for the audio system upgrade.

Concept Systems used Soundvision 3D modelling software to design two bespoke systems for the 810-capacity Grand Ballroom and the 240-capacity Junior Ballroom. Both ballrooms host a variety of events including government affairs, corporate seminars and dinners, brand product launches and weddings. This range of events called for systems that produce clear speech intelligibility

A representative from the Hilton said: “The ballroom project was delivered brilliantly by the team at Concept Systems. They provided a modern, new system and delivered excellent technical consultancy as an official L-Acoustics partner. We felt confident from the pre-installation phase, right up to system testing phase. L-Acoustics solutions provide pristine sound for all our guests, from wedding parties and corporate brand directors to highly respected government ministers.”

www.concept-systems.com.sg

www.l-acoustics.com

C K Lim, project manager at Concept Systems, explained: “Soundvision allowed my team to provide the client with a visual representation of our proposed system designs. Along with SPL and coverage data, we were able to support the proposal by showing that results were in line with the client’s key objectives.” The system designs were then reviewed and approved by L-Acoustics APAC application engineers. In the 1,058m2 Grand Ballroom, four hangs of two L-Acoustics A10i each are installed across the front of the ballroom with two ground stacks of two KS21i subwoofers providing low-end definition. In the 480m2 Junior Ballroom, two hangs of two L-Acoustics X12 were sufficient for the smaller function space, with two hanging SB15m subwoofers providing low end.

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Two hangs of two L-Acoustics X12 are installed for the smaller Junior Ballroom

VStream Media optimises cloud-based remote production

Founded in 2019, Singapore-based VStream Media is said to have provided remote live production services since before it became an industry standard in its market. The company offers technical AV planning and workflow design, along with onsite training and systems integration, to ensure

Media workflows includes: the AJA KONA 4 I/O card with a breakout box and other AJA Desktop I/O Solutions, AJA U-TAP SDI and HDMI USB 3.0 capture devices and the AJA FiDO-2T-12G two-channel 12G-SDI to singlemode fibre transmitter. Mohan added: “Our experience with AJA gear has been great

George Ezra goes from Budapest to Auckland

Robe Lighting has been featured in the lighting specs for the ANZ leg of UK singersongwriter George Ezra’s Gold Rush Kid tour. Eleven Robe MegaPointes on the upstage truss have been present throughout the whole tour, which kicked off in the UK and Ireland and extended into festival season. The original show and lighting/set design by Cate Carter is being overseen and co-ordinated on the road by lighting director Chr is Taylor. The Auckland show, staged at the Spark arena, was an all-Robe rig – apart from the strobes and 10 2K Fresnel specials on stands – with all kit supplied by NZ rental specialist, Spot-Light Systems. This was the only New Zealand date, preceded by a show in Dubai on the way there and followed up by four gigs across Australia.

A total of 38 BMFL WashBeams on the rig in Auckland were distributed on two side torms with the balance of fixtures along the floor at the back and on the front truss. They were used for front and cross-stage washes and specials, and the ones on the deck for high-impact effects, both integrating and contrasting to the highlevel MegaPointes on the upstage truss. Five Robe LEDWash 600s per side were positioned on the downstage corners of the stage for front kickers.

One of the practical design modifications to the full show for this segment was running without a large upstage LED screen and a scenic LED-lined frame – two major aesthetic elements that were replaced with a printed backdrop from Showtex covered by a gauze to allow it to be front and back lit, appearing and disappearing through the set.

Taylor considers MegaPointe “the best beam fixture” on the market currently, and it is a favourite of his for “flexibility, versatility and the sheer amount of air effects and different looks you can get from them”.

Kit for the Australian shows was supplied by MPH Productions for Melbourne, Sydney and Brisbane and Showscreens for Perth. Taylor programmed and operated lighting using a grandMA2 console.

Everyone involved was relishing the chance to work in Australia and New Zealand again. “The people are friendly and efficient,” stated production manager Jake Vernum, “the suppliers are very competent, the kit is good and well maintained, production values are high, the food is delicious and the weather is usually fantastic. It’s good to be back after three years.”

www.robe.cz

live event streams align with each customer’s vision. As demand for remote productions increased, VStream Media added the AJA Ki Pro GO multichannel H.264 recorder to its workflow. The device has enabled its team to achieve redundant, multichannel recording and simplify its content delivery path.

VStream Media considers H.264 recording best suited for cloud-based workflows. For most events the company takes on, remote speakers call in via a videoconferencing platform using a webcam that has 720 or 1080 resolution. The VStream Media team then sends multiple SDI feeds out to AJA Ki Pro GO for recording to off-the-shelf solidstate-drives (SSD), with another SSD as a backup. This approach ensures redundant, multichannel recording. Post event, the VStream team can quickly upload the files to the cloud. This gives the client’s editorial team near instant access to the file, so that they can download the footage quickly, regardless of where they are based or if they have a limited internet connection.

Commenting on the workflow, Adarsh Mohan, VStream Media co-founder and managing director, shared: “Ki Pro GO brings simplicity and flexibility to our workflow. When it comes to remote live event production, we need to be sure that all equipment can perform well and, based on our experience, AJA products provide that.”

In addition to Ki Pro GO, VStream Media leverages a host of other equipment, including an internally developed multivideo broadcasting platform, PTZ cameras and several other AJA solutions. Additional AJA equipment deployed across VStream

across the board. AJA promises a very stable workflow, and you get more than what you pay for.”

Mohan and co-founder Ang Ming Song established VStream Media with a vision to maximise the use of technologies to provide clients forward-thinking processes and solutions. Using PTZ cameras and NDI technology in productions was the primary focus, and it has since continued augmenting workflows with new additions. Its internal research and development team works alongside the operations team to explore and push technological possibilities. Once proven in the research lab, it implements these workflows in real-world scenarios.

Mohan concluded: “We have clients and AV partners coming in daily to discuss new production ideas, so we have to constantly think on our feet and come up with creative solutions that align with our customers’ visions. AJA products like the Ki Pro GO are essential to achieving that; it helps us to create a cleaner, more effective workflow.”

www.aja.com

L–R: Adarsh Mohan and Ang Ming Song

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Photo: Tanner VonnahmeI, unsplash

Filament Eleven 11 finds the fun with Astera

Auckland-based design studio Filament

Eleven 11 is a creative tour de force combining the talents of lighting and visual artists Rachel Marlow and Brad Gledhill. Working across multiple genres – theatre, opera, dance, rock ‘n’ roll live events, installation and light art – and embracing a mix of medias and light forms, the company is known for its fun approach to enhancing storytelling with this unique form of expression.

Filament Eleven 11 also owns some specialist lighting and control kit and recently invested in Astera wireless LED products – AX3 LightDrops and NYX Bulbs – which have been used on several projects. Three AX3 LightDrop kits (24 in total) and 30 NYX Bulbs were purchased from Astera’s New Zealand distributor, ULA Group, for use as “ultimately useful lighting tools” said Marlow, and since then, she and Gledhill have both enjoyed using them creatively and inventively in multiple contexts on a variety of productions.

Marlow explained that before making the commitment to purchase the fixtures, Filament

Eleven 11 had heard much general chatter out in the community about Astera and the products, so looked at what was available and thought these would be “perfect” for when it was necessary to get a fully DMX-controllable light source into unusual positions.

“We immediately saw a host of possibilities and appreciated things like the high-quality light output that drove the initial purchase,” noted Marlow, adding that she wanted to go LED as much as is possible to boost sustainability.

The NYX Bulbs were purchased after a demo from ULA Group’s technical sales specialist, Sean Rosig. The first show for Filament Eleven 11’s NYX Bulbs was Scenes from a Yellow Peril, a poetry show staged at Auckland’s Waterfront Theatre, where they were used in a long line upstage for a reveal.

Marlow also incorporated NYX Bulbs into The Writer by swapping out the Q Theatre’s backstage “blue” system for the NYXs, creating a dynamic colour-changing and

flashing DMX-controllable format, the effects

and kitchen scenes, setting the mood as they could be turned on and off, colour changed and dimmed. Some of them were rigged on small Wahlberg winches which flew in and out from the ceiling.

Both the Filament Eleven NYX Bulbs and AX3s were used during the 2022 Elemental AKL Festival in downtown Auckland to illuminate all the iconic Town Hall venue’s foyers and public areas. The NYX Bulbs have also been used as collapsible, flying standard lamps and in many other scenarios. “They are just so versatile,” declared Marlow, “The AX3s and NYX Bulbs help solve constant design issues and challenges, and, being battery powered and wireless, they can be used absolutely anywhere.”

Marlow concluded: “We are always finding new and different ways of using them and discovering design opportunities through having these products to hand. We have only just got

Image courtesy of Andi Crown

Image courtesy of Tom Grut

Christie highlights the small but beautiful Damyang

Delight Damyang is the latest entry under the “Delight” series of experiential art exhibitions conceptualised by media production firm Design Silver Fish, which specialises in space direction and media content design. This permanent showcase consisting of 11 themed galleries is inspired by folktales from Damyang, which have captured the hearts and minds of children for over a millennium. Among the highlights are displays powered by close to 90 Christie 1DLP laser projectors comprising the D13WU2-HS, DWU1075-GS and DWU880-GS models supplied by SNC Alliance.

“Delight Damyang is the largest media art exhibition in Korea to date and we are proud to deploy an array of state-of-theart technologies – including large-scale projections – to realistically showcase thousand-year-old mysteries and legends of Damyang,” said Gyong Tae Hong, CEO, Design Silver Fish.

Design Silver Fish has placed its trust in Christie laser projectors on several occasions, including the Delight Seoul, Curious 12 Tales and Delight Seongnam multimedia exhibitions, as well as The Mysterious Village immersive digital exhibition held at the National Folk Museum of Korea late last year. “This is the first time that we have deployed the new DWU880-GS for our media art exhibition. Its performance and operability in highuse environments has certainly met our expectations. The included warping and blending tools have also enabled us to set up multi-projector arrays quickly and reliably,” Hong added.

Visitors can admire detailed images displayed on numerous large screens and surfaces by the Christie HS and GS Series laser projectors, which are fitted discreetly overhead in seven themed galleries.

contemporary art techniques. The massive gallery is lit by 36 D13WU2-HS projectors to create an immersive environment. An elevated platform allows visitors to enjoy the gallery’s visuals from a higher perspective.

Yongso Waterfall in Damyang’s Gamagol Valley has also been convincingly recreated in “Echo of Soul”, using nine DWU1075-GS and eight DWU880-GS projectors, complete with burbling audio

apart to generate fascinating water patterns on several surfaces. Other highlights include “For the Future” and “Delight Damyang”, which utilise five DWU880-GS and 12 D13WU2HS projectors respectively to present imagery that evokes a sense of pride and belonging in this small city known for its bamboo products and strawberries.

www.christiedigital.com

The Echo of Soul exhibit

A new era beckons for HIT Productions

down to minimise infections between staff and on-air talent, the AV system also had to support hybrid workflows for the company’s employees.

“Dante AV gave us the flexibility to connect rooms in any number of

combinations with standard Cat6 Ethernet cables,” said Cham. “Audio and video quality is exceptional, and the flexibility to route audio and video around the facility on just a few cables was very liberating.”

HIT Productions uses Patton FiberPlex FPX6000 gateways to route video signals via Dante over the network to wherever they’re needed. Audio I/O is routed via multiple Focusrite RedNet X2P portable Dante interfaces controlled by RedNet R1 controllers. In addition, Dante also connects multiple Focusrite Red and Avid MTRX Studio audio interfaces powering the larger production suites.

Located in the central business district of Makati, Philippines, HIT Productions is a 31-year-old postproduction studio best known for serving the advertising, music, film and streaming localisation markets. With recent changes in how content is created, distributed and consumed, HIT realised that its old facility no longer met the needs of its production teams and clients. Studios in the old facility were based on analogue point-to-point connections built back in the era of specialised rooms with limited signal

routing options, resulting in inefficient use of space and resources. When a new building became available in 2021, HIT jumped at the opportunity to build a new facility that would allow it to meet the challenges of a constantly changing technology ecosystem.

Denn is Cham, founding partner and chief technology officer of HIT Productions, decided to implement Audinate’s Dante AV as the transport mechanism for all audio and video between rooms. Also, because the pandemic forced many employees to work remotely to keep onsite headcount

Use Freely and Cleverly

HIT Pr oductions currently has 12 production rooms running on Dante AV, with plans to expand to all 28 rooms over time. Dedicated Dante cabling has also been installed in the 12 hot deskstyle workstations and the facility’s four conference/huddle rooms.

“Dante AV was the perfect solution for us to send audio and video all over the facility with the lowest latency,” said Cham. “Dante AV is cutting-edge technology that will allow us to be more productive and expand to meet the challenges of a changing industry.”

www.audinate.com

The surround mixing studio

The colour-grading suite

ETC takes to the stage

The completion of the Chengdu City Concert Hall has seen ETC team up with its regional dealer, Hangzhou Yidashi, to provide a one-stop service for the design of the stage lighting system, equipment procurement and supply installation and testing. The concert hall is the government’s initiative to promote Chengdu City as the national hub of the music industry. Its design integrates the best theatrical technology, including architectural structure, stage lighting, acoustics, audio and visual, machinery, interior design, plus smart and

With a total area of around 100,000m2, the complex includes an opera hall, a music hall, a theatre hall and a mini music hall. To provide the best lighting for every performance hosted in this contemporary art centre, Yidashi proposed ETC’s Source Four luminaires to light up the front stage, which are said to generate a natural face light for all performers onstage. ColorSource PARs with RGBL LED arrays are also fitted onstage which provide a vivid wash light, enhancing the mood for all productions. The RDM control function is another plus for the

remote adjustment of lighting easy for every crew member.

Eos consoles were selected to provide the main and backup control system for managing the lighting fixtures. Two Gio consoles are installed in the theatre hall which seats 400.

An Ion XE with 2K output and two 10-fader wings are used to provide lighting control for the music hall, which is the second largest performance venue in the building with 1,400 seats. The mini music hall and the rehearsal rooms have also been installed with XE consoles, while the Press Room has been fitted with a ColorSource AV console.

“The best thing is that all of ETC’s consoles are operating with the same Eos system software which offers a seamless and nearly

identical lighting control experience in each of the venues,” commented a representative from Chengdu City Concert Hall.

Yidashi proposed a Paradigm architectural lighting system for controlling the work lights in the concert hall. Paradigm is a control system that offers an LED touchscreen station and remote control. ETC’s iRFR wireless control reportedly makes the process simple since crews can set up or adjust cues anytime and anywhere.

For the lighting network control system, Yidashi recommended ETC’s Net3 ACN Gateway as it is an Ethernet-based networking system that achieves a stable signal transmission.

www.etcconnect.com

CHINA

TVU One is ready for lift-off

To ensure stable, real-time transmission of its 19 hours of coverage before launch of the Mengtian space capsule, China’s digital newspaper, The Paper, relied on technology from TVU Networks. The Paper ’s live launch countdown from Wenchang Spacecraft Launch Site included interviews with industry experts and passers-by at Wenchang Qishui Bay Beach, as well as a live camera broadcasting the launch itself. Using a TVU One 5G mobile transmitter, all 19 hours of video and

The Mengtian (translation: Dreaming of the Heavens) is a laboratory cabin module of the Tiangong space station. It is the second laboratory cabin module launched, with Wentian being the first. The Mengtian module is equipped with expanded, inorbit experiment capacity, including eight research cabins. It provides a pressurised environment for researchers to conduct experiments in freefall or zero gravity that could not be conducted on Earth for more than a few minutes. Experiments

Pliant Technologies goes down under with 65Thirty

When Lane and Candice Place, owners of pro AV rental house 65Thirty Events & Entertainment in Western Australia, were looking to upgrade the company’s wireless intercom inventory, they reached out to industry expert Steve Parkins from Australian AV distributor, National Audio Systems (NAS). Parkins recommended Pliant Technologies’ MicroCom 900XR wireless intercom for its “ease-of-use and reliability”.

65Thirty’s clients include local and touring bands, concerts, conferences and festivals that take place in and around the picturesque coastal area. “We had been considering upgrading our intercoms for some time and when Steve came out and demonstrated Pliant’s MicroCom 900XR, we were immediately impressed,” said Lane. “The beltpacks are extremely well built and, being so far from the city of Perth, reliability was vital. The design is simple yet innovative, so we purchased the system.

“At 152m, the system still delivers crystal clear sound, which is very impressive,” added Lane. “At that distance, many of our older systems are unable to operate or pick up interference. The MicroCom 900XR has none of that. It is a real game changer for us.”

He continued: “Geraldton is notorious for wind, which is something that is extremely disruptive at outdoor events. The MicroCom 900XR performed so far above our expectations in the windy conditions that I was speechless. What Pliant has created is a product that is robust, reliable and allows outdoor communications to not be compromised by relentless, heavy winds. The noise-cancelling technology is simply unrivalled.”

The solution is said to provide full-duplex, hands-free communication to crews and teams for workplace communication. In addition to 10 full-duplex users and two separate talk channels, the 900XR also provides unlimited listeners and unlimited shared talk user modes, without the need for a base station.

“In addition, I would like to point out how incredible the battery life is,” added Lane.

“Our units operate all day on a single charge. Everything about the MicroCom is first class. We couldn’t be any happier and are already looking to add more to our inventory.”

www.plianttechnologies.com

still images from the site were sent to a TVU Transceiver at The Paper ’s Shanghai Production Center for transcoding.

TVU Networks’ support of 5G and the strength of the company’s IS+ multi-network aggregation transmission technology received positive feedback from crew at The Paper. “With its support of 5G and multinetwork aggregation, we were completely confident of a stable signal at lift-off,” said Deng Chaojian, onsite reporter for The Paper. “The TVU technology not only works wonders with live broadcast video but also reproduces high-quality stills. During the entire pre- and at-launch process, TVU One was very stable and reliable, helping us successfully complete the live broadcast mission.”

can also be conducted on the outside of the modules for exposure to the space environment, cosmic rays, vacuum and solar winds.

“We’re beyond thrilled to be part of this historic event in China,” said Paul Shen, CEO, TVU Networks. “The Paper ’s pre-launch coverage was key in spreading enthusiasm for the mission and China’s space programme worldwide. Our TVU One and TVU Transceiver performed flawlessly and delivered rock solid results of the successful launch. The Paper has developed a devoted audience since its start in 2014, and we look forward to participating in breaking news stories with them in the future.”

www.tvunetworks.com

Smoke House Deli opens new branches with LD Systems

Over 10 LD Systems DQOR8 loudspeakers have been installed in each of the Smoke House Deli outlets to provide optimum coverage and clarity throughout the respective venues. The systems are powered by Dynatech PD1600Q power amplifiers, with system processing and management handled by Marani’s DPA260P system.

“The LD Systems loudspeaker setup that we’ve integrated at Smoke House Deli’s Lavelle Road and NESCO IT Centre outlets offer a crisp and detailed sound experience while also allowing patrons to indulge in conversation without missing out on any nuance of the music playback,” commented Kapil Thirwani of Munro.

“Another positive is the fact that the loudspeakers blend in beautifully with the aesthetics and décor of each of the venues. All-in-all, I’d say that patrons are

treated to an experience that is every bit as pleasing to the ears as it is to the eyes and the tastebuds!”

www.ld-systems.com

www.stagemix.com

Indian café chain Smoke House Deli, which has been serving up European fare for over a decade, has opened new outlets at Bangalore’s Lavelle Road and Mumbai’s NESCO IT Centre.

Both branches have been installed with audio solutions from LD Systems supplied by distributor StageMix Technologies, integrated into an acoustic design by audio specialist, Munro.

The 65Thirty team

Creativity unleashed

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Home for the future

SINCE OPENING IN GANGNAM IN 2000, THE LG ARTS Center has been at the heart of art and culture in South Korea, hosting all genres of performances from classical, traditional and popular music to ballet, musicals and plays. The centre showcased more than 867 works and 6,300 performances during its time in Gangnam, attracting more than 4.5 million audience members. The final production to be staged at the Gangnam venue in July 2022, Shakespeare’s tragedy Coriolanus, was helmed by Yang Jung-ung who directed the opening ceremony of the 2018 Pyeongchang Winter Olympics. Then the theatre went

population of 300,000. The LG Arts Center will become a new cultural landmark of Seoul.”

Designed by Japanese architect Tadao Ando with a total area of 41,631m2 – double the size of the former venue in Gangnam, which had one 1,103-seat hall – the new arts centre houses the 1,335-seat Signature Hall and the U+ Stage black box theatre which can accommodate up to 365 seated audience members, as well as the LG Discovery Lab, which will be used for education and to present new technology developed by LG’s R&D facilities just across the street. It is easily accessible from central Seoul, with the city metro directly connected to the new venue.

The three-storey building is characteristic of Ando’s architectural style, which traditionally combines simplicity and minimalism. Each area has been designed to create the feeling of being in a different space, enhanced by the use of different – but neutral – colour palettes, as well as diverse shapes and materials, with an easy flow between each area to enable user-friendly visitor access.

The main lobby and entrance, the Gate Arc, employs the architect’s trademark bare concrete walls, with wide steps beneath the arched gateway leading up to the LG Signature Hall. Just off the main lobby is the Tube: a long corridor lined with curved wooden battens, off which the LG Discovery Lab is located. Also leading from the main lobby is the Step Atrium, a stairway descending to the underground metro station on the basement level, which also houses a car park and restaurants.

The new building was an opportunity to install both theatres with the very latest technology. Accordingly, the Signature Hall has been installed with DiGiCo Quantum 7 and SD10 consoles and a d&b audiotechnik Y-Series speaker system, while the U+ Stage black box theatre is equipped for immersive and surround sound performances with another d&b system, together with DiGiCo SD12 and Yamaha CL5 consoles. Both are a major step up from the analogue Midas Heritage analogue system in the former theatre, and sound manager Bum Hun Lee and his team have been getting used to working with the new technology.

Lee has been at the LG Arts Center for most of its existence, starting work at the Gangnam location in 2002. He explains that

A mainstay of Seoul’s cultural activities for 22 years, the LG Arts Center has a new home in the west of the city, with DiGiCo and d&b audiotechnik systems installed in both its theatres. Caroline Moss visits

The 1,335-capacity LG Signature Hall Image courtesy of BaeJihun

A DiGiCo SD11 is used for archival recordings

The LG Arts Center and Soundus teams with DiGiCo’s Ian Staddon (fourth from left)

while the types of productions staged in the new venue won’t differ too much from the previous programming, the centre will be able to offer better technical facilities, increased flexibility and improved acoustics. Central to the sound system in the LG Signature Hall is a 256-input DiGiCo Quantum 7 console at FOH, capable of handling the most complex productions, with an SD10 144-input console for monitors – both supplied by local distributor, Soundus, which also provided training for the technical team. A control room above the auditorium is used to record performances, mainly for archival purposes, for which Soundus provided a DiGiCo SD11 console. Midas Pro6, M32 and Heritage 3000 consoles, as well as a Roland M300, are also available for use in the theatre. A number of stageracks including DiGiCo SD-, SD-MiNi and D-Racks, along with Midas DL351 and DL16 and Roland models can be moved to wherever they are needed, giving the centre a vastly increased flexibility compared to its previous fixed system.

Lee has been enjoying getting to grips with the new DiGiCo consoles. “DiGiCo is world-class, and the consoles’ sound quality and functions are great,” he says, with a particular nod

to the preset feature. “It’s so convenient to use the presets on the DiGiCo and, when outside technical teams rent our hall, they can use USB memory sticks to access their presets. It has really sped up preparation and operation. And, although DiGiCo has more functions than other consoles, it’s not as complicated as I thought – it’s not been difficult to get used to the new systems.”

The main L-R array in the Signature Hall is composed of 12-per-side d&b Y8 and Y12 line array loudspeakers, with low frequencies bolstered by a total of six V-SUB subwoofers, all powered by D80 amps. A centre cluster of 13 T10 speakers is powered by D20 amps, while two SL-GSUB stacked subs are powered by a D80 amp. Front fill is provided by 12 44S flushmounted speakers, with three Vi7p point source speakers per side for the L-R balcony system. Two delay systems of eight 44S speakers are used for each of the stalls and the balcony, with a further three Vi7p speakers for a second balcony delay system. A surround system consisting of 58 5S and eight E6 compact models covers the entire auditorium including the balcony. A portable stage monitor system combining d&b M2, M4 and M6 wedges and E12 speakers is also provided. All d&b systems were supplied by d&b audiotechnik Korea.

There is an extensive range of microphones from beyerdynamic, Sennheiser, Shure, DPA, AKG, Audix, Electro-Voice, Crown, JZ, Neumann, Røde, Schoeps, Countryman and Radial, including a Shure Axient wireless mic system. An equally extensive range of outboard equipment encompasses Lexicon, Eventide, TC Electronic, Manley, Amek, DBX, Klark Teknik, BSS, Aphex, Drawmer, Eventide, Yamaha and Bricasti models, while a ClearCom HMS HRM system takes care of comms, and a flexible selection of playback equipment is on hand.

