Pro AVL Asia July–August 2025

Editor’s Letter

Welcome to our July–August 2025 issue! May and early June have disappeared in a blur of travel and tradeshows, evidence of which is very much present in these pages, with full reports of KOBA (p58), Prolight + Sound Guanghzou (p60), BroadcastAsia (p62), PALM Expo India (p64) and, finally, InfoComm Orlando (p66), which just squeezed past the post to make the deadline. Just three years ago we were doubting this level of international travel would return yet here we are, breaking all previous records.

Whether you think that’s a good or a bad thing is very personal and somewhat nuanced. The reality is that tradeshows – while obviously important for product launches and demonstrations – fulfil a vital role in

bringing us together, even if it does mean shouting about the decibel levels of some – shall we say, less conscientiously policed – show floors. And I must admit that, after the dust of the past few months has settled, I’m very much looking forward to boarding a plane again in late July and heading to Bangkok for InfoComm Asia, along with Bea, Chris and Carolyn, to catch up with our Southeast Asian friends, readers and colleagues there.

In the meantime, we hope you enjoy this issue, put together largely on our global travels. Whether you read it on a plane, in the workplace or the comfort of your home, we hope it opens up the wonderful world of AV, from Kolkata to Tokyo via Bangkok, Putrajaya and Beijing.

cmoss@proavl-asia.com

Richard Lawn General manager rlawn@proavl-asia.com

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

Sue Gould Advertising director sgould@proavl-asia.com

Chris Yardley Video editor cyardley@proavl-asia.com

Carolyn Valliere Sales associate cvalliere@proavl-asia.com

Jack Stennulat Digital content creator jstennulat@proavl-asia.com

Simon Luckhurst Senior reporter sluckhurst@proavl-asia.com

Adrian Baker Production manager abaker@proavl-asia.com

Karen Wallace Editorial coordinator kwallace@proavl-asia.com

Marne Mittelmann Circulation manager circulation@proavl-asia.com

Bea Meikle News editor bmeikle@proavl-asia.com

Sue Su Guangzhou manager ssu@proavl-asia.com

Lectrosonics joins The Freedman Group

Parent company of audio brands including Røde, Mackie, Aphex, SoundField and Event Electronics, The Freedman Group has announced its acquisition of renowned US manufacturer of professional wireless audio systems, Lectrosonics.

While financial terms of the deal remain undisclosed, the purchase encompasses the company’s brand, complete intellectual property portfolio, factory buildings in Rio Rancho, New Mexico, and a comprehensive array of production machinery and equipment. Lectrosonics will continue to operate from its existing facilities in New Mexico, with the current management team remaining in place to ensure continuity and preserve the brand’s identity and customer relationships.

“We are thrilled to welcome Lectrosonics to The Freedman Group family,” said Peter Freedman, founder and owner of The Freedman Group. “For decades, Lectrosonics has been synonymous with the highest possible performance along with unmatched reliability and innovation in professional wireless audio. Their uncompromising commitment to quality perfectly aligns with our own values and strengthens our position as a global leader in professional audio solutions.”

Founded in 1971, Lectrosonics has been at the forefront of UHF wireless audio technology for film, broadcast and high-end theatre applications for over five decades. With a reputation for reliability and refined technical excellence, the company received an Academy Award in 2017 for its Digital Hybrid Wireless Technology – further cementing its status as the gold standard in professional wireless audio and the

Lectrosonics president Wes Herron stated: “Joining The Freedman Group represents an exciting new chapter for Lectrosonics. With its global reach and shared passion for audio excellence and in-house manufacturing, we look forward to accelerating product development and expanding our market presence while maintaining the quality and reliability our customers expect. Over the years, we’ve garnered interest from some of the biggest

fit. We couldn’t be more excited to join The Freedman Group family and take this next step together.”

With complementary technologies and shared values at their core, the addition of Lectrosonics to The Freedman Group strengthens the group’s global portfolio, offering new opportunities for growth, innovation and manufacturing diversity across its Australian headquarters and US operations.

Sonance acquires Blaze Audio

Sonance has announced it has acquired Danish manufacturer Blaze Audio. Through the move, Sonance will secure the Copenhagen-based brand and its sales and marketing operations, as part of its longterm commitment to delivering complete audio solutions and enhancing its presence in the global professional audio sector.

“This is about more than just expanding our product portfolio,” remarked Ari Supran, CEO of Sonance. “It’s about bringing together two companies that share a commitment to quality, innovation and customer-first thinking. Blaze Audio brings a bold, focused amplifier lineup and adds sound reinforcement loudspeakers that help fill out the Sonance Professional loudspeaker range. This combination will help us push the boundaries of how integrated audio can perform and look across professional, residential and marine applications.”

The purchase centres on the Blaze Audio PowerZone Connect network and

Dante-enabled amplifier series and its DSP software platform, PowerZone Control, which Sonance said complement its product line.

The acquisition aims to foster strategic growth for the California-based company in key professional markets such as hospitality, retail and corporate environments, while also making a step forward in the brand’s expansion into the sound reinforcement category. According to Mike Sonntag, chief revenue officer at Sonance, the addition of Blaze Audio’s complete lineup of amplifiers and loudspeakers will empower the brand

to deliver comprehensive audio solutions, making it easier for dealers to specify complete systems from a single partner.

Lectrosonics is joining our team. They are without doubt the world leader in wireless communication for the entertainment and broadcast markets. Being able to now offer our customers the finest sounding wireless technology in the world is, without exaggeration, something that is very special to me.”

www.lectrosonics.com www.rode.com

appreciation for Blaze Audio and Pascal’s Danish heritage and its amplifier technology, which will remain a priority under the new leadership. Furthermore, Sonance will maintain a dedicated European office in Copenhagen, facilitating enhanced service for regional customers across all its brands and sales channels.

“We’re thrilled to align with a company that shares our commitment to excellence and innovation,” said George Tennet, general manager of Blaze Audio. “Together, we’ll be able to offer complete audio solutions, seamlessly integrating our advanced electronics with Sonance’s renowned loudspeaker technology, delivering unparalleled experiences to customers in the residential, professional and marine sectors.”

This acquisition also establishes a partnership between Sonance and Pascal, Blaze Audio’s parent company. “We are thrilled to see Blaze join forces with Sonance, a company that shares our dedication to engineering, design and delivering compelling user experiences. We believe this is the ideal home for Blaze to flourish further,” said Gustaf Høskuldsson, CEO of Pascal.

www.blaze-audio.com

www.sonance.com

L–R: Wes Herron with Peter Freedman

AtlasIED charts growth out of Bangkok

Privately owned and in full control of its entire manufacturing and engineering processes, AtlasIED has demonstrated continued investment in people and technology. Omnipresent across all North American verticals, the company is now significantly investing in the APAC region, including a new Thai office in Bangkok.

especially with our mass communications solutions,” he continued. “By properly demonstrating this ecosystem of amplifiers, DSP processors and loudspeakers, we are building better brand awareness among consultants, systems integrators and dealers.”

TKL is joined by senior project manager,

innovation and customer engagement. The Bangkok location highlights our mission to reach customers across the globe and marks an important step in achieving our vision of growth and accessibility.”

The new location is spearheaded by general manager Takernglap Kowathana (TKL), who said the aim is to enhance brand visibility, while bolstering service for a broad range of customers. “All the big players have been present in Thailand for the past 40 years, so we are vying for attention with consultants and systems integrators,” he explained. “As a relative newcomer to the Thai market, supporting the growth of a commercial audio brand could take time. With the new office, we are now driving the business in Thailand with more purpose.”

The Atmosphere ecosystem is fast-tracking customer awareness. “Historically, we have been perceived as a US-centric brand with little international presence outside airports,

control of CLS

AV and broadcast systems integrator

Ideal Systems has announced its acquisition of Singapore-based pro audio specialist Control Logic Systems (CLS). The deal will see CLS staff and its existing stock, including a wide array of demonstration equipment, relocated from CLS and installed into Ideal’s offices. The move aims to ensure that Ideal Systems has full audio demonstration capabilities for CLS's products permanently available for customers.

“We are delighted to become part of Ideal Systems’ growing AV business in Southeast Asia,” commented David Seow, managing director at CLS. “We believe our premium speaker bands including Fohhn Audio, Amate Audio, Revolution Acoustics, Bogen and public address systems will fit

perfectly into the premium pro AV market space where Ideal Systems operates. We will work with Ideal’s SEA team to boost the capability of Ideal’s rapidly growing pro AV business.”

Fintan Mc Kiernan, CEO of Ideal Systems, added: “As our AV business is continuing to grow, the timing is perfect for us to be able to bring in such experienced audio experts like CLS and is a major boost for our AV team. With a new lineup of premium audio products and the injection of CLS technical knowledge and market experience, we are set to accelerate our growth in the market while also increasing our quality of service to our customers.”

www.idealsys.com

Cosonic Intelligent Technologies integrates beyerdynamic

According to reports, beyerdynamic has signed an agreement to be acquired

closing. The agreed initial purchase price has been listed as €122m; however, the

Chiang Mai, Pattaya and Phuket.”

In China’s Guangdong Province, an AtlasIED office oversees some manufacturing, assembly and quality control, in addition to warehousing for the entire region. While Hong Kong and Singapore have traditionally competed as the main regional hubs of APAC, TKL believes the situation is changing: “We are well-positioned in Bangkok because the city is an easier and more cost-effective location, with a wide choice of hotels, entertainment and restaurants. In time, it will make sense to build a logistics centre here for the brand. Johnathan [Ivey, company president] was the one who proposed the new office, and both he and Matt have been extremely supportive. The potential for growing this brand is enormous and, as a privately owned company, we are steering our own destiny.”

www.atlasied.com

€122m. The German manufacturer of microphones, headphones, wireless audio systems and conference systems is headquartered in Heilbronn and has been family-owned since its founding in 1924.

Reports state that Cosonic Intelligent Technologies and beyerdynamic signed a Share and Partnership Interest Purchase Agreement with conditions precedent for

Cosonic Intelligent Technologies was founded in 2013 and is headquartered in Dongguan City. It is mainly engaged in the design, research, development, manufacturing and sale of electroacoustic solutions, including multifunctional headphone systems, voice artificial intelligence headsets and other products which are marketed worldwide.

global.beyerdynamic.com

L–R: Fintan Mc Kiernan with David Seow

L–R: AtlasIED’s Takernglap Kowathana (TKL) and Nipon Srimethiyanon

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ARRI sells Claypaky to EK Sound Devices enlists JH Audio IEMs

Sound Devices has announced the acquisition of US-based in-ear monitoring (IEM) manufacturer JH Audio, bringing the pro audio technology brand into the Audiotonix group portfolio. JH Audio founder Jerry Harvey has over 48 years of experience in live sound combined with more than 30 years designing IEMs. He has built a reputation for creating custom-fit IEM

IEMs and in-ear innovations, the principles of which are incorporated in most IEM designs today. Being able to put the resource behind the JH Audio team to take IEMs to the next level alongside Sound Devices and some of our other live-focused Audiotonix brands, should deliver something very special for our users and their clients.”

and artists in live touring.

“We couldn’t be more excited about bringing the JH Audio team into the Sound Devices fold,” commented Matt Anderson, Sound Devices CEO. “Both teams’ R&D aspirations and the close link between RF and IEMs align perfectly, and our focus on innovation to deliver future synergies across our Astral family and other products is sure to delight all our customers in the coming months.”

James Gordon, Audiotonix CEO, added: “For anyone with a passion for technology and pro audio, this partnership is one to really pay attention to. Jerry Harvey is the true pioneer of

work closely with James [Gordon] at DiGiCo and then more recently with the Audiotonix group,” explained Harvey. “It’s always been a relationship based on delivering new technologies for the benefit of engineers and artists in our industry. By joining the Sound Devices family with Matt Anderson at the helm, we now have an incredible opportunity to not just evolve our next gen of IEM technologies but to gain access to likeminded partners and customers globally.”

www.audiotonix.com www.jhaudio.com

As part of a plan to focus more strongly on its core business, ARRI has signed an agreement to sell its subsidiary, Claypaky. The purchase by EK, an advanced lighting production and development company, aims to provide Claypaky with a strong foundation for growth in the high-end professional entertainment lighting market.

Founded in 1976 and headquartered in Bergamo, Italy, Claypaky expanded its reach in 2016 with the acquisition of ADB, a historic theatrical and film lighting brand established in 1920.

“This decision is part of our strategic realignment as we focus more strongly on our core business,” said Chris Richter, managing director of ARRI. “Clearly recognising Claypaky’s potential, it was important to us to find a new owner who pursues next-level growth based on a deep understanding of the market and a long-term strategic vision – for both Claypaky and its customers.”

Marcus Graser, CEO of Claypaky, remarked:

“Our collaboration with ARRI has been a

valuable and rewarding journey. We part ways with sincere appreciation – especially for the insights gained from ARRI’s expertise in the motion picture industry, which will continue to influence our path forward.”

Raymond Chen, CEO of EK, added: “The acquisition of Claypaky, along with its theatrical brand ADB, is a strategic investment that significantly enriches our portfolio. With our combined manufacturing expertise, innovative spirit and expanded industrial backbone, we are well-positioned to continue shaping the future of entertainment lighting worldwide.”

While details of the integration between Claypaky and EK are still to be defined, the former said it will retain its headquarters and core competences in R&D and operations in Italy to ensure flexibility and continued local value creation in the face of global challenges.

www.arri.com

www.claypaky.com

www.eklights.com

SNL Pro buys India’s first Q852

Sound and Light Professionals (SNL Pro) has made a significant investment in the first DiGiCo Quantum 852 console in India. The purchase was facilitated through Hi-Tech Audio & Image during the PALM Expo in Mumbai.

SNL Pro has been investing in DiGiCo products for several years. The new addition enhances the company’s extensive inventory which includes multiple Quantum 338 desks also purchased from the New Delhi-based distributor. “We’ve been working with Hi-Tech for almost 18 years,” noted Manish Mavani, director at SNL Pro. “I remember buying my first large-format console with them – they are the best in the business.

“We decided it was time for a new addition to the Quantum family and opted for the flagship Quantum 852 desk. Right now, riders in India are using the brand’s SD5 console or oldergeneration DiGiCo products. Once we have the 852, we will ensure that it’s on all the riders in the country.”

wish Manish all the best with the new console.”

Nirdosh Aggarwal, director of sales at Hi-Tech Audio & Image, added: “Manish is a great businessman and excellent visionary. With this purchase, I believe he will take the Indian pro audio industry to the next level.”

DiGiCo’s senior international sales manager James Baker concluded: “We’ve been working with Hi-Tech and Manish for a long time and we’re very pleased that SNL Pro is the first rental company in the region to purchase the Quantum 852. On behalf of everyone at DiGiCo, we would like to thank Manish for continuing to invest in DiGiCo products and we offer all the support he needs going forward.”

www.digico.biz

www.hitechavl.com

www.snlprofessionals.com

INDIA

Representatives from DiGiCo, Hi-Tech and SNL Pro with the Quantum 852 at PALM

Adamson brings ArrayIntelligence to APAC

ASIA

Adamson Systems Engineering has recently rolled out its Certified ArrayIntelligence Course in APAC. The training programme has already been delivered in six cities in Australia, as well as across India and China, with more dates to follow in Mumbai, China and Japan.

The course is aimed at sound engineers, sound designers, integrators, AV designers and consultants with all levels of skill and experience within the pro audio industry.

The sessions provide an overview of the manufacturer’s core technology and basic acoustic theory, as well as insights into venue and systems design. Other key topics include the AVB-Milan protocol and audio transport, subwoofer array design, array optimisation and system tuning, as well as system setup and rigging.

“If you are an Adamson user or systems designer who is already using Adamson’s Blueprint software, this is a great opportunity to learn about and understand our new classleading technologies and software,” said Lee Stevens, sales director, APAC, Adamson. “This course is not just open to existing Adamson users, but for the wider audio industry.”

CMI Music & Audio’s training sessions were held in Brisbane, Melbourne, Adelaide, Perth, Sydney and Newcastle, led by Adamson’s

The following training took place in partnership with StageMix Technologies in Mumbai, followed by dates in China with Real Music and in Japan with Rewire. Adamson said it also plans to bring the training to Thailand, Vietnam, the Philippines and New Zealand later in the year.

The company noted key benefits for hosting educational initiatives such as these, including addressing skill shortages in the industry, by ensuring that more technicians and engineers are well-equipped with the necessary skills for success. Furthermore, these programmes allow for the standardisation of knowledge, by empowering novice technicians and top integrators with consistent high-quality education.

Adamson cited these programmes as particularly beneficial for the new generation of sound engineers, by offering a structured learning path that begins with foundational knowledge and progresses to advanced techniques.

“Overall, these training initiatives help Adamson build a more skilled, knowledgeable and innovative community of audio professionals, which can only benefit the entire industry,” concluded Stevens.

www.adamson.ai

L–R: Adamson’s Carlos Sallaberry and Lee Stevens at the Brisbane training

Yamaha expands ASPC’s audio arsenal

Audio Synergy Projects and Concepts (ASPC) has enhanced its audio inventory with the addition of a Yamaha Rivage PM5 console, supplied recently by the manufacturer’s partner AV United. The company works across a wide range of projects in the region, including gala dinners, Through the purchase, ