Pro AVL Asia July- August 2020

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION July–August 2020

THEATRICAL DEBUT New home for Singapore’s Wild Rice

THE INDUSTRY RESPONDS TO COVID-19

INDONESIA’S TRANS STUDIO CIBUBUR

RECORDING AT UNIVERSITY OF TASMANIA

VIRTUAL TRADESHOWS

Singapore: MICA (P) 017/06/2020 PPS 1604/05/2013(022953)

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Contents Volume 19 Issue Four July–August 2020

NEWS BUSINESS Inspired Audio returns to higher peaks

4

DISTRIBUTION Alcons teams up with E-Spec in Japan

12

APPOINTMENTS Renkus-Heinz welcomes Graham Hendry

16

EDUCATION L-Acoustics releases free whitepapers

22

SPECIAL REPORT Caroline Moss walks the virtual tradeshow floors

24

PROJECTS IcebergX immerses Supertree Observatory visitors with Yamaha solution

26

SPECIAL REPORT Phil Ward examines the industry response to Covid-19

40

FEATURES DROP THE MIC de Spectra karaoke lounge opens in Jakarta

46

ADVANCING AV Malaysia’s new Avante Hotel

48

TOA’S SOLO PERFORMANCE Manahan Solo gets a facelift

50

UNDER ONE UMBRELLA Trans Studio Cibubur theme park avoids the heat

52

GOING UNDERGROUND Huanglong Dong’s subterranean concert hall

54

LET THE GAMES COMMENCE New stadiums for India’s National Games

56

GOING WITH THE GRAIN Singapore’s Wild Rice gets permanent home

58

BUILDING FOR THE FUTURE University of Tasmania’s new Hedberg building

62

IMMERSIVE EDUCATION HKBU updates its postproduction facilities

64

BUSINESS LETTER FROM AMERICA Dan Daley laments Covid-19’s effects on live music

66

LETTER FROM EUROPE Phil Ward asks if remote and virtual production will endure

66

COMPANY PROFILE LEA Professional: a newcomer with industry kudos

68

COMPANY PROFILE SouHou aims to assist western businesses in Asia

70

TECHNOLOGY The world turns to livestreaming

72

PRODUCTS The industry’s most comprehensive product news

75

ANALYSIS Mike Dias on the In-Ear Monitor International Trade Organization

98

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

In these uncertain times, we’re doing all we can to keep delivering the content you expect from us across our print and online resources, and we’re particularly proud to bring you the July–August issue. There’s an abundance of industry news in the front section, and what’s particularly striking is the amount of new promotions, hires and reshuffles, as well as new distributor and partner announcements, that have been taking place across the industry.

We also have a host of features from our recent trips to Asia and Australia before lockdown.

Richard Lawn brings us in-depth accounts of installation projects across Malaysia, Singapore and Indonesia, including the cover feature on Singapore’s latest performing arts centre, Wild Rice (p58), while our Chinese correspondent Sue Su gives an account of an equally stunning theatre, Huanglong Dong (p54). We’ve also worked on others remotely with help from our contacts across the region, including a state-of-the-art recording facility at the University of Tasmania’s new Hedberg building (p62) and a Dolby Atmos HE postproduction suite at the Hong Kong Baptist University (p64).

Phil Ward has undertaken the mammoth task of reaching out to different industry sectors to examine how companies and individuals are responding to the pandemic. His report, spanning five pages from p40, is an illuminating read, pointing to the strength, versatility and adaptability of our industry. We’ll follow this up with an in-depth look at the broadcast sector in our next issue.

As global tradeshows grind to a halt, we take a look at the virtual format, asking organisers and attendees of recent online events if this can work, if there are any advantages as well as the probably more obvious disadvantages, and if they could ever replace a real-life industry gathering or product launch. See p24 for the full report as companies give their feedback on Virtual Vienna, NAB and manufacturers’ own online initiatives.

InfoComm 2020 Connected, the most ambitious virtual offering to date, has its own special supplement which can be found in our digital editions. Don’t forget that during these times, while we keep printing presses rolling and magazines posted out to you, our current editions, plus a substantial archive of past issues, are also available online at www.proavl-asia.com.

More than ever, we’re using our online resources to respond in a timely fashion with the latest news and updates from across the industry. We strongly urge readers to delve into our rich online content, across the news that we update several times a day, and our video and features sections. Meanwhile, we hope that our print editions continue to provide a welcome distraction when they arrive on your desk. Enjoy the read!

Contacts GENERAL MANAGER Richard Lawn T: +44 1892 676280

ADVERTISING DIRECTOR Sue Gould T: +44 1892 676280

SENIOR REPORTER Simon Luckhurst T: +44 1892 676280

EDITORIAL COORDINATOR Karen Wallace T: +44 1892 676280

VIDEO EDITOR Chris Yardley T: +44 1892 676280

rlawn@proavl-asia.com

sgould@proavl-asia.com

sluckhurst@proavl-asia.com

kwallace@proavl-asia.com

cyardley@proavl-asia.com

PRODUCTION MANAGER Adrian Baker T: +44 1892 676280

SINGAPORE OFFICE Raymond Boey T: +65 6457 2340

GUANGZHOU MANAGER Sue Su T: +86(20)85633602

SALES ASSOCIATE Carolyn Valliere T: +1 562 746 1790

CIRCULATION Marne Mittelmann F: +65 6491 6588

abaker@proavl-asia.com

rboey@proavl-asia.com

ssu@proavl-asia.com

cvalliere@proavl-asia.com

circulation@proavl-asia.com

COVER: Wild Rice performing arts complex PRINTER: Times Printers Singapore LICENCES: Singapore: MICA (P) 017/06/2020; 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.

www.proavl-asia.com

@ProAVLCentral

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

@ProAVLAsiaMagazine July–August 2020 PRO AVL ASIA 3

NEWS NEWS

Covid-19 decimates 2020 Trade shows postponed Meyerheeds Sound increases presence in Asia Inspired returns Hills Amber warning signal trade show calendar amid Covid-19 outbreak to higher peaks

ASIA: Meyer Sound has set its international partners. Providing distribution in key territories throughout Hills AV business into its existing Integrated sights firmly on the growing Asian direct access to factory support the world,–both Apartdesign and Community are Solutions division. ‘We look forward to market with the formation of Meyer including services, tech now united with Biamp at Jands.

Having – welcoming the Hills staff into our company, Sound Asia.

Headquartered in support and sales management CHINA transitioned to either a sole or the brands represented by Hills into our Singapore, the new venture will means we can offerdistributor the personal UK/APAC The outbreak of the dealer-direct distribution system to better portfolio and many new customers into a provide marketing andCovid-19, technical emanating connection to our regional UK loudspeaker Inspired from theoperations Chineseinnovator city of Wuhan, spread support specific countries, Australia and installation range, together with a range of relationship with Amber Technology,’ he support throughout thehas Audio customers that Meyer Sound is has announced major restructuring of to thousands of apeople a death toll New Zealand (ANZ) timely into this four-channel system amplifiers incorporating said. ‘We are 100% focused on serving the region, coordinating withwith national known for falls worldwide.’ in the over both the UK and Asia –its tooperations date – reaching thousand. category. ‘Through ourtopartnership withnew on-board DSP, software control and AV markets in Australia and New Zealand, distributors extending fromtwo Australia In addition setting up the Pacific. the restructure, co-founder Reacting topart the of public health emergency of Jands, weSingaporean are able to offer in networking capabilities. and NewAsZealand, across Southeast office,customers Meyer Sound Chris Scott has returned to the company that international concern declared by the World the regionhas ourannounced full productnew portfolio from a “Following on from the three-way Vector 20, Asia and beyond.

The existing sales and extended he departed fromwill in (WHO) late 2018.

In addition to Health and single distributor – including Aparthas retail and I am currently developing a fixed angle office inOrganization Mumbai continue tocomplying partnerships.

EV Group been concentrating on product development, with the requests of several Chinese the hospitalityappointed loudspeakers, large variant with a 10° vertical dispersion operate. as theCommunity manufacturer’s managing and soleofshareholder government bodies, a trio trade showsis– venue loudspeakers Cambridge pattern,” explains Scott. “A compact, ‘We havedirector seen tremendous growth distributor inand Vietnam, whileSound currently establishing aGETShow production PL+S the past andfacility.

Beijing Management solutions,’ announced Biamp lightweight array of this size is ideal for in thisGuangzhou, region over the few years Numthip Associates will serve InfoComm China – have all beenthat postponed president,as CEO andSound’s co-chairman, Rashid smaller venues in which a single 10-inch and we’re committed to building Meyer pro markets until further into notice.

Skaf. ‘Ourdistributor customersforthere will now have a covers the 55–200Hz band theD’bais two momentum the future,’ said Thailand.

Deco Andrew Poh, Salmah El Haissane andand Chris Several exhibitors preparing for Prolight + single point of contact, giving access 5-inch cone drivers are vertically aligned to Meyer Sound’s senior vice president 2000 in Thailand andthem PT Karta AUSTRALIA Sound (PL+S)John Guangzhou, which was set to access to superior service, complete solutions and cover 200Hz –in2kHz HF and, is covered of marketing, McMahon.

Jaya Elektrindo in Indonesia have quick to the all countries the band.

Arup most recently, as an is a no-brainer,’ explained Meyer WORLD Following approval from its shareholders, take place from 19–22 February at the region.’

Area enjoys strong market leadership an exceptional experience.’ by dualacompression drivers loadedposition. intoengineer our ‘We are expanding our company been named as distributors for the application at Harman Sound’s sales manager for Oceania With teams having attended NAMMThe and Amber Technology Limited has Despite announcing a postponed date just He is joined by A & Bour China & Export Fairacquired Complex, Hills MD and CEO David LenzInternational. commented Foundedresidential in 1970, Jands a in-house Vector guide.” presence withImport a full team dedicated home comprises cinema market. technical team in Singapore and Southeast Asia, Chris D’bais.

ISE, the first news to affect us atGuangzhou Pro AVL Asia the Hills Audio Visual (AV) business. one month later, Messe Frankfurt haswith received emails from the PL+S the sale to aAmber Technology, its variety of Long-term facilities inSingaporean multiple locations to The Asian office is a joint venture to business development, design distributor, will be ledthat by Andrew Poh, Salmah Elnow Haissane, who will serve ‘With a growing and highly skilled was that the Guangzhou shows – Prolight + Under the terms of the agreement, cancelled the 2020 and itPRreturns organising committee confirming thatthe the sole focus on theGuangzhou-based AVedition industry, more serve ANZ market.

‘We’re proud partnership with services and after-sales technical Group, meanwhile, hasto be technical sales support specialist as and and marketing coordinator in team based in Asia, we will not onlythe Coda Sound and GET, due for tosuspended take place in February majority of AV – including next year (13–16 trade show hadpersonnel been towho joins than 30 years of April experience, was a positive chosen toalso represent Biamp’s distribution full line of TD Taichee, which now2021). also assumes support, specifically Asia and due been allocated Meyer Sound with the new Meyer Sound Asia office. support local customers but also –Oceania. were both postponed indefinitely.

Thedesign same “My roots always been into the sales, business product Blankand Canvas’ Richard managed toand the ongoing epidemic.

The email noted that outcome for thethe employees, customers products,’responsibilities commented Jands GM, Geoff distribution for brandLawn in China. is Thehave bestdevelopment, solution was for Malaysia. systems design integration ‘For a“This solutions-based tech global tours coming through the fate soon befelland InfoComm China infrom and manufacturing side,” management technical staff –Beijing, have attend what’s turned out becompany, – so far –having the committee ‘received a commented notice the the AV to business.

‘Hills Smith. ‘We’ve worked together for almost more than a Hills distribution partnership – it more boots on establish Meyer Sound Asia with an experiencesuppliers gained asofjust an acoustic region and help coordinate large which at this point isa hoping gofor ahead from Scott.

“As I have been building Inspired been to Sydney-based Amber the Asian industry gathering this Department of Commerce oftoGuangdong has aconsultant long history of participation inyear, the two years,www.meyersound.com building a great relationship. is a only full technical furthered office transferred in Singapore, hub city with and AV design forcollaboration,” the ground in the same zones director, installation Hillstime managing Davidprojects Lenz working with Thelooking Covid-19 epidemic will, of growing course, remind 28–30 September. and designing latest and products for of Technology.

In the addition, the majority attending much-reduced ABU inGETShow Kuala Province on 24 January’ that ‘due toAV AV markets in aAustralia New Zealand,’ forward to further postponed.

In statement from Scott.

“In a2019, TD wasand looking for a InfoCommAsia plans to reveal new dates for I’m Inspired Audio co-founder, Chris Scott many of the SARS outbreak in 2003.

Pro AVL In late February, took bleak turn them, I distributed hadn’t left.

As UK-based brands by Hills inaaAustralia and Lumpur in designer early March. the outbreak ofreally thethings Novel Coronavirus, the he explained.

‘Our future the health, the business, especially with the addition organisers, they stated thatlies theinshow’s this isasa soon wonderful opportunity for at the entrance European to work with them on new and the show as possible.

KOBA 2019 is officially declared open of the COEX halls While TD Taichee is notes: promoting Inspired’s Asia’s Richard Lawn ‘Forsound those who for Frankfurt +continue Sound the asto major manufacturer, we now will design New Zealand are under Amber NAB cancelled its and April 2020 show and Office for the Prolight Novel Coronavirus control technical ser vices technology of loudspeakers for installed postponement complies the Notice us toquality bring together two passionate product lines.

They had security awith vision that as on the and of the operation, so thethe While the Covid-19 outbreak haswhile ledand to catalogue as a(18–20 premium loudspeaker brand remember thenow SARS virus 17from years ago, the exhibitors started out and the compact, lightweight, Technology umbrella. returns year (11–14 April 2021), Show New in KOBA Palm and prevention unitpulling in premium-quality Guangdong hasreality sectors, andLarge-Scale so matures, we are very pleased to applications available Biamp.’ and InterBEE November).

Tokyo, Suspending Exhibition Activities professional teams to create a stronger Chinesenext market it will move closer original planYork was deal to design a range postponements ofaOctober. these shows in and China, within the Chinese market, Scottofisdepicts relishing emergence ofthe thepostponement latest outbreak of the situation beyond China began to dawn. have loudspeakers and seamlessly Hills’ decision to amplifiers exitall the AVthat business meanwhile enhance the NABAV so organisation Expo India, scheduled for midandour late May requested to suspend large-scale trade found a issued newinto opportunity for market, our reeling from the Olympic in by the Guangzhou that see willthe better serve to Guangzhou what we hoping know the European for them, I could the potential for to other shows around world, such asus ISE, rekindlingmay old relationships throughout Asia disturbing parallels. emitted from www.ambertech.com.au integrate toand deliver crystal-clear follows a together strategic operational review respectively, held on valiantly until mid-April and economic events inhas Guangdong’.

It and colleagues, customers and suppliers Games, be aBoth position to host final Municipal Commerce Bureau.

GETShow and manufacturer partners.’ they wanted to prepare themselves foratthose customers work together with the Inspired in the have gone ahead as scheduled –brand although such asinthe HD viruses 25 here in the WORLD: Sennheiser opened important relationship between Pacificshow and Middle East.

Having earmarked Chinese markets civet cats are sold www.biamp.com detailed audio.” of the that recommended Hills focus on its Health Amber when both announced they would was the decision PL+S Guangzhou Technology.’

2020 by only time will tell. organisers reportedly working Following the saleSennheiser of Hills AV, andcancel keeping changes.

I are wasalso impressed by the scalewith region.” some special measures were taken. șov. We are șov.then; Iwhere think this is a great Brathe a new manufacturing plant in and Bra both the Guangzhou and Frankfurt Prolight + and prior to the onset offeatures Chinese New The audio designer has chalked uptechnical over division and its to larger and until (Palm India 27–29 Maythe 2021; organising committee tosecurity then suspend the 35 the Amber Peter Amos saidnew the The factsource our annual calendar such Poly Technology World TradeMD Center Expo to find in line2021 withSystems Biamp’s global commitment Integrated Events managing director already seeing benefits ofwww.hills.com.au thespread of pride for the team and Romania due commence Sound exhibitions to announce theshows latest www.jands.com.au Year.

SARS managed totobreak out to cities years of support experience the industry, notably services Distribution division where it KOBA dates TBC).

Meanwhile, theproduct pandemic show to the in government’s epidemic company wasshow looking forward to merging a plethora of international trade dates for the once it is declared safethe to streamline sales, support and Mike Blackman called on outstanding exhibitors and city’s infrastructure a testament what we have the first assembly of products Inspired the Covid-19 pandemic with largeinitiative, ethnic Chinese populations, such as developing the 2019.

Logic System took a scythe through of academic prevention efforts. underlines the hugely sociable and global to do so. attendees to observe fewremainder straightforward andathe its industrial and already achieved.’ in November Locatedbrand in in the forcedKong, aofchange of plan.Vancouver “Ifactory have gained Hong Singapore, and also Toronto, 1990s.

Inthe 2011, followed instincts Q2 and into including ‘The health of ourScott show attendees nature the AV industry.

Resourceful Just a few days later, InfoCommAsia measures toQ3, ensure a safeAES andVienna, healthy factory has alreadyhis is resources.’

The Romanian will Brașov, many good and business associates where approximately one in 10 sufferers tobeen create a new British flagship brand. With Broadcast Asia (292020.

September – 1successful October our primary concern,’ said Judy Cheung, companies are finding virtual ways to released a statement in which it postponed environment at ISE The show’s completely staffed with 116 ‘Following the befriends responsible for products throughout these regions, but I am also ultimately died.

From a HD business perspective, renewed energy and inspiration, it was the 2020 edition of Beijing InfoComm China, 2020), InfoComm (16–18 2021), deputy general manager Messe showcase products and conduct seminars. organisers were reportedly in daily contact employees that willfresh be of responsible phased June introduction of including the 600 headphone looking extend the network ascatastrophic. weamarket, grow a prolonged health epidemic is time for him to ‘We take on a different challenge Pro (5–7 August 2021) andin BrașBut Frankfurt (HK). believe this the industry will always need forumour which was scheduled to take place from withAVL theirIndonesia venue (the RAI), airlines and public ov, it to for the manual assembly of decision manufacturing activity series for the audiophile WORLD manufacturing capabilities,” concluded Scott.

Hotels, restaurants, entertainment complexes, with industry professionals.

Integrate (24–26 August 2021). is theother best arrangement under the Inspired current for connections old and new, innovative 26–28 March. ‘While we understand that health authorities while monitoring the official is great to see this manufacturing both professional and consumer as well as professional products of the its trading three brands –period Milos Just weeks after Group announced “We’ve three-month since While Four Industries will the restructure bars andused airlines are all feeling the Area Four Industries.

‘Our current partners Audio was born.

Further down line, and keeping circumstances.

We Prolyte are communicating collaborations, partnerships and The this mayArea cause inconvenience, safety of advice from thethe WHO, the European Centre base has already become acapabilities vital electronics products, including including the HD 300 Propinch. studio that it with could no longer guarantee the Structural Systems, Litec and TOMCAT – were lockdown to our manufacturing Prolyte’s management, production news thatmonitoring Cathay Pacific is already making remain equally important for us.point, I trust that Bolstered by new investment, operations options for 2020 open this are closely our partner, STE, willcontinuity creativity.

Westrengthen hope to see you at one our exhibitors attendees is and of prime forpleasure Disease Control andatof Prevention and the in place, it is a great to focus all and specialise itsand four part Sennheiser’s production the German company’s HD and 25 DJ, headphones and and solidified.

James Thomas of business itsseries failure to meet andthem R&D initiatives, but now areoutbreak raring strategy, ‘Prolyte will keep its radical cuts some weeks afterwethe in two years, will InfoComm be number oneThe inVioleta combined have relocated tofollowing a300 newPro manufacturing unit in importance BIRTV (19–22Prolyte August), India announce the new show date as soon as it is of in the notXS too distant future. and wethat made thisto decision with Dutch public health authority (RIVM). welcome our new colleagues production sites. it states strategy,’ furthered HDthe 600 and HD the new Wireless Digital – a to financial obligations, theXSW-D company has been Engineering came on board in 2014. go. I really enjoy walking the local hills as DNA intact’. speaks volumes.’ customer satisfaction.’

Derbyshire which assembly, testing (2–4 PLASA (6–8 September), confirmed.’

Meanwhile, we send ourinvery best to for trade their best interests Richard RAI’sSeptember), onsite medical teams and șov plant. to the Sennheiser family,’ said ‘I am very happy to join thein mind,’ said Balint, GM ofdoctors the Brawere headphones andincludes new wireless microphone series acquired by AreaGETShow, Four the stunning viewseverywhere, continue to inspire me.

‘Weexecutive will invest in the development Prolyte Area Four Industries was created in 2012, and R&D facilities.

The Industries. comprehensive IBC (11–15 September), Broadcast Meanwhile, the which wasa result, organisers all of whom Tan, director of InfoCommAsia.

‘We instructed how to symptoms ‘Inidentify particular, it India is anand honourshow DanielofSennheiser, co-CEO aton official opening of our new wireless microphone series.

TheAs musicians and videographers. www.getshow.com.cn www.areafourindustries.com Prolyte becomes brand to the join the Therefore, rebooting seems apt.” as continue a brand, as newfluid ideas and ‘It is also when the engineering expertise, product range comprises Optima, (8–10 October), AES/NAB New York set to take place inthe thefifth days PL+S are providing online Inspired resources, advice will to well monitor situation dealimportant with any potential cases and additional șovbefore plant todesign be responsible for creating Sennheiser. manufacturing base here in as inthis establishment of the Bra www.infocomm-china.com www.prolyte.com Area Four group. products,’ František Zykan, CEO experience, knowledge and manufacturing Vector adaptive array, Axis stage at sound, (21–23 LDI (23–25 October), Guangzhou from 16–19 February the Bra Polyșov. With and support to their members in these as itthe evolves and keep all exhibitors and of the start hand-sanitising facilities were put in place products fullassured team now www.sennheiser.com is part of Industries Sennheiser’s strategy legendary Sennheiser to recognise of anOctober), No scenes will be witnessed inand Las IQ VegasVector this year www.prolightsound-guangzhou.com www.inspired-audio.co.uk the such multipurpose portable MQalso range Prolight + Sound World Trade Center Expo, has been unprecedented times. attendees updated.’ across the venue.Shanghai (28–30 October) takes aim

Since we published our March/April editions, the world as we knew it has changed beyond recognition.

Skies, roads and railway tracks are practically silenced as travel grinds to a halt, while bustling cities have turned to ghost towns. Early indicators that this would be a year like no other for our industry came in the form of trade show postponements and cancellations. Once these started, it was only a matter of time before others followed suit.

Caroline Moss presents a timeline of event cancellations, with new dates in brackets where available.

Sennheiser opens new assembly plant in Romania

Prolyte acquired by Area Four Industries

1/4 Horizontal

July–August 2020y 2020 May–June 2020 4 PRO PRO AVL AVL ASIA ASIA Januar March–April 4 y–Februar November–December 2019

75 Years of Sennheiser.

We look back on a rich history of seven and a half decades of innovation, expertise and attention to detail.

Discover all stories, magic moments and special offers. www.sennheiser.com/75years

NEWS: BUSINESS

SOUNDBITES FURTHER TRADESHOW CANCELLATIONS WORLD

SINGAPORE: Having initially postponed BroadcastAsia, CommunicAsia and SatelliteAsia from June to later this year, ConnecTechAsia is now taking the event online from 29 September – 1 October, before transitioning into a 24/7, 365-day interactive marketplace.

INDIA: InfoComm India 2020, due to take place from 2–4 September, has been postponed to 19–21 November.

The show will take place in its usual venue – Hall 1 of the Bombay Exhibition Centre.

EUROPE: IBC2020, due to take place 11–14 September in Amsterdam, has been cancelled. IBC chief executive Michael Crimp said there were “many unknowns” and that it would not be possible to guarantee delivery of a safe and valuable event.

CHINA: The Guangzhou Entertainment Technology Show (GETshow) 2020, originally scheduled to take place this February before being postponed indefinitely, has now been cancelled for this year. The dates for the next GETshow 2021 are 8–11 May, to be held at the Poly World Trade Center Expo.

B&C’s Lorenzo Coppini ESL receives Order of Merit partners with Bayes ITALY

Since 1923, the Order of Merit for Labour has been awarded to Italians who have been “singularly meritorious” in agriculture, industry and commerce, crafts, lending and insurance. Awarded in the single degree of Knight, the order is open to all Italians. This year, 25 new Knights of Labour have been invested, including B&C Speakers’ CEO and majority shareholder, Lorenzo Coppini, one of two Tuscans to be bestowed with this national honour.

Upon receiving his electrical engineering degree in 1945, Lorenzo’s father Roberto Coppini started the business producing electro-acoustic drivers and horns for the Italian market with his brother-inlaw, Fernando Borrani. In 1946, BBC Elettroacustica Professionale became B&C Speakers SpA and, since then, the company has developed into a world leader in the design, production and marketing of internal components for professional loudspeakers.

In 2017, the family-run company, which has offices in Brazil and New Jersey, acquired Eighteen Sound Srl and Ciare.

Architecture graduate Lorenzo Coppini took on responsibility of sales and marketing manager at B&C Speakers in 1993 before

WORLD

Lorenzo Coppini assuming the title of CEO at the company in 2007. “The President awarded me the honour of ‘Cavaliere del Lavoro’, while our entire sector is in serious difficulty. For this reason, I want this recognition to ideally belong to all people working in the world of entertainment and live music, the first ones to stop but hopefully not last to start again.” www.bcspeakers.com

of making Brompton processing more accessible for our Chinese-speaking customers.”

“We are delighted to be able to facilitate the needs of our customers in China by offering the website in their language,” added Brompton’s managing director, Richard Mead. “It is key to our global strategy to build successful partnerships with panel manufacturers, and we make sure Brompton Technology processing gives their panels a performance advantage.”

The parser, CARP, developed by Bayes in close collaboration with ESL, allows the extraction of data for the games CS:GO and Dota 2 in real time and with “unprecedented” quantity and quality of data points. Media can display complete 2D visualisations (replays) live and during the game, with representation of player positions and trajectories of objects.

Previously, this was reportedly only possible after the game and not in real time.

“Together with Bayes, we want to set uniform standards and drive the sport forward with data-driven developments,” stated Bernhard Mogk, SVP global business development at ESL. “For an even stronger media presence of esports, media and other data consumers must receive all the information they need, as quickly and reliably as possible. At the same time, it is a major concern of ours to provide all market participants with innovative data products that help them, especially with the distribution of our content.”

For the partnership with Bayes, ESL provides access to its game servers to extract the data. ESL also uses the data for internal applications such as visualisation and analysis. After extensive testing, the data will be made available to other interested parties on BEDEX, an independent esports data marketplace for in-game data developed by Bayes.

www.bromptontech.com

www.bayes.gg

Brompton Technology launches Chinese website UK

Brompton Technology has announced the launch of a customised Chinese version of its website, including all downloadable documentation, product and feature pages. The website is available at www.bromptontech.com/?lang=zh-hans A major part of Brompton Technology’s strategy in recent years has been to strengthen support for its panel manufacturer partners, most of whom are based in Shenzhen, China. Led by Elijah Ebo, Brompton’s general manager (Asia), the Shenzen office is staffed by Chinesespeaking account managers and field application engineers offering system

integration and technical support to customers. The company, which offers free Mandarin lessons to Brompton Technology staff, released its Configuration Application tool in Chinese in early 2020, aimed at simplifying the integration of its Tessera processing system for panel manufacturers.

“The Chinese language website is a natural continuation of this programme and allows us to better support our customers in Asia,” said Ebo. “It provides technical specifications, downloadable documentation and information on our features and products, all with the goal

Bayes Esports Solutions has announced a technological partnership with ESL, the world’s largest esports company, to drive innovation in live data visualisation for esports events. The first joint project is a real-time parser, CARP, which will be put into operation immediately.

The Berlin-based company states that, currently, media dealing with esports is struggling to address and inspire a large group of casual gamers, despite the preexisting fan community. For an entertaining live experience, different visualisations and perspectives onsite and within the livestreams are essential, not only to understand and enjoy, but to feel like part of the game – especially in complex 3D environments. In order to provide these advanced features, accurate and correct real-time live data must be available that is more agile and fast-moving than traditional sports solutions.

www.eslgaming.com

6 PRO AVL ASIA July–August 2020

NEWS: BUSINESS

In memory of Paul Whiting Having been taken ill suddenly in early May, Paul Whiting passed away peacefully in hospital following a short period at home on Friday 5 June.

As one of the industry’s most recognised and respected figures, Paul started his career in 1975 at Hayden Laboratories as sales and marketing manager within the professional division. He took on the role of managing director at Sennheiser in 1990, where he was instrumental in establishing Sennheiser UK as a subsidiary in High Wycombe. It was in his elevated role as president of global sales in 2007 that he joined the Sennheiser executive management board. During this decade of growth, between 2006 and 2015, he was an instrumental figure as the German brand enjoyed a doubling of turnover.

Paul spent his final year with Sennheiser as president of strategic collaborations where he focused on partnerships with artists, industry partners and organisations. As part of the management board for Sennheiser, Paul played an integral part in driving new business opportunities, including the establishment of the Asian Pacific subsidiaries, building and driving business in the Middle East and the partnership with Sennheiser Communications.

As a leader, Paul was an inspiration to many and was always a key part of the team. Nowhere was this more apparent than his work with LIPA where the

collaboration with Sennheiser gave so many young talents the opportunity to showcase themselves, which continues to this day.

Paul had a reputation for hard work, and he expected the same of his colleagues, but he always knew how to have fun. This led to many memorable events including Sennheiser UK’s Golf Day. Paul loved to play golf and this event combined his

generosity to help others by raising money for multiple charities.

“Paul was the figurehead and driving force behind Sennheiser UK’s achievements during his time as managing director and later a highly valued member of our management board,” commented Sennheiser’s co-CEOs, Daniel and Andreas Sennheiser. “He was admired and

respected by his colleagues, both in the UK and throughout Sennheiser’s global community. We are thankful for his tireless efforts during his time with us and will miss him greatly.”

Following a committed and distinguished quarter century at Sennheiser, Paul joined the advisory board at another noted German brand in 2016. As a non-executive director, Paul contributed immensely to d&b audiotechnik’s development with the expertise and experience gained in his long and successful career in the AV industry.

“Paul was a terrific sales and marketing strategist in addition to being a good friend and mentor to many of us,” remarked d&b group CEO, Amnon Harman.

Paul leaves behind his wife, Sue, two daughters and four grandsons, of whom he was extremely proud and delighted to spend so much more time with, in recent years. Paul contributed much to the audio industry throughout his long career and will be remembered as being an extremely driven, passionate, caring person in everything that he did.

From our own perspective at Blank Canvas Publishing, Paul was an enormous supporter of Pro AVL Asia and Pro AVL MEA dating back to our early days. Over the years, he continued to be a much valued and loyal friend to all the team at Blank Canvas. www.paulewhiting.co.uk

Ranjit Singh, 1967–2020 Absen wins Red Dot award CHINA

SINGAPORE

Much-acclaimed consultant, speaker, trainer, educator, mentor and entrepreneur, Ranjit Singh, has sadly passed away. Acknowledged for his international design expertise credentials, Singh started his career as a service engineer at Philips Singapore, taking on a technical manager role at Deca Audio Visual before founding RST Technologies in 2004 with offices in Singapore and India, where he seeded new talents in the AV design industry.

8 PRO AVL ASIA July–August 2020

His role as principal consultant, workspace technology at PTS Consulting (Singapore) followed technological consultant positions at both NEC Asia Pacific and RST Alliance.

He was the first Asian to achieve the CTS, CTS-I and CTS-D consecutive certifications, and served on the AVIXA University Faculty.

He gained InfoComm International’s Certified Technology Specialist – Installation (CTS-I) and shared his experience and knowledge to support over 2,000 attendees of his training courses in Asia.

LED manufacturer Absen has announced it has won the Red Dot Product Design award for its latest rental staging LED solution, the Venus (VN) Series.

Established in 1955, the Red Dot Design Award is presented to the best-designed products created each year, as decided by a jury of 40 international experts on product innovation. Entrants are judged on a range of criteria, including innovation, functionality, quality and ecological compatibility.

Commenting on the winning VN Series, the Red Dot Award’s jury praised “a particularly high flexibility and durability which makes the Venus series universally applicable in various usage scenarios”.

“We’re delighted to have been presented a Red Dot award for Product Design,” said Amy Tang, VP of product at Absen. “The VN Series was designed with users in the field in mind every step of the way.”

The Venus Series was specifically designed for concerts and festivals due to its ability to create super-sized screens at speed. Its integrated “module-on-frame” design removes the need for a sub-frame and is 27% lighter than competing solutions. Aside from obvious benefits, its relatively light weight allows LED walls up to 20m in height to be built.

Additionally, carbon fibre pipes with anti-slip coatings ensure safety of climbers, and additional safety hooks are provided so riggers can secure themselves at every step of the

building process, with the ability to withstand gale force winds up to level 8.

The VN Series is available in two standard sizes: 1,500mm x 1,000mm and 500mm x 1,000mm, as well as in 3.9mm, 4.8mm and 8.3mm pixel pitch versions. It also allows for concave and convex curving options for videowall designs, with horizontal freeadjustable variances available. www.absen.com

NEWS: BUSINESS

Audio-Technica Australia gives away microphones to local community AUSTRALIA

In a bid to help its local community during the Covid-19 pandemic, Audio-Technica Australia has of fered free microphones to followers of its Facebook page on a first come, first ser ved basis. Within less than two hours, all items were claimed.

Adhering to social distancing guidelines in Australia, many people have now set up home of fices. Anticipating that many of these new remote workers would benefit from the ability to record audio, the company decided to provide the public with approximately AUD250,000 wor th of microphones.

Audio-Technica Australia of fered up three dif ferent microphone models from their AT99 series: the AT9920 desk microphone for digital recording, the AT9903 lavalier clip-on microphone and

Genelec RAW loudspeakers assist AES fundraising FINLAND

In response to the Audio Engineering Society’s call for financial assistance from members during the Covid-19 outbreak, Genelec has announced it will donate a percentage of every sale of its new RAW loudspeaker range to the AES for the remainder of this year.

Genelec will also fund 10 one-year AES memberships for individuals impacted by the pandemic.

it brings to individuals for career advancement, and to the audio industr y as a whole.

“To us, the AES represents the only serious forum for the development of audio, and the work it does for our industr y is invaluable,” said Genelec managing director, Siamak Naghian. “In its pursuit of excellence and dedication to

Founded in the US in 1948 and dedicated exclusively to audio technology, the AES has become an international organisation that unites audio engineers, creative ar tists, scientists and students worldwide by promoting advances in audio, and disseminating new knowledge and research.

Genelec has been a sustaining member of the AES for many years, appreciating the benefits

raising the bar in the industr y, it is without equal, and our approaches have much in common. We will do ever ything we can to help the society through the ongoing crisis, and this donation is just one way of showing our suppor t and appreciation for this much-loved institution.”

the AT9947CM shotgun microphone for the camera. Around 2,000 people out of 30,000 who filled out the form received a microphone.

“We were touched by the positive feedback from people on social media,” said Alena Striebel, PR coordinator at Audio-Technica Australia. “It’s great to think over 2,000 recipients will be enjoying a great quality audio experience during these challenging times.”

This giveaway echoes the sentiments of Audio-Technica’s president, Kazuo Mastushita, who af firmed that the company is always paying attention to the needs of others and that it will suppor t the creative community throughout this crisis. www.audiotechnica.com

CS7 CS7p

INTRODUCING CS-SERIES

CS10

THE REBIRTH OF POWER

CS10n CS10p CS118 CS119

1/2 PAGE Island

Adamson has earned a reputation for sound systems that provide unparalleled performance, coverage, and vocal intelligibility. The all new CS-Series is a powered, intelligent loudspeaker platform, with on-board Class D amplification and DSP, plus Milan-ready AVB connectivity. This is Adamson’s legendary sound, evolved for the networked future of professional audio.

F I N D O U T M O R E AT P O W E R . A DA M S O N S Y S T E M S .C O M

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July–August 2020 PRO AVL ASIA 9

NEWS: BUSINESS

Listen Technologies IABM releases Coronavirus Impact Report acquires ExXothermic USA

WORLD

IABM, the international association for broadcast and media technology suppliers, has released a report on the impact of the Covid-19 pandemic on the media

and entertainment industry. The report’s findings are based on research carried out by IABM’s Business Intelligence Unit, which is monitoring new developments and trends as they unfold.

“Accurate, insightful and timely information has never been so important as it now is,” said Lorenzo Zanni, IABM head of insight and analysis. “As well as the negative effects we report on, the coronavirus pandemic is proving to be a powerful accelerant in broadcast and media. Risk preferences are shifting dramatically and investments that were seen as ‘too risky yet’ just a couple of months ago are now being enthusiastically embraced.”

The report reveals how the pandemic lockdown is changing business models, technology choices and how we interact. It can be reviewed at https://theiabm.org/ the-impact-of-coronavirus

our solutions. We have several new products in development that will address these new applications.”

Dr Lance Glasser founded Silicon Valleybased ExXothermic in 2012 and joins Listen Technologies’ board of directors, heading the company’s research group. “Lance shares Listen Technologies’ passion for innovation and our commitment to creating unique solutions

www.theiabm.org

Netipbox offers free Covid-19 digital signage content WORLD

Netipbox Technologies has announced the formation of a team to adapt Covid-19 information into a digital format for digital signage applications. The initiative pulls data from official sources in different countries and makes it freely accessible to those managing digital signage networks in any sector.

Provider of wireless listening solutions, Listen Technologies Corporation, has acquired ExXothermic, a specialist in high-quality, lowlatency Wi-Fi audio technology. ExXothermic has several patents for its Wi-Fi streaming technology and has delivered thousands of Wi-Fi audio channels for use in assistive listening, fitness centres, waiting areas, hospitality and other applications around the world.

pharmacies, transportation services, hotels, residences, funeral homes, health centres and corporate channels that remain open and need to communicate safety and prevention measures through their screens.

The initiative is already proving to be a success, and obtained more than 200 content downloads in the first three

L–R: Russ Gentner, Tracy Bathurst, Doug Taylor, Maile Keone, Lance Glasser and Jonathan Stanley The two companies have worked together for more than two years. In 2017, Listen Technologies acquired ExXothermic’s Audio Everywhere brand and licensed its Wi-Fi technology. ExXothermic technology is the foundation of Listen Technologies’ audio Wi-Fi products, Listen Everywhere and Navilution Wi-Fi. “Listen Technologies’ partnership with ExXothermic over the years and the combination of our two companies today enables us to provide even more Wi-Fienabled solutions for customers,” said Russ Gentner, CEO of Listen Technologies. “As the availability of Wi-Fi and number of smartphone users increase globally, so are applications for

that foster engagement,” said Tracy Bathurst, chief technology officer and senior vice president at Listen Technologies. “We look forward to continued collaboration in bringing high-quality, low-latency Wi-Fi solutions to market.”

“Listen Technologies is renowned for creating innovative listening solutions,” added Glasser.

“ExXothermic is delighted to become part of Listen Technologies and combine our intellectual property and expertise. Together, we’ll expand the applications and features of our technology to meet new and growing markets worldwide.” www.listentech.com

VideoFlow integrates with Zixi WORLD

“We want to transfer our support to all those companies and institutions that need to transmit information to customers and users and find difficulties doing so, whether they are our customers or not,” explained Toni Viñals, CEO of Netipbox. “Therefore, we have also adapted the download of content onpremises so that they can be used under other platforms, and we have developed in record time the RRSS application to be able to publish the content directly on social networks.”

The goal is to help disseminate relevant data and important instructions, as well as provide clearly and visually appealing guides and advice to fight the pandemic, to all supermarkets, food stores, hospitals,

10 PRO AVL ASIA July–August 2020

days. “Digital signage offers the ability to transmit content through any screen with recommendations for the new rules of coexistence and socialisation. That’s why we've formed this team that is continuously updating official Covid-19 prevention content so that they can be used for free on any digital communication screen in any sector,” added Viñals. “And it is because, at a time like today, visual language is paramount to mitigating fear. We are faced with an exceptional situation and all the tools available will be welcome to disclose the information in the best possible way.” www.netipbox.com

VideoFlow and Zixi have joined forces to ensure interoperability between vendor deployments around the world. The two companies are leaders in the provision of broadcast-quality video-over-IP networks, and have been working together on open-standards and interoperable solutions for lowlatency live video over unmanaged networks.

“We are very happy to have VideoFlow as part of the over 170 integrated offerings of the Zixi Enabled Network,” said John Wastcoat, SVP alliances and marketing, Zixi.

“Interoperability is a key tenet of Zixi and the Software Defined Video Platform, and, with this integration, we are able to offer that to our customers with both RIST and Zixi.”

Following the work on standards, the two companies are now enabling further compatibility for professional video contribution and distribution over the

internet. VideoFlow has completed the successful integration of Zixi’s protocols, video solution stack and Zixi’s Zen Master solution within its new DVG (Digital Video Gateway) product.

DVG is a multi-tool software platform that delivers reliable video over any IP network, connecting “any service, to and from any cloud”.

“We are excited to extend our relationship with Zixi beyond the RIST Forum group,” stated Ronen Sadan, VP of marketing at VideoFlow.

“We already see customers who have embraced this joint solution to ease the assimilation of reliable video delivery over IP, empowering a complete connectivity to multiple services, regardless of video protection protocols and interfaces.” www.video-flow.com www.zixi.com

HEAR WHAT YOU’VE BEEN MISSING See the full line at audixusa.com

NEWS: DISTRIBUTION

New era for Martin Audio in Indonesia INDONESIA

Martin Audio has appointed PT Goshen Swara Indonesia as its new exclusive distributor in the archipelago. The UK brand was previously represented for over 15 years by PT Citra Intirama and Rhema Multi Perkasa (RMP) under the stewardship of Eric Haslim. The Jakarta switch was made by Martin Audio APAC representative Generation AV. Generation AV founder Dave McKinney explained the rationale behind the appointment of PT Goshen. “PT Goshen covers all the vertical markets from touring and rental to all the installation markets,” he said. “PT Goshen’s MD, Cunario Suriya,

leads a terrific team of people, while Franky Cahyadi runs a highly motivated sales force. Furthermore, they have a highly capable technical team that will be able to provide product and system training to all our dealers and customers. PT Goshen is a great partner with an incredible customerfocused attitude, which fits perfectly with the Martin Audio culture.”

Owing to the consistent efforts of Haslim and RMP over the years, Martin Audio is a highly established brand within the country’s entertainment sector. While retaining its dominance in entertainment, PT Goshen has been charged to expand market share

into other key vertical markets, including house of worship, live production, corporate and education. Having served as the long-term distributor in Indonesia for KV2, QSC and Shure amongst others, Goshen Swara’s relationship with Generation AV also incorporates LEA Professional.

“It is a privilege to add the Martin Audio brand to our portfolio as it complements our other distributed brands,” added Suriya.

“This inclusion enables us to offer full, endto-end systems to our customers.” www.martin-audio.com

Cunario Suriya

www.goshen.co.id

Alcons Audio teams up with E’Spec in Japan JAPAN

Dutch loudspeaker manufacturer Alcons Audio has partnered with E’Spec Inc to distribute its products in Japan. The distributor was enticed by Alcons’ pro-ribbon technology and thinks its introduction into the Japanese market could make a big difference for both the biggest live music events to small, advanced home theatre setups.

“For the past 20 years, there have been very few systems that feature truly innovative technology,” explained E’Spec’s Yoshiaki “Yoshi” Yamaguchi. “Currently, there is almost no difference in the system quality from different manufacturers. Equipment choice is based on slight differences in sound quality, cost performance and usability. The beautiful high-frequency range at high SPLs and minimal listener fatigue produced by Alcons’ pro-ribbon systems are powerful advantages, which we

E’Spec aims to change the Japanese market with Alcons know will interest many Japanese live sound engineers.”

E’Spec Inc has offices in Osaka, Tokyo and Nagoya and coverage across all of Japan. “Our

aim is to showcase the many advantages of this technology that none of the other manufacturers has, so that users will not want to choose other systems in future. With Alcons, we are sure

that we can change the Japanese professional loudspeaker market,” furthered Yoshi.

“With the high-end solutions we offer, and the specific positioning of Alcons in the market, we maintain a strict profile in our distribution policy,” added Tom Back, Alcons Audio’s cofounder and managing director. “It’s not about the numbers, it’s about quality and the end user focus in support and communication. The Japanese market is very tech-savvy, which we experience regularly in our patent applications.

Based on the activities already set in motion

by Joe Akiyama, Yoshi and their team, we very much look forward to teaming up and bringing our evolutionary audio solutions to the Japanese audio community.” www.alconsaudio.com www.e-spec.co.jp

DeltaLive appointed international distributor for L-Acoustics Creations WORLD

DeltaLive has been appointed as the international distributor for L-Acoustics Creations. The new division focuses on bringing concert-grade performance to private residential, cultural and marine AV environments.

The UK-based outfit was enveloped into the L-Acoustics Group in late 2019, in preparation for the launch of the manufacturer’s private residential, multichannel sound spaces, Island, Ocean and Archipel.

“The team at DeltaLive possess a unique technical and regional savoir faire,” explained L-Acoustics CEO, Laurent Vaissié. “Their proven ability to forge connections with key markets and influencers, their technical expertise in audiovisual support and their ability to deploy and demo L-Acoustics Creations solutions makes them the ideal partner for us as we present our audio products and technologies for specification in state-ofthe-art residential, artistic, cultural and experiential spaces.”

12 PRO AVL ASIA July–August 2020

L–R: Paul Keating with Christian Heil Represented by Paul Keating, director of corporate and private relationships for L-Acoustics Creations, DeltaLive will work with integrators, architects, interior designers, property developers, creative technologists, sound artists and end users interested in high-end solutions offering concert-level experiences in any environment. “It’s time for a different

approach to home entertainment that transcends traditional high-fidelity and cinematic audio formats to offer a more visceral listening experience,” said L-Acoustics founder and president, Christian Heil. “Sound is still poorly understood, and often neglected, in designing a space.

We’re here with the technologies and the teams to make listening spectacular again.

As an early adopter of L-ISA technology, DeltaLive is tasked with installing the first Island prototypes on L-Acoustics premises around the world and for special events.”

The company has also announced the appointment of Nick Fichte as business manager for L-Acoustics Creations. Having previously worked at Crestron, Fichte has a strong background in AV for residential and marine applications. “We are very pleased to have Nick on board,” adds Heil. “L-Acoustics Creations brings a new way to experience music and home entertainment. It requires rethinking current approaches, which in turn requires close collaboration with integrators and end users. Nick’s proven ability to liaise

Nick Fichte with key players and stakeholders in the AV industry and cultivate mutually beneficial relationships will be key to our success.”

Post-confinement, L-Acoustics Creations will resume demonstrations subject to safety measures in London, Paris and Los Angeles and at DeltaLive in Surrey. www.l-acoustics-creations.com

PROJECTS NEWS: DISTRIBUTION

NEWS: DISTRIBUTION

Nureva appoints Claypaky partnersAvit withfor Hi-Tech D2N to distribute RadialAida Hong Kong and Macau Imaging in Australia Audio Systems Engineering and Primacoustic join LTA in SEA HONG KONG INDIA

AUSTRALIA

Avit Engineering CompanyHi-Tech has been appointed Claypaky has appointed Audio as Hongas Kong distributorfor forIndia.

Nureva’s Systems its distributor The audio conferencing product Avit’s mandate is manufacturing companyline. will be represented to build and support a network resellers alongside lighting brands such as of ETC, to grow endand user interest and adoption of MA Lighting ADJ. Nureva’s audio conferencing systems.

‘The Indian market is very large and varied,’ Powered patentedsales Microphone said AlbericobyD’Amato, director Mist of technology, Nureva’s audio conferencing Claypaky.

‘There is a great deal of interest includesbut theitHDL200 for price small insystems high technology is also very rooms, HDL300 mid-sized sensitive.

Claypakyfor can now offerrooms an equally and Dual large rooms, wide, variedHDL300 range offor products, which all can featuringwith trueallfull-room microphone compete major brands in terms of final pickup, easy installation continuous cost to the customer.

At theand same time, it can autocalibration that accommodates any as offer unique products on the market, such room Avit provides specialised our newconfiguration.

XTYLOS laser-source lighting fixture AV installation, and our advancedtraining, Cloud-IOmaintenance, maintenance tool.’

Pankil Ahuja, Claypaky’s businessto a variety systems design and consultation development ‘We are of industries,manager, such as commented: higher education, working with health Hi-Techcare, on agovernment, wide range of brand hospitality, and product promotion activities through commercial and entertainment. demos, workshops and possibly roadshows.

“The aesthetic design of the HDL systems We to be new in constant contact with the andwant Nureva’s approach to meeting room market to promote the value of quality and microphone technology caught our attention offer constant after-sales at this year’s ISE, and wesupport.’ are thrilled to join Nureva’s network of global distributors,” AUSTRALIA

D2N – Technology Solutions has been appointed national distributor for Aida Imaging, the first time the US manufacturer of small form factor and PTZ cameras has been represented in the country.

“D2N is a great company that shares the same core values in service as we do,” said Aida Imaging director, Jon Budino. “We believe the products we design are only half as great without the exceptional service that comes along with it. With D2N extensive said Avit director, Jeff Ng. “We believe that knowledge on technology and integration for Nureva’s products will be a real draw for our the AV space, we strongly believe Aida will customers, and we’re excited to add the full be very well-represented.” line of Nureva audio conferencing solutions Aida Imaging offers SDI, HDMI and all L–R: Massimo Bolandrina, Rajan Gupta and Alberico to AVIT’s offering.” the D’Amato current IP encoding formats including Added Nureva CEO, Nancy Knowlton: “Avit NDI, RTSP and RTMP. D2N’s appointment andrepresents we are confident thatforay we can shares our passion for delivering Rajan Gupta, managing director ofmeaningful Hi-Tech Aida’s first into work the fruitfully and begin to see results customer value added: in a simple solution, Audio Systems, ‘We have beenand we together Australian market. shortly.’ look forward to supporting in growing premium systems integrationthem partners for Aida Imaging joins D2N – Technology the market for ourinproducts.” major AVL brands the country for many Solutions’ portfolio of video brands including www.claypaky.it years now. The partnership with Claypaky Kiloview, TVU Networks, SimplyLive and www.avit.hk www.hitechaudiosystems.com will significantly expand our offering further SiennaTV. “Coupled with our existing video

Sydney’s ANZ Stadium recently hosted the Fire Fight Australia concert, featuring performances from an eclectic mix of stars, ANZ including Queen + Adam Lambert, Olivia Exertis ProAV Australia the Newton-John, Alice Cooperhas andannounced Ronan CHINA recent addition of several brands to its Keating.

The event raised new moreAVthan AUS$10 Audac has assignedrelief the exclusive distribution portfolio, Taiwanese AV/IT million for including bushfire following the solutions ofconnectivity its products in management China to Beijing-based Han wildfires thatand spread throughout the country provider Aten, wireless screen-sharing and Hai Jingthe Seng.

The Belgian manufacturer during summer months.

Donated by collaboration platform Airtame and assistive reportedly selected Han Hai Jing Seng due to Queensland and New South Wales-based living specialist Contacta.Productions, its history and reputation within the Chinese rental company Creative the three brands have taken to AVAll market, as well as its been infrastructure lighting rig featured almost 130 Robeonmoving expand market share in Australia and New and experience with dedicated project and lights, such as BMFL Spots, Blades and Zealand, service while display lighting customer teams.

