Pro AVL Asia January-February 2022

ProAVLAsia January–February 2022

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION January–February 2022

STERLING RESULTS A tour of JMC Academy’s new Ultimo campus in Sydney

MICA (P) 001/06/2021 PPS1604/05/2013(022953)

L-ACOUSTICS OPENS SINGAPORE OFFICE

www.proavl-asia.com

SOUND.COM DIVERSIFIES

D&B AUDIOTECHNIK’S SUBSCRIPTION SERIES INFOCOMM 2021 SHOW REPORT

Singapore: MICA (P) 001/06/2021 PPS 1604/05/2013(022953)

POWERSOFT.COM

DYNAMIC MUSIC DISTRIBUTION

High-quality music distribution in multi-zone / source applications

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BETTER-SOUNDING WORLD

Audioversity offers training programs that can help anyone who works with audio deliver better sound for enhanced impact and communication in a broad range of applications.

Refine your craft through a comprehensive selection of seminars, webinars, and self-training materials designed to build skills quickly and effectively.

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Contents Volume 21 Issue One January–February 2022 NEWS BUSINESS Dedicated global network platform to revitalise industry

4

DISTRIBUTION QSC appoints Hibino in Japan

12

APPOINTMENTS Austin Freshwater signals new era for DiGiCo

16

PROJECTS Central-Highlands TV station expands with Sony

20

FEATURES SHOW PREVIEW Prolight + Sound Guangzhou 2022

46

EXTENDING YOUR REACH Bupyeong arts centre upgrades with Allen & Heath

48

REACH FOR THE SKIES Cielo Flusso opens in Tokyo with Dolby Atmos HE

50

BONJOUR APAC L-Acoustics opens an APAC office in Singapore

52

OPA FOR BUSINESS Recreating Greece in Mumbai

54

COVER: TOP OF THE CLASS JMC Academy’s new Ultimo campus in Sydney

56

KEEPING IT REAL Touring Chinese opera with KV2

60

CHANGING GEAR The diversification of India’s Sound.com

62

BUSINESS LETTER FROM AMERICA Dan Daley on the quality of live and streamed sound

64

LETTER FROM EUROPE Can touring ever be sustainable, asks Phil Ward?

64

COMPANY PROFILE Four decades of Datapath

66

SHOW REVIEW InfoComm 2021 goes the distance

70

TECHNOLOGY The impact of 5G networks on every aspect of the industry

74

PRODUCTS The industry’s most comprehensive product news

79

ANALYSIS d&b’s Subscription Series offers a new way of investing

Editor’s note Email: cmoss@proavl-asia.com

Welcome to the first issue of 2022 and, as I write, I can’t help but wonder what the year ahead will bring. Will uncertainty surrounding all planned events and last-minute changes continue into a third year, or will this be the year that we can finally start returning to a schedule that we can rely on and plan ahead for? At any rate, we’re hoping that at some point, travel to Asia will resume. We’re missing you!

In this issue, we’re pleased to bring you a show report from an in-person event, InfoComm 2021 in Orlando. While international travel restrictions meant it was reduced in size, it certainly had all the atmosphere of a regular InfoComm event according to the participants we spoke to, and all the news from the show floor can be found on p.70.

Other features again reflect the changing world we’re living in. Sound.com has made a successful transition to video shoots and virtual events in India (p.62), while d&b’s Subscription Series, a pre-pandemic project, has turned out to be timely in helping venues get back on their feet (p.102). Meanwhile, as Asia opens up, an increased commitment to doing business in the region is underlined by L-Acoustics’ new APAC office in Singapore (p.52).

Again, we’ve relied heavily on the kindness and efficiency of friends and colleagues across the region to keep the news and features coming in remotely. Thanks to all of you who’ve helped in this way, and to all of our readers for your continued support. If you have any projects to share with us throughout 2022, please get in touch. Happy reading, and Happy New Year!

Contacts

102

inside

GENERAL MANAGER Richard Lawn

ADVERTISING DIRECTOR Sue Gould

DIGITAL CONTENT EDITOR Libby Stonell

T: +44 1892 676280

T: +44 1892 676280

T: +44 1892 676280

sgould@proavl-asia.com

lstonell@proavl-asia.com

SENIOR REPORTER Simon Luckhurst

EDITORIAL COORDINATOR Karen Wallace

SALES ASSOCIATE Carolyn Valliere

T: +44 1892 676280

T: +44 1892 676280

kwallace@proavl-asia.com

T: +1 562 746 1790

sluckhurst@proavl-asia.com

DIGITAL MEDIA MANAGER Nick Smith

PRODUCTION MANAGER Adrian Baker

VIDEO EDITOR Chris Yardley

T: +44 1892 676280

T: +44 1892 676280

T: +44 1892 676280

BEIJING OFFICE Frank Shao

GUANGZHOU MANAGER Sue Su

CIRCULATION Marne Mittelmann

T: +86 10 8652 5184

T: +86 13609001455

F: +65 6491 6588

rlawn@proavl-asia.com

50

60 nsmith@proavl-asia.com

70

74

frank@proaudioasia.com.cn

COVER: JMC Academy PRINTER: Times Printers Singapore LICENCES: Singapore: MICA (P) 001/06/2021; Malaysia PPS 1604/05/2013 (022953) All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

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@ProAVLCentral

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circulation@proavl-asia.com

PUBLISHED BY: 17 Upper Grosvenor Road, Tunbridge Wells, Kent TN1 2DU, UK

@ProAVLAsiaMagazine January–February 2022 PRO AVL ASIA 3

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NEWS

Dedicated global network platform to revitalise live events industry WORLD

Built by the industry, for the industry, Entourage Pro is a global first in production industry crew resources. The global networking platform bridges the gap between artists and the production world and aims to shape how production personnel are sourced, accredited and availed to the wider production and music industries.

The free-to-join platform draws on Mancunian director Joel Perry’s 20-year association with live music production.

“With the global events sector starting to re-emerge, we knew the time was right to launch a service that has real relevance for the live music industry,” commented Perry.

“It’s an idea that has been in the making for some time and it took considerable resources to define, but that’s because we wanted to make sure we got it absolutely right. Entourage Pro is ready to help our industry return to work and to look after the incredibly talented people who deserve to be back out there, doing what they do best. By promoting this talent in a way that’s right for them, we are turning the recent challenges into new opportunities.”

The partnership with Showcase Music adds another 52 years of industry heritage to Entourage Pro’s credentials. “Entourage Pro

has to be as comprehensive as possible and relevant to the industry, both now and in the future,” added Showcase Music’s director, James Stanbridge. “We are in a critical window of opportunity, and we want this to be our way of helping the industry get back on its feet and bringing it closer together.”

“The touring world is where d&b first made its mark,” added d&b director of segment development and artist relations, Michael Case. “It takes dedicated, hardworking individuals to deliver great live events and we are proud to support Entourage Pro’s efforts of creating a platform that will

Entourage Pro covers 140 professional freelance roles, from front of house engineer, backline technician, lighting designer and rigger to video content creator and LED technician. Designed to be a quick and easy resource, coordinators and tour managers can source verified personnel when staging any event from a one-off show to a worldwide tour. Entourage Pro is backed by industry brands including Avolites, Chainmaster, d&b audiotechnik, MDG, Neutrik, Robe and Yamaha.

reconnect the industry, benefitting artists, production companies and crew alike.”

Entourage Pro defines registrants via role, department, discipline, experience and availability. It includes your profile, accreditations, certificates, availability and rate bracket, all of which will be made available to qualifying music industry representatives, worldwide, from artists, labels, management, agents, promoters and rental houses to manufacturers and beyond.

“The moment we were introduced to the concept of Entourage Pro, the team at Yamaha immediately recognised the opportunities that it could bring to both crew and production companies,” added Yamaha Music’s European product manager, Karl Christmas. “In supporting the development of this platform, Yamaha is confident that it will be a significant resource for our friends and colleagues in the industry as it gets back on its feet.”

With a monumental fightback commencing, and the industry starting to resurface, Entourage Pro is ready to be a positive resource to harness the talent so compromised by Covid-19. “This past couple of years have reinforced what we already knew – this industry is nothing without our people,” argued Robe Lighting CEO, Josef Valchar. “You can have as much technology as you like – but without those to prep it, deliver it, implement it, programme it and use it in so many creative ways, we are nowhere.

We are proud to be supporting Entourage Pro and the platform it will provide for everyone to get involved and be recognised for what they bring to their profession.” www.entouragepro.com

Growing demand for xR in Asia is a blessing for disguise KOREA

As disguise’s global presence continues to grow, the company has announced the opening of a new location in Songpa-gu, Seoul, to serve Korea’s increasing demand for extended reality (xR) production. This follows three years of growth initiated by disguise’s head of Korea, Jinny Kim, who has created strong foundations for the market by building industry relationships and communicating the company’s culture and values. Kim

is joined by project manager SungHo Jeong and two junior support specialists, SungWoo Park and Sang Bae, who have a wealth of experience within live production and broadcast between them.

Kim explained: “disguise Korea is a powerful team with extensive experience in creative communications. We are striving to create a good workplace culture and operating philosophy that is directly connected to disguise’s overall

Tokyo office

Seoul office

reputation. I am incredibly proud to see how our mark on the Korean media and entertainment industry keeps growing as some of the country’s leading organisations are now entrusting disguise with their groundbreaking projects.”

Having also opened a brand-new office in the south of Tokyo, disguise hopes to offer closer communications and direct support to its Japanese clients. The company’s presence in the country dates back almost 10 years, and it has been growing within

Japan’s live production market ever since.

Tsuyoshi Mitera, head of Japan, disguise, said: “I am very happy to finally be able to establish disguise’s presence in Japan after Covid-19 and many other difficulties. From now on, we would like to work hard as a team to make the entertainment business in Japan even better, while providing accurate and speedy support close to our customers.” www.disguise.one

4 PRO AVL ASIA January–February 2022

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THE REFERENCE – SINCE 1928

SOMETHING SMALL IS COMING. WE SHRUNK THE MIC, NOT THE SOUND.

For decades, passionate artists and musicians asked us to make the Neumann sound and quality available in its tiniest form: Close instrument miking for live productions. Rental companies also demanded more economic solutions, with better handling, more reliability, and more modularity.

It took us a moment since we had to elevate the electret technology to Neumann standards.

But now, it is ready: We are proud to introduce the Miniature Clip Mic System MCM. You can hear the true sound of any instrument. And you can rely on an ROI and on mounting options that last for a long, long time – not just one season.

Preorders start now Your Neumann sales rep has all the details, or you can find your Neumann distributor here: miniature-clip-mic.neumann.com

WWW.NEUMANN.COM

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NEWS: BUSINESS

Absen and Brompton join forces to aid the future of LED WORLD

LED manufacturer Absen and LED video processing company Brompton Technology have joined forces to provide solutions for high-end virtual studios. Due to Covid-19, the use of such studios has grown immensely over the last two years. Not only does it remove the cost and difficulties of filming on location, virtual studios provide companies with more opportunities regarding the content they create. Both Absen and Brompton’s focus will be on how LED screens can be used in the future of virtual production.

“Over the last year, we’ve seen businesses use LED to transform live online events. State-

of-the-art virtual studios are fast becoming the norm for industries across the globe, as LED can offer a whole new dimension to online

presentations, professional events and award ceremonies,” said Adam Berditch, Absen’s UK business development manager.

Absen has 380 service partners with exports reaching 120 countries worldwide and, combined with the globally recognised Brompton, it hopes to provide help to clients, integrators and end users.

Christian Czimny, product director at Absen, commented: “We’re thrilled to be working together with Brompton, especially creating solutions surrounding virtual studios, which have become so important recently. It’s an exciting time for Absen, having replacement green screen technologies to offer our clients, which really revolutionise the filming process. Brompton’s extraordinary technologies work in unison with a whole host of our high-end products, so I feel our collective expertise will benefit the customer above and beyond what we have been able to offer them before.” www.absen-europe.com www.bromptontech.com

Australia Direct launches Riedel extends Viennese R&D hub to serve the region’s creative community WORLD

AUSTRALIA

Focusrite has announced the introduction of Australia Direct, a single focus for the distribution, marketing and support of its local brands. This launch follows a long history of Focusrite and Novation’s impact in the region, starting with Innovate Music and Novation more than 20 years ago and, more recently, Focusrite Pro and Sequential.

share their passion and look forward to serving this vibrant community with Focusrite, Novation and Sequential products, from the bedroom to the stage.”

Australia Direct aims to offer focused customer service, as well as support and a more meaningful relationship with local artists and the Australian user community.

Extending its pioneering of IP-enabled hardware and software solutions, Riedel Communications has doubled the size of the company’s new R&D hub in Vienna. In addition to accelerating its capacity to drive technical innovation and stimulate further growth of the brand’s development team, the investment aims to further assist Riedel customers’ path towards IP integration.

“The team at our Vienna R&D hub has the talent and creativity to deliver products with forward-looking functionality that has the power to transform the broadcast and event industry,” commented head of development, Gernot Butschek, at Riedel’s Vienna location.

“As the broadcast industry undergoes major disruptive change with the transition to IPbased transport of media signals, our R&D team meets that challenge with innovation.”

Riedel’s Vienna team assumes responsibility for front- and back-end development, automated test software, FPGA programming, PCB layout and mechanical design. Experts in the fibre transport, video processing and wireless communications technologies integrated within the established Artist, Bolero and

MediorNet product lines, the growing engineering team seeks to extend the capabilities of the Riedel product portfolio.

Originally designed to accommodate up to 55 developers and engineers, the Vienna location is appointing additional software developers to boost its R&D capabilities, in addition to committing greater resources to serve the growing customer base across Central and Eastern Europe (CEE). Following a restructuring programme together with optimisation projects, Riedel also has increased the capacity of its rental and managed technology business to take on special projects of any size and any degree of complexity.

Located next to Euro Plaza technology park, Riedel’s Viennese offices also provide enhanced support for CEE customers. The extended facility includes additional space for the preparation of installations and managed technology projects, in addition to a warehouse that supports the rental business offering the entire product line to customers throughout the CEE. www.riedel.net

The Focusrite team at the AIM Awards 2021 “We are very excited to embark on this next phase of our investment into the Australian market,” said Focusrite Group CEO, Tim Carroll. “We are very fortunate to have a fantastic team in the country who amongst them have over 50 years of experience leading success and strong growth in audio technology products.

We would also like to thank our former distributor, Innovative Music, for all their support over the past 29 years as well as the amazing dealer network that have done a great job of representing all the group’s brands.”

Charles Tetaz, vice president of sales and marketing for the region, commented: “Australia is home to some of the world’s greatest creatives and musicians. We

In other news, Focusrite has won the Company of the Year Award at the AIM Awards 2021, in addition to being shortlisted for Growth Business of the Year. The awards were held on 14 October in Old Billingsgate, London, with an attendance of over 1,400 guests.

The awards ceremony is hosted by AIM, a worldwide market for high-growth companies that are supported by a community of businesses, advisors and investors. The awards provide an opportunity for the business community to celebrate industry achievements within the last year, often harnessed by its investments. www.focusrite.com www.novationmusic.com

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NEWS: BUSINESS

d&b Group acquires AVLM business White Light WORLD

With a view to strengthening its service-focused business, German audio technology and solutions provider d&b solutions has acquired audiovisual, lighting and media (AVLM) company White Light. d&b Group customers can now access a range of technologies and services, including integrated lighting, video and XR solutions via its d&b solutions arm.

Established in May 2021, d&b solutions enables the d&b Group to offer end-to-end expertise to customers in the areas of system planning, installation, maintenance and managed services. The acquisition of White Light aims to further expand these offerings. With the transaction scheduled to complete in January 2022, d&b solutions entered an agreement with the owners of White Light to acquire 100% of the shares.

“White Light is a strategic addition to the d&b Group,” commented d&b Group CEO, Amnon Harman. “Their technology and expertise significantly increase d&b solutions’ capabilities to offer complete and flexible audio, video, lighting and XR solutions. Driven by accelerated market trends during the pandemic, this is another step forward in d&b’s strategic transition in which we aim to become a premium one-stop-shop for the AVLM needs of our customers in the UK.”

d&b Group CEO Amnon Harman

White Light MD Bryan Raven

Founded in 1971, White Light is a complete production solution specialist operating in a range of markets, including theatre, corporate events, broadcast, concert touring, leisure, education and trade. Following the acquisition, the company will become part of the d&b Group and be known as White Light, a d&b solutions company, with all existing staff remaining with the company.

One area of focus for d&b solutions is White Light’s SmartStage technology, which has been in development since 2017. SmartStage is an immersive video environment that uses XR technology to replace the traditional green screen element of a virtual studio. The potential for XR technology, in combination with d&b’s Soundscape immersive audio platform and

White Light’s expertise, will open new market potential for immersive AVLM solutions, which will benefit all partners and customers of the d&b Group.

“We are proud to join the d&b Group and expand their d&b solutions business,” commented White Light MD, Bryan Raven.

“We wholeheartedly share the belief in the strategic direction of d&b and we are convinced that White Light will contribute immensely to its implementation and growth. Besides first-class technology and services, we also share the same values, which will help us to drive our common goals forward. We look forward to working together to provide customers with the best possible technology solutions, across a whole range of verticals.” d&b solutions operates independently from d&b audiotechnik, with separate management teams reporting to the d&b Group. “The d&b Group is committed to providing transformational life experiences to our customers,” furthered Harman. “The people, technology and services that White Light bring to the table will be instrumental in ensuring that the d&b Group is able to meet the needs of our customers and achieve this vision.” www.dbaudio.com.

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www.whitelight.ltd.uk

PTZOptics acquires TallyLights WORLD

Robotic camera manufacturer, PTZOptics, has announced the purchase of TallyLights. Through this acquisition, PTZOptics hopes to allow its customers better production environments and professional-quality content. The brand name for the acquired company will be TallyLights going forward.

Stephen Heywood, broadcast engineer for PTZOptics, said: “Many multi-camera broadcast and streaming environments

use cameras without built-in tally lights, or whose tally lights are too dim for talent to see. The TallyLights system gives operators fine control over the brightness of six talent-facing LED lights that can be added to any camera or monitor position. Even if cameras are mounted on the far wall or ceiling, talent always knows exactly where to look.”

“As a brand, TallyLights is completely aligned with our goal of helping our

customers make the best possible use of their existing video ecosystems,” said Paul Richards, marketing director for PTZOptics. “Broadcast studios, houses of worship, event producers and more can instantly improve production by adding TallyLights into just about any system.”

As a PTZOptics company, TallyLights will have access to expanded product engineering, marketing and technical

support. TallyLights will also have access to expanded distribution through PTZOptics’ global partner channel.

PTZOptics plans to continue manufacturing TallyLights products in the United States from its headquarters in Downingtown, Pennsylvania. PTZOptics will begin selling TallyLights products in January 2022. www.ptzoptics.com www.tallylights.com

Evertz relocates Studer to Canada WORLD

Once synonymous with precision Swiss engineering, Studer has relocated its manufacturing facilities from Hungary to Canada. Having acquired the brand from Harman Pro in February 2021, new owners Evertz Technologies has

established the brand’s engineering within its own headquarters in Burlington. The move forms part of a long-term plan to develop next-generation products within the broadcast, live entertainment, sports, esports, stadium, arena and house of

worship sectors. Established in Switzerland in 1948, Studer initially manufactured professional tape decks and analogue consoles. The focus switched to digital mixing consoles following its acquisition by Harman International Industries in 1994.

“Studer’s history and reputation for quality is undisputed,” commented Evertz vice president software systems, Vince Silvestri. “As the current stewards of this legendary brand, we are committed to developing high-quality audio products and

solutions to serve current and future live media customers.”

Evertz has already integrated Studer Audio with its Software Defined Video Networking (SDVN) solutions, focusing on the transition to IP. With a portfolio that includes the Vista digital consoles and Infinity Core audio mixing, Evertz has assured clients that they can access complete solutions for audio and video orchestration, monitoring and analysis.

The Canadian brand has also made a

commitment towards ongoing product development.

Based in the Swiss town of Regensdorf for almost seven decades, Studer was brought into the Soundcraft fold in Potters Bar, England, until Harman closed that facility in June 2016 and moved manufacturing and customer support to Hungary and China.

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www.evertz.com www.studer.evertz.com

8 PRO AVL ASIA January–February 2022

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NEWS: BUSINESS

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Fender acquires PreSonus in new agreement DiGiCo connects with Milan WORLD

WORLD

Recognising that the post-pandemic connectivity landscape is going to be more critical than ever, DiGiCo has announced its participation in the Avnu Alliance. Milan is built on the open AVB standard and allows all Milan devices to work together ensuring fully realised, standards-based networks.

DiGiCo’s enablement of Milan will allow its industry-standard consoles to be seamlessly added into the network chain by ensuring that any AVB products are fully Milan certified.

Developed through close cooperation between a number of manufacturers, Milan builds on a common

Fender Musical Instruments Corporation (FMIC) has announced the signing of a definitive agreement of merger with PreSonus Audio Electronics. The latter brand is a Louisiana-based designer and manufacturer of recording and live sound hardware and software solutions.

“We are thrilled to welcome everyone on the PreSonus team to the FMIC family and excited about the future growth opportunities available to both companies,” said Andy Mooney, CEO, FMIC. “Our teams share the same passion for music, the same commitment to innovation and the same desire to inspire and equip current and future generations of artists.”

“After more than 25 years, PreSonus feels it has found the right partner to support us as we continue our growth,” said Jim Odom, founder of PreSonus. “We look forward to showing our current and future music community what this opportunity means for them.”

“PreSonus and Fender’s combined vision, the way we see the future of music creation and the fundamental alignment of goals have made this an exciting idea since the first conversation,” concluded Jim Boitnott, PreSonus CEO.

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networking technology to create a link between AV, IT and silicon industries.

An increasing number of Milan-compatible products from Adamson, Biamp, d&b audiotechnik, L-Acoustics, Meyer Sound, Neutrik and RCF are continuing to enhance the appeal of the standard.

“DiGiCo is always at the forefront of technology,” commented DiGiCo’s managing director, Austin Freshwater.

“We have been looking at the AVB format for some time and, now that the Milan standard and team are making the pro audio integration elements of AVB much more industry friendly, it’s the right time for us to get involved. Many of our PA partners are now supporting the AVB format and it won’t be long before it’s a plug-and-play option across all DiGiCo consoles.”

MD-200 Media Player The MD-200, a 1U 19” rack size all-in-one player, is capable of playing various audio sources, such as USB, SD/MMC Card and FM Radio. The USB or SD/MMC Card can be selected to play the audio source, while tuner mode plays FM Radio simultaneously. The FM radio tuner stores up to 30 channels in preset memory and each of which can be recalled by one-touch operation.

We supply sound, not equipment. www.avnu.org

www.toa.com.sg

TOAasiapacific

www.digico.biz

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NEWS: BUSINESS

Crestron makes moves in Singapore SINGAPORE

One of the top banks in Singapore has recently selected Crestron’s solutions for its training and development centre, following several Singaporean universities and government institutions choosing to do the same. Due to its success in Asia, Crestron will be relocating to a new regional office in Cecil Street, Singapore, which will feature a Customer Experience Centre in order to strengthen its focus on end users.

“Asia is a significant region for Crestron and the pandemic has opened up massive opportunities for AV solution providers like us, driving us further to extend our capabilities into unified communications (UC). We are extremely pleased to work with regional customers across key industry verticals that bear testament to our strategic progress and accelerated growth in Asia. It also shows Crestron’s domain expertise and vertical experience in UC technology to identify users’ pain points and customise

end-to-end collaboration solutions using cutting-edge technology. Through such symbiotic partnerships, Crestron hopes to strengthen its position as a brand of choice in the UC segment and create better success stories in Asia,” said Jacques Bertrand, executive vice president for Asia.

Crestron hopes that UC will dominate the market in Asia, as customers are eager to return to the office while also supporting new ways of working that have become a core part of work-fromhome measures.

“The concept of UC is gaining momentum as enterprises are looking more towards hybrid consumption models that can seamlessly integrate with legacy systems while introducing new online platforms. Crestron, with its nuanced understanding of the market and strong product expertise, anticipates a steady yet accelerated growth curve in Asia in the years to come,” concluded Bertrand. www.crestron.com

L–R: Michael MacDonald, Shaun Clair, Troy Clair, Mikael Stewart and Scott Harmala

Clair Global expands reach with ATK acquisition WORLD

Clair Global CEO Troy Clair and ATK Audiotek president Michael MacDonald have announced that ATK will be sold to Clair Global, expanding its reach into broadcast audio, communications and integration.

“Everyone in the industry has worked with the ATK team for years to support our clients on major broadcast events,” commented Clair. “ATK developed the enviable position of being in the driver’s seat at huge events that span entertainment awards, sports and political events, and developed techniques to ensure that the sound provided to a live audience is flawless, while maintaining the integrity of audio for broadcast. Everyone at Clair is excited to have the opportunity to work with ATK.” “From a business perspective, ATK was looking to develop a long-term, sustainable path for their employees and clients,” stated Mikael Stewart, a partner in ATK who leads

the production team. “We could not be more pleased to work with a company like Clair Global that has both a market-leading position, as well as a long-term plan to advance the company into the future. People in our industry tend to focus on the gear, but people are really the defining asset in our business, and we want to make sure the ATK team has the best home now and into the future. We are confident that Clair Global is that home.”

There are no major changes planned for the continued operation of ATK. The management team of MacDonald, Stewart and Scott Harmala, a senior partner at ATK, will stay in place, as well as the staff, company name and location. ATK will continue to focus on the broadcast market going forward, but it hopes the new configuration will provide for more geographic reach. www.clairglobal.com

HETMA diversifies future workforces with scholarship WORLD

Higher Education Technology Managers Alliance (HETMA) has worked with AVIXA to create the Prism Scholarship as part of its dedication to diversity, equality and inclusion within the higher education technology workforce.

The scheme aims to encourage women, LGBTQIA+, Black, Latino, Asian, Indigenous and disabled people to get involved and become leaders within the AV industry. The scholarship includes a one-year membership to AVIXA, access to a virtual Certified Technology Specialist (CTS) prep course and course materials, coverage of exam fees for the CTS exam, mentorship by a HETMA member and a trip to a future InfoComm show. Ten scholarships will be awarded in 2022, with the application process starting from December 2021.

institutions,” said Joe Way, chair of HETMA. “This partnership with AVIXA is a tangible way to impact lives and truly invest in our industry’s under-represented people.”

“Watching the power and speed with which HETMA formed as an organisation in the past year has been incredible,” said Joé Lloyd, senior director, communications, AVIXA. “Together, AVIXA and HETMA share a passion and dedication for expanding diversity and inclusion across the audiovisual community. We look forward to engaging with HETMA for years to come and working in partnership to encourage better representation of diversity across the entirety of the AV community.”

“As an organisation, HETMA was founded to give a voice and offer support to those in the

higher education vertical who may not have career growth opportunities at their respective

www.avixa.org www.hetma.org

From rookie to champion AUSTRALIA

DirectOut has named Australian technology systems integrator tm stagetec systems as its Distributor of the Year for 2020, just 12 months after being declared Rookie of the Year following a successful period of sales in 2019.

CEO of DirectOut, Jan Ehrlich, stated: “tm stagetec has demonstrated a very deep knowledge of our entire portfolio during the recent years. At the same

time, they used this to consult their clients as best as they could and reached out to every single opportunity the market presented. Even though our relationship is still quite young, we are a well-coordinated team with the same customer-oriented understanding.” www.directout.eu www.tm-systems.com.au

tm stagetec systems’ GM Mark Lownds and his team

10 PRO AVL ASIA January–February 2022

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NEWS: DISTRIBUTION

AV Distribution Asia to ignite APAC fortunes APAC

With the aim to build and strengthen their distribution networks in the Asia Pacific region, Danish pro audio manufacturers Blaze Audio and Cornered Audio have turned to AV Distribution Asia to spearhead their fortunes. Headed by Danish veteran Thomas Marcher and based in Singapore, AV Distribution Asia provides representative and consultancy services for manufacturers wishing to enhance their presence and grow their business in the region.

As part of the Pascal AS group, Blaze Audio has fittingly turned to Marcher as its catalyst and source of regional expertise.

“Thomas and AV Distribution have the knowledge, experience and network to build our distribution and help us to start up, grow and support our partners in the market,” commented Blaze Audio’s VP of global sales, George Tennet. “The Blaze team is looking forward to supporting our journey together.”

Marcher has notched up over two decades in the AV industry since establishing TC Electronics’ Chinese headquarters in

Thomas Marcher

Hans V Madsen

Beijing in 2000. Since then, Marcher has taken on senior sales positions for DIS in Bangkok, Klotz Digital in Malaysia and Harman Pro in both Kuala Lumpur and Singapore. Having agreed terms earlier this year with both Austrian Audio and Music Bliss, the Danish additions look certain to make 2022 a busy year for the fledgling outfit.

Having assumed sales responsibilities for Cornered Audio, AV Distribution Asia is looking to increase sales through its existing distribution network in addition to creating new channels. “Thomas brings solid experience with sales at a strategic level in the entire region, for some of the world’s leading brands,” commented Cornered Audio’s CEO, Hans V Madsen. “His

Nothing comes to Singapore with E&E partnership

ear (1) was launched last year SINGAPORE

Singaporean integrator and distributor Electronics & Engineering (E&E) has announced a distributorship

with Nothing, a London-based consumer technology company. Based in Singapore, E&E has worked with international brands including Shure, Harman, Tascam and Allen & Heath. In August 2021, Nothing launched ear (1), the first device in its line of connected tech products and, within two months, had shipped over 100,000 units.

“We are thrilled to launch and introduce this new product into the Singapore market.

These true wireless earbuds combine refined design with precise engineering and active noise cancellation for a pure sound experience,” shared Gary Goh, CEO, E&E. www.enepl.com.sg www.nothing.tech

network, commercial skills and knowledge of installed audio both in consumer and commercial applications will be a real benefit to our organisation.”

Marcher appears to be relishing his new role as the region shows signs of opening for long overdue business again. “We are pleased to be working with Blaze and Cornered in the APAC region,” commented the MD of AV Distribution Asia. “Blaze’s portfolio of great products with neat features, combined with a very strong commercial offer, is a perfect fit for the market. I’ve witnessed Cornered grow globally and feel there is great potential for Danish design and their aesthetic approach to installed audio in Asia. I look forward to expanding sales for both the Blaze and Cornered businesses in addition to developing their brand in the coming years.”

www.blaze-audio.com www.cornered.dk

JAPAN

“QSC delivers the cutting-edge technology for the cinema industry, which makes them an ideal addition to our firm,” added Hibino Imagineering Corporation president, Kobayashi Mizuo. “We look forward to delivering immersive movie-going experiences across the country with QSC.” www.hibino.co.jp www.qsc.com

ROE Visual and ARK Ventures collaborate KOREA

ARK Ventures has announced its strategic partnership with ROE Visual for market development in South Korea. ARK Ventures and ROE Visual are established within local markets for supplying LED products for various projects. Having previously worked together on installations including VA Corporation’s Hanam Studios and NP Studio’s XR stage, the collaboration will extend into a strategic partnership.

“When a manufacturer succeeds at delivering on a consistent and high-end level, our work as integrator is made a lot easier. The absolute reliability of their products and support delivered, matches our philosophy,” said Oh David, managing director of ARK Ventures. “Meeting our clients’ high

Korean market, based on years of experience which makes them the ideal representative for ROE Visual in the South Korean market. ARK can support local customers with technical knowledge and services,” stated Grace Kuo, sales director for ROE Visual. “With the team at ARK Ventures as local support, ROE Visual has conducted many high-end projects in the South Korean market, delivering advanced LED products. Following the years of cooperation with ARK Ventures, we look forward to supporting growth in the local entertainment industry, creating outstanding visual experiences for all audiences.”

NP Studio’s XR stage expectations is paramount for both our organisations.”

“ARK Ventures is a renowned integrator, delivering high-end technology to the South

www.arkventures.co.kr www.roevisual.com

12 PRO AVL ASIA January–February 2022

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Germ RTW h new d succe adopt “We Asia a comm “Danm pro au exper as oth postp meter Bjar Danm marks

www.avdist.asia

QSC appoints Hibino as SI partner in Japan QSC has appointed Hibino Imagineering Corporation to expand the reach of QSC cinema solutions in Japan. “Hibino Imagineering Corporation is the premiere AV installation service provider in Japan, bringing a vast amount of experience in the cinema market,” commented QSC North Asia MD, William Chan.

“The traditional cinema complex has grown into a cinema entertainment centre, requiring technology for lobbies, restaurants, bowling lanes and arcades. Hibino will help expand Q-SYS and the extensive QSC product portfolio into the entire cinema complex.”

Founded over 70 years ago, Hibino Imagineering Corporation provides technical services that support theatre operations from the design, construction, operation and maintenance of movie screening systems.

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NEWS: DISTRIBUTION

Danmon Asia targets FBT charts new Vietnam’s broadcast market horizons in Indonesia INDONESIA

VIETNAM

German audio metering manufacturer RTW has partnered with Danmon Asia as its new distributor for Vietnam, stating that its success in emerging markets is key to its adoption globally.

“We’re very pleased to welcome Danmon Asia as our Vietnamese distributor,” commented RTW CEO, Andreas Tweitmann.

“Danmon Asia is a major and well-established pro audio distributor and we consider their experience with the broadcast market, as well as other professional audio segments such as postproduction, a perfect match for our audio metering and processing range of products.”

Bjarne Pedersen, managing director of Danmon Asia, added: “This cooperation marks a signification step for Danmon Asia

s

Andreas Tweitmann to serve more customers in broadcast and other professional sectors. Being authorised

by RTW, we will be able to approach a wider range of customers with top-quality products at very competitive price points.

RTW products fit very well with our current product portfolio so we can cater for a variety of customer segments. The integration with AoIP, in particular, is an extremely important factor, including Dante, Ravenna, AES67 and SMPTE ST2110-30. Our customers increasingly demand products that will integrate seamlessly in networked audio solutions.”

Despite the economic slowdown inflicted on most pro audio manufacturers, Covid-19 has provided an opportunity for some to realign sales channels and marketing strategies. Italian loudspeaker systems manufacturer FBT has been actively working to establish an improved distribution network in Indonesia.

“In recent months, I have been in contact with a fantastic group of people,” commented FBT export manager, Roberto Mataloni. “As a result, I can now announce that Sumber Suara Berkat Indonesia [SSBI] is our new distributor in Indonesia. Headquartered in Jakarta, SSBI’s current dealer network consists of 18 dealers across Java, Sumatra, Sulawesi, Sumbawa, Borneo and Bali, with several new dealers to be appointed shortly.”

www.danmonasia.com

Bjarne Pedersen

www.rtw.com

In addition to warehousing extensive stocks, SSBI provides marketing, training and aftersales services. Anticipating sales growth for FBT’s loudspeaker products, SSBI is currently establishing a projects division. SSBI sales manager Agung Risaputra is reunited with FBT, some 24 years after he first led sales for the Italian brand. SSBI director Sujatna added: “FBT products are increasingly adding prestige to our company.” www.fbt.it

Roberto Mataloni

www.sumbersuaraberkat.com

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NEWS: DISTRIBUTION

Renkus-Heinz expands Indonesian presence with PT Kairos Multi Jaya INDONESIA

Renkus-Heinz has appointed PT Kairos Multi Jaya as its dedicated Indonesian distributor. The Californian brand was previously represented by PT Citra Intirama for many years.

“Renkus-Heinz is proud to partner with Kairos Multi Jaya, a renowned pro audio entity in Indonesia,” commented Renkus-Heinz director of sales and business development,

Karan Kathuria. “We continuously strive towards improving our customer support and a partnership with PT Kairos Multi Jaya ensures we do just that in this region. I am sure this partnership will prove to be a major milestone for both companies.”

PT Kairos Multi Jaya provides professional audio and video solutions for a wide selection of clients covering houses of worship, theme parks, hospitality, leisure and entertainment venues across the archipelago.

Headquartered in Jakarta, the PT Kairos Multi Jaya team delivers education and training, solutions design and post-sales services of manufacturers’ products for a host of renowned brands, including Allen & Heath, Audio-Technica, DiGiCo, EAW, Focursite,

Genelec, Mackie, Meyer Sound, Powersoft, RCF and Symetrix.

“We are pleased to collaborate with Renkus-Heinz as a partner to strengthen our line of products,” commented a spokesperson from PT Kairos Multi Jaya.

“We’ve known Renkus-Heinz since the start of our company in 1990 and respect them as a consistent developer of strategic loudspeaker solutions. Given our pedigree, we are confident in selling and distributing their product to our dealer networks and further elevating our profile in the installation business.” www.kairosmultijaya.com

Karan Kathuria

Visionary to expand throughout Korea with Sound Solution KOREA

Seoul-based Sound Solution has been named as the new exclusive distributor of Visionary’s AV-over-IP products throughout South Korea. The distributor boasts several enviable brands in its portfolio that Visionary will join, including Adamson, beyerdynamic, DPA, RCF, Symetrix and TOA among others.

“Sound Solution is one of the strongest, most trusted AV distribution companies in Korea,” said Scott Freshman, COO for

Visionary. “[The company] has a strong reputation of distributing high-quality audio and video solutions, and we are pleased to add Visionary to their roster. Sound Solution’s unique technical resources and strong customer relationships will enable Visionary to expand its presence in Korea further. We look forward to strengthening Visionary’s market share in their fast-growing geographical territory.”

Mumbai’s Sound Connections joins Adamson Network INDIA

Rahul Thul

Mumbai-based professional sound and light company Sound Connections has joined the Adamson Network, adding the brand’s loudspeaker products to its rental inventory. Sound Connections installs equipment and services for small rentals to full-scale productions.

“Looking to offer our growing client base a high-end, compact audio system, we chose to invest in Adamson loudspeakers, having

watched the brand gain a lot of traction in the international and Indian touring market,” said Rahul Thul of Sound Connections. “The extensive support provided by StageMix, from whom the products were sourced, further solidified our decision in choosing Adamson.”

The company’s new system consists of 12 S10 two-way, full-range line array cabinets and eight E119 subwoofers from Adamson, all powered by four Lab Gruppen PLM20K44 amplifiers and linked by Sommer Cable’s Elephant SPM840.

“We first put the system to use at an event held at The St Regis Mumbai in November 2021,” commented Thul. “Everyone was incredibly impressed with its performance and the event was a huge success. With such a positive response, we know we are primed to cater for many more events, conferences and shows that can benefit from our system.” www.adamsonsystems.com www.soundconnectionsindia.com

www.renkus-heinz.com

“We are pleased to partner with Visionary, a leader in AV-over-IP technology,” added manager, technical support for Sound Solution, Daniel Koo. “Sound Solution specialises in designing and constructing AV and communication systems.

We are committed to providing the best quality by developing, acquiring and applying the most advanced technology. Sound Solution promises to provide optimised technology such as precise construction, maintenance, technical training and after-sales service to ensure customer satisfaction.” www.sscom.com www.vsicam.com

Vogel’s expands with Mindstec Asia SOUTHEAST ASIA

Mindstec Asia has been appointed as Vogel’s Southeast Asian distributor for its professional range of mounting and support solutions, catering to the professional and consumer AV industry.

“This partnership between Mindstec and Vogel’s brings together great synergy. With Mindstec’s experience in the AV mounting solutions space and Vogel’s unmatched quality and construction from the EU, the Asian region can be expanded with the highest-quality mounting solutions in the region,” said CEO of Mindstec, Abdul Wahab.

Gerdi Vogels, CEO of Vogel’s, added: “We are glad to have a strong partner in the

Asian region like Mindstec Asia come into partnership with us. We’ve had numerous requests lately for better build quality of AV mounts and solutions incorporating newer technologies via app control, including motorised wall mounts and trolleys for the Asian market. All of Vogel’s brackets are certified to European safety standards for both endurance and load testing. This has now become a vital requirement for the high standards expected from consultants, installers and systems integrators in the region.”

Davwinder Sheena, regional director for Mindstec Asia, concluded: “With the demand from many of our partners for better-quality and cost-effective mounting solutions, we are really excited to be representing such a prestigious brand for the Southeast Asian markets. I am confident that many of our partners are going to provide much more complete solutions.” www.mindstec.com www.vogels.com

www.stagemix.com

14 PRO AVL ASIA January–February 2022

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NEWS: APPOINTMENTS

Appointment of Freshwater signals new era for DiGiCo WORLD

DiGiCo has appointed Austin Freshwater as its new managing director.

