Pro AVL Asia July-August 2022

ProAVLAsia July–August 2022

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION July–August 2022

NATIONAL PRIDE

Bangladesh celebrates 50 years of independence YANGTZE RIVER CONFERENCE CENTER

BROMPTON OPENS TAIWAN OFFICE

THE RETURN OF THE TRADESHOW

AMATE AUDIO’S HALF-CENTURY

MICA (P) 003/06/2022 PPS1604/05/2013(022953) www.proavl-asia.com

Singapore: MICA (P) 003/06/2022 PPS 1604/05/2013(022953)

SysControl App

WM Touch

ArmoníaPlus System Design.

One tool, two souls, endless possibilities.

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INNOVATION THAT SPEAKS VOLUMES Audio solutions for today’s conferencing

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Contents

July–August 2022

Volume 21 Issue Four

News

For the first time in more than two years, this issue is bursting with something we just haven’t been able to bring you: reports from real, inperson tradeshows! You’ll find coverage of ISE, NAMM and InfoComm in our July/August edition, as well as shorter pieces about the return of Frankfurt Prolight + Sound, NAB, Palm India and Broadcast Asia, and we hope that you’re as pleased to see a host of familiar faces peering out of the pages as we all were to capture these photos. As we go to press I’ll be setting foot on Asian soil for the first time in a long while as I’m heading to KOBA in Seoul, where I hope to catch up with more of you. In this issue we’re also pleased to bring you a rare full-length (and front cover) feature from Bangladesh, as Indian megastar A R Rahman helped the nation celebrate 50 years of independence as well as the 100th birth anniversary of its founding father, Sheikh Mujibur Rahman.

Here’s to covering more events from across the region as the world reopens – and hopefully getting back to more of them ourselves!

4 Projects

26

Welcome

35

Features

Editor

48

Email: cmoss@proavl-asia.com

Company profile

Products

75 Business

60

98

PUBLISHED BY:

17 Upper Grosvenor Road, Tunbridge Wells, Kent TN1 2DU, United Kingdom Telephone: +44 (0) 1892 676280 COVER: A R Rahman PRINTER: Times Printers Singapore LICENCES: Singapore: MICA (P) 003/06/2022; Malaysia PPS 1604/05/2013 (022953) All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

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CONTACTS GENERAL MANAGER Richard Lawn

ADVERTISING DIRECTOR Sue Gould

DIGITAL CONTENT EDITOR Libby Stonell

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sgould@proavl-asia.com

lstonell@proavl-asia.com

SENIOR REPORTER Simon Luckhurst

EDITORIAL COORDINATOR Karen Wallace

SALES ASSOCIATE Carolyn Valliere

sluckhurst@proavl-asia.com

kwallace@proavl-asia.com

T: +1 562 746 1790

cvalliere@proavl-asia.com

DIGITAL MEDIA MANAGER Nick Smith

PRODUCTION MANAGER Adrian Baker

VIDEO EDITOR Chris Yardley

nsmith@proavl-asia.com

abaker@proavl-asia.com

cyardley@proavl-asia.com

GUANGZHOU MANAGER Sue Su

BEIJING OFFICE Frank Shao

CIRCULATION Marne Mittelmann

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July–August 2022 PRO AVL ASIA 3

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NEWS

Ross expands Asian HQ and customer experience centre SINGAPORE

Ross has announced the opening of its new and expanded Asian regional headquarters and customer experience centre in Singapore. The new facility, which is 50% larger than the previous office, will enable Ross to demonstrate its entire portfolio of solutions, including virtual set, augmented and extended reality environments, and can also facilitate training sessions, seminars and workshops both onsite and virtually. The office will act as a regional hub for technical support and will enable Ross to provide worldwide technical support for customers, 24/7.

“I’m delighted that we’re now able to cut the ribbon on this expanded facility,” noted senior vice president of global sales, Oscar Juste.

“This investment reiterates our commitment to the region and will also help underpin our

continued to invest and recruit throughout.

This new office has been designed with hybrid working patterns in mind but will also enable our partners and customers to get valuable hands-on experience with our products and solutions once we return to a more traditional style of meetings and events.

“Our message to partners and customers in the region is very clear – at a time when other manufacturers are withdrawing from the region or reducing their footprint, we’re investing, we’re growing and we are here for customers with the industry’s widest range of high-impact, high-efficiency production solutions.” continued expansion across Asia. There is no doubt that our region has felt the

PALM Expo India returns to Mumbai INDIA

PALM Expo India returned to the Bombay Exhibition Centre from 26–28 May after an absence of three years. And according to those who attended, the 2022 edition of the long-running show was better than ever.

under one roof with technologies that shape the present and future of audio.”

In the absence of Chinese exhibitors due to ongoing travel restrictions, PALM introduced a remote exhibition opportunity which allowed

The event was said to be very crowded “The attendance was really high quality and we saw everyone and more that we wanted to see,” said Ian Staddon, vice president of sales at DiGiCo, exhibiting on the Hi-Tech Audio Systems booth. “The market is really coming back there, and I felt that Covid has brought the industry together, with all the major rental owners meeting and chatting with each other.”

Added Neutrik’s global key account manager, Christoph Hellmuth: “It was great and very, very crowded – especially Hall 6, which had the local stage, lighting and rigging manufacturers.

Hall 1 was better organised, and I was also happy with the performance of our local distributor, COMCON.” Also in Hall 1, Sennheiser’s director, professional segment for India, Vipin Pungalia, commented: “We are excited to be back with offline events after the pandemic. PALM Expo is a great platform to showcase our products as the industry comes together

companies to participate through an online platform. This provided them with a 4m2 booth equipped with a display monitor, from which exhibitors could connect with trade visitors via a Zoom call.

“The reunion of the pro audio, lighting and AV industry saw tremendous business being undertaken on the floor, with positivity shining across the exhibition grounds,” summarised Palm India founder/director, Anil Chopra.

Presenting a total of 145 exhibitors as well as the PALM AV-ICN conference with 40 speakers, the PALM Sound and Light awards, IRAA awards and Harman Live Arena, the show attracted 20,228 unique visitors, just 3,000 less than the pre-pandemic edition in 2019.

PALM Expo India returns to the Bombay Exhibition Centre from 25–27 May 2023.

full brunt of the pandemic this year, but I’m very proud of the fact that Ross has

www.rossvideo.com

disguise launches Metaverse Solutions division WORLD

disguise is launching a Metaverse Solutions division in an effort to enable the next generation of live, virtual production and audiovisual location-based experiences for the metaverse. Having launched its extended reality (xR) workflow two years ago, disguise has powered several live events in the metaverse, such as Kaskade’s in Fortnite and Rocket League, as well as launches for major brands such as Gucci and Ferrari.

The company is looking to further leverage solutions in collaboration with metaverse event enablers Surreal and advanced content creators ZOAN using Epic Games’ suite of applications. disguise’s history in xR will allow the new division to work with emerging metaverse platforms, such as Fortnite, Roblox, Sandbox, Niantic and others, to deliver integrated solutions. “Our mission is to help create experiences that challenge expectations.

We believe in connecting the physical with

the virtual worlds, to create gateways to the metaverse. Through this, we will enable a world that fulfils essential human needs: to connect, to collaborate and to be included.

The promise of the metaverse is to unleash a new wave of opportunities for every kind of creator, including partners, brands and performers alike,” explained disguise CEO, Fernando Küfer.

Led by disguise chief experience officer, Alex Wills, the Metaverse Solutions division will be fuelled by disguise’s newly formed exploration unit named disguise Labs, led by disguise’s chief of staff, Abi Bowman.

“There is a huge amount of interest and investment in this space right now, and what is most exciting about launching this new division is that we offer a tangible solution to help brands and creators develop the next generation of experiences,” concluded Wills. www.disguise.one

www.palmexpo.in

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The Evolution Wireless Digital Series

Evolving with you.

Not all wireless is created equal. Audio professionals can encounter challenges using traditional RF technology, but with Evolution Wireless Digital, fundamental limitations of wireless systems are resolved using new technology that is nothing short of groundbreaking. With the EW-DX line, there will be even more professional features for nearly any budget or application.

Discover why EW-DX is the future of wireless. Visit sennheiser.com/ew-dx to learn more about the latest members in the Evolution Wireless Digital series.

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NEWS: BUSINESS

Pan Acoustics takes ACS under its wing WORLD

Pan Acoustics and Acoustic Control Systems (ACS) have announced that after two decades of cooperation, they have decided to join forces. Going forward, Dutch company ACS will operate under the wing of Pan Acoustics. The companies will work closely together and where possible act as one team. While the location and all positions in ACS will remain the same, the inclusion of the company will mean that complete project solutions can now be offered from a single source.

ACS and Pan Acoustics have been closely associated for many years: A core from ACS, a 96-channel DSP unit, was developed as an engineering achievement of Pan Acoustics in a contracting project with ACS. Since then, a close technical partnership has existed with the goal of providing customers with natural acoustics. “Now the expertise of both companies is coming together to form a great whole. We are looking forward to numerous synergies in sales and the development of new products,” commented Udo Borgmann, CEO and founder of Pan Acoustics.

ACS owner M Ijsselmuiden shakes hands with Pan Acoustics CEO, U Borgmann “An ACS system can usually be installed in a room without major intervention, after which the room can be used in a truly multifunctional way,” explained At van den Heuvel, technical director at ACS. “Together, we share the goal to now even better consult our customers in the commercial, theatre and cultural sectors with holistic solutions

and to support them in their implementation.

The holistic approach shall also pay off in terms of sustainability, entirely in the customer’s interest. Pan Acoustics already offers a 10-year warranty for products developed and produced in-house.”

Udo Borgmann concluded: “I am absolutely convinced of the long-standing ACS quality.

That’s why we are extending this sustainable warranty of 10 years to ACS products with immediate effect, retroactively from 2020.

Planned obsolescence is an outrage for us. We live sustainably and believe in our products – the customer may do the same.” www.pan-acoustics.de

Australis Music Group acquires CMI Music & Audio AUSTRALIA

Peter Trojkovic and Graeme Mitchell, shareholders of CMI Music & Audio, have announced that Australis Music Group has purchased 100% of the shares of the company, after reaching the decision that the exits of the principals of the company are necessary for its continued growth and future prosperity. Founded 40 years ago, CMI Music & Audio is aiming to make

the company a “formidable player” in the Australian MI and pro audio markets.

Trevor Morrow will be managing director of both entities. The CMI sales, product management, support and marketing teams will continue in their current positions in Melbourne, operating with this new, expanded mandate for the company.

For the next three months, Trojkovic will remain with the company on a full-time basis and will then assist if required. The

move includes an AU$250,000 investment in new technology and processes for CMI Music & Audio. Both Trojkovic and Mitchell emphasise that the transition is an “enormous opportunity for staff, suppliers and investors”. www.australismusic.com.au www.cmi.com.au

CP Green to decrease Claypaky’s carbon footprint WORLD

Claypaky has launched CP Green, a Spotlight on Sustainability initiative, stating that “eco-friendliness is not enough”. The objective of this initiative is to reduce Claypaky’s carbon footprint and increase energy efficiency.

Claypaky has already implemented several projects to reduce the environmental impact of its business activities. Its existing efforts include the implementation of the Kanban control system into its manufacturing process to increase the efficiency of the operation and reduce waste, optimisation of the compressed air production and testing procedures leading to the reduction of the total electrical consumption and CO2, elimination of all solvent-based coloured ink on product packaging and paperless operation in the production process and paperless fairs.

To coordinate all the corporate initiatives, integrate them across the whole organisation and secure the execution of the changes, a Sustainability team, led by Claypaky executive Andreas Huber, has been formed. “My mission is orchestrating the sustainability and

environment activities and to foster lasting connections across the company, inspiring and engaging colleagues across the Claypaky organisation in their work to support the sustainability and environment activities,” said Huber. “I will listen to ideas from any colleague on how we can improve further.”

“Sustainability became a high priority in Claypaky as we aim for pioneering sustainable entertainment products and operations for a safe and better world – driving sustainability is a crucial part of fulfilling our company ambitions and goals,” said Marcus Graser, Claypaky CEO. “Working towards a climate-neutral future is fundamental to pursue a sustainable development. Claypaky understood the urgency to act now and believes the best way to achieve this is by adopting a scientific approach to tackle climate change impacts of its activities so as to ensure real results are delivered.

Spinlife is proud to contribute to this process and to independently support the company in achieving this ambitious goal,” added professor Alessandro Manzardo from Spinlife, a spinoff

of the University of Padova contributing to and supporting the initiative.

Because aircraft emissions are released high in the atmosphere, they have a significant impact on global climate change. To reduce the environmental impact and partially offset the emissions produced by the travel business, Claypaky has recently purchased 5.879 carbon credits supporting the Asahan 1 Hydroelectric Power Plant 2 x 90 MW – this is a run-of-river hydroelectric power project in Indonesia’s North Sumatera Province developed by Bajradaya Sentranusa.

The project takes advantage of the Asahan River which receives water from its natural

source, Lake Toba. The objective of this project is to supply zero emission energy to Sumatera Grid, a grid with relatively carbon-intensive electricity supply that is located in Sumatera island and currently has no interconnection with the grid in other islands.

Claypaky is to work on new carton packaging to eliminate the usage of the polystyrene. Its production hall is to be equipped with modern, energy-efficient lighting as well as new lasercutting machines, leading to further reductions of electrical consumption and CO2 emissions onsite. www.claypaky.com

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NEWS: BUSINESS

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AVIXA Xchange to connect the AV industry all year round WORLD

AVIXA has announced AVIXA Xchange, a unique community for the AV industry designed to connect thought leaders, providers and manufacturers with AV solution seekers. The platform was designed to be a place where expertise and experience are shared, knowledge and connections are gained, news and education

learning solutions, live events/performance venues and the business of AV. As solutions continue to evolve, so will the channels.

Videos, articles, case studies and other pieces of content are generated by members of AVIXA Xchange.

AVIXA Xchange also features rooms and forums for users to conduct micro

LiveU acquires easylive.io WORLD

are available, and communities across every segment of the industry interact.

“At AVIXA, we wanted to take the networking, learning, business and camaraderie that occurs at a tradeshow like InfoComm or ISE and translate that into a digital community that people have access to all year round,” said David Labuskes, CEO of AVIXA. “AVIXA Xchange is the place for AV professionals to continue learning and connecting to enhance their businesses and careers.”

The content focus of AVIXA Xchange is on solutions, which is the common language between buyers and AV providers.

The current content channels include conferencing and collaboration, content, production, streaming, digital signage,

conversations on a wide range of topics, such as CTS study groups, jobs and industry events. There are also rooms for regions around the world and rooms for conversations in Spanish, Portuguese, Italian and additional languages.

“It’s vital to regularly engage with professionals in your industry throughout the year – not just at an annual event or a scheduled meeting,” said Sarah Joyce, chief global officer, AVIXA. “AVIXA Xchange is a digital world for maintaining those relationships and building new ones. And digital knows no bounds – the global AV community is at your fingertips on AVIXA Xchange.”

LiveU has announced the acquisition of easylive.io as part of its strategy to expand its cloud video platform. The move will aim to provide remote and collaborative tools for cloud-based and hybrid productions, enabling customers to operate and scale up, while lowering budgets. easylive.io provides a livestreaming production studio in the browser, allowing users to mix content into livestream videos and distribute them to a wide audience, creating interactive live experiences.

Samuel Wasserman, CEO and cofounder of LiveU, said: “We’re delighted to welcome easylive.io to the LiveU family.

We’re impressed by the team, customer service and robustness of the platform, backed up by the positive reaction from our joint customers. Our commitment to the cloud is clear as we’ve shown in the launch of our offerings: LiveU Matrix and, most recently, Air Control and Ingest. We are sure that together we can further enhance our cloud production

strategy with the tight integration of our ground-to-cloud feeds with their cloud platform offering scale, ease of use and versatility.”

Phillippe Laurent, CEO and co-founder at easylive.io, said: “Teaming up with our long-term partner has been a natural fit thanks to our shared vision and common growth opportunities. We are extremely proud of what has been accomplished for the past 10 years and incredibly thankful to our customers for their trust.

This acquisition is a big step but just the beginning of the journey. Together with LiveU, our service will bring customers the best cloud live production experience with incredible new features to be announced soon. We’re thrilled to join the LiveU family, excited to continue our adventure by their sides and enthusiastic to disrupt the live production market together.” www.easylive.io www.liveu.tv

www.avixa.org

Pixotope partners with TrackMen WORLD

Pixotope Technologies has acquired Cologne-based TrackMen. The acquisition is a major step forward for the media industry, bringing together a complete virtual production platform, including graphics, camera tracking and talent tracking into a single product. This will make it possible for artists to successfully match the virtual camera to the real camera in virtual production scenarios.

“We’re incredibly proud to announce the integration of TrackMen solutions into the Pixotope product portfolio,” said Marcus Brodersen, Pixotope CEO. “Camera tracking is reported as one of the major barriers to the adoption of virtual production. The native integration of TrackMen’s powerful tracking into Pixotope’s end-to-end VP solution will make virtual production accessible to more users by leveraging the technical expertise of TrackMen alongside the usability for which Pixotope is known

to create a true turnkey solution for virtual production. By integrating camera tracking into our graphic tools, we are taking a quantum leap forwards in making virtual production more accessible to media creators.”

TrackMen offers a range of real-time 3D camera and talent tracking solutions that covers all types of production based on a common software platform. Through the global Pixotope sales, support and

customer success teams, existing Pixotope customers around the world will be able to easily incorporate these tracking solutions into their workflow.

“At TrackMen, our passion has always been innovating and engineering the best possible tracking solutions,” commented Thorsten Mika, managing partner of TrackMen. “In joining the Pixotope team, we’re able to devote our collective resources and areas of expertise to the continued evolution of

virtual production tools with educational programmes and services that enable media professionals to successfully embrace the enormous creative opportunities this technology has to offer.”

As part of the acquisition, TrackMen solutions will be rebranded over the next several months to become Pixotope Tracking. In addition, the whole TrackMen team will be integrated into the global Pixotope organisation with Mika and cofounder Hendrik Fehlis leading the team in Cologne.

Pixotope customers will continue to have the flexibility to choose the tracking solutions that make the most sense for their workflows. As an open Virtual Production platform, Pixotope will continue to integrate and support tracking and graphics solutions from other vendors as it does today. www.pixotope.com/trackmen

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S

d&b signe (MOU (RP) t to en oppo at d& move educa and d Techn

NEWS: BUSINESS

d&b audiotechnik delivers pro audio education with Republic Polytechnic and students can benefit from d&b’s expertise and tap into opportunities in internships, joint projects, staff attachments, consultancy and continuing education and training.”

Amos Jen, vice president of sales, d&b Asia Pacific, commented: “d&b is committed to excellence in audio and system design and training the next generation of pro audio experts is key to building a strong industry for the future. We are thrilled to partner with an educational institution like RP, which has built a reputation for high-quality, sound-related courses in the arts and in business. We look forward to working closely with staff and

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students to drive forward pro audio expertise and share knowledge and innovation.”

As part of the MOU, d&b will conduct workshops at RP in the form of seminars, invite students to d&b workshops, input to student courses and explore a range of system design and software enhancements.

The company will also share the d&b portfolio including ArrayCalc, NoizCalc and the d&b Soundscape system. In addition, d&b will assist in developing and delivering preemployment training. www.dbaudio.com

SINGAPORE

d&b audiotechnik Asia Pacific has signed a Memorandum of Understanding (MOU) with Singapore’s Republic Polytechnic (RP) to collaborate on a range of initiatives to enhance education, training and career opportunities. Anand Narayanan, CEO at d&b audiotechnik Asia Pacific, led the move, which will see leaders from the d&b education and application support, R&D and design teams work with RP’s School of Technology for the Arts to deliver a range of

student-focused education, internships and consultancy.

RP’s School of Technology for the Arts offers a diverse range of diploma courses in the creative industry and has forged a strong industry network with pro audio studios, as well as arts and theatre organisations. “We are excited to collaborate with d&b, a renowned audio solutions company,” said Emida Natalaray, director, School of Technology for the Arts at RP. “Through this partnership, our staff

The Republic Polytechnic campus

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NEWS: BUSINESS

Shure and Barco collaborate on future of hybrid meetings WORLD

Aligning with the InfoComm Show 2022, Shure has announced that microphones from its Stem Ecosystem, Stem Wall, Table and Hub have received full certification with the Barco Clickshare Conference room system.

With this certification, Shure and Barco have partnered to make it easier for users to turn any “Bring Your Own Device” (BYOD) meeting space into a hybrid meeting environment.

“With this certification for Shure’s Stem Ecosystem devices, we are pleased to provide our customers with an excellent audio solution that seamlessly integrates into their hybrid workplaces,” said Johan Pirot, product manager ClickShare Alliances at Barco. “Combining our two solutions, users can operate videoconferencing systems and collaboration tools that give them the freedom

to connect, collaborate and wirelessly share content from anywhere.”

Barco hopes that those who have adopted Barco ClickShare Conference can be confident in their decision to also equip their spaces with the Shure Stem Ecosystem.

With a BYOD-enabled meeting room, users can walk into a space and, with a connection or click, can wirelessly start a video meeting from a laptop or share their screen while using their preferred videoconferencing software. As long as the user has access to the button or app, they have access to ClickShare-compatible cameras, displays and audio devices present in the room.

“We are thrilled to expand Barco ClickShare certification to select Stem Ecosystem products,” said Luis Guerra, associate

director of global product management at Shure. “As hybrid work continues to evolve, Shure is committed to providing users with powerful and seamless conferencing

solutions for the modern workplace.” www.barco.com www.shure.com

BroadcastAsia returns to Singapore SINGAPORE

BroadcastAsia took place in early June in three halls of the Singapore Expo, its first time in a single location. Just half of one hall was taken up with BroadcastAsia, the rest

by CommunicAsia, SatelliteAsia and other segments under the umbrella of Asia Tech x Singapore (ATxSG), the new name given to the show by organiser Informa Tech which worked closely with Singapore government agencies Infocomm Media Development Authority (IMDA) and Singapore Tourism Board (STB).

A total of 550 exhibitors took part across all segments, together with 11 country pavilions, and the show attracted almost 14,000 visitors, 65% of which were domestic. The show was much smaller than pre-pandemic, with many key brands not exhibiting, no visitors from China and Hong Kong and fewer than normal from Indonesia, the Philippines and Thailand. Several Chinese manufacturers were represented either by Singaporean partners, while some had simple shell schemes with hired personnel to hand out brochures. Despite this, there was a good visitor attendance. In keeping with Covid restrictions in Singapore, masks had to be worn at all times and proof of full vaccination was required for entry.

The calendar was packed with keynote speeches and panel discussions with leaders from corporate, educational and political backgrounds, including former British prime minister Tony Blair, much of which was also livestreamed.

Many exhibitors took smaller shell scheme booths instead of their usual larger island stands. “The show has downsized compared with previous editions, mainly due to remaining restrictions, like in China, as well as uncertainties about travel and resulting reluctance,” commented Adam Paulus, event director, Informa Tech. “We are happy with the response from both exhibitors and visitors.

After all, we had only a short time to prepare

“We were questioning how successful the show might be, but it is surprisingly good,” echoed Richard Jones at Grass Valley. “Although the show is smaller, it is productive, with good, quality people.”

“Visitors have been hungry to attend a tradeshow and meet suppliers in person again,” said Norbert Bau of Stagetec, sharing a booth with RTW. “Speaking to competitors who did not exhibit but were walking the aisles, many of them regretted their decision not to take a booth.”

Added Andreas Tweitmann of RTW: “Size is not always equivalent to quality and, in the past, we have seen larger shows with much less footfall. This show was surprisingly good, with more visitors than expected. We were meeting many familiar faces as well as new contacts.”

Image courtesy of ATxSG

since Singapore opened up late to larger events again.”

Exhibitors seemed to be missing the more sophisticated atmosphere of previous venue Suntec City, as well as its proximity to hotels, when compared to Singapore Expo – a long commute from the city. However, some took a positive view of this. “BroadcastAsia, being under the same roof as CommunicAsia, resulted in more traffic for us,” said Thomas Cragg, marketing manager at Riedel. “Already by day two, we had more leads than during entire previous shows. We opted for our usual stand design to signal our success in the region as well as future aspirations.”

Commented Hans Chia, regional sales manager, Clear-Com: “It was truly exciting to be back. With the exception of China, we enjoyed good international attendance, including visitors from Mongolia, the Maldives and Bhutan.”

Amanda Dixon from first-time exhibitor MRMC was reporting interest in the company’s camera robotics and controls

from broadcasters, houses of worship and live entertainment producers. “This show has exceeded our expectations immensely,” she said. “We have been seeing people from all over the region, and the quality of the meetings was really good.”

Ultimately, exhibitors and visitors alike were clearly delighted to be back at an in-person event. BroadcastAsia returns to Singapore from 7–9 June 2023. www.asiatechxsg.com

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NEWS: BUSINESS

Peerless-AV acquires ADF Visual Display Products WORLD

AV technology provider Peerless-AV has announced that it has acquired ADF Visual Display Products, a company specialising in complex dvLED construction.

“Our dvLED business exploded virtually overnight. We began partnering with ADF on projects where our capacity simply would not allow us to do it in house,” said John Potts, CEO of Peerless-AV. “After seeing the quality of the ADF product, for both ourselves as well as another significant name in the industry, we realised that they were the logical addition to our company to facilitate our dynamic growth.”

“Peerless-AV has long been the go-to provider as an infrastructure and accessory partner to the best in the industry, managing

infrastructure needs,” said Nick Belcore, executive vice president of Peerless-AV. Lou Mannick, founder of ADF, is actively at the forefront in developing foundations for dvLED displays. “The booming dvLED market poses new and complex opportunities as the next-generation dvLED cabinets evolve to a lighter, more flexible chassis. Lou believes where we once positioned cabinets, we must urgently focus on the new paradigm of positioning pixels. This dovetails with ADF becoming Peerless-AV as we turn the page and embark on the next chapter in covering building surfaces with brilliant dvLED pixels,” noted Edward Warner, general manager, ADF. complex, competitive environments. We look forward to expanding our in-house

capabilities to be a more agile and holistic partner for the totality of dvLED

software partners with a comprehensive programme framework that unlocks the power of their technology integrations with Q-SYS. The Q-SYS Technology Partner Program is the first of several programmes to help deliver on this vision and accelerate business and value with our partners and customers.”

“Technology partners are central to the growth and continued success and adoption of the Q-SYS platform,” said Geno Zaharie, principal, alliances and ecosystems, QSC. “This new programme provides a solid framework for establishing a trusted and beneficial relationship between QSC and our partners and allows us to accelerate growth and increase adoption of our technologies across the AV/IT industries.

We look forward to working closely with

our partners to further expand the Q-SYS Ecosystem.”

QSC noted that key partners are already in the pipeline to join the programme, including

www.peerless-av.com

QSC introduces Q-SYS Technology Partner Program WORLD

QSC has announced the launch of the Q-SYS Technology Partner Program, which aims to enable software and hardware technology partners to create solutions with the Q-SYS Platform. Those partners can have their solutions certified or validated and receive benefits and resources, including development and technical support, as well as training.

“The Q-SYS Partner Ecosystem connects systems, technologies, companies and people to redefine what’s possible, in the experiences AV can deliver, with the most flexible and robust cloud-manageable audio, video and control platform on the market,” said Jason Moss, vice president, corporate development and alliances, QSC. “Our next step is to inspire, enable and support the growing number of Q-SYS hardware and

Audio-Technica, Barco, ClickShare, ETC, L-Acoustics, LG, Logitech and Sennheiser. www.qsc.com

Thomson Broadcast signs to acquire GatesAir WORLD

GatesAir, a global company providing wireless, over-the-air content delivery solutions for radio and TV, has announced that Thomson Broadcast has signed a definitive agreement to acquire GatesAir from an affiliate of The Gores Group. The transaction is subject to certain regulatory filings and is expected to close in the second half of 2022.

The combination of GatesAir with Thomson Broadcast will create a scaled, comprehensive platform with greater capabilities in innovation, design and product efficiency and an expanded portfolio of holistic, turnkey broadcast solutions.

“GatesAir is already an undisputed leader in the broadcast industry, and our combination with Thomson Broadcast will create a combined, larger-scale company, even better suited to meet the everevolving needs of our customers all over the globe,” said Bruce D Swail, CEO of GatesAir. “I am very proud of the GatesAir team for its stewardship of and innovation in this industry over the past century

and look forward to entering the next 100 years as an even stronger business leveraging the strengths of two legendary broadcast brands. On behalf of everyone

at GatesAir, I’d like to thank Gores for their strategic guidance which was invaluable in growing our business and driving innovation.”

“Over the course of our successful partnership with Bruce and the management team, GatesAir has driven tremendous growth and transformation through organic and inorganic initiatives, establishing itself as a premier, independent broadcast company with market-leading technology and service,” said Edward Johnson, senior managing director at The Gores Group. “We have no doubt GatesAir will continue on its successful trajectory and strengthen its market leadership alongside Thomson Broadcast.”

“We are delighted to have reached this point,” said Amine Oubid, CEO of Thomson Broadcast. “From the start, we were excited to work with the GatesAir team and saw the obvious fit of the two companies. The transaction closing can’t come fast enough for us. We’re very proud to participate in the rallying of two century-old companies and excited to start working together.”

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NEWS: BUSINESS

The next big thing Barco becomes a member of AIMS WORLD

WORLD

Barco is now a member of the Alliance for IP Media Solutions (AIMS). With AIMS’ new Internet Protocol Media Experience (IPMX) set of open standards and specifications said to be gaining traction in the pro AV industry, the Barco membership ties in with the company’s perspective and roadmap in terms of AV-overIP solutions. Barco and AIMS

Aiming to provide a better and more efficient service to its partners, NEXT-proaudio and NEXT Audiocom will be integrated on the new web platform – NEXT Audiogroup.

“We created the new brand NEXT Audiocom internally in 2019 and have been developing it since that moment. This is part of a plan to cover a different market segment knowing that the home and commercial audio sector has grown consistently over the past years. After the official brand launch in April 2021, we immediately started the process to have both brands under the same umbrella. Although they remain two separate brands with different commercial conditions, both brands share the R&D

SMALL BIG

department, sales team, logistics and now the same website and e-commerce platform,” said André Correia, NEXT Audiogroup manager.

The new web platform will allow the partners to have access to exclusive product details, downloads, stock and price information. Partners can place their orders directly on the platform, saving time and bureaucracies. To support this new step and thanks to the expansion plan and sales growth, a new Logistics Center has been built, increasing capacity by more than 75%, with 1,500+ pallet spaces and more than 1,000 products immediately available. www.nextaudiogroup.com

FORM FACTOR

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MEDIORNET FUSION 3 & 6 are said to share the same vision on IPMX being the only open standard that eventually replaces the many different proprietary protocols.

“The IMPX open standard is designed to be the technology that manufacturers, integrators and end users need to achieve truly engaging IP media experiences,” said Samuel Recine, chair of the AIMS Pro AV Working Group.

“We’re so pleased to welcome a key member such as Barco to the alliance and get their support in the industry’s migration to AV-over-IP.” Barco has agreed to work together in educating the industry on the benefits of the IPMX open standards and fostering its adoption.

“At Barco, we’ve been committed for many years to the early adoption of open signal standards to enable interoperability in our products and greater operational flexibility for our image processing end users,” said Robbie Bruce, image processing product management director at Barco. www.barco.com

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NEWS: BUSINESS

Prolight + Sound Frankfurt: 36 months later

GERMANY

The 2022 edition was the first Prolight + Sound without Musik Messe, which had moved online. As the show evolved from its MI roots over the years, the show floor grew immensely, welcoming sound reinforcement, lighting and video manufacturers who, in turn, drew an international audience of dealers, distributors and end users.

In Hall 11.0, the audio hall, organisers filled 30% of the floor space which was unsold with museum exhibits, including old Martin Audio,

The audio hall was only partially full

EV and JBL loudspeaker systems dating back to the 1970s. These exhibits spoke volumes about the show organiser, which appeared to be harking back to the past and better times.

Premiering its MAILA line array system before the show at its headquarters north of the city, LD Systems was in a buoyant mood. CEO Alex Pietschmann said: “Exhibitions need to reinvent themselves in close collaboration with exhibitors. Live experiences are coming back stronger than ever because nothing beats being together in real life. Looking ahead, there needs to be clear added value and an element of magic and the unexpected at every live event.”

Pietschmann, a passionate advocate of sustainability, participated in the first Green Event Day, focusing on sustainability. The event blended presentations, keynote speeches and panel discussions from industry experts, exploring the status quo, future goals, specific solutions and best practices.

The Future Hub was built using recyclable materials and powered by green electricity.

Aimed at a younger audience, the hub combined a startup area, career centre, campus and network lounge for connecting talent with companies. In addition to systems for live sound reinforcement and fixed installations, Studio Village enticed those looking for music production, recording and DJ products in a standalone section.

HK Audio’s latest Cosmos line array rubbed birch plywood shoulders with the Move 8

and Sonar loudspeaker systems. NAV, a debutant from Poland, promoted its line array and point source systems, attracting interest from potential new distributors as far away as South Korea. But the absence of RCF, d&b audiotechnik and FBT was overwhelming.

In contrast to the audio hall, the lighting and staging exhibits in Halls 12.0/12.1 were generally busy and vibrant. Exhibitors included ADJ, Ayrton, Chauvet, Claypaky, Elation, ETC, Eurotruss, GLP, MA Lighting, Robe and SGM. It felt like the exhibition of yesteryear during the first two days as new fixtures beckoned, with greener energy savings and IP65 themes in vogue.

Echoing Pietschmann, this exhibition needs to reinvent itself, but would be wise to first consult with its exhibitors, past and present. Prolight + Sound returns from 25–28 April 2023. www.prolight-sound.com

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14 PRO AVL ASIA July–August 2022

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NEWS: BUSINESS

The NAB Show 2022 USA

Three years after the last event, the NAB Show 2022 set out to reinvent the visitor experience by presenting a content lifecycle through four “collections”: Create, Connect, Capitalize and Intelligent Content.

Each provided Inspiration, Innovation and Implementation zones, exhibits and learning sessions to assist as the industry reopens.

“The NAB Show is pivotal in ushering in the latest innovations, propelling content forwards and leading our community into new territory,” said Chris Brown, NAB executive vice president. “We are excited for attendees and exhibitors to experience the curated journeys available on our reimagined convention floor as we get back to doing business face to face.”

The show footprint was reduced this year and, compared to April 2019, exhibitors were down from around 1,600 to around 1,000, while attendance had almost halved, from 91,460 to 52,468. To the surprise of many, overseas visitors were very much in attendance, with representation from 155 countries compared to 2019’s 160.

“We’ve seen visitors from Bangkok and Taipei, yet in terms of market segments, it is still mostly people from AV and broadcast,” confirmed Chris Black from Vizrt. “It has been fantastic to build up

these relationships again. Products are displayed, yet meeting people is more important.”

Absen was showing products that had evolved since 2019 due to changes in the market. “We’re showing a virtual production solution, whereas in 2019 we did not have this,” said James Liu, who added that traffic was better than expected.

“Our big announcement at NAB 2022 is Dante Studio, a software video platform,” added Audinate’s Patrick Prothe. “What

Day one opening

MRMC’s robotic camera system drew a lot of attention

caught my eye was how big and futuristic the new West Hall is for NAB, where all the Artificial Intelligence and automation solutions are being shown.”

Clear-Com’s Bob Boster said: “We’ve seen people from Australia and Vietnam, but it’s quieter internationally, with nobody from China. We’ll still look to tradeshows to connect with people, yet we now have to incorporate new marketing approaches with the same limited resources.”

Blackmagic Design’s Bob Caniglia had sent out pre-announcements to visitors.

“This helped people show up to our booth with good questions, rather than discovering the products at the show and then coming back with questions, and that helped us have a better show,” he said.

“From a marketing perspective, we evolved due to the pandemic, and what we started will not go away,” said Andreas Hilmer at Lawo, showing the .edge video infrastructure platform. “We will come back to tradeshows because you can gather information on the internet, but the psychological aspect of meeting people is missing.”

The NAB Show 2023 will be held from 16–19 April. www.nabshow.com

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NEWS: DISTRIBUTION

ADAM Audio goes direct AMAC partners with Focusrite Australia with Taiden AUSTRALIA

WORLD

AMAC has announced a new partnership with conference system manufacturer, Taiden.

AMAC has been the source of turnkey projects within the pro AV, lighting and control industry within Lebanon, the Middle East, North Africa and Asia, while Taiden is China’s largest conference system manufacturer.

“We believe our partnership with AMAC will bring mutual development and that the development will bring sustainable benefits to both parties. With AMAC’s wealthy experience and professionalism, this partnership will allow us to drive far more business impact for our clients,” said Mr Chen, vice president at Taiden.

ADAM Audio products have been integrated into the catalogue of Focusrite Australia, replacing the former distribution deal with Federal Audio, which the company has credited for doing an “excellent job” in handling the brand. Federal Audio owner Cris Stevens will also be joining Focusrite Australia as sales manager for ADAM Audio and Focusrite Pro. “Cris Stevens has done an outstanding job for ADAM Audio in Australia with Federal Audio over the last few years,” said ADAM Audio CEO, Christian Hellinger. “In fact, he and his team have been so good that we in Berlin have often been inspired by his

N Id A

marketing campaigns. We are therefore very confident that he will take the ADAM Audio brand to the next level within Focusrite Australia and that we will be able to work even closer with our Australian dealers and customers.”

Focusrite Australia will concentrate on building a strong presence in Australia with a full sales and marketing team focused on providing a better customer service, supporting local dealers, artists and the wider user community.

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Georges Tabet “From previous experiences, we have always seen and heard of Taiden’s quality and diverse profile. With their immense variability and customisation of products, we are now able to cater to a wider and global range of audience with the quality to back it up,” said Georges Tabet, technical manager at AMAC. “We are very excited to be part of Taiden’s regional growth – to be able to work with a prestigious brand gives us the motivation to grow and confidently supply our clients with proper solutions,” Tabet added.

AMAC has begun operations already and Taiden’s systems have started being installed regionally.

www.adam-audio.com www.focusrite.com

Adam Hall Group appoints Audio Solutions Atlona finds Bangladesh distributor in Moin Group www.amacsarl.com

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MALAYSIA

Adam Hall Group has appointed Audio Solutions as its exclusive distributor for Malaysia, as it continues to expand its distribution network in Southeast Asia. Audio Solutions, headquartered in Kuala Lumpur, is said to be one of the leading dealers for pro audio and lighting equipment in the country, and will take over the distribution of Adam Hall Group’s LD Systems, Gravity and Cameo brands with immediate effect.

“Our goal is to provide high-quality audiovisual technology and perfect installation solutions throughout Malaysia to best meet our customers’ individual needs,” said Andy Tan, CEO and founder of Audio Solutions.

“That’s why we are very excited to work with Adam Hall Group. With the distribution acquisition of the LD Systems, Gravity and

Cameo brands, we will be able to offer our customers an even more diverse selection of best-in-class solutions for their projects.”

Glenn Lin, Adam Hall Group’s business development manager, Asia Pacific, said: “Having the exclusive distribution of our LD Systems, Gravity and Cameo brands in Southeast Asia in the hands of such an experienced and established partner as Audio Solutions is a great asset for us. As a leading dealer for professional live technology, Audio Solutions also has an excellent reputation in the installation market. We’re looking forward to the cooperation and the first reference projects in Malaysia.” www.adamhall.com www.audiosolutions.com.mya

Atlona has continued to build its APAC channel partner network with strategic distribution agreements that build on the company’s profile in countries with growing AV opportunities – this time, in Bangladesh.