WashBeams andLED Spiider LEDand wash beams. solutions provider Unilumin has alsoits new ‘By expanding our network starting Creative Productions also and donated appointed tothat handle its sales partnerships, wedistributor can ensure the clients services forthe free, having been approached in over Australia. all the world canTEG enjoy our innovations,’ by Colin Skals from Dainty, who Exertis ProAV Australia is owned Stampede said Audac’s sales representative, promoted theAPAC event for Fire Fight by Australia. and marked parentChong. company DCC Sebastian ‘Han HaiTechnology, Jing fundraising Seng’swhich is This the third bushfire one ofthe Europe’s largest anddelivered fastest-growing, experience and wide network in the region event rental company technical value-added AV distributors.

President CEO allows us to our products in aand quality solutions forintroduce in 2020.

The stadium was filled with more than 75,000 spectators, while a global television audience tuned in to the concert, which was hosted by comedian Celeste Barber. For Dave Jackson, Jeff Pavey and the crew from Creative Productions, the biggest challenge was planning and implementing a lighting setup within a short period of time. Once the decision was made to broadcast the event with just 10 days to go, the team had to prepare a lighting rig to work for the lineup of 20 diverse artists in addition to the television cameras.

In addition, Queen + Adam Lambert had played their own concert at the ANZ Stadium the night before, butinwith Contacta offices thetheir UK own technical production. This meant that the Creative Kevin Kelly formally ushered inScott the company’s Productions team, comprising Black, new name of Daniel ExertisCallaghan, ProAV last Tony August, Jeremy Dehn, Hall,atLuke the same as introducing Nick Cocks Hall, Dane time Boulton, Matt Doherty, Dylan as generalNathan manager of Australia.

“As a Murphy, new Hines, McLure and Maddy player the HHJS market with strong global couldn’t begin their set up auntil 4am, once Ms Jinziinfrom

Creative Productions shines a light on Australia’s Fire Fight Audac Exertisnames ProAVexclusive takes on new brands Chinese distributor www.nureva.com

T HE C L ASS IC ISA SO UND: N OW OV E R IP Focusrite have proudly expanded their heritage ISA range with three new products that will bring their

way to this new market. We are thrilled at the prospects of working with Han Hai Jing Seng in the years ahead.’

The distributor will initially focus on generating brand awareness for Audac while growing its reseller partner network across the region. Han Hai Jing Seng president, Ms Jinzi, is excited to represent what she describes as a range of innovative has a complete Airtame’sproducts. wireless‘Audac screen-sharing platform product range for multiple applications,’ she said.

‘We’re+we looking torig introducing presence, wantforward to create long-term the Queen Adam Lambert had been these products and solutions our customers supplier par tnerships as atobase for our dismantled.

Theproviding setup was formed of 32 BMFL service.’

Blades and them with an excellent business,” said Cocks. on“This the floor deliver a tis contrast parupstage tnershiptowith Exer ProAV www.audac.eu to the overhead rig,of36 BMFL Australia is one the key Spots stepsand in our

SEA

Singapore-based distributor Loud Technologies Asia (LTA) has extended brands, Aida Imaging us the its representation of gives premium proability toaudio deliver a Images large portion of the signal brands with the addition of Stickland courtesy of Louise chain,” Jason Owen.

Radial commented Engineering.D2N’s RadialMD, Engineering “With their new range NDI-enabled and Primacoustic areof producers of DIPTZ and fixedguitar cameras, Aida fits perfectly into boxes, effects pedals, pro audio/ our products model.”

MI premium equipment and acoustic treatment products. Following a review of its www.aidaimaging.com distribution in key European and Asian www.d2n.com.au territories, the change was initiated by the Canadian manufacturer to extend its Asian representation and growth.

36 As BMFL WashBeams on the LTA overhead a subsidiary of Trektech, trusses, making up high-profile the core ofbrands the stage represents several and effects lighting, and 30 Spiiders, across Southeast Asia including Chauvet, which were hung 15 perK-array side on trios Cloud, dBTechnologies, and RF of expanding strategy in the Australia ladders the concert was confirmed Venue. once Having been approached by theand New Zealand Jackson AVexport market,” Wesley for broadcast. also added used an array manufacturer’s sales manager, directorLTA’s of Aten Australia and New ofWong, LED battens, strobes, and fourSteve McKay, managing director Zealand.

“Exer tiswith ProAV Australia eight-lite blinders additional waterproof Colin Quek immediately confirmed theis a new name the local+Radial market, but we beam lights in forrepresent Queen AdamEngineering Lambert’s agreement to believe with the strong network and B-stage. and Primacoustic productsglobal in Cambodia, suppor they make our professional An MA t, Lighting grandMA3 full-size served Myanmar, Laos,will Singapore and Vietnam.

AV‘Having solutions more accessible to new as the main lighting console at FOH, while looked at their products with in dif ferent ver tical markets, aclients grandMA2 full-size was on-hand as a a admiration for so many years, it is such including retail, commercial spaces, backup.

Systems Hog console privilegeAtoHigh haveEnd been introduced to4the healthcare and education.” was also supplied for some the lighting company and represent theirof brands now,’ designers use if they wished, as well as explainedto Quek. awww.airtame.com grandMA3 light for those wanting to do www.aten.com www.loudtechnologiesasia.com some previsualisation before the event. www.contacta.co.uk www.primacoustic.com www.exertisaustralia.com www.creativeproductions.com.au www.radialeng.com www.unilumin.com www.robe.cz

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classic sound to your modern Dante® audio network.

pro.focusrite.com/isa

34 PRO AVL ASIA March–April May–June 2020 26 2020

July–August 2020 PRO AVL ASIA 13

NEWS: DISTRIBUTION

Adam Hall partners with Apex Solutions to distribute StageMix Technologies dBTechnologies in India INDIA

The Adam Hall Group has partnered with Mumbai-based StageMix Technologies to represent its LD Systems, Cameo, Gravity, Palmer and Adam Hall 19” Parts brands.

“We’re happy to have found StageMix Technologies as our new sales partner in India,” commented Markus Jahnel, COO of the Adam Hall Group. “The event technology market is growing steadily in India and plays a key role in our international endeavours.

As an experienced distributor, StageMix Technologies has a wide network of regional dealers and will enable us to react swiftly to the many different challenges that come with such a large country. As such, we will be able to work together to continue expanding our local presence – both in the event and installation markets.”

Added StageMix’s designated partner, Karan Nagpal: “We’re very pleased to be associated with the Adam Hall Group. It fits per fectly with our company roadmap to enter with a complete solution for all install avenues, as well as middle-scale production companies to use LD, Gravity and

INDIA

L–R: Eshdeep Singh Bhasin and Karan Nagpal with Adam Hall COO and MD, Markus Jahnel Cameo products. We see the basket of brands positioned very aggressively against its competition and we’re looking to exciting times ahead.”

dBTechnologies has appointed Apex Solutions as its distributor for the country.

Formed in 2008, Apex is a distributor of pro AV and MI products for the Indian market, as well as offering systems integration services. “Apex Solutions has been a front-runner in distributing pro audio products in India,” said Saikiran Shetty, dBTechnologies’ sales manager for India.

“Their reach and understanding of the pro audio market, people and processes can help us realise the potential of our products and improve our footprint in India.”

Added Sunil Kumar, CEO of Apex Solutions: “In a bid to improve our brand portfolio, we were looking for a promising brand with a profound legacy. And dBTechnologies’ expansion plan in India came by at the right time to collaborate.” dBTechnologies’ APAC sales manager, Manuele Poli, said of the appointment: “We are happy with this new partnership, and I am very confident that Apex’s work will put dBTechnologies in the best situation

Apex Solutions’ CEO, Sunil Kumar for further growth of the brand’s presence in India.” www.dbtechnologies.com

www.adamhall.com

New signings for Alphatec INDIA

AtlasIED has appointed Alphatec Audio Video to handle the exclusive sales and distribution of its solutions. “The vast experience of Alphatec in providing AV integrators with high-quality audio solutions will help strengthen AtlasIED’s position as an integral player in the global marketplace,” said international sales manager, Dean Standing.

“We will be able to continue to broaden our reach to dealers throughout the world.”

Added Alphatec’s Anusha Divecha: “Alphatec is very excited to be a part of the AtlasIED team to exclusively offer their world-class solutions in India. As a leading manufacturer of PA/VA, sound masking and AV-over-IP systems, AtlasIED will add immense value to our offerings in India and help scale our business to the next level.”

both parties believe they have secured a strong foothold in a rapidly evolving market.

“Televic offers truly innovative products, and we believe that our cooperation will help us provide the best solutions to our customers,” said Alphatec managing director, Devasis Barkataki. “Moreover, both Televic and Alphatec share a commitment to a sustainable approach, which we feel is at the heart of a successful cooperation between both partners and clients.”

Added Koen Van de Perre, Televic Conference’s business development manager for Asia Pacific: “With this agreement, Televic Conference strengthens its position in India, one of the fastest-growing markets in Asia.”

The Alphatec Audio Video team In other news, Alphatec has been appointed exclusive distributor for Televic Conference products. The company has been serving

the Indian AV market since 2015, becoming known for its in-house technical support and extensive after-sales service. By joining forces,

www.atlasied.com www.televic-conference.com

Harman India appoints ARK Infosolutions INDIA

Harman Professional Solutions has appointed ARK Infosolutions as its nationwide master dealer for the recording and broadcast segment (R&B). The collaboration is aimed at facilitating Harman’s penetration into markets including music recording, broadcast, postproduction, rental companies and film scoring. ARK will also be Harman’s partner for PA and retail for North India.

“Collaboration and partnership are essential parts of any organisation when aiming for success,” said Aditya Todi, senior director of sales and marketing, Harman Professional Solutions, India and SAARC. “ARK Infosolutions’ approach towards customer preference matches our own. Collaborating with them will not only allow our partners and customers in North India to access and experience Harman’s

14 PRO AVL ASIA July–August 2020

Aditya Todi

Mohan Rawat

PA and retail segment products, but everyone else across India will also gain access to solutions in the R&B segment.”

Headquartered in Noida, just outside Delhi, ARK is a distributor for technology products in India for markets including

animation, architectural engineering and construction.

“Today, the biggest sources of opportunity are collaboration and partnership,” said Mohan Rawat, general manager of ARK Infosolutions. “We are excited to be partnering with Harman for the Indian market. Harman offers great advantages and solutions for consumers and enterprises worldwide. We look forward to a long and successful partnership by addressing the requirements and needs of all our valued partners and customers.”

ARK has a presence in more than 350 cities across India, and a network of over 250 channel partners. www.harman.com

NEWS: RENTAL

NEWS: DISTRIBUTION NEWS: BUSINESS

Guangzhou Guidance Absen allays fears adds Sony SL210A arrives in Senses China DFP Chakor Sound increases ClearOne appoints Adamson comes to to boost Martin of stock and Hongshortages Kong Audio its Audio Visual inventory with Yamaha PHILIPPINES

SINGAPORE

distribution

Singapore audio, video and lighting supplier, HONG KONG WORLD Senses AVL, has added an Adamson Headquartered intoShenzhen, China, LED Work Pro Audio has supplied first SL210A S-Series system its rentalits inventory.

CHINA display manufacturer Absen hasline released line systems into the Chinese market.

Thearray purchase comprised 16 S7 array Martin Audio announced that a statement tohas confirm that has more and Freelancer Production Company, a theatre cabinets, along with 12 S118it companion 2 ofcompany LED in stock and ready into Guangzhou Guidance has been appointed than 5,000m event production that specialises subwoofers, three racks of PLM 12K44 for shipping, rest unfounded develop new putting market opportunities China, audio equipment rental for theatres ininHong power amplifiers andto four M12 monitors, and fears that the experience Hong Kong andcompany Macau.

Guangzhou Guidance Kong touring artists inmay Mainland China, was and facilitated by M3 Professional Audio.

‘WeMartin atthe Senses, being aAllboutique pro stock shortages as aexisting result of the Covid-19 joins Audio’s distributor, acquired system from Solution, the AVL Kong-based solutions provider in the APAC virus thatFeng, has spread throughout Sino Hui which continues toChina, handle Hong distributor of Work Pro and region, constantly seek Absen outThe technology emanating from Wuhan. continues the entertainment market. deal was to its parent company, Equipson. to incorporate into a turnkey solution for AV, accept new globally. brokered by orders Singapore-based Generation The SL210A was specified to Freelancer all clients’ events – big or small,’ Theour existing stock available comes from which represents the manufacturer Production Company

by British All Solution sound Nic Tan ofdirector, SensesCamus AVL. ‘Our Absen’s European in Frankfurt, inexplained APAC. system designer andheadquarters Chan. decision to make purchase was Germany, as well asthe itsCompany manufacturing The newly established distributor is abaseus ‘Freelancer Production contacted quick andofobvious after listening to toup in Chinese city ofone Huizhou and other headquartered in Guangzhou andrunning headed as athe result a promotion we were a demo session in(Rico) Bangkok.

In my“With regions covered byheld its network valueby general manager, Xu Ruixian. showcase Work Pro products to of the theatre opinion, the S7 delivers audio, withthe added distributors.

It includes Polaris (PL), the latest product releases from Martin market,’ Chan recalled.

‘Wegreat recommended a significantly Not only Audio – system such asreduced expanded SL210A asBlackline we feltfootprint. it XP, bestthe met their does itSeries sound good, looks great.Company In Adorn and the itnew Wavefront requirements.

Freelancer Production ourreally line of work, aesthetics arenow equally Precision WPS Series – we was impressed with theare system –set in up important.’ to show and demonstrate these products to particular, its sound quality, innovative WORLD Millson, managing director allBen regions China,” commented.

“We features andofprice point.heThey testedfor theAsia Harman has announced that all Crown Pacific Adamson, commented: ‘We look forward to getting these front of system atat our demo facility and in immediately products purchased in felt 2020, in any are absolutely thrilled to the have Senses customers as soon as possible andmarket are placed an order as they system except Brazil, India, Russia and China, AVL asfor an additional S7 system partner relishing the opportunity to promote this complemented their existing and extensive will have a totalThey warranty to six in Singapore. haveextension an excellent brand in China.” audio equipment hire stock.’

Since the biamplified linemanaging array system, years, including products withAV one-, threereputation in the corporate market, Added Generation AV director, comprising 22household SL210A (18 for new and warranties.

One-year withfive-year some names as key Dave McKinney: “Theenclosures members ofwarranty the FOH and four front-fill) and four SL218A products willfor receive an additional years, clients, and naturally we are very happy to Guangzhou Guidance team have afive long subwoofers, was delivered, Freelancer Production merchandise with a three-year warranty history in the Chinese audio industry and

Aries (AX) and the recently launched Venus (VN) rental series, as well as the Acclaim (A27), Absenicon and N-Plus series for fixed installation.

Following its most successful financial year to date, Absen finds itself in a strong cashflow position and has therefore doubled its inventory of stock and raw materials to alleviate any short-term supply chain risks.

The factory has reportedly been working at full capacity to meet high demand since before the outbreak, with orders in Europe, for example, up by 128% when compared to the same period last year. As a result, Absen notes that it is in the best possible position to deal with the current situation.

Distributors for ANZ

Digital Fusion Production (DFP), a rental and service provider INDIA for video equipment in the Philippines, has invested in the HXC-FB80 Chakor system Sound, from an audio camera Sony.solutions provider in‘We’ve India,AUSTRALIA has turned to Yamaha on several always believed in investing in the occasions for products for itsinventory portfolio.ofIts best.

DFP already has a huge ClearOne has announced a new latest investment was for a Rivage PM7 Sony products covering everything from HD distribution agreement Audio Visual digital mixing system and with is reportedly the camera systems, to multi-format switchers Distributors (AVD),said headquartered in one. first Indianmonitors,’ production company own and OLED Edwardto Cruz, Queensland, toof represent its range of ‘Rivage PM7 offers similar and managing director DFP. ‘Ouroperation experience audio visual collaboration workflow efficiency to Yamaha’s flagship To with Sonyconferencing, products has been exceptional. and AV networking solutions.

AVD hasin Rivage PM10 digitallive mixing system, but support our growing production business, offices across Australia as well as in New a relatively compact, portable package. especially foreign concerts and sporting ‘We would like to itreassure our customers Zealand, where will also represent Features Rupert Neve Designs SILKthe events, welike recently invested in eight units ofand the market and thatSony’s our company isDaNSe ingives a very strong brand. processing the advanced noise the HXC-FB80.

HXC-FB80 us the position,’ said Tania raise Zhao,everything managing director suppression plug-in to a of Absen vast array of whole newEurope. level,’ ‘We saidhave AnkitaPurao, mixing products in stock, which can be shipped directly, or collected from our European

engineer at Chakor Sound. ‘It has changed the way I mix shows. The console layout is so intuitive and user-friendly.’ and customers in the region whoSound, will Anish Purao, engineer at Chakor effectively offer commercial and added: ‘I love thefull sound quality, headroom, technical value from pre-sales through effects and, of course, the reliability of to opportunity to enhance our HD/4K coverage post-sales support.”

Yamaha digital mixing systems.

I feel no as wellmanufacturer as future-proof ourpartner live production “We are delightedcan to other offer thewith same capabilities.’

ClearOne a leader in voice visuallike tonality andasaudio quality, while and features communications solutionson foreach changing the custom layer functions bank are warehouse Germany oradded our regional www.digitalfusion.asia workspace in demands,” Simon invaluable.’ pro.sony.com distribution partners.

Our priority is to ensure Fourie, technical director of AVD. “This www.chakorsound.in our customers and our partners continue to www.yamaha.com have access to the latest LED products.’

Mita Sound goes with Pioneer DJ Crown extends warranty onon itstour products the company has quickly established its dealer across thewith country, with Nic Tan network from Senses AVL the new The system was deployed 70th a strong support networkfor in the place.

In an S7 system anniversary of the People’s of where China ever-changing market suchRepublic as China, Company put it to use for several be tohas provide a to system that can help events, weable constantly need adapt in order to them to continue build this. look including a musical theatre production progress, we feeltowe nowon have theWe perfect forward to to working with of Nic and celebrating the 70th closely anniversary the structure support our Martin Audio his team.’

People’s Republic of China atWe theare 3,000-seat customers in all markets. thankful to Queen Elizabeth Stadium in Honglooking Kong. after have two such great partners www.adamsonsystems.com our interests.” www.sensesco.com www.equipson.es www.martin-audio.com www.workpro.es

INDIA “AVD’s experience in the AVIT Australia Mita Sound’s Vinod Anjara recently invested will gain an Zealand extra three years five-year and New market isand second to inwarranty Pioneer DJ’sprime DJ Tour 1 system.

The sale products will be given another year. none, with focus on customer was facilitated commissioned viaamplifiers Dev ‘Audio professionals relysaid on Crown service and and support,” David Gledhill, Electronics.

Mita stable Sound hasreliable previously toregional deliver clean, and power sales consultant, UK, Ireland, invested in Pioneer DJatproducts every day,’ said Karam Kaul, viceincluding president Benelux, Oceania ClearOne. “ANZ of the 850,Professional 900NXS,for2000NXS and audio Harman Solutions.

‘We isCDJ anat350, important market us and we 2000NXS2. stand by the quality andtoworkmanship are looking forward working withof our ‘ItAVD wastoobvious to us that would award-winning andwe back them with serveproducts our channel partners choose facilitate this purchase Dev some oftothe best warranties in the from business.

www.absen.com

relationship complements our range Now, for a limited when customers‘The Electronics alone,’ time, Anjara commented. of other industry-leading technologies purchase any Crown product, we’ll extend buying experience always smooth and and provides our is channel partners and their warranty to end-to-end six we’ve years received atsolutions no additional the level of support from the customers with cost.

We think customers willand be excited entire team at Dev Electronics has been to for their commercial audio visual learn that they can now enjoy unprecedented unparalleled.’ communication requirements.” power, performance and even greater peace www.clearone.com www.develectronics.com of mind.’ www.avdistributors.com.au www.mita-sound-service.business.site www.pioneerdj.com www.crownaudio.com

1/2 PAGE UNLEASH YOUR CREATIVITY.

20 PRO PRO AVL AVL ASIA ASIA Januar March–April 2020y 2020 20 y–Februar

July–August May–June2020 2020PRO PROAVL AVLASIA ASIA 15 9

NEWS: APPOINTMENTS

Steve Durkee named Williams AV appoints new president and CEO president of Legrand | AV

USA

Williams AV has announced the appointment of Brad Kautzer to the position of president and CEO. Kautzer has held a succession of executive-level roles at global businesses, including Honeywell.

“I can’t wait to assist taking the great team at Williams AV to the next level,” he commented. “Strong customer and channel relationships are at the centre of everything we will do. I intend to use my passion for sales, marketing,

engineering and operational excellence to bring our customers the best in leading AV products and solutions. I pride myself on being a hands-on leader who gets the most from the teams with which I am associated. While being a visionary, my real strengths lie in working closely with groups and individuals executing what is required to grow a successful business. I will bring a customer-in look to Williams AV and engage collaboratively with the board/ownership to truly understand the goals for the business and to turn this into results that benefit the owners, employees and customers.”

Williams AV board members and significant shareholders, Rob Sheeley and Tom Mingo, remain involved in strategic product development and supporting the sales and marketing teams.

“I’m ready to carry out our vision to make Williams AV a bigger and more powerful global brand and to expand our product leadership in assistive listening, interpretation and other markets,” commented Sheeley. “With Tom’s and my experience in the AV industry combined with Brads’ experience in growing global business, we are sure to see rapid growth.”

USA

16 PRO AVL ASIA July–August 2020

Steve Durkee has been announced as the next president of Legrand | AV. Durkee brings to the position a wealth of knowledge and experience in the AV industr y, having been with the company since 2004, joining when it was just Chief Manufacturing. Legrand is the group owner of AV brands including Chief, Dalite, Luxel, Middle Atlantic, Projecta and Vaddio. Durkee has held a wide range of leadership roles, most recently

as senior vice president and general manager of Commercial AV. “Steve has been a key leader running the commercial side of the AV business, including all aspects of sales, product and ser vice, and he also has significant experience in the residential custom integrator channel,” said John Selldor f f, president and CEO of Legrand Nor th and Central America. “He’s been a driving force in the innovation of our products as well as a champion leading our customer experience ef for ts.”

Earlier in his career, Durkee spent 10 years at Graco in engineering, product, marketing and sales leadership roles.

He holds a Bachelor of Science in Mechanical Engineering from Michigan Tech and an MBA from the Carlson School of Business at the University of Minnesota.

Durkee feels this is a significant oppor tunity to build upon the incredible culture and sales per formance of Legrand | AV. “I’ve had the oppor tunity to work alongside Scott Gill for the last 16 years. His leadership and guidance have been a driving force in our success, and I am incredibly honoured and excited to lead the business moving for ward.”

www.williamsav.com

Hendry rides out to Renkus-Heinz ranch Graham Hendry has been appointed vice president of strategic development at Renkus-Heinz, in a role designed to develop and execute a creative vision in product and market development.

The flying Scotsman’s career has spanned engineering, product management and customer-facing roles, the majority of it spent at Tannoy and TC Group, where he joined the R&D engineering team in 1990. After a stint in commercial integration from 1998– 2002, he returned to Tannoy – and the brand’s ownership teams at TC Group International and later, Music Group – in various directorship roles as well as vice president of solutions, and brand leader.

“My entire career has been focused on premium audio solutions, mainly in the loudspeaker world,” said Hendry. “Because of that, joining Renkus-Heinz is a real honour, as well as a natural progression.

They’re a true technology leader in the space. That said, the development of my career has led me to discover that I very much enjoy dealing with people, and that is also a big part of the draw of RenkusHeinz. I believe their team is among the best when it comes to putting the customer first. I am very much looking forward to being a pivotal part of that.”

WORLD

www.legrandav.com

Johnson passes vocal audition at Audix WORLD

Steve Johnson has joined professional microphone manufacturer Audix as its new vice president of sales and marketing. The former CEO of Community Loudspeakers has served over 30 years in the pro audio and communications industries, with a background in engineering, marketing and senior management roles. He has also held previous leadership positions with Bosch Communications Systems, Harman Music Group and Shure microphones.

“Audix is an outstanding brand with a legacy of quality and innovation,” commented Johnson. “There are many

Added Renkus-Heinz president, Matt Czyzewski: “Graham brings a wealth of experience and he will play a critical role in both our strategy development and the execution of that strategy. He will be heavily involved in product development and market development. We’re excited to have him on board.” www.renkus-heinz.com

exciting things on the horizon and in the works at Audix. I look forward to helping expand their reach and shaping a strong long-term vision that drives success for years to come.”

“Audix has been seeking an industry leader with the skill set to take Audix to the next level,” added Cindy Bigeh, CFO of Audix. “We welcome the strong business acumen Steve brings to the Audix sales and marketing teams. We are anticipating much success with Steve at the helm.” www.audixusa.com

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NEWS: APPOINTMENTS

Adam Hall Group expands global teams WORLD

Jason Echols and Kati Eismann have joined the Adam Hall Group to fill two new management positions. Echols is now overseeing the international sales of lighting brand Cameo as business development manager, lighting technology, while Eismann has taken charge of the event technology company’s global strategic and operational marketing.

As BDM of lighting technology, Echols is suppor ting the Business Development team directed by COO Markus Jahnel.

In his new role, the experienced sales professional will drive the international expansion of the Cameo sales network and fur ther expand the market position of the Adam Hall lighting technology brand in the rental, installation and industr y

L–R: Kati Eismann and Jason Echols sectors. Before joining the Adam Hall Group, he worked for a well-known lighting

technology manufacturer as Asia sales director.

“In the last few years, Cameo has continuously developed its product portfolio and gained an excellent reputation worldwide as an innovative, reliable and practically oriented lighting technology brand with first-class design,” commented Echols. “I look forward to greeting our customers and partners from the international Cameo sales network here in Neu-Anspach and to convincing them of the brand’s ingenuity through hands-on demonstrations and training courses.”

As global marketing director, Eismann is now responsible for all the Adam Hall Group’s marketing activities, from online and brand marketing to

customer relationship management and campaigns and advertising. She has gathered professional experience in A&R and marketing positions at Warner, Universal and Virgin; marketing, sales and brand building expertise in the fashion, entertainment and lifestyle sectors at Eastpak and Endemol; and managerial roles as managing director at Idols & Brands and client service director at Mindshare. “I find Adam Hall Group’s long history and successful international development very impressive,” stated Eismann. “I’m inspired by this to forge a successful path ahead for the umbrella brand and its individual brands.” www.adamhall.com

Dave Sampson becomes Calrec network specialist WORLD

Dave Sampson has taken on the newly created role of network specialist at British broadcast console manufacturer, Calrec. The role will see him provide in-house expertise that strengthens the manufacturer’s ability to support customers transitioning to IP. “As IP connectivity becomes increasingly widespread and more accessible to all sectors of our industry, it’s vital that Calrec continues to invest in supporting its development,” commented Dave Letson, Calrec VP of sales. “The transition to IP affects pre-sales, integration and post-

as well as create and deliver training and knowledge-based documentation.

“I’m delighted to be moving into a new role with Calrec where I can help to keep the company ahead of the curve with audioover-IP,” stated Sampson. “This industry is changing so quickly and being up to date with front-line technology, and sharing that knowledge with customers, is one of the attributes that makes Calrec such a forwardthinking organisation.”

sales projects, and this new role helps us to support our customers move into an IP environment with confidence.”

A Calrec team member for seven years, Sampson previously held the role of product test engineer where he was responsible for compliance testing of Calrec’s AoIP products to industry standards including ST 2110, AES67, NMOS and more. As network specialist, Sampson will provide technical support and consultancy for the design, development and delivery of IP-based networking solutions for Calrec customers,

www.calrec.com

Keyur Parikh promoted Remo Orsoni to lead Wharfedale Pro R&D at GatesAir WORLD

WORLD

Keyur Parikh has been promoted to vice president of engineering for GatesAir. Reporting to CEO Bruce Swail, Parikh’s new role brings increased responsibilities across engineering team management and system software development for all product lines.

“Keyur performed an excellent job managing a fully integrated Intraplex business unit while maintaining the brand’s industry leadership

18 PRO AVL ASIA July–August 2020

position,” commented Swail. “His extensive background in software development and systems engineering is consistent with GatesAir’s continued product evolution from hardware- to software-oriented platforms.

We congratulate Keyur on his new position and responsibilities and are confident that his expertise will continue to diversify and expand GatesAir’s product portfolio for years to come.”

Parikh is the chief architect of GatesAir’s Intraplex IP networking products and led a global development team that introduced several award-winning products. His transition to VP of engineering follows more than 15 years with GatesAir’s Intraplex business unit, ending with a run as director and VP/GM of the Intraplex Product Group.

His innovations include Intraplex NetXpress and Intraplex Ascent. He also holds several patents for media transport and synchronisation over wide-area IP networks and was a recipient of Radio World’s Industry Innovator Award in 2017.

Ted Lantz will assume Parikh’s previous role, and serve as vice president and general manager, Radio and Intraplex Product Groups. www.gatesair.com

Remo Orsoni has joined the Wharfedale Pro team at International Audio Group (IAG) in the role of general manager – R&D, professional. Orsoni is well-known in the industry for his previous work with the Proel Group (Axiom), Powersoft and Music Tribe (Turbosound). He has a solid track record of both hands-on technical development and R&D team leadership success, built up over many decades. His experience in acoustic engineering, audio electronics, FIR DSP algorithms and loudspeaker system design will support and drive the next forward steps for Wharfedale Pro products and services.

“I am excited to now become part of International Audio Group, and I’m

especially proud to be leading the legendary Wharfedale Pro R&D team. In recent times, I have seen the resurgence of the iconic Wharfedale Pro brand into the pro audio market and their current portfolio is already strong,” commented Orsoni. “However, as a result of Covid-19, many large events have been cancelled and the landscape of audio continues to evolve. Such situations make future product development within the industry a great challenge and now this has also become a superb opportunity for innovation. I’m looking forward to leading the Pro development teams around the world to find great product solutions for the future.” www.wharfedalepro.com

MXE Series

MXE5 MATRIX MIX ENGINE

The MXE5 is the first member of the MXE matrix mix engine series. The 24 x 24 crosspoint performance audio matrix offers both routing and mixing functionalities, with 12 analog mic/line inputs and eight

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Ready for a wide range of applications The MXE5 is designed for consultants, production companies, specifiers and system integrators who demand the highest-quality BGM and uncompromising live performance sound.

Built on comprehensive software The MXE5 integrates completely with Dynacord’s SONICUE sound system software, one of the most powerful software interfaces in the industry, offering comprehensive control and easy, intuitive operation.

Made for mixing and routing The MXE5 offers a variety of functions beyond being a powerful crosspoint matrix; it also works as both a system manager and an OCA controller with complete monitoring and supervision abilities.

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NEWS: APPOINTMENTS

Vega Global Singapore welcomes new MD SINGAPORE

Cheng Yi Neo has been appointed as managing director and country manager for Vega Singapore, a division of audiovisual and video collaboration solutions provider, Vega Global. Neo will leverage his regional

Added Matthew Deayton, deputy chief executive officer of Vega Global: “We are delighted to welcome Cheng Yi. Given his comprehensive background in the industry, we are looking forward to the positive impact he will have with our operations in Singapore and the surrounding regions. He will be building on the strong foundation Vega Singapore already has and will be focusing on delivering the highest quality work for our clients, while exploring new opportunities within his territories.”

Mark Ullrich

Xilica grows management team WORLD

Cheng Yi Neo industry background to develop and execute the group’s business strategies for Vega’s Singapore, Malaysia and Indonesian operations. He will also be part of the Vega Global Management team.

Neo has over 10 years of experience in the AV industry, working for systems integrators and AV manufacturers, most recently as territory manager for the KASEAN region for Bose Professional, where he managed teams across a diverse range of territories and worked with senior executives of multinational clients. “I am delighted to be joining Vega, one of the top AV service providers in the region,” he commented.

“I am incredibly excited to embark on this new challenge and lead the team’s growth by providing my expertise to enhance this world-class organisation.”

Fedor Solnstev Meanwhile, Vega Global has also announced the promotion of Fedor Solntsev to global service delivery director, overseeing all aspects of the company’s managed services and maintenance service offerings. Based in Japan, Solntsev has worked for Vega for several years, progressing from service team manager to managed service director. In his new role, he will work closely with the country teams in building local capabilities and executing strategies to grow Vega’s facilities management and maintenance contracts.

Xilica has appointed Mark Ullrich to the newly created role of senior manager, application sales, while promoting Joe Orlando to product manager, systems.

Ullrich will provide application support and sales management for the manufacturer’s partners in select global territories, while Orlando will lead the emerging direction of Xilica’s systems product line.

Ullrich is a renowned expert on DSP technology and solutions, with nearly 20 years of cumulative experience in the pro audio and commercial AV markets. He has amassed technical and marketing expertise specifically throughout his career, with experience ranging across application and technical product support, international sales and distribution management, and cultivating partner relationships. Prior to joining Xilica, he spent more than 10 years at Symetrix, where he acted in technical sales engineering roles before being appointed as the firm’s international sales manager, responsible for all sales outside the United States.

“There’s a certain sense of fulfilment and excitement that comes with working for a young, growing tech company like Xilica where every decision is important and the effects can be readily felt,” commented Ullrich. “Therefore, my biggest

goal is to recognise and prioritise those unique initiatives – such as new product development, partners and projects – that can have the greatest and most beneficial impact.”

Orlando, meanwhile, will spearhead Xilica’s product line management within the integrated systems market. In his new capacity, Orlando will lead the global development, innovation and strategic alliance functions of the Xilica product portfolio to drive greater growth within enterprise applications, including the corporate and conferencing markets. He will additionally have responsibility for Xilica’s new Genius training programme, both in-person and on-demand.

“We have some exceptional products at Xilica that are really well-suited to enterprise applications, using existing IT infrastructure and technologies to deliver an integrated AV ecosystem,” stated Orlando. “I look forward to helping the business further drive innovation and build relationships with key strategic partners that can help us make the integrator’s life easier and simpler, while continuing to provide their customers with products of the highest quality.” www.xilica.com

www.vega-global.com

Kit Barritt to lead Pixel Power training WORLD

Pixel Power has hired well-known project manager Kit Barritt in the newly created role of training manager. He joins the broadcast manufacturer with a wealth of experience in creating and delivering training and induction processes to broadcasters and production facilities worldwide. He will handle internal and external training, both onsite and online.

“While Kit joined Pixel Power at a great time for us, it’s a challenging time for everyone in the industry – he hasn’t been able to meet many of his new colleagues personally yet,” commented James Gilbert, CEO of Pixel Power. “It is clear to us that broadcasting and production will be changed by the current crisis, and we

20 PRO AVL ASIA July–August 2020

have to be prepared for a new normal.

Social distancing has really demonstrated how invaluable automated workflows can be, and how new workflows and operating procedures need to be brought online swiftly and surely.

“That is why we are investing in training and support, not least by recruiting Kit to the team,” Gilbert continued. “Kit will not only work with our project teams on major new installations, he will use his experience in online training and skills development. Expect more focused webinars and ‘how to’ quick tip videos from us.”

Most recently, Barritt was project manager on a large-scale station refurbishment in

the Middle East. Through his understanding of solutions development, he will ensure timely and appropriate training from the initial approach throughout the system’s lifecycle.

“Pixel Power is at the forefront of the industry as television moves to virtualised and cloud-based solutions,” Barritt said.

“The company recognises that this means a shift in skill sets, so training is a critical factor in the success of any project. My role is to strengthen training as an integral part of the Pixel Power offering, ensuring our customers achieve their business, operational and technical goals.” www.pixelpower.com

NEWS: APPOINTMENTS

Rathmann fills big shoes at Riedel

TASCAM promotes Matsuno

WORLD

Riedel Communications has announced the appointment of Lutz Rathmann as director of the Managed Technology division.

Rathmann most recently ser ved as CEO at APS, a leading agency in the field of automotive events. He also previously held several management positions at Riedel, including deputy head of global events.

Rathmann succeeds Kai Houben, who has moved to the management team at wige SOLUTIONS, a media company par ticularly well-known in motor spor ts, after ser ving at Riedel for more than 25 years in various roles.

JAPAN

“I am very pleased that Lutz is returning to us – he’s a very experienced and strong leader who carries the Riedel gene. With his extraordinary sense for innovation, he will help drive Riedel’s technology leadership for event and sports production into the future,” said Thomas Riedel, founder and CEO of Riedel. “At the same time, I’d like to express my highest appreciation to Kai and say thanks from the bottom of my heart for his long and successful service to Riedel.

Kai turned our local rental business into a global think tank, and we’re very confident this course will continue with Lutz.”

Rathmann’s tasks in his new role include the expansion of new strategic business areas and partnerships as well as the continued development of the Riedel solutions portfolio. “It feels very good to return to the Riedel family. There is an innate spirit of innovation in this company, and the Managed Technology division is truly unique,” he commented. “I look forward to continuing this success story alongside our strong and passionate team, and to leading Managed Technology into a sustainable future.”

Yosuke Matsuno has been appointed general manager of the TASCAM Business Unit at the TEAC Corporation, assuming

Yosuke Mastuno responsibility for running the entire TASCAM business unit including sales, marketing and R&D administration.

Matsuno has worked for 12 years at TEAC, star ting his career as a customer suppor t engineer in 2008 before becoming impor ted brands manager in 2012 and then expor t sales manager in 2014. In 2017, he was promoted to head of TASCAM’s sales headquar ters.

“It is such an honour for me to lead the TASCAM business unit, I still remember 20 years ago when I picked up a TASCAM product for the ver y first time at a store in Tokyo,” he commented. “Pro audio customers always demand high-quality and reliable products which make their jobs easier.

TASCAM’s strength lies in our R&D team based in Japan, and the product technology and know-how that has been trusted by loyal customers for many decades. Our core technologies have been adapted and developed for a half centur y, which I believe nobody can else can beat. My mission is to lift TASCAM business to the next level and I feel ver y confident in seeing a strong growth in the future.” www.tascam.com

www.riedel.net

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July–August 2020 PRO AVL ASIA 21

NEWS: EDUCATION

AJA Helo helps Salesforce take its roadshow online AUSTRALIA

evaluating the production plans developed for the in-person event, SuiteSpot and Alpha Media Services restructured the workflow to support a virtual production, with multiple live studio sets spread across convention halls to accommodate worldwide content delivery to a range of online platforms.

Preproduction and setup took place over three days, with the main production wrapping in a day. The crew livestreamed keynotes, sessions and panels directly to the Salesforce website, with select portions restreamed via the IBM Content Delivery Network to Facebook, YouTube, Twitter and other online platforms. An AJA Helo delivered the primary stream to the IBM CDN, while another group of Helos fed

Cloud-based CRM software developer Salesforce has taken the Australian leg of its annual World Tour roadshow online after the planned Sydney event was cancelled due to Covid-19. The roadshow presents new technology to customers at each international stop and offers a chance to network and learn. To convey the experience in the virtual domain, AJA Helo H.264 recording and streaming devices were chosen by production specialist SuiteSpot and AV systems integrator Alpha Media Services.

Reaching attendees online required a highquality, low-latency video streaming workflow to ensure smooth content delivery to the Salesforce website and social channels. After

content through Wowza and Salesforce’s FTP for online backup, content delivery for distribution, and archiving.

“Helo is our preferred tool for online delivery because it’s just so easy to use and reliable; we never worry about the stream skipping a beat,” said Abraham Zuniga, managing director, Alpha Media Services. “It also made per fect sense for this project, given the overwhelming volume of content we needed to deliver across so many platforms. It was integral to the success of this production. There aren’t any other streaming solutions that give you the level of confidence that Helo does.” www.aja.com

L-Acoustics releases free whitepapers WORLD

L-Acoustics has released three new whitepapers as part of its ongoing commitment to scientific research and the advancement of the audio industry. Topics include: Measurement Quality at Low Frequencies, Measurement Quality at High Frequencies and Optimum Measurement Locations for Loudspeaker System Equalisation. They are available from the manufacturer’s website free of charge.

“Our whitepapers have been conceived in a condensed format and are published on our website and social media channels in order to reach the widest possible audience,” commented Etienne Corteel, director of education and scientific outreach at L-Acoustics.

“They are formatted to present our rigorous scientific research in a user-friendly way and represent our commitment to the wide acceptance of science-based sound design principles.”

The company’s commitment to education was immediately adapted to the current Covid-19 situation. In mid-March, L-Acoustics’ applications, education, marketing and communications teams worked together to create a programme of daily online webinars. “As with our traditional training, the webinars are conducted by expert professionals, selected for their skills and experience in the audio industry,” added Corteel. “This will allow our users to use this time of forced hiatus to expand their knowledge on the L-Acoustics workflow. Until we can again offer our traditional training and L-Acoustics accreditation programmes, we wanted to allow L-Acoustics users worldwide to have access to a free online resource.” www.l-acoustics.com

Meyer Sound launches Lectrosonics presents Wireless Side Chats series daily online training WORLD

WORLD

Lectrosonics has announced a new video series, Wireless Side Chats, hosted by vice president of sales and marketing, Karl Winkler. The series aims at empowering experts and beginners alike when it comes to working with wireless audio. The title takes its name from the Fireside Chats of President Franklin D Roosevelt during the Great Depression of the 1930s, which were a tipping point in the cultural importance of radio.

Four video episodes are available, with episode 1 covering the history of early wireless equipment, wavelengths and tenants of the radio frequency spectrum.

Episode 2 identifies the seven most common wireless microphone problems and how to solve them. Episode 3 is a clinic about Lectrosonics Wireless Designer software, while episode 4 explores best practices when using wireless.

“It was important for us not to have these videos just be an infomercial for

22 PRO AVL ASIA July–August 2020

Lectrosonics,” said Winkler. “We really wanted to help every creative and technical person who uses wireless audio get better

at their craft. It’s my hope that everyone who watches this series will find something that does just that. If people have half the fun watching them that I did making them, we’ll have accomplished that goal.” www.lectrosonics.com

Meyer Sound has announced a comprehensive daily online training programme, with company CEO John Meyer joining and leading some of the discussions.

The programme’s content aims to provide a natural progression of subject matter, giving practical knowledge as well as case studies for reference, and instructors reviewing specialty tools covering solutions across all industry verticals. Attendees can choose from an à la carte menu to create “on demand” programming via a weekly poll through the Meyer Sound Users Community Facebook group.

The webinars are organised by weekly content chapters, with content presented in English on Mondays, Wednesday and Fridays by senior technical support and education specialist, Merlijn van Veen. Tuesday and Thursday session will be in Spanish, with the first session featuring Oscar Barrientos, Meyer Sound technical services manager, Latin America.

“Education has always been a pillar of the holistic Meyer Sound core brand philosophy of sharing knowledge,” said John McMahon, Meyer Sound’s senior vice president of sales and marketing.

“Recent events have put the spotlight on the importance of offering our public training not just with in-person seminars but via online platforms. Our global team was quick to respond to the need by curating an informative and engaging programme.” www.meyersound.com

NEWS: EDUCATION

Genelec launches G SongLab initiative FINLAND

people to learn and find their own way in life, then that is the best prize there is. In the difficult times we currently live in, we believe that music can help create hope, a sense of belonging and a shared determination to support each other and survive.”

Genelec will also be staging a G SongLab Songwriting Challenge, which will be open to young people worldwide, with creators of the three most innovative original songs receiving a home studio recording package, and the chance to perform their song live at the Genelec Artist Room.

Genelec has launched the G SongLab initiative that forms part of the Genelec Academy and offers young people free access to a safe online learning community, where they can collaborate and engage with others in developing their skills in songwriting and music creation.

The initiative is a collaboration between Genelec and the Tiuku Public Information Cultural Factory, the City of Helsinki, University of the Arts Helsinki and the ArtsEqual research initiative, which have joined forces to encourage and support young people’s active participation in music creation, and the sense of social integration and companionship this brings.

G SongLab was developed by a team of songwriters and music educators led by Petter Korkman and Anna Kuoppamäki. It provides an international online learning community for songwriters aged between 13 and 29. Genelec will contribute to the educational programme by teaching the basics of sound and audio monitoring, so participants can evaluate and improve their work.

A selection of music created during the workshops will be shared via the Genelec Music Channel on YouTube.

In future, it is planned to broadcast live performances from Helsinki via the Genelec Artist Room.

“This is an excellent way to express our values of enthusiasm and justice,” said Genelec’s Juho Martikainen. “Music creation belongs to everyone and, if we can help young

AVIXA launches Level Up! webinars WORLD

AVIXA has announced that registration for its weekly webinar sessions, Level Up!, is now open.

The free, one-hour sessions,

www.genelec.com

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delivered by leading industry experts, started on 12 May and are designed for anyone interested in AV technology education, especially those who are CTS accredited and looking to earn renewal credits towards maintaining their certification. www.avixa.org

July–August 2020 PRO AVL ASIA 23

NEWS: SPECIAL REPORT

Adam Hall hosted a livestreamed video talk with a panel of event industry leaders

Different domain

With the 2020 tradeshow calendar decimated by Covid-19, manufacturers and show organisers have been quick to take events online. But can a virtual tradeshow ever replace the real thing? Caroline Moss investigates THE ADAM HALL GROUP WAS ONE OF THE first to see the writing on the wall. Back in late February, the company announced it was pulling out of Frankfurt Prolight + Sound in response to public health advice surrounding Covid-19 and would instead livestream new innovations on its website on 31 March, the first day of the planned Frankfurt show.

There were doubtless those who viewed this move as premature. However, it wasn’t long before other companies started to cancel and, on 4 March, the Frankfurt show was postponed until the end of May. Illustrating the speed at which events progressed, just nine days later it was announced the 2020 edition was being cancelled altogether. This has since been followed by a slew of tradeshow cancellations stretching as far as Q4.

“We took a pioneering role within the industry; planning and implementation took place under great time pressure at an early stage when nobody could have known how the pandemic would develop,” explains Alexander Pietschmann, CEO of the Adam Hall Group.

As the situation unfolded, the company added a one-off, livestreamed industry talk with event industry leaders, which

24 PRO AVL ASIA July–August 2020

was particularly successful. “It showed us how strong the demand is for firsthand information, personal opinions and evaluations, as well as possible solutions and ways out of the crisis,” says Pietschmann. “The virtual tradeshow was a new format for us, and one we will continue to develop in the future. Major events such

as concerts were the first to be cancelled, and it looks as if these events will be the last to take place again. Accordingly, it is important to give our industry a loud voice, to make ourselves visible in the media and in politics and to work together on ways and solutions to make events possible again, while maintaining all safety precautions.”

Adam Hall’s virtual tradeshow may have been the first, but more and more companies have been finding ways of presenting new products they would have launched at one or more of the international platforms throughout the year, as well as connecting with clients and the industry in general. Manufacturers have taken matters into their own hands, including a consortium that participated in the Virtual Sound Summit on 30 April and 1 May. This included Sound Devices, Lectrosonics, Schoeps, DPA Microphones, K-Tek, Sonosax and Bubblebee Industries.

The Virtual Sound Summit was a progression of some past collaborations between Lectrosonics, DPA Microphones and Sound Devices in various US cities.

“Since NAB didn’t happen, Jon Tatooles of Sound Devices contacted me and suggested that we put something together in a virtual space,” says Karl Winkler, vice president, sales and marketing, Lectrosonics. “We had about 600 people viewing live on the first day and about 450 on the second. These are numbers similar to how many visitors we might have at a NAB tradeshow. Slightly less perhaps, but still great considering that the

NEWS: SPECIAL REPORT cost to put all this together was very low.”

Winkler thinks that part of the attraction was the fact the company introduced two new products during the event, and also cites some live and prerecorded “tips and tricks” as being a good draw.

Another initiative was NAB Show Express, taken by NAB after its April tradeshow in Las Vegas was cancelled. Focusrite was one of the participating manufacturers, upgrading its sponsorship package to allow more resources to be uploaded. “It was important to us to be able to show our full product ranges that customers would have seen in person at the show,” says director of marketing, Hannah Bliss. “We also wanted to be able to add more ‘virtual business cards’ to our online profile so

Martin Audio hosted its own virtual event in late May

Focusrite’s Hannah Bliss that our staff was visible and accessible. I am not sure that we saw much action from those business cards, but we had a large spike from previous years on customers adding our brand to their list of interests and henceforth allowing us to contact them as sales leads. This increase in genuine leads was the big success of the show for us.”

Martin Audio presented its own virtual tradeshow on 20 May, which was a great success by any standard, according to director of marketing, James King. “We achieved over 800 registrations for the event,” he reveals. “To put this in context, this is the amount of people we would engage with at ISE or InfoComm in our demo room in a given week, and probably four times the amount we get to our UK open day events. Other than some advertising costs to help promote the event and people’s time, the cost to output was minimal, and significantly less so than a tradeshow-type event. The event was also incorporated into some Facebook Live streaming, and a recording has also been posted, so the potential reach is significantly beyond that too. We are working from home, and at the mercy of aesthetics, equipment and broadband fluctuations, but we managed to slide through any of that pretty well.”

The format allowed viewers to see both presenters and presentation onscreen, and there was an open Q&A for topics that people wanted to discuss. King points to the elephant in the room, however: the ability to listen to loudspeaker demos. “This is why we now team every tradeshow with a demo room, and the online format cannot replace that,” he says. “Our next jumping off point,

dependent upon ability to have small and safe gatherings, will be to have a centralised show, professionally produced then beamed to the ‘world’, but critically to global distributor demo rooms. In small, safe environments, people can gather to listen to the loudspeakers in demo rooms. While markets might start to reopen, we believe international travel will be circumspect, so we see this as an opportunity as we move forward.”

The AES Virtual Vienna tradeshow took place online from 2–5 June. “AES was already in the traditional planning, organising and programming cycle for the scheduled AES Vienna Spring Convention when the Covid-19 pandemic made the physical event impossible,” says Colleen Harper, AES executive director. “Taking it online presented the most viable prospects for fulfilling the role AES Conventions play for the audio industry and our membership.”

While AES Virtual Vienna presented the same technical programme components as the physical conventions, it chose not to have a “virtual exhibition”, believing this to be a very different format from the usual in-person event. Instead, it appointed five key Convention Partners, and put together four days of streamed workshop and student activities followed up by live Q&A sessions. One of the partners, Genelec, got involved to support the AES organisation.

“We see the academic work that the AES does as very important for the development of our industry and regard the work in the student chapters as important for the future wellbeing of our industry,” explains strategy advisory officer, Lars-Olof Janflod.

Vir tual Vienna also offered an on-demand librar y of workshops, papers, engineering briefs, technical tours of per formance and production spaces in Vienna, student and career events and previously streamed

sessions, all with ongoing Q&A chats.

“We’ve had an enthusiastic response to taking the convention online and making it totally accessible internationally, as well as extremely affordable,” says AES director of sales and marketing, Graham Kirk. “This allowed AES members and non-members, including first-time attendees, to par ticipate without the sometimes-prohibitive travel and related expenses of attending a physical convention.”

And this cost saving for attendees is vastly multiplied for companies taking par t in a vir tual tradeshow, as well as an attendant reduction in carbon footprint. But could the vir tual ever take the place of the real thing?

“There is no doubt a place for vir tual meetings, webinars and the like, but this is a people industr y and there is nothing like the physical interaction and unity of a live event,” says Lectrosonics’ Winkler. “It may take some time to fully come back, but it will return and so I see some delicate balance between a physical and vir tual show in the future or indeed some hybrid solution.”

Adds Focusrite’s Bliss of her experience at Vir tual NAB: “You have to spend a lot of money to be seen as a ‘featured’ brand vir tually. At the actual show, as long as you are in a suitable area of the floor, you are going to be seen by those who are looking for you and customers who just happen to pass by, even if you have a smaller physical presence. So, for that reason, I don’t think brands will ever want vir tual tradeshows to replace the real-life ones in full. Maybe some hybrid model, but nothing can replace the in-person experience of seeing and touching products and speaking to product specialists and sales teams in person.”

Martin Audio’s James King “The gathering of people in the real world is the first and will always be the most important social network,” says Pietschmann. “We at Adam Hall will always focus first on events as we have known them so far. Nevertheless, digital, virtual, interactive streaming formats offer very interesting and new ways of communicating with our customers and partners. The future will be hybrid events.”

From 16–18 June, AVIXA moved its summer Las Vegas show online, creating InfoComm 2020 Connected, while InfoComm Southeast Asia is presenting the Inter:Act virtual platform running from 10 June to the year end. ConnecTechAsia has also announced that it is taking its postponed three-day BroadcastAsia, CommunicAsia and SatelliteAsia event online from 29 September – 1 October, the proposed dates of the postponed live event, before transitioning into a 24/7, 365-day interactive marketplace.

Blank Canvas will be covering both events, both in the virtual space and also in our reallife, print editions. www.aes.org www.connectechasia.com www.infocomm-sea.com www.infocommshow.org www.nabshow.com

July–August 2020 PRO AVL ASIA 25

NEWS: PROJECTS

IcebergX immerses Supertree Observatory visitors within Yamaha solution SINGAPORE

Since opening in 2012, Gardens by the Bay has established itself as one of the nation’s most popular tourist attractions. Comprising three waterfront gardens – Bay South, Bay East and Bay Central – the nature park offers visitors a vibrant horticultural oasis of floral displays and lush greenery. Located within the Gardens, the Supertree Observatory by the Bay recently called upon IcebergX to assist with launching its Sky Portal experience for visitors.

Founded in 2014, IcebergX promotes dynamic immersive solutions for environments, media, events and spaces.

Based in Singapore and Kuala Lumpur, sister company Iceberg Design represents one of the region’s foremost postproduction companies for television, cinema, content compositing, colour grading, 2D and 3D animation, editing and special FX. For the Supertree Observatory, Portal, the combined teams were briefed to transport visitors into another dimension between thoughts, people, visions and worlds. With a panoramic backdrop of the Gardens from the Supertree Observatory, IcebergX was tasked to create a new dimension from the lofty platform.

Artistically assisted by Shuhaimi Latiff and Jon Griffin, project director Francis “Kitaro” Tan and manager Nezam Mohd Noor created content of the earth that represents gateway openings and discoveries.

Following discussions and demos with IcebergX’s team, Yamaha Singapore proposed an AV solution for this new futuristic installation. Based on the client’s expectations for the audio system, a Yamaha MTX3 matrix processor provides zoned signal distribution and system alignment throughout the attraction. IcebergX musical director and

The entrance of the lift at the bottom of the Observatory Tree sound creator Mark Baptist produced the sound effects for the attraction. Full-range reproduction of the immersive experience is output to the network of Yamaha VXS and VXC series ceiling speakers.

“From the audio design perspective, it was imperative that the system would need to be capable enough to translate the immersive experience to the audience,” commented IcebergX CEO, Alvin Yeo. “This not only meant that a high-fidelity speaker installation was necessary, but the expert calibration of such a system by trained and experienced audio professionals would be just as crucial.”

Following approval of their concept design, the integration of the technology was completed over a five-month period by IcebergX’s team under the guidance of project executive Farid Samsuri, technician Zhukree Abu Ghazali and programmers Loi Hui Min and Nur Akmal. “The adoption of easy to install technology together with reliability and service were the overriding factors in awarding Yamaha Singapore with this project,” added Yeo. “In addition, the level of support for the brand and the product was also taken into consideration.

The AR panels inside the lift

The VXC4 ceiling speakers and VXS10S subwoofer in AR panel area in the upper floor As the installation was intended to be a permanent fixture, long-term support for the audio products was seen as a major benefit.”

Mahajak equips Modena By Fraser with Harman solutions THAILAND

Mahajak Development Co has equipped the Modena By Fraser Buriram Hotel with a Harman Professional Solutions networked audio system featuring solutions from JBL, Crown, Soundcraft and BSS. Located within walking distance of the Chang International Circuit racetrack and Chang Arena football stadium, Modena By Fraser Buriram offers 152 guest rooms, a spacious foyer and a large ballroom used for weddings, product launches, car shows and business conferences. Mahajak Development designed and installed a networked audio system for the hotel ballroom and throughout other areas of the hotel.

Mahajak Development equipped the ballroom with JBL CBT 200LA-1 line array column speakers featuring Constant Beamwidth Technology. JBL AC118S highpower subwoofers, with extended frequency response capability down to 32Hz, provide additional low-end support. JBL Control 226C/T ceiling speakers have been installed

26 PRO AVL ASIA July–August 2020

customisable audio system with superb clarity for any event,” said Pongsakorn Kanchanachayphoom, director of project, Mahajak Development. “We selected JBL Professional sound equipment along with Crown and Soundcraft because Harman’s

thoughout the facility, and the system is powered by Crown CDi 2|1200 and CDi 2|300 amplifiers with pre-loaded JBL speaker tunings.

Signals onstage are routed through a Soundcraft Mini Stagebox 32R into a Soundcraft Si Impact digital mixing console.

A BSS BLU-100 signal processor distributes audio signal throughout the facility, providing low-latency streaming for up to 48 channels of audio over Cat-5e cabling.

“With the grand ballroom serving as a multipurpose venue, we developed a highly

The large ballroom

The sonic environment created by the Yamaha speakers enhances the immersive experience within the Supertree Observatory installation. The visitor’s journey commences in the lift where VXS1MLB and VXS3S sur face-mount speakers are powered by an XMV8140 amplifier during the 50m ascent. Inside the AR panels zone, a combination of VXS3F and VXC4 speakers augmented

by VXS10S subwoofers are powered by XMV8280 and XMV4140 amplifiers. System output presets for these zones are stored in the MTX3 processor. In addition to the impressive audio experience, IcebergX also added four 88-inch LG displays for digital signage in addition to a videowall display consisting of dual 55-inch HD displays.

“The central focus of our concept was to create an optical illusion,” further explained Yeo. “We achieved this by taking a live feed depicting the original state of the planet on the ground before gradually increasing the AR levels to shock visitors about the destructive role that climatic change is now playing. In that respect, the challenges we faced related to both content and hardware. For the content, we had to consider how realistic our rendering of the illusions would be to the human eye. In terms of hardware, we needed to showcase content in very intimate, tight spaces onsite. We achieved this as the individuals in our team including the creators, editors, visual artists and sound designers excelled in their delivery.” www.icebergx.com www.sg.yamaha.com

sound equipment met all of the hotel’s environmental demands.”

Added a spokesperson from Modena By Fraser Buriram Hotel: “We wanted to create an immersive audio and visual experience for our guests. With the latest equipment installed

by Mahajak, we can now deliver exceptional sound quality throughout our multipurpose ballroom, with exceptional control.” www.harman.com www.mahajak.com

PROJECTS NEWS: BUSINESS NEWS: RENTAL

EAW Radius installed ETC with Ganpati Sound boostsfor Dalepartners Sound invests China National Games stadium C’est Bon Projects rental inventory in Galaxies CHINA INDIA HONG KONG An EAW Radius INDIA (RSX) loudspeaker system To its presence Hong and hasexpand beenSound, chosen the in 18,000-seat Ganpati afor sound and lightKong rental Macau, ETC has appointed C’est Bon Xi’an Sports Centre, home of company in Jaipur, has added products TheOlympic Volite Galaxy Thunder 54x3W Projects as itsNational new dealer in the China’s 14th Games, toregion. be held from Adamson’s E-Series and S-Series to high-performance LED PAR is the Established in 2006 and based inMumbaiHong in Shaanxi Province 2021. inby its portfolio.

The systems wereLocated supplied latest product to in be added to Kong, C’est Bon Projects focuses on lighting Xi’an International Tradeportfolio. and Logistics (ITL) Adamson’s distributors, Sonotone and LBT, based Dale Sound’s This Park, the stadium is array thethe main venue S10 for and include E15 line speakers, will reportedly form backbone of line thethe opening closing of the array cabinets, E219 andceremonies E119 subwoofers rental and company’s infrastructure National asfor well asevents various events and Lab.gruppen PLM20K44 amplifiers. that isGames, deployed live and including volleyball, ice hockey ‘The livebasketball, audio industry is growing at a performances. and‘Specialising gymnastics. swift rate and it isincrucial to implement planning, designing AUSTRALIA Six clusters of technology 44 EAW state-of-the-art to stay active ahead,’ and customising lightRSX212L requirements for Visitors from across Australia, New Zealand loudspeakers and eight EAW RSX18F single said Banwari Sharma, owner of parties, Ganpati a variety ofLal events ranging from and parts of the wider world recently gathered 18-inch active subwoofers have been installed at Wickthe Studios in Brunswick for the chance around stadium, with four EAW RSX129 to learn, receiveplaced product demonstrations active speakers under the in-arena and networking opportunities at the Group scoreboard and four single 12-inch EAW Technologies Expo (GTX) for 2020.

Hosted by VFM129i moving wedges the rostrum.

AUSTRALIA distributor Group Technologies, GTX featured The RSX series features OptiLogic, designed Hire,guests, aand rental company in some Australia, seven special representing toCamera reduce setup tuning time, while the of has been including supplying professional cameras its brands, Austrian Audio, DiGiCo,and EAWmosaic app provides system optimisation supporting equipment to productions forroom the Nexo and RCF. from anywhere in the venue, plus intuitive The Technologies sales team was 10 pastGroup 10 and has recently obtained design andyears prediction. also on3hand offer assistance and CiNX FluidtoHeads andsystem, 10 Sprinter II 2 Stage “In designing the sound the advice goal toCarbon visitors, suchthe assame representatives from Fibre Tripods from Miller Tripods. was to provide frequency response production companies and members the ‘We’ve been using ArrowXof series for each listening areaMiller’s to address any press, across five different zones. for some time now andthe the fluid heads unevenness throughout audience areas,” The Nexo zone showcased the new P+ aresystem excellent,’ said Bevan managing said designer, ZhangDally, Xianjun.

“We first series of coaxial point source director of Camera Hire.

‘Theloudspeakers, payload range built a 3D model for the stadium in AutoCAD, with each of 10- and 12-inch versions according to the 8-, architectural drawings.

We

design consultations, rental, Sound.

‘Adamson is aequipment world leader in the installations and sales, with loudspeaker market and it has arequire splendid performances to equipment concerts, we project references including Hong Kong product line. are proud tothe announce reliability andWe rock-solid performance,’ Arts Festival, New Vision Art Festival, Sonar the first Dsouza, Adamson sound system saidvery Lincoln director of Dale in and Clockenflap.

Rajasthan andiswould like to thank Eshdeep Sound.

‘This exactly what the Volite Bhasin, director 54x3W of LBT, and Nagpal, Galaxy Thunder LED Karan PARs provide director Sonotone, all the us. Theyofare so easy for to use thatsupport.’ operation new products already been isThe a pleasure and ithave has had an absolutely used at the IPF Star Awards at production the Jaipur positive impact on the overall Exhibition and Convention Centre. ‘We were value of the shows we’ve commissioned.’ exhilarated to use our new Adamson line on show, the L15Sharma companion arrays foras thewell IPFas awards,’ added. www.sonotone.in subwoofer. The latest Geo M line array unit, the M12, was also on display.

An RCF area presented a range of solutions from imported the Italianthe manufacturer’s portfolio, then model into EASE 4.3 designedanalysis for a variety of scenarios. acoustic software, followedThese by a 1:1 included the setup. point source ART and D-Line EASE model We choose EAW’s RSX line series, latest additions in the and versatility are very beneficial considering array forand its the strong directivity, ability to HDL optimise large-format array as the HDL the various types series, ofand jobs we support.

With the speech intelligibility itssuch overall fantastic 50-A system and the HDL which CiNX4K line, our customers are26-A, able to mount sound.” featured on DJ stage. Sony’s aThe variety of the cameras, including FS7, location ofmain all the speakers beneath the The DiGiCo space comprised a trio ofsee digital Canon’s C300 and ARRI’sit Alexa Mini and stadium’s catwalk makes difficult to mixing consoles and twobut self-contained Amira, with ease.

Upgrading to self-detection the brandtheir operational status, the displays theRSX British new CiNX series was amanufacturer’s no-brainer for rescue, us, feature offorthe series came to the associated KLANG and 4REA4 brands. especially because of its ability to mount allowing sound engineers to access theThe main was a first forthe thehead.

Australian ARRIhighlight dovetail plates directly on We speakers’ operational andlook signal status.

This market at easily the Quantum338 console, can now provide our assisted clients with wasn’t the onlynew feature that thea Sony launched team. at NAMM in January. technical

Groups gather for GTX 2020

Kwok-Fai Mak, director of C’est Bon Projects, has stated that he is familiar with ETC and High End Systems’ products, including the HOG 4 console and SolaFrame fixtures. ‘ETC and High End Systems’ products have always “The catwalk of the is an asymmetricimpressed me,’ he stadium said. ‘I’m looking hexagon so it is harder for us to for ward structure, to expanding our relationship ‘The and S10 performed incredibly control installation angles of loudspeaker with E-Series the company through this new well and took little effort to“We get the clusters,” continued Zhang. weresystem able to par tnership.’ sounding received fantastic reviews overcome great. this byWe using EAW original flyware, www.facebook.com/cestbonprojects on thethe sound quality fixing arrays underand the efficiency catwalk byacross a 3T Kwok-Fai Mak, director of C’est Bon Projects www.etcconnect.com the board.

This perfectly in our expansion electric hoist.

Wefits used two safety cables and plans and allows us theisopportunity the horizontal coverage adjustable. to The provide our delivers clients with the bestlistening audio RSX Series an excellent Glenn Wong of Total Solution Marketing with equipment J5 Productions’ Justin Tanand extended available.’ experience with high fidelity dynamic range, while also providing Dante www.adamsonsystems.com integration. It has admirable intelligibility and www.lbtpro.com it is easy and seamless to switch between www.sonotone.in signals to keep the system safe and sound.”

Ayrton shows its true colours Camera Hire expands with Miller Tripods www.eaw.com

SINGAPORE

is calibrated at 7,000K to generate up to J5 Productions in Singapore has invested in 24 Ayrton Diablo-S 300W LED profile 19,000 lumens. important cinematographers look VCT or ARRI dovetail system using the same lighting fixtures.

After a successful ‘They arefeatures definitely a good investment for for their tripod–solutions.

They are very fluid head, withoutthe thefixtures need towere swap back demonstration, purchased allin our projects launch parties, concerts, An immaculately laid out Nexo area greeted guests fast to set up and compared to of other and forth between multiple plates. With CiNX from Ayrton’s exclusive distributor, Total conferences any type live tripods events,’we have is a huge director selling point fluid heads,Marketing. cinematographers can easily and Solution said used, Justinwhich Tan, managing of J5for monitor, the ‘We A23-M, were onthem show. our customers while on aallshoot.

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It is specifically designed for www.camerahire.com.au 2020 experience. diaphragm OC818 condenser between solid stability stillmicrophone, beingwith www.j5.com.sg stage applications aswhile it is equipped www.millertripods.com Hi-X 55 over-ear headphones and relatively lightweight, which two PSI very www.tsm-int.com a monochromatic LED lightare source that www.grouptechnologies.com.au Audio’s new compact three-way studio

INSTALLATION GOT EASIER 1/2 PAGE

with

available in black or white

www.next-proaudio.com

May–June 2020 PRO AVL ASIA 21 13 March–April July–August 27

NEWS: PROJECTS

The levels are raised SINGAPORE

Since 2012, LeVeL33 has claimed bragging rights as the world’s highest urban microbrewery. Residing in the penthouse of Singapore’s Marina Bay Financial Centre (MBFC) with a commanding vista of Marina Bay and the city’s skyline, the restaurant and bar are the epitome of urban penthouse dining.

A d&b 8S and Bi8 subwoofer fitted to the open ceiling of the bar area Upon entry, copper brew house kettles take centre stage to remind a patronage of locals, expats and tourists alike that the production of freshly brewed beer lies at the heart of LeVeL33. The craftbrewery integrates aesthetics, form and functionality, while the interior designer has further emphasised the modern dining room and social lounge with wood textures and earth tones. Refurbished in late 2019, the BGM and announcement system serving the interior and outdoor rooftop terrace was also added to the clerk of works.

Resonate Solutions team was tasked with designing and installing the audio upgrade for LeVeL33. “A higher SPL solution was required for the multi-zoned, multifunction space,” explained director, Luther Ong. “The previous distributed ceiling speaker system was lacking sufficient power when the venue was hosting events with bands and DJs. In addition, the eight zones all require differing DSP settings and, importantly, the facility manager needed easy access.”

A d&b audiotechnik loudspeaker system combining 5S and 8S black-finished cabinets together with compact Bi8 subwoofers caters for the various interior zones, while white 5S models provide the correct ambience on the exterior balcony. “Naturally, the bar is adorned with the subwoofers and a higher concentration of enclosures than the private and public dining rooms, lounge and foyer. The 100° conical dispersion characteristics of these coaxial speakers provides an even distribution of audio throughout all the zones.”

Having to complete the installation in between the hours of midnight and 8am over the course of one week, Ong and his Resonate team soon discovered the ease of installation benefits associated with the S-series models. “Once we had installed Canare 14-gauge cabling from the back of house rack to the loudspeaker outputs, installing the 5S, 8S and Bi8 subs into the open-ceiling architecture was straightfor ward using d&b’s brackets and accessories,” furthered Ong. “Weighing

Interfaced to an iPad touchscreen, a Yamaha MTX3 26x8 matrix processor provides flexible signal processing functions for the director of operations. In addition, volume and microphone settings for the lounge, bar and two dining rooms can also be configured via a Cat-5 connected DCP 4V4S-Eu wall-mounted control panel should the venue be hosting a DJ or live band. The DJ output behind the bar can also be used for inputting a Sennheiser XSW 2-835 UHF dynamic microphone. Finally, the entire audio network is systematically

A d&b 5S cabinet is directed towards one of the private dining zones just 2.5kg and 7.4kg respectively, the S5 and S8 models are easily fixed into position by utilising one of the M8 threaded inserts on the rear panel before termination.”

Set at 4Ω, the three 10D four-channel amplifiers are equipped with separate input gain control, General Purpose Inputs/Outputs (GPIO) and a general fault connector. The DSP integrated within the 10D incorporates filtering functions, user-definable equalisation and delay capabilities including two 16-band equalisers and can be accessed via the d&b Remote network. A Denon CD and MP3 player ser ves as the main music source.

Rosewood Bangkok installs Harman networked solutions THAILAND

The Rosewood Hotel in Bangkok has opened with a building-wide networked AV system featuring Harman components including JBL Professional loudspeakers, Crown amplifiers, BSS signal processors, AMX AV and control systems and Martin Professional lighting solutions.

The 30-storey tower, whose architectural design evokes the image of two palms pressed together in the traditional wai greeting, contains 159 guest rooms, including four deluxe suites and three multilevel “houses” with private terrace and plunge pool. There are two spaces for events and functions: the 1,000m2 Pavilion for up to 300 guests which can be divided into two spaces, and the 300m2 Ploenchit Boardroom.

“The equipment we selected from Harman was a perfect fit for the venue, as it offers pristine, high-quality sound and visuals during hotel events, corporate meetings and high-end conferences,” said Pongsakorn Kanchanachayphoom, director of project, Mahajak Development.

JBL Control Series ceiling speakers handle BGM and announcements, while in outdoor areas, the ground-mounted Control 88M offers a weather-resistant solution. In the building’s restaurants, JBL

28 PRO AVL ASIA July–August 2020

Resonate Solutions director Luther Ong at LeVeL33 powered on and off via the Furman CN3600SE sequencer Without distracting the diner from the rustic food and the crafted beers on offer at LeVeL33, the background and foreground music system designed by Resonate Solutions has elevated the ambience a further notch up. www.level33.com.sg www.resonate.com.sg

of BSS BLU-100 signal processors located on each floor, providing signal routing and processing via a low-latency digital audio bus over Cat-5e cabling. Using HiQnet London Architect software, the audio system can be configured into multiple zones, with any endpoint accessed remotely by computer.

The Pavilion also features AMX media switchers and controllers to facilitate multimedia presentations and remote meetings. The AMX DGX800-ENC digital media switcher supports 4K and ultra-high definition (UHD) content and accepts input and output expansion cards. AMX DX-TX-WP wall plates connecting to the DGX800-ENC accept most digital and analogue inputs. An AMX NetLinx NX 3200 integrated controller offers intuitive switching via a wall-mounted

JBL Control Series ceiling speakers handle BGM and announcements

The Nan Bei Bar

CBT 100LA-1 line array column speakers employ Constant Beamwidth Technology to provide targeted coverage. In the hotel’s top-floor whiskey bar, guests can listen to over 6,000 vinyl records on 10-inch JBL AC195 loudspeakers, while the Pavilion is equipped with JBL CBT 200LA-1 line array column loudspeakers supplemented by ASB6115 subwoofers and 12-inch Control 321C ceiling speakers. All speakers are powered by Crown DCi 8|300N amplifiers, which connect via BLU Link to a network

The Wellness pool Apple iPad Mini for remote use. Additionally, Martin Professional Rush PAR 2 RGBW Zoom lighting fixtures are available for weddings, conventions and other events. www.harman.com

NEWS: PROJECTS

NEWS: BUSINESS

Adamson installed inGenelec Hawke’s Bay venue expands its factory in F NEW ZEALAND

A historic performance venue has reopened after five years with a new name, a new look and a new Adamson IS-Series audio solution.

The Hawke’s Bay Arts and Events Centre, known by its new name of Toitoi, or “pinnacle of achievement”, is home to a 979-seat opera house that opened in 1915. Almost a century later, the opera house and adjacent municipal building were closed, having been deemed “earthquake-prone”, requiring a NZ$17.8 million venue-wide overhaul. Part of the investment was in a sound reinforcement system for the opera house, for which Adamson’s installation-focused IS-Series, featuring architecturally friendly enclosures, was chosen.

“The key system requirements were a rider-friendly, small-format array from a recognisable brand offering even coverage and tonal consistency across all seating areas, exceptional clarity for speech and full-range performance with sufficient headroom for music around the 100dB range,” explained Mike Hughes, managing director of Auckland-based integration firm, Intec Systems. “Having completed a number of installations with Adamson’s IS-Series, we knew it was an ideal candidate for the job and set about designing the system.”

The Intec team, tasked with delivering a turnkey audio solution including custom-engineered hanging brackets, motors, rigging solutions, a bespoke control system and cabling and infrastructure, used Adamson’s Blueprint AV design and simulation software to model the space. This took into consideration the challenges inherent in the opera house’s age and architecture.

WORLD

Genelec has started what it describes as a ‘new era of sustainable growth’ by opening a new extension to its factory in Iisalmi, Finland. This will let the company increase its space, flexibility and efficiency for its warehousing and logistics operations while allowing consolidation of Genelec’s external warehouses to offer further improvements in the efficiency of material flow, lean manufacturing and reductions in waste and power consumption. The facility will also be powered by sustainable sources including solar, wind and hydroelectric energy.

‘We take our responsibilities to the local community very seriously, so we were really excited to see all the people involved joining forces with us to contribute to the eco-system here in Iisalmi in a sustainable and innovative way,’ said Annika Hujanen, development engineer at Genelec, who managed the expansion project. ‘The work was completed on time, on budget and to “With two steep balconies, it quickly became clear that single array hangs would leave large areas shaded by overhangs,” he added.

It was decided to split the arrays, with eight ultra-compact IS7 two-way, full-range enclosures per side flown high to cover the two balcony areas and an additional four IS7s per side flown low to cover the stalls. Four IS118 and six IS119 subwoofers handle the low end, with a pair of IS7px two-way, full-range point source cabinets for in-fill, and 10 PC5 point source cabinets split between front-fills and under-balcony delays.

The entire system was supplied by Adamson’s New Zealand distributor, Direct Imports. Control is via Intec’s custom solution, enabling single button push recall of amplifier data, the ability to isolate the balconies and a simple operation mode to

handle basic events without a mixing console or dedicated engineer.

Dane Fletcher, Toitoi’s technical manager, said the system has exceeded expectations.

“The theatre’s acoustics are amazing and the Adamson system makes the most out of it.

We had already heard the Adamson systems at Baycourt Theatre in Tauranga and Napier Municipal Theatre and we liked the sleeklooking PA. We thought that it would fit in with the style of our theatre, and it hangs perfectly.”

Toitoi was able to stage several productions following its reopening on 29 February before the venue’s temporary closure in mid-March due to the spread of Covid-19. Once it reopens, it plans to continue a proactive role in advancing the arts within theThe community a high standard. We’re really proud of what company has strate offering local organisations, environmental artists and issues a the entire team hasbyachieved.’ access to Siamak Naghian, technicians managing director at top-tier production important as profitabilit technologies.

Genelec, added: ‘For over four decades, consistent growth in bu total quality and sustainability have been catalyst for this factory www.adamsonsystems.com core principles of Genelec’s philosophy. has to be maintained su

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12 PRO AVL ASIA May–June 2020

July–August 2020 PRO AVL ASIA 29

NEWS: PROJECTS

Riedel MediorNet drives Christie Mirage brings digital video operation night sky to life at Miraikan JAPAN

JAPAN

The National Bunraku Theatre in Osaka has chosen Riedel Communications’ MediorNet real-time network to drive signal transport for its upgrade to all-digital video operations.

As one of six national theatres in Japan, the theatre is the country’s headquarters for bunraku, a traditional form of the Ningyō Jōruri Bunraku puppet theatre that emerged at the end of the 16th century. In addition to bunraku, the two performance halls stage other traditional arts such as buyō and Japanese musical concerts The new, all-digital industrial television (ITV) system incorporates three MediorNet MicroN high-density media distribution network devices and 15 SmartPanel App-driven user interfaces. The MediorNet devices enable agile routing of audio and video signals from eight cameras to various monitors in the control room, the lobby and the two performance stages. The SmartPanels have been configured with the MediorNet Control App to enable the technical and backstage staff to change video sources for each monitor with less latency.

“Distribution delay is the biggest challenge when considering solutions for a digital ITV system,” said Hideki Takaoka of the National Bunraku Theatre. “We chose MediorNet because it has infinitely less delay in video distribution and provides reliable, safe and accurate operation during a live performance.

We have been satisfied with MediorNet’s low delay and fast response that makes switching sources so seamless the naked eye can’t detect them. In addition, the system is easy to understand and manage, with settings that can be changed using the dedicated application.”

Added Takako Konishi, Japan sales manager for Riedel: “As our first theatre install in Japan, the National Bunraku is a showpiece example of the power, flexibility and reliability of our MediorNet technology for real-time signal transport. Once the theatre adds an Artist digital matrix intercom to its MediorNet system, the ITV and the communications systems will be completely integrated and create an even more user-friendly environment.” www.riedel.net

LG Electronics installs giant LED billboard in Gangnam KOREA

LG Electronics’ Business Solutions Company has recently installed its new extra-large, high-definition LED digital signage on one of Seoul’s most bustling streets in Gangnam.

An abundance of screens run through the centre of the Teheran-ro district, often referred to as Korea’s Times Square, which is designated as a free outdoor advertisement zone by the Government of Korea. Here, major entertainment companies, clothing brands and corporations vie for the attention of an estimated 100,000 pedestrians per day.

LG’s LED freestanding, double-sided billboard consists of two 10,000 nit displays, 21.8m x 12m (HxW), embedded in a 26m high structure. The custom-built, dual-sided display featuring pixels that are 8.3mm apart is located in front of the Grand InterContinental Seoul Parnas Hotel.

30 PRO AVL ASIA July–August 2020

LG oversaw the entire project from start to finish, including design and construction. www.lg.com

Miraikan, the National Museum of Emerging Science and Innovation in Tokyo, has adopted the Christie Mirage 4K40-RGB pure laser projector for its Dome Theater GAIA, which reopened on 3 June, supplied by Ushio Lighting.

In the Dome Theater GAIA, visitors can experience the universe through the screening of full-sky, super-high-precision 3D images and planetarium programmes. The 3D images aim to achieve a realism that evokes a sense of atmosphere and presence, while the planetarium programmes project around 10 million stars to create a finely detailed sky, to evoke the feeling of floating in space.

Konica Minolta Planetarium delivered and constructed the system, which provides the high-definition 4K resolution images and 3D experience sought by the theatre. The Mirage 4K40-RGB all-in-one 40,000-lumen projector combines a built-in laser light source and faithful image reproduction technology.

“Because the planetarium programmes are so delicate, it was important that the star imagery wasn’t outmatched by the 3D images and that they didn’t interfere with each other,” said Hiroyasu Muraishi from Miraikan’s department of museum. “The new Christie projector has achieved a natural ‘finish’ by relieving the stress caused by the difference in colour shades between the right and left eyes during 3D projection, which had been an issue of concern. It has also improved brightness and colour, so we’ll now be able to reproduce compelling visuals on a large screen. We have been able to reduce the number of projectors to two, saving us time as well as reducing costs, and allowing us to effectively utilise space.

In the future, when we update our content, I will be able to make effective use of this new infrastructure.” www.christiedigital.com

Inside the Dome Theater GAIA

Astera assists streaming at Floating Lotus Yoga AUSTRALIA

The Floating Lotus studio in Helensvale, Gold Coast, has turned to Astera Titan Tubes to light the premises for streaming its classes.

The business had just moved into new premises when coronavirus struck. Like many such facilities around the world, Floating Lotus moved to streaming its classes, finding that additional lighting was needed to keep the broadcasts looking professional. Astera Titan Tubes were recommended by, and sourced from, Australian distributor, the ULA Group.

“I needed good skin tones and lighting that added a subtle glow, not too harsh, just a very nice quality of light,” explained studio owner, Nalini Tebbey.

Six Titan Tubes are placed in an arc on the floor around Tebbey for a typical streaming session, programmed to a warm, tungsten white ambience. The studio is using the Titan Tubes floor stands to mount them on – one of several rigging and fixing options that they are supplied with. The lightweight

tubes are battery-powered, eliminating the need for cabling, and can be controlled from a phone using the Astera App. The ability to keep her business running via streaming and social media during the lockdown has been crucial, says Tebbey, who plans to continue online until the studio can reopen. Even then, reduced numbers will mean that streaming sessions to meet demand is still an option. www.astera-led.com

NEWS: DISTRIBUTION

PROJECTS FEATURES:NEWS: ENTERTAINMENT

PT Graciaseeks Auvindo TASCAM Newupgrades Digital Jakarta National Parliament Technology in Greater China

PAVT reviews distributor position

special attention had toTransmission be given to input – with a further adjustment to the Speech Index settings.

“Thetiles.

DM8000’s automode, mixer made possible bygain adding 650 carpet In banquet and feedback suppressor modulescorporate are 570 guests can be seated for cabaret performances, events and galas.easy to set up,” commented Halim. “The input levelsafor the auto can bestyles, Designed to accommodate multitude of mixer performance automatically and fed into a single fully retractable seating for 880 adjusted provided by Belgian supplier INDONESIA output, while the feedback suppressor Jezet allows concerts, banquets and cabaret-style theatre to be CHINA Forming perhaps its most prestigious and the removes frequencies hosted, with eachdetects seat facing stage. certain When not in use, these array speaker system in the Nusantara TASCAM selected NewAuvindo Digital Technology we’re currently planning,’ explained Matsuno. project tohas date, PT Gracia has before they become a problem.” seats condense into a 1.5m-wide space. hall. Primarily designed to provide both Holdings (NDT) as its new for China, ‘Some members of NDT have known us andMediorNet designed and supplied andistributor audio system for Thefibre DM8000 are daisy-chained A Riedel networkdevices is the basis for all AV even vocal coverage in addition to music HongJakarta Kong and Macau.

For almost(MPR/DPR).

20 years, our products for a long time and, transportation, since they the National Parliament to create a PC-based programming and will while AV facility panels installed

by Freedon playback to the entire audience, the project NDT has served as process a leadinginmultimedia specialise in video systems integration, Following a tender November control network scenario. via the Cat-6e enablewe every possible production Rathercabling than invest in was completed in early 2020. The upgraded integrator the Greater China region. know it’ll lead to a great synergy between 2019, theinteam was awarded the contract The DM8000 processors large inventories infrastructure. of audio equipment, the Coliseum has opted for solution stipulated that the wooden interior agreement, whichintelligibility was made between TASCAM and NDT.’ toThe enhance the audio within are digitally connected via incoming Ultranet network scaled-down, rider-friendly platforms to which operators fixtures within the iconic building could not ANZ NDT’s chairmanplenary and CEO Daniel Fung, its honouredset and excited about the further components the Nusantara meeting hall. Setting to the 40-input Midas Accordingly, M32 digitalsix console can add if required. channels be defaced or tampered An 80-linewith. manual fly system caters‘We forare world-class changes Production Audio/Video Technology general manager Fung and TASCAM’s new partnership with TASCAM,’ said Fung. Axient Digital itself apart from Rico the other five legislative and AES50 network to DL16 of Shure wireless were selected for16-in/eight-out their reliability Affixed to the walls on mounting brackets, (PAVT) ‘There’s has retired ClearOne general manager Yosuke Matsuno, ‘Leveraging over two decades of experience, I buildings in the complex, the mainwill stageboxes.

A secondary copper analogue and performance quality. littleas point amassing a huge 14 Tannoy VLS30 passive columns serve Communications’ master distributor for see NDT’s audioseat and of video team support look forward to further expanding mic the inventory, market ascabling 1,700-capacity government opened path has won’t been routed for redundancy most performers require extensive as the main outputs. Incorporating 14 Australia and Zealand aa TASCAM’s new by providing and working together with TASCAM. I am explains purposes. in 1968 and is product crownedreleases with a unique wingmiking,’ Henderson.

‘I’m New estimating thatfollowing 12 shows 3.5-inch LF woofers and 16 1-inch HF review of its positionand with inlarge its customers across the region with the latest optimistic about the Greater Chinayear market shaped roof. will require additional microphones weClearOne possess a drivers and measuring 1.46m in height, product information andsystems support.integrator PT and believe that TASCAM canensures bring suitable Working closely with enough the VLS30 model was primarily selected +3/–14° vertical coverage thatstock the of Shure SM75s and 58s for a 30-piece orchestra.

‘WeSolid were Mandiri, in need ofproject a partner who not products to usersenergies at different Giat manager Hendra also provide Shure PSM1000 in-ear monitors.’ for its asymmetrical vertical dispersion. “In electro-acoustic arelevels.’ notWe directed Lighting mirrors audio, with 16 Ayrton Mistral Profile and 10 only has thehis knowledge of our current audio Halim and colleagues oversaw the addition to covering a wide surface area on towards the ceiling or hard floor surfaces,” www.ndthk.com Ayrton products but alsoofisaable to expand thecolumn implementation Tannoy passive account of its 130° horizontal coverage, the explained Halim. “In addition, the slim,Laverne wash moving heads controlled from a grandMA3 www.tascam.com Lightdesign console. In the absence of a dimmer room, the lighting potential of the future lineup of products unobtrusive chassis fits the interior L–R: Rico Fung and Yosuke Matsuno fixtures receive their direct power straight from the grid. ‘While requirements of the hall.” Operating within the majority of other venues supply nothing, operators at the a 120Hz – 22kHz frequency response, Coliseum the VL30 columns are boosted by dual can build on this base should they require extended lighting fixtures,’ explains Henderson. Although a projector dBTechnologies Sub618 active subwoofers TAIWAN screen was initially specified, there are currently no video for musical playback.

Acoustic consultant Marshall Day recommended HK Audio has appointed Winly Corporation provisions, Following the trunking of cabling conduits,although the venue is future-proofed with an SDIfloor-to-ceiling timber panel strip absorbers and reflectors as its exclusive distributor for Taiwan. Winly infrastructure. companies scaffold towers were used to fixHDMI and integrated The Nusantara‘Rental plenary meeting can hall bring According to industry veteran Henderson, serves as a systems integrator and production market. in PAVT issimply currently negotiating withhe their own video equipment – we supply the nodes,’ terminatethis thewell-researched 20kg columns in their system makes L-Acoustics numbermodelled one in thelocations. market today. service provider, as well as a distributor, and theaddition ClearOne management team for a adds.

In to the extensive Televic Located in the rear ‘We still don’t know what entertainment will and work best of Added to this was the fact that systems Jands Venue take smooth release of stock support.

SD will range ofresponsibility consoles for supplying all of conferencing system, other audio inputs controlintegrator room rack, seven Lab.gruppen E12:2 as we areinclude hosting operas, classical Engineering could provide local support and servicing.

‘This power allcourse, HK Audio’s products including its Premium The distributor has issued a symphonies aballets, CD/MP3 player, a pre-existing dual-channel amplifiers 14 VLS30 ‘The and consultant countered that L-ISA perhaps a little premature was also a critical aspect of the decision and normally musicals,’ concludes Henderson the clockofticks down as they just “We PR:O COSMO ranges across theisregion. statement that itas ismicrophone proud itssystem four-channel wireless speakers overare 6Ωbased impedance. for‘We thewere market, and he a point,’ explains Henderson. ‘We’re to for thethe first run of and already performances.

These an hour away,’ he says. ‘In additiondon’t to rigging the loudspeaker looking for has a line of high-quality relationship with ClearOne; however, it twosold-out podiums equipped with wiredinclude recommend any processing pioneering L-ISA technology in Australia, Dame Urban, Tina Arena John Butler.

‘With the hangs, they have also installed theVLS30 lightingas bars and a flyoutstanding bar speaker cabinets and HK Audio offers so it’s our duty to believes that its and energy and resources Reflecting on the ambitious it displays sonicEdna, Keithgoosenecks. educate engineers who aren’t familiar with immersive audio Sydneyadded Opera House theatre renovations the next system with poles that are just 125mm apart.’

In linefurther with colouration,” exactly what we wanted,’ saidyetAndy Chen, can ser veundergoing the market elsewhere.

It the yet successful project, Halim notedforthat qualities without and fact that and the audience is part of the show.’ two and years, void forthe many symphony orchestras.’

McMaster’s recommendations, this was increased an 80-line CEOhighlight of Winly.the ‘Designed manufactured hasthe thanked directors and staf proprietary Ultranet protocol serves asfaof Halim.

“However,toowing to the size thewe’re filling Although L-ISA deployed live standards, on the spot, productions can Mayerl With the Coliseum’s debut, the gravitational pull of for Sydney’s manualofcounterweight two panorama bars. in Germany tocan the be highest quality ClearOne and its customers flexible and easy-to-use network thattheir serves architectural of this sensitive L–R: Andreas HK Audio andsystem Andy with Chen of powered Winly properties be and programmed in advance, making pre-production the same time, expansion the expectations of Acoustic consultant Marshall Dayroom, recommended theapply interior HKdesigned Audio’s product range covers many market t and them the best assuppor theAtbasis forwishes future whenfor we had to DSP.” CBD has been broken. and I amKlark convinced Winly will establishand audiences asegments. vital part of the process.

L-ISAthat Labswe in are London, Paris, Los operators alike will surely soar to new levels materials, strips that Teknik act asthat We are very happy the future.

Corporation on board as ourwhich new include partner.timber panel required.

Three DM8000 processors HK Audio well panels in the with market in Taiwan.’

Angeles New York, to asrepresent well as rental following an introduction to L-ISA. absorbers andinreflectors, acoustic on specific given theand opportunity thiscompany great warehouses When I visited the Winly team February with floor-to-ceiling have beenvery programmed delays www.dpr.go.id www.clearone.com and other premises with the necessary audio infrastructure, both sides of the stage that can beand adjusted according the speaker. The brand in Taiwan.’

2020, Ican was impressed by their approach gain control for to each www.pavt.com.au www.giat.co.id www.hkaudio.com beAndreas transformed intohead a pre-production studio, providedtothe speaker Enhancing venue flexibility, three modes have been Mayerl, of market development deliver only theperformance. highest quality in all their parliamentary meetings adopt awww.l-isa-immersive.com Televic 2 The panoramic view of the Nusantara plenary meeting hallThis from the upper levelfor control room www.graciaauvindo.com www.winly.com www.sydneycoliseum.com.au concrete slab – conferencing banquet, concert and theatre system has been designed and optimised in Soundvision. on the 620m at HK Audio, added: ‘It’s great to have Winly activities. isset a great match HK Audio microphone solution, so

HK Audio appoints distributor for Taiwan

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NEWS: PROJECTS

Amate fits out MI City CHINA

New music lounge, MI City, has been installed with an Amate Audio system supplied by regional distributor, Hong Kongbased Majestic Trading Company.

A total of 53 Amate cabinets have been installed into the 628m2 club. This encompasses six hangs of X210P line

alcoves either side of and behind the DJ position. On the upper floor, four JK15 twoway speakers and three JK218W4 subs have been installed.

“During the planning stage, we used EASE Focus to calculate the height and angle required to position and fly the

Alcons Audio selected for Chinese EDM clubs CHINA

array speakers flown either side of the DJ booth, with eight JK218W4 subwoofers aligned along the front of the club. Above the bar, delayed left and right hangs of five X210Ps each ensure coverage for the tables and seating in the area beyond the bar, with four more JK218W4s in delay positions, and 10 more in the boundary around the wider part of the room. Six X15LTPs provide coverage in booths and

X210P cabinets,” explained Majestic Trading Company’s team leader, Frankie Ma. “After installation, we used AFMG SysTune to fine-tune the system. At the end of it all, our client was very satisfied with the Amate Audio products and, in the future, they are looking to roll out the MI City bar brand throughout mainland China.” www.amateaudio.com

Alcons Audio pro-ribbon systems have been installed into two new clubs in China, the JX EDM Live clubs in Yulin and Wuzhou, respectively.

Owned by Chinese entertainment brand, JX Investment Group, the clubs are both large, high-ceilinged spaces that required the delivery of clean top end and powerful, driving low frequencies.

“In China, the EDM club market is very competitive,” said Locky Deng, marketing manager at Alcons Audio’s Chinese distributor, EAD, which supplied the systems. “They are using high-end speakers because customers want the best quality musical experience.

They chose Alcons because the pro-ribbon technology met their demand for the best sound and coverage.”

For the venues, which were both installed by Guangzhou-based Donbn Audio, EAD project design engineer Mr Kanon chose an Alcons pro-ribbon system of eight LR28 large-format, three-way, double 14-inch line array modules, installed as L-R main clusters. Seven VR12 mid-size, versatile 12-inch pro-ribbon monitors

cover the space behind the LR28 arrays, as well as for DJ monitors.

Fifteen BF362 high-output, double 18-inch subwoofers have also been installed, four as a main central bass cluster at the DJ booth and the rest in a symmetrical arrangement throughout each club. A BQ211 compact, highoutput 21-inch, quarter-wave subwoofer is also included in the main bass array. Systems at both clubs are powered and controlled by nine Sentinel10 amplified loudspeaker controllers.

Alcons SIS pre-wiring was used for system damping, keeping the output quality of each element as consistent as possible.

“EDM needs clean ultra-low frequencies,” explained Mr Kanon. “Combining the LR28, VR12, BF362 and BQ211 in the systems perfectly reproduces the music in hi-fi quality at concert sound pressure levels. The Alcons ALControl remote control software also makes setting up and monitoring the systems very straightforward.” www.alconsaudio.com www.ead.cn

Christie brings ancient Nanxun Old Town structures CHINA

Wincomn Technology has used Christie laser projection to bring a number of ancient structures in Nanxun Old Town back to life.

Located in Huzhou, a prefecture-level city in Zhejiang province, Nanxun Old Town has a history of over 1,400 years and boasts a large amount of well-preserved ancient architecture such as arched bridges, canals, narrow lanes and old houses.

Nanxun Old Town

32 PRO AVL ASIA July–August 2020

In order to promote the town’s timeless beauty and transform it into a nighttime attraction, the provincial government engaged Quansheng Li, lighting and artistic director from the North China Municipal Engineering Design and Research Institute, to put together an exciting multimedia show comprising digital projections, stage lighting, lasers, fog and water screen effects. The digital projections

are accomplished using 17 Christie GS Series and HS Series 1DLP laser projectors installed

by Wincomn Technology.

“Nanxun Old Town is one of the most authentic and tranquil water towns in China and we are honoured to be involved in this project,” said Tony Chen, general manager, Wincomn Technology. “Given the town’s historical and cultural significance, our priority is to preserve its original appearance and adopt a non-obtrusive technique of installing the projectors to ensure the integrity of all scenic spots, while delivering optimal visuals to visitors.”

Chen noted that environmental factors and visitors’ overall experience are considered when deploying projection equipment in a natural environment like this. “Not only do the projectors have to display life-like images and natural colour reproduction,” he explained, “they also need to be rugged enough to withstand high humidity and high usage, and yet operate silently without impacting the audience experience since they are installed at close proximity to visitors.”

Baijianlou projection mapping Christie’s GS and HS Series laser projectors met all the requirements and emerged as the ideal systems for this installation. The projectors are fitted in custom-built enclosures to protect them from inclement weather and to ensure stable operation over the longer term.

NEWS: PROJECTS FEATURES: LIVE SOUND

Pixera media servers update House of Dancing Water MACAU

AV Stumpfl’s Pixera media server systems have been supplied to the House of Dancing Water extravaganza, which takes place in a purpose-built theatre at the City of Dreams. They were supplied and installed consoles by local integrator, Cosmo Yamaha were used at 80% of the festival stages Pro AV, as part of an upgrade after a nine-year run for the show.

House of Dancing Water features high wires, a giant chandelier and a stage pool holding enough water to fill five Olympic-sized swimming pools, combined with dazzling costumes, special effects and daring acts.

“The old projection setup was manually aligned with a hardwarebased soft edge blending system,” said Cosmo’s Jason Yeung. “They wanted to enhance and upgrade the system so they would havefront-fill more in the Be One Hall Nexo PS15-R2s provided Nexo GEO M12 arrays in the Brava Radio Hall flexibility in terms of the content main PA consisted of 12 Nexo GEO and a cardioid subwoofer array playback and image quality.

In M12 speakers camera-based calibration software using 12 Nexo MSUB18 subwoofers, GEO M10made speakers up asto frontaddition, the traditional lamp-basedwith two from Vioso it aset breeze fills.

Powered by three of out Nexo’s NXAMP4X4Mk2 amps, using projectors were fading andlatest-generation calibrate the four units of Digital Dante connection with analogue-fallback activated, the system creating an unbalanced projection function Projection M-Vision Lasergave 18Ka safe, anti-dropout canvas.” performance. projectors. The areas where the ‘As an integrated consisting software, various The latest Pixerasystem models provideof prediction projection overlaps areinstallation almost accessories configurationsuch and monitoring solutions and for the Nexo helped a choice of and configurations seamless, ouramps, technicians us form fast yet workflow,’ comments Rizkythe Pohan from Peplus Audio. as Live aInput andaccurate camera-based even had flexibility to manually ‘The prediction DSP inside theadjust NXAMPtheir helped to minimise the calibration, assoftware well as and other curves to further negative effects, so we only needed to make minor adjustments to compensate features which proved ideal for this improve the projection canvas.” for the room acoustics. This time–cost efficiency is crucial for aAvio rental company. project.

Pixera’s built-in integration ‘Personally, like the of theto MSUB18 It “The PixeraI really servers’ 3D frequency response was used controlsubwoofer. the projectors sounded really full,capabilities even though it only has via a single 18-inch driver. Matching previsualisation TCP/IP commands, as wellthe as sub’s crossover with the GEOtoM12 configuredthe withschedule built-in presets. allowed the content team testcan be easily synchronising to the Choosing the right cutoff point for the application in the venueand wasevent really quick.’ video content prior to being actually daily operations calendar Peplus Audio DSSinto Sound considered Yamaha rental partners deployed and and loaded theSystem areof the House of Dancing Water’s as both have anYeung. inventory of CL series, with DSS the first system,” said “For usand as QL mixer performances.

Thebeing servers were Rivage PM7 integrator, system owner the country. Nexo andwith amplification a systems theinsingle alsospeakers configured an audio were supported by YMID with additional items supplied from IM Solution, one of Indonesia’s Nexo dealers.

Almost 80% of the stages were using Yamaha digital mixing consoles for FOH and monitor control, demonstrating the degree of acceptance that these systems have in the Indonesian market. Other Java Jazz rental companies providing Yamaha consoles for the festival included Soundworks and Total Audio. A Rivage PM10 installed on indoor the opposite bank and a PM7 digital mixing system were stationed in two halls, the TopofCoffee waterway to deliver and and Be One stages respectively, while the the outdoor Java Jazz stage bright was equipped These include imagery with a PM7. Eight Yamaha CL5s and a TF5vivid werevisuals. provided for FOH and monitor depicting the everyday lives offor locals, duties across the other stages, with a Yamaha CL5 provided specifically the andJazz’s traditional performance of the all-star Yamaha Music dragon Project boat in oneraces of Java headline weddings. Visitors can enjoy the shows.

‘I am very grateful for the work put in by Yamaha MusikasIndonesia projections they sailDistributor along the and its partners during this festival,’ says Joe White, Nexo’s waterway in smallregional boats.business Over at development manager. ‘The Java Jazz festival is oneBridge, of the visitors most prestigious events Tongjin are treated to in the Southeast Asian events calendar, anda our GEO M12 mid-size lineshowcases array being water screen show that utilised on two of the festival’s stages exemplifies wide of the GEO imagesthe such asacceptance swimming koi fish.

M12 system within the region as a whole. The M12 system, power-toMeasuring 28m xwith 7mits (LxH), Tongjin weight ratio and ease of use, clearly meetsBridge many ofisthe rental therequirements largest stonethat arch companies have in this region. It is why we bridge are veryinmuch looking forward working Nanxun Old Town andtoknown hand in hand with YMID to further strengthen of oursemi-circular GEO M PA solutions forthe its reach distinctive design. within the rental and the installation market.’

Visuals displayed beneath the bridge Yamaha also had a booth at the festival, showcasing itsbymusical instruments are powered D13WU-HS laser by staging various live performances which were amplified by a pair of Nexo’s new P12 projectors. point source speakers plus four new Nexo L15 handleofthe Thesubs endtoresults thebottom show end.

Among the Java highlights of the ‘This year’s Jazz event was very special us,’ concludes Hirai. ‘Delivering havefor exceeded expectations, with show are natural jazzdigital soundprojections is somethingonwethe do especially it’s a win–win officialswell, andso visitors lauding itforas an façades ofWe thethank famous or users everybody. our Baijianlou rental partners, and dealers for supporting us,and and “astonishing amalgamation of art “100 Houses Complex”, spanning for being appreciative of how Yamaha consoles and Nexo systems performed technology thatPA gorgeously revitalised fleet of GS Series over 100m. during the JJFAevent.’ this ancient water town”.

DWU850-GS and DWU1075-GS www.christiedigital.com www.nexo-sa.com projectors are strategically

back to life

interface to allow playback to be patched into the lobby’s BGM system.

“We were surprised at how well the system handled this image distortion,” continued Yeung. ‘There were no major issues, which allowed us to create a seamless projection canvas in matter of 10–15 minutes.”

The other key element of this project – the Digital Projection M-Vision Laser 18K projectors – also require minimum maintenance, as per the overall project brief.

“One of the advantages on this job was Pixera’s ability to be used for the design, integration and final output of the project,” concluded Yeung. “It was a ‘one-stop’ solution for Cosmo from start to finish. Its previsualisation also played an important role in the ‘sell’ of the project, as it helped to present the projection setup in a professional, yet easily understandable, manner.” www.avstumpfl.com

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www.yamahaproaudio.com

May–June 2020 PRO AVL ASIA 33 53 July–August

NEWS: PROJECTS

Genelec collaborates on ambient surround sound project CHINA

Robe fixtures light up the artists performing on Delivered Live

Robe and Astera are Delivered Live

Genelec has partnered with record label Sound Blanc, part of the Modern Sky music giant and a proponent of ambient music in the country, to stage performances of The Cycle, an ambient surround project at the Ullens Centre for Contemporary Art (UCCA) in Beijing.

AUSTRALIA

Rental and production company Harry The Hirer Productions has teamed up with the Government of Victoria and Handshake Management to produce a weekly music and comedy performance, Delivered Live, livestreamed from Melbourne. Delivered Live’s lighting designer Marcus Pugh from Harry The Hirer has been using Robe for the webcast.

The show provides some much-needed financial support to artists, crew and technicians, as well as live entertainment and positivity, during the nationwide lockdown, which is resulting in an almost complete shutdown of the live performance industry.

Delivered Live goes out from Harry The Hirer Productions’ production and demo area, The Studio. The webcasts draw on the company’s recent investment in Robe fixtures, which

includes 24 Esprites, 24 MegaPointes and two RoboSpot systems purchased from Australian distributor, Jands. All Delivered Live’s audio and LED screens are also supplied by Harry The Hirer Productions, with cameras and operators sourced from Small Time TV. A grandMA2 light console is being used for the show’s lighting control.

Meanwhile, Astera Audio lighting, supplied by local distributor the ULA Group, is helping to mark out personal spaces for the bands and comedians. A variety of lighting fixtures including the Astera AX1s, Astera AX3 LightDrops and AX5 TriplePARs are being used to light the webcasts, streamed every Saturday evening. The event operates within strict social distancing guidelines, with a maximum of 10 in the 250m2 studio at any time. A bespoke stage offers separate areas for bands and comedians, each with their own personal space marked out with AX1s.

“The beauty of using them for this important task as a visual barrier is that they can also be fully incorporated into each performance as a lighting element,” explained Pugh. “Being wireless is an absolute perfect solution for this scenario in a relatively confined stage space: no mess or fussing with cables.”

Astera AX1 light fixtures help with social distancing on Delivered Live

www.astera-led.com www.robe.cz

The ring array of Genelec speakers For the three performances, both performers and audience were surrounded by a ring array of Genelec loudspeakers to create an immersive environment. Modern Sky’s demonstration space was used to evaluate how audio elements combined and moved, and what type of speaker configuration would be best-suited to the ambient material. The creative team included electronic musician Wang Lu, also known as L + R; music producer/mixer Shen

The Genelec and Sound Blanc team

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Lijia; and visual artist Tami-musiXgal, working alongside Genelec China. A system comprising eight S360 high SPL smart active monitors and a 7382 subwoofer was used to surround the audience, while a smaller smart active array of four 8330 two-ways, four 8331 coaxial three-ways and a 7360 subwoofer was used to envelop the musician and the VJ. Genelec GLM software was then used to analyse the room and optimise the frequency response, distance delay and playback level of each speaker in the system, delivering an optimum listening experience to both performers and audience.

Listeners were able to position themselves comfortably within the speaker array to experience the sound quality for themselves.

The pre-programmed foundation of the 8.1 audio mix – combined in the performances with real-time musical improvisation – was handled by Ableton Live, with Cycling 74’s Max allowing communication with external hardware instruments.

After the performances, Genelec expressed its excitement at playing a role in the growth of immersive audio and multichannel live performances. www.genelec.com

NEWS: PROJECTS

Indian cinemas upgrade with Harman INDIA

ABR Cinemas in Gudivada

The Century City Cinema in the Punjab

The DM Cinema in Aizawl

Located in Gudivada, Andhra Pradesh, three of the screens at ABR Cinemas have been upgraded by integrator Digital Sound System with JBL loudspeakers and Crown amplifiers.

The Audi 3 theatre has been converted to a 32-channel Dolby Atmos screen, with an L-C-R system of JBL 5732 ScreenArray speakers, JBL 4642A dual-driver subwoofers and JBL 4641 subwoofers providing low-frequency support. Digital Sound System mounted JBL 9310, 9300 and 8320 cinema surround loudspeakers on the walls and ceiling to

ensure consistent coverage, and the system is powered by Crown DSi 4000, DSi 2000 and XLC 2500 amplifiers, with a Dolby Atmos CP850 cinema processor for system control.

In the Audi 2 theatre, Digital Sound System installed a 7.1 cinema audio system featuring JBL 4732 ScreenArray loudspeakers in the L-C-R positions, with JBL 4642A dual-driver subwoofers and JBL 8320 compact cinema surrounds. The system is powered by Crown DSi 4000 and DSi 2000 amplifiers and controlled by a JBL CPi2000 cinema processor.

A more compact 7.1 system has been provided for the Audi 1 theatre, featuring L-C-R JBL 3732 ScreenArray loudspeakers, again with a JBL 4642A subwoofer and JBL 8320 cinema surrounds, Crown DSi 4000 and DSi 2000 amps and a JBL CPi2000 cinema processor.

In the Punjab, two screens at Century City Cinema have also been installed with Harman cinema solutions. “We designed a cuttingedge audio system that includes JBL 4732-T loudspeakers and JBL 4642A high-power

subwoofers along with JBL 9300 cinema surround speakers,” said Asad Rashid, owner of Cine Tech Engineering Works, which handled the project. The systems are powered by Crown DSi Series amplifiers and controlled via a JBL CPi2000 cinema processor.

CineTech Engineering Works has also installed a JBL Professional cinema audio system into DM Cinema, the first picture house in Aizawl, in the far northeast of the country. Seating up to 140 with a 2K projection system capable of showing 3D films, DM Cinema provides an immersive experience for moviegoers. The system consists of JBL Professional C222 compact cinema loudspeakers as the main L-C-R system, along with 4642A cinema subwoofers and 8320 cinema surround speakers, powered

by Crown DSi amplifiers. A JBL Professional CPi2000 cinema sound processor provides staff with a user-friendly means of controlling the system. www.harman.com

Japan’s Toei Studios upgrades with Meyer monitoring JAPAN

Toei Studios in Kyoto has upgraded the monitoring in its premier screening room with a Meyer Sound cinema system. With 42 seats for screenings, the facility can be converted to a dubbing stage by replacing a few seats with a mixing console.

Meyer Sound’s Acheron Studio fullrange loudspeakers handle the three screen channels, with the LFE programme reproduced by three X-800C cinema subwoofers. This system is driven by a single Galileo Galaxy 816 network processor, while 10 self-powered HMS-5 surround loudspeakers complete the system.

The screening room is part of Toei Studios’ busy Kyoto postproduction campus that includes Foley, ADR and editorial facilities, which produce Japanese language films and television programmes, mostly for domestic distribution.

“We strive to convey the sound as originally intended in the production, and we’re proud that now the sound heard at the dubbing stage can be fully reproduced in the screening room,” said Shinichi Yokoyama, director of the postproduction centre. “I had listened to a Meyer Sound system at Warner Bros studio a few years ago and I very much liked the clear and direct sound quality, particularly with

Meyer Sound’s Acheron Studio speakers the English dialogue. I thought the system would convey that same clarity for Japanese dialogue. We now have better sound isolation and intelligibility. We have had very good responses from all our audio people, including the recording engineers.”

Headquartered in Tokyo, the Toei Company is known as one of the “big four” film studios in Japan, also operating movie theatres and holding interest in television companies. www.meyersound.com

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NEWS: PROJECTS

The PA People updates Sydney Showground Stadium AUSTRALIA

The PA People has completed a long-term project to design and install a new sound system at Sydney’s Showground Stadium. The two-year upgrade culminated with the opening celebration for the T20 Women’s World Cup cricket tournament, for which The PA People also delivered an audio and communications package. The stadium underwent a major refurbishment in 2013 that added two new grandstands; however, replacement of the original grandstand sound system was outside the approved scope of works. But, given the profile of the T20 World Cup, the RAS Capital Works and Assets teams sought options for the upgrade. The PA People was engaged after submitting an acoustic model and preliminary design to meet performance criteria and structural loading requirements of the existing grandstand roof.

The design is based around the Bose ArenaMatch constant curvature line array consisting of 11 clusters of three 100° x 40° cabinets, plus two fill cabinets to cover the area between the new and old grandstands, powered by Bose PM8500N eight-channel amplifiers connected to an existing Biamp Vocia DSP system, with a Yamaha QL5 console for FOH and two RIO1608 Dante I/O boxes.

Each cluster is suspended from a custom bracket fabricated by The PA People so speakers can be lowered for maintenance without special equipment. “Each cluster hangs vertically from a beam which is inclined in two directions; every mounting bracket for the clusters is unique,” commented Ross Ford, project manager for the RAS upgrade.

The PA People was also appointed as audio and communications supplier for the T20 opening ceremony, with event Producer

The opening ceremony of the T20 Women’s World Cup Michael Cassel Group looking for an audio system to provide low-frequency performance and even coverage to the stands, in combination with the elevated clusters in the new installed system. Each of the 10 carts distributed in front of the grandstands featured a three-element Bose ShowMatch array with

two 18-inch subwoofers, powered from an on-board Linea Research 44M20 amplifier.

In-fill between the carts was provided by Bose LT9702 cabinets, and the entire system was time aligned with the two upper cabinets in the installed arrays, providing even coverage and a focus on the field of play.

The FOH system was controlled on a Yamaha PM10 and Genelec monitors, with a pair of Mac Mini-based QLAB machines for playback. “The Linea Research amps and Yamaha consoles all feature native Dante connectivity,” commented Sam Dodds, systems engineer for the project.

“Apart from the use of Yamaha’s RPIO stageboxes and its TwinLAN protocol, pretty much all of the system used Dante.”

A Yamaha PM7 console was used as monitor console, with inputs from eight Shure UHF-R Beta 58 radio mics as well as tracks from FOH, generating mixes for two channels of Shure PSM1000, six channels of PAP Level 2 IEM systems and a feed for the mass cast dancers using proprietary FM packs. A comms system to cover the arena and rehearsal space comprised a Clear-Com HX Matrix intercom system with 12 key stations across all three locations, 10 Clear-Com HelixNet partyline beltpacks, 20 FreeSpeak II full duplex packs across the arena itself, eight channels of interfaced twoway radios with 50 handsets and a time code display system. The HX Matrix was fitted with a Dante network audio card to share sources between FOH, monitors and comms. The entire audio and comms infrastructure was built on a common 10GB Ethernet backbone, which also provided a connection point for the FreeSpeak II IP Transceivers at any network switch.

“The PA People have come up with a solution that has already met, and we trust will continue to meet, our needs for the next 15 years,” concluded RAS head of project development, Jonathan Seward. www.au.yamaha.com www.papeople.com.au www.pro.bose.com

Yamaha trials Remote Cheerer for sports applications JAPAN

As competitive sports return “behind closed doors”, the issue of all-important fan support is being addressed by Yamaha.

The corporation has trialled its Remote Cheerer powered by SoundUD system at the 50,000-seat Shizuoka Stadium ECOPA at a match between two of the country’s professional football clubs.

Crowds play an essential role in sports but, for the foreseeable future, games will need to be played without supporters present. So, Yamaha has collaborated with the Júbilo Iwata and Shimizu S-Pulse football clubs to field-test the new system in one of Japan’s largest stadiums.

Remote Cheerer powered by SoundUD allows fans taking in a game on TV, radio or livestream to have their audible support broadcast at the venue. By tapping buttons on a smartphone application, applause is delivered via speakers placed around the pitch, court or course, with fans able to choose the part of the venue where their cheering is coming from.

For the inaugural test, the first time Remote Cheerer had been trialled at an outdoor venue, 58 speakers were placed around Shizuoka Stadium, with participants

36 PRO AVL ASIA July–August 2020

in multiple remote locations outside the stadium sending cheers, applause, booing, club chants and other audible support via the app.

“At one point, I closed my eyes and it felt like the fans were right there in the stadium with me,” said Keisuke Matsubayashi of the sales and planning division at Ogasayama Sports Park ECOPA, which manages the stadium.

The system can be used to enhance the interactivity of any event, as Yuki Seto of the SoundUD Group, Cloud Business

Department at Yamaha Corporation, explained. “As well as spectator-less matches and those with reduced seating, the system’s new patent-pending technology means people enjoying live concerts, sport, lectures and other events via TV, radio and livestreams can use compatible apps to provide their sounds of support at the venue – even if, for example, they live overseas,” he said.

“Yamaha will continue developing the system, to help create an environment in which people can enjoy events safely during both normal circumstances and unprecedented times, like those we are in today. We look forward to continuing to work with not only leagues, clubs and stadia, but players and supporters to further improve the system.”

Junpei Takaki of the sales division at S-Pulse added: “As a former professional football player, I know how emboldening the support of the fans is to the players on the field. We are eager to continue assisting with the development of the system.” www.yamaha.com

PRODUCTS NEWS: PROJECTS

Dante supporting video SoDrama!

Entertainment upgrades with Lawo Multichannel Dante audio interfaces SINGAPORE AUDINATE’S DANTE AV Module Media company So Drama! supports one video channel and Entertainment has installed two of eight uncompressed bidirectional its radioaudio stations – PowerA98FM Dante channels. video-and Jia 88.3FM – with a to combination capable extension Audinate’s of Lawo’s physical and virtual audio-over-IP ecosystem, the Dante radio mixers.isThis is the aimed first radio AV Module primarily installation in Singapore with virtual at manufacturers developing mixing technology,products and the second 1G video-over-IP with in Southeast Asia.transport and Dante control, “SoDrama! has been a Lawo synchronisation.

Its architecture is customer for years, we are codec-agnostic, so and manufacturers very that they decided to havepleased free rein. partner with us to upgrade The Dante AV again Product Design their facilities,” says Lawo’s Boon Siong Suite, developed for use with Tan, sales director, Southeast Asia. the Dante AV Module, provides “Along with the opportunity to renew manufacturers with a full AV-overthe equipment, So Drama! also IP endpoint product design.

The wanted to Module rethink and upgrade studio Dante AV is incorporated workflows so that Design show production into the Product Suite and was smoother and moredocuments intuitive for includes the hardware younger presenters.

Thetocombination and software needed create fully of traditional physical mixingand desks interoperable AV products to with context-sensitive VisTool virtual mixers satisfied everyone’s 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.

Lawo VisTool Unlimited GUI builder software was used to build virtual mixer interfaces, allowing the

speed up the process of getting a new solution to market. intoPIX’s JPEG 2000 codec, which supports 4K/60 4:4:4 video, is

it travels across connections by implementing HDCP (High-bandwidth Digital Content Protection).

JPEG 2000 allows Dante AV to create 4K multi-screen environments, distributing audio where required, and deploy and manage videowalls using Cat-5e cables and switchers. It simplifies the installation and use of conference rooms that make use of both video and audio. ‘Although the Dante AV Module is designed to be codec-agnostic, we felt it was in the best interests of our OEM customers to have the codec already integrated as part of the Dante AV Product Design Suite,’ explained Lee Ellison, CEO of Audinate.

included in the Dante AV Product Design Suite, said to offer ‘visually lossless results with low latency over a 1Gbps network’. The design www.audinate.com suite also prevents the copying of www.intopix.com SoDrama!

Poweras 98FM studio digital audioSingapore’s and video content creation of intuitive mixing control 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 devices on the same touchscreen as mixing controls. At Power 98FM and Jia 88.3FM, the VisTool screens control the operation of the RCS playout system, provide mixing

controls, and can act as a primary mixer SONIFEX HAS released a series AVN-A108 allows for eight should thewhile deskthe need servicing. of new Dante audio interfaces Mixing and analogue audio andbyeight audio I/O areinputs handled an analogue audio outputs. to convert balanced analogueexisting Lawo Nova17 central core Packaged 512x512 digital router. This has been expanded with additional I/O cards to handle new external sources, such as bringing phone lines into the routers and providing external outputs to new IP codecs. The monitoring system AVN-AIO4 and AVN-A108 has also been expanded so that the entire workflow, from studio to transmission, is now automatically monitored and controlled by the Nova17.

“One big benefit for SoDrama! was the cost savings realised by upgrading existing Lawo in asays 1U form both audio line inputs and outputsequipment,” to Tan. factor, “Nova17 is ainterfaces very use Neutrik connectors, are Dante AoIP for integrators andflexible engine and canXLR easily be upgraded AV professionals. The AVN-A104 with Dante Their AES67 and to currentcompliant technical standards. original multichannel audio interface investment use PoE for power. is still helping in Lawo technology provides four analogue audio them inputssave, 10 years later.” www.sonifex.co.uk and four analogue audio outputs, www.lawo.com

The sound of the 1970s

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1/2 PAGE Island

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 fully variable bandwidth for the linear power supply with voltage parametric mid-bands. Switchable selector switch and a rugged steel slope and low peak allow users to chassis. adjust the focus and magnify the Meanwhile, the new 1976 stereo bottom end, while indented and three-band saturation and width accurate potentiometers are said processor is a nod to the DC2476 to offer improved precision with digital master processor. Suitable faster recall. The 1974 claims to for recording and live sound, it be ideal for tonal shaping while offers analogue saturation over ‘staying true to the sound of the three bands. The stereo width of 1970s’. the lows, mids and highs can be The frequency controls offer adjusted to add ‘real presence a cut and boost of ±12dB. and depth’ to a mix, according to However, unlike EQs with no the manufacturer. A single, yet bandwidth adjustment or a simple comprehensive, set of controls switch, the two mid-bands have provide stereo operation. variable filter bandwidth controls www.drawmer.com enabling the user to focus in SoDrama! Singapore’s Jia 88.3FM studio

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July–August 73 July–August 2019 2020 PRO PRO AVL AVL ASIA ASIA 37

NEWS: PROJECTS

CEDAR Audio cleans up Australian radio archives AUSTRALIA

Grace Gibson Productions is offering radio stations free broadcast rights to its archive of half-hour radio serials, which have been cleaned up and digitised using a CEDAR Cambridge audio restoration system.

Supplied by CEDAR Audio’s Australian distributor, CDA Pro Audio, CEDAR Cambridge has been instrumental in the production company’s initiative to supply the serials free of charge to help people in isolation during the current pandemic.

“We were the largest producer of radio soaps and serials in Australia before television became commonplace,” said Grace Gibson Productions’ owner, Bruce Ferrier. “As a result, we have a huge library of wonderful radio serials and self-contained

stories, some of which have been lying dormant for decades. The dust just kept building up on these wonderful 16-inch, 12-inch and 10-inch radio transcription discs sitting on the shelves in our archives.”

Despite the advent of digitisation and compression technology to help make the collection more accessible via a CD or download, Ferrier’s library was still plagued by crackles, pops and surface noise. “A lot of the damage had occurred because radio transcriptions were shipped from one station to another by mail, coach or train,” he continued. “After broadcast, they were boxed up and sent to the next station without much care. The result was very big crackles, pops and extraneous sounds, making the audio unlistenable for a modern audience that is used to, and expects, excellent sound.”

CDA Pro Audio’s Rick Dowel introduced Ferrier to CEDAR Cambridge, and he quickly became a proud owner of the system. “I was now able to restore our wonderful shows with no clicks, no pops, but with the audio still retaining the crisp, sharp striking of a match as the private eye lights up his cigarette or the impact as he punches out a criminal down some back lane late at night,” he said. “What I didn’t realise was that CEDAR would become the single most critical factor in being able to give new life to our library of old radio serials, turning them into living adventures without the noises that used to drive me to distraction.

Today, many hundreds of titles have been processed, and it’s the most important ‘silent partner’ in the rebirth of these great radio plays and serials.”

Grace Gibson Productions’ owner, Bruce Ferrier

www.cedar-audio.com www.gracegibsonradio.com

Sony equips 4K OB truck for Taiwan’s MOMOTV TAIWAN

Sony has worked closely with digital TV broadcaster MOMOTV to build and equip a 4K OB van for sports content, as dedicated sports channels see an upswing in the country.

Apart from holding exclusive broadcasting rights, the only way for Taiwanese TV stations to gain a bigger share of TV sports action is to either stream more live matches or upgrade production quality, and Taipei-based MOMOTV decided to do both. Owned by the Fubon Group, MOMOTV first started broadcasting in 2011 covering a wide genre of programmes, including news, lifestyle, entertainment, kids and sports.

“This is our first 4K OB van,” said Super Chang, director, field production centre, MOMOTV. “MOMOTV worked closely with the Sony team to build and kit the OB van in record time. By expanding our live 4K capabilities, we hope to stay ahead of the game and continue delivering top-notch quality to our viewers.”

Among the Sony solutions acquired by MOMOTV are the HDC-4800 4K/HD ultra high frame rate camera system, HDC-4300 4K/ HD studio camera, XVS-8000 and XVS-7000 multi-format switchers, PWS-4500 live

production server and BVM-X300 4K Trimaster ELTM OLED critical reference monitor. The broadcaster also invested in two HDC-4800 4K/HD ultra high frame rate camera systems for its live baseball and basketball coverage.

“Sony has an excellent track record in supporting TV stations from start to finish,” added Chang. “In the 4K arena, they stand out with a wide range of solutions tailor-made for our current and growing needs. The Sony HDC-4800 is the ultimate camera for sports coverage. This high-speed camera allows us to capture dynamic sports action with ultrasmooth slow motion.”

Although MOMOTV will use most of the Sony equipment for its live coverage of the Chinese Professional Baseball League and the ASEAN Basketball League, it has the flexibility to deploy the equipment for events and studio use. “Our main goal now is expanding our 4K sports content, but we will certainly use our new Sony equipment for medium- and largescale production events too,” said Chang.

“Together with our new OB van, MOMOTV is ready to map out a new journey in 4K.” pro.sony

Korea’s EBS meets demand for educational streaming with AJA Helo KOREA

The Educational Broadcasting System (EBS), responsible for delivering informative and educational content to the public, has made its content accessible to local children daily on the EBS Learning YouTube channel, giving students the educational tools they needed while public schools were closed. Each livestream is powered by an AJA Helo H.264 streaming and recording device.

Affiliated with the Korean Broadcasting System (KBS), EBS runs two terrestrial and four cable stations using four large studios and 16 e-learning studios. It has used AJA Helos to support YouTube streaming since 2019 and invested in additional units when it came to upgrading its facility in early 2020. Helo has now been integrated into 10 of EBS’ e-learning studios to support livestreaming to its website

38 PRO AVL ASIA July–August 2020

with its excellent features and quality,” said Suk Joong Kim, head engineer, EBS. “As EBS is a public service broadcasting station, we have to be fully dedicated to producing high-quality programmes and we must always pay the utmost attention in selecting the device and equipment. This time, we could adopt Helo again for our facility renovation without any hesitation. For the time being, EBS will strive to cover the deficiency of the school education system raised by Covid-19 by collaborating with the main domestic portals and IPTVs. Henceforth, EBS will continue to dedicate itself to the development of public education and support lifelong education in Korea.” and YouTube, connected to a Sony PMW-EX3 camera with a wireless micro multiplexer.

“We’ve been using AJA Helo since 2019 and it’s been really helpful for our broadcasting

www.aja.com

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BUSINESS: SPECIAL REPORT

2020 vision

In a year that will change the way we live and do business, Phil Ward takes a global look at how the AV industry is responding and diversifying to the Covid-19 pandemic STRANGE TIMES. WITH LIVE EVENTS ON HOLD, THE whole world has been streaming. Or rather, a combination of streaming and conventional broadcast. In an eerie chamber, presenters spaced 2m apart introduce something with a little too much cheer. This turns out to be a solo performance by one exposed pop star or another, all of whom in pandemic mode have for some reason chosen a really honky-tonk vintage piano. OK, they’re probably at home and the piano tuner is self-isolating. Never mind.

Cut to split-screen: ah, it’s a band. Or a choir. This challenges synchronicity, but the spirit is there in abundance, especially when you consider that most of the revenue is going to a charitable donation for medical services or infrastructure. In fact, and with much irony given Donald Trump’s scapegoating in the direction of the World Health Organization, one US “stream-athon” in April raised $128 million directly for… the World Health Organization.

This was Together At Home, a TV fundraiser organised by anti-poverty charity, Global Citizen. As we’ll see, the citizens of every sector of entertainment technology are now truly global.

Stage left In terms of resourcefulness, the AVL industry comes a close second to the Armed Forces. For technical accuracy, it’s probably outshone only by space exploration, Formula One and – rather appropriately – medicine. So, there is serendipity in the revelation that US-based full-service company Clair Global has been deploying its IT, networking and communications resources at several disaster relief centres in Pennsylvania and beyond, just as it would at regular events that call upon its emergency contingency planning. Local partner Mountain Productions has been on the frontline with its all-in-one disaster relief structures and temporary medical facilities, and the availability of Clair Global’s LAN/Wi-Fi connectivity, prefabricated office suites, network monitoring, network security and voice comms has made a world of difference.

In the UK, similar ministrations have been afforded by DeltaLive, a major player in worldwide events recently acquired by French market leader L-Acoustics with a particular brief to expand immersive audio applications.

DeltaLive handed more than 500 Motorola walkie-talkie radios – normally reserved for film, TV and sports events – over to the intensive care units of four London hospitals as the pandemic hit a peak, for staff to coordinate the unprecedented throughput of so many patients. “As the NHS continues to work away tirelessly to battle the coronavirus, we were incredibly proud to do our bit,” says DeltaLive director, Mark Bonner.

This keeps some of the crews on their toes, but it’s no future. India is feeling the pinch just like everywhere else, wondering when and how production can get back to full capacity, and at tour sound and events supplier Sound.com, founder MD Warren D’souza is on full alert.

“We can resume operations immediately with a smaller team, as 50% of our workforce have gone to their respective villages,” he reveals. “We have a team in Mumbai ready to get back to full-scale operations; however, there isn’t a single enquiry for a job currently. We have worked on all the procedures required for operations to resume, but we don’t have any control over developments. It all depends on government decisions: we can’t even get to our office premises at this stage. It’s an issue, especially in Mumbai, which has a large population and many confirmed virus cases compared with other parts of the country.”

40 PRO AVL ASIA July–August 2020

Clair Global has deployed IT, networking and communications resources for disaster relief “The roadmap for the current crisis is tough, but we need to star t with small steps to get our rental industr y back on track,” adds Santana Davis, MD of J Davis Prosound & Lighting (JDPSL). “Ever y countr y needs to create a separate health and safety depar tment with guidelines to run an event. Any event needs to meet this approval and get the go-ahead only after this depar tment has personally checked all the measures onsite.”

JDPSL is in talks with event companies, the hotel industr y and venue owners to arrange trial setups of strictly corporate events in preparation for a return to real life. “All the measures taken – infrastructure, venue management and our technical input – could be filmed to show what precautions would be taken,” Davis says.

“This video content could be used to spread the plan across the industr y and show to government officials as evidence of the steps we as an industr y would take to conduct events.”

Site registration would happen online instead of onsite, Davis suggests, while all entr y and exit points would need to be properly handled. Corporate events of this kind should avoid ser ving alcohol, so reducing the likelihood of people coming into close contact with each other. “Even if they do ser ve drink,” continues Davis, “they need to have detailed plans in place of how they would take precautions. If it’s not safe, it should be completely avoided.”

As far as public concer ts are concerned, Davis is even more cautious. “It’s quite difficult to have large gatherings until we find a vaccine – maybe the drive-in concept could work for the moment. But we could have smaller, outdoor shows or concer ts, restricting the audience based on the size of the venue and with proper markings to maintain social distancing – standing or seated. And we cer tainly need to find ways to ser ve people onsite that avoid any human interaction, using technology like smar tphones to pay for ser vices and collect goods.”

Park life The drive-in concept mentioned by Davis is not fantasy. In Denmark, a car park in Aarhus has been rebranded as the P-Scene concert venue, where LED screens support live per formances but no PA – audio is broadcast on an FM

Tupelo Music Hall is using Meyer Leopard line arrays for its drive-in gigs

A BUSINESS: SPECIAL REPORT

Q

A Sound.com’s Warren D’souza

Q

JDPSL’s Santana Davis

Warren D’souza of Sound.com and Santana Davis of JDPSL sum up life under lockdown as India rides out the pandemic

A

What does your regional “map” of business disruption look like?

How far does installation compensate for lack of live events?

What support are you able to give to emergency or health services?

WDs: I think Mumbai is yet to peak in the number of cases and only when people realise that we have to live with this virus do I see things coming back to normality.

WDs: It’s difficult at this stage as we do not have an installation arm and that segment will have no place for a new player when there is already a shortage of work and cash, with projects stalled.

WDs: The only support I can currently see is that we are safety compliant as an organisation first.

SD: In India cases are rising but the recovery rate is the highest in the world. This will help us to take some positive steps in opening up business. Without any business, people are going to suffer more than from the virus itself.

SD: Installation of government or private projects may get the go-ahead. Right now, everything’s at a standstill and I’m assuming it will take at least few months for things to get back to normal for any installation project. Sales may take even longer. Once events start happening then slowly things will improve.

signal to the amassed car radios. In the US, Tupelo Music Hall in New Hampshire has gone one further by flying Meyer Sound’s Leopard line array for drive-in gigs, raising a uniquely new audio issue: with these concerts also relayed by local FM radio to each car, the outdoor system has to be time-aligned to the transmission.

“We’re only about a mile from the radio station and are on the same network node, so we used a web browser extension, Cleanfeed, that transmits high-quality digital audio,” explains Tupelo Music Hall’s production manager,

Paul Higgins. “We managed to get the roundtrip, pointto-point audio measured to around 70ms and, naturally, matched the latency to the second row of cars. It’s not possible to match exactly, but we could make it early for everyone else. So, if the radio is turned up and could make noise before the PA hits the audience, they won’t notice the latency.” The venue capacity is around 75 vehicles, allowing for distancing space between them for the time-honoured American complement of canvas chairs, cool boxes and beer.

Meanwhile, London-based Orbital Sound’s Nemesis CarLink takes FM modulator technology from Orbital’s museum audio guides and converts it to a digital audio stream for more reliable in-car reception.

SD: JDPSL and Graflex have produced a seven-page document, Getting Event Ready During Covid-19. It covers office, warehouse and onsite practices and includes postevent guidelines for site disposal. PPE will be provided where required, and we’re compiling a travel history of all our staff which we can give to clients if necessary.

Following guidelines Around the world, rental companies are publishing guidelines for the safe and gradual return to something like normal work, though normal it will not be. The US Event Safety Alliance has released The Event Safety Alliance Reopening Guide, aimed at small gatherings strictly controlled by health and sanitary measures in the absence of a vaccine, contact tracing or testing. “There is no such thing as ‘best’ practices,” admits Event Safety Alliance vice president, Steven A Adelman. “There are only practices that are reasonable for this venue, this event, this crowd, this time and this place.” The guide is therefore “designed to help event professionals think through their own circumstances”. Meanwhile PSAV, parent company of UK event production companies Hawthorn and AVC Live, has created MeetSAFE, a set of guidelines to help the live event industry safely adapt to the changing landscape of meetings and events.

Stream out loud But performers are still performing. If anything comes out of this period, it should be a major consolidation of online streaming platforms – which had already begun to figure as a monetisable adjunct to touring. Deploying this medium

without an audience in the same space as the performer does compromise the experience but, as most fans would agree, it’s better than nothing.

While event management and concert promotion giant Eventbrite has been advising the industry to stream professionally for several years, such an adjunct is irrelevant if no gigs are happening. But keeping a high profile online is essential during the hiatus, and several operators have begun to develop internet-only gigs that use the same camera and audio technology without the actual touring.

Audiotheme is a gig software and WordPress-powered website specialist that suggests the use of specialised online services, such as Gigee Support, StageIt, Periscope, YouNow, Facebook and YouTube. The increase in competition between these platforms has already seen the demise of pioneers like Concert Window and Busker, as the job of monetising the enterprise is worked out. If the services are free they do take a percentage of the online revenue, usually through a system of virtual tickets made available using a proprietary currency called “notes”, while other forms of payment are possible as charitable donations or virtual tips.

July–August 2020 PRO AVL ASIA 41

BUSINESS: SPECIAL REPORT

Good clean fun In Melbourne, Australia, one initiative has reignited the local music and comedy scene with specific measures to provide some much-needed financial support to artists, crew and technicians. Delivered Live comes from The

guidelines are imposed, with a maximum of 10 people in the room at any one time as the weekly performances are streamed live. FOH lighting and sound positions are 4m apart and all crew wear full PPE. Social distancing is

Delivered Live is raising money for Australian artists, crew and technicians Studio, a new production and demo area at Harry the Hirer Productions’ HQ, and is a collaboration between Handshake Management, Harry The Hirer Productions and the Victoria State Government. Strict social distancing

assisted by the use of Astera AX1 Pixel Tubes, which help mark out the spaces as well as providing lighting. Every artist receives a sanitised mic in sealed wrapping plus windsocks, and everything is disinfected after use.

As events from London to Australia hit the schedules, lockdown audiences have the whole world to choose from as their “local” gig – prompting radical new dimensions to the market. For example, StageIt – already used by artists ranging from Korn and Plain White Ts to Indigo Girls, Jason Mraz and Trey Songz – insists that no show is recorded or archived, making each one, as the company says, “a oncein-a-lifetime experience not to be missed”. Q&As, requests and fan-to-fan chatlines enhance the experience.

According to YouTube, which shares advertising revenue with the rights holders of any video streamed, artist profit for up to 10 minutes is about £1.70 for every 1,000 views. A livestream might be expected to generate similar amounts, making audience retention a key marker.

Otherwise, it may be that new types of branded venue could launch membership or subscription models, not unlike Twitch, inventor of the “cheering” emoticon: under-exploited so far, its livestreamed gaming platform is openly available to musicians and promoters as well.

But what if streaming becomes part of the rental and production company service? SmartStage is a “mixed reality environment” newly launched at London-based White Light, a prominent and hitherto traditional entertainment AVL provider. More than a simple green screen studio backdrop, SmartStage is an immersive set that uses virtual content with which presenters and performers interact to stream or broadcast – the differences between which are fading – a highly engaging programme. Unlike streaming solo from home, this is a fully equipped, professional facility with hygienic access for large, if socially distanced, casts and ensembles and, without a studio audience, the technology becomes key in devising uploadable material somewhere between CGI animation and human performance.

And that’s a combination that perfectly describes esports, the competitive online world of video games. Already a booming industry, the pandemic will do nothing to dent its progress. Since lockdown, Ferrari’s Charles Leclerc has won a virtual Grand Prix; Manchester United’s Marcus Rashford

competed in a virtual football match against Borussia Dortmund’s Jadon Sancho; and FIFA has launched the Stay & Play Cup, co-opting players from 20 of Europe’s biggest football clubs.

42 PRO AVL ASIA July–August 2020

projects. Sabrina Lim, operations and marketing manager at Singapore-based integrator PAVE System, reports that Covid-19 has short-circuited most but not all of the current in the wiring.

“All projects in the corporate sector, finance, education and any other type have paused during this circuit breaker period in Singapore,” she reveals. “However, PAVE is still providing support to our clients in medical and research facilities, the IT sector, in security and defence and in the transport sector.”

The plan to restart projects combines keeping in close touch with clients and brushing up on in-house training, say Lim: “Most of our clients have requested a ‘catch-up’ project schedule to make up for the time lost over the two-month circuit breaker period. But most, if not all, of our clients are pending the green light from the Singapore Government to resume their operations before PAVE is allowed back onsite to restart the projects. We’re in close communication with our clients to ensure we have sufficient manpower to support the catchups. Meanwhile PAVE, like most other AV companies worldwide, has taken the time to upgrade our team members’ certifications, and all our guys are gearing up to get going once we get the green light.”

“Most of our A&A and construction site projects have been stopped due to the foreign worker issue in our nation,” adds Gerald Fong, senior sales project manager at Concept Systems Technologies in Singapore. “Most of the spread is now within the foreign worker dormitories, and it has become the main problem for us here. We have 300,000 foreign workers, and we’re only able to conduct 3,000 swab tests per day. At the rate we’re going, we will only be able to complete this by the end of July or early August. For now, only projects in the government sectors are allowed to carr y on, such as public housing and transpor t. Private sector projects are still not permitted and, as most of our projects are in hospitality and churches, we’ll have to wait for fur ther notice from the government.”

Keeping a high profile online is essential during the hiatus, and several operators have begun to develop internet-only gigs that use the same camera and audio technology without the actual touring The new celebrity dimension, prompted by coronavirus and self-isolation, is likely to increase revenue predictions that were at a staggering US$1.1 billion for 2020, a year-onyear growth of 15.7%, according to Newzoo Global Esports Market Report 2020. Another US$822.4 million in revenues are expected this year from media rights and sponsorship.

Global viewing figures are on a seemingly unstoppable path towards 495 million, up 11.7% from 2019. The leading streaming sites to benefit include YouTube Gaming, Microsoft Mixer and Amazon Twitch, the latter up 12% already to April, according to Futuresource Consulting.

Unfixed installation In Singapore, the preferred term for the ubiquitious “lockdown” is “circuit breaker”, providing an electrical metaphor for the interruption to systems integration

Concept Systems Technologies’ Gerald Fong Concept Systems had projects due to begin in March, with some demolition work already under way. These now have to wait for a full resumption of operations. “We’re also taking this period to provide free system health checks for our existing customers, as their systems have not been in use for some time,” continues Fong. “This way, we can continue to keep a good relationship with our customers, and also take this period to help them look

BUSINESS: SPECIAL REPORT at upgrading their systems and equip them with better telecommunicating facilities going for ward.”

Access to most hotels and venues has just resumed, according to Fong, but is limited. “We just have to submit the necessar y declaration forms and check in with a Safe Entr y process,” he says. “However, most of our hotels here are either used as quarantine sites or as temporar y housing for companies’ foreign employees who were unable to go back to their countries.”

In neighbouring Indonesia, systems integrator PT Albeta Sukses Mandiri repor ts that all of its current projects are still ongoing. “The most problematic are government projects, because budget allocation is being moved to Covid-19 relief, so there are a few wait-and-see situations,” says MD, Yosafat Tandyawasesa, who repor ts that the easing of social distancing is seeing an increase in people returning to work. “We’ve star ted work on some prospective new jobs and designs. Onsite work is star ting as well, but is a bit slow. We have a new protocol that requires workers to do a swab test before being allowed onto the site, and it all requires time and cost.”

Albeta has been providing hand sanitisers and vitamins for each employee during lockdown, and encouraging staff to take advantage of online education and training. “Many leading organisations, such as disguise, Epson, d&b, QSC and AVIXA, have hosted a lot of events, and there are many oppor tunities to learn or refresh our AV education,” says Tandyawasesa.

“Project-based equipment sales are increasing,” says Mills Xu, director of strategic alliance and marketing at distributor Budee in Beijing. “Musicians are like ever yone – they can go out but there will not be any shows allowed yet. Indeed, quite a number of people have been upgrading their home recording systems. But now

that most of the commercial recording studios are back at work, musicians are going to those places to work on serious projects.”

The sales of entry-level sound cards have increased, according to another Chinese distributor, DMT – especially Universal Audio’s Arrow and Twin X, as well as SSL’s audio

Recording on pause While the famous Studios 301 in Sydney recently announced the availability of its largest room for attended sessions using correct social distancing, most readjustment in the recording sector has seen an inevitable rise in remote working and home studio improvements.

Mix Wave’s Hiyu Nagaoka

1/2 PAGE

July–August 2020 PRO AVL ASIA 43

BUSINESS: SPECIAL REPORT interfaces SSL2 and SSL2+. “Because of the pandemic, musicians are buying inexpensive desktop sound cards to work at home,” points out DMT’s Kong Jia. “Most of our products are portable and can be used at home, such as the Apogee sound card, MoTU sound card, sE 2200 and sE X1A condenser mics, cables, as well as desktop sound cards for livestreaming,” says Sui Songlin at distributor Easternedison. “These are products for musicians to work at home. Our sales have increased 20% compared to last year.”

Not standing idol The Japanese recording industry is showing strong resilience to the pandemic. Artists cannot perform live, of course, so have more time for the studio, if one is available. “We’re not quite sure how many there are, but most of the studios are still working,” says Hiyu Nagaoka of Tokyo-based distributor, Mix Wave. “It’s easier to count the studios that have closed – three or four, as far as I’ve heard. Interestingly, the studios owned by the biggest companies, such as Sony and Victor, are among the ones that have closed.”

File exchange is critical and, according to Nagaoka, Listento by Audiomovers is the app that engineers are turning to for client reference. “The big advantage of it is mostly for the clients so they can check the mix in their own environments, and in real time,” he says. “They combine this application with Zoom or Microsoft Teams for easier conversations about the project. I tested it at 48k/24 bit, and it works great via the browser. But I have heard from several engineers that the Listento plug-in receiver can be unstable. The PCM quality really depends on the network speed, but the Advanced Audio Coding is very stable.”

Surprisingly, livestreamed performances from these studios or elsewhere is limited. “It is happening in Japan, but it’s not making a huge impact like it is in Europe or the US,” says Nagaoka. “This is because, in my opinion, we speak Japanese and artists are singing in – mostly – Japanese. Our Japanese ‘idols’ are using Showroom for their streaming.”

Factory tested Reports around the world show frequent redeployment of manufacturing resources for medical support, from Adam Hall’s detailed guide to using its components to build custom disinfection stands to LED lighting manufacturer Astera turning over parts of its 10,000m2 factory in Shenzhen, China, to deliver much-needed PPE, including face masks. At the end of its three-month contract, Astera

Ross Video has partnered with LMG to provide virtual sets and backdrops may continue production if a return to its usual complement of wireless battery-powered LED fixtures is not fully or partially possible. Meanwhile, Sound Devices, Yorkville Sound, Goldensea SEA and Luminous Show Technology are among all those who have contributed shields, ventilators, UV-C disinfection lamps, hand sanitisers and more.

It seems as though the entire economy has been squeezed into the bandwidth of internet protocol. Everything from a meeting to a tradeshow has become a mini-Together At Home, raising money not for charity but for business survival. If interaction can be enhanced by AV technology, all the better, and global event technology leaders Ross Video and LMG have been collectively proactive.

The collaboration has generated multiple options exploiting green screen virtual sets or LED walls, processed by Ross Video’s Voyager graphics rendering solution to project satisfying backdrops. Voyager uses a gaming engine developed by Epic Games called Unreal 4 that goes beyond basic virtual sets to add animated augmented reality.

LMG has incorporated Ross Video’s UX control system, Ultrachrome Keying and Motion Camera tracking systems into its own solutions.

Robbert Bakker and Edward Cook celebrate Kinley’s acquisition of AVMI with a Covid handshake

44 PRO AVL ASIA July–August 2020

“This pandemic will have long-lasting effects on the live events industry well beyond the initial scurry to either virtualise, reschedule or cancel events. It will dictate and transform the ways in which we work and communicate,” says a joint statement by Ross Video and LMG. “Quite simply… virtual events are here to stay.”

No doubt a virtual industry of audio, video and lighting technology is here to stay, too. Together At Home could become “together at work” – with even major trade deals completed without the protagonists leaving their respective buildings. Witness Kinley and AVMI’s “Covid handshake”, as the respective CEOs Robbert Bakker and Edward Cook conduct a screen-to-screen conclusion to the acquisition of London-based AV integrator AVMI by Amsterdam-based video collaboration services specialist, Kinley. Their joint statement reads: “In today’s world, the need for high-quality and secure collaboration technologies and services is paramount, driven by the challenges and opportunities that remote working, globalisation, digitalisation of workflows and need for increased connectivity bring us.”

As the image of Bakker and Cook shows, conventional B2B is being elbowed out.

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Goshen Electronics supplied a large inventory of QSC K-series speakers

Drop the mic de Spectra owner and director Hanjaya welcomes Goshen’s Franky C and Kusnady Gunawan

The 41 standard rooms blend QSC K12.2 and K8.2 speakers with KV2 EX1.5 subs

Milan or Sun City? Jakarta’s karaoke lovers now have a choice of destination karaoke rooms in which to belt out the hits. Richard Lawn visits de Spectra LOCATED WITHIN THE SUBTERRANEAN COMPLEX OF THE Superblock Mega Glodok Kemayoran Jakarta, the supermarket shelves of a previously existing hypermarket have been emptied. In its place, the de Spectra executive lounge is set to shine brightly with a professional audio system that sets it apart.

Named after countries from China to Cambodia, 45 uniquely designed karaoke rooms can each accommodate groups from 10 to more than 30 people. Like other lounges, each room is characterised by premium bottles of whisky and brandy together with female hostesses. However, the audio quality hints at something different. If a non-audiophile is oblivious to the premium audio standards upon entry, their experience will soon be heightened by crooning their favourite numbers through a Shure SVX microphone output to a relatively unique combination of QSC speakers and KV2 Audio subwoofers.

PT Goshen Swara Indonesia was called upon to design and install the audio systems throughout de Spectra. “When it comes to karaoke, Jakarta is a very competitive city,” explains de Spectra director, Hanjaya, who also owns the neighbouring Center Stage executive club. “While I’d classify most clubs including Center Stage as having four-star standards, our intention was to raise it here to five-star. In terms of the audio fulfilment, PT Goshen Swara has helped us achieve that goal.”

Unique in terms of layout, each of the 43 (deluxe, VIP and president suite) rooms measures approximately 45–60m2 in size. Capable of accommodating a party crowd, two further VVIP rooms are three or four times bigger than the standard layouts.

Guests pull up in their premium parking spaces to be greeted courteously before settling down with a welcome drink and cold towel in the restful ambience created in the tastefully designed suites complete with plush furnishings and subtle art.

Whether you’re in England or Croatia, the standard audio package comprises dual QSC K12.2 12-inch active speakers and two K8.2 delays augmented by dual KV2 EX1.5 15-inch active subwoofers. This comes complete with loudspeaker settings and mixing provided by Soundlab K-6800D digital karaoke processors.

“The initial user experience is that they feel comfortable listening to themselves,” explains PT Goshen Swara project manager, Kusnadi Gunawan. “But few expect to experience such a powerful system when they are performing. Once they start singing, they’re generally hooked and cannot get enough.”

46 PRO AVL ASIA July–August 2020

QSC TouchMix-16s mix audio for the main stage

quality audio specifications, you could command higher room fees while retaining those customers on a regular basis. The investment made in KV2 EX and QSC KW loudspeaker systems will result in higher room rentals, lower servicing fees and longer equipment lifespans.”

Two royal suites, one of which is Hong Kong, are equipped with slightly higher-specification components including QSC KW122 12-inch active speakers, dual KV2 EX1.8 18-inch active subwoofers and a QSC TouchMix-16 digital mixer. The royal and presidential rooms further differentiate themselves by combining dual KV2 EX15 three-way active speakers with KV2 EX1.8 18-inch active subwoofers. Finally, the main lounge area hosts live bands six nights per week and an after-midnight DJ with the same combination of QSC KW122 and K8.2 active delays augmented by dual KV2 EX1.8 18-inch active subs.

Little do the performers suspect the intricacies of the microphone setup when developing their technique using one of the room’s Shure SVX288/PG28 wireless handhelds. “In order to avoid wireless interference and feedback, we had to manually configure all the microphones in each of the 45 rooms via the Spectrum Manager,” explains Gunawan. “It was extremely time-consuming and difficult to deliver within a relatively narrow spectrum.” While Shure’s Axient Digital can self-configure its frequency settings, other cost-effective platforms such as SVX are analogue in nature. “Few karaoke lounges can boast Shure microphones as standard and as such it is a powerful statement when the singer is performing through a PG28 capsule,” adds Hanjaya.

High investments have been made in acoustics to ensure minimal spillage between the labyrinth of rooms and, as the deadline approached, the urgency to complete slipped up several gears. “Ultimately, the project was delayed and, being the audio contractor, we were the last to site,” explains Gunawan. “You can imagine the scene. Cabling followed by installing and tuning all the speakers, setting the DSP and configuring the wireless settings x45. Hanjaya then announced that he had created eight more rooms at the end of the project, so we worked day and night over the final 48 hours to complete.”

The Goshen team probably wasn’t in the mood for a rendition of My Way upon completion, but this unique approach to creating such an individual karaoke club audio system has perhaps warranted the sentiments inherent in the lyrics.

The main control room www.despectrajakarta.com

Explains Hanjaya: “We started to experiment at Center Stage using QSC and KV2 Audio systems in some of the rooms. While the cost was significantly higher, we discovered that clients generally wanted to return to the same rooms. With higher-

www.goshen.co.id www.kv2audio.com www.qscaudio.com www.shure.com

FEATURES: HOSPITALITY

Advancing AV

Malaysia’s Bandar Utama City development board has chosen an apt name for its new hotel, apartments and food and beverage outlets. Richard Lawn reports from Avante

The Noblecom Technology team reunited with Mercoms Systems in the Grand Ballroom MALAYSIA’S LATEST FIVE-STAR PROPERTY, AVANTE – which implies forward motion – is located in the rapidly developing Damansara district of Kuala Lumpur, which boasts a residential suburb, shopping centre and MRT public transport system. Marketed as “avant-garde and chic with modern vibes”, the property aims to attract cosmopolitan travellers and local businesses alike for weddings, conferences, meetings and exhibitions. To enhance the feature set of the Avante Hotel and Powerhouse residential units, the owner insisted on integrating premium AV and lighting technology in order to enable and enhance the user experience.

Drawing on more than two decades of extensive experience in the Malaysian hospitality sector, systems integrator Noblecom Technology was nominated to install the AV systems into Avante. Working closely with AV consultant Eddie Ng from Juru & Teras Bersekutu, the company began engineering works in the Powerhouse before moving onto the hotel. For the latter, Noblecom’s signature fitout has been applied to the Zest coffee house and Spectrum bar lounge. However, its main work and overall challenge was the Grand Ballroom and 11 function rooms, totalling some 2,000m2 of opulent space.

The 770m2 Grand Ballroom can host a capacity of 800 standing or 400 seated guests. Lavishly designed with two extensive overhead chandeliers, the 24m x 32m venue can be subdivided by an acoustic partition into the separate Sapphire and Diamond Ballrooms. Catching the eye upon entry are the four 2.5mm pixel pitch LED 550-D series screens developed

by NovaStar. When divided, 4.8m x 3.4m screens provide the visuals for guests from their fixed positions on the far wall, while two 6.4m x 3.4m screens fixed to the opposite wall can be used when the rooms are combined.

“The resolution of the larger screens is in traditional 16:9, but we had to adapt this to 4:3 for the 3.4m-high screens,” comments Noblecom director, Saw Siong Yih. “The use of traditional projectors would have clashed with the interior design aesthetics of the space, most notably of the chandeliers above.” Localised VGA and HDMI together with Sony PTZ cameras and Blu-ray players are routed to an Extron XTP II CrossPoint 1600 16-in/16-out digital matrix switcher before being output to the four LED screens and smaller displays in the pre-reception area. The addition of three NovaStar MCTRL600 LED display controllers supports the extra-large resolution formats required by the screen sizes.

48 PRO AVL ASIA July–August 2020

Sony PTZ cameras are routed to an Extron XTP II CrossPoint 1600 matrix switcher

DSP settings for room-combining scenarios in either landscape or portrait mode have been created for the divisible space in the software settings of the Q-Sys Core 110f processor. In addition, the beams emitting from the eight Renkus-Heinz Dual IC Live Gen5 column speakers have been adjusted to compensate for use of the partition and stored within the presets of the Q-Sys software. Enhancing low-frequency extension down to 32Hz (±3dB), four floor-standing Renkus-Heinz 215S subwoofers can be patched into one of the five customised facility panels, which also incorporate DVI, AV, HDMI, VGA, Dante and 1–4 mic inputs together with monitor outputs.

For announcements, speeches and low SPL BGM, a simple 100V line ceiling speaker solution consisting of 12 QSC AD-C80T models can receive audio signals from the main hotel PA or from the two Grand Ballroom overhead control rooms. When combined, a Yamaha TF5 32-channel console is used for audio mixing in the Grand Ballroom. However, when subdivided, a TF3 model is sufficient for the needs of Sapphire, while the TF5 can still be used for dedicated Diamond functions. In addition to

NovaStar 2.5mm pixel pitch LED 550-D screens in the Grand Ballroom

FEATURES: HOSPITALITY the facility panels, audio sources include TASCAM CD-200SW players together with eight UHF channels of Audio-Technica ATW-3000 transmitters for combining with ATW-341b handhelds, headworn BP894cW cardioids and BP893cW omnidirectional earset models.

From the control room, the technicians control the AV and lighting room function parameters from an Extron touchscreen, while two iPads function as portable touchscreens, providing dedicated audio and video control including source, volume and DSP adjustments within each ballroom. A total of 64 Philips Strand PAR profiles, Fresnels and LED fixtures combine to create various lighting ambiences from the six trusses fixed onto the ceiling around both chandeliers. Lighting control is performed on one of two Strand Lighting 250ML consoles.

Eight meeting rooms are divided by a corridor on the ground level of Powerhouse. Three of the four suites on either side – Amber, Emerald, Garnet and Jade, Jasper, Quartz – can be combined to create junior ballrooms by removing the partitions. Hence, room-combining DSP Four floor-standing Renkus-Heinz 215S subwoofers extend the LFs down to 32Hz

Flush-mounted Renkus-Heinz IC Live Gen5 column speakers in the Grand Ballroom

settings are programmed within the software of the Q-Sys Core 110f processors. Each separate meeting room is equipped with a Panasonic PT-VW350 4,200-lumen projector mounted on a ceiling-suspended scissor lift and a motorised screen. Video sources connected to the VGA and HDMI inputs within the customised, wall-mounted facility panels are fed into a back of house rack with an eight-in/eight-out Extron DXP HD 4K CrossPoint matrix.

The audio setup within the junior ballrooms and meeting rooms mirrors a scaled-down version of the Grand Ballroom.

Powered by ½U rack height QSC SPA2-60 amplifiers, the ceiling speaker solution combines QSC AD-C80T models and AudioTechnica 3000 Series wireless microphones.

The Q-Sys Q-LAN is created by the network of STP Cat-6 cabling that connects all eight rooms to Cisco SG-300-28PP switchers in the two back of house racks. Audio and video parameters are controlled from the individual QSC TSC-47 4.7-inch wall panel touchscreens for source, volume, combining and matrix switching.

“We respected the wishes of interior design consultant Addy Wong from the Addy Design Consultancy,” explains Noblecom director, Alan Tan. “Some of the cable runs are over 100m and so extenders are required for some of the twisted pairs running the video signals to and from the Extron Matrix.” Three standalone meeting rooms – Pearl, Rubellite and Moonstone – are equipped with similar AV setups on the lower level. Finally, the hotel lobby ceiling required a higher power SPL solution, and this has been provided by QSC AD-C1200 12-inch ceiling speakers augmented by wall-recessed AD-S28 subwoofers.

The creation of both QSC’s Q-LAN as well as Dante digital audio networks will add to the venues’ flexibility and simplify future upgrades when required. “Interior design sensitivities are required when you are enhancing function rooms with AV technology, so, with the exception of the LED displays, the AV equipment needs to be as discreet as possible,” adds Saw Siong Yih. “The adoption of plug-and-play setups that can be easily patched into these rooms and networked ultimately benefits everyone.”

Each meeting room is equipped with a Panasonic PT-VW350 4,200-lumen projector

www.avantehotel.com.my www.noblecom.my

1/4 PAGE July–August 2020 PRO AVL ASIA 49

FEATURES: LEISURE

TOA SC-61 arrays fire towards the Timur grandstand

Smaller TOA SC-61 two-horn clusters provide coverage over the playing field

TOA completes a Solo performance

A TOA system has been installed into the Manahan Solo Stadium in central Java as part of a total renovation project. Richard Lawn reports from Surakarta THE MANAHAN SOLO STADIUM MAY NOT HAVE THE AURA of Real Madrid’s Bernabeu or Milan’s San Siro, but the football stadium in Surakarta, central Java, is home to the mighty Persis Solo football team. In preparation for the U20 football World Cup in 2021, the multipurpose stadium has undergone a complete renovation, including an overdue audio upgrade.

Modelled on the Gelora Bung Karno (GBK) national stadium in Jakarta, the stadium was officially opened in 1998 and can accommodate roughly one-quarter of the capital city’s 81,000 crowd. Having successfully transformed the main public address audio system in GBK three years ago for the 2018 Asian Games, PT Galva Technologies was once again called upon to design and install the sound system for this smaller sibling venue.

Charged with a similar brief to integrate a fully reliable, energy-efficient, network-controlled PA, assistant director Felix D Kristianto dryly notes: “As the seating capacity is about onequarter the size of GBK, the sound quality needed to be good enough for the audience. With added financial constraints, we also had to minimise any compromises in audio quality.” While an attempt has been made to design a scaled-down version of GBK, budget concerns and architecture ensured that a bespoke approach had to be adopted.

Modelled in EASE 4.4, optimum coverage was identified adopting TOA’s SC-61 array speaker clusters under the canopies of the east (Timur) and west (Barat) grandstands. “Like GBK, we were restricted by the roof weight threshold,” explains assistant project manager, Hazam Mubarak. “Unlike GBK, however, the budget limited the use of many subwoofers for the entire stadium, so selecting their locations for maximum LF extension was paramount.”

Owing to the extensive cable runs to loudspeaker locations, the main control room located within the western Barat grandstand is connected to a smaller version in the eastern Timur. From the main Barat control room, a Yamaha TF5 digital console receives

50 PRO AVL ASIA July–August 2020

its inputs and outputs via a single RIO 1608-D I/O rack. Both electrical control rooms host TOA DA-1000F four-channel and DA-1250D two-channel amplifiers together with DP-SP3 digital processors. From these two rooms, loudspeaker cabling is routed to the multiple arrays and loudspeaker outputs.

The digital output signals going into the TOA DP-SP3 processors via Cat-5 cabling from the RIO 1604-D rack can be further modified using a library of presets for the various TOA speakers. Individual EQ, crossover, matrix, compressor and delay configurations can be digitally applied in version 2.0.0 software.

With the addition of fibre optic cabling, a Dante network has been created, allowing full network control.

The east and west stadium seats are catered for by SC-61 cluster array configurations, each consisting of four horns firing towards the grandstands. The arrays were manually hoisted and guided into position from the overhead catwalks before being affixed to their overhead brackets. “During tuning and commissioning, the DSP settings and speaker angles needed to be slightly adjusted,” says Mubarak.

Powered by DA-1250D amplifiers, the SR-C15 15-inch subwoofers are located centrally in the western grandstand. Firing into the stadium seats and field of play, smaller SC-61 clusters consisting of two horns are powered by DA-1000F four-channel amplifiers in 4Ω mode. “Despite the absence of lower frequencies owing to the limited subwoofer placements, the intelligibility to all the seats is excellent and achieved the required STI of 0.6s.”

Clearer public announcements and safety evacuation messages are relayed using a TOA RM-200M remote mic. For the stadium’s wireless requirements, a TOA D5000 system incorporating a selection of WM-5270 handhelds, WM-5325 lavaliers and WH-4000H headsets are boosted by a distributor and four antennas. In addition, the audio output is connected to the Panasonic lighting system, ensuring the audio and lighting can be synchronised during displays.

The spacious ELV room hosts emergency power, TOA amplifiers

FEATURES: LEISURE the renovated stadium is now equipped with a press conference room. The simple audio setup includes dual DM-1300 microphones output to a ZS-FB601 speaker system powered by a ZA-D500 amplified mixed on a Yamaha MG12XU console.

Having led the project for PT Galva Technologies, project manager Albert Triwuryanta and his team spent six months transiting between their Jakarta head office and Solo until commissioning was undertaken in September 2019. “Being a quarter of its size, the Manahan Solo stadium may have appeared like a replica of GBK, but that did not necessarily mean that we could complete the job in a quarter of the time,” comments Triwuryanta. “However, we were challenged to replicate the audio quality as close as possible. Having achieved that requirement, Manahan Solo serves as a great reference in our growing catalogue of Indonesian stadium designs.” www.surakarta.go.id www.toa.com.sg

TOA SC-61 arrays are augmented by two SR-C15 subwoofers in the western Barat grandstand

www.toa.co.id

Naturally, there were no financial constraints placed on the components installed within the FCC, where an EV-20R digital voice evacuation system overrides the main PA during an emergency broadcast. At its heart, a TOA M-9000M2 digital mixer receives audio signals from either the Z-CD2011R player or RM-200M remote microphone for streaming to selected zones within the ground and back of house areas.

From the M-9000M2, a combination of three ZP-2240 power amplifiers feed the power supply via a 10-channel zone selector to the back of house speakers. ZS-2369 6-inch ceiling speakers installed into the back of house corridors can be zonecontrolled from wall-mounted ZV-303 panels. In addition, ZH-615SM horn speakers have been installed into the stadium’s exterior zones where a higher SPL solution is required. Finally,

Total Integration The Neve Genesys Black is a digitally controlled analogue recording console with total integration with the studio environment and the DAW of your choice Legendary Neve 1073® mic preamps • Choice of Neve 88R 4-band EQ or Neve 1084 Classic EQ • Mastering grade A/D/D/A conversion • Digital control with instant reset and Total Recall® • Enormous scalability and monitoring power

w w w. a m s - n e v e . c o m and digital processors

July–August 2020 PRO AVL ASIA 51

FEATURES: LEISURE

Under one umbrella

Yosua Yan Heriyanto and Teguh Prakoso from Promedia Innovative Solutions return to Zombie Wars

Trans Studio Cibubur is the latest indoor theme park to open in Indonesia.

Richard Lawn skips the queues, the heat and the humidity to pay a visit FOR MANY, THE THEME PARK EXPERIENCE WILL BE largely affected by the weather and all its vagaries. Visitors to the new Indonesian Trans Studio, part of a growing network of indoor theme parks managed by broadcaster, Trans Corp, won’t need to remember their umbrellas or sunscreen though. The rides and attractions, taking their themes from programmes broadcast from the Trans TV and Trans 7 channels, take place in air-conditioned comfort.

For the latest incarnation of its theme parks – Trans Studio Cibubur in the synonymous southern Jakarta suburban satellite – Trans Corp called upon the expertise of several high-profile Indonesian systems integrators and suppliers to complete the extensive recreational experience.

Trans Studio Cibubur follows the successes enjoyed by the diversified broadcaster in Bali, Makassar and Yogyakarta, among others. In addition to the colossal indoor theme park, a typical Mega Development Project comprises a Trans Studio Mall (TSM), XXI cinema, Trans Studio Hotel and Trans Park featuring three apartment towers. Cibubur is no different, with the theme park taking centre stage by drawing in visitors from Jakarta to Kuala Lumpur. Zoned into five game sections, the Cibubur project incorporates 14 rides such as Zombie Wars, a haunted house, a Boomerang Hyper Coaster and two indoor roller coasters.

The property’s holding company, PT Alfa Retailindo, commissioned different systems integrators to execute the individual attractions. At the heart of the entire theme park, a Q-Sys backbone of Core processors connects all the various zones throughout the 4.1-hectare site. In addition to zoned BGM, paging announcements can be made from QSC goosenecks located in several information kiosks.

Promedia Innovative Solutions (PIS) has enjoyed a longstanding working relationship with PT Alfa Retailindo for numerous years. For this particular theme park, the company was appointed as the AV supplier and systems integrator for the Alien Taxi and Zombie World attractions. Working closely with the AV consultant, PIS elected to install a large inventory of FBT Archon 108 and CSL 840 TIC 8-inch coaxial ceiling speakers into the back of house areas of these extensive rides. QSC CXD4.3Q and 8.3Q amplifiers receive audio

52 PRO AVL ASIA July–August 2020

RCF HDL 20-A arrays provide sound reinforcement for the Beach Walk attraction

signals routed from a Q-Sys Core 110f processor, whose user functions can be controlled from a TSC-7t touchscreen.

Like the other SIs working onsite, the PT Gracia Auvindo team coordinated its efforts closely with the interior designers, ride engineers and acousticians, together with the mechanical, electrical and civil engineering contractors.

Its primary work centred on the creation of the visuals for the Beach Walk stage where 30-minute performances featuring acrobats and actors are staged in four sections.

The performance commences when the stored multimedia content is played, which in turn triggers the audio and lighting effects programmed to coincide with the various cues.

Located above centre of the Amphitheatre stage in one cluster, three Barco UDX-W32 32,000 ANSI lumens laser projectors serve as the main output for the show. The rear-wall LED is processed by seven MCTRL600 display controllers and a NovaStar CVT4K-S. Russian content creator Cela Sueta worked closely with 3D video-mapping specialists Unity to programme the Resolume software and create a hologram effect by blending the L-C-R projectors. The projectors were hoisted and fixed into position 15m above the stage. “Fortunately, we can align the lenses remotely using

PT Gracia Auvindo’s Adi Wijaya and Hendra Halim with Trans Studio Cibubur COO Claudia Ingkiriwang and her team

NEWS: PROJECTS

FEATURES: LEISURE BUSINESS: R&D BUSINESS: TECHNOLOGY

Lectrosonics rows TVBS upgrades Clear-Com setup to victory

the Barco software,” PR interplay Gracia Auvindo are makingofinteresting things and barriers helping to themofeven two transmitters,’ clarifies Winkler.

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Budee’s chief HOR Masahiro form factors for your transmitters,’ explains is Winkler.

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Or,microphones ifsystem, the the funeral hall and Yoshiteru Mimura, president of C, The upgrade took place in engineer. biggest issue was operator for the Toyota Stadium, now a legacy brand here inMeanwhile, Indonesia for such high-profile have handhelds and beltpacks, but we also have rack representatives throughout theatworld,’ adds Winkler.

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Kairos on the new DBu and, the years, it will likely ceiling speakers.

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M&H Laboratory.

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Nexo and Yamaha tackle Toyota stadium upgrade

Proel solution prescribed at Eunpyeong St Mary’s Hospital

UNITE THE PEOPLE DIGITAL WIRELESS COMMUNICATION SYSTEM

1/2 PAGE • Wireless Microphone • Interpretation Application • Assistive Listening • Guided Tours www.beyerdynamic.com/unite

24 26 PRO AVL ASIA September–October November–December2019 2019

July–August May–Juney2020 PROAVL AVLASIA ASIA 53 69 March–April 2020PRO 87 Januar y–Februar

FEATURES: ENTERTAINMENT

Going underground

China’s Huanglong Dong Concert Hall has the distinction of being located in a subterranean cave. Sue Su goes beneath the surface to find out more

THE ZHANGJIAJIE AREA IN THE NORTHWEST OF HUNAN province is perhaps best known for the lush scenery it provided as the backdrop to James Cameron’s Avatar.

While the pillar-like formations draped in dense foliage are an undoubted draw, the region is also famous for entertainment, boasting around 10 per formance venues.

One of them, the Huanglong Dong Concert Hall, has just been refurbished and upgraded, and is now equipped with a new audio system based around TW Audio loudspeakers.

The concert hall is no ordinary venue, being located in a karst cave in the Wulingyuan district of Zhangjiajie, with the Suoxi River flowing in front and backed by a lush green cliff. The extensive Huanglong (Yellow Dragon) Cave attracts more than a million visitors a year, and the concert hall was added in 2010 at a cost of RMB160 million (US$22.5 million). Designed to blend in with the local scenery and featuring a grass roof, most of the functions of the theatre are arranged below ground.

The theatre’s design – a stack of tilted layers of alternating limestone slates and glass – was inspired by the geological structure of the surrounding limestone mountains. Design of the 4,970m2 venue was executed

by Yu Kongjian, founder of Beijing architectural firm, Turenscape, who is also the dean of the School of Architecture and Landscape Design at Peking University and a professor at Harvard University. The building’s form reflects its function, with the stage – requiring most of the building’s height – at the northwest end, and the entrance at the southeast, with a raked auditorium. The southeastfacing green roof slopes up from the ground, where a modest entrance is formed through the eastern submerged

54 PRO AVL ASIA July–August 2020

The concert hall’s Midas Pro2 digital console

The theatre’s green roof minimises visual impact on the landscape plaza. The green roof not only minimises any visual impact on the landscape, it also reduces the heat entering the building, an important energy-saving strategy in a hot and humid climate.

An updated audio system was commissioned to present a new, large-scale musical production, Place of Birth and Growth, which opened in late 2019. Created by musician A Duo, a member of the local Miao minority ethnic group, this musical show with nine scenes explores how people live in harmony with nature, bringing the lives of the Miao

The refurbished concert hall opened with a new production, Place of Birth and Growth

people to the stage by looking at local traditional art and using contemporary ways to present it. This includes the use of local musical traditions using vats, jars, pots and bowls as instruments, and transforming daily tasks – such as spinning cloth, sifting rice and sawing wood – into stagecraft. To deliver maximum impact for the new show, the concert hall operator began planning for the investment in a new sound system earlier in the year. “In a musical, where music is the soul, sound is the most important element and the audio system is paramount,” says the show’s sound

FEATURES: ENTERTAINMENT engineer, Yuan Yong. “We have choosen only the world’s top audio brands to show our respect to the music, the actors and the audience members who pay to see the show.”

After investigating several well-known international brands, the investor finally decided on a TW Audio speaker system, commissioning the German brand’s distributor Guangzhou Ruisheng Lighting and Audio Equipment Co as the systems integrator for the project.

“We had less than one month to finish the design, carry out an investigation of the site and then complete the installation,” says Ruisheng’s technical director, Terry Chen. “The concert hall was previously equipped with a sound reinforcement system that has been used for nine years, and we had to remove and replace the whole system, including signal transmission cables, so that we could guarantee the reliability of the new system after installation.”

Bearing in mind the time limitations and high standards required of the project, the Ruisheng team chose to design a fully digital sound reinforcement system for the concert hall. In order to cover the 818 seats of the theatre, six Vera10 and two L24 line array elements have been flown on each side of the stage as the main L-R system. With a low-profile width of just 50cm, Vera10 proved unobtrusive enough to be easily hidden in the treeroot-shaped stage mechanism. Together with the L24 low/midrange elements, this forms a three-way system to reproduce the warmth and detail of the music. Low frequencies are further extended by the use of compact B30 subwoofers, which have been merged into the stage design. Two TW Audio T24N point source speakers are used as the centre channel, providing the audience with even coverage. M15 stage monitors are mounted on custom-built iron frames which lift them above pools of water in front of the stage. The waterproof surface of the M15s are of great benefit in this moist environment.

The whole system is driven by Lab.gruppen PLM 12K44 amplifiers, with built-in Lake Controller remote software to

facilitate onsite monitoring and management for the audio engineers. The built-in Lake DSP is Dante-compatible. This forms a digital audio network system which connects to the DL251, DL154 and DL153 stageboxes of the Midas Pro2 digital mixing console, all three of which are equipped with DN9650 audio protocol conversion cards, facilitating a digital network system via Dante together with the amplifiers and wireless microphones.

This Dante network includes the 16-channel Shure ULX-D wireless microphone system, which includes four ULXD4Q receivers, four ULXD2/Beta58 handheld microphones and 12 ULXD1 beltpacks with 12 DPA 4288 headset and four DPA 4060 lavalier microphones. The mic inventory also includes four Shure KSM141/SLs for instrument pickup.

Wireless in-ear monitoring for the performers is provided by six sets of Sennheiser’s ew IEM G4-Twin.

“The workload involved in completing the system in such a short time was huge, but we used the Dante protocol to build a network, which saved a lot of time as we didn’t need to lay analogue audio cables,” explains Chen. “With the time we saved, we could calmly carry out the system alignment for the sound reinforcement system so that all parties involved were satisfied with the final result.”

Since it opened to the public a decade ago, the Huanglong Dong Concert Hall has hosted as many as seven consecutive performances a day during the busiest seasons. In this time, it has staged more than 6,000 performances and welcomed more than 5 million audience members. As it enters its second decade having undergone an upgrade, and with China reopening as the coronavirus pandemic subsides, it is hoped that this unusual and beautiful venue will regain these levels of attendance, boosted of course by its new audio system. www.china-rs.com www.midasconsoles.com

TW Audio Vera10s and L24s form the main L-R system

www.twaudio.de/en

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FEATURES: LEISURE

Let the games commence India’s National Games were due to be held in Goa later this year. Caroline Moss visits four new stadiums equipped by Audio Technik India in preparation

INDIA’S NATIONAL GAMES WERE BORN OUT OF A DESIRE in the 1920s to develop the Indian chapter of the Olympic movement, training athletes from across the subcontinent to compete in a regular tournament. Held every two years until 1948, it was intended that the games should continue in different states on a biennial basis, though in practice this hasn’t happened. At the closing ceremony of the last games, which took place in Kerala in 2015, it was announced that the next tournament would be in Goa the following year. The 36th National Games were eventually scheduled to take place from 20 October – 4 November this year, with a rumoured investment of INR4.5 billion by the Indian government, and preparations were going ahead when the coronavirus pandemic struck. For now, the National Games are postponed, pending

L–R: Audio Technik India’s Ashok Kharat and Rajesh Patil

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confirmation of when they can eventually go ahead. Whenever that becomes possible, there will be the comfort of knowing there are several new stadiums across the state waiting to accommodate the 37 sporting disciplines. Four of these have been equipped by systems integrator, Audio Technik India.

The company was first brought on board around three years ago. “With government projects, it can take a lot of time from inception to commencement,” explains Audio Technik India founder, Rajesh Patil, speaking from the Manohar Parrikar indoor stadium in Navelim, south Goa. Named after the former Chief Minister of Goa, this stadium will be used for sports such as badminton, volleyball, soccer and kabaddi. After the games, it will be repurposed as a local sports centre for the community.

“The initial specifications that we were given quickly became outdated, so we managed to convince them to raise their budget a bit in order to specify a system that we felt would be the best one for them in today’s environment,” continues Patil. “This is in the interest of not just the spectators and the players, but also the local authorities themselves. They were quite supportive of our proposal, and we came here to give them a demo, which convinced them it was the right thing to do.”

In order to remain within the budget set by the local authorities, Patil recommended a variety of brands to be used in different areas of the Manohar Parrikar stadium.

The system is therefore divided into three. The main FOH system for the 3,000-seat audience area consists of 10 Bose Panaray LT 9403 point source speakers firing towards the audience seating, powered by four Bose PowerMatch PM4500 configurable amplifiers. Field of play is covered by a QSC main system of six APS-5152 15-inch self-powered, two-way surface speakers with 75° conical DMT coverage, and two QSC E218sw dual 18-inch subwoofers powered by four CXD4.5Q Q-Sys network amplifiers using FAST channel combining technology. The common areas of the stadium, including lobbies, conference rooms and green rooms, have been installed with a Honeywell PA system, which includes a total of 52 SS-CL06E ceiling speakers, and 20 each of SS-WM06 and L-PWP10A wall-mount speakers.

“Based on the budget of the entire project, we needed to tailor the solution without compromise, to deliver what they needed,” explains Patil. “We used the three different brands based on their strengths to achieve this within the specified budget.”

The entire system is networked via a QSC Core 110f with 24 local I/O channels, with a CIML4 mic/line input card giving four channels of microphone/line level analogue audio input and a COL4 providing four channels of balanced line level analogue output. This handles all the BGM, public announcements and

The Manohar Parrikar indoor stadium in Navelim, south Goa fire alarms, and can be controlled from the network operations room. A QSC TouchMix-16 digital mixer has also been provided.

Patil himself used to work for Bose and has completed numerous projects with the brand, both as an employee of the manufacturer and since starting his SI business. Honeywell, however, was the new kid on the block for this installation.

“We only started working with Honeywell recently as they’ve not long been manufacturing PA equipment,” he says. “This was our second project with them. The head of Honeywell in India is also ex-Bose, and we know we can be guaranteed good support from their technical team. There is the confidence of technical support that you would expect from a global brand.

This is what matters in a critical project like this one, and was one of the main reasons why we specified Honeywell on this project, as well as the fact that it was pretty cost-effective and an established brand globally. The sound is impressive, and there is a lot of brand value there.”

Three more multipurpose indoor stadiums constructed for the National Games have also been installed with systems by Audio Technik India. Two of these are in Ponda and Fatorda, both also in the south of the state, with a third in the northerly town of Pernem.

The indoor sports complex at Ponda has been installed with a QSC system for the audience area. Being a smaller venue, this was all that was required, as the plan is to use a portable system for field of play. A total of 30 4-inch QSC AC-S4T surface-mount speakers have been installed around the seating area of the stadium, powered by a CMX300Va contractor amplifier. A 16-input/eight-output QSC MP-M80 zone mixer has also been provided, and a Samsung tablet can also be used for zone selection.

QSC was also specified for the Fatorda stadium where four E112 speakers powered by a CMX2000Va contractor power

FEATURES: LEISURE

amp have been installed, along with a QSC TouchMix-16 digital audio mixer and Sennheiser wireless handheld and lapel microphones.

For the Pernem stadium, Bose systems have been installed, with a total of 12 RoomMatch RMU208 point source speakers, powered by two PowerMatch PM8500 amplifiers, covering the audience seating. A Yamaha MG16XU console is being used to select and mix audio sources, while a DiGiCo D-Rack provides 32 microphone inputs, eight line outputs and eight modular outputs that can be selected as either analogue or AES, providing a maximum capacity of 32 ins and 16 outs, with a digital

A combination of QSC, Bose and Honeywell speaker components have been used in the Navelim stadium

Cat-5e cable to connect to the console. Shure SM58 microphones as well as Sennheiser XSW2-865 handhelds and XSW 2-ME3 wireless head-worn mics have also been provided.

Patil formed Audio Technik India in 2011, striking out alone after being part of the Bose design team. “I went directly to Bose after training as an electronics engineer,” he explains. “I started off as a project engineer so I had hands-on experience, right from the execution stage, then I was promoted to design, taking care of electro-acoustic simulations and systems design for venues such as stadiums, auditoriums and five-star integrated resorts. Audio was always my passion; my brother had a rental company, and I used to assist him.”

Audio Technik is headquartered in Pune, with branches in Goa and Delhi. “We don’t believe in outsourcing any work to third parties, so that’s why we have the engineers on our payroll, so we can work right from design through to installation,” he explains.

The company also started a rental division a few years ago, with an inventory of Meyer Sound equipment which it deploys on largescale events such as religious gatherings where speech clarity is paramount. Audio Technik’s Goa branch was formed around two years ago, increasing the amount of work the company is able to handle in the state.

“In Goa, people believe in local support, and installations are pretty demanding in the hospitality sector,” he says. “For club and restaurant owners, the system is an integral part of their operation, so it makes a lot of sense if we have a base and a team in Goa. There’s an increasing amount of projects happening here, a lot of investment from the government, an influx in hospitality and the tourism sector.”

Let’s hope that once India starts to rebuild after the current situation passes, Goa can return to its glory as one of India’s top tourist destinations. www.audiotechnikindia.com

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FEATURES: ENTERTAINMENT

Going with the grain

Richard Lawn visits Wild Rice, a new venue in Singapore designed and built by a crack team of theatrical specialists

The Spectrum AV team pose outside the main entrance lobby

The Ngee Ann Kongsi Theatre Stage

Stage rigging and rolling beams were designed and installed by Siong Ann Engineering

HAVING CHAMPIONED HOME-GROWN THEATRE FOR OVER 20 years, theatre company Wild Rice finally laid down roots in Funan in 2019. Located in the heart of Singapore’s civic and cultural district, Wild Rice’s performing arts complex has been two years in the making. It now stands in testimony to those who played starring roles in creating this unique and intimate theatrical wonder.

The company’s founding artistic director, Ivan Heng, commented that it took more than 20 years for Wild Rice to secure its own venue. Seven attempts at finding a home later, the company managed to complete construction on its 1,883m2 complex at last – thanks to the generous support of property developer CapitaLand and the Ngee Ann Kongsi charitable foundation. Spanning three floors of the new Funan mall, the performing arts complex comprises the

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Spectrum AV added a concentric ring of d&b audiotechnik 8S speakers to all three levels of the theatre

main 358-seat Ngee Ann Kongsi Theatre as well as a 60-seat performance studio, rehearsal rooms and offices.

The task of realising the vision that Heng and executive director Tony Trickett harboured for Wild Rice @ Funan fell to Singaporean architecture studio Zarch Collaboratives, international theatre design consultancy Charcoalblue and acoustic design firm Radian Acoustics. Taking inspiration from the Royal Shakespeare Company’s Swan Theatre in Stratford-Upon-Avon, the Ngee Ann Kongsi Theatre is Singapore’s only dedicated thrust stage, its design extending the performance space into the auditorium with audience seating on three sides of the stage.

“In designing this theatre, we had two main considerations,” explains Heng. “Firstly, to create the optimum condition for audiences to experience a theatre

per formance. Secondly, to enable Singapore’s theatre practitioners to achieve the fullest expression of their craft. We want all these elements to create an electrifying live experience.”

From the star t, constructing the theatre was a mammoth under taking. “A theatre like this can often take 5–10 years to plan, design and build, but rarely two years,” explains Charcoalblue’s James Nowell, whose main task was to oversee the technical specifications of the venue. “Ever y element of the theatre, from fixings to light fixtures and sprinklers, needed to be of a precise measurement to create the per fect playground for Wild Rice to hold its productions. It was a major challenge for us, and one of the reasons why this theatre is ver y special.”

FEATURES: ENTERTAINMENT While the form of the main theatre was inspired by the Swan, the dimensions and expression for the Ngee Ann Kongsi Theatre are different, particularly when it comes to acoustics. Primarily designed for natural speech, the sound reinforcement design gives Wild Rice the flexibility to stage musicals and amplified productions too.

“It is more compact, both in height and in the horizontal plane,” says Radian Acoustics founder, Tan Suan Wee. “Geometrically, this reduces the room volume and also the vocal projection distance, thereby enhancing the aural intimacy of the space. Per formers can maximise the full dynamic range of the theatre from a quiet whisper to a fullon argument, with confidence that it will be heard across all the seats. In a sense, there is a back-to-basics element to per forming in the venue. The stagecraft is on full display on the Ngee Ann Kongsi Theatre stage.”

The 358 custom-designed seats from Figueras were imported from Barcelona, with varying seatback angles to provide an optimum viewing experience and comfort for each audience member. The geometry of the theatre is designed so that no audience member is further than 12m away from the per formers onstage. The sur face finishes have been engineered for sound reflection and subtle diffusion in order to enhance natural speech projection and distribution. The diamond-shaped side and rear walls are a key feature, per forming both an acoustical function as well as paying homage to Singapore’s old National Theatre. The result is an intimate setting in which the audience shares the same space as the per formers.

Image courtesy of Albert Lim K S Pro

As the theatre is located in mixed development housing retail outlets, a cinema, offices, restaurants and an urban farm, sound insulation was a particular challenge. “Full acoustic isolation was not possible, so creative means were devised to provide as much noise attenuation from the exterior to the theatre as possible,” explains Tan. Noise control from building services also needed to meet the NR 20 noise level requirement. An underfloor displacement system assists with the quiet delivery of cool air as well as energy efficiency and even distribution throughout the space.

For musicals and other productions where sound reinforcement is required, vocal transparency and imaging was paramount. “As the direct sound from the performers can be heard by the audience, any amplification needs to maintain the audio image onstage rather than from the loudspeakers,” explains Tan. “Also, vocal coverage is needed on the three audience seating areas rather than just the frontal direction of a proscenium theatre. The centre cluster, alongside the side-fills and under-balcony delays, fulfils an integral role for vocal reinforcement. Time alignment and relative levels of the subsystems are critical, and much effort was spent during commissioning to get this right. Similarly, the transparency requirement extends to equipment selection as well.”

To fulfil the audio contract, Spectrum Audio Visual was called to site in late 2018 to lay the conduits and cabling from the upper rack room to the control room, in addition to the L-C-R and distributed loudspeaker points. Project manager Eddie Chua selected an experienced team to complete the works, including systems designer Aldon Chua and senior director of project sales, Wayne Soo. “Given the extensive construction works that had to be

L–R: Wayne Soo and Aldon Chua from Spectrum AV return to Wild Rice @ Funan Theatre

d&b audiotechnik 5S and 8S coaxials maintain even coverage for the under-balcony seats carried out, our entry to the theatre was delayed,” explains Soo. “When we did arrive, adjustments had to be made to expedite the works.”

A d&b audiotechnik point source loudspeaker system provides sound reinforcement for amplified performances.

The central cluster of the L-C-R main FOH system comprises two Yi10P and four Yi7P dual 8-inch cabinets for three-

sided coverage, while the left and right arrays comprise two Y7P dual 8-inch cabinets per cluster. Identical in size and operating within a frequency response of 60Hz – 18kHz (–5dB), the Y7P, Yi7P and Yi10P enclosures vary in their nominal dispersions of 75° x 40° (HxV) for the Y7P and Yi7P and 110° x 40° for the Yi10P. The L-R arrays are further augmented by a single Y-Sub cardioid subwoofer that is capable of extending the LF down to 40Hz (–5dB). d&b 8S coaxials have been provided as side balcony-fills, with the compact 5S handling under-balcony delay.

Three d&b audiotechnik 10D and two 30D four-channel amplifiers power the entire FOH and distributed loudspeaker outputs. The DSP integrated within both models incorporates loudspeaker management, switchable filtering functions and independent EQ and delays to each output channel. The integrated LoadMatch function electrically compensates for the properties of the loudspeaker cable used. The addition of the DS-10 Dante network interface to the equipment rack completes the link for audio signal control.

An enclosed, glazed control room at the rear of the stalls shields the sound, lighting and multimedia operators, as well as the stage manager, while they work. A Yamaha CL3 64-channel digital console presides over the control room, connected to an installed Rio3224-D2 Dante interface in the audio patch room. Portable racks of Rio3224-D2 and Rio1608-D2 interfaces can be deployed within the theatre as required. TASCAM SS-CDR250N players and a QLab system serve as the main playback audio sources.

The wired inventory includes a varied selection of Shure SM57, SM58, AKG C451 B condenser and Crown PCC160 boundary microphones. Having previously enjoyed using the Sennheiser Digital 9000 wireless mic series, technical manager David Sagaya is happy to be working with the latest Digital 6000 series commissioned for Wild Rice.

The 14-channel setup includes SKM 6000 handheld transmitters paired with ME 9004 cardioid capsule heads as well as SK 6000 bodypack transmitters with MKE 1 miniature lavaliers and Countryman E6 Flex ear-set microphones.

The EM 6000 UHF dual-channel receivers can accurately switch the frequency in three different bands operating within a 470–718MHz bandwidth. “It’s continuously and automatically scanning available frequencies within an 88MHz switching bandwidth, allowing me to see where there’s inter ference,” Sagaya explains. “In addition to providing us with increased bandwidth, the Digital 6000 also offers more clarity and handling noise isn’t evident.

It’s an easier setup as it syncs automatically, without having to locate an available frequency. Batteries can also be hot-swapped during a per formance.”

Prior to the v5 firmware update becoming available for the Yamaha CL3 console, Sagaya used to run a Cat-5 cable to his Mac at FOH so that he could oversee RF per formance and observe parameters such as frequency availabilities

Top row L–R: Tan Wenbin (marketing executive), Alex Lim (head of marketing) and Faz Salleh (senior consultant) – Sennheiser Bottom row L–R: Tze Tze Lam (Electro-Acoustics Systems Pte Ltd executive director), Suan Wee Tan (Radian Acoustics consultant), David Sagaya (Wild Rice technical manager) and Darryl Tan (Sennheiser sales manager)

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FEATURES: ENTERTAINMENT

Image courtesy of Albert Lim K S Pro

production offices. Portable QSC PS-400G paging panels allow announcements to be made venue-wide.

The digital video infrastructure is based around a Blackmagic Smart VideoHub 40x40 router installed within the audio patch room alongside SmartView Duo monitoring displays and MultiView 4 processors. Within the theatre are multiple Panasonic AW-HE130K PTZ cameras rigged onto lighting bars to provide different camera views of the stage. Video show relays are routed to Samsung PMF digital signage displays located at foyer areas, dressing rooms, production offices and backstage areas.

Artists can access a performance studio and rehearsal room equipped with d&b audiotechnik E8 loudspeakers powered by a D6 amplifier. Portable flightcases racked with a Yamaha TF1 mixer, Sennheiser ew 500 G4 UHF wireless microphone receivers with e 935 handheld transmitters and TASCAM CD-400U players are available in these facilities.

In the foyer, a Yamaha TF-Rack alongside Sennheiser ew 500 G4 UHF wireless microphone and TASCAM CD-400U playback units facilitate pre-show music and live performances. Discreet Nexo ID24i dual 4-inch loudspeakers, powered by a Yamaha PX5 power amplifier, provide sound reinforcement for the foyer area.

seats at the second gallery level. The design and shape of the overhead catwalks allow the creative team to use the space to its full potential, and also provide an attractive technical ceiling that fits with the interior design.

Throughout the theatre, 196 channels of dimmers are managed by an ETC Sensor3 networked power controller in the rack room, while the theatre’s lighting technician manages the production from a compact ETC Gio console.

House lighting and work lighting is controlled by ETC’s Paradigm system, providing mode-based support to the venue’s operators. Button stations and master panels are included in key locations with the ability to plug in portable controllers when required.

The theatre is equipped with 11 double purchase manual sets for the flying of scenery, lighting, audio and video equipment, allowing for future expansion to motorised flying. The catwalks feature drop-down equipment bars that can be held back when not in use to allow maximum potential for the travelling beams. These beams run between catwalk voids and can be locked off to create custom rigging positions which can be used with electric chain hoists. The entirety of the stage and forestage area is built from modular rostra which allow the playing space to be reconfigured. Additionally, this system supports changes to format within the auditorium with the inclusion of vomitory positions. Shallow traps can be provided for productions by swapping out sections, or whole rostra can be removed to complement scenic design. The stage engineering design was fulfilled and delivered by Siong Ann Engineering.

By appointing a crack team that collectively shared their vision, Heng and Trickett have admirably pulled off the conversion of a three-storey concrete shell into an electrifying new theatre. www.charcoalblue.com www.easpl.com.sg www.figueras.com www.sennheiser.com www.siongann.com.sg www.spectrum.com.sg www.wildrice.com.sg www.zarch.com.sg

The left and right arrays each comprise two Y7P cabinets and a single Y-Sub and the battery status of the transmitters and receivers on the Wireless System Manager (WSM) software. “The Dante connection now allows me to manage and control WSM parameters such as gain, frequency, mute, Rx gain and battery status from the touchscreen inter face of the CL3,” he says. Assistive listening is provided by a Sennheiser Mobile Connect Wi-Fi platform that can either be accessed via venue-supplied iPods or BYOD operation.

The backstage areas have not been overlooked. Ensuring the shows run on time and the per formers are cued to take their entrances, the stage manager presides over a low-profile, desk-mounted GDS SMConsole with a Marshall Electronics QVW-1708-3G quad display as a visual monitor.

The customised stage manager’s console integrates clock timers, audio show relay speaker, GDS CueLight controller and a QSC PS-400G paging panel. There is frequent dialogue backstage to relay production instructions, where a Clear-Com HelixNet HMS-4X four-channel digital network party-line system alongside a FreeSpeak II wireless intercom setup supports both wired and wireless stage communications across the venue.

Backstage paging is organised around a QSC Q-Sys Core 510i DSP platform with a CV204V driving a variety of JBL Control 24CT, Control 26CT and Control 25AV loudspeakers located within dressing rooms, backstage corridors and

60 PRO AVL ASIA July–August 2020

EAS provided the user-friendly lighting infrastructure on the overhead catwalks Electro-Acoustics Systems fulfilled the lighting contract to install a flexible infrastructure above the stage, including cabling, data, power, patching and panelling. An inventory of predominantly ETC Lighting fixtures, including portable Source Four LED profiles and PARs, can be fixed to the lighting grid. “Setting up a production quickly was a major factor in this user-friendly design, so rolling beams can be chain-hoisted into position above from trolleys below and onto the manual flying system with counterweights,” explains Nowell. Facility panels are integrated into all areas of the stage and auditorium to provide maximum flexibility and assist cable management. Followspot positions are created, when required, with floor boxes and removable

Digital mixing is performed on a Yamaha CL3 control surface

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FEATURES: RECORDING

The UTas Hedberg building Design by Liminal Architecture with WOHA, renders by Doug & Wolf

The UTas Salon performance space Image courtesy of UTas

Building for the future

An API Legacy AXS analogue console takes pride of place in the recording suite’s control room Image courtesy of UTas

A state-of-the-art recording studio linked to dedicated performance areas is at the centre of the University of Tasmania’s new Hedberg building. Caroline Moss reports from Hobart THE UNIVERSITY OF TASMANIA (UTAS) HAS OPENED THE doors on its new Hedberg building, an AU$110 million initiative designed to provide music and creative arts students with a world-class learning space while bringing students, staff, industry and community together. This collaborative partnership between the university, the Australian and Tasmanian Governments and Hobart’s Theatre Royal is one of Tasmania’s most ambitious cultural and arts infrastructure projects to date, designed to incubate new talent and promote the creative arts sector.

The expansion was planned as the UTas Conservatorium had outgrown its previous building. Additionally, the Music Technology degree, which UTas began offering in 2012, had grown exponentially. The new studio facility within the Hedberg has been designed to provide the university with the best in music technology education and research.

The role of principal consultant on the Hedberg was awarded to Liminal Architecture in 2013. Liminal invited Singaporean architects WOHA to the project, as well as Arup Acoustics and Theatre as the AV consultants and providers. Co-located with the Theatre Royal in Hobart, the development houses a recording studio, performance venues, a new home for the Conservatorium of Music, front

62 PRO AVL ASIA July–August 2020

and back of house support spaces, integration of the twostorey Hedberg Garage and accessibility to all levels of the Theatre Royal.

Arup became involved with the Hedberg project at its official inception in 2013, providing acoustic, theatre and AV consultancy along with other building engineering services.

“We initially assisted the client – the University of Tasmania and Theatre Royal – and Liminal Architecture with WOHA, to formulate a specific brief for the multiple venues located within the Hedberg,” explains Nick Boulter, associate principal, acoustic and theatre consulting. Detailed design of the project commenced in 2015, with the main tender awarded in 2017. The entire building is due to be completed and opened later this year, with Arup attending for final commissioning as soon as Covid-19 travel restrictions allow.

The brief was to provide state-of-the art-facilities for the performing arts in Hobart now and into the future, creating a building that would support multiple core functions and user groups. Arup provided a variety of specialist and engineering design services, primarily integrated acoustic, theatre planning and technical equipment design work, partnering with local subcontractors in the final stages of the project. Its acousticians designed the studios with

professional-grade sound insulation and room acoustic conditions, planning the spaces to be as practical as possible. All spaces in the cluster are individually floated “box-in-box” rooms, built of separate floating floors and a mix of acoustically diffusive and absorptive acoustic room treatments, providing a controlled recording environment.

At the heart of the recording cluster is a 57m2 control room – large enough to accommodate student groups – linked to several recording spaces, including dedicated drum and vocal booths, as well as the Salon performance venue. Arup has also provided connectivity to the 280-seat Ian Potter Recital Hall, due to open later this year, with a Yamaha AFC4 Active Field Control system providing the flexibility to stage a wide variety of performances. “The ambition was to provide a professional-grade facility for educational and external users,” explains Boulter.

New Zealand distributor, Audio Chocolate, was contracted to provide an audio package for the control room, based around a 48-channel API Legacy AXS analogue recording and mixing console. Featuring American Cherry wood top and side trim, this was custom built to UTas specifications, with 48 channels of AXS Moving Fader automation, two automated group master faders, four automated stereo

FEATURES: LIVE RECORDING FEATURES: SOUND master faders six automated echo return It also rectified beforeand installation.

Soundvision was faders. also used as has an AXS Series for control room section, a 24-inch DAW/ a visual reference the arborists that physically rigged producer’s VU highest meter bridge andwas integral TT patchbay.

Syva in the desk, trees,athe of which around 40m “Myacolleagues and I wereto of around the passionate with diameter narrowing 200mmopinion at that that height. we required an analogue Wickens worked out the console,” angles in comments advance toStewart ensureLong, the lecturer in audio and coordinator of music system gave thedesign best coverage; this meant thattechnology. riggers only “Our teaching staff have a lot of experience withspeakers large-format needed to climb each tree once, hanging the in analogue consoles and it was important for us to give our the optimal position. students the 10+ mechanism experience and compare hardware ‘During my years oftoworking in audio, I have never to software for themselves.

We looked at all the large-format worked in such a unique location,’ says Wickens.

‘Being analogueinconsoles, deciding on the untouched API. It offered involved a soundeventually installation in a virtually all we required in proven heritage pedigree: routing, which was forest was a very humbling experience.’ really important for flexibility and stem recall, build quality and Challenges included making sure tree canopies or trunks service did not backup.” obstruct each speaker’s HF drivers, and ensuring The studio is for the use ofeach the UTas Conservatorium, sonic consistency between cabinet.

The team wereboth for making music for research.

Recording culture is determined not toand EQ the system unless absolutely employed asThe a teaching toolwinter as UTas offers an education necessary.

Tasmanian posed its own challenges, pathway from year 11 through to aicy PhD in Music which included 50km/hour winds, rainfall andTechnology. power “We are very serious abouttomusic techcontrol students training to outages.

Having the ability log into racks remotely be musicians creators in a way that is Manager adaptablemade to the from Adelaide and via the L-Acoustics Network moving target that isprocess the modern music continues the troubleshooting easier; onceindustry,” the Novatech team Long.received “We train our from graduates to makestating their own and had a call park rangers thatwork, extreme their training is wide and deep.” weather had passed through, they could log onto the Audio Chocolate also provided pair simple of Focaltests.

SM9 active computers in Tasmania and run asome midfields as the main monitoring system. with ‘L-Acoustics’ Load Sensor Calibration Tool“Combined on Network Arup’s fine acoustic the monitoring is amazing,” Manager was a very work, easy and simple way field of checking the says Long.

“One can hear cabinet minute changes the audible HF and LF drivers of each within theinarray,’ says spectrum ‘Iwith phase Wickens. wasease, blownand away that,anomalies no matterare howinstantly harsh the detectable.”every Syva box still performed perfectly. On conditions, Other equipment provided bytest the sequences distributor includes top of this, we could also run to ensure two Hrafn Lynx Aurora 24 software Dante interface/converters, a Manley the playback was configured correctly.

Massive Passive mastering EQ, a Telefunken ELA M 251e ‘Some of the installation’s most unusual moments were large diaphragm tube process. microphone andthe all team cabling.

In during the calibration When recorded addition, thedistances studentsbetween have a range recording time-based each of speaker withequipment SMAART, at their disposal, classicinto pieces as thebush, the sound of pink including noise diffusing the such Tasmanian Studer B67 reel-to-reel tape recorder by was Long,almost which followed closely by the eerie sound ofdonated a lyrebird, is call proving popular. a and very response, a very special moment indeed.’

Watson concludes that the project was ultimately successful in conveying a real-time experience of a raven roost. ‘Visitors were taken into the forest in the late afternoon with a guide to tell them about the history of the forest, the folklore and raven mythology,’ he says. ‘They were then led into a clearing and left there. As it went dark, they heard the sound of 2,000 ravens overhead through

Getting to grips with the API Legacy AXS Image courtesy of UTas

The control room is connected to the Salon, a 100m2 performance space which benefits from full acoustic treatment, professional sound and lighting, including one of UTas’ existing Funktion-One systems, and flexible staging and seating. This space can be used for rehearsals, recordings and smaller performances. With an adjustable RT from 0.6–1.3s and an 8.5m-high ceiling, the Salon is designed to be a conceptual workshop where students, as well as industry professionals and members of the community, can create and perform. It can also be used for jazz and musical concerts, as a sound stage for recording film and gaming scores and interactive conferences and workshops.

“The Salon is a flexible space that has to accommodate multiple room modes, including everything from large ensemble recording arrangements to traditional lecture seating,” explains Boulter. “The infrastructure we designed therefore had to be equally adaptive. We designed a flexible network of steel pipes and aluminium trusses on the walls

and immersive ceiling. These housesystem. performance the speaker Then,lighting right atpositions, the end when as well as providing locations to architectural they were in pitch darkness, all mount they could hear was the panels thatbird mask a motorised coming curtain which provides thethe individual conversations from all sides of capability topiece vary the acoustics of the There forest.

The lasts less than 40 space. minutes, but is it enough was infrastructure in the form of patch panels and temporary phenomenal.’ cabling pathways planned through the building to ensure that www.l-acoustics.com any room configuration can be used, and the building won’t be limited by the technology currently installed.”

The control room is also connected to a 53m2 ensemble room and two recording booths, one 27m2 and the other 16m2, all interfaced to the control room with a mixture of analogue and digital patch cabling. Arup also specified the Riedel MediorNet fibre backbone as the interconnecting infrastructure to connect the other performance spaces throughout the building together, allowing audio, video and control signals to be routed between the performance venues, the practice studios and the recording cluster. All have been equipped with flat panel displays with low-latency HD-SDI inputs to accommodate real-time collaboration with other performers, as well as Crestron NVX endpoints to support UTas’ teaching goals. The recording cluster also uses analogue audio tielines, while windows between the studios facilitate a more localised recording setup.

The recording cluster will give UTas the ability to offer its students the experience of state-of-the-art equipment and recording practices. “The way the building functions – by leveraging all the various venues, spacing and flexible acoustic infrastructure as spaces where musical recording will take place – will give their students insights into the way that arts venues will function into the future,” says Boulter of the exciting new addition to Hobart’s cultural and educational sectors. www.arup.com www.apiaudio.com www.focal.com www.utas.edu.au/the-hedberg

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Immersive education

Hong Kong Baptist University is celebrating its 50th anniversary

DMT’s technical team in the newly completed Dolby Atmos studio

Hong Kong Baptist University has updated its world-class School of Communication, adding new facilities to its Kowloon Tong campus. Caroline Moss reports on the upgrade THE SCHOOL OF COMMUNICATION AT HONG KONG Baptist University (HKBU) was founded in 1968. Two years ago, to celebrate its 50th anniversary, it embarked upon providing new state-of-the-art teaching and research facilities. Put into operation late last year, these include a postproduction suite equipped with Dolby’s home theatre immersive system, Dolby Atmos HE, as well as an artificial intelligence media research laboratory and virtual reality station, as part of a new focus to provide a creative environment for the university’s data and media communication programme.

The new Dolby Atmos HE studio, constructed for the university’s Academy of Film with an investment of HK$6 million, is the first of its kind in the Asian tertiary education sector. It brings the university in line with the latest technological developments in cinema, helping students to learn about the impact of sound design, while enhancing the quality of their creations. It was supplied and installed

by Hong Kong-based equipment distributor and systems integrator, DMT, which was initially contacted by the university in September 2017.

“HKBU has been a long-time client of DMT, and we have built a variety of studios and workshops for them, including three Avid S3/HDX 5.1 studios and several workshop labs,” explains DMT sales manager, Terry Wong, adding that DMT was chosen for its expertise in the field and close relationship with Avid and Dolby, both of which it represents.

Within the four-year undergraduate curriculum for HKBU’s Bachelor of Communication (Honours) course, three choices of major – film, journalism, and public relations and advertising – are offered to follow the general education and core communications courses. The university also runs selffunded undergraduate and higher diploma programmes. At the postgraduate level, the range of options includes a master’s degree in communication, film, television and digital media; producing for film, television and new media; and international

64 PRO AVL ASIA July–August 2020

journalism and media management, as well as research degrees. A number of institutes have been established to cultivate interdisciplinary research in a range of focus areas, of which the new buildings are a part, to benefit faculty and students in their research and creative work.

The school maintains close connections with Hong Kong’s media and creative industries, which have employed many of its alumni in senior positions. This has established a strong reputation for the school, as well as providing knowledge for current students to acquire expertise and offering networking opportunities. The Alumni Sharing Forum featuring distinguished film directors, screenwriters and creative directors who graduated from the school, the Global Chinese University Student Film and TV Festival and the Pulitzer Prize Winners Workshop, Master Class and Research Seminars are all examples of events organised by the school to foster relationships with academia and the industries in which its current students will work in the future.

HKBU wanted to be able to offer a certified Dolby Atmos film postproduction studio, giving its students the opportunity to experience monitoring, mixing and mastering theatre content in Dolby Atmos surround sound. “The

university wanted to create an accurate representation of a professional postproduction studio in order to prepare students better for work in the industry,” says Wong. “The HKBU studio is tuned to be very precise and accurate in the listening area, giving a good sweet spot where the engineer sits.”

The setup in HKBU’s Dolby Atmos postproduction studio comprises two Avid Pro Tools HDX systems – an HDX3 for recording/dubbing and an HDX2 system for playback – controlled by a 64-fader, dual operator Avid S6 control surface, networked over Gigabit Ethernet. Audio interconnection between the two Pro Tools systems is via coaxial MADI with the option of connecting via optical MADI if required. The HDX3 recording system transfers the Atmos elements (bed and objects) to the Dolby Atmos Mastering Suite RMU which in turn connects to an Avid MRTX interface that converts the MADI speaker outputs from the RMU to analogue line level audio. These analogue outputs then feed the relevant loudspeakers. Additional MADI I/O is provided, allowing down-mixed audio to be processed, either by the Dolby RMU engine or via Neyrinck plug-ins. A TAC System VMC-102 studio monitor controller provides individual speaker level and mute control as well as additional downmix and routing control.

The main monitor system in the studio consists of three Genelec 1238A SAM three-way studio monitors and three Genelec 7380A SAM 15-inch studio subwoofers. Surround channels for Atmos are provided for by a total of 18 Genelec 8050 large nearfield monitors.

Video playback in the studio is handled by a Barco 4K projector via a Blackmagic 4K Thunderbolt interface. Sixteen digital audio channels – eight AES pairs – are output from the Barco projector into the monitor control system for direct playback of completed movies. Eight mic/line inputs and a stereo feed to a headphone distribution amplifier

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FEATURES: RECORDING BUSINESS: COMPANY PROFILE BUSINESS: COMPANY PROFILE

Bosch deals a flush

approval for Dolby Atmos certification. “The demands are Professor and Huang at the the equipment School of to perform investors, not towhat accept thedoing. offers In and to engineersbut so we thathave theydecided understand we’re doing equipment it’s Yu, howthe we dean require high, and it took 20 attempts for studio planning approval,” Communication, that the teaching and research stay independent,’ so, we add value.’assures Valchar. ‘We like to be in control of and communicate.said As such, it’snew the most complex and he says. “Technical requirements for the certification cover facilities teachers and students alike torecent pursue our destiny. from the off,possess we decided on a policyAVof Asown a result, theRight outgoing racks a Spectrum importantwill parthelp of AV integration.

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USB conference the 700 UC noise For meeting rooms and conferencing Stemmen, also key member of the company’s executive team. measure available for theadevice, client’s bespoke requirements rather than it in terms of conventional respect. The whole operationAV is is geared The transition from AV to network a work cancelling headphones and a selection of applications, Bose promotingfor theAV racking ‘From 2003, when decided to start our ownadistribution, a limited range of we assembled products from distribution to respect from various markets the products in earning progress.

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‘In parallel, we established our there are many brands around.

Most SIs will promote excellent relationships professionals and practitioners.

That and prepare for it. Wewith equip our technicians with professional meeting systems, the underlying ethos EdgeMax in-ceiling loudspeakers.

EX you have to dream your next dream,’ says Chua. ‘Nobody can subsidiaries the UK, US, Asia (later Pacific), the one room theyindistribute andSoutheast that limits you.

For Asia example, respect, their continual desire to be more imaginative and training,and both locally and overseas, to be proficient in the of Bosepassive Work iscolumns to deliver consistent, premium and– endpoints can be get to the top ofprocessors the mountain if you do reach theconfigured summit, France and Germany.

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A have been other andtake roadshows throughout natural and while to which made microphones.

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96 PRO AVL ASIA May–June 2020

July–August 2020 PRO PROAVL AVLASIA ASIA 77 65 JanuarMarch–April y–Februar y 2020 2020 PRO AVL ASIA 75

BUSINESS: COMMENT

A letter from America

It’s all changed in an instant, reports Dan Daley, leaving the music industry in a precarious position WHERE TO BEGIN? THE COVID-19 PANDEMIC HAS, IN THE space of less than a month, undone nearly a decade’s worth of economic progress in music production. From the industry’s global nadir in 2014 of US$14.9 billion to $19.1 billion in 2018 (the IFPI’s numbers weren’t ready just yet but assume 2019’s number was higher), streaming had pulled recorded music back from the brink. And, even as recorded music’s fortunes have faded across most of the century, those of live music nearly compensated, with a record-breaking $5.5 billion in 2019.

However, live music’s engine was shut off in almost an instant in March, as tour after tour, festival after festival, venue after venue cancelled, postponed or closed. Meanwhile, recordings by BTS, Bieber, the Weeknd and others gave this year a strong start, but, once the coronavirus took hold, music online had to compete for bandwidth with everything else, from Netflix to Zoom. In the US, record stores were losing ground to gun sales, where there were queues around the block for second and third Glocks and Uzis that used to be seen when a new Michael Jackson LP hit the racks.

Where does it leave us? In a precarious position. Not surprisingly, it’s the artists’ dilemmas that have received most of the attention, particularly cancelled tours. But it’s been satisfying to note that the plights of the engine-

room crew behind them, including recording engineers and particularly touring technical personnel such as FOH and monitor mixers, are being decently documented. A number of initiatives to support them, such as Crew Nation, underwritten largely by Live Nation, the world’s largest concert producer, could offer some realistic assistance to those in the professional touring sector, along with a growing number of benefit performances (online, of course). Naturally, all of these efforts are accompanied by press releases admiring the altruism of their sponsors. That’s to be expected, and tolerated, as long as some actual relief reaches those who need it most. But, based on experiences from the Great Recession, it’s worth some wariness about who’s asking and who’s taking. Catastrophe often brings out the best in us, but not always. In the meantime, a less immediate amelioration of the very real issues of rent and food is the fact that many pro audio manufacturers are upping their online training and education offerings, all at no cost. A growing number of people I’ve spoken to have said they’re planning on leveraging these opportunities as they shelter in place. Smart.

Where do we go from here? Good question. Other than taking advantage of various government programmes for cash, there’s little else anyone can do at the moment. Every musician who ever waited a café table in the past has one up

on this generation, for whom the cafés are also closed. Even Uber’s phone has stopped ringing. At the top of the corporate game, expect to see significant consolidation take place.

Live Nation, AEG and a handful of other dominant production companies will gobble up the smaller ones that couldn’t survive a spring (and possibly a summer) without shows. I’d expect the same will happen to a lesser extent among systems manufacturers and sound reinforcement providers. And that will open the door to even more venture-capital agglomeration in pro audio. Not a pleasant thought.

What will certainly happen, though, is that the pent-up demand for live music, bottled up for months by the virus, combined with the need by everyone to get back on the road and generate revenue, will make the return of live shows an explosive one. Managing that will be challenging and present its own set of problems. Ideally, the business will come back in stages, with restrictions on large gatherings easing regionally at first. We may also find that virtual venues will have become an integral part of the industry going forward, just as brick-andmortar stores have incorporated their own online sales portals.

What happened is singular, coming without a road map, and with our nominal political leaders as nonplussed as the rest of us as to how to proceed. Like it or not, we’re living through history. Take notes, and also take care.

A letter from Europe

Phil Ward discusses whether we will see an increase in remote and virtual production, even when the pandemic is over SINCE 1955, BBC RADIO HAS BROADCAST A UNIQUE weekly compilation of brief reports called From Our Own Correspondent. As it says on the tin, BBC news correspondents stationed around the world are asked to summarise a local story – frequently from a hot spot, but not always. Sometimes it’s time for some reflection away from the spotlight, often lighthearted but always richer in context than the standard headlines. There’s a little more room to breathe and to pepper with personal experience.

Technology has transformed the process. Before smartphones and satellites, these correspondents were often perilously remote. Now and again, it worked in their favour – seasoned dispatcher Gerald Priestland spent much of his time posted to Delhi, and once revealed how he and colleagues would escape both the searing heat and the telephone connection to London.

“We would cable our editors saying we were off to Kashmir where the situation was getting ‘interesting’,” he wrote. “Once there, we’d hire houseboats around a lake, entertain each other, a little light reporting confirming each others’ impressions that indeed the situation was interesting and, when things finally became a little cooler in Delhi, we reported back that the situation in Kashmir had now calmed down.”

66 PRO AVL ASIA July–August 2020

It’s been some time since professionals have worked in an industry quite so complacent. Today’s mania for connectivity would never allow such nonchalance, and the assumption is that we can now practically stare into the monasteries of Nubra Valley from our own sofas. However, the pandemic has flipped this paradigm on its head. Reporters are now constructing makeshift studio facilities not far from their own sofas and, ho ho, suggesting the alternative title From Our Home Correspondent. Packages are being sent from the studios to individual’s houses – breakout broadcast kits that include microphones, lights, stands, brackets and video encoders from suppliers such as LiveU. According to UK broadcaster ITN, a new generation of encoders raises the quality of delivery and even connects the studio autocue to reporters’ and presenters’ homes.

More importantly, a legacy audio delay of 1.5s has been reduced by two-thirds. ITN itself has distributed Panasonic GH5S Lumix cameras to its talent in order to improve on the now-familiar creakiness of social media and other streaming platforms, which must surely come under scrutiny as a sense of quality control (QC) sweeps across the entire broadcast diaspora from users to audiences. Lapel

microphones, for example, can be connected directly to the Lumix.

Many commentators are looking at these innovations and wondering how they might be incorporated into future workflows, while acknowledging the conceptual difficulty of adjusting to little or no human interaction. If the QC issues are addressed, we may see a marked increase in remote and virtual production, even when the main studios are back up and running – making it even easier for Our Own Correspondents to keep in touch whether halfway up the Himalayas or simply stranded because of a flat tyre. The extra options for delivery, editing and postproduction alone should make the broadcasters a lot more nimble in the face of growing competition from the online upstarts who are shaking things up.

When I started out in journalism, my old-school publishers were deeply suspicious of anyone who would have the audacity to suggest “working from home”. The very phrase was a non-sequitur. If it ever did happen, the phone would ring at one-minute past nine, just to confirm you weren’t in Kashmir with Gerald Priestland and confirming your immediate return to the cut-and-thrust of a real office the next day. How we would willingly receive that instruction now.

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BUSINESS: COMPANY PROFILE

Experienced start-up The LEA Professional team

Launched in early 2019, professional amplifier and audio technology manufacturer LEA Professional boasts a team with more than 200 years of combined pro audio experience

Blake Augsburger, founder and CEO of LEA Professional

68 PRO AVL ASIA July–August 2020

IN JANUARY 2019, AS THE DOORS OPENED ON THE NAMM Show, former Harman Professional president Blake Augsburger appeared onstage to announce the formation of a new start-up. However, with an industry heavyweight like Augsburger front and centre, it was clear that this was going to be bigger than most new businesses. LEA Professional was described as a pro audio technology company with a focus on cutting-edge amplifier technology to be run by a team of executives, engineers, and sales and marketing experts from the pro audio community – many of whom had worked together with Augsburger previously at Crown Professional in northern Indiana in the US. While much of the LEA team already have a vast background in the manufacture of professional amplifiers, the new company wouldn’t be resting on its laurels. Past experience and gained skills would allow LEA to develop a solid catalogue of new products with few teething pains. However, the company was planning to build upon that and to explore new areas of amplifier performance, networking and user experience. It was a fresh start in many ways.

“LEA started with an idea that high-performing, professionalgrade amplifiers could feature advanced cloud connectivity that would improve performance and reliability, and also support new business models for systems integrators and dealers,” explains Augsburger, who now serves as the CEO of LEA Professional. “Our team includes some highly accomplished executive and engineering leaders from major brands, and it was extremely liberating to start from nothing. We had no legacy technologies we were forced to commit to; no network protocols we’d invested in and needed to amortise; and no large organisations with intellectual capital invested in one strategy over another. Instead, we could build smart, connected amplifiers by coupling our amplifier knowhow with cloud technologies from global leaders like AWS and gain a head start on the industry.

“We never saw ourselves as an amplifier brand, but instead as a technology platform. I am excited to continue innovating and changing the industry with new products and features.”

An advantage that LEA Professional had over most startups was a plethora of available and experienced talent, all within the same geographic location. The main motivation for starting the company, though, came down to a thirst to try something new.

“We saw the evolution of amplifier technology and the revolution in IoT, but these movements existed in isolation and no one was advancing them together,” Augsburger recalls.

“I believed the idea of coupling the very best in amplifier innovation and IoT connectivity would result in significant improvements in system performance and system management but also how integrators designed, installed and managed sound systems. Once I started sharing my idea with colleagues, partners, potential employees and prospects, I was inspired by the feedback we received.”

Fast-forward 18 months or so, and LEA now offers a full catalogue of Dante, network and IoT-enabled amplifiers of varying power with its Connect Series. On the software front, the LEA team has so far developed Web UI, a browser-based interface for controlling and monitoring Connect Series solutions, and the LEA Professional Cloud platform which offers cloud monitoring, control and analytics for Connect amplifiers. The product range has grown at arguably a faster rate than that of a typical start-up and the manufacturer shows no signs of slowing down.

“Our goal is to establish LEA Professional as the preeminent provider of amplifier and connected infrastructure platforms.

Cloud, networking and software technologies are driving change at a considerable pace, and we are uniquely positioned to address this change and provide ever-larger AV markets with high-performing, great-sounding, hyper-connected amplifiers – and maybe even some other devices in the signal chain. I am determined to grow the company, but I also want us to stay as agile, hungry and resourceful as we are today.”

The Web UI and Cloud software platforms have differentiated LEA from its competitors in the field of amplifier production.

According to Augsburger, they represent just the beginning, as further innovations are in development. “Web UI allows

BUSINESS: COMPANY PROFILE FEATURES: ENTERTAINMENT Spacemap spatial audio processing connects and synchronises the moving sound system and rotating audience seats with the fixed sound system on the stage via fibre-optic cables. The sound image moves smoothly in sync with the rotation of the audience seats.

A total of 12 outputs from each console – two Yamaha CL1s being used for sound effects and music, respectively, and a Yamaha CL5 for wireless microphones – are being automatically moved using the CueStation multichannel surround panning tool that can precisely place and move sounds around the audience on cue. The main L-C-R speaker system is receiving three outputs, the L-R stage monitor system has six outputs in total for side-fill, midside-fill and at the back of stage, while the L-C-R surround system consists of three outputs for the audience.

The sound image from each of the orchestra’s instruments, which has been localised in L-C-R channels, moves towards the audience, keeping the same balance as the original sound.

The Connect Series When it comes to actors moving around the stage with wireless you to get a clear everycomes amplifier connected microphones, the status sound check image of always from the front to the audience. network,” he “Therefore, you can see which of Forexplains. sound effects, three-dimensional sound amps are online and offline, whether they are powered on or comes from pre-programmed, customised speakers at the rear in athe standby quick performance of stage, mode as welland as receive from thea surround soundfield.status to‘We report errorsaor faults.

And be we localised have justinlaunched the alsoany created bus that can the effects LEA Professional which will stage, open the for system regardlessCloud of thePlatform, movement of the anddoor recalled remote control presets andThis analytics data outputs set for and eachmonitoring, scene,’ says Matsuki. was created storage, push notifications more interconnectivity using Spacemap, which he and first even encountered in 1996 in a control options.atIt an also allows for integrators demonstration AES showthe in opportunity the US. ‘Theatre sound to create a recurring stream.” designer Jonathanrevenue Deans, who has had a high degree of In a nutshell, is the provides for success in Lasthis Vegas, theability West that End Cloud and Broadway, was delivering support remotelywhich to clients with a Connect Seriesas a representing this system, has become the standard amplifier installation.

“We are excited to continue innovating show controller,’ he recalls. and bringing more technology advancements the industry,” Several company members came to Japan totowork on IHI says Augsburger.

Stage Around Tokyo, which is in the Toyosu district of the city Asland a business looking to build what already century. works while on reclaimed from the sea on in the mid-20th The also keeping open to new ideas,seats maintaining a positive venue features 1,100 audience surrounded by four company7m-high culture moving is extremely important.

“Thea culture at LEA curved, screens that create 180° panorama.

team with everyone hungry for success, but we balance that with a true in-depth knowledge of the industry. There is deep belief in our mission and confidence in the products we’re offering and the platform we’re imagining. We are all veterans of the industry and we know the pain points that our customers face. We strive to ensure that every touchpoint with LEA is simple, seamless and creates a positive experience. We do this through simple, one-click transactional processes for our partners and dealers and by creating a world-class support network. This is what we refer to as ‘the LEA way’.”

Only in its second year, LEA Professional has quite a history behind it already. While the internal company culture drives the business, industry colleagues from outside the company have also provided motivation.

“The goodwill that we experienced from around the industry was extremely encouraging,” Augsburger adds. “What was really motivating was that everyone knew we had a great idea that gave us a considerable head start – we were motivated to capitalise on that opportunity, establish our amplifier bona fides, share our platform message, start winning business and shipping product. We’ve accomplished all of that now, but the mission has evolved and we need to explain our connected infrastructure platforms to the channel and end user communities.”

LEA has evolved from start-up to global AV industry player within a short timeframe. “The contractor and consultant Four curved moving screens create a 180° panorama around the audience have really gravitated towards our vision; reps communities and distributors around the globe have come on board and Mounted on a circular platform, the audience seats are able Side Story, first in Broadway musical to installations,” be per formed we’re gettingthe spec’d a wide array of fixed to rotate 360°, passing between each stage set as the story at a Stage Around theatre. West Side Story opened with claims Augsburger. unfolds, thus removing the need for set changes between acts. an international in aAugust 2019 before athe Japanese This quick rise iscast hardly surprise considering team This is combined with music, projection and lighting to create cast took over inwhich November It continues withon itswhat behind company, hasn’t2019. just based its products a truly immersive experience; because of the video that flows sell-out it knows,run. but has pushed itself to develop new ideas and take Web UI isand a browser-based interface for controlling and vertically the seats that move horizontally, the audience calculated risks. The future would certainly seem to be filled monitoring Connect Series solutions www.meyersound.com can’t tell whether they or the stage is moving. with excitement for those involved with the young start-up. www.sc-a.jp Professional is unlike any was otheran I have experienced,” says IHI Stage Around Tokyo instant hit and continues www.yamahaproaudio.com www.leaprofessional.com Augsburger.

“Thereproductions, is a real start-up mentality amongst the to stage sold-out the latest of which is West

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May–June 2020 PRO AVL ASIA 69 59 July–August

BUSINESS: COMPANY PROFILE

A fresh start

Marketing specialist Alan Chang has started his own business to help western manufacturers find a foothold in Asia Pacific. He tells Richard Lawn about setting up SouHou International

BACK IN THE EARLY 1990s, SEVERAL ENTREPRENEURS developed unique businesses that supported western manufacturers wishing to expand business interests in Asia Pacific. Pioneering individuals such as Gisela Berg at Expotus and Jim James at East West Communications helped these companies to gain entry to a market that, at the time, was largely untapped.

As the pro audio market evolved in Asia, many manufacturers established their own distribution networks and, in some cases, regional offices. While a small dedicated brigade of US and European representatives continue to serve the interests of some western brands, Asia Pacific specialists are somewhat harder to locate today. However, in August 2019, along came SouHou International, which aims to make a difference. And given the extraordinary events of 2020, the company’s specialised services appear even more attractive in this era of travel restrictions.

Having gained an electronics engineering degree in Hong Kong, SouHou International’s founder Alan Chang went on to forge a successful CV stretching 25 years and featuring stints with multinationals including Shure Asia, QSC and the Sony Corporation. However, by his own admission, his move can be likened to disembarking an ocean liner in calm seas and boarding a one-man vessel that has since hit turbulent waters.

When an oppor tunity arose to join Shure as a sales manager at its new Asia Pacific base in Hong Kong’s Causeway Bay in 1999, Chang enlisted to become employee number four. Having amassed 75 years of heritage at that point, Shure may have been a huge corporate entity in Nor th America and Europe, but the car tridge brand that created a bigger microphone brand with the SM58 perhaps underestimated its own value in Asia Pacific. “It was like joining a star t-up company back then,” Chang recalls. “We were building operations in the Asia Pacific region for Shure, so there was this star t-up company spirit among our small, close-knit team. We were effectively introducing Shure to many people who were unaware of the company’s products or indeed its rich heritage. In addition to sales, I was doing a little bit of ever ything, so I learnt a lot.”

That small team enjoyed great success, resulting in rapid growth as marketing, finance, legal and customer service

70 PRO AVL ASIA July–August 2020

“Our services provide muchneeded flexibility for those companies that may have been making cuts recently” divisions were added to specialised positions. “While I was working under MD Rob Ascough, I was asked to head up marketing,” furthers Chang. As a fluent speaker of Cantonese, English, Hokkien and Mandarin, Chang learnt sufficient Japanese during his regular client visits around

Asia. “I quickly realised that the Korean and Japanese business cultures were unique and very different,” he says. “Trust, respect, detail and, above all, patience are required if you are to succeed in developing long-term relationships in northern Asia. Despite the immense challenges, I found it hugely interesting.” Some of Chang’s proudest achievements were the inception of dedicated sales and marketing offices that opened in Japan, Singapore and China.

Heralding from Hong Kong, Chang feels that his location is an advantage for SouHou Asia. Hong Kong enjoys a central position within Asia and, given its historic culture, business can easily be conducted in ASEAN countries such as China, Japan or Hong Kong, bridging the gap between Asian and western cultures. From its Hong Kong base, SouHou International can act as an independent sales representative for manufacturers by developing and extending networks. Market research is another specialist service the company can provide for measuring strengths and weaknesses leading to further analysis or advice.

“I made many connections during my career at the various companies I’ve worked for, which in turn has created a network of friends and alliances across the region who have provided me with many opportunities,” he reflects. “Our services provide much-needed flexibility for those companies that may have been making cuts recently. With continued travel restrictions and uncertainty, company export managers and trainers, for example, may not be able to enjoy face-to-face relationships with their customers. Saving valued time and resources, SouHou can serve as their local representative. While technology such as Teams and Zoom video conferencing can maintain communication, face-toface relationships are vital, especially in Asia.”

Chang was a frequent visitor to Japan during his time at Shure Asia

BUSINESS: COMPANY PROFILE Traditionally, the Chinese and nor th Asian economies have dominated regional AV sales, but Chang has networked extensively throughout the region in the knowledge that the emerging markets are demonstrating enormous potential. “As a region, ASEAN will be the world’s four th-largest economy by 2030, when the potential of Indonesia, Vietnam and the Philippines will become more evident. The current US–Chinese trade war

Chang presents E&E’s Ronald Goh with an award during his stint at Shure Asia

has enhanced this region as a number of manufacturers relocate to ASEAN countries to avoid higher tariffs.”

Charting a course for this new company during such a testing period, Chang points to the SouHou International logo of trees out in leaf set against a backdrop of mountains. Signifying a fresh start of new growth and development, he maintains that it accurately symbolises the attitude of the new company. “It’s a new beginning,” he

emphasises. “As the economy continues to slow down, no businesses can shield themselves from the effects leading to cuts in resources and a rise in unemployment. However, the brakes will be released and projects that are currently on hold will start up again. For every winter, spring must follow.” www.souhouinternational.com

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July–August 2020 PRO AVL ASIA 71

BUSINESS: TECHNOLOGY

The world turns to livestreaming

Livestreaming has quickly become the default option for any kind of professional presentation during the Covid-19 crisis. We asked several manufacturers to offer their advice to livestreaming novices NewTek

Scott Carroll, NewTek director of public relations

Magewell

Nick Ma, Magewell CEO and CTO

Matrox

Daniel Maloney, technical marketing manager, Matrox Video

Barix

Barix AG CEO, Reto Brader

Aten

Ethan Yu, Aten’s Consumer Product Center manager

What practical and novel ways can streaming technology be used to overcome the current lockdowns?

NewTek – Like everyone else, the pandemic has forced us to rethink the way we communicate with our own employees, our customers and channel partners. So, we’re using our own technology to create NewTek.TV and Vizr.TV – online platforms that allow us to reach customers and generate sales leads that normally would have been done at industry tradeshows. In practical terms, much of the technology to keep people connected has been available for quite some time, but people are now far more motivated to learn the necessary technical aspects.

Matrox – There are a number of markets where “the show must go on”, even if crowds are limited. You could see livestreaming extend into other areas of activity where the content is time-sensitive and production quality needs to be superior, including certain sporting events, keynote speeches and government communications. Dedicated streaming encoders and cloud distribution platforms bring the show directly to the audience.

What equipment is needed for streaming?

Magewell – At the simplest level, you need a camera as a video source, an encoder to transform the camera’s AV signal into a livestream in an internet-compatible format, an internet connection to deliver your stream and a service platform for your audience to access it. This latter element isn’t really equipment but is an important piece of the streaming chain – it could be a social media platform such as Facebook Live or YouTube Live, a dedicated video hosting platform or a content delivery network that redistributes streams through your own website.

Barix – The simplest setup requires an encoder device, such as the Barix Instreamer ICE, that turns an audio signal into an IP stream. Supporting up to 100 listeners may be all that is required and can be done directly from our Instreamer ICE encoder. Combine that with a mixing console, or simply a microphone, and you are ready to go; you don’t even need a

72 PRO AVL ASIA July–August 2020

Even here at Pro AVL Asia, we have had to dip our toe into livestreaming

What are the primary considerations to be aware of before buying equipment?

Magewell – The first and most important part is to define your goal in terms of the stream you’re trying to create. Ease of use should be your next consideration. Finally, but certainly not least, you want equipment that is proven to be reliable – the last thing you want is for your streaming equipment to stop working in the middle of a live presentation. “Live” means no second chances.

Matrox – It is about striking a balance between budget, the

NewTek – Less expensive equipment tends to limit your

need for personnel to operate equipment and the expected level of production quality. In the age of Covid-19, it may not always be easy to get an experienced technical professional to come in-house and troubleshoot problems. Make sure that you have the support you require to operate the equipment and software you are investing in.

creativity and production quality so, when you’re ready to up your game, you typically have to buy something new. TriCaster is known for being feature-rich and software-defined so it allows you to grow into its more advanced features. The other main consideration is connecting to a network. Since you deliver your content over the network, it makes sense to

computer. If more than 100 people need to be reached, then a stream duplication service is required, such as an Icecast server or third-party service provider. Barix is offering this part as a free service during the pandemic.

BUSINESS: TECHNOLOGY Barix – I don’t think all of them will continue and definitely not as much as they are right now. HOWs may use the devices to send their sermons to those otherwise unable to attend, while some schools had already been using streaming equipment to make radio stations as projects. While educators are currently using the devices to distribute lectures during the pandemic, using the equipment for classroom projects in the future will help maximise the already-low investment.

use the network to produce your content. This is where NDI comes in, allowing video, audio and metadata signals to travel bidirectionally across a standard network. We developed NDI and made it free for other software developers to use so now there is a huge ecosystem of NDI-enabled products.

After the essentials have been acquired, what equipment can take streaming to the next level?

Aten – The best quality always helps to make a professional stream. Better audio (a high-end audio mixer) and a good lighting setup will go a long way to making your content look even more polished.

NewTek – Good lighting and sound equipment, a good green screen perhaps, more network bandwidth and better cameras are always good investments.

Matrox – Multiple camera angles, clips, graphics and green screen backgrounds can all enhance the production. There are many tools available to perform these tasks but, as the tool kit broadens, so does the level of expertise required.

An incremental approach is probably best to ensure that the technology will not hinder the process of creating great content.

Magewell’s Ultra Stream are gravitating towards streaming options to help them with productivity and content creation right now.

How important is high bandwidth to the overall streaming experience?

Magewell – We have seen a significant increase in orders across all of our product lines, from our capture devices to our dedicated streaming encoders. Our solutions’ combination of ease of use, affordability and reliability make them ideal for the current landscape in which many people are star ting to stream for the first time.

Aten – High bandwidth is important for providing a good-

Matrox – The different markets we cater to have

quality stream; if your bandwidth is too low, you might not be able to stream out at all. Our equipment can help lower your stream’s bit rate to 480p, but you still need a stable connection. On our StreamLIVE HD, you can choose a lower stream quality, if your connection is less than optimal, down to 2Mbps, so it’s adjustable based on the user’s internet connection strength.

reacted in many different ways. For obvious reasons, livestreaming for spor ting events, concer ts and enter tainment productions has remained relatively quiet during this period. On the other hand, houses of worship and municipal governments have been investing heavily in Matrox encoding technology to ensure they can reach their audiences.

Magewell – There are two sides of this question: the stream creation side and the stream consumption side. On the viewer side, if you deliver your stream through a popular platform like Facebook Live or YouTube Live, the platform will automatically adapt the stream being delivered to each viewer based on their network conditions. For originating the stream, yes, it is important to have a stable internet connection. The higher the available upload bandwidth, the better the quality of stream you will be able to encode.

How have sales of this equipment been impacted during the pandemic?

Barix – By offering a six-month free “streaming to as many people as you want” service included with our devices, many houses of worship and communities have purchased our Instreamer ICE encoder to help them communicate during the pandemic. We hate to call that a sales success given the nature of the situation, but they have increased.

Aten – We’ve experienced exponential growth in sales of our streaming products, so it seems that more people

NewTek – Without a doubt. In many ways, Covid-19 has forced many entities into using video in ways they hadn’t previously. They’re going up the learning curve and seeing the benefits, the cost savings and the impact. We’re using it internally and the results have been very positive.

Are you developing any new solutions to cater specifically to these new customers?

Barix – Yes, as more and more customers – especially in the radio space – want to produce their radio programmes from home now. We have just come out with a SIP-based,

NewTek – We don’t

The Matrox Monarch Edge X2 typically comment on sales figures but let’s just say one TriCaster roughly equals bidirectional audio codec called the Barix SIP OPUS 10,000 bottles of hand sanitiser. It keeps people Codec. With this, a reporter or announcer can dial into the connected in a power ful way without having ever yone in studio and get highest-quality OPUS compressed audio the same room. from and to the studio for broadcasting. This product is in high demand, with ISDN circuits – which are the legacy What sort of companies/people are you approach to connecting remotely to the studio – going away, and with the current need for working from home in supplying your equipment to? Have you seen the broadcast market. this change because of Covid-19?

Magewell – We have always supplied our streaming solutions to a wide range of users, from live production professionals to churches, schools, municipalities and corporations. That still remains true, but we are seeing different trends. With live events such as spor ts, concer ts and conferences currently on hold, demand has decreased slightly from the professional production and enter tainment side, but that has been more than made up for by significantly accelerated adoption in the worship, education, government and corporate markets.

Aten – Yes, this has changed because of Covid-19. For example, someone in our user experience department happened to see his friend was using a StreamLIVE HD at his job working for a video studio doing video events.

His studio was using it specifically because they needed a livestreaming solution to help them deal with the Covid-19 situation.

Are you expecting them to continue with livestreaming after the lockdowns?

NewTek’s TriCaster Mini

Matrox – Those doing live productions from the home may opt to continue doing so if they have found themselves capable of “running the show” in that way. Others may want to adapt what they learned in their homes to more appropriate venues. Those organisations who installed streaming technology in their primary place of business to encourage social distancing will likely never look back because of the benefits provided. Higher education institutions are an example of this.

Magewell – Absolutely, yes. The use of streaming across all vertical markets was already growing before the pandemic; Covid-19 has simply accelerated the trend. Once organisations become comfortable, they’re likely to stick with it; even once people start gathering and meeting in person again.

Magewell – We were already designing products such as Ultra Stream with a goal of making it easier for firsttime users to create high-quality livestreams, so we were already well-positioned when the pandemic started. And while we didn’t develop any new products specifically because of Covid-19, we did reprioritise new features that we already had on our roadmap to help these new customers.

Matrox – We are committed to using IP technology to move audio and video for a wide range of professional AV and broadcast applications. Covid-19 has yet to change our product strategy, but it may make us reprioritise our schedule for releasing certain features for our AV-over-IP platforms.

NewTek – We have one solution called Live Story Creator which, for example, allows a video novice to create a script in Microsoft Word and, with a few commands, use their script to run their show in a TriCaster. We want their focus on the creative aspect of their show rather than the technology. www.aten.com www.barix.com www.magewell.com www.matrox.com www.newtek.com

July–August 2020 PRO AVL ASIA 73

Authorised Reseller

Authorised Reseller

Authorised Reseller

NEWPRODUCTS

INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING

Yamaha extends the Rivage ecosystem

The Rivage PM series

Designed to deliver flexibility, performance and expandability, Yamaha has extended the Rivage PM mixing ecosystem with the launch of the PM5 and PM3 digital mixing systems FOLLOWING THE launch of the flagship Rivage PM10 digital mixing system in late 2014, the Japanese brand followed up at ISE 2018 by adding the PM7 control surface. Extending sonic quality and flexible control, the additions come in a physically smaller compact footprint to add versatility and scalability to the Rivage PM lineup that now incorporates five control surfaces and two DSP engines with different mixing capacities.

Incorporating the same three bays with 12-fader configuration, the core components of the new PM5 and PM3 are the CS-R5 and CS-R3 control surfaces. The commonality of fader configuration ensures the same layout can be maintained when using different control surfaces, while the combination of touchscreens and selected channel controls provide intuitive operation.

The 42kg CS-R5 features three 15-inch ultra-sensitive, extra bright capacitive touchscreens, suitable for daylight viewing and a condensed selected

channel section. The depth of the control surface has been reduced to bring the controls within easy reach for comfortable operation, in addition to improving sightlines. Fine adjustments can be performed on dynamic meters located beside each fader. Measuring 1.145m in width, the CS-R3 incorporates a single touchpanel display and the same condensed selected channel section as the CS-R5.

Two new DSP engines come in the form of the DSP-RX (120 inputs, 48 mix busses, 24 matrices) and the DSP-RX-EX (288 inputs, 72 mix busses, 36 matrices). A DEK-DSP-RX expansion board can be added to upgrade the DSP-RX to full DSP-RX-EX specifications. Both engines allow DSP mirroring, while two DSP-RX engines or two DSP-RX-EX engines can be used in mirrored configuration for redundancy purposes.

Ensuring consistency, the Rivage PM systems use the same DSP engines, I/O racks and firmware. The Dual Console

function makes it possible to use a second control surface as a sidecar. Like the PM10 and PM7, the PM5 and PM3 offer direct compatibility with Yamaha’s TWINLANe and Audinate’s Dante networks.

Simultaneously coinciding with the release, Yamaha has announced the availability of firmware v4.0 for the entire Rivage PM series. User interface and function updates include an increase in the I/O count of the Rivage PM7 to 144 inputs and 36 matrix outputs and the addition of the premium SP2016 reverb plug-in from Eventide. Along with a large selection of presets, the SP2016 provides detailed editing for engineers who prefer to customise their sound. Firmware v4.0 also allows control of L-Acoustics’ L-ISA systems. For every mono or stereo input channel, L-ISA objects or groups can be controlled direct from the Rivage PM control surface.

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www.yamahaproaudio.com

AV Integrauon

Remote Producuons

A–ZCONTENTS ADAM Audio T8V Alcons Audio QB242 Amate Audio G7 AMS Neve 1073 OPX AMX DVX-3266-4K/DVX-2265-4K Antelope Audio Zen Tour Synergy Core Apantac MiniDE-4-QUHD Apex Audio CloudPower API 2500+ Apogee Symphony Desktop Aten VE8950/VE8900 Control App AtlasIED M1000A35 Atlona AT-OME-RX31/AT-OME-EX-KIT-LT Avid Pro Tools 2020 Avolites Q Series Barco Barco Insights Barix M400 SIP Calibre LEDFusion A160 Cameo Opus H5/Evos W7/F4 series/H2 series Christie Active 3D for MicroTiles LED Danley Sound Labs Studio 1/Studio 2/Studio Sub Datavideo TPC-700/SE-3200 Digigram IQOYA X/Link-LE disguise r17.1 Ecler eHMA250 Elation Polar Crisp Eve Audio SC3070 Eventide MangledVerb/Qvox/Spring Exterity AvediaPlayer m9605 and m9400 Extron XPA U 1004 SB/XPA U 2002 SB GatesAir Maxiva VLX-OP Series/Maxiva PMTX-1 Genelec 1235A/RAW JBL Professional Cinema Expansion Series/DDA 5.1 Klotz AIS Sentry Kramer KIT-400/KDS-10/K-Spider Lawo Power Core Max/VSM Release 2020-2 LEA Professional Cloud Platform Lectrosonics Additions to D Squared family Listen Technologies Listen Audio Guide System Mackie EleMent Series/CR Series Magewell Pro Convert H.26x to HDMI 4K Marshall Electronics CV226 Martin Audio Adorn series additions Matrox Maevex 6152/MIL X Merging Technologies Merging+Anubis Premium MXL Microphones Revelation II NanoLumens Engage Series NewTek Spark Plus IO/PTZUHD Panasonic AK-HC3900/AW-UE100 QSC AC-C2T-LP/Q-Sys Designer Software v8.3.1 RAM Audio XTR Series Riedel MicroN UHD/MuoN/VirtU/FusioN RME M-1610 Pro/ADI-2 Pro FSR BE ROE Visual Helios RTW SMPTE ST 2110 added to TM7 and TM9 Solid State Logic S300-48/HC Bridge SRC/System T V2.3 Sonifex AVN-DIO10 Sony MAS-A100/PVM-X2400/PVM-X1800 Sound Devices A10 v2.90 Studio Technologies Model 792/Model 793/Model 5421 Studiomaster Sense15A+ Symetrix Composer 7.3 Tasker EVAC and fire safety updates Tierra Audio Analog Edition Take 2 TOA TS-820/TS-920 TSL Products SAM-Q-EDIT/PAM-IP updates Vari-Lite VL5LED Wash/VL800 EventProfile Waves Audio MultiMod Rack/Content Creator Audio Toolkit Wheatstone ReMIX Williams AV Convey/Digi-Wave 400/IR Plus Work Pro Arion 10A/Arion 5A/Integra/UDA Series WyreStorm Essentials NEXT System Xilica Designer 4.0 Yamaha Rivage PM5 and PM3/Rivage v4.0

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AV & Cloud Soluuons Video Conferencing

www.idealsys.com July–August 2020 PRO AVL ASIA 75

PRODUCTS

SSL’s System T expands in all directions TRADITIONALLY FAMED for its large analogue consoles, the latest round of product enhancements from British console manufacturer Solid State Logic all revolve around its T Series. Leading the charge is the new S300-48 fixed layout 48+1 fader compact control surface, which can be combined with the complete portfolio of SSL’s System T consoles, remote tiles and screen interfaces, Tempest processing engines and network I/O options.

The S300-48 provides a larger fader count and multi-operator usage in the System T S300 form factor. Channel metering directly above each fader provides direct monitoring and control of signals on the current surface layers, with an overview providing metering of console-wide signals.

System T’s modular approach allows all surface variants to use the same software.

This includes access to all features including full AoIP routing from the console, DAW control, immersive audio, dynamic automation,

S300-48 access control, event manager, scene automation and a fully featured on-board effects rack.

AoIP functionality includes Dante and DDM support directly in the console software.

All System T and network I/O devices simultaneously support Dante, ST 2110, ST 2022-7, ST 2059-2, PTPv2 and PTPv1.

AoIP routing is available from the console

software with discovery of stageboxes and the ability to resource share directly from the console.

Joining the S300-48 in the System T portfolio is the HC Bridge SRC, a network I/O device providing 256 bidirectional channels of sample rate conversion for AoIP networks. The device also facilitates connecting audio between devices running at different sample rates or in

HC Bridge SRC

different clock domains on Dante (48kHz and 96kHz), AES67 or ST 2110-30 networks.

The last of the new additions is a software update for the System T platform. V2.3 adds enhancements including DAW control, immersive audio, dynamic automation, patch manager CSV files, access control, event manager, scene automation and an on-board effects rack. Alongside the V2.3 release, the network I/O V4.0 update includes ST 2110, ST 2059-2 and ST 2022-7 support for all devices. www.solidstatelogic.com

Work Pro extends Arion series Genelec looks to its heritage WORK PRO has expanded its Arion DSP powered line array with two new models.

Building on the Arion 21A system and double 10-inch format SL210A satellites, the Spanish manufacturer has added the Arion 10A single 10-inch and the Arion 5A dual 5-inch models. One internal Pascal dual-channel amplifier is required for every two cabinets. When combined with Work Pro’s internal networked DSP, the amplifier can supply a powered audio signal to the entire system and can be fully managed remotely via Ethernet.

incorporate directivity control, a proprietary IST (Interdependent Shading Topology) network to ensure that all the loudspeakers maintain a constant ratio between wavelength and column size for controlled vertical coverage across the entire vocal range. The UDA 1, UDA 2, UDA 4, UDA 8 and UDA 16 all exhibit 140° horizontal coverage and can operate in either low- or highimpedance mode.

Housed in aluminium, IP65-rated enclosures, the loudspeakers are finished in either black or white. Accessories allow vertical or horizontal mounting, while a UDA TL accessory with a 120Wrms@100V line transformer (60Wrms@70V) can be added for highimpedance connectivity of the UDA units.

GENELEC HAS taken the sound and heritage of its 1035 main monitor, launched in 1989, to develop the 1235A Smart Active Monitor.

The new iteration provides high-performance 96kHz processing and is said to offer users the ability to adapt to any space through its tight integration with Genelec’s GLM calibration software. The 1235A has been designed for large

www.workpro.es

1235A music, film or postproduction installations that demand high SPL and neutral, stable imaging.

The 1235A shares many of its predecessor’s characteristics – according to Genelec, the new monitor provides “outstanding frequency response both onand off-axis, superb directivity and a wide and stable sweet spot that can be trusted by multiple listeners in the room”. It has a short-term SPL of 130dB and a lowfrequency extension down to 29Hz. The 1235A features dual-performance 15-inch drivers, dual 5-inch midrange drivers and a lowdistortion 1-inch throat

Arion 10A Available with either 8x8 or 16x16 input/ outputs, the Integra multi-zone digital audio matrix provides audio distribution, mixing and processing. In addition to line and mic level inputs, the 1U rack-mountable Integra can handle up to four paging microphones. The inclusion of WMC1 Ethernet/PoE wall-mounted controllers together with eight programmable GPIOs, RS-232 and RS-485 serial ports extends compatibility for operation with other automation and control systems. The internal Sharc DSP provides EQ, delay and dynamics control for both inputs and outputs, Acoustic Feedback Cancellation (AFC), automix and audio routing. Integra+ models can add an optional 4x4 Dante card.

Designed for challenging environments, Work Pro has created the UDA Series of column loudspeakers. The five models

76 PRO AVL ASIA July–August 2020

An Arion 5A array

compression driver. The monitor’s remotemountable RAM XL electronics module contains power amplification, crossovers and processing, with Class-D amplification delivering 2,000W, 800W and 250W for the LF, MF and HF drivers, respectively. Input connectivity is provided via both analogue and AES/EBU digital formats – along with an AES/EBU digital output – and the updated design of the 1235 is also said to deliver a flatter on-axis frequency response and improved noise performance than was possible with the original 1035.

In brief, the Finnish manufacturer is also offering a RAW aluminium finish to a selection of its most popular models in its Studio and AV ranges. The RAW versions have been designed to create an even more environmentally friendly loudspeaker and are available on all two-way designs, including the 8020, 8030 and 8040 nearfield studio monitors, the 4020, 4030 and 4040 installation loudspeakers and the 4420 and 4430 Smart IP loudspeakers. www.genelec.com

The RAW speakers have an aluminium finish

PRODUCTS

JBL heads to the theatre THE CINEMA Expansion Series from JBL Professional has been introduced for smalland medium-sized commercial theatres. The line, which includes JBL 3153 and 4253 threeway screen-channel loudspeakers, 3181F and 4281F subwoofers and 8102 surrounds,

460W-rated JBL 3153 delivers 134dB peak SPL and covers rooms up to 13.7m deep, while the dual 15-inch, 800W-rated 4253 delivers 138dB peak SPL and covers rooms up to 26m deep. Both models operate at 4Ω impedance, allowing them

Cinema Expansion Series covers rooms up to 26m deep and up to 12m wide. The Crown XLC 21300, a two-channel, 1,300W amplifier that supports the Cinema Expansion Series, has also been released.

JBL 3153 and 4253 screen speakers provide full-range, symmetrical 90° x 50° coverage.

The speakers operate in passive or biamp mode and incorporate built-in crossover networks and transducer protection circuitry.

Two sizes are available: the single 15-inch,

to be powered by Crown XLC amplifiers, and feature enclosure-top, binding-post connectors to simplify wiring and save space behind the screen.

The 10-inch, two-way, 260W-rated 8102 surround speaker provides full-range, 110° x 90° coverage, with a peak SPL of 125dB and a throw capability of 12m. It operates at 8Ω impedance, allowing multiple surround speakers to be wired to a single

amplifier channel. The cabinet features a 20° down-angled front baffle, enclosure-top input terminals and mounting that is compatible with JBL QuickMount, OmniMount or APC MultiMount brackets.

The 3181F and 4281F subwoofers provide low-end coverage in the 30–500Hz range. The single 18-inch, 650W-rated 3181F delivers 132dB peak SPL, while the double 18-inch, 1,600W-rated 4281F delivers 139dB peak SPL and features four-pin connectors that allow driving the two transducers separately (discreet mode) or together (parallel mode).

JBL has also added what it describes as two significant new features to its Digital Directivity Analysis (DDA) software. DDA is designed to work with JBL Intellivox products along with any point source speakers in the JBL portfolio using common loudspeaker format (CLF) data. It enables sound designers to visualise and statistically predict direct SPL, total SPL, D/R ratio, STI and delay spread. According to JBL, DDA 5.1 streamlines the registration process

and removes the need for repeated licence renewal found in earlier versions of the software. DDA 5.1 also includes the new SketchUp plug-in, which is said to enable users to easily import 3D geometry from SketchUp software. DDA 5.1 is described as a powerful acoustic modelling software tool that allows sound system designers to simulate speaker response in a 3D environment. Users can download the latest version of DDA for free directly from the JBL Professional website and begin using the software immediately after registration. www.jblpro.com

DDA 5.1

Alcons introduces modular sub AtlasIED adds output power ALCONS AUDIO has released a modular bass element serving as either a fully scalable, low-frequency extension system for the QR24 line source column system or as an arrayable LFE system with any of the manufacturer’s pro-ribbon systems.

The QB242 can be stacked or flown in multiples, serving as a building block to form bass arrays for obtaining lowfrequency projection and throw control in acoustically challenging spaces or over longer distances. The controlled (cylindrical) projection of the QR24 can be extended down to the lower frequencies by enlarging the LFE array length and adding extra QB242 modules. According to Alcons, the lowest usable frequency of one single element is 35Hz. The subwoofer’s two directradiating 12-inch neodymium

woofers are mounted in a vented chamber, with large bass-reflex ports that increase overall output while minimising port compression. The tight driver arrangement caters for optimal array coupling, while the 8Ω system impedance makes for an efficient amplifier channel loading when assembling arrays of multiple units. The QB242 is powered and controlled by the ALC amplified loudspeaker controller, which offers QB242specific drive processing. Factory presets integrated in the ALC drive processor offer the latest VHIR processing, with gain, phase and filtering matching with all Alcons top systems. The integrated mounting hardware also facilitates coupling with other QB242 modules. The QB242 is finished in Durotect coating and comes with a six-year warranty. www.alconsaudio.com

THE LATEST soundmasking loudspeaker from AtlasIED has been released, boasting 30W of output power to drive additional passive speakers. Intended to complement the manufacturer’s M1000 masking speaker,

the new M1000A35 is powered by an internal 5W amplifier and features a non-repeatable pink noise generator in addition to proprietary EQ curves for acoustical room calibration.

If integration into an existing control system is a requirement, a GPIO control port is also incorporated to allow for remote level adjustments.

The inclusion of 30W output power for delivery to additional M1000 cabinets allows designers to specify fewer power drops for soundmasking installations, plus adds scalability to accommodate flexible office environments and floor renovations or reconfigurations. The speaker has been specially designed to be used with AtlasIED’s ATMASKSC amplifier, operates from 100–240V and is UL2043 plenum-rated. www.atlasied.com

Danley heads to the studio

DANLEY SOUND Labs is bringing the past into the present with its Studio 1 passive nearfield monitor, Studio 2 active nearfield monitor and Studio Sub subwoofer. The Studio 1 uses Danley’s Synergy Crossover design to reportedly bring not only a linear frequency response but also a linear phase response. With a frequency response of 63Hz – 20kHz using just a single 6.5-inch coaxial driver, the Studio 1 requires just one amp channel and little, if any, processing, according to the

manufacturer. The Studio Sub, meanwhile, uses two 8-inch woofers to deliver low distortion down to 33Hz and has been created to work with the Studio 1.

The Studio 2 houses its own amplifier and has been designed to be a self-powered, standalone box with no need for an external sub. It boasts on-board processing, analogue and digital balanced XLR inputs as well as RCA inputs. www.danleysoundlabs.com

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PRODUCTS

ADAM adds 8-inch to T Series

THE LATEST studio monitor release from ADAM Audio is an 8-inch addition to its T Series, intended to offer “performance, quality and reliability” at a low price point.

The T8V features an 8-inch woofer paired with matched amplification, suitable for use in project and home studios, that delivers a low-end frequency response down to 33Hz and 188dB SPL per pair. The new 8-inch model joins the 5- and 7-inch full-range monitors and 10-inch subwoofer.

The monitor’s U-ART tweeter (Unique Accelerated Ribbon Tweeter) is mated to a waveguide with the same dispersion control attributes as the HPS waveguide in the manufacturer’s S Series. The Class-D biamplified design provides 20W and 70W for the tweeter and woofer, respectively.

All T Series models feature a bevelled cabinet design, a rear-firing bass-reflex port, built-in DSP-controlled driver crossovers and equalisation and multi-way analogue connections. www.adam-audio.com

Three-way monitoring in tight spaces THE SC3070 has been designed by Eve Audio for applications where the complete skillset of a fully fledged, threeway system is required but where space is at a premium. It is a high-resolution, triamplified near/mid-field monitor optimised for “precise midrange and powerful bass response”. The solution uses a 7-inch, low-frequency driver and a 4-inch, glass-fibre honeycomb diaphragm woofer. The manufacturer’s RS3 Air Motion Transformer is said to provide smooth and accurate high-frequency reproduction.

All of the SC3070’s frequency response parameters are controlled by high-resolution DSP electronics supported by a high-quality A/D converter from Burr-Brown. Three Class-D amplifiers are directly connected to the DSP section with no additional conversion. The speakers are packaged in cabinets that house a bevelled ultra-stiff

G7 aims for premium installations COMBINING HIGH-PERFORMANCE audio with compact, stylish aesthetics, Amate Audio has created a premium installation loudspeaker primarily for retail, hospitality, recreational and enterprise applications.

Not to be confused with a global conference, the G7 is a two-way loudspeaker housed within an EN54-24 certifiable, hexagonal-form, reinforced ABS plastic cabinet. Capable of producing a maximum SPL of 112dB with continuous programme power handling capabilities rated at 120W, the G7 leaves sufficient headroom for instances where higher output may be required. Behind the aluminium grille, the passive model combines a 6.5-inch carbon-fibre woofer and a 1-inch neodymium tweeter with a titanium dome, a custom-designed HF

phase plug and flare, a bass-reflex port and a second-order crossover network.

Finished in white, black and titanium, external features include a recessed connector panel with protective cover, recessed screw sockets and integrated U-bracket mounts for the supplied wall mount. The G7 can be applied to standard, low-impedance and 100V line scenarios by replacing the rear connector plate with a T-G7 transformer plate for 100V line applications with switchable 5W/10W/20W/40W power settings. www.amateaudio.com

Martin Audio Adorns the ceiling

front plate to reduce unwanted resonances and diffraction.

FIVE NEW ceiling speakers have joined the Martin Audio Adorn series introduced last year, including three in-ceiling models and the company’s first ever pendant loudspeaker.

Suitable for use in bars, restaurant and retail outlets, the cabinets are said to possess Martin Audio’s signature sound combined with visually discreet, ultra-compact enclosures that can provide a “seamless sonic transition” within a multi-zone complex using larger Martin Audio systems such as CDD or BlacklineX.

to 79Hz. The wide 180° and 150° conical coverage of the ACS-40TS and ACS-55TS, respectively, makes them suitable for low ceilings and helps to reduce the number of speakers required for even coverage. They feature a shallow backcan for installation in ceilings with a minimum cavity depth.

Finally, the ACP-55T pendant speaker features a 5.25-inch LF driver and a 0.75-inch silk-dome tweeter, produces 109dB peak output at 1m and delivers

www.eve-audio.com

Studiomaster makes sense SENSE 15A+ has become the latest model in Studiomaster’s Sense monitor speakers.

It is a 15-inch, two-way active monitor with a frequency response of 55Hz – 20kHz (–10dB) and a maximum SPL of 128dB. The 24-bit/48kHz DSP includes four tone modes, three-band EQ, low cut, delay and volume.

The speaker can be used for monitoring or as a PA

cabinet and provides a peak power system of 1,200W and a crossover frequency of 2.4kHz. Other attributes include a 75mm voice coil, 80° x 80° coverage, two XLR/jack combos, a 3.5mm jack, XLR thru and a mix output. The voltage selector is 100–240V and the weight is 20.5kg.

Along with its other Sense siblings, the 15A+ features coaxial HF and LF units for increased sensitivity and “true” production of tone, with NdFeB magnetic HF compression drivers, a dual Class-D amplifier circuit and a 43° monitoring angle, all in a compact and lightweight design. The model is available in durable paint or hard-wearing carpet finishes and comes with a robust steel grille. www.studiomaster.com

78 PRO AVL ASIA July–August 2020

The complete Adorn series All the new ceiling models have a nominal impedance of 16Ω that means four or more speakers can be driven in parallel by one amplifier channel. The new ceiling additions are also fitted with an internal 70V/100V multi-tap line transformer with a switch to select the output level. For full-bandwidth protection, the low- and high-frequency sections are individually protected against overload in all models.

Comprising a 4-inch LF driver and a 0.75-inch silk-dome tweeter, the ACS-40TS in-ceiling speaker produces 108dB peak output at 1m with a ported design that extends bass response down to 73Hz. The ACS-55TS inceiling speaker features a 5.25-inch LF driver and 0.75-inch silk-dome tweeter, producing 113dB peak output and bass extension down

superb sound quality for both music and speech reproduction. Its pendant enclosure is equipped with a single-point mounting system plus provision for attaching a safety cable.

Available in black or white, it also features a wide 150° conical coverage.

The in-ceiling ACS-55T and ACP-55T pendant speaker also both feature a 5.25-inch LF driver and 0.75-inch silk-dome tweeter with 150° conical coverage, producing 113dB and 109dB peak output, respectively. The ACS-55T is said maximise LF output thanks to its voluminous cabinet, while the pendant speaker is described as delivering superb sound quality for both music and speech reproduction. www.martin-audio.com

TS D TS

PRODUCTS PRODUCTS

PRODUCTS

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GatesAir transmitter range that covers GatesAir has has also also released released three three other other transmitter that covers low-band low-band 060 lavalier, weWe made a new version ehent business benefits itrange thinks its challenge. did an awful lot additions to its catalogue.

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First, the VHF (Channels 2–6), high-band VHF nd instead of taking thepatience mic out, you ere are of operational costnPlex andlots having the to Maxiva (Channels 7–13) and DAB/DAB+ radio.

Maxiva PMTX-1 PMTX-1 pole-mount pole-mount transmitter transmitter is is (Channels 7–13) and DAB/DAB+ radio. ts. erent position viathose a rotable design,’ that they’re not confused stem –so less speakers and/or less dtered bad, to make changes thatsoftware-defined an outdoor pole-mounted 50W post-filter The units offer the same an outdoor pole-mounted 50W post-filter The units offer the same software-defined e different positions so you can clip it at are not applicable,’ he reasons. ersive setups because less or no both challenging and rewarding.

But transmitter modulations as Maxiva VAXTE transmitter that that can can be be configured configured as as a a modulations as Maxiva VAXTE air-cooled air-cooled u sers can filter the database for just quired,’ adds ‘This solution a launch like Moreno. this with complete elite signals can assist remote news analogue teams transmitter, translator or on-channel gap transmitters to support global transmitter, translator or on-channel gap transmitters to support global analogue ey ical was a key part,’ he continues. mdid theour various speaker or performance, cross-talk ecoustic homework on it. projector We could filler. and digital standards.

The filler. Covering Covering all all UHF/VHF UHF/VHF standards standards plus plus and digital standards.

The VLX-OP VLX-OP Series Series en ome with more attachments ake itup acoverage much more professionally nt system, which allows users niform entire wo years ago,’ heover adds, ‘butaudience ittowould DAB radio, the PMTX-1 comes in integrates redundant, liquid-cooling pumps DAB radio, the PMTX-1 comes in a a rugged, rugged, integrates redundant, liquid-cooling pumps we found especially innot the film se.’ t,ut monitor live feeds, route content to peech intelligibility.

It’s a system obably wouldn’t have sounded as telecom-grade, enclosure and and that are said to efficiently move transmittertelecom-grade, weatherproof weatherproof enclosure that are said efficiently transmittereal pros who know they are le to handle the complexities ity and view data and move caon, but it’sperformance an added important audio cable this thin orwhat alltofour colours. has been designed for extreme weather generated heat to building exteriors.

The has been designed for extreme weather generated heat to building The ’ them h anything.

We can give them aenvironments, gn, MraSingleton is quick to point where clear audio is aexteriors. such good portfolio.’ conditions. system reportedly minimises cooling conditions. The The DC-powered, DC-powered, pole-mount pole-mount system reportedly minimises cooling know how to to hide it. Why try tothat give sex of CD can bring a new marketplace, ecture should be designed so being the theatre market, design has no moving parts or air requirements inside RF shelters and reduces design has no moving parts or air filters filters requirements inside RF shelters and reduces have to have from us and if it breaks ‘Because I features haveup been doing thisin power levels. eed sent over whatever data sgs. one that comes many times several key it bandwidth felt could to reportedly eliminate most maintenance utility bills at medium-to-high to reportedly eliminate most maintenance utility bills at medium-to-high power levels. it out of a costume then they have to problem it was forbrought me,’ he reflects. ooreno whichever location or locations expresses concern over itsfrom the power All of the aspects different requirements.

The series also benefits requirements. Second, Second, the the Maxiva Maxiva IMTX-70 IMTX-70 The series also benefits from the power he things that they are using you can rplains it’s easy.

When you’re doing 32 As such, the system should be as e,7.1 at times being problematic for Born, ‘whether it’s the cable, multi-transmitter desktop has been designed density of Maxiva transmitters to reduce size multi-transmitter desktop has been designed density of Maxiva transmitters to reduce size hop and pick up the bits you need. dered audio, people wouldn’t ned tocontinents allow theasconnection of various peripherals it is across town. eween feature set’.most programmable touch controls addition to existing Mini claims to have the edge in the in country, having obtained the

Liquid-cooled VHF and DAB

Your Gateway to Asia

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13:02 /2017 /2018 17:16 16:38

unexpected unexpected ceiling ceiling obstructions obstructions without without affecting affecting the the look look of of the the whole whole installation. installation. It It also also offers offers a a 170° 170° conical conical coverage, coverage, reducing reducing the the number number of of loudspeakers loudspeakers required required for for lowlowceiling applications.

When combined with ceiling applications. When combined with Q-Sys Q-Sys network network amplifiers, amplifiers, QSC QSC processing processing amplifiers amplifiers or or MP-M MP-M Series Series mixers, mixers, the the AC-C2T-LP AC-C2T-LP takes takes advantage of Intrinsic Correction, a QSC QSC advantage of Intrinsic Correction, a proprietary proprietary voicing voicing algorithm algorithm that that helps helps reduce reduce the setup time and tuning process. the setup time and tuning process.

In In brief, brief, QSC QSC has has released released Q-Sys Q-Sys Designer Designer software software v8.3.1. v8.3.1. Improvements Improvements include include a a new new search and filtering function and NV Series search and filtering function and NV Series network network video video endpoint endpoint enhancements. enhancements. www.qsc.com www.qsc.com

to to house house up up to to six six 70W 70W TV TV transmitters transmitters and/or and/or translators/transposers to translators/transposers to reportedly reportedly reduce reduce real-estate real-estate costs costs associated associated with with multimultitransmitter transmitter operational operational support. support.

Finally, DAB Finally, the the Maxiva Maxiva MultiD MultiD multi-carrier multi-carrier DAB transmitter brings three DAB transmitters transmitter brings three DAB transmitters together together into into a a compact compact 1U 1U chassis. chassis. The The multi-carrier architecture is said multi-carrier architecture is said to to remove remove the the need need for for external external RF RF combining combining and and instead instead generates generates and and re-transmits re-transmits all all three three channels through a single amplifier. channels through a single amplifier. The The multi-carrier multi-carrier modulation modulation supports supports adjacent adjacent and and non-adjacent non-adjacent frequencies frequencies to to reportedly reportedly provide provide a a flexible flexible lower-cost lower-cost solution solution for for DAB DAB networks. networks.

Maxiva Maxiva VLX-OP VLX-OP VHF VHF transmitter transmitter

With over 25 years of experience in the Asia The design of the Solaro FR1 processor is based on SOUHOU Professional Audio-Visual Market, a Linux platform and utilises Xilica Designer universal ASIA offers you a wide range of services, From the front, the 19-inch 1RU enabling you to access theconfiguration Asia Marketsoftware. in a chassis incorporates a front panel OLED display quicker and deeper way. We listen,simply and we and rotary wheel.

However, the full modularity of Solaro offer customized services that fit your needs.

becomes evident from the rear. Sixteen card slots can accept either 2-channel audio input and output cards or KEY SERVICES 4-channel GPIO cards for either input or output. Providing - Independent Sales Representative enhanced flexibility, further cards can be inserted for other - Market Research I/O requirements including AES/EBU, USB audio and - Business Consultation going to be put to market are much smaller than with a Operating at a sample rate of 48kHz, QR1 product of result6’s price.

Although the Solaro R&D cost is uses higher, Contact us to find out more: the same input, output and DSP processing architecture Email: info@souhouasia.com as the larger Named for have its ¼-rack dimensions, QR1 Although theFR1. result6 will not the exact same sound Web: www.souhouasia.com is based on same Linux platform and incorporates a dynamics as the its predecessors, it will share the one common dual that corePeter processor drive to provide I/O flexibility. trait Thomas – who startedmodular up the company Eight in card slots can either 2-channel input back 1991 with hisaccept partner Adrian Loader –audio always

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www.gatesair.com www.gatesair.com

Just as the Neutrino series was updated to incorporate Dante networking, Mr Chow is keeping an eye on networking trends when it comes to other protocols on the market. ‘Xilica has to remain openminded if we are to maximise Solaro’s potential,’ he PMC’s international sales director Miles Roberts expects stresses. of theinfact that the new platform allows big things Mindful from result6 China Xilica to network with other manufacturers, the company understands with other demands fromthat hiscollaboration team. ‘We always strive manufacturers for accuracy and will be the key to future successes.

‘Collaboration with neutrality,’ he says.

‘That’s the goal with all of our products. us to collectively compete Isimilar-sized suppose it iscompanies a little bit allows like high-resolution television.

The in the gets market,’ hewith adds. detail better the more money that is spent. If you Judging by the increased acceptance of Neutrino listen to the result6 and putmarket them against the twotwos, they during the very past similar decade, poised take this will sound in Solaro balanceiswhen youtoswitch between relatively young company to the next stage of development.

Xilica’s headquarters in theresolution, northern Toronto suburb of the twotwos will have more detail and be more Stouffville And in many symbolises both cost Mr Chow the analytical. they ways should, because they a lot and more.’ company he’shas created.

Therehorizons may notfor bePMC a sign to promote The result6 broadened with the industrious activities that in liethe within, but the is imminent and similar projects pipeline set door to once again excite Peter Thomas and his team. www.xilica.com www.pmc-speakers.com

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87 33 109

THE THE ACOUSTICCOVERAGE ACOUSTICCOVERAGE Series Series AC-C2T-LP AC-C2T-LP from from QSC QSC is is a a full-range, full-range, low-profile, low-profile, ceilingceilingmounted mounted 2.75-inch 2.75-inch loudspeaker, loudspeaker, designed designed for for installations installations with with tighter tighter space space requirements requirements or or where where lower lower ceiling ceiling heights heights are are more more common. common.

Featuring Featuring a a 95mm 95mm installation installation depth, depth, it it offers offers a cost-effective option for environments where a cost-effective option for environments where voice-reinforced coverage is a primary concern, voice-reinforced coverage is a primary concern, including including conference conference rooms rooms and and background background music (BGM) applications. music (BGM) applications.

The The diameter diameter of of the the AC-C2T-LP AC-C2T-LP matches matches the the AC-C6T, AC-C6T, a a 6.5-inch 6.5-inch two-way two-way system system loudspeaker, loudspeaker, which which allows allows installers installers to to interchange interchange the the two two products products when when they they encounter encounter

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1/4 PAGE 1/2 PAGE 1/4 PAGE May–June MEA 129 97 November–December 2017PRO 133 January–February 2018 Januar y–Februar 2019 PROAUDIO AVL ASIA ASIA 129 May–Juney 2017 2020 107 July–August May–June 2019 PRO AVL

July–August 2020 PRO AVL ASIA 79 July–August 2020 PRO AVL ASIA129 79 September–October 2017 PRO AVL ASIA 133 September–October 2019 PRO AVL ASIA

PRODUCTS

Lectrosonics adds to D Squared family THE DPR digital plug-on transmitter and Foldback) Receiver pack, the IFBR1B, and the DSQD/AES3 receiver have become the the companion CHSIFBR1B dock charging latest members of the D Squared digital system. Nearly half the size and weight of its wireless series. The DPR transmitter is fully predecessor, the IFBR1B uses a slim 3.7V LB-50 rechargeable compatible with the DSQD digital receiver lithium ion battery and features a tuning range of instead of the archaic 470–608MHz (470–614MHz 9V type. The new for the export receiver is fully version). It compatible with the includes highexisting line of IFBT4 efficiency transmitters, so the circuitry for manufacturer reports extended that adding the IFBR1B operating time on The DPR digital plug-on transmitter receivers to existing two AA batteries, and Lectrosonics IFB systems is “quick and offers RF power selections at 25mW and easy”. With a backlit LCD and membrane 50mW. Phantom power is selectable to off, buttons, the IFBR1B offers 10 presets that 5V, 15V or 48V to accommodate a wide are programmable from the front panel. range of microphone types, from dynamic Future firmware updates can be installed in to studio condensers and shotgun mics. the IFBR1B in the field via the USB jack on Input gain is adjustable over a 55dB range the bottom of the unit. It comes standard in 1dB steps to allow an exact match to with a wire belt clip for light weight and an the input signal level. The two-way IR port optional clamp-style belt clip, part number reportedly ensures quick setup and allows IFBR1BBCSL, is also available and installed for encryption key transfer and other data with two small screws. sharing between units.

AT-OME-RX31

Atlona integrates HDMI and HDBaseT ATLONA’S OMEGA Series has been expanded with a new scaling receiver integrating both HDMI and dual HDBaseT inputs. The AT-OME-RX31 combines this with three-input switching, 4K/UHD scaling and a local HDMI input in a small form factor suited to meeting and gathering spaces.

The OME-RX31 builds on its sibling, the AT-OME-RX21, with two HDBaseT inputs that receive video up to 4K/UHD at 60Hz with 4:2:0 chroma subsampling, alongside embedded audio, control and Ethernet over distances up to 100m. This means it can receive sources from dual remote locations such as podiums, student pods or a large meeting table. Automatic input selection auto-switches between the two HDBaseT

inputs and the local HDMI interface when sources are connected or removed.

Downscaling and upscaling with frame rate conversion is also said to preserve colour and spatial detail when converting content between 4K and 1080p.

For smaller meeting rooms and huddle spaces, Atlona has also introduced a new AT-OME-EX-KIT-LT HDBaseT extender. The OME-EX-KIT-LT extends 1080p60 HDMI and USB signals up to 70m over HDBaseT, while 4K/HDR HDMI video – at 60fps with 4:2:0 chroma subsampling or 30fps with 4:4:4 – can be extended up to 40m.

HDCP 2.2 compliance enables the transport of protected content. www.atlona.com

Barix M400 combines SIP with Opus The DSQD/AES3 The DSQD/AES3 digital receiver is a fourchannel, half-rack design with high-resolution colour display, analogue or AES digital outputs, and rear BNC antenna ports with “loop-thru” buffered BNC outputs to another receiver. It is compatible with the DPR plug-on, the DBu beltpack, the DHu handheld transmitter, the stereo DCHT and the half-rack M2T. The DSQD/AES3 is also backwards compatible with any Digital Hybrid Wireless transmitters, including the SM Series, LT, HM Series, SSM, HH Series, UM400, UM400a, LM Series, MM Series and WM. Three different receiver diversity schemes are available, including switched (during packet headers for seamless audio), Digital Ratio Diversity or Digital Frequency Diversity.

Meanwhile, Lectrosonics has built on the success of its IFBR1A with the introduction of a new miniature IFB (Interruptible

The CHSIFBR1B is capable of charging up to four receivers or four batteries in any combination. The charging dock can be also be ganged in groups of up to four, powered by a single power supply, allowing charging of any combination of up to 16 units or 16 batteries. www.lectrosonics.com

IFBR1B

BARIX’S NEW M400 SIP Opus stereo encoder/decoder combines the Opus audio codec with SIP negotiation to free broadcasters from static transpor t links and legacy circuits. The second model in the manufacturer’s SIP Opus Codec family of audio-over-IP transpor t solutions, the M400 features the open-standard, royalty-free Opus audio compression format, which has gained popularity for its audio quality, bitrate efficiency and low latency. The new hardware device combines the advantages of Opus with SIP functionality to dynamically establish links across SIP-compatible telephone, radio or other communication systems, enabling the codecs to “dial” other SIP devices or phone numbers and automatically negotiate a transmission link for audio streaming. This can enable broadcasters and producers to move away from the common legacy approach of using costly and outdated ISDN circuits.

The M400 can be configured as either an encoder or decoder – switchable via the device’s web interface – and offers stereo, line-level analogue audio input or output with RCA-type connections. Interoperable with third-party, SIP-compliant, Opus-compatible

products, the M400 also features integration functionality, including audio level supervision with SNMP trap generation and a serial tunnel (RS-232) for control of external devices or for transport of metadata from the encoder to the decoder. www.barix.com

Ram focuses on pure sub power THE XTR Series of two-channel amplifiers from RAM Audio has been specifically designed to cater to systems with very big subwoofers, without making concessions.

The series comprises two models whose outputs are said to be “more than you can need to push your subs as far as their maximum limits accept”. The two-channel devices are based on Quanta Pulse

80 PRO AVL ASIA July–August 2020

Technology with an oversized dual highcapacity regulated power supply with PFC to deliver their full performances independently of mains status. The XTR-12K delivers 2x 6,000W of power at 4Ω or 2x 3,000W at 8Ω, while the XTR-18K increases this to 2x 9,000W at 4Ω or 2x 4,500W at 8Ω. www.ramaudio.com

PRODUCTS

Power meets flexibility KRAMER HAS released its all-in-one KIT400 switchable 4K receiver/transmitter.

It allows users to connect to a wireless device and gives them the ability to store pre-defined meeting room setups. According to the manufacturer, the KIT-400 is the core of the Kramer@Work KR-4000 meeting space solution and provides multiple local and remote video inputs. As a transmitter, the solution provides 4K@60 4:2:0 with two HDMI inputs and a legacy VGA input.

It is also said to simplify room automation with its Kramer Maestro room automation capabilities, an HDBaseT output and bidirectional powering. As a receiver, the KIT-400R serves as a high-end 4K@60 4:4:4 scaler equipped with one HDMI input that includes wireless and/or digital signal connectivity and one HDBT input. An HDBT output, powering at either the receiver or the transmitter side, is also included.

The KDS-10, meanwhile, is an endto-end 4K@60 4:4:4 transceiver that includes Picture-in-Picture and Pictureaside-Picture. It also provides usercontrolled H.264/H.265 compression switching and multiple protocols, and is

K-Spider

KIT-400 equipped with H.265 HEVC which uses approximately 50% less bandwidth than H.264. The bidirectional transceiver supports up to 3840x2160 picture resolution at a 60Hz frame rate and can be used as either an encoder or decoder. It comes with two HDMI inputs for encoding and decoding dual 4K30 streams.

Turning to cables, the K-Spider is a multiformat, plug-and-play adapter cable that replaces separate cables, adapters and dongles with a single solution. Features include 4K@60 4:4:4 (6Gbps), as specified in HDMI 2.0 and support for HDCP 1.4 and 2.2.

It is also compliant with DisplayPort Specification 1.2a for 1.62Gbps, 2.7Gbps and 5.4Gbps.

Kramer has also added to its VIA family. VIA GO2 is a wireless presentation system with a 4K HDMI output, 1,024-bit encryption, 60Hz video streaming, and native AirPlay, Miracast and Chromebook support. The compact form

Digigram battles poor audio DESIGNED FOR live remote broadcasting over IP networks, the IQOYA X/Link-LE is a 1U IP audio codec that bridges a user’s studio gear and turns the internet into a “worldwide PA system”. “The IQOYA X/Link-LE is a dedicated hardware

solution that does one thing: makes a reliable connection every time with no software burdens,” explained Derek Badala, director of sales, Americas, for Synthax, Digigram’s US distributor. “The alternative is using your computer with a software codec which requires an audio inter face, adding more latency, several variables and signal routing challenges.

Connecting a dedicated hardware codec like the X/Link to your mixer can free up your computer to be used for other live per formance tools, such as virtual instruments, playback tracks, virtual processors or any other solution you might need during a typical live gig.”

iOS mirroring for MacBook, iPad and iPhone, as well as mirroring for Chromebook and Android (Lollipop OS 5.0 or newer). It also supports Miracast in Peer-to-Peer and Infrastructure modes.

Staying in the meeting room, Kramer has also released its Omnivore KM-2B dual-boundary microphone that is said to eliminate comb filtering and

In other news, the manufacturer has updated its IQOYA X/Link and IQOYA Serv/Link IP audio codecs to extend them to remote broadcasting.

A new mode of use has been added so that users can place calls and be

connected to the field or the studio in two clicks. SIP, direct SIP and symmetric RTP connections are also supported.

In addition, EBU/ACIP compliance for interoperability with third-party codecs and any SIP infrastructure has been added to reportedly provide reliable and resilient audio connections, even over inexpensive unmanaged IP networks. The technology also integrates stream redundancy functions such as Forward Error Correction or dual streaming with spatial or time diversity.

Omnivore KM-2B factor is said to allow users to easily mount the device on a projector and transform it into a BYOD. Meeting participants can display and stream 60Hz video from their own device and play YouTube videos in full frame rate. VIA Campus2 can show up to six presenter screens on a single display simultaneously and 12 on a dual-display setup. Users can also view the main display on their own device. VIA Campus² features

maximise acoustic energy. It has three selectable polar patters – omnidirectional, sub-cardioid and cardioid – and a selectable high-pass filter at 120Hz. The two microphones in the KM-2B can be summed into a single channel or output as two separate signals for redundancy in critical installations. www.kramerav.com

Antelope’s Synergy Core crosses over ANTELOPE AUDIO’S Zen Tour Synergy Core is a cross-platform, 18x24 audio interface capable of processing up to 256 effects over 32 channels with low latency and “zero” CPU drain, as a result of its ARMbased DSP processors. Next-generation architecture in the device’s FPGA processing chips allows it to leverage a greater number of Antelope’s Synergy Core effects, for which a free starter pack of 36 effects is included.

The Zen Tour Synergy Core is a portable interface, capable of being placed in a backpack. Its I/O includes four mic/line inputs on TRS/XLR combo jacks, and four high-Z instrument inputs on TRS. Users can process up to eight mono channels through outboard gear – via a standard 25-pin D-SUB connector – and record them back into DAW projects. Output connectivity includes two monitor outs on TRS, two headphone outs on TRS and two re-amp outs on TRS. The 10x10 implementation of digital I/O via ADAT and SPDIF allows users to extend the on-board analogue I/O with external line/mic convertors for plugging into

The Edge Go bus-powered mic external digital processing units without AD/DA conversion. The Zen Tour Synergy Core also includes Thunderbolt 3 and USB2 data connections.

Antelope’s Edge Go microphone introduced last year has also received a Synergy Core compatibility upgrade via several paid software expansions. The various vocaloriented virtual effects emulations include Opto-2A, MG4+, Adaptive Vibrato, Space Flanger and Vari-Speed Tremolo. These join seven new vintage mic emulations, including Berlin K86, Berlin 47 TU, Berlin V563, Berlin/Halske MN25, Berlin M251, Minnesota 20 and Illinois 7B.

www.digigram.com

Zen Tour Synergy Core

www.antelopeaudio.com

July–August 2020 PRO AVL ASIA 81

PRODUCTS

Controllable power

A NEW range of four-channel, Class-D installation amplifiers from Apex Audio boast the ability to be controlled remotely and securely from the cloud.

Featuring studio-grade analogue circuit designs, the CloudPower Series of products have an amplifier control loop featuring Apex’s DirectDrive technology and low intermodulation figures that the manufacturer claims results in wide stereo imaging.

Control of the units is available from any HTML5-capable browser thanks to the amplifier’s built-in Wi-Fi hotspot, or via a standard Cat-5 cable connection to a local area network. Multiple amplifiers can

be controlled through the same interface using Apex’s Intelli-Ware software package. By logging into the Apex Cloud, amplifiers can be remotely controlled and monitored from any location, reportedly saving time and money by eliminating the need for a site visit to monitor performance or adjust settings.

Four models with power ratings ranging from 350W to 3,000W per channel cover applications from small commercial spaces to large theatres. Optional Dante networking capabilities and the inclusion of loudspeaker presets round out the feature set.

EXTRON HAS introduced its XPA U 1004 SB and XPA U 2002 SB, Energy Star-qualified audio power amplifiers which feature flexible channel pairs that can drive 8Ω, 4Ω, 70V or 100V loads. The individually bridgeable channel pairs of the XPA U 1004 SB can deliver two 100W

ISS 608

XPA U 1004 SB and 2002 SB www.apex-audio.eu

Tierra creates out-of-this-world recordings BOASTING NEW electronic engineering, quality components, extended lifespans and an eco-design, Tierra Audio has launched the Analog Edition Take 2 series.

Replacing its first-generation studio product lineup, some of the enhancements include four-layer printed circuit boards, noiseless power supply units, translucent buttons, anodised aluminium knobs, reduced internal wiring and ESD protections,

Switchable bridging

The Boreal FET stereo compressor offers high dynamic control across a wide range of recordings, including bass guitar and piano.

Vocals are said to be significantly enhanced and pushed to the front of the mix with a slow attack, quick release and ratio adjustment prior to increasing the input control. The Gravity VCA bus compressor is recommended for recordings looking for added gain punch and an overwhelming presence when using

channels into low-impedance systems or one 200W channel into low- or high-impedance systems, while the XPA U 2002 SB delivers 200W and 400W, respectively. A rotar y switch on the rear panel of the amplifier is said to make it quick and easy to select the desired output mode. The convectioncooled, plenum-rated enclosures do not require empty rack spaces for ventilation and include rackmount hardware. Both models feature Extron’s Class-D amplifier design with defeatable auto standby, fast wake up from standby and its patented Class-D Ripple Suppression. XPA Ultra SB models also suppor t remote volume and mute control using an Extron VCM, VC or select MediaLink controllers.

The ISS 608, meanwhile, is an eightinput seamless switcher for the dynamic presentation and scaling of DisplayPor t and HDMI content at resolutions up to 4K/60 @ 4:4:4 at a maximum data rate of 18Gbps. Features include Extron Vector 4K scaling technology and multiple transition ef fects, as well as logo inser tion, video keying and PIP to complement primar y content. For streamlined integration, the switcher provides audio management and multiple control options, including RS-232 and Ethernet. Matrix Mode is said to add automatic, seamless transitions to any matrix switcher with HDMI outputs. www.extron.com

Neve’s modern take on a classic

The Canyon 16 summing mixer including improved electrical insulation against HF interference and electrostatic discharge. Distinctively finished with cherry wood front panels and housed in a recycled aluminium and steel chassis, the series currently comprises the Boreal FET compressor, Calima preamp, Canyon 16 summing mixer, Gravity VCA bus compressor, Icicle equaliser and Lava preamp.

Providing a broader presence in the mix, the Lava preamp with its transistors’ linear distortion reportedly enhances vocal definition and accuracy within a dynamic range of 128dB. Having replaced a trim potentiometer with an output fader offering a higher headroom, the Lava preamp is most suited for stringed instruments. With its linear phase distortion, the Calima preamp is suited to electrical and rhythm guitars in addition to drum and percussion recordings.

82 PRO AVL ASIA July–August 2020

a stereo microphone set on pianos and bass guitars.

The four-band, mono-parametric Icicle equaliser can be applied for removing unwanted frequencies. With its harmonic distortion, the sound of the 1970s’ classic consoles can be recalled. In contrast, a transparent and sharp sound can be created in Modern Mode for mastering applications.

Vocals can be broadened with a treble filter that can attain 29.4kHz. Designed to promote consistent mixes, the Canyon 16 summing mixer comes with an “insert” for adding a mixer bus, while the blend control selects the ratio of dry-to-wet signal prior to operations. By using the mix in/out port, several Canyon 16 summing mixers can be interconnected for processing up to 48 channels in the same mixer bus. www.tierra.audio

TO MARK the 50th anniversar y of the 1073 microphone preamp, AMS Neve has launched the 1073 OPX, a new Octal microphone/line/instrument preamplifier that is designed to meet the needs of the modern studio environment.

With the launch of the 1073 OPX, the company has taken its 1970s’ classic and updated it for a modern workflow by integrating eight 1073 remotecontrolled preamps with Marinair transformers into a 2U rack unit.

Front and rear connectors are stated to of fer connectivity to any studio, live or broadcast environment, while modern remote-control software gives two-way control with total recall of all settings. Input sources benefit from the

transformer-coupled input stage and can be connected directly to the frontmounted mic/line/DI input for recording in a studio control room.

The analogue and digital monitor signal path of the 1073 OPX allows it to be used as a standalone I/O inter face or as a live room remote preamp with a full, latency-free monitoring cue mix signal path. The optional digital I/O card offers up to 192kHz/24-bit A/D conversion over USB connection. This means that the unit can be used as a primar y audio inter face to any connected DAW-enabled computer, as well as primar y and secondar y Dante connectivity for audio-over-IP applications. www.ams-neve.com

PRODUCTS

Studio Technologies switches to Dante Vertical pattern control Dante are audio-over-IP THE STUDIOCOMM IS column speakers described multichannel monitoring system fromway Studio by Ashly Audio as a cost-ef fective Technologies the control Model 792 to provide vercomprises tical pattern and central controller the Model 793front control consistent soundand levels from the console.

Theof Model 792 has multiple when digital to the back a venue, par ticularly and analogue with configurableamps time combined withinputs the manufacturer’s delay,processors source selection and level control. and that incorporate Protēa Digital and analogue outputs support or AquaControl software.

Alongside formats of up sub, to 16users channels, an SP 12.1P can while create a analogueon two-channel inputs andwedding outputs ‘system a stick’ for HOWs, offer support forcorporate stereo reference receptions and events.signals.

Two IS Features include levels, dim speakers can betrim joined withdelays, an optional and reference outputs, bracket, whilelevel, pole and and pre/post tripod mounts are whichavailable. can be optimised using the system’s also built-in server-based menu pages.have The The ISweb 2.8P, IS 3.8P and IS 12.1P multichannel, analogue I/O stems a power handling of 120W, 240W use the Model 792’s rear-panel, and 350W at 8Ω (32Ω if users 25-pin D-subs in banks ofswitch) eight change the impedance channels, while a response front-panelof and a frequency 3.5mm –stereo jack105Hz and level control 115Hz 20kHz, – 19kHz provides input for and 39Hza –two-channel 180kHz, respectively. laptops, phones other stereo The IS 2.8P hasand eight 2-inch, reference feeds. full-range transducers, the Model is 3-inch, said to provide ISThe 3.8P has793 eight fullan intuitive selectionboth of allwith sources range transducers, and outputs, reference a neodymium magnet, level, whiledim function, muteshas andasolos.

TheLF the SP 12.1P 12-inch user control with surface features transducer a ferrite magnet. single-function a highAll models arebuttons, available in black resolution and white.encoder plus a graphics display.

Four user-definable Meanwhile, the AW Seriesinput stems andhave two outputs are directly speakers been designed selectable on the front panel, for restaurant patios, balconies, along withand mute/solo buttons for poolside other underevery applications, individual channel.

Users eave as well as can also select dim,are reference indoors.

They said to level deliver and mutebass, all functions.

The and rotary ‘robust crisp treble encoder supports level accurate midrange’ socontrol that for stems of up to 16 channels. The graphics display provides numerical level and status information, along with important system information such as the system’s LAN IP addresses.

Model 5421

sound can be heard over table conversation, traf fic or wind noise. Their sound can be fur ther enhanced with Ashly power amplifiers and processors that incorporate Protēa or AquaControl software.

The AW 2.1P has a power handling of 15W and an impedance of 8Ω. The frequency response is 250Hz – 20kHz and it comes with a 2.675-inch full-range Models 792 For and the 793AW 3.2P, the transducer.

onethe of frequency five group power handling is 30W, configurations, response is 150Hz – 20kHz and the ranging from single speaker features 1.1-inch PEI HF aand 16-user group to four 3.5-inch LF transducers.

The impedance groups of AW four8.2T users.

The for the AW 5.2T (50W) and (70W) bidirectional is 8Ω or constantbeltpack’s voltage. The AW 5.2T Dante audio pathsHF areand comes with 0.75-inch silk dome configured bywhile routing 5.25-inch LF transducers, thetransmit (output) and receive (input)silk AW 8.2T is manufactured with 1-inch pairs to the 5421 using dome HF and 8-inch LF Model transducers.

The Dante Controller frequency the response for the AWsoftware 5.2T is 130Hz application.

– 20kHz, while for the AW 8.2T it’s 95Hz – 20kHz. www.studiotech.com

The IS Series

www.ashly.com

One FLEX. Many faces.

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The AW Series

The US manufacturer has also unveiled its Model 5421 Dante intercom engine, a Dante AoIP The recessed connection panel is party-line intercom solution for up located on theItside of the speaker to 16 users. incorporates an and features two XLR/TRS intercom-specific auto mixcombo algorithm mic/line inputs, an individual that is said to optimise party-line phantom power option, a stereo audio quality and reduce ambient RCA aux inputfrom for playback music interference open mics.

The sourcesenclosure and an XLR input when ½-rack is thru intended for usedwith as part of aTechnologies’ distributed sound use Studio system. An XLR mixout output 370-Series of Dante-enabled allows thebeltpacks. cabinet to It actonly as arequires basic intercom three-channel that connection can send a single RJ45mixer Ethernet the both mix todata another loudspeaker. for and power, and setup is via Studio Technologies’ www.electrovoice.com STController software. The audio engine can be divided into

Confidea FLEX instantly adapts to your meeting. Whether it’s small or large, simple or complex. Activate only what you need with licenses: discussion, voting, interpretation, and more. And switch easily between chairperson and delegate, or single and dual-use. All with a simple tap. On a bright, full-color touch screen. Only on Plixus®. Only with Televic.

www.televic-conference.com/confidea-flex

July–August May–June 2020 PRO AVL ASIA 83 81

PRODUCTS

Sonifex aids SDI to Dante embedding CLAIMING IT to be the easiest way to connect legacy 3G/HD/SD-SDI equipment to a Dante network, Sonifex has introduced the AVN-DIO10 for simultaneous embedding and de-embedding. The AVN-DIO10 takes an SDI feed, de-embeds the 16 audio channels and places them on channels 1–16 of the Dante network, mapped using Dante Controller.

It simultaneously takes the 16 input channels mapped to the device on Dante Controller and re-embeds them onto the SDI output.

Switches on the unit allow embedding of Dante channels onto the SDI output per channel pair and there are two modes of operation: Insert Mode enabled allows embedding to overwrite existing SDI audio selectively per channel pair. Insert Mode disabled clears any incoming audio channels on the SDI output and then allows selective embedding onto the SDI output per channel pair. A Test Tone Mode allows 1kHz, 2kHz, 3kHz and 4kHz signals to be output on channels 1–4, respectively, for any group where embedding is enabled. This means

that downstream SDI audio outputs can be tested without the need for Dante sources.

The device is powered using Power over Ethernet, using Neutrik etherCON connectors, with primary and secondary ports for power and data redundancy. It uses the latest Audinate Dante chipsets and so is compliant with AES67 and Dante Domain Manager. Front-panel LEDs indicate network clock status, SDI lock status, AoIP primary and AoIP secondary link status, PoE primary power and PoE secondary power active. A web interface is available for firmware updates, status information and network settings. www.sonifex.co.uk

Symphony shrinks in size THE SYMPHONY Desktop 10 x 14 has The only physical control is a large rotary been designed to blend the sound quality knob on the front panel; everything else is of Apogee’s Symphony I/O MK2 with the controlled by the front panel touchscreen. simplicity and portability of its Duet and Computer connectivity is USB 2.0 over a Quartet audio interfaces. The result is USB-C connector. the lowest-cost audio interface to date To support the Dante connectivity in the baring the Symphony name. According to Symphony I/O Mk II Dante, Apogee has Apogee, the device features flagship AD/DA created Network Control Software. The converters and software has been mic preamps, designed to provide together with a remote software touchscreen access to all the and single Symphony I/O control knob, Mk II settings. plug-ins Apogee that run on Network hardware Control works DSP and on macOS and natively in a Windows 10 Symphony Desktop DAW and selectable mic preamp computers, is compatible with emulation. the Apogee Control hardware remote and As the name implies, Symphony Desktop is available as a free software download on integrates 10 inputs and 14 simultaneous the Apogee website. channels of audio outputs and pairs them In addition to the release of Symphony with built-in hardware DSP processing of Desktop, Apogee has added Windows 10 Apogee FX Rack plug-ins. Apogee Alloy Mic support for Clearmountain’s Domain plug-in.

Preamp emulation – analogue processing and DSP modelling – includes British Solid www.apogeedigital.com State and 50s American Tube flavours.

Plenty of output from RME AUDIO INTERFACES are arguably seeing greater use than normal at the moment with everyone stuck at home. So, it was timely that just before the lockdowns came into effect, RME introduced two new models, the M-1610 Pro and ADI-2 Pro FSR BE. The M-1610 Pro comes at the request of recording engineers wishing to use a single device that combines a selection of analogue inputs and outputs found on its bigger sibling, the M-32 Pro. Integrating 16 analogue inputs with switchable sensitivity

samples, even from multiple devices, with nanosecond accuracy across an entire network. The A/D and D/A filters have been optimised for different sampling rates, with a focus on accuracy and RME’s signature “transparency” (nothing added, nothing taken). Together with SteadyClock FS – the current revision of RME’s ultra-low jitter digital clock technology – the conversion to and from analogue is described by the manufacturer as state of the art, at any level and digital format. Compared to similar devices, the

M-1610 Pro per channel of up to +24dBu, the M-1610 Pro includes eight corresponding analogue outputs and an additional headphone output. Output options are also aplenty with coaxial and optional optical MADI, redundant AVB and four ADAT optical outputs present.

Compared to the M-32 Pro series, which was designed primarily for fixed installations, the M-1610 Pro adds TRS jacks that can be used instead of the D-Sub connectors on inputs 11–16 and TRS jacks that can be used in parallel to D-Sub outputs 1–2, as well as redundant network ports and a headphone output with a quick access button for source selection and volume. All device features are configurable on the large TFT display with encoder, via a network using a browser-based web interface and also via AVDECC – allowing other AVB devices to control the M-1610 Pro using just the AVB standard itself.

The M-1610 Pro’s internal routing matrix brings up to eight AVB streams with a total of 64 channels, the coaxial and optional SFP optical MADI ports with up to 64 channels each and all analogue I/O and the ADAT outputs side by side for flexible routing between the 208 inputs and 234 outputs. Lowest converter latencies and deterministic AVB networking with configurable network delay down to 0.3ms reportedly allow the M-1610 Pro to deliver

The ADI-2 Pro FSR in black three analogue line levels per channel each offer the full dynamic range of the converters. The outputs are DC coupled.

The German manufacturer has also debuted its ADI-2 Pro FSR BE, a black edition of its reference AD/DA converter.

The unit features a black front plate and serves as an AD/DA converter, a USB DAC, an AD/DA front end and headphone amp for iOS devices, a multi-format converter with monitoring function, an AD/DA front end of audio measurement up to a 768kHz sample rate and a DSD record and playback solution. www.rme-audio.de

Powered mixing ECLER HAS released the eHMA250, a self-powered audio mixer that includes two mic inputs, two mic/line ST inputs, two line ST inputs and one aux/rec output. The model supports both low (4Ω and 8Ω) and high impedance (50V, 70V and 100V) loudspeaker lines, with independent four-zone on/off switches (zone 1, zone 2, zone 3 and zone 4), a low impedance output and an auxiliary

84 PRO AVL ASIA July–August 2020

eHMA250 output. It also includes an audio priority system (such as voice messages and emergencies) available in four inputs and

embedded Chime function (compatible with one-zone paging microphones), twoband tone control, auto standby mode, a

mute port and a remote port (RJ45) for remote volume control. The frequency response (–3dB) is 70Hz – 25kHz (high-Z) and 20Hz – 25kHz (low-Z).

The mixer weighs 3kg and measures 435mm x 44mm x 220mm (WxHxD). It is also compatible with Ecler’s WPaVOL volume remote wall panel. www.ecler.com

PRODUCTS

TSL evolves its solutions TSL PRODUCTS is continuing to update its solutions to meet the changing needs of its customers and the transition towards IP workflows. As a result, the manufacturer has added the SAM-Q-EDIT to its SAM-Q range, which allows SAM-Q-SDI owners to create, modify and edit their SAM-Q-SDI configurations using a PC. It also allows all aspects of the SAM-Q to be configured remotely within an offline application.

Meanwhile, new and existing SAM-Q-SDI customers can now purchase MADI

information such as IP packet counters, signal format and PTP status.

TSL has unveiled two additions to the MPA1-MIX range. First, the MPA1-MIX-V features a redesigned user interface in direct response to customer feedback. The new interface addresses the challenges of live production and is available in SDI, Dante, MADI, AES and analogue input formats. With the addition of the MIX-V variant, TSL MPA1 customers now have the option to choose the interface that

The TM7 and TM9

TouchMonitors gain ST 2110 support RTW HAS added SMPTE ST 2110 compliance to its Dante- and Ravenna-compatible TM7 and TM9 TouchMonitors. New TM-Dante and TM-Ravenna units will ship with the functionality, while existing owners will be able to add the option via a free firmware update.

“ST 2110 is the latest standard within audio- and video-over-IP and we expect it to replace SDI solutions over time,” noted RTW senior director of product management, Mike Kahsnitz. “SMPTE ST 2110 is a major

contributing factor in the development towards a single IP-based mechanism for the professional broadcaster. Like SDI, it carries audio, as well as video and metadata, but, unlike SDI, it is based on IP technology, which makes it a true network, rather than point-topoint. Broadcast is beginning to make a shift towards a truly networked infrastructure and we obviously want to continue developing our solutions accordingly.” www.rtw.com

Riedel expands MediorNet SAM-Q monitoring licence options at any time, allowing one or both SDI inputs to be switched to and from MADI sources.

The company has also updated its PAM-IP line to allow ST-2110 multicast flow subscriptions to be managed using In-Band or Out-of-Band control protocols such as Ember+, NMOS IS-04/05 or TSL’s own RESTful API. Subscription status can be monitored remotely over a network with the PAMIP webpage, along with health status

best suits their broadcast production needs. Second, the MPA1-MIX MADI-V has been specifically designed for use where operators need confidence monitoring of a MADI stream. It boasts monitoring of 64 MADI audio channels and stereo monitor mixing of up to eight MADI sources.

Audio level meter display of up to eight audio pairs and quick store and recall of up to 16 monitor mixes are also available.

with a range of different input and output configurations, including BNC, fibre or HDMI, and can be configured with a variety of different apps. A change of the software licence turns the device into an up/down/ cross-converter, a JPEG-2000/XS encoder or decoder, an audio router or a multiviewer.

Riedel’s portfolio of distributed video network devices is further enhanced by the VirtU and FusioN product series, which are said to boast the highest density in the

adds more bandwidth, more I/O, higher resolutions and more processing power to the MediorNet platform.

Close collaboration between product management and engineering teams from Riedel headquarters and Riedel Montreal, formerly known as Embrionix, has also brought forth the MediorNet MuoN, VirtU and FusioN product series. According to the manufacturer, these new processing modules and processing hubs complement the MediorNet signal interfaces and core switches to round out the Riedel video portfolio with full IP solutions.

At the heart of the new MediorNet products lies MuoN SFP technology. MuoN SFPs are pluggable gateway and processing devices that can be used inside VirtU frames or commercial, off-the-shelf IP switches. The software-defined MuoN hardware is available

market. The VirtU IP core infrastructure platform can host a large array of Riedel MuoN SFP processors in just 1U and can be used both as a bulk gateway and as a high-density processing unit. FusioN is a series of compact, standalone I/O and processing devices that are configurable with a range of software apps. Due to their small form factor and low power consumption, the FusioN devices can be placed close to signal sources or destinations, creating efficiencies in any production environment.

Alongside new software-defined hardware platforms, Riedel has also launched a range of brand-new apps for up/down/crossconversion, encoding/decoding, audio routing and multiviewing, as well as a series of IP gateway apps.

www.tslproducts.com

API updates a classic

API IS giving its popular 2500 stereo bus compressor a modern refresh. The new 2500+ is said to retain all of the functional and sonic characteristics users of the original would expect, with a host of additional parameters incorporated.

The highlight of these are Expanded Threshold control from +20dB to –20dB and a new blend/mix function that offers both crossfader and parallel mix control of compressed and uncompressed signals. “Over the past 18 years,

RIEDEL HAS unveiled 13 new hardware devices and nine new software apps as part of a major expansion of its MediorNet family of video networking devices. The developments follow the German manufacturer’s acquisition of Embrionix at the beginning of the year.

The first new hardware innovation is MediorNet MicroN UHD, the big brother to the manufacturer’s MicroN media distribution and processing device. Building on a distributed and software-defined concept, the new node

many improvements have been made to the 2500, some small and some larger,” noted API’s director of engineering, Todd Humora. “The 2500+ is an evolution of the 2500, with the addition of a few key features that our users have had on their wish lists for quite some time. It’s our hope that the new 2500+ will allow for even greater creativity among its users in the studio and in the live market.” www.apiaudio.com

www.riedel.net

July–August 2020 PRO AVL ASIA 85

PRODUCTS

In-and-out meetings with TOA DESIGNED FOR business, corporate, educational and government meetings, TOA has created the TS-820 and TS-920 wireless conference units.

The infrared-based transmission arrangement of the chairman and delegate microphone units can be quickly and flexibly set up in different rooms and with varied participant numbers. In addition, infrared

TS-920RC

communication assures freedom from eavesdropping and interference. Complete with voting functionality, the TS-920 is more suited for larger applications of up to 192 microphone units, whereas the TS-820 can connect a maximum of 64 units.

Technical features of the standalone systems include integrated automatic feedback suppression, an auto-gain control function that automatically adjusts the volume to the speaker and an auto-off function that automatically turns off the microphone after 30s of non-use.

In addition to a subline for second language monitoring and a priority speech function, both systems offer two selectable voice channels and different priority modes, allowing up to four microphones to be controlled simultaneously.

The system software can also be adapted to the

the rack-mountable TS-920RC central respective use, for example by integrating unit can control the TS-921 chairman and cameras.

TS-922 delegate units Sessions can be recorded via infrared signals. in the internal An installation memor y or on confirmation an external function on the USB device central unit that connects verifies the to the central connection control unit status of the where system IR transmitter functions can be and receiver in set and managed. addition to the Since the TS-921 chairman and delegate chairman unit and units, together with the the TS-922 delegate unit TS-905 voting function. A headphone require no wiring, they permit easy monitor output is included. Equipped installation based on an unrestricted with a remaining battery indicator to read layout. The infrared transmitter/receiver the status of the BP-900A lithium-ion unit and recording equipment are connected to the TS-920 central unit, and battery, mains power can also be provided via the AD-0910 AC adapter. Dedicated the system function settings and status delegate and chairman microphones can indications are per formed at the central be equipped with either standard (TS-923) unit. or long versions (TS-924).

By mounting the TS-905 IR transmitter to the ceiling, wall or microphone stand www.toa.jp and connecting to the TS-907 IR receiver,

Williams goes beyond assistive listening WILLIAMS AV has developed a realtime audio translation, open captioning and audio archiving system. Powered by Google’s Ai platform, Convey eliminates

The US manufacturer has also developed a distributed IR assisted listening system that incorporates Wi-Fi. The IR Plus features a distributed IR emitter array architecture

larger applications of up to 32 channels where high-quality sound is required from streaming multichannel audio in realtime to smartphones and tablets. Built

Revelation successor ups the ante A SUCCESSOR to the Revelation condenser microphone from MXL has recently been introduced. The American manufacturer credits the original model with being the greatest mic it has ever produced, and the next-generation version aims to improve

Convey the barriers of language with up to 94% accuracy depending on language.

In addition to real-time translation, Convey provides accurate speech-to-text transcription and audio archiving of all events and is activated by clicking a QR code within an iOS or Android app and the transaction is handled via Google Play or the Apple App Store.

Designed for guided tours, language interpretation, intercom and hearing assistance, the Digi-Wave 400 is the next-generation series of digital intercom and tour guide communication systems.

Complete with a new OLED display and user interface, features of the lightweight device include an upgraded charging dock, a simplified group-join pairing option and the ability for two-way wireless communications at distances over 300m. It avoids interference by adopting a frequencyhopping algorithm, which reportedly ensures a very secure communication.

WaveCAST 8 allowing up to four emitters either stacked together for large room arrays or distributed throughout the room to accommodate obscured venue locations. The IR modulator can support up to four IR emitters via Cat-6 cabling. Very large room applications can be supported by adding up to four IR modulators to support a total of 16 IR modulators.

Control and monitoring can be managed remotely via an internal webpage. The IR Plus system also features a WaveCAST network output for streaming audio via Wi-Fi for assistive listening via an iOS or Android app.

The latest addition to the WaveCAST assistive listening family is designed for

on a hardware-based DSP audio system architecture, WaveCAST 8 provides clear speech intelligibility, musical detail and hi-fi playback. Custom presets can also be established for specific performance applications. A digital display and touchscreen channel selection automatically selects the available channels and dynamically displays them on the screen. Up to four WaveCAST 8 systems can be connected to the same Wi-Fi network to provide multiple listening channels, supporting up to 1,500+ users in multicast mode.

both the audio quality and price. The Revelation II is said to offer the warmth and intimacy of a quality tube microphone, but with extended clarity and punch for balanced recording. A dual gold-sputtered, six-micron diaphragm and hand-selected EF86 pentode tube provide “rich and transparent” sound.

The Revelation II’s polar pattern selection is controllable by a variable pattern control knob.

www.williamsav.com www.mxlmics.com

86 PRO AVL ASIA July–August 2020

PRODUCTS

From source to mouth CONSISTING OF the EM-89D dynamic vocal, EM-91C large-diaphragm condenser and the EM-USB condenser microphones, the EleMent series is Mackie’s first venture into microphone production. The EM-89D is a dynamic handheld microphone featuring a cardioid polar pattern ideally suited for stage use in addition to studio recording. The EM-91C adds warmth to vocals but can also be applied to musical instruments, live streaming, voiceovers and other forms of content creation. The EM-USB condenser has been designed for recording, live streaming, podcasts and online content creation, bypassing the need for a EM-89D separate audio interface.

With direct

connection to a laptop via the package are speaker-to-speaker USB-C cable, the EM-USB cables, 1⁄8-inch-to-stereo RCA cables, smartphone cabling and is further equipped with an acoustic isolation pads designed integrated headphone output to minimise bass buildup in and controls for main input addition to up/down tilt gain and mute. control for more focused Designed for home listening. studios, multimedia In addition, the US content creation, AV manufacturer has also postproduction and gaming, launched four new product Mackie has expanded bundles for podcasters and home the CR Series of multimedia studio setups. The monitors with the CR3-X 3-inch, Producer Bundle CR4-X 4-inch and CR5-X 5-inch includes EleMent models. Bluetooth-enabled Series condenser and versions are available in the form of the CR3-XBT, CR4-XBT, CR5-XBT EM-91C dynamic microphones, MC-100 headphones and CR8-XBT monitors in addition to the and an Onyx Producer 2.2 CR8S-XBT Bluetooth-enabled subwoofer.

USB interface. Designed for Housed in wooden cabinets, the CR Series streamers, content creators comprises polypropylene-coated woofers, and podcasters, the Creator 0.75-inch ferrofluid-cooled silk-dome tweeters Bundle combines an EM-USB and customised waveguides. The distinctive front-panel, brushed metal design incorporates microphone, MC-100 headphones and CR3-X an on/off volume control and headphone multimedia monitor speakers. input. Equipped with ¼-inch TRS and RCA The central hub of the Studio connectors, the 200W-rated CR8S-XBT Bundle is the Big Knob studio monitor subwoofer provides extended LF response controller | interface that provides selection to any CR Series monitor. Included in the

from three audio sources and two pairs of monitor speakers, while providing two-in/ two-out USB recording and playback.

Monitoring can be enabled from either a pair of CR3-X speakers or MC-100 headphones, while an EM-91C condenser or EM-89D dynamic vocal microphone can be selected for capture. The Performer Bundle comprises a ProFX6v3 analogue mixer, two EM-89D microphones and MC-100 headphones. www.mackie.com

CR3-X

Sound Devices conforms to CSV SOUND DEVICES has announced firmware version 2.90 for the Audio Ltd A10 digital wireless system and its companion Mic2Wav and A10-TX remote applications. While key improvements have been made for both production and postproduction, the manufacturer reports that the most notable update is for the companion application Mic2Wav. A “Conform to CSV” feature has been added, which converts audio files recorded on an A10-TX to WAV files using a CSV sound report

from a MixPre Series, 6-Series or 8-Series Sound Devices mixer-recorder. “The ‘Conform to CSV’ feature saves a considerable amount of time in postproduction by extracting only relevant bits of a MIC file based on what was captured on the production’s mixer-recorder.

Important metadata like Scene, Take and Tape is copied from the sound report to the converted WAV file,” said Nicholas Vandrush, director of marketing.

In addition, the A10-RX now features expanded RF indication. The A10-RX’s red

LED illuminates and the screen displays RF Overload when the incoming signal is too strong. Reducing RF power on the transmitter, increasing the distance between TX and RX, or applying attenuation to the antenna system in use will correct the overload. www.sounddevices.com

Waves takes distortion to the next level MULTIMOD RACK is a multiband modulation rack for Waves Audio’s latest distortion plug-ins and is said to take multiband distortion to the next level of both musical creativity and precision engineering. It allows music producers to create the wide palette of modulatable distortion effects and helps mixing engineers achieve multiband distortion and saturation with “pinpoint surgical precision”. MultiMod Rack has three plug-in slots and each one can host Waves’ newest distortion and saturation plug-ins, such as the Abbey Road Saturator, Berzerk and the MDMX Screamer, Overdrive and Fuzz modules.

The three slots divide the signal into three frequency bands – lows, mids and highs – with adjustable crossover controls.

In other news, Waves has announced a new bundle for podcasters, YouTubers and creators of live-streamed content. The Content Creator Audio Toolkit includes four plug-ins: the NS1 Automatic Noise Suppressor removes distracting background noise; the Greg Wells VoiceCentric combines EQ, compression and

88 PRO AVL ASIA July–August 2020

with Native Instruments controllers, SoundGrid real-time compatibility and hundreds of extra presets. The MIDI Out feature enables users to play any virtual instrument using their own voice, in real time. Whether musicians sing or hum melodies, OVox will convert their voice to MIDI, then send the MIDI out to the other instrument. www.waves.com

MultiMod Rack de-essing into one control; and the WLM Plus Loudness Meter delivers the right loudness levels. The final plug-in is the new Playlist Rider, a set-and-forget volume management plug-in that helps content creators balance the volume of multiple sources (host, guest, music playlist, audio clips), automatically and in real time.

The audio specialist has also released an update of its OVox Vocal ReSynthesis plug-in, with a new MIDI Out feature, NKS compatibility

PRODUCTS

Hands-free presentations SONY HAS announced the launch of a new Meanwhile, Sony has expanded its laser beamforming microphone, the MAS-A100. projector lineup with six new models.

Designed for, but not limited to, a range There are four WUXGA units – the VPLof meeting, lecture and presentation FHZ131L (13,000 lumens), VPL-FHZ101L environments, the ceiling-mount microphone (10,000 lumens), VPL-FHZ91L (9,000 lumens) and VPL-PHZ12 reportedly offers clear audio quality features (5,000 lumens) – plus the VPL-CWZ10 for both speech reinforcement and recording with a combination of beamforming technology (WXGA) and VPL-CXZ10 (XGA), both portable models with a compact size. The VPL-FHZ131L, and Intelligent Feedback Reducer function.

VPL-FHZ101L and VPL-FHZ91L are The microphone has a dual-channel equipped with an Advanced output for simultaneous Intelligent Setting function recording for wide area to with additional Multiscreen capture both the speaker Mode, which is said to and students’/participants’ optimise colour when voices. Supporting both projecting on multiple units.

Dante and PoE, the model According to the manufacturer, includes auto-noise reduction their wide lens shift capability to minimise background noise from MAS-A100 makes them suitable for difficult projectors or air conditioners. installation conditions, such as when a The manufacturer has also added a new venue contains beams or piping or when the set of picture monitors to its TriMaster screen is lower than the projector. The VPLrange. The PVM-X2400 (24 inches) and PVM-X1800 (18.4 inches) provide a resolution CWZ10 and VPL-CXZ10 are approximately 40% smaller and 35% lighter than their of 3840x2160 pixels and all-white luminance predecessors, the VPL-PWZ10 and VPL-PXZ10. of 1,000cd/m2. Both monitors are said to offer accurate colour reproduction and precise In brief, Sony has launched TEOS 2.2, greyscale, giving filmmakers “a reliable an update to its workspace management tool to help make critical imaging decisions solution. It will feature 20 new and faithful colour matching throughout functionalities and features, including the workflow”. The monitors are aimed at customisable Smart Automation options, a expanding footprints in 4K HDR production, new Meeting Display interface and Outlook including on-set monitoring, non-linear video integration. editing, studio wall monitoring and rack-mount pro.sony monitoring of OB trucks or machine rooms.

Anubis adds support for latest Apple OS SEVERAL FEATURE enhancements have been made to Merging Technologies’ Anubis platform. A new virtual audio device for Mac users is available that is compatible with Apple’s Mojave 10.14.5/10.14.6 and Catalina 10.15.x OS. The ability to control the preamps remotely from any web browser is also available on the latest version of firmware.

DSD workflow up to DSD256, including the volume control of all outputs such as headphone monitoring. Input metering can select the SACD headroom scale of +6dB and all usual monitor control features are said to be available. Further enhancements to DSD support are planned later this year.

The latest version of Pyramix has also provided additional functionality that

Merging+Anubis Premium was already DXD compatible, but the manufacturer notes that there were some challenges in completing a full DSD workflow. This is now available as a free-of-charge firmware update. While DSD necessarily imposes some restrictions on the functionality of Anubis that are the consequence of the one-bit quantisation, Anubis offers a full

addresses immersive audio workflows which are increasingly important in gaming and live situations. Up to 7th Order Ambisonics options are now available.

Improvements to the internal mixer and VS3 plug-in support for some popular FLUX products have also been introduced. www.merging.com

Listen goes on tour alone PVM-X2400

Remote mixing from Wheatstone REMIX IS a remote mixing application that can be installed on a Windows PC or tablet for home access to a studio’s WheatNet-IP audio network. According to Wheatstone, ReMIX allows users in home studios or other remote locations to access station sources and codecs, turn channels on or off, control levels, advance to the next track in the automation system and build mixes on the fly through one standalone mixing application.

ReMIX provides a direct UI to the utility mixers found in the I/O BLADEs that make up the WheatNet-IP audio network. Each I/O BLADE includes two built-in 8x2 stereo mixers, the inputs and output busses which are available as resources on the network.

Utility mixers are accessible anywhere in the audio network for simple functions such as summing, splitting and level adjustment, performing crossfades and segues between

sources, as well as creating custom mixes or intercom systems. I/O BLADEs also include Wheatstone ACI (Automation Control Interface) for third-party control of automation systems and other Wheatstone partners’ gear, and can be used for functions such as routing, ducking, panning, logic control, mixing and silence detection.

FOLLOWING ITS recent acquisition of AudioConexus, which included its GPS commentary and tour guide products, Listen Technologies has now been able develop the Listen Audio Guide System. In contrast to its ListenTalk tour guide system, the new solution is intended for self-guided tours. Tour operators can customise audio content and upload it on the wireless devices that tourists carry in their hands or pockets. Users select their preferred language and listen through the unit’s built-in speaker or with headphones. Infrared technology in the unit triggers location-specific audio content to play at the right time and place so users hear relevant and engaging stories about the sights they visit.

“Listen Technologies’ tour solutions make it easy and affordable for tour operators to provide engaging, accessible and educational audible tour narration that resonates with visitors,” said Jonathan Stanley, chief experience officer and president of Listen Technologies. “That’s good for visitors and for points of interest and enter tainment venue operators looking to grow their audience base and earn positive visitor reviews.”

Tour operators can include up to 32 different languages or topics, that can be made to align with 950 points of interest. Ergonomically designed, push-button units for visitors are said to offer a “longlife” power source that removes the need to change out units during the day, instead charging overnight in a storage case. www.listentech.com

www.wheatstone.com

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PRODUCTS

EVAC and fire safety updates WITH CPR homologation becoming mandatory for all fire-resistant and voice evacuation (EVAC) cables in the EU, Tasker reports that it has carried out all the necessary tests with certified third-party bodies to obtain CPR approval for all its EVAC and fire-detection cables for the medium-risk class Cca – s1a – d0 – a1, without compromising the flexibility of the products. This means that the cables are resistant to direct flame up to two hours at a temperature of 850°C and, when they burn, they will only release a small amount of clear smoke without dripping.

The homologation involves the manufacturer’s unshielded cables with a purple sheath for EVAC and PA systems (the TSK201, TSK202 and TSK203) and its shielded cables with a red sheath for fire-detection alarm systems (the TSK301, TSK302 and TSK303).

Tasker also reports that these products are equally suited for audio, video and data cable applications, even if the installation is not directly linked to fire security. www.tasker.it

Mangled chaos MANGLEDVERB FROM Eventide is described as a unique effect that is capable of creating everything from “granular ambience and moody auras to sound-scaping mangled chaos”. The effect is available as an AUv3 plug-in and standalone app and starts as a variable pre-delay that feeds a stereo reverb into a complex distortion effect.

The Ribbon control lets users program two settings for any combination of the controls and transition between them, while the programmable Hotswitch allows musicians to jump to an alternate setting at the push of a button.

QVox, meanwhile, is a new effect that features four voices of diatonic pitch shifting and delay. Users can add rhythmic textures to guitars, morph drums into new patterns, widen instruments and create harmonies on vocals. They can choose a key, scale and each voice’s pitch interval and experiment with a variety of staggered delay groups.

MangledVerb Spring is a new plug-in for desktop and iOS which models the sound and character of the popular reverbs found in guitar amplifiers.

The Tension [TNSION] and Num Springs [NUMSPR] knobs work in concert to control

the amount of “springiness” in the processed sound. Adjustable parameters include Resonance and low and high damping.

The manufacturer has also unveiled a Pro Tools | HD expansion card for the

H9000 multi-effects processor. It has two H9000 setup menu selectable modes of operation – 32 channels in/out (primary port only) or 16 channels (primary port) and 16 channels pass-thru to the secondary port (for connecting to other HD devices). Within Pro Tools, the H9000 appears as an HD I/O device (16 or 32 channels, depending on the selected mode). The H9000 sample rate is controlled by Pro Tools and 16x16 analogue I/O can be enabled with Pro Tools display monitoring of analogue gain control levels.

In brief, Eventide has released v3.0 for its Rose modulated delay pedal which offers five banks of five presets, Tap Division selection (quarter, eighth, dotted eighth, triplet), MIDI Lock Receive, MIDI Tap Tempo, Envelope Off Mode, Kill-Dry Mode and Expression, which now supports single-switch (TS) aux switches as well as three-button (TRS) switches. www.eventideaudio.com

Xilica Designer updated to v4.0 LEA provides secure monitoring THE FOURTH generation of Xilica’s Designer software has been launched by the Canadian manufacturer. As with previous generations, Xilica Designer 4.0 software is said to offer integrators a

single, centralised platform for project design and management. It also provides optimised configuration of Xilica Solaro DSPs, as well as Xilica’s XWP networked wall controls, XTouch screens and I/O expansion devices. The software reportedly handles configuration and management of any networked Dante

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device and delivers third-party control integration.

According to the manufacturer, Xilica Designer 4.0 offers AV integrators more freedom to customise designs through Lua programming, a scripting language embedded within the software. Other enhancements include an improved DSP schematic design that expands suppor t for drawing elements, and native inser tion of comments and labels. Xilica engineers have also accelerated device boot-up times by a repor ted 30%.

The new software retains Xilica Designer’s drag-and-drop functionality, which is said to eliminate the need to flip between numerous menus or re-input product codes. Users can also drag and drop any or all available control program settings for devices into the software, repor tedly simplifying control of devices such as projectors, screens and lighting systems. Xilica Designer 4.0 also takes project management into account and automatically generates crucial documentation, such as CAD drawing files and bills of materials so that users can send these documents directly to purchasing depar tments. www.xilica.com

LEA PROFESSIONAL has debuted its Cloud Platform to provide systems integrators with secure and remote monitoring and control capabilities across the manufacturer’s lineup of IoT-enabled Connect Series amplifiers. Along with all of LEA’s amplifiers, the Connect Series includes the built-in Amazon Web Services (AWS) IoT Core which allows users to monitor operational data points that are integral to maintaining system health remotely. The platform will reportedly provide preventative maintenance, easier troubleshooting and fewer onsite maintenance requirements.

With the Cloud Platform, LEA Professional reports that integrators are no longer required to VPN into a local area network and can access system status from any device. With the ability to communicate with an installed system anywhere, data is gathered from multiple sensors and circuitry within the amplifier. Additionally,

PRODUCTS

Lawo goes to the Max LAWO HAS announced a new software licence package for its Power Core AoIP mixing engine and I/O node. Power Core Max (with Max shor t for multiple access) repor tedly makes it possible for a single Power Core device to be the mixing engine for multiple, on-air mixing consoles. Four upgradeable licence packages are available.

The Power Core Max package provides suppor t for up to 254 physical and vir tual faders, 96 channels of DSP (EQ, dynamics, compression and limiting), 32 channels of bus DSP processing, VisTool Standard touchscreen GUI control, 1920x1920 routing matrix, a 78-station intercom matrix and suppor t for up to four independent connected mixing sur faces.

Power Core XL comes with all the features of the Max package and has been developed for a single console. This package is reportedly ideal for network operations, master control rooms or large, busy main studios with multiple input sources.

Power Core L has been matched to the requirements of single medium- and small-console studios and can accommodate up to 64 AES67 streams and 128 MADI streams, 128 physical and virtual faders (including utility software mini-mixer), 48 channels of DSP audio shaping, 16 channels of bus processing and a 1728x1728 routing matrix. Finally, Power Core SAN is for configuring Power Core

as a high-capacity networked audio I/O gateway with limited DSP processing capabilities.

In other news, the German manufacturer has added further control enhancements for its broadcast control system, VSM, with

Power Core

Release 2020-2. The new Flow State master functionality defines VSM as the master of the true flow routing status and ensures that an IP infrastructure is in a deterministic routing state all the time. Wallboxing allows users to move devices across an API-controlled IP infrastructure and maintain flow connectivity.

With Network Bridging, two or more independent VSM-controlled IP installs can share relevant sources. The tielines between systems are automatically and silently managed by VSM, based on actual signal consumption across the connected installs. www.lawo.com

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by delivering system performance information, integrators can reportedly deliver greater value and recurring revenue within service contracts for more comprehensive system performance monitoring. www.leaprofessional.com

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PRODUCTS

Power to the next level Pro Tools I MTRX Studio

Avid focuses on Pro Tools SEVERAL ADDITIONS and enhancements have been made to the Avid Pro Tools platform in recent months, culminating in the release of Pro Tools 2020. Alongside support for macOS Catalina, the software has improved session organisation and now allows tracks to be grouped in up to nine folder levels – a top-level folder and eight nested folders that can be collapsed and colour-coded to ease navigation.

In terms of new hardware introductions, the Pro Tools | MTRX Studio audio interface promises high-quality I/O, extensive routing options and solid monitoring in a single unit, thereby replacing multiple devices in the signal chain. Designed for Pro Tools | HDX, HD Native and other pro audio systems, the MTRX offers the sonic quality of DAD’s AD/DA converters, plus extensive, flexible

routing and monitor control when used alone or with Avid Pro Mixing surfaces.

Unlike the base MTRX unit, MTRX Studio features a static I/O configuration of two 14-inch mic/instrument inputs, 16x16 analogue line I/O, 16x16 ADAT I/O, 64x64 Dante I/O and two 32-channel DigiLink Mini connectors for 64 channels in total.

Outputs include dual 14-inch dedicated monitor and dual headphone ports.

Monitoring and routing are via a 512x512 cross-point digital matrix.

Last of the new Pro Tools additions is the Pro Tools | HDX Thunderbolt 3 Chassis built together with Sonnet Technologies.

Essentially the device is the same as existing Pro Tools | HDX with the addition of Thunderbolt 3.

COINCIDING WITH the launch of a sixmonth free licence for its Designer software running until the end of September 2020, disguise has released r17.1. Created to enhance augmented reality (AR) workflow, the manufacturer hopes the update will help creative studios and production houses access the market opportunity offered by AR and give them the chance to create “spectacular and immersive visuals”. disguise has enhanced the ease of use of the software and added improvements in the way users can pre-visualise and imagine every pixel of an AR experience ahead of time, communicate and collaborate with other teams and respond to feedback at every stage of the production. With sequenced transitions, users can now transition to anywhere on a timeline

using black and white content to define the transition. The feature is said to open new visual possibilities and saves time previously spent sequencing by simplifying the approach.

The update also includes a new ability to generate test patterns within the software to speed up workflows by removing the need to leave the software to create test patterns in other tools. Test patterns in a pre-visualisation are said to give users confidence in their screen arrangement by letting them see precisely where the divides are between each screen. Test patterns are dynamically generated, meaning users can react quickly to adapt a previsualisation to feedback and onsite changes. www.disguise.one

www.avid.com

Composer 7.3 adds multitrack recording SYMETRIX HAS released Composer 7.3, the latest release for its Windows programming software for Edge, Radius NX, Prism and Solus NX DSPs. As par t of the update, multitrack audio recording has been added to allow a Radius NX device to record up to eight tracks of audio simultaneously to an external USB device. Audio tracks may be recorded individually or grouped into multichannel modules of up to eight channels per module. Users can place one or more recording modules into the design window of a Radius NX processor in Symetrix Composer. Each recording module has its own star t/stop controls, assignable storage location on the USB drive, file naming configuration and audio settings.

Composer 7.3 also includes suppor t for W Series remotes which provide systems designers with flexible control options that can be deployed with an Ethernet connection to a PoE switch or an inline PoE power injector. W Series remotes offer the same programming inter face used to program Symetrix ARC remotes and are available in

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black or white versions for both US and UK/EU form factors.

Web-based event scheduling has been added to provide direct access to system control from any device with a web browser, regardless of the manufacturer or operating system. Users can view existing scheduled events, make changes to existing events or add new events.

This repor tedly eliminates the need for a dedicated computer running Composer software for adding/editing events. Users are able to control the functionality of the system without having access to modify the DSP programming of the system.

Composer 7.3 adds Intelligent module support for direct integration of Alcorn McBride’s V-Page paging station, Attero Tech’s Zip4 paging station, Audix’s Network Device Control DN4 and DN43 microphone inter faces, ClockAudio’s TIM-1000 microphone, Linea Research amplifiers, Powersoft Mezzo amplifiers and Visionary Solutions’ E4100 and D4100 encoder/decoder. www.symetrix.co

Exterity captivates the audience EXTERITY HAS launched its AvediaPlayer m9605 media player which has been designed to integrate 4K video and detailed 4K 60fps graphics and animations into digital signage and produce a “captivating visual experience”. The platform integrates into Exterity’s IP video ecosystem and features an Intel Core CPU, high-capacity on-device storage and a quiet, fanless design. The AvediaPlayer m9400, meanwhile, has been designed for use with ArtioGuest, Exterity’s hospitality middleware. It is said to enable organisations to deliver an enhanced video experience through advanced 4K video capability and benefits from PoE and a fanless design.

The ArtioFlow workflow app has been designed to enable the creation of timesaving workflows by dragging a series of actions across the IPTV system – such as power on, set volume or channel change – to create action sequences. For example, a corporate organisation could create an ArtioFlow workflow that turns a group of devices on at the start of the business

AvediaPlayer m9605 day, sets a main news channel and then mutes the screens located in public areas.

Users can also create workflow triggers, so screens will be automatically and instantly updated when specific events occur.

In other news, Exterity has released its Pro:Idiom Gateway, the latest addition to its AvediaStream Gateway family which supports content-protected live TV and radio from satellite sources and streams it securely across an IP network. With dual conditional access slots and built-in Pro:Idiom encryption, the g4417-pi is said to meet the most stringent content protection requirements and deliver “high value and broadcaster premium channels” across an IP network. www.exterity.com

PRODUCTS

Matrox extends 6100 Series THE MATROX Maevex 6152 quad 4K decoder is built on the same core technology as the 6100 encoders and decodes up to four 4K streams – or many more lower-resolution streams – across up to four 4K displays from a single, standalone application. The Maevex 6152

management tool which provides control over the entire Maevex network from a single or multiple locations. PowerStream Plus provides users with an assortment of drag-and-drop stream and layout selection options, along with available previews for decoder output configurations. The

A Storm in an HDMI solution SIMPLIFYING INSTALLATION while providing significant cost savings, WyreStorm has developed the Essentials NEXT HDMI video distribution platform.

Like a traditional matrix, up to 96 video receivers can be routed to central video hubs via Cat-5e cabling and distributed to HDMI display outputs. At the rack location, a maximum of 24 1080p HDMIand HDCP-encrypted video sources can

be connected to the NEXT System’s main chassis. Bypassing the traditional matrix system, the transmission card-based approach limits the initial cost outlay until the system needs extending. Configuration is simplified as each receiver is provided with an ID using DIP switches and control is achieved via a preconfigured WebUI. www.wyrestorm.com

Maevex 6152 quad 4K also includes HDCP support to decode and display multiple streams of protected content. In addition, the Maevex encoder and decoder pairing is said to offer highquality, low-latency streaming, while the Maevex 6152 can be combined with thirdparty encoders to create new or upgrade existing end-to-end systems.

The 1U, ½-rack Maevex 6152 can decode HDCP content from a variety of sources, including external Blu-ray players, settop boxes and streaming video devices.

The device also includes preset layouts, providing users with the flexibility to target up to eight streams on a single screen.

As with all other 6100 series products, the Maevex 6152 includes the Maevex PowerStream Plus AV-over-IP software

PowerStream Plus API for Windows, Linux and lower-level REST API are available for integrators looking to create personalised Maevex control applications.

In other news, Matrox has updated its Imaging Library (MIL) X software. New features include the training of deep neural networks for image-oriented classification; coarse segmentation using image-oriented classification based on deep learning; a revamped plus augmented 3D display, processing and analysis offer; and support for HDR imaging. A companion update also introduces enhancements to the MIL CoPilot interactive environment, including support for training a deep neural network. www.matrox.com

Protection from a distance WITH A team of engineers, designers and in close cooperation with Klotz AIS GmbH, Klotz Communications has developed Sentr y, a personal distance projector that can be attached to clothes and shows the safe distance on the floor in front of the user. It projects a graphic display on the floor in front of the wearer, making it easier to maintain and control an appropriate minimum distance. The aim of

the device is twofold: to remind the wearer that they have to be careful and should avoid any risk, but also to provide companies with a tool to protect their staff and the workforce on the whole.

Sentr y can also be used by exhibitions, museums, spor ts and other locations to maintain safe distances and therefore reopen their facilities step-by-step. www.klotz-ais.com

ROE adds processing platform Avolites serves an ace WITH VIDEO content and projection mapping becoming major components in many installations, Avolites has released its Q Series media ser vers along with Ai v12.1 with the Pioneer Pro DJ Link Bridge integration software.

The Q Series comprises the Q3, Q3pro, Q4 and Qgen to suit various user requirements.

THE HELIOS processing platform is the result of a close cooperation between ROE Visual and Megapixel VR who have combined forces and their knowledge of LED and processing technology to produce a processing platform that “reimagines processing from the ground up to support large-format LED displays for use in demanding pro AV application”. The Helios processor will be exclusively available for ROE Visual LED screens.

The inputs and outputs of the Helios LED processing platform use SFP+ ports so that the processor capacity can be scaled to meet user requirements. In addition, Helios works as an AVoIP-based system – multiple units can be used to create a redundant

system and multiple inputs can be stitched to achieve canvas resolutions up to 16K wide.

“One key advantage of the Helios processing platform is its scalability – you can invest in this system to have it grow with your demands. Starting with a Helios Junior package, you can scale the system up to become a fully fledged 8K processing system,” commented Victor Kortekaas, technical manager for ROE Visual. The platform works with a range of ROE Visual LED panels, such as Sapphire, Diamond, Amber, Jasper and the recently released Ruby and Black Quartz LED platforms.

comes with four 4K outputs and flexible input modules so users can design the server to meet “the most demanding needs”. With the rise in use of interactive real-time generative content providers like Notch, the Qgen provides three 4K outputs and a Nvidia graphics card that can deliver around 30,000 Notch marks and a two-year Notch playback licence.

Q3 The Q3 provides one 4K output, two HD outputs and a separate GUI output and has been developed for mid-sized venues.

The Q3 Pro has been designed for more demanding venues with two 4K outputs and one HD along with EDID managed HDMI outputs. The Q4 is for large venues and advanced installations and

Key features of the Ai v12.1 release include a codebase to suppor t 64-bit architecture and compatibility with the latest Notch blocks. Ai will now work on 64-bit versions of Windows and suppor t 64-bit Synergy and USB Exper t. www.avolites.com

www.roevisual.com

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PRODUCTS

Improved sensors for lipstick cameras FOLLOWING THE success of the CV225 lipstick camera, a nextgeneration model from Marshall Electronics has integrated sensor technology said to improve the colour, clarity and low-light attributes as well as a new flexible 3GSDI cable. The CV226 lipstick cameras make use of sensor technology with 2.5 million pixels and improved pixel depth to capture video through a single 3GSDI output in 1920x1080i, 1920x1080p and 1280x720p resolutions. The new model also adds selectable frame rates on a single chip to include 60, 59.94, 50, 30, 29.97, 25/24 and 23.98fps output formats.

The CV226’s 3m breakout cable allows for remote control and adjustment via VISCA over RS-485 twisted-pair wire and can be

controlled remotely using the Marshall CV-RCP-V2 Touchscreen RCP controller software, free to download, with an RS-485 to USB adapter.

The microphone’s all-weather design and ¼-20 mount allows for mounting options in outdoor or hidden locations. It is rated to withstand dust, sand or full submersion up to 1m for several hours. The manufacturer’s recently released CVM-6 adhesive camera mount kit provides various mounting options for the CV226 with a lipstick camera clip and ¼-20 mounts. The CVM-6 also includes two 3M adhesive pads and adjustable ball mounts for use with other Marshall POV cameras.

In addition to the CV226, the upgraded line also includes the CV503, CV506, CV344 and CV346, with the manufacturer claiming to have improved upon “nearly every feature” that has led to their adoption in broadcast and pro AV applications. www.marshall-usa.com

Panasonic follows the stream A NEW studio camera that can be upgraded to support 4K has been introduced by Panasonic alongside a new PTZ model. Designed for broadcast applications, the AK-HC3900GJ/ GSJ is equipped with a large sensor for high sensitivity and video quality. By combining the AK-HCU250PJ/PSJ or HCU250EJ/ESJ camera control units (CCUs) and the AK-HRP250GJ remote operation panel (ROP), it is reportedly possible to construct a long-distance optical fibre transmission studio camera system at low cost.

AK-HC3900 Multiple formats are supported, including 1080/59.94p and 720/59.94p. Native 4K output with horizontal resolution of 2,000 TV lines can be achieved with the 4K upgrade (with the 4K optional accessory equipped on the CCU). IP connection between the CCU and ROP is also supported, in addition to serial connection. PoE power supply is also provided.

In addition to the studio camera, Panasonic has introduced its first 4K PTZ camera that supports NDI and SRT. Also compatible with 12G-SDI outputs, the camera suits a range

AW-UE100 of applications from livestreaming of events to studio production. High-bandwidth NDI that can transmit 4K video at speeds of up to 250Mbps, and full HD video up to 100Mbps, is included to provide low-latency live video transmission over a single LAN cable. High-efficiency, low-bandwidth NDI | HX is also included to enable video transmission at low bitrates. SRT is supported to maintain stability while transmitting high-quality video, even in unstable network environments, and RTMP/ RTMPS provides direct streaming to live broadcasting services such as YouTube Live and Facebook Live. A wide-angle lens with a horizontal angle of view of 74.1° enables a wide area to be shot from a limited installation space, and 24x optical zoom maintains image quality at high zoom ratios. The camera ships in black (AW-UE100K) and white (AW-UE100W) versions. www.business.panasonic.com

Magewell stays versatile FOR USERS who don’t require NDI support, Magewell has released the Pro Convert H.26x to HDMI 4K, which offers the same features as the Pro Convert for NDI to HDMI 4K such as support for protocols including RTSP, RTMP, UDP, RTP and HTTP streaming. The new converter uses an HDMI 2.0 interface to decode input streams up to 4196x2160 at full 60fps for output to baseband monitors, projectors, production or distribution equipment.

Designed for multi-site video distribution, IMAG, videowalls, digital signage, remote production or bridging legacy and nextgeneration media infrastructures, the compact device optimises output parameters based on EDID metadata of the connected HDMI display, while FPGA-based video processing enables high-quality

up/down conversion between HD and 4K. The Pro Convert H.26x to HDMI 4K measures 3.97 inches x 2.4 inches with a height of 0.92 inches and is powered via an external adapter or PoE. Users can also manage advanced features via on-unit controls, a browser-based inter face or a connected keyboard or mouse. www.magewell.com

AMX DVX goes 4K60 4:4:4

DX-TX-4K60 TWO NEW presentation switchers from AMX aim to simplify AV control for medium and large conference rooms where high video resolution for critical viewing applications is crucial. The new AMX Enova DVX presentation switchers combine full 4K60 4:4:4 video support with Harman technologies such as a Crown DriveCore amplifier and BSS Audio signal processing, as well as Dante and AES67 support.

Both the 8x4+2 DVX-3266-4K and 6x2+1 DVX-2265-4K switchers are fully compatible

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with existing DXLink 4K60 transmitters and receivers, enabling the distribution of full 4K60 4:4:4 over distances up to 100m using a standard category cable. They also support HDMI 2.0 and HDCP 2.2.

Together with six microphone inputs, the switchers house a built-in 120W DriveCore amplifier which is capable of driving 8Ω or 70V/100V speakers. BSS Audio processing and Advanced Feedback Suppression from dbx is said to help prevent common audio problems. New DXLink ports support video,

USB 2.0, audio, network, power and control over a single cable, reportedly making setup quick and simple. Additionally, DXLink inputs and outputs on the new DVX models are compatible with standard HDBaseT devices such as cameras and projectors.

Alongside the new switchers, AMX has launched a new line of 4K60 4:4:4 twisted pair and fibre I/O boards for AMX Enova

DVX-3266-4K rear connections

DGX 100 Series AV matrix switchers.

Included in the 4K60 suite are eight new products, including AMX DXLink 4K60 HDMI transmitters and receivers and AMX Enova DGX 4K60 input and output boards, each available in either twisted pair or fibre variants. www.amx.com

PRODUCTS

NanoLumens Christie redesigns experiences micro evolution Engage Series LED MANUFACTURER NanoLumens has revamped its Engage Series into a line of more mainstream display cabinetry for users in need of a “simple and stress-free solution”. The new products reduce power consumption using a common cathode and are built with cabinets that include a native 16:9 aspect ratio so that users can import and display HD, 4K and all other 16:9 content without any reformatting issues.

NanoLumens has developed the products for users that are new to the industry who

want a simple solution without complicated guesswork.

Following NanoLumens’ new partnership with BrightSign, the redesigned Engage Series will be accompanied by an update to

Calibre fuses with LED CHRISTIE HAS debuted Active 3D for its MicroTiles LED that provides “a robust, flickerfree 3D experience”. Using active shuttered 3D glasses, users can view 3D content at 120Hz (60Hz per eye) in a 1.25mm pixel pitch. With Active 3D, MicroTiles LED displays 4K UHD content at 120fps at 1,000 nits brightness via a Christie Link E1000-3D videowall controller. With integrated Christie Terra SDVoE technology and MicroTiles LED design flexibility, the display can be customised to suit the individual’s needs. www.christiedigital.com

THE LEDFUSION A160 by Calibre has been designed to provide “a complete, integrated solution that can be installed by two people in an hour or less”. Packed in a single flight case, the 163-inch LEDFusion A160 is under 35mm thick, bezel-free and comes with a 170° viewing angle. The screen also features HD resolution, a 1.875mm pixel pitch, 600 nits of brightness and a 5,000:1 contrast ratio. The modular design is said to make it fast and simple to repair, while control is via an iOS/Android app.

Connectivity includes two HDMI ports, 3G-SDI, two USB ports, audio output, RS-232 in/out

the company’s display network management platform, AWARE, which includes BrightSign’s media player. www.nanolumens.com

The display includes Calibre’s HQPro1000 scaler/switcher, which reportedly delivers seamless switching, fast transitions, support for multiple sources and layers, and up to four programme outputs alongside a confidence monitor output. Scaling is provided by the manufacturer’s low-latency proprietary HQUltra technology that supports 4K50/60 4:4:4 RGB formats. Streaming video using the H.264 codec is supported, as are pan and zoom, dissolve/fade, cut and through-black. and RJ45 for LAN control. The unit can also be plugged into an OPS.

www.calibreuk.com

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PRODUCTS

Aten stays mobile

Elation creates a wintry scene

THE VE8950/VE8900 Control App from Aten is an iOS- and Android-compatible app that enables mobile control of the VE8950 and VE8900 4K HDMI-over-IP extenders. Designed to help users switch sources/displays and apply and reschedule profiles from their IP video extenders, the Control App provides direct access to VE Manager, which enables preview, monitor and control of

ELATION IS now shipping the first product in its Polar series called the Polar Crisp, a compact and lightweight snow machine that can produce high volumes of naturalistic snow with the capacity to adjust snowflake sizes. The 1,250W machine can project snow up to 12m, while an all-in-one APF (Air Pump Fan) system with an auto-clean feature reportedly lowers the risk of clogging and reduces the need for maintenance.

Built to withstand travel and repeated use, Polar Crisp features a durable aluminium housing and a hanging bracket that doubles as a carry handle, and weighs 15.2kg. A noise-blocking layer of insulation reduces fan noise for quieter operation, making it suitable for noise-sensitive environments. The Polar Crisp also uses Magmatic’s Atmosity Premium Snow Fluid (APS-4L) to create a snowflake that mimics

a user’s video sources at any time and in any location. Aten reports that it’s now easier for users to track the latest display schedule and system updates and manage their networked AV system.

Additional features include a simple setup and log-in where users can auto scan the network for devices and tap on any transmitter or receiver to log in, and real-time device monitoring for checking the status of receivers and digital signage content remotely. Users can preview video sources, edit receiver inputs or adjust videowall layouts with the GUI. By selecting the transmitter source and the target receiver via a mobile device, users can switch video sources instantly and also switch a video source to multiple receivers at once. The app provides calendar-based scheduling for checking and revising the display schedule on-the-go to save time and streamline daily operations. www.aten.com

Barco gets Insights from the cloud BARCO HEADED for the cloud when seeking a new solution for enhanced projector management. Barco Insights is a connectivity platform intended to facilitate and simplify remote monitoring and servicing of projectors.

The software cuts out time-consuming and error-prone manual administration as a result of its cloud-based storage of projectors’ usage data and light-source run times, while live dashboards also give real-time information on the operating and environmental conditions of the projectors.

Users can securely access the IoT platform on any device with an internet connection.

The manufacturer promises that there is no complex setup and network configuration required, or no local host PC and special software to install to make it all work.

Rollout of this subscription-based cloud platform is happening in stages throughout 2020. The basic features will be automatically embedded in Barco UDM projectors for the first two years of usage.

the look and feel of actual snow. The snow machine includes an on-board LCD touchscreen control panel with manual and timer control options. It is DMX-512 and RDM controllable and offers wired and wireless remote-control options. www.elationlighting.com

Datavideo takes control DATAVIDEO HAS unveiled two new integrated products: the TPC-700 touch panel interface and the SE-3200 switcher. The TPC700 is described as the best assistant for all 3200 switchers and VGB-2000 presentation systems. Users tap the screen to select different presets and customise each button. Multi-camera virtual studio switching, aux output, crosspoint, Flex Source and PIP assignment can all be accessed via the inter face. The compact design means that the TPC-700 is easy to transport during a live production. It has a 7-inch capacitive touchscreen with an 800x480 resolution, weighs 850g and measures 220mm x 152mm x 79mm (WxHxD).

The SE-3200 is described by Datavideo as its most advanced 12-input 1080p 50/60 switcher. It is equipped with 12 inputs (eight SDI and four HDMI) and nine outputs (six SDI and three HDMI) to help users produce a “sophisticated and professional live event”. The switcher provides full 1080p support on every input and output and a built-in scaler for up and down conversion on each available input. Advanced features include eight PIPs, four upstream keyers for

TPC-700 chromakey, linear and luma keys, two DSKs, two independent animated logos, stinger transitions and a 2D transition DVE. All 3200 switchers come with builtin support for Datavideo CG software which converts a regular HDMI output of a PC or laptop into a fully fledged CG inter face for use with Datavideo’s CG suites. Users can connect up to two displays to all 3200 series switchers for a dual, multi-view output and choose from pre-defined, multi-view layouts. Flex Source reportedly gives users nearly the same power of a 2 M/E switcher, in a 1 M/E switcher. It provides four PIPs with 3D borders, with a background layer and an additional key layer. www.datavideo.com

www.barco.com

Processing the view

APANTAC HAS announced the debut of its 8K Multiviewer. The MiniDE-4-QUHD has a 7680x4320 output resolution and accepts four HDMI 2.0 inputs, four HDMI 2.0 outputs and performs in two modes: multiviewer and videowall processor. In multiviewer mode, users can feed a quad UHD (four 4K inputs) 8K monitor or a 2x2 4K monitor stack and the

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position, size and aspect ratio of the source windows are user-adjustable.

In videowall processor mode, the multiviewer drives four 4K monitors and displays the source signal feeding one of the four inputs in various layouts and in landscape or portrait mode. www.apantac.com

PRODUCTS

NewTek lights a spark IP-BASED VIDEO technology manufacturer NewTek has released two new Spark Plus IO converters designed to simplify the encoding and decoding of video for use in an IP-based workflow through NDI. The Spark Plus IO 4K delivers high bandwidth NDI at full 60p for low latency and high quality in and out over IP. Users can route NDI signals to TV screens or deliver a 4K signal into an NDI workflow. The Spark Plus IO SDI encodes or decodes at rates up to 1080p60 NDI for 3G-SDI environments without disrupting the

content creators to capture and deliver high-quality UHD video with native support for resolutions up to 2160p60 using a 30x optical zoom lens and a high-quality Sony CMOS sensor. Requiring only a single Ethernet connection for setup, power, operation and signal flow, the camera is said to pair perfectly with the TriCaster Mini 4K and TriCaster TC1 for a “configuration-free NDI experience”.

Cameo promotes versatility THE OPUS H5 has been developed by Cameo to provide a versatile beam, spot and washlight hybrid with an 18,000-lumen output and 400,000 lux illuminance at 5m. The small and lightweight moving

www.newtek.com

Opus H5

Spark Plus IO

existing traditional SDI video infrastructure.

Both Sparks come with PoE, simple auto discovery and tally light with NDI support, all packaged in a compact design that is described as durable and easy to mount.

The Spark Plus IO converters reportedly bypass the need for a capture card solution.

They are designed for a quick setup over one Ethernet cable. A web-based interface allows configuration and monitoring from a desktop or mobile browser. The Spark family of converters are reportedly compatible with hundreds of systems, devices and applications that support NDI technology, such as the TriCaster Mini 4K and TriCaster TC1.

NewTek has also unveiled its PTZUHD, said to be the first pan-tilt-zoom camera that transmits full 4Kp60 video directly to NDI-compatible receiving devices across a standard network. The camera allows

PTZUHD

head features an Osram Sirius HRI 470W discharge lamp for bright and parallel beams and a zoom range from 2–42°. The Opus H5 is equipped with a CMY colour mixing system, a colour wheel with 13 dichroic filters, two gobo wheels (rotating and static), two frost filters for flexible wash effects as well as four prisms on two wheels. In addition to DMX, RDM, Art-Net or sACN connectivity options, the Opus H5 can be controlled wirelessly via the integrated W-DMX receiver.

The Evos W7 is an LED wash/beam moving head with 19 40W RGBW and warm-white LEDs. The unit provides 10,500 lumens and a coverage up to 540° horizontally (pan) and 270° vertically (tilt). With a zoom range of 4.5–55°, the Evos W7’s directional light beams can also be asymmetrically shaped using the included Beam Shaper. Users can individually control all of the LEDs with the Single Pixel Control, plus the moving head’s refresh rate can be adjusted in six stages between 800Hz to a maximum of 25kHz. The F4 series comprises three LED Fresnel spotlights in tungsten (3,200K warm-white), daylight (5,600K cold-white) and RGBW full-

colour with tunable white function (1,600–6,500K). With a total output of up to 34,000 lumens (daylight version), the F4 series has been designed to replace traditional 2,000W halogen Fresnel lights and dimmer racks. All F4 models feature a high CRI of >Ra90, an adjustable zoom range from 12–40° as well as 16-bit technology for high-resolution dimming, including four selectable dimming curves and adjustable dimming response. Flicker-free operation is provided by a selectable PWM up to 25kHz. Finally, the H2 series has been designed to provide fixed LED room lighting with flexible DMX control options and high dimmer resolution. Available as full colour, warm white and adjustable daylight versions, the H2 fixtures output up to 17,000 lumens (H2D) with a 180W LED as well as silent and flicker-free operation based on selectable PWM frequencies up to 25kHz. Interchangeable lenses allow the user to adjust the beam angle from 20–45°. The fixtures feature Terminal Block connectors and five-pin XLR connectors for the DMX

Evos W7 signal. Wireless control via W-DMX is also possible. The supplied mounting bracket enables the H2 series to be integrated into truss constructions and wall installations.

Ceiling mounting is possible via an optional mounting kit. www.cameolight.com

Vari-Lite updates a classic CARRYING OVER the size and quality of light from the original VL5, the VL5LED Wash from Vari-Lite comes with an RGBALC colour system, on-board motorised zoom and LED blade lights. The colour system provides lighting designers with a wide range of options, including both pastel and saturated colours from a single fixture. To simplify programming, the SmartColor Control system adjusts the six-colour engine using traditional CYM+CTO mixing control. The colours are then reflected on the Dichro fusion blades that bring the stylings of the original VL5 along with the variable diffusion first seen on the VL6500 Wash.

For further creative options, the VL5LED Wash adds a separate ring of LEDs that light up the Dichro fusion blades a different colour

than the light coming from the source engine.

The fixture has been built for sound-sensitive environments and comes with Standard, Studio and Whisper modes.

The lighting manufacturer has also released the VL800 EventProfile, a high-output framing profile luminaire that offers full CYM+CTO colour mixing. Other features include a small form factor with a fixed colour wheel; static and rotating gobo wheels; and a prism, frost and iris. Multi-mode fan control allows users to adjust settings to control fan noise. The 350W fixture is said to offer a low dB experience across all frequencies and comes with camera-ready frequency adjustment options. It has an IP20 rating and an 8–40° beam angle.

VL5LED Wash

VL800 EventProfile

www.vari-lite.com

July–August 2020 PRO AVL ASIA 97

BUSINESS: ANALYSIS

Lending an ear

Mike Dias explains why he founded the In-Ear Monitor International Trade Organization (IEMITO) and how it’s helping its industry members in the current climate TIMING IS EVERYTHING. WHEN IT CAME TO SETTING UP IEMITO, my timing was either impeccable or the worst in history. I started working with in-ear monitors over 20 years ago with Mindy and Jerry Harvey of Ultimate Ears when the company was in its infancy, and I’ve watched this industry grow from the back of a tour bus into the global phenomenon that it is now. I’ve seen it progress from being a novelty to a market sector that generates well over

US$100 million annually. The industry has mushroomed from an initial handful of manufacturers to over 200 IEM makers throughout the world. So, when I recently left my job as director of sales and marketing at Ultimate Ears, many of the IEM manufacturers asked me to set up and run a trade organisation for in-ear monitors. I agreed, but only if it were truly global in scope. IEMITO duly launched at AES New York in October 2019.

I wanted to make sure that we represented all countries and regions. I knew that if we could create a global network, then we would be successful. I also knew that it would not be easy. Many of the founding members had different agendas and competing personal interests, and, of course, there is the human factor of working with your competitors. But, ultimately, I knew that all the manufacturers share the same goals and visions, and that everyone wanted to increase the total overall awareness for IEMs. That’s how IEMITO began. It was established to promote the uses and benefits of IEMs – to bring together in-ear manufacturers, dealers, suppliers, engineers and end users from all over the world to shape the future of the global headphone market. It was an instant hit, with manufacturers joining immediately. While Shure and Sennheiser were founding members, so were in-ear companies from around

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Mike Dias the globe, such as QDC in China, FitEar in Japan, Stealth Sonics from Singapore and Vision Ears from Germany.

Console manufacturers including PreSonus and Yamaha even started joining.

And then… live sound reinforcement ground to a complete standstill and the global economy continues to contract with no end in sight. Just like that, the market for in-ears has disappeared. In line with this, the need for a dedicated trade organisation has become either entirely superfluous or infinitely critical. I’d like to believe that it’s the latter – in this time of great isolation, the thing that turns out to matter most is community. We are truly all in this together, and what IEMITO has done since the pandemic began, while specific to the in-ear community, has fundamentals that apply to the entire pro audio industry.

The first thing that we did was assess the situation realistically with the information that we had available. We then thought about the needs of all our community members and stakeholders, asking ourselves what we could do to effect positive change and how we could be a pillar for everyone around us.

Secondly, we’ve been working with all our partners to help those in critical need. We made a substantial donation to touring professionals via Crew Nation, an initiative set up by Live Nation to help touring and venue crews currently out of work, and we’ve worked with each manufacturer to help promote their direct charitable efforts. Each and every one of the IEMITO founding members has given back in ways that they are able to.

Some companies have made significant cash contributions to various music charities, while others have donated equipment or shared expertise. Dr Santucci from Sensaphonics has been giving free hearing health consultations everyday, while JH Audio and Sennheiser have hosted numerous continuing education seminars and sessions. It has been truly heartwarming to watch how each company has stepped up to help their specific communities – not to mention everything they’ve done behind the scenes – and that includes how they have taken care of their employees during these times.

The third thing that we did was to address the feelings of usefulness. People who work in the pro audio industry have a tremendous work ethic. Sound engineers and backline professionals – the true heroes of concert productions – went from working insane hours on tour and being part of something much larger than themselves to finding themselves alone with nothing to do. So, we’ve been finding small projects where people can contribute and feel relevant. Our website is an online repository of unbiased information about in-ear best practices, so we invite any and all touring professionals to contribute guest posts. We give them a platform to share their expertise and their point of view and we give them a place to be needed. We do the same for all our members – we recently started a new programme, the Founder’s Philosophy, giving IEM designers a chance to talk about their design aesthetics and choices.

Of course, we then work with our media partners to secure placement for all these features, so everyone wins. We get to help increase brand awareness for our members, we get to further industry best practices and we get to share great stories.

Finally, and I believe that this is critical, we make a point of staying in touch with all our members – of simply reaching out to check in, and just being available whenever anyone needs anything. It is so easy right now to become overwhelmed by the significant business challenges. But it’s much harder to stay present and positive. It turns out that this is the furthest thing from our mission statement, and it’s certainly not why we started the trade organisation, but it seems to be what’s needed most. Only time will tell. www.inearmonitor.org

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Empty spaces,

we miss you ALL...

AFTER THE SILENCE…

TOGETHER, WE WILL RAISE THE ROOF

UNTIL THEN, PLEASE STAY #SAFEANDSOUND