Having acted as general manager since 2017, Freshwater takes the reins from long-serving MD James Gordon, who remains CEO of parent company Audiotonix.

Audiotonix – which also owns Allen & Heath, Calrec, DiGiGrid, Group One and KLANG:technologies – is said to be impressed with Freshwater’s performance, especially throughout the pandemic. Gordon said: “He’s done an amazing job in a company that, to be

Austin Freshwater

Poh appointed to grow Midwich Asia and Blonde Robot SINGAPORE

Midwich Asia has announced the appointment of Francis Poh as its general manager for Southeast Asia. Based in Singapore, Poh will oversee the growth initiatives of both Midwich and Blonde Robot, which become part of the Midwich Group at the end of 2018.

Previously in the role of general manager for StarHub, Poh has a background in regional sales and marketing, as well as business and retail management. His new position will see him lead a team of professionals across sales, technical support and operations.

“Midwich Asia is a relatively recent expansion for Midwich, so it’s exciting to have the chance to make a measurable, positive impact on what could be

Francis Poh considered an almost greenfield territory,” commented Poh. www.midwich.com.sg

Jonny Richardson joins Broadsign AUSTRALIA

Digital marketing technology developer Broadsign has announced the appointment of Jonny Richardson as director of business development, APAC. In his new role, he will help drive Broadsign’s programmatic DOOH (pDOOH) strategy

Jonny Richardson

forward, with a particular focus on the local rollout of Campsite, Broadsign’s DOOH ad buying platform.

“2022 should be an incredible year for programmatic DOOH and I’m excited to be a part of a team whose goal is to make it easier for advertising agencies and publishers across the region to embrace pDOOH. I can’t wait to get out and have meaningful conversations and build innovative campaigns with brands that push the boundaries of what’s previously been possible within the medium,” Richardson said.

As part of the changes, Broadsign’s sales director for APAC, Ben Allman, has been promoted to head of sales for ANZ. Allman commented: “We’re incredibly excited about Campsite’s impending arrival on Australian shores, along with the addition of Jonny to the local team.” www.broadsign.com

very honest, is used to winning all of the time.

Pandemic aside, he’s always been the right guy for the job.”

DiGiCo’s marketing manager, Maria Fiorellino, added: “Austin has been an extra layer of support within the company. Having him with us has strengthened our relationships because our history goes back to the very beginning.”

Freshwater is looking forward to guiding DiGiCo through future challenges. “I want to replicate the relationships James has built,” he said. “Not replace them by any means but add to them and offer that extra bit of support. After all, if you’re not driven to be the best for your customers, what are you doing it for? I’m here to ensure DiGiCo continues to develop along the path of excellence it’s been on since day one.” www.digico.biz

All change for Riedel SOUTHEAST ASIA

Riedel Communications has announced the appointment of William Wong as its new regional sales manager for Southeast Asia.

Wong has more than 20 years of experience in the broadcast video industry and will be responsible for leading both direct and channel sales across the region.

“William has a terrific understanding of markets across the region, an impressive network of connections across channel partners, direct clients and a reputation as a knowledgeable and personable sales professional,” said Simon Roehrs, director APAC at Riedel. “We’re very pleased to welcome him to Riedel.”

Having served in a variety of Southeast Asian roles for EditShare UK, Imagine Communications and Matrox Video, Wong has worked with media organisations in Malaysia, Singapore, Indonesia, Thailand and Cambodia. He will be based in Singapore and reports directly to Roehrs.

“While offering renowned communications and real-time media network products, Riedel continues to innovate and deliver new solutions that are shaping the future of the broadcast and production industries,” said Wong. “It’s an exciting time to be joining the company and bringing greater awareness of Riedel solutions to territories across Southeast Asia.”

In other news, Riedel Group has announced an expanded management structure which will see the company organised into three main divisions, with the Product Division and Managed Technology business units run by respective CEOs Rik Hoerée and Lutz Rathmann, and new MD and CEO Michael Martens fronting the third division – Riedel Networks.

Riedel Group CEO Thomas Riedel aims to strengthen the three business units individually,

William Wong therefore allowing him to devote his attention to business development and global partnerships.

Alongside chief financial officer Frank Eischet, the CEO will form the spearhead of Riedel Group.

“The last year has given us time to take a deep breath and reflect on our setup. We realised that we would have to change some things to sustain the rapid expansion of our business,” said Riedel. “Now is the right time to broaden the management team to support this dynamic upswing. This reorganisation is the foundation to master current and future challenges to our business and to continue our strong organic growth.”

The change in structure will also see chief sales officer Martin Berger withdraw from his role at Riedel. Although he is leaving to pursue private endeavours, he will continue to advise the management board going forward. www.riedel.net

L–R: Lutz Rathmann, Rik Hoerée, Michael Martens, Thomas Riedel, Martin Berger and Frank Eischet

16 PRO AVL ASIA January–February 2022

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NEWS: APPOINTMENTS

Dual hires at TSL Products as founder steps down WORLD

TSL Products has announced two new senior-level appointments, with Ian Godfrey, president of TSL Inc – the company’s US-based lead office – now becoming the head of control systems worldwide, and Robin Adams named as TSL Products’ worldwide sales director.

Two-and-a-half years after the acquisition of DNF Controls, TSL founder Dan Fogel is stepping out of the company to pursue other interests. Tom Dickinson, who was responsible for helping bring the two businesses together, has announced his retirement, confident that he is leaving the company in the best hands.

WORLD

Robin Adams

Ian Godfrey Godfrey formerly served as senior product manager at Telestream. His new role as president of TSL Inc and head of control systems represents a commitment to its global customer base for the former DNF product lines. As TSL’s head of control systems for both the UK and USbased portfolio, Godfrey carries the responsibility of defining and delivering strategies to develop the company’s control business.

“Having spent a great deal of time working in the broadcast industry, I am excited to carry TSL’s impressive performance into the future with steady growth through innovative product developments that will stand the test of time,” said Godfrey.

Adams is excited to be a trailblazer for the brand as the primary individual to hold this global sales role. He most recently worked at EditShare, where he held the position of vice president. “I am honoured and excited to be joining the TSL family as the worldwide sales director,” he commented.

“With years of experience being accountable for sales-cycle management to identify and satisfy customer needs, I am well-prepared to launch this new role on a global level, working closely and transparently with TSL’s regional sales managers.”

WORLD

Lawo has appointed Oliver Frenzel as its new business development manager for its SMART line of IP network monitoring solutions.

Frenzel, who holds a diploma in Television Engineering and Electronic Media, is wellknown within the Lawo Group as well as to its customers in his previous roles. Frenzel is based in Germany and, as business development manager of SMART, he will work with Lawo’s international team to advance and promote the SMART range.

The Alliance for IP Media Solutions (AIMS) has announced that all members of the AIMS board of directors have been recently re-elected to serve once again in 2022. Chairman of the board Michael Cronk will step down due to a change in his employment that disqualifies him from continuing with the role. Steve Reynolds of Imagine Communications will inherit the title, having previously acted as vice chair. Terry Holton of Yamaha will serve as AIMS’ new vice chair, while Chuck Meyer of Grass Valley will join as a new board member.

and energy during the past six years has made the AIMS mission of IP adoption a reality. Under his leadership, programmes such as the IP Showcase were created and are still seen today as the source of industry education and advancement. And his efforts on behalf of AIMS have been recognised around the world. He will be missed.”

Cronk spoke of his time as chairman: “We’ve made a difference, and it’s been a privilege to serve with so many talented individuals across the industry in pursuit of the AIMS mission. While I will miss being

Steve Reynolds

Andreas Hilmer

Terry Holton

Andrew Starks

Chuck Meyer

Samuel Recine

AIMS board of director members for 2022 include AIMS chairman of the board Steve Reynolds, vice chair Terry Holton (Yamaha), chief financial officer Andreas Hilmer (Lawo), Andrew Starks (Macnica) and Chuck Meyer (Grass Valley). Their terms start immediately, as does their ongoing work towards fostering a standards-based approach to IP in professional media.

“Michael Cronk has been instrumental in the formation and success of AIMS,” said Reynolds. “His commitment of time

part of this important work, I’m confident that AIMS will continue to make important progress in the months and years ahead.

Chuck will be immensely valuable in guiding this ongoing work and AIMS is fortunate to be welcoming him as a new board member.”

Samuel Recine has stepped into the role of Pro AV Working Group chair at AIMS, a position previously held by David Chiappini, who was a colleague of Recine’s at Matrox.

www.tslproducts.com

Lawo gets smart with newly appointed Oliver Frenzel

Oliver Frenzel

AIMS shakes up its board of directors for 2022

In his new position, Frenzel will take on a central role for the market-oriented advancement of Lawo’s SMART product line and support his sales colleagues in their efforts to provide a solution for customer projects. Frenzel’s new role reflects Lawo’s continued growth in the domain of IP-based broadcast remote production solutions.

“I’m very proud that Lawo has given me the responsibility for this task. I have always admired the commitment of all colleagues in developing and manufacturing innovative broadcast products and solutions at top quality level and apply them to the benefit of our customers. It feels great to be a part of the Lawo family.”

“Oliver is a perfect fit for this newly created and essential post,” said Jamie Dunn, chief commercial officer at Lawo. “In his responsibilities within Lawo, Oliver has compiled comprehensive expertise in all aspects of broadcast, problem solving for customers as head of support, as well as developing long-term, customer-oriented strategies and advancements for the services we offer. His ‘no-is-not-an-option’ attitude drives his commitment to not stop before the best solution is found.”

www.aimsalliance.org

www.lawo.com

18 PRO AVL ASIA January–February 2022

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NEWS: PROJECTS

Central-Highlands TV station expands to include HD VIETNAM

VTV8, part of Vietnam Television’s (VTV) network, has opted for Sony cameras following a decision to update its broadcasting equipment. Established in 2016, VTV8 is the result of a merger of three provincial stations and is now dedicated to serving its viewers in the Central-Highlands region. With most of its audience living in rural areas, the station fulfils the need for locally produced content that resonates with the local culture.

“Upgrading our broadcast equipment was essential to get VTV8 ready for the exciting world of HD,” said director of VTV8, Nguyen Lam Thanh. To increase VTV8’s local production of news programmes, talkshows and cultural shows, the station invested in a new range of HD cameras and switchers for its three studios in 2020. The acquisition included seven units of Sony’s HDC-3100 system camera and one MVS-3000A switcher.

Studio one, the largest of the three studios, has been equipped with four HDC-3100 cameras, which cater for live events with a big audience. “The HDC-3100 is a proven

operation and it can output 3G-SDI signals in a range of formats right up to 1080/50p with 4K available through the CCU’s 12G-SDI and Quad 3G-SDI interfaces.”

VTV8 has also opted for the MVS-3000A SD/HD switcher, the MVS-7000X’s more budget-friendly and compact counterpart. “The MVS-3000A switcher is ideal for our studio size and even for our outdoor operations. Its simple interface is a joy to use for both new and experienced operators. The fact that many large broadcasters use this model says a lot,” Vo Dinh An, deputy head of technical department, said.

“We inherited a mixed bag of broadcast equipment when we merged. Thankfully, most were Sony products. We discovered that with Sony, we had seamless compatibility with our older models as well as new products including third-party equipment. VTV8 is now able to deliver HD quality and ready for our next challenge, that being 4K,” Thanh concluded.

Studio one system camera built for live production environments,” Nguyen Rang Dong, head

of filming department, shared. “It ticked all the right boxes – excellent HD images, fibre

pro.sony

Arts college masters its Tooth Tooth chooses audio production facility Martin Audio system with PMC JAPAN

SINGAPORE

Lasalle College of the Arts in Singapore has installed a PMC MB2 XBD Passive monitoring system with P2400 amps in its new mastering facility built to complement existing facilities at its School of Contemporary Music. Founded in 1984, Lasalle College of the Arts offers a variety of creative educational programmes. Its School of Contemporary Music has courses in music performance,

impressed with the system and have been excited every time they use it. After spending some time working on the monitors, I find myself having to listen to every single piece of music again. Their depth, imaging and transient response is top notch. So far, all the mixes and mastering we have done with the monitors have been accurate and they have certainly made our lives easier.”

Tooth Tooth, a well-known restaurant brand, has recently installed a Martin Audio system within its food hall located on the ground floor of the newly launched Kobe Port Museum. The city’s cultural complex otherwise consists of an aquarium, food hall and bridal desk.

Speaking on the music, which was produced by Fish Four, Kobe Port Museum president Yutaka Okano said: “High-quality BGM is an indispensable element for restaurants and cafés. We chose music suitable for both daytime and nighttime that develops the atmosphere of the place.

We have enjoyed a long relationship with Martin Audio and have used the brand in several facilities to date. With confidence in the quality of Martin Audio’s speakers, we again requested them without hesitation.”

The food hall contains more than 50 Martin Audio units Lasalle College’s new audio system composition and audio production, all taught from well-equipped studio and theatre venues.

The monitoring system was required as part of an expansion of its facilities, which includes a theatre, recording studio, a computer lab and various rehearsal spaces.

Supplied by SSL Asia following advice from general manager Malcolm Chan, the PMC system is already in use and proving incredibly popular with students studying for diplomas in audio production. Eugene Ng, the music school’s technical officer and teaching assistant, emphasised: “They are definitely

Ng noted the lack of mastering facilities available to students in Singapore. “Mastering is one of the most common topics that students have queries about but, in Singapore, there aren’t many mastering facilities that students can access to work on their projects,” Ng said. “We have been piecing the space together slowly, so you could say this is a work in progress. We have been slowly procuring equipment for the space and we hope to upgrade the studio into a stateof-the-art facility in the future.”

Twenty-nine CDD6TX cabinets have been installed on several pillars, covering a wide area of the food hall. In addition, Adorn series speakers have been deployed in the aisles with ACP-55T pendant and ASC-55T ceiling speakers.

Considering the outdoor terrace also, 52 Martin Audio speakers have been utilised.

“At night, DJs come in and play live.

In addition, there is an event space in the hall and, if necessary, a portable Blackline X10 can be set up,” Okano said. There are three locations where DJ booths can be set up, so it was necessary to devise ways to smoothly transfer the signal inputs from these locations, and this was accomplished via a mobile input DSP rack, with the input signal delivered via Dante. www.martin-audio.com

www.pmc-speakers.com

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JBL brings sound to Surfers Paradise beach club AUSTRALIA

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“We have neighbours right on our doorstep but no walls or roof that traditionally assist in containing noise. We had to work very hard from an acoustic engineering perspective to make sure we had correct placement and the correct style of loudspeaker system in order to mitigate dispersion, but maximise the quality

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MadisonAV worked to contain the noise within Cali Beach

An open-air, Ibiza-style beach club in the heart of Surfers Paradise, Queensland, has deployed a total of 80 JBL Professional loudspeakers across the venue. Cali Beach, which cost AU$10m to construct, is said to be a new style of development for the coast.

“There are multiple restaurant options, a volleyball court, an outdoor cinema and more,” said Matthew Keegan of Artesian Hospitality, the company that runs Cali Beach.

Keegan added that operating a nightclub in high-rise precincts does pose its challenges.

The pool area is equipped with a stereo pair of JBL-CBT-1000s

of sound within the venue, which is absolutely critical to the customer experience.”

Artesian Hospitality worked with AV supplier Prestige Group and distributor MadisonAV. The three key elements were getting tight pattern control, optimising the audio and equipping for all weathers. General manager of Prestige Group Nathan Wright explained why it set its sights on the Harman speakers.

“JBL ticked all the boxes. Its weatherproof range of speakers are designed for these harsh environments, the range has the

right specifications for the project and has the speaker dimensions, dispersion characteristics and frequency responses that we needed.”

Eighty JBL loudspeakers have been deployed across Cali Beach, with many operating as nearfield cabinets to restrict spill outside the venue. The outdoor cinema has been fitted with left and right arrays of JBL CBT70J-1s and 70JE-1 along with four AWC15LF low-frequency drivers below the screen. CBT70J-1s and 70JE-1s act as the main left and right PAs in the DJ area, along with four AWC15LFs mounted on a circular truss providing bass support, with a pair of AWC82s as rear fill.

Weatherproof stereo pairs of JBL AWC82 fullrange enclosures cater for the outdoor bars and booths. The pool area is equipped with a stereo pair of JBL-CBT-1000s along with AWC-82s. Crown CDI series amplifiers power the system, which is also equipped with BSS processing and BLU link networking.

“We’ve been very happy with JBL,” said Keegan. “It’s been an extremely smooth experience dealing with both Prestige and MadisonAV. They were tasked with something that was pretty challenging and we’re very happy with the results.” www.madisonav.com.au pro.harman.com www.theprestigegroup.com.au

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NEWS: PROJECTS

Big Red Music Box partners with Neumann INDIA

Neumann has announced the launch of demo rooms for audio professionals at The Red Music Box – a professional recording studio and creative space in Bangalore, founded and run by Varun Murali. India is one of the first countries to experience the Neumann demo rooms.

Exclusively booked and reserved for business professionals in the studio industry, sessions can include all industry standard playback formats and current streaming services. A range of 2.1 stereo setups can be auditioned and the tracking room is spacious enough to record bands and singer/songwriters, with the studio having hosted online livestreaming music events during Covid-19. The control room caters to music production, monitoring, mixing and mastering services.

Country manager Vipin Pungalia at Sennheiser Electronics India said of the launch: “We want business professionals to have a first-hand, first-ear experience on the potential that comes with the KH models. Their reputation is already incomparable when it comes to precision,

neutrality and overall system integration options. Nonetheless, how much this eases your sessions, prevents acoustic fatigue and allows for a new level of control and fidelity on your sound stage must be experienced. We want to bring demo rooms close to industry professionals so everyone can make an informed decision on the best possible audio.”

Murali concluded: “We are thrilled to partner with Neumann. The partnership is aimed at improving the quality and providing a fulfilling experience to artists and inspire them to create great music. To enable this, the studio is equipped to put artists in their comfort zone and let them create music, perform, record, mix and master music with the help of Neumann monitors. We look forward to developing a community that shares the same passion of creating a musical journey that inspires.” www.neumann.com www.theredmusicbox.com

Synchronisation is essential for The Sound of the Silk Road

Smooth as silk for Clear-Com CHINA

Nederland Worldwide Entertainment (NWE) has partnered with Shaanxi Tourism Group’s Legend Performances for the world premiere of the musical The Sound of the Silk Road at the Shanxi Grand Theatre in Xi’an.

Due to Covid-19 restrictions, key members of NWE had to work remotely. Determined for that not to be a hinderance to the quality of the production, NWE turned to Beijing-based Panda Dream Quan Cultural Development (PDQ) for assistance regarding its onsite and remote production needs.

The Sound of the Silk Road regards the city of Xi’an as part of the Silk Road, a network of trade routes connecting China with Europe and the Middle East during the Han Dynasty over 2,000 years ago. The production features acrobats, musicians, magicians and life-size puppets, which requires faultless coordination and communication between production staff in order to achieve synchronisation. “The producers paid a lot of attention to the communication solution for this show,” explained PDQ’s project leader, Ye Lynn. “They requested a reliable wireless system for onsite use that also satisfied their need for multiple channels and point-to-point communication.”

For both the rehearsals and premiere, PDQ supplied a comprehensive Clear-Com system with a combination of FreeSpeak II Digital Wireless Intercom, HelixNet Digital Network Partyline, LQ Series of IP Interfaces, Agent-IC Mobile App and the Station-IC Virtual Desktop Client. To cater for the production’s remote needs, LQ was integrated into the onsite FreeSpeak II and HelixNet configuration. Remote users can connect to LQ over IP to access the onsite comms network in the theatre from their locations in New York, Germany and beyond, providing they have the Agent-IC mobile app. “The combination of LQ with Agent-IC and Station-IC successfully solved the remote problem by allowing international contributors to communicate as if they were all in the same room,” said Lynn.

The musical is said to have been a major success in China since its debut in August 2021 and will take permanent residence in a purpose-built theatre in Xi’an’s new theme park, Silk Road Paradise, in 2022, prior to an international tour. www.clearcom.com

Varun Murali

Silk Road eatery illuminated by Christie projectors CHINA

A Maritime Silk Road-themed restaurant in Guangzhou has become the first venue in China to deploy Christie Inspire Series 1DLP laser projectors, aiming to redefine the culinary experience. The projectors were installed and commissioned

by Zhongqing Yingye Group, following a rigorous selection process.

Situated in Hengsha municipality east of the city, the contemporary eatery reflects on the history of Guangzhou and how it flourished as a regional trading port in the 15th century.

The projectors provide visuals on all four walls, featuring merchant ships sailing and having their goods unloaded by port workers.

A 12-seat round table transforms into a projection canvas showcasing animated images of a thumb-sized chef serving up virtual steaks in front of each guest.

Ten Christie DWU760-iS laser projectors, each with a brightness of 7,150 lumens, display images onto four walls, while three DWU760-iS laser projectors illuminate the pillar and tabletop, working alongside in-

focusing on the ‘Maritime Silk Road’ theme are an innovative approach that combines storytelling, technology and cuisine to deliver an exceptional dining experience

A 12-seat round table transforms into a projection canvas built Christie Twist. The visuals can also be customised to fit the occasion and its guests.

Project manager Shijie Kong of Zhongqing Yingye Group said: “The 3D projections

for guests. This is the first time that the Inspire Series has been used for such an extraordinary dining concept in China and we are proud to be involved in it.” www.christiedigital.com

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NEWS: PROJECTS

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Gigawatt Sound & Light saddles up with KV2 for Cowgirls Gathering 2021 AUSTRALIA

With a recorded population of 713 at the last census, the sleepy rural town of Kilkivan in Queensland swelled with thousands of horse lovers for the first edition of Cowgirls Gathering.

Featuring interactive workshops and clinics with educators, trade stalls, competitions, music, art and entertainment, the three-day event celebrates the western lifestyle of women across Australia and beyond.

KV2 speakers were the preferred loudspeaker of choice for Gigawatt Sound & Light. Compact, two-way active EX10 loudspeakers were deployed for the main arena, using a single bus per speaker that allowed various audio signals to be routed to each speaker as required. In addition to being orientated to face the crowd, the EX10s also faced into the arena for the performers, most of whom were on horseback

The Grand Canal of Beijing combines music, choreography and costumes

Coda Audio blends in to stand out at the opera CHINA

The Ministry of Culture and Tourism and the Beijing Municipal People’s Government have called on regional distributor Tongbo to supply an audio system for the annual Chinese Peking Opera Arts Festival. The event took place over a three-week period at The National Centre for Performing Arts and is said to be instrumental in the advancement of Chinese traditional culture.

An important piece featured at the festival was The Grand Canal of Beijing, a complete orchestral suite for the Beijing Opera, with the presentation combining music, choreography and costumes. Organisers approached Tongbo, requiring a high-quality audio system

Cowgirls Gathering 2021 featured interactive workshops and entertainment

Brisbane-based production specialists Gigawatt Sound & Light were contracted to supply sound reinforcement systems throughout the festival. Ranging from BGM, to paging, to foreground audio distribution and speech reinforcement, a multitude of systems were in use including the main covered arena, a large open-air corral known as Campdraft and the Education Tent from 7am to midnight each day.

“This was an unusual assignment for us,” admitted Gigawatt’s technical systems manager, Andrew Wood. “We’re more accustomed to loud rock-and-roll bands and festivals, or corporate shows for which we supply turnkey AV. We sent a couple of guys down for a site assessment in the days prior to the festival to ensure an optimal deployment.”

with headset mics. “The EX10s performed brilliantly with zero feedback,” furthered Wood.

“Audio playback was stunning with the EX10s delivering low end that outperforms many alternative 12-inch boxes.”

For Campdraft, Gigawatt owner Ben Finlay designed a different solution. “We needed a mid-throw box for training, speech and foreground music playback,” explained Wood.

“The ES1.0s were used with no subs as a vocal reinforcement system. It was the first time I’d experienced a set of 1.0s without subs but, given that we generally roll off the voice at about 125Hz, the 130Hz crossover point suited perfectly. The three-way ES1.0 delivered a natural sound where needed.”

Hosting Zoom meetings from across the globe during the day, the Education Tent would be transformed into a performance space each evening. “For FOH requirements, we used a pair of EX12s pole-mounted onto the accompanying EX2.5 sub,” said Wood. “It’s one of the most versatile and best-sounding rigs for this sort of application – the bottom end is tight and the EX12s with that horn excel. All the DI boxes on the band stage were an assortment of KV2 JK Series devices.”

The client, MCs and others involved in the event commented on the audio clarity, intelligibility and trouble-free operation that the KV2 point source systems provided. “The Gigawatt team nailed it with KV2,” concluded Wood. “You ask a KV2 PA to do something and it responds. Operationally, the active systems are easy and straightforward to deploy, and sonically it’s just stunning.”

that was also as discreet as possible. The distributor supplied a Coda system based around the German manufacturer’s N-RAY product.

The system compromises six N-RAY with one SCN-F subwoofer per side, as well as four HOPS5 for a stage lip system and a further eight HOPS8 for monitoring. The compact nature of the loudspeakers meant that they were largely invisible in the live video feed.

Following the performance, the sound designer for the production, Wang Lei, declared that the audio was “exceptional”. www.codaaudio.com

KBS’ wishes granted with Genie intercom system KOREA

Korean Broadcasting System (KBS) has deployed four sets of LaON’s Genie intercom system, which were delivered and installed by Dong Hwa AV. The South Korean national public broadcaster was founded in 1927 first as a radio station, and is a government-funded public corporation, although managed independently. The company operates several TV and radio channels including KBS World and the Educational Broadcasting System (EBS).

KBS sought a wireless intercom system to replace the old 2.4GHz setup within its drama production facilities. The company required four wireless systems using six wireless beltpacks each that can operate with other broadcasting equipment without

interference, but with room for scalability.

Dong Hwa AV sales manager Jaehyuk Lee implemented a full demonstration of LaON’s Genie intercom which can enable up to 128 beltpack connections.

President of Dong Hwa AV, Park Yong Seok, commented: “Dong Hwa has been distributing camera and communication systems since its establishment in 1973. We have been making every endeavour to find good products for our local clients as well as adapt them. It is our pleasure to announce that we could successfully sign off this project by delivering another trending product, Genie to one of our valued clients, KBS.” ww.laon-tech.com

www.gigawatt.com.au www.kv2audio.com

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NEWS: PROJECTS

Fintech company equipped with Ideal Systems 4K studio

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Wealth management fintech company, iFAST Corporation, now has a TV studio with 4K live production and streaming capabilities courtesy of Ideal Systems. The facilities are based within the company’s head office in Singapore’s Central Business District.

The TV studio, formerly a large conference room that was unused due to Covid-19 restrictions, now includes a large chroma key

SINGAPORE green screen set for VR and AR productions, as well as a news set containing a 5m-wide LED videowall from Unilumin. All the studio cameras are NDI 4K and the networking and production systems are based on BirdDog and NewTek technology. iFAST hopes to use the facilities to provide a content library for its customers which currently include over 520 companies and 10,000 wealth advisers.

“iFAST Corp’s mission is to help investors around the world invest globally and profitably. For more than 20 years, we have worked to ensure our investors have access to information and research content that can help them in the investment journey.

Tapping on the potential of the rapidly growing digital media space, we see iFAST TV as a natural extension of our fintech-

driven and investor-focused business as we continually seek to better serve, educate and engage our investors,” said Lim Chung Chun, chairman and CEO of iFAST Corp.

“Covid-19 has dramatically impacted how corporations communicate with their customers and partners. With conferences and exhibitions being cancelled and travel being restricted, many corporations are choosing to build professional-grade TV studios to create their own content and communicate directly with their customers via social media and streaming to apps.

This is truly a next-generation TV production system supporting end-to-end 4K-overIP from camera, through production and livestreamed securely up to 4K to the viewer. By utlising NDI and Live Call Connect with the NewTek TriCaster 2 Elite, we have dramatically reduced the complexity of the solution architecture for technically complex productions such as featuring multiple video calls from platforms like Zoom and Microsoft Teams in live interviews on the videowall or in virtual space in the chroma set, while making the backend production systems easier and more efficient to operate by the iFAST TV production team,” said CEO of Ideal Systems Singapore, Fintan Mc Kiernan. www.idealsys.com www.ifastcorp.com

Precisely as the artist intended

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Club Parramatta’s AV refurbishment elevates guest experience

Martin Professional lights up Hong Kong sports centre CHINA

MPHK Group has supplied Hong Kongbased Pui Kiu College with a Martin Professional lighting system for its new indoor sports centre. The college is a thought-train school, meaning that children can attend from early years up until they graduate. It is important that the campus is well equipped with facilities suitable for all ages whilst enabling the development of artistic and sporting abilities.

The college’s new indoor sports centre will host assemblies, cultural activities,

Kong, and it found a solution. The system is designed with eight units of Martin ERA600 Performance and 16 units of Martin Rush Par 2 Zoom. In addition to providing system design, lighting effect simulation renderings, lighting programming and operation training, Start Up and MPHK also participated in several onsite construction coordination meetings.

“We are confident in Martin Professional lighting due to the high recognition of the brand, assured quality products and helpful

performances and basketball games. The school emphasised to local integrator, Start Up Audio, that the system had to be colourful, flexible and have sufficient illumination to meet the various purposes of different activities taking place. Also, the lighting equipment had to be installed on a 10m ceiling to avoid interference with the deployment and retraction of the basketball hoop.

Start Up Audio specified the college’s requirements to MPHK Group, the Martin Professional lighting distributor for Hong

technical support from MPHK. The project is going to set a new standard for AV and lighting of multifunctional auditoriums in Hong Kong,” said Will Lung, project manager at Start Up. “We are very pleased with the lighting effects in the new multifunctional auditorium and believe it will enhance students’ experience in cultural and sports activities,” said Wu Yuk Chi, Pui Kiu College’s principal.

AUSTRALIA

Sydney-based Club Parramatta has deployed an Exterity IPTV and digital signage system as part of an AU$25m refurbishment project. Owners of the modern venue wanted to reaffirm its commitment to providing premium hospitality with a specific focus on AV. Aiming to inform as well as entertain guests with technology, Club Parramatta possesses over 100 Exterity appliances including media players, encoders and gateways.

Local AV specialist Intellect Projects Group (IPG) deployed a site-wide network around a 10GB switching core with structured Cat6a cabling across the facility. The Exterity IPTV and ArtioSign digital signage solution is connected to over 70 screens, from 75-inch displays running 4K sports content, to indoor and outdoor LED screens for digital signage and projectors within function rooms. Live music is of particular importance to the venue, so the Exterity IP video system interfaces with a Dante audio platform used for the PA and live music distribution. With

Exterity acting as a central hub for multiple content feeds, the products control live TV, premium sports and interactive video content used in the club’s electronic gaming machines.

“Exterity has proven extremely easy to integrate with other systems and that is a big plus,” explained technical director for IPG, Justin Baker. “The end result is a stunning venue that has one of the best audiovisual and automation setups in Sydney. We had a clean slate to work with, so we evaluated several IPTV systems before choosing Exterity. The other solutions had poor user interfaces or were just not as reliable. The last thing the club wanted was for guests to walk into the venue and see a display that’s not working properly, or a holding screen because there isn’t content available. When we tested Exterity’s system, it ticked all the right boxes.” www.exterity.com

www.martin.com www.mphkg.com.hk

www.intellectprojects.com.au

Sonic Value places audience at the centre of In This Garden We Loved KOREA

Seoul’s Sejong Performing Arts Centre has called on project integrator Sonic Value to supply an audio system for a play titled In This Garden We Loved. The play, which sees the stage transform into a large garden, places the audience acoustically in the middle of the set. For an all-round sound reinforcement, Sonic Value opted for an LD Systems CURV 500 setup.

“We wanted to give the audience the feeling that they are actually in a garden during the play,” explained director, Oh Kyeong-taek. The Sonic Value team, led by senior engineer Hyunchul Yoon, designed a setup based on 60 CURV 500 satellites, with five flown arrays serving as the main system. To the sides, six CURV 500 D SAT duplex satellites are each used on two levels, flown on the bottom level and on tripods on the top. The setup is completed by six CURV 500 D

SAT behind the back row and five Stinger 10 A G3 loudspeakers as near fills at the front of the stage.

For Hyunchul Yoon, the challenge was not the audio quality, but how each component interacts with each other to create an immersive experience: “The CURV 500 system absolutely convinced us with its precise sound dispersion.

With its three tweeters, each CURV 500 satellite forms its own array with crystal-clear sound. In combination with all the speakers together, the CURV 500 system also allows for clean handling of the dispersion angles and thus a clean sound image.” www.ld-systems.com www.sejongpac.or.kr

The garden-like set

www.sonicvalue.com

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Don’t just hear it. Hear it right.

You’ve heard us amplify with perfect clarity. You’ve heard us in standing ovations. You’ve even felt us, in the standing hair on your arms. And now, get ready to experience all the ways we deliver honest sound. meyersound.com

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NEWS: PROJECTS

Siam Square entertainment venue receives the Harman treatment THAILAND

Lido 1 theatre

Mahajak Development has upgraded the Lido Connect multipurpose entertainment and retail venue with a Harman Pro audio system.

Prior to its closure in 2018, the building in Bangkok’s Siam Square was home to the Lido Multiplex Movie Theater for 50 years. The ageing building consequently underwent the necessary renovations to become the cultural hub it is today, hosting moviegoers, music fans, artists and shoppers.

After the cinema closed its doors, the former Lido 1 theatre remained as it is but with a major upgrade. The second and third theatres became a live music venue and small black box theatre, respectively. With all three spaces needing new audio systems, Mahajak Development equipped Lido Connect with a range of JBL Professional, Crown, Soundcraft, BSS and dbx solutions.

“The client wanted to enliven the space with immersive, hi-tech audio systems to deliver

pristine sound quality while ensuring a smooth listening experience,” said Pongsakorn Kanchanachayphoom, project director at Mahajak Development. “To support the varied range of events to be held at the venue, we carefully selected Harman fixtures that reproduce speech, music and other sound effects with the finest detail and the fullest dynamics.”

The Lido 1 theatre is fitted with JBL AC599 two-way loudspeakers, 9320 cinema surround speakers and ASH6118 subwoofers to deliver 7.1 surround sound with extended bass response. The system is powered by Crown XTi 2002, XTi 4002 and XTi 6002 amplifiers with a BSS BLU-100 signal processor. The JBL Cpi2000 cinema processor provides volume control, signal processing, room EQ tuning and system fault detection for the entire system.

A Soundcraft Mini Stagebox 32i is included in the system, as well as dbx Di4 and DB10V DI boxes for occasional live events.

The second theatre-turned-stage is furnished with JBL SRX835P and SRX815P loudspeakers supplemented by SRX828SP subwoofers. JBL PRX815W enclosures serve as stage wedges for the onstage performers. Mahajak also equipped Lido 2 with a Soundcraft Si Impact digital mixer, featuring scene presets for easy setup and remote control via tablet, to provide staff with flexible mixing capabilities. Mirroring Lido 1, Mahajak equipped Lido 2 with a Soundcraft Mini Stagebox, dbx Di4 and DB10V DI boxes and a BSS BLU-100 signal processor.

A less is more audio design was applied to the smaller-scale, black box theatre in Lido 3.

JBL PRX815W portable loudspeakers were selected so staff can easily reconfigure the space for different applications. PRX818LFW subwoofers provide low-end extension for full-range sound. Both models feature Wi-Fi connectivity.

Lido Connect’s management were said to be “delighted” with the new setup that they felt brought it closer to having “best-in-class cinema technology”.

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NEWS: PROJECTS

Multipurpose university auditorium installed with multifaceted sound system INDONESIA

Universitas Katolik Parahyangan (Parahyangan Catholic University) in West Java has implemented an Alcons Audio system in its multipurpose auditorium for choir performances, presentations and lectures.

The university tasked design and build contractor Esa Sinergi Selaras Indonesia (ESSI) with the project, specifying the need for exceptional speech intelligibility, tight, articulate bass and seamless sound. The contractor opted for an Alcons system, insisting the pro-ribbon technology would reduce ear fatigue for audiences.

The chosen system comprises compact hangs of two single 12-inch VR12/90 midsize monitors on each side of the stage, as well as a central BF362i mkll double 18-inch output subwoofer beneath the

stage. Amplification and control duties are catered for by a 4x2,500W Sentinel10 amplified loudspeaker controller. The system is compact, therefore not impacting the view of the large video screen downstage or reducing the visual impact of the auditorium’s modern décor.

“Before the new building formally opened, we hosted five trial events which included demonstrating the audio system,” said Hardy Nanda of the university’s technical support department. “University staff and audience members alike said that this is not just a good-sounding system, but is really outstanding. We truly believe that it may be one of the best auditorium sound systems in the whole of Indonesia.” www.alconsaudio.com

AV upgrade enables blended learning AUSTRALIA

Multiple campuses of the Australian Catholic University (ACU) have chosen ARX Systems’ USB Ultra I/O audio interfaces as part of a series of AV upgrades

to facilitate remote and mixed teaching. We are using the ARX DI Boxes to take microphone audio out of the Crestron DMPS (Digital Media Presentation System) and

ARX Systems’ David Park builds a USB tower of power designed to facilitate remote and blended learning. The ARX Systems products have been supplied by East Coast Audio Visual, Fredon Technology and Insight Systems Group.

Audiovisual systems administrator for ACU David Prentice, along with colleague Douglas Simpson, headed up the project. “What we wanted to achieve at ACU, which most other universities are also doing, is being able to use Teams/Zoom in our existing lecture rooms,

feed it to the PC, so that Teams/ Zoom and other software can utilise the microphones in the space.”

Commenting on why the ARX products were chosen, Prentice explained: “We chose this box as it was well priced, well built and just did the job. We had a few small teething issues with other similar products. Just by adding this box and a camera to the room, we were able to enable the remote/ mixed teaching relatively quickly.” www.arx.com.au

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JAK Audio Visual breathes life into Richmond hospital auditorium AUSTRALIA

Richmond’s Epworth Hospital called on Melbourne-based JAK Audio Visual to help breathe some life into its ageing auditorium that hadn’t received any major alterations since the 1980s. The piano-shaped space is an important area for the hospital, often hosting videoconferences and team meetings, as well as vital fundraising and special donor celebrations.

One of Epworth’s donors pushed for the renovation, stating their distaste for the “space 80s vibes”, and went on to fund the entire project. “It was quite tired,” admitted Kyle Hoppitt, JAK Audio Visual’s director.

“Apart from the colour palette, there were electric projection screens that didn’t wind up anymore, and an AV system that had been added to and Frankenstein-ised over a couple of decades. While parts of it were new enough to reuse, like its Crestron DMMD16X16 video matrix, the bulk of the room and its AV system needed to be ripped out and replaced.”

The team began by removing a solid dividing wall before replacing it with retractable bi-fold doors, consequently erasing the old catering and storage area and creating an entirely new meeting space.

The auditorium can now be used as one big room or two meeting rooms, with one hosting

the main screen and larger sound system, and the other operating at a right angle to the main space. Epson EB-L1505UHNL laser source projectors have been installed at either end of the room, with five Sony LCD screens mounted on the walls in between,

meaning that at a fundraising dinner, for example, every attendee will be able to easily see video content.

The client specified that the space had to be flexible. Hoppitt said: “It’s a true multipurpose room, not just a straight lecture hall or

videoconferencing room. Aesthetics were very important as it’s the hospital’s public face, so it had to look impressive. Another consideration was user-friendliness, which led to conversations with Microsoft Teams. We worked on the project with Qtec Systems, so they look after the Teams side, and we look after the AV.” The Teams conferencing audio is handled via three Shure MXA910 ceiling tile mics, covering the entire space. Teams audio is routed to Crestron ceiling speakers driven by a Crown DCI4X300DA four-channel amp. Presentation audio input is from a hardwired mic in the lectern or four Shure QLX-D radio mics channels.

Audio processing is handled by a Biamp TesiraFORTÉ DSP. A Crestron control system administers every aspect of the room, with Crestron being JAK’s control system of choice.

“On the primary screen, we have a pair of Fohhn Scale-2, and on the secondary screen, Fohhn Scale-1,” explained Hoppitt. “As the speech audio is routed through the ceiling speakers, the purpose of the Fohhns is playback, presentation, and media audio. We wanted high-quality audio with a solid low end that was also controllable. Through Fohhn’s Australian distributor, CMI Music & Audio, we got these speakers produced with RAL colour matching, so they totally blend into the wall. It was also important that their amp connect to the TesiraFORTÉ via Dante.”