Atlona has appointed Moin Group as its distribution partner for commercial and residential AV markets.

Atlona hopes that Moin Group’s strengths serving the corporate, government and hospitality verticals will strengthen the company’s brand recognition throughout Bangladesh, which is in need of hybrid business and education solutions.

“The pandemic has inspired large corporate houses to invest in multimedia solutions and AV technologies that support professional online meetings and remote work environments, and we have seen more initiatives in higher education and seminar training being equipped with networked AV systems,” said Imran Hossain, head of business, Moin Group. “Atlona offers a diverse range of AV-over-IP and legacy switching solutions that fit perfectly into these systems.”

Kurt Loh, business director, Atlona Asia Pacific, commented: “The South Asia market, including Bangladesh, is flourishing with business opportunities

that require professional AV products and service providers, including experienced distributors that work closely with systems integrators and end users. Moin Group is well connected with the public sector and corporations, with a reputation for ethical and committed business practices that have established a positive image for the company throughout the country. We look forward to collaborating with Moin Group as we work to bolster Atlona’s visibility throughout Bangladesh.”

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www.atlona.com

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www.

Moin Group’s meeting space

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NEWS: DISTRIBUTION

Netgear announces Ideal Systems as its APAC preferred partner APAC

Ideal Systems has announced that it has become Netgear’s preferred partner for NDI systems and solutions across the Asia Pacific region. Ideal Systems has already delivered a selection of NDI video production solutions across APAC using Netgear as the core switches for

Blaze Audio selects NSL for NZ NEW ZEALAND

NSL has been appointed to exclusively distribute Blaze Audio’s range of amplifiers in New Zealand. Blaze Audio is a supplier of commercial amplifiers for the global AV market and is a subsidiary of Pascal of Copenhagen, Denmark. Drawing upon the resources of its parent company, Blaze Audio aims to

“create commercial simplicity through product flexibility at competitive pricing”.

NSL’s chief operating officer, Carl Win, said: “In line with NSL Group’s pledge to offer only world-leading AVC brands with synergy to each other, we are excited to announce the partnership, meaning NSL Group will exclusively distribute Blaze Audio’s range of amplifiers in New Zealand.”

Offering third-party control with Q-SYS, Crestron and Control4, the amps cater for a variety of commercial applications, from retail environments, schools, gyms, churches to educational facilities.

broadcast TV news studios, live sports production, houses of worship, remote learning for universities and colleges, corporate TV studios and large-scale social media streaming.

“We are delighted to be recognised

by Netgear with their preferred partner

L–R: Han van ‘t Zand – project manager at Ideal Systems, Isaac Lim – sales director SEA at Netgear and Fintan Mc Kiernan – CEO SEA at Ideal Systems status. This has been a result of Ideal Systems engineers amassing a great

deal of real-world NDI system deployment experience using Netgear in a variety of different video production use cases.

Netgear are also providing advanced training to our engineers so we can fully leverage the NDI interoperability of their switches to the benefit of our NDI solutions,” said Fintan Mc Kiernan, CEO, Ideal Systems SEA. Currently, Ideal Systems is deploying a number of enterprise-grade NDI systems for both broadcast and AV using Netgear which helps reduce costs and increase functionality over SDI. www.idealsys.com www.netgear.com/proav

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NEWS: DISTRIBUTION

Nureva takes on AV Supply Group for Australia AUSTRALIA

Nureva has announced the appointment of AV Supply Group as its distributor in Australia. The company first introduced Nureva’s audio conferencing products to the New Zealand market in 2017, and the group’s expansion into Australia recognises the demand from the shift to hybrid working and learning models, presenting an opportunity to broaden distribution to a wider range of resellers and their customers.

Nureva plans to rapidly grow its sales to business and education institutions throughout Australia. The manufacturer’s AV conferencing products are powered

by Microphone Mist technology, which fills a room with thousands of virtual microphones so in-room participants can move around and still be heard by remote participants.

schools demand,” said Michael Good, AV Supply Group’s sales director. “AV Supply Group has successfully distributed Nureva products in New Zealand for the last five years, and now is the opportune time to expand into Australia to ensure our customers have access to Nureva’s breakthrough products.”

Added Nureva CEO, Nancy Knowlton: “We are delighted to have AV Supply Group accelerate adoption of our audio and video solutions within the Australian market. We’ve seen strong success in New Zealand and look forward to working with AV Supply Group to expand on that success through their channel in Australia.”

“With so many organisations making a permanent shift to hybrid working and learning, we see more demand for quality

Audiocenter partners with Aerons India Exim INDIA

Audiocenter has recently announced New Delhi-based Aerons India Exim as its exclusive distributor in India. Established in 1962, Aerons India Exim focuses on delivering value for money products, technologies and solutions to industry users, and has worked with brands such as Behringer, Fane, FaitalPRO and Audible Avenue.

“Aerons has a rich legacy within the Indian pro audio industry dynamic and the kind of impact that the company has had on all the vertical markets that Audiocenter is present in, is undeniable.

These segments include live sound, portable sound and install sound, and we recognise the fact that Aerons shares a strong connection with industry experts in these verticals from all over the country. It is therefore gratifying for us to know that Aerons will be drawing on its long history and strong relationships in the market to focus their efforts on the qualitative proliferation of Audiocenter products and technologies all over India,” expressed Simon Qiu, sales and marketing manager of Audiocenter, as he confirmed that Aerons India Exim has already begun

Ankit Gupta of Aerons India Exim

addressing responsibilities like sales strategy, account management and technical support duties for Audiocenter in India.

“When we established Aerons India Exim as a pro audio technologies distribution company in 2008, we did so with the goal of growing the presence of highquality brands in the rapidly growing Indian market – the tier two, tier three and tier four cities – while reinforcing users in advanced metropolitan cities.

Over the years, we have been able to work consistently towards achieving our goal, and we now aim to capitalise on the progress that we have made so far. We are absolutely honoured to be chosen as Audiocenter’s exclusive distribution partners for India, and we are confident of augmenting their success and market position, with a focus on steady growth and enhanced customer experiences,” affirmed Ankit Gupta, director of Aerons India Exim.

audio solutions, and Nureva’s product line provides the easy installation and reliable technology that today’s businesses and

www.avsupplygroup.com.au www.nureva.com

Pixotope announces expansion in APAC region APAC

Pixotope, the virtual production platform that has worked on The Super Bowl, Euro 2020 and Eurovision to name a few, has announced partnerships with several broadcast companies in South Korea, Hong Kong, Taiwan, China, Japan, the Philippines, India, Malaysia, Myanmar, Thailand and Singapore. The

importantly, the ease of use help set Pixotope apart. We are excited to bring the solution to the market and see what new and creative ideas our customers will realise, with the technology of Pixotope and support of Elevate Broadcast.”

Soko Aoki, CEO at Kandiche, commented: “Having successfully

CCTV’s virtual production XR stage www.aeronsindia.com www.audiocenter.net

deals follow a number of successful virtual production collaborations using Pixotope in the region.

Together with Pixotope, new distributors TechTwist Corporation, Elevate Broadcast, DB Productions, Great Wheel, Starlight, Bright Media, DongHwa, Mitomo, Kandiche, Jadason, Getop and StageFor will facilitate the adoption of its technology in new regions and broadcast sectors. The partnerships further build on Pixotope’s channel partner programme.

Dennis Breckenridge, CEO of Elevate Broadcast, noted: “Pixotope has not only technical superiority but a business model enabling the adoption of virtual technologies into many new markets. We feel that the open standard support for plugins, high-quality output and, most

created projects using Pixotope for quite some time, we think the solution is the perfect fit for the Japanese market, and are thrilled to be working with them here in Japan and sharing their technology.”

Andrew Tan, VP of sales APAC at Pixotope, said: “As well as expanding our own team, we’re delighted to be working with our new channel partners in the APAC region. To say Pixotope is growing is an understatement. The company has sustained a long period of expansion that matches the global demand for high-level, virtual production technology.

Together with these partners, we’re looking forward to broadening access to Pixotope technology and seeing what clients create next.” www.pixotope.com

18 PRO AVL ASIA July–August 2022

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NEWS: APPOINTMENTS

Extron promotes Joe da Tan takes on SEA distribution manager role Silva to VP marketing USA

Extron has promoted Joe da Silva to vice president of marketing, responsible for worldwide marketing strategies in line with company objectives.

Over 30 years at Extron, da Silva has overseen multiple departments, including manufacturing engineering, quality assurance and product marketing, of which he held the position of director for the last 10 years.

“Joe’s contributions have had a significant impact on the growth of Extron,” said Extron president, Andrew Edwards. “With his outstanding leadership strengths, marketing expertise and business savvy, he is the ideal choice to lead our marketing efforts into the future.”

Added vice president of worldwide sales and marketing, Casey Hall: “I am pleased to congratulate Joe on this well-deserved promotion. His leadership on strategic

SEA

Joe da Silva initiatives has enabled us to bring products to market more efficiently and positioned us for continued success.” www.extron.com

Bose has announced that Hui Ming Tan has been promoted to manager for SEA distribution markets, excluding India. In this role, Justine Songcuya, Jeremy Wong and Yew Seng Tan will report to Tan. Muhd Farhan will continue to report to Christian Liebenberg given his role of business development across all markets.

Tan joined Bose’s exports team in 2019 as key account manager for Singapore.

After showing what are said to be significant results, as well as working well with the country distributor to restructure the business, Bose asked her to take on the additional responsibility of managing the Philippines too. In September 2021, Tan undertook the additional responsibility of managing Thailand while participating in the Bose Pro mentorship programme. Having successfully completed the programme and

Kopsho joins Christie as executive vice president of business development WORLD

Christie has appointed industry veteran Maxwell Kopsho to executive vice president of business development, now responsible for supporting the commercialisation and sales of Christie’s video processing and networkable content distribution solutions.

The appointment of Kopsho sees him joining Christie’s executive leadership working alongside EVP Clark Williams to focus on driving business and building key partnerships as Christie’s advanced

video processing, network-based and non-networked content distribution technologies continue to evolve.

Kopsho brings 35 years of experience in electro-optics, electronics and information technology to Christie. His previous roles include the development of Christie’s network solutions as a product manager, and successive roles in leadership and market development in the pro AV industry.

Van Moorleghem to serve INFiLED WORLD

Tony Van Moorleghem has been appointed INFiLED’s technology and business director of the XR Division.

Van Moorleghem brings over 30 years of experience within the pro AV industry, having served at PRG, Barco, VER and Martin.

Michael Hao, CEO of INFiLED, commented: “Tony has a strong track record of product developments which are still visible in the rental and staging market.

He has proven to translate his broad technical knowledge into business opportunities, much appreciated by partners and customers.

As the market of XR studio is growing rapidly, we are convinced that with Tony’s presence, INFiLED will be an even bigger player in this market.”

“I am delighted to join INFiLED at such an interesting time, to start meeting our existing partners and work together on new product opportunities,” said Van Moorleghem. “INFiLED is a key player in the LED industry with an excellent product range for the XR studios. I am excited to be part of the team and look forward to continuing expanding the business and its success.”

Van Moorleghem will be based in Belgium where he will work closely with INFiLED’s global teams, partners and customers. www.infiled.com

Max Kopsho

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Hui Ming Tan having made progress in Thailand, Bose is confident Tan can succeed within the role. www.bose.com

“Max’s appointment is a pivotal step in our planned strategic growth in content distribution and video processing,” said Zoran Veselic, president and CTO, Christie, “He will be a great addition to the leadership team.”

“I am both honoured and humbled to be working at Christie. This opportunity allows me to leverage my unique expertise and continue to grow my career at the company I have always thought of as home,” said Kopsho. “The entire Christie team shares the same passion and purpose for service in the AV/IT industry, and I look forward to working with Clark and his incredible team and being a part of the legacy of inspiration and innovation that is Christie.” www.christiedigital.com

Vega Global picks Fong to manage Hong Kong business HONG KONG

Vega Global has announced that Chris Fong has been promoted to the role of managing director for Hong Kong. Having been with Vega for nine years, Fong brings significant experience and continuity to Vega’s Hong Kong operations. In his new role, he will be central to building upon Vega’s efforts for further growth in the territory.

Fong will ensure Vega is focused on maintaining and building trusted relationships with key customers, clients, partners and stakeholders. As the new managing director, he is responsible for managing the overall operations and will establish Vega’s broader goals and objectives, focusing on core business innovation.

Huaming Gu, Vega Global’s CEO, commented: “It is a great testament to our business that we are able to nurture strong and talented staff and offer them significant career growth opportunities. Chris has

Chris Fong proven himself to be an excellent leader, and he has a deep and intimate knowledge of our industry. I have no doubt that he will bring a new level of professionalism and success to our Hong Kong team.” www.vega-global.com

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NEWS: APPOINTMENTS

ASI Audio appoints new president, Scott Shapiro WORLD

ASI Audio has appointed Scott Shapiro to the position of president. “As ASI Audio grows and matures, we saw that additional dedicated leadership was needed to nurture the company to its full potential,” said ASI Audio and Sensaphonics chairman, Michael Santucci, when making the announcement. “We are delighted that Scott has agreed to join the ASI Audio team.

Given his background, experience and his knowledge of our product on many levels,

there’s no one more perfectly suited to continue the evolution of ASI Audio.”

In parallel to Shapiro’s appointment, ASI has secured a new round of funding that will help enable the company’s ongoing rollout of its second-generation 3DME Gen2 Active Ambient Monitoring System and help fuel new product development, inventory fulfilment and international expansion.

In his new position, Shapiro will oversee and manage all facets of ASI’s business and

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work closely with the company’s executive and marketing teams to help ensure ASI’s long-term growth. Shapiro comes from Think-a-Move, ASI’s co-founding company.

With over 20 years of cross-functional experience in strategic management, product and business development, and marketing for technology-based industries, Shapiro also has a passion for music and has worked as an international performance DJ and producer. With an intimate knowledge of the market and its unique needs, Shapiro has also consulted for several companies in the industry, including Pioneer DJ, Melodics, AKAI Professional and more.

“One of the key reasons I joined the team here at ASI was due to the great potential I see as end users embrace our 3DME system, which brings an in-ear monitoring solution that takes hearing protection and usability to the next level onstage,” stated Shapiro. “I look forward to expanding our product solutions and meeting the new challenges and demands from our music community.”

Ideal Systems selects senior engineer SINGAPORE

Singapore-based Ideal Systems has announced the appointment of Vincent Tang to senior engineer. Tang has over 20 years of broadcast engineering experience, having served in roles at The Walt Disney Company, Encompass Digital Media and StarHub.

Vincent Tang Fintan Mc Kiernan, CEO, Ideal Systems spoke on the appointment: “As Southeast Asian economies pick up as we recover from the effects of Covid-19, we are seeing a rebound in the broadcast market, specifically in NDI, cloud and live sports. Vincent Tang joins us at a great time as we rebuild the market.”

www.asiaudio.com www.idealsys.com

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Transparent – picks up the true sound of the drum Versatile – allows you to shape the sound you want Tough – withstands rough use on the live stage Flexible – effortless placement inside or outside

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NEWS: SPECIAL REPORT

Simply STAGENET STAGENET has been created to challenge the status quo of existing solutions by setting the standard for a new IP user experience

Stefan Ledergerber

Any of the supported devices can be connected anywhere in the system and they will automatically pop up on the STAGENET web UI

Just as an expert develops an increasing knowledge base of a narrower subject field, developers of ease-of-use technology are required to exponentially expand their knowledge base. With a goal to provide professional audio and video operators with simple user interfaces, Stefan Ledergerber delicately intertwines an extensive networking knowledge of computers and industry relationships.

From 1997, the technical executive spent two decades climbing the corporate ladder, firstly at Studer and then at Lawo, culminating with the role of R&D director at both console manufacturers. Describing himself as an outof-the-box thinker with a vision, Ledergerber’s knack of translating customer feedback into real-world solutions resulted in him going solo in 2016. Consulting for manufacturers with regards the User Interface Concepts and accompanying end users in their IP projects, Simplexity aims to make the operator’s task – simple. Behind the scenes, however, the software specialist is pioneering new grounds in audio, video and networking technology.

“As I became more involved with largescale IP projects, I realised that these complex systems were neither flexible nor dynamic,” explains Ledergerber. “From my perspective, this is what networking should be about. However, my experience of working with broadcasters taught me that qualified

technicians prefer a bespoke setup and would not accept a simplified system with no ability for customisation. On the other hand, media production is changing, so between a YouTuber with his mobile phone and a high-end broadcaster, there is a broad spectrum in between that required further analysis.”

A meeting in 2020 with the current Stagetec managing director Wolfgang Salzbrenner proved to be a catalyst moment. “Wolfgang wanted to know what the equivalent of a Nexus audio matrix in the new age would be. As this is an almost 30-year-old, industry-standard router, I was candid in my assessment that all the current systems available on the market are hard to understand as they are neither flexible nor dynamic. We agreed to update Nexus for operators lacking technical expertise to gain more confidence configuring the router.

At the same time, we wanted to add flexibility by connecting more devices or changing them at any time.”

By focusing on the end user, the resultant STAGENET was conceptualised to be an easy-to-use, reliable and flexible AV-over-IP signal management. Formally released at ISE 2022, its entry onto the market will challenge the status quo of existing solutions by setting the standard for a new IP user experience.

The focus may be on the drag-and-drop web interface but, behind the scenes, STAGENET is automatically configuring both the end

devices and switches, monitoring their status and displaying possible sources of error with clarity.

“The software is very flexible and is based on a Micro service-based platform that allows

for highly portable workloads. It is made from scratch, and it is scalable because the technologies we adopt under the hood can be scaled. For now, we’ve stuck with signal management carrying signals from A to B. For the end user, STAGENET is simple, but the reality is the software incorporates a lot under the hood. It’s like an iceberg because the operator only sees the tip of it.”

Currently, STAGENET combines the expertise of Arista, Matrox, Merging Technologies, Simplexity and Stagetec. “Manufacturers who wish to join and become part of the family need to bring something to the table – such as a product that makes sense in this ecosystem – and with the design premise that we can make its setup and signal management simple to use while keeping it dynamic. The product must integrate technical parameters that allow it to be integrated in this way and that includes providing monitoring capabilities so that we can communicate with the product.”

By default, STAGENET will make groups of inputs and outputs of the connected devices but can change these groups according to user situations

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Ope STAG such louds routin switch and p an un exper togeth decis be int “STA includ a Mer exam will be under we do The s quara “Q”-m user’s signa work and V Stag conso Cana of infr STAG IP for and th inputs with z dema Techn

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NEWS: SPECIAL REPORT Operable via a drag-and-drop web interface, STAGENET configures both the end devices such as audio and video IP gateways, loudspeaker controllers and the Nexus audio routing matrix automatically with the network switches. The software also monitors status and presents possible errors to the user in an understandable way. To improve the user experience, each product is carefully analysed together with the manufacturer before a decision is taken on whether and how it may be integrated into STAGENET. “STAGENET controls the whole network, including the switches. When you unpack a Merging HAPI Mk II audio interface, for example, you connect it to the switch, and it will be detected on the network. STAGENET understands this all the way to the XLRs and we don’t stop at the modules or the IP side.

The switch puts that Merging device into quarantine status, and this is depicted with a “Q”-mark on the network GUI. It requires the user’s approval before being admitted onto the signal network. Once approved, the user can work with it immediately as the IP addresses and VLAN get set up automatically.”

Stagetec has dedicated the Avatus IP mixing console and Nexus routing to STAGENET. Canadian brand Matrox has created a series of infrastructure products supported by STAGENET for transforming baseband video to IP formats. By adopting the SMPTE ST 2110 and the IPMX standard, the ConvertIP series inputs SDI or HDMI signals and converts them with zero latency to an IP format that satisfies demanding workflows. In addition, Merging Technologies has made Anubis and Hapi

Connections can be made across the network or a conventional crosspoint matrix system; on the connection page, it’s possible to search content

available for the platform as a start. As an industry leader in data-driven, client-to-cloud networking for large data centre, campus and routing applications, Arista Networks delivers reliable networking and proves that even enterprise-grade switches can be easy to set up.

Ledergerber realises that many end users may be confused that another AV-over-IP control protocol has come of age but offers words of reassurance. “We don’t concern

ourselves over the standards too much, as our focus is wholly on the user experience – everything else must follow. However, we love using standards wherever we can, since they make our job of integrating more products easier. Therefore, we like NMOS, SMPTE ST 2110 and IMPX to start with. But if Dante or NDI enables us to provide the user experience or the technical depth we need, we will adopt them as well to make signal connections. We want to avoid the discussion of which standard

is best. Rather than being drawn into a debate centring on bits and bytes, we prefer to focus on the user experience. And in order to achieve our high-set goal there, we need to integrate the whole product, not just its IP modules.

And for that we didn’t find any established standard yet.”

When applying the signal management software to the real world, Ledergerber is realistic. “For a theatre, conference centre or a hotel, the operators managing these systems usually lack IT experience, yet they probably want to change the configuration and infrastructure regularly. STAGENET is designed for them – no writing configurations or studying manuals. We simply want the operators to participate within our community of users and provide feedback.”

Reverse engineered by focusing on the operator, STAGENET sets the standard for the IP user experience – one that enables the benefits of IP signal management without requiring the experience of a network engineer.

The iceberg may be vast and mysterious below the waterline, but the surface is smooth and navigable.

STAGENET has been developed as a team effort by five industry leaders – initiated by STAGETEC – with STAGETEC as the first point of contact for all distribution activities. www.aristanetworks.com www.matrox.com www.merging.com ​ www.simplexity.ch www.stagenet.com www.stagetec.com

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NEWS: PROJECTS

It’s a Shure thing SINGAPORE

After a two-year hiatus, renowned Singaporean artists Alfred Sim and Tay Kewei were given the opportunity to perform RE: BIRTH, an inventive reimagining of the duo’s hits and new songs, in concert at the Sands Theatre, Marina Bay Sands. The celebrity couple insisted on performing with Shure Axient digital wireless and a PSM 1000 in-ear personal monitoring system.

Vocal clarity was ensured during the broadcast courtesy of the Axient digital handheld transmitters being paired with Shure KSM11 wireless vocal microphone capsules. “Over the years, we have performed with various other microphones,” commented Cross Ratio artist Kewei. “This time around, we were excited to use the new Shure KSM11 wireless microphone with Axient Digital for this milestone concert. Our voices sounded really clear onstage, and people said we sounded even better live.”

Her partner Sim was equally praiseworthy.

“The monitoring was very clear and the KSM11 really gave us a confidence boost onstage, so I felt my performance was more natural and smoother as a result.”

Coupled with the KSM11, the Shure Axient Digital wireless microphone system

KSM11 condenser wireless microphone is optimised to accurately capture the sound of a vocal. This allows the artists the freedom of expression.”

For production teams overseeing live concerts in Singapore, frequency interference and dropouts have often plagued performances. With advanced spectrum efficiency, together with interference and dropout resistance, the Axient Digital Wireless system is a major asset for local RF coordinators. “Axient

played a key role in delivering consistent sound throughout the night. Combining technologies of earlier analogue and digital wireless solutions, Axient Digital enabled the production team to create a scalable Dantecompatible wireless system for enhanced audio transparency and RF performance.

“A microphone can easily make or break the sound of a vocal,” explained audio engineer, Mark Spencer. “For me, the

offers more command and control with wide tuning receivers and transmitters to Wireless Workbench,” added Shure South Asia sales manager, Jayme Quah.

“Dramatically improving signal reception and increasing range, the PSM 1000 can deliver up to 39 channels in a single frequency band with the widest PSM tuning range, RF transmission and fewer dropouts than other systems.” www.shure.com

The couple performed at the Sands Theatre

NEXO elevates Banana Alley Vault’s Platform One of the primary sound system in both the main room and side rooms. After listening tests comparing brands within the venue space, Platform One selected NEXO’s P+ series. Working with Concert AV, a DJ and audiovisual retailer based in Melbourne, the nightclub installed a scope of P8, P10, P12, L15 and MSUB18 systems.

While the club’s tunnels are a key feature of Melbourne’s heritage, they are acoustically challenging with regards to professional sound applications. Concert AV worked to engineer the technology underpinning the NXAMPMK2, NEXO’s amplifier/controller hardware, which meant that this hurdle was overcome.

Borce Kajmakoski, co-founder and director of Levels Entertainment, said the intention behind the upgrade was to take an alreadyiconic venue and elevate it. “It was a great venue, but now it’s a super-club. We were

AUSTRALIA

Housed in the Banana Alley Vaults in Melbourne, Platform One nightclub has hosted some of the world’s biggest names in dance music and entertainment. The venue is comprised of two long, domed tunnels which stretch over 65m from Flinders St to the Yarra River. Constructed in 1892, the Banana Alley Vaults were used by local fruit merchants, in which they would store ripening bananas in preparation for market. After being put up for lease in the 1980s and undergoing a major interior conversion in 2001, Platform One nightclub was born.

In August 2019, Platform One closed its doors to the public, to concentrate on a series of renovations and improvements.

The transformation included a new air conditioning system, a multitude of new fixtures, internal structural changes, the

Platform One is made up of two domed tunnels addition of an addressable venue-wide LED lighting system and a complete overhaul

aiming for a sleek, high-line experience, one which also gives an impression of exclusivity.

The new lighting and fixtures go a long way in helping establish that feeling, but we also needed to make sure the club audio had the same kind of wow-factor. We feel the NEXO system is certainly up to the task.”

Adding to the P10, P12 and subwoofers making up the FOH system are additional P12s placed as DJ monitors and an ID24 system in the VIP area. NEXO’s audiooriented line, the ID Series, was chosen for the venue’s private booth.

Platform One’s lustrous new retro futuristic looks extend into its three rooms, now capable of accommodating over 680 guests. Originally designed around a neon pink and orange theme, the venue walls can be re-skinned with any colour scheme thanks to the rows of LED strips. This customisable nature extends to the venue audio, where each room can be run as an independent zone or combined from a single source.

“When we are hosting our own regular nights here, the main room will play Pop and RnB, and the side room will play House music. We are excited to resurrect ‘P1 Saturdays’ – which was one of Melbourne’s biggest regular club events around 2006, along with ‘Infusion’ which was also running here at the time.

I have fond memories of Platform One having a great sound system at that time, but standards in audio are a lot higher now. We needed something that would be suitable for both DJs and live performances, and the P+ series has enough muscle and clarity to cover both,” explained Kajmakoski. www.nexo-sa.com

26 PRO AVL ASIA July–August 2022

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THE REFERENCE – SINCE 1928

We are humbled “Cleaner and smoother than we’re used to”

“Very noticeable amount of room before feedback”

“Hardly any EQ to do”

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“Open, natural, loose and at the same time massive”

“Major improvement over the competition”

Finally here Ask your trusted dealer

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NEWS: PROJECTS

Bridging the gap between silence and sound CHINA

LiLi Time, a café located on the busy Mengzi Road in Shanghai, cultivates a community where people that are deaf or hard of hearing can feel comfortable, and their experience has now been enhanced with a Genelec G Series loudspeaker system.

Sound exists within the physical realm – it is essentially “touch at a distance” as neuroscientist Diana Deutsch of the University of California in San Diego claimed, and deaf people can still experience music through vibrations of air molecules. Zhang Lili admitted that she hadn’t heard of the Genelec brand before, but that she and several members of the team shared a common love for music, believing that good sonic quality can bring a positive emotional experience, which is why LiLi Time ended up choosing a Genelec solution for the café.

“Actually, when people wear a hearing aid, they can hear a little sound,” Lili explained.

“The deaf customers and staff will tell me that they can feel the vibration of the sound. After considering our options, we chose a Genelec audio solution due to the brand’s superior sound texture and the direct emotional experience this evokes.”

She continued by drawing the parallel between good coffee and music: “Both are linked to our physical perception, albeit different senses, and both contribute in equal parts to creating a warm space, where people can be comfortable and communicate freely.” An added benefit of loudspeakers in this type of environment is in preventing the “recruitment” syndrome that hard-of-hearing people can sometimes experience – which manifests itself as a reduced tolerance to loud sounds.

This means that the range of acceptable loudness to the listener can be quite narrow, so a distributed loudspeaker system with good performance is key.

G Ones were selected for the more intimate environment of the café’s upper level.

The provision of simple rear panel room compensation switches on both models also meant that the response of each loudspeaker could be tailored to each room’s individual acoustics.

With the addition of a digital mixer, staff now command complete control over the café’s audio levels via the familiar interface of a mobile phone or iPad. What’s more, the active design of the G Series loudspeakers removes the need for bulky external amplifiers, offering a compact and flexible plug-and-play solution for visiting singers and bands.

Si Xuan, café designer and frequent performer, is thrilled with the upgrade: “Our live music capabilities have been significantly improved. Not only do we have total wireless control of BGM, but we can easily plug in guitars, keyboards and other

After a comprehensive discussion with Genelec’s Beijing team, it became apparent that the solution had to deliver on three principal tasks: the distribution of high-fidelity BGM (background music), the accommodation of live musical performances and, lastly, the system needed to be easy for visiting musicians to plug in and operate. To this end, a combination of Genelec G One and G Three two-way active loudspeakers were specified.

Each model was selected to suit the acoustics and functional requirements of each room. For the more expansive first floor, G Threes were implemented for broad sound coverage, while the ultra-compact

instruments, and have the capability to finetune the sound remotely in real time.”

It is evident from the care that Lili and Xuan have put into the café’s interior design that aesthetics were also a consideration. Lili recalled: “Since the install, we’ve received lots of positive feedback from customers, who often take pictures of the loudspeakers. They are drawn to Genelec’s distinctive, eyecatching design as well as their precise sound, and the sustainability of their recycled aluminium cabinets is simply the cherry on the cake.”

LiLi Time provides a space where everyone is encouraged to interact with one another and express their artistic talents. It serves as a place of refuge where all guests can feel at ease, and enjoy quality coffee, music and company. www.genelec.com

Customers have been drawn to the loudspeakers’ design

Namwon cultural centre provides impactful sound with Harman KOREA

Chunhyang Culture and Art Center, a multipurpose space in Namwon and birthplace of the Korean folk music Pansori, highlights the unique character and culture of the city, which was founded more than 1,000 years ago. With a land area of 10,604m2 and a total floor area of 4,410m2, the three-storey venue features a 778-seat performance hall.

The client requested that TechDataPS provide a full overhaul of the venue’s audio system for greater coverage and output across all floors. To meet these goals, the installation team enlisted JBL VTX Series speakers, Crown amplifiers and Soundcraft mixers.

Via pre-simulation, analysis and adjustment, the TechDataPS team achieved uniform sound distribution throughout the space. After removing the existing point

aim to reinforce the system’s low end for a more impactful sound. These speakers will operate in tandem with the venue’s existing JBL PRX400 Series and AM Series speakers, which the installation team repositioned for stage and backstage monitoring. For the backend, TechDataPS selected Crown I-Tech 4x3500HD amplifiers and a Soundcraft Vi2000 audio mixer.

Amar Subash, director, channel management and audio solutions, Harman Professional Solutions, APAC, concluded: “We would like to thank our partner TechDataPS for providing an enriching experience to the patrons of the art centre and their unwavering confidence in our products to deliver unique and engaging experiences.”

Chunhyang Culture and Art Center source speakers on the second floor, the team installed the JBL VTX A8 line array

speakers on both the first and second floors. Additionally, JBL VTX B18 subwoofers

pro.harman.com

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THE DEFINITIVE CONSTANT CURVATURE ARRAY

TORUS is a solid, well-designed speaker that perfectly fills that space where a point source is not quite enough, and a line array is too much. A nice addition to the toolbox. Adjustable horizontal coverage and great rigging options are a bonus.

Steve Payne

CEO Soundworks of Virginia, USA

The constant curvature array that has the industry talking

Unite Your Audience The Martin Audio Experience

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NEWS: PROJECTS

BrightSign brings iconic films to life at Weta Workshop Unleashed!

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NEW ZEALAND

New Zealand-based audiovisual consultant, Toulouse Group, has recently worked on Weta Workshop Unleashed! – an attraction housed in Auckland’s Sky City Hotel that acts as both a film set and creative workshop, taking audiences behind the scenes of “movie magic”.

Weta Workshop, makers of props and visual effects for films such as Lord of the Rings, Avatar and Bladerunner, has utilised BrightSign players for the project.

Following a red-carpet entrance, visitors are directed through nine zones, each matching a genre of the films being created within a fictional studio. With all the BrightSign players locally networked, the push of a button by a staff member issues commands that send video, audio or lighting elements to multiple projectors, a surround-sound speaker system or a theatrical intelligent

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lighting system. Five HD224 and 65 LS424 players power the experience, each with a different role in the installation. A further 35 LS424 players are used for audio only throughout the site.

Commenting on the project, Jeff Hastings, CEO of BrightSign, said: “We’re delighted that BrightSign players are powering

for Weta Workshop was fluid, and we needed a responsive system that allowed us to work swiftly to meet the creative vision in situ. BrightSign players provided a robust platform that supports swiftly changing programming.

Firewalls keep the network secure and allow staff at head office to update content offsite.

L–R

An artist shed showing well-known props such a fantastic visitor experience.

It’s always exciting to see how installers apply the players to their installations, and Toulouse Group is no exception. For example, using the GPIO inputs on the BrightSign players can trigger the media via a mixture of buttons, levers and other mechanical devices. Using the GPIO inputs in this way is very unusual in digital signage installations, but Toulouse uses the players in this way in close to half its installations, including Weta Workshop.”

Marc Simpson, managing director of Toulouse, added: “We use BrightSign players for the majority of our visitor experience installations due to their inherently reliable nature. The client brief

With almost guaranteed uptime, remote monitoring is a formality and maintenance is very seldom required.”

Weta Workshop co-founder and creative lead, Richard Taylor, was said to be thrilled with the outcome. “The experience wowed audiences from the moment it opened. Each person’s visit is unique depending on what they choose to interact with: which button they push, which lever they pull or which sensor they trigger. BrightSign allows this fully customisable media experience to be delivered in a repeated, reliable way, until the final credits roll.” www.brightsign.biz

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Megolive expands its audiences with TriCaster 2 Elite MALAYSIA

Megolive, based in Malaysia, specialises in livestreaming virtual events to a global audience, whether that be business conferences, product launches or training seminars. Due to streaming being IP-based, Megolive gravitated to the NDI video-over-IP networking protocol, before opting for NewTek’s TriCaster 2 Elite (TC2), aiming to elevate production quality.

recorders, you name it,” Mohamed explained. “We tried to solve this with basic knowledge of NDI, but we still couldn’t get this right. We were stuck but TriCaster solves it all.”

He continued: “Everyone in the production, including our technical and production teams, and our clients, are able to monitor the production, not just from within the studio but remotely as well thanks to NDI tools.”

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L–R: founders GBAM and Rosli Mohamed For Megolive, the TriCaster workflow is said to have cut down on costs and setup time, while boosting profitability. Having worked with the corporate and government sectors in Malaysia, Singapore and Indonesia, Megolive has produced a wide range of diverse yet challenging virtual events, including Keluarga Malaysia and Aspirasi Keluargra Malaysia Launch, Bank Rankyat’s Virtual Management Conference and BWF Live Draws.

While Megolive founders GBAM and Rosli Mohamed now firmly command their live video production facilities, it didn’t always go so smoothly, until they invested in the NewTek TriCaster 2 Elite. “With broadcast, you need boxes and boxes of equipment to get it done.

But with the TriCaster, it’s all in one box,” said GBAM. “It reduces my setup days, meaning lower costs and increased profitability.” Touting themselves as “Your Creative Event Solution”, the Megolive team recalls their early days filled with trial and error, until they became “proud owners” of the TC2 Elite, which filled the gaps.

“We started with what we know: PCs and building the crème de la crème of it with hardware and software. We thought we did enough, but we were still facing problems with our inputs and outputs, switchers, cameras,

PAA Pg4-47 News.indd 31

Besides the TC2, Megolive’s typical studio equipment includes Sony Full HD cameras configured with tripods and various lenses, a wide array of lighting fixtures on trusses, P3 LED screens and a Yamaha digital audio console supporting Dante audio-overIP technology. While Megolive began as a video production company during the pandemic, they expanded to incorporate live video streaming into its portfolio of services. The NewTek and NDI solutions were acquired from Macking Domain, a professional broadcast video equipment supplier and NewTek partner based in Selangor, Malaysia.

“Many thanks to Macking Domain for recommending the NewTek and NDI gear, which has enabled us to embark successfully on live video streaming,” said Mohamed.

“In addition to being a worthwhile business investment, it’s enabling us to realise our client’s creative vision for captivating livestreamed shows and events.

“Long story short, we do not want to make our events look like a straightforward meeting environment,” he added. “We strive to expand the audiences for our events globally with the help of technology.” www.newtek.com

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NEWS: PROJECTS

Cambodian Film School sets up kids for life CAMBODIA

Cambodia’s Pour un Sourire d’Enfant (PSE) Film School is using Blackmagic Design’s ATEM Mini live production switchers and Pocket Cinema Camera 6K cameras to train its students. The school is also using DaVinci Resolve Studio editing, grading, visual effects (VFX) and audio postproduction software.

all aspects of film, TV, advertising and drama, and has gradually grown to include streaming, event capture, documentary, social media, short film and music video production.

“DaVinci Resolve is really useful because it has editing, sound, VFX and colour grading included, which allows us to work with a

Pixotope takes China to 2060 with futuristic virtual talent show CHINA

The school, which is part of the PSE Institute for Vocational Training in Phnom Penh, provides technical training in cinematography and postproduction and is part of the larger PSE school system that encompasses three Cambodian education centres. With more than 600 staff, PSE aims to help the poorest children in the country escape from poverty and learn skills by providing recognised bachelor’s degrees, leading them to have decent, well-paying jobs through end-to-end care.

PSE has helped more than 12,000 children get out of poverty, and currently more than 6,000 beneficiaries are enrolled into PSE programmes.

PSE Film School began in 2012 when the founders of the PSE system decided to build on Cambodia’s emerging film and TV industry. The centre began teaching

complete workflow. The price is also really good, which is so important for schools like ours,” said Nicolas Sacre, dean of the PSE Film School. “And the students love it. The user interface is very easy to understand, and they know they are working on the same software that the biggest films are being made with.”

In late 2020, ATEM Mini switchers were introduced to train students on the basics of multicam shooting and livestreaming. Pocket Cinema Camera 6Ks were added in soon after, giving students a full Blackmagic Design live production and postproduction workflow.

Sacre was also proud to say that since leaving, each of the school’s alumni has found a role in the film and AV markets in Cambodia.

Pixotope has partnered with production company Space Warp Engine studio (also known as That’s It Media) to scope out possibilities for the first season of an experimental virtual character talent competition 2060. The 10-part series aired on China’s Jiangsu Satellite TV, the third-largest Chinese network.

www.blackmagicdesign.com

A virtual crowd was used for the talent show

Students are equipped with skills in TV and film

Space Warp Engine Studio wanted to use virtual production technology to create something that would appeal to its target audience of 18–35 year olds, with the intention of whetting the appetites of Chinese audiences with the concept of futuristic virtual talent competitions. The series sees 30 teams design, model and animate 3D performers who are puppeted using motion capture. Virtual stars then compete live on a green studio stage alongside studio judges and a blended live and virtual interactive audience.