The U+ Stage black box theatre has moveable seats up to a capacity of 365, allowing the venue to be used in different configurations including in-the-round and for catwalk fashion shows. The immersive d&b system consisting of 60dB speakers can be controlled via d&b’s Soundscape sound design software, which allows the sound to be moved to wherever the audience is located during a particular configuration, as well as moving special effects and sound objects around the room. Lighting fixtures from ETC, Selecon, Robert Juliat and Kupo can also be moved around freely, depending on where they’re needed for individual productions.

The main system consists of five flown d&b Yi10P loudspeakers with four Y-SUB subwoofers, also flown. Ten 44S speakers provide front fill, with a further six for side delay and six 5S for rear delay. Two 10S-D and six 8S speakers provide the side surround channels, with four 8S and eight 4S speakers as rear surrounds, six 8S speakers for overheads and a further three 8S models as stage support. This extensive surround system, driven by d&b 30D and 10D amplifiers, is under Soundscape control. A DiGiCo SD12 console has been installed along with two SD-MiNi Racks and two D-Racks, giving the flexibility needed for the theatre’s various configurations, as well as providing a control surface for Soundscape, with software in the DiGiCo console designed in collaboration with d&b to enable surround panning. A Yamaha CL5 with four Rio3224-D stageboxes is also on hand in the U+ Stage theatre.

Before the system was installed into the U+ Stage theatre, Lee’s experience of immersive technology was mainly confined to magazines and online articles. “I thought that it would be nice if the new immersive technology could be applied at our wonderful theatre, which was being built with the future in mind,” he says. “When the contract was awarded to DiGiCo and d&b, it was suggested that we try Soundscape. It was challenging for me because I’d never heard d&b’s immersive system but, as I was confident that one of the top speaker manufacturers could provide a great system, I accepted their suggestion. As far as I knew, DiGiCo was not compatible with Soundscape but, when the sound systems were almost installed, Soundus gave me the good and timely news that DiGiCo now offered compatibility with Soundscape. I’ve been able to enjoy the immersive system with a high level of convenience, and I especially like the surround panning feature on the console.”

Two M2, four M4, two M6 and two E12 speakers powered by D80 and D20 amps provide a portable stage monitoring system, and similar microphones, outboard and other peripheral equipment to that in the Signature Hall are also available for flexible deployment throughout the theatre.

The new LG Arts Center got off to a flying start, with one of the first performances in October 2022 being the London Symphony Orchestra and pianist Cho Seong-jin, conducted by Sir Simon Rattle. In early 2023, Hero, an exploration of Korean history, became the first musical for the new venue, while several music concerts and an awards ceremony have also been staged. The LG Yonam Cultural Foundation will run the centre for 20 years before donating the building to the Seoul Metropolitan Government. It’s a great prize for the cultural afficionados of Korea and long-time visitors to the LG Arts Center, with the promise of many diverse, cutting-edge productions in a new, improved venue.

www.dbaudio.com

www.digico.biz

www.soundus.co.kr

The U+ Stage black box theatre

The U+ Stage black box theatre is provided with a DiGiCo SD12

A flexible selection of outboard gear is available

The Signature Hall is also equipped with a DiGiCo SD10

Tadao Ando’s Gate Arc epitomises the architect’s minimal style Image courtesy of BaeJihun

Charting a new course

A post-pandemic TOA upgrade has breathed new life into the Taman Mini Indonesia Indah cultural theme park, as Richard Lawn discovers

SPANNING THREE TIME ZONES AND COMPRISING over 17,000 islands, Indonesia is the world’s largest archipelagic state, the 14th-largest country by area and home to the planet’s fourth-largest population. In its capital, Jakarta –the world’s second most populous urban area – the Taman Mini Indonesia Indah (TMII) cultural theme park can be found.

Like Indonesia itself, the 150ha attraction to the southeast of the city is on an impressive scale. Inaugurated in 1975, it presents the diverse culture and aspects of daily life of the Indonesian nation in traditionally built pavilions, each one displaying regional clothing, dance and traditions. The original designers took advantage of the uneven elevation of the ground to create rich landscapes depicting various types of living environments in Indonesia. In the centre of TMII, a drained lake crossed by cable car depicts a miniature of the archipelago.

Nominated as a G20 venue in November 2022, TMII’s infrastructure – roads, lakes, buildings, carpark – underwent substantial renovations, with TOA subsidiary PT Galva Technologies assigned to upgrade the sound reinforcement systems for the Adiguno, Langen Budoyo and Utomo halls of the Sasono building, in addition to the announcement system serving a large section of the cable car route.

The company’s extensive portfolio was a good recommendation for the project. Among many other references, PT Galva Technologies designed, supplied and installed the Gelora Bung Karno (GBK) national stadium – the seventh-largest in the world – and, most recently, the Istiqlal Mosque, the largest mosque in Southeast Asia.

Working closely with general contractor PT Pembangunan Perumahan (PT PP) and systems integrator PT Pratama Solusi Armindo, PT Galva Technologies dusted off its Covid cobwebs to deliver a solution to meet the requirements.

“The client’s overriding brief was to provide very good, clear sound quality with an STI [speech transmission index] in excess of 0.5 seconds,” comments assistant director, Felix D Kristianto. “Given the continued problems with supply chains, we also had to guarantee stock and offer price performance attributes linked to the Domestic Component Level known as TKDN.”

Albert Triwuryanta handled the overall design while Tri Carolina Lestari assisted with 3D loudspeaker modelling for the entire works. Proposing a TOA speaker solution for each component, PT Pratama Solusi Armindo executed plans based on an EASE proposal, which Triwuryanta oversaw onsite.

Challenged by acoustics inherent in the architectural design, which includes traditional Indonesian roofs, the three halls have been equipped with similar loudspeaker components. Sources including TOA WT-5800 wireless clip-on and heldheld microphones together with DVD players are routed to Yamaha MGP-16 mixers and out to a combination of cabinets and ceiling speakers. Loudspeaker parameters including EQ, delays and reverb are adjusted by two-in/six-out DP-SP3 processors.

The pre-function area of Utomo is served by ZS-F2000BM cabinets powered by ZA-3248D-AS 1 amplifiers, while three outdoor corridors are installed with 8-inch ZS-2852 ceiling speakers. “The main audio challenge within the ornately decorated Adiguno hall was that the speakers could not be visible to the naked eye,” explains Kristianto. “As such, Triwuryanta proposed in-wall speakers that could be disguised by acoustic material and cannot be seen by the audience.”

Powered by DA-1000F-AS four-channel amplifiers, four Z-HX7 arrays each augmented by Z-FB-152B-AS subwoofers fulfil these

Budoyo halls, the same Z-HX7 and Z-FB-152-AS pairings provide clear audio intelligibility, as well as power when needed. Used for occasional live performances, Langen Budoyo is equipped with a higher specification 32-channel mixer, floor monitors and instrument and vocal microphones including Sennheiser e 914, e 935 and e 965 condensers.

Working with general contractors PT Waskita, PT Aneka Rekakomindo, PT Metro Data and PT Brantas for the pedestrian areas lining the outdoor cable car zones, Pratama Solusi Armindo was tasked with installing a networked public address system. PT Galva Technologies designed the distributed PA around the feature set of the VX-3000 system. Providing dual 500W amplification, DSP and voice evacuation control including emergency broadcasting, the 2U units are housed in each of the 11 self-contained, air-conditioned and weatherproofed ELV (extralow voltage) substations. From either the management office or museum station, an operator can override BGM from the TOA MD-200 player or programmed announcements by prioritising the RM-300X remote mic. The signals are distributed via fibre cabling to individual 24-port switch hubs installed within the 11 locations. Received by the VX-3004F mainframes connected to redundant PS3000VX power supplies, the resultant signal is output to a network of ZS-760-AS pole-mounted horns together with ZS-648R ceiling speakers in the management office and museum.

Following final tuning and commissioning by Triwuryanta, the project was completed in September 2022. After the previous year of empty sports stadiums and mosques practising social distancing for limited numbers of worshippers, the opportunity to place itself back on the Indonesian map was fully embraced by PT Galva Technologies. Long-absent visitors to the Sasono building and cable car passengers surveying Mini Indonesia will now be able to benefit from the audio enhancements, among the attraction’s other upgrades.

www.gtc.co.id

www.tamanmini.com

www.toa.co.id

PT Galva Technologies specified IP66-rated TOA horns for the outdoor public address systems

The exterior of Utomo is served by ZS-F2000BM cabinets

TMII presents Indonesian culture in traditionally built pavilions

The PT Galva Technologies team

Futureproofing for renewables

FOUNDED IN 1978 AS THE PETROLEUM AUTHORITY of Thailand, PTT is a Fortune 50-listed company that is expanding into the production of more renewable energies. In addition to owning extensive submarine gas pipelines in the Gulf of Thailand, PTT manages a network of LPG terminals, and is involved in electricity generation, petrochemical products, oil and gas exploration and production and gasoline retail businesses.

In his role as VP and director of facilities building/real estate management, Dhermsak Lopaiboon is tasked with scheduling AV upgrades within PTT’s property empire. Lopaiboon oversaw the extensive upgrade of the downstairs foyer in 2019, facilitating –among other things – the hosting of employee parties with live music. A distributed system of ceiling-suspended Adamson IS7p and IS10p enclosures are augmented by eight IS119 subwoofers concealed behind the walls. The full integration and design brief included a Crestron control solution and Allen & Heath audio networking connectivity including three DT164W panels below the videowall for live bands to perform.

Having successfully completed the 2019 refurbishment, Sonos Libra was invited to tender to upgrade the press conference centre and media room. A rising star in Thailand’s AV distribution market, Sonos Libra provides designs and bespoke turnkey installation services for its widening clientele. The company was established in 2017 by Spaniard Alfonso Martín and Englishman Simon Rains, both fluent in Thai and AV, with a team of professionals that has quickly extended its sphere of influence from live production companies to military and financial institutions.

Sonos Libra was appointed to convert and transform a disused office into a flexible space for hosting a variety of events, primarily media announcements. “PTT specified the same brands as downstairs as they are reliable, and our technicians are familiar with the interfaces,” offers Lopaiboon. “In addition to incorporating a uniform AV system, we would have enough spare parts across the site should we need to service or repair any equipment.”

The AV system of this redeveloped space was upgraded as other building and interior works took place. “We wanted to add a degree of futureproofing capabilities,” Lopaiboon continues. “This includes the ability to broadcast and transmit events internally to our entire group, both within the same building and nationally to other offices. It was important for PTT to demonstrate its leading credentials with a high-quality AV system.”

The flexible AV design of the new media centre mirrors the interior décor. Tables, chairs and other furniture are not fixed and can be easily moved, and up to 30 journalists can be accommodated. A TOA conferencing system can be quickly set up for operation over infra-red, with up to 30 TS822Y bases and TS924 wireless delegate units connected via Neutrik NA2-IODLINE portable connectors to the TOA TS-820RC central unit. The media centre spokesperson or chairman addresses delegates from a lectern equipped with several Earthworks FMR500 condenser mics fixed to a Sennheiser base unit.

Behind the main stage, a 6m x 2m LED wall comprises of 29x9 LED panels protected by an acrylic layer. Combining a 1ME switcher, PTZ camera controller and audio mixer functions in a single device, the inclusion of a Panasonic AV-HLC5100 Live Production Centre in the rear control room provides one-person video operations including PTZ camera shooting and streaming transmission. Together with a Panasonic PTZ camera system, a DVD player and local PCs are processed within the Live Production Centre before being routed through two MCTRL600 LED display controllers for output as 4K video signals over the Dante network. A Samsung 55-inch 4K display in front of the stage serves an autocue or prompt for the speaker.

Crestron DM NVX 4K60 4:4:4 HDR AV encoders connect the HDBaseT system over the IP network. Each 4K signal routing encoder connects to individual Neutrik NA2-IO-DLINE breakout boxes that allow two audio channels to be integrated within the network in addition to converting a Dante stream into analogue audio signals. Newly refurbished PTT meeting rooms equipped with 55-inch 4K displays and soundbars bear the same Crestron, Adamson and Allen & Heath hallmarks.

Sonos Libra has returned to the headquarters of Thai state-owned, SET-listed oil and gas company, PTT. Richard Lawn finds out how the distributor is helping in the company’s move to renewable energy

L–R: Sonos Libra chief Alfonso Martín with PTT’s Dhermsak Lopaiboon

Networked Adamson ceiling-mounted IS10p and IS7p cabinets are supplemented by IS119 subs

The audio inventory that Sonos Libra has added to the room extends the theme of portability, flexibility and, crucially for an important corporate entity, futureproofing. In addition to the TOA wireless conference system, four channels of Sennheiser ew G4 wireless can be transmitted via three handheld mics coupled to Earthworks SR5314 capsules. The UHF signals are boosted by a Sennheiser 2003 UHF wireless antenna system. Specified for its familiar and intuitive user interface, an Allen & Heath Avantis 64-channel digital console handles audio mixing, while live entertainers can perform onstage by connecting into a portable DX168 audio rack. Two loudspeaker systems are available. A ceiling speaker system comprising 15 Crestron 6-inch Saros enclosures powered by two Crestron MX300 amplifiers takes care of media conferences and briefings. For live performances, three Adamson PointCentric 5 coaxial speakers finished in white and fixed to the low ceiling in an L-C-R configuration can output a maximum SPL of 128dB. Onstage performers can monitor themselves using dBTechnologies VIO 10W 10-inch low-profile loudspeakers connected to CM-W5102 I/O plates with XLR ports.

Elevating the entertainment status of the flexible space, the ceiling to the rear of the media room has been installed with three DTS Alchemy3 and three DTS Epiphany3 moving heads. These and other lighting fixtures are managed from stored scenes within the ChamSys Quick Q20 lighting console located in the rear control room. The simplified user interface and easy programming associated with the downloaded QuickQ software incorporates a dedicated feature set designed for part-time operators. Fixtures can be visually laid out within the software’s home screen exactly as they are rigged, from where they can be selected and controlled using simple actions.

One-touch powering on and off is enabled from a PX128B power sequencer. Electronic equipment, including audio, video, lighting, motorised shades, thermostats, door locks, sensors and security systems, is routed over the

Cresnet network to the Gigabit Ethernet ports of the racked Crestron CP4 control processor. User control is via the TSW70/B 7-inch wired touchscreen or a wireless tablet, and remote management is provided by Crestron Fusion software within the CP4, enabling PTT to reduce energy consumption by tracking real-time use and automating control of AV, lighting, shades and HVAC.

Proving its networking capabilities, Sonos Libra connected the media centre to newly refurbished rooms on the same level and lower levels over the Dante network. With AV signals transmitting bidirectionally between rooms, future expansion is possible over the Cat6 infrastructure. Echoing its bid to spearhead renewable energies, PTT’s AV upgrade reinforces the message that the company is looking into the future, Lopaiboon insists. “By rolling out this AV-over-IP addressable system with Dante and Crestron as the backbone infrastructure, breakouts from any video inputs will be automatically connected across the Dante network,” he says.

Appointed as a dealer by Crestron Thailand in 2021, Sonos Libra is actively demonstrating its value to the manufacturer’s strategic blueprint for business development. “With technologies such as the DM NVX range distributing 4K video content, Sonos Libra has increasingly turned to Crestron products for full turnkey solutions,” comments Martín. “During the pandemic, we took a more AV-centric direction to gain a firmer foothold within the corporate, education, government, hospitality and retail sectors.”

Continued networking and strategic partnerships will continue to accelerate the elevated status of Sonos Libra.

www.pttplc.com

www.sonoslibra.com

An Allen & Heath Avantis digital console handles audio mixing

Sonos Libra is increasingly turning to Crestron for turnkey solutions

The 6m x 2m LED videowall behind the stage

The future is now

An L-Acoustics L-ISA Immersive Hyperreal audio system is welcoming Jakarta into the immersive age, as Richard Lawn

THE WRAPS HAVE BEEN REMOVED FROM THE NEW Graha Bhakti Budaya theatre, part of the Jakarta Government Administration’s phased revitalisation of the Taman Ismail Marzuki (TIM) complex, previously known as the Jakarta Arts Center. The theatre, which can accommodate audiences of up to 900, selected an L-Acoustics L-ISA Immersive Hyperreal audio system supplied by PT Gracia Auvindo following a public tender, allowing it to present a varied entertainment programme of music and dance performances, drama and film screenings in immersive audio.

Jointly appointed as the acoustic material contractor and supplier, PT Sinergi Anugrah Mandiri and PT Indo Karya marshalled more than 50 personnel onsite at the peak of the works, with cellulose spray made from recycled paper used for insulation and locally crafted Indonesian wood, together with imported acoustic materials, integrated into the theatre’s design.

The French manufacturer’s L-ISA Immersive Hyperreal audio solution builds on the Hyperreal version – a frontal configuration of speakers that expands the audio panorama through detailed placement of audio objects throughout the sound design – by adding overhead and surround speakers around the auditorium. Working closely with theatre consultants Philip Soden from Australia and Bayu Wicaksana from Indonesia, PT Gracia Auvindo commenced cable infrastructure works in October 2021 at a time when Covid restrictions were at their highest. “We entered the project with some experience and had pre-prepared the equipment racks and bracketry in advance. As such, we minimised our time on what was a congested site,” says PT Gracia Auvindo project manager, Hendra Halim.

Singapore-based L- Acoustics application engineers Chung

Wah Khiew and Alvin Koh calculated the optimum angle of coverage for each speaker placement using L-Acoustics’

system comprises seven A10 frontal system arrays, two KS21 subwoofer arrays, seven 5XT front fill enclosures, two X8 deck fill speakers, 16 X8 surround sound speakers and six overhead X12s. “It’s two systems essentially,” adds Halim. “There is a surround setup and a left-centre-right system, which can be switched instantly or combined to create Hyperreal Immersive.”

“L-ISA deployments distribute arrays above and beyond the full width of stage,” continues PT Gracia Auvindo general manager, Thomsen Phan. “The frontal system consists of scene and extension arrays. Each array in the frontal system is orientated to maximise its contribution

zone. Lateral surrounds and overhead speakers from the coaxial X Series have been included to further enhance the immersive experience and provide the capabilities for in-line room enhancement.”

Located in front of the proscenium above the 15m x 10m x 6m stage, the outer left and right extension arrays comprise three A10 modules, whereas the five scene arrays each comprise four enclosures. Powered by LA4X four-channel amplified controllers, the two-way passive WST model features a 10° constant curvature in the vertical plain. Two central clusters each combine three KS21 21-inch subwoofers for low-frequency extension

The theatre’s L-ISA system heralds an advance of Jakarta’s immersive era

The new Graha Bhakti Budaya theatre can accommodate audiences of up to 900

L–R: PT Gracia Auvindo’s Hendra Halim, Roeby Hendro and Thomsen Phan join forces with Goshen Electronics’ Franky Cahyadi and Diky Tanaya at the Graha Bhakti Budaya theatre in Jakarta

The L-ISA system deploys seven A10 and two KS21 subwoofer arrays

down to 29Hz (±10dB). With the clusters not extending below four cabinets deep, the loudspeaker hangs do not obstruct the audience sightline below the arch of the proscenium.

A FOH position can be set up in the stalls when performances dictate but is normally fixed within the rear control room and monitored on L-Acoustics 108P speakers.

A Midas Heritage-D HD96-24 digital console featuring 144 input channels, 120 mix busses and a 21-inch touchscreen is used for mixing. Its Shout Mixer feature allows complex communication groups to be created and stored, offering up to 16 inputs for the creation of numerous talk systems with 12 dedicated outputs.

Receiving digital microphone signals over Cat6 cabling from up to four DL-231 24-in/24-out active microphone splitters, the converted MADI and AES50 signals are transmitted from the Heritage-D console to the audio processing engine of the L-ISA Processor II. Fitted with Neutrik connectors and housed in a 3U chassis, the L-ISA processor can be remotely controlled on a laptop, or a Mac loaded with L-ISA controller software for objectbased immersive audio mixing. Based on speaker position information and mixing parameters such as pan, width, distance, elevation and aux send, spatial audio processing and virtual acoustics for up to 96 audio objects can be mixed.

The resultant signal outputs are transmitted over the Cat6 AVB network via three LS10 10-port Ethernet AVB switches to the 10 LA4X and six LA2Xi amplifiers in the third-level Constellation control room. “There’s minimal latency using this network,” explains Halim. “It’s a simple connection and the LED indicator blinks when the AVB stream is connected.” Onsite technicians and visiting engineers have access to the system, feeding audio to the relevant L-ISA processors via AVB and analogue as foldback. “The power sequencer we added ensures that the entire system can be powered up or down by one button,” he continues.

PT Goshen Swara Indonesia supplied a 32-channel Shure QLX-D digital wireless microphone system to the theatre together with a complement of 16 Beta 58 handheld, eight lavalier and eight head-worn transmitters fitted with DPA 6066 capsules. Facilitating streamlined operation across multiple digital receivers, features of the QLX-D include Automatic Channel and Networked Channel Scan together with digital predictive switching and AES 256 encryption. Fixed to the stage right wall, a pair of UA834 antenna amplifiers and UA844+SW8 active antenna distributors ensure speeches using the QLX-D wireless system can be made without loss or interference. The two distributors expand and split the wireless signals to multiple receivers while amplifying the RF signals to compensate for insertion loss.

The theatre’s technicians now rely on the Shure Wireless Workbench control software to manage the entire system. “With its high spectral efficiency and wide bandwidth, QLX-D makes it easy to implement many channels,” explains PT Goshen Swara Indonesia’s sales and marketing manager, Franky Cahyadi. “When connected to the LAN, we could effortlessly connect all the QLX-D receivers. The networked, automatic channel scanning also makes it easy to find and assign open frequencies across all the receivers, and quickly deploy them to the transmitters with the IR sync function. As a result, there is no wireless interference in the theatre.”

PT Gracia Auvindo’s Phan believes the successful deployment of the Immersive Hyperreal system in the Taman Ismail Marzuki theatre heralds the beginning of Jakarta’s immersive era. “This is the future,” he insists. “Once the audience has heard immersive audio, they won’t want to return to traditional stereo or left-centreright setups. The theatre is a great advertisement for this technology and, in terms of cost, it is surprisingly not much more expensive than a traditional theatre system.”

During the inaugural performance at Graha Bhakti Budaya in September 2022, Governor of Jakarta, Anies Baswedan, expressed similar views. “With Graha Bhakti Budaya for the first time using a state-of-the-art approach with the latest L-Acoustics technology, today is a historic day,” he stated. “God willing, this marks a new chapter in the appearance of performance art activities in Jakarta. Graha Bhakti Budaya is a home for artists to show their best works.”

As a tribute to PT Gracia Auvindo’s immersive audio capabilities, it couldn’t be more fitting.

www.graciaauvindo.com

www.l-acoustics.com

www.midasconsoles.com

www.shure.com

www.sinergiacoustic.com

A Midas Heritage-D with a 21-inch touchscreen is used for mixing at FOH

In the Haus

ONKIO HAUS HAS THE DISTINCTION OF BEING ONE of Tokyo’s first recording and postproduction studios. When it opened in 1974, its three studios handled audio content for film and advertising as well as music recording and mixing, which placed Onkio Haus at the centre of the “City Pop” musical genre which emerged out of Japan in the 1980s and 1990s and has enjoyed a recent revival.

Today, Onkio Haus’s core business is recording international and domestic artists, as well as film soundtrack scoring and TV and film commercial work. In addition to its recording, streaming and postproduction work, the studio has expanded to provide repair services for analogue and digital equipment, from mics to consoles to vintage equipment. It has also opened La Casa Acustica, an online store for brands including DPA Microphones, Amphion, Antelope Audio, Lake People and ADAM Audio. In partnership with Japanese manufacturer TAC System, the Onkio Acoustics division has released a plugin to reproduce the acoustics of Onkio Haus’s Studios 1 and 2 in record productions. Over five decades, Onkio Haus has expanded to fill all eight floors of the Ginza building in which it started life, as well as acquiring neighbouring premises to house video editing and audio syncing facilities. The last six years in particular have seen big changes in Onkio Haus’s operations, staffing, technologies and facilities, including major studio renovations and room extensions. A recent development has been the upgrade of Studio 7, which reopened in March 2022, adding immersive audio to the facility’s capabilities. This was largely in response to Apple’s 2021 launch of Spatial Audio, an immersive, multidimensional format that would support Dolby Atmos music. Following the announcement, studios around the world began adding immersive capabilities to handle the new formats, and Onkio Haus was no exception, converting an existing mastering room into an immersive facility to handle Dolby Atmos as well as Sony 360 Reality Audio.

“Studio 7 was not only designed for next-generation audio mastering when it opened in 2007, but also was dedicated to

surround mastering,” explains Onkio Haus tech engineer, Junior Suda of the studio’s history. “The room was used for two-channel mastering – mainly for audio streaming and CD – and for 5.1 surround mastering.”

Some of Studio 7’s existing hardware, including a Goldmund Mimesis 28 ME amplifier for two-channel mastering and Pro Tools HDX8 and Merging Technologies Pyramix DAW systems, has been incorporated into the new setup, along with a monitor controller custom-made for two-channel + 5.1 surround mastering work, designed and installed by Onkio Haus; a TAC System VMC-102 monitor controller is also available. Newly installed equipment includes an Avid S1 DAW control surface with an Avid Dock and MTRX interface with a 128-channel Dante expansion card, and the studio monitoring system has been upgraded to an Amphion setup to handle the new format, supplied by Japanese distributor, Mix Wave. “We decided to go with Amphion Audio due to its accuracy, clarity and superior sound space representation capability,” says Suda. As the existing room had been specifically

designed for surround mastering, it didn’t require any special acoustic modifications. However, in order to install the four overhead One18 studio monitors, the ceiling had to be modified by raising the height by around 200mm, with each One18 adjusted to a height difference of less than 10mm. “This is a huge advantage for assessing sound localisation when engineers are adjusting surround panning,” Suda continues.

The Onkio Haus team worked together with Dolby and Sony on the Studio 7 upgrade, receiving useful advice on implementing the Sony 360 Reality Audio format – a 5.0.4.2 configuration facilitated by the 360 WalkMix Creator – and gaining the manufacturer’s seal of approval. It can also function as a 9.1.4.2 Dolby Atmos system, with front L-R channels consisting of a pair of Two18s supported by a pair of Amphion BaseTwo25 bass extension speakers which elevate the Two18s into a full-range, three-way system and provide the “.2” channel. Another Two18 forms the centre channel, and there are also rear left and right One18 speakers, another four One18s as overhead channels and two more for the lower left and right channels. The monitors are powered by Amphion Amp400, Amp700, BassAmp500 and FlexAmp1200 amplifiers. Switching between formats is accomplished in less than 10 minutes by a TAC System VMC102 IP speaker management system. A Dolby HT-RMU handles Dolby Atmos rendering, and an Antelope 10MX master clock ensures precise musical clocking.

Suda reports that the newly reconfigured studio is beginning to handle more and more spatial audio work in addition to twochannel audio mastering. Recent projects include Dolby Atmos mixes for Japanese animation feature films, One Piece Film: Red and The First Slam Dunk, assuring Onkio Haus’s place when it comes to the inevitable boom in spatial audio that’s building around the world.

www.amphion.fi www.onkio.co.jp

A long-established Japanese studio has refitted one of its mastering suites with an Amphion spatial system to handle immersive formats, reports Caroline Moss

L–R: Onkio Haus engineers Tomoki Ohta, Shigeo Sakurai and Junior Suda Image courtesy of Takashi Yashima

Studio 7 has been upgraded to an Amphion setup to handle new immersive formats

Collaboration. Simplified.

Q-SYS delivers a seamless collaboration experience for both inroom and remote participants in any high-impact space. With a comprehensive portfolio of native software, services and audio, video & control hardware, Q-SYS offers a flexible and scalable AV solution for a broad range of applications. In addition, Q-SYS works seamlessly with the most popular UC platforms (Microsoft Teams Rooms, Google Meet, Zoom Rooms, and more) for plug-and-play access for local users, and high-quality audio and video with the option to integrate as many networked-based conference cameras as your space needs.

A touch of class

IN 2021, PT KAIROS MULTI JAYA HANDLED THE extensive AV fitout of the Pullman Grand Central Bandung hotel

brief insisted on us integrating value engineering, which translates to simplifying the consultant’s design while achieving the set

the speaker quantities in some zones and add some more costeffective components listed amongst the hotel’s preferred brands policy. With the eye-catching interior design, the AV had to be ultra-discreet.”

The St Regis Jakarta marked the final project that Kairos cofounder and director, Pratama Budiman (aka Yupo), embarked upon before his untimely passing in December 2021. “Pak Yupo was more than a mentor to the entire team, and we miss him dearly,” Kristanto says. “This hotel feels like our legacy to him,

positive energy to everyone around him whenever he came onsite.

L–R: Iswanjana Hari Adi, Reyhan and Damaran Kristanto reveal the fruits of their labours at the St Regis Jakarta hotel

Raising the stakes in interior design and luxury travel, the St Regis Jakarta is taking guests on a journey through Indonesian art, cuisine and music, with AV handled by PT Kairos Multi Jaya. Richard Lawn reports

network serving ballrooms, lounges and meeting rooms. Each of the LG 32- and 55-inch screens is equipped with a BrightSign HD224 video/content digital player, which receives the Cat6 input and transmits out as an HDMI signal to the display.

BGM playlists are distributed over the Dante network to the public areas including the spa, four restaurants, private dining rooms, pre-function area, bar, lobby and lounge. Each zone requires different music to be distributed from a central PC over the Dante IP network via a 64x64 Symetrix Edge digital signal processing platform. Klotz LY215 loudspeaker cabling connects four Powersoft Quattrocanali, four Mezzo and four Duecanali amps to over 300 Bose loudspeakers including DesignMax 3.5-, 5.25- and 6.5-inch ceiling speakers and DM6SE cabinets.

“The Symetrix interfaces are equipped with four modules that can be adapted for either inputs or outputs,” explains Kristanto. “The output cards and the track system we adopted for St Regis Jakarta routes the commercial music programme from the central BGM PC via the racks to anywhere in the hotel.” Located in the same extra low voltage (ELV) room rack, the Edge processor is connected to Symetrix xIn 12 and xOut 12 expanders.

“The Symetrix Edge processor makes it easy to manage the Dante network,” explains Kristanto. “We ran fibre optic cabling for lengths over 100m, such as the 17th-level lounge, and Cat6e cable to the racked switch hubs in the level-one ELV room

for shorter distances. It’s a lot more cost-effective than running analogue cabling.”

Natively configuring the setup and routing of third-party Dante endpoints, Composer software programming creates an end-toend DSP signal path. “Composer software saves a lot of time by adopting drag-and-drop elements,” explains Kristanto. “All the Dante routing is set up in Composer, so additional software is not required. The routings are clear to see and easy to restore should any issues arise.”

The hotel’s AV systems are generally managed by IT personnel who supervise the system’s parameters before and during an event. “Therefore, ease-of-use features were a major consideration,” says Kristanto. “Our initial system design was adjusted to faciliate easier operation. The hotel’s AV is networkbased, so the switch is a very important component. For this project, Kairos implemented Hewlett Packard ARUBA PoE network switches, which were easy to programme and are proving to be reliable.” Connected to the Crestron CP4 control processor, AV parameters can be adjusted from a wired touchscreen or a wireless iPad, which incorporate a customised ease-of-use graphical user interface.

The hotel’s 3,672m2 of meeting and convention space includes the Grand Astor Ballroom which occupies over a third of the space and can host up to 1,500 guests. Located on level two, the asymmetrical 44m x 37m space differentiates itself from other

RPK director, Bong Parnoto

Music playlists are distributed over the Dante network to the hotel’s public areas

A Jiang Li LED wall is the visual focus of the Grand Astor ballroom

The hotel’s interior design is complemented by a discreet Bose DesignMax ceiling speaker solution

purpose-built ballrooms as it cannot be divided. “Owing to the proximity of the glass, we were prevented from installing an LED wall in that section,” explains Kairos Multi Jaya senior engineer, Iswanjana Hari Adi. “The windows don’t have curtains as the hotel wants their guests to see the Jakarta skyline at night. There is a public area in front of the large LED wall, with a dining area towards the windows on the right, where we installed a projector and motorised screen.”

The simplified plug-and-play audio design routes microphone inputs to Bose columns beam steering speakers and subwoofers associated with the large LED wall. “In terms of inputs and outputs, we customised four floor and wall panels for direct connection to the Symetrix processing for routing anywhere else on the hotel’s Dante network,” explains Kristanto. The audio inputs are fed into an Allen & Heath SQ-6 console in the overhead control room and out to a Symetrix Prism 8x8 processor connected to three 4x4 XIO and single Xout 4 expanders.

“The L-R columns each comprise three Bose Panaray MSA12X modules fixed on either side of the Jiang Li LED wall behind the stage,” Kristanto says. Two Bose SMS18 subwoofers are powered by a Powersoft Duecanali 4804 amp, while a portable active Bose L1 Pro16 speaker adds reinforcement in the dining area. “The AV components had to be discretely installed so as to not distract from the interior design,” he adds. “Bulky subwoofers had to be concealed, so in some instances, beyond the ballroom, we swapped out 18-inch subwoofers for high-performance 12-inch models.”

For speeches and live music, six Audio-Technica ATW-3212 wireless receivers can be paired with handheld or lavalier transmitters. “Audio-Technica capsules are very clear, and the wireless system has recorded almost zero interference to date,” says Kristanto. “In a very large ballroom, few other receivers can transmit to the control room upstairs without dropouts or interference.”

For presentations, video signals are transmitted via the Novastar VXS4S processor to the LED wall via an HDMI cable. The audio for video and video only inputs are transmitted via Just Add Power VBS-HDIP-707POE and 717WP2 transmistters to the Aruba switches before being received by a Just Add Power VBS-HDIP-508POE (for the video) and ST1 (for the audio). “The projector is lowered into position on the Somason lift for outputting to a Grandview 16:9 300-inch motorised screen from the control surface of a Crestron 7-inch touchscreen,” continues Kristano.

Just Add Power devices have proven a reliable solution for Kairos projects over the years. “We created very simple programmes for the HDMI inputs feeding into the network and the cable lengths are not a problem as the audio can be transmitted up to distances of 100m,” explains Hari Adi. “The in-house video

can easily transmit HDMI inputs from anywhere to everywhere over the IP infrastructure. Should the system suddenly shut down, it reboots very quickly.”

In the basement, the 767m Caroline Astor junior ballroom can host up to 600 guests and can be divided by a partition screen for different functions. Each 5.9m-high section is equipped with ceiling-suspended Christie video projectors and Grandview screens. Like the larger upstairs room, the video settings can be controlled via a Crestron CP4 processor from a Crestron TSW or iPad touchscreen. A single ARC-3 control panel facilitates management of the digital audio parameters. Each division incorporates eight Bose DesignMax 8-inch full-range ceiling speakers and two Bose subwoofers for speech and BGM. The ceiling speaker solution – including the 6.5-inch models in the pre-function area – are powered by Powersoft Mezzo, Duecanali and Quattrocanali amplifiers. Room combining DSP settings are set within with Composer software of the Prism 12x12 processor connected to XiO 4x4 and XOut 4 expanders, and Audio-Technica 3000 series wireless microphones are also available here. The individual meeting rooms are standalone rather than networked as BGM is not desired. Some of the larger spaces can be combined or divided into two separate meeting rooms. “The hotel demanded a flexible and easy-to-use design whereby any user can simply switch the AV components on and off,” says Kristanto. The eight meeting rooms are equipped with either Symetrix Prism 8x8 or 12x12 processors, which route the audio signal to Powersoft Mezzo amplifiers for output to Bose DesignMax 6.5- and 8-inch celling speakers. Audio can be sourced from either the local input panels or Audio-Technica 3000 series wireless microphones.

In the absence of dedicated control processing, Symetrix ARC-3 panels provide control for these level-two rooms, including room combining. Each ARC-3 hosts up to 32 menus for managing basic audio functions such as volume, mute, preset and source selection in addition to more complex requirements such as room combining. “A third-party controller is not required with the addition of a Symetrix ARC-3 wall controller in a zone such as a restaurant or a meeting room, where the GUI can be integrated into the control surface,” explains Symetrix-certified Hari Adi.

Video sources are streamed over HDMI to ATEN VE2812 HDBaseT transmitters and receivers before transmission to LG 55- and 65-inch screens. Audio output from the Symetrix

returned as an HDMI signal into the matrix. Polycom conferencing functionality has also been added to three rooms.

Providing a panorama of the Golden Triangle, the 17th-level lounge’s background and foreground music system includes an Audio-Technica turntable routed to a Prism 8x8 processor and output to 20 Bose DesignMax 3.5-inch ceiling speakers powered by a Mezzo 322A amplifier. The lower-level executive lounge is equipped with a similar setup, including Audio-Technica C520 handheld wireless and Shure MX1310 gooseneck microphones for announcements and speech.

The Dante network will provide a good ROI to the St Regis Jakarta over the coming years, according to Hari Adi: “It’s an important feature in our AV designs as it is scalable and allows future expansion once you have created the topology with the IP addresses. This particular system comes with an adaptive controller and software for control. There is very little latency, the audio flow can be monitored and adjustments can be made offline should you wish to perform maintenance.”

In addition to futureproofing, the Kairos Multi Jaya team was praised for making the AV technology easy to operate. “By communicating effectively with all contractors in advance, the works such as speaker placements went smoothly,” says Hari Adi. “The specified hardware, software and technology was relatively easy to install and programme. Ultimately, the client praised us for the simplified operations.”

A final nod to the hotel’s jewels in the crown must be made: the Lasvit LED lighting displays in the Grand Astor Ballroom and the Great Hall. Assisted by a Symetrix processor, choreographed movements of the light’s glass components are arranged for specific music and supported by effects from a system of LED lights. “We patched an input panel for a pianist or a harpist to perform in the Great Hall, where the lighting effects are synchronised to the music controlled from an app in a mobile device,” Kristanto explains, with a backward glance to assess the wonder. “No two installations are ever the same.”

www.kairosmultijaya.com

www.rajawaliparama.com

www.st-regis-jakarta.com

The divisible Caroline Astor junior ballroom incorporates two Christie D20WU-HS projectors

The dining area of the Grand Astor ballroom is installed with a Christie D20WU-HS projector

AV parameters in the Grand Astor ballroom can

The Bose SMS118 subwoofers in the Grand Astor ballroom are concealed from view

Max SPL...........................................................................126 dB Frequenct Response [-6dB]..............................80 - 20,000 Hz

HF .........................................................................1x 1”, 1.4” v.c

LF .............................................................................2x 5”, 1” v.c

VIO X205-60 Directivity ............................................60° x 60°

Aiming high

TODAY’S SCHOOLCHILDREN, ACCUSTOMED TO smart boards, internet access, studying at home and downloading homework assignments, would view a 1970’s classroom as a history lesson. Similarly, those bygone assemblies and musicals staged in acoustically challenged halls devoid of technology bear little resemblance to productions in modern-day auditoriums. In Bangkok’s north-western suburb of Nonthaburi, the Denla British School (DBS) demonstrates how far education has come since it was established in 1979. With the unveiling of the newly constructed Araya Hall, DBS has successfully married traditional English private school values with AV technology more commonly associated with top-tier entertainment venues. The family of current DBS board director, assistant professor Dr Toryos Pandejpong, founded a simple kindergarten setup that welcomed older age groups, and growth ensued over the decades. “Having relocated to a bigger campus, parents revealed a preference for a private international school setup and, of all those available, a British establishment was favoured,” recalls Dr Pandejpong. “Having visited the top UK boarding schools, including Winchester and Charterhouse, the board realised the importance that sports and music play in addition to the standard educational curriculum. Music plays a large part in drama, concerts, recitals and, of course, production performances. Therefore, auditoriums have a central, significant role for academic conventions, assemblies, music, performances and prayers.”

DBS has quickly grown to become a world-famous British independent school, investing in an ambitious expansion plan of its campus facilities with the addition of two new buildings that will accommodate the growing number of students with learning facilities to prepare them for university and beyond. “Setting up an environment that is designed to nurture children to reach their full potential is what we are aiming for,” continues Dr Pandejpong. In addition to a senior school library, top-specification science and computer labs, design technology and graphics suites, a sixth form centre, black box theatre, drama rooms, music rooms and art studios, the 600-seat auditorium stands out.

With the appointment of systems integrator Ms Suporn, director of SKAV Design, DBS specified highest-grade specification AV systems throughout the school, particularly for the Araya Hall. “DBS wished to integrate distinctive cutting-edge technology in order to create a real-world standard that will allow students to appreciate and learn real production values,” adds Dr Pandejpong. “Before committing, we looked at other facilities to make sure that we were heading down the right path. I was aware of the L-Acoustics brand in both theatre and live concert productions, but it was not until I attended an L-Acoustics presentation conducted by Tanapat [Tony] Mongkolkosol from L-Acoustics distributor, Vision One, in 2019 that I fully appreciated the quality that differentiated this French brand from others on the market.”

Acoustic consultant Atkrist has provided a minimum rapid speech transmission index (RASTI) of 0.6 for every seat and a reverb time of less than 1.6s within the Araya Hall. Mauragote Waramontri from architect SSW & Associates oversaw the

design implementation of the technology within the venue. Suspended below the proscenium above the central stage, a large DBS emblem was a consideration that the audio designers had to factor in. “The school decreed that no central cluster could be suspended to distract or block the central DBS emblem in addition to no subwoofers being placed on the floor,” says Waramontri. “Ultimately, the AV technology integrates seamlessly into the interior design.”

Coverage was determined using L-Acoustics Soundvision simulation software. “The school stipulated that the loudspeaker system only needed to produce an SPL output of up to 95dB so, for that reason, Kara was discounted,” explains Mongkolkosol. Powered by LA4X four-channel amplified controllers with DSP, Kiva II dual 6.5-inch bass reflex speakers were ultimately selected on account of their tonal and acoustic properties within the midrange. “It is a wide auditorium, but consistent audio coverage to all the seats is achieved with Kiva II’s wide 100° horizontal dispersion,” he continues. “The extensive acoustic

A Bangkok educational facility based on the British private school system is providing pupils with a new, world-class auditorium.

The L-R hangs of SB15m compact subwoofers and Kiva II modules give central space to the DBS emblem

L–R: Vision One’s Saifon Hetrakul and Tanapat Mongkolkosol; Denla British School’s Dr Toryos Pandejpong; SKAV Design’s Suporn Sae Bae; Denla British School’s Thanut Suppakornpusri and L-Acoustics APAC’s Eric Chua

treatment and lack of obstructions also play their roles in making this venue world class.”

L-Acoustics APAC applications engineer Chung Wah Khiew validated the modelling angles and speaker locations of the schematics using Soundvision. Following some delays in the auditorium’s construction, SKAV Design was contracted to fix the rigging for the Kiva II and subwoofer arrays at the apex of the 14.5m-high ceiling in August 2022. Cabling conduits in the lateral walls to the rear control room had been completed by the general contractor in advance.

The system comprises L-R hangs combining dual SB15m compact subwoofers on top of six Kiva II modules. Adjacent to these, additional hangs incorporating three flown SB18i 18-inch subwoofers per side extend the low frequencies down to 32Hz. Modelling predicted that the pillarless auditorium required no further delays or side fills. However, eight 5XT coaxial speakers powered by a single LA4X amplified controller have been added neatly into the lip of the stage to serve as front fills.

DBS specified a Dante network protocol to provide control management and audio distribution beyond the venue. A Yamaha Rivage PM3 digital console with 64 mono input channels is

connected to a Rio 3224-D2 stagerack and the audio network by a series of SWR 2100P-10G L2 switchers. With the addition of an L-Acoustics P1 processor controlled via the LA Network Manager software and an LS10 network switch, AVB network capabilities have been added to the auditorium’s Dante credentials. With Milan-AVB being employed for the main audio signal, AES/EBU and analogue provide a redundant path. In terms of inputs, a Tascam SS-R250N CD player is joined by 20 channels of Shure QLX-D digital wireless receivers and transmitters boosted by a UA844+SWB power distribution system, deemed more than sufficient for school plays and performances. “Ease of use was another important consideration to implement into the design,” comments DBS AV specialist, Thanut Suppakornpusri. “We wanted both our teachers and students to feel confident operating the audio setup. Once they have learnt the basics, it is evident that their confidence is growing with experience and further tuition.”

In addition to a stage monitor and lobby TV, a Panasonic PT-MZ13K 3LCD Solid Shine laser serves as the main visual output from the lip of the balcony. Multiple 3G-SDI and HDMI inputs including Sony PTZ cameras and a VIA presenter are

routed through a Kramer VS88 H2A 4K HDMI eight-in/eight-out production switcher when broadcasting or recording a school event. The addition of Kramer TP580Rxr receivers and TP580Txr transmitters ensure the video signals are correctly converted.

“Rather than be inhibited by the facilities, we have focused on the environment those facilities create and the environment in which each student can pursue their dreams,” Dr Pandejpong summarises. “Whatever their interests may be, there is always a place on DBS campus for them to develop new passions in a safe, positive and engaging learning environment.”

Not many schools can boast a sound system more commonly associated with opera houses, concert halls and auditoriums. With the ability to host a full symphonic orchestra, the Araya Hall is now being used daily for productions including drama and music in addition to prayers and assemblies. Inspirational to its students, parents can only admire and watch in envy.

www.dbsbangkok.ac.th

www.l-acoustics.com

www.visionone.co.th

www.yamaha.com/proaudio

A Yamaha Rivage PM3 digital console at FOH Students gather for assembly in the Araya Hall

The hall is used daily for drama, musical productions and assemblies

Mixing it up

NICK RIVES’ ARRIVAL AS A STAFF ENGINEER AT Capitol Studios a decade ago coincided roughly with the beginning of the facility’s partnership with PMC, in which the British speaker manufacturer has designed and built most of UMG’s (Universal Music Group) flagship mixing rooms in the US. “The partnership is based heavily on the support and engagement from PMC, particularly the leadership of [US president of sales and marketing] Maurice Patist,” Rives explains. “They really care about creating a great experience with their monitors and working with them isn’t just buying speakers; they are actively involved with picking the right systems for the rooms and helping develop a relationship that isn’t just supportive but really hands-on.”

By 2017, Rives was centre stage when Dolby and UMG began exploring Atmos technology for music-only applications, using Capitol’s Studio C as their test room. Until then, Atmos had

successful that Capitol C became the blueprint for many UMG and other mixing studios. However, we had no idea what we were doing when it came to mixing, and I was one of the engineers tasked to explore mixing music in Atmos. I would spend days, weeks and months working on experimental and practical mix projects, working with Dolby, PMC and UMG. It soon became apparent that this was a hit; even the most sceptical parties were blown away by what the format is capable of.”

As Atmos quickly became Rives’ professional focus, he went on to work with Dolby to further develop the technology, particularly the binaural headphone experience, training UMG engineers and writing “best practices” documents while mixing in the new format. “What started as an experiment with some new tech quickly turned into an exciting and growing opportunity to explore a new way to experience music and, when the major platforms like Apple got involved, I knew we had a chance for the format to succeed,” he explains. This led to working closely with PMC to bring the experience to a wider audience, sharing his techniques and the philosophy behind mixing music in Atmos in a global roadshow that started in Europe in October 2022.

In November, Rives moved onto Tokyo, where he was welcomed by PMC distributor Otaritec and Sound City studios, which has a 9.1.4 PMC-equipped mixing suite. “We had four great seminars where we were able to explore some of my mixes and the concept of object-based mixing, both technologically and musically. The engagement was fantastic, and I was thrilled to see so many interested engineers. The studios in Japan were technologically incredible and inspirational, but I don’t think they’ve fully embraced the Atmos concept for music just yet. I was surprised at how many people we talked to had only really worked with Atmos in postproduction scenarios and did not consume music in Atmos but were all very excited about it. It seemed to me that while the technology was understood, there was not as much

element to mixing in Atmos is letting the composition and arrangement dictate his intention. “I ask myself questions like: ‘How does this composition make me feel? How am I meant to feel?’ I’ll do some compositional analysis to help me understand how the arrangement supports the storytelling narrative, then use those findings to guide my mix process so the Atmos experience feels like a natural extension of the stereo composition. Almost all music is still composed in stereo, so there’s an interpretation that takes place when mixing for Atmos, and I let the compositions drive that interpretation for my work, so I might make different decisions for a pop track than I would for a rock or dance track. As always, it’s all about the music, and Atmos is just another great piece of technology that is made to serve the art, not the other way around.”

From Japan, Rives travelled to Seoul, where he again encountered postproduction engineers exploring the workflow of Dolby Atmos for music, this time at distributor Music Metro’s headquarters. “Culturally, it seemed like in South Korea there is more engagement with music, no doubt influenced by how thoroughly SM Entertainment has embraced the format with

L–R: Otaritec’s Yoshi Kanemota, PMC’s Dan Zimbelman, Nick Rives and Sound City engineer Masanori Hata

Rives conducts a seminar on Dolby Atmos for music at Music Metro in Korea

Nick Rives, an engineer at Capitol Studios in Los Angeles, which has a strong partnership with PMC

Nick Rives, a Grammy-nominated engineer based at Capitol Studios in Los Angeles, has been working with Dolby and PMC to develop specifications for mixing music in Atmos. He tells Caroline Moss about recent seminars he’s conducted in Japan and Korea, as well as a workshop in Dubai

their flagship artists,” he says. “I was able to visit a few studios in each country and was surprised how many studios made for music mixing were designed with the postproduction mindset. When we started building studios in the US, we rejected the Dolby postproduction spec and made studios like we always have, just with more speakers.”

In conjunction with Dolby, Patist and the team at Capitol have worked out some major adjustments to the existing Atmos postproduction specifications to better suit music mixing. This has involved lowering all surround speakers to ear height and moving the side speakers from a 110° position to closer to 90° to match the panners used in DAWs. The front wide channels have also been brought further into the room and placed more evenly between the L-R and side channels, while the overhead speakers are brought closer to be more directly overhead. “The whole goal is to have the monitor system more completely and evenly surrounding us, so that when we mix in objects we have better coverage of the virtual 3D environment in which we are

mixing,” Rives explains. “I noticed that most rooms in Asia conformed more to the postproduction speaker layout, which is a more traditional Dolby style compared to our UMG/PMC-style system.”

Rives’ final stop on his tour was Dubai, where he visited the newly opened LP.ME studios (see Pro AVL MEA, January–February 2023). Two of the rooms here are Dolby Atmoscertified, installed with 11.1.6 and 9.1.4 PMC systems, respectively. The studio’s technical team attended Rives’ workshop to learn more about Capitol’s mixing workflows. “It was a fun and engaging visit, with more time and attention spent on actually mixing projects and exploring techniques and best

practices,” he says. “Dubai is very serious about Atmos, and the studio is actively working to become a hub for Atmos work in the Middle East. I worked with the team and their clients on mixing techniques and their expectations for the Atmos format, exploring my experiences to help better understand what it means to mix both new releases and catalogue material in Atmos. I expect we will be seeing a lot of work from that space soon.”

www.capitolstudios.com

www.dolby.com

www.pmc-speakers.com

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In Korea, Rives encountered postproduction engineers keen to explore Dolby Atmos for music

Rives, together with PMC and Otaritec, held seminars at Sound City studios in Tokyo

A letter from America A let ter from Europe

RUMINATING ON ADVANCING AGE HAS BECOME A more regular part of existence in recent years, but it’s counterweighted by what’s been witnessed in that time. Without going into specific numbers, I’ve seen audio production transition from analogue to digital (we didn’t even need the word “analogue” until digital came along and made it necessary) and watched as the magnificent recording studios of the latter part of the 20th century become largely backdrops for Netflix music bios. Pretty much everything about music production underwent existential structural changes in a matter of 50 years. You can now make credible music on an iPhone and accompanying videos on the same palm-sized platform. So it’s not surprising that Spotify is asserting that it uploads upwards of 60,000 new music tracks per day. That’s 22 million new “songs” a year, one every 1.4 seconds. “Songs” is in quotation marks because what qualifies as music has also undergone its own reappraisal. Some producers are uploading little more than silence, or even white noise, with naming those “songs” probably being the most creative part of the entire endeavour. In a bit of true genius, some are labelling the results as concentration or

relaxation aids. But, to quote Al Jolson in The Jazz Singer –a movie that marked another huge inflection point in the history of media technology: “You ain’t heard nothing yet.”

The next round of audio ingenuity revolves around AI or, more specifically, generative AI: the application of artificial intelligence software to “create” new art or media. There are those quotation marks again. That’s because the term “generative” could perhaps be better replaced by “iterative”. Users of software such as Synthesia and Pictory can use them to, as the SMPTE blog puts it: “…give [content creators] creative freedom, to let directors or producers and others have control over the output, to iterate over the output… to create… tunable synthetic voices with lowlatency generative AI modelling.”

The future for these technologies, a cohort led by the both remarkable and sinister ChatGPT, envisions a day when customer-service and tech-services departments can have intelligent “conversations” with consumers. And given the shortage of workers for roles like that in the US currently, that’s great. But if I was a voice actor on The Simpsons or Family Guy or any number of other prime-time animated series, I’d be a bit nervous. You may not be able to be

The latest in a line of audio production transitions, as witnessed by Dan Daley, is upon us. The algorithm will see you now Phil Ward asks if it’s wise to dig too close into the secrets behind classic and favourite recordings

AS THE BEATLES STEPPED ACROSS ABBEY ROAD –the actual road – for the cover photo of their last album Abbey Road – recorded at the actual studio – it was all over. I suppose the album could have been named after the road or the studio, or both, but it didn’t matter. The tonal contrasts of the classic British “zebra” pedestrian crossing now act as the perfect metaphor. The Beatles were, by this time, as far apart from each other as black and white.

If this image is what makes Abbey Road the most famous studio in the world, we should be grateful that people keep the flame alight, not least by returning here in droves, year in, year out, to refresh the graffiti on the low white wall outside. And it’s with this phenomenon that author, presenter and publisher David Hepworth chooses to begin and end his rewarding history of the studio published recently by Bantam. He goes far deeper than tourism, of course, and best of all he dares to lace mainstream nonfiction with the word “compressor”.

Alongside a compelling narrative that frames the design, staff and clients of Abbey Road within the shape-shifting society outside, Hepworth offers just enough technical insight to reveal the too-long hidden secrets of every

record’s sound and, hopefully, to avoid scaring off the pixies of illusion that people like to keep at the bottom of the garden of knowledge. We learn that electrical recording bestowed colourful sound onto music; that microphones gave singers like Frank Sinatra an artificially enhanced relationship to orchestras and bands; that separate manipulation of channels brought music closer to hearts and minds; that tape editing created unplayable juxtapositions; that compression drove the impact and urgency of pop and rock; that the automated SSL console changed music from performance to assembly; and that digital editing is to tape editing what Jodrell Bank is to binoculars. The question remains as to whether record collectors should know more about how the products they cherish were made. If you are an aficionado of art, you should know how the materials and techniques available at the time literally shaped the images held so sacred. Otherwise, it’s as if they appeared from nowhere or, a more likely explanation by those without the facts, from some nebulous never-never land linked to notions of “genius” and “inspiration”. If indeed you regard your records as superior to others, as most rock, jazz and classical music followers

replaced by a machine, but you could be made redundant by machine learning.

Similar software solutions are not only being used to perform new music compositions, including the vocals, but to compose them as well. Companies like Amper Music, Melodrive and Jukedeck are using algorithms and neural networks to create music for video games and film shorts. It’s not that big a leap from TikTok to Hollywood, where cost-cutting has been a business model ever since they moved orchestral film scores to Prague and Warsaw after the Berlin Wall fell, to take advantage of non-union musicians. Experiments in having generative AI write the actual screenplays are already in progress. Could they come up with anything worse than anything by Seth Rogen or Andy Dick?

The fact that technology is changing the way we create content, art and media isn’t new, but the rate and scope of that change is. The legal industry is already looking for ways to protect the people we call creators from “creative” algorithms. I’m not sure how that’s going to work out, but I suspect that by the time we stop using those quotation marks, the world we work in will look rather different. This was not written by ChatGPT. Or was it?

do, should you not be digging deeper than the sleeve notes?

I put this tricky proposition to the author at one of his favourite haunts inside the British Library in London, bearing in mind that his magazine experience stretches from the shiny delirium of Smash Hits to the studied cool of Q and the grey pony-tailed lofts of Mojo. “Would people enjoy their records more if they knew what went into them inside Abbey Road?” I asked. He gave it much consideration. “Probably not,” he eventually said. “People want to invest in magic.” I realised there and then that my plans to create the equivalent of David Attenborough or Professor Brian Coxstyle science documentaries about recording were unlikely to make it all the way across the traffic to the other side. Soon after the invasion of Ukraine a year ago, the graffiti outside Abbey Road became one single amber and blue banner saying: “FREE UKRAINE”. Inside the building, Ukrainians Igor Maxymenko and Yuriy Shevyrov now run their remote mixing start-up Audiomovers as part of the family. It’s said that the earliest code for their DAW software plugin Listento was written in Kyiv. Is that coincidence, or is it that old black magic called Abbey Road?

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ISE 2023

of three keynote speakers, BK Johannessen of Epic Games highlighted how technology trends in the gaming industry are driving AV innovation by drawing on cutting-edge projects in While this year’s ISE felt like a continuation of where it left off in 2020, it was very much a new start in virgin territory. The show has diverted and rerouted itself via the realm of Unified Communications and Collaboration (UCC). Big business prior to the pandemic, videoconferencing captured a sizeable chunk of the show floor, particularly in halls 2 and 3.

Overdue product launches were in abundance as the AV world continues to demand complete solutions that appeal to SIs and users alike with ease-of-use features.

With IT convergence, the rise of artificial intelligence (AI) is simplifying repetitive tasks for users, installers and facility managers with automation. As the tradeshow interaction between manufacturer and end user resumes, the R&D cycle is in operation again, with ISE

DESPITE FAILING TO YET REACH THE EXHIBITOR AND visitor peaks of 2019, Integrated Systems Europe (ISE) at the Fira Gran Via Barcelona can be considered a huge success.

The 20th staging of the leading AV and SI exhibition was even given a royal seal of approval as a VIP delegation including King Felipe VI of Spain toured the show floor.

Unlike recent tradeshows and conferences, ISE managed to stage a reduced format in 2020 at Amsterdam’s RAI, taking ISE on tour to London and Barcelona in 2021 before a system reboot at the new venue in May 2022. Back after just eight months, the show opened with a record number of day one visitors queuing to enter before spreading out over 56,870m2 of floorspace, setting the tone for the week.

ISE was subdivided into six main halls hosting audio and live events, digital signage, multi technology, residential, smart building and unified communications technologies. In addition

From the show floor

to the 1,055 exhibitors, an extensive conference schedule and professional development programme vied for attention. The very scale of ISE dictates a lot of preparation and strict schedules though and, unfortunately, this was somewhat hindered during the first two days by the long queues outside the main entrance. Despite being approximately 10 minutes’ walk from the entrance of hall 7, the hall 8 audio demo rooms proved a big success. Exhibiting brands including AED Group, d&b audiotechnik, Holoplot, Martin Audio, Pioneer Pro Audio and Void Acoustics provided rotational live demos throughout each day. A guest appearance from Jean-Michel Jarre swelled the audience in the Coda Audio demo room, where the French electro musician and composer performed his new Oxymore composition within the immersive Space concept.

Offering a blend of creativity and technical solutions, the Content Production and Distribution zone debuted in hall 6. One

“It’s been an extraordinary week and it’s hugely gratifying for us to realise we’ve delivered an exceptional show for our industry and the wonderful city of Barcelona,” said Mike Blackman, managing director, Integrated Systems Events. “We’ve had so much inspiring content on display, and groundbreaking visits from the King of Spain and the President of Catalonia. This week at ISE 2023 confirms that we can safely say the global AV and systems integration industry is back with an impressive bang.”

2023 Dates: 31 January – 3 February

2024 Dates: 30 January – 2 February

Venue: Fira Gran Via Barcelona

Total exhibitors: 1,055

Attendance: 58,107

Contact: www.iseurope.org

John McMahon, Meyer Sound:

“ISE 2023 has easily been the best tradeshow for Meyer Sound to date. Real business is being done and orders are being placed. We designed our booth for networking rather than demonstrating and this was the right call, but we should have brought in more staff as the first two days were over the top. There has been a genuine enthusiasm to learn more about our SpaceMap Go software. We launched our Leopard line array system in May last year and the reaction we are still receiving to this is phenomenal.”

“Three of us have attended and we’ve all been incredibly busy; it’s been worthwhile coming to catch up with the suppliers under one roof. We’ve been so busy that we haven’t had time to attend workshops or conferences. Time has been precious and we weren’t helped by having to queue for over an hour on the first two days to show our digital then print badges at the main entrance. Although the exhibition centre is well laid out, navigating individual booths is a problem as there is little signage.”

Dean Standing, AtlasIED:

“In terms of visitor attitudes, the numbers we’re seeing, the constant meetings and levels of interest shown in our latest Atmosphere additions, this year’s ISE feels like ‘normal’; the response to the new amplifiers and interfaces has exceeded our expectations. Compared to Amsterdam, we’re meeting more people from Latin America and southern Europe, as they are perhaps more comfortable with the language and culture in Barcelona.”

ISE 2023 largely surpassed expectations as exhibitors and visitors from around the world gathered to make up for lost time

ISE visitors arriving at the main entrance of the Fira Gran Via on day oneMike Blackman kicks off the show

From the show floor

Jason Schwartz, Hall Technologies:

“We exhibited for the first time in 2022 and I was confident we could build on that in 2023 by continuing to highlight the price performance benefits of our Mercury, Javelin and Ranger videoconferencing and unified collaboration technologies. Not only have we been building on that momentum of 2022, but we are continuing to sign up new dealers and distributors in addition to meeting new customers.”

“Taking a double decker booth in hall 7 for our ISE debut in 2022 increased our brand awareness; now we appear to be back to normal, visitors are remembering Blaze and are returning. We consolidated our EU distribution in 2022 and being able to ship product within a week last year really helped our cause. We seem

James Rempel, Nureva:

“Last year’s ISE was a great show, but this year feels even better – bigger crowds and a lot more people. We’ve been busy with great discussions with customers, other vendors and our channel partners. But this success also means that there are a lot of people to deal with, so the trains are certainly crowded and getting into the show has also been difficult for many.”

report on atendee demographics.”

George Tennet, Blaze Audio:

AOTO Electronics’ APAC sales director Simi Huang presented the new Micro LED P0.3 technology

d&b audiotechnik’s Marcus Bäumler with the latest custom solution speakers

Coda Audio’s Dave Webster and Svetly Alexandrov are joined by Jean-Michel Jarre in presenting Space by Coda

EM Acoustics’ Mike Wheeler and Levels AV’s Daniel Ball

Ecler’s Alex Schloesser, Jan Pagés and Daniel González presented the MIMO digital audio matrix series

Televic’s Julie Smissaert and Clauzier Christoph showcased the Unite

Jetbuilt’s CEO Paul Dexter

Fernando Küfer, disguise:

“It’s an incredible show; you can tell everyone has been waiting to come back, and I’ve been surprised at the volume of partners and customers we’ve seen. We’ve even done some sales on the booth, which hasn’t happened for a long time. Of course it helps that we’re in Barcelona! But signage has been lacking, and the queues outside the entrance have been insane.”

Josh Rush, Audinate: “We’re definitely seeing a buzz and energy on our booth. A number of manufacturers have adopted our Dante AV video technology and people are starting to see that take shape with new PTZ cameras, encoders/decoders and stageboxes, and that’s been a big draw for people heading over here. We’re very happy to be here and to show off that new ecosystem.”

Justin Joy, Peerless-AV:

Gary Goh, Electronics & Engineering (Singapore):

“This is my first ISE since 2020 and I had no expectations other than to network and meet suppliers. My schedule has been packed with meetings with people I haven’t seen for years as we have so many projects to complete. Ironically, I’ve had many meetings with fellow Singaporeans here in Barcelona in addition to meeting suppliers and manufacturers. As a result, I haven’t had the opportunity to visit demos or conferences.”

“VITEC is highlighting solutions including digital signage management and core IP video products. The legacy VITEC offering of IPTV, video streaming and digital signage solutions is associated with large system deployments, but we are widening our customer

Bob Boster, Clear-Com:

“ISE 2023 has exceeded our expectations. We expect it to be a very active and buoyant part of our sales year. Has the ISE 2023 show reached the same peak as Amsterdam 2018 or 2019? It will take people a little time, but it will come. The 2022 show seemed like a trial run; 2023 was a real ISE show.”

“It’s been a smash hit: wonderful crowds – not just the numbers, the quality has also been everything that we’d hoped and traffic has been consistent. On the flip side, the entrance system has to be completely scrapped, and I imagine I’m not the first person to say that. It was an issue last year but we had much smaller crowds. Another suggestion that’s an easy one to rectify is they have to have more signage, even if they only replicate those banners in the central aisles throughout.”

Datapath MD Bjorn Krylander was happy with the reaction to the Aetria software Steve Capling from Christie

Audio-Technica’s SK Teng with the ESW DECT wireless

Powersoft’s Luca Giorgi, Claudio Lastrucci and Francesco Fanicchi take the wraps off Unica

K-array’s Alex Tatini is reunited with Soundus chief DJ Kwon

INTEGRAL-WP3

DAS Audio introduces the INTEGRAL series. A complete solution that addresses the needs of the commercial and professional installation markets, based on multi-zone matrixes and matrix amplifiers with integrated multichannel DSP.

INTEGRAL-MA1604

Creating a regional heritage

NO

MATTER HOW PURE THE AMBITIONS OF COMPANY

founders in any industry start out, somewhere down the line, shareholders and investors can divert the initial roadmap. The pro AVL industry is no exception, though a pioneering businessman in Italy – Proel founder Fabrizio Sorbi – has bucked the trend. Reflecting Sorbi’s ambitions and entrepreneurial spirit, a team of loyal engineers and committed employees have quietly and collectively been building the Proel Group for over three decades in a sleepy Adriatic town between Ancona and Pescara, where one man’s dream was destined to become a legacy.

Initially working as a project manager near Ancona in the late 1970s, Sorbi increasingly found himself unable to express his own ideas within the confines of a company trading musical instruments. Like a good musician who has outgrown the artistic confines of a band, Sorbi opted to go solo. With nothing more than his own savings and a series of carefully crafted ideas, Proel was born in 1991.

“We were not blessed with huge financial resources,” Sorbi recollects, referring to the time when the team he formed – just seven in total – rolled up their sleeves to unwittingly create a global brand. “Directly distributing cables, connectors, microphone stands and accessories was the best way to start. Not only was there a demand, but we did not need an R&D structure, which at that point in time was out of our reach, financially. By publishing a comprehensive catalogue of products, we became highly visible to end users in Italy.”

The planning and logistics of Proel’s current headquarters were laid in 1999, but Sorbi’s philosophical foundations had already been set when the initial team of seven energetically took to the Italian roads, selling accessories from their van. Having correctly identified a gap in the market, the business boomed. Profits were reinvested back into Proel and, in 1997, sound reinforcement and percussion divisions were created. By exhibiting at international trade fairs, the company’s export credentials quickly took off; by 1998, it was shipping to 88 countries.

The purpose-built 25,000m2 facility in Sant Omero is divided into production areas, warehousing, offices and showrooms. “Many people assume investment refers to R&D,” says Sorbi. “To me, investment needs to be applied much further to include processes, human resources, marketing and digitalisation, and they all need to be continuous.” The structure of the facility combines a uniform system of business units, each of which is dedicated to specific commitments and led by the company’s general targets and directions.

“The business unit structure allows Proel to be more flexible and competitive in the market,” explains Sorbi. “Moreover, wellplanned marketing paired with company dynamism boosts our international brand positioning, visibility, sales and customer services. Each unit is supported by a central financial hub including accountability and administration but is a unique commercial and technical entity with its own distribution channels.”

Proel’s accessory business of music stands, cabling, flying hardware and flightcases are grouped into the Proel Stage Systems and DH Professional Stage Equipment business units. Although these brands are the backbone of the business, the Proel Group encompasses 11 other business units. Returning

to his MI roots, Sorbi oversaw the acquisition of the critically acclaimed Tamburo drum and percussion brand in 1998, which has since been joined by Dexibell (digital pianos and organs) and the DeSalvo (string), Vhienna (bow) and Grassi (wind) instrument portfolios. Bridging the gap between consumer and professional, Eikon offers a full range of microphones and headphones including conferencing and wireless models. Catering to the lighting industry, Sagitter professional lighting was acquired in 2003.

The establishment of a sound reinforcement division together with a pro audio R&D centre in 1997 was a pinnacle moment in Proel’s fortunes. Dedicated to musicians, systems integrators and touring production companies, the four audio business units

Richard Lawn visits the Proel Group on Italy’s Adriatic coast to find out how one man’s dream has translated into a global force

Proel CEO and founder, Fabrizio Sorbi

Proel’s purpose-built headquarters in Sant Omero

APRIL 4TH 2023

[ˌilæsˈ tɪs əti ]

Elasticity [ˌilæsˈtɪsəti ] refers to the ability of a system to quickly scale its capacity up or down in response to changes in demand for resources.

It is an important factor in ensuring the efficient use of computing resources, maintaining system performance, enhancing sustainability and improving cost-effectiveness.

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fulfil solutions ranging from the entry-level IS SPX series of two-way polypropylene enclosures to the Axiom line arrays and column speakers. Italian Stage comprises PA systems including loudspeakers, subwoofers and mixers. Proel Sound Systems extends this with higher-value products including amplifiers and processors. Commercial and Evacuation Systems are dedicated to the fixed installation sector and Axiom professional audio is an organically created technological portfolio of “Made in Italy” audio products.

Key recruitments appear to have played a significant role in the growth of the Italian brand. “The Proel philosophy is important and each person that joins must be exactly right,” comments marketing coordinator Michela Bordoni, who has worked for Proel for over 10 years. “The whole sales process, from the incoming sales call all the way through to production, shipping and the after-sales call, must be totally customerfocused. We will never project anything less than a professional image to our customers.”

Appointed in 2017, international sales manager of the professional division Elio Caia typifies the Proel persona. “Our four main audio brands share common R&D, engineering, sales and marketing resources,” explains Caia. “Despite the obvious synergies, each brand assumes a strong identity and, as such, each business unit is headed by dedicated product managers underneath the Proel umbrella.”

Following its creation in 2003, the Axiom brand was taken under the direction of R&D director Nicola Zavatta. “Nicola’s extensive experience has been an integral part of our success,” adds Caia. “His status as a leading pioneer at Proel is assured, but he is very much a visionary for the future. Under his direction, Axiom has successfully positioned itself within the mid- to high-range segment of the market, balancing price performance features without making compromises in audio quality.”

Following the introduction of a dual 10-inch Axiom line array in 2003, a new generation incorporates 6.5-inch neodymium woofers in both active and passive formats. “We listened to our customers before we redesigned the new features with high-

quality components,” says Caia. “FIR filters have been upgraded, which in turn has led to enhanced intelligibility. Onboard PFC [power factor correction] improves the power consumption and ensures a stable operation should voltages fluctuate. In addition, we have implemented a remote control system using our software from a laptop.”

Based on user feedback, current design trends including ease-of-use, versatility and futureproofing are providing Axiom’s customers with a quick return on their investments, according to Caia. Proel’s developers have been integrating DSP and amplification into the loudspeaker designs since Zavatta was enlisted to the Proel cause. Having developed its own proprietary AX software for remote control and monitoring from a laptop, the group is also developing networking. “Except for one stage monitor, all Axiom products can be monitored and controlled in real time,” continues Caia. “Having access to a single DSP or being able to select a preset in real time is a great advantage.”

In 2017, the AX-C series of passive column loudspeakers was added to the Axiom portfolio. This range was recently extended with the addition of the more compact, lighter CL models, which can be powered by accompanying subwoofers. “The flexibility they provide, in addition to their high-power SPL capabilities, has made the AX-C models some of our bestsellers to date,” says Caia.

The creation of a dedicated public address division started with standard commercial products and evolved significantly with certifications and compliances for EN54 fire protection regulations. “Our commercial audio unit is divided into two catalogues with public address 100V line speakers, the first being a range of amplifiers and call stations and the second being Italian-made EVAC and EN54-certified voice alarm systems,” explains Caia. “We offer full rack solutions for direct shipment based on the customer’s bespoke requirements such as zoning, but our latest AE series of all-in-one-compact systems offers one- or four-zone solutions.”

Loudspeaker cabinet painting and finishing is handled externally, but the lower-level assembly area incorporates electronics and woodcutting areas for cabinets with CNC (computer numerical control) machinery. Customisation is key,

with many products now being manufactured in Italy. “Proel can control the full production processes including RAL painting and weatherproofing for specific installations,” continues Caia. “Our product specialist technicians fully support our distributor and dealers with such customer requests including EASE simulations for projects using our products.”

When the opportunity emerged in 2014 to buy Roland Europe, Sorbi – who had worked with Roland as a supplier – grabbed it. “When I used to walk up the stairs to their third-floor management offices, I felt proud to be part of the machinery at Roland,” recalls Sorbi, nostalgically. “I could not stand by and see the great resources and culture that had been created over the years go to waste. The values that those 25 employees acquired over many years at Roland have now been absorbed and utilised by Proel.”

Proel Group also took ownership of Roland Europe’s 25,000m2 HQ, R&D and production premises. The ex-Roland designers created the Dexibell digital piano brand which is now manufactured inhouse in the same flexible production area that Roland used. The manufacture of Axiom products, previously produced in nearby San Benedetto, has also been brought inhouse.

The adjacent warehouse is another 25,000m2 colossus. Managed by logistics manager Luigia Baldini, who has been a Proel employee for over 20 years, incoming goods are stacked up to four pallets high. It’s a hive of activity with incoming loudspeakers, musical instruments and accessories being tested and shuttled to various bays, including moving head lighting fixtures being put through their motions during burn-in. “It is all part of the stringent quality control processes in which incoming Chinese-manufactured products are 100% tested before being shipped to customers,” comments Baldini. “When shipping out to Proel Group customers, various brands are combined as one shipment for added cost-effectiveness and efficiencies. Axiom ‘Made in Italy’ products are always in stock and ready for shipment.”

Back in the main headquarters, numerous classrooms host workshops and product training seminars for dealers, distributors, agents and internal staff. The logistics centre and black box theatre host line array and other loudspeaker

R&D director Nicola Zavatta, an integral part of Proel’s success

Proel is a major employer in Ancona’s agricultural region

L–R: international sales managers Luca Pasquinelli and Elio Caia

An innovative use of Proel’s Axiom speakers

Classrooms and workshops at the Sant Omero headquarters

demonstrations in addition to private inhouse concerts, while a demonstration room is furnished with entry-level products.

Based in Singapore, M-Global has represented Proel’s 13 brands in the APAC region since early 2021. “APAC has always been an important territory for Proel,” explains international sales manager, Luca Pasquinelli, “but we know there is greater potential to conduct more business in APAC and MEA. Having started our relationship with M-Global in the middle of the pandemic, we could work on new methods and ideas that we are now benefitting from.”

Given Proel’s wide portfolio ranging from professional audio to MI and lighting, few distributors can handle all 13 brands successfully. “Our composition allows us to operate in different channels and segments, as well as with different partners, without any conflict between them,” adds Pasquinelli. “We require more than one vendor in some territories to better

represent us. Australia is a good example of such split distribution. We also have subsidiary partnerships in key territories including South Korea.”

Reflecting on the company’s success, Sorbi is keen to emphasise that its main strength isn’t the bricks and mortar of its headquarters but the combined team effort of everyone within. “Although we are based in a remote region away from Milan and Bologna, we all have an excellent quality of life, which has created our unique character,” he says. “The spirit of the company will continue to exist here, and the children of current long-term employees will also work here, ensuring that Proel will endure over time. Proel is not my personal heritage as it belongs to the region, the employees and the stakeholders; as such, it must be carefully looked after.”

www.proelworld.com

Marketing coordinator Michela Bordoni has been with Proel for over a decade

The Proel team in Sant Omero’s On and On Theatre

Powering up

Powersoft is promising a “one-size-fits-all” solution with its next-generation Unica amplifier platform, targeting multiple applications in medium-to-large installations with the ability to integrate diverse products and functionality

THE SUBTLE ART OF SEMANTICS HAS BEEN USED TO great effect by Powersoft when naming its latest amplifier platform, Unica, launched at ISE in January. The name derives from the Italian, signifies uniqueness. However, in Italian it also means “single”. And the company, based just outside Florence, has focused its efforts into embodying both meanings in this latest technology release, carefully targeting its R&D experience and resources into crafting a platform that offers something different while, at the same time, familiar and streamlined.

“The border between what was called ‘fixed installation’ and what was called ‘live production’, depending on who you spoke to, was becoming more and more blurred,” explains Powersoft’s sales and business development director, Luca Giorgi. “There are more and more fixed installations

offering easy integration, straightforward configuration and low maintenance costs.

“What we wanted to do was to make a platform that is a bit different while relying on the same design, interfaces, mechanical construction and processing,” continues Powersoft cofounder and R&D director, Claudio Lastrucci. “There are higher power models within the new range of products, but they are somehow different while – from the user’s point of view – behaving in the same manner as our previous ranges.”

Powersoft has designed Unica to offer the flexibility of adapting to almost any market sector and application.

“When we started thinking about Unica, the most important consideration was to provide a consistent

models in a compact 1U form, offers high power density in a cloud-native amplifier platform designed to provide consistent user experience while meeting the requirements of demanding installations. Powersoft is also promising the new range will offer customers maximum reliability and simplified operation through the lifespan of a typical project.

Lastrucci explains that, while Powersoft’s R&D engineers have incorporated the advanced technologies of previous generations, sonically, Unica represents a big leap forward. “This is just one part of the story, however,” he continues. “There has also been a lot of extensive work on increasing the amplifiers’ efficiency, as well as power consumption, to make them as energy-efficient as possible, extending the lifetime of an installation. A lot of work has been done in optimising the cooling method, so it’s even more efficient than before while producing less noise. Processing is a big part of Unica – the internal architecture is quite different from that of previous products. We’ve split the processing from hardware power management, which gives us more resources to handle these things separately. The result is a real platform that can easily converge to work with different products and power ratings. This new platform will enable a lot of cloud-based functions, from basic surveillance up to very extensive servicing and preventative maintenance functions that allow the installation to be surveyed locally

Powersoft launched Unica at ISE 2023

The Unica range consists of four- and eight-channel models in a 1U form

Powersoft cofounder and R&D director, Claudio Lastrucci

Product marketing and business strategy director, Akira Mochimaru: “Consistent user experience was a priority”

but also to be monitored on a dashboard, showing how the system is performing and if there are any issues that will someday need to be dealt with.”

Based on Powersoft’s proprietary third-generation architecture, which has numerous patents pending, Unica is optimised to reduce points of failure while allowing more accurate reproduction and improved performance over previous models, which the manufacturer puts down to its higher signal-to-noise ratio. An all-new power supply section facilitates efficient conversion, resulting in less power being dispersed through wasted heat, while a new approach to heat management has resulted in fan noise reduction, and a filter that can be accessed without the need of a tool, making it easier to keep the airways clear of dust.

Unica also features the next generation of Powersoft DSPs, based on the latest system-on-chip technology. The DSP section can be operated even when only PoE+ power is available, which has useful implications for pre-configuration operations. A firmware-level protocol manages audio-over-IP (AoIP) through Dante and AES67, and networking can be achieved via three Ethernet ports, allowing both Dante redundancy and splitting control vs AoIP traffic. Power sharing capabilities have been upgraded from existing Powersoft products, with each output channel capable of delivering up to twice the power when loaded asymmetrically. Six programmable general-purpose inputs/ outputs are located on the rear of the amplifier, while the front side features a colour display for status monitoring. Control and monitoring are carried out using the industry-standard A+ software and through third-party integration.

Powersoft has stated that Unica represents a significant milestone in its development of IoT devices which operate with cloud-native connectivity and remote monitoring functions without needing specific product registration or configuration. Cloud integration allows projects to be stored and shared online and ensures the amplifier’s firmware is up to date; it can also be used for simple integration with third-party systems through API.

Ultimately, Unica is well-positioned for the current AV climate: simplifying installation, maintenance and integration of other products while reducing energy consumption. “It will allow systems integrators to easily build and monitor a system, as well as giving their clients services that they haven’t been able to offer, or have offered with very limited functionality,” sums

up Giorgi. “In this way, they can save time in implementing the service, opening up more features when it comes to maintenance and spending less time on configuring the system and making sure it fits the specific application.”

www.powersoft.com

Luca Giorgi presents Unica to the press and partners at ISE 2023

Studio features in a desktop footprint with SSL 12

SOLID STATE Logic has expanded its line of Audio Creation Products with the SSL 12, a 12-in/eight-out USB buspowered audio interface packaged into a portable desktop format. Building on the SSL 2 and SSL 2+ models, the SSL 12 expands in almost every way – more microphone preamplifiers, enhanced headphone performance, advanced routing and monitor controls, ADAT input as well as next-generation 32-bit/192kHz AD/DA converters.

Designed for home or project-based studio control rooms, the interface features four SSL-designed microphone preamplifiers (with mic/line and HPF), two Hi-Z instrument inputs for guitars, bass or vintage instruments and two headphone outputs. Routing and monitoring options combined with ADAT input supporting eight additional channels of digital audio offer a total of 12 tracks of simultaneous recording and eight channels of playback in a portable design.

Contained within its SSL 360° software mixer, the SSL 12 also features a customisable SSL control room. Here,

users can receive feedback from detailed I/O metering as well as assign functions to the device’s three front panel switches, including key monitor controls such as alternative monitor switching, mono sum, invert phase left, dim and cut.

SSL’s Producer Toolkit provides additional configurability, and the SSL 12 includes SSL Production, a suite of software instruments, sounds, plugins and a DAW, which includes the Vocalstrip and Drumstrip 2 plugins, as well as three months’ access to SSL’s Complete subscription and other three-month licences from the likes of Antares and Output.

The manufacturer has also expanded its SSL Production Pack with industrystandard software from Antares and Output, as well as a three-month subscription to SSL Complete. The Production Pack, which is included with every SSL 2/2+ audio interface, has been enhanced with three-month trials of Antares’ Autotune Unlimited and Output’s Arcade. Also included is a three-month SSL Complete subscription, providing

full access to the brand’s entire suite of plugins, including the new 4K B Channel Strip. The new additions add to offerings from Applied Acoustic Systems, Ableton, Celemony, Loop Cloud, IK Multimedia and Native Instruments. Also included in the bundle are perpetual licences of SSL’s mix favourites Vocalstrip 2 and Drumstrip plugins. Both new and existing SSL 2/2+ customers can access the enhanced SSL Production Pack through their registered 2/2+ accounts.

Blitzer is the latest addition to Solid State Logic’s range of plugins available in its SSL Complete subscription. The company describes it as an “analogue attitude compressor” capable of delivering everything from soft, saturating compression to brick-wall limiting. Emulating hardware compressors like the FET ’76 limiting amplifier, valve 2A levelling amplifier, Fairchild and others, Blitzer offers 10 unique compression curves across 10 ratios inspired by a variety of analogue dynamics processors.

www.solidstatelogic.com

The SSL 12 allows users to get studio-quality audio into and out of a computer

HH Electronics launches TNA system

THE TNA Active Line Array from UK-based HH Electronics is a modular system designed for small- to medium-sized applications such as live sound reinforcement, bars, clubs, houses of worship, education settings, conferencing and corporate events.

At the heart of the system are the TNA-2120SA, a multichannel active subwoofer with an integrated Class-D amp and two 12-inch low-frequency woofers, and the TNA-1800SA, a single 18-inch active lowfrequency subwoofer.

As well as three channels of amplification, the TNA-2120SA unit houses six optimally voiced, built-in DSP presets. These allow a complete system to be used in flown or ground-stacked configurations, while its integrated rigging hardware and optional suspension bracket and dolly board allow for straightforward installation.

It is capable of powering up to six satellite TNA-2051 passive two-way line array loudspeakers offering an installation solution without the extra expense of rack amplifiers and processors.

The TNA-2051 features dual 5-inch LF drivers and a 1.33-inch Celestion HF compression driver. Its outer enclosure features integrated rigging hardware, enabling the unit to be installed by a single engineer. The TNA-2051 can be used in traditional line array systems for long throw applications, or as a standalone full-range point source system.

KV2 Audio reinforces ESD and ESR ranges

KV2 HAS expanded its range of twoand three-way passive loudspeakers with the introduction of the ESD8 loudspeaker.

The ESD8 is a compact, passive, two-way, high-output, full-range loudspeaker which incorporates an 8-inch trans-coil woofer and a 1-inch compression driver coupled to a wide dispersion horn. Designed to present “exceptional” speech and music definition, the ESD8 is designed to be used as either a main system speaker or as an in-fill for larger systems.

It can be set up on podiums, stands or suspended, and applications range from corporate presentations and functions to in-fill, close monitoring or installation. KV2 reports that when combined with subwoofers – of which there are four to choose from in the ESD range – the ESD8 offers a high-quality, full-range performance. The ESD family of loudspeakers ranges from the ultracompact ESD Cube right through to the more powerful ESD15 and ESD36.

provides parametric EQ, gain control, dynamic low boost, noise gate, RMS compressor, internal white/pink noise generator and configurable delay. Each output offers up to seven parametric EQ and crossover filters.

The manufacturer has also announced two additions to its ESR Series in the form of the ESR106 and its dedicated ESR2600D amplifier based on the manufacturer’s proprietary SLA technology.

The manufacturer has also announced the launch of its SP26 and SP48 digital loudspeaker management systems. Designed for a wide range of applications, both units are pre-loaded with presets for use with HH Electronic’s TNA line array system, and also have integrated controls for local setup as well as a dedicated PC control interface for remote monitoring and configuration via USB or RS-485.

For applications requiring more I/O, the SP48 provides four analogue inputs and eight analogue outputs. Each input channel provides a 30band parametric EQ, gain control, noise gate, RMS compressor and configurable delay. Similarly, each output offers up to seven parametric EQ and crossover filters, with each output path featuring peak limiter, HP/LP filters and driver alignment delay. In addition, the SP48 supports a full matrix mixing mode where inputs may be routed/mixed in any

Dave steps up after 10 years

EXACTLY 10 years after the release of LD Systems’ Dave G3 range of PA speakers, the company has introduced an upgrade with the Dave G4X Series. A family of active 2.1 PA systems, the Dave GX4 is designed for DJs, live performers, solo entertainers or parties. It is available in four sizes and performance classes, from the compact Dave 10 G4X to the Dave 18 G4X.

The Dave 10 G4X is a pair of double 4-inch satellites and a 10-inch subwoofer with 680W of power. Other models include the Dave 12 G4X (two 6.5-inch satellites and a 12-inch subwoofer at 1,460W), the Dave 15 G4X (two 8-inch satellites and a 15-inch subwoofer at 2,060W) and the Dave 18 G4X (two 8-inch satellites and an 18-inch subwoofer at 4,000W).

Like its siblings, the slimline ESR106 is an active-driven three-way system. It deploys a column array of multiple 6-inch woofers for high-quality vocal and music reproduction in challenging acoustical spaces and ambient environments. Utilising eight 6-inch woofers, two 6-inch mid-bass woofers and a single 1-inch high-frequency driver mounted on a wide dispersion horn, the ESR106 is constructed to represent one large point source, with each part of the system positioned so that it is proportional in size to the wavelength it produces, so that the radiated power of each band remains consistent and balanced throughout the system’s

by its dedicated ESR2600D amplifier, a two-channel (stereo) three-way, active control and amplification system housing all signal processing and amplification in a 4U module, as well as providing control and crossover functions for adding external subwoofer cabinets if required, utilising external amplifiers. In stereo mode, the ESR2600D powers two ESR106s and is configurable via the front panel or remotely using the KV2 Control & Diagnostics Tool.

www.kv2audio.com

instruments, line-level signals and auxiliary players, while integrated Bluetooth for streaming via a smartphone or tablet enables wireless connectivity. The units also have a digital SPDIF stereo input to provide a media player, computer or smartphone to connect for backing tracks, sound effects, intermission music or to use the Dave G4X as a karaoke system. The speakers use redesigned compression drivers and waveguides for homogeneous and directional dispersion, as well as FIR filters and integral DSP technology. The subwoofer has been equipped with a larger voice coil and an optimised bass-reflex system to reduce ventilation noise.

www.adamhall.com

ESD8

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OUR RELIABILI

IN ALL WEATHERS

Alcons CR2 widens the sweet spot

THE ALCONS CR2 is a three-way sound system designed for cinema sound reproduction in medium theatres seating 100–300 people. It has been specified to meet the requirements of current and future digital cinema sound formats and features Alcons’ patented “Real-90” horizontal

LF reproduction, while its 18cm shallow design allows for flexible mounting in spaces behind the screen or as a surround, both on-wall or in-wall. The low system impedance and fully passive-filtering configuration allows for an economical power package, powered and controlled by one channel of an ALC amplified loudspeaker controller. For maximum output, the CR2 is also available in bi-amp configuration.

For use in both permanent and portable applications, the BC543 from Alcons is a self-contained, cardioid-control subwoofer system designed to be a low-frequency extension for any Alcons pro-ribbon system. Its front- and rearlocated woofer configuration, in combination with integrated processing, offers selectable cardioid low-frequency pattern control that boasts rear rejection up to 42dB. The

front drivers include a pair of 18-inch longexcursion woofers with 5.3-inch voice coils and vented triple-spider frame mounted in a direct-radiating configuration. Occupying more than 25% of the baffle surface, this port is designed to maximise the system’s breathing capacity while minimising port compression. The excursion capabilities of the 18-inch design extends the output by 3.5dB compared to a traditional 18-inch unit. At the rear, the BC543 has a single 18-inch long-excursion woofer with 5.3-inch voice coil and folded port design said to enable optimal reflex-breathing, under minimal baffle dimensions. The BC543 is powered and controlled by Alcons’ ALC amplified loudspeaker controller, which offers system-specific drive processing with dedicated optimisation, power and excursion protection, and hybrid filtering. Aiming to boost performance while reducing physical size, the Alcons BC272 Cardioid Sub is a self-contained, medium-

output cardioid subwoofer system for both permanent and portable ground-stacked applications. Designed to offer a tight and accurate sub-bass response for lowfrequency extension of any Alcons pro-ribbon system, the BC272 is the most compact self-contained cardioid in Alcons’ range. Its front- and rear-located woofer configuration,

dispersion of its RBN601 pro-ribbon HF driver. Mounted on a revolvable waveguide, the company says it widens the stereo sweet spot for audience members who are seated off-axis. The CR2 provides 1:1 non-compressed sound reproduction and a 1:15 RMS-to-peak dynamic range, while the absence of a compression threshold caters for the same tonal balance at all SPLs. The enclosure uses a double 8-inch mid-bass for MF and a 15-inch woofer for

WITH THE launch of its INSTACUBE 4 and INSTASUB 8, Studiomaster has added a dedicated ultra-low-profile, high-performance, commercial audio loudspeaker system to its professional loudspeaker catalogue.

With a wide 80° x 80° frequency-consistent dispersion pattern, the INSTACUBE 4 is intended for a wide variety of nearfield enterprise applications. The miniature INSTACUBE 4 aluminium enclosure measures 145mm x 156mm x 143mm and comes complete with a removable mounting U-bracket. With a customdesigned 4-inch neodymium two-way coaxial loudspeaker, comprising a 35mm voice coil MF and 1.3-inch peek highperformance composite film diaphragm HF driver arrangement, the INSTACUBE 4 boasts 100W RMS/400W peak power handling, up to 87dB continuous SPL output and a 100Hz–20kHz (–10dB) frequency response. Connectivity is either via four-pole speaker connectors or Phoenix connection with both providing input and link output. Rigging is via

either the supplied angle-adjustable U-bracket or the M10 flying points, or alternatively it can be mounted on a microphone stand. The stretched aluminium construction is said to provide strength and long-lasting reliability, and is finished off with a protective step grille. The INSTACUBE 4 is available in

8Ω and 16Ω variants and black or white colour schemes.

The ultra-slim INSTASUB 8 bass-reflex compact subwoofer is ceiling, wall or floor mountable, and can be positioned under furniture. Although measuring 515mm x 200mm x 425mm, the sub features a custom design 8-inch loudspeaker. With a 38mm high temperature-resistant voice coil, the long-stroke driver also features an aluminium modulation ring that reduces magnetic distortion, further contributing to up to 200W of high-quality deep bass.

When faced towards the surface on which the sub is placed or mounted, that surface acts as an additional compression element, increasing the bass response without generating high SPLs or unwanted pressure waves. The enclosure is manufactured from 15mm ply, finished in either durable black or white mark-resistant paint. All fixings and connectors are located on the underside of the cabinet, giving it a clean exterior appearance. Wall or ceiling mounting is accomplished with the supplied twopiece bracket.

www.studiomaster.com

along with dedicated processing, means the system can offer selectable cardioid low-frequency pattern control with up to 42dB of rearward rejection without the need for additional cabinets. This is achieved by using a biamp power configuration in the amplified loudspeaker controller, so dualDSP channels are available for dedicated processing.

www.alconsaudio.com

Sonodyne’s compact PM 4040

MEASURING 230MM x 160mm x 190mm, Sonodyne’s compact PM 4040 is a nearfield two-way monitor that takes balanced inputs via a TRS socket, unbalanced inputs via RCA

magnet tweeter seated in an elliptical custom waveguide for wide directivity in the horizontal plane but controlled directivity in the vertical plane. The LF is a 4-inch glass fibre cone woofer, achieving a low-end frequency response of 70Hz. Max SPL is 109dB per pair. Comprising one active and one passive monitor, the system is powered by a two-channel Class-D amp.

www.sonodyne.com

INSTACUBE 4

CR2

BC272

BC543

RCF doubles up on two-ways

ITALIAN AUDIO specialist RCF has introduced a pair of multipurpose twoway point source speakers. The Compact C 32 and Compact C 45 speakers both have lightweight wood cabinets which use a special polyurea coating and feature a robust powder-coated grille with protective foam. Both also feature mounting accessories to allow for wall or ceiling installation.

The Compact Series’ compression driver voice coil design has a titanium dome which RCF says allows it to lower the usual crossover point for better vocal performance at midfrequencies, as well as improving coupling with the low-frequency transducer. Meanwhile, its low-frequency transducer design gains more stability over higher currents, with less distortion and is said to be highly efficient in terms of heat dissipation.

The C 32 has a 3-inch neodymium compression driver (4-inch on the C 45) and a 12-inch neodymium woofer (15-inch on the C 45). A constant directivity rotatable waveguide produces coherent 100° x 50° coverage with a 137dB max SPL on the C 32 and 138dB on the C 45. The C 32 features 600W RMS power handling, while the C 45 increases this to 700W. Both units are designed to perform in a wide range of near and middistance applications, including sports halls, nightclubs, corporate spaces and performance venues.

The manufacturer has also launched two ranges of power amplifiers: a range of three two-channel amplifiers and a

pair of four-channel amplifiers. All five are rackmountable in 2U of space.

The IPS Series features two-channel Class-H amplifiers with independent gain control, signal/clip and fault indicators, stereo XLR input and output link, a mono/stereo/bridge switch, as well as speakON and binding post output connectors. For reliability, RCF claims that all units in the range are protected against shorts and open circuits, and all feature high-efficiency heat sinks and variable speed fans. The series consists of the IPS 1.5K (2x750W @ 4Ω), the IPS 2.5K (2x1,250W @ 4Ω) and the IPS 5.0K (2x2,600W @ 4Ω).

Meanwhile, RCF’s QPS Series is a range of four-channel Class-HD amplifiers which all feature independent gain control, signal/

Wharfdale Pro unveils fixed install series

BRITISH BRAND Wharfdale Pro has unveiled a fixed installation loudspeaker series alongside a line array solution and several updates to its classic speakers. Specifically intended to serve the hospitality sector, the DRONE series is a passive installation solution designed with versatility and flexible configurations in mind, while the IP56-certified DRONE-G Pack is intended for outdoor use. Available in a range of colours and

includes several new acoustic features, including custom phase plugs and the EVO-Fold waveguide.

Re-engineered by the Wharfedale Pro R&D team, enhancements have also been made to the classic DELTA-AX full-range speaker models and longestablished Programme series. The Programme-X passive series brings increased SPLs, new drivers and refined physical dimensions to aid any installation

C XLR output link, parallel/bridge modes and speakON output connectors. Like the IPS Series, the QPS range includes the same protection circuits and variable speed cooling. The series consists of the QPS 6.0K which delivers up to 4x1,500W @ 2Ω and the QPS 10K which delivers up to 4x2,500W @ 2Ω.

www.rcf.it

DRONE-G Pack and WLA-210A

with ground spikes, it is specifically designed for discreet placement in a variety of environments. With high and low impedance models, systems can

configuration. On the other hand, the updated DELTA-AXF12 and AXF15 models now feature internal FIR filters which allow for independent control of magnitude

Audient

gets smart with the SP8 mic preamp

EVO BY Audient has expanded its range of recording hardware with the EVO SP8, an eight-channel smart mic preamp with AD/DA. With eight mic/line inputs, eight line outp uts, two JFET instrument inputs and two ADAT I/O connections, the EVO SP8 is said to provide enough I/O to tackle multi-mic sessions, such as recording drums or a full band.

A high-resolution, full-colour, built-in LCD screen uses the company’s Motion User Interface and displays information as you need it. This transforms the SP8 into a fully immersive, easy-to-use product, which EVO believes is the first of its kind. With the option to view the channel status and keep an eye on metering levels, Motion UI uses a centralised one-knob system to adjust

Quest boosts QX Series with quartet

AUSTRALIAN AUDIO specialist Quest Engineering has expanded its QX Series of amplifiers with the introduction of four rackmounted Class-D power amps. The QX4150 (4x 150W), QX-4300 (4x 300W),

QX-4150

QX-4750 (4x 750W) and QX-41500 (4x 1,500W) are designed for permanent audio installations requiring small or medium power amplification.

auto load matching Hi-Z/Lo-Z (70V or 100V) and automatic mute/unmute functionality to enable activation of the a m plifier within 1ms from standby. Individual high-pass and low-pass filters are available on any channel. Both the QX-4300 and QX-41500 provide low impedance, 70V or 100V direct

and QX-4750 offer the ability to bridge channels for two- and three-channel operation. In addition, each QX unit is capable of Dante/AES67 inputs with a dedicated expansion card to enable full Dante functionality.

www.questaudio.com.au

RØDE covers all the bases

WITH A wide range of applications, the NTUSB+ from RØDE is a professional-grade USB microphone designed for recording directly into a computer, tablet or mobile device. It features a condenser capsule with a tight cardioid pickup pattern for focused recording and has

Tascam adapts to even more cameras

conversion adapters. The CA-AK1 allows one CA-XLR2d to connect to cameras from various manufacturers.

Three variants are available. The CA-AK1-C and CA-AK1-F conversion adapters enable professional audio via Tascam microphone preamplifiers to interface with mirrorless Canon and select Fujifilm cameras. The CA-XLR2d-AN for Nikon cameras is an nalogue unit. With the CA-AK1-AN cold

definable buttons built into the Sonicview consoles host the VIEW (Visual Interactive Ergonomic Workflow) multi-screen user interface. Available as either Sonicview 16 or Sonicview 24, both mixers include 64-channel Dante and 32-bit/96kHz multichannel USB audio interfaces. A 64-bit FPGA mixing engine provides floating-point processing with continuous high-definition sampling at 96kHz and 32-bit analogue-to-

an SD card and an additional expansion card can provide further audio ports including analogue outputs, MADI, Dante or AES/EBU. By connecting a Wi-Fi router to the Ethernet port and adopting the Tascam Sonicview Control, the mixer can be remotely controlled from anywhere in the venue. A Dante-enabled rack-mountable stagebox (SB-16D) with 16 inputs and outputs in addition to

instruments, podcasting and streaming. Designed for run-and-gun filmmakers and content creators, RØDE has upgraded its popular VideoMicro on-camera shotgun microphone with a number of new features. The VideoMicro II is a shotgun condenser microphone with a supercardioid polar pattern for highly directional audio capture, honing in on what it is pointed at while reducing background noise. The body has been completely redesigned, utilising RØDE’s annular line tube technology for improved transparency, while the circuitry has also been overhauled to provide enhanced sensitivity and lower self-noise.

The mic introduces RØDE’s HELIX isolation mount, a shockmount system developed specifically for the VideoMicro II and crafted to the exact specifications of the microphone. Moulded from a single piece of Hytrel, it fully isolates the capsule from vibrations that occur from knocks, bumps and general handling, which can result in rumbles and other audio artefacts in a recording.

It features cable management slots and a standard mount for attaching to a camera cold shoe, plus a 3⁄8 -inch thread for mounting onto a boompole and other accessories. The VideoMicro II also comes with foam and furry windshields for protection from wind noise, making it suitable for recording in a wide range of environments, indoors or in the elements. Also included is a 3.5mm TRS-to-TRS cable for connecting to cameras and a 3.5mm TRS-toTRRS cable for connecting to smartphones. At 39g and with an all-metal body, the VideoMicro II is designed for use with DSLR and mirrorless cameras, compact and action cameras, and smartphones.

www.rode.com

Barix steps up paging and

BRINGING SUPPORT for the latest internet security and audio quality stands to installed AV environments, Barix has introduced the Annuncicom audio-over-IP device for networked intercom and paging applications where elevated security is required. Compatible with Microsoft Teams and adaptable to individual customer needs across a variety of audio environments, the Annuncicom MPI400 serves as an IP intercom and paging end point or as a gateway between IP and legacy systems, microphone/speakers or an amplifier. It is deployable within an InfomaCast or Syn-Apps architecture for emergency mass notification systems, and meets the latest requirements for secure SIP (Session Initiation Protocol)

intercom security

higher-quality audio for SIP voice transmission as well as background music streams. With five priority settings, customers can configure the device to switch between audio sources when supporting multiple applications. This not only enhances versatility for users but reduces equipment costs by removing the need for an audio matrix switcher.

suitable for secure communications within schools, factories, transportation centres and corporate office buildings.

The MPI400 is also the first Annuncicom device to support the OPUS codec, offering

The PoE-powered MPI400 feature set also includes contact closure inputs, relay outputs, and line and mic/ speaker support. Its two dry contact closure inputs are expandable to USB to establish a connection or select a delivery target, while low-voltage replay outputs can activate amplifiers when SIP calls are received.

www.barix.com

Sonicview

NT-USB+

CA-XLR2d Series

Audio-Technica goes boom with the AT8700

ORIGINALLY DESIGNED for its 20 Series microphones for use in podcasting, streaming and content creation, AudioTechnica is expanding its reach with the AT8700 boom arm. With a 5⁄ 8 -inch-27 thread and heavy-duty suspension all o wing 360° rotation, the table-mounted arm accepts microphones from a wide variety of manufacturers. This means

users can attach their favourite mics to add versatility to any recording or streaming setup and free up space. The unit comes standard with six USB cable clips, six XLR cable clips and a table clamp, and folds for easy transportation.

Designed for vocalists onstage, Audio-Technica has also announced the launch of its ATS99 hypercardioid dynamic microphone. The manufacturer reports the ATS99 has been engineered for responsiveness and fast transient delivery, with particularly enhanced capture of low- to midrange sounds at high volume, which allows singers to perform across a broad frequency range.

The company claims that a combination of the ATS99’s high-powered magnet and step-up transformer with a hypercardioid capsule ensures that its sonic performance is complemented by both “impressive” rejection of unwanted sound and feedback resistance, even in challenging live performance situations. Meanwhile, the microphone’s internal shock mount structure reportedly contributes to a reduction in handling noise.

AtlasIED lightens the Atmosphere

ATLASIED IS growing its Atmosphere audio processing and control platform with the addition of three hardware units and a substantial software upgrade.

for example, if a restaurant has multiple zones but one has more speakers, the AZMP can divide the power to better suit a zone with more or fewer speakers.

In other news, the manufacturer has revealed that three of its products with Dante network outputs – the ATND971a cardioid condenser network boundary microphone, ATND8677a network microphone desk stand and ATND8734a network ceiling power module –

45mm large-aperture drivers and incorporate technology from the company’s 20 Series microphones. The headsets are designed to deliver full-spectrum, studioquality sound for users and listeners on the receiving end. They come with two sets of distinct earpads: M50x earpads that stress audio quality and sound isolation, and mesh and leatherette earpads that emphasise breathability and comfort. Both models use a cardioid condenser capsule on a flexible boom arm to provide a studio-quality vocal presence without background noise, and output at a consistent level. The headsets’ microphone can be muted quickly by flipping the boom arm into the up

brand initiative that unifies and streamlines network configuration and control. In collaboration with QSC, the plugin is Q-SYS Certified, resulting in ease of setup for installers and ease of use for end users.

Based on the manufacturer’s ATHM50x professional monitor headphones, Audio-Technica has also introduced what it believes to be the world’s first headsets specifically developed to address the needs of livestreaming content creators. The ATH-M50xSTS and ATH-M50xSTS-USB StreamSet are equipped with the same

The ATH-M50xSTS uses a 2m cable with 3.5mm headphone input (with a 6.3mm adapter) and an XLR microphone output. The ATH-M50xSTS-USB uses a 2m cable with a USB-A connection (with a USB-A to USB-C adapter) for plug-and-play connectivity to PCs and Macs. The ATH-M50xSTS-USB also includes an A/D converter with a sample rate up to 24-bit/96kHz and sidetone circuitry that lets vocals be heard in the headset (with volume controlled by a dial on the earcup) for a more natural, conversational feel.

www.audio-technica.com

MediaCentral encourages remote collaboration

The US manufacturer has expanded the ecosystem with two combined signal processor and amplification products, the Atmosphere AZMP4 (four-zone) and AZMP8 (eight-zone), as well as the Atmosphere X-ZPS, a multi-zone paging station accessory. Atmosphere combines digital audio processors, amplifiers, GUIs, programming software and controls to offer scalable systems to a range of commercial applications. These include restaurants, bars, hotels, school campuses, houses of worship and retail establishments.

The AZMP4 and AZMP8 combine audio processing and amplification in one product and build on the AZM series of signal processors. The AZMP4 is powered by a single 600W four-channel amplifier module, while the AZMP8 provides 1,200W of total power. Any channel can be configured to provide different wattages;

The Atmosphere X-ZPS adds a multi-zone paging station to AtlasIED’s AZM and AZMP processors. The X-ZPS is plug-and-play using Cat5e cabling and can daisy-chain with other accessories. With a 4.3-inch touchscreen display and gooseneck microphone, it can be configured as a full Atmosphere system controller with access to features including zone volume, source select, message recall, scene select and bell schedule. Meanwhile, the Atmosphere 3.0 software update allows for continuous monitoring and supervision of system health and performance. A self-test feature measures system performance over time and provides notifications of any degradation of loudspeaker load. The update also introduces sound masking to provide enhanced speech privacy and reduces distracting office noise for increased focus and productivity.

www.atlasied.com

AVID IS aiming to accelerate production both on premises and in the cloud with updates to its MediaCentral workflow platform. The introduction of its MediaCentral|Acquire IP-based ingest scheduler adds ingest management to MediaCentral|Cloud UX, automating ingest scheduling for SDI and IP sources by controlling FastServe|Ingest, FastServe|I/O and MediaCentral|Stream. It also supports Edit-While-Capture workflows for faster turnaround, while enabling ingest management from anywhere using only a web browser. In this way, Avid says it encourages content production teams to collaborate from anywhere.

The release also introduces features such as the ability to synchronise content across

different sites with MediaCentral|Sync, as well as a completely redesigned MediaCentral|Collaborate mobile app. These give production teams more flexibility in how they work, from story creation all the way to delivery, whether that is a rundown-based onair show or content for online platforms and social media.

www.avid.com

The Atmosphere platform

ATH-M50xSTS

ATS99

GatesAir adds VHF TV and DAB to outdoor transmitter series

DESIGNED FOR challenging coverage areas and unusual install points, GatesAir has added VHF TV and DAB capabilities to its Maxiva PMTX-1 outdoor transmitter series. Previously only available for UHF broadcasters, the Maxiva PMTX-1 integrates a low-power transmitter or transposer/translator to support a diverse array of VHF and DAB use cases, from filling coverage gaps to delivering focused broadcast content as a spot transmitter. According to the manufacturer, its telecom-grade enclosure makes the PMTX-1 impervious to weather elements and its sealed protective shell makes it adaptable to any climate or outdoor environment.

The VHF version covers channels 7 13 and is mainly targeted for use in APAC and North America. The DAB version is viable for any country that has adopted DAB/DAB+ as its digital radio standard outside North

Plug in and go

America. The PMTX-1 can use a pole-mount configuration as well as mount securely to buildings and traditional broadcast towers, making it suitable for single-frequency network configurations where multiple transmitters operate on the same frequency to maximise signal penetration. It is also available for analogue TV networks (100W), with a fieldupgradeable path to DTV (50W for ATSC, DVB-T, DVB-T2 and ISDB-Tb).

The PMTX-1’s optional RF receiver input supports flexible options for translator and transposer configurations and will regenerate content for very targeted coverage areas at low power levels. Broadcasters can add optional inputs to support DVB-S/S2 receivers and IP transport streams, as well as accept broadcast content and data from alternate sources.

www.gatesair.com

L-Acoustics finds space in Windows

SONY ELECTRONICS is expanding its DWX series of wireless mics and transmitters with the introduction of the DWT-P30 digital wireless plug-on transmitter, which will replace the current DWT-P01N. Designed for studio, electronic newsgathering (ENG) and location sound, the transmitter complements Sony’s DWX series slot-in receiver and bodypack transmitters to create a digital wireless microphone system.

The transmitter features 375kHz spacing, high density, simultaneous, multichannel operation and wideband tuning at a maximum of 148MHz. It uses CODEC MODE4, which prioritises audio quality to help maintain transmission stability and provides low delay time. It has a selectable RF outpower power (2mW/10mW/25mW) and a six-hour battery life.

With the smallest body in its class, Sony’s compact VPL-PHZ61/51 laser projectors feature 4K 60P input support and up to 7,000 lumens brightness. Designed for use in integrated AV environments, Sony says support for 4K 60P input signals makes it simple to use the VPLPHZ61/51 in multiscreen setups with flat panel sub-screens by providing the ability to split the same 4K signal to drive every display device with no conversion. Its image scaler converts 4K input signals to WUXGA resolution, while Sony’s Reality Creation picture enhancement feature gives projected images greater crispness and depth.

The company’s Reality Text function improves visibility of characters for conference rooms, university seminar rooms and large

classrooms. Meanwhile, Bright View processing technology brightens images while maintaining colour, making the product suitable for brightly lit business and educational environments.

The VPL-PHZ61/51 has a +55% vertical lens shift range and Sony has widened the throw ratio range to simplify replacement of a projector without having to reposition an existing ceiling mount.

Other features include Data Cloning, which enables settings for one projector to be copied to another via USB, an Auto Input Select which automatically selects an active signal input, and Auto Power on which turns the projector on automatically when connected to a switched-on computer.

The Intelligent Settings feature optimises settings for use in multiple environments, while Ambiance, its built-in ambient light sensor, measures a room’s brightness and automatically adjusts settings to match the environment. The Auto Light Output feature works in conjunction with Ambiance to optimise image quality while reducing power

L-ACOUSTICS HAS expanded access to spatial audio with the launch of L-ISA Studio 2.5, an object-based audio mixing tool designed for use with both Windows and macOS computers. The L-ISA Studio 2.5 release on Windows includes both the L-ISA Controller and L-ISA Processor Desktop applications as well as L-ISA Audio Bridge, a custom virtual sound card for Windows. The Audio Bridge includes both Bridge Out and Device Out pathways for audio output. The Bridge Out allows 12 outputs to be sent through any DAW for multichannel recording, while simultaneous Device Out allows audio to be sent to either headphones or a multichannel sound card for rendering for immersive loudspeaker configurations.

Additional enhancements include graphical updates to the L-ISA Controller, freeing up additional screen real estate. Creators can now also load standard loudspeaker templates for configurations in Atmos, BluSpace and more. Preproduction is facilitated with selective speaker muting and the ability to snap objects to specific active or muted speakers, which facilitates previewing different loudspeaker configurations in diverse spaces. The free version of L-ISA Studio 2.5 with binaural capability can be downloaded from the L-Acoustics website.

www.l-acoustics.com

A20-Nexus

joins Sound Devices’ Astral Series

SOUND DEVICES has unveiled the A20Nexus, the latest device in its Astral Series of wireless transmitters and receivers with SpectraBand technology. The compact true diversity digital wireless receiver now serves as the hub of the Astral range. The manufacturer claims that it offers an industry-leading tuning range in addition to integrated long-distance remote control. The device ships with eight channels and can be expanded via software to 12 or 16 channels

for use on larger productions. Sound Devices’ SpectraBand technology provides a tuning range of 470–1,525MHz as well as RF filtering capabilities, which allow it to utilise legal RF frequencies worldwide. In addition to the NexLink remote control, the A20-Nexus can be controlled with a mobile phone or tablet via a web app with power via PoE and audio via Dante.

www.sounddevices.com

DWT-P30

VPL-PHZ61

Studio Technologies announces an announcer

OFFERING ON-AIR position audio resources for broadcast sports, live entertainment events, esports and streaming broadcast applications, Studio Technologies has introduced the Model 203 Announcer’s Console. Designed for productions where physical space is limited, the Model 203 is compatible with both Dante and AES67 and provides main and talkback output channels, talent cue (IFB) inputs and sidetone capability.

Powered over PoE, a broadcast headset or microphone can be connected to an XLR input, while a 1⁄4 -inch stereo jack is used to connect a headset, headphones or an earpiece.

Housed in a compact desktop package, its wide dynamic-range mic preamp and associated voltage-controlled amplifier dynamics controller circuit help ensure that mic input quality is preserved while minimising the chance of signal overload.

Two Dante audio input channels supply the user with talent cue signals, while an integrated sidetone function provides a microphoneassociated signal in the event of a mix-minus cue signal. The Model 203 has two Dante audio output channels for main and for talkback, both routed over a LAN to Dantecompatible devices. Two pushbutton switches provide the user with direct main and talkback control over audio routing. Furthermore, the device is configured using Studio Technologies’ free STcontroller software application to allow production personnel to quickly configure the unit’s operating capabilities to meet an application’s exact needs.

Ready to integrate into a variety of environments, the Studio Technologies

Model 342 Intercom Station is a compact two-channel Dante intercom which is designed for use in broadcast and live

AEQ unveils latest audio codec

AEQ HAS introduced the Phoenix Venus 4, a stationary audio codec for point-to-point links which stands out for having both IP connectivity and two simultaneous bidirectional stereo transmissions with different formats and qualities. Benefitting from the SIP protocol and EBU N/ ACIP standard, as well as OPUS algorithms, for configuration support and remote control.

Venus 4 is available in two hardware versions: one with a front panel control and the other being a more basic version with just network and communications status indicators. Both versions have balanced analogue inputs and outputs on XLR connectors and dedicated AES/EBU digital I/O connectors, in addition to triple network ports,

environments, including education, theatre, sports, entertainment, house of worship, corporate and aerospace applications. Powered by a standard PoE network connection, it features a stereo headphone output, two headset connectors, integrated sidetone support, call signal receive display and remote mic kill.

With both five-pin XLR and 3.5mm TRRS headset connectors, the Model 342 is compatible with professional broadcast headsets, gaming headsets and mobile phone earbuds, and supports both dynamic and electret microphones. Its two talk pushbutton switches can be independently configured, while two rotary controls are used to set headphone output levels. Multiple units can be connected over

partyline intercom application with an external Dante-enabled audio matrix, such as the manufacturer’s Model 5421 or Model 5422A Dante Intercom Audio Engines. Alternatively, two Model 342 units can be used “point-to-point”, or multiple units can be interconnected with matrix intercom systems that offer Dante compatibility.

power supply. It is also available with 48V DC power supplies and optional Dante/AES67 IP www.aeq.eu

Model 203

Lectrosonics ups the game with M2Ra

THE M2RA digital wireless monitor receiver from Lectrosonics expands the M2 Duet digital wireless IEM family with improvements and new features designed for professional touring, installation, theatre and broadcast applications. The M2Ra receiver is a successor to the M2R and has a low latency of 1.6ms. The transmitter and receiver housings are all-metal for durability, and both analogue and Dante digital signal sources are supported. The unit also introduces several key new features, including phantom power protection on the headphone jack so that the receiver can be safely used as a camera hop receiver and improved IFB analogue compatibility. Its internal power supply allows for headphones or earphones with impedances as low as 9Ω to be used. Decreased overall RF noise floor and less RF gain in the front end reduce overloads from strong interference sources and out-of-band signals. Meanwhile, the increased IP3 and 1dB RF compression points are said to provide improved handling of high signal levels.

The M2Ra also provides D2 and HDM mono digital compatibility modes so that it can be used as a small portable receiver or monitor device with mono digital transmitters from the D Squared product line. With an integral USB jack for firmware updates, users can also update their units in the field. Two versions of the M2Ra receiver are available: one covering the A1B1 frequency range (470–614MHz) and one covering the B1C1 frequency range (537–691MHz). This allows a wide selection of operating frequencies for larger systems and helps avoid interference, even in crowded RF environments.

Another key feature of the Duet system is the Flexlist, allowing users to build a list, by name, of up to 24 feeds. With the Flexlist function, users can easily browse these feeds on an M2Ra, providing an important tool for monitor engineers and location sound mixers.

www.lectrosonics.com

Bigger is better for Williams AV

ASSISTIVE COMMUNICATION

specialist Williams AV has announced its WAV Pro Wi-Fi Receiver, a secondgeneration dedicated Wi-Fi audio receiver for assistive listening. The WAV Pro Wi-Fi Receiver uses a mobile device optimised to be a dedicated assistive listening device. The company says its 6.8-inch HD+ Infinity display and long runtime make the solution unique, allowing for easier readability for administrators during setup and end users when using the device. Meanwhile, the unit’s 6,000mAh lithium polymer battery delivers up to 40 hours of continuous audio streaming to reduce charging frequency. The WAV Pro Wi-Fi Receiver meets ADA hearing compliance for a dedicated assistive listening device, and it is also Bluetoothenabled to provide streaming audio to headphones, speakers and hearing aid telecoils when used with a Williams AV neck loop.

Built on a hardware-based DSP architecture, the WaveCAST C real-time audio over Wi-Fi transmitter integrates with third-party room control systems for control and monitoring using Telnet commands via Ethernet. Hearing assistance can be optimised for hearing loss, music can be optimised for high-fidelity playback and voice can be set for maximum speech intelligibility. Custom presets can also

KLOTZ provides room for growth

GERMAN CABLE specialist KLOTZ AIS has introduced two physical upgrades to its MIS modular interface system which the manufacturer claims enables

at the same time. KLOTZ claims this allows the overall required number of rack units to be reduced.

In addition to the established 16-channel grid for XLR connectors (4x 21 HP module), a 12-channel grid (3x 28 HP module) has also been added to the range to provide more space around each XLR connector for easier handling and labelling.

MIS system

users to save limited rack space. The MIS system is built around a 19-inch modular frame which can seat a variety of 2U MIS modules at the front or at the rear.

KLOTZ has increased the physical depth to 350mm to provide an additional mounting option in the middle of the frame. This means that the MIS splitter and distribution modules can now be installed in the middle of the frame, simplifying internal cabling and allowing users to mount audio modules on the front and rear

width depths of 150mm and 195mm are still available.

The MDS (Modular Duct System) is a professional cable duct system for installations in theatres, TV studios and institutes. The multifunctional aluminium duct is 110mm x 80mm (WxH) and can be supplied in standard lengths of 1m and 2m, with further lengths on request. The duct can be equipped modularly with

be established for specific performance applications.

Inputs include ¼-inch XLR connectors, phantom power and a line level output jack on the rear of the 1U half-rack unit. In addition to multistage gain control inputs, the DSP features include AGC, limiters, high- and low-pass filters, and adjustable range compressor control. The WaveCAST C supports both unicast and multicast network configurations and up to four WaveCAST C systems can be connected to the same Wi-Fi network to provide multiple listening channels. Most settings can be changed via

pre-drilled mounting panels for a variety of audio, video, data and power connectors; this means that connectors such as D-series panel jacks, RMP and Harting multipin connectors, as well as CEE sockets for power supply, can be installed in the cable duct. Additional side panels allow cable feeds with strain relief or mounting as an offset box on the truss.

KLOTZ also offers a wide range of preassembled XLR modules with XLR 3p and XLR 5p sockets for the MDS. The rear PCBs, which are equipped with LSA-Plus insulation displacement connectors for conductor diameters from

AWG 26 to AWG 22, allow cables with solid conductors, such as the SHD Multicore, and cables with stranded conductors, such as the OX22GHB, to be wired quickly and easily.

www.klotz-ais.com

WAV Pro Wi-Fi Receiver

Tasker caters for all sectors

double strength and resistance. with 3p and 5p Neutrik XLR NC3M/FXX-B and NC5M/ FXX-B connectors and Alternatively, the NC3MD-

Nureva

panel connector leaving one free and combined with Schill’s GTS0 cable drum series.

In the video sector, the T42 PUR is a coaxial HD-SDI cable with a stranded conductor and tinned copper double braid, allowing 12G-SDI signal transmission up to 70m or 3G-SDI up to 100m. The TR11 PUR Extraflex is a triaxial cable with a stranded silver-plated copper conductor and double braid, one in silver and the other one in red copper, suitable for professional cameras connected up to 300m away. The T42 PUR can be combined with the 75Ω rear twist Neutrik NBNC75BWU13 connector, whereas for the TR11 PUR Extraflex triaxial cable, the company relies on Fischer Connectors, in particular the 1051 series double free connectors and free/panel connector combinations. These two solutions are assembled with Schill’s GTS0 (free/free connector combination) and GTRM (free/

panel connector combination) cable drum series.

For data transmission over LAN cables, Tasker offers the C725 PUR, C728 PUR and C726 PUR. The first is a Cat5e S-UTP 26/19 AWG with total braided shielding and a double sheath, suitable for use with Dante. The second is a Cat6A S-FTP 24/7 AWG with single shielded pairs with aluminium foil, a tinned copper braid and double sheath, suitable for video transmission over the HDBaseT protocol. The third is a Cat7 FTP 26/7 AWG with single shielded pairs with aluminium foil and a tinned copper braid, designed for high connection speeds in data centres. All three cables are combined with Neutrik EtherCON NE8MC-B, NE8FDP-B and NE8MX6-B connectors, mounted on Schill GTMFK series drums with lockable door to protect the connectors. www.tasker.it

tackles extra-large hybrid room audio with HDL410

DESCRIBING IT as the first in a new generation of audio conferencing solutions, Nureva has unveiled the HDL410. The system has been designed to simplify the task of getting great audio in larger hybrid spaces without the cost and complexity of traditional solutions. It combines two microphone and speaker bars with Nureva’s new connect module, which is powered by Microphone Mist technology and a new unified coverage map to deliver pro audio performance in extra-large working and learning spaces up to 10.7m x 16.8m.

The unified coverage map enables the two microphone and speaker bars to act as a single device with a single coverage map that spans the entire space. This improves audio performance and sound location data accuracy for camera switching and steering, while avoiding the performance challenges of systems that require manual setup and

Suppress more noise with DNS 8D updates

CEDAR AUDIO has announced hardware and firmware upgrades to its DNS 8D multichannel dialogue noise suppressor. The hardware upgrade incorporates white OLED displays to improve clarity, while users can adjust the brightness so that units can be operated comfortably in all lighting conditions.

Firmware updates build on the improvements in CEDAR’s DNS algorithm which the company says came out of the DNS 4 development in 2022.

CEDAR claims it was able to refine the processing to retain a more natural sound when cleaning dialogue in the presence

LynTec unveils relay panel upgrade

of large amounts of noise, and says the DNS 8D now benefits from the same improvements.

The firmware upgrade is free of charge to existing users. Designed to clean up sound for film production, suppress

ambient noise for live broadcasting and refresh sound libraries, it can be used to eliminate traffic noise, air conditioning, wind, rain, babble and general background noise from audio.

Both upgrades are standard in all new products from serial number 15020.

www.cedar-audio.com

LYNTEC HAS redesigned its legacy PDS-10 sequencing relay panel to create the PDS-12. The critical redesign introduces additional power control and protection features with individual step delay between each relay, emergency off by circuit, emergency on for lighting by circuit, as well as under- and over-voltage sensing for brown out and voltage spike protection.

With four, eight or 12 30A single-pole latching Panasonic relays in a compact 1U or 3U enclosure, users can set up the PDS-12 via its LED display and rotary encoder. BACnet IP-expandable, it can also be added to existing building automation systems, a

solutions.

Waves bring the warmth with Magma

WAVES HAS launched the Magma series of audio plugins with a double header – the Waves Lil Tube and the Waves BB Tube. The

with two key control settings: Beauty and Beast. It describes the Beauty control as perfect for delicate harmonics, while the Beast control is designed for aggressive distortion. Both controls can be blended with each other to create a wider range of saturation effects to suit a variety of parts, styles or genres.

Waves says the soft clipping of the tubes

in a louder mix before digital clipping. The

Optimal Audio is in the Zone

OPTIMAL AUDIO has introduced a key update to its WebApp and Zone firmware, providing a raft of new features and settings as well as changes to the user interface. WebApp is a browseraccessible interface which works across multiple devices and is used for setup and operation of Optimal Audio’s range of Zone audio controllers. Zone controllers consisting of four- or eight-zone units have integral DSP which can be configured via WebApp.

Magma series of custom-shop plugins is characterised by a “rich analogue sound”. Lil Tube is an analogue saturation plugin which the company says has a rich tube fatness, texture and saturation like mixing on a vintage analogue tube console.

The company has also expanded the range with the BB Tubes plugin, a tube saturator

post-hi-shelf EQ, transformer in/out, bass relief (to remove low frequencies from the side-chain input) and a sensitivity control, as well as a dry/wet knob and output gain. BB Tubes is included in the Mercury, Pro Show and SD7 Pro Show bundles.

www.waves.com

System configuration features such as ducking, EQ, limiter, signal routing, programmable presets and timed events can be controlled through WebApp. The software also allows for the system configuration files within Zone series products to be saved and replicated across multi-site installations.

With the version 1.0 upgrade, installers can now hide unused zones to create a cleaner interface, as well as having the ability to hide sources from the selection

list or microphone volume controls from each zone settings page. The company says this simplifies operation for the end user. Version 1.0 also adds support for UDP and TCP control of Zone parameters.

Other features include an additional three-band EQ on every output, pairs of outputs independently supporting a bridge mode for low impedance and for driving 70V high-impedance speakers, and presets for Sub 10 and Sub 15 tunings.

Further enhancements include a clearer display for the fixed analogue EQ band added to all microphone EQs. To assist navigation and triggering of presets, the launch icon is now labelled, and the preset list view can now be re-ordered in edit mode to help streamline the list of available presets. The installer page also has a metering view which includes all the meters in the DSP for viewing system signal flow in one place.

www.optimal-audio.co.uk

Audio Precision cuts test times with APx500 v8.0

FOLLOWING THE launch of the Argo audio mixing control platform, Calrec has announced the arrival of a smaller, more cost-effective ST 2110 version of the industry-established ImPulse. ImPulse1 is a compact 1U audio processing and routing engine with an optional second core for

Its small footprint makes it attractive for compact installation sites, including OB and fly pack applications. With DSP options ranging from 128–384 input channels, including DSP features from the larger ImPulse core, the manufacturer reports that no compromise has been made in its design.

with Argo Q and Argo S control surfaces, while the browser-based GUI Calrec Assist is suited to remote working, multi-operator and headless operation. Cores with smaller DSP licences can be offered without hardware redundancy.

ImPulse1 is designed for small and medium single-mixer applications and is offered with a DSP licence of 128 input channels without compromising its ST 2110 capability.

with ST 2022-7 as standard and up to 512 ST 2110 streams can be broadcast, with each stream passing up to 80 audio channels. Other ImPulse1 features include up to 672 processing paths, native AES67/ SMPTE ST 2110-30 connectivity and ST 2110-30 connections that can operate in 1 or 10Gbps mode.

www.calrec.com

THE V8.0 upgrade of Audio Precision’s APx500 measurement software provides access to THD+N results using the FastSweep stimulus in Continuous Sweep, Acoustic Response and Loudspeaker production test. Audio Precision says this fast-stepped frequency signal sweep offers advantages over a logarithmically swept sine (chirp) signal, including an ability to sweep from low to high frequency or high to low frequency, a lack of transient ripples at low or high

frequencies, support for measuring harmonics above the 20th and precise control of the number of discrete points used in measurements.

It also incorporates updates to Bose SoneTrac which allows users to make SoneTrac measurements in the same way as Bose to provide more refined control over signal processing in the detection of rub and buzz defects.

www.ap.com

Calrec makes switching to ST 2110 more affordable

BB Tube

Lil Tube

3000 S er ies Net work S ys te ms Scan, Plan, Deploy and Monitor

• Class-leading, extremely wide 60 MHz UHF tuning bandwidth for maximum versatility

• Unique multifunction button on the handheld and body-pack transmitters can be used to switch to a backup frequency should interference be encountered

• Automatically adjusts squelch setting to maximize range while minimizing interference

• Optional network transmitter charging docks

• Frequency scan and IR sync for ease of setup

• Handheld transmitter industry-standard thread mount for use with six interchangeable A-T microphone capsules, as well as other compatible capsules

Lawo ushers in multiple upgrades

LAWO’S DIAMOND broadcast mixing console, Power Core DSP engine, VisTool graphical control interface and On-Air Designer configuration software have all benefitted from software upgrades. Release 7.0.0 PL-001 includes software support for the Power Core AIOX (Audio I/O Extender)

For the Power Core DSP engine, refinements include extended “Q” values to help fine-tune EQ curves, a self-keyed sidechain filter for dynamics processing which excludes frequencies from its calculations, the ability to adjust the DeEsser’s active frequency and support for up to eight

AES67 support with ArmoníaPlus v2.5

console include the addition of PPM meters and media icons to the displays in monitor sections and input source displays, access and channel-based gain reduction meter for dynamics, LUX correlation meter, a “Fader Over Press” function that adds programmable logic functions that can execute when faders are closed and logic that enables operators to instantly clear DSP parameters applied to an audio source.

number of Power Core licence options to six. Lawo has also introduced two “addon” licences: Conference Assign, which gives complete control over the level of the associated N-1 bus and allows inclusion or exclusion of other N-1 busses; and Aux Pan, which allows control over the panning of individual sources per aux bus.

www.lawo.com

of Powersoft’s ArmoníaPlus software adds support for its Mezzo A+ and Duecanali/ Quattrocanali DSP+ amplifiers. The A+ range of models are the latest additions to the company’s Mezzo range. They offer the same remote control and monitoring functions as the A versions, but further extend networking capabilities with the addition of AES67. Similarly, Duecanali DSP+ and Quattrocanali DSP+ are AES67compatible versions of the fixed-install amplifier platforms.

The ArmoníaPlus update gives users the ability to design systems with the Mezzo A+ models and convert and share any kind of signal, including Dante, via AES67. In addition, v2.5 enables ArmoníaPlus to configure Dynamic Music Distribution (DMD) sources to receive an AES67 stream. DMD gives Powersoft

customers the ability to dynamically route music and other signal sources between different zones and across multiple amplifiers independently of source location and without the need for a centralised DSP.

DMD systems also benefit from a Priority Input feature, which allows users to configure a GPI port to play a specific input to one or more zones by applying a differential voltage or closing a contact. The function is useful for passing an advertisement or voice alert that must be played by the whole system without having to manually change the source. Other features include an update to the embedded speaker preset and an updated version of the Sys Control app for iOS and Android.

www.powersoft.com

Partnership is a gain changer

RAINBOW 3D is an electroacoustical prediction software created by Lynx Pro Audio for loudspeaker systems. Designed entirely in-house after a five-year development process, Rainbow 3D builds on the company’s existing 2D software platform.

Rainbow 3D provides detailed loudspeaker representations and selectable textures for planes. As well as materials such as wood or concrete or textures from imported images, drawings of elements such as football pitches or basketball courts can be picked from a built-in library to add characteristics, as well as “ornaments” like a basketball hoop, a stage with side stairs or a theatre seat.

Productivity tools such as copy and paste, duplication with offset and drag-and-drop are standard provisions, and each corner in a four-vertex plane is independently definable as sloped or round with selectable radiuses. This opens up the ability to use a single plane for complex shapes, including octagons, circles, semi-circles or stages with a curved front edge. Each layer element can also be hidden, locked

or disabled, which means elements can be assigned a specific layer to work in a more organised way.

A project may house unlimited planes and sound sources. Dedicated modes are provided for line arrays (with auto-splay) and conventional boxes. Either of those can be deployed as a group with a definable radius or linear spacing. It is also possible to save a combination of different loudspeaker models to create a custom sound system for duplication or reuse later on.

Frequency response can be inspected for specific microphone locations, interactively applying changes to EQ, delay and polarity until the desired response is met. Reports can be generated with information that includes all views of the venues, lists of loudspeakers with setup data and EQ, as well as planes. Alongside the development, spherical measurements of the company’s full loudspeaker portfolio have been performed in Lynx Pro Audio’s recently built anechoic chamber.

RATIONAL ACOUSTICS and Audient have teamed up to offer integrated control for Audient’s EVO line of audio interfaces from within Rational Acoustics’ Smaart interface. The Smaart 9.1 update integrates the controls for phantom power and gain for EVO 4, 8 and 16 directly from within the Smaart interface. Additionally, gain tracking may be enabled to allow for automatic decibel offset recalculation for calibrated inputs.

adjust the input gain of the EVO preamps

without losing SPL calibration. Smaart will automatically adjust the calibration to reflect the new dB offset. In tandem with the EVO Control app, all of the EVO’s input and output settings can be adjusted, and recalled, digitally. The EVO integration is available for all editions of Smaart – Suite, RT, LE and SPL – starting with the 9.1

Lynx Pro Audio adds a new dimension with Rainbow 3D

Drag and drop with Meyer Sound’s Nebra

MEYER SOUND’S Nebra is a software platform that aims to simplify the monitoring of complex networked audio systems using a graphical UI. Nebra is focused on connectivity for endpoints in Milan AVB networks, such as Meyer Sound’s Panther line array loudspeaker, ULTRA-X series loudspeakers and the USW-112P compact

subwoofer. The platform also provides comprehensive system monitoring directly via the AVB network or through the existing RMS network via an RMServer. Furthermore, Nebra provides connectivity for Meyer’s Galileo Galaxy network platform and for third-party network devices using the Milan protocol.

System health information is collected from all connected devices, with sensor data combined from multiple sources and displayed in one summary. A traffic light indicator constantly displays overall system status, while critical system messages are displayed as banner alerts. Certified by the Avnu Alliance, the platform is available for Windows and Mac operating systems as a free download from the Meyer Sound website.

www.meyersound.com

Q-SYS builds a bridge to the cloud

QSC HAS introduced two key developments with its Q-SYS Designer Software v9.6: Q-SYS vCore, a virtualised processor for the Q-SYS cloud platform, and the accompanying Q-SYS Control feature licence which allows integrators and end users to enlist their own device to provide Q-SYS Control capabilities for enhanced control, automation, UX capabilities, remote monitoring and help desk features to systems.

The company says the vCore/Control feature licence is designed for simple AV systems that do not require dedicated Q-SYS audio or video functionality, or features that are already fulfilled with standalone

hardware. It is also suitable for legacy audioonly DSP AV systems and for ageing control systems in need of replacement.

Using Q-SYS Reflect Enterprise Manager, the company claims it can create a bridge to enable cloudbased remote monitoring and management capabilities for rooms that have disparate pieces of hardware. The vCore/Q-SYS Control feature licence uses the same control engine as the rest of the Q-SYS processing portfolio to standardise system control with access to Q-SYS Open, a toolkit of industry-standard protocols and open developer tools.

www.qsys.com

Analog Way upgrades its Midra 4K series with v3.0 update

WITH THE release of a v3.0 software update for the Midra 4K range of presentation switchers, Analog Way has enhanced livestreaming capabilities together with support for HDR workflows and 3D Lookup Tables (LUTs) used for colour conversion and correction. With v3.0, the livestreaming performance of Midra 4K presentation switchers enables Full HD quality livestreaming at 30Hz, providing an improved image quality during hybrid events.

A further improvement is the support of High Dynamic Range (HDR) and Wide Colour Gamut (WCG) workflows for live presentations. Bypassing the need for external converters, v3.0 converts SDR to HDR, HDR to SDR and

HDR to HDR for dynamic range and wide colour gamut needs.

Canon improves VR workflows

IN RESPONSE to user feedback, Canon has updated its EOS VR Utility and EOS VR Plug-in for Adobe Premier Pro to improve efficiency in postproduction. The v1.2 update provides the same user interface with the addition of an EOS VR Utility RAW movie support function/tab. The update also adds compatibility with RAW files, even at the higher frame rate of 8K/60p, such as those from the EOS R5 C. The combination of 60fps, 8K and the high dynamic range of the RAW file is said to guarantee

exceptional image quality and smooth moving images.

Canon says that both the EOS VR Utility and the EOS VR Plug-in support compatible GPUs, which improves processing and conversion times to speed up the postproduction workflow and makes it easier for VR content creators to work with large VR files. In addition, native support of Apple silicon has been added to further speed up workflows on Mac devices. The EOS VR Plug-in also has a speed priority mode where

Allowing for advanced colour space and dynamic range conversions in addition to

custom colour correction, Midra 4K presentation switchers feature a video processing architecture based on 3D LUTs. Once updated, Midra 4K switchers contain predefined 3D LUTs for all automatic colour adjustments and transformations. Custom 3D LUTs can be imported and applied from other vendors or those generated by specific third-party tools for bespoke colour management. Designed for small and medium-sized fixed installations and live event spaces, the Midra 4K series currently includes four products: QuickVu 4K, QuickMatrix 4K, Pulse 4K and Eikos 4K. www.analogway.com

creators can apply the VR conversion after editing to shorten postproduction time.

A high-quality HEVC 4:4:4 10-bit file format option on the Windows EOS VR Utility software gives more options for codecs when exporting content, while a muchrequested lens mask function (Windows and Mac) eliminates the neighbouring lens view, while also feathering the edges of the frame, removing another step in the final edit.

www.global.canon

VuWall encourages collaboration

VIDEOWALL SPECIALIST VuWall has unveiled collaborative features on its TRx centralised management software, enabling KVM control functionality and multi-mouse capability on videowalls. The software allows operators to collaborate directly on shared videowalls while working from their personal desks. Organisations can bring in KVM sources, in addition to other sources, on a PAK videowall.

PAK is a networked multi-decode node that can also operate as a standalone device. For large displays, PAK nodes can be stitched together to build a scalable IP-based videowall that can function as a single large canvas. PAK simplifies videowall integration by reducing the need for long video cables and eliminating single points of failure.

www.vuwall.com

VSN updates create new efficiencies

WITH A range of applications from small corporate meeting rooms to large critical control rooms and prestige installations, Datapath has unveiled a number of updates to its VSN videowall processors. The 2023 models have had chassis redesigns to optimise airflow, improve heat management and reduce noise. Along with a platinum-rated redundant power supply and hot-swappable fans, Datapath says it makes it the most efficient VSN to date.

VSN also includes support for 12thgeneration (Alder Lake) Intel Core i9 processors, with memory options available up to 64GB (ECC and non-ECC), while USB 3.0 is also included to support high transfer speeds and connectivity. Each

VSN is customised with a range of Intel processors and memory options, and can be preconfigured with Datapath Image graphics, vision capture and SQX IP decode cards for specific project requirements of any size.

www.datapath.co.uk

Jetpack takes off in K12 classrooms

K12 CLASSROOMS and small-to-medium meeting spaces are being targeted by AMX by Harman’s Jetpack bundle. The bundle incorporates 3x1 switching, transport and control, and is tailored for installation into a range of classroom and meeting space applications. Jetpack combines 4K60 4:2:0 HDMI and USB-C video switching with distance transport, room control, wall plate accessibility and audio amplification for voice lift. The kit includes a six-button keypad with volume knob, a three-input switching wall plate

the selected persona, Varia can transform into a full-screen, frameless Web Kiosk for accessing web apps, such as for wayfinding or a custom control app, a dedicated Zoom Rooms Controller, an AMX Book Room Scheduling Panel or an AMX G5 Control Panel. The panels include a mount that enables wall, glass and VESA-mounting capabilities. Optional tabletop mounting accessories are also available. The screens integrate speakers, microphones and a front-facing HD camera

video and audio up to 40m at 4K, or 70m at 1080p, over a single shielded Cat6/6a/7 cable. Its USB pass-through simplifies smart board connections and there is one power supply to power the whole kit.

Designed to adapt to the unique needs of any corporate, education, government, hospitality, entertainment or other user environment, the AMX Varia family of professional-grade touch panels have been introduced in four sizes, from 5.5 to 15.6 inches. Depending on

Varia touch panels are offered in two styles: Varia (in 8-inch, 10.1-inch and 15-6-inch screen sizes) for wall, glass, VESA-mount and tabletop use and Varia SL (in 5.5-inch and 8-inch sizes) optimised for in-wall installations. The in-wall variants exclude the camera, NFC and microphone to meet the security requirements of facilities that do not allow these capabilities.

WITH AN eye on the corporate and education markets, ATEN International is encouraging active collaboration with the introduction of two 4K wireless presentation switches for bring your own device (BYOD) environments. The PresentON VP2020 4K wireless presentation switch and VP2021 4K wireless presentation switch with quad view are designed to enable meeting participants to share content from any laptop or mobile device without limitation.

ATEN shuns the old guard to encourage collaboration to Omega

ATLONA HAS expanded its range of Omega AV integration switchers with the addition of the AT-OME-MH21-CP. Designed for presentation, collaboration and videoconferencing applications, the switcher features HDMI and USB-C inputs, a built-in USB 3.0 hub for videoconferencing peripherals or touch displays, and USB-C device charging up to 60W.

The ability to charge devices such as laptops, tablets and mobile phones through the switcher’s USB-C port enables a presenter or meeting participant to charge their device while seated at the meeting table with no additional power supplies or cables.

I/O is HDCP 2.2-compliant and supports 4K, 60Hz and 4:4:4 video as well as HDR, with 4K to 1080p downscaling when the switcher is connected to an HD display. In

They feature a multiview function, BYOD wireless sharing, audio out, USB touch back, PoE connectivity and control with a mobile app.

PresentON allows anyone to share BYOD presentation content wirelessly on PC, mobile app and web browsers. ATEN’s USB touch back enables the speaker to take the lead in meetings with just a mouse or touchscreen and without having to move about to access devices. A moderation mode also allows the presenter to control and manage content shared by other participants, including muting, stopping all sharing and disconnecting a

In addition, it supports multiview presentation; both models support configurable screen layouts in full screen or side-by-side. Additionally, group discussions and the sharing of presentations can be achieved at the same time using the VP2021’s quad-view presentation. The presentation switches can also integrate with a classroom’s audio system with a simple 3.5mm audio output, with both compatible with Airplay and Google Cast.

addition to charging, the OME-MH21-CP’s USB-C input provides direct AV interfacing with laptops and mobile devices, plus data connectivity to the integrated USB 3.0 hub. The USB-C connection combines with the switcher’s two USB type A ports and USB type B interface to support up to two host PCs, plus two peripheral devices such as microphones, speakerphones, cameras, soundbars or interactive displays. The company reports this is ideal for softwarebased videoconferencing applications by enabling fast switching of video and USB between host PCs.

Additional features include automatic display control, audio de-embedding and automatic input selection to intelligently switch between inputs when sources are added or removed.

www.atlona.com

VP2021

MediaPort brings more clarity to meetings

THE MEDIAPORT 300 is a 4K HDMI-toUSB bridge which expands Extron’s range of MediaPort bridging products and brings 4K quality to remote participants. Supporting a range of software communications platforms such as Microsoft Teams and Zoom, the MediaPort 300 adds 4K capabilities to simple webcam-to-computer solutions and professional conferencing systems. For small meeting spaces with just a computer and display, it adds support for professional-grade equipment such as 4K videoconferencing PTZ cameras, boundary microphones and sound reinforcement systems. In meeting and large conference rooms, it integrates a conferencing computer into an AV system with video distribution and processing, control, microphones and full sound reinforcement. Options for PoE+ or

local power and its 2.5cm metal enclosure reportedly make installation faster and less costly.

The MediaPort 300 works with computers using generic USB video and audio drivers. It features an HDMI input with HDCP-compliant loop-through that accepts signals up to 4K/60, and scales output video on the USB-C connector to a host computer at rates up to USB 5Gbps. Audio features include programme and mic inputs, HDMI audio de-embedding, USB bidirectional audio and line level outputs. The MediaPort 300 also features audio mixing as well as level and mute controls. This enables it to serve as a soft codec interface, allowing it to integrate into larger hardware codec or DSP systems. www.extron.com

Huddle up with an AI eye

beamforming via hexa-microphone configurations to track audio

www.yamaha.com/proaudio

ClearOne unites larger spaces with AI tracking

CLEARONE IS aiming to streamline camera tracking for larger spaces with the introduction of the Unite 160 4K UHD camera. With AI-powered smart face tracking and auto framing capabilities, the Unite 160 provides the ability to capture all participants in large rooms while enabling automated focus on a moving presenter.

ClearOne’s previous solution for camera tracking included the Converge Pro 2 DSP mixer, one or more BMA 360 ceiling tile microphone arrays and a camera tracking module from Crestron, AMX or Extron. The company claims that the Unite 160 offers

All at the bar with Mercury

MERCURY IS an all-in-one video bar from Hall Technologies with an ultra-wide-angle 4K AI camera, microphone and speaker

(Automatic Noise Suppression). The video bar has a built-in Wi-Fi module and offers multiple connection options including AirPlay,

an integrated AI-based camera tracking solution for rooms that are a fit for a single Versa Lite CT and a single camera, eliminating the need for a DSP mixer and control system.

Designed for larger spaces including board rooms, training centres, conference rooms and classrooms, the Unite 160 supports all leading virtual meeting platforms, including Microsoft Teams, Zoom, Google Meet, WebEx and GoToMeeting. With 12x optical zoom and remote-controlled mechanical pan and tilt, the unit accepts camera control through a broad range of control and automation

systems, with control via an IR remote, RS-232 connection or UVC/UAC protocols. The manufacturer has also announced a co-development initiative that certifies AVer’s pro AV cameras and PTZ Link software to be fully compatible with ClearOne’s Converge Pro 2 DSP and BMA 360 beamforming microphone array. The collaboration leverages the capabilities of ClearOne’s BMA 360 ceiling tile beamforming microphone arrays to direct the tracking features of the AVer cameras through its PTZ Link software.

www.clearone.com

RGBlink scales up with M-Series

PROMOTING REAL-TIME, ultra-lowlatency video on existing IP networks, the M-Series of pro AV scaler and vision mixers is now supported by NDI. As a complete solution for fully integrated video scaling and mixing, presenters simply connect the video mixers to any display courtesy of front panel console controls and a touchscreen display.

capabilities, AI camera auto tracking, speaker tracking and presenter tracking, and is designed for meetings in small- and mid-sized rooms and huddle spaces. Audio features include AEC (Acoustic Echo Cancellation), AGC (Automatic Gain Control) and ANS

can project the video from the device to the display. Signal extension functionality is available with Hall Technologies’ compatible Satellite Extension device.

www.halltechav.com

Visual tracking for remote collaboration

CONTINUING ITS collaborative relationship with Sennheiser, Xilica’s Follow Me automated camera-tracking module has been designed to make it easier for remote participants to engage with multiple conference room participants. It uses the virtual beam location of a Sennheiser TeamConnect Ceiling 2 (TCC2) microphone to automatically steer the camera to a seating position in a conference room.

visually track conversations based on who is speaking.

Configuration uses Xilica Designer software to select the appropriate room size and layout and set specific camera positions based on the Sennheiser TCC2’s beam angle. Setup also provides quality checks for audio presence and intelligibility through live metering.

In addition to being a video mixer, the M1 is capable of outputting images at full scale to displays without additional equipment. For conference presentations, onboard features including PIP (picture-inpicture) add further capabilities to utilise additional video sources, including cameras. Compact in size, the M1 is also ideal within small presentation environments with multiple outputs to audio mixers or powered speakers. Featuring four preview inputs and capable of enabling seamless switching between PST and PGM, streaming is enabled via the USB 3.0 output and a smartphone. Multiple presets can

With the D4, RGBLink has released a modular 4K HDR scaler and switcher offering multiple input and output module options, signal conversion, scaling and seamless switching. Designed for broadcast studio and 4K applications where low latency is demanded, the D4 features resolutions up to 4K2K@60 and 8K1K@60 in a 4:4:4 colour space. The UHD- and

be saved to the external USB disk for recall and a hot-swappable module provides redundancy. The larger M2 model is a nine-channel video mixer and scaler fitted with 3–9 user input modules. Supporting both SDI and HDMI output signals and DVI, HDMI, SDI, VGA, CVBS and USB inputs, the M2 is equipped with 15 transition effects on the T-bar and Take button and up to eight inputs can be previewed. Output splicing can be produced up to 4K2K or 8K1K.

As the flagship mixer of the series, the 14-channel M3 is equipped with dual builtin LCD preview monitors and a dedicated multiviewer. In addition to the features supported in the M1 and M2 models, the M3 has been primarily designed for live video control with layer effects, save and recall presets.

HDR-compliant switcher is further equipped with HDMI 2.0, DP1.2 I/Os and SmartSlot I/O modules together with H.264 preview streaming. The manufacturer has also launched the Q4L and its 4K version, the Q4L-4K, with support for up to eight independent inputs, 4K@60 signal processing, HDBaseT long-distance transmission and common 2K signal versions such as DVI, HDMI, SDI and USB. The Q4L can be fitted with up to four outputs, integrated with commercial display system video processing technology and Subito display system control.