Finished off with multiple Crestron touch screens dotted around the space and in the wheelchair-friendly, height-adjustable lecterns, as well as Screen Techniks projector lifts, and side tensioned electric screens, the Epworth Hospital Richmond’s auditorium has made a full recovery following its reconstruction and will be hosting, educating and fundraising for years to come. www.cmi.com.au www.crestron.com www.fohhn.com

Before the upgrade

After the solution

www.jakav.com.au

Tokyo tech provider adds AJA to its workflow JAPAN

Tokyo-based live technology provider Nouvelle Vague has introduced two AJA BRIDGE LIVE devices into its simulcast workflow, in order to expand its capabilities in regards to multichannel live video contribution, backhauling, livestreaming and video delivery.

Accustomed users of AJA products after integrating two AJA HELO recording devices in early 2020, Nouvelle Vague, opted for AJA BRIDGE LIVE to extend its workflow to support Secure Reliable Transport (SRT) and RTMP transmission in separate pipelines. Masayoshi Ikeda, vice president for Nouvelle Vague, said that SRT is growing in popularity among clients due to the added layer of security but “at the same time, our customers also require their content to be delivered with stability on multiple platforms at high quality. AJA BRIDGE LIVE allows us to achieve this in a user-friendly way.”

One of Nouvelle Vague’s most ambitious projects was for the “RAGE” eSports

and Twitter. Onsite, four camera feeds and PlayStation 4 game sources were fed into AJA

competition. The company said BRIDGE LIVE was essential to the event, allowing it to simulcast coverage to YouTube, OPENREC.tv

KUMO 3232 12G-SDI routers, allowing for simplified cabling, then into NewTek TriCaster video systems. The Nouvelle Vague team

distributed the output to two HD production switchers and into the BRIDGE LIVE devices for RTMP encoding, and the reception and decoding of SRT feeds. The stream was then sent to Japanese video streaming site ABEMA in 59.94i, as well as the other platforms.

Ikeda concluded: “Remote production remains vital for maintaining operations and AJA solutions are an important part of being able to do so successfully in a streamlined manner.”

To enable NAS recording and MP4 ingest on upcoming projects, an AJA Ki Pro GO was also recently added to Nouvelle Vague’s equipment arsenal, and the company plans to harness it to support a range of remote livestreaming projects from its studio in Shibuya when it opens. www.aja.com

30 PRO AVL ASIA January–February 2022

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21/12/2021 10:52

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NEWS: PROJECTS

Allen & Heath equips Urdu indie rock band tour Surface with a CDM48 MixRack, or an Avantis with a GX4816 expander,” explained Das. “While I was slightly more familiar with the dLive than the Avantis, it took me no time to get familiar with the Avantis as well.

“I decided to use Allen & Heath consoles after a hands-on experience a few months ago for a virtual gig in Mumbai. Rohit Reddy [senior product manager at Sun Infonet] was there to guide me through the boards and I found it very interesting how much these desks can do. It was the perfect choice keeping in mind the requirements and baggage restrictions. The fact that the console and the stagerack can both fit in the boot of my car is a huge plus.

“All in all, it was great to have the support from the team at Sun Infonet throughout the tour, I definitely had a fantastic experience. I can’t wait to use these mixers for even larger shows and bigger stages.”

INDIA

Bangalore-based four-piece band Parvaaz has called on local Allen & Heath distributor Sun Infonet to supply consoles for their long-awaited Full Circle tour. Dubbed “India’s most exciting band” by Rolling Stone magazine, their fusion of poetic Urdu, cinematic soundscape and dreamy indie rock has brought the group worldwide recognition.

When Parvaaz announced their return to the stage after postponing the tour due to Covid-19, they recruited their usual sound engineer Supratik Das, who already had a few consoles in mind for the event. Das got in touch with Sun Infonet which fulfilled the band’s requirements. “Depending on the venue, I used a dLive C3500 or C1500

Ja

www.allen-heath.com www.parvaazmusic.com

Sound engineer Supratik Das

www.suninfonet.net

Percussionist bangs the drum for RME

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JAPAN

L-Acoustics brings surrealism to Seoul

Percussionist Kuniko Kato has purchased a full suite of RME, including an RME Fireface UFX 24-bit/192kHz, for the premiere of her Drumming 2021 concert series at the Art Centre of Tokyo, Senju.

“The most important aspect of a piece of gear for me is always the quality of the sound it offers,” Kato said. “Whether I’m playing live or recording in the studio, the Fireface UFX offers superior sound with true clarity.”

Kato noted the UFX’s lack of troubleshooting is a key feature when looking for an interface to perform live with. “I carry it around

microphone controller while recording in the studio.

“I’ve been using a digital microphone as my main mic since my 2015 album, IX – Iannis Xenakis,” Kato explained. “Since we deliver 24-bit/192kHz audio to my label LINN, the DMC-842 is essential. It always gives me totally flawless and the most faithful representation of the sound possible.”

Kato said she also notices a difference in quality of sound when connecting to a venue’s sound system. “I used to use the house sound system at the venue or concert hall,

SeoulSound was able to incorporate speakers into the artworks KOREA

Korean sound designer Salvador Garza Fishburn has reached out to L-Acoustics provider SeoulSound to help create an immersive experience for a surrealist art show in Hyundai Seoul department store. Having taken place throughout November 2021, Beyond The Road was first unveiled in London’s Saatchi Gallery and is a mix of works from artists such as film director Danny Boyle and perfume designer Alfonso Cuarón.

With assistance from local promoter Ms Jackson, Fishburn specified an audio installation that would remain immersive throughout the 33 rooms and screening area it encompasses. SeoulSound deployed over 90 L-Acoustics boxes throughout the space, including 5XT, X8, X4i and monitors along with Syva Sub and SB18 subwoofers. The install also includes several X4i 4-inch coaxial speakers, with one providing the sound for 10 of the 33 rooms and the others catering to the hallways. In some instances, SeoulSound was able to incorporate L-Acoustics products into the artworks, including a graffiti-laden phone booth and bus stop that had three X4i, one

8-inch monitor and a Syva Sub tucked under the bus stop seats.

SeoulSound used the Array Morphing tool in LA Network Manager to balance low frequencies throughout the exhibition. “As visitors explore all the rooms with their array of exciting sights and sounds, we know that they are getting a uniform audio experience that will keep them immersed in the art from beginning to end,” explained Soon Il Yun, managing director of SeoulSound.

The final stage of the experience is a screening room, equipped with six X8 coaxial enclosures with three X8 installed per side.

Fishburn and his creative team created an audio piece to accompany and move with the video content.

“A few attendees acknowledged the creative focus given to the immersive sound experience of the exhibition and even enquired into the speakers that we used, seriously considering acquiring L-Acoustics for their home audio system,” concluded Yun.

Kuniko Kato everywhere and use it for everything during concerts, from simple live amplification to highly complex setups that require its 24-bit/192kHz audio playback,” Kato explained. “The UFX is always very solid.”

In addition to the Fireface UFX, Kato also relies on RME’s UCX USB interface, the Babyface Pro interface and the DMC 842, an eight-channel AES42 interface and digital

and I feel there’s a stark difference between the sound I hear and the sound I’m playing,” Kato explained. “But after I started using RME, I realised what I was hearing was not accurate. Since then, I carry almost solely RME interfaces wherever I travel around the world.” www.rme-usa.com

www.seoulsound.com

32 PRO AVL ASIA January–February 2022

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NEWS: PROJECTS

Jazz festival comes to Hangzhou with Meyer system CHINA

Meyer Sound and local distributor, Shanghai Broad Future (SBF), has helped with the debut of the first Montreux Jazz Festival held in China, building a sound reinforcement system that caters for a variety of music genres. Set to take place last year but postponed due to the pandemic, the festival lasted three days, consisting of live performances from well-known jazz, rock, pop folk and classical musicians, including Grammy winner Ricardo Vogt.

With Meyer Sound having lent a hand to the original Montreux Jazz Festival hosted in Switzerland for the last 35 years, Chinese organisers decided to uphold this tradition. “Meyer Sound has always provided excellent services and cutting-edge equipment for the Montreux music festival,” said Joyce Peng Peng, CEO of the Montreux Jazz Festival, China. “There are many different musicians and bands performing in this music festival.

The sound system needs to perfectly convey the performance details of various styles to the

The signal processing of the system was handled by three Galaxy processors, transmitting signals through the AoIP network.

“Meyer Sound’s self-powered technology allows users not to worry about the differences between products, thereby greatly reducing the time required for testing and confirmation after the system is set up,” concluded Ye Xingqi, general manager of the second business department of SBF. www.meyersound.com

Meet our experts in conferencing at ISE 2022

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The jazz festival’s VIP area audience, from ballads to metal or orchestra.”

The performances were held on the roof terrace at the Sofitel Westlake Hotel on the bank of West Lake, Hangzhou. The main sound system consisted of five LINA line arrays hung on the left and right sides of the stage, while the low frequency is supplemented by four 900 -LFC subwoofers. Two LINAs are used for the front row and a UPQ-1D covers the right of the stage, while four LINAs stacked with two 750 -LFC subs and an Ultra-X40 point source speaker cater to the left. Clear monitor signals are provided by 12 MJF-210 floor monitor speakers.

The jazz festival’s VIP area was covered by a delay system made up of five Ultra-X40s, supplemented by two 750-LFC subs.

With travel restrictions meaning some artists couldn’t attend in-person, nine Ultra-X20s and one USW-112P were used on the first floor, where the artists’ pre-recorded pieces played out.

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January–February 2022 PRO AVL ASIA 33

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NEWS: PROJECTS

Digital Projection install reflects Japan’s colourful history JAPAN

Danny Rose Studio, the collective behind the current Spirit of Japan art exhibition at the Kadokawa Culture Museum, has deployed over 30 Digital Projection E-Vision Laser 10K projectors to illuminate the floors, ceilings and walls of the venue.

Untranslated, the title of the exhibition reads Ukiyo-e theatre meaning small art pieces created in the 17th–19th centuries which depict daily life as it once was. Having circulated among the western world, over time they forged an impressionist art movement, with its most famous relics being colourful fans, lanterns and cherry blossoms. Now these nostalgic works have been given a new lease of life for the exhibition, giving visitors a chance to learn of Japan’s colourful history.

Danny Rose Studio previously produced an exhibition in France, entitled Dreamed Japan – Images of the Floating World, which attracted over two million visitors and, in light of its popularity, the tour was reimagined for Spirit of Japan.

For this project, the venue was divided into three major areas to receive 360° edgeblending projection across all surfaces.

Ground projection and cylinder projection mapping throughout also help create an experience with 360° visuals. Alongside Digital Projection laser technology, a VNS GeoBox videowall controller has been chosen to control the edge-blending output from multiple projectors, coupled with a BrightSign media player to provide the video content.

Aaron Hsu at Digital Projection Japan noted how the high number of projectors in one room creates its own set of challenges: “Because of the exhibition hall’s ceiling height limitation, the ground projection required more projectors to successfully display the entire image – we needed a creative solution to achieve this. Whereas traditionally you would point projectors down towards the floor, we actually pointed them up but used the UST periscope lens, thus giving us the extra height and coverage.” Using too many projectors on the floor would have caused light scatter and have an adverse effect on the image quality on the walls, so this solution of using UST lenses aimed to prevent this from occurring.

Hsu said the E-Vision laser was an “obvious choice” as it is flexible enough for an exhibition of this scale. Digital Projection’s E-Vision Laser 10K projectors provide a light source for up to 20,000 hours and offer built-in, edge-blending capabilities.

Mark Wadsworth at Digital Projection said: “For an exhibition of this scale and complexity, it’s imperative that technology suits the end goal. This art exhibition requires 360° visuals, which involves a huge amount of edge blending without compromising on the quality of the image.

The exhibition looks incredible, we are really proud to be a part of such a visually impressive project.”

Kadokawa Culture Museum

www.digitalprojection.com

Adamson revitalises Australia’s Hard Rock Cafés AUSTRALIA

Hard Rock Café owner, Tandem Capital, has equipped its venues in Surfers Paradise on the Gold Coast and at Sydney’s Darling Harbour for what the franchise was originally set up to do – host live music.

Hard Rock approached Brisbane-based IJS Productions Australia to install the Gold Coast venue with a suitably powerful PA system. “They’d already spent considerable money on the refit, and done some interesting acoustic treatment to the stage,” explained Scott Mullane, business development manager at IJS Productions. “The stage itself had been filled with rockwool batts, creating a deep acoustic trap. The stage’s rear wall had been covered in batts, then panelled with 3cm-wide strips of beautiful hardwood, spaced apart by 3cm, creating a kind of diffuser. It looks great, and radically improves the stage sound. They have a full backline, making it easy for any band to get in and out. They want to run four nights a week of proper band work. In the current environment, we need more of that.”

Mullane got in touch with Queenslandbased Brian Vayler, CMI Music & Audio’s product specialist from the audio solutions team, to discuss system design. “Scott

and I came up with a solution that met the client’s requirements,” said Vayler.

“Because of height restrictions, the circular design and the width of the room, a point source PA was going to be the best option.

We decided to go with loudspeakers from Adamson’s IS-Series.”

Hard Rock Gold Coast’s 350-capacity circular room needed a system that could spread the horizontal dispersion to the sides. The solution was to use one Adamson IS10p full-range cabinet per side, with rotatable horns available with either 70° x 40° or 100° x 50° dispersion.

A single IS7p has been flown above the stage to provide down and front fill. Two Adamson IS219 subs have been fitted under the stage, while onstage, four Adamson M15s handle monitor duties. All loudspeakers are powered by Lab Gruppen installation amps with Lake processing.

The in-house mixer is a Soundcraft Ui24, standard in Hard Rock Cafés the world over.

In Sydney, the building housing the Hard Rock Café, Harbourside, is slated for demolition in three years. Hard Rock management wanted to duplicate the capabilities of the PA at the Gold Coast while paring the budget back. “They’d

enlarged the stage to support a band, so we used the same number of M15 monitors,” explained Mullane. “For the FOH PA, we knew that, despite their size, a pair of Adamson IS7ps would make a killer left-right. We installed one IS7p per side and three IS118 subs clustered at the centre under the stage. We also added an Adamson Point 8 single 8-inch out fill for about 20 people off to one side of the

stage. We saved some money, with zero sacrifices.”

Back on the Gold Coast, Vayler chats regularly with sound techs who have mixed on the Adamson rig. “Everyone who mixes there walks away very happy, and the client is exceedingly pleased with the result.” www.adamsonsystems.com www.cmi.com.au

34 PRO AVL ASIA January–February 2022

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NEWS: PROJECTS

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German Centre Beijing upgrades meeting and conferencing space with Sennheiser’s TCC2 CHINA

Located in the heart of Beijing’s business and diplomatic district, German Centre Beijing currently provides office spaces, conference rooms, meeting facilities and support services for more than 70 companies. By managing the complete 17,000m² workspace infrastructure, German Centre Beijing ensures its tenants can maintain a focus on their business.

In perfect sync with the needs of its tenants, the German Centre offers various meeting rooms and facilities for both offline and online meetings and activities. “With the Covid-19 pandemic, many meetings have moved online,” explained German Center Beijing MD, Jochen Tenhagen. “We saw a huge increase in the demand for better meeting room audio and conferencing solutions to support this ‘new normal’.”

Designed for a variety of functions and business meetings, the 72m2 Stuttgart meeting room seats up to 50 people but can be expanded into a larger conference

area for up to 100 participants with different seating configurations. To improve the hybrid meeting and conferencing experience in this room, two Sennheiser TeamConnect Ceiling 2 (TCC2) units were recently installed. TCC2 proved to be the perfect audio and conferencing solution for this space thanks to its adaptive beamforming

technology and TruVoicelift functionality.

The combined technologies are said to significantly increase speech intelligibility in such an application, allowing participants to be heard clearly from every corner of the room.

“TCC2 has enabled a truly contactless and wireless experience for our tenants, which has greatly reduced hygiene risks.

The dynamic beamforming technology automatically follows the active speaker’s voice, allowing them freedom of movement in the room. Most importantly for us, this meant that the configuration of the room is flexible and changing it will not impair the audio quality.” To eliminate unwanted noise sources and establish a priority zone for uninterrupted speech pickup, TCC2 can define advanced exclusion zones within the meeting room.

TCC2 is embedded in the meeting room ceiling for which the installation process proved to be straightforward. Forming

an integrated smart system that can be controlled from a Crestron control panel, TCC2 combines with a QSC Q-SYS Core 110f processor and Barco Clickshare CX-30 conferencing solution. The technology is compatible with leading video collaboration platforms such as Zoom and Tencent Meeting and is certified for Microsoft Teams when deployed with Microsoft-certified DSPs. Following the upgrade, the Stuttgart room is now the most popular meeting room at the German Centre Beijing. “I’m really happy with Sennheiser’s TCC2,” concluded Tenhagen. “We can now hear each other clearly from every part of the room, without needing to handle microphones. Regardless of whether two or 20 participants attend, the sound quality of our virtual meetings is comparable to face-to-face meetings.” www.germancentre.cn www.sennheiser.com

Korea theatre’s darker times VMT Enterprise cracks the made brighter with Strand case for Sherlocks pub INDIA

Bangalore-based Sherlocks pub has called on VMT Enterprise to supply a new sound system, with the integrator opting to install Ohm and British Acoustics products. The popular nighttime venue takes up 465m2 of space and is said to be well-known for its live sport screenings and old English-style décor. The client specified the need for an impactful sound system covering the dancefloor, while simultaneously allowing for audible conversation in the bar area.

For FOH, the system includes multiple XP508A active 8-inch mid tops along with dual 18-inch Delta 828 subwoofers from British Acoustics. To enhance the side and

centre fills, VMT Enterprise has installed Delta 18B and Delta 12T powered subwoofers with Ohm TRS-115 cabinets driven by 12 channels of British Acoustics’ Delta 26 speaker management system.

Assigned to this system are several channels of British Acoustics TX 9000.

Vishwanath MB of VMT Enterprise said: “The system packs a solid audio punch and delivers the energy that will hopefully ensure visitors keep coming back for more.” www.britishacoustics.com www.ohm.co.uk www.vmt.in

The National Theatre of Korea KOREA

Korean Distributor Total Plus has upgraded the National Theatre of Korea’s dimming control system – now made up of Strand products. Since its inception in 1950, the Seoul-based performing arts theatre has had to relocate several times due to war and has relied on arts funding in order to prosper.

The large complex houses a total of four spaces: the Haeoreum Grand Theatre, the Daloreum Theatre, the Byeloreum Studio and the Haneul Round Theatre.

A recent remodelling of the venue included the installation of a Strand EC21 dimmer rack, an EC21 processor assembly with dual processor, as well as an EC21 Dual 25A PowerThru Module 435us Dim/ND/Bypass.

An EC21 Dual 25A 200us Single Pole module and a Dual 20A CD80SV were also fitted.

“The theatres use a mixture of LED fixtures and conventional halogen lamps and the

Strand dimming curve helps to streamline such diverse equipment efficiently,” said SH Koo, senior lighting designer of the National Theatre of Korea. “Strand’s dimmer modules have wide-ranging functionality, which is an advantage over the market’s other offerings.”

Having recently celebrated its 70th anniversary, the National Theatre of Korea has had a working relationship with Strand for 40 of those years, specifically with Signify’s sales and business development manager, Henry Shin: “The National Theatre of Korea has unlimited confidence in the safety of Strand lighting systems. I continue to provide sound advice when technical upgrades occur.”

INDIA

www.signify.com www.strandlighting.com

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NEWS: PROJECTS

Sonotone raises energy levels at Gold’s Gym INDIA

Sonotone has supplied an audio system based around Dynatech, LD Systems, Mackie and Marani products to Gold’s Gym in Rajahmundry, fulfilling the international franchise’s brief of creating an energetic ambience through music that supports the diverse workout regimes on offer.

Designed and integrated by Gurgaon-based solutions provider Learniinspire, the audio setup consists of 10 Dynatech R26 installation speakers with three Zeta-15T active subwoofers, powered by three Dynatech CS-6001 amplifiers and controlled by a Marani DPA260P digital speaker management system. A Mackie ProFX6v3 mixer with USB connection has also been provided to facilitate playback, while LD Systems’ ICOA 15 A powered PA loudspeakers can be deployed where needed.

“The team at Learniinspire was looking for speakers which would seamlessly blend in and further elevate the vibe at the gym,” explained Jaison Jopal of Sonotone. “We decided to present them with a combination of Dynatech’s R26 and Zeta-15T to provide the top-notch sonic experience they desired, while maintaining high standards of usability and durability.”

Added Omesh Sharma of Learniinspire: “The management of Gold’s Gym Rajahmundry has nothing but praise for their newly installed audio system. The music and energy are at an all-time high thanks to the stellar system. It’s great to hear that gym members and management alike are in love with the sound.” www.sonotone.in

Stagetec Asia helps town council stay connected MALAYSIA

The Batu Pahat Municipal Council has recently refurbished its old office and equipped its meeting room with a new AV and audio conferencing system. The council is responsible for administering the town planning and providing dedicated services for public health including waste removal and sanitation and, with Covid-19, it is crucial meetings can take place both in person and online.

Stagetec Asia has integrated the overall AV and audio conferencing system for the meeting room, collaborating with IT company Ishan Tech which will maintain the IT and Data security infrastructure for the council. The room can seat up to 40 people at one time and presenters can do so wirelessly, with the audience able to interact using the BXB Conference system. Technical director for Stagetec

Asia Leong Tong Sing said of the install: “The project required a media streaming device that enables one or more users to wirelessly present content from a PC, tablet or smartphone on a bigger screen, so a wireless presentation solution is a viable option that allows two presenters to present simultaneously.” www.stagetecasia.com

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NEWS: PROJECTS

“Queen of C-Pop” equipped with L-Acoustics sound system for Ugly Beauty tour

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Singer/songwriter and actress, Jolin Tsai, has called on Taiwan-based Winly Sound to deliver a sound system that would fill the 11,000-capacity Taipei Arena for her Ugly Beauty tour. Dubbed the “Queen of C-Pop”, Tsai has been exploring musical styles and winning awards since 1998, and her fifth mega-concert tour took place in large arenas in Kaohsiung and Taipei.

Tsai herself is Ugly Beauty’s art director and specified that the sound system must fill the space as well as have the flexibility to match the diverse range of music. With support from L-Acoustics’s Alvin Koh and Chung Wah Khiew, systems engineer at Winly Sound, Mike Li, mapped the coverage for the two arenas using Soundvision software. “Soundvision helped us greatly. It is an indispensable tool for this concert, or any event for that

Midw suppl and 3 imme organ lightin in Ne Exper cultur All Bl place The provid New Z can te taking that m New Z then matter, as we could design the most accurate angle for every speaker according to the venue,” explained Li. “This improves our efficiency, and the coverage analysis reassures me, even before setting foot inside the venue, that we’ll get optimised sound distribution throughout the arena.”

choice for outdoor festivals or an arena concert like this.”

A catwalk runway extended into the audience in order to create an intimate atmosphere for Tsai and her fans, while also challenging FOH sound engineer Tai Shan Chen who was concerned about potential feedback. “We overcame this

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The 11,000-capacity Taipei Arena The rig Winly designed consists of a primary line array system featuring 12 K1 with four K2 per side, accompanied by eight K1-SB subs flown behind each array. Floor stacks of 16 KS28 subwoofers deliver more low-end rumble across the stage, while side fill is accomplished with 10 K2 per side. A further eight K2 per side are flown as delays.

“My team and I know and trust the long throw capabilities of K1,” Li continued. “It is clear and powerful, making it an ideal

by using K2 and its Panflex horizontal directivity to narrow coverage and avoid any interference,” he explained.

Chen continued: “I’m satisfied with the complete L-Acoustics system design for this tour. Our performance was a dynamic mixture of pre-programmed electronic dance music and live instrumentation, and the L-Acoustics system handled the dynamic content very well.” www.l-acoustics.com

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NEWS: DISTRIBUTION NEWS: PROJECTS

BrightSign provides players for Audac teams up withthe Sennheiser in interactive India rugby experience INDIA

Belgian manufacturer Audac has announced a partnership with Sennheiser NEW ZEALAND that will see Sennheiser India manage the sales, distribution andhas service of Audac’s Midwich Australia complete36 product line inHD224 India. supplied BrightSign Headquartered Gurugram, and 30 HD1024 in players to anSennheiser India also has branches in Mumbai and immersive sporting experience Bangalore. by ‘This is an exciting organised Toulouse, an AV,partnership for L–R: Mark Asselberghs, Audac’s international us and will help us to strengthen our lighting andfurther technology consultancy sales director and Puneet Kumar Kain, distribution network,’ Vipin Pungalia, in New Zealand.

The stated All Blacks national product manager at Sennheiser Experience celebrates the history, culture and people behind the All Blacks rugby team, and takes place across 10 “zones”.

The virtual experience aims to AUSTRALIA provides an insight into the life of a Merging Technologies has chosen ‘tm stagetec are enthusiastic and motivated New Zealand rugby player.

Visitors tm test stagetec as itsrugby new distributor can out their abilities byfor Australia. to represent Merging in Australia,’ said Mark The partnership will aim to deliver all of Lownds, general manager of tm stagetec taking part in an interactive activity Merging Technologies’ systems. ‘The hardware and software range that matches their skillsproducts againstthroughout Australia, including new AoIP technology. from Merging fits perfectly with our existing New Zealand’s best its players.

They then receive “feedback” and Fans can take part in interactive activities

appointment. ‘Sennheiser is a well-established director – professional segment, Sennheiser. distributor who knows their market inside-out,’ ‘We believe in providing the best offerings he said. to all our customers. Collaborating with ‘They understand the importance of not Audac provides us with the platform to share selling a product, but the added value of our passion for innovative audio solutions. integratedjust with the client-provided media seamlessly. excellent service and technical at Sennheiser has one of the largest sales,In addition to the delivery of content to assistance the screens, every stage of the project.

And that exactly service and support operations in India and they can perform many of the functions of aiscontrol what Audacthe stands this new partnership will further strengthen system, eliminating needfor.’ for a separate set of the relationship with our customers.’ hardware and reducing complexity.” www.audac.eu Audac’s international sales director, Mark “Even though we opened during a global pandemic, www.sennheiser.com Asselberghs, is equally excited about thethe new reaction we saw from visitors was everything we hoped for and more,” said Phil McGowan, general manager of the All Blacks Experience. “Rugby fans emerge very emotional. The All Blacks Experience has performed flawlessly since opening. Blank screens or screens displaying incomplete content would destroy the magic and the atmosphere to addtothe new Anubis product portfolio of high-quality professional audio we have opportunity worked so hard create.

The technical range to our offering.’ and broadcast products. The Pyramix even installation conceived and executed by the Toulouse has integration with Stage Tec consoles.team based on BrightSign players has delivered At tm stagetec, we work extensively withfully.” www.merging.com www.tm-systems.com.au audio-over-IP and we are excited to have the

tm stagetec partners with Merging Technologies

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www.brightsign.biz

Adamson goes Mainspring in Bangladesh BANGLADESH

Adamson Systems Engineering Working closely with renowned continues to make inroads Bangladeshi sound engineer into Southeast Asia with the Shamim Ahmed, Mainspring intends appointment of an official to use Adamson solutions to set distributor in Bangladesh. Based standards and provide support for in Dhaka, Mainspring Ltd will live events that meet international represent Adamson’s full catalogue touring requirements.

The All Blacks Experience celebrates history and culture direction from coaches as well as the All Blacks team and can also take part in the iconic haka.

The BrightSign players run screens varying in size from 32-inch signage screens to 13m-wide projector screens. Doors and lighting throughout the experience are controlled via handheld remotes interfaced to the players, which are then used by staff.

The players coordinate the tour

queuing system, alerting guides if there’s a danger of catching up or conflicting with another group.

The system is also connected to visitor wristbands, so it can then store the details and present the guest with a personalised greeting onscreen.

Marc Simpson, managing director of Toulouse, said: “We find these players extremely user-friendly to install and program. They

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L–R: Mainspring’s Rezwan Rahman and Shamim Ahmed

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in the country, targeting the live production and integration markets.

‘We’ve seen Adamson’s profile growing significantly in Southern Asia and around the world and saw a lot of potential for a high-end brand with great support and a strong focus on user education here in Bangladesh,’ said Rezwan Rahman, executive director at Mainspring. ‘We’ve had great interactions with Adamson’s APAC team and Canadian headquarters so far and look forward to working together to generate new business and opportunities throughout our territory.’

‘We’re glad to have found the right partners to help us thrive in this very promising market,’ said Ben Millson, Adamson’s managing director for the APAC region. ‘We look forward to working in tandem with Mainspring’s team and end users throughout Bangladesh to further expand our presence in Southern Asia. While our partnership is still very new, Mainspring has already exceeded our expectations and we’re proud to welcome them to the Adamson Network.’ www.adamsonsystems.com

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NEWS: PROJECTS

Lux Productions adds Avantis to rental stock NEW ZEALAND

Cosmovision makes waves in Wong Chuk Hang CHINA

Water World Ocean Park, situated in Hong Kong Island, has enlisted systems integrator Cosmovision to design and implement an LED screen for its indoor wave pool. The 65,000m2 site, located in Wong Chuk Hang and overlooking the South China sea, is comprised of five different zones with 27 indoor and outdoor attractions for guests of all ages. The recently opened water park has seen a HK$4b makeover and can host up to 7,000 visitors at one time.

Cosmovision created a system that includes an LED screen on a built-in stage, besides a wave pool with wave patterns that reach 0.3–1m high. The 20m x 3.8m Optizvision screen is scheduled to capture guests on a live camera source, hosting interactive “kiss camera” games, as well as branded advertisements via AV Stumpfl’s Pixera two quad media server.

Flexibility was paramount for the install to ensure integration in a somewhat unique public venue. Cosmovision’s technical sales engineer Jason Yeung commented: “We had

the luxury of pre-programming the Pixera server in our workshop before deploying the unit onsite. With the project configured and set up prior to installation, aligning the pixelto-pixel resolution with the LED screen was very straightforward.”

Alongside the two Pixera media servers, the system also includes a Calibre HQPro1000 Seamless switcher for live source processing, and NovaStar LED control systems and receiving cards.

BirdDog NDI base cameras and controls are integrated throughout the indoor wave pool for displaying visuals at events and parties.

Water World Ocean Park, praised for its engineering and environmentally friendly design, is said to be a hot topic amongst Hong Kong residents, having received positive feedback since its opening.

Auckland-based Lux Productions, which is moving into its sixth premises since inception in 2013 to accommodate growth, has purchased an Allen & Heath Avantis console to bolster its inventory of audio expanders and SQ mixers.

“We were in the market for a medium- to large-format audio console and adore the SQ range from Allen & Heath, so when we heard about the release of the Avantis it was a nobrainer,” explained James Jefford, owner of Lux Productions. “As we already own a range of SQ consoles and stageboxes, the fact that this console would utilise that infrastructure was just fantastic. We added a DX Link I/O card to the Avantis to allow for multi-zone I/O to our different DX168 stageboxes, allowing for simple and easy cable management.”

Avantis is the third mixer built on Allen & Heath’s 96kHz XCVI FPGA platform, with 64 input

channels, onboard processing and a configurable 42-bus mix architecture, controlled via a pair of screens. “The interface is incredibly easy to navigate, and the dual HD touchscreens were a huge selling factor for us when comparing to other brands in this price bracket,” continued Jefford. “Along with the large events, the Avantis is fantastic for the corporate scene which is our bread and butter, being powerful yet compact enough. The onboard storage for audio tracks just adds another string to this console’s incredible bow. Coupled with brilliant support from the team at Jansen Pro Audio, we see this console and the rest of the Allen & Heath range becoming firm staples in the Lux Productions family of audio consoles.” www.allen-heath.com www.luxproductions.co.nz

www.avstumpfl.com www.bird-dog.tv www.cosmovision.com www.novastar.tech

Martin Audio assists with eight-horn ensemble for Tokyo concert JAPAN

Tokyo Metropolitan Theatre Concert Hall’s sound master Koichi Ishimaru has chosen Martin Audio’s LE100 to assist in reproducing an eight-horn ensemble for a classic concert at the venue, featuring worldfamous horn player Nobuaki Fukukawa.

When Fukukawa expressed his desire to emulate his previous King Record recordings and play the songs in the form of an eighthorn ensemble by overdubbing himself, he and King Records turned to Ishimaru. The sound master suggested that Fukukawa perform live onstage to create the one part while the seven remaining parts play back one by one through the surround speakers, with the recorded source created in Pro Tools.

The system had to be able to reproduce the accurate horn tone and unique localisation with natural sound, which is no easy feat.

After selecting the Martin Audio LE100, Ishimaru explained why: “I was particular

about coaxial speakers because they can accurately express the sound source of musical instruments. I was convinced it was going to be successful.”

Fukukawa stood in the centre of the stage surrounded by seven chairs, each of which supported an LE100, arranged facing in different directions. Ishimaru continued: “The bell of the horn is usually facing backwards when being played and so instead of pointing the speaker directly to the audience seats, I tried a similar approach. This allowed us to reproduce the unique soft sound.”

Tokyo Metropolitan Theatre Concert Hall is said to be famous for its beautiful acoustics, and the two octet performances of Star Wars and Death in Venice Mahler Symphony No. 5 Adder Jet were performed to a delighted audience.

Tokyo Metropolitan Theatre Concert Hall

Seven LE100 surrounded Fukukawa

www.martin-audio.com

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NEWS: PROJECTS

Media production centre aids teachers of the future

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CHINA

A new 4K/HD media production centre has been built for the School of Communication at Mianyang Teachers College, which is intended to be a hub for cultivating media talent. The project has been completed

by UBS China, NewTek’s local distributor.

A key part to the install is the NewTek TriCaster TC1, which provides a lot of the new facilities’ capabilities. The centre supports multi-scene, multifunctional, practical training and teaching, as well as 4K, IP-based production processes and multi-person offsite interaction. It is comprised of over 80 smart devices including 4K cameras and a 4K studio system, an NDI management and scheduling system, an offsite mobile interaction system,

as well as lighting and control solutions. The centre is divided into zones such as virtual livestreaming, standing and seated interaction as well as classroom observation, with the option to record and stream live on social media.

The project answers the need for talent training among teaching schools in the context of media convergence, with the studio catering for news broadcasts, interviews, virtual broadcasts and athletic events.

The School of Communication at Mianyang Teachers College is said to be laying the foundation for flexibility when teaching in the future. www.newtek.com

NE

The system is proving successful for SJ Sound

The backbone for SJ Sound INDIA

SJ Sound Jaisinghpura, a Jaipur-based audio rental company, has invested in a host of products from Dynatech, sourced by local company Himanshu Electronics.

The system consists of six DVX-225 highperformance speakers, four DLA-212 line array cabinets, six DLA-218 subwoofers, two DEL-218 subwoofers and two HP-15A+ active speakers.

Owner of SJ Sound, Dinesh Jaat, said of the investment: “We provide audio rental services for all kinds of events – informal gatherings, parties, small-scale performances, weddings and more. And our Dynatech system has become the main backbone of our audio setup. The quality and performance of the products is absolutely

Riedel simplifies IP broadcast conversion at Sapporo TV JAPAN

Sapporo Television Broadcasting (STV) has installed 17 MicroN media distribution network devices in addition to two MetroN core routers as part of a distributed Riedel Communications MediorNet real-time media network. Extending across two control rooms, broadcast master control, news editing and other areas of the station, STV is Riedel’s first customer in Japan to specify the MicroN media distribution network device as a core video router.

STV’s technical operations department manager, Yasutaka Tashiro, said: “MediorNet offers a very innovative and effective way to build a system. It also met all our requirements and is cost-effective. In actual operation, we have taken full advantage of MediorNet’s functions, and we feel that the selection was justified.”

While STV had initially considered a traditional baseband router and a video-overIP router, the broadcaster instead opted for Riedel’s MediorNet network with the MetroN and MicroN devices. In addition to minimising operational and maintenance costs and significantly reducing cabling requirements, the MediorNet system offers processing functions, MADI I/O options and redundancy that contribute to the overall system flexibility and reliability.

fantastic, Dynatech’s DVX-225 speakers are extremely powerful and versatile, and the DLA-212 line array is absolutely rock solid and superior in its class. The DLA-218 and DEL-218 subwoofers deliver impactful, clear sound while the HP-15A+ is easy to use and provides just the right balance of highs, mids and bass.”

He concluded: “We are very impressed with the system, and it is driving great success our way. In order to cope with the increasing demand and enable us in serving larger events, we are investing in four more DVX-225 speakers and two DLA-218 subwoofers.” www.sonotone.in

Within the MediorNet AV networking infrastructure, MicroN can serve as a breakout box for a MetroN router and extend connectivity beyond the fibre I/Os to any type of video and audio I/O required. Connecting 17 MicroN devices with optical cables ensured STV could quickly and simply configure the devices as a single, large-scale video router. With the integrated video processing functions and MADI I/O, the devices enable a smart device design and configuration in the control room, which led to a reduction in the number of converters.

“Once we establish a track record of stable use of MediorNet over a long period of time, then the decentralised distributed router will become the norm when we upgrade our facilities in the future,” added Tashiro. “I think it is very significant that we already have a good track record and, in the future, we would also like to expand the network into our remote production system.”

As broadcasters such as STV consider their move towards IP, Riedel Japan’s senior sales manager Takako Konishi believes that MediorNet will allow them to take a progressive approach. “MediorNet will allow broadcasters to build on their SDI foundation and implement IP when the time is right. Only Riedel can provide a hybrid solution combining SDI and IP, and we look forward to offering this futureproof option to more customers in Japan as the country’s broadcasters undertake the transition to IP.” www.riedel.net www.stv.jp

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As th electr is res to aro organ emplo Island North Prov custo out of (NOC) distin staffe servic super team includ impro event scree walls suppl and S As a projec was a the m new N

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NEWS: PROJECTS

PacketAV and Q-SYS make combination at Powerco’s Network Operations Centre NEW ZEALAND

As the second-largest gas and largest electricity distributor in New Zealand, Powerco is responsible for providing dedicated resources to around 452,000 homes, businesses and organisations. Powerco has around 480 employees across four locations on the North Island, including New Plymouth, Palmerston North, Tauranga and Wellington.

Providing safe and efficient energy to its customers, large amounts of data flow in and out of Powerco’s Network Operations Centre (NOC) mission-critical environment. Three distinct areas separated by glass sliders are staffed by control room operators, customer service and switch writers, release planners, a supervisory control, data acquisition (SCADA) team and the NOC management. The NOC includes a storm room, which was designed to improve Powerco’s response protocol in major events that damage the network. Here, a sixscreen videowall complemented by additional walls and displays in the adjoining areas supplies information to identify outage areas and SCADA data.

As a full-service audiovisual, lighting, projection and production company, TSH Audio was appointed to consult, design and install the most current and reliable technology into its new NOC. “The project required the distribution

of video signals across different locations within the Network Operations Centre,” noted director for TSH Audio and Video, Neil Penno.

added Penno. “This allowed standard structured cabling and Ethernet switches to be utilised, while eliminating the need for

“In addition to simple video distribution, full KVM support was essential to enable control of PCs when they are displayed on the videowalls.

Powerco had an existing network infrastructure, so we needed a flexible and versatile system that would allow us to work over their network infrastructure.

“We selected Visionary’s PacketAV Matrix Series to achieve the required functionality,”

specialised cabling and video matrices. It provided limitless expandability for future additions. It was important to have ultra-low latency because we’re transmitting missioncritical data. Visionary’s PacketAV Matrix Series provided us with ultra-low latency to meet our project requirements.”

In addition to supplying the product, Visionary distributor NSL provided TSH Audio and Video

with its design and support input. The project included the installation of video displays in the control room where a 2x2 videowall and four additional displays provide visual data in addition to a storm room featuring a 6x2 videowall. Visionary’s PacketAV decoder is paired with each display to power a reliable signal and perform the video processing for the videowall functionality. In total, eight PacketAV encoders were installed to provide video signal input and USB for KVM functionality.

The PacketAV Matrix Series seamlessly integrates with QSC’s Q-SYS network.

Displaying power, video and audio routing and volume control together with live video thumbnails displaying each video source available, Q-SYS control touchscreens simplify the user experience. “The pairing enabled us to provide a flexible and intuitive system,” furthered Penno. “We can quickly and cost-effectively add additional screens or video inputs as Powerco’s requirements change. It eliminated the need for additional changes to the system and new cable runs.” www.powerco.co.nz www.qsc.com www.vsicam.com

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NEWS: PROJECTS

Renkus-Heinz Hype Republic strikes gold with keeps sea new audio system elements at bay AUSTRALIA

Hype Republic, a Gold Coast-based facility built for filmmakers, has implemented a Genelec 7.1.4 Dolby Atmos monitoring system complemented by Genelec GLM Loudspeaker Manager software.

The facility contacted Genelec’s Australian distributor Studio Connections, requesting a solution that would enhance its postproduction studio within its film/ video cinematography department. “The studio would be open to many creative specialists and, as such, the gear needed to be robust and reliable. The solution was a Genelec 7.1.4 Smart Active Monitoring system consisting of 8340s, 8330s and a 7360 subwoofer,” recalled Paul Newcomb, business development manager at Studio Connections.

“The reason for going with the Genelec Smart Active Monitoring range is that each monitor and subwoofer could be independently calibrated relative to its position in the room,” continued Newcomb.

“Installing monitors in the ceiling can present many acoustic obstacles. Not only do they need to be frequency neutral, but their phase needs to be aligned with all the other monitors in the array. GLM calibration software is an invaluable tool in this situation, and Genelec’s unrivalled range of mounting options makes it so easy to install an immersive system in any room.”

Each of the 11 monitors and the subwoofer is calibrated for its specific position in the room. GLM sends a full-frequency audio sweep through each monitor and the subwoofer analyses the acoustics of the room via the GLM reference microphone

AUSTRALIA

SilverYachts, a Perth-based firm known for its custom, architecturally impressive yacht builds, has installed Renkus-Heinz weatherised speakers for all of its manufactured mega-yachts.

“At SilverYachts, we aim to create a memorable entertainment experience at sea,” said exterior outfitting manager, Ben Bassett-Scarfe. “From those purchasing for full-time living or vacations to those who are chartering the yacht, a SilverYachts vessel always outshines those around it. RenkusHeinz is one very important tool that allows us to do just that. With Renkus-Heinz, we know we provide guests with entertainmentgrade audio to withstand the harsh elements of open waters while sounding sensational.”

SilverYachts required an audio system that could withstand the elements Bassett-Scarfe noted that although the technology needed to sound great and provide an experience for guests onboard, it also had to be durable amongst a potentially harsh maritime environment. The six vessels manufactured by SilverYachts all incorporate Renkus-Heinz products, with the 85.3m Bold nestling 12 two-way Complex Conic loudspeakers and two 12-inch subwoofers into the combination hangar-cinema-discoentertainment section.

Sea air and saltwater are known to erode unprotected and ill-fit onboard technology. By investing in protected technology, integrators and yacht owners save money in the long run. The Renkus-Heinz speaker/subwoofer duo on Bold has a protective weatherised coating and enhanced grille to shield the speakers.

“We integrated Renkus-Heinz technology in our first yacht and since then we make a point to continue to find innovative ways we can include the speakers onboard for future vessels,” said Bassett-Scarfe. “The Renkus-Heinz speakers are now a pillar in how we build yachts. We continue to integrate them into more and more spaces throughout. High-performance audio capable of withstanding the elements of the ocean is hard to come by, so receiving both from Renkus-Heinz motivates us to utilise the technology more.” www.renkus-heinz.com

The studio is built to empower filmmakers to create high-quality work and network adapter. Newcomb said: “As with any GLM calibration, the results speak for themselves and this was no different.

The studio sounds amazing. We believe the client is extremely happy with their system.

It fulfils their brief, sounds fantastic and will be providing uncompromised sound quality for many years into the future.”

“Our goal has always been to create the most epic and groundbreaking work with

the most creative humans, and enjoy every step of the journey,” reflected Allan Hardy, co-founder of Hype Republic. “I have no doubt that the new studio and the projects and people it brings to the Gold Coast will nurture countless opportunities for our local creative community and emerging talent.” www.genelec.com www.studioconnections.com.au

Chordfather and Neumann choose Dolby Atmos INDIA

Chordfather owner Sunny M R

In collaboration with Chordfather, Neumann has announced the launch of its exclusive Studio Monitor Experience centre for audio professionals. Nestled in a quaint

neighborhood of Mumbai, Sunny M R’s Chordfather Productions caters to a wide gamut of professionals, creating and delivering highend content spanning various platforms, and is

one of the first few in the country to collaborate with Neumann.

The studio consists of a Dolby Atmos music mix room with 7.1.4 configuration and two stereo rooms for music production, mixing and mastering for Bollywood films and indie music artists. Speaking on the collaboration, Sunny M R said: “I am thrilled to partner with Neumann for my music production facility enabled with Dolby Atmos music mixing. The partnership is aimed at building a community for artists striving to get their musical work done. We give a huge amount of credit to the quality and finesse that Neumann gear adds to the sound. The idea is to make more and more music in an environment which is loved by artists alike.”

Chordfather Studio is said to now be a haven for the old and new, as well as upcoming artists, who can come together to form a community. www.chordfather.com www.neumann.com

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Unleash your creativity Introducing GLM 4.1 loudspeaker manager software For 15 years, GLM software has worked with our Smart Active Monitors to minimise the unwanted acoustic influences of your room and help your mixes sound great, everywhere. Now, GLM 4.1 includes the next generation AutoCal 2 calibration algorithm and a host of new features – delivering a much faster calibration time and an even more precise frequency response.

So, wherever you choose to work, GLM 4.1 will unleash your creativity, and help you produce mixes that translate consistently to other rooms and playback systems. And with GLM 4.1, both your monitoring system and your listening skills have room to develop and grow naturally too.

Find out more at www.genelec.com/glm

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BUSINESS: SPONSORED SHOW PREVIEW

Prolight + Sound Guangzhou 2022

PLS Guangzhou connects global visitors through its digital platform – a free Business Matching Service will run from 18 February – 7 March 2022 THE LARGEST PRO LIGHTING AND audio show in China, Prolight + Sound Guangzhou (PLSG), is edging nearer and nearer as it gears up to celebrate its 20-year milestone. As one of the few physical events of its kind, the 20th edition will be held from 25–28 February 2022 in Areas A & B of the China Import and Export Fair Complex in Guangzhou.

While exhibitors at the fairground can make inperson interactions with industry professionals, the organisers are also offering virtual network options in response to the new hybrid era.

Ms Judy Cheung, deputy general manager, Messe Frankfurt (HK), says: “We really hope to welcome our overseas buyers back to the fairground but, due to the current pandemic situation, we are allocating more resources towards digital tools. Our Business Matching Service can maximise new relationships for exhibitors and buyers and we hope to bring the industry closer together through this channel.”

On the ground in Guangzhou, more than 1,000 manufacturers and suppliers will showcase a wide array of pro lighting and audio products and solutions across 140,000m2 of exhibition space. Key local industry players and globally renowned brands will present both cost-effective

and state-of-the-art products that will not disappoint, including ACE, ACME, Allen & Heath, Audio-Technica, AVCiT, Avid, BBS, Biamp, BMB, Bosch, Bose, Charming, Concore, d&b audiotechnik, DAGE, DAS Audio, DMT, Eagle Truss, EAW, EM Acoustics, ENEWAVE, EZ Pro, Fidek, Fine Art, FunktionOne, Goldensea, Gonsin, GTD, Haimei, Harman International, High End Plus, Hikvision, HTDZ, IAG, ITC, Kling & Freitag, Lewitt, Logitech, Longjoin Group, Martin Audio, Mode, Montarbo, Neutrik, Omarte, Pioneer, Polar Lights, QSC, RCF, SAE, SE Audiotechnik, Sennheiser, Showven, Shure, Star-net, Taiden, Takstar, Tico, Tonwel Audio, TW Audio, VLINC, Yamaha and more.

According to Ms Cheung, the organiser’s digital tools will bridge the gap to overseas buyers, who will have the opportunity to source from Professional Lighting, Professional Audio, KTV, Parts & Accessories, Communication & Conferencing and Multimedia Systems & Solutions. “The Business Matching Service is a bilingual, prebooking appointment service free for all trade buyers, which bases its recommendations on business of interest to provide a tailor-made service to participants.”

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Exhibitors can take advantage of this online platform and present their profile and products to global stakeholders online. Global trade professionals can also use the service to discover the latest market information and connect with exhibitors that match their business needs.

The specifics of the Business Matching Service include: • A comprehensive platform to connect potential business partners across the world • Source products and partners 24/7 • Smart recommendations based on personal preferences and interests • Full profile of shortlisted companies for preview to ensure a tailored match • Invite and schedule unlimited meetings • Real-time online chat prior, during and after the physical exhibition

The live and recorded programmes will be presented on the PLSG Live and Online platform to accommodate industry players around the globe. This will include: • Exhibitor interviews and product launches in real time for the latest products and solutions • Livestreamed onsite activities including the Xtage – an immersive stage performance blending digital art, pro lighting and audio installations For more details about PLSG, visit www.prolightsound-guangzhou.com

To register, click here

In addition to business matching, the organisers will also provide overseas professionals with live news and happenings from the fairground. A professional filming team will supply coverage of product demonstrations and fringe events, and conduct interviews with industry experts and company representatives. www.prolightsound-guangzhou.com

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FEATURES: ENTERTAINMENT

contro contro and co meter the re platfo terms opera

Extending your reach

Oper

Having successfully established itself as a cultural district, Bupyeong-gu intends to remain in the limelight by investing in futureproofed technical upgrades, and Bupyeong Cultural Foundation is no exception, reports Richard Lawn WHEN BUPYEONG CULTURAL Foundation expanded its infrastructure with the construction of a new arts centre in 2007, its sphere of influence would soon extend beyond the shores of Incheon, where Bupyeong-gu is one of 10 administrative divisions. In addition to local artists, national and international acts have been increasingly drawn to perform before metropolitan audiences at its two theatres.

An Avantis was chosen for the Dalnuri theatre Having racked up over 10 years of service, the original consoles in the venue were showing signs of fatigue, with significant noise emanating from ageing internal electronics such as the mic preamps and summing busses. The growing requirement for added channel counts was also forcing the need to update the technology. As a result, the theatre technicians recommended reliable replacements that could be utilised for a wide variety of performances. “Rather than simply upgrade with the latest consoles,

the client wanted to install futureproofed network technology for the theatre,” comments Dylan Yoon, a specialist at Seoul-based audio company, Samasound.

Following a submission to tender and provide a full demonstration, the Allen & Heath distributor was awarded the contract to supply and install a networked digital mixing system into the venue’s two theatres. “The entire venue is supported by an Allen & Heath dLive and Avantis digital console platform,” continues Yoon, who was assisted by Samasound technical specialist, Jae min Kim. “These surfaces were selected for their high-performance features, built-in flexible architecture, FPGA processing core, dual redundancy, control and Dante networking options.”

A capacity audience of 868 seated patrons regularly attends opera, musical, dance, Pungmul and chamber music performances in the main Haenuri theatre. For the main FOH mix, a dLive S7000 receives audio signals from stageboxes connected via multicore cables to various floor and wall panels throughout the venue. DSP is applied from a DM64 MixRack incorporating common configuration, setup and show files. The 96kHz/96-bit XCVI Core provides capacity for 128 inputs with full processing and 16 dedicated stereo FX returns, offering 160 inputs to mix. Interfaced to the dLive mixing system via Cat5, an IP-8/X controller enables the technicians to remotely operate the console’s functionality from computers and tablets loaded with the dLive Director software.

Linked to a DM32 engine in the control room, a second S7000 surface receives the FOH

Two dLive S7000 consoles are central to operations for the main Haenuri theatre mix for broadcasting and recording. Further I/O expansion has been provided via the Cat5 DX ports that connect two DX32 I/O expansion units, while network connectivity has been enabled with the insertion of Dante DX32 network cards. Providing bidirectional audio communications and a first-hand visual landscape of all the inputs and outputs throughout the whole building, a Dante network formed the basis of the 22,190m2 facility’s design at the outset.

Located below the Haenuri, the Dalnuri theatre is a multifunctional 323-seat venue equipped with sound-reflecting acoustic boards for Pungmul performances in addition to children’s

plays and recitals. As in the larger Haenuri, a dLive S7000 provides FOH mixing. However, a 64-channel, 42-bus Avantis console with the dPack processing upgrade and a GX4816 AudioRack for onstage I/O was preferred for the broadcast mix in this smaller theatre. Located in the control room, the secondary surface is connected to a DM32 MixRack with further I/O provided by two DX32 expansion units via Cat5 cabling to the Cisco switch hub. “The DX32 I/O rack allows the engineers to flexibly configure and patch the inputs and outputs, which is ideal for multipurpose performances,” explains Yoon.

Common to both console models, the Harmony user interface comes with gesture

48 PRO AVL ASIA January–February 2022

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atre

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816 or the ted is r I/O Cat5 2 I/O ure ideal Yoon.

FEATURES: ENTERTAINMENT control, integrating screen and wraparound controls with a 12-inch capacitive touchscreen and configurable widget areas for scenes, meters and FX. “The interface is very intuitive, the resolution of the audio is excellent and the platform is futureproofed for many years in terms of inputs and outputs,” adds Yoon. “By operating dLive’s 5.1 channel mixing mode, the engineers can now mix a highquality live performance.”

Both the dLive and Avantis

platforms are compatible with Allen & Heath’s ME personal mixers and IP hardware remote controllers. Therefore, the wedge monitor speakers in both theatres have been replaced with a total of eight ME-1 personal mixers. The discrete units allow musicians to tailor their own headphone mixes easily and precisely.

In addition to the extensive Allen & Heath ecosystem that Samasound has interwoven into the venue’s fabric, the company has also supplied Shure SE425 sound isolating

The stage of the Haenuri theatre

ModuloPi-ProAVLAsia-Jan2022.pdf 1 17/12/2021 14:29:54

Operating the control room dLive S7000 console in the Haenuri theatre

earphones as part of the personal monitoring solution along with Shure P10 wireless receivers and transmitters.

The theatre technicians are enjoying the benefits derived from the gigaACE audio networking card (M-DL-GACE) which can be fitted into the dLive and Avantis I/O ports. Each card provides a 128x128-channel 96kHz gigaACE link to other dLive and Avantis mixing systems in addition to a DX Hub or GX4816 expander. As the proprietary protocol network for transporting audio and control over Ethernet, gigaACE provides very low latency and cable redundancy over the same Cat5 connection to enable control of either of the systems from a single laptop. In both FOH and broadcast configurations, the inputs of either S7000 console are sent to the Avantis and secondary S7000 where independent trim, processing and mixing are applied.

Providing mobile wireless mixing control, the dLive and Avantis MixPad apps are loaded onto iPads to provide simultaneous control of the control surface’s independent functions.

Beyond the ease-of-use functionality and audio reliability that the FOH and monitoring surfaces provide, the operators are now familiarising themselves with routing audio from any input to any output beyond the two theatres, including the outdoor rooftop stage and foyers.

By installing the latest networking technologies across its venues, Bupyeong Arts Center is demonstrating its desire not only to reach out beyond the island it is physically confined to, but also into the future. www.allen-heath.com www.bpcf.or.kr www.samasound.co.kr

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FEATURES: RECORDING

Reach for the skies

Kazutsugu Uchimura at Studio Cielo Flusso

Genelec 8320A SAM compact monitors facilitated the correct positioning for Dolby Atmos specs

Studio Cielo Flusso has opened in Tokyo with a Dolby Atmos HE system provided by Genelec Japan KAZUTSUGU UCHIMURA STARTED HIS career in 1982 at the Sapporo Visual and Audio Production in a variety of positions including sound designer, mix engineer and video editor, working his way up to technical director of the technical operation and engineering division. Further positions followed at postproduction facility Digital Egg and national broadcaster NHK, and since 1999 he has also acted as governor of the AES Japan section. Uchimura opened Studio Cielo Flusso in April 2021, and also works as a part-time lecturer in sound design and audio direction at the Tokyo University of the Arts.

“I’ve been involved in 5.1 surround for a long time and have been making works in 22.2 multichannel spatial audio for NHK’s 8K Super Hi-Vision broadcasting system since the early days,” he says. “It was inevitable that the equipment setup in my own studio would be capable of re-recording in Dolby Atmos, considering my major involvement in spatial audio since I started working freelance.”

While Uchimura feels that preliminary approaches to spatial audio may have been premature, he considers that recent technological advances and advanced methods of data distribution make this a more realistic era for getting good results in spatial audio.

Studio Cielo Flusso is just getting started, with current projects including a sound design and mix project in Dolby Atmos and the opening music for the films of a wellknown animation company, as well as mixing tracks for Dolby Atmos Music.

“Up until now, I’ve pursued the power of the connection between sound and visual

image,” he explains. “To that end, I’ve strived to keep learning – both from the past and from the latest recording technology.”

Although Cielo Flusso is Uchimura’s first studio, he has been involved in the construction of other facilities including postproduction, TV and radio audio studios as well as a dub stage for NHK. He also built the first 5.1 audio postproduction studio in Japan in 1991 during his time at Digital Egg, incorporating a network that connected it to several sound design studios, and introduced DAW and built an all-digital audio post studio at Sapporo Visual and Audio Production in 1993, as well as being involved in the construction of OB mobiles.

The 7.1.4 Dolby HE setup is capable of completing smaller projects, with larger ones being transferred to the dub stage of larger facilities for the final mix and creation of master data.

Measuring just 3.5m x 2m, with a ceiling height of 2.5m, Cielo Flusso is not much bigger than the control room of an OB van, so Uchimura has selected his equipment carefully. The DAW system is Avid Pro Tools Ultimate with Dolby Atmos Production Suite running on a Mac Mini, together with a Pro Tools MTRX Studio interface, an SSL Six mixing desk, an SSL UF8 DAW controller, two J L Cooper AXOS panners, a Brainstorm DXD-16 clock generator and SR-15+ timecode distributor, Sennheiser MD 421 and AKG C452 EB microphones and a selection of outboard equipment including GML 2032 and Neumann V402 mic preamps and a Tube-Tech LCA-2B stereo compressor. But it was the choice of Genelec monitoring that allowed him to create a Dolby Atmos setup in such a small space. Eleven 8320A SAM compact monitors

The studio has an SSL Six console and a UF8 DAW controller have been used for the surround and height channels, with a 7350A subwoofer, and two 1031s as the main stereo L-R monitors.

“The size of the speakers, especially their depth, will affect the size of the circle in which they are placed,” explains Uchimura, whose history with Genelec began over 30 years ago with the S30NFB three-way studio monitor, and has continued ever since. “By selecting the compact Genelec 8320, I was able to draw a speaker circle with a radius of 1,280mm. In addition, there is a wide variety of accessories to accommodate various installation situations, which has allowed me to install the speakers in a position that meets Dolby Atmos specifications, even in a narrow space. The 8000-446B truss mount kit with adjustable length, in particular, allowed me to place the height speakers at the optimum angle for the listening position.

“I calculated the room characteristics, determined the sweet spot and adjusted the room’s sound absorption and diffusion, but there were points that were difficult to resolve in a narrow space with many parallel planes. Genelec’s newly released GLM 4.1 calibration software worked well to deal with the problematic areas and allowed me to create an ideal monitoring and mixing environment.”

Uchimura was assisted in the installation

by Genelec Japan CEO, Kanji Murai, and service support/sales engineer, Woong Choi. The system was supplied by Genelec Japan and is one of a growing number of Dolby Atmos HE systems being provided by the manufacturer around the world. www.genelec.com www.genelec.jp

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FEATURES: PROFILE

Bonjour APAC Already strong in the region, L-Acoustics has set up a Singapore-based team dedicated to the APAC market. Caroline Moss finds out what and who are behind the move

L-Acoustics’ APAC team. L–R: applications engineer Chung Wah Khiew, director of sales David Cooper, CEO Tim Zhou and head of finance and accounting Yen Shu Ong ACCORDING TO THE IMF, MOST APAC ECONOMIES are projected to have grown more than the global average of 5.9% GDP in 2021, with emerging Asia, China and India coming in at 7.2%, 8% and 9.5%, respectively, and continued strong growth forecast across the region for 2022. And with signs of the AV industry coming back into bloom after the challenges of the past two years, the timing is apt for French manufacturer, L-Acoustics, to announce a new APAC office located in Singapore, the appointment of a new CEO for the region and the promotion and relocation of two key members of staff to the island state.

Tim Zhou has been appointed to the newly created role of CEO of L-Acoustics APAC, bringing with him 15 years of pro audio

experience, including a decade spent at Bose as APAC business leader in China, the US and Singapore. The new office will aim to deliver the same experience to visitors and colleagues as when visiting the French manufacturer at its renowned headquarters in Marcoussis, to the south of Paris: a hub of technology that delivers the company’s latest audio innovations against a backdrop of modern art and a warm welcome.

“There is a unique culture at the company, a natural outcome of a commitment to our scientific origins and to the beauty and shared emotion of art,” reflects Zhou. “The greatest success of the new APAC team will be to represent that culture in the region.

“For many global companies that have significant scope of customers and business networks in APAC, one of the biggest

challenges is to manage the conflict of global consistency versus regional and local efficiency,” he continues, citing diversified cultures and business environments throughout the region as the main reason for this. “After over 10 years leading an APACbased audio business and managing a large multicultural team, I am confident of merging all my experience with the essence and brand values of L-Acoustics to forge a strong, effective and dynamic APAC entity under our global group.”

L-Acoustics’ Singapore base will follow the company’s global mission of shaping the future of sound and elevating the listening experience. “Operationally, our focus to build a full hub in Singapore for APAC is a strong commitment to enhanced customer value and experience, offering local support and customer service and ultimately more efficient and shorter delivery times,” explains Zhou. “We have established markets and seen remarkable brand growth in China, Korea and Japan.

Today, Southeast Asia represents one of the most dynamic regions of the world for L-Acoustics. The new office and expanded team will help us meet the demand for L-Acoustics’ signature range of products, to attain the highest levels of quality for our partners and clients, as well as create unforgettable experiences for audiences.”

Zhou has been joined in Singapore by David Cooper, a well-known face throughout both the pro audio industry and across the APAC region, having spent 17 years at Midas before being appointed L-Acoustics’ regional sales manager for Asian territories; he has now been promoted to director of sales, L-Acoustics APAC. “I’ve been looking after the business side for L-Acoustics in the region since 2012, and our brand profile as well as our penetration into the touring and install markets since then has been remarkable,” says Cooper. “It is our longterm partners in each territory that really make the difference, providing the local support that L-Acoustics specifiers, owners and users expect and demand – and it’s this that drives our success.”

This will be the first time Cooper has been permanently based in the region. “I thought it was going to be good, but it’s better

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than t well; i langu it, esp evolut Coop the ad I have excitin be a l where segm But ou in our provid territo and s footpr “Wh simpl L-Acou invest aroun and it Anot direct having of app comm that e develo “Bot organ the re more Singa includ

FEATURES: PROFILE than that,” he says of his new Singapore home. “I know Asia so well; it’s such a dynamic, innovative region with diverse cultures, languages and climates, but to be immersed in the middle of it, especially during this momentous phase of the company’s evolution, is just great.”

Cooper’s territory has also expanded somewhat. “I now have the additional responsibility of Oceania under my belt; an area I haven’t looked after since my days at Midas, so that’s very exciting and, knowing the Aussies and Kiwis, will almost certainly be a lot of fun,” he continues. “There are also a few territories where we are not currently represented, as well as market segments that need attention, so I’ll be looking to fill those gaps.

But our main thrust will be to continually improve our presence in our core markets and to steadily build a strong sales team to provide even better support for our long-term partners in each territory. The Singapore office is there to do just that – improve and support, while increasing our brand image to have a bigger footprint in the region.

“When it comes down to it, our overall objective is quite simple: to continue to prove to industry specifiers that although L-Acoustics is not their cheapest option, it is the best long-term investment in professional audio. Thousands of customers around the world have known this to be true for over 30 years and it’s our goal to ensure this continues long into the future.”

Another key team member is Alvin Koh, who has been director of application projects, L-Acoustics APAC since 2020, having previously spent seven years as the company’s head of applications engineer for Asia. He will be enhancing global communications as well as delegating to the team, making sure that everyone’s talents are maximised and undertaking skill development training.

“Both David and Alvin have their dedicated teams at our organisation to serve our partners and customers across the region,” explains Zhou. “In addition to that, we are hiring more team members to handle finance and operations in the Singapore office to support our local APAC business.” This includes Yen Shu Ong, who has been appointed as head of

ersus d as ACam, e and

finance and accounting, and applications engineer, Chung Wah Khiew.

The L-Acoustics APAC team is operating from its headquarters in downtown Singapore. Central, accessible and in close proximity to other pro audio companies, it promises to reflect the company’s commitment to taking good care of staff and visitors alike.

A recent L-Acoustics APAC installation in the Garden Ballroom at the ParkRoyal Hotel Singapore “Establishing a hub in Singapore is the logical next step in L-Acoustics’ growing support and commitment to the APAC region, in line with our philosophy to think globally and act locally,” concludes L-Acoustics CEO, Laurent Vaissié. “Our local partners have helped us establish L-Acoustics as the leader in high-performance audio, offering rider-friendly local options for global tours, exceptional sound for high-profile events and elevated experiences for fixed installation theatres, houses of worship, theme parks and live music venues. A premium brand can only be sustained by an elite team that supports and represents its values. Hervé [Guillaume, CEO of L-Acoustics Group] and I are confident that the team of Tim, David and Alvin will lead our APAC partners into the future of sound with brio.”

Tim Zhou brings 15 years’ pro audio experience to L-Acoustics Image courtesy of Hizuan Zailani

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FEATURES: HOSPITALITY

Opa for business

Caroline Moss reports on Opa Kipos, a modern twist on the traditional Greek restaurant that has opened in Mumbai’s Lower Parel

Opa Kipos has several floor levels and a mezzanine WITH GREEK RESTAURANTS THIN ON THE GROUND IN Mumbai, plate-smashing traditions, Zorba dancing and bouzouki music have been absent from the city’s dining options – until now. Opa Kipos has opened in Lower Parel with an L-Acoustics system designed by acoustician Milind Raorane capable of providing DJ music for diners, with enough headroom to accommodate the nightly show of traditional live music and crockery destruction.

Opa Kipos, part of a restaurant franchise that began in Dubai, is based in the premises of the former Shiro restaurant, which closed its doors several years ago. “Shiro was popular in its heyday,” explains Raorane, “so my client took out a lease on the building and wanted to create a place that was as iconic as Shiro had been.” The Indian franchisee was a longstanding client of Raorane, and discussions about a suitable sound system and acoustic treatment began in mid-2019.

“Opa has an in-house supervisory team based in Dubai and they have a signature look and feel when it comes to things like colour scheme and furniture layout,” he continues. “They also have an audio design team, so whatever I came up with had to be corroborated by them.” Fortunately, there was a common agreement about brands, with two possibilities agreed upon and L-Acoustics – which has been used in some of the other Opa outlets – winning out. A deal was struck with the French brand’s Indian distributor, Hi-Tech Audio Systems, and system design began.

The building had been completely gutted and refitted when Raorane came onboard, and he found that the biggest challenge was working across multiple levels in a non-symmetrical space.

“There’s no uniformity in the layout, plus there are three different levels and a mezzanine area,” he explains. “Keeping the same energy everywhere was quite a difficult task, so we used speakers from across the range, from the smallest 5XT coaxial all the way up to the large X15 HiQ monitor.”

Two of the latter have been installed as FOH for the main floor, along with two SB15m subwoofers, with two X12s, an X8 and two SB15ms as side fills. Four more X8s and two SB15ms provide coverage for a central lounge on the mezzanine floor,

The L-Acoustics speakers have been provided in white and suspended from the ceiling while the dining and VIP areas on this level have been installed with two 5XTs, with two SB15ms added for the VIP lounge.

The entire system – supplied in white to blend in with the Grecian décor – is powered by four LA4X amplified controllers.

Background music is conveyed through common areas via four RCF PL50 ceiling speakers powered by Crown 660A amplifiers.

System control is provided by a BSS BLU-100 signal processor, and Pioneer CDJ2000 Nexus decks with a DJM-900 mixer are on hand for DJs.

Raorane suspended all the loudspeakers from the ceiling. “It’s unusual for me to do this, but the place has very high ceilings of around 9m,” he explains. “I needed to work out the exact coordinates, which was a challenge because the client was very precise about where the lighting should go, and didn’t want the speakers to be obtrusive, either. I ended up having to compromise about 20% of my design, but I told them that if I could position 80% of my speakers correctly, then calibration would be much easier because I wouldn’t have to rely on the DSP settings so much.” He was right about this: following extensive work in Smaart audio prediction software, system calibration was completed in just one hour thanks to the precise speaker placement.

When it came to acoustics, the building’s asymmetry worked in its favour. “The natural acoustics of the room were helpful to us as there are no specular reflections,” says Raorane, who also used canework covering the ceiling to blend and diffuse the sounds of the room, placing acoustic material behind it.

But, like so many projects the world over, Covid put paid to Opa Kipos’ plans, starting with the grand opening in March 2020.

India’s multiple lockdowns, tightened restrictions and pandemic waves meant that the restaurant wasn’t able to launch fully until August 2021. This wasn’t the planned fanfare but a soft opening, following Raorane’s recalibration of the system to ensure it was operating at peak performance after the downtime.

Opa Kipos is now attracting a steady crowd with its Mediterranean fare and unique entertainment, which includes around 10 Greek musicians playing live nightly. However, Raorane suspects it’s only a matter of time before the venue gravitates towards the party scene that Mumbai is famous for, and has futureproofed the system accordingly. “I know the owners and their previous projects, and I’ve geared it towards the local market,” he says. “I wanted to prepare them for that from the outset.”

If plate-smashing is a novelty that, ultimately, the city of Mumbai is prepared to forego in favour of a Bollywood-style dance-off, Opa Kipos is ready and waiting. www.l-acoustics.com

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in the updat record the ro Direct invalu All th room” The d elimin amou with t the lis from t to bui define heard As a the pr of the partia treatm room. spot i four s “We One s “Thes coaxia yielde is sim Austra The the ul sure t mask treate SSL Duality console and Genelec 8361As in the main Studio A control room

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Australia’s prestigious JMC Academy has carried out a renovation of its Ultimo campus in Sydney with impressive results, reports Caroline Moss FOUNDED BY DR JOHN MARTIN CASS, JMC ACADEMY is a multi-campus private college with locations in New South Wales, Victoria and Queensland. Recognised as a quality tertiary education provider by the Australian Government’s Tertiary Education Quality and Standards Agency and the Australian Skills Quality Authority, in 2013 JMC was named Higher Education Provider of the Year by the Australian Council for Private Education and Training. In the same year, it became the only Australian institution to join the Berklee College of Music’s International Network.

The first campus to open in 1982 in Sydney became the first private college in Australia to qualify for audio engineering, digital TV and digital multimedia accreditation. The college also offers accredited courses in music business management as well as popular music and performance.

2001 saw the opening of JMC’s Melbourne Campus, with South Brisbane following in 2007. Other notable milestones have been the launch of a game design course in 2012, digital design and songwriting courses in 2014 and the APRA AMCOS music grant in 2016, while 2018 saw the arrival of JMC’s Master of Creative Industries course, and a new eight-floor campus in Brisbane.

The 3,000m2 Ultimo campus in the heart of Sydney’s education hub has just benefitted from a total renovation, which includes a new audio facility aesthetically designed by architect Shaun Carter and interior designer Julie Niass from architectural firm Carter Williamson, with Michael O’Brien from Harness Projects handling interior design for the rest of the campus. The scope of the project is immediate upon entering the building. The ground floor

JMC studio supervisor, Jack Woods

LED strips and track lighting combine functionality and design

houses a new student lounge complete with performance area. Moving up a level and sharing space with reception and offices on the first floor are four audio recording studios, four songwriting suites, four band rehearsal rooms and three tutoring rooms. On the second floor, two existing venues have been updated and a variety of teaching classrooms and labs added.

Of the four recording studios at the Ultimo campus, Studios A, B and C have been acoustically upgraded by Glenn Leembruggen and Camille Hanrahan-Tan of Acoustic Directions, with Studio D due a refurbishment in the near future.

Studio supervisor Jack Woods, an audio engineer and lecturer, has been at JMC for around nine years and was involved in the original move to the Ultimo campus, commissioning the studios

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FEATURES: EDUCATION in the initial move in early 2013. “Having taught, maintained and updated the studios, I have an intimate understanding of the recording spaces and it is great to finally unlock the potential of the rooms,” he says. “Engaging Glenn and the team at Acoustic Directions to take on the acoustic design has proven to be invaluable as the results speak for themselves.”

All three control rooms benefit from the “non-environment room” approach pioneered by veteran acoustician, Tom Hidley.

The design incorporates flush-mounted loudspeakers, which eliminate reflections from the front wall. “By placing substantial amounts of tuned absorption on the side and rear walls along with the ceiling, the reflections are controlled to a point where the listener feels comfortable, but the audio is of its purest form from the speaker,” continues Woods. “This is not the easy way to build a studio, but the results are of staggering transparency, defined low end and a depth to the stereo image that I have not heard before.”

As acoustic treatment can take up valuable real estate, one of the priorities during the redesign was to capitalise on elements of the room to make the most of the usable space. This was partially achieved by the addition of Helmholtz resonators and treatment under a bespoke lounge at the rear of each control room. Another major criterion was the provision of a wide sweet spot in the listening field, ensuring that when teaching classes of four students, everyone would hear the same thing.

“We made the decision early to exclusively run the Genelec One series as our main monitoring in all rooms,” says Woods.

“These speakers were a clear winner in meeting our criteria. The coaxial design, coupled with the power of the SAM/GLM DSP, yielded amazing results, even upon initial testing. The final result is simply mind-blowing.” All Genelec equipment was provided by Australian distributor, Studio Connections.

The live rooms were constructed with a similar approach and the ultimate goal of controlled acoustics. “We wanted to make sure that when we are teaching students something, it is not masked by a room’s colour or an inconsistency of a poorly treated space. The rooms are live and produce a beautiful

Studio A’s L-R system can adapt to 5.1 with a Genelec 8351B as the centre channel and two rear 8340s natural reverb, but a clarity remains that makes the recording process extremely predictable.”

When it came to the interior architecture and design, Carter and Niass created an acoustically transparent “skin” over the acoustic treatment. “The rooms look as great as they sound,” continues Woods. “In fact, it’s amazing how controlled the acoustics are when you consider the abundance of timber and perforated metal on the walls. It’s a real testament to the amount of science involved in the project.”

All three studios are united by the use of a consistent colour palette and materials throughout, the challenge being to create spaces that didn’t necessarily look like they had been acoustically treated. “The blackbutt timber panel work provides

a natural feel that softens the razor-sharp outline of the rooms,” explains Woods. “The ceiling and walls seamlessly flow into a matching floating floor. The perforated metal was specified to be as acoustically transparent as possible; powder coating it black adds contrast to the timber, while the anodised doeskin panels blend where required. The build quality is on show given the absence of edging materials.” A combination of LED strips and focused track lighting provides functionality while also complementing the interior design.

At the heart of Studio A’s control room, which is used for classes in advanced recording techniques, sound for picture, sound design, 5.1 mixing techniques and advanced analogue signal flow, is a 48-channel SSL Duality hybrid analogue/

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FEATURES: EDUCATION digital console and Mac Pro running Avid Pro Tools, with a main stereo pair of soffit-mounted Genelec 8361As as the main monitor system. As well as being the main L-R system, they can also combine to provide 5.1 monitoring with an 8351B as the centre channel and two 8340s for rears, plus a Genelec 7360 subwoofer, and all speakers were tuned using Genelec’s GLM calibration software. The room has also been wired to accommodate Dolby Atmos in the future. Classic outboard equipment includes Manley Vari MU, ADL C/L 1500 and dbx 160A compressors, Empirical Labs EL8X distressors, Avalon AD2022 and Universal Audio 2-610 stereo preamplifiers, a Bricasti M7 stereo reverb processor and JLM headphone amp/ distribution units. The space functions as a stereo tracking and mixing room as well as a surround postproduction studio. A 55-inch OLED TV has been installed on a motorised lift below the control room window to provide an additional screen for postproduction viewing. When not in use, it is tucked away out of sight for optimal acoustics when critically mixing.

The smaller Studio B, which is used for spatial audio, ambisonic audio applications, podcasting and audio mixing for postproduction, has been provided with an Avid C|24 Control surface, a Mac Pro running Pro Tools HDX and JLM headphone amp/distribution units, plus a pair of Genelec 8351B nearfield studio monitors flush-mounted into the wall. The same setup has been installed in Studio C, where courses in advanced control

A large window connects the control and live rooms of Studio A

Avid C|24 Control and flush-mounted Genelec 8351B monitors in Studio C’s control room surfaces, automation, drum recording, recording with a producer and mastering basics are taught. Studio C can also provide a wide range of outboard gear including JLM BA4 four-channel preamps, Universal Audio 2-610 stereo preamps, dbx 160A and Drawmer DL241 compressors, Arsenal Audio R24 and TL Audio Ivory 5013 equalisers and JLM headphone amp/distribution units.

Moving to Studio D, the smallest unit, where recording basics, signal flow, equipment usage and microphone techniques and DAW basics are taught, there’s an Audient ASP4816 analogue console with an Antelope Audio Orion 32+ Gen 3 interface, Yamaha MSP7 studio monitors, Drawmer DL241 compressors, Arsenal Audio R24 and TL Audio Ivory 5013 equalisers, a Lexicon MX300 multi-effects processor and JLM headphone amp/ distribution units.

A wide range of plugins from Waves, Universal Audio, Native Instruments, Slate Trigger, Sound Toys, Roland Cloud and Celemony Melodyne are also available across all studios. Each control room has an independent live room, though each of them can be accessed from any of the studios via existing underfloor cable routing. “All of the hardware and software has been handpicked to suit the specific needs of our unit outcomes,” explains Woods. “You will find all of this gear throughout many major recording facilities, with many items highly regarded by industry professionals.”

On level two, one of the two existing venues – a 200-capacity, 195m2 auditorium used for a combination of practical teaching as well as live performances and other events – has been evolving since the campus opened in 2013, with the room treatment altered and updated several times over the years in order to refine the acoustics, including the fitting of Primacoustic broadband panels and various Pyrotek acoustic solutions. An upgrade to Profurn’s Beaufort fixed seating is planned for early 2022.

JMC’s 50-seat theatre

Allen & Heath dLive S5000 console on FOH duties in the auditorium The main FOH system in the auditorium consists of three JBL VRX 932LAP line array cabinets and one VRX918SP subwoofer per side. An Allen & Heath dLive S5000 digital console at FOH, BSS BLU-100 signal processing with a BLU-DAN Dante networking interface and a selection of Sennheiser and Shure microphones complete the AV setup; this allows the academy to livestream numerous conferences and multi-campus events.

Classes held here range from live sound and AV through to film and television and entertainment business management.

A 32-channel Pro Tools recording setup in the auditorium can be routed via Dante to any of the studios on level one, as well as used to record locally. All mixing and postproduction of live events generally takes place down in the recording studios. The auditorium hosts internal events for JMC as well as providing a venue for third parties. Performances by artists including Australian singer/songwriter James Reyne, drummer Tony

Royster Jr and American rapper the DOC have taken place here, as have talks from industry figures such as American producer/ engineer Young Guru.

The 92m2, 50-seat theatre, used for screenings, demos and surround sound mixing, hosting classes for film and TV subjects as well as mixing in spatial audio, is now also due an upgrade which will provide it with a Dolby Atmos system. Smaller live musical and theatrical performances also take place frequently in the theatre.

“Both venues have evolved over time to suit the changing course materials and live event requirements,” explains Woods.

“We’ve been constantly updating the spaces to accommodate everything from a basic conference to large-scale livestreamed events.”

On the same level as the venues, there are also two MIDI rooms installed with 20 Apple iMac computers running a selection of DAW programmes including Pro Tools, Ableton, Logic and Sibelius, plus a wide selection of plugins. All iMacs are paired with MIDI keyboards and Audient iD4 audio interfaces.

These rooms are used for teaching classes and can also be booked for student use. Two animation/gaming labs have highspec PCs for graphic processing, while a film and television lab features more iMacs running Media Composer; there is also a film and TV studio.

The top floor of the building provides a welcome space for students to relax between classes and enjoy the panoramic views across the city; a retreat from the buzz of creativity that courses through the upgraded campus below. www.genelec.com www.solidstatelogic.com www.studioconnections.com.au

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MTS SERIES

THE NEXT STADIUM STANDARD Electro-Voice expands its portfolio of large-venue sound solutions with the MTS series – designed to deliver an unprecedented combination of massive output and precise coverage.

The MTS series consists of four base models. These include two standard three-way configurations with 60° x 40° or 40° x 30° coverage, and two cardioid configurations that provide the same coverage patterns with enhanced low-frequency directional control. The 60° x 40° models can deliver extremely high SPL: 151 dB peak (music) down to 55 Hz at -10 dB and 154 dB peak (speech); the 40° x 30° models are capable of 152 dB peak (music) down to 50 Hz at -10 dB and 155 dB peak (speech).

ENGINEERED TO FILL LARGE VENUES Each MTS standard model is equipped with four 15” woofers and dual coaxial mid/high frequency compression drivers. The four slot-loaded, high-efficiency low-frequency drivers are symmetrically coupled to the same full-range waveguide as the compression drivers to create a true point-source with substantial bass response, eliminating the need for additional subwoofers in many applications.

UNIQUE CARDIOID MODELS The MTS series offers another key differentiator from the current competition. Equipped with two additional woofers, cardioid models deliver full-bandwidth directivity control that reduces sound spill outside the pattern, enhancing dynamics, improving sound quality and clarifying speech intelligibility.

#TheNextStadiumStandard Information in this document is subject to change without notice.

All trademarks are the copyrights of their respective owners. ©2021 Bosch Security Systems, Inc.

Learn more about MTS

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FEATURES: LIVE SOUND

Keeping it real A Chinese opera production has been touring the country with a point source system from KV2 providing realistic, natural sound reinforcement, reports Sue Su EVER SINCE THE MINISTRY OF CULTURE OF CHINA implemented its Inheritance and Development of Local Chinese Operas programme in 2017, a number of high-quality productions have been developed, some of which feature a sound design by audio engineer Song Duoduo, with Yimeng Mountain, Ma Xiangyang Went to the Countryside and Mother among the standout shows.

Although opera originated in the West, these local operas have incorporated a large number of Chinese elements, with the style of singing, form of performance and stage setting requiring an excellent sound reinforcement system to create an optimum experience for the audience. For this reason, Song has chosen the KV2 brand as the main system for many national operas, building a multichannel system to create a sense of threedimensional immersion without affecting the stage effects.

“The bel canto style of traditional Western operas and the vocal method of Chinese national operas produce a different volume,” explains Song. “Moreover, Chinese operas pay great attention to storytelling. The actors need to move around and act on the stage to fully interpret the whole story. Western traditional operas promote the development of the plot more through singing, and the actors can stand very close to the proscenium arch to deliver lengthy passages. In addition, the gouache paintings used in Chinese stage sets can easily function as sound absorption while the oil paintings used in Western sets are very reflective. Finally, the venues are generally larger now, and audience sizes have also increased significantly. Therefore, the method of staging traditional Western operas that simply

relies on acoustics cannot meet the requirements of Chinese operas, and so we must use electroacoustic technology.”

As an example, one of Song’s classic operas, Yimeng Mountain, has won a number of prestigious Chinese awards including the 30th Shanghai Magnolia Drama Performance Art Award and the Best Works Award, and was performed at the National Centre for the Performing Arts in Beijing at the opening ceremony of the Exhibition of Excellent Stage Art Works to Celebrate the 100th Anniversary of the Founding of the Communist Party of China.

From its premiere in August 2018 to April 2021, four versions of Yimeng Mountain have been staged across the country in almost 140 shows, attracting more than 200,000 audience members and over 6.5 million online viewers, both of which have set a record in recent years.

The touring version of Yimeng Mountain is divided into six acts, incorporating Chinese traditional musical instruments such as the bamboo flute, suona horn and Chinese lute into the orchestra. The play showcases the spirit of hard work embodied by the Yimeng people through its visual and auditory content, allowing the audience to resonate deeply with the dancing and singing.

The main sound reinforcement system consists of two KV2 Audio ES1.0 modules, an ES2.5 and two ES1.8s on each side of the stage, managed and driven by two EPAK2500R amplifiers. This system covers the audience area and balcony evenly, producing a wide dynamic range and high-definition audio.

The 10m x 19m (HxW) stage set represents the topography of the Yimeng Mountains, upon which the performers enact

Two KV2 Audio ESD Cube monitors are placed in the centre their roles. The diverse singing forms span male and female solos, duets, quartets and choruses. In order to give the actors accurate monitoring, KV2 Audio’s compact ESD Cube, ESD6 and ESD36 speakers are cleverly hidden in the curtain rail and side curtains as stage monitors, driven by ESP4000 power amplifiers.

“Although line array systems are very popular, point source technology still has unique advantages, especially for theatres with fixed seats with a shorter distance from the front to back,” explains Song. “First of all, it can accurately cover the seats

FOH engineer Song Renyi at the controls of the Allen & Heath dLive S7000

L–R: Wang Hang, KV2 Audio’s technical director for China; sound director and designer Song Duoduo; and KV2’s chief representative Jason Shi

The Shure wireless microphone system

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of the stage in the front, middle and rear areas, giving the impression that audio is coming from the stage itself, and providing a particularly true reproduction of the sound. For example, the KV2 ES1.0 point source speaker we are using is a three-way system with super high-frequency and midrange capabilities, together with the ES2.5 dual 15-inch bass cabinet for sub-bass and a single ES1.8 18-inch subwoofer for low frequencies, thus forming a five-way system.

The sound engineer assigns the different types of frequencies being reproduced, making it close to the original source and sounding as if it’s been compressed by electronic components.”

In order to create a 3D environment to recreate the conditions of war and the sound of aircraft flying across the sky, an effects system composed of KV2 ESD10 and ESD6 speakers was deployed towards the back of ​​the stage and around the audience area, with a total of 16 sound effects channels.

“I use a multichannel system in every play to reproduce the appropriate environment,” Song continues. “For example, it’s not enough to shock people during the war scene just at the moment that the sound comes out of the main speakers; it has to surround the audience, and sound effects can be used to create the appropriate atmosphere. With the help of sound movement, the audience can interpret the progress of the play and understand the plot, and this can also assist the director in presenting the artistic effects they want.”

Each actor is equipped with Shure miniature wireless microphones, with more than 60 used across the production. For the symphony orchestra, more than 40 wired instrument and chorus microphones were provided to maintain the balance of the various instruments and compensate for the limitations of the orchestra space.

The mixer is an Allen & Heath dLive S7000.

FOH engineer Song Renyi says: “For opera sound reinforcement, we need to reproduce the original sound without making many adjustments to the timbre of the orchestra and vocals. It is more natural and true to give the appearance that the music is coming from the

Shure miniature mics are concealed in the actors’ costumes orchestra, and the vocals from the stage. The KV2 sound system is very good for this: the frequency is well-balanced and the reproduction is natural and realistic.”

KV2’s local distributor AVMEdia, part of the Longjoin Group, has provided technical support for the system. In the initial stages of the tour, a team headed by KV2 Audio’s technical director, Wang Hang, provided onsite support for Song.

After this, Song’s team has been able to use it with ease and, over the past year, AVMEdia has only needed to provide remote support and system monitoring to ensure smooth ongoing operation.

In addition to Yimeng Mountain, the system has also been used on other Song Duoduodesigned operas including Ma Xiangyang Went to the Countryside, Red Boat and Mother, and has travelled to leading performance venues such as the National Grand Theater, Guangzhou Grand Theater, Zibo Grand Theater, Qingdao Grand Theater, Shandong Provincial Capital Grand Theater, Beijing Tianqiao Theater and Beijing Poly Academy.

“Mr Song brought KV2 into the field of Chinese opera and this has allowed us to accumulate valuable experience,” says Jason Shi, chief representative of KV2 in China and the general manager of AVMEdia, underlining the fact that the experience has allowed the company to adapt the Czech manufacturer’s products to deploy a particularly Chinese creativity. www.kv2audio.com

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FEATURES: VIRTUAL

Changing gear Caroline Moss discovers how Indian PA rental and production company Sound.com has diversified into video shoots, event production and virtual events to ride out the pandemic

Sound.com invested in a range of camera equipment

A GearHouse live session gets a virtual backdrop SOUND.COM HAS FEATURED MANY TIMES IN Pro AVL Asia, and the last time I interviewed founder Warren D’souza was in March 2020, a few days after India had just gone into its first, strict lockdown. At the time, Sound.com had a staff of 86 people who had been working across the four or five events per day that the company was handling.

D’souza was committed to keeping everyone on the payroll until everything “got back to normal” and was holding daily meetings on Microsoft Teams to keep everyone motivated.

The UK had also gone into its first lockdown and, as we chatted over Zoom in this strange new world, we couldn’t possibly know the marathon that lay ahead. So we talked about when the live sound market would pick up again, and how this downtime could be used wisely to do as many online courses and webinars as possible.

Eighteen months on, and most events are still on hold in India. “No live ticketed shows will happen for a long time because there’s no permission, and these were the main source of our business,” says D’souza, adding that he doesn’t expect international tours, which were increasingly starting to include the subcontinent on their schedule, to return any time soon.

Accordingly, in typical indefatigable fashion, D’souza has gone back to the drawing board and reinvented himself and the business. He’s moved his substantial PA inventory into a new warehouse in Mumbai’s outer suburbs and converted the existing warehouse in Andheri East into a shooting floor, later adding three smaller studios. The warehouse was already being used for the GearHouse Sessions, which Sound.com started in 2014, providing production equipment and instruments to both fledgling and established artists to play in front of a small audience, rehearse or shoot videos. Going forward, the plan was to repurpose GearHouse as a high-end video production and broadcast suite to host virtual and hybrid events.

“Growth doesn’t necessarily have to mean profit; it can be an investment into time, or a new technology,” he muses.

A launch event for Škoda in the chroma key studio

Before and after: an Indian Independence Day event for Total Energies in the chroma key studio is magically transported to the Red Fort in Delhi “I thought it was really important that I did something different; whether it was a conventional success or not wasn’t paramount. The need of the hour was to build a digital studio, so we took our existing one, moved gear around and made space, set up a chroma screen and started shooting.”

In doing so, he’s had to rethink everyone’s job title, including his own. “I told my team, do not think of yourself as an

audio guy anymore,” he says. “Now, it’s all about emerging technology and DAB.” Admittedly knowing nothing about video either, D’souza began to educate himself. “I’m very focused, and I will spend three months immersed in a new subject, studying only that and not consuming anything else that will distract me. I became a student of YouTube – that was my academy. There’s enough content out there, and I focused on AV tech, IT tech, event tech; I was clear that this was the only way for us to make it. I had to keep pushing my guys when it came to video, but some of them have really found their calling. And I hired a cinematographer and a DOP [director of production], who told me what equipment to buy. Because I work with AR Rahman, I’ve been able to use the freelance camera crew and DOPs that work on his productions. And having taught ourselves online broadcasting skills, we managed to recruit an experienced online broadcaster as the scope of our work kept increasing, adding to our menu of services.”

By D’souza’s own account, the first few months were tough.

“We really started ramping up towards the end of 2020, but we knew nothing about video, nothing about shooting or online broadcasting,” he reflects. “I don’t think I’ve studied as much in my entire life as I did during this period. Once I crossed that two-month threshold, things started happening very easily and organically.”

This magic threshold was crossed in January 2021 after a slow and steady buildup. D’souza initially dry hired all equipment, investing in his own from October 2020, including Sony mirrorless a7S III cameras with G Master lenses, Blackmagic video switchers and convertors, Sony and Blackmagic broadcast monitors, Teris tripods, DJI Ronin gimbals and high-quality capture cards from Blackmagic and AJA. By December, he was building his own media servers, and had branded the new arm of the business Streamvent.

“I knew that people in the industry might find it difficult to trust me in video because I’ve always been an audio guy, but I also have the reputation that I’ll do it right or not at all,”

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FEATURES: VIRTUAL he says. “People knew I wouldn’t disappoint them. The first clients were looking for solutions to the new situation; I’m very active on social media and they could see what we were doing and read testimonials. It gathered momentum to the point where we were shooting once a week to twice a week to three times and now we’re shooting four times a week.

And the interesting thing has been that because of the success of what we were doing here, people started hiring us in remote locations and hotel ballrooms to do the same, once things started to open up. That’s where the revenue model started building, as just being stuck in the studio wasn’t enough.”

With the rental inventory warehoused elsewhere, the entire Andheri East facility is now dedicated to video shoots. The main shooting floor is acoustically treated and has a number of backdrops including chroma key and LED screens, with a full range of professional audio and lighting solutions to choose from, according to the project.

These have included sales conferences, product launches, investor days and training events, offering up to 4K video resolution and high-definition and immersive audio. The three smaller virtual studios host corporate meetings, events and webinars; these are platform-agnostic and work with any videoconferencing app such as Teams, Zoom, Meets and Webex for streaming onto the usual channels such as YouTube, LinkedIn and Vimeo as well as a custombuilt microsite.

Alongside the video and virtual work, some audio rental is coming back slowly, although most of Sound.com’s work remains in the corporate domain for now. “Although there are signs of the live market coming back, I’m not having to pick up work for the sake of it,” he explains.

“It’s a combination of audio, virtual, shooting, hybrid and immersive. From last October onwards, we were so relieved to be able to pay full salaries again. Aside from one person in production, we haven’t lost a single staff member, which means that when things go back

Virtual anniversary event for Fincare Bank to normal, we won’t be searching for new staff. And we haven’t needed to sell anything either. Right now, being financially stable is far more important than buying new equipment.”

Surely this is one of the biggest messages to take from events of the past two years, combined with the urgency surrounding sustainability and climate crisis issues.

Another lesson that D’souza has learned during Covid times will surely resonate with many too. “Diversification,” he says. “It’s enabled us to survive and prosper during these tough times. It really doesn’t work to keep everything limited to just one thing.”

A livestreamed yoga bootcamp event in August 2021

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BUSINESS: COMMENT

A letter from America Covid made audio sick too but, according to Dan Daley, it’s getting better EVERYONE AWAITS THE RETREAT OF COVID-19: touring musicians bereft of what had become their primary revenue source for the previous decade, fans tired of virtual experiences, managing directors overseeing empty offices and desks. But one thing they’ll all agree on is that the quality of audio during the pandemic had largely devolved into something that Thomas Edison would have dismissed as agonisingly bad.

We’ve all experienced it – modulating mobile connections, mismatched levels between voices on conference calls and Zoom meets, untraceable 60Hz hums, flat out distortion and microphones used by people trying unsuccessfully to get XLR to talk to USB. It all had a very real and very negative impact on us.

EPOS, a Danish audio solutions provider, released the results of a survey it conducted with global research company Ipsos. Understanding Sound Experiences questioned 2,500 audio equipment end users and decisionmakers from the US, UK, France, Germany, Hong Kong and Singapore, showing that each employee in the study lost an average of 29 minutes of work time per week because of audio problems during voice calls, which translated to US$725.21 in lost revenue. For organisations with more than 100 staff, that equates to potential lost

productivity of over $70,000 per year. When speech is less than intelligible, mistakes get made. Worse, hours on end of bad audio over back-to-back-to-back virtual meetings result in aggravation that can quickly descend into anger.

This found its way into music. Online concerts were subjected to the artefacts induced by computers, such as both data and audio compression. Users on both ends of a performance were at the mercy of local broadband quality, which steadily deteriorated as the pandemic lingered and more people worked, performed and watched from home, clogging the pipes. It also forced musicians and FOH mixers alike to navigate a minefield of technical issues that they didn’t have to deal with at conventional venues.

Ironically, this was occurring at a time when live sound technology has never been better. Concert sound has achieved a hi-fi level – almost any show, from the largest arena to the smallest club, could sound excellent, thanks to the evolution of sound systems, DSP and modelling software that keeps sonic energy where it needs to be. Concerts never sounded as good as they did in March 2020, and the distance that sonic quality fell since was, on average, stunningly far.

I’ll say “on average” because as the pandemic dragged on, it became clear that the audio quality would need

to step up, because this was going to be the only way many people could perform and consume live music. It went from Phoebe Bridgers sitting in her Los Angeles apartment in April 2020 with a guitar across her lap, staring into her iPhone’s camera. “I’ve never done this before,” the 25-year-old singer-songwriter said. “How are you guys? Is this, like, a normal angle? Is this good?

Can you hear me?” Since then, companies like Twitch, Wowza, StageIt, TopFan, Mandolin, MixCloud and others have stepped up the user and performer experiences, as have show producers Live Nation and AEG Presents. And all of them are banking – literally – on streaming concerts sticking around.

There are good reasons for that – at least 1.33 million of them. That’s how many paid fans watched Korean boyband BTS perform a single show last June. When the money’s that good, it will inevitably push the quality of livestreamed sound upwards with it.

Music will still be at the mercy of whatever gear consumers are listening through at home but, then again, wasn’t it always? The real upshot is that the overall quality of sound will continue to improve in all online applications. Now if I could just get the guy in the upper left corner on Zoom to unmute…

A letter from Europe Phil Ward examines the realities of sustainable touring COLDPLAY’S ANNOUNCEMENT OF A 2022 WORLD tour with “50% lower” carbon emissions coincided neatly with COP26, the United Nations Climate Change Conference in Glasgow. As world leaders danced around the sensitive issue of turning the world economy upside down, shaking all the coins out of its pockets and refilling them with fresh air, the British band behind A Rush of Blood to the Head promised a kinetic floor beneath each audience – an invention that can, apparently, harness the energy created by their enthusiasm and contribute to a giant mobile battery developed with car manufacturer BMW. For the first time ever, a band’s ideals rest on its performance.

The floor is just one of a raft of eye-catching initiatives to neutralise a typical touring show’s environmental impact: we also have solar panels at all outdoor venues, a stage made of bamboo, recycled steel and other sustainable materials, minimum air travel (and more expensive – allegedly cleaner – aviation fuel for those flights deemed necessary), discounts for fans arriving by bicycle, a tree planted for every ticket sold, biodegradable wristbands, fewer of them and so on.

A Swiss company called Climeworks is collaborating with the band so that its Direct Air Capture (DAC) technology can be deployed around each gig. These look like air-conditioning units, but they suck the carbon dioxide out of the atmosphere and store it for later safe disposal or recycling into other uses such as fizzy drinks. This means that you can snap open a can of Red Bull at the concert, work yourself up into a frenzy and jump up and down with all the kinetic impact you can generate to a song like Yellow, with the net climate result being the same as if you weren’t there at all.

Well, almost. There will still be some air travel, and probably most of the fans arriving and leaving will choke up the surrounding neighbourhoods like human smog. Furthermore, as the directors of Climeworks freely admit, neutralising emissions while using fossil carbon does not break the carbon cycle that damages the climate, it just delays it. You have to use carbon harvested from the atmosphere in the first place. Fossil fuels need to be left where they are – underground. The surprising thing about Climeworks’ mission is that carbon salvaged from the air is more valuable than the stuff that gets mined, and every bit as useable. Carbon itself is not the enemy.

This means that Coldplay cannot employ enough DAC machines to render the tour truly sustainable, but that’s not really the point. Like the fringe festival Beyond the Green that sprang up in Glasgow as COP26 played out, using perfectly excellent PA running on normal electricity coughed up by Scottish Power, it’s a PR exercise – and no less valid for that. Beyond the Green’s message is that hemp – cannabis, to you and me – is the saviour of the planet, because you can use it in so many clean, green ways. I wish they’d also highlight power-saving pro audio like Powersoft, Linea Research and Danley Sound Labs, but hey. Until you can make line array out of bamboo, I don’t think our agenda is going to make the Chinese industry suddenly sit up in bed in the middle of the night.

We’ll see. Coldplay have also instigated a research programme with climate change experts at Imperial College London’s Grantham Institute to measure how far, or how little, the tour will make a difference to the effect on the environment that tours like this have. There’s nothing like statistics to get the civil servants on board.

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BUSINESS: COMPANY PROFILE

On the right track One

Datapath’s head office in Derby, UK

Four decades since it launched, Datapath and its technology are more pertinent than ever.

Richard Lawn learns more about the company whose ongoing ethos is Excellent by Design “THE MORE DATA THE WORLD THROWS AT US, THE more relevant we become,” reflects Datapath’s R&D director John Storey when challenged to describe where Datapath sits among today’s AV manufacturers. Storey clearly appreciates the increasing validity of brand in today’s converging AV and IT landscape. Over the past decade, Datapath has successfully plotted a networked course towards videowalls in emergency control rooms, classrooms, retail and healthcare facilities.

Essentially, four decades since it launched, data handling remains at its very core.

R&D director, John Storey: “The more data, the more relevant we become”

The Frontier graphics terminal series, launched in 1982 for fine line drawings for CAD applications

Founded in 1982 by Tony Jones, Steve De’Ath and Brett Butcher, Datapath charts an open course according to market demands. “Before the PC, our graphics cards were initially developed for professional Autocad applications,” Storey explains. “Back then in dispatch, you had to select the appropriate crystal for every item shipped for the particular resolution the customer demanded. Our journey since then has migrated from single to multi-head graphics with forays into medical specific products and digital signage that can be scaled up to provide high impact. Today, we have successfully asserted ourselves as a developer of huge videowalls incorporating information capture technologies for control rooms.”

Changes have been inevitable owing to the emergence of disruptive technologies, with Datapath demonstrating a willingness to adapt accordingly and quickly. “We had to transition when graphics cards became ubiquitous as an accelerator for Windows,” recalls Storey. “At that point, Datapath diversified into multi-output graphics, which was then sold off into banking and finance for stock exchange walls. That was the stepping stone and precursor for today’s control rooms where information is all brought together.”

A significant investment in 2007 from Foresight Group was a watershed in the company’s fortunes. While the three founders retained most of the shares, they recognised the need to invest in broadening the management team and product portfolio.

In 2008, three new directors were appointed to the board, alongside a strengthening of the technical team and a significant release of new products, including the Vision range of PC-based videowall controllers and SD9 capture card.

Having joined Datapath in 2003 as a senior hardware engineer with 20 years’ experience under his belt at Kodak, Videologic and Virtually, Storey was promoted to head of hardware engineering following Foresight Group’s investment. He was subsequently invited to join the board of directors a year later. “Wall controllers had been previously stitched together by proprietary cables between cards attempting to move pixels around,” he says. “PCI Express was invented for PCs, but we identified that this new cost-effective board could be adapted to move pixels around.

That stepped change earned us a Queen’s Award for Innovation, and our systems continue to be based on that technology as PCI Express has grown with the latest video demands.”

Based in Derby, the British company remains an expert in capture and graphics technology, offering a comprehensive range of capture cards for a variety of video modes and complementary graphics cards for multi-screen solutions. Over the past decade, Datapath has charted a new course towards AV-over-IP control technologies and solutions for creative multi-display videowalls, small- to medium-scale videowalls in business environments and command and control rooms of any scale, of which Storey freely admits he’s entered very few: these highly sensitive inner sanctums are out-of-bounds to most people – including the innovators of the technology that binds them together. “The purpose of a control room is to draw together critical, paramount information that will allow operators to make key decisions,” explains Storey. “Most of the information is visual in nature, ranging from fine details such as texts, spreadsheets and dashboards to big, overarching control applications with SCADA industrial control on a huge wall where the big picture can be monitored.”

Despite the lack of access to such applications, communications between the R&D team and its customers are

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BUSINESS: COMPANY PROFILE in 2021 for the control room ecosystem. Its Aetria solution draws all the elements of control room design, management, control and monitoring into a single interface. As a result, system integrators and operators can design scalable, bespoke systems that include connectivity, videowalls, workstations and source management. Essentially, Datapath has addressed the key requirements for current and future control rooms. These include rooms spread across distributed sites, the increasing growth of data and rising demand of IP content together with 4K resolution quality and personalised videowalls including large multi-screen workstations.

Integrators commence project specifications via the free, inbuilt Aetria Designer software, which provides a snapshot of how an installation will operate, allowing any changes to be made before impacting onsite. All hardware, displays, capture and graphics cards used to create solution designs exist in Aetria Designer’s growing database. Design options can be created, reviewed and approved before a commitment is made with the client prior to installation.

Following hardware installation, Aetria Command Center provides a unified interface to manage, configure and monitor the control room. Aetria’s graphical interface allows

One of Datapath’s three founders, Tony Jones vital in assessing current trends. “To make the right decision at the right time, the control room operators increasingly require information to be routed to a workstation in addition to the big wall. Today, it is not uncommon for an operator to possess several 4K monitors, adding up to a similar pixel density as a large wall. With such a personal videowall, the operator will be more interested in the detail and the clarity of information because they are interacting with that media. As such, walls tend to be HD in resolution and the operator workstations are often 4K. Today, the size of the wall is more important than the actual resolution, so the trend has taken us from cubes to LCD panels and onto direct view LEDs, which are essentially a sea of pixels. HD is optimal for the size of large monitors and the viewing distance for a wall, but 4K is where it’s at when you need the detail, and we’re increasingly being asked for full 4K in and 4K out.”

Drawing on decades of experience working with governments and organisations in multi-display and multi-source control, Datapath engineered the world’s first fully integrated platform

Aetria combines all elements of control room design, management, control and monitoring

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BUSINESS: COMPANY PROFILE the configuration of connected hardware and screens, organisation of sources and content and preparation of templates and layouts. Preconfigured layouts can be deployed to specific screens, workstations, videowall rooms and entire buildings. Adjustments and updates of any content can be made remotely in real time with full access protocols.

Offering connectivity of source viewing, sharing and control, the Aetria Workstation solution can be scaled to operator requirements and connectivity preferences.

Individual desktops can be partitioned into dedicated zones with the creation of a personal videowall for controlling any combination of sources available in Aetria alongside local applications. Screen layouts can be easily saved, accessed and shared with other operators.

The comprehensive package includes Aligo and Arqa, the former being an AVoIP solution that can transmit video over different networks in different resolutions simultaneously, offering 4K content across a 10Gb network and simultaneous compressed streams on 1Gb. An HD version of a video can be shared, in real time, over a low-bandwidth network, while the quality of a 4K original can be viewed in UHD with no compromise.

Arqu meanwhile is a KVM control room system that runs on a 1Gb network, providing access to multiple remote sources from a single workspace without sacrificing video quality or round-trip latency. As AV/IT teams aim for a more streamlined management process, the benefits of the visually lossless KVM control are rising with security concerns. Using Datapath’s video capture cards and graphics cards, VSN videowall controllers are supported for operation with established thirdparty hardware, including AMX and Crestron via its application programming interface (API).

The unwelcome interruption of Covid-19 did not hinder Datapath’s most ambitious software development to date. Just as the company has navigated the various AV elements within control rooms from afar, the development team remotely engineered the groundbreaking software solution from their own homes. “I was amazed at how resilient our R&D team adapted to an alien style of work environment,” comments Storey. “This was unexpected, yet very pleasing. There are times when deep concentration is required, and you get that working in isolation, but you also need to communicate with a group of 50 or more engineers.

After three months working in isolation, the worry is that individuals may have veered off at a tangent and be doing something completely different.”

Creating a software platform from the ground up, Storey’s management and recruitment skills were severely tested over the months that followed. “We broke the development

Managing director, Bjorn Krylander

The Datapath stand at ISE 2019

The Singaporean Bicentennial Experience relied on Fx4 display wall controllers

down into piecemeal items and our engineers compared notes during the daily Teams meetings. Prior to the pandemic, the quieter members would often not be heard, but in the virtual realm everyone could see and hear one another, with the quieter members freely participating.

However, when conversations went flat, we realised how we missed those human interactions. Having initially planned to recruit during the R&D cycle, we were forced to bring in new talent without meeting them in the flesh. These new members went on to play a significant contribution in the development process.”

As a manufacturer of its own hardware and software, the company can ensure the buying process is a seamless process. “As a full stack developer, Datapath specialist engineers develop circuit boards with programmable logic controllers, while other engineers dedicate their skills towards firmware, driver development and full applications,” continues Storey. “Datapath offers unique products because we are in control of that entire stack and handle a huge bandwidth. We are not just putting software icing onto the top of something quite plain as we have built up a large team that can bake the entire cake.”

Datapath welcomed Bjorn Krylander as its new CEO in 2010. Having served as chief executive of several UK technology companies and with a background encompassing strategy and operational consulting, Krylander brought a wealth of experience and leadership qualities to Datapath. “The move to AVoIP fundamentally changes how control rooms and other big AV visualisation solutions can be built,” says Krylander. “Aetria was an ambitious solution as it integrates both the delivery process and the operations and management of complex AV environments.”

Explaining how years of development have driven Aetria’s ethos, the CEO feels that Datapath has used its extensive experience to bring simple and secure “any source/any screen” management to control rooms. “When the first lockdown was announced in March 2020, it was unsettling for us all, but business soon settled down, allowing us to focus on product development. All the staff worked at home initially, which was less of a risk for management and marketing. However, I was unsure how our full-time engineers could continue to develop Aetria within the set timescale. When brainstorming ideas, you ideally want to be in the same room throwing ideas onto a white board, but it was remarkable how well we adapted to Zoom and Teams.”

Krylander notes that many projects were delayed, with most control rooms being placed firmly off limits: “Our business was impacted in the short term, but demand did not disappear. On the commercial side it went quiet, and the retail sector got turned upside down. We also operate within an anti-cyclical market, so when a government decides to invest in infrastructure such as transportation, we must be patient as that is where control rooms will eventually be built. Datapath is drafted onto the back end of those cycles.”

Despite the quantum leaps in video and IT technology over four decades, Datapath remains a data handling company as it was in 1982. The landscape of its operations, however, has changed beyond recognition. “Today, our largest videowall is 200 megapixels and is refreshed 60 times per second,” asserts Storey. “To function reliably, the software and hardware must operate in parallel without choke points, and the bandwidth bottlenecks need to be properly identified in advance.”

Regardless of size, the control room continues to serve as the universal hub where all technology is presented and displayed. Datapath’s upward trajectory has greatly benefited from listening carefully to clients and increased collaboration with other AV manufacturers. “Ultimately, all the technology available must integrate into the designed infrastructure,” Storey concludes. “There should never be anything that you cannot integrate into your system.”

Forty years on, this innovative British brand is remaining loyal to its original Excellent by Design ethos. www.datapath.co.uk

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BUSINESS: SHOW REVIEW

InfoComm 2021 goes the distance

We report from the show floor as InfoComm returns to the Orange County Convention Center after a two-year absence DESPITE THE UNCERTAINTY THAT CONTINUES TO surround international tradeshows, the long-awaited InfoComm Orlando 2021 crossed the finishing line to be a great event, with pent-up demand particularly evident during the first two days. Exhibitors were greatly encouraged by the volume of AV projects being discussed, while educational seminars and technical presentations on and off the show floor were wellattended and demo rooms were packed. Content was also streamed for those who could not attend the show in person.

For organiser AVIXA, as well as for exhibitors and attendees, getting the show to the starting gate meant overcoming daunting challenges. In-person AV tradeshows had not taken place in the US for the previous 16 months, with some transitioning to an online format with limited success. Even with infection rates dropping, the bulk of typical InfoComm attendees either weren’t yet ready to travel to Orlando or faced lingering restrictions. With a fraction of the usual turnout expected to attend and key long-time exhibitors pulling out, putting thousands of square metres of committed floor space in jeopardy, high-level industry discussions were held about whether InfoComm should be cancelled for the second year running.

Absent from the show were heavy hitters such as Sony, Christie, Leyard, Eiki and DiGiCo, with the number of exhibitors dropping to 254, down from 940 in 2019. This was confirmed by an expanse of empty space at the back of the four exhibition halls. Also down, unsurprisingly, was overseas attendance, which in 2019 counted for 20% of registrants, while US interstate travel restrictions saw most delegates originating from the East Coast and Midwest.

However, despite modest expectations, turnout was far greater than many had anticipated, with exhibitor after exhibitor stating how happy they were with the attendance and the quality of their interactions. “The show is going very well, much better than expected,” said James Liu, president of Absen. “We are very glad we made the decision to exhibit, and the health and safety protocols are good.” Added Andy Fliss, president of tvONE, Green Hippo and Magenta parent company, Spitfire Creative Technologies: “Considering the low turnout at the show, the booth was as busy as if there were 30,000 attendees,” while WyreStorm’s director of marketing, Scott Smith, revealed that badge scans for the first two days were actually up compared to previous years. “This is the first time at a show that we’ve had something new at every space in the booth,” he said. “We took time during Covid to bring new product lines to life that fit in areas that people needed; this has changed the way business is done.”

There was a celebratory feeling that the industry is finally opening back up. People were seeing old friends for the first time since InfoComm 2019, which added to the festive mood. And for some, there was an illusion of having never been away. “It’s like being in a time warp,” said Jon Lewis, director of sales for PixelFLEX.

L–R: Chadd Presnell and Andrew Kornstein on the Sennheiser booth

Turnout was far greater than many had anticipated

Anna Kozel, VuWall

Crestron converted some of its booth into a comfortable seating area

“We’ve been at the Orange County Convention Center so often, and it’s great to be back here in person. We have made it over a lot of hurdles, and it shows we have a lot of strong companies in our industry. People that are coming to the booth are hungry and excited about upcoming projects.”

“It almost feels like a regular InfoComm show, despite the fact there are a lot less exhibitors,” said Anna Kozel, director of marketing, VuWall. “But the proportion has gone down to the same extent as the attendees so it almost feels like the same show.”

To make the show successful, a number of strategies were undertaken. Most exhibitors downsized their footprint by converting some (or all) of the booth to a comfortable meeting

Scott Smith, WyreStorm

space while showing fewer products. This lowered exhibitors’ cost exposure and ended up being a good move for companies like Crestron, whose vice president of global marketing, Brad Hintze, credited AVIXA for suggesting this strategy would provide a balance between reducing costs while allowing a dedicated area for meetings and networking. Other companies such as Shure, Hall Technologies, Panasonic and Blackmagic Design took the strategy further by only investing in meeting rooms, with no exhibition space. Renkus-Heinz had a different tactic. “Our owner Harro Heinz was adamant about our coming with full production, regardless of whether InfoComm had 1,000 or tens of thousands of registered visitors,” said sales and

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BUSINESS: SHOW REVIEW marketing coordinator, Christine Thieroff. “We set it up as we always would, and it paid off in dividends. We had standing room only in our audio demo room and our booth has been packed.

Being one of the few audio manufacturers that are at the show, we had a ton of visitors.” L-Acoustics and DAS Audio were the only other companies to take an audio demo room, down from 25 in 2019, underlining the extent to which audio exhibitors had pulled back this year, though Shure, Sennheiser, TOA, Audio Precision, AtlasIED and QSC were among audio companies to take booths or meeting rooms on the show floor.

“We are so happy to have a presence,” said Andrew Kornstein, Sennheiser’s customer development and applications engineering, Americas, from the company’s small booth. “On the first two days we had way more attendees that I expected.

We have been talking about specific projects with promising customers and are thrilled to be back at InfoComm. Most people here are relaxed and enjoying each other.”

QSC had opted for a meeting room only. “We intentionally kept our presence smaller and converted the floor space of the booth into meeting rooms,” said COO, Jatan Shah. “The two purposes of a show are to exhibit products for people to see, and to connect with people. This show became a lot about the second purpose; we intentionally didn’t build a booth to

Product launches Unsurprisingly, given the absence of international tradeshows, there were many new product introductions at InfoComm 2021. Here are some that caught our eye:

L-Acoustics: Next-generation 3D audio processing engine, L-ISA Processor II LynTec: LCP Series space-efficient panelboard control solution

Absen: New LED solution for indoor and outdoor rental application; MR Series LED virtual studio AJA Video Systems: Bridge NDI 3G 1U appliance for conversion to/from SDI and NewTek’s NDI video-over-IP protocol Aten: True 4K HDMI/USB HDBaseT 3.0 transceiver AtlasIED: Atmosphere digital audio format comprising an ecosystem of interoperable products for commercial applications Datapath: Aetria, allowing end users to design and configure complex control room systems for AV environments Draper: Foundation mount system for any LED panel on the market Green Hippo: Hippotizer V4+ MK2 media servers; ONErack Spider multi-voltage DC PSU

Pathway Innovations: eGlass illuminated glass writing board with built-in camera and LED lighting, merging presenter and presentation media into a single picture Peerless-AV: Seamless Kitted Series dvLED Mounting Systems for direct view LED display manufacturers, offering slim, space-saving designs for multiple configurations PixelFLEX: EF Series for indoor LED solutions Renkus-Heinz: Iconyx Compact Series -RDI, smaller-footprint Iconyx models featuring Dante Ultimo chip TOA: TS-920RC central unit for the Infrared Conference System to control the Chairman and Delegate units via a wireless signal tvONE: Coriomaster2 video processor; feature enhancements to the Corioview and Coriomaster ranges

Hall Technologies: Hive Control cloud-based AV control platform engineered from the cloud down

VuWall: TRx 3.1 centralised management platform combining AV-over-IP distribution and multi-videowall and KVM management

Just Add Power: MaxColor 4K60 transmitter and receiver series; Advanced Matrix Programmer (AMP) software for multicast switching systems

WyreStorm: Unified Communications line including the Apollo-210 Series integrated conference speakerphone and switcher with Wireless Casting, Multiview and HDBaseT Out

L–R: J

L–R: Jatan Shah and TJ Adams, QSC

demonstrate tons of products. The demand is already great; it’s less about pushing demand higher, it’s about making the right connections with people, and the quality of the conversation has been pretty good.”

“We scaled back and focused on our three biggest solutions: sound masking as people are coming back to work, mass communications and distributed audio,” explained Gina Sansivero, VP, marketing and corporate communications, AtlasIED. “The targeted approach has worked wonders. We created seating areas in our booth and people are hanging out.

It is not like attendees have 950 booths to hit and only have 10 minutes – we are sitting down having good conversations for up to 45 minutes.”

“We may have less meetings, but we are having more time for those meetings, so we are getting longer, more quality conversations,” echoed Mary Beth Henson, head of press and social media, L-Acoustics. “We learned throughout the pandemic we can do a lot virtually and have been very satisfied with our

DAS Audio took one of three audio demo rooms

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BUSINESS: SHOW REVIEW

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of those who showed a vaccination card and a purple band for a negative Covid test. Friendly security staff ensured attendees sported one of these bands upon entry, while face masks were required by everyone inside the convention centre, with mostly everyone following the rules. “The show people did a great job in enforcing health and safety procedures,” said David Fix, channel marketing manager at Aten, while Peerless-AV vice president Nicholas Belcore added: “AVIXA couldn’t have done more to keep people safe, while having to appeal to the broadest spectrum of attendees, especially those that were afraid or have underlying health conditions. I do not see how they could have done a better job.”

While most pointed to the lengths the show organiser and participants had gone to to ensure safety, others weren’t so happy with the choice of Florida as the host state this year.

“You go from state to state, and people have different attitudes about wearing masks, but in Florida that seems like a low priority,” said Spitfire Creative Technologies’ Fliss. “I am just getting used to it, but business must go on and tradeshows are a part of it.”

As the show concluded, the overall sentiment from the floor was pride that the industry had come together during an extremely difficult and painful time. There was a strong sense of community and support among exhibitors, attendees and organisers alike as the industry looks towards InfoComm in Las Vegas in June 2022.

VM

d L–R: Joe Fustolo and Christine Thieroff from Renkus-Heinz

Nicholas Belcore, Peerless-AV

L–R: Jim Berry and Ian Yeh, Ross Video

virtual launches. That may change the way we launch product, but it does not change the fact that InfoComm is a place we see partners and potential clients face to face, and we can’t reproduce that virtually. This is a message to our clients that we are ready and here for you, and a message to the industry that we are happy and ready to be back.”

“We have been able to touch base with our customers and even some new clients, and we have a lot of new stuff to share.

Certain industries are still shuttered such as live events, but all segments are starting to come back,” commented Paul Johnston, VP technical operations, Unilumin. LynTec president Mark Bishop shared this optimism going forward: “Small projects are now way up, and now the bigger ones are starting to come,” he said. “People have figured out how to work in this pandemic.”

A full set of health and safety protocols was in place to protect all show participants. Each attendee had to complete a Covidstatus self-declaration form. When badges were picked up, InfoComm registration staff attached green bands to the wrists

Draper’s Penny Sitler with the Foundation mount system

L–R: Matt Czyzewski and Gina Sansivero from AtlasIED

2021 Dates:

27–29 October

2022 Dates:

8–10 June

Attendance:

7,335

Total exhibitors:

254

Contact:

www.infocommshow.org

e

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BUSINESS: TECHNOLOGY

G forces

Phil Ward assesses the impact of 5G networks on every sector of the industry GASES, ACCORDING TO PARTICLE THEORY, EXPAND to occupy the spaces that contain them. Some cynics, probably stranded on a stationary highway, say the same thing about traffic. If it’s true, it means that the entire business of content production and delivery is about to expand in its own way as digital networking jumps to the fifth generation of bandwidth, speed and resolution – the building blocks for the effective transport of audio, video and data over distance. Whether it occupies all the space available is another question, but there is a long way to go before we all have to brake.

Two iterations prior to 5G, 3G was the first generation of telecoms to have a significant impact on digital media.

4G then did more to spearhead changes to workflows in media and entertainment, especially as this technology was intrinsically linked to the rapid evolution of smartphones and tablets. Now fully harnessed to the wireless environment, this relationship promises more solutions than ever in ways we are still imagining and inventing, and the portents are good: the new buzz phrase, Enhanced Mobile Broadband (eMBB), is expected by most observers to double media revenues within 10 years.

AV expert Alastair Leslie, who runs UK solutions companies LT Projects and Blackbeam Cinematic, expresses typical industry excitement about the utilisation of 5G into production workspaces worldwide. “It means latency-free collaboration,” he points out, “the reduction of the carbon footprint of the industry, a reduction of travel and an increase of inclusivity throughout all sectors of content delivery.”

Rarely has one basic upgrade appeared to be such a panacea, so it’s perhaps wise to sound a note of caution.

Detailed testing of and experimentation with techniques prompted by 5G continues with issues far from resolved, and some believe that industry expectations must be managed, and hype avoided.

Alastair Leslie runs UK solutions companies LT Projects and Blackbeam Cinematic

BBC R&D’s senior technology transfer manager, Ian Wagdin, also chairs the EBU’s 5G content production group

“The media and entertainment sector was one of the first verticals to engage at what was then the 3GSM World Congress during the mid-2000s as screens got larger, went colour and data-capable amid the hype and overdue promise of 3G,” comments independent communications consultant, Mark Smith. “It took the iPhone in 2007, followed by the goldrush of apps, app stores and, eventually, the more stealth-like evolution and rollout of 4G, plus a multitude of innovative smartphones, to make real and elegant the premise of the small screen for entertainment everywhere.”

Nevertheless, investment is serious. Harman, for example, is now described by Samsung as its “connected technology solutions provider” and has built a laboratory in Gurugram, India, dedicated to the testing of 5G solutions on an openhouse basis: any manufacturer of wireless devices, ICs or

telecoms paraphernalia can book in and trial their kit under genuine 5G conditions in this spiced-up PlayStation for the future.

So what makes 5G so special? Firstly, its expanded footprint enables richer and more subtle networking that promises to revolutionise content delivery. Specifically, the techniques called mobile edge computing and network “slicing” each offer advantages to broadcasters aiming for more intimate links with their markets. This is best explained

by BBC R&D’s senior technology transfer manager, Ian Wagdin, who also chairs the EBU’s (European Broadcasting Union) 5G content production group. “A broadcaster can take a dedicated slice of a 5G network to operate almost like a private Wi-Fi network,” he says. “We’ve seen some commercial networks launch the new radio version of 5G

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The excellence of Made in Italy

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BUSINESS: TECHNOLOGY but, as you introduce standalone versions of 5G networks, you can potentially take a box out to create your own network with devices connected to that as a hub and spoke model.

“Most current devices are one-to-one relationships, but this use of a private network could offer more flexibility, giving the opportunity to reassess how we use radio onsite.

On location currently, you may have radio mics, talkback, a mesh network for radio cameras and a Wi-Fi network.

There can be quite a few things we do in the radio space in a studio environment. If you can bring that down to one solution, you’d see some benefits and advantages similar to what we’ve seen over IP – it doesn’t matter what signal you’re carrying over that transport layer, as long as you’re moving ones and noughts and they arrive in the right place at the right time. With 5G we can potentially simplify this.”

Edge computing, meanwhile, places signal processing nearer to where the signal is captured, making remote production a lot easier. “If we can extend beyond the boundaries of our managed networks and connect devices using the same transport and control protocols, there could be much more flexibility in the systems and open standards that we use,” Wagdin continues. “This could mean that we would be able to receive signals from any device connected to the network and not require dedicated hardware and workflows for multiple different types of connections.”

Central to 5G networks is a virtual network core, through which network slicing becomes a service. Whatever you’re doing on the mobile network you want, you can use its Application Programming Interfaces (API) to divide your subscribers into tiered accounts – some with faster, more expensive download speeds and lower latency, others with cheaper, slower downloads and more latency. Despite these gradations, the physical network is one and the same. In media terms, broadcasters and indeed any type of content distributor can secure sufficient bandwidth to guarantee performance and reliability, a service especially useful for providers of live video streaming reliant on this kind of quality, such as concerts, gaming and sport.

Brendan Yam, SVP and general manager, Viacom Digital Studios International Multinational mass media giant ViaComCBS is, understandably, rubbing its conglomerate hands together.

The organisation has carried out research which, it says, indicates seven key advantages to 5G for live and broadcast production – research carried out, ironically, during the hiatus in progress caused by the pandemic and by the political backdrop to the story of 5G. “In the past year we’ve all seen the acceleration of various digital trends, but one of the things that’s actually slowed down a little is the rollout of 5G,” says Brendan Yam, SVP and general manager, Viacom Digital Studios International.

“We took time to do a fair amount of testing of 5G on the production side, and through programmes such as the IBC

Accelerator project that we ran with IBC in Amsterdam. As part of all that experience, we started to codify the way that we were seeing the opportunities within 5G.” These are: high-speed, high-definition livestreaming anywhere; immersive media, marketing and brand collaboration; responsive content; talent and fan engagement; live marquee events; dedicated production bandwidth; and remote production. In fact, another unexpected “ill wind” accelerator from the pandemic has been the fast tracking of many remote production techniques, out of necessity, using 5G. Meanwhile, 5G Vista is a bold multi-brand project to hone live music and sport delivery services via 5G, culminating in Rohde & Schwarz’s Broadcast Service & Control Centre core network.

If, during the pandemic, streaming services received a real shot in the arm – see what I did there – it was because the lifeblood of live concerts gained a new business model. As early as 2018, many predictions already foresaw streaming as an adjunct to live production thanks to 5G. But rental companies are now seriously planning for a digital dimension to touring that adds a virtual audience to every event. Furthermore, new agencies have come into being that offer streaming services to both rental companies and promoters. The model is that these agencies and solutions suppliers take care of the technical details of creating a simultaneous – often immersive – mix of the concert and delivering it over the internet, sharing the spoils from online ticketing with those who get the acts on the road.

None of this would be possible without 5G, and the “often immersive” point is a sharp one: 5G provides the bandwidth required for convincing 3D sound; and unless it really is convincing, sharing a concert through a mobile device with earbuds will remain a poor substitute for actually being there.

“5G is all about that,” confirms Leslie. “It enables point-to-point, peer-to-peer and business-to-business communication and delivery of content and data across massive networks, with almost zero latency.”

Sonosphere – exploiting 5G for livestreaming UK SOLUTIONS provider Sonosphere is just one company engaged in a project called the 5G Festival, using some of the £200 million set aside by the UK Government’s Department for Digital, Culture, Media & Sport for its 5G Testbeds & Trials Programme (5GTT). Thanks to 5G’s expanded capacity, the project is now perfecting various virtual, live, immersive collaboration platforms for artists over distance, as well as streaming services for promoters.

“5G will give us the resolution to connect with any venue at sufficient speed and quality,” explains Sonosphere’s owner and director, Jamie Gosney, “and we’ll just have to run in a small fly-pack of a few cameras and a DiGiCo SD-Rack. The

Sonosphere’s mix room in London is powered by 5G

Sonosphere’s senior mix engineer, Phil Wright

audio will come back to our room at Metropolis Studios in London and get mixed and streamed from there. It’s a virtual FOH position.”

Sonosphere’s senior mix engineer, Phil Wright, has designed the room to be fully modular, able to be deployed for recording, postproduction, live mixing and broadcast. An array of Neumann KH 420 tri-amplified

monitors and two Neumann KH 870 subwoofers adorn the front wall, while a ring of 17 Neumann KH 120 compact biamplified studio monitors complete the immersive mixing configuration. The room is Dolby Atmos-certified, but a variety of custom interfaces facilitate mixing in most immersive formats now on the market. “5G makes this possible,” adds Wright.

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Real-Time Media Network

MEDIORNET

FOR ANY

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NEWPRODUCTS

INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING A–ZCONTENTS

Biamp strengthens its room credentials Parlé audio and video conferencing bar

Primarily designed as a plug-and-play conferencing innovation for small- and medium-sized rooms, Biamp has launched the Parlé audio and video conferencing bars THE FAMILY of Parlé conferencing bars includes the ABC 2500 Audio Bar, featuring Biamp Audio Intelligence to create a premium audio experience. A 27-element microphone array creates three beamtracking zones that can actively track and intelligently mix conversations from around the room. Audio echo cancellation and noise reduction algorithms ensure clarity, while smart speaker technology actively adjusts speaker performance to deliver large room audio from a small room device. Adopting Biamp Launch, each of these features is automatically tuned to meet the acoustic needs of each meeting room.

Keeping meeting attendees in view even as they move around the conference room, the VBC 2500 Video Bar adds a 4K ePTZ camera incorporating Biamp Video Intelligence to deliver auto-framing and auto-focus. For added security, an automatic privacy shutter covers the camera when not in use. Plugand-play operation is offered by connecting one USB cable directly into a UC system for a UC room, or into a Devio SCR-10 for a BYOD room.

The introduction of the Impera series of control systems results from the integration of Biamp’s existing control products with the newly acquired Neets portfolio. Featuring simple configuration-based setup and attractive user interfaces for controlling both Biamp and third-party devices, Impera

Impera control systems further complement Biamp installations. The Impera control series includes independent controllers, control pads (keypads with integrated controllers) and controllable relays. The controllers are configured within Biamp’s Project Designer drag-and-drop program which is used to design the room control system and user interface.

Biamp’s first touchpanel combines an 8-inch touchscreen with an Impera integrated controller. Featuring a processor that controls up to 20 IP-based devices, the Apprimo Touch 8i promotes ease of configuration, operation and management in varied applications. The Apprimo Touch 8i is configured with Biamp’s Project Designer drag-and-drop control system design program. Project Designer includes a range of user interface templates and an extensive device driver library. Apprimo’s product family currently encompasses all

of Biamp’s touch interfaces, including the previously released TEC-X control pads and the 4-, 7- and 10-inch touchpanels.

Vidi is a line of conferencing cameras created for meeting spaces ranging from huddle rooms to medium-sized conference rooms. Designed for small rooms and huddle spaces, the Vidi 100 is a 4K camera with a 120° field of view and a built-in mic array. Incorporating a 12MP sensor that supports 4K video with a 120° field of view while allowing for electronic pan-tilt-zoom with no image degradation, Vidi 250 is designed for small- and medium-sized rooms. Other features include optics that eliminate image distortion and smooth automatic participant framing, zoom and focus functionality, together with an integrated microphone array.

AJA Support for Microsoft Team’s Hardware Out AKG Ara Alcons Audio QRP20 Allen & Heath dLive V1.9 Amate Audio TPD3K 2.1 Amphion Amp400.8 AMS Neve Recall update Analog Way Midra 4K 2.0 ArKaos MediaMaster 6 ARX Systems USB DI-Q update Ashly Audio AquaControl Portal Audac SMQ1250 Audio-Technica BP28/BP28L Austrian Audio CC8 AVT Ravenna module based on DirectOut’s RAV2 Barco IEX series beyerdynamic DT 700 PRO X Biamp Parlé conferencing bars Calibre LEDFusion Pro CEDAR Audio Trinity 5 ClearOne Unite 200 Pro CODA Audio Space Hub/Marine Grade 1 Crestron Crestron Flex update Dear Reality dearVR MIX DirectOut PRODIGY update DPA Microphones MS4099 Earthworks Audio Ethos EAW AC6 Elation KL Panel XL Extron IPCP Q/SF 28PT FOR-A MV-3240 Fulcrum Acoustic AHS Series Genelec 6040R Green Hippo Hippotizer V4+ MK2 Haivision Haivision Connect JBL EON ONE MK2 Klotz AIS LSC2440YS/AES3N L-Acoustics L-ISA Processor II update LEA Professional Cloud and Web UI update Lectrosonics Silicone covers LG LG One:Quick LYNX Technik yellobrik SPG 1708 MA Lighting grandMA3 v1.6 Marshall Electronics CV605-BK/WH Martin Audio VU-NET 2.2.2 Media Links MDP3020 MAX platform Milab Microphones DC-196 anniversary edition NDI NDI 5 update Nugen Audio Paragon ST Optoma ZX300/ZW350 Orban OPTIMOD XPN Enterprise ecosystem Outline ET50-3D/ET250R2-3D Panasonic AW-UE40/AW-UE50/AW-UE80 Peerless-AV KOF555-1/2/3 Powersoft ArmoníaPlus 2.2 PreSonus R65 V2/R80 V2 Prolights EclPanel TWC update PSI Audio A17-M update RCF NX 9/TT 515-A/TT 808-AS Renkus-Heinz DC12/2 update Røde PSA1+/Wireless GO II update Roland V-02HD MK II Sharp NEC Display Solutions C750Q/C860Q Solid State Logic L450/L650 Sommer Cable HI-HDAPR-01/HI-HDSL Sony VPL-FHZ85/VPL-FHZ80 Symetrix Composer v8.1 Tasker CPR Cca cable series Universal Audio LUNA v1.2/Volt Void Acoustics Venu 208 Waves V13 Xilica Sonia

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www.biamp.com

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PRODUCTS

RCF reveals Next Generation NX FEATURING UNIQUE electroacoustic features, RCF is shipping three new speaker models from the portable NX Series. Purposedesigned 10-, 12- and 15-inch transducers, a constant directivity waveguide, FiRPHASE processing, Bass Motion Control algorithms and a 550W (RMS)-rated Class-D amplifier are included.

Like the latest ART 9 speaker series, NX 9 integrates an energy-efficient fanless amplifier whose circuit is attached to a solid aluminium heat exchanger in the unit’s rear. Performance improvements include a 1.75-inch compression driver with a polyimide-Kapton dome together with purpose-designed woofers and a constant directivity waveguide that produces coherent coverage across the listening area.

System latencies are minimised and a coherent distribution of sound without phase distortions is ensured by adopting proprietary digital FiRPHASE technology. With FiRPHASE technology applied, the newly designed speakers act as a single source for a true sound image. The Bass Motion Control woofer excursion management feature creates a complete map of the dynamic behaviour of the transducer, to generate a custom algorithm that only limits over-excursions. By granting freedom of signal reproduction, both high-pass filters and large-band limiters are avoided and the speaker is allowed to reproduce the input

TT 808-AS active subwoofer. The TT 515-A’s transducer configuration pairs two customloaded 5-inch cone drivers to a rotatable CMD waveguide surrounding a titanium 1.75-inch high-frequency compression driver. Designed for installed and portable applications where size and weight are critical factors, the speaker

NX Series signal at all volume levels for the entire audible spectrum.

Housed in a wooden enclosure, each NX9 model is finished in a black polyeura coating.

Designed for portable applications, the versatile cabinet is equipped with ergonomic handles on both sides, together with a steel pole socket for mounting. Each model can also be flown, wallor truss-mounted using multiple M10 rigging points and special accessories.

In other news, the Italian manufacturer has released the TT 515-A active speaker and

comes with the advantages of TT+ technology such as controlled dispersion, multiple flexible rigging accessories, weatherproof protection and RDNet real-time monitoring and management software with recallable presets.

The TT 808-AS features two vented-loaded 8-inch cone woofers powered by a 1,000W two-channel

amplifier – one for each woofer – on a Baltic birch plywood cabinet painted with black polyurea and weatherproof treatment.

Management and tuning are available via RDNet software or using the two preset buttons, a polarity button and a variable delay accessible from the back panel. The cabinet features rubber feet on two sides and two threaded pole mounts for horizontal and vertical placement. The TT 808-AS can be used alone, in subwoofer arrays or as the lowfrequency complement for the TT 515-A. In brief, the M 20X Ver. 174 firmware release has fixed some minor bugs and added the driver for RCF’s MWD 1 WiFi Adapter. Previously supported USB adapters are still maintained as legacy devices; the new MWD 1 WiFi adapter is natively supported by the mixer. www.rcf.it

Fulcrum Acoustic steers a new PSI Audio course updates tweeter TARGETED AT applications requiring high output and precise pattern control, Fulcrum Acoustic has developed the AHS Series of modular, scalable loudspeakers. Offering 45° horizontal beamwidth, the AHS440 incorporates four high-frequency (HF) horns, each paired with a coaxial compression driver.

Providing a 60° horizontal beamwidth, the AHS460 uses three HF horns within the 700mm x 900mm x 775mm (DxWxH) enclosure. Low-frequency (LF) output for both models is provided by four 10-inch woofers loaded by Oculus phase plugs. The inclusion of the Compression Head extends the LF horn length for extending the LF range to 60Hz. The US manufacturer’s TQ processing together with beam-forming DSP algorithms

configure the AHS Series’ vertical dispersion to match a venue’s specific geometries and throw distances.

Multiple HF horns combine coherently to provide the output necessary to combat HF air loss, which can be substantial in stadium-scale applications. AHS modules are designed to be stacked as needed to increase projection and control.

BOASTING HIGHER SPL capacities at lower distortion figures, PSI Audio has developed a tweeter for the A17-M speaker. Promoting its inclusion for nearfield and immersive setups, the latest precision tweeter follows last year’s update for the A14-M. Operating within a frequency range of 43Hz–23kHz, the 175mm membrane woofer pairs to the new tweeter, wholly designed and engineered by the PSI Audio engineers. Manufactured within the company’s Swiss facilities where full control over every detail of the design and production process was ensured, accuracy and power in the treble range of the tweeter has been enhanced, while distortion at maximum power has

been minimised. The analogue A17-M incorporates the proprietary Compensated Phase Response (CPR) and Adaptive Output Impedance (AOI) innovations. www.psiaudio.com

www.fulcrum-acoustic.com

PreSonus R-series updated with V2 enhancements FEATURING MORE extensive control than the original R-series, PreSonus is now shipping the R65 V2 and R80 V2 active AMT studio monitors. Incorporating the analogue Acoustic Tuning controls from the Eris line, the second-generation models boast low cut-off, mid-frequency and high-frequency controls in addition to a three-position Acoustic Space switch for compensating the acoustic results of speaker placement against a wall.

TT 808-AS

Designed to respond to the subtlest waveforms and high frequencies, the V2 monitors feature a customised 43.9cm 2 Air Motion Transformer (AMT) tweeter.

The 0.01mm folded Kapton membrane provides wave-cycle-accurate transient reproduction and enables the R-series V2 monitors to handle 8–13 times the projection area of more traditional tweeter designs. The creation of a wide sweet spot with narrow vertical dispersion

minimises reflections off surfaces and provides a consistent sound in different listening environments.

A 140W (75W LF + 65W HF) Class-A/B power amplifier includes current output limiting, over-temperature protection and subsonic protection. The R80 and R65 V2 models feature 8- and 6.5-inch, custom-woven, composite woofers that operate over 40Hz and 45Hz–22kHz frequency ranges respectively. The rear panel is equipped with balanced XLR and ¼-inch TRS and unbalanced RCA input connections.

R65 V2

www.presonus.com

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Aetria® control rooms made simple Aetria is Datapath’s integrated solution for the design, management, and operation of control rooms.

Developed for the most challenging and complex command and control applications.

We make life easier for system integrators whilst enabling control room operators to focus on their core objectives.

Come visit us and see Aetria first-hand on Booth 3E850

Engineering the world's best visual solutions www.datapath.co.uk

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PRODUCTS

Two-way column support for Alcons FEATURING HIGH-Q directivity for increased projection control as a vertical sound system, Alcons Audio has created the QRP20 column array for permanent and portable applications. Specifically designed for acoustically challenging applications where high levels of intelligibility are required, the two-way enclosure projects both a wide horizontal and a narrow vertical coverage.

Loaded with the RBN401 4-inch proribbon driver on a “Morpher” lens, the system offers a high throw efficiency and projection control courtesy of the proribbon’s all-natural cylindrical wavefront.

Operating within a 93Hz–20kHz (±3dB) frequency range, its transient response and 800W @ 200ms high peak power handling cater for intelligibility from the lowest to the highest SPL with a 1:15 RMS-to-peak dynamic range.

In combination with the controlled dispersion, the flat frequency response and the fast impulse response of the RBN mid/high-frequency transducers promote a maximum gain-before-feedback up to directly in front of or under the system.

Mounted in a D’Appolito speaker configuration, the RBN401 incorporates four custom-designed 5-inch woofers featuring Active Coil technology for extremely low-distortion LF reproduction within in a sealed cabinet. Housed in a slim 150mm x 150mm x 742mm (WxDxH) enclosure, the column is powered and controlled by the ALC amplified loudspeaker controller, which provides QRP20-specific drive processing. The

QRP20 is available with 90° (QRP20/90) or 120° (QRP20/120) horizontal dispersion variations.

Genelec signs off new Signature Series with 6040R COINCIDING WITH the 20th anniversary of the 6040 launch, Genelec has unveiled the first model in its new Signature Series with the introduction of the 6040R smart active loudspeaker. Created in conjunction with Finnish industrial designer Harri Koskinen, the floor-standing 6040R die-cast aluminium enclosure is shaped with the same distinctive Minimum Diffraction Enclosure (MDE) minimalist curves as the original 6040A. MDE distinguishes itself with a clean acoustic performance, wide frequency response and freedom of resonances that typically affect more traditional wooden cabinets.

The two-way 6040R features the same LF driver design, biamplified Class-D power amplifier technology, active crossovers and protection circuitry as Genelec’s professional models. Other refinements include both analogue and digital inputs supporting AES/ EBU and SPDIF formats, a digital output, universal mains voltage and onboard DSP that allow each 6040R loudspeaker to be intelligently tuned for any acoustic environment via GLM room calibration software.

Designed to partner with selected models from Genelec’s F Series range and smart active subwoofers, the 6040R can be used with Genelec wired and wireless volume controllers via either an F Series subwoofer or a GLM network adaptor. Combining a 6.5-inch woofer and 0.75-inch tweeter, each driven independently by twin dedicated 150W power amplifier stages, the 6040R operates within a frequency response of 43Hz–20kHz with a maximum short-term SPL output of 110dB.

www.alconsaudio.com www.genelec.com

EON ONE MK2 marks new era in portable PAs JBL IS shipping the EON ONE MK2. The battery-powered column PA incorporates a five-channel digital mixer, DSP, Bluetooth 5.0 functions and full app control within a 19.3kg rechargeable battery system. With a crossover set at 230Hz, the C-shaped array comprises eight 2-inch tweeters in combination with a 10-inch woofer. Operating within a 45Hz–20kHz (–3dB) frequency range, the array provides 140° horizontal and 30° vertical dispersion.

Powered by an integrated 400W (RMS) amplifier, the combined system can produce a maximum SPL of 123dB. Variable Power Performance technology automatically switches performance for either AC or battery power, providing 4dB of extra headroom when connected to AC power.

In addition to presets and a three-knob EQ interface, a triple-tier, full-colour LCD display promotes beginner, intermediate or advanced control settings. DSP Lexicon effects including reverb, chorus and delay, in addition to a full suite of dbx DriveRack Automatic Feedback Suppression (AFS), parametric EQs, limiters, delays and SubSynth are included. In addition, a Soundcraft Easy Ducking feature lowers the BGM volume when speech is detected.

Measuring 99.9cm in height, the 6040R is available in a choice of grey, black, white, black with white grilles and white with black grilles.

A swappable six-hour battery fitted within the column ensures that performers can play extended sets. The five-channel mixer includes three Neutrik XLR combo jacks, one Hi-Z input and a ¼-inch balanced passthrough with independent volume control and speaker delay. Two channels of 48V phantom power are also included for support of condenser microphones. The system can be controlled by the new JBL Pro Connect app, providing remote access via Bluetooth 5.0 to all functions and presets from a phone or tablet for up to 10 units. Measuring 490mm x 322mm x 550mm (LxWxH), the EON ONE MK2 is housed in a polypropylene shell and fitted with an ergonomic handle.

Designed for use with JBL Control 10, 20 and 40 Series ceiling speakers with press-in grilles, the JBL-LCT 81C/TM metric lay-in ceiling tile speaker and the JBL-MTC-CSTeth1 retrofit safety tether are now available. The low-profile speaker features an 8-inch dual-cone driver with a 1-inch voice coil and transformer that combine to produce a 100° conical dispersion pattern and 96dB sensitivity. Offering ease of installation, the speaker can be placed within a standard 600mm x 600mm ceiling tile space.

With a depth of just 103mm, the JBL-LCT 81C/TM can be installed in ceiling spaces with HVAC ducts, plumbing and other obstructions.

Taking the appearance of a ceiling vent, the latest model operates either a 70V or 100V distributed speaker line or at low impedance.

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3 JBL-LCT 81C/TM UL1480- and UL2043-certified, the JBL-LCT 81C/TM can be installed in ceiling plenum spaces where certifications are required.

The JBL-MTC-CSTeth1 retrofit safety tether can be added to Control 10, 20 and 40 Series ceiling speakers with press-in grilles. Reportedly invisible and acoustically transparent, the reliable safety tether is constructed from a flame-resistant aramid fibre cord.

EON ONE MK2

www.jblpro.com

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PRODUCTS

Void Acoustics extends lows Renkus-Heinz EAW extends net additions ADAPTive series to Venu V2 series FORMING PART of a firmware and software update for the DC12/2 array series, Renkus-Heinz has made improvements to multi-unit configurations together with a new full-range performance mode. Designed for tight control and discreet aesthetics, the compact and steerable DC12/2 loudspeaker can now be configured via a smartphone or tablet app.

The softwarebacked component of the loudspeaker forms the basis for a future upgrade path. With the new update, multiple units can be configured at once using Wi-Fi Station Mode to program multiple loudspeakers without manually connecting to each device. In addition, the new full-range mode for improved low-end extension provides a more pronounced full-range sound for installations without a subwoofer.

Additional upgrades in the software update include delay and discrete gain control. www.renkuz-heinz.com

EASTERN ACOUSTIC Works (EAW) has enhanced its ADAPTive column series with the addition of the AC6. Capable of generating a maximum SPL of 143dB and 120° of horizontal nominal beamwidth, the two-way, fullrange enclosure is being targeted for installation within houses of worship and small performing arts centres.

Smaller than its predecessors, the low-profile AC6 includes similar features, including EAW’s signature ADAPTive Tool Kit. Optimum coverage and directivity of the loudspeaker is achieved by steering the Adaptive Performance components via the Resolution 2 software. By integrating all factors and aspects of the loudspeaker, the AC6 can produce three-dimensional coverage in any venue.

Incorporating EAW’s Focusing and DynO digital signal processing, the column speaker can output intelligent and dynamic audio with an impulse response at any level. Operating within a frequency response of 65Hz–20kHz (–10dB), the electroacoustic assembly consists of six LF and 30 HF transducers. The AC6 can be flown as a main system or integrated with the larger Anna or Anya line arrays.

In addition to analogue redundancy capabilities, Dante redundant networking comes as standard. Available in black or white, optional weather protection covers extend the use of the AC6 in outdoor applications.

DC12/2 www.eaw.com

WITH THE launch of the Venu 208 subwoofer, Void Acoustics has announced the latest addition to its Venu V2 loudspeaker series. Designed in response to a growing demand for a versatile, low-frequency (LF) compact speaker solution, the latest addition to the Venu Series uses all the specifications of the larger speakers within a flexible, smaller unit.

Measuring 203mm x 600mm x 475mm (HxWxD), the subwoofer is suitable for commercial applications including bars, clubs, hotels, restaurants and lounges. Comprising two 8-inch bandpass loaded LF transducers, the Venu 208 provides additional LF extension in distributed or BGM systems. With an output of 300W power handling, the dual 8-inch woofers operate within a frequency response of 42–120Hz (±3dB) with an efficiency of 95dB @ 1W/1m. 8Ω nominal impedance reportedly ensures full channel utilisation when powered from a single channel of Void’s Bias Q1 amplifier.

Constructed from 15mm multi-laminated birch plywood with a wraparound grille, the 20kg cabinet is finished in a textured polyurethane paint. Convenient to install in a wide variety of applications, the addition of a Yoke bracket and type 75 plate positions with integral threaded inserts promote further mounting options onto walls and ceilings. Allowing placement against a rear wall, the recessed connector panel features speakON and Phoenix connectors with link throughs for quick and reliable connections. www.voidacoustics.com

Xilica reach the ceiling with Sonia FOLLOWING THE launches of the Solaro DSPs and Xilica Gio networked endpoints, Xilica has developed the Sonia range of networked amplifiers and ceiling speakers for IT-friendly collaboration spaces.

The current family includes the Sonia C5 5.25-inch in-ceiling speaker that exerts a wide, even dispersion pattern enabling fewer speakers in large spaces. A PoE+enabled Sonia amplifier with an integrated network switch can power up to eight Sonia C5 speakers in a daisy-chain configuration. The integrated network switch features a PoE port for providing power and

Dante networked audio to a ceiling-mounted microphone array via a single Category cable connection. With four individual channels, one Sonia amp can power Sonia C5 speakers across four zones.

Plenum-rated and featuring integrated mounting capabilities, the Sonia amp can be affixed to the rear of a Sonia C5 speaker, eliminating the need for external amplifier racks. A further ease of installation feature comes in the form of a removable, magnetic and paintable grille with detachable logo to blend into any corporate, education and government space. www.xilica.com

3K power with Amate’s latest TPD addition FOLLOWING THE introduction of the original TriPhonic 2.1 power amplifier in 1986, Amate Audio recently revived the concept with the Class-D-based TPD. Designed as an integrated L-R and sub solution for small sound installations, the Barcelona-based company has extended the application potential of the platform with the launch of a higher power-rated model of the format.

The TPD3K reportedly provides more than 3,000W of combined power, with up to 750W continuous programme power each

for the left and right channels, and 2,000W for the sub channel (at 4Ω). Onboard DSP control incorporates presets for the manufacturer’s

fully active loudspeaker systems, including remote PC-based configuration via its DSPLink software. Adjustable system parameters include filters, parametric EQs, peak/RMS limiters and delays that enable

the time-alignment of amplifier channels.

Weighing 9kg, the TPD3K extends control to some of the larger models in the Nítid series, including the largest N18WP and N218WP subs. I/Os include balanced XLR stereo inputs, L-R and sub speaker connectors on binding posts and speakON connectors and three configurable DSP aux outputs on balanced XLRs for DSP control of a second 2.1 amplifier setup within a larger installation. www.amateaudio.com

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AK

Next-gen optimal core processing

Amphion releases multichannel amplifier IN RESPONSE to the increase of the Dolby Atmos format in film, television, gaming and music production, Finnish loudspeaker manufacturer Amphion has released the Amp400.8 amplifier. Designed specifically for multichannel workflows, the Amp400.8 incorporates Class-D technology with an in-house designed proprietary buffer stage to provide up to 410W of dynamic power

IN ADDITION to the latest advances in immersive and object-based mixing for live sound, the SSL Live L450 and L650 consoles focus on providing production solutions in touring, events, houses of worship and installed sound applications. In these production environments, multiple mixes, immersive audio, monitoring and OTT/streaming are often required. The new L450 console sits above the more compact L350 in terms of processing power, while the

workflow-based enhancements, including Routing Interface, Event Manager and Overview Screen improvements, plus the addition of Solo and Mute buttons to TaCo. Modelled on the Fusion analogue hardware processor, SSL has released the SSL Fusion Vintage Drive and the SSL Fusion Stereo Image premium plugins. The availability of the Fusion processing favourites marks the beginning of a plugin roadmap focused on music creation, mixing and mastering.

and coherence for up to eight identical channels. This feature results in power and performance for any multichannel setup, including 7.1.4 surrounds, 5.1 full power or multiple separate stereo systems. All channel outputs are equipped with Neutrik XLR and speakON connectors. www.amphion.fi

Audac changes waves L450

ENGINEERED FOR fixed and mobile audio installations, Audac has released the SMQ series of four-channel power amplifiers.

Distinguished by a WaveDynamics DSP processor in combination with a 2.5-inch LCD display for easy configuration, four

speaker and terminal block connections.

An RS-232 control port enhances system integration, and an optional Dante interface (ANI44XT) is available for transmitting and receiving low-latency audio over an Ethernet network.

L650 is the most powerful SSL Live console to date.

As found in the L200 console, the layouts of the L450 and L650 incorporate a triple-wide fader bank configuration.

Cutaways for external screens maintain line of sight to the artist and stage, creating two distinct areas of focus for the operator. The L650 console shares the same knob-per-function Channel Control tile as the L550 Plus, whereas the L450 features a Tablet panel for use with SSL Live’s control app, TaCo.

Available independently or as part of SSL’s complete subscription pack, the plugins will be joined in the coming months by additional Fusion processing formats, including Violet EQ, HF Compressor and Transformer.

The SSL Fusion Vintage Drive plugin has been derived from the Vintage Drive section of the SSL Fusion, bringing its non-linear saturation circuit characteristics directly to the DAW. The Density and Drive controls on the plugin interact to produce harmonics,

SMQ1250 versions are available with 350W, 500W, 750W and 1,250W outputs.

Acoustics can be optimised using Butterworth, Bessel and LinkwitzRiley filters with selectable roll-off for configuration as low/high and band pass together with a seven-band EQ which has adjustable frequencies and Q-factor. Other functions include delay and dynamic bass boost.

The settings can be custom configured using the front panel of the amplifier, whereby access can be given on User & Administrator levels using a password or USB-key protection.

Loudspeaker protection is provided by an output power limiter so that the maximum output power for every channel can be configured. Loudspeaker presets and full system configurations can be selected from a library and uploaded with a USB flash drive. The rear panel includes an input selection matrix in combination with the XLR and terminal block signal connections together with outputs using

The CHA660 and CHA530 are two-way, horn-loaded loudspeakers designed for long-throw, full-range reproduction of music and speech in a wide variety of indoor and outdoor applications. The modules comprise a 1-inch high-frequency compression driver and a 6.5-inch and 5-inch mid/low-frequency driver respectively. The speakers feature an RMS power handling of 60W and 30W and a max power handling of 120W and 60W respectively.

For the CHA660, the sensitivity measures 99dB while a maximum continuous SPL of 116dB can be achieved. The frequency response (±3dB) starts from 100Hz up to 16kHz. For the CHA530, the sensitivity measures 98dB with a maximum continuous SPL of 113dB and a frequency response of 110Hz–16kHz. In brief, the AMP203 mini stereo Dante amplifier has been updated with an extra line out port connection. www.audac.eu

Fusion Vintage Drive plugin Providing additional DSP resources for the SSL Live L100, L200, L350 and L550 consoles, Solid State Logic has also made Plus Processing Packs available. The packs maintain the UK manufacturer’s commitment to supporting its existing and future SSL Live customer base. Building on the SSL Live L-ISA control integration found in Live V4.11, Live V5.0 Console and SOLSA software features integrated control solutions for Meyer Sound Spacemap Go Immersive together with Shure ULX-D and Axient Digital Mic Control. Offering control of key features from within the SSL Live console ecosystem, Live V5.0 also features other

soft clipping and natural compression, like pushing an analogue console into its tonal “sweet spot”. Also modelled on the SSL Fusion hardware unit, the SSL Fusion Stereo Image plugin relates to the original analogue circuit designs. Width and Space controls provide access to a digital version of the Fusion’s mid-side circuit directly in the DAW for detailed spatial manipulation of the stereo field. Supporting VST2, VST3, AAX and AU plugin formats, all SSL plugins are compatible with major DAWs and computer operating systems. www.solidstatelogic.com

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PRODUCTS

AKG introduces its Ara USB mic Austrian Audio presents the CC8 for stage and studio

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ARA IS a two-pattern USB condenser microphone designed for podcasters, YouTubers and music makers. It can be used to create studio-quality, 24-bit, 96kHz audio for speech and vocal/ instrument tracks. Two pickup patterns focus on a single source or everyone in the room. The directional Front (cardioid) pattern captures sound directly in front of the mic while rejecting sound from other sides, making it suitable for podcast hosts, bloggers, videoconferencing and for recording voice and instruments. The Front + Back (omni) pattern picks up sound evenly from all sides, making it ideal for recording interviews with multiple speakers.

Ara’s essential functions, including pattern selection, mic mute and a headphone volume knob, are located on the front of the mic for easy access, while a 3.5mm headphone jack allows latency-free monitoring. The microphone’s compact footprint and versatile mounting options make it suitable for both desktop use and studio scenarios. Users can set Ara on a desktop using the included yoke and base stand or attach it to a boom or standard mic stand. Alternatively, users can record on the go with a mobile device and optional adapter.

Accessories include a 2m USB-C to USB-A cable, a 3⁄8 - to 5⁄8 -inch threaded mic stand

WITH THE release of the CC8, Austrian Audio has created a line of instrument microphones for use in the studio and onstage. Inspired by the CK1, the newly developed OCC7 condenser capsule lies at the heart of the small diaphragm model.

Shown to be more robust than conventional mylar alternatives, the capsule incorporates a three-micronthick gold-coated polyethylene napthalate (PEN) diaphragm. The OCC7’s filter fabric ensures a constant broadband cancellation, reportedly resulting in outstanding cardioid characteristics with attenuation of sound coming from the sides and rear.

Capable of handling high SPLs of up to 156dB SPL without distortion, the CC8 records a low selfnoise of 16dB SPL (A). During recordings, the CC8 can

handle fast transients and the spatial information required for accurately capturing acoustic instrument detail in jazz ensembles, orchestras, acoustic guitars and pianos.

With a built-in switchable attenuation of 0dB, –10dB and –20dB, the microphone can be positioned near to loud sound sources such as trumpets without fear of distortion. Rumble and impact noise are effectively eliminated with the switchable high-pass filter (60Hz 2nd order/120Hz 2nd order).

Targeted positioning in tight and difficult locations can be achieved with the CC8’s low self-noise and compact dimensions.

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PRODUCTS

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Audio-Technica goes the distance WITH THE development of the BP28 14-inch and BP28L 22.4-inch Line + Gradient microphones, Audio-Technica has combined a large-diaphragm condenser element with a 28mm-diameter shotgun design. Created to meet the needs of broadcast, film, TV, outdoor recording and theatre applications, the two new models promote tight polar patterns and low noise levels (BP28: 8dB; BP28L: 3dB), while a patented acoustic port design maintains directionality across the entire frequency range.

Suitable for long-distance capture, the BP28 and BP28L offer a highly directional pickup pattern with a flat frequency response, high sensitivity (BP28: –28dBV; BP28L: –23dBV), wide dynamic range (135dB) and high SPL capability (BP28: 143dB; BP28L: 138dB).

Housed in a structural-grade aluminium alloy, both models are equipped with a switchable 80Hz high-pass filter and 10dB pad. Accessories include a windscreen, holder, stand adapter and carrying case.

Directly replacing the AT898 and AT899 condensers, Audio-Technica has made the BP898 cardioid and BP899 omnidirectional microphones available for wired or wireless lavalier applications. Available in five black finished models, the BP898 comes with

BP28 and BP28L permanently attached cables and varying termination and power configurations. The BP899 is available in 17 different models with permanently attached cables, varying terminations and power configurations in two sensitivities and black or theatre (beige) finishes.

The wide dynamic range and high SPL tolerances of both upgraded subminiature microphones promote their use in stage and television broadcasting, education and houses of worship. The 5.3mm-diameter, low-profile design minimises visibility. For

up-close, directional miking, the directivity of the BP898 with its cardioid capsule provides a pronounced proximity effect that enhances the voice. If the mic needs to be used at a greater distance or a less focused pickup is desired, the BP899 with an omnidirectional capsule is recommended.

The BP899 features an open-diaphragm design for maximum frequency response with a protective mesh that repels sweat and other moisture for a lasting performance. It includes a resonance cap that can be applied to the mic for greater intelligibility and to direct sweat and

moisture away. The BP899 is also available in low-sensitivity versions, for dynamic theatre performances or other high-SPL applications.