To enable the blended live and virtual audience in 2060, Pixotope wrote a tailor-made virtual crowd generation system for real-time use. The gave program makers a framework system for randomised audience characters and

ensured flexibility and performance of the virtual audience. Collaborating closely with Space Warp Engine studio, Pixotope designed a virtual production workflow before the start of filming. Pixotope then worked extensively with the production team on location in Shanghai and Nanjing, sharing knowledge and experience while helping to refine workflows.

Considering the show’s focus on detailed animated characters, the production required the idols to be rendered at a quality not usually achieved in real time. Pixotope integrated the DLSS deep learning technology from NVIDIA to enhance the live rendering process, enabling real-time visualisation for the studio audience.

Working closely with Pixotope as its technology partner and utilising its realtime engine, Space Warp Engine studio demonstrated the potential for cinematic quality virtual talent shows on television.

After the first episode aired, the show’s characters immediately captured the audience’s attention, sparking trends and discussions on Chinese social media, and a second season has been planned for later this year.

Gong Yizhao, CEO of That’s It Media, said: “We wanted a platform that was stable and, at the same time, allowed us to make last-minute changes in real time.

Pixotope allowed us to do all that.”

Andrew Tan, VP of sales APAC for Pixotope, added: “Working in close collaboration with Space Warp Engine studio, we were able to develop and deliver fundamental workflow changes in Pixotope to help them realise their visions. Throughout the process, and as the requirements changed, we were able to advise and respond. The final result is groundbreaking and visually stunning.” www.pixotope.com

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Bring On Your Glass Walls.

After nearly half a century, Renkus-Heinz loudspeaker engineers know how to build The Sound Solution that works for your space.

We accept your challenge and raise you: The Sound Solution.

Tom Bradley International Terminal at LAX The ICONYX Gen 5 arrays from Renkus-Heinz provide an elegant solution to long-standing acoustic challenges. renkus-heinz.com/LAX

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C

AFL preserves the love of the Game with Dalet AUSTRALIA

Dalet has announced that the Australian Football League (AFL) is using Dalet Flex to manage the cloud-based digitisation and workflow modernisation of its video archives. The projects aim, in collaboration with partner Telstra Broadcast Services, is to tackle a largescale technical uplift of its game content stores on 22,000 physical tapes and reimagine the way they are shared and resold.

“As custodians of the history of the game, it’s really important that we provide a simple way for future generations to access and experience the game’s rich history,” commented Spencer Wilson, operations and broadcast manager for the AFL. “Dalet Flex provides a single source of truth for this mammoth archive. You can use Dalet Flex to search the archives, pull content and package it for monetisation for any type of sales channel. The core design of the system tracks not only media assets but manages commercial agreements, compliance requirements and transactions tied to those assets.

This allows us to set up an on-demand service that radically changes how we can share with our broadcast customers and fans.”

As the governing body of the professional Australian rules football, AFL is the guardian of the league’s

on film in 1909. Concerned with degradation, loss of valuable assets and the growing storage requirements

The AFL Studio video archives, preserving historical game content for its club members since the very first game was captured

for each of the 400+ games shot in progressive formats, the organisation sought to digitally preserve its entire

archive. The AFL used Telstra Purple to configure the Amazon Web Services data servers and data centres that stored the digitised game content and Dalet Flex to facilitate key media logistics functions, including archival searches, retrievals and packaging of content for on-demand and multi-platform distribution.

The AFL archive project comes on the heels of several high-profile sports transformations, including Lega Serie A, the National Rugby League of Australia, Arsenal Football Club and the Ligue de Football Professionnel, all of which implemented Dalet solutions to drive new video strategies to expand their multigenerational fan engagement across digital channels.

“For years, AFL has been producing content and delivering to their fans all ‘for the love of the game’. They are leveraging Dalet Flex to enhance their video strategy and transform from a sport organisation that oversees an archive to a media-savvy sport organisation that utilises technology to optimise their high-value content,” commented Ren Middleton, regional sales manager ANZ, Dalet. www.dalet.com www.telstra.com.au

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Chiba’s PIST6 Championship takes it up a gear JAPAN

The newly built Tipstar Dome, built on the site of the former Chiba Velodrome, with a 250m wooden track, has hosted the first annual PIST6 Championship – an event that combines art, food and fashion while pitting Japanese cyclists against each other. The sports-entertainment event organisers called on One Love Project to provide AV and lighting content for the race intervals.

One Love Project director Jun’ichiro Takanashi partnered with sound system designer and engineer Kotaro Matsuura of Wiz. “The most vital aspect for any One Love Project production is to have a system with a high degree of flexibility, as we often perform a variety of

music genres,” said Takanashi. “For the PIST6 launch event, a dynamic selection of originally produced, energetic ‘street music’ was part of the brief. I needed the power of a system with a strong low end that also provides excellent vocal clarity for spectators in the velodrome.”

Matsuura explained further: “Our goal was to provide an environment where conversations could be held normally, even when the sound system would be pushed to high sound volumes. I felt that the power of an L-Acoustics system with low end supplied by KS21 subwoofers would match Takanashi’s sound production sensibilities, so I arranged a demo of an L-Acoustics system for him.”

“The L-Acoustics system ticked all the boxes of my production prerequisites,” said Takanashi. “It was well-rounded and, in terms of SPL, it could accommodate this arena’s size. I was sure that it would be able to deliver a highquality performance.”

The event system consists of four arrays of four L-Acoustics A15 Focus flown alongside four KS21 subwoofers in a cardioid configuration which supplied low end. Two of these array and subwoofer groups face the longer sides of the oval-shaped velodrome. The installation also includes an array of four A15 Focus flown in the centre on each side, as well as eight LA12X controllers driving the system.

Four pole-mounted A10 Focus atop four KS21 subwoofers and six X8 coaxial boxes

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on floor stands aim to deliver coverage to this centre lounging area. Further out, around a food truck, a pair of L-Acoustics X8 enclosures have been mounted on a pair of SB15m subwoofers. Five LA4X amplified controllers drive the sofa seating area and food truck sound systems.

Takanashi is pleased with the A Series performance. “The A Series made it easy for me to express myself through my production. It responded smoothly between the quieter moments of sound effects as well as the louder, more energetic musical moments.” www.l-acoustics.com www.onelove.co.jp

EXCITEMENT

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NEWS: PROJECTS

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NEWS: PROJECTS

Bluesound gets salty in New Zealand

B

NEW ZEALAND

Salty’s Diner, the latest addition to a group of restaurants catering to the coastal community of Kapiti, an hour north of Wellington, has been installed with Bluesound Professional’s BSP500 and BSP1000 active weatherproof speaker range.

Each of the group’s restaurants has a specialist theme, with an emphasis on good sound and live performances. Salty’s was conceived as a BBQ restaurant, with service and simple audio control from within a restored Airstream caravan. Among the challenges to be overcome was the long distance between the services area and speaker locations throughout the venue, a reinforced concrete ex-factory.

Additionally, some speakers were to be mounted outside where they would be exposed to the salt air and occasional storm, while internal speakers are in sunlight and in proximity to the internal garden’s watering system.

Bluesound PoE++ networked speakers handled the long distances involved in each speaker location, and all speakers were fully sealed from the potentially damaging elements. Salty’s Diner worked with AV designers to ensure that speakers covered the restaurant floor, including the main dining area, preparation kitchen and an exposed outdoor area. The layout considerations included areas that were designated for pinball machines, pool tables and quieter booths for comfortable conversation.

A combination of BSP500 and BSP1000 powered speakers have been installed

throughout the venue, with each area calibrated for the desired coverage and level. A CP100 wall-mounted control panel located in the Airstream provides staff with simple control; each day starts and ends with the push of a button. Secondary control is from a PC running Bluesound’s Desktop app in a remote office location where the network and security equipment is based.

Gold Coast chambers aim for modern-day meetings AUSTRALIA

The layout considerations included quieter booths The owners of Salty’s were aware that their newest restaurant would need to leverage aspects other than their local reputation for quality food and beverages. The Bluesound installation is helping Salty’s establish itself in the post-Covid environment, and staff are reportedly impressed with how simple the system is to operate. www.bluesoundprofessional.com

Salty’s restored Airstream caravan

The city of Gold Coast has turned to Televic partner Pro AV Solutions for a full upgrade of its audiovisual system in its local council chambers. With a population of over 606,774 people, it is the second most populous government area in Australia. Its council maintains a staff of over 2,500. The objective was to replace the existing system with a comprehensive council chambers solution that would provide a modern-day meeting experience for the councilmen, as well as a satisfactory viewing experience for viewers of public livestreams.

Pro AV Solutions proposed the use of a Televic audio conferencing system which includes a Televic uniCOS 10-inch unit for each delegate.

Participants can speak, see, hear and interact with delegate stations via video, audio and document sharing. And due to the nature of the organisation, the fact it’s an end-to-end system with no third party involved is key. The chambers also feature two large 138-inch LED displays, along with four Televic T-CAM cameras in place that track to pre-determined positions.

The cameras turn to the person who pushes a “push to talk” button on their delegate unit and a wide-angle camera captures a broad view of the room.

For the first time, the council has switched from traditionally printed to electronic nameplates – Televic’s Plixus Nameplate.

The project includes a 10-inch unit for each delegate Pro AV Solutions selected this to prevent frequent changes in seating arrangements and attendee names slowing down proceedings.

Not only is this more environmentally friendly, but the solution has also reduced the client’s printing costs and can be put into action while meetings are in progress.

Redundancy equipment was also put in place so meetings remain uninterrupted despite potential technical difficulties that might occur.

Pro AV Solutions also aimed to complete the project quickly to avoid causing disruption to everyday proceedings. www.televic.com

Holywings Group raises the bar with Funktion-One INDONESIA

Entertainment brand Holywings has partnered with Electro Audio Engineering to install Funktion-One sound systems in its latest venues. The group, which has over 30 café, bar and club venues across the country, has set its sights on growing to 100 outlets and is in the process of creating Asia’s largest beach club.

The design concept of each Holywings venue takes inspiration from major cities around the world. “We bring ideas that we’ve picked up from other countries that are new to Indonesia,” explained Holywings Group’s Marvin Saputra.

“Then we tailor them for our audiences and add a unique energy that can compete with other countries. We think Funktion-One offers the best sound systems right now, and we need that to provide the best ambience to our customers.”

Jakarta-based Electro Audio Engineering installed the Funktion-One sound systems, which were supplied by distributor, DMP

Musik. “Cooperating with Electro Audio Engineering is very satisfying,” said Saputra. “We’re very grateful to be

able work with them and appreciate the excellent service they provide. The sound quality and ambience at our Holywings venues has increased to a new level since using Funktion-One, and this strengthens our position as a market leader.”

Added Electro Audio Engineering’s Linson Sugianto: “With Funktion-One, Holywings’ sound quality and guest satisfaction have been taken to the next level. It shows that as Indonesia’s largest lifestyle and entertainment chain, Holywings is fully committed to using the best sound system possible for its venues and give the best experience to its guests.” www.funktion-one.com

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Mu club 1,80 des to th as t Jolie with and loud

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NEWS: PROJECTS

Breakfast at Jolie’s with Genelec INDIA

Mumbai’s luxury private members-only club, Jolie’s, is a hidden gem sprawling over 1,800m2. From the open, bright and inspiring design of the breakfast lounge and work area to the low lighting of the cigar lounge as well as the art and music spaces, the team at Jolie’s has considered all the minute details, with consideration of artisan cuisine, cocktails and culture. The club also features a Genelec loudspeaker solution, which was integrated

by Genelec’s local AV distribution partner, Pandam Professional Audio.

Abhishek Bindal, senior vice president at Jolie’s, approached Pandam’s owner Prashant Damle for further consultation. In response, Bindal and his team were invited to Pandam’s Genelec Experience Centre located in Mahim, Mumbai. Jolie’s was said to be so impressed by the sound demonstration that it immediately decided to go with Genelec. In situ, the aesthetic of the loudspeakers’ rounded design blends in with the establishment’s sophisticated décor.

Under the guidance of Damle, the project was intensively planned over a two-month period. However, the actual integration was carried out in an extremely tight 20-day period. In total, over 40 loudspeakers were deployed, with the assistance of Pandam Audio’s installation engineer, Sunil Jambhale.

This includes a relatively even split of Genelec S360A and 8010A models, complemented by four 7382A subwoofers to handle lowfrequency duties.

Damle explained the key decisions: “In the event space area, we installed the S360As paired with a 7382A subwoofer.

This combination delivers a balance of extraordinary SPL output, wide dynamic range and an intensely detailed, transparent performance. It was important to equip this

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room with the capacity to satisfy a wide range of different functions, which is precisely what this Genelec pairing achieves.”

The club’s bar area also benefits from the performance of the S360As. Although it preserves an intimate feel, it is an expansive space with high ceilings, which properly utilises the headroom that the S360As provide. “To ensure that they blend seamlessly with the environment and that there are no unwanted vibrations propagating from the loudspeakers, we positioned them on the wall. From there, we precisely tilted the mounting bracket for the best possible listening angle,” explained Damle.

In the restaurant, however, Pandam opted to use the 8010As. Additionally, other smaller rooms like the private dining area, business lounge, hidden bar and the cigar lounge have also been equipped with 8010As, primarily serving as a background music system (BGM).

“It was a colossal task, but we endeavoured to provide Jolie’s with the best possible solution. The team were very happy with the system we delivered,” said Damle. “It helped immensely that the team at Jolie’s were so cooperative. Without such clear communication, it would have been hard to achieve the goal in the limited timeframe we had.”

Manish Rathi, senior vice president at Jolie’s, reaffirmed the success of this collaboration: “Working with the team at Pandam Professional Audio was an absolute pleasure, from start to finish. The team’s professionalism and sensitivity with regards to this project were both impeccable. We are delighted with the result.” www.genelec.com

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NEWS: PROJECTS

LaON’s Genie drives SBS news vans KOREA

Seoul Broadcasting System (SBS), a Korean television and radio company, has selected Genie intercom systems by LaON Technology for its three news vans. SBS is the largest private broadcaster in South Korea and is owned by Taeyoung Construction. It operates its flagship television channel which has a nationwide network of 10 regional stations and three radio networks. SBS has provided a digital terrestrial television service in ATSC format since 2001 and a T-DMB service since 2005.

SBS has replaced its old intercom systems with Genie in seven studios in Mok-dong, three OB vans including a 4K OB van, the public hall in Dungchon-dong and the Prizm centre in Sangam in addition to Genie systems for its three news

Yeolkyu Kim, technical director for the outside broadcast team of SBS, commented: “Genie is an ideal solution for outside broadcast. LaON’s 5GHz wireless antennas provide solid and stable connections, even in the challenging site environments, and the coverage is sufficient.

Most of all, we are very satisfied with the audio quality and can easily share the wireless beltpacks with other teams, even with studios not requiring extra settings every single time you change the base station. Since 2015, our teams have been using LaON’s wireless intercom systems. Genie is a perfect solution that optimises intercom communications for outside broadcasting.” vans, 6, 7 and 9. The system includes three Genie Base Station BS1000s, three Remote

Nehru Science Centre looks to the future with Allen & Heath INDIA

Set in Worli, Mumbai, the Nehru Science Centre (NSC) is the largest interactive science centre in India with over 750,000 visitors passing through the doors each year.

www.laon-tech.com

Seven powers Olympics broadcast with Brompton AUSTRALIA

Avantis is a 64-channel, 42-bus mixer built around the XCVI FPGA processing core, delivering 96kHz operation with 0.7ms latency, and is compatible with the

The Avantis in the 917-seat auditorium As well as a science park, planetarium and numerous educational facilities, the NSC houses a 917-capacity auditorium regularly used for conventions, live music, theatre and lectures.

After a Covid-enforced two-year closure and with a full programme of events planned after reopening, the management at the NSC decided that it was an appropriate time to bring the in-house audio system up to date, enlisting local audio consultancy OdBle to specify a system capable of serving the NSC’s needs well into the future. “Nehru Centre Auditorium is a prestigious venue which presents concerts, plays, conferences and other cultural events,” commented an NSC official. “We asked OdBle to specify a mixer capable of the highest-quality sound while retaining ease of use and, based on their recommendation, we purchased the Allen & Heath Avantis.”

Antenna RA100s and 20 Wireless Beltpack BP850s.

full Everything I/O range of audio expander hardware. The Avantis was used shortly after its installation, mixing a show by renowned Marathi singer Rahul Deshpande and his band for the annual Vasantotsav event celebrated throughout India.

“The in-house technical team enjoyed the onsite training we delivered and were quickly up and running with the console,” said Jagdish Mutke, senior application engineer at Allen & Heath distributor, Sun Infonet. “The staff at NSC appreciated the improved audio quality and ease of operation with the new mixer. The Avantis’ tag line ‘It’s a Small Step to a Giant Leap’ seems very fitting for the upgrade at the Nehru Science Centre.”

Seven Network created a virtual production environment to air the 2022 Beijing Winter Olympics, built around an LED wall powered by Brompton Technology Tessera processing. The free-to-air network, broadcaster of the Summer and Winter Olympic Games since 1956, worked together with Australia’s CT Group, part of the NEP Live Events, to broadcast the games across Australia.

“CT provided LED backdrops for Seven Network’s sports hostings during the pandemic, when travelling to venues wasn’t possible,” said Michael Judges, senior project manager for CT Australia and New Zealand. “As a result of this positive experience, we built a template with the client which they were subsequently able to use on the Tokyo and Beijing host broadcasts.”

Seven Network required the highestpossible resolution LED panels to provide a background for the broadcast. “This resulted in a high pixel density, so we used two 4K outputs from a media server into two Brompton Tessera SX40 processors to manage this,” continued Judges.

CT installed Unilumin 1.8mm LED panels with an overall screen size of 19.5m x 2.5m, curved around a 5m radius, together with four active and four backup Tessera SX40 processors in redundancy mode, as well as eight Tessera XD 10G data distribution units.

“Tessera processing is very robust and the redundancy system works well,” said Judges.

“Additionally, Brompton processors are easy to use and provide powerful features for managing screen brightness and colour on camera. The panels were run in the specific operating mode that reduces panel brightness while still maintaining usable bit depth, which is essential for television.

“All high-quality images and videos looked great on the broadcast and the presenters were able to be very close to the screen without causing any moiré effect. Following the success of this project, Seven Network is going to utilise the entire system for other televised broadcasts during 2022. This speaks volumes about the high quality of all the elements within the system, including the industry-renowned Brompton Tessera processors.” www.bromptontech.com

www.allen-heath.com www.odble.com

Seven Network’s Winter Olympics newsroom

www.suninfonet.net

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You asked for a lighter, more powerful line array.

How about

You know what you want in a line array. And now, we’re giving you more than you ever thought possible. Introducing PANTHER. Over 150 decibels at only 68 kilograms and 97 centimeters wide.

Exactly what you asked for—turned up a notch.

You spoke. We listened. And then we went wild.

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NEWS: PROJECTS

New Zealand’s Fine Lion achieves a chic yet modern feel NEW ZEALAND

The Fine Lion restaurant and bar in New Zealand has undergone a transformation which sees its lights, security, TVs, music, window shades, louvres and climate systems now controlled through a single Control4 app, with an aim to hide visible technology inside the venue. The restaurant treats guests to a decadent atmosphere, featuring mosaic tiles, brass detailing and greenery. Ironically, it’s what the customer doesn’t see that the restaurant feels sets it apart from its competition and makes daily staff operations easier.

With the help of ElectraServe, a local integration company, the restaurant installed a Control4 system that combines the previously mentioned aspects into a single interface accessed through an app, as well as touch panels. James Reid, an automation

installer for ElectraServe, felt that the control system allowed the restaurant’s designer and architect to free the space of “techno clutter” while delivering the benefits of modern smart technology.

“The desire for a premium look, feel and guest experience drove every decision we made,” Reid explained. “After first designing and installing the restaurant’s sound system, which includes custom-made, copper-clad speakers to match the aesthetic, we had an opportunity to show the owners and designer how a Control4 system could eliminate the need for light switches, cable boxes, TV remotes and other visually intrusive components. Once everyone understood the visual cleanliness it would deliver, and the time savings it would provide for daily operations, everyone was on board.”

The focus of The Fine Lion’s automation system is on streamlining common tasks

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such as adjusting music volume, setting lighting levels, managing temperature and simplifying daily opening and closing. When staff arrive in the morning, they first disarm the security system, which automatically turns on the lights.

They then use an “Open” button in the Control4 interface to turn on all three TVs, dozens of speakers and all the content delivery devices at once. At closing time, a “Close” button in the interface triggers the motorised blinds and louvres to shut while powering down all the AV equipment and lights at night, saving energy and time.

Laura Hedwig, creative lead for RM Designs as well as the project’s designer and architect, noted how the Control4 system helped them to achieve the precise environment and ambiance they envisioned. “The automation of lighting, AV, window treatments and exterior louvres means that we do not have to have numerous wall-mounted switches or TV remote controls,” Hedwig said.

“Not only does this allow us to keep the walls clear of visual clutter, it also streamlines the operation of the venue for the staff working there.” www.control4.com

A “Close” button switches off lights and AV equipment

Three cheers for Nice Beer Club’s Audiocenter system VIETNAM

Since its opening, Nice Beer Club has taken the Dang Nai, located in the southeast region of Vietnam and east and northeast of Ho Chi Minh City, by storm with its entertainment experience, provided by an Audiocenter sound system from Vietnam distributor,

Anh Duong. After a site visit to the club, Anh Duong designed a complete audio solution for the venue. The space is designed to give guests a 360° view of the stage and DJ. Nice Beer Club’s sound system features Audiocenter’s K-LA212DSP

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Work Austr Autho Archi Techn Applic desig for Ki Exter King centr areas natur and m park’ Avenu lemo 1938 lightin the e of the Land a rep a wid while cablin requi with E Techn lightin Exter

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Kings Park at night

Kings Park receives Martin Professional lighting upgrade

The luxury of complete control.

AUSTRALIA

Working alongside Western Australia’s Botanic Gardens and Parks Authority (BGPA), Plan E Landscape Architects recently enlisted Engineering Technology Consultants (ETC), Light Application and Show Technology to design an architectural lighting display for Kings Park using Martin Professional Exterior LED fixtures.

Kings Park is a 990 -acre park in the centre of Perth that features sprawling areas of manicured green space, natural bushland, a botanic garden and multiple memorials. One of the park’s most notable features is Fraser Avenue, a picturesque path lined with lemon-scented gum trees planted in 1938 and equipped with in-ground lighting to highlight the trees. When the existing fixtures came to the end of their life, the BGPA hired Plan E Landscape Architects to coordinate a replacement capable of producing a wide range of colours and effects while utilising the existing in-ground cabling infrastructure. To meet these requirements, Plan E collaborated with ETC, Light Application and Show Technology to design an updated lighting installation featuring Martin Exterior Inground 410 LED fixtures.

“When Matt Bancroft from Light Application approached me for a solution, knowing the precinct very well and the high level of prestige at stake, I knew our offering needed to be of superior quality, so I recommended the Martin Exterior Inground 410,” said Mike Bird, technical sales, Show Technology. “Light Application are no newcomers to using Martin architectural products, having installed numerous successful projects throughout Perth with Exterior 500 and 1000 image projectors.”

ETC conducted a nighttime trial at Fraser Avenue and compared similar fixtures from different manufacturers, ultimately settling on the Exterior Inground 410 for lighting the tree canopy.

“To say that the output of the Exterior Inground 410 is impressive would be an understatement,” said Bancroft.

“It certainly packs a punch for its unobtrusive inground design, which is exactly what the iconic location along Fraser Avenue in Kings Park required. The CREE RGBW Quad-Color LED chipset in these fixtures allows for a wide range of vibrant colours as well as a crisp 4,000K white which accents the trees perfectly.” pro.harman.com

dual 12-inch two-way line array cabinet with four speakers in each hang surrounding the audience area, with a total of 16 units of K-LA212DSP line array elements across the venue acting as the main speakers.

The surround/fill speaker duties are carried out by PF12+MKIIs, a passive two-way 12-inch cabinet hung in pairs across the venue, aiming for even coverage, powered

by A7.0 two-channel amplifiers. Twelve units of K-LA218DSP active dual 18-inch subwoofers are placed across the venue, with an intention to deliver an involving lowend experience to the audience.

em

ETC’s flagship line of lighting control consoles offers a sleek control interface engineered for your comfort and customization. With generous programming surfaces and the power to run complex rigs, Eos Apex is the ultimate hands-on, professional workspace – powered by the ultimate control platform.

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visual environment technologies etcconnect.com

www.audiocenter.net

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grandMA3 highlights female literary icon in Cai Wenji The theatres lighting department has invested in all three generations of grandMA over time and has more recently invested in three new grandMA3 consoles, Images courtesy of Meng Bin

The play portrays the life of Cai Yan BEIJING

The Beijing People’s Art Theatre has used its new grandMA3 lighting control system for a special revival of historical drama Cai Wenji, directed by Tang Ye, which was part of the venue’s 70th anniversary season. The work details the life story of Cai Yan – also known as Wenji – a female

literary icon during the late Eastern Han Dynasty, and it was first staged at the same venue in 1959.

The original lighting design by Song Yin was reworked for this contemporary version of the show by Meng Bin, who tried to retain the essence and mood of more classical lighting

but with modern twists. The lighting was programmed by Zheng Pengfei and the stage design was by Chen Yongxiang. Working closely with the design team was Lux Li, production promotion manager from MA Lighting’s Chinese distributor, ACE, who selected two full-size grandMA3s plus some new grandMA3 nodes.

two full-sizes and one light to replace the older desks.

Cai Wenji’s lighting was a mix of moving lights – Vari-Lite VL3500s and VL1100s, Martin MAC 2000 washes, Fine1519 Pixies and Martin Rush MH1 Profiles. The biggest challenges of lighting this show included being careful with the use of colour as well as paying attention to the general control and accuracy needed along with the detail demanded over the production’s narrative timeline. www.malighting.com

Lawo’s HOME is where the heart is KOREA

After years of preparing to relocate to its broadcast centre, South Korea’s WOW TV, an affiliate of the Korea Economic Daily business newspaper, recently completed a transition to a fully 12G-based UHD broadcast organisation.

This involved the installation of Lawo AoIP equipment, including two mc²56 MkIII production consoles, an A__UHD core platform and A__line audio-over-IP nodes, provided by Lawo partner, Dongyang Digital (DYD).

Jin Woo Lee, WOW TV’s technical director, said: “The WOW TV channel broadcasts live for more than 16 hours daily, providing various economic, stock and business information.

Because of this, the reliability and redundancy of all systems weighed heavily in our decision.”

Control rooms A and B on the building’s 11th and 12th floors are each equipped with 32-fader mc²56 MkIII audio production consoles. The required HOME and MCX servers for the installation are hosted in the equipment room on the 11th floor. Waves SuperRack SoundGrid integration also provides access to Waves’ plugin selection of real-time signal processing.

“IP-based media operations are the future,” said DYD’s Jea Gyu Park. “Networking all broadcast devices and solutions, locally and over a wide-area network, provides our broadcast customers with the flexibility needed to stay at the cutting edge.”

The WOW TV control room with Lawo mc256s

www.lawo.com

NBTV airs Ningbo celebrations with TVU Networks CHINA

Ningbo TV (NBTV), part of China Central Television (CCTV), has used TVU Networks solutions to host a live, large-scale campaign delivered to over 1,000 media organisations around the world.

The port city of Ningbo is situated near the Hangzhou Bay in Zhejiang, playing a key role in China’s cultural and commercial connection to the world. To recognise Ningbo’s ties to the ocean and affirm its ongoing role in global commerce, NBTV hosted Ningbo: Setting Sail to Embrace the World, an interactive media event that linked 15 historic coastal cities from around the world. Dozens of overseas guests took part in interviews, speeches and presentations celebrating the importance of the ocean to people everywhere.

NBTV needed to ensure that audio and video transmissions from remote and overseas locations met the network’s standards.

Production teams also needed to allow guests from any location to interact in discussions and presentations as if they were in the same room, without fluctuations in latency.

TVU One mobile transmitters enabled live, synchronised coverage of events from different locations around the world, helping reporters gather and transmit footage from the opening ceremony, which was held simultaneously in multiple locations integral to Ningbo’s historic and coastal roots. Journalists transmitted live footage and commentary via TVU One units from the opening ceremony to NBTV stations and other international media organisations. On the

day of the Ningbo event, which was relayed to over 1,000 media organisations worldwide, reaching hundreds of millions of viewers, NBTV hosts and guests connected using the TVU Partyline cloud collaboration solution

as production teams livestreamed guest meetings, speeches and presentations to multiple platforms. www.tvunetworks.com

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NEWS: PROJECTS

Christie projectors brings Gabbar Hill heritage to life INDIA

Christie has announced that its D4K40RGB pure laser projectors have been chosen for a sound and light show on a steep hillside in Gujarat where the Ambaji Temple is situated on its summit. Known as the Ambaji Temple 3D projection mapping show, this massive and ambitious endeavour is the brainchild of the Gujarat state government and the Gujarat Pavitra Yatradham Vikas Board. Aiming to boost nighttime tourism, the 490m-high Gabbar Hill is a natural canvas for the light and sound show that aims to highlight the history and heritage of the shrine.

Six Christie D4K40-RGB pure laser projectors have been deployed to light up the entire face of Gabbar Hill for this project, installed and commissioned by Christie’s partner, Tricolor India Schauspiel, which was responsible for the projection mapping on the Statue of Equality in Hyderabad. Rhino Engineers, a multimedia technologies design

firm, served as the audiovisual consultant for the Gabbar Hill project.

“We’re honoured to be given this opportunity to create a larger-than-life experience for visitors and pilgrims by taking them on a captivating visual journey featuring stories

and legends of the Ambaji Temple,” said Himanshu Sabharwal, creative director, Tricolor India Schauspiel. “We had to achieve a projection coverage of almost 100m wide and 60m high on Gabbar Hill, which exhibits a dark, dull surface due to environmental

conditions. This requires a fleet of high brightness projectors with unparalleled image quality. Christie’s D4K40-RGB fits the bill perfectly with 45,000 lumens and 4K resolution, providing us with vibrant and lifelike images.”

The six D4K40-RGB pure laser projectors are mounted on two specially constructed projection towers, each measuring about 5m high. Tower 1 is fitted with two projectors horizontally adjacent to each other, while Tower 2 has four projectors stacked in a twoby-two matrix. All projectors are protected by weatherproof enclosures from Warrior and they are placed about 120m away from Gabbar Hill, which is the ideal distance to display optimal visuals on the hill’s uneven and dark surface. www.christiedigital.com www.tricolorindia.com

Saito City Hall upgrades NEXO brings jazz to former aircraft hangar with Martin Audio JAPAN

Saito City Hall in Miyazaki Prefecture has upgraded its loudspeaker system to a Martin Audio solution, including the latest WPS optimised line array. The multipurpose hall has a seating capacity of 1,000 and is used for ceremonies, lectures and cultural presentations. The system was supplied by Martin Audio dealer, Music Reserve.

“My goal was to create an environment in which an identical sound can be experienced in every audience seat,” said Mr Fukui of F Enterprise, the company that manages Saito City Hall. “We chose Martin Audio products because we have used the brand’s F215, X12 and LE100 point source systems for monitoring, which place the focus on the sound produced by the performer. Thanks to the resolution and clarity of the sound, making it easier for us to respond to the monitor requests at the site, I had no concerns.

“As Yoshikazu Mera, the famous countertenor singer, as well as the director of Saito City Hall also have a high appreciation of sound, we had no hesitation in choosing Martin Audio systems.”

A single array of five WPS elements was selected for the main proscenium system.

Since the required coverage area differs depending on the performance, two Martin

Audio XD12s per side provide nearfield and far field coverage. An SX118 subwoofer has been installed on either side of the stage, while four CDD5s are used for stage front fills to improve intelligibility while suppressing reflections at the rear seating.

The entire system is powered by four multichannel iKON iK42 dedicated control amplifiers.

“We are now able to deliver a stable Martin Audio signature sound anywhere in the venue,” concluded Fukui. “We have already used this system for various applications, including speech and music, and every time we have received praise.” www.martin-audio.com

GRAB Hall INDONESIA

Since the first Java Jazz Festival more than 15 years ago, the event has become a solid fixture in Indonesia. Having taken a Covidenforced hiatus over the past couple of years, the festival returned to Jakarta International Expo Kemayoran over the weekend on 27–29 May, with bands and musicians performing across nine stages.

GRAB Hall, a former aircraft hangar, was one of the more challenging acoustic environments at the festival, where local rental company, DSS Sound Systems, deployed a NEXO GEO M12 line array, with support from the technical team at Yamaha Music Indonesia Distributor (YMID).

“With no acoustic treatment on the concrete walls or domed ceiling, the room generates a lot of unwelcome resonance at certain frequencies, making it very difficult to achieve both clarity and impact from the sound system,” reported Ryan Indra Kusumah from YMID. “But the NEXO system was able to overcome the challenges and performed brilliantly.”

With Yamaha Rivage PM7 and CL5 consoles mixing FOH and monitors, the full system comprised of two hangs of nine GEO M12s, with 12 MSUB18 and four RS18 subs, and

four PS15s as front fills. Amplification and processing came from five NEXO NXAMP powered controllers.

“Using a NEXO system of this scale in a hall measuring 38m x 35m obviously gave us plenty of headroom, but our first consideration was to achieve even coverage and frequency directivity control to tame the acoustic problems evident in such a challenging environment,” commented Norman Hajadi, the system engineer appointed to oversee the system.

“We deployed the subs in cardioid configuration after modelling the system and venue in NEXO NS-1 simulation software,” reported Gabriel from YMID’s onsite technical team. “The result was spot on and, with only minor adjustment, worked perfectly to minimise low-end bleed onto the stage, while distributing low-end energy evenly throughout the venue.”

“Kudos to the NEXO NS-1 simulation that so accurately predicted the coverage of the system within the hall” added YMID tech team member, Edmonds. “Following the system we designed in NS-1, we flew the speakers and were ready to go. With slap back avoided, we could direct SPL precisely where we needed it.” www.nexo-sa.com

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NEWS: PROJECTS

Bernama Radio selects EAW reaches new heights at Tibetan theatre Calrec’s Type R for studio transformation TIBET

The world’s highest professional theatre has installed an EAW loudspeaker system supplied by Chinese AV solution provider, EZPro. The Everest Grand Theatre is located in the central area of Shigatse, Tibet, at an altitude of 3,900m. EZPro’s senior technical manager, Liuwei Zhu, designed a solution for the theatre using EAW RSX and MK Series speakers, facing some extraordinary challenges along the way.

“As an extra-large A-class theatre, the Everest Grand Theatre has a total construction area

the proscenium. “Before the official installation, we carefully analysed and simulated the PA system installation points, angles and sound coverage through EAW’s Resolution software, which provided a more specific basis and more time for onsite installation and commissioning.

During the actual installation, the loudspeakers were positioned in 3D modelling, achieving accurate coverage and good line array coupling.

The final commissioning results were completely consistent with the previous analysis and

MALAYSIA

Everest Grand Theatre of about 30,000m2,” explained Zhu. “The auditorium has three floors of seating, which can accommodate about 1,600 spectators.

Even sound coverage was a major challenge for the design and commissioning of the system because of the large space. At the same time, high-altitude areas have higher requirements for equipment stability and system safety, so the construction difficulties are much greater than those at lower altitudes.”

Zhu designed an LCR system with 14 RSX208L speakers per side and a central channel of 10 RSX212L speakers. Low frequencies are handled by six RSX218 subs.

“To ensure that the audience under the terrace is provided with consistent sound, we installed EAW MK8196i loudspeakers along the terrace under the first and second floors to provide infill,” added Zhu. “We also installed EAW MK5396i two-way full-range loudspeakers on both sides of

simulation. The EAW loudspeakers achieve even coverage across the auditorium and provide good consistency of high-, medium- and low-frequency bands. The entire sound reinforcement system allows the dynamic Tibetan musical style to be interpreted perfectly.”

Climate conditions at such high altitude also brought challenges to the construction and commissioning processes, with all workers breathing oxygen while working to mitigate altitude sickness.

The first performance at the Everest Grand Theatre, which is decorated throughout with the five traditional Tibetan colours of red, white, blue, green and yellow, was a cultural gala to celebrate the 100th anniversary of the Chinese Communist Party. www.eaw.com www.ezpro.com

Kuala Lumpur-based Bernama Radio, a government news station, has chosen Calrec’s Type R as its main radio mixer and routing system, which integrates into its existing AudioVault Flex and NewsBoss system. The installation of both the mixer and routing system was facilitated by distributor, JAA Systems, while the refurbishment project was integrated by Medialab Alliance.

Bernama Radio was looking to refurbish and transform its ageing audio system and radio studio facility, with reliability, user-friendliness and aesthetic high on the agenda. Calrec’s Type R was chosen as it fulfilled the client’s needs and could blend into the studio’s theme.

“We have evaluated various audio mixers available in the market during the tendering stage and we found that Calrec’s Type R

audio mixer suits us best, both technically and aesthetically. It is simple to use and the features are well-defined,” said senior technical producer at Bernama Radio, Mohd Shukhairman Mohd Zain.

“Bernama Radio has joined many radio stations around the world selecting Calrec’s Type R as their choice of radio mixer. The audio mixer with futureproof IP technology and superb audio quality provides simple operation for all users. From touchscreen to fader panels, everything is within a simple finger touch away for all features.

We are glad to be part of the upgrading and transformation of Bernama Radio,” said David Chan, director of JAA Systems. www.calrec.com www.jaasys.com

L–R: Amir Hazwan (engineer at Medialab), Ts Azhar Abdul Latiff (MD of Medialab), Mohd Ridzuan (engineer of Bernama Radio) and Mohd Shukhairman Mohd Zain (senior technical producer at Bernama Radio)

Hong Kong school puts students and sustainability first HONG KONG

The Chinese Foundation Secondary School (CFSS) in Hong Kong has recently upgraded its lighting package and rigging system in its school hall, opting for ETC. Recognised for its dedication to sustainable development, CFSS chose Source 4WRD II to replace its existing tungsten profile and Fresnel fixtures, which in turn reduces power consumption by 70%, without compromising on brightness.

LED fixtures also provide a cooler surface

which negates the need for cooling systems.

The upgrade includes a ColorSource Spot jr, encompassing a four-colour mixing system that brings bright and vibrant colours adaptable for mood and school plays and music performances. A ColorSource 20 AV console and EchoTouch work together to enable teachers and students to controls all fixtures, making it accessible for everyone, while a Prodigy FlyPipe enables students to

set up lighting rigs in a way that is said to be safe and reliable.

ETC has said that the upgrade has provided a sustainable and modernised theatrical system for CFSS. Teachers can enjoy the integrated lighting solution with the advanced theatrical lighting technology while encouraging creativity in their student designers and technicians. www.etcconnect.com

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FEATURES: LIVE

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Bringing it home A R Rahman appeared with a troupe of dancers

Delayed a year by Covid, Bangladesh’s 50-year celebrations and 100th birth centenary of its founding father finally went ahead with a star-studded concert headlined by Indian megastar, A R Rahman. Caroline Moss reports on the Dhaka event

Bang daug

ORGANISED BY THE BANGLADESH CRICKET BOARD, Cricket Celebrates Mujib – the affectionate name given to the country’s first president, Sheikh Mujibur Rahman – went ahead at the Mirpur Sher-e-Bangla National Cricket Stadium in Dhaka before an audience of 22,000, as well as being broadcast live on News 24 and Bangladesh TV. Aside from marking 50 years of Bangladeshi independence, the concert was also cause for something of a personal celebration for local event management and rental company, Mainspring, which finally had an opportunity to rig its entire Adamson E Series system. Delivered in early 2020 before the world went into lockdown, this is the first Adamson E Series to arrive in Bangladesh.