The Q4L is a fully integrated processing solution with optional output modules for RGBlink Subito LED control. It has been developed for videowall splicing applications as well as multi-layer video displays.

www.rgblink.com

TAG’s MCM upgrade provides multiple enhancements

TAG VIDEO Systems has updated its Multichannel Monitoring System (MCM) with a suite of live production upgrades addressing various aspects of live production, including cloud, hybrid and remote operation. Enhancements include additional support for formats and transport protocols and support for JPEG-XS transport protocols.

As more broadcasters seek to migrate live production workflows to the cloud, TAG says as the format is gaining momentum it has broadened support to include all three predominant transport protocols for JPEG XS stream reception and transmission: TR-07 for MPEG-2 TS over IP, TR-08 for ST 2110-22 and CDI for use in the Amazon cloud.

In addition, TAG’s Bridge Technology enables an operator to receive a source, including video, audio and metadata, and display it directly on any TAG system for monitoring.

Once the stream is ingested, the TAG Bridge optimises the sizing, format and delivery protocol to fit the configuration of multiple recipients. This eradicates routing the same stream to diverse locations. TAG claims it also minimises overall computer resources, allows bandwidth optimisation and retains the quality and low latency required for live applications.

Virtual Local Area Network support enables the virtualisation of multiple networks onto one physical network interface. It allows the MCM to combine, visualise and control streams from different computer networks on one interface. The MCM also now supports the Link Aggregation Control Protocol to enable the use of multiple links to provide resiliency and load-balancing capability.

Meanwhile, in addition to supporting NMOS IS-04 and NMOS IS-05, TAG’s MCM now

supports NMOS BCP-002-01. This new specification enables individual audio, video and metadata streams in ST 2110 to be grouped and assembled automatically, and works both in the cloud or on-prem. Support for PTP has increased to add visualisation of PTP statistics directly on the multiviewer screen with the aim of

increasing confidence levels regarding the health of the system reference clock. The updates also offer a display of the Plura SPT timer family, as well as expanding capabilities of the MCM’s multi-UMD and Tally display.

www.tagvs.com

Christie’s lightweight projector packs in the lumens

CHRISTIE’S GRIFFYN 4K35-RGB projector is a pure laser 3DLP projector designed for demanding large-scale venues and applications including live events, projection mapping and theme parks. At 81kg, the company claims it is one of the smallest and lightest high-brightness RGB pure laser projectors available. Capable of delivering 36,500 lumens, it can operate as low as 44dBA and produce greater than 98% of the Rec. 2020 colour space. It can also operate on single-phase 200 240 VAC at full brightness, or 100 120 VAC at a reduced brightness to prolong the operational life of the projector.

Additionally, the Griffyn 4K35-RGB features integrated Christie Twist for warping and blending, and is compatible with Christie Mystique, the company’s automated camera-

disguise ramps up a notch with gx 3

LIVE EVENT specialist disguise has launched its gx 3, a generative video playback server which the company says allows creatives to break new ground with Notch graphics – the standard for generative content in live entertainment.

Designed for small- to medium-scale extended reality productions for concerts, esports or

Setting

users to unlock generative content such as facial tracking, simulation, buffer effects or AI background removal for IMAG.

The single box hardware features three 12G inputs for 4K video and three 4K VFC card outputs, offering more video throughput while also preparing for potential future requirements

MONOLYTE IS a unibody screen system from Austrian presentation specialist AV Stumpfl designed for use in small venues. Its extruded aluminium profiles and snap joints define the skeleton of the projection screen, while it boasts an entire frame block that unfolds and locks automatically. According to the company, this means the system can

show imagery greater than 95% of Rec. 2020 colour gamut and up to 6,000:1 contrast with a UHC lens.

Both RGB pure laser models supersede previous 2K projectors and the company claims they can provide energy savings of up to 27% on other models. Both feature more efficient Series 4 processing electronics, which include Electronic Colour Convergence (ECC) for colour alignment with the 2K cinema platform, as well as RemoteUI to control the projector via a web browser.

The CP2415-RGB delivers up to 15,000 lumens, with 12.7 lumens-per-watt, while the CP2420RGB delivers up to 20,000 lumens with 12.9 lumens-per-watt. The CP2415-Xe delivers up to 15,000 lumens.

www.christiedigital.com

be constructed in less than three minutes and without the need for additional tools. It is available in two screen sizes: 218cm x 123cm and 266cm x 150cm. An optional skirt can be mounted at the bottom of the projection surface to disguise the screen’s integral legs.

www.avstumpfl.com

Griffyn 4K35-RGB

PRODUCTS

Sharp/NEC unveils ultra-wide 104-inch Panoramic View Bundle

front access to the LED modules for easy maintenance. It can be used with Microsoft Teams Rooms and the new Front Row layout, which makes it possible design, which the company says provides image presentation at high resolution and

With the addition of the MultiSync M751

usage, Sharp/NEC Display Solutions Europe has launched its LED-FE009i2-104

Sharp NEC Display Solutions has extended display models are suited for deployment applications. The manufacturer claims that the visibility of signage content or meeting

reflections from windows or other light sources. Full control of brightness, colour, gamma and uniformity is performed from the SpectraView Engine.

In addition, the M Series displays can be remotely and securely managed using the NEC NaViSet Administrator 2 software tool. Integration of the largeformat displays into AV infrastructures are enhanced by the multiple digital and analogue signal inputs built into the rear panel. The M751 and M861 displays are equipped with NEC Open Modular Intelligence, which promotes the most applicable NEC product to fit into an application scenario. Running on Windows or Linux operating systems, the displays can be upgraded with the inclusion of an Intel Smart Display Module Small and Large (SDM-S/L) slot.

www.sharpnecdisplays.eu

ELATION PROFESSIONAL has recreated the sky tracker effect using its existing Proteus Excalibur lighting rig with the introduction of its Sky Motion searchlight mode. The mode is built into Proteus Excalibur’s latest firmware and is accessible via a dedicated menu display.

Sky Motion comes with a variety of preset movement designs and patterns which can be customised directly in the fixture. IDs can be assigned to set up a variety of searchlight patterns and can be adjusted for size, speed and colour directly from the fixture display. With 7,500 lux at a distance of 100m, the company claims the Proteus Excalibur is comparable in output to large 2,000W or 4,000W Xenon systems and operates at a fraction of the power. The low power draw means that no generator is required and land power is easy to find for simple deployment.

The unit houses a 550W Flex discharge lamp and projects an ultra-narrow 0.8° beam from a 260mm front lens to create the searchlight effect. Fully IP65 rated, it stays operational in all weather conditions and only requires IP65rated five-pin DMX cables and power.

Elation reports the Excalibur fixtures are easy to set up without a DMX lighting controller

LightShark Ray provides extra bite for Equipson

LIGHTSHARK RAY is a visualisation tool from Spanish manufacturer Equipson which allows users to experiment with multiple lighting setups using preconfigured files and fixtures. Originally developed as a training aid, the application is intended to be used with the company’s range of DMX-based LightShark lighting consoles.

LightShark Ray features up to 16 DMX universes across ArtNet or sACN, as well as builtin fixture and object libraries. The company plans to add GDTF libraries to future releases. Available for PC with a macOS version in development, LightShark Ray can receive video from a built-in NDI input, which not only allows the streaming of video files but also makes

ASIA

it possible to capture images from external cameras. Users can record visualisations with the integral screen recorder and can customise visualisation experiences with configurable parameters, such as smoke density and wind speed. Render quality is automatically adapted according to the computer capabilities of the end user and the number of fps that can be displayed.

LightShark Ray currently offers fixed scenarios, but the company is aiming to have a scenarios editor available by summer 2023 that will join the platform.

www.equipson.es

and, because the system is autonomous and standalone, there is no need to transfer data or set up a control console. This means users not familiar with lighting and DMX can prepare and run the Sky Motion system.

In other news, the Fuze Wash 500 is a fullspectrum LED Fresnel moving head fixture designed for a wide array of precision lighting applications. It houses a 500W RGBMA LED engine and delivers 17,000 lumens with a CRI of 92. It is designed for any application where an automated Fresnel fixture with impactful colours, a wide zoom range and a soft field of light are required.

The Fuze Pendant Compact is an energyefficient downlight that can reportedly adapt to any environment and is small enough to fit into a variety of spaces. Housing a full-spectrum 144W RGBWL LED array, the manufacturer reports it produces beautiful colours as well as high CRI variable white tones. Colour temperature adjustment is from 2,400–8,500K. Convection cooled for silent operation, a variety of mounting options and lens choices allow for precise light distribution.

www.elationlighting.com

Panoramic View Bundle.

Double up with Zonda 3 Wash and FX

FOLLOWING THE launch of the Zonda 9, Ayrton has extended the Zonda family with two luminaires: the Zonda 3 Wash and the Zonda 3 FX. Designed specifically for stage lighting, both Zonda 3 luminaires have redesigned cooling systems and simplified lens guidance systems. Their compact size make them ideal for compositions with curtains or matrices.

Fitted with seven high-performance 40W LED sources with RGB+W, Zonda 3’s optical system consists of a 170mm mono-block cluster in PMMA, which enhances beam coherence, and seven glass light guides with an output surface composed of an optical micro-structure. A 50mm truncated transmitting lens with optical surface equivalent to that of a 70mm round lens enables the Zonda 3 units to deliver a high-intensity beam with a zoom ratio of 14:1 and a wide zoom range of 4–56°. This LED/optical system combination is capable of producing a light output of 5,200 lumens.

The Zonda 3 Wash is designed to cover an entire live entertainment stage. Ayrton says its additive colour synthesis can reproduce precise colours. A library of preprogrammed colours is also accessible, and a bespoke ventilation system helps keep operating noise to a minimum.

ETC builds on ColorSource family

The Zonda 3 FX borrows from the main attributes of the Wash version. It offers continuous rotation of the pan and tilt movement, while individual control of each LED allows the creation of 3D volumetric effects. Like the Wash, separation between the light sources helps to boost the level of contrast and visual perception of multiple beams. It is also equipped with a high-definition Liquid Effect, located between its main lenses, to generate complex graphic effects. It can be used alone or in combination with the main LED matrix.

www.ayrton.eu

Daniel drives and supports your customers. He thinks smart, understands sales, distribution and shapes your solutions.

Daniel understands industry technologies and their application. He cultivates strong relationships to develop your business. We work with brands and suppliers to help find top talent for their business teams in APAC, the Americas and EMEA Interfacio connects professionals with world-leading pro AVL brands.

www.interfacio.com

connect@interfacio.com

Americas: 1-800 578 0144 @interfacio

ETC HAS fixtures. The ColorSource V series includes ColorSource Spot V, ColorSource Fresnel V and ColorSource Spot VXT. All three use a five-colour array of red, green, blue, indigo and lime, which the company reports produces softer pastels and bolder colours from the same fixture. In addition, the fixtures include Multiverse wireless DMX/RDM and NFC for remote configuration when used in configuration with ETC’s free Set Light app and increased brightness over previous ColorSource models. The ColorSource Spot V replaces the previous ColorSource Spot luminaire but uses the same lens tubes, barrels and accessories as ETC’s other spot fixtures, including the Source Four incandescent fixture. The ColorSource Fresnel V delivers the same technology as the manufacturer’s Desire Fresnel and incorporates a true microFresnel lens and motorised 14–46° zoom control from both the back of the fixture or a

control channel on a console. The IP65rated ColorSource Spot VXT has been designed for outdoor use.

www.etcconnect.com

ColorSource Spot V

Zonda 3 Wash

Behind every great business is a Daniel.

Martin’s ELP PAR IP heads outside

ADJ triples up to expand range

which means it is capable of serving both indoor and outdoor productions. Martin claims its sealed design also results in fewer maintenance cycles.

Like the ELP PAR, the fixure features high-intensity zoom, full-gamut colour calibration and smart rigging and control functions. Setup features include omega bracket connectivity and bright angle of projection indicator marks for quick and repeatable installation. A button press temporarily switches the fixture to full-power/open-white/ adjustable-zoom settings to confirm projection and focus. Both lights feature a low-noise theatre mode, which operates at 33dB.

www.martin.com

RuntimeExtender provides emergency power for Astera

ASTERA’S RUNTIMEEXTENDER

a battery plate for lighting techs working with Astera products to allow connectivity to an external battery. This means that spare camera batteries can power Astera units if the internal batteries run out. It is compatible with most Astera products, including Titan, Helios and Hyperion Tubes, HydraPanel and PixelBrick. When connected lights are running at low level or switched off, the internal battery recharges from this connection, allowing batteries to be swapped during the shoot with no loss of light.

To match the most common kind of camera battery, RuntimeExtender is available with V-Mount and Gold Mount battery connections, and supports both 14.4V and 26V battery types. Any watt/ hour (Wh) capacity battery works with Astera fixtures, including units just below 100Wh which can be checked into an airplane hold. Batteries can be connected via an existing Astera power/data cable or via a 1.5m cable included in the kit.

All of Astera’s VDC lights are supported and RuntimeExtender is rated to 24V 100W shared between two DC outputs. While in the event world, the three-pin XLR is universally used for data distribution, in the film industry it has become a standard to distribute power. Therefore, a third three-pin XLR socket has an unregulated output that passes on the voltage of the battery. This also means it can be used with future Astera products which may use a different voltage. RuntimeExtender is also available as part of a kit which contains four RuntimeExtenders, HexConnectors, BrickConnects and 1.5m DC cables, plus four clamps to mount with the Astera’s HexConnect. Two kit versions are available with V-Mount or Gold Mount connectivity.

www.astera-led.com

ADJ LIGHTING is tripling up with the addition of two moving head luminaires to its Focus range and one compact ellipsoidal luminaire to its Encore series.

The Focus Flex L7 features the same casing design and feature set as the Focus Flex, but adds four-in-one red, green, blue and lime LEDs to deliver

11-position (plus open white) colour wheel features a selection of dichroic filters and includes a 3,200K CTO colour correction, while two independent gobo wheels are pre-loaded with patterns for a broad range of applications. The Focus Hybrid provides six dimming modes, four dimming curves and variable dimming speed personal preference, while the light source also supports standard, pulse and random strobe effects, at variable speeds between 1Hz and 20Hz. Both the Focus Flex L7 and the Focus Hybrid support five-pin DMX input and output sockets, wireless DMX functionality and RDM to provide remote DMX addressing.

Meanwhile, the Encore Profile Mini WW is a compact ellipsoidal luminaire which uses a 40W warm white LED engine to deliver a 900-lumen output with an even field and CRI of >98. Two compatible lenses can adapt the fixture to various beam angles. Both lenses offer manual zoom, with the EP Mini Lens 1530 offering a variable beam angle of 15–30°, and the EP

Powered by seven 40W RGBL colourmixing LEDs, the addition of a lime chip alongside the primary RGB colours delivers an output of 3,500 lumens (increased from 3,000 on the original) as well as a higher CRI of 84 (compared to 78). Its motorised zoom function allows the beam to be altered remotely between a 6° and 55° field angle to generate both wide washes and narrow beam effects, and each LED element can be dimmed independently to access a wide palette of output colours. It allows white light output with a variable colour temperature of between 2,700K and 10,000K which can be dimmed from a dedicated DMX channel or a collection of presets. Five dimming modes, four dimming curves and an adjustable dimming speed are said to add flexibility, while the LED refresh rate can also be adjusted to eliminate flicker for broadcast or video applications.

ADJ’s second addition is the Focus Hybrid, designed for projects that require one fixture to serve multiple purposes. Its 200W cool white (7,500K) LED light engine generates an output of up to 4,100 lumens and ADJ says a variable beam angle of between 2° and 24° caters for a range of effects. Its motorised focus function allows projected patterns at varying projection distances, while a frost filter can further widen the beam angle and soften the beam edge for wash outputs. An

Mini Lens 2550 providing 25–50°. The fixture can also be used to project gobo patterns and is supplied with a holder for standard “E” size gobos. The Encore Profile Mini Color comes with 16 3.5W RGBWAL LEDs and can generate white light with colour temperatures from 2,700K up to 7,000K and has a dedicated dynamic white DMX channel. The Encore Profile Mini Color offers digital dimming with variable curves and a selection of dimming modes as well as variable speed strobing. It also supports adjustable refresh rates so that flicker can be avoided during filming.

www.adj.com

Focus Flex L7

Focus Hybrid

Cameo’s P-Series adds trio of spotlights

AVAILABLE IN tungsten, daylight and full-colour versions, Cameo’s P-Series is

CMY colour mixing, the AZOR S2 has an additional colour wheel with eight

Be still with Robe’s TX1 PosiProfile

DESIGNED TO operate both as a moving head and as a static profile, Robe’s TX1 PosiProfile luminaire is intended for use in confined spaces where access or movement options are limited. Fixtures usually require pre-use pan and tilt movement calibration to ensure accurate control when power cycling. The TX1 PosiProfile uses Robe’s Motionless Absolute Positioning System (MAPS) to ensure the fixture stays motionless while calibrating. The company claims this is what makes it ideal for tight spaces. In addition, Robe’s Brake Attribute Retention System (BARS) means that motorised attributes like pan and tilt, zoom and focus remain locked in place until being released. The TX1’s MSL-TE 500W MultiSpectral LED engine generates over 13,500 lumens.

The lighting manufacturer has also expanded its iFORTE range of LED lights with the iFORTE FS. Designed for precision follow spotting applications in outdoor environments, the iFORTE FS comes with an

integrated IP65 camera for weather-resistant remote outdoor follow spotting.

www.robe.cz

Weather the storm with GLP

ALREADY WIDELY in use across Europe, GLP’s Fusion X-PAR 12 Z spot is now available worldwide. Developed

to different stage requirements via a variety of interchangeable lenses with fixed beam angles (19°, 26°, 36° and 50°) as well as zoom lenses for 15–30° and 25–50° ranges. The products can also be used in combination with Cameo’s iDMX Stick to provide control via DMX and RDM, and wirelessly via W-DMX.

The AZOR S2 is a compact spot moving head with 11,000-lumen luminous flux and 5–50° zoom range for use on smalland medium-sized stages. Besides its

Finally, the H1 FC is a DMX-controllable

convection cooling, the H1 FC operates silently and is suitable for noisesensitive areas. Thanks to its high colour fidelity across all measurable categories, the full-colour luminaire reportedly ensures pure aesthetics without colour-distorting effects. Maximum flexibility is provided by control options via DMX, W-DMX, RDM and the optional Cameo UNICON remote control.

www.cameolight.com

High End Systems goes for gold

ETC BRAND High End Systems has unveiled its Halcyon automated framing luminaires for use in rental operations, theatres and opera houses. The range consists of Gold, Titanium and Platinum lights designed for a wide range of uses. Halcyon Gold outputs 31,000 lumens and is suitable for short- to mediumthrow applications. For medium to long throws, Titanium outputs 40,000 lumens and, for longer distances, the Platinum model offers a light output of 54,000 lumens, which can be switched to 71,000 lumens in boost mode.

All three lights feature two LED engine options: the Ultra Bright engine is geared to maximum intensity, while the High Fidelity engine provides maximum colour rendition and vibrance. Halcyon’s colour-mixing system uses tighter gradient dichroics and a linear

evolution of GLP’s LED PAR series, the X-PAR 12 Z is IP65-rated to guarantee use in both interior and exterior applications. Powered by a single-source 120W COB LED in primary RGB colours and lime, the spot can generate up to 2,520 lumens output and with a CRI of 80+. It has a 52° and a 190mm front lens to provide flexible light output options, while its iQ.Gamut colour algorithm generates white points and light quality consistent with GLP’s previous LED PARs. GLP states its robust aluminium housing allows problem-free use in hazardous conditions, and its fully enclosed weatherproof housing reduces maintenance requirements in day-to-day use.

mixing curve, full curtain framing on four focus planes and extended framing rotation. In addition, a pattern package has been introduced with a full library of aerials, rotational effects, breakups, diffusion and prisms. ETC’s Trifusion system is said to bring a wide range of diffusion with a single control channel, maintaining maximum output and even frost distribution across the field, and a smooth transition from a sharp edge all the way to a heavy wash. A continuously variable rotating animation wheel with linear insertion allows programmers to control the animation’s angular position. ETC’s Whisper Home technology employs a dual sensor system, allowing Halcyon fixtures to home with little movement.

www.etcconnect.com

Thanks to its IP65 protection class, the

TX1 PosiProfile

AV on the network

Audinate’s Brad Price explains why

audio networking without considering video

AV NETWORKING HAS COME A LONG WAY AND IS moving into a mature, stable phase. While there are still valid use cases for connector-specific applications like HDMI and XLR, many of the products recently revealed at ISE eschewed those legacy-style connectors in favour of only RJ45 or USB-C. But while connecting devices to the network is increasingly approaching plug-and-play functionality, there’s still a lot of planning and consideration needed to run AV over the network successfully.

Creating a converged network, with AV and corporate data running side-by-side, was the holy grail back in the day. IT teams often refused to add AV to the corporate network for fear of causing bottlenecks or disruptions. Now, we’re seeing a trend in that direction as AV devices evolve as good network stewards. There’s still a perfectly good use case for separate networks, especially if you’ve

supported holistic transport solution. The advantage is that if something goes wrong with the implementation, there’s a company that supports the platform, has a deep understanding of the technology and wants to help integrators and manufacturers alike.

The point of synchronising audio and video is to timealign what we hear with what we see. The human brain can withstand some mismatch watching people speak or play instruments, but only up to about 200ms before being impacted. Audio and video are often treated as separate streams because they have different processing requirements and are sent to different endpoints. But having separate streams and transport pathways greatly increases the chances of asynchronous AV delivery. An advantage built into Dante AV Ultra products is that they use the network PTP clock to keep the audio and video synchronised on the network, eliminating a large swathe

impossible to maintain synchronisation across subnets. If engineering is on one subnet and the auditorium is on another, passing audio will be complicated at best. Tools like Dante Domain Manager overcome the subnet synchronisation limitation, allowing transmission of synchronised AV across subnets without needing to modify switches or add hardware. It allows Dante networks to use unicast to bridge between subnets and creates synchronised clock domains allowing for one large network. Still, the behaviour is confined to the devices that use AV traffic, so there’s no impact on the rest of the network.

Today’s endpoint connections are primarily 1Gb and, while audio streams are tiny by comparison and require no compression, video is an entirely different story. An uncompressed 4K60 stream with HDR is approximately 35Gb/s, so nearly all networked video is compressed in some fashion. Different applications use different compression codecs, each with pros and cons for implementation and transmission. For real-time applications like live events, manufacturers will use visually lossless codecs like JPEG 2000 to compress the stream and make it bandwidth-friendly for the 1Gb portions of the network, then decompress it at the output endpoint for display. Dante AV Ultra uses JPEG 2000 for its encoding and decoding – which requires more processing power – but the output is visually flawless.

got a high level of AV traffic that needs to be managed, and it’s a significant part of your bandwidth.

One of the biggest challenges is the large number of manufacturers and myriad ways they implement networking. A classic fix for the interoperability challenge is the “walled garden” approach. The advantage is that the products work well together, but the disadvantage is that you’re limited to that one brand. If the manufacturer doesn’t have what you need or stops making something you like then you’re stuck, unless you buy new hardware to break out of the walls.

Another potential fix for interoperability is the establishment of standards. Standards create agreedupon technology elements, but they don’t provide the implementation or support of the underlying technology. No measure of quality is inherent in the standard. Many also leave the door open for enough interpretation to cause interoperability issues. An alternate case for interoperability is having a third-party develop a fully

of issues. The primary advantage of a converged network is everything runs over the same cable, and you can use fewer software instances to manage the network. You plug in an endpoint and instantly have access to the needed AV resources in addition to getting to files and messaging systems.

Every network, converged or not, requires much planning to succeed. Designers need to draw out the system, note where the switches and the subnet boundaries are and then consider how they’re going to manage multicast inside the areas of the network using an AV-over-IP system, ensuring there’s enough bandwidth in the trunks (switch-to-switch connections) to prevent a choke point. In a typical bespoke design, the trunk connections are 10Gb or faster, while the downstream connections are 1Gb.

Furthermore, many enterprise-level networks deploy parts on separate subnets to increase security and improve quality of service. However, it’s almost

Streaming codecs like H.26x are often easier to implement and support much higher compression rates but at the risk of introducing visual artefacts. H.26x is great (good enough) for lots of applications since end users are used to it, and it’s inexpensive to implement because it’s been adopted everywhere for mediumfidelity video. Many video products use that technology, but not because it’s the best for a network. It has much higher latency and is much less predictable but is very efficient. Because of this, Audinate introduced Dante AVH, software designed to run on systems-on-a-chip to give them access to Dante control and management. Converged networks are gaining popularity as AV devices behave more intrinsically like IT endpoints. But creating a converged network and managing it effectively are two separate issues. One of the biggest keys to the success of any large, converged network is how easy it is to manage, so take the time to choose wisely.

you can’t think about

Brad Price

The Adamson Fletcher Machine Remote software is a user friendly interface that includes dynamic object positioning and a complete set of mixing tools, including EQ, compression, auxiliary sends, and much more. To learn more about the Adamson Fletcher Machine visit our website at www.adamsonsystems.com

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Send on Fader for Speakers, Aux, Reverb and VCAs

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