Joining the original UHF-based 3000 Series, the 3000 Digital Series wireless system features 24-bit/48kHz processing, a wide dynamic range of 120dB and 60MHz tuning range, with analogue-balanced audio outputs achieving a latency of just 2.5msec. With audio networking a key requirement for many users, the 3000 Digital Series receiver is Dante-enabled and ready to slot into any Dante network. Up to five ATW-DR3120DAN dual-channel receivers can be connected to allow a single pair of antennas to feed up to 10 channels of wireless, reducing the rack space required and minimising cost. Control of the system is made straightforward via software monitoring that gives access to frequency coordination, charging status and log display information. Further networking and scalability options are enabled by the 3000 Digital Series’ support of IP touchpanel interfaces from manufacturers such as AMX and Crestron, allowing tight integration to existing AV systems. www.audio-technica.com

beyerdynamic targets content creators with PRO X

Lectrosonics dresses up for going out

BEYERDYNAMIC HAS sets its sights on the content creation market with its new PRO X line of microphones and headphones. The two headphones, the DT 700 PRO X and DT 900 PRO X, are open- and closed-back models, respectively, and employ the manufacturer’s newly developed Stellar.45 driver.

The M 70 PRO X and M 90 PRO X respectively are cardioid dynamic and condenser microphones intended for livestreaming or recording, either at home or in the studio.

The new Stellar.45 drivers powering the PRO X headphones feature a neodymium magnet and a voice coil made of copperplated wire. According to beyerdynamic, the conductivity and weight of the wire make it “perfectly balanced”, which in combination with the newly developed three-layer speaker cone and its integrated attenuating layer, creates a highly efficient driver with an impedance of 48Ω. Other important specifications include a

A NEW range of silicone covers has been made available by Lectrosonics for a wide variety of its transmitters, receivers and recorders. The protective covers include the DCHT digital camera hop, DPR, DPR-A digital plug-on and LT transmitters, in addition to the DCHR digital portable, IFBR1B multifrequency IFB and M2R IEM/IFB receivers.

Silicone covers for the recorders include the MTCR miniature time code and PDR portable digital recorders. The new silicone is already available.

Joining the existing HM/HMa plug-on and SSM micro beltpack transmitter covers, the latest batch is available in clear silicone, while some models are also available in

5Hz–40kHz frequency response, with THD at 1kHz specified as being just 0.04% for a 1mW input. In terms of the design, grey velour ear pads and soft memory foam in the headband promote long-term use.

The new microphone models have been created to meet the demands of content creators. Optimised for speech, the M 70 PRO X is better suited to broadcasting, podcasting and streaming, thanks to its ability to block out unwanted surrounding noise, while the M 90 PRO X is better suited to recording vocals and instruments.

The dynamic M 70 X PRO has a cardioid polar pattern, a sensitivity of 1.8mV/Pa and a frequency response of 50Hz–18kHz. The M 90 PRO X condenser is a side-address cardioid microphone, with a broader frequency response of 20Hz–20kHz. It’s reportedly capable of handling SPLs up to 133dB and ships with a newly designed cat’scradle shockmount and a gooseneck pop filter.

black, including the DPR, DPR-A and HM/ HMa. Designed to protect the Lectrosonics units from moisture and dust, the two-part, overlapping designs make them pliable enough for easy installation and removal.

Each cover features die-cut holes for antennas and input jacks which suit the individual model.

In addition, the transparent covers feature a raised dome design over LCD screens and buttons, making indicators easy to view and buttons easy to operate. The matt black covers are designed to be set up beforehand and become less visible on camera. www.lectrosonics.com

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86 PRO AVL ASIA January–February 2022

PAA Pg78-101 Products.indd 86

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DPA adds to Core values

Earthworks Audio sets new standard for streaming microphones

WITH THE release of the MS4099 stand mount, DPA Microphones has enhanced the flexible feature set for the 4099 Core instrument microphone. For mounting onto any mic stand, the MS4099 can be used on both 3⁄8 -inch and 5⁄8 -inch threads. Borrowed from the design of other DPA mounting options, the barrel of the MS4099 mic holder makes it easy to attach or remove the microphone. In addition to being compatible with the brand’s 4097 Core micro shotgun, the mount can be turned for vertical or horizontal use.

Featuring a 5mm round microphone capsule and 6066 subminiature headsets, the 4466 and 4488 headsets are now available in brown. With a one-size-fits-all design and adjustable height and boom length, the headsets accommodate small-tolarge head types and a three-point gripping system. In addition to the brown finish, the headsets are also available in black and beige options. www.dpamicrophones.com

WITH ETHOS, Earthworks Audio has developed a broadcast microphone that is said to offer an authentic and natural sound, gentle proximity effect and an attractive price point.

Designed to capture every transient, Ethos is a supercardioid, 14mm condenser microphone operating within a frequency response of 20Hz–30kHz and capable of handling an SPL of 145dB. The windscreen stack with userreplaceable foam extends plosive and wind noise protection without impacting fidelity or transparency. Precise placement adjustments can be made courtesy of the Triad-Orbit M2-R ball joint mic adapter that also features in the Icon streaming family line. Internal dampening

and stainless-steel construction ensure a resistance of noise handling but, should an additional shockmount be required, Ethos can adopt Rycote’s USM universal model. www.earthworksaudio.com

MS4099

Røde is armed and ready DESIGNED AS a replacement for the original PSA1 professional studio arm, Røde has created the PSA1+ for podcasters, streamers and broadcasters. The PSA1+ sports a parallelogram spring design for precise placement, stability and smooth movement with almost any microphone weighing between from 94g and 1.2kg. With the integrated cable management system concealing both XLR and USB cabling, the extended reach and 360° rotation maximise flexibility in both the home and studio applications. The incorporation of fully damped internal springs provides silent operation, while the addition of rubber contact mounts reportedly ensures isolation from knocks and keyboard clicks​.

Compatible with all standard shockmounts, both end- and side-address microphones can be accommodated by the mounting system. Ease of integration is promoted with the pre-assembled arm, a threaded desk mount and desk clamp.

Initially released as a desktop app, the Wireless GO II microphone can be now

PSA1+

set up with iOS and Android devices via the companion Røde Central Mobile app for configuring settings, unlocking advanced features and accessing firmware updates. Added field recording features include switching between Merged and Split modes, adjusting gain settings, unlocking fine gain control and activating the safety channel.

The compact Wireless GO II can also be used with Røde Connect, reportedly making it the only microphone to be fully integrated with podcasting or streaming software. Previously only compatible with the NT-USB Mini, the compact model promotes podcasting or streaming on a computer with pro quality wireless audio. Røde Connect allows two Wireless GO IIs to be connected to a

single computer. Each transmitter can be allocated to its own channel in the software for a total of four separate wireless audio streams, each with an individual level meter in addition to solo and mute buttons.

The AI-Micro is an ultra-compact, dualchannel interface for recording high-quality audio to a mobile device or computer.

Designed for journalists, reporters, content creators and anyone who needs to combine two microphones in a single recording device, the interface features two autosensing inputs for connecting virtually any microphone with a 3.5mm output.

The AI-Micro also offers a high-power headphone output for clear, zero-latency audio monitoring and playback, and a universal USB output for use with both iOS and Android devices. The interface also offers a solution for connecting a 3.5mm microphone to a computer, making it suitable for streamers, podcasters and professionals. www.rode.com

Dear Reality releases new plugin SPATIAL AUDIO and VR/AR audio software developer Dear Reality has released a monitoring plugin for mixing for all professional studio headphones. dearVR MIX features an exclusive Spatial Headphone Compensation (SHC) feature for 44 headphone models and enables reference listening in three virtual stereo mix rooms with four selectable loudspeaker positions and six non-studio listening environments.

Originally designed for virtual reality applications, dearVR MIX brings Dear Reality’s room virtualisation to the stereo

world. With room virtualisation and virtual acoustics, dearVR MIX accurately monitors productions from a DAW in six non-studio acoustic environments, such as a car or a club. These models can be used to check how mixes will translate to typical listening environments.

The dearVR MIX AAX/VST3/AU plugin transforms any professional headphones into a modelled stereo mixing environment, by placing the user in the sweet spot of carefully designed mix rooms courtesy of spatial audio technology. Each mix room can be

adapted by controlling the amount of diffusion and setting the balance between overall colouration and localisation based on the Clarity algorithm from Sennheiser Ambeo.

By combining dearVR MIX and the builtin SHC feature, stereo productions can translate to any sound system, regardless of production type or music genre. The plugin assesses position, stereo width, reverb and low-end frequencies with reliability in any location. www.dear-reality.com

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Milab celebrates 80th birthday ORIGINALLY FOUNDED in 1941 as Pearl Microphones, Swedish microphone manufacturer Milab Microphones is marking the occasion with the release of an 80th anniversary edition microphone. After a long history where the two brands were separated for almost 40 years,

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Direct upgrade for the PRODIGY FOLLOWING A system update for the PRODIGY series, DirectOut has added several new features including AutoMix, MirrorMode and TruePeak Levelmeter functionality for the PRODIGY.MP multifunctional audio processor.

Created for panel discussions or multilanguage feeds at sports events, AutoMix supports automatic mixing of different input signals by adjusting the control parameters in complex applications, such as reverberant event rooms. TruePeak Levelmeter promotes

reliable detection and display of inter-sample peaks, meaning that PRODIGY.MP now fulfils the requirements of EBU R 128. In DirectOut’s MirrorMode, selected parameters of a Mirror Unit are automatically aligned with the main unit. Alignment allows immediate switchover for seamless operation with the

matching device configuration in the event of a failure of the main unit. PRODIGY.MC is further enhanced with summing busses that can sum several channels in a simple matrix with adjustable output level. www.directout.eu

Extron designs to fit more easily

The IPCP Q models

DELIVERING ENHANCED processing power, improved runtime functionality and offering up to four times more memory for increased deployment speeds, Extron’s IPCP Q models within the DTP CrossPoint and IN Presentation Switcher Series have been upgraded with the latest quad-core control processors.

The DTP CrossPoint 4K matrix switchers are available in 10x8, 8x6, 8x4 and 8x2 sizes. Each model integrates 4K I/Os, Vector 4K scaling technology, DTP and XTP signal extension, audio DSP capabilities including AEC, power amplification and a control processor for AV system control.

Designed to replace up to 10 separate components, the compact enclosure of the DTP2 CrossPoint 82 saves substantial

Milab and Pearl have once again been reunited after a merger in 2017. Today, both brands are entirely hand produced in the southern Swedish town of Åstorp. The Milab DC-196 anniversary edition microphone is a multi-pattern condenser microphone built around Milab’s characteristic rectangular large-diaphragm capsule. Distinctive with its red Nextel coating, the DC-196 is shipped in a wooden box together with a Milab 3227 shock-mount, a windscreen and an individual frequency graph.

rack space. The model has been primarily designed for presentations using content on multiple displays, and for providing a variety of AV system configurations serving multipurpose and divisible rooms.

IN1808 switchers are suitable for use in meeting rooms, boardrooms, classrooms and collaboration environments that require support for 4K/60 video. Incorporating a Vector 4K scaling engine with 30-bit internal video processing upscaling and downscaling, the IN1808 models are distinguished by their eight inputs with 18Gbps support and 4K/60 @ 4:4:4 video scaling. A mix of DisplayPort, HDMI and DTP2 inputs are provided, together with an assignable input loop-through and simultaneous HDMI and DTP2 outputs,

ProDSP audio processing, video transition effects and logo keying. With audio system integration in mind, the IN1608 xi includes eight-input audio switching, two mic/line inputs, HDMI audio embedding and de-embedding, in addition to several audio processing features for mixing, ducking and tone adjustments. IN1608 xi SA models feature a dual 50W Class-D stereo amplifier, while IN1608 xi MA models include a 100W Class-D mono amplifier.

Created for BGM in high-ceiling and open-ceiling applications, the Californian developer has added the SF 28PT twoway pendant to its pendant loudspeaker family. Taking inspiration from modern pendant lighting designs, the SF 28PT combines a tweeter and an 8-inch woofer for operation over direct 8Ω or 70V/100V connection. Available in black or white, the pendant can be painted to fit in with any décor and installed with the inclusive PendantConnect speaker cable that combines both the electrical and steel support cables within a single outer jacket. www.extron.com

www.milabmic.com

Mix & Match modules in a single rack frame SUCCEEDING THE original SPG 1707, LYNX Technik has developed the yellobrik SPG 1708 sync pulse generator. Designed to sync video signals, the portable solution is equipped with a genlock feature for locking to any HD or SD sync input, with full cross-lock functionality. Supporting all SD, HD, 3G-UHD, 12G and composite (PAL/NTSC) video formats, the module provides three HD tri-level and three SD bi-level sync outputs. A separate audio sync output can be switched between 48kHz Word Clock or Digital Audio Reference (DARS). All controls, settings and instructions can be accessed from the front panel, although advanced settings can be made by downloading the free yelloGUI software. In standalone mode, the SPG 1708 can be used as a compact substitute studio reference generator.

It is also at home in OB applications,

mobile editing, postproduction and professional AV applications that require a stable HD or SD reference signal.

The signal processing interface provider has added the RYB 6000 yellobrik extension kit for the greenMachine rack frame, which normally holds up to two greenMachine modules. In addition to adding rack space for the yellobrik line, the extension kit allows both greenMachine and yellobrik modules within a single system. Compatible with standardsized yellobrik modules, the RYB 6000 holds up to six yellobriks and fits next to the greenMachine hardware installed in the RFR 6000 greenMachine rack frame.

SPG 1708 Built-in power connections and two power supplies are integrated for redundancy protection.

The yellobrik 8K fibre transmission system (OTR 1A42) transports real-time, uncompressed 8K content of up to 48G with zero signal loss for distances up to 10km. For 8K applications, the signal is split over four separate 12G-SDI links (48G) and supports full 8K resolution at up to 7680x4320@60Hz. Each of the four channels is fully independent and individually re-clocked. The standalone kit consists of an 8K optical transmitter, 8K optical receiver and power supply that can be paired to the yellobrik OTR 1A41 8K fibre transmission solution for enabling a 96Gbit/s throughput over a fibre system. www.lynx-technik.com

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L-ISA Processor II extends immersive power

EXTENDING SPATIAL processing to a wider range of productions and venues, L-Acoustics has developed the next generation of its 3D audio processing engine with L-ISA Processor II. Like its predecessor, L-ISA Processor II provides advanced object-based mixing for

immersive audio productions. While both hardware units offer control of spatial audio processing and virtual acoustics for up to 96 audio objects based on speaker positioning information and mixing parameters – including pan, width, distance, elevation

and aux send – the new L-ISA Processor II doubles the original unit’s potential output count of 64 up to 128 outputs for larger, more complex events.

The French innovator is offering L-ISA Processor II in a choice of four output counts – 16, 32, 64 or 128 – from the same device, with various capacities accessible via different lifetime licences at scalable, tiered pricing levels. Fitted with Neutrik connectors and housed in a 3U chassis, the L-ISA Processor II can be remotely controlled

by L-ISA Controller software. Integrating multicore architecture, the unit is further equipped with Milan-AVB dual-network redundancy, eliminating the need for a

secondary unit in mirror mode. The product also features MADI connections, allowing signals to be input on MADI and output via Milan-AVB. Operable with L-ISA Studio software that promotes immersive designs from laptops, both L-ISA Processors are compatible with DeskLink, placing direct control of L-ISA objects on the channel strips of DiGiCo, SSL and Yamaha mixing consoles. Partnerships with vision-based tracking systems such as BlackTrax, Robert Juliat’s SpotMe, Modulo Pi and Zactrack continue to be supported by the new product as well. www.l-acoustics.com

CODA Audio heads into space WITH THE release of the Space Hub, CODA Audio has developed a digital processor that is an integral component within its immersive audio system solution. Following successful trials at the Utopia Festival electronic music event in Marseille, Space Hub was officially launched at the Tonmeistertagung 2021 event at the CCD in Düsseldorf. Featuring advanced spatial audio algorithms for the positioning and movement of sound objects for 3D immersive listening experiences, Space Hub can render up to 128 audio sources into 128 outputs.

In other news, for extreme environments CODA Audio has developed its Marine Grade 1 (MG1) option, which offers maximum protection against freezing cold, scorching heat, continuous rain and snowfall, as well as acidic or salty environments. This option is said to enable users to have confidence in the permanent deployment of CODA Audio loudspeakers in even the most exceptional conditions.

Space Hub www.codaaudio.com

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PRODUCTS

Meet the Blue Box ORIGINALLY DESIGNED to provide secure playback and monitoring of audio files by the Australian Court System, ARX Systems has updated its USB DI-Q USB analogue interface.

Promoting the unit for wider use in corporate and educational applications, the interfacing solution now sports an updated front panel depicting added information.

The monitor and cue audio files can now be accessed in a closed headphone environment and the audio output can be switched or enabled to a sound system or PA as required. A transformer balanced output provides the isolation required to eliminate earth loops and ground hum plus other extraneous noise. The USB DI-Q installs as a fully compatible plug-and-

play generic USB audio device, requiring no special driver program installation on Mac OSX, Windows XP and 7/8/10. The USB DI-Q can connect to any USB-equipped computer with the pro audio balanced inputs. Integration of the unit into a building’s existing AV infrastructure has been simplified and, once installed, can be easily operated from the touch button interface.

The front panel features an overall playback volume control for both headphone and XLR outputs and an “enable audio to room” switch. The rear panel is equipped with a Type B USB input socket and status LED, summed (mono) output XLR with Groundlift switch and a ¼-inch headphone output. www.arx.com.au

LEA Professional upgrades Cloud and Web UI platforms DESIGNED TO provide a seamless, accessible and flexible user experience for the Connect Series, LEA Professional has unveiled new upgrades to its Cloud and Web UI platforms with a version 3.0.0.0 firmware upgrade.

The LEA Professional Web UI provides a clear status check of every amplifier connected to the network and the monitoring of channel performance with the status of every channel on any given amplifier. In addition, parameters such as input settings, signal generator, crossover, equaliser, limiter and

load monitoring can also be adjusted. The 3.0.0.0 firmware interface upgrade includes a new home page design with icons to allow integrators to receive information within one glance, such as the model ID and improved network status.

In addition to the Cloud updates, LEA customers in Mainland China can now locally access the LEA Cloud using the AWS China region by creating an account on leaprofessional-cloud.cn. This allows seamless remote control and monitoring within Mainland China for Connect Series amplifiers.

AVT integrates Ravenna FOLLOWING THE software-based AES67 integration for almost all AVT systems, Audio Video Technologies (AVT) has announced availability of the new Magic Ravenna module – based on DirectOut’s RAV2 OEM card – for selected AVT systems.

The Magic Ravenna module is initially available for AVT’s most powerful VoIP telephone hybrid system, Magic THipPro. Integration for the Quad DAB+ Encoder Magic AE4 and the DAB Ensemble Multiplexer Magic DABMUX plus is scheduled for the following months.

Magic Ravenna may be integrated into both new and existing Magic THipPro VoIP systems, providing an additional 32x32 audio channels

via IP, which can be distributed to up to 32 network streams. The module does not interfere with the digital and analogue audio interfaces of the Magic THipPro so both can still be used. The Ravenna module directly supports the AES67 and SMPTE ST 211030/31 standards to promote compatibility with other systems.

Outline precisely masters the turntables

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WITH THE creation of the ET50-3D and ET250R2-3D, Outline has updated the ET Series of acoustic measurement devices. Since its initial launch, the computer-controlled turntable has been adopted by companies operating in a multitude of industry sectors in addition to universities and research institutes.

As well as microphones, loudspeaker systems and transducers, it is used to measure and calibrate mobile comms devices, antennae, solar panels, hearing aids, smart devices and domestic appliances.

The original concept of placing loads with perfect accuracy in a measurement environment has evolved as the two new models can suit different speed and load requirements. Features include an Ergal aluminium hardware design, which achieves mechanical resistance in addition to reducing the overall weight. A wider choice of rotation speeds is available with enhanced maximum handling loads and a user interface with an input–output communications port based on TTL signals. The network interface allows remote control accessibility, data acquisition and control via standard Ethernet protocols.

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A new home page features additional system indicators including an Internet Accessible icon that shows that the system is connected to the internet, Explain Power icons that indicate power source in use and a Wi-Fi icon to show

ET50-3D Each turntable has an individual IP address for connection to an existing LAN for control via the provided software or one of several third-party measurement systems, including control libraries for Matlab and Python. This promotes automated polar measurements via seamless integration with various measurement software suites, including Audio Precision, Audiomatica Clio, Listen Inc SoundCheck, Klippel, NTI and ARTA. The ET50-3D and ET250R2-3D models are capable of accurately orienting loads of up to 200kg and 1,000kg respectively. www.outline.it

signal level. In addition, devices can be sorted

by IP address and device model names can be added to the address. www.leaprofessional.com

Sommer time in the classroom CREATED FOR meeting room and classroom environments, Sommer Cable has added an HDMI adapter ring to its catalogue that connects presentation sources to the correct outputs. Threaded onto a screwed stainless-steel rope, the

Available in 0.35m, 0.75m, 1.25m and 2m lengths and offering a performance of 18Gb/s, the non-slip metal HICON connector of the flexible 3.6mm cable fits into any HDMI socket.

Additionally, VGA sources can be linked via the active VGA-HDMI DVM-HDT-VAHD2 adapter

www.avt-nbg.de

HDMI adapter ring provides a quick connection to laptops, tablets and smartphones with Displayport 1.4, MiniDisplayport 1.4 or USB-C output to HDMI 2.0 cables. The three cable clips also promote the fixed installation of an HDMI connection cable. A 4K60 connecting set is created by combining the lightweight HDMI Ultraslim HI-HDSL series and the adapter.

HI-HDAPR-01 when converting VGA signals up to 1080p in resolution into an HDMI stream. www.sommercable.com

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PRODUCTS

Klotz roadmap highlights built for the road features KLOTZ AIS has expanded its LP244XY Series with the development of the LSC2440YS 24-way speaker multicore. Designed for live performances, the multicore integrates 24 stranded bare copper wires (class 6, VDE 0295) that are colour-coded and numbered

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connectors with ring on the other for simple length extension.

The double-shielded AES3N digital cable drums have now been optimised for AES/ EBU and DMX signals. Compact in size and lightweight, the cable drum is composed of break-proof plastic and is equipped with a locking brake. It incorporates black chromed XLR 3p plugs with protective caps as plug connectors. The XLR male cable end is available on the outside of the reel core in sufficient length and both cable ends are provided with transparent shrink tubes for free labelling. The German brand includes the OT206 digital cable with a conductor cross-section of 0.22mm2 and a choice of black PVC or blue PUR outer jacket.

LP244XY1S www.klotz-ais.de

with a 4mm2 conductor cross-section. With an additional braided textile layer for stability, the PVC jacket retains its stability and tensile strength to temepratures of –40°C. Designed to significantly cut setup and breakdown times, the LSC2440YS can replace up to three eight-way speaker cables for PA systems and be used for large-scale line array systems. Three different models of the LP244XY Series eXtreme multicores are available with PA-COM 25p connectors. A heavy-duty version with Remke solid metal strain relief and silver-plated or gold-plated contacts is joined by a budget version with a ZEP plastic strain relief. The speaker multicores have PA-COM female connectors without ring on one end and PA-COM male

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Tasker adds CPR cables for medium and high fire risk FIVE YEARS after new CPR legislation came into force, Tasker has been focusing on increasing standards in the medium-risk

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(Cca) and high-risk (B2ca) categories. The cable manufacturer has added six products that meet the highest worldwide standards, constructed in innovative materials such as silicone and M1 LSZH, making them suitable for indoor and outdoor installations.

A new family of four conductor cables has been developed. The TSK502 CPR Cca is shielded with a 4x1.5mm² section, while its sibling, the TSK503 CPR Cca, has a 4x2.5mm² section. These cables follow in the footsteps of the TSK401, TSK402 and TSK403 CPR Cca with 2x1mm2, 2x1.5mm2 and 2x2.5mm² sections respectively.

In the audio sector, a new microphone and two new DMX cables have been launched, all with a tinned copper braided shielded 85% covering. The C128 CPR Cca microphone and TSK1038 CPR Cca DMX have a 2x0.35mm² section, while the TSK1037 CPR Cca has a 2x0.22mm² section.

Finally, the C722 B2ca is a LAN Cat6 SF/ UTP with a 4x2x0.25mm² section and is suitable for multiple applications and approved for the B2ca maximum risk class.

dLive goes deeper and wider ALLEN & HEATH has announced dLive V1.9, drawing on feedback from engineers across the live sound, recording, streaming and installation markets. An overhaul of dLive’s RTA engine presents engineers with an array of new options for audio analysis.

Two RTAs are now available, with dualsurface applications able to benefit from independent RTAs. Visualisation is no longer limited to a 31-band bar display – a new line display and sonogram view is provided, with the latter capable of displaying the difference between RTAs for system tuning. The bar and line visualisations can be displayed underneath the PEQ curve, enabling engineers to make swift EQ decisions. To give engineers the full picture, the new RTA tools can always be visible, whether that’s on a dedicated screen, on the PEQ screen and widget, in a dedicated RTA widget or on an external monitor. dLive’s zero-latency DEEP Processing tools have gained new additions. Two expanders offer increased gain before feedback and improved audio separation in live applications. Source Expander allows quick and easy control of threshold and depth for set-and-forget operation, while

Dual Threshold Expander is provided for challenging environments where expert control is required. Bus, a new compressor, is modelled on a legendary hardware unit renowned for its ability to glue together mixes, and the OptTronikcompressor has expanded to include a new model for an alternative flavour of classic 2A compression. For engineers working with IEM mixes, NEQ12 is a 12-band parametric EQ with selectable hi/lo pass filters that can replace the GEQ on any of the dLive’s 64 mix outputs.

Wireless integration has been opened up to include Sennheiser 300/500, 2000 and 2050 wireless microphones, which can be monitored from the dLive Surface or Director software. Key wireless information, including mutes, signal level and battery bars, is visible from the bank screen, with detailed information and control accessible via the Preamp tab. The feature list for V1.9 also includes preamp sharing with automatic Gain Tracking across multiple dLive systems, LCR+ Main mode with divergence control, screen bookmarks and new screen widgets. www.allen-heath.com

VU-NET support for TORUS

TORUS, VU-NET, iKON and Q-SYS

MARTIN AUDIO has announced the latest release of its control software VU-NET (2.2.2), alongside new firmware for iKON amplifiers. Preset support has been added for the manufacturer’s constant curvature loudspeaker, TORUS T12, including when it is also used in conjunction with its partner cardioid subwoofer, the SXC118.

In addition, iKON amplifiers can now be added to the Q-SYS ecosystem within

the Q-SYS Designer software. Features can be controlled from the software, Q-SYS compatible UCIs and GPIO logic ports integrated into Q-SYS cores and peripherals. These control features include gain and muting, sleep and standby and alarm notifications, as well as amplifier snapshot recall. www.martin-audio.com

www.tasker.it

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PRODUCTS

UA completes latest LUNA landing mission

LUNA v1.2

WITH A v1.2 software update, Universal Audio has added 20 features to the LUNA Recording System with control surface support and sidechain integration. The free download is available to Thunderbolt Apollo interface owners operating a Mac running 10.14 (or higher). Control surface support provides fader movements and adjustments of mixer parameters using any compatible desktop MCU control surface or DAW controller app on a phone or tablet.

Additional features include Bus Spill, which quickly lays out the individual tracks feeding a bus together with Focus Module mode for integrating single fader surfaces into larger surface configurations. The update brings additional analoguestyle workflows to LUNA. The dedicated Sidechain Input in LUNA’s utility row can apply compatible plugins and extensions, including third-party audio units and APILUNA extensions.

With the Volt USB recording interfaces, Universal Audio is introducing classic studio sound quality for Mac, PC, iPad and iPhone users with Vintage Mic Preamp

mode, 76 Compressor and a suite of audio software. Inspired by the mic/line preamp in UA’s 610 tube console, all Volt interfaces feature a Vintage Mic Preamp mode, while Volt’s tube emulation circuitry adds rich, full sound on vocals and instruments. Volt 76 models feature an analogue circuit based on UA’s iconic 1176 compressor with easy-touse presets for adding clarity to voice, guitar and other sources. Following registration via the UA Connect companion app, the audio

Collaborate in the cloud POWERSOFT HAS released version 2.2 of ArmoníaPlus. The update frees up systems integrators, designers and installers from the constraints of local storage, making it possible to access and collaborate on projects remotely from anywhere in the world. Primarily designed for systems engineers, but available in both ArmoníaPlus skins (Install and Live Sound), the new feature allows users to save projects in a Microsoft-based cloud, in addition to on a local drive. Project owners are then able to access and work on files remotely from any internet-connected PC, as well as invite their colleagues to collaborate on the project via a simple email link.

When used to share projects, ArmoníaPlus 2.2 is said to offer an intuitive, user-friendly platform tailor-made for collaboration. After joining the project and being assigned a specific role (either an editor or full project owner), all collaborators can see the full version history of a cloud project, listed in chronological order. This means installers will always have access to the latest version of the project, even when last-minute changes are needed, while system designers can provide remote support in-application.

Also introduced with version 2.2 of ArmoníaPlus is the ability to monitor the status of Powersoft amplifiers via SNMP (Simple Network Management Protocol).

Suitable for fixed installations with a central monitoring platform, SNMP provides systems integrators with information on network devices such as printers, switches and amplifiers. ArmoníaPlus’ implementation of SNMP relays essential data on the status of amplifiers and their operating conditions, including device faults and availability.

Other features of the v2.2 upgrade include four zones on four-channel Mezzo so that users of Dynamic Music Distribution (DMD) systems are now able to drive up to four independent zones with a single 324A/AD or 604A/AD amplifier. Mono-mix Dante sharing means that distribution of stereo sources as mono mixes in Dante is now available in all Mezzo amplifiers. SIs using DMD can now have more global music sources available for selection in the system, reducing the number of channels and flows used. WM Touch network recovery allows users to configure the IP address of a WM Touch, Powersoft’s wall-mounted touchscreen control solution, from ArmoníaPlus, even if the device is set in a different subnet. ArmoníaPlus will also warn users when their system design could exceed the maximum number of Dante flows available. Similarly, the software will display a warning when ArmoníaPlus users design a system that potentially generates Dante fanout conditions. www.powersoft.com

production software for instruments and plugin bundles from leading brands including Ableton, Melodyne, Marshall and Ampeg can be downloaded.

Housed in a metal chassis, other features include Direct Monitoring for latency-free recording and USB 2.0 audio interfaces with 24-bit/192kHz audio conversion for Mac, PC, iPad and iPhone connectivity. www.uaudio.com

Total Recall for Neve WITH THE increasing transition to a hybrid approach to workflow, the ability to switch seamlessly between mixing sessions increases in importance. In recognition that the integration of analogue hardware into a studio can be a time-consuming process, Neve has launched an updated version of its Recall software to provide an interactive platform to deliver a total recall of all hardware settings. In addition, the free-ofcharge downloadable update enhances the capabilities of Neve-88 series hardware units.

The Recall software runs on a Mac or PC, with hardware units connected to the computer via USB or through a powered USB hub. Capable of controlling up to 16 Neve analogue outboard units from a connected

locates them and provides an interactive software platform for controlling, saving and recalling all hardware settings.

Neve units that can be controlled via Recall software include the 8801 channel strip, the 8803 dual EQ, the 8804 fader pack, the 8816 summing mixer and the 2254/R limiter/compressor. In addition to offering unlimited recall of all switch settings, rotary pot and fader positions, the upgraded software also provides a stereo matching function for the 8803 dual EQ, an on-screen drag-and-drop audio processing matrix for the 8801 channel strip, and a number of direct output routing options for the 8804 fader pack and 8816 summing mixer. computer, the settings of any Neve stored analogue outboard units can be quickly

recalled within the software programme.

Once connected, the software automatically

www.neve.com

92 PRO AVL ASIA January–February 2022

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HEART OF GOLD

THE NEW STUDIO CONDENSER MICROPHONES Large 33 mm capsule with gold-sputtered diaphragm • Proprietary internal shock mount • Precision-machined aircraft-grade aluminum body Designed, machined, assembled and tested in USA.

Learn more at audixusa.com

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PRODUCTS

Ashly makes a bigger splash with AquaControl INITIALLY LAUNCHED with the integrated mXa-1502 mixer amp, Ashly Audio is releasing its AquaControl software to all PC users as AquaControl Portal. With AquaControl Portal, settings can be created offline and replicated on the software to multiple hardware units. The software can be accessed via an internal web server within a specific product such as the mXa-1502.

For integrators familiar with the Ashly Audio workflow, the PC version of the software promotes the setting up of configurations on a PC before being sent to installers for loading onto multiple units. The software shares all of the functionality of the on-unit AquaControl software, including auto-mixing, advanced priority ducking, ambient noise

WITH WAVES V13, Waves Audio has released the latest version of Waves plugins. In addition to being fully supported in the Microsoft Windows 11 operating system, Waves V13 plugins are now fully supported in Apple M1 computers running M1-compatible DAWs.

control, input and output (speaker voice) template import and exporting, a remote control page with the new Virtual WR-5 wall remote, a comprehensive event scheduler

CEDAR grows a fifth Trinity WITH THE production of Trinity 5, CEDAR Audio has updated its audio surveillance system by including several new features, including the unique blind source separation option, Isolate. By separating one or more wanted speakers in a soundfield, Isolate significantly enhances intelligibility by rejecting unwanted noise and other speakers that would otherwise contaminate the recording.

Depending upon the variant installed, CEDAR Trinity 5 can be used as a selfcontained system or as part of a distributed

Waves V13 Plugins compatible with Apple M1

system providing access to numerous livestreams and recordings. Each has its own combination of benefits, making it

and a collection of dynamics, EQs, filters and delays. www.ashly.com

possible to specify and install the system that best matches their requirements.

Trinity 5 incorporates CEDAR’s unique AI-based speech detection. This system locates and marks voices in the audio, bypassing the need to look for speech in extended recordings. Varispeed changes the pitch and timbre of the voices, allowing operators to change the playback speed of recordings in the range 20–150% of real time without harming intelligibility.

Furthermore, Waves V13 updates include HiDPI graphics for select plugins, plus additional improvements. The latest updates join the new features recently released in Waves V12 and V12.7 plugins, including resizable plugin GUIs, the Waves Preset Browser with instant text search and the Waves User Preset System. In addition to futureproofing sessions, the software developer maintains that updating plugins to V13 ensures full compatibility with the latest operating system and DAW versions.

www.cedaraudio.com

www.waves.com

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Symetrix expands control IN ADDITION to extending its Bluetooth endpoint series with the xIO Bluetooth RCA-3.5, Symetrix has enhanced its Composer software with the 8.1 release.

With the availability of v8.1, new control capabilities have been added with scripting API for HTTP Client operation to the DSP and system control software. This development allows Symetrix devices to control and monitor other third-party devices that use an HTTP control protocol such as video switchers, video

streamers and power sequencers from presets or a control screen. Furthermore, the control screen design capabilities now support larger controls and more flexible fader, meter and knob scale customisations.

Promoting complete configuration, including Dante routing, from within Symetrix Composer software, the xIO Bluetooth RCA-3.5 is the latest fully integrated member of the xIO family of Dante endpoints. Gold-plated and 3.5mm RCA connectors provide stereo analogue audio

I/O for connecting devices. The analogue I/O can be configured to use RCA, 3.5mm or various mono-sum combinations, while Bluetooth can be configured to allow mediaonly or phone bridge connectivity. Available in black or white, the dual-gang endpoint promotes IP control and PoE power for single cable connection to a PoE-enabled network switch. xIO Bluetooth RCA-3.5

www.symetrix.co

Echoes of a role model from Nugen WITH THE development of the Paragon ST plugin, Nugen Audio has developed a mono/ stereo-only version of its convolution reverb software. Ideal for music production and film applications, Paragon ST allows producers to sculpt and fine-tune their reverb to the needs of the track at a lower price point. The manufacturer has also unveiled music-focused features included in Paragon ST and a surround version of Paragon. Included among these updates are controls for stereo width, modulation and mic distance, together with a pre-delay tempo lock.

Like its predecessor, the Paragon ST convolution reverb offers the realism of authentic Impulse Responses (IR) alongside the classic algorithmic reverb. Featuring spectral analysis and precise IR EQ together with zero time-

stretching, Paragon and Paragon ST are suitable for recreating authentic sounds of real spaces and manipulating IRs while still maintaining true convolution characteristics.

Based on Nugen’s Stereoizer plugin, the new stereo width controls provide instant stereo enhancement with the assurance of mono compatibility and no unwanted artefacts. Like the traditional Stereoizer software, the Paragon stereo widening feature promotes a wider, coherent sound with spatial balance in both stereo and mono. The new mic distance control adjusts the level of the early reverb reflections, giving the impression that the affected sound is either closer to or further away from the listener. www.nugenaudio.com

94 PRO AVL ASIA January–February 2022

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PRODUCTS PRODUCTS NEWS: PROJECTS

Dante video Barco supporting strengthens its LED videowall portfolio SoDrama!

Entertainment upgrades with Lawo Multichannel Dante audio interfaces SINGAPORE AUDINATE’S AVmore Module AIMING TO DANTE enhance Media company So Drama! supports one video channel dynamic, immersive and and Entertainment has installed two of eight uncompressed bidirectional collaborative engagement within its radioaudio stations – Power Dante channels.

A98FM video-and corporate spaces, TV studios Jia – rooms, with a to combination capable extension Audinate’s and88.3FM control Barco has of Lawo’s physical and virtual audio-over-IP ecosystem, the introduced the IEX series of Dante radio mixers. is indoor the aimed firstLED radio AV Module isThis primarily narrow pixel pitch installation in Singapore with virtual at manufacturers walls.

Serving asdeveloping the latest mixing technology, and the second 1G video-over-IP products with in expansion to Barco’s LED Southeast Asia.transport Dante displaycontrol, portfolio, the IEXand series “SoDrama! has been apixel Lawopitch is synchronisation.

Its architecture includes four narrow customer for years, and we are codec-agnostic, so1.5mm, manufacturers options (1.2mm, 1.8mm very that theyshowcasing decided to have free rein. and pleased 2.5mm), each partner with again tobrightness upgrade The Dante AV600-nit Product Design their content at aus facilities,” says for Lawo’s Boon Siong Suite, developed for use with level suitable indoor Tan, sales director, Asia. the Dante AV Module, provides environments.

TheSoutheast installation “Along with opportunity toarenew manufacturers with a full process isthe simplified withAV-overthe equipment, So Drama! also IP endpoint product design.

The screw-free setup and reliable wanted to Module rethink and upgrade studio Dante AV is incorporated performance is said to be further workflows sobythat show production into the Product Design Suite supported cable-free inter-and was smoother and more intuitive for includes the hardware documents cabinet connectivity with optional younger presenters.

Thetocombination and software needed create fully power and data redundancy. of traditional physical mixing desks interoperable AVrear products and to With front and access, full with context-sensitive maintenance of the VisTool IEX series is virtual mixers satisfied everyone’s enhanced. requirements.”

Three Lawo Ruby radio consoles have been included in the upgrade, carried out by distributor Broadcast DRAWMER HAS added two (BCI), new Communications International products to its 1970s FET series. which coordinated the rebuild, Offeringsystems one setintegration of controlsfor for provided both audio channels, codecs, phone systems the and1974 other stereo parametric equaliser third-party audio equipment andhas four bands of EQsupport with variable supplied technical services. low-can andbe high-cut filters tunefrom Ruby configured in to sizes outtoany signals linked and four 60unwanted faders in multiple frames that may be surface- or flushmounted.

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it travels across connections by speed up the processsoftware of gettingfora Video wall Manager controls, and can act as a primary mixer implementing HDCP (High-bandwidth new to market. easysolution installation, configuration SONIFEX HAS released a series AVN-A108 allows for eight should thewhile deskthe need servicing.

Digital Content Protection). intoPIX’s JPEG 2000 codec, which and control.