“It sounded so beautiful when we switched it on the night before the show,” reminisces Rezwan Rahman, managing director at Mainspring. “We’d been waiting for two years for this as we took delivery of the system and then it stayed in our warehouse. We’ve put smaller setups together using just the S10s and S119s for some local rock concerts, but we’d never flown it all at the same time. It was amazing to hear it in action.”

Adds Protik Chowdhury, senior manager at Mainspring: “We fired up the system the night before the show, around 8pm. The stadium people were having a meeting inside and they immediately asked us to turn it off as they couldn’t hear! But we wanted to hear it properly, and it exceeded our expectations. It was powerful and clear, with amazing sound quality.”

Mainspring made the decision to invest in a top-of-the-range Adamson system to establish Bangladesh on the international touring circuit. “We haven’t had a lot of international artists coming to Dhaka, so we thought we had to make a change,”

we ha Warre which As w for the comp throug A R Ra dance “Mo featur chang Rahm of bac show. was a ARR before arrive the sy engine “We optim led to sleep throug went b The nine E

Mainspring MD Rezwan Rahman continues Rahman. “My boss felt it was because we didn’t have the equipment that they’re looking for on their technical riders, and we were having to subhire it from India, where [Mumbai-based

rental company] Sound.com has an Adamson E Series system. So we needed to have our own one here, in Bangladesh. It’s a very powerful system, while also being compact.”

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FEATURES: LIVE The Dhaka concert also recognised another important date for the country. “2021 not only marked 50 years of Bangladeshi independence, it was also the 100-year birthday of the father of the nation, Sheikh Mujibur Rahman,” explains Chowdhury. “The concert was supposed to happen last year but couldn’t because of Covid. This was a huge milestone for our country, and we were very grateful to the authorities that we could be a big part of the celebration, to handle logistics and provide equipment. The concert was organised by the Bangladesh Cricket Board, who contacted us to come onboard, as well as A R Rahman’s team. We had worked with him back in 2014, and people here are crazy for him. We were able to provide his audio requirements for the concert because

The main PA system consisted of 15 Adamson E15 cabinets flown per side

“The crew did a fantastic job,” attests Rahman. “After it stopped raining, they took around 20 minutes to get the whole system ready for A R Rahman. We had to pull out every single cable, dry everything and plug it up again, but we managed to get it done in the available timeframe.”

The Indian artist’s team was also impressed with the technical backup they received during the concert. “We had a massive downpour an hour before the show, which the teams from Mainspring and Sound.com mitigated excellently, and the show started like nothing had happened,” says Damania. “I love the Adamson system – it sounded great. Mainspring are very strong; they are the only local company that can currently power up a stadium in Bangladesh.”

The Bangladeshi celebrations didn’t end there for the Mainspring team. In early May they travelled to New York to help stage a Scorpions concert at Madison Square Gardens. “The Concert for Bangladesh [a benefit organised by George Harrison and Ravi Shankar] happened 50 years ago, and my boss, Md Farhadul Islam, had the idea to do something at Madison Square Gardens because no actual Bangladeshis have ever performed there,” says Rahman. “He worked for several years to secure the venue.”

“We’d been planning shows throughout 2021 to celebrate Bangladeshi independence,” adds Chowdhury. “When Covid took hold of the actual celebration year, everything got postponed. Finally, this year, we were able to put on the Golden

A crowd of 22,000 filled the Mirpur Sher-e-Bangla National Cricket Stadium in Dhaka

Bangladeshi singer Momtaz Begum and her two daughters supported A R Rahman at the concert we had the system he wanted, as well as a deep connection with Warren D’souza from Sound.com, and he asked specifically for us, which was great.”

As well as the audio system, Mainspring was handling all logistics for the concert, as well as lighting, staging and trussing. It was a complex setup, with a multitude of Bangladeshi artists performing throughout the day, headlined by Indian film composer and singer, A R Rahman, who appeared with a troupe of musicians and dancers.

“Most of the time in Bangladesh we are dealing with events featuring multiple artists, so we’re used to doing quick changeovers between acts,” explains Chowdhury. “With A R Rahman’s performance, the challenge was that he had a big setup of backline equipment, so we had it rigged and prepared before the show. His team set up all his gear at the back of the stage, so it was already done.”

A R Rahman’s schedule meant he couldn’t arrive until the day before the concert, and the same was true for D’souza, who arrived with two crew members from Sound.com to help calibrate the system and set up FOH, working alongside Mainspring systems engineers, Shafayet Hossain Faisal and Rustom Ali. “We needed Warren’s expertise to help us fly the system at the optimum angles and calibrate everything,” says Chowdhury. This led to an extremely busy period right before the concert. “I did not sleep at all for 48 hours,” he continues. “We were doing rehearsals throughout the night, which ended around 8am on the show day. I went back home, took a shower and went straight back again.”

The main PA system consisted of 15 Adamson E15 cabinets and nine E219 subwoofers per side, with four Adamson S10s and two

S119 subwoofers flown at either side of the stage to provide side fill. Mainspring also owns a d&b J Series system, which Rezwan Rahman describes as “very melodic”. This was purchased when the rental company began trading in 2013, and these cabinets were used as further side fill and delay systems. Four J12s and six J8s were positioned at either side of the stage, with four delay stacks in the far field, each consisting of three d&b J8s and two J-Subs. The Adamson system was powered by three Lab Gruppen PLM 12K44s and the d&b systems by a total of 18 D-80s.

A lineup of local artists opened the concert, with sound engineer Md Shamim Ahmed handling all the audio and mixing requirements from an Avid Venue S6L console with a Stage 64 rack at FOH. A DiGiCo SD10 was used for monitors, with a second SD10 for the outside broadcast. A R Rahman’s team brought in their own mixing console – a DiGiCo SD5 – which was operated by the star’s own FOH engineer, Fali Damania. The headlining performance ran for almost three hours, the culmination of a long evening of entertainment that began at 5pm and finished at 11.30pm.

Despite the amount of work that went into preparing for the concert, an inopportune and torrential downpour almost threatened to derail the careful preparations. “Because of the rain, we had to disconnect everything and plug it all back up again,” says Chowdhury. Fortunately, the shower happened during a planned break after the local artists and right before Rahman’s appearance, which limited the delay, but meant the crew had to work very fast to dry the stage. This was particularly important given that the Honourable Prime Minister of the People’s Republic of Bangladesh, Sheik Hasina, was the guest of honour at the concert.

Jubilee Bangladesh Concert at Madison Square Gardens, organising it from Bangladesh before travelling to New York to put it on. We were looking after the whole show: the production itself, dealing with the artists and the show promotion, which we aimed at the Bangladeshi community in New York.”

Mainspring worked closely with the Creative Artists Agency (CAA) and Live Nation. Audio for the concert was handled by US rental giant Clair Brothers, which supplied a Clair Brothers Cohesion line array system, with a Yamaha CL5 console and a Rivage PM10 CS-RI0 control surface for FOH. Lighting fixtures were supplied by Volt, with MA Lighting grandMA consoles provided by 4Wall Entertainment.

The sold-out Golden Jubilee Bangladesh Concert went ahead on 6 May before an audience of 11,000; a benefit show to help the UNDP (UN Development Programme) launch a global awareness campaign on cyber security. Supporting the Scorpions were the first Bangladeshi band to perform at the legendary venue, Chirkutt, a fusion group who got together in 2002 and have worked on film scores in Bangladesh, enjoying an upsurge after their debut album, Chirkuttnama, supported by live performances, was released.

Having weathered the frustrations of a year’s delay, its new Adamson system sitting in the warehouse for almost two, Mainspring has not only roared back with the Bangladeshi celebrations, its mission to place the country, its music and technical abilities firmly on the world stage is truly underway. www.adamsonsystems.com www.mainspringbd.comn

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FEATURES: COMMERCE

Centre of gravity

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Sue Su reports from a major international conference venue that’s opened in the eastern Chinese city of Nanjing THE NANJING YANGTZE RIVER INTERNATIONAL Conference Center has been designed by Morphosis Architects in Los Angeles in conjunction with Beijing Architectural Design Institute in strict accordance with requirements for world-class summits such as APEC, G20 and BRICS. With a total construction area of ​​187,200m2 the building, across the river from Nanjing’s main city in the new urban centre of Jiangbei, is designed for global conferences and high-end business forums. It will also serve as the permanent site of the Cross-Strait Entrepreneurs’ Purple Mountain Summit, an important milestone in developing trade and relations between mainland China and Taiwan.

The building is divided into four functional areas – conference, exhibition, office and hospitality – and includes a convention and exhibition centre and a 33-storey hotel in addition to supporting spaces and infrastructure.

Chinese distributor and systems integrator EZpro International provided a one-stop solution for the sound reinforcement and lighting control for 13 venues including the main conference hall, a multifunctional hall, a VIP meeting room, meeting rooms on the first and second floors, a banquet hall and a central control room on the third floor, as well as the hotel’s lecture hall and banquet hall. The distributor supplied a range of its brands including Allen & Heath, EAW, Pan Acoustic, Powersoft, Symetrix and High End Systems. Nearly 200 devices within the audio infrastructure are Dante-enabled to facilitate AoIP transmission, while the most important halls all have digital-analogue backup to ensure system security and stability.

The exhibition centre houses three main venues: a conference hall and a multifunctional hall on the first floor and a banquet hall on the third floor. All three are 13m high with a reverberation time of between 1.1s and 1.4s. At 2,800m2 the main conference hall is the largest venue for bigger conferences and presentations, accommodating around 1,300 people. Slightly smaller is the 2,500m2 banquet hall on the third floor, which is mainly used for hospitality aftershow events, though it can also host conferences if the other halls are fully booked.

“According to the requirements of the owner, the SPL in these two halls needed to be sufficiently high, with enough uniformity and clarity that people are able to hear clearly in every corner of the venue,” explains Ge Jingcheng, project manager at EZpro. “The sound system components had to be chosen carefully, taking into account the long reverberation times of these large areas.”

The marble-lined VIP meeting room

The 8,700m2 multifunctional hall is the centre’s largest venue

both the main conference and banquet halls are Allen & Heath Avantis digital mixers, with Allen & Heath ZED2042 analogue consoles for backup. Both systems are also equipped with three Symetrix Prism 8x8 digital signal processors for adjusting EQ, delay and gain. Digital and analogue signals are hot-switchable and, if the Dante digital signal is interrupted, the analogue signal automatically switches on.

The largest venue within the convention and exhibition area is the flexible ​​8,700m2 multifunctional hall. This is mainly used for exhibitions but can also be divided into two or three separate spaces for different types of conferences. This hall also required a high level of audio clarity with sufficient SPL and sound uniformity.

The two venues have been installed with identical audio systems: an L-R configuration of eight EAW KF810P line array modules per side and 24 ceiling-mounted EAW CPL1596 point source speakers providing rear fill for the back of the room. Low frequency is supplemented by four EAW SB828zP subwoofers placed on either side of the stage, and eight EAW CPL12M wedges provide stage monitoring.

All systems throughout the venue are powered by Powersoft DSP+D Dante-enabled amplifiers. Eight Quattrocanali 4804s are used to drive the main PA system, with six Quattrocanali 2404s for the fill and monitor systems and four X4s powering the subwoofers. All amplifiers are monitored and managed

by Powersoft’s ArmoníaPlus software. The main consoles for

The hotel’s lecture hall is equipped with Pan Acoustic Pan Beam speakers

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FEATURES: COMMERCE The PA system is an LCR configuration, with 12 EAW KF810P line array modules for each channel. These 36 speakers are driven by 18 Powersoft Quattrocanali 4804 amps. The rest of the system is similar to the main conference and banquet halls: 24 EAW CPL1596 point source speakers, four EAW SB828zP subwoofers and eight EAW CPL12M stage monitors, with six Powersoft Quattrocanali 2404s and four X4 amplifiers. The main console is also an Allen & Heath Avantis, with an Allen & Heath ZED2042 analogue mixer for backup and three Symetrix Prism 8x8 digital signal processors. Additionally, the multifunctional hall and banquet hall are equipped with High End Systems Road Hog 4 lighting consoles.

With a height of 9m, the 750m2 VIP meeting room on the first floor is constructed from marble slabs, with almost no sound absorption provided. Consequently, this room has a long reverberation time, presenting a major challenge in achieving sufficient SPL and intelligibility without destroying the interior décor aesthetics. Four Pan Acoustics Pan Beam series PB224-D active column loudspeakers have been carefully concealed on each side of the room as the main system. In addition to being well-integrated into the décor, the digital steerable active column loudspeaker produces two sound beams. Using the built-in DSP, the vertical coverage angle and inclination angle of the sound beam can be adjusted to avoid reflective surfaces and address excessive room reverberation and reflections.

The room is also equipped with an Allen & Heath SQ-7 console and a Symetrix Prism 8x8 digital signal processor for simple conference setups, allowing users to manage and recall audio settings via a wall panel.

Meeting rooms on the first and second floors range in size from 100–300m2. According to the size of the rooms, differing numbers of Pan Acoustics Pan Beam PB224-D and EAW CPL1596 speakers have been installed for sound reinforcement.

The central control room, where signals from all the rooms can be transmitted by Dante for monitoring, is installed with an Allen & Heath Avantis console and two Symetrix Prism 8x8

The EAW KF810P line arrays in the banquet hall DSPs. In case an abnormal situation should arise, the control room can instantly notify the relevant venue.

The conference centre’s hotel is connected to the exhibition area via a central corridor. A lecture hall on the first floor and a banquet hall on the second floor have also been equipped by EZpro with similar audio brands and models, depending on the size of the room. The main systems consist of Pan Acoustic Pan Beam PB224-Ds, with EAW CPL1596 loudspeakers suspended from the ceiling for even coverage and EAW CPL12Ms for stage monitoring. The EAW speakers are powered by Powersoft Quattrocanali 2404 amplifiers, the main console is an Allen & Heath SQ-7 and a Symetrix Prism 8x8 DSP provides audio processing for simple conference scenarios.

EASE Focus software was used to simulate the sound fields throughout the design phase of all the audio systems, ensuring that each type of hall complies with the highest level of specification according to the Chinese national standard for sound reinforcement systems in halls and sports venues.

The Yangtze River International Conference Center was completed in June 2021 and inaugurated in December for the Cross-Strait Entrepreneurs’ Purple Mountain Summit, for which EZpro sent technicians to support the event. The centre will enable Nanjing to host high-level conferences and events, positioning it as a host of international functions and a nationally important city, enhancing regional competitiveness. www.ezpro.com

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FEATURES: GOVERNMENT

Artistic freedom Rockhampton Museum of Art (RMoA) has become regional Queensland’s largest gallery since moving to the Riverside Redevelopment precinct. Caroline Moss learns how the AV systems will ensure ongoing relevance in future years LOCATED ON THE BANKS OF THE FITZROY RIVER – Tunuba, to use the name given to it by the indigenous Darumbal people – RMoA’s new gallery offers three expansive exhibition spaces, and forms part of Rockhampton Regional Council’s plans to activate the CBD, enrich tourism and boost economic activity in the region. At six times the size of the former gallery site, the increased space allows millions of dollars’ worth of art kept in storage for decades to finally go on display. The new museum has been designed by a team funded by the federal government, Queensland Government and Rockhampton Regional Council consisting of Conrad Gargett Architects, Clare Design and Brian Hooper Architect. AV and lighting systems have been conceptualised and designed by Ashley Salta, technical director of Neot Solutions, a Queensland-based company specialising in creative and community projects throughout the state.

Previously employed by Rockhampton Regional Council, Salta was seconded to the new RMoA project as technical advisor in 2018. This entailed providing a detailed design, contributing specialist advice, interpreting the functional requirements of stakeholders and end users and translating it into tender-specific documentation. The tender, released in March 2019, was awarded to Woollam Constructions, with work commencing in mid-2019, installation and commissioning in early 2021 and full completion by July 2021 for an opening in early 2022.

The brief included futureproofing the building for years to come while maintaining simplicity of use for the end user.

A Q-SYS infrastructure supplied by Australian distributor Technical Audio Group (TAG) is central to the system, providing a complete solution for AV control and matrix of native QSC devices and third-party peripherals, with interfaces providing integration with Dante and a variety of control systems.

“I had the fortune of knowing the client, their assets and systems in-depth,” explains Salta of working with his previous employer. “With my background in live events, corporate entertainment, IT and community facilities, combined with my corporate knowledge of the business, I was seconded to support the RMoA project team to bring about one of Rockhampton Regional Council’s most ambitious projects.”

The history of RMoA began in 1931 when an 18th-century English painting was bequeathed to the City of Rockhampton. A dedicated exhibition space at Rockhampton Town Hall was established in 1967 before a purpose-built home was acquired in 1979 following some sizeable art acquisitions. The collection is largely attributed to former Rockhampton Mayor Rex Pilbeam, who used a federal government scheme to purchase about A$500,000 worth of art for $60,000 in the mid-1970s – today worth more than $18m. Community fundraising and strong leadership have seen the gallery’s collection grow, mainly through sponsorship and benefaction, encompassing modern and contemporary Australian paintings, prints, ceramics and photographs; art and artefacts of central Queensland; a collection of late 20th-century British prints by artists including Henry Moore, Richard Hamilton and Peter Blake; and a Japanese samurai suit, screens and kimonos. RMoA continues to honour the commitment to contemporary Australian painting established by Pilbeam and support the development of visual arts in central Queensland.

The new 4,100m2 building is formed by two gallery spaces of 580m2 each, in addition to a long gallery and a foyer gallery. RMoA is also designed as somewhere to make as well as display art, with three programmable spaces and a collection study room. With over two decades’ experience working with performing arts venues throughout Queensland and five years supporting the technical services of art galleries, Salta recognises that the requirements for presenting visual arts have evolved over time. “Audience expectations have come to include content that is less static, more dynamic and more engaging,” he says. “My experience in the performing arts was highly valued in specifying for a contemporary art space.”

Salta is full of praise for TAG’s support throughout the project: “They were very thorough in demonstrating the product’s capability and assisted with the components required to make up the system and provided Q-SYS training.

They also accommodated the team’s additional questions and assisted with integrating third-party systems and protocols.”

Q-SYS offered the project the flexibility and scalability to perform a range of functions in the building and will enable future expansion without needing to upgrade the entire system. “It was easy to bolt on additional components as required, and also allowed us to control and interface with third-party products and integrate the AV system with the

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FEATURES: GOVERNMENT of NEC monitors and videowalls, ScreenTechnics Masterfit IP-controlled motorised screens, 10 Epson EV-100 track-mounted projectors, an Ampetronic Dante hearing augmentation system, Monisms MNS-3A11OWS-1P POE Dante outdoor speakers and iPads for end user control.

The new Q-SYS infrastructure allows the spaces to be programmed in various modes, transforming them quickly from traditional gallery spaces by day to event spaces among the artworks by night. Q-SYS also lends flexibility to the programme rooms, allowing four spaces to operate simultaneously as separate zones, or become a single larger space with AV matrix and peripheral control operating together at the touch of a button. For larger events, indoor and outdoor zones can be programmed to provide a seamless transition between these spaces.

building more broadly,” explains Salta. Existing equipment is supported to plug-and-play as required, and the spaces can expand or contract, depending on the exhibition.

Additionally, there is consistency with Q-SYS systems being installed in other facilities across the organisation including for foyer and backstage AV matrix at the 972-seat Pilbeam Theatre and indoor and outdoor zoned audio matrix at the Rockhampton Heritage Village.

A Q-SYS Core 510i with eight I/O card slots, Dante I/O fourchannel mic/line analogue input and output cards, I/O-8 Flex and I/O-USB bridge facilitate networked audio in 18 audio zones across the venue. Eight Dante AVIO analogue input adapters and four AVIO analogue output adapters provide Dante connectivity, with 10 DMXking eDMX2 Pro Ethernetto-DMX and sACN-to-Pharos LPC DMX interfaces for lighting control, plus IP interfaces to projectors, electric screens and NEC videowalls as well as interfaces for Casambi lighting controllers and relay-operated blind control.

QSC AcousticDesign surface-mount speakers have been used throughout the gallery for the public areas, with AcousticCoverage ceiling-mount speakers for back of house, powered by QSC CX-Q series amplifiers – all provided by TAG. Third-party equipment supplied by local reseller Stage & Audio Event Solutions includes three Audio-Technica AES67 desktop mounts with ES915H24 gooseneck microphones, six Shure ULX-D B87 wireless handheld mics, two Shure ULX-D ULXD1 wireless bodypack transmitters, two Shure ULX-D quad receivers, four Shure antennas, five Soundtube IPD-RS62-EZ Dante-enabled pendant speakers, a range

As Australia’s construction industry was designated an essential service during Covid, work continued throughout the pandemic, with some collaboration moving online and supplier demonstrations held virtually, rather than in-person. Product availability concerns were mitigated by working closely with suppliers, securing quantities in advance of original project timelines.

The new museum houses a nationally significant permanent collection of more than 3,000 pieces. “The reimagined RMoA will be a site that fosters a fundamental sense of place and community through a celebration of visual art, engaging locals and tourists in the evolving narrative of Rockhampton and its diverse cultural heart,” comments Rockhampton Regional Council Mayor, Tony Williams. “We are thrilled to see the precinct come to life as a new community hallmark.” www.neot.net.au www.qsc.com www.tag.com.au All images courtesy of Harry Frith Photography

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FEATURES: LIVE

A day to remember Pune-based rental company, Sound Effects

by Uday Shah, has provided a sound system for the memorable Trikaal cultural festival in celebration of World Heritage Day at India’s Ellora Caves WORLD HERITAGE DAY – ALSO KNOWN AS International Monuments and Sites Day – celebrates work carried out by the International Council on Monuments and Sites (ICOMOS) to increase awareness of the diversity of cultural heritages around the world, preserving them for future generations. Among the heritage sites in more than 150 countries internationally are historic locations such as Machu Picchu in Peru, the Pyramids of Giza in Egypt, Bagan in Myanmar, Angkor Wat in Cambodia and the Great Wall of China.

One of the sites which celebrated World Heritage Day 2022 on 18 April was the historically important Ellora Caves in Aurangabad in an event hosted by the Archaeological Survey of India (ASI).

The ASI planned to use the event to educate younger generations about India’s rich heritage to safeguard the culture and raise awareness of the efforts of architects, engineers, geographers, civil engineers, artists and archaeologists in conserving such important sites.

Ellora Caves is a UNESCO World Heritage site built during 600 to 1000 CE, comprising Hindu, Buddhist and Jain temples in addition to over 100 caves which once provided shelter for itinerant Buddhist and Jain monks. As 2022 also coincides with Azaadi Ka Amrit Mahotsav – 75 years of India’s independence – the ASI Aurangabad circle presented a photographic exhibition along with the Trikaal cultural festival to promote the diversity of Indian classical music and recognise leading artists from this genre. Trikaal – which translates to “past, present and

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FOH engineer Jayakrishnan Nalinkumar (JK) with the DiGiCo SD10

future” – was organised by artistic director Birwa Qureshi, with a lineup of musicians including Ustad Fazal Qureshi on the tabla, vocalist Anand Bhate, flautist Rakesh Chaurasia, Dilshad Khan on the sarangi, Sridhar Parthasarthy on the mridangam, Sangeet Haldipur on the keyboard, Gino Banks on drums and bass guitarist Sheldon D’Silva. The festival was hosted by guest artist Sachin Khedekar in front of the Kailasa Temple, the largest of the rock-cut Hindu temples hewn from the cliff face at Ellora, using the 32m-high façade as a backdrop for the musical spectacular.

Production of Trikaal was handled by A Field Production with an audio system designed, provided and operated by Pune-based rental company, Sound Effects by Uday Shah.

The unique setting, combined with the lineup of world-class musicians, demanded an optimum audience experience to do justice to the event. “A live concert has three important aspects: stage, lighting and, perhaps most importantly, sound,” explains Aditya Gupte of A Field Production, which requested Lakir Mehta as the monitor engineer for this event. “We trust Lakir to be an excellent sound engineer. His understanding of the various nuances of his craft is really unparalleled, and this is what made our work easier in terms of the kind of approach we needed to take with the sound reinforcement. Sound Effects by Uday Shah came onboard along with Lakir and we found that the team’s level of commitment to the event was as high as we expected it to be.

Their inventory is up-to-date with all the latest equipment and so, as organisers, we knew that the technical requirements in terms

of sound would be well taken care of. They did do a fabulous job; the event was flawless, the music experience was impeccable and everyone was really pleased.”

Sound Effects director Uday Shah explains that his team designed and commissioned the technical setup with the utmost care, keeping in mind the venue’s World Heritage status and the accompanying limitations and sensitivity that had to be followed when it came to sound reinforcement. “While the famous rock-cut Kailas Temple added to the beauty of the stage and the classical fusion genre of the music, we had to ensure that the loudspeaker system was designed and placed in a manner that would not compromise the visual appeal of the production, yet would enhance the aural experience for the audience,” he explains. “This was the brief provided by the show producer, and so we had to spend a fair bit of time analysing the site to account for various architectural and spatial factors that could impact the overall sound experience and go about putting together a system that would reproduce even the most nuanced musical notes from the lineup of musicians onstage.”

The team began setup onsite in the early hours of the morning on the day of the event, proceeding with care and precision, with progress becoming a little more challenging as the temperature soared to almost 43°C throughout the day. A JBL loudspeaker system was deployed, with six JBL VTX V25-II line array modules and four JBL VTX G28 subwoofers on either side of the stage to cover the front of house, and four JBL

The musicians performed in front of the spectacular rock-cut temples

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FEATURES: LIVE VRX932LA compact line array modules used as centre fill. Ten JBL VRX915M wedges were placed strategically onstage for monitoring, and the entire loudspeaker system was powered by multiple units of Crown I-Tech 12000HD amplifiers. On mixing duties were a DiGiCo SD10 console at FOH, operated by sound engineer Jayakrishnan Nalinkumar (JK), while Mehta was using an Avid Venue SC48 to create the artists’ monitor mixes. Two sets of Sennheiser Digital 6000 series wireless microphone systems were in use, together with several wired and wireless microphones from Shure and Sennheiser. The Sound Effects team also provided backline for the event, comprising a Markbass Little Mark Tube 800 amp with 104HR cabinet, a Pearl Masters seven-piece drumkit and Yamaha keyboards.

“Since it was a large-scale classical fusion concert with some of India’s most noted musical maestros, at a venue that’s regarded as a World Heritage site, it was an overwhelming

JBL VRX915M wedges were used for monitoring experience,” says Mehta, “but, thanks to the Sound Effects team, everything went smoothly. Their backline was amazing, and the artists were full of praise about the quality and performance of the equipment. JK who was at front of house did an amazing job to sort inputs and output patch-list, and so it was extremely easy for me to work my part. Overall, my experience was great.”

Adds Shah: “It was so heartening to receive a flurry of compliments from the artists, organisers and audience members. I’m extremely proud of the efforts that every member of Sound Effects put into bringing this magnificent event together. This is an event that will hold a special place in my memories for years to come.”

If the audience went away with similar memories of this unique concert, the ASI will have fulfilled its brief for raising cultural awareness during International Monuments and Sites Day 2022.

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JK (centre) and Sound Effects crew at FOH

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FEATURES: RECORDING

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South Indian acoustic consultancy Sound Wizard has designed a new music studio in Hyderabad that’s on a mission to support artistic talent WITH EVER-INCREASING PRESSURE ON MUSICIANS TO finance and promote their recordings, it’s refreshing to hear about Rhythmonline, which is providing a studio and a platform, as well as an app, to help them do just that. “After personally experiencing the satisfaction of recording in good studios in other cities across India, we felt the need to have such a space here in Hyderabad and make it accessible to all musicians with our flexible pricing,” explains managing partner Sanjay Das, who created the company along with founder and CEO Hari Mehta and a collective of fellow musicians, engineers and producers. “We can also help them build their songs by providing connections and collaborations, and make good quality recordings by offering a choice of preamps and microphones so they can try out different combinations.”

Once the local contractors hired to construct the studio, as well as install acoustic treatment, had finished work, the team brought in some audio equipment to test it out. Sadly, instead of the hoped-for sonic clarity, it transpired that the acoustics were sorely inadequate.

“I knew immediately that the existing room could not host the good quality speakers and microphones we were planning to get,” says Das. “We had been following the work of [Sound Wizard founder] Didier Weiss for a very long time, and a friend of mine also attended his course on acoustics a few years ago. I contacted him and sent him drawings and room dimensions, plus details of the materials used by the carpenter.”

On visiting the studio, Weiss presented them with an uncomfortable truth: to improve the acoustics, he would have to rip out the treatment that had been provided and start over again.

“I told them it would be painful as they would have to invest for a second time, having just built the studio, and also decide on what the main monitors were going to be, so I could incorporate them into my design,” he says. “Fortunately, they had the courage to go ahead with this. I could see it was a high-quality endeavour that fitted with Sound Wizard’s ethos of working with serious clients to provide the highest quality, regardless of the size of the project.”

Not only did the studio’s non-functioning acoustic treatment need to be remedied, it also had to be specifically designed with music production in mind. “This isn’t such a common requirement as it is in the west,” continues Weiss. “In India, studios are usually designed and built to be multipurpose, but this one is all about the music.”

Work commenced in April 2021, with the Sound Wizard team visiting the site on several occasions, albeit clad in full hazmat suits during periods of Covid travel restrictions. Weiss executed his design in EASE acoustic simulation software, for which he is a qualified trainer. Two main challenges arose during the project, one of which was the relatively modest size of the space: a 10m2 control room and 25m2 recording area.

“The smaller the studio, the more complicated it becomes in terms of acoustic treatment,” Weiss explains. “You very quickly have the ‘bathroom effect’, with low frequencies piling up and giving a lot of trouble. We had to be particularly careful about the low-frequency response of the room; it had to be really clean, because no matter how good the speakers are, they are only as good as the environment allows them to be.”

Weiss used the spaces outside the studio, such as corridors and reception areas, as bass traps to absorb some of the low-

Rhythmonline provides a good selection of mic preamps

Quested HQ210s from Indian distributor, Rivera International, are the main studio monitors

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Sanjay Das at the API The Box 2 console, another first for Hyderabad

Sound Wizard designed diffusers specifically for the compact control room frequency energy outside the control room.

“That’s what we do when we don’t have much space inside the room itself,” he continues.

The second issue was also space related. “You need to have enough ‘travel time’ to create a sense of space, so that it doesn’t become a totally dead room, or starts to enter the zone where everything is ringing, so we needed to add more diffusion than we would in a bigger studio, where you have a longer travel path. We designed a diffuser specifically for the control room and we also enhanced the original recording space, which was completely dead in the mid and high frequencies and resonating at the low end.”

For main monitoring, a pair of Quested HQ210s supplied by Indian distributor, Rivera International, was chosen. “Because the room was small enough, we were able to use the 10-inch speakers,” says Weiss. “The smaller the drivers, the better I find the impulse response and transparency of the system.”

Main studio monitoring was something the team hadn’t considered prior to meeting Weiss.

“When we started thinking about the studio we didn’t plan for far field monitoring, we only decided on nearfield,” explains Das. “When Didier suggested that this room could have far field, I looked at the options we have here in India. I also knew that Didier has worked with Quested monitors for many years and, since my favourite studio, Abbey Road also has them, it was an easy decision.”

Other equipment at Rhythmonline includes Hyderabad’s first API The Box 2 console, PMC twotwo.8 nearfield monitors and a good selection of mic preamps including Millennia

STT-1 Tube/SS, Neve 517, Shadow Hills Mono Gama, SSL Six channel strip, Chandler Germ 500, IGS 572 Red Stripe and Empirical Labs DocDerr models. Soyuz 023 Bomblet, Neumann U87i, Sennheiser MK8, e 901, e 902 and e 904, Lewitt LCT 640, Røde NTK Tube, Lauten LA120, Shure SM57 and SM58 and Telefunken M80 microphones are also available.

The studio redesign took almost a year to complete, though Covid wasn’t the main culprit in prolonging the timeframe, which was affected by a shortage of staff to carry out the work, as well as supply chain delays, including speaker shipment from the UK. But judging by the team’s reaction, it was worth the wait. “This is Didier’s first music studio in Hyderabad, and he’s done everything he can to make this room sound amazing for both recording and mixing,” says Das. “The recording space is very lively, with healthy early reflections, ample diffusion and absorption.

It’s good for recording very soft instruments and intimate vocals as well as loud drums and airy violins. The control room has a wide sweet spot and punchy low end with no unwanted vibrations or frequencies. There’s minimal fatigue when working long hours. The equipment layout is very simple and ergonomic, with everything within arm’s reach without having to move out of the sweet spot.”

Once the studio opened, approval from the Indian recording community was swift in coming. “We got a phone call recently from Harris Jayaraj, whose studios we designed in Chennai,” recalls Weiss. “He was looking for a studio in Hyderabad to record in and wanted to know if we’d done any. I told him about Rhythmonline, and that they had the same Questeds as in his smaller studio, so he decided that because the rooms were so compatible, he could work on his project in Chennai and Hyderabad.”

Affirmation from Jayaraj, one of India’s leading film soundtrack composers, confirms Rhythmonline’s success as a world-class music facility, and is a great recommendation for the musicians of Hyderabad.

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BUSINESS: COMMENT

A letter from America Dan Daley places a bet on the future of AV in the sports industry IN THE 1967 FILM THE GRADUATE, ONE MR MAGUIRE leans over and gives young Ben Braddock, played by Dustin Hoffman, a word of career advice. Literally, one word. “Plastics.” If that scene were to play out today, it could still be boiled down to single word: “Sports.” It’s where the money is at the moment – as an industry it’s expected to grow from nearly US$354b in 2021 to over $501b this year – and it’s where the money is going to be for the foreseeable future.

Eric Hutto, the newly named CEO of Diversified, one of the world’s largest systems integrators and a force in sports AV technology, noted that there’s at least $10b planned for expenditures in stadiums alone by 2030, and probably far more than that. As a rule of thumb, the AV budgets for commercial projects can be fairly predictably estimated at about 10% of a project’s overall cost. Use that calculation with any of the preceding numbers and you’ve got a healthy business in any industry.

Much, if not most, of the money is going into venues and supporting broadcast investment. That portion is likely only going to get larger as the line between AV and IT continues to blur. Those d&b and L-Acoustics PA systems we used to only see on high-end music tours

have now carved out their place in stadiums and arenas, and the video screens are reaching towards the limits of their physical possibilities.

Not to burst anyone’s balloon when it comes to music, but the career opportunities that this sports/AV juggernaut is creating are very real and attractive. In the US, broadcasters are starting to panic about where the next generation of broadcast audio mix engineers for sport are going to come from, as the current generation of A1s – most of whom are in their 50s and 60s – age out. That’s on top of what music touring is also discovering, to its horror: now that shows are ready to go out on the road again, they can’t find the technical personnel needed to keep them rolling.

Music and sport – both of which use a ton of audio, video, lighting and stagecraft – will be competing for a shrinking pool of those people. Music’s advantage is its innate coolness, while sport, in the bowl or on the air, offers better and more consistent compensation.

Just look at the long-range numbers: sport is poised to top the half-trillion-dollar mark while the global music business was just happy to get to $26b in 2021, its best number since the CD-fueled year of 1990. Twentysomethings aren’t noted for their rigourous analysis of

future earnings potential; they’ll go with what’s cool.

But as soon as the first baby comes along, there will be pressure for something that pays consistently and well, and keeps you closer to home. Advantage: sports.

Meanwhile, the opportunities that come from designing, installing and integrating all the AV that the next generation of sports venues will need could meet all those criteria for a lot of people with the right skills.

It takes 2–3 years to build the average major-league stadium.

The next wave is already here. In the US, the NFL’s Buffalo Bills are seeking a new $1.3b stadium and Tennessee is debating who’ll pay for most of the Titans’ new $2b stadium in Nashville. In baseball, the Kansas City Royals, Oakland Athletics and Tampa Bay Rays all want new parks. In the NBA, the Los Angeles Clippers have already started to build their new $1.2b arena while the Philadelphia 76ers and Dallas Mavericks are angling for funds.

Unlike music touring, sports rarely stopped during the pandemic; games and matches went on even with no one in the stands. If you’re looking to place a wager on the future, Ladbrokes might be happy to place your wager on how AV and sports will continue to go together.

A letter from Europe Phil Ward ponders a new Cold War within pro AVL since the invasion of Ukraine ACCORDING TO SOURCES IN DUBAI, THE RUSSIANS and the Ukrainians within the pro AVL community out there have stopped talking to each other. If you want somebody’s phone number, you’re asked not to reveal who gave it to you. In a few weeks, a fraternity that typified the global village of entertainment technology and its enviable hands-across-the-water ethos has descended into a Franz Kafka novel. Kafka, in case it’s been a while, specialised in the dark recesses of existential paranoia, largely inspired, if that’s the word, by the Cold War. The Western consensus is to block trade with Russia, and to apply economic sanctions supposed to put pressure on its economy. More than that, it seems, it’s a natural reaction of moral indignation equally designed to cleanse the souls of those caught in business-tobusiness compromises, rather than to scare Putin into changing course. All the signs are that the industry has spontaneously applied its own sanctions across the board, leaving Russian traders back in the dark ages of the Iron Curtain or, in the words of one contact: “like 1976 again”.

From the 1960s onwards, the curtain wasn’t quite as iron for some canny entertainment entrepreneurs as it was for

others, and it progressively rusted as we approached the end of the Soviet Union in 1992. By that time, many of the major players in the industry were already deep into long-term accounts with old friends, the invoices flowing with the vodka that sealed the deal. Soon after a new generation of Russians was allowed to travel they were, effectively, being allowed to set up offshore bank accounts all over the place.

Many of those still exist, if under the radar that’s currently chasing the assets of only the most visible oligarchs, so that the exclusion of Russia from the international banking mechanism SWIFT does not provide a complete shutting of the door. Just like the good old days, there are ways and means of doing trade if you feel you should, and you have a good roadmap of Finland.

Some artists in Russia would like to protest against what’s happening, just as we did in the 1960s, and are dismayed when orders for new equipment intended to amplify that protest are cancelled. It would be like the Grateful Dead being rendered silent because their PA system came from China, when China supported Nixon.

Equally absent from the chorus of disapproval, by the way,

is any sign of Geldof-style fundraising for Ukraine in the hands of all those Western artists who have not previously hesitated to sing for Africa or, earlier, howl for Vietnam. If it’s just that they’re too old, then we have bequeathed a generation that is happy to let that symbiosis die out.

Isolating Russia can be self-defeating in many ways, given how it grinds down the flow of cash and goods and abrades the channels just as we also face supply chain issues from chip shortages and shipping restrictions to protectionist policies and the disintegration of bonding initiatives such as the EU. Unfortunately, it won’t be the same Russia when the time comes that sanctions can be lifted without anybody feeling guilty. It’s a country divided in two: if you thought Vietnam created a generation gap, Russia has an even bigger one. Putin’s generation and above are Soviet thinkers and mistrust the West instinctively. Their children have enjoyed rock and roll, hamburgers and overseas travel for 30 years, and the hunger for guitars, amps, line arrays, DSP and in-ear monitoring is very real and won’t just disappear.

In-ear monitoring. Kafka would have had a field day with that stuff.

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mc 36 2

ALL-IN-ONE

AUDIO PRODUCTION

CONSOLE

lawo.com/products/mc²36/

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BUSINESS: COMPANY PROFILE

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Family values Family values – Juan Amate (centre) with his sons Joan (left) and Jordi

After 50 years of quiet success and innovation, brothers Joan and Jordi are charting the course for Amate Audio’s next half-century, writes Richard Lawn AMATE ELECTROACÚSTICA AND ITS MASTER AUDIO trading brand had quietly gone about its business of crafting innovative electroacoustics for some four decades. Perhaps too quietly, preferring users to proselytise innovative designs rather than sing its own praises. A 2015 decision to rebrand as Amate Audio not only confirmed a desire to be recognised by the name of founder Juan Amate, it also marked a significant turning point. The younger Amate generation has imposed its presence on the company and is pioneering future fortunes as the manufacturer, based in Terrassa, just north of Barcelona, enters its sixth decade.

“We have always enjoyed pioneering the use of new technologies in professional sound,” explains Juan Amate from the demo room of his headquarters. “Many of our designs and engineering firsts seemed crazy at the time, but they have gone on to become industry standards.”

A backwards glance confirms this bold statement. In 1985, a world-first was rolled out as the AD Series amplifiers integrated clip limiters into their circuit boards. Four years later, the first ever three-channel power amplifier with integrated active signal processing and crossover, the TP-700, launched.

The first three-way parametric fully configurable analogue processor – the VP3 – arrived in 1990, followed by DPU signal processing amplifiers including electronic mains over-voltage protection with interchangeable analogic processing cards that allowed the same amplifier to be used with different active loudspeakers.

“While we were initially reluctant to enter the line array market, when we did release the MA210 in 2005 it was the first to have a built-in DSP system with computer control via RS-485 and mains over-voltage protection,” continues

Juan Amate with longtime Korean distributor, Daelim Musical, in 1997

Juan. The 35kg, 1.5kW line array module sparked a wave of development over the following 10 years. However, the continued creation of unique products and ground-breaking technologies is only half the tale. Juan’s sons, Joan and Jordi, entered the family business in the respective roles of chief technical officer and sales manager. Their introductions, in 2003 and 2012, added energy, vigour and a sense of purpose.

Having graduated in telecommunications from Catalonia Polytechnic University in 2000 and gaining a diploma in Aachen, Germany, Joan took a leading role at Philips as part of a team that developed voice recognition technology in mobile telephony.

“I learnt about complex processing, programming and business management, but I really wanted to return to the family business,” he recalls. Working alongside chief R&D engineer Avelino Costa before he retired, Joan now oversees the technicians in his department, including some on university placements.

Starting out on the production and assembly lines while studying marketing, younger brother Jordi followed Joan. “I realised that the company had limited resources and asked my father why we weren’t promoting our successes on the website and social media,” says Jordi. “There had been a staff change and there was no one marketing the company, so I took responsibility for this. It was obvious that we weren’t communicating effectively with our customers or the market.”

The company’s origins were linked to the boom in Spanish tourism that spawned nightclubs, hotels, restaurants and entertainment complexes. In 1972, Juan set up a workshop in his parent’s garage, creating his first amplifiers, mixers and speaker systems for a domestic market protected by import duties. “It started in my youth when I began modifying old radios, trying to improve the power output and achieve a better sound,” he recalls. “I was both passionate and, I suppose, obsessed with doing something to enable the power and nuance of a musical performance to be heard in a more perfect, natural way.”

With Spanish EU membership in 1986, Amate Audio started to develop exports, moving to a larger 700m2 facility before relocating to its current, spacious headquarters in 1998. The

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BUSINESS: COMPANY PROFILE decision to outsource time-consuming manufacturing processes such as cabinet building and painting gave more focus to R&D and streamlined manufacturing assembly.

Separated by a corridor where the warehouse, spare parts and production is based, a 72m2 fully lined anechoic chamber is the jewel of the R&D department. The company’s long-serving engineers assemble the amplifier and DSP module electronics before burn-in, packaging and shipping. The loudspeaker assembly line in an adjacent room with its own anechoic testing chamber produces made-to-order products which can be customised to specific requirements.

As with other Spanish producers, the after-effects of the 2008–9 recession affected what should have been a period of growth. Fortunately, Amate Audio could rely upon a network of international distributors, many of whom have grown to respect the Spanish brand’s honest endeavours and engineering-focused

Inside the Terrassa headquarters

Juan Amate (centre) with distributors from over 20 countries at Amate Audio’s 2015 distributor summit

A 72m2 anechoic chamber is the pride of the R&D department ethos. Company expansion was aided by the Joker and Xcellence loudspeaker series. Launched in 2009, the premium Xcellence series was created for the fixed installation market as well as small-to-medium rental companies.

“In developing new line array designs for the Xcellence series, we continued to offer something unique to the market,” says Juan, dismissing any notion of me-too product development.

“With the X210 and X208, we further developed the compact self-powered concept, doubling the power output and adding capacitive keypad control for the DSP, along with powerful factory system presets, as well as Ethernet connectivity. Rental companies like our loudspeakers because they are flexible, easy to set up and highly scalable for all manner of events. They really do offer significant return on investment.”

Joan acknowledges that there was limited software and firmware development when he joined the company 20 years ago. “My university education focused on signal processing and from there I started to embed firmware.” Amate released the first DSP-embedded platform in 2005 followed by a second generation in 2010. Amate became an Audinate licensee in 2016 and a third-generation DSP platform, Active+ with Dante audio networking, FIR filtering and colour touchscreen user interface, launched in 2018.

The third-generation DSP debuted with the Xcellence 212AF three-way double 12-inch line array. “Younger technicians understand the importance of connectivity and existing on the network, so software development shapes the user interface and determines how the loudspeaker performs,” continues Joan. “We have two in-house programmers and two programmers working externally on embedded firmware development and software programming. With increasing demand of audio networking, particularly in the installation sector, we must offer traditional analogue and Dante digital connectivity, where remote monitoring and control are required.”

Further customer feedback spurred Joan on to develop the dual 10-inch Xcellence X102FD, a powerful, compact point source speaker for smaller and medium-size events and venues which launched during the pandemic; advantageous when only small events were being staged.

“The roots of our success lie with smaller rental companies who are reluctant to start off with a line array but feel confident using our systems to get bigger gigs,” says Joan. “As they grow, they add on more and more inventory from our catalogue.”

Joan acknowledges that the company’s electronic heritage has served them well over the years. “In the 1990s, we were manufacturing power amplifiers with analogue processing cards

for each channel. Customers still use these, and sometimes contact us for repairs and servicing. The electrolytic capacitors are almost at the end of their life, but customers want to stick with them because these amps have performed well and have been reliable as we integrated a voltage protection circuit. Today we integrate that same type of over-voltage protection in all our Xcellence powered loudspeakers.”

Younger brother Jordi’s digital sales and marketing expertise in promoting the brand complements Joan’s engineering prowess.

“There was a big gap that needed to be filled, so I came at the right time,” he says. “During a meeting with a Spanish competitor, my father was complimented for the 200K followers we had on Facebook. Up until that point, my father hadn’t realised how what I was doing in the background was benefitting the company.”

Jordi was promoted to export manager on his 24th birthday following the retirement of a sales director and credits the assistance of his team when assuming the new role. “Working

Joan Amate with the latest XCellence 212AF line array module as a team in any company is crucial, from initial product design to marketing,” he explains. “It’s hard to align everyone when you start to create a design. For example, the acoustics R&D team that determines the electronics requires marketing to provide feedback on the presets and amplifier, because there’s no point designing something there’s no demand for. The user continues to demand ease of use, which for us means adding complexity and technology to a design.”

Asia Pacific has always been an important market for Amate Audio, with large house of worship installations and fountain displays in South Korea and live concerts across Vietnam.

Although sales in the region fell during the pandemic, Jordi expects them to return to previous levels. “We hosted a demo of the Xcellence 212 line array to a large audience in 2019.

Everything went according to plan and the listeners were overcome by the audio fidelity. Those customers will place orders as events pick up again.”

Having focused on quality engineering and manufacturing for most of the half-century, marketing the brand has sometimes been secondary. “We are raising the brand awareness a lot more nowadays,” asserts Jordi. “There was a time when marketing wasn’t deemed to be as important, but we are putting in a more concerted effort to raise our profile and highlight our achievements.”

Led by long-term staff including chief acoustics engineer, Natàlia Milán, Amate Audio continues on a course of engineering excellence, research and development. By designing, manufacturing and sourcing the best components, it has created some of the most efficient, powerful and cost-effective systems on the market. Having quietly gone about its business for the past five decades, Amate Audio continues to move forwards via continuing word of mouth referrals, impressive live demonstrations and increasing marketing visibility.

The Joker series parameters can be managed via DSP Studio Control software

www.amateaudio.com

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BUSINESS: COMPANY PROFILE

Crossing the strait Elijah Ebo, general manager for APAC at Brompton Technology, tells Caroline Moss about the manufacturer’s newly opened office in Taipei What was behind your decision to have a presence in Taiwan?

Initially, it was because we had two Taiwanese nationals working for the company, regularly visiting China from Taiwan. Two other employees – myself included – wanted to be based in Taiwan, which is now at the centre of our plans for Asia Pacific, and it will be the hub for our business across the region.

What’s the ongoing plan for the Shenzen office?

The team in China includes a good number of senior staff who have grown with the office and know our key partners very well. They have done a great job of further strengthening those relationships. There is also a lot of business opportunity for us

Like everybody else in the manufacturing industry, we have been impacted by supply chain issues. We’ve done the best we can to maintain production levels, but at the same time the demand for our products has greatly increased, and it has been frustrating that we cannot increase production accordingly due to the supply constraints. Despite the negative impact of Covid on the live events market, where Brompton Technology first made its name, our increasing success within the virtual production market has still meant rapid overall growth.

How is the market for Brompton in Taiwan; who are your clients there and what sort of applications are they finding for your products?

This will be your second office in Asia; you already have premises in Shenzen, China. Is the current difficulty of travelling to China from overseas partly responsible for opening a second Asian office?

The Shenzhen office is what’s known as a representative office, which was set up primarily to provide technical support to panel manufacturers in Shenzhen integrating our receiver cards, so that their panels would support Brompton’s Tessera protocol and processors. It continues to carry out that function very effectively, and the team there has grown significantly. We increasingly find ourselves supporting end users and clients in China. Since the pandemic hit, travel to China has been impossible as visas cannot be easily renewed. As a result, I have not seen the team there in person throughout the pandemic and there are a few new hires that I haven’t yet met in person.

However, that didn’t have much influence on the decision to open a Taiwan office. We were conscious that Shenzhen was not the right base for our wider operations across Asia Pacific and had identified Taipei as a more suitable location, where we already had valued team members. It is better aligned with the UK on taxation and other commercial matters and is a more practical base from which to support other key markets in Asia Pacific.

How are the supply chain issues being caused by current world events affecting your production?

in Taiwan, as the virtual production market is just establishing itself here. Our partners in China are quite pleased that we have an office in Taiwan and their increasing number of potential clients here being able to see their screens working with Brompton processing.

The market for us in Taiwan is bigger than we expected and continues to grow. There are a lot of broadcasting and filming professionals in Taiwan already, but a small influx also returned from the US and Europe during the pandemic to find a steadily growing market. This has helped us, too. We found that, through our marketing campaigns and word-of-mouth among industry professionals, the brand was already well known in Taiwan; our clients here are thrilled at the opportunity to see and try our products and to receive training and support locally. Our clients in Taiwan range from government institutions like ITRI (Industrial Technology Research Institute) to TV broadcast studios and film production companies to live events rental companies, systems integrators, consultants and content creators. The majority of the applications are virtual production and extended reality, but we are also speaking with some of the largest and fastest-growing rental companies in APAC.

Can you describe the office setup and the Brompton team working there?

Do you have plans to open any more offices in APAC?

We are currently renting two units, one acting as a general office and the other as a lab and demo area, and are about to take a third to be a meeting room. We have a modest LED wall setup for demonstrations. There are currently six of us in the team, including a product manager, programme manager, technical account manager, project assistant, administrator and myself. We see ourselves increasing headcount by 50% within the next 12 months, hence the need for a larger office soon.

The Taiwan office has a broader remit than the representative office in Shenzhen, so you could say it is the first of its type in Asia. As we plan to make this the hub for APAC from where we can support other countries in the region, I can see the Taiwan office growing in size, with no new offices immediately planned. However, I would not be surprised if we open offices in Australia, Korea and Japan as the business grows in the future.

Brompton Technology’s general manager for APAC, Elijah Ebo

www.bromptontech.com

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BUSINESS: SHOW REVIEW

ISE 2022

Fr

After years of planning and the disappointment of last year’s cancellation, ISE finally made it to its new home in Barcelona PRODUCTS COULD BE SAID TO HAVE TAKEN SECOND place to people at ISE 2022 in its long-awaited move to the Fira de Barcelona which, after a frustrating spell of cancellations and rescheduling, finally opened its doors to the global AV community on 10 May. New technology and upgrades developed during the past two years were very much in evidence, but official press launches were in much shorter supply than pre-Covid, and while visitors were engaging with on-stand demos and presentations, most seemed more interested in engaging with friends and colleagues they hadn’t seen for several years. Masks and fistbumps had largely been replaced by smiles, handshakes and hugs, and the overall mood was upbeat and positive.

ISE’s audio contingent could be found in Hall 7, the furthest from the main entrance, and most stands were alive with deals and discussions throughout the four-day show. Despite most manufacturers reporting full order books, however, the frustration of supply chain problems was very much apparent.

Some stands were showing notably less products than previously, but others had as much technology as in bygone years. While there was a distinct absence of anyone from China, some visitors from Asia and the Middle East had made it to Barcelona, with delegations from India particularly in evidence. Aside from this, the halls were packed with exhibitors and visitors from Europe and America who evidently couldn’t wait to get back to an in-person event. Each morning occasioned a rush of people racing to the main entrance to join lengthy queues, and the frantic pace was kept up inside as 43,691 unique attendees from 151 countries made 90,372 visits to the show floor.

The long walkway connecting six Technology Zones within the Fira made the exhibition simple to navigate, though once inside the halls, stand numbers could be tricky to find. When it

came to onsite facilities, WiFi was available, seating areas had been provided between halls and F&B outlets were abundant.

Leaving the show was another matter, however, with crowds gathering at the single taxi rank from late afternoon for a long wait. The airconditioned metro station in the basement of the Fira was a more practical transport solution and didn’t involve waiting in the heat, but not many seemed to be using it, or were even aware of its presence.

These are all teething problems, however; the unanimous consensus was that the move to Barcelona has been extremely positive for ISE and the inaugural event a resounding success. And it does seem that the tradeshow is back.

2022 Dates:

10 – 13 May

2023 Dates:

31 January – 3 February

Venue:

Fira de Barcelona

Total exhibitors:

834

Attendance:

43,691

Contact:

www.iseurope.org

From the show floor

Craig Newbury, Lawo: “We’re concentrating less on product demos and more on networking. Telling our customers what we’ve been doing over the past couple of years, and the solutions we’ve brought to market, presenting our products in a solutionsorientated way that solves problems. Product demos at tradeshows can be limiting to a certain extent, as our solutions are very versatile and can achieve many different things. We developed our ‘presentation pod’ over the pandemic which presents our entire portfolio in a few screens, plus our Lawo Experience tool which gives customers an insight into what their peers are doing with our solutions, giving context to our products.”

Highlights: mc236 all-in-one production console

Brad Kautzer, Williams AV (pictured left with Nancy Crowe): “I joined as CEO at the height of the pandemic, coming out of a different industry, but a show is a show and it’s great to be out again. I’ve been impressed with the number of systems integrators, distributors and consultants, and we’ve had a steady stream of channel partners bringing in their customers. The company has evolved from assisted listening; our mission is broader, it’s systems communications, audio and video. So it’s exciting to get out and tell that story in a more intimate way. You can only do some much in an online environment.”

Highlights: Convey Video AI-powered translation system

Cecilia Wilde, Matrox: “Usually, we would have had a big videowall, a control room desk and more screens and technology for operators, but we weren’t sure where this show was going, so decided to construct a glass ‘room’ on the stand that we call our video lab. We set this up in the Munich office during the pandemic using all our own technology for virtual demos, and during ISE we have two colleagues based in the video lab in Munich giving demos to visitors.

It’s a bit of a strange concept as we’re in a live demo scenario but it’s worked out really well. It feels like we’re back to where we were before the pandemic in terms of footfall and leads.”

Highlights: ConvertIP encoder/decoder; IPMX open standards products

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BUSINESS: SHOW REVIEW

From the show floor Håkan Sjöö, Audiofocus: “I started at Audiofocus during the pandemic so it’s fantastic to be back at a tradeshow and meeting people in person who I’ve already made contact with digitally.”

Highlights: Carys C6 and C15LS column solutions

Jason Kelly, L-Acoustics: “Covid has taught us that social connectivity is way more important than product launches.

People can be informed about products in so many different ways now, but tradeshows are really important for bringing people together and keeping relationships going. The amount of floorspace we’ve given to tables for people to meet compared to how much product space we’ve got is an indication of where we think things are going.”

Highlights: LA7.16i amplified controller; Soka colinear source loudspeaker and SB6i subwoofer; L-ISA Ambiance

Jason Schwartz, Hall Technologies: “Following the change of company name in 2021, ISE 2022 marks the first occasion that Hall Technologies has exhibited in Europe.

If the reaction is anything to judge, our debut was long overdue. Nothing beats a demo or in-person conversation. We presented two live demos focusing on the management of AV signals in today’s work environments. The AV community has certainly returned and is making up for lost time.”

Highlights: Thirteen new products including Apollo Technology room kit for 4K smart classrooms; HD and 4K cameras

Simon Curtis, Cloud Electronics: “My expectation of visitor numbers has been exceeded and there’s been a great turnout of attendees from MEA. I’m sure many Asians will return next year once they gain more confidence in travelling. In comparison to the RAI in Amsterdam, the halls of the Fira are much easier to navigate.”

Highlights: MA40 and MA80 Series mini amplifiers

Kevin Shove, Lavoce: “It’s been a great show and what’s really made a difference is having visitors come to the booth who aren’t our typical customers – it’s made for a really positive experience.”

Highlights: SAN184.50iP and SAN216.00iP aluminium subwoofers

Daniel González, Ecler: “We are happy to be here in our home city, and the ambience and facilities are great.

It’s the first time ISE has been here, but my perception is that in two years’ time, ISE will be bigger than the Mobile World Congress, which is currently the biggest show here in Barcelona.”

Highlights: Vida-24Q digital amplifier

Pro AVL Asia(228x154mm).pdf 1 2022/6/9 上午 09:23:15

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BUSINESS: SHOW REVIEW

From the show floor Tom Van de Sande, Audac: “My favourite part has been everyone coming back together, and we dedicated more space on our booth to let people do just that. We have fewer products with us than usual. It would be great to have booth numbers displayed – a frustration mentioned by other people.

I would also like more focus on dedicated areas.

Hall 7 next year will be shared by lighting and staging but, for audio, keeping all these companies together is crucial.”

Highlights: Viro5 and Vexo 110A loudspeakers; SCP amplifier series

Colin Farquhar, Vitec: “I came to the show with relatively low expectations and high aspirations.

I’m pleased to say that my high aspirations have been met; it’s been good. The lack of travel restrictions has made everyone much more willing to get out.”

Highlights: Avedia IPTV platform; ArtioSign digital signage application; ArtioView interactive viewing portal; ChannelLink IP distribution gateway

Mark Breakspear, Interprefy (pictured left with Richard Roocroft): “As a first-time exhibitor, we were dipping our toe in the water, and the Discovery Zone is very reasonable, plus there’s been great footfall. Our location is right on the main thoroughfare and lots of clients have passed by which has been great for brand recognition, and nice after not meeting many of them for so long.”

Highlights: Remote Simultaneous Interpretation platform

Marc Wilson, Glensound: This is our fourth post-Covid show and they’ve all followed the same trend: quieter than would be expected, but a great quality of attendees, all here to do business. I don’t think we’re quite at normal ISE numbers yet, but the show has been busy and exceeded many people’s expectations.”

Highlights: GTM eSports audio management tool

George Tennet, Blaze Audio (pictured right with Thomas Marcher and Niels Lorentzen): “ISE 2022 marks the first showing of our brand and digital amplifier catalogue, so it was important to make a statement and we invested in a large two-tier booth. We’ve networked with many interesting visitors from across the globe, particularly Europe. Barcelona was the perfect stage for our debut and I am anticipating further developments following the conversations we have enjoyed.”

Highlights: PowerZone Connect DSP amplifiers; PowerZone Control App

Mig Cardamone, Sennheiser: “The people that have come onto the booth have been exactly the type of customer we want and the enthusiasm for being back face-to-face has been really refreshing. If I had to mention any negatives, the taxis are not very plentiful. I really like the hall and the layout is easy to navigate.”

Highlights: TeamConnect Ceiling 2 (TCC2) and Intelligent Speaker (TC ISP)

Amy Harvey, Void (pictured right with Callum Bowran): “ISE 2022 was a huge success; we couldn’t have asked for more after a two-and-ahalf-year hiatus away from European tradeshows.

The team were thrilled to be back and to see the excitement on peoples’ faces.”

Highlights: Cyclone 4 speaker; Venu 208 subwoofer; Bias Q3 amp

Andy Cooper, Yamaha (pictured left with Karl Christmas): “Like every other manufacturer, Yamaha has been affected by supplies of parts over the past 12 months. We set aside a large space for networking, which was vindicated as the first two days of the show have been packed. What we didn’t anticipate however, was running out of soft drinks on day one!”

Highlights: RM-W wireless conferencing mics, VST plugin Dante interface; VC ceiling speakers and DHR cabinets

Hannah Libby, Bose: “We have fewer products than we’ve had at previous shows. At ISE 2020 we had a vast booth, and we weren’t sure what would happen with this show, so we’re taking baby steps back. But it’s been really successful and we’ll absolutely be back next year.”

Marty Bodley, Bose: “It’s great that we could just turn things back on again; it seems that everyone’s come back without skipping a beat.”

Highlights: Bose meeting room solutions

Kim Franklin, Listen Technologies: “One thing the organisers did well was providing a venue and an opportunity for people to meet up face-to-face, but they’ve struggled with the logistics. It’s hard to get around Barcelona, and next year I hope they can give people different transportation options. But there’s room for growth; more visitors and exhibitors can be accommodated.”

Highlights: Listen Everywhere Dante-enabled server; Listen Everywhere Private Channels feature; firmware upgrades to ListenTalk neck loop

Simon Godfrey, Wharfedale Pro (pictured right with Alex Lane): “Since ISE 2019, we’ve redesigned a new catalogue of speakers and DSP amps which we’ve launched here. We were hoping to meet prospective sales partners and customers from live rental and installation verticals. It’s been a resounding success for us, and will allow us to create strategic partnerships beyond our traditional portable and residential networks.”

Highlights: GPL, WLA-1, WLA-28A and Sigma-X Series loudspeakers; DP-F and DP-4030 amplifiers; IS-48 entertainment system; Diamond studio monitors; SC-48 FIR

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BUSINESS: SHOW REVIEW

NAMM 2022

Fr

The NAMM Show returns but not as we know it

Ma bee Our walk cate abo the and for u itse

MAKING ITS WAY BACK TO THE ANAHEIM CONVENTION Centre after a prolonged two-and-a-half-year hiatus, the NAMM Show 2022’s shift in the calendar to June was the topic of conversation on many lips. And walking through the various halls of the exhibition, nowhere was that chat more prevalent than in the ACC North Hall’s more “Pro Audio” focused hub. It was a NAMM show full of enthusiasm for most, but it wasn’t a typical NAMM in any sense of the word.

By moving the show to June, one of the main attractions for pro audio manufacturers targeting the live sound and touring sectors was removed as most engineers were already out on the road. This missing visitor segment created a stark difference between the second floor of the ACC North, which served as their base, and the lower level where audio production and content creation convened. Additionally, with InfoComm Las Vegas beginning just a few days later, some prominent exhibitors were forced to choose which one they would support.

Down in the music halls, a more intimate floorplan with much smaller aisles gave a contrasting impression, with the

typical cacophony of sound greeting you upon arrival and keeping energy levels high and the atmosphere engaging.

While there were few standout product launches, there was of course a healthy showing of new technology whose development has been ongoing through the absence of in-person exhibitions.

And while many had reduced their show footprint, manufacturers provided attendees with a valuable and welcome first-hand experience to get up close and personal with solutions they’ve become accustomed to in a purely digital realm. But like other industry shows that preceded it, this aspect often played second place to people. NAMM provided the first opportunity for many old friends and colleagues to rekindle old relationships.

Despite heralding representation from 111 countries, this year’s NAMM was largely a domestic affair. Naturally, a few newly liberated Australians and southeast Asians in addition to a smattering of Europeans attended the exhibition, but the visitor demographics were heavily North American. Even Latin American representation was thin on the ground.

Despite the lower visitor numbers and scaled-down footprint, the exhibitors are determined for NAMM to succeed. The

overwhelming assumption is that once NAMM returns to its usual January slot in 2024, there will be a return to some sort of normality. Whether exhibitors will return to display their wares on large-format booths is another matter as some clearly prefer the downsized networking format.

Mixed feedback as the show came to an end seemed to be ultimately down to where exhibitors were located and who they were looking to interface with.

Mark Evans (left), Prism Sound: “I didn’t really come with any expectations, but I’ve been pleasantly surprised. It’s been a really good experience and I think this show has proven that there is still a healthy audio industry out there. People now seem to want equipment that’s going to last them, that’s got longevity and quality, and they’re prepared to pay for it. So in our position, that’s a great opportunity for us. The fact that we can deliver products at the moment because we had foresight to stock a lot of component parts is really swinging in our favour.”

Freddy Vinehill-Cliffe (right), NUGEN Audio: “I was expecting it to be a lot more different than it is. I’ve heard some people saying it seems quieter but, but for me personally, it’s felt like a pretty busy show so far. I’ve been having a lot of really good conversations, making good connections and I think there’s been a very nice energy because so many people are seeing each other again for the first time in two-and-a-half years. We’ve been to a couple of other shows this year already, but this is the one that felt like a real return.”

2022 Dates:

3 – 5 June

2023 Dates:

13 – 15 April

Venue:

Anaheim Convention Centre

Total exhibitors:

1,000+

Attendance:

46,627

Contact:

www.namm.org

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From the show floor

Anne Berggrein and team, DPA Microphones: “We felt it was important to be here at NAMM for several reasons: we have a campaign called We Love Life and I think after Covid it’s been important for us to show the love and the passion that we have for the live segment. Also we have a new mic, the 4055 kick drum mic, that we wanted to show to everyone and I think it’s been a great reception. We’ve had a lot of people coming here asking about the new mic, so it’s been a good success for us.”

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BUSINESS: SHOW REVIEW

From the show floor

Mark Leah and Joe Heaton, AMS Neve: “The show’s been incredibly successful for the whole Neve team.

Our booth has been almost the star of the show and we walked away with the Tec Award in the large-format console category. We were a little worried coming in as we had heard about other brands pulling out. The rumour mill started in the dealer network that the show was going to be very quiet and be a bit of a waste of time. It’s not only been very busy for us, but probably as busy as it ever has been. The show itself is a little smaller, but the crowd’s the same size.”

Tom Back, Alcons: “I’m very happy to be back. Our way of being present at NAMM is not with a booth but by participating in the demo system showcase. We were in the arena back in 2020 and it was a very successful show for us and we left on a high. Unfortunately, this year there are only four participants but we went ahead and it’s actually been really good – as it’s on the show floor and not in the separate arena, you get a lot more inflow from people walking the show. As a concept we’re very positive about it.”

Gary Boss, Audio-Technica: “I noticed that everyone had a slightly more realistic footprint this time, and I think that worked out in everyone’s best interest where they balanced both their costs and their exposure. The quality of people we had was really solid with very few tyre kickers and a lot of good questions. People typically did not want to handle things. So QR codes were a great alternative and whoever invented the QR code, we thank you. If I had to nitpick I would say there could be better communication with manufacturers to more clearly say who’s coming to the show. Is this a dealer show? Is this an end-user show?

How can we make that a little more clear?”

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Andres Franco, d&b: “I think coming into NAMM this year, we underestimated thinking that we wouldn’t get as many clients, but actually doing it this way, in a more relaxed setting with the demo room, has worked really well. We’ve had lots of visitors coming in and I think it’s been more beneficial for us. We’ve definitely seen some new people and overall it’s been very good but we’ve not seen as many engineers as we would do normally.”

Roberto Mataloni, (left) FBT: “It feels good to be back with our US partner LSI and see our customers again.

In addition to some of our renowned loudspeakers such as Mitus, Myra, Muse and Ventis, we’re showcasing a number of new products including the CLA203 and 204 column speakers, the Miura multichannel amplifiers and Infinito software. We knew NAMM would be different this year, but we were happy to support the show while they transition back to normal.”

Anders Jovaag, Focusrite Group: “We want to network with media, buyers and customers in a professional environment in which we can properly demonstrate our brands. The newly launched Adam Audio A series of monitors and the Focusrite Clarett+ range of USB audio interfaces have been particularly well received.

Our underlying message, however, is to demonstrate the various products within ecosystems, including our Novation, Oberheim and Sequential brands.”

Patrick Almond, Studiomaster: “We’re happier being up here in the pro audio hall due to the direction that our brands are going in this year. Previously, Carlsboro has been the focus but Studiomaster is the one we’re wanting to push this year, so being in this hall even though it’s smaller has still been good.”

Nigel Wood (right), Celestion: “We had limited expectations for this year’s NAMM, but the meeting quality was much better than we expected. Quantity was down but quality was up.”

Austin Freshwater, DiGiCo: “Unfortunately, it’s been what we expected it to be. The timing isn’t great for the live market, as thankfully all the engineers are on the road which is a good thing. The reason we’re here is primarily to support the show organisation and we’re looking forward to it getting back to its traditional January slot.”

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BUSINESS: SHOW REVIEW

InfoComm 2022

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InfoComm’s new West Hall debuts amid a busy return to Las Vegas FROM THE MOMENT THE CEREMONIAL SCISSORS cut the ribbon to signify the start of InfoComm 2022, a tidal wave of hope, positivity and enthusiasm flooded into the newly constructed West Hall of the Las Vegas Convention Center (LVCC). That deluge of almost 20,000 visitors may represent a poor vintage compared to the 44,000 who attended InfoComm 2018 in the same Nevada location, but this was not a time to make comparisons. Like ISE before it, exhibitor expectations were somewhat low, staking the need to host an in-person event, although the success of ISE in Barcelona had set a benchmark for InfoComm.

Despite there being an overdue desire to return to the bright LED screens and audio innovations, it was the Unified Communications and conferencing exhibits including Biamp, Q-SYS, Sennheiser and Shure that seemed to warrant most attention in the West Hall. New product launches remained thin on the ground. However, Adamson Systems premiered its Fletcher immersive processor on the eve of the show, Sennheiser unveiled its latest ew-DX wireless platform and Peavey Commercial revealed extensive updates to its MediaMatrix catalogue.

If the AV world was not already aware of supply chain shortages, then a press conference by Audinate helped to explain how the combination of increased demand, semiconductor plant fires and component shortages had created the perfect storm. Consequently, the final furlong of the product road map for many manufacturers was seemingly halted at InfoComm 2022. It’s one thing to launch and quite another to mass produce, so many manufacturers were not in the mood to create a demand that cannot be supplied. For those exhibitors that could supply, InfoComm felt like a return to those halcyon days of the 1990s with business deals being confirmed with purchase orders on the booth.

With just 10 demonstration rooms on offer on the second level, the visitor was not as spoilt for choice as in previous years and so the staged sessions were generally packed for all four days.

Across the North and West Halls of the LVCC, 70 new exhibitors were vying for attention among the 522 who were present. One of those was Berlin-based audio specialist Holoplot. In addition to being kept busy on the booth, Holoplot transported visitors to

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an offsite location to better understand its wave field synthesis breakthroughs with demonstrations of its Hybrid X-1 design.

The 10-minute walking distance between the sleekly designed West Hall and the older North Hall deterred frequent LVCC migrations. Despite hosting visual giants such as Christie, LG, Panasonic, Samsung and Sony, the North was no busier than the more audio-centric West. Only towards the rear of the West did InfoComm appear to be sparsely populated, with exhibitors greeting dedicated visitors rather than passing traffic.

On the final day of the show, Clark County issued a high level Covid-19 notification for the LVCC, recommending the use of masks. Even though all attendees had to produce a certificate of vaccination or a negative test, the Covid genie had once again been let out of the bottle. There can be no doubt that the virus had gained momentum by hitching a ride with those visitors who had attended the NAMM Show just a few days earlier. Judging by the scale of post-InfoComm social media comments and the

Hans years atten writin

2022 Dates:

8 – 10 June

2023 Dates:

14 – 16 June

Venue:

Las Vegas Convention Centre

Total exhibitors:

522

Attendance:

19,681

Contact:

www.infocommshow.org

largely unpopulated booths of many exhibitors on day three, a superspreader event had occurred. The wave of optimism that had entered the halls just two days earlier now ebbed away as infection spikes mounted.

InfoComm 2023 will be staged at Orlando’s Orange County Convention Center from 14–16 June.

From the show floor

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Dean Standing, AtlasIED: “It feels good to be back at tradeshows once again after such a long layoff. As much as AtlasIED is enjoying showcasing the latest collection of Dante-networkable and Strategic Head speakers, HPA amplifiers and Atmosphere processing wall interfaces, InfoComm is simply a great place to meet old friends and new customers alike.”

Richard Fleming, XTA: “It’s similar in hindsight to previous years in that it takes so long for the audio visitors to get to this hall; I thought it would be easier this time. I reckon it’s three hours before the serious people get to you but, when they do, they’re of a really good quality and I think we could be writing business in 4–6 weeks off the back of this show.”

Tom Barker-Harrold, Holoplot: “In terms of visitors, it’s been varied to be honest because of where we are on our journey.

We’ve seen lots of American distributors, integrators and some engineers, so a nice mix. Word of mouth has proved to be very effective, hence why we’ve been doing the demos offsite – the momentum is insane and we’ve sold out the demos each day.

There’s been some interesting reactions to the demos, lots of headshakes, jaw drops and confusion.”

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Lou M in the recen demo coaxi relativ the in

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BUSINESS: SHOW REVIEW

From the show floor Jason Polk, Absen: “We have been extremely busy this time around and the quality has been amazing. I would say one thing that would help the organisers in the future is making sure that everyone has a fair shot of knowing what’s in their new space. When you’re planning to have one design and then you realise you can’t do it because of space limitations, that is a frustration.”

Marc Bertrand, Adamson Systems Engineering: “Having already exhibited at ISE last month, we knew what to expect for InfoComm 2022. The traffic was not overwhelming, but it was a much better quality. There’s a great deal of optimism around, despite the problems that 2022 is throwing at the industry, and end users fully understand the long lead time wait on products.”

Jason Polk

Marc Bertrand

Scott Freshman

Robert Moreau, Clockaudio USA: “There’s more people than I expected, but we’re happy to be here but it’s all about the people. We’ve got some interesting new products which people have only been able to see on video but now we can show the diagnostic modes we have; it’s a very tactile presentation and it’s important to see the reaction.”

Robert Moreau

Hans Christian Stucken

Scott Freshman, Visionary Solutions: “We’ve been super busy, we were at ISE but it feels like this is busier. Although there has been some spillover as we’re right next to QSC, a lot of the people we’ve met have come specifically to see us. We have inventory and can shift product and people are now looking for alternatives. We’ve seen a few overseas visitors to the booth but, compared to a normal InfoComm, it’s probably 10%.”

Hans Christian Stucken, AV Stumpfl: “The visitor numbers are smaller than previous years, but we have been vindicated in our decision to exhibit as we are meeting quality attendees. It’s almost a return to those good old days of the 1990s when we were writing out purchase orders on the booth.”

Tom Riby, K-array: “It’s been fascinating as 60% of the visitors to the booth haven’t heard of K-array. We’ve had a lot of fun introducing the brand but also introducing K-gear and K-scape for the first time. There has been more focus this time on the installed side so we’ve seen a lot of systems integrators and consultants, live will come back but, in the meantime, on the booth there’s been a lot of interest in the new Vypers and their new form factor as well as Rail.”

Tom Riby

Rob Fowler

Rob Fowler, Brompton Technology: “It’s nice to be back, the vibe is here but a little less busy. I feel a bit sorry for InfoComm because the other shows landed before and have perhaps stolen its thunder, even though InfoComm is in the correct time slot. In terms of the visitors, it’s been a bit of both – a lot of vendors here have problems with lead times and equipment so there’s obviously new business to develop but there’s also a lot of relationships to manage so it’s great to have those conversations.”

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Jorge Castañeda, ATEN: “Although the numbers are lower compared to 2019, we are meeting prolific visitors from the house of worship and educational sectors, in addition to prominent YouTubers.”

Spencer McEvoy

Jorge Castañeda

Spencer McEvoy, Jabra: “This is my first time at InfoComm, and there are so many people here. I was at CES at this same convention centre in January and, if I’m comparing InfoComm to that, I would say it’s double if not triple the size. We have personally had more meetings than we have ever done at a show. This show was bigger than ISE and that was the biggest shock to everyone, because ISE was loaded.”

Bradley Watson, Martin Audio: “Our demo room has been really busy, I think we will have seen 650 through the door which considering it’s a smaller demo room than normal is a good result. It’s been the first international showing for Optimal and we’ve seen some interesting people. It’s been well attended from LatAm and quite a number from Asia on the booth so overall very positive for us.”

Bradley Watson

Lou Mannarino, 1 Sound: “1 Sound used to be a distributor for some established brands in the US, but we switched our business model to manufacturing our own loudspeakers in recent years. We first exhibited at InfoComm 2019, but we decided to take an additional demo room at this year’s show to demonstrate and explain the rationale behind the cannon coaxials, MS34 mono plus stereo enclosure and LCC84 low column cardioid. We’re a relatively small company, so having to drop all our other commitments was a risk. However, the investment has paid off.”

David Griffiths, Datapath: “We’re delighted to be back in Las Vegas for InfoComm as we’ve not been able to be here for two years as a complete international crew. We did exhibit last year in Orlando, which had obviously reduced attendance with all the things that were going on, but this year is the full coming-out party effectively for Atrium. It’s given us the opportunity to show it to a much wider audience and to be around so many other exhibitors in this brand-new exhibition hall.”

Lou Mannarino

David Griffiths

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BUSINESS: TECHNOLOGY

Getting on board with LED

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Chip-on-Board technology has the potential to revolutionise the LED sector once current hurdles are overcome IN THE FIELD OF PROFESSIONAL VIDEO DISPLAYS, there are currently two main manufacturing methods that account for nearly all LEDs, yet it’s typically the move towards smaller and smaller pixels that steal the tech headlines as opposed to the underlying construction of those pixels.

Traditionally, LEDs – whether used for lighting or assembled into an LED videowall to create a visual display – have been Surface Mount Devices (SMD). More recently, a lesser-known technology called Chip-on-Board (COB) has created a number of distinct advantages for LEDs over their SMD counterparts, and adoption in the professional video market is therefore set to rise.

L–R: from

Schematic diagram of an SMD chip

L–R: SiliconCore’s Jim Wickenhiser and Eric Li SMDs are created by being packaged together and soldered onto a silicon surface or PCB using wires. Although complex, this process has been majorly refined over time. In contrast, COB sees uncoated semiconductor elements (dice, die, chip) mounted directly onto a PCB or substrate. COB LEDs are basically multiple LED chips (typically nine or more) bonded directly to a substrate by the manufacturer to form a single module. Since the individual LEDs used in a COB are chips and are not traditionally packaged in the same way that SMDs are, the LED chips can be mounted to take up less space, allowing more potential to be obtained from them.

“Right now, SMD LEDs are manufactured – literally grown – and assembled together in a package,” explains Jim Wickenhiser, SiliconCore SVP of strategic initiatives. “Those packages then get put onto a PCB. With COB, the promise is that we won’t need to package the LED anymore, and therefore can achieve substantial cost savings.”

“With COB, the diodes are actually inside the board, in contrast to SMD where they’re on top of the board,” adds VOD Visual CEO, Robert Bint. “When you put the diode in the board, you can get rid of a lot of the diode package, so it allows you to make them smaller and get them closer together. Because it’s inside the board itself, you get much better heat dissipation and you’ve also got far fewer contact points, so there are less points of failure. The end result is that the boards are just much lighter and thinner.”

Flip chip describes a method of electrically connecting the die to the package carrier. Flip-chip COB moves the process along one step further by die-bonding the chip directly onto the PCB board without the need for any wire bonding. This greatly simplifies parts of the manufacturing process and lowers the number of potential defects (lower failure rate), enhancing reliability. The simplified structure of COB LEDs also increases heat dissipation, making them more electrically efficient.

Compared to SMD, COB offers several distinct advantages. The first is higher reliability. The death rate of LED display screens with COB packaging technology is far less than industry-standard SMDs. What’s more, COB adopts coating technology to prevent

LED failure caused by water, moisture, UV and other damage and can support all-weather operation. The second advantage is that it is easier to realise mini LED display screens in small point spacing. COB is no longer limited by bracket size when designing lamp bead diameter. As a result, the technology can be used to cover the market below P1.0mm that SMD technology cannot reach, yet users are increasingly striving for. Furthermore, the modules encapsulated with COB are not only lighter than those with SMD but also have a larger viewing angle. COB can also be bent at will, unlike SMD modules, which are generally flexible to around 125°.

You might be wondering why the market isn’t already brimming with new COB-based LED displays; there are some drawbacks in the manufacturing of COB chips that have prevented their widespread development until recently. “There’s an inherent advantage to having the LEDs directly on the board, which is that you don’t have to pay for the packaging,” notes Wickenhiser.

“While there are cost savings that can be achieved with COBs, the problem is there are still several innovations that need to take place on the manufacturing side to fully realise those savings.”

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BUSINESS: TECHNOLOGY “Firstly, it’s very hard to solder onto the aluminium substrates that are used with COB,” continues Bint. “And because there are not so many people making COB LEDs, it’s also harder to bin batch them. You have to buy LEDs in bin batches otherwise they won’t all match and you’ll suffer uniformity issues. This can be standardised through a calibration process but it’s very timeintensive and has to be done in the factory.”

Once these manufacturing glitches are overcome, and as the industry seeks ever smaller pixels in a bid to improve visual fidelity, it seems logical that COB will one day win over SMD. “The industry is already starting to get there and the more people that make it, the more the hurdles will be further reduced,” says Larry Zoll, director of global operations for The LED Studio.

Once traditional SMD architectures get down below 1mm pitch, soldering becomes tricky. Although production faults can be fixed there is a cost, and pixels can fail because of the delicate solder. COB suffers no such issue. Another advantage of COB is that the surface of the display can be made completely flat, making it suitable for touch applications. In the past, the non-flat surface of LEDs has meant that they were very hard to keep clean, or needed a glass overlay to protect the LED that adversely Schematic diagram of a flip-chip COB chip

L–R: Larry Zoll from The LED Studio and Robert Bint from VOD Visual

affected brightness and visual fidelity. That won’t be needed using COB; the displays are more rugged and can be sealed for weatherproofing to IP67 standards.

The use of COB LEDs in professional applications is increasing as the benefits over traditional LED options are realised. With an ability to pack more LED sources into a smaller space for increased output, as well as to transfer heat more effectively to a heatsink, lower failure rates due to simplified design, lighter and thinner construction, lower light loss, greater efficiency and increased viewing angle, it’s not hard to see why. The recent introduction of commercial COB displays demonstrates how the technology has matured and is now on the cusp of revolutionising the LED display market.

“The 1.25mm wall that we’re showing off currently, which basically everyone expects at this point, was cutting-edge only two or three years ago,” concludes Zoll. “We’re at that same point right now with COB, it’s just progressing so fast. If you’re not innovating and not figuring out how to differentiate yourself in this new market, you’re going to get left behind very quickly. Do our customers today care about the difference? That’s up for debate.

But in two years, when the price of COB is the same as SMD, a lot of people are going to care. It’s important to know where the industry is heading.” www.silicon-core.com www.vod-visual.co.uk

Marco“Tato ”Vargas

Dominican Republic

Kally Williams

Oahu, Hawaii

Mike Slater Atlanta, GA

Helberth Mohry

Sao Paulo, Brazil

Jan Lukas Mielk Germany

www.lectrosonics.com

PD Sound Anyang, Henan

Gordon Moore

President Lectrosonics

NiK Castanon

San Diego, CA

Matthew Cameron

Vancouver, BC

Fabian Munne Argentina

Raheem

Toronto, Canada

e

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SCAN TO REGISTER

Untitled-2 4

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NEWPRODUCTS

INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING

A–ZCONTENTS

MAILA marks next milestone for LD Systems The scalable sound reinforcement system aims to set new standards in user-friendliness and flexibility in the professional rental market WITH THE introduction of the Modular All-Round Intelligent Line Array – MAILA – LD Systems is heralding a new chapter in the German pro audio manufacturer’s history. By combining the MAILA SAT satellite module, the MAILA COL column module, the MAILA SPA amplifier module and the MAILA SUB subwoofer, MAILA enables scalable, flexible system configurations from speech reinforcement without subwoofers to larger conferences and flown line array systems.

Five years in the making, MAILA incorporates new technologies. SmartLink+ enables wireless power and signal connection in addition to automatic detection of the individual modules via aluminium rails, while the hidden LogoLink antennas offer wireless connection with ranges of up to 30m. A MAILA app promotes quick and easy configuration including the calculation of SAT angles and wireless system updates. With the EasySplay mechanism, the tilt of each satellite can be adjusted between 0° and 8° with just one hand via a rotary handle on the rear side of the housing for adapting the sound coverage to any application.

Housed in a unibody aluminium 8.5kg enclosure, the MAILA SAT satellite speaker is a line array element. Arranged in a coaxial design based on Advanced WaveAhead technology, MAILA SAT incorporates five 1-inch tweeters in front of a 6.5-inch midrange driver. Via the two combined SonicGuide waveguides, the speakers in the MAILA SAT are brought together with virtually no interference.

The MAILA COL full-range column module includes a four-channel DSP 2,500W amplifier to drive the four internal 6.5-inch

MAILA SAT active woofers in addition to the MAILA SAT satellites. The column module can be used as a ground-stack variant or as a flown array consisting of MAILA COL and up to eight MAILA SAT units. On the ground, the interposed column module allows ground-stack sound reinforcement to be implemented up to 3.2m higher than conventional systems for generating a more uniform coverage across the listening plain.

Distinguished by its sleek unibody aluminium design, the MAILA SPA amplifier module features an internal 1,250W power amplifier with SysCore DSP for driving up to eight MAILA SAT satellites that can be wirelessly connected with audio and power.

In addition, SmartLink+ technology allows independent determination of the installed satellites for optional automatic or manual DSP processing.

Incorporating dual 15-inch woofers in a bandpass design, 2,500W amplification and SysCore DSP, the MAILA SUB forms the basis of every MAILA system. Conceived

MAILA COL on a planar wave bandpass design with a quarter wave horn and symmetrical driver design, the opposing dual 15-inch woofer arrangement allows for impulse compensation and precise low-frequency output.

LD Systems offers MAILA in five sets, each with customised basic configurations and accessories: MAILA S, MAILA M, MAILA L, MAILA XL and MAILA XXL.

ADAM Audio A Series ADJ Encore Lime Par Series AJA Ki Pro GO v4.0 Alcons Audio LR18i Amate Audio IP44 certification for G7 Arthur Holm DynamicMC AtlasIED Atmosphere update Atlona AT-CAP-SP100 Audinate Dante Studio/Dante Ready Austrian Audio OC7/OD5 AV Stumpfl PIXERA four/AnyShape Avid Subscription model for Pro Tools Avolites Titan 15.1 Ayrton Domino LT Blackmagic Design HyperDeck Extreme 4K HDR Brompton Technology Tessera update Cameo OTOS H5/P2 Series Canare 32MCKA Celestion CF0820BMB/CF0820M Chauvet WELL STX Clear-Com Eclipse HX version 13 Cloud Microphones Cloud 44 Cobalt Digital +UDX-Dante-16x16 Crest Audio CPX 1, 2, 3 and 4 Crestron VC-4/DM NVX Firmware 7 DAS Audio LARA/Integral Series/ALMA Datapath Aetria update Elation Fuze Max Spot and Profile ETC Eos Apex/Cyberlight LED Extron USBC Pro 8K GatesAir Maxiva GNSS-PTP Genelec RAW 8331/RAW 8341 High End Systems Talen Hitachi Kokusai SK-UHD7000 Imagine Communications Imagine Aviator JVC KY-PZ510 Key Digital KD-MLV4x4Pro Kling & Freitag PIA M Klotz AIS superflex VDU042L 12G UHD Lawo .edge/Radio software 7.0 LD Systems MAILA Lectrosonics DSR/DSR5P/DSR4 LYNX Technik IDC 1411 Magewell USB Fusion Marshall Electronics CV566/CV366 Martin Professional Martin ERA 150 Wash Neutrik powerCON True1 Top-L NEXT Audiocom T Series Nugen Audio Halo Vision Outline Newton update Panasonic PT-MZ20K Peavey Electronics LN1063 Powersoft ArmoníaPlus v2.3 PreSonus Eris E5 BT QSC Q-SYS Control update RCF NXL MK2 Series RF Venue Wireless Upgrade Packs Robe PAINTE/iBeam 250 RØDE NTH-100 ROE Visual Graphite Ross Video Furio update RTW TouchControl 5 Sennheiser XS Wireless IEM Sony URX-P41D/SRG-X40UH Stagetec Nexus compact TrueMatch Tasker TSK201/TSK202/TSK203 TSL Products SAM-Q-NET/SAM-Q-EDIT VuWall PAK/Application Server Waves Audio Clarity Vx Pro/Clarity Vx Wheatstone MP-532 Wohler iVAM1-12G WyreStorm SW-220-TX-W/APO-VX20-UC Yamaha RM-TT/RM-CG/RM-W

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www.ld-systems.com

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PRODUCTS

ADAM Audio updates the A Series GERMAN MANUFACTURER ADAM Audio has introduced the new A Series as the successor to its popular AX Series of studio monitors. Comprising five models – the A4V, A7V, A44H, A77H and A8H – the series promises to deliver “highly accurate, transparent sound that can be controlled remotely and in real time”. The addition of rotatable HPS waveguide technology and DSP-based room correction and voicings enable users to tune speakers for their room and ears, making them suitable for broadcast, fixedinstallation, immersive and home audio environments.

The compact A4V is best suited to smaller studio environments, while the A7V serves as a replacement for ADAM’s

most well-known monitor, the A7X. The A44H offers a low-profile alternative to the A7V while delivering similar performance characteristics. With a 19-inch width, the horizontally oriented A44H can sit in a standard rack shelf or be mounted above or below a screen.

A successor to the A77X, the three-way A77H is a loudspeaker that capitalises on the latest ADAM Audio technologies to deliver spacious sound. The pinnacle of the A Series, the A8H, is also a three-way design with a different form factor which is said to deliver the extremely accurate and analytical sound required for criticallistening environments.

Alcons unveils installationspecific line array

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ALCONS AUDIO has launched its first installation-specific line array in the form of the LR18i. The Dutch manufacturer claims that by implementing its pro-ribbon technology for mid and high frequencies, a very fast impulse response with up to 90% less distortion is achieved, which enables the LR18i to offer a linear response, with optimal intelligibility and non-compressed identical tonal balance at any SPL. The three-way, compact format line array features a cylindrical wavefront of the patented Alcons RBN702rs 7-inch pro-ribbon transducer. The pro-ribbon’s power handling of 1,500W is said to provide enough headroom for even the most dynamic source material.

The RBN702 is coupled to a highefficiency, horn-loaded 6.5-inch

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midrange transducer, coaxially mounted behind the HF driver. The LF section consists of two reflex-loaded 8-inch woofers with an oversized 3-inch voice coil neodymium motor structure.

The LR18i is controlled by the Alcons Sentinel amplified loudspeaker controller with system-specific drive processing, including VHIR processing which offers phase matching with any Alcons system, and Signal Integrity Sensing which dynamically compensates cable length and amplifier impedance effects. To provide the sound designer with the right tools, the LR18i is available with a 90° (LR18/90i) or 120° (LR18/120i) horizontal dispersion. It can be combined with the LR18B fly/stack 18-inch subwoofer. www.alconsaudio.com

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www.adam-audio.com

DAS Audio introduces LARA DAS AUDIO has launched a self-powered, cardioid line array system for largescale events. With a symmetric design and 6,000W RMS power rating, LARA aims to mark a milestone for the Spanish brand. LARA is capable of 146dB linear SPL (maximum) output within a wide dynamic range, yet the cardioid rear attenuation of the system can record –15dB within the 63–200Hz range. The four-way LARA cabinet incorporates two 12-inch LF woofers with 4-inch voice coils, two 8-inch transducers in cardioid configuration and two 8-inch transducers for the midrange with 2.5-inch voice coils. The HF section consists of two DAS M-78N compression drivers with 3-inch voice coils and a waveguide with 100° horizontal dispersion.

The Integral Series is a complete range of audio sources, power amplifiers, microphones, wall amplifiers, matrixes and matrix amplifiers for commercial and professional installations. Designed to provide maximum control with ease-of-

use functionality, the audio devices including the Integral M-88 matrix and MA series amplifiers offer varying features and power ratings to meet specific installation requirements.

Control, configuration and management of the devices are performed using the ALMA software via IP or from a mobile device via Open Sound Control (OSC). Bypassing the requirement for an external switch, it also integrates an Ethernet switch for daisy-chain connections and features analogue, AES67 and Dante connectivity. Among its functionalities, the Integral Series shares music in a commercial installation from a mobile device or from a computer, notifies the client when their order is available or outputs an emergency voice notification in a specific zone or in all zones at the same time.

compatible media player. A headphone jack has been front mounted into the cabinet and a ⅛-inch stereo Aux In accepts signals from non-Bluetooth audio devices.

The E5 BT is the first in the Eris family to offer a ¼-inch TRS Sub Out should a subwoofer be added, such as the PreSonus Eris Sub8. The addition of High and Low Acoustic Tuning controls enables adjustments to the E5 BT within the listening environment.

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Game on for PreSonus’ latest Eris Monitor

EQUIPPED WITH 50W of Class-D power together with Bluetooth and wired connectivity, PreSonus Audio Electronics has extended the Eris family of Active Media Reference Monitors with the Eris E5 BT model. Incorporating a 5.25-inch woven-glass composite woofer and a 1-inch silk-dome tweeter, the Eris E5 BT monitor features a combination of ¼-inch TRS balanced inputs, unbalanced RCA inputs and a standard Bluetooth 5.0 input for connection to an audio interface, gaming system, computer or Bluetooth-

ALMA Focusing on streamlining processes and providing intuitive access to tools, the ALMA software provides control and monitoring of the systems via an advanced GUI. Intelligent programming helps manage and optimise the systems quickly and easily, making setup times considerably shorter for major applications, such as concerts, installations or corporate events.

Features include online and offline project creation, Link Manager and Master Control, integration of the DASaim optimisation tool, EQ Control, “Config Mode” and “Show Mode”, notification centre and Night Mode/ Day Mode view. www.dasaudio.com

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PRODUCTS

Amate Audio’s G7 adds further Peavey stacks up colour and IP44 credentials latest column array FOLLOWING THE launch of the G7 commercial loudspeaker in 2021, Amate Audio has received IP44 certification to extend its use in a wide variety of outdoor applications. The IP44 certification signifies that intrusion by objects larger than 1mm in size cannot penetrate the moulded ABS plastic cabinet or aluminium speaker grille and that the spraying or splashing of water will have no harmful effect on the loudspeaker functioning.

The current line-up of white, black and titanium finishes has been extended with anthracite. The burnished grey colour is intended to complement minimalist chic environments in contrast to the urban aesthetic of the titanium model.

Housing a 6.5-inch carbon-fibre woofer and 1-inch neodymium tweeter, the two-way G7 hexagonal-form enclosure is EN54-24 certified.

Continuous program power handling and output capabilities are respectively rated at 120W and 112dB SPL. Integrated mounts

for the U-Bracket wall mount and a recessed connector plate with protective cover facilitate ease of installation. Swappable rear connector plates enable optional use of the G7 in 100V line operation, with the T-G7 plate providing switchable 5W, 10W, 20W and 40W operation.

WITH THE introduction of the LN1063 column array, Peavey Electronics has designed a compact, portable loudspeaker system for one-man setups. Weighing 9.3kg, the low-profile system integrates a 500W amplifier that powers six 2.75-inch MF/HF drivers in the column array and an 8-inch subwoofer. Operating within a frequency range of 55Hz–18kHz (–10dB), the LN1063 can deliver a maximum SPL of 120dB. A four-channel mixer built into the subwoofer module features EQ and channel gain controls. Channels 1 and 2 inputs are XLR/ 1 ⁄4 -inch combos, which can be switched between mic/guitar/line and include a reverb send, whereas channels 3 and 4 offer ¼-inch line inputs. In addition to providing a 3.5mm aux input for use with a portable playback source, channels 5 and 6 include a volume control that can be switched between aux and Bluetooth. An XLR output is available to pass the mix output to an additional speaker. www.peavey.com

www.amateaudio.com

Kling & Freitag NEXT Audiocom introduces T Series unveils PIA M line source speaker GERMAN BRAND Kling & Freitag has debuted a passive three-way line source solution that can be operated using its PLM, D and IPX series amplifiers. PIA M is a column loudspeaker whose vertical opening angle of the tweeter array can be adjusted mechanically, with the angles becoming larger as you move further down. This results in the classic J-shape of a line array system, meaning that the level distribution on the listening area can be made more homogeneous.

The midrange enclosure has a cardioid design.

The woofer housing can be switched between cardioid and bass reflex using a smart mechanism, so that the cabinet can be adapted to any conceivable application. It is stated to be ideal both for installation projects in architecturally demanding environments and for mobile applications in acoustically challenging rooms.

PORTUGUESE MANUFACTURER NEXT Audiocom has unveiled the IP65-rated T Series, two-way loudspeakers with a built-in 100V transformer and 8Ω power tap said to be “perfect” for both distributed and near-field applications in environments such as houses of worship, retail stores, restaurants, bar terraces or malls.

The T Series speakers are housed in a weatherproof cabinet capable of architectural integration, indoors and outdoors. The range consists of three models: the T4, which offers a 4-inch low-frequency transducer and a 0.8-inch dome tweeter; the T6, which has a 6-inch LF driver with a 1-inch HF driver; and the T8, which is composed of an 8-inch LF transducer and 1-inch HF driver.

All three models are equipped with a four-position (in+/in- and link+/link-) Phoenix connector located on the back plate. The screw connector is said to provide a faster and easier way to wire the system, allowing the speaker to perfectly fit the wall shape while keeping the cables invisible. The speaker includes a back cover that allows it to be exposed to rain or highly humid environments.

All the T Series models are available in black and white to match an installation’s décor. They also ship with a U-Bracket included. Other wall brackets, with pan and tilt capabilities, are available.

www.nextaudiocom.com

Celestion promotes retail therapy

CELESTION HAS made two of its 8-inch ferrite magnet LF loudspeakers available for dealers and distributors as individually packaged retail items. Manufactured in the UK, the two models incorporate the specialist FEA (Finite Element Analysis) modelling techniques for enhanced performance, including greater efficiency and low distortion.

Designed for bass and mid-bass applications in two-way systems, the CF0820BMB features a 2-inch multi-layer voice coil providing 250W RMS (AES) power handling and 93dB sensitivity with an output frequency range of 50Hz–6kHz. The half roll elastomer surround adds greater stability at extremes of excursion, along with improved modal distribution for reduced distortion. Balanced Airflow Venting (BAV) increases airflow around the coil and inner magnet assembly to provide enhanced cooling, preventing sensitivity loss through thermal compression.

improved HF performance. The low-profile aluminium chassis enables close packing in applications where multiple drivers are required and an inverted dust cap enables the close positioning of a phase plug where horn-loading is required. www.celestion.com

CF0820M The CF0820M is a dedicated midrange driver designed for straightforward threeway systems, horn-loaded or line array applications. Delivering 250W RMS (AES) power handling and 98dB sensitivity, with an output frequency range of 150Hz– 6kHz, the CF0820M features a copper sleeved pole to reduce inductive rise for

CF08208BMB

www.kling-freitag.com

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PRODUCTS

Genelec debuts RAW 8331 and 8341 GENELEC HAS expanded its range of RAW aluminium speakers to include the 8331 and 8341 three-way coaxial studio monitors from The Ones series. Additionally, a proportion of each sale will be donated to the Audio Engineering Society (AES) throughout 2022, as a result of the manufacturer’s longstanding role as a Sustaining Member of the Society.

The Genelec RAW versions require no painting and less finishing material than standard

painted models, creating an even more environmentally friendly loudspeaker and giving each individual unit a unique look and feel. All RAW models feature the Minimum Diffraction Enclosure (MDE) design developed by Genelec in close collaboration with industrial designer, Harri Koskinen. www.genelec.com

The next generation of sound RCF HAS redesigned its NXL Series with MK2 versions. The NXL 24-A MK2 and NXL 44-A MK2 are line array column speakers designed for bands, DJs, clubs and rental companies. The combination of RCF transducers and a 2,100W two-channel amplifier produce coherent 100° x 30°

NXL 24-A MK2

coverage (25° for the NXL 44-A MK2) for the listening area up to 132dB SPL (135dB for the NXL 44-A MK2). The two-way design of the NXL 24-A MK2 features four 6-inch neodymium woofers and a 3-inch driver on an asymmetrical waveguide, while the NXL 44-A MK2 comes with three 10-inch neodymium woofers and a 3-inch driver. The horn’s design is said to deliver accurate sound to the coverage area without tilting the enclosure.

The speaker delivers an extended frequency range down to 60Hz (45Hz for the NXL 44-A MK2) and can be used as a standalone speaker, flown or coupled with the same unit for extended coverage. Pairing the speaker with subwoofers delivers full-range power for medium-sized concerts and DJ systems.

Blending RCF proprietary FiRPHASE and Bass Motion Control DSP processing, the NXL 24-A MK2 speaker is tuned for sound clarity and a deep bass response. The rugged, tourready, high-quality baltic birch plywood cabinet is easy to carry and install using the dedicated rigging points.

The Italian manufacturer has also released the SUB 8004-AS featuring a high-power, hypervented 18-inch woofer and 4-inch inside/ outside voice coils. The cabinet has been specifically designed for the low frequencies and is powered by a 1,250W digital amplifier module. The input board includes volume control, deep/punch switch, high pass switch, phase switch, cardioid and time delay. www.rcf.it

Crest adds to CPX Series PEAVEY COMMERCIAL Audio brand, Crest Audio, has announced a continuation of the CPX Series of professional power amps to include the CPX 1, CPX 2 Class A-B, CPX 3 and CPX 4 Class H. With power ranging from 480W to 1,600W per channel, the amplifiers are designed to operate at line voltages as low as 50% of nominal and can drive loudspeaker circuits as low as 2Ω per channel or 4Ω when set to bridge mode.

while the filter cuts at 40Hz to prevent low-end rumble. The crossovers have direct outputs via heavy-duty, industrystandard connectors with THRU/LOW out and HIGH out TRS jacks. Channel output sections feature dual shock-proof binding posts (CPX 1/2/3) and four-conductor twist-lock connectors. For inputs, the CPX Series features combination XLR/¼-inch connectors with an added barrier strip for permanent installations (CPX 1/2/3).

An exclusive feature of the CPX Series is Crest’s GCL (gain comparator limiting) system with a rear panel defeat switch.

The GCL monitors input/output gain, reduces the signal when distortion or excessive high current conditions occur and protects the loudspeakers from dangerous transients and unexpected level changes.

Beyond GCL, the amps offer audio processing capabilities, including two channel independent crossovers and a subsonic filter. The crossover frequencies are fixed at 150Hz (CPX 1/2/3) or 100Hz (CPX 4), allowing loudspeaker subwoofers to be driven at high sound pressure levels

The front panel provides calibrated gain controls and LED indicators for power, signal presence, thermal protection and distortion detection activation on each channel. A front panel rocker switch controls the mains power. The rear panel contains an IEC power connector, line voltage selector switch, dual primary fuses and a two-speed DC cooling fan opening.

There is also a mode selector switch for stereo and bridge-mono operation, a toroidal power transformer and a line voltage selector switch for 115V or 220V to 240VAC operation. www.peaveycommercialaudio.com

Stagetec reveals Nexus compact TrueMatch DEVELOPED AS a compact IP-based standalone system that can be extended to existing Nexus networks, Stagetec has unveiled the Nexus compact TrueMatch.

Primarily designed for remote production and recording studios, stageboxes, workstations with local audio sources and camera-mounted microphones, TrueMatch includes a low channel count with basic audio processing.

TrueMatch features minimal transducer errors, low distortion and improved aliasing suppression, while achieving a dynamic range of 158dB. A four-stage operation of TrueMatch converters cuts out the need for analogue preamplification and eliminates analogue overload or component noise. The

compact TrueMatch supports established standards and protocols, including EmBER+, NMOS IS-04/05, SMPTE 2110-30, SMPTE 2110-31 and SMPTE 2022-7.

The German manufacturer claims that the decoupled Nexus I/O board technologies and circuit designs integrated into the Nexus system offer high operational

reliability and quality. Optionally available as an AES67 device for integration into an SMPTE 2110 and NMOS environment, TrueMatch can be equipped with a Dante interface and connected with the Dante ecosystem with up to 64 Dante/AES67 I/Os. Connections include eight TrueMatch mic inputs with four splits each, four AES3 stereo inputs, four AES3 stereo outputs, eight analogue outputs, stereo headphones and six GPIs/five GPOs. Basic DSP product functionality (MixMatrix, In/Out-Channel: Exp/EQ/ Comp/Lim/Delay) will be made available later this year. www.stagetec.com

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DN10.172KS Designed for 1-3/8 inch-18 TPI threaded horns in high-performance cabinets, DN10.172KS delivers an enviable acoustic performance shaped

by FEM optimization to ensure low distortion, a very linear frequency trend to 20 kHz and an attractive 1500 Hz recommended crossover point.

Ferrite magnet screw-on fitting models are also available; DF10.101LS, DF10.142LKS and DF10.172KS. -

NEODYMIUM MAGNET 25.4 mm (1 In.) THROAT EXIT 110 W PROGRAM POWER HANDLING 44.4 mm (1.7 In.) EDGEWOUND CCA VOICE COIL 110 dB/SPL SENSITIVITY 1200-20000 Hz FREQUENCY RANGE 1500 Hz RECOMMENDED CROSSOVER POLYIMIDE DIAPHRAGM AND SURROUND

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PRODUCTS

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Lectrosonics introduces next-gen receivers SAM-Q-NET

TSL extends networking appeal of SAM-Q platform ADDING IP network functionality to the SAM-Q audio monitoring platform, TSL has introduced the SAM-Q-NET and SAM-QEDIT tools. With support for ST 2110-30, ST 2022-7 and multiple control options, redundant 1G Ethernet connectivity reduces the cost of deployment for audio monitoring where a 10G connection is not required.

Operations can be tailored to different environments including studio facilities, OB trucks, master control positions and playout facilities. Supporting several operational modes, which can be enabled and disabled as required, SAM-Q can be configured to meet the usage requirements and skill level of its location, before menu access is locked.

SAM-Q-NET is equipped with both in-band and out-of-band control options, including NMOS support and a TSL RESTful API. Available as part of the SAM-Q platform, MADI and loudness software options can add functionality or repurpose the units as and when those features are required. The offline editing tool allows systems designers to build configurations, apply modes, map sources and loudness probes, enter source names and control front panel interface settings in transit. In addition to providing a readout of SAM-Q unit information for imported files, a visual display of all unit parameters allows the editing of configuration files created on the audio monitor. www.tslproducts.com

It’s all about the timing DEVELOPED FOR broadcast and telecom facilities, GatesAir has created a timing and signal reference solution that can communicate with modern navigation technologies used in secondgeneration Global Navigation Satellite Systems (GNSS).

The Maxiva GNSS-PTP is equipped with an advanced switching algorithm that assures precision 10MHz and 1 PPS reference signals to missioncritical components in the signal chain, including transmitters, networking and studio equipment. Removing the need to integrate a standalone timing source in each component, each standalone 1U device feeds up to 12 10MHz and 1 PPS references in the technology infrastructure.

The product design includes redundant AC power supplies with built-in battery backup for added protection, together with diverse timing sources, including redundant GNSS receivers. The GNSS receivers include

OCXO temperature control to prevent frequency changes and support all major global satellite constellations, such as GPS, GLONASS, Galileo and QZSS. Timing sources also include a hardware-based PTP module and an external 10MHz and 1 PPS reference.

Incorporating a built-in switching control logic, the GNSS-PTP supports the Precision Time Protocol v2 to add further reliability and flexibility. Available as a modular option, users can prioritise PTP as a facility’s primary source or configure PTP as a backup to one of the GNSS receivers. The PTP module can function as a master or slave and, like the unit’s GNSS receivers, provide reliable timing and frequency reference to 12 external devices. An integrated web interface provides ease-of-use selection of the frequency bands for each GNSS system and configuration of the timing source selection in automatic and manual modes. www.gatesair.com

PRIMARILY DESIGNED for ENG (Electronic News Gathering), field and location production, Lectrosonics has introduced nextgeneration dual- and quad-channel digital slot receivers. The DSR and DSR5P receivers provide two independent receiver channels and the DSR4 provides four independent receiver channels in Unislot and Superslot form factors. Compatible with all the current mono and stereo digital transmitters, the receivers are also backwards compatible with any of the Digital Hybrid Wireless transmitters made in the past 20 years.

Both receivers are offered in several tuning ranges. Ideal for use in portable bag systems, mounted in or on cameras and on sound carts, settings can be adjusted from the front panels featuring high-resolution displays. An RF spectrum analyser and SmartTune are integrated into the receivers to alleviate interference problems in an increasingly congested RF spectrum. The Superslot interface also includes a USB jack and data connection for compatibility with Lectrosonics Wireless Designer frequency coordination and system management software. The two-way IR sync promotes a quick setup when matching transmitters.

The RF gain stages in the front end of the DSR and DSR4 provide low

The DSR, DSR5P and DSR4 noise RF amplification, sensitivity and low susceptibility to intermodulation and de-sensitisation. Sharing the same dimensions, screw mounting holes and rear connectors as previous Lectrosonics SR series models, the DSR and DSR5P dual-channel units can utilise existing, compatible accessories for powering, audio outputs and slot mounting. Incorporating four audio outputs, the DSR4 cannot adopt the same legacy accessories owing to its slightly longer length and therefore operates with new accessories for mounting, powering and audio outputs.

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www.lectrosonics.com

Wheatstone widens its appeal CREATED FOR FM, AM, FM HD, AM HD, HD-only or streaming broadcast processing applications, Wheatstone has launched the MP-532 multipurpose audio processor.

The single-space rack unit introduces new algorithms together with a built-in RDS encoder and a WheatNet-IP audio network

Smart Stereo Enhancement provides a wide but stable “on-air” stereo image, while fourband parametric EQ offers customisation.

A new algorithm featured in the Bass Management System removes bass-related distortion to enhance the clarity of bass detail.

interface for triggering presets remotely.

Meeting the ITU-R BS.412-7 modulation requirements for reducing adjacent channel interference, a multiplex power controller is included.

Unique to Wheatstone processors, the MP-532 includes intelligent five-band iAGC technology coupled to a five-band limiter and stereo generator. The combination provides automatic and real-time program density control for a consistent audio quality, regardless of density variations in incoming source material. The MP-532’s

The unit is equipped with two analogue composite outputs, two SCA inputs, balanced analogue L-R outputs and an AES digital output which may be switched to deliver either discrete L-R or a baseband192 digital multiplex signal.

192kHz digital MPX connectivity to the transmitter is included for end-to-end native IP audio quality. For local or remote control, a full GUI allows every function of the MP-532 to be accessed and tailored. www.wheatstone.com

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RTW Audio returns to Monitor Control with TouchControl 5 WITH TOUCHCONTROL 5, RTW is expanding its focus from visualising audio to comprising monitor control. Equipped with an intuitive user interface and a small footprint, TouchControl 5 is a monitor controller and audio meter that includes a 5-inch touchscreen and a rotary knob that also functions as a push button for easy access to dim or mute functions. The screen layout can be customised via a browser-based application and, with an ability to control up to 32 AoIP audio channels, TouchControl 5 is compatible with a wide range of audio formats from mono to immersive within a Dante audio network.

On the rear panel, a single Ethernet port provides both AoIP connection, as well as PoE (Power over Ethernet). In addition, a studiograde microphone input with phantom power and headphones output is available. The mic input can be utilised as a dedicated talkback microphone, although TouchControl 5 also features a built-in microphone. An analogue line out connection allows a pair of external speakers to be added should they not be connected via AoIP. TouchControl 5 comes with basic 4x4 Level Control, Simple Fader, 2x2 or

4x1 Control and, on the metering side, Basic PPM with True Peak and Phase. An optional licence structure provides flexibility and scalability.

As an example, for dedicated monitor control features, the monitoring licence features downmix, source select with A/B comparison, speaker select, calibrated monitoring, SPL readout, solo, cut, swap, phase, mono, dim, mute, test tone generator, talkback, presets and headphones, and line out enabling. The TouchControl 5 feature set can be expanded with the addition of the Premium Metering licence, which includes PPM and true peak metering, PPM scales, VU meters and British PPM. More licences will become available over time.

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ITALIAN CABLE manufacturer Tasker has carried out all the necessary tests with certified third-party bodies and has obtained CPR approval for all of its EVAC and fire detection cables in the Cca – s1a – d0 – a1 medium risk class, without compromising the flexibility of the products. This means that the cables are resistant to direct flames for up to 2 hours at a temperature of 850°C and, if they burn, they will only release a small amount of clear smoke without dripping.

The approval involves the manufacturer’s unshielded cables with a purple sheath that are designed for voice evacuation and PA systems (EVAC), namely the TSK201, TSK202

www.rtw.com

VDU042LP

DESIGNED FOR mobile outdoor use, Klotz AIS has created a flexible video cable that is characterised by its 2.9mm diameter and black PUR jacket. The superflex VDU042L 12G UHD comprises a stranded inner conductor of silver-plated, copper-clad steel wires and a very dense, tinned copper braid with 95% coverage. For transmission distances up to 20m for 12G video signals, the temperature-resistant outer sheath ensures operation between –40°C and +70°C. In addition, the outer sheath is abrasion- and notch-resistant and the cable meets the requirements of the SMPTE ST 2082 standard. Assembled with Damar & Hagen connectors of the BNCpro, BNCslim, BNCmicro and DIN 1.0/2.3 series ensures reliable transmission in critical situations.

Additionally, the German brand has extended the range of SMPTE/ ARIB camera cables with the Dragonfly connector. Compared to classic physicalcontact connectors, the Dragonfly SMPTE camera lens connector is described as easy to clean without any special tools and offers a strong signal stability. Suited towards studio applications, the IP68 rating promotes its use in challenging outdoor applications, in OB vans or at large sporting events. All

and TSK203 with 1mm2, 1.5mm2 and 2.5mm2 sections respectively. Also affected are the company’s shielded cables with a red sheath for fire detection alarm systems, namely

the TSK301, TSK302 and TSK303 with respective sections of 1mm2, 1.5mm2 and 2.5mm².

Following the strict regulations concerning the installation sector, all of these cables can also be used as audio, video or data cables in any fixed installation, even if they’re not directly linked to fire security. www.tasker.it

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cables are assembled ready for connection with the Klotz CAM311P SMPTE camera cables.

Designed to distribute 16A loads for live sound applications, the PowerLink Power Distribution Rack (PDR) incorporates Socapex-compatible RMP power multicore and powerCON TRUE1 connectors.

Six discrete 16A circuits of a Socapexcompatible load multicore can be distributed to one powerCON TRUE1 socket each or individually supplied via a powerCON TRUE1 power cable and bundled into one Socapex-compatible six-channel power multicore. Available with either six or 12 channels, the PDR12N-SOC receives up to 12 discrete 16A circuits for distribution or bundling from one to two Socapexcompatible load multicores. Housed in aluminium with a powder coat finish and laser engraving, the inclusion of PT1 and PT2 series connection cables extends use to outdoor applications. Fitted with lockable powerCON TRUE1 or PowerTwist TR1 connectors, the cables are dust- and water-protected to an IP65 standard. A conductor cross-section of up to 3x2.5mm² provides a high-current carrying capacity, while the outer sheath is made of crosslinked elastomer for flame retardancy, oil and ozone resistance and operation over a –50°C/+90°C temperature range.

Dragonfly

www.klotz-ais.com

Extron drawn by the power of USB-C EXTRON HAS made available a series of active, hybrid, optical-copper USB-C cables that are capable of transmitting 8K/30 DisplayPort AV, USB 2.0 data and power signals simultaneously up to a 9.1m distance. Designed for USB-C-enabled devices that support video and audio over four DisplayPort lanes, the USBC Pro 8K video optical cables streamline

USBC Pro 8K

integration and support power delivery of up to 60W from either the USB host or peripheral device. Incorporating glass, multimode optical fibre for transmitting 8K/30 DisplayPort video and embedded audio signals, the 6.5mm-diameter cables come with a narrow bend radius for incorporation into tight spaces. Other non-bandwidth intensive or low-speed signals are carried

on the integrated copper wires, including EDID, HDCP and power.

In brief, an upgrade to LinkLicense now enables SMP 300 Series devices to ingest recording and livestreaming schedules for publishing to the YuJa video management platform. www.extron.com

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PRODUCTS

Google meets Q-SYS Control TO SUPPORT the demands of hybrid work, Google Meet has certified the Q-SYS Control platform as the first integrated audio, video and control solution. With third-party control integration, the Q-SYS Control engine can deliver the Q-SYS user control interface (UCI) on Google Meet-supported controller consoles. In addition, Google Cloud has certified Q-SYS video capabilities, allowing Google Meet to support the integration of

multiple Q-SYS conference cameras with automatic switching capabilities. The video and control capabilities come in addition to existing audio support that Q-SYS provides for Google Meet. By utilising a Q-SYS Core or USB bridging endpoint for audio processing, a portfolio of Q-SYS amplifiers, network I/O devices and QSC loudspeakers can be selected. www.qsc.com

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CLOUD MICROPHONES has expanded its microphone family with a passive version of the 44-A. Resurrecting the iconic RCA Type 44 ribbon mic, the ribbon motor design is handcrafted to the exact specifications first prescribed in the 1930s by RCA but with the latest materials. Finished in an all-black midnight finish, the passive Cloud 44 marries past heritage with clarity expected from today’s recording tasks. For added flexibility, each Cloud 44 ships with a shock mount and its own Cloudlifter CL-1 mic activator, in a matching black finish, for converting an active ribbon when desired. www.cloudmicrophones.com

Yamaha adds a boost to Adecia Latest Austrian Audio mics swivel into place BOTH HANDMADE in Vienna and in lower sensitivity by reducing the capsule optimised for use on instruments, new voltage, allows it to be used in front active dynamic and true condenser of loud sound sources. With an microphones have been unveiled 154dB SPL (>160dB SPL with

by Austrian Audio. Most pad), the OC7 is reportedly noticeable on the two models extremely resistant to is the inclusion of the “Swivel overload.

Joint” mechanism intended to The OD5 features help solve the familiar problem the active dynamic for musicians and sound techs circuit – the same one of making fine adjustments to featured in the OD505 vocal microphone angles by a few degrees microphone. This ensures after being screwed on too tightly to that even long cable runs have the stand. The swivel system for the no negative effect on the signal. microphone basket allows a 220° In addition, the active dynamic rotation of the field, meaning that the design allows the integration of a mic can be easily aligned precisely proper high-pass filter. In the OD5, to the sound source or according to a CAB (Cut & Boost) filter is applied personal sound preferences, without at 80Hz, which is particularly well having to awkwardly adjust or loosen suited for use with guitar amplifiers. the microphone stand.

This filter removes the unusable The OC7 true condenser low-frequency sound and, at OC7 and the OD5 active the same time, increases dynamic microphones use pressure in the bass range.

Austrian Audio’s Open Acoustics The second position at 120Hz technology. The “linear cardioid” is a common second-order polar pattern captures high-pass filter. undistorted sound not only Another feature of from the front, but also from the OD5 instrument the rear or side. This reportedly microphone is the ensures that even the, pad switch. In the sometimes unavoidable, crosstalk zero position, the active from other instruments is unaffected. dynamic microphone has In addition to their shared attributes, a sensitivity usually found in the OC7 and the OD5 each have unique condenser microphones and, at features. The OC7’s true condenser the same time, it’s reportedly capsule is protected by the microphone almost impossible to get the OD5 basket and can therefore be positioned to overdrive. The –10dB pad is without hesitation even in places where ideal for protecting downstream the microphone might be subjected mic preamps from clipping when to knocks. It is also equipped with a they have no pad capability second-order high-pass filter with an themselves. operating frequency of 40Hz or www.austrian.audio 80Hz. A –10dB pad, which results OD5

BUILDING ON the success of its Adecia series, Yamaha has released a new range of tabletop microphones for the conferencing market designed around Dante. The RM-TT tabletop and RM-CG ceiling-mount microphones are standalone mics incorporating automatic voice tracking, auto gain control, adaptive echo cancellation, noise reduction and reverberation suppression to aid seamless collaboration.

RM-TT The tabletop model’s voice tracking function automatically selects the microphone closest to the person speaking to aid voice capture, and its human voice activity detection technology anticipates additional voice locations to aid conversation pickup. It also includes six additional directional modes – omnidirectional, bidirectional, unidirectional, super-cardioid, hyper-cardioid and toroidal – which installers can set for customised room capture.

The RM-CG features Yamaha’s dynamic beam tracking, which utilises multiple beams to automatically track voices within the room

simultaneously. This eliminates the need to program fixed lobes, which can often lead to dead spots within the meeting space. Design or room setup changes can also be made without the need to reprogram microphones.

The ceiling microphone array supports ceilingmount, wire-mount or pole-mount options.

An RM-W wireless microphone option has also joined Yamaha’s Adecia series, joining the existing RM-CR remote conferencing processor, VXL-16P PoE column array and SWR Series PoE network switch. Using automatic setup guides, Adecia Wireless automatically recognises components, pairs microphones and configures them according to the room’s environment to ensure high-quality audio while reducing setup time and complexities.

Organisations can customise Adecia Wireless to best fit their space and use case with 6-inch gooseneck, 12-inch gooseneck, omnidirectional boundary or directional boundary tabletop microphone options. In addition to being utilised in Adecia Wireless, the RM-W microphones are available as standalone options alongside the newly announced RM-TT tabletop and RM-CG ceiling-mount microphones. Yamaha’s audio processing technologies like adaptive AEC reside within the microphone’s wireless access point to allow for expandability of existing DSPs and reduction of postprocessing setup resources and costs. uc.yamaha.com

RM-CG

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PRODUCTS

Sony 4G receiver syncs with all productions DESIGNED FOR use with XDCAM camcorders and Alpha interchangeable lens cameras in broadcast and news productions ranging from run-and-gun style interviews to documentaries and series productions, Sony has launched its fourth Generation of UWP-D Series wireless microphones.

The URX-P41D two-channel portable receiver includes Sony’s digital audio processing, NFC Sync for a quick setup from receiver to transmitter, in addition to Auto Gain mode and Output level control. The receiver’s NFC Sync button automatically scans the appropriate frequency, after which the transmitter syncs the channel by touch. Enhancing the reproduction of audio accuracy, digital companding optimises a time-constant range

between the transmitter and receiver and an enhanced transient response performance for clear interview recordings.

Backwards compatible with previous generations, the URX-P41D pairs with all UWP-D transmitters and is available as a standalone receiver or as a part of the UWP-D27 kit, including two UTX-B40 bodypack transmitters. The inclusion of a SMAD-P5 MI shoe adaptor enables direct digital audio recording by bypassing the D/A and A/D process. The audio interface integrates seamlessly with Sony’s camcorders and displays audio information on the viewfinder. Having reduced the size of the receiver, the URX-P41D can sit on top of the camera or ILC attached to the MI shoe or cold shoe.

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RF Venue eliminates dropouts INTENDED TO deal with interference by effectively eliminating wireless signal dropouts, RF Venue has released its Wireless Upgrade Packs. Including all the cables and hardware necessary for wireless mic and in-ear monitor systems with no tuning or adjustments, RF Venue’s Wireless Microphone and In-Ear Monitor Upgrade Packs provide a complete wireless reliability system. Designed to be simple to implement, the packs operate with all wireless mic and monitor systems, regardless of brand.

For combating high interference levels, users can plug in a pair of Bandpass Interference Filters to mitigate interference from LED lighting, videowalls and 5G cell phones. Engineered as a complete system with DISTRO4 and DISTRO9 HDR RF distribution amplifiers, RF Venue’s Diversity antennas and cabling, the upgrade packs can be ordered with multiple types of antennas to fit any specific requirement.

For a wireless system using up to five wireless microphones, the 4 Channel Wireless Microphone Upgrade Pack can connect five wireless receivers with its four diversity output connections and a cascade output pair.

When more channels of wireless microphones are requested, RF Venue offers the 9 Channel Wireless Microphone Upgrade Pack featuring the DISTRO9 HDR Antenna Distribution system for connection to nine wireless microphones. With the DISTRO9’s higher dynamic range, wireless

is futureproofed as increasing wireless devices compete for less RF spectrum.

When larger systems are needed, additional DISTRO4s or DISTRO9s can be cascaded.

Covering large areas, multiple rooms, or indoor and outdoor areas, the DISTRO9 HDR can create multi-zone installations by providing two separate zone antenna inputs.

An external microphone input is included for an additional wired microphone, with three-channel audio recording promoted by adopting a lavalier microphone. Ensuring correct audio levels in the field and the prevention of any unwanted distortion, auto gain mode and output level control are included.

Sony has also added to its PTZ camera line-up with the SRG-X40UH, an affordable 4K camera boasting zoom capability, a wide viewing angle and UVC and HDMI connectivity. The SRG series is currently used in established healthcare facilities to remotely monitor patients and equipment to ensure optimum settings for patient care, even under low light conditions.

The SRG-X40UH features a 4K Exmor R CMOS image sensor capable of producing high-quality images suitable for remote communication and monitoring in corporate, education and healthcare markets. A zoom up to 40x in Full HD and 30x in 4K with Clear Image Zoom technology, combined with an approximately 70° wide viewing angle and rapid PTZ movement, means that this camera can capture important scenes in range of different locations, from small conference rooms to large auditoriums. Its UVC and HDMI connections and PoE+ support can be integrated into existing systems with minimum cabling and remotely controlled through a VISCA/VISC-over-IP command.

Sennheiser launches XS Wireless IEM PROMISING A big leap in performance quality for up-and-coming bands and singer-songwriters, Sennheiser has introduced the XS Wireless IEM in-ear monitoring system. The solution is a complete starter kit intended to help artists progress from floor wedges to IEMs and professionalise their performances.

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For wireless in-ear monitor systems, RF Venue offers both four-channel and eightchannel upgrade packs to avoid dropouts and static noises. IEM upgrade packs feature the CP Beam Antenna, including the COMBINE4 and COMBINE8 IEM combiners with cabling for the transmitters and antenna.

XS Wireless IEM enables users to quickly establish an easy-to-manage wireless connection in the professional UHF range. Aligned and pre-calculated frequency presets get musicians started quickly. If desired, transmission frequencies can also be selected manually. Backlit displays on both the receiver bodypack and the rackmount transmitter help to clearly see settings, even in poor lighting conditions. In addition, the system offers a limiter to protect the user’s hearing and a highfrequency boost increases detail and intelligibility.

For their monitor sound, users can opt for a mono mix (one mix and the pan control adjusts the volume for the left and right ear) or a stereo mix. The latter provides two options – with Focus mode switched off, the pan control will change the left/right volume; with Focus mode switched on, it will determine which of the two input signals will be heard louder, creating a personal mono mix tailored to the musician’s needs. An infrared sensor is used to sync multiple bodypack receivers to one transmitter.

The packaged solution includes a stereo bodypack receiver complete with in-ears and batteries and a stereo transmitter with antenna, rack-mount kit and a power supply with various country adapters. It is available in five UHF frequency ranges (which are aligned with the XSW family of wireless microphones and instrument transmitters). www.sennheiser.com

www.rfvenue.com

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PRODUCTS

Neutrik extends its true connectors

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COMPATIBLE WITH the largest diameter power cables required for outdoor event applications, Neutrik has added the powerCON True1 Top-L to its family of sealed power connectors. Capable of accepting cable from 10–16mm in diameter, features include a breaking capability of CBC @ 16A

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250VAC VDE (20A 250VAC). Specifically designed for use with these connectors, the HTLACA and HTLACB assembly and disassembly tools facilitate faster disassembly for periodic safety testing. www.neutrik.com

RØDE enters professional headphone market with NTH-100 RØDE HAS made its entrance into the professional headphone market with the introduction of the NTH-100 over-ear headphones. The Australian manufacturer says that the headphones blend exceptional sonic performance with superior comfort that “inspires creativity”. Designed and manufactured at RØDE’s facilities in Sydney, the NTH-100 headphones are suitable for all types of content creation at home, in the studio or in the field, including music production, podcasting and livestreaming, location recording and video production.

From a technical standpoint, the NTH100 offers custom-matched 40mm dynamic drivers that promise low distortion and an accurate frequency

response. Their design is based around a custom voice coil with a four-layer, high-tension aluminium alloy as its core, which is coupled to a stiff triple-layer Mylar diaphragm. Together with a neodymium magnet, these components ensure optimal acoustic and electrical performance. These characteristics are further enhanced by the contoured earcup construction,

which has been precisionengineered not only for comfort but also for optimal acoustic performance, eliminating standing modes and frequency resonances to reportedly deliver a more immersive listening experience.

The earcups also feature high-density memory foam for noise isolation.

The NTH-100s include cable attachments on both earcups so the cable can be positioned

where is most convenient, a high-quality locking connector for each attachment for security if the cable is tugged or pulled, and easy left and right earcup identification with luminous letters, colour-coding and braille. Each pair comes with a high-quality 2.4m straight black cable, with 1.2m and coloured variants – pink, green, orange and blue – available separately. Also included is a storage pouch, a 3.5mm to 1⁄4 -inch adaptor for use with professional audio equipment and a set of coloured ID rings for cable identification matched to the channel colours of the RØDECaster Pro and RØDE Connect. www.rode.com

Avid announces subscription model for Pro Tools

AVID HAS announced a subscription model for Pro Tools that comprises three levels: Pro Tools Artist for aspiring music creators; Pro Tools Studio for serious audio engineers and music producers; and Pro Tools Flex, a

subscription bundle for professional audio post and music facilities. All current Pro Tools and Pro Tools Ultimate customers with active plans will gain the software enhancements introduced with these new products.

A SOFTWARE-BASED control solution, VC-4 from Crestron, has been released to complement its hardware-based control systems by offering a more scalable alternative with the same functionality. Capable of supporting up to 500 spaces on a single server, the VC-4 enables mass deployment of customised or standardised configurations with the press of a button, providing savings of time and labour costs while increasing the overall control platform lifecycle.

The explosion of hybrid work and the proliferating need for additional collaboration spaces have forced enterprise IT teams to configure more rooms than ever before. The VC-4 software-based solution helps accelerate

deployment for this ever-expanding array of rooms.

The solution enables IT specialists to design and configure a room’s UC, AV and control solutions, save those configurations and then automate them in a fraction of the time. Since it is integrated with standard programming languages, including C# for IT and SIMPL for AV professionals, it won’t require any new training to execute. Native SIMPL integration brings parity to certified Crestron programmers.

The standards-based, service-oriented architecture of the VC-4 also enables IT teams to leverage existing IT infrastructure for redundancy and fault tolerance and, as an on-premises solution, it supports enterprise-

Pro Tools Artist is specifically designed for next-gen music creators, and includes everything needed to make beats, write, record and mix studio-quality music. The Artist tier includes instrument sounds and loops and over 100 plugins, as well as MIDI tools and Pro Tools editing and mixing workflows.

Pro Tools Studio enables music creators, producers and engineers to create large projects, and builds on the current Pro Tools offering with numerous enhancements such as increased track counts, surround and support for Dolby Atmos mixing, and advanced automation features (both previously only available in Pro Tools Ultimate). Current Pro Tools subscribers and perpetual licence customers with active plans will automatically transition to Pro Tools

Crestron’s VC-4 streamlines enterprise spaces

Studio and receive all of the software enhancements, enabling them to create spatial mixes and bigger productions than before.

Pro Tools Flex is Avid’s solution for highend music professionals, as well as audio post and music facilities that require the full power and advanced workflows of Pro Tools. Pro Tools Flex includes an enhanced version of Pro Tools Ultimate software, plus additional content and third-party software.

Active Pro Tools Ultimate subscribers will receive the full Pro Tools Flex subscription bundle, including the latest version of Pro Tools Ultimate, while Pro Tools Ultimate perpetual licence customers with active plans will receive the Pro Tools Ultimate software enhancements. www.avid.com

grade security protocols. All functionality on the VC-4 is executed from the server and not in the public cloud, which enables local data storage and greater control over security patches and server maintenance with cloud-based firmware updates as well.

In brief, Crestron’s DM NVX Firmware 7 offers faster refresh rates up to 240Hz at 1080p; variable Bit Rate (VBR) encoding which optimises network bandwidth consumption across a multitude of spaces; and custom hotkey shortcuts from the keyboard which are said to provide extra convenience and quick access to common or critical commands.

VC-4

www.crestron.com

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PRODUCTS

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WITH THE introduction of new firmware updates, third-party control modules and accessory options, AtlasIED has extended the capabilities of its Atmosphere audio processing and control platform. By adopting touchless control, automation and artificial intelligence, the US producer aims to simplify the installation, customisation and operation of digital audio systems.

The firmware update for the Atmosphere platform includes an open API for facilitating third-party control support for Crestron, AMX, Extron and other manufacturers. By developing native drivers that meet compatibility demands, AtlasIED technology aims to create a unified system for integration into a wider variety of audio, video and network devices. Available for download on the AXM4 and AZM8 product

Atmosphere accessory wall plates pages, the modules will allow the Atmosphere API to be natively controlled within each brand’s programming environment.

Atmosphere’s noise detection sensors have been upgraded so that rules and thresholds can be set for automatically adjusting the level according to the detected ambient noise. Alerts

Nugen Audio shines a light on Halo Vision DESIGNED FOR 3D, surround and immersive audio workflows, Halo Vision is a customisable, real-time visual analysis suite operating in up to 7.1.2 channels for the AAX, VST3 and AU formats. Inspired by Nugen Audio’s Halo Upmix and Halo Downmix solutions, Halo Vision features a variety of modules that have a clearer understanding of the audio nuances. The modules highlight problem areas that may be missed during monitoring sessions.

Tools include Correlation Matrix, Correlation Web and Spectrum in addition to an expanded version of Nugen’s Frequency Haze and Location Haze functions, and a True Peak meter for each channel. The Correlation Matrix displays colour-coded phase relationships between every channel and features a larger arched meter for more detailed analysis and anti-correlation alerts at a user-defined threshold. Additionally, the

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Correlation Web module depicts a network of channels with an interconnecting line between each pair, which illuminates when the phase relationship between the two channels becomes anti-correlated.

With low frequencies at the centre and high frequencies on the outer edge, the circular Frequency Haze displays frequency content across the surround field, with channel labels in typical speaker positions. The Location Haze tool provides a visualisation of the perceived location of the audio, showing energy distribution across the surround field, with brighter sections indicating increases in the strength. When set to “combined” mode, the Spectrum view displays a level-againstfrequency graph for all channels in one spectrum, while the “groups” mode groups channels into separate overlayed spectrums. www.nugenaudio.com

can be triggered when an unexpected loud noise is detected, a crowd-generated noise becomes excessive or when the ambient noise falls below a predetermined threshold.

Currently available on six design models, a range of accessory wall plates including ambient noise sensors, advanced multi-

zone and volume controllers together with Bluetooth, XLR and RCA audio inputs now come in a black option. The firmware update also adds an integrated help section, including troubleshooting videos.

AUDINATE HAS introduced the Dante Studio platform solution for advancing AV production capabilities and streamlining workflows.

Resident on this platform, apps from Audinate will provide integrators with professional-grade tools for improved, specialised video networks.

As the first tool on Dante Studio, Dante Video RX enables Windows PCs to receive video simply and seamlessly from any Dante AVenabled source.

Dante Studio comprises an array of software solutions that bring Dante video features to PCs. Integrating within Dante-based environments that operate on standard 1Gb Ethernet networks, computers loaded with Dante Video RX can receive a video signal from Dante AV transmitters or Dante AV cameras. Supporting 1080p resolution, 60fps and synchronisation together with separate routing of video and audio elements, Dante Video RX will soon support 4K video.

By downloading the Dante Studio installer, the Dante Video RX trial licence is activated and the system can then be configured using standard Dante Controller software. Aimed at conferencing, houses of worship and educational applications, Dante Video RX can facilitate the use of video streams from anywhere on the network.

Video feeds from a legacy camera may be fed through a Dante AV encoder before being patched to Dante Video RX for conferencing, streaming and recording applications. Dante Video RX can also be used with OBS software or with platforms such as Microsoft Teams, Skype,

Zoom, vMix or Panopto to provide a cinematic look to presentations, lectures and lessons.

New tools within Dante Studio, including Dante Video TX, a virtual transmitter and the Dante Video Viewer virtual monitor, are currently in development for late 2022 release.

Audinate has also announced the availabillity of a new licensing programme that gives customers the ability to purchase and add channels of Dante audio to supported products in the field.

Dante Ready allows makers to lower costs at the time of manufacture and gives customers the ability to purchase only the channels that are required for an application. Available for devices using a Dante Embedded Platform, Dante Ready is activated as software online while devices are in the field. Once activated, the product licence never expires and can be expanded as needed through later purchases.

The Dante Virtual Soundcard software has been optimised for Apple M1, M1 Pro and M1 Max as well as Microsoft Windows 11 operating systems. By transforming a Mac or Windows computer into a Dante workstation, the soundcard connects Dante audio devices on an Ethernet-based network for recording, processing and playout of up to 64x64 channels using any combination of Dante-enabled devices. Dante Virtual Soundcard 4.2 supports Windows 11 and Apple Silicon-based macOS computers, while Dante Virtual Soundcard 4.1.2 is recommended for Intel-based macOS computers.

www.atlasied.com

Audinate reveals Dante Studio

www.audinate.com

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PRODUCTS

Noise reduction Clear-Com’s Eclipse HX gets greater redundancy VERSION 13 of the Clear-Com Eclipse HX Digital Matrix Intercom EHX firewire includes N+1 IP card redundancy and network redundancy, as well as the addition of Layer 3 support for AES67 endpoints. The manufacturer has also stated the upcoming v13/1 release will bring with it role management advancements for a streamlined configuration process and an improved user experience.

Proper redundancy is critical to ensuring that the Eclipse-based system will remain functional, even if there is a potential network failure. The N+1 card redundancy feature allows a single, or set of, E-IPA cards to function as a backup if a primary card fails. In the event of a card failure, the card’s

With dynamic routing capabilities embedded on its amplifier platforms, Dynamic Music Distribution routes music and other signal sources. In addition, the solution controls signal paths between different zones and across multiple amplifiers independently of source location and without the need for a centralised DSP. Groups of loudspeakers can be selected within a zone to create sub-zones with their own audio level controls. While the audio source is common for all, the audio level of

V13 includes updated versions of several SoundGrid applications, including the eMotion LV1 live mixer, SuperRack live plugin rack, MyMon personal monitor mixing app, SoundGrid QRec app for live recording and playback, and SoundGrid Studio.

full configuration is transferred to the backup card with a “virtually seamless” transition. Users can vary the N+1 ratio – one card can back up one card or one card can back up three – ensuring a cost-effective deployment. The new LAN connection network redundancy feature allows E-IPA cards to have two network ports configured to separate networks and means that if the card senses a network failure, it will immediately switch communication to the second network. This solution can support a fully or partially redundant network, providing the user with the flexibility to place key devices on a partially redundant network. www.clearcom.com

Powersoft ArmoníaPlus update delivers full control PROVIDING IMPROVED granular control of its Dynamic Music Distribution solution, Powersoft has released version 2.3 of ArmoníaPlus to systems designers and integrators.

WAVES AUDIO has unveiled its Clarity Vx Pro and Clarity Vx real-time noise removal plugins for voice and dialogue, powered by Waves’ AI audio technology, Waves Neural Networks. The plugins remove noise from voice recordings and dialogue at the highest audio fidelity, with no artefacts – and in a

each sub-zone can be individually adjusted via the Powersoft control interfaces including the WM Touch and Sys Control App. An update for the WM Touch includes an option that allows the zonal configuration

of mute and level controls, without users having access to mute it. A revamp of the Sys Control App adds new features that fine-tune the running system and create an improved user interface. Other innovations in the v2.3 upgrade include the creation of sub-zones for DMD systems that define the permissible audio levels for a given zone or sub-zone. A DMD system on/off mechanism can be triggered via GPI. www.powersoft.com

Clarity Vx Pro fraction of the time. Both plugins work in real time and are fully automatable. According to the manufacturer, postproduction engineers and re-recording mixers can now hear clean results immediately, non-destructively, within their DAW and in the context of their full video or audio session – without having to render, bounce, duplicate or consolidate tracks.

Clarity Vx Pro is the more advanced of the two plugins. Both feature the same Waves Neural Networks engine, but Clarity Vx Pro adds more features with a higher level of surgical control.

Waves has also released the free COSMOS AI-Powered Sample Finder, also included in the Waves CR8 Creative Sampler. Waves COSMOS solves the common issue musicians or producers face of finding the right sample. Using The Neural Networks technology, the COSMOS analyses, auto-tags and sorts a sample collection into one unified database.

COSMOS allows a user to see samples laid out in three accessible views: Waveform, List and Cosmos. Users can filter and search by instrument, BPM, key and even sonic characteristics such as brightness, saturation and dynamics. Users can listen to samples from within COSMOS, then drag-and-drop the sample straight into their sampler or DAW. COSMOS can be used via the app or via the Waves CR8 Creative Sampler plugin. The sample finder also comes pre-packed with over 2,500 royalty-free one-shots and loops.

The manufacturer has updated its plugins line-up to version 13 and at the same time introduced two brand-new applications – Waves MyFOH, a tablet app for remote control of the Waves eMotion LV1 live mixer; and Waves mRecall, a mobile app for remote snapshot/scene recall of Waves eMotion LV1 and SuperRack and Waves Commercial Audio systems. Additionally,

COSMOS MyFOH allows FOH engineers to control the LV1 over Wi-Fi from any iPad or Android tablet, and shape the live mix from any location in the venue. Engineers can evaluate their mix from the vantage point of the audience and adjust levels, panning and more for individual channels as well as groups, auxes, effects groups, DCAs and matrixes. The app also allows users to correct levels for front fills and delays, which are almost impossible to judge confidently from the static FOH position. If you are handling both FOH and monitor duties at the same show, you can also use MyFOH next to the musicians onstage to aid communication. mRecall is an iOS/Android app for quickly recalling scenes and snapshots created on Waves live systems and Commercial Audio systems. In live shows, mRecall allows users to remotely recall snapshots created on the Waves eMotion LV1 live mixer or the Waves SuperRack live plugin rack. On installed Waves Commercial Audio systems, mRecall allows end users to recall preprogrammed snapshots, without needing access to the equipment rack. www.waves.com

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PRODUCTS

Wohler adds 12G AV product

Outline adds Newton enhancements OUTLINE HAS extended Newton’s signal processing capabilities, compatibility and control options with an update to the Dashboard application (software v1.9.4 and firmware v0.97). Enhancements include Warped Finite Impulse Response (WFIR) filters functionality, the addition of GPIO port control and extended compatibility for the latest Apple Mac computers.

By adopting the Equalisation Coefficient Synthesis Algorithm (EQ-CSA), existing Newton users can take advantage of the WFIR filters, which accelerate the group EQ speed functionality and extend the filter resolution. These enhancements apply not only within a single Newton but also when

several units are networked together.

The multi-unit control capability delivers an increased level of EQ options that can be simultaneously deployed across multiple festival stages.

Now supporting the Big Sur and Monterey operating systems, compatibility with Apple Mac computers has also been further developed. Additionally, Dashboard is now fully compatible with latest-generation Macs using the M1 chip. The update also introduces the option of using Newton’s GPIO capability to manage some internal functions for safety and evacuation purposes. www.outline.it

Imagine Aviator maximises revenue potential WITH THE introduction of Imagine Aviator, Imagine Communications has created the first cloud-native unified platform for broadcasters and digital-first providers wishing to plan, make and monetise premiumquality linear and OTT content.

Aviator combines the critical capabilities of scheduling, rights management, channel origination, live events, video on demand (VOD), ad sales, ad placement, ad serving and campaign management into a single cloud platform. The converged solution delivers linear programming including VOD content with ads and triggers for local and dynamic ad insertion. Providing fully automated operation of thematic channels, the new platform also promotes high audio and video quality on all outlets and supports the demands of premium services.

As a cloud-based design, Aviator offers flexible subscription and SaaS purchase options. Running in the public cloud,

Aviator requires only a web browser and internet connection for securely operating and remotely accessing all aspects of the platform. It can run either in a media company’s own cloud account or in Imagine’s SaaS environment, where it is

monitored, managed and maintained by Imagine.

Delivering linear channels with unified origination, Aviator integrates broadcast and OTT linear streams from a single playlist that supports ad insertion. The ability to take content from livestreams and file sources including video clips, audio and captions will benefit live sports and news, together with scheduled and unscheduled live event workflows. Imagine’s audience-first ad placement engine allows media companies to sell inventory by audience, regardless of the platform or delivery mechanism. www.imaginecommunications.com

BASED ON its existing iVAM 3G products, the iVAM1-12G offers a 1U option to the flagship 2U iAM-12G-SDI. Designed for 12G processing without the need for Dolby Atmos decoding, the latest addition offers all the options that are available on the current iVAM-3G models.

Built to a depth of 137.5mm, the iVAM1-12G includes 12G/3G/HD/SD-SDI inputs with selected SDI outputs, a pair

output routing feature is available and processing options include Dolby decoding for SDI and AES3 in addition to 2110.

The iVAM1-12G features space for any one of three option cards, including the SFP that adds two additional 3G inputs to 3G products or two 12G inputs to 12G products. Other option cards provide audio-over-IP in either Dante or Ravenna formats and include 2110-30 primary and

of analogue inputs and outputs, an HDMI output, loudness measurement and phase indication. Network capabilities allow viewing meters and other information to be managed remotely. Additional signal options include AES3 inputs, MADI, ST 2110, ST-2022-6 and audio-over-IP. An upgraded

secondary RJ-45 Ethernet ports enabling redundant 2022-7 monitoring. An analogue option card with a TOSLINK connector offers a further eight balanced inputs and outputs on DB-25 connectors. www.wohler.com

WyreStorm extends Synergy series DESIGNED FOR huddle spaces and small meeting rooms, WyreStorm has unveiled the SW-220-TX-W Dual-View Presentation Switcher.

Forming part of the Synergy product series, the switcher is equipped with a choice of wired or wireless inputs, including USB-C and HDMI local inputs for sharing content to a display. In addition to the 4K wired inputs, the SW-220TX-W also supports 1080p native wireless casting via Airplay and Miracast so content can be shared from a tablet or smartphone. The inclusion of USB 3.0 device ports promotes USB-C power for connection to a 4K camera or other highspeed USB device.

With the switcher’s BYOD and Dual-View feature, ad-hoc presentations can display up to two source devices simultaneously.

With a minimal power consumption of 12W, the switcher is also compatible with the Apollo APO-DG1 casting dongle via a laptop USB-C port. When connected to the USB-C input, the dual input USB 3.0 hub on the switcher allows local connection of peripheral devices, such as a conference speakerphone or 4K camera.

Designed for meeting spaces, WyreStorm has also released the APO-VX20-UC Apollo Video Bar as a component of the Unified Communication Apollo Solutions family.

Integrating a video switcher, speakerphone and camera, the VX20 incorporates HDMI and USB-C local inputs. With the capability of wireless casting from any Airplay- and Miracast-capable devices, BYOD options are extended. For video, a 4K camera provides

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SW-220-TX-W enhanced features including presenter tracking and AI assisted lighting, whereas for audio, 8W dual stereo speakers deliver intelligible audio.

By incorporating four MEMS microphones in a beamforming array with Acoustic Echo Cancellation (AEC), the VX20 can cater for 10 participants up to 8m away. With the availability of an add-on APO-COM-MIC USB microphone, expanded pickup range can be added to any meeting space. The microphone features an omni 360° pickup angle at a distance up to 5m, plus up to three microphones can be cascaded for greater coverage.

For simplified plug-and-play setups, an APO-DG1 dongle can be connected to a USB-C port for sharing from a desktop. www.wyrestorm.com

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CV updates for Marshall BUILT AROUND the Sony 1/2.8-inch CMOS “rolling shutter” image sensor, Marshall Electronics has launched the CV566 and CV366 Genlock POV cameras.

The image sensor in both micro-sized models incorporates 2.2 Megapixels and a Tri-Level (Genlock) Sync feature. With an ability to switch to night mode (0.005 lux) where IR light wavelengths can be captured, HD video images are captured through 3G-SDI and HDMI. A choice of HD resolutions up to 1920x1080p (progressive), 1280x720p (progressive) and 1920x1080i (interlaced) with a wide selection of frame rates – including 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60fps – cater for a variety of applications. Rolling shutter sensors scan through an image in sequence (usually top to bottom).

The CV-PT-Head Micro Pan/Tilt Mount Head has been developed for the miniature camera line. Compatible with all CV500 series cameras in addition to the CV344, CV346, CV366, CV368 and CV355-10X models, the CVPT-HEAD body measures 85mm high and less than 50mm wide.

With an IP65 weatherproof rating, built-in camera power supply delivers a constant 12V to the camera socket, as well as camera control data.

Comprising two simultaneous SDI (BNC) outputs with genlockable 12G-SDI and 3G-SDI, as well as HDMI and USB 3.0 options, the US manufacturer has also developed the CV730BHN high-bandwidth NDI PTZ camera. The 4K robotic PTZ camera features fast and lossless high bandwidth NDI streaming referred to as Full-NDI together with NDI|HX 3 for slightly less bandwidth network infrastructures. The NDI|HX 3 requires slightly higher bandwidth than previous NDI|HX but less than that required for High Bandwidth NDI. Available in black and white and featuring a Sony 1/1.8-inch 4K sensor with 9 million pixels and a square pixel array behind a 30x optical zoom range (6.5–202mm), the CV730-BHN is Full-NDI compatible and comes with PoE++ for one-cable to camera setup for video, audio, control, power and tally. www.marshall-usa.com

The CV566 and CV366

AV Stumpfl meets the demands of live events AV STUMPFL has released its PIXERA four media server, while also taking the wraps off the AnyShape projection screen system.

said to offer a greater variety of hardware options depending on a customer’s specific project needs.

Hitachi 4K Ultra HD camera widens the spectrum AS A follow-up to the SK-UHD4000 4K studio and field production camera, Hitachi has developed the SK-UHD7000 live production and broadcast model for the creation of 3840x2160 Ultra

HD video. Retaining compatibility with existing Hitachi control panels and third-party control systems, the second-generation 4K Ultra HD model incorporates three 2⁄3 -inch global shutter CMOS image sensors with native 4K resolution. Complying with all international colourimetry specifications, the prism design incorporates an expanded spectral range. The sensors and prism combine to enable full-range BT.2020 UHD Wide Colour Gamut (WCG) capture. A dual 4K and HDTV workflow supports separate controls for Hybrid Log Gamma (HLG), High Dynamic Range (HDR) and standard dynamic range (SDR).

A sensitivity of F11 at 59.94fps enables enhanced acquisition with limited lighting, while a signal-to-noise ratio of 62dB provides quiet images. Operational features including focus assist and viewfinder zoom simplify critical focus at 4K resolution. The SK-UHD7000’s streamlined camera chassis has a low centre of gravity presenting a light load on the camera operator’s shoulder for handheld

video assignments. Other features include an integrated prompter power, video monitoring and intercom connectivity at the camera body, together with a motorised, optical ND filter turret and a lens mount

that does not require a mechanical or optical adapter for standard B4 interchangeable lenses.

Full-bandwidth, uncompressed, native 4K signals are transported from the SK-UHD7000 camera head to the new CU-UHD7000 camera control unit (CCU) via SMPTE 311M hybrid fibre-optic cable over distances up to 2km.

Single-link, 12G-SDI connectivity also provides 4K output directly from the camera head, while integrated HD down-conversion offers 1080p, 1080i or 720p output for multi-format production applications. Embedded audio is available on all SDI outputs and as listenchannels on the intercom connections. A trunk data interface supports video transport and control of TCP/IP-capable devices connected directly to the SK-UHD7000 camera head, enabling applications ranging from robotic movement and IP-based prompting to VR/AR 3D space positioning. www.hitachi-kokusai.co.jp

Ross widens lens options on Furio systems

BY INTEGRATING the Chrosziel MagNum lens control system (LCS), Ross Furio users can now manage a range of lenses ranging from a broadcast lens that does not have full servo control to a cine lens that would otherwise not be controllable

from the Furio system. By presenting a compatible serial lens control interface, it enables full control of zoom, focus and iris from any Furio robotic camera system. www.rossvideo.com

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PIXERA four PIXERA four is the latest addition to the PIXERA product portfolio media server and is intended for highly demanding live event real-time graphics applications and XR/AR broadcast setups. The system offers flexible and reliable playback options for real-time compositing, and includes 12G-SDI I/O support, a 10GB/s default data read rate and five PCI 4.0 slots.

The recent integration of important real-time tools like Unreal and Notch on the PIXERA software side led the manufacturer to offer its customers even more powerful and flexible hardware to deal with 4K and 8K content. PIXERA four completes AV Stumpfl’s product portfolio at the top end and is

An AMD Performance CPU with 128GB RAM is part of the new PIXERA four hardware, which reportedly allows PIXERA users to flexibly use 8K 10-bit content at 60fps without any hassle.

AnyShape allows for the custom production of mobile projection screens with non-standard frame shapes, such as circles, rounded edges and semi-circles. Until now, customers needed to use masking if they wanted to only use a particular part of a rectangular projection screen’s surface.

AnyShape offers a way of ordering a custom-built projection screen with a variety of different frame shapes, straight from the factory. www.avstumpfl.com

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Datapath extends control room capabilities DATAPATH HAS announced further functionality to its Aetria solution. The multi-point video management and control now supports videowalls driven directly by its Aligo receivers. These receivers are installed directly behind the videowall, with each receiver driving a single 4K screen or four HD screens. With Aligo walls, content is displayed on a source-per-screen basis and controlled using Aetria Command Center or Aetria Workstation in the same way as videowalls driven by VSN controllers.

components, this redundancy complements the existing support for automated failover for the central Aetria Network Manager appliance.

Available on Aetria’s Workstation, the Premium Graphics Package (PGP) is a collection of features that add enhanced window capabilities to content, including cropping, borders, onscreen display (OSD) and banners. The capability adds a further layer of information to camera feeds with the ability to activate emergency protocols where required. PGP assets are saved once layout files have been created and information stored in a layout can be re-used and shared across any workstation or videowall.

This allows a combination of VSN and Aligo sources in addition to providing KVM capability to an AVoIP solution and access to VSN sources located further away without extenders.

If a VSN videowall controller becomes unreachable on the network, loses power or a graphics card becomes unresponsive, it is automatically switched to a standby replica system. Ensuring the control room remains operational in the event of multiple connectivity issues across different

VuWall’s PAK connects to the network

VUWALL HAS begun to ship its PAK solution for managing the deployment of modular videowalls in AV-over-IP environments. The solution is a networked, multi-decode node that can operate as a standalone device or be stitched with other PAK nodes to build an IPbased videowall that is infinitely scalable.

The PAK device features four HDp60 outputs or one 4Kp60 output and multiformat decoding of up to 32 HD streams per device, including H.264, NDI and remote desktops or virtualised browsers using VNC. As part of the VuWall ecosystem, PAK is managed by the company’s TRx centralised management software platform, which provides multi-room visualisation and situational awareness for control rooms and corporate workspaces. It’s also small enough to be mounted behind monitors, saving rack space and reducing extended video cable runs.

Described as a cost-effective appliance for streaming, sharing, controlling and visualising websites and applications across AV/IT networks, the VuWall Application Server is a scalable solution that simplifies videowall deployments by providing quick access to websites, dashboards and applications from a single, centralised source.

PAK Centralising web browser and application deployments in a single appliance eliminates loading times and alleviates processing power from the videowall itself. The Application Server also increases security by isolating browsers and applications into one secure virtual machine architecture, preventing unwanted access and intrusions. It features multi-platform compatibility, making it possible to open applications and web browsers on any underlying operating system, whether Windows or Linux. It also provides a way to access and interact with an unlimited number of websites and applications from anywhere on the network.

The Application Server delivers a scalable

JVC Professional connects with PTZ cameras DESIGNED FOR a large variety of venues including houses of worship, JVC has unveiled the KY-PZ510 series of PTZ cameras.

Available in black and white finishes, the KY-PZ510 and KY-PZ510N (with NDI 5 support) models offer enhanced SMART autotracking for automatically following one person within its field of view. The inclusion of Vertical Interval Time Code (VITC) technology with Network Time Protocol (NTP) promotes multicamera synchronisation for seamless live event production.

The four models incorporate 4K60P HEVC SRT streaming with multislice encoding technology to reduce latency. As the latest addition

to the Connected Cam remote production solutions, the cameras support H.264 encoding for increased compatibility with a variety of hardware and software applications.

The cameras’ 80° horizontal angle of view and focal length of 21.8–261.8mm promote their use in live events. All models support Secure Reliable Transport (SRT), which is resilient to bandwidth fluctuations, data loss and intermittent connectivity. The KY-PZ510N can simultaneously output NDI, SRT and RTMPS for hybrid local and remote workflows for distribution to the most popular CDNs.

design that can grow to accommodate the number of sources needed without affecting other devices on the network. It also facilitates

www.datapath.co.uk

maintenance of certificates, licences and plugins for IT professionals. The Application Server is compatible with the company’s TRx software platform and is designed to work with VuWall’s PAK videowall nodes and VuScape videowall controllers for multi-room visualisation, situational awareness, control room operations and corporate applications.

In brief, TRx version 3.2 boasts improved UI reactivity and performance that enable it to handle thousands of devices and perform multiple tasks simultaneously without slowing down. www.vuwall.com

Application Server

Cobalt Digital licenses 12G-SDI bridge to Dante WITH THE +UDXDante-16x16, Cobalt Digital has developed the industry’s first licencebased 12G-SDI bridge to Dante audio. By incorporating the functionality into the 9904-UDX processing card, Dante’s IP-based audio networking solution is available to users on a licence basis. Field upgradable, the +UDX-Dante-16x16 supports embedding and de-embedding up to 12G with full audio routing capabilities between SDI, MADI and Dante – both input and output – adding up to 32 channels to existing 9904 cards without the need for additional hardware.

The solution can ingest and process up to

16 audio channels from the network with an ability to output up to 16 channels back into the network using Dante and the Ethernet port.

By inserting a licensed 9904 card into Cobalt’s BBG-1300 portable frame, a standalone chassis is created. In addition to accessing Dante on Cobalt’s 9904 cards, access to the card’s other functions such as UDX, colour correction, 3D-LUT, frame-sync and audio mixing remains available, along with embedding and de-embedding to and from SDI. www.cobaltdigital.com

pro.jvc.com

90 PRO AVL ASIA July–August 2022

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DynamicMC is Arthur Holm’s smooth operator

Atlona prepares to Captivate its UC audience

DEVELOPED AS a videoconferencing and broadcast solution, Arthur Holm has released the DynamicMC. Created for furniture integration, the high-resolution, motorised video camera and microphone can operate in a wide variety of meeting spaces. A discreet camera and microphone can elevate from their stored position inside the furniture to capture the optimum image and voice audio, by rising smoothly from the interior of the furniture, covering one person at a time. The conference camera and microphone are positioned at a height, distance and viewing angle that allows remote participants to see everyone in the room. Remote meeting participants can see everyone in the same way as those physically

WITH THE introduction of the AT-CAPSP100 USB and Bluetooth speakerphone, Atlona is rolling out the Captivate family of videoconferencing solutions. Designed for use with conferencing and unified communications (UC) platforms including Zoom, Microsoft Teams, Cisco Webex and GoToMeeting, the CAPSP100 provides microphone and speaker audio in a single enclosure.

Capable of capturing voices within a 5m radius, the speakerphone provides 360° coverage. Providing enhanced intelligibility for individual meeting participants, a sixelement microphone array focuses audio pickup while suppressing background noises. The integration of acoustic echo cancellation (AEC) and noise reduction eliminates unwanted sounds.

present without favouring any specific seats. A 360° horizontal halo LED indicates active camera and microphone.

Available with either an HD-SDI or a USB camera, the DynamicMC is equipped with an omnidirectional microphone with balanced analogue XLR and USB audio outputs that work simultaneously. Finished in a black non-reflective matt finish, the camera housing includes a top that functions as a lid with an easy operation touch sensor when stored. A circular cover plate is available to close the gap between the surface cutout and the camera housing. The DynamicMC can be remotely controlled via AHNet/RS-422 or GPI and all the units can be daisy-chained using Cat6 cables for control. www.arthurholm.com

Designed to complement Atlona’s HDVS-CAM PTZ cameras and the Omega Series of switchers, extenders and video processors, the solution provides USB audio and video in addition to USB and AV extension for small- and mediumsized rooms.

The CAP-SP100’s USB, Bluetooth and analogue audio connectivity are compatible with a wide range of computers and mobile devices. The internal battery allows the CAPSP100 to operate for up to eight hours and can be charged wirelessly or via USB. For larger meeting spaces requiring additional coverage, two CAP-SP100 speakerphones can be connected using a cascade cable. An optional mount is available for attaching the unit to a flat surface. www.atlona.com

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July–August 2022 PRO AVL ASIA 91

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PRODUCTS

Tessera integrates with Bitfocus Companion

Blackmagic brings H.265 to BLACKMAGIC DESIGN has announced HyperDeck Extreme 4K HDR, a new broadcast deck with advanced H.265 4K recording that features a touchscreen user interface with built-in scopes and an HDR screen. The device combines the reliability of HyperDeck with new features such as

space-saving H.265 files, optional internal cache, 3D LUTs and HDR support. With the ability to record up to 4K in H.265, users benefit from reduced storage costs and improved image quality. The large touchscreen reportedly ensures a view of the recording as well as control over

Lawo takes video routing over the .edge FOLLOWING CUSTOMER requests, Brompton Technology has created a new device profile for its Tessera LED video processor that is fully integrated into the Bitfocus Companion application. This means that Tessera SX40 and Tessera S8 users can now control multiple Tessera functions as part of their Companion and Elgato Stream Deck video workflows.

Bitfocus Companion is an open-source software that turns an Elgato Stream Deck into a professional shotbox surface to trigger a variety of AV devices, such as media servers,

video decks, matrix switchers, scan converters and vision mixers. Following the release of an IP control API in recent versions of its Tessera software, Brompton had multiple users asking about the possibility of integrating with Companion, which was made possible thanks to the company’s software team who created a device profile for the Tessera LED video processor that was compatible with the Companion application.

LAWO HAS taken the wraps off .edge, a hyper-density SDI/IP conversion and routing platform. Software-defined by nature, .edge can be used as a featureladen replacement for traditional SDI routers and expanded with flexible software licences to provide a mix of advanced features. Its compact 2U housing accommodates up to four 25/100 GbE processing blades and rear I/O plates with best-in-class signal conversion density, resulting in up to 192 HD-BNC

available for 288x288, 576x576 and 1152x1152 matrix capacities, complete with the customer’s choice of network switches and a fully clustered HOME licence. To broadcast control systems, the .edge/HOME bundle behaves like a traditional SDI router, meaning there are no changes to users’ UIs or workflows.

This allows broadcasters to keep all their existing SDI gear in operation.

New software has also been released

by Lawo for users of its radio mixing

www.bromptontech.com

The KD-MLV4x4 offers seamless switching for uninterrupted screen transitions from any of the four HDMI inputs to feed any of the four HDMI outputs while in full-screen mode. Image layering allows stacked images with customisable priority settings per output. The four inputs can also be tiled in one of five preset layouts and fed to any output set to multi-view mode. Custom-matrixed outputs can be created, allowing picture-in-picture display and user-mapped combinations of live content and graphics with selectable bezel size on each window. Where onscreen source identification is desired, each source can be overlaid with up to 16 characters of text with variable sizing and on-screen location settings.

The KD-MLV4x4Pro natively accommodates 4K inputs and outputs

together with selectable output downconversion to 1080p and 720p for support of legacy displays and projectors. The four HDMI outputs are mirrored to RJ45 ports for signal extension up to 40m using Ultra High Definition over Twisted Pair (UHDoTP) technology. The HDMI and UHDoTP outputs

can be used simultaneously to feed up to eight displays. To feed displays at a distance, four KD-EXMLVRx UHDoTP receivers are included with the KD-MLV4x4Pro with Power over Cat (PoC).

In addition to front panel buttons, the KD-MLV4x4Pro can be controlled from the Key Digital iOS app and Key Digital Management Software Pro (KDMS Pro) from TCP/IP control systems via open API and its integrated web UI. Audio output ports may be routed separately from the HDMI and UHDoTP ports, while audio from any source may be selected while in multi-view mode. Audio can be de-embedded with twochannel analogue audio output on a six-pin balanced/unbalanced output connector and two-channel to 5.1 digital output. www.keydigital.com

connectors (48 HD-BNC connectors for SD/HD/3G/UHD-SDI interfacing per I/O blade) and can be clustered to provide matrixes beyond 1152x1152 crosspoints.

The platform also provides full support for the SMPTE ST 2110 suite of standards with ST 2022-7 redundancy built in, providing not only advanced essence-based handling but also ensuring seamless protection switching of audio, video and ancillary data streams in both local and wide-area network operations.

Without a TDM bus or video matrix, video is switched on the IP packet level, in one of two ways: “make before break” (MBB) and “break before make” (BBM).

Audio signals are switched in MBB mode using a V-fade curve for quiet transitions. .edge’s local loop support allows users to route local inputs to local outputs while the packet replication capability allows a packet received once to be used many times without additional stream management or logic operations – packets in the packet buffer are available to any SDI output.

To serve as a simple drop-in SDI router replacement, all-in .edge bundles are

consoles, Power Core mixing engines and On-Air Designer configuration software.

This release coincides with that of diamond, the German manufacturer’s newest mixing console for on-air radio, production, MCR, remote-control and OB applications.

Lawo Radio software 7.0 updates On-Air Designer, the configuration software used to program the functions of Lawo radio mixing consoles and audio cores, allowing the programming and recall of saved parameters and settings including motorised fader settings, programmable context-sensitive user keys and select source icons to be shown on diamond’s fader-adjacent displays, and also to configure support for the new diamond Virtual Extension modules. The release also introduces a new graphical look, incorporating elements from Lawo’s LUX design system into the diamond GUI, and within VisTool. Another important part of the upgrade makes it possible for VisTool to be an Ember+ provider, adding control of routing matrixes via Ember+ as an integral part of its control suite. www.lawo.com

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Key Digital makes the switch KEY DIGITAL has developed the KD-MLV4x4Pro 4x4 4K UHD HDMI multiview tiling processor with seamless matrix switching. Integrating HDMI signal extension and control options, the KD-MLV4x4Pro is a complete solution for multi-source, multi-screen applications.

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all deck settings. Users can then add HyperDeck Extreme Control to transform it into a traditional broadcast deck.

HyperDeck Extreme also includes two media slots, 12G-SDI, analogue connections for archiving, USB-C external disk recording, plus a front panel speaker

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VERSION 4.0 firmware for AJA Video Systems’ Ki Pro GO multichannel H.264 recorder brings enhanced playback and control functionality to increase flexibility in the field.

The free update introduces third-party file playback support alongside a host of new settings and improvements to help provide more seamless setups and operation across production, post and pro AV environments.

Highlights of the new firmware include the playback of mp4 files originating from supported third-party applications, including

MAGEWELL IS looking to create more engaging online presentations with its latest multi-input USB video capture device.

Building on the ease-of-use credentials of the company’s other capture devices, USB Fusion features two HDMI inputs and one USB webcam input, letting users switch between 1080p60 HD sources or combine two inputs into one output in either a picture-in-picture or side-by-side view before being brought into software via the USB 3.0 interface.

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Adobe Premiere Pro, Apple Final Cut Pro, Avid Media Composer and Blackmagic Design DaVinci Resolve, as well as the ability to set each device to generate zero, one, two, three or four B-frames individually on each channel for smaller file sizes. New alarm functionality reportedly makes it easy to clear outdated alerts after errors are corrected and an updated REST API enables remote device shut-off.

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and headphone jack. There’s also an optional cache that eliminates dropped frames if media becomes full or is too slow.

Both AC and DC power connections are also included for studio or on-location use.

The device is said to be ideal for users who wish to combine a camera signal with supporting visuals – such as lyrics displayed from a separate laptop – into a single livestream. On-device buttons allow users to switch between full-screen sources or select a combined scene layout, while a browser-based web interface offers scene switching, volume adjustments and device configuration.

The full presentation power of the device is unlocked through the third control option – the free USB Fusion companion app for iOS and Android tablets – which provides expanded layout controls for combining any two of the three input sources and lets users add pictures, video clips, background music and handwritten notes into their presentations. Presenters can set up playlists incorporating live video and other media in advance, and record or take screenshots of the combined output onto the hardware’s built-in storage. Annotations can also be exported to files for archiving or subsequent sharing. www.magewell.com

www.aja.com

LYNX Technik employs AI technology for an instant clean

DESIGNED TO isolate speech and dialogue in live broadcasts as well as recorded audio, LYNX Technik has launched the Instant Dialog Cleaner yellobrik module. The IDC 1411 incorporates Deep Neural Networks (DNN) AI technology from Audionamix for the removal of complex background noises that commonly arise in broadcast and professional AV environments.

With this technology, the Instant Dialog Cleaner analyses audio and removes background noises such as road and air traffic, music and other ambient noises in real time. The audio cleaning process separates the dialogue and speech from the noises, providing an audio signal containing the spoken word. Unlike other available noise reduction tools, the AI technology automatically detects the voice regardless of the surrounding noises to preserve the real integrity of the dialogue.

This tool is especially useful for live broadcasts, recording, editing and mixing audio within noisy broadcast and AV

Canare’s 32MCKA gets bigger and better SAID TO be ideal for broadcast studios, rental facilities and OB trucks, Canare Corporation of America has unveiled 1.5U and 2U 32MCKA ultra-high-definition micro video patchbay solutions that provide the same performance as the 1U variant but in a larger housing, with high-visibility designation strips that are easier to label and quickly identifiable. The 32MCKA patchbays were developed to meet the needs of the growing trend towards 12G production.

All three 32MCKA models feature upgraded staggered dual video jacks

and exceed the SMTPE ST 2081-1 standard with low return loss. The solutions are also SMPTE ST

environments, such as sports commentary in a full stadium. Like many other yellobriks, the IDC 1411 is supported by the new yellobrik RCT 1012 rack controller, enabling monitoring, parameter adjustment and thirdparty automation via an Ethernet network or VPN, from any workstation. Providing advanced settings for yellobriks and other LYNX Technik products, the IDC 1411 is compatible with the LynxCentraal and yelloGUI software applications. www.lynx-technik.com

sheet of channel designators for quick identification, along with the option to add accessories. Additionally, each unit features staggered BNC rear jacks with vertical stud position and improved visibility of the position mark on the BNC plug body. It is possible to recess the 1.5U/2U options up to 25mm, while the 1U version can be recessed by 50mm or 75mm by changing the mounting brackets to the Canare M-MA1U02A(2).

2082-1 compliant and include dust-proof shutters and a

www.canare.com

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PRODUCTS

ROE removes the weight with Graphite ROE VISUAL has announced the release of its latest LED panel targeting the indoor event market. Graphite offers a durable yet lightweight LED solution that promises quick installation via its smart-lock system. The manufacturer states that Graphite is ideal for building large LED walls and ceilings fast and efficiently for any indoor event space.

Weighing less than 17kg/m2, Graphite is described as durable yet lightweight, with installation achieved through Graphite’s intuitive panel design. The smart-lock system is said to save up to 40% of the assembly time compared to standard LED panels.

Graphite allows for various installation options and configurations, including the choice of building an LED wall, ceiling or curved LED displays. Its 1,500 nits panel, fitted with fine pitch, black-body LEDs, offers

Avolites adds fixed install capabilities to Titan control AVOLITES HAS released an incremental software update to its Titan lighting and integrated media control. Designed to accelerate the programming process of a time-coded show, Titan’s Timeline has proved successful in both live production and fixed installation settings. Offering a visual approach to programming, users quickly capture their actions manually via the UI or by using the live record feature.

With Titan 15.1, a Venue Mode Workspace allows users to choose a workspace that will display on the screen when the console is

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locked. This can be used to display selected playbacks on the lock screen, allowing for basic control by venue staff when the lighting operator is not present with password control enabled in publicly accessible places. Additionally, the console can now be configured to start in different lock modes, protecting the show from accidental editing. Other new features in Titan 15.1 include the merging of Titan Mobile into the Titan Go application and the ability to put Titan Go into full screen mode. www.avolites.com

16-bit greyscales that translate into an accurate colour representation. Graphite is available in a 2.6 as well as a 3.1 pixel pitch. www.roevisual.com

Panasonic quietly but brightly blends in DESIGNED TO provide “impressive image quality” in well-lit rooms and over-IP cameras to remote viewers, Panasonic has launched the PT-MZ20K LCD projector. Heralded as the world’s smallest, lightest and quietest

20,000-lumen projector, the compact 22.3kg chassis blends into corporate meetings, lecture theatres and hybrid environments.

Compatible with a wide range of optional Panasonic lenses, the PT-MZ20K can be applied for digital signage or in museums and entertainment venues.

Capable of operating down to 36dB, the PT-MZ20K has a tuned optical engine featuring 1-inch LCD panels. Pure White Generator draws added light to improve colour accuracy and Dynamic Contrast analyses video before adjusting light output to suit contrast requirements. Two 4K input-signal and CEC command-compatible

HDMI inputs provide on/off control of the source device or Panasonic’s PressIT wireless presentation system. Features include the NFC function that supports IP setup without power, an information

monitor that displays status on standby and the Smart Projector Control app with auto-focus via a smartphone camera.

A multi-laser drive engine together with unique sealed liquid-cooling and phosphor-wheel cooling systems enhance reliability. Failover Circuitry prevents brightness loss from diode failure, while Backup Input prevents screen-blanking to provide greater peace of mind in missioncritical situations. The reusable air filter and laser light source are maintenance free for 20,000 hours. www.panasonic.com

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Domino LT

THE DOMINO LT is the first longthrow, IP65 -rated fixture in Ayrton’s 9 Series and forms part of the manufacturer’s LT (long-throw) range. The fixture is described as an all-terrain LED for long-distance applications where high precision is required. Its reportedly also able to cope also able to cope with the most extreme conditions and acclimatise to and endure rapid climate changes. It

combines the minimalist design of the Domino Profile with the colour-mixing capabilities of the Huracán Profile and the IP65 weather-proofing of the Perseo.

Equipped with a high-efficiency 1,000W LED module, the Domino LT delivers a luminous flux of 51,000 lumens at a colour temperature of 6,700K. The fixture’s colour-mixing system offers a double level of CMY saturation that can obtain 281 trillion colours (patent pending) and a triple corrector for variable colour temperature that allows adjustment from 2,700K to 15,000K as well as a “significant” CRI improvement.

Outfitted with multiple optical tools for shaping light, the Domino LT is factoryequipped with a linear progressive frost system, a lightweight frost filter and two image-multiplying rotating prisms: one linear with four facets and the other circular with five facets. The framing section enables positioning of each shutter blade on a 100% surface area. The effects section includes two superimposed rotating gobo wheels, each with seven gobos, a 15-blade iris diaphragm, a monochromatic multiposition effects wheel and an RGB and CMY effects wheel for multicolour effects.

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www.ayrton.eu

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PRODUCTS

The Rush is over as Martin Professional heralds a new ERA WITH THE Martin ERA 150 Wash moving head and Martin ELP PAR static LED wash, Martin Professional testifies to have developed next-generation lighting fixtures for rentals, installations and touring. As the successor to the Martin Rush MH 6 moving head LED, the Martin ERA 150 Wash delivers 3,900 lumens from its seven 40W RGBW light engine and optical system. Ideal for covering larger stages that require long throw distances, the ELP PAR succeeds the Rush PAR 2 static LED. Capable of outputting twice the output of the previous model, the ELP PAR incorporates the same RGBW light engine and optical system.

Supporting a dedicated colour temperature control channel for adjusting the colour space from the desired colour temperature, the ERA 150 Wash and ELP PAR feature full-gamut colour calibration systems for producing consistent colour reproduction from fixture to fixture. With a zoom range of 4.2–58°, the ERA 150 Wash and ELP PAR produce broad washes and high-intensity mid-air effects.

Streamline setup is included with the ELP PAR’s smart rigging and control features, including omega bracket connectivity and

clear angle-projection indicators. Projection and focus can be instantly confirmed at the touch of a button by temporarily switching from full-power to open-white to adjustablezoom settings. Both lights feature a low-noise Theatre mode operating at 33dB.

An ELP PAR IP sealed design variant will be in production later in 2022 for deployment in IP65-rated outdoor settings.

A free software update for Martin P3 System Controllers has introduced a number of features and improvements that benefit both

new and old models in the line-up. The main highlights of software version 5.3.0 include the fact that the P3-PC System Controller now supports the NDI protocol, allowing P3-PC to receive video-over-IP from various sources, such as media servers, webcams and media players, and also that sACN has been added as an input protocol on all P3 System Controllers, alongside DMX and Art-Net. Support for multi-universe Art-Net Sync and sACN Sync has been added as well.

Other notable enhancements include the fact that Background Image Opacity Control, New Tools Menu, Workspace Size Tooltips, the Renumber Tool and Quick Addressing Tool have been updated to improve workflows, and support for the Active PDE Junction Box is added. Enable Magnified Fixtures now supports MAC Aura PXL, MAC Ultra and VDO Atomic Bold fixtures. DMX and Motion View now includes a re-patch functionality and incoming universe status window. Additionally, it is now possible to run fixtures in “pure video mode”, not requiring any DMX controls to be patched. www.martin.com

Robe reignites the stage ROBE HAS announced the addition of five products to its catalogue. PAINTE is a compact moving light that delivers a quiet profile solution for short- and medium-throw scenarios. The 12,000-lumen fixture output is said to have a sparkling, clear white light, with “boundless” colours via the advanced CMY colour-mixing system. Designed for noise-sensitive environments, PAINTE features a TE 310W HP White LED engine from Robe’s Transferable Engine technology range and a motorised 8–48° zoom.

The iBeam 250 is the latest addition to the manufacturer’s IP65 iSeries. Suitable for outdoor events or unpredictable weather scenarios, the iBeam 250 also has all the features of its indoor relative, the LEDBeam 150. Ingress protection is specifically designed and developed to ensure the fixture is completely sealed and IP65 compliant. An aluminium housing provides a dust-free environment for the optics, eliminating the need for frequent cleaning, routine maintenance and UV

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Anolis Calumma PAINTE damage to plastic parts. NFC (NearField Communication) technology, setup, diagnostic and performance features can be accessed directly from a mobile device, even when the fixture is not powered via the Robe Com app.

Developed following the success of the Tetra1 and Tetra2 products, the TetraX comes with a dynamic pan movement and an extremely high-speed continuous rotation, increasing the sweep-effect possibilities of the fixture. Each of the nine evenly spaced pixels generates an ultra-tight 4° beam and these combine to produce a bright, defined “sheet” of light. The homogenised beams and smooth 11:1 motorised zoom provide ultra-smooth washes out to 45°. The TetraX comes with three patented MCFEs – MultiColoured Flower Effects – emitting sharp, multi-coloured spikes of light, with variable speed and rotation direction control to further boost the impact of in-air animations.

Retaining the fast-moving, compact design of the original, the Spikie+ reportedly generates 25% more lumens from its single 60W RGBW source. The fixture has a specifically designed 110mm front lens and a moving zoom that produces beams from a tight 4° to a soft and wide 28° wash.

The Spikie+ also incorporates the MCFEs to create sharp multicoloured

spikes of light, rotating bidirectionally with variable speed. The Beam Effects Engine transforms the output into three piercing rays of narrow beams, while continuous pan and tilt movement are said to add a further layer of dynamism. Colour management includes CMY or RGBW mixing modes. Small and compact, weighing just 7.3kg, the Spikie+ can be rigged at any angle.

Finally, the Calumma Series has been designed to continue the success of the Anolis ArcSource family.

The floodlights are described as powerful, efficient and well rounded and are suitable for a variety of applications.

Calumma luminaires provide durability in harsh outdoor environments as well as a pleasing design to complement indoor applications.

TetraX

www.robe.cz

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PRODUCTS

Cameo lights the way with the OTOS H5 CAMEO HAS unveiled several fixtures, with the new OTOS H5 hybrid moving head for outdoor use taking the lead. With the OTOS H5, the German brand is targeting the needs of professional lighting designers and rental companies who are looking for a fully road and rider-ready hybrid fixture for both indoor and outdoor use.

The OTOS H5 combines a high light output of 19,000 lumens, with IP65 certification, three-in-one hybrid flexibility and a low weight of 33kg, reportedly making it the lightest product in its performance class. Coupled with a large zoom range of 2–42°, continuous CMY colour mixing and flexible control options based on the integrated W-DMX transceiver, the fixture can be deployed creatively in almost any application.

In addition, Cameo has also introduced the P2 Series, its first profilers for the events sector, LUXIS FC and a secondgeneration Studio PAR G2. The P2 Series includes LED profile spotlights in Tungsten (3,200K), Daylight (5,600K) and Full Colour

OTOS H5 (RGBAL) versions, and boasts high CRI (96) and TLCI values for true-to-life colour rendering. With a light output of up to 15,000 lumens, the P2 models have been

ADJ adds a dash of lime THE ENCORE Lime Par Series of IP65-rated LED wash fixtures from ADJ features quad colour (RGB + lime) LEDs that offer a very high CRI. Three models are available – the Encore LP7IP, Encore LP12IP and Encore LP18IP – with seven, 12 and 18 LEDs respectively. Each LED is rated at 20W and, combined in multiples, generate an even, soft-edged beam. Through precise dimming control over the four primary LED colours, the fixtures are able to generate a large gamut of colours and hues. The inclusion of the lime LED chip is said to help certain colours appear more vivid and boost the CRI to 86.2.

In addition to full RGBL colour-mixing control, the fixtures feature 64 built-in colour macros, five preset white colour temperatures and linear colour temperature control (between 2,700K and 6,500K) to aid with quick setup and programming. They also offer an adjustable refresh rate (14 presets between 900Hz and 25kHz) for flicker-free operation when used for video recording and broadcast, as well as six selectable dimming modes (Standard, Stage, TV, Architectural, Theatre and Stage 2) and four selectable dimming curves (Linear, Square, Inverse Square and S-Curve).

ADJ has also expanded its portfolio of stage lighting fixtures with the addition of the Encore

Encore Lime Par Series

FR Pro Color. Combining motorised focus with a potent LED light engine that offers enhanced colour-mixing potential and a high CRI, the Fresnel fixture is designed to illuminate various stages, including theatres, houses of worship and concert venues.

Positioned behind a 7-inch Fresnel lens, the 9.45kg unit’s 400W LED light source delivers a maximum output of 9,237 lumens.

Combining red, green, blue, amber, cyan and lime LED chips in addition to white light with a variable colour temperature of between 2,400K and 8,500K, the unit’s light source offers an average life expectancy of 50,000 hours.

To aid with programming in varied situations, a virtual CMY colour-mixing mode allows control using CMY colour palette tools alongside native CMY fixtures. It also features a tunable white colour temperature control, allowing a single DMX channel to be used to fade through the fixture’s white light colour temperature range. Featuring 62 preset white colour temperatures, 60 virtual colour wheel presets and 64 RGBA colour macros, the fixture also offers independent colour-mixing control over the LED source’s six primary colours. www.adj.com

designed as a replacement for conventional 1kW profile spotlights. In addition to their selectable pulse width modulation of up to 25kHz for flicker-free operation, the RDMcapable profilers can be flexibly adjusted in their beam angle (15–50°) via optional interchangeable lenses. For wireless control via W-DMX, the P2 profilers can be equipped with a Cameo iDMX stick.

The LUXIS FC is equipped with a 200W RGBALC six-in-one COB LED and combines colour rendering (CRI > 92) and a high light output (7,750 lumens). Thanks to the QuickChange mechanism – for fast and easy lens changes – the beam angle of the LED spotlight can be adjusted without separate tools.

For wireless DMX control, the LUXIS FC can also be equipped with the optional Cameo iDMX stick. The patented SPIN16 technology also enables flexible mounting based on the 16mm TV spigot integrated in the mounting bracket.

Second-generation models in the P2 Series include the STUDIO PAR 4 G2, STUDIO PAR 6

Studio PAR G2 G2 and STUDIO PAR TW G2 models, and have been designed as versatile all-round LED PAR spotlights. Even with the smallest model, the STUDIO PAR 4 G2, includes integrated full colour mixing, while the STUDIO PAR 6 G2 extends the possibilities further with amber and UV colour and light variants.

The series is rounded off by the STUDIO PAR TW G2 tunable white variant, which features 12 white light LEDs. In addition to optional wireless DMX control via the Cameo iDMX stick, the new G2 Series is compatible with the patented SPIN16 technology. www.cameolight.com

Chauvet adds to all-weather line-up CHAUVET PROFESSIONAL is continuing to broaden its weatherproof line-up of battery-powered lighting fixtures with the addition of WELL STX, a pair of IP65-rated LED tubes intended to serve as decoration both around stages and to stages and in corporate and broadcast applications, indoors or outside. Available in two models, the RGBWW fixture produces either 360° (WELL STX 360) or 180° (WELL STX 180) of bright, even, pixel-mappable illumination which is capable of being oriented in multiple directions, mounted on floor stands or flown from different hanging points.

Adding to the visual capabilities are the fixture’s 16 zones of control, which can be run wirelessly to create chase sequences.

WELL STX fixtures are controllable via W-DMX, which can be used with nearly all standard lighting controllers, including the WELL COM with its built-in W-DMX receiver. Both fixtures use the same DMX personalities for control, which makes it simple to change them out for one another to meet the needs of different applications without reprogramming.

Measuring 1.5m in length, the WELL STX 360 tubes are sold in sets of four and include four eyebolts for hanging options and four folding floor stands, as well as one remote and one charging flightcase. Its filter can be removed from the 360° option to reveal its individual LEDs if desired. The smaller, 1m-long WELL STX 180 is packaged as part of complete kit that includes six fixtures. Each kit also features 12 magnetic brackets for attaching to metal surfaces, six eyebolts for hanging options, six folding floor stands, one remote and one ABS plastic charging case. A stealth black diffuse filter ships with the product that helps “hide” the fixture when it’s not activated.

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www.chauvetprofessional.com

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PRODUCTS

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Elation hits a new high with Fuze Max AVAILABLE IN Spot and Profile framing versions, the Fuze Max has been designed for precision lighting applications. The automated LED moving heads offer full-spectrum performance from a 92 CRI engine that draws upon an 800W five-colour homogenised LED array of red, green, blue, mint and amber sources. Delivering an output of 21,000 total fixture lumens, the RGBMA LED engine produces fully blended colours across a wide spectrum with pure dynamic whites that are tunable from 2,400–8,500K. The addition of amber and mint emitters extends the range of colours, including warmer tones, theatrical whites and pastels that blend quickly yet smoothly with natural transitions.

Control over green and magenta enhances colour accuracy. Virtual colour temperature and CMY emulation provide immediate access to the LED colour array, while a variety of premixed shades can be recalled from a virtual gel library.

Dimming of the LED engine is smooth and stepless with variable 16-bit dimming curve modes available to suit any application.

Incorporating advanced optics for sharp, crisp projections, both the Spot and the Profile LEDs house a motorised zoom for beam angle adjustment from 7–53° wide. The Profile is equipped with a full blackout framing system with four rotating blades and ±60° indexing for full control of the beam shape when required.

The FX package includes 19 gobos across three gobo wheels in the Fuze Max Spot and 13 gobos across two gobo wheels in the Fuze Max Profile. Ideal for aerials, textures or breakups, both fixtures offer rotating and fixed glass gobos together with an animation wheel to bring graphics to life. Effects can be multiplied via dual prisms and a dual variable frost filter can be employed to diffuse the light for softer gobo or wash effects. www.elationlighting.com

Talen brings flexibility to the rig HIGH END Systems has introduced Talen, an automated luminaire that adds “visual excitement and big looks to any show”. The fixture’s high-intensity beams are created with full additive colour RGBW emitters and a large front aperture, resulting in an extremely narrow 3° beam with high centre beam candlepower. With infinite pan and tilt movement, Talen is said to move beyond the positioning limitations of other luminaires – its footprint is small enough to fit anywhere in a lighting rig but it can also be used in

creative hanging positions. The fixtures can be easily configured and addressed through ETC’s Set Light App. The luminaire can be used to add movement to conventional rigs and supplement bigger rigs, expanding the lighting designer’s toolbox. Additional features include a TIR lens for producing a tight beam of light, wireless fixture configuration via iPhone and Android devices and a versatile hinge. www.etcconnect.com

WITH THREE sizes to choose from – the Eos Apex 5, 10 and 20 – the latest lighting control desk from ETC is said to prioritise the user experience for long hours behind the desk.

The multitouch displays offer “generous screen real estate” for Magic Sheets, Direct Selects and Augment3d models, and feature eye-strain-reducing 4K resolution.

The displays articulate on a dual axis and feature a 160° viewing angle, so users can see all tools and data from anywhere

already in the works as the next phase of Eos development.

ETC has also unveiled the Cyberlight LED, a moving mirror fixture created as a result of industry feedback. Manufactured in the US, Cyberlight LED is said to surpass moving head luminaires in several respects, including its high-speed pan/tilt movement and the ability to hide lighting fixtures in permanent installations.

Furthermore, customers with existing mirror fixtures can retrofit those products with Cyberlight LED for more energy-efficient

Eos Apex 5, 10 and 20 along the programming surface. Additional features include an ergonomically redesigned wrist-rest, book lights built into the sides of the desk, hand-holds for easy carrying, and drawers and charging ports for accessories.

On the programming surface, programmers have access to their most-used tools, right on the face panel. The familiar Eos Family programming keypad has been enhanced with a touchscreen that thumps with haptic feedback when you press your soft keys or mapped content. Eos Apex also introduces customisable Target Keys for Direct Selects, which boast individual OLED displays that can be customised with images, icons and text.

The encoder area from the Eos Ti console has been expanded to include eight mini-encoders and a navigation dial to easily switch between parameters. The five, 10 and 20 motorised Playbacks on each Apex console respectively now boast an additional, separately mappable scroll wheel for on-the-fly programming.

The Eos Apex Processor provides the power of an Eos Apex console in a portable, rackmountable box which can be used as a primary or backup controller or remote programming station. When a portal into a lighting system is needed but not the processing power, the new Eos Remote Interface lets users view and edit systems from anywhere in the venue.

It’s also possible to mix and match DMX and show control ports on a per-show basis using customisable widgets. In addition to standard etherCON Gigabit connections, all Apex-class controllers also feature SFP+ ports that are compatible with the latest high-speed copper and fibre networks. Eos Apex consoles and processors provide 24K output, allowing them to control complex rigs with ease. And because shows keep getting bigger and bigger, expansion processing options are

CyberLight LED operation and servicing. The 470W bright white LED engine combines with a high-quality optical system to deliver 12,750 field lumens with 90+ CRI signifying its colour-rendering capabilities.

A full complement of features include colour mixing plus colour wheel, dual rotating pattern wheels, zoom, focus, iris, prism and diffusion. www.etcconnect.com

July–August 2022 PRO AVL ASIA 97

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BUSINESS: ANALYSIS

Chain reaction The blockchain is all the rage right now, but what does it mean for pro AV? In the first of a two-part series, Simon Luckhurst looks at blockchain’s short history and potential future implications and benefits for the industry

SEVERAL NEW TECHNOLOGY-INDUCED WORDS HAVE entered the lexicon in recent years that shine a light on where the future of the audiovisual industry – and many others – could be heading. With growth in the cryptocurrency sectors evolving well beyond Bitcoin and branching into a dizzying array of different niche applications and protocols, the future of the blockchain and the impact it could have on traditional supply models has become an enticing topic.

Some have termed this transition Web3 – the third evolution of the world wide web, marking it as a distinct period from the internet’s early origins and the later rise of Web2 apps such as Facebook, YouTube and Twitter.

The first commercial Web1 applications emerged in the early 1990s. At that time, “The Internet” consisted of purely static web pages. It was “read-only” internet in that users could only consume information. Popular platforms today such as Facebook or Netflix were yet to emerge, and the internet giants of this age were sites like Britannica Online and Yahoo. IP, HTTP, URI and HTML provided the technological infrastructure.

Innovations such as JavaScript, HTML5 and CSS3 spawned the gradual rise of Web2. While Web1 enabled the transmission of information, Web2 focused on interaction, with users typically making their data voluntarily available to services such as social media, e-commerce and payment providers in order to enable these apps to function. In other

words, Web2 users were no longer just consumers, they had also become the product. And we’re all aware of the issues that this dichotomy has since created.

Web3 seeks to turn that paradigm back around by providing the latest-generation of internet applications in a more decentralised way, replacing server-client infrastructure with distributed ledgers, of which the most common type is the blockchain. Instead of all data being stored on a centralised server, it will instead be scattered across a decentralised computer network and not susceptible to corruption by any one party. That’s the theory, anyway.

For the time being, this technology has been limited primarily to the financial domain, but interesting prospects lay on the horizon. What could the implications be for the professional audiovisual industry, which has come to rely on successful Web2 video streaming platforms like Netflix, YouTube and Teams for entertainment, and where videoconferencing has become king in the workplace?

Livepeer is a video streaming network built on the Ethereum blockchain that aims to provide decentralised video encoding to help companies lower the cost of livestreaming. Today, this process typically costs around US$3 per stream, per hour to a cloud service such as Amazon, up to US$4,500 per month for one media server and up to US$1,500 per month for enough

bandwidth to host a content delivery network. Livepeer is a protocol for developers who want to add live or on-demand video to their projects and aims to increase the reliability of video streaming while reducing the costs associated with it by up to 50 times.

In a similar vein, Render Network provides decentralised GPU (graphics processing unit)-based rendering solutions in a bid to “democratise GPU cloud rendering”. It works by connecting users looking to perform render jobs with people who have idle GPUs available to process them, with the renderer being “paid” in the chain’s native cryptocurrency token, RNDR. Having recently been acquired by Activision, there are clearly major interested players that see the benefits of such a transition, yet it’s still very early days.

It’s also easy to see the potential security benefits for certain sectors of our industry. Videoconferencing is increasingly becoming the most genuine way of communicating between trusted parties but, due to potential vulnerabilities in between entities, exchanging information in a Videoconferencing system could lead to catastrophe. Ideally, companies and users want to remain in charge of their data rather than entrust a third-party to keep their word. There was no shortage of headlines in 2020 when the world overnight moved to Zoom, a company that hosts the livestream

and, if so desired, has complete access to the “private” conversation. A decentralised videoconferencing system can lay the framework to establish permissionless trusted communication between users of the system and to enhance the integrity protection of stored information by utilising blockchain technology.

The Internet of Things (IoT) is a fast-evolving industry that could also benefit hugely from a decentralised infrastructure in ensuring privacy as data is shared publicly. Security is a major concern with IoT that has hindered its large-scale deployment, as IoT devices often suffer security vulnerabilities that make them an easy target for Distributed Denial of Service (DDoS) attacks. Another issue is that of scalability. As the number of devices connected through an IoT network grows, current centralised systems to authenticate, authorise and connect different nodes in a network turn into a bottleneck. Blockchain technology presents solutions to all these challenges.

While many turn off at the topic of cryptocurrencies, the underlying distributed ledger technology powering the sector has potentially far-reaching implications (and benefits) for our industry. In the next issue of Pro AVL Asia, we’ll delve one step deeper, into the brave new digital world of the Metaverse, asking if NFTs (non-fungible tokens) are simply the latest crypto-inspired trend or whether this, too, is something for AV to take note of.

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L A7.16 i AMPLIFY DIFFERENTLY Think differently about how amplifiers should work: Explicitly designed for installation environments, LA7.16i is a multitasker with 16 output channels, each able to produce 1300w at 8 ohms.

Multi-Channel, Multi-Type, Multi-Time, Multi-Signal.

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