The cloud-based of new Dante audio interfaces Mixing and analogue audio andbyeight audio I/O areinputs handled an JPEG 2000 allows Dante supports 4K/60 4:4:4 video, is Video wall Management Suite analogue audio outputs. to convert balanced analogueexisting Lawo Nova17 central core Packaged 512x512 AV to create 4K multi-screen is a monitoring and diagnostics digital router. This has been expanded with environments, distributing audio solution that promotes remote additional I/O cards to handle new external where required, and deploy and management of the complete sources, such as bringing phone lines into manage videowalls using Cat-5e installed base from a central the routers and providing external outputs cables and switchers. It simplifies location. to new IP codecs. The monitoring system the installation and use of In other news, a collaboration conference rooms that make use AVN-AIO4 and AVN-A108 has also been expanded so that the entire between Barco and Audinate has workflow, from studio to transmission, is now of both video and audio. ‘Although resulted in the creation of Barco’s automatically monitored and controlled by the the Dante AV Module is designed first Dante-enabled presentation Nova17. to be codec-agnostic, we felt it switcher. The PDS-4K switchers “One big benefit for SoDrama! was the cost was in the best interests of our offer 4K processing and switching savings realised by upgrading existing Lawo OEM customers to have the codec for smaller events in addition to in asays 1U form both audio line inputs and outputsequipment,” to Tan. factor, “Nova17 is ainterfaces very already integrated as part of the boardrooms, auditoriums and use Neutrik connectors, are Dante AoIP for integrators andflexible engine and canXLR easily be upgraded AV Product Design Suite,’ included in the Dante AV Product The Dante other corporate environments.

IEX series AV professionals. The AVN-A104 with Dante Their AES67 and to currentcompliant technical standards. original explained Lee Ellison, CEO of Design Suite, said to offer ‘visually switchers were initially designed audio to interface use PoE power.andiskeep inofLawo technology still helping Audinate. lossless results low latency a breakout room. In addition, the audiomultichannel option match investment the latency thefor display both the to provide videowith switching provides four analogue audio inputs 10 years later.” over a 1Gbps including network’. The card functionality manages audio and video sync audio andthem videosave, synchronised. capabilities, eightdesign 4K www.audinate.com www.sonifex.co.uk and fourthe analogue audio outputs, suite also copying of automatically by default. If required, however, inputs andprevents two 4K the seamless www.intopix.com SoDrama!

Singapore’s Power 98FM studio www.lawo.com digital audio and video content as www.barco.com delay of the audio output can be manually changed mixing programme outputs.

With the availability of the new Dantecreation intuitive mixing control enabled of audio option card, screens customisable to stations’ individual workflows. Custom vector graphics, faders, buttons and context-sensitive controls can be on very onscreen narrow sections of mixing, the placed to control audio spectrum, apply timers, a broad, routing, EQ, dynamics, natural-sounding or modify meters and otherfilter console-specific fine-tuning mixes to problematic functions. VisTool can integrate recordings.

EQ features controls for The external programsa and true hardware bypass for more devices with HTML control interfaces, accurate A/B comparisons, putting command of playout systems, an internal low hum toroidal codecs, webcams and visual radio NEW!! devices on the same touchscreen as mixing controls. At Power 98FM RVON ACTIVATED and Jia 88.3FM, the VisTool screens control the operation of the RCS playout system, provide mixing

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Next-generation intercom matrix provides an unprecedented combination of flexibility, scalability and full-IP performance – all in a compact single rack unit package

The 1974 and 1976 MVL-721 fully variable bandwidth for the linear power supply with voltage parametric mid-bands.

Switchable selector and now a rugged steel PDS-4K switch users can manage Destined for control rooms, and low peak allowofusers both digital audio and high-quality aslope re-engineered version the to chassis. adjust focus and magnify the Meanwhile, the new stereo video from source to1976 output LED RPCthe (rear projection cube) bottom end, three-band and width through thesaturation same device. videowall haswhile beenindented devised and in accurate are said processor is a reportedly nod to the DC2476 The PDS-4K reduces the form ofpotentiometers the next-generation to offer improved precision with digital master processor.

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1974 claims to for recording live sound, it or replacing theand multiple analogue efficiency hasThe been recorded be ideal forincrease tonal shaping while offers analogue saturation over multicore cables and eliminating with a 55% in videowall ‘staying trueattained to the sound three bands. stereo of the need for The extra audiowidth switching light output from of thethe 1970s’. the lows, mids and highs can be equipment.

The PDS option same power consumption. The The frequency controls adjusted add ‘real presence card hasto access to all outputs MVL-721’s improved lightoffer source a cut and boostatofmore ±12dB. and depth’ to a mix,channels according to on the multi-audio lifetime stands than However,hours unlikeinEQs with no the A single, andmanufacturer. each output allows foryet its 100,000 both normal bandwidth adjustment or a simple comprehensive, setaudio-over-IP of controls own independent and eco-mode.

24/7 operation the two provide stereo operation. switching, allowing operators isswitch, extended withmid-bands redundanthave variableincluding filter bandwidth controls to broadcast different audio inputs, LED light www.drawmer.com enablingand the an user to focuspower in variations for the online streams sources external SoDrama!

Singapore’s Jia 88.3FM studio or push translated audio to supply. The MVL-721 uses the

REVOLUTI ONI Z E YOUR I N TERCOM ...

I N ONE RACK UNI T

Easy system expansion as your business needs require – up to eight units can be interconnected for a total of 1024 ports Offers the broadest interoperability with future, current and legacy RTS products – supports Dante-compatible OMNEO IP technology; allows seamless connectivity between analog two-wire, four wire and digital devices Learn more at rtsintercoms.com/odin

For more information, contact us at +65 6571 2808, apr.buildingtechnologies@bosch.com

July–August 2019 PRO AVL ASIA January–February 95 July–August2022 2020PRO PROAVL AVL ASIA ASIA 73 37

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PRODUCTS

At home in the conferencing room Marshall adds to PTZ lineup CAPABLE OF delivering 1080p quality at 60fps with full pan, tilt and extended zoom functions, the Unite 200 Pro from ClearOne is optimally suited for use in large conference room spaces where close-up, high-resolution video capture is desired. Permanently installed using a wall-, ceiling- or display-mount, the 20x optical and 16x digital zooms on the new remote controllable model promote its use for remote group collaboration or webinar recording. With the ability to capture 1080p video of all participants or to focus on a single speaker, the latest PTZ model supports multiple protocols and integration with third-party components. Featuring USB, HDMI and IP connection options, the camera is ideally suited for use with streaming applications through RTSP, RTMP and Multicast.

Designed to work with the BMA 360 beamforming microphone array ceiling tile and up to two PTZ cameras, ClearOne has made two new camera control modules available as software downloads for Extron control systems. One of the two new modules is designed for use with the Extron IP Link Pro control processor series and the Media Link Plus controller series together with the HC 400 and the TLS Pro series, while the other module is solely designed for use with the IP Link Pro series. Integrating a

GUI that associates PTZ presets in the camera with BMA 360 beam reports, the new modules simplify configuration of the BMA 360’s camera control features. When a given beam is activated by speech in the BMA 360, the control modules recall the associated PTZ preset in the camera.

A “No Active Beam” detection feature returns the camera to a home position after a period of voice inactivity.

Created for web-based conferencing applications including ClearOne’s Collaborate Space, WebEx, Google Meet, Zoom, GoToMeeting and Microsoft Teams, the Unite 50 4K AF has been granted Zoom-Certified camera certification. Auto-Framing technology automatically frames meeting room participants to a maximum size through intelligent image algorithms and ePTZ automation. Featuring 4K video quality at 30Hz, auto-focus capability, 4x digital zoom, eight megapixels of total resolution and a wide 110° field of view, the Unite 50 4K AF ePTZ camera can also be applied in a home office. The camera can be controlled through an IR remote that further simplifies use and enables real-time control of the PTZ parameters during multi-person meetings.

A standard damping mount and a USB 3.0 cable come as standard. www.clearone.com

Unite 200 Pro

Green Hippo releases Hippotizer V4+ MK2 hardware

HIPPOTIZER V4+ MK2 has been designed to deliver video and audio content productions in fixed installation applications. Offering up to 100% more processing power than the previous version, the V4+ MK2 offers 3D mapping and visualisation capabilities for projection on different surfaces. With the ability to drive up to 32 clips at 4K resolution, the hardware-based platform

provides generative playback, smooth visualisation and automated or production team-driven control. Built-in DP1.2 or HDMI 2.0 outputs and HDMI 2.0 live capture allows the V4+ MK2 to integrate with existing and future 4K infrastructure.

THE CV605-BK/WH 5X optical zoom 3G-SDI camera from Marshall Electronics uses a professional grade 2 Megapixel sensor to capture HD video up to 1920x1080p resolution at 60fps. The wide-angle optical zoom lens offers an 85° angle-of-view through to 20° (15mm) with an additional 10x digital zoom range. The camera offers low-latency 3G-SDI (BNC) output as well as an IP interface with multiple protocols supported. An IP interface is said to provide an easy one-cable setup with an Ethernet (Cat) cable handling video, audio, control and PoE (power). The CV605 is said to operate with “exceptional low-light sensitivity” to provide a clear picture in variable and challenging lighting conditions. www.marshall-usa.com

Op br CV605-BK

Panasonic zooms in on enhanced visuals CONSISTING OF five new models, bandwidth more efficiently. This can provide Panasonic has launched its latest integrated additional sources for HD and 4K content PTZ camera lineup. The compact, domeand access to more connected sources shaped AW-UE40, AW-UE50 and in the multiview. The KAIROS live AW-UE80 models offer a direct production platform scales drive system for accurate deployments up and down by panning and zooming together supporting broadcasting on with a quiet operation (NC25 numerous devices and feeds, or lower). The 4K cameras in any source, format, scale, also combine a 74.1° viewing screen and mix. For churches, angle and a 24x optical KAIROS elevates worship zoom to capture the entire services by managing space from the back multiple displays and of the room. Outputs screens that show include 3G-SDI (UE80 and various views of the UE50 only), HDMI and service to captivate IP for integrating into both in-person and a variety of workflow remote congregants infrastructures. In alike. addition to RTMP and Panasonic has also AW-UE80 RTMPS streaming, the released the AVUE80, UE50 and UE40 also support NDI|HX2 UHS5M6G NDI I/F unit for the AV-UHS500 and SRT to promote safe video streaming.

SDI/HDMI live switcher. This unit enables The flagship UE80 model offers exclusive the UHS500 12G/3G-SDI switcher to features including 4K60p resolution, highsupport low-latency video transmission of bandwidth 100Mpbs NDI for transmitting NDI and NDI|HX. It also provides direct IP high-quality, low-latency video and FreeD connectivity to NDI-enabled computers and protocol support for incorporating realistic video devices. virtual studio sets and elements into remote Succeeding the AK-HRP1000GJ remote productions. operation panel for its AK- series of studio With the development of Agile I/O, the cameras and select PTZs and camcorders, Japanese brand has added a software Panasonic has released the AK-HRP1010GJ feature to its KAIROS IT/IP video processing studio remote operation panel. The panel platform for creating larger and more includes an LCD touch panel and simplified complex productions. Available as a free menu structure, a nine-pin D-sub connector and SDXC SD card slot. upgrade, KAIROS can utilise the 100Gb ST 2110 network and other KAIROS Core www.panasonic.com inputs and outputs by managing the network

KAIROS Core 1000

www.green-hippo.com

96 PRO AVL ASIA January–February 2022

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PRODUCTS

Sony adds two midrange 3LCD laser models

ZX300

Optoma aims to be the brightest in the class DESIGNED FOR classrooms, corporate environments and smaller venues, Optoma has announced the availability of the ZX300 and ZW350 XGA and WXGA laser projectors.

Complementing the ZH403, ZW403 and ZW400 models, the entry-level projectors feature a 3,500-lumen output and a 300,000:1 contrast ratio. Providing a greater ROI compared to lamp-based solutions, the projectors reportedly guarantee up to 30,000 hours of virtually maintenance-

free operation in Eco mode courtesy of the DuraCore laser light source. Equipped with respective 1.1x and 1.3x optical zooms, 360° and portrait mode operation and auto keystone, the ZX300 and ZW350 models include HDMI and VGA inputs in addition to RS-232 connectivity and an RJ45 port for Crestron, Extron, PJ-Link or Telnet LAN control. www.optoma.com

Teams Hardware Out comes to AJA I/Os

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SUPPORT FOR Microsoft Team’s Hardware Out feature has been announced for a range of AJA audio and video I/O solutions. Using the new feature with an AJA KONA 5, Io 4K Plus or T-TAP Pro now allows users to output SDI and HDMI high-quality audio and video streams of on-the-ground reporters, interviewees or events in remote locations, and then seamlessly use that footage in live productions at broadcast quality.

Microsoft Teams Hardware Out support for compatible AJA hardware is accessible within the Teams interface once enabled by an administrator. Users click on the permissions tab, turn on broadcast capabilities, then select “Hardware Out” for the connected AJA device to receive the video signal. A host of timing, resolutions and frame rates are available to choose from and, once the settings are established, the user can then feed the signal out through the AJA device via SDI and HDMI to ensure a broadcast-quality signal that can be fed to routers, recorders or other production equipment.

AJA has also launched its Diskover Media Edition following the manufacturer taking a proactive equity stake in data analytics software developer, Diskover Data. The software allows users to index hundreds of petabytes of data to easily locate files,

analyse them and pinpoint misallocated resources. It is said to save companies time and expenditure by helping them to identify wasted storage space, ageing and unused files and data changes.

Bridge NDI 3G is a high-performance 1U appliance that reportedly enables reliable, high-density and high-quality conversion to/ from SDI and NewTek’s NDI video-over-IP protocol. The device supports multichannel 4K and HD workflows and is designed to help broadcast, production and pro AV professionals move seamlessly between various platforms, protocols and connectivity types. It comes with dual 10GigE onboard NICs for NDI I/O, as well as high-density SDI connections for up to 16 channels of 3G-SDI I/O – offering up to four channels of 4K or 16 channels of HD, or a mixture of HD and 4K NDI encodes/decodes in a compact form factor. Using a standard web browser, technicians can access the user interface remotely to view and manage content, including local monitoring preferences.

Operators are also able to browse, favourite, label and filter a large volume of NDI sources on the network, as well as label any SDI inputs or outputs, and see all I/O activity at any given time.

DEVELOPED FOR a wide range of corporate, education, museum and entertainment simulation applications, Sony Professional has unveiled two WUXGA 3LCD laser projectors, with the VPL-FHZ80 being the smallest and lightest in the class1 midrange.

The addition of customised Bright View functionality enables colours to accurately maintain their contrast and vivacity in brightly lit rooms. An Ambiance feature automatically measures the room’s brightness using an ambient light sensor, and further calibrates the Bright View,

Satisfying demanding lighting conditions, the VPL-FHZ85 and VPL-FHZ80 output 7,300 lumens and 6,000 lumens respectively. Both new models support 4K60p input for compatibility with 4K video sources. This is further amplified by the incorporation of Reality Creation’s real-time signal processing, mapping and analysis technology that enhances the overall sharpness, resolution and quality of imagery, regardless of whether it’s pictures, graphs or text. The projectors’ Reality Text feature improves text-based presentation materials by providing clearer letters and lines with enhanced legibility.

The smart projectors feature advanced Intelligent Settings, which offer optimisation based on usage environment.

colour gain and Reality Creation settings accordingly. Additionally, the new models offer an automated filter cleaning system and an efficient cooling system to ensure long-term, reliable and low-maintenance operation.

The compact projectors offer a blend-in design that can accommodate a range of lenses and enable a widest-in-class vertical lens shift at 70%. Installation flexibility is enhanced with a USB power supply for enabling wireless presentations, auto power on capabilities, auto input selection and a data cloning feature that allows a user to copy a projector’s settings onto a USB drive for easy replication to additional projectors. pro.sony

Professional livestreaming simplified by Roland INTENDED FOR a wide variety of video applications including smaller houses of worship, Roland has created the V-02HD MKII streaming video mixer for bringing higher production values to computerbased livestreaming. The compact V-02HD MK II can connect and switch two HDMI cameras for outputting directly to a streaming platform over USB-C. In addition, audio sources with video effects and transitions applied can be mixed via dedicated inputs and HDMI. The V-02HD MK II eliminates USB conflicts with multiple webcams and HDMI-to-USB encoder adaptors. Hosting an intuitive control layout and T-bar fader, the plug-and-play video mixer

provides ease of operation for instant streaming with platforms including YouTube or advanced workflows such as OBS Studio, Streamlabs and Restream.

In terms of audio features, a 10-channel digital mixer is included together with two inputs with 3.5mm jacks that can each support a microphone including lavalier models that require plugin power. Advanced features allow the connection of an HDMI monitor for display, audio and video effects and footswitch assignments. With one of Roland’s free remote-control apps, the V-02HD MK II can be operated via a GUI on an iPad or computer. proav.roland.com

www.aja.com

January–February 2022 PRO AVL ASIA 97

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PRODUCTS

Three into One:Quick works for LG

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WITH THE creation of the LG One:Quick, LG Electronics (LG) aims to change and expand how individuals, co-workers and teams communicate in remote working scenarios.

The display solution consists of One:Quick Works (55CT5WJ), One:Quick Flex (43HT3WJ) and the One:Quick Share (SC00DA) dedicated wireless screen sharing dongle device.

Both the One:Quick Works 55-inch 4K UHD display and the One:Quick Flex 43-inch 4K UHD touchscreen are based on the Windows platform and are compatible with a library of videoconferencing applications and collaboration tools. Once paired with

One:Quick Share, laptops can be connected wirelessly to compatible LG digital signage products. Featuring a built-in Windows PC, a 4K UHD camera, microphone, speaker and digital whiteboard, One:Quick Works delivers seamless interactive office meetings.

With a video camera that captures a wide 88° view, the One:Quick Flex display rotates to work in both landscape and portrait modes and features a split view mode for easier multitasking. A microphone and camera, intuitive interface, full touch pen support and whiteboard functionality complete the package. One:Quick Flex can

be mounted to a movable stand for added portability.

Designed for sharing laptop screens with compatible LG digital signage models, One:Quick Share is connected by pressing a USB dongle button. Up to four sources can

DEVELOPED FOR business presentations and digital signage, Sharp NEC Display Solutions has added two new displays to the large-format C Series. Featuring UHD resolution, slim bezels and a modern appearance for seamless integration into interior designs, the 75-inch NEC MultiSync C750Q and 86-inch NEC MultiSync C860Q models deliver pixel-free viewing for large-scale and embedded office functionalities.

Future-ready operation is available with thanks to the NEC Open Modular Intelligence (OMi) platform which enables an upgrade of power at any time by seamlessly integrating NEC’s range of OPS slot-in PCs or signal interfaces.

Other features include professional haze levels for enhanced visibility without distracting reflections, a brightness of 350cd/m2 for viewing in all environments together with embedded office functionalities such as wake-up on connection. Futureproof signal connectivity and processing features have also been integrated into the two models, such as native UHD resolution inputs with a 60Hz refresh rate, DisplayPort and HDMI, plus automatic upscaling to UHD for other signals. The Cost Saving Device Management enables connection of every device from a centralised location via the NaViSet Administrator 2 software tool.

Crestron strengthens its Flex

Sharp/NEC extends C Series

www.sharp-nec-displays.com

Taking IP to the max WITH THE rising demand for live content and an increasing infrastructure need for portable, network protected, remotely configurable and cost-effective IP media gateways, Media Links has unveiled its MDP3020 MAX platform. The

MDP3020 MAX encodes/decodes video, audio and data content for carriage over wide area IP networks. It is designed primarily for use in live remote production environments where economical, highest contribution quality IP media conversion and transport robustness is essential.

The MDP3020 MAX can be configured to support four 1080p video channels using JPEGXS compression, which achieves bandwidth reduction ratios of up to 10:1, visually

lossless quality and sub-millisecond latency.

In addition, the MDP3020 MAX supports JPEG2000 compression. It is ideal for the edge of an IP WAN network where bandwidth is typically constrained, where minimal latency is

necessary for live interactive broadcasts and where the transport of uncompressed highquality video isn’t feasible.

The MDP3020 MAX is described as compact and portable, housed in a ½U footprint. Dual 1GbE or 10GbE trunk interfaces supporting ST 2022-7 Seamless Protection Switching as well as frame synchronisation come standard, as do dual “hitless” 1G/10G data ports. www.medialinks.com

DESIGNED TO facilitate productive meetings both in the office or at home, the Crestron Flex platform has received a major enhancement with intelligent video support from partners Jabra and Huddly.

As businesses shift to a hybrid-first environment, one of the main challenges has been ensuring every person in the meeting has an equal seat at the table. The Crestron Flex platform draws software innovations from meeting service providers such as Microsoft Teams and Zoom Rooms together with intelligent audio and video features resulting in purpose-built devices for every space and application. With the support of Crestron XiO Cloud remote management software, Crestron Flex allows enterprises to deliver meeting experiences from the largest board room to rotating hot desks and huddle spaces.

be simultaneously connected to LG products.

In addition, adjustments including volume, picture mode and screen brightness can be performed without a remote control. www.lg.com

The addition of intelligent video integration to the Crestron Flex platform offers several features that enhance the videoconferencing experience. Intelligent cameras recognise each participant in the room and provide a single image of each participant as well as a full room view. Integrated real-time video stitching gives a full 180º view of the room, fully optimising small spaces for better videoconferencing, ensuring each person can be seen clearly. As a key collaboration tool, remote participants previously could not view whiteboard content in the room. Whiteboard Sharing enables participants to view and share content from up to three whiteboards digitally, extending the functionality and usability of whiteboard collaboration to outside the room.

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www.crestron.com

Peerless-AV heads to the drive-thru DESIGNED TO support 55-inch outdoor commercial display brands, Peerless-AV has upgraded its Outdoor Digital Menu Boards with the KOF555-1/2/3. Supporting up to three displays to enhance outdoor drivethru efficiency, the all-weather-rated, outdoor units are UL 48 certified and provide a low operating cost, modular design and a simplified twoman installation process.

Compatible 55-inch outdoor digital signage display models include the Peerless-AV XHB553, Samsung OH55F/ OH55A and LG 55XE4F-M outdoor displays. In addition, customers can customise their digital drive-thru solution with a variety of options,

including a speaker/microphone kit, media storage fan and an internal media player shelf. www.peerless-av.com

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98 PRO AVL ASIA January–February 2022

PAA Pg78-101 Products.indd 98

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Multiple viewing FOR-A HAS unveiled the MV-3240, a 32-channel, multiformat multiviewer that supports customised layouts with up to 25 windows for one 4K output. It comes with up to 16 inputs for 6G-SDI and up to 32 inputs for 3G/HD/SD-SDI, as well as HDto-4K up-resizing. The multiviewer includes five outputs for 3G/HD-SDI or one output for 12G-SDI, as well as one HDMI output that duplicates the SDI output. Cascading connections between multiple units allow users to expand the number of inputs with low latency. Customised layouts for up to 40 windows for four 2K outputs, as well as optional support for up to 16 inputs for 12G-SDI, are under development.

Built on the same 1U chassis as FOR-A’s MV-1640IP multiviewer, which was designed for IP or hybrid workflows, the MV-3240 also shares many of the standard features found in other MV Series units. For example, displays

can include tally, title and time code, as well as time, timers and information display. The MV-3240’s built-in layout manager is said to make it easy to create custom layouts, which can be saved and then recalled directly from the unit’s front control panel.

Up to four logos can be stored for display in title areas. Audio level display and audio monitoring output are also supported.

Flashing borders or error icons help identify screens with errors. An integrated M-JPEG streaming video output serves as a simple way to monitor signals outside of the control room, with users accessing the signal from any web-enabled device. www.for-a.com

Energy savings THE LEDFUSION Pro screen management solution from Calibre comprises all-in-one screens available in 130-inch and 163-inch sizes and are either sold as a standalone unit (A130C-15 and A163C-09) or a multisystem solution for advanced screen management (W236CF-15 and W260CF-15).

LEDFusion Pro has been designed to bring advanced operational features, energy

A130C-15 screens can be deployed which uses splicing. Installation benefits include simplified cable management and ruggedised four-in-one LED modules. Viewing angles are optimised and maintenance and service are described as quick and easy thanks to front panel access.

For large-scale 4K applications, Calibre offers the One Canvas Solution, a multi-

Orban releases XPN-Enterprise for Centralised Processing ORBAN HAS released the OPTIMOD XPN Enterprise ecosystem. The 1U customisable, Linux-based processing platform can be used for multiple broadcast stations or streaming services, with centralised control.

Orban’s OptiCloud processing provides up to eight FM and eight HD/DAB+/streaming processing channels and supports AES67/ SMPTE-2110 protocols using an enterpriseclass SoftGear server and appropriate OPTIMOD XPN-Enterprise Nodes. The XPNEnterprise AES3 Input/Output Node comes with additional nodes to extend the available outputs and functionalities, including DMPX, Kantar and Nielsen watermarking together with the soon-to-launch Orban uMPX. Utilising AES3, AES67, SMPTE-2110-30, Dante or Livewire+, content to be OptiCloud processed is brought to one location where it creates the necessary outputs (FM Composite, DMPX, uMPX and DAB+HD) using the appropriate Orban XPN-Enterprise Nodes for distribution to each transmitter site.

Processed channels destined for streaming are also handled by the XPN-Enterprise server, which sends those outputs to the appropriate streaming devices.

Each signal coming into the OPTIMOD XPN-Enterprise server can be individually processed, with Orban’s OptiCloud providing precision tailoring of each station’s broadcast or stream to meet the requirements of the audience and delivery method. OptiCloud factory presets provide a quick start for each format, while Orban’s “Less-More” controls simplify dialling in the desired sound by combining multiple OptiCloud processing parameters with a handful of controls. Further simplifying the processing path, a full line of “Last Mile” solutions including XPN-Enterprise input and output nodes and low bandwidth solutions have been made available for virtually any requirement.

NDI HAS announced its upgraded support of Adobe Creative Cloud following the launch of NDI 5 last year. The expansion includes integrated extension panels for Adobe Premiere Pro and After Effects. The new NDI output is said to streamline production by removing the need for producers and creatives to export designs for teams and clients to review them. The NDI Plug-In for Adobe Creative Cloud is said to open up new remote editing and collaboration capabilities and break down physical boundaries of editing.

The key benefits for users of NDI 5 for Adobe Creative Cloud include remote working – multiple editors can create different output from the same live sources, at the same time, anywhere in the world; creative collaboration – NDI reportedly widens access to creative talent;

integration – NDI, acting as the common standard, helps bridge between disparate tool sets and make the workflow cohesive; and enhanced talent acquisition and retention – NDI adds flexibility, allowing talent to focus on creativity rather than the process.

NDI has also announced that it is fully compatible with Microsoft Teams, allowing users to harness the full capabilities of NDI 5 for broadcasting, webinars and other video applications. Microsoft Teams and NDI 5 work together to provide better privacy and security for users. The enhanced NDI Tools available with NDI 5 are said to unlock live video production and remote capabilities for Microsoft Teams.

www.orban.com

Breaking down barriers

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saving and installation benefits. Calibre believes that users will benefit from the energy-saving design of the LEDFusion Pro thanks to a dynamic power supply reportedly ensuring that operation can be at 1,600W at maximum brightness (100–240V @ 16A switching power supply) for the A130C-15 model.

For widescreen displays, a wall-mounted dual system using two LEDFusion Pro

screen management solution using the LEDFusion Pro integrated with the HQPro1000 scaler/switcher with premium 4K50/60Hz 4:4:4 RGB processing and 4K EDID management. One HQPro1000 unit can manage up to four FHD LEDFusion Pro screens with flexible screen layout at any one time. www.calibreuk.com

www.vizrt.com

January–February 2022 PRO AVL ASIA 99

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21/12/2021 11:48

PRODUCTS

Haivision simplifies streaming Analog Way updates Midra 4K presentation switchers DESIGNED SPECIFICALLY for houses of worship, Haivision has announced the launch of its Haivision Connect livestreaming solution. It’s described as an easy-to-use live and simulated livestreaming platform that helps

organisations reach viewers online simultaneously with embeddable web players, mobile and OTT apps, and through social media platforms, including YouTube and Facebook. With Connect, users can schedule livestreams, manage devices and monitor events, all from a single browser window. Connect’s user-friendly

interface enables anyone, even nontechnical volunteers, to quickly set up a high-quality reliable livestream.

Created with ministry workflows in mind, Connect is said to simplify the complexities of video streaming by giving ministries the ability to engage audiences on the platforms they love and maximise the reach of content by leveraging previously recorded or uploaded media for scheduled simlive events. Users have access to meaningful insights into what content is resonating with audiences with advanced analytics that track audience views and engagement time. In addition, users can also schedule events, set up metadata, manage devices and monitor streams from a single cloud UI.

FOLLOWING THE release of a major software update for the Midra 4K range of presentation switchers, Analog Way has announced more than 20 new features, including IP streaming, support for the RC400T event controller and live background content on Pulse 4K. Tailored towards small- to medium-sized fixed installations and live events, the Midra 4K series consists of the QuickVu 4K, QuickMatrix 4K, Pulse 4K and Eikos 4K models. With the 2.0 software release, the Midra 4K series now offers an IP streaming functionality for allowing any input or output to be broadcast over IP. The streaming feature can be used to feed an online web service such as YouTube, Facebook and

Twitch.tv, distribute the content over a private network, display the content or edit with software such as OBS Studio.

The Midra 4K switchers can now also be operated by the RC400T event controller, giving instant access to functionalities such as screens, layers, sources and memories.

Additionally, live sources can be used in the background set for the Pulse 4K multi-layer video mixer and seamless presentation switcher. Other improvements include the integration of high frame rates up to 144Hz, a new HDCP policy management and support of the HTTPS protocol.

www.haivision.com

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A grand update

Express doubling from 12 to 24 layers and MediaMaster Pro providing 48 layers.

Simplifying and speeding up the programming of visual transitions, Single Layer Transitions allow crossfading between two visuals on a single layer.

On each layer the software also adds a second Effects Generator and a Mask Engine for a mask to be loaded directly.

In addition to a broad group of codecs, the software can now run the ArKaos SAGA codec, for maximising the number of visual playbacks with 10-bit definition per colour and an Alpha Channel. SAGA includes lower disc usage than with a standard HAP codec, plays clips backwards and accelerates CPU and GPU rendering.

Compatibility with any HDR 10/HLG screen has been added, with the specific HDR modes used by most major LED screens. www.arkaos.com

MA LIGHTING has added several workflow improvements and new implementations to its grandMA3 software. Version 1.6 focuses on the areas of presets and data handling, including programming with selective, global and universal presets; auto preset mode which takes care of standard

new version also includes visibility and overview improvements, especially for grandMA3 onPC users. Following the update, the new command wing bar is said to fit perfectly at the bottom of screens used together with a grandMA3 onPC command wing or grandMA3 onPC command wing XT.

preset operations without thinking about data; fixture exchange which transfers the preset data; and universal presets which can be created before patching fixtures.

Additional information for showfiles has been added to the Backup menu and the Stomp command has been revised based on user feedback. The

Other improvements include markers for moving and rotating objects in 3D, even with connection to PSN data; a CleanUp command for deleting objects which are not used in the showfile; new RDM parameters and notifications; and support of RDM proxy devices, especially useful for installations. www.malighting.com

100 PRO AVL ASIA January–February 2022

PAA Pg78-101 Products.indd 100

ELAT KL Pa and n availa while offerin The K Cyan colou a 100 is des the ey while 2,000 colou colou

www.analogway.com

MediaMaster climbs to Level Six

WITH THE release of MediaMaster 6, ArKaos has updated its MediaMaster real-time video control software platform.

In addition to a streamlined user interface, the update provides new features including a Remote Player, which is a cue-based programming tool for long-term projects and permanent installations. The networkbased media player allows the control of multiple servers from a single point on the network and a central programming hub can control cue lists for allocation to one or more separate MediaMaster entities on the network. The cue lists can be triggered manually or run via external triggers.

MediaMaster 6 brings compatibility with Elgato Stream Deck and adds two DMX fixture profiles in Layer Extended 2.0 and Layer Full 2 that can control up to 112 DMX parameters per layer. The number of available layers has been increased with the update, with MediaMaster

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PRODUCTS

KL Panel goes large ELATION’S COLOUR temperature-adjustable KL Panel has been on the market since 2020 and now a new XL version of the luminaire is available that extends the size of the original while emitting nearly twice the power and offering multi-zone control for dynamic effects.

The KL Panel XL uses a 544W RGBW+ Lime + Cyan LED array to produce soft white or fullcolour washes up to 44,000 field lumens at a 100° half-peak angle. Colour reproduction is described as extremely accurate both to the eye and to the camera with a CRI of 95, while colour temperature is adjustable from 2,000–10,000K for a wide choice of variable colour or white shade projections. Additional colour tuning is possible through a green-shift

adjustment and virtual gel library to match the white balance for the camera.

Other features include smooth 16-bit dimming and selectable dimming curve modes for programming ease, as well as a high-speed electronic shutter and strobe. Measuring 763.8mm x 306mm (LxH), a 4x2-section control option is said to provide additional creative capabilities for colour effects and visual impact. A diffuser is included for even softer projections, as are adjustable and removable eight-leaf barn doors that allow for customised shaping of the beam and less light

spill. It also has a 900Hz–25kHz LED refresh rate adjustment for flicker-free operation.

The luminaire can be mounted on a stand or suspended using any standard clamp or the included Junior pin adapter. A rugged housing with impact-resistant surrounds and base plate reportedly ensure that the fixture can handle rough handling in today’s fast-paced environments. The unit is fully self-contained without the need for an external power supply and offers power passthrough for linking

multiple units. The fixture can be powered remotely through its integrated four-pin XLR 24-36 VDC battery input (battery not included).

Professional control options include DMX/ RDM, Art-Net and sACN. The luminaire can also be controlled manually for standalone use using the included encoders and OLED display, providing instant control of intensity, colour temperature, green shift and other settings.

The display and encoders are positioned on the bottom of the fixture for easy access while the fixture is mounted on a stand. The unit can also be integrated with Elation’s E-FLY wireless DMX system. www.elationlighting.com

Prolights updates its EclPanel TWC

EclPanel TWC

THE ECLPANEL TWC LED soft light from Prolights has released its 2.9 firmware update which includes features such as XY coordinates control in DMX and standalone modes, editable cinemaeffects that enable users to customise effects and improved PWM frequency up to 36kHz. CCT has been expanded to range from 2,200–15,000K in the new Film Mode, reportedly providing a broader

set of white points than before. This new mode includes predefined settings for best results on-camera, and a dimmer off feature with snap or fade out options.

There is also a high-resolution mode at low dimmer value, and a new dimming curve that offers a 16-bit dimming experience while using an 8-bit dimmer. www.prolights.it

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January–February 2022 PRO AVL ASIA 101

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21/12/2021 17:37

BUSINESS: ANALYSIS

Subscription for success Caroline Moss talks to d&b audiotechnik’s director, new business ventures, Bjørn Rennemo-Henriksen, and APAC president, Anand Narayanan, about the manufacturer’s new Subscription Series, which is well-timed to help venues get back on their feet IT BEGAN WITH A PHONE CALL FROM D&B GROUP CEO Amnon Harman to Rennemo-Henriksen in early 2019 to discuss potential projects. “One of the ideas we discussed was the possibility of subscribing to complete system solutions,” Rennemo-Henriksen recalls. “A client had suggested it would be much less complicated if they could just pay for a system on a monthly basis and have someone look after it for them.

Looking into mega-trends, we identified two things, the first of which was a change in spending behaviour. We now spend more money on experiences than things, and the tipping point was maybe a decade ago. It was more important back then to have the latest iPhone and show it off, but we don’t care as much anymore. Now, we spend four times as much of our disposable income on experiences than on material goods, which is obviously a healthy trend for the experience economy, including live concerts, museums and sports events.”

The second thing identified was a change in buying behaviour.

“We are living in a world where stores are no longer just physical spaces, where one of the biggest transportation companies doesn’t own its vehicles and where companies offering travel accommodation don’t own any hotels,” he continues. “More and more industries are developing subscription solutions, and we are convinced that subscription will be a compelling business model for AVLM [audio, video, lighting, media] going forward.”

Rennemo-Henriksen and the d&b team started to develop a business model to provide venues with an individual system design and all the necessary hardware, plus a maintenance contract for servicing and remote monitoring of the system, all of which would be available for a monthly fee, tailored to each particular case. The team continued to fine-tune the plan, which included the provision of any third-party equipment needed, although existing equipment can also be integrated.

“After the d&b system is installed, we remotely monitor its functionality and our partner in the region will visit the venue twice a year to check up,” explains Rennemo-Henriksen. “If the venue wants to end the agreement once the agreed minimum period is up, our partner will go in and decommission it.”

The only thing not included in the monthly subscription fee is the labour cost for installing the system as this can vary wildly from installation to installation. “Our partner in the region will play the same role they normally do, so they’ll have a conversation with the venue to work out the installation cost. It

d&b’s Subscription Series gave the Forum Birmingham the flexibility to open a new business

d&b’s director, new business ventures, Bjørn Rennemo-Henriksen will also be possible for clients to purchase the system at a fair market value, but this can only be discussed at the end of the agreement.”

The d&b Subscription Series applies across the company’s entire product range and is available for all types of fixed installations. Phase one has already been implemented, mainly in the European countries where d&b has a subsidiary, with eight contracts signed to date. Phase two will test the initiative across the US, where legislation and accounting rules differ from state to state and, in some places, from city to city, while phase three will focus on APAC and the expansion of EMEA. Two of the first clients for the Subscription Series are the Forum Birmingham in the UK, and Spanish venue, Sala Apolo. Forum Birmingham has opened with a d&b V-Series line array system and six SL-SUB subwoofers. “We were looking for a system that would be able to deliver high-quality audio for our diverse future programme, ranging from club nights to live music as well as comedy,” comments Global Venues owner, Billy Chauhan. “The d&b Subscription Series gave us flexibility in opening a business and peace of mind in terms of monitoring and servicing the kit.

We have a world-class installation and world-class venue, and are so proud of the outcome.”

In Barcelona, iconic 75-year-old entertainment venue Sala Apolo has installed a medium- to large-format d&b KSL system with KSL-SUB and SL-SUB subwoofers, plus 15-inch coaxial stage monitors, into its larger room, together with a pre-installation of a Soundscape immersive system with an SD100 signal engine. “The Subscription Series has made it possible for this to happen,” says director, Alberto Guijarro. “Without that solution we would not have been able to do it at this time.”

Venues will benefit from flexibility and scalability if they need to upgrade their systems. “The Subscription Series will make our premium solutions even more accessible to all kinds of installation projects, no matter the size, budget or application,” adds Narayanan. “Furthermore, it alleviates the risk of owning a new technology and guarantees upgrades in future to keep up to speed in an ever-changing technology landscape.”

Although d&b didn’t design the programme for the post-Covid era, the timing will doubtless make it attractive to clients whose capital has all but evaporated. There has been interest from venues facing a period of insecurity regarding the return of live events and audiences, who will be able to access a new, high-end system for at least the next two years. “This wasn’t the intention;

Anand Narayanan, d&b’s president of APAC

Sala Apolo was able to upgrade its main room with a d&b KSL system it was driven by changing buying behaviour,” muses RennemoHenriksen, “but after Covid, many venues are struggling.

Subscription Series is a way for d&b to support venues’ aspirations to deliver outstanding sonic experiences through cutting-edge technology, all via a low-risk commercial model.”

The ease aspect is another attractive feature. “Billy and Alberto both really liked the fact that it’s serviced and that there’s a computer in touch with the electronics, 24/7,” says RennemoHenriksen. “If an amplifier overheats or impedance drops, an alert pops up so the responsible guy at d&b can take care of it.” d&b’s Subscription Series has unwittingly been launched at a time when the entertainment industry is in dire need of different commercial options, not to mention a means of tempting back audiences. The first of its kind in the audio industry, this pioneering programme promises a new way of funding large investment in a well-designed sound system. www.dbaudio.com

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LICENSE II SCALE L-ISA PROCESSOR II Utilizing state-of-the-art object-based mixing technology, L-ISA Processor II provides sound creatives the ability to scale to their project by choosing the license that fits best. Upgrade from the standard 16 outputs license to either 32 for bigger events, 64 for large-scale installations and musicals, or hit the most significant projects at 128 outputs - all at 96 kHz for premium quality sound. As a Milan-certified device, L-ISA Processor II streamlines and secures audio distribution with a redundant AVB and elevates its reliability with a ruggedized 3U chassis and redundant PSU. Unlock the sound possibilities. l-acoustics.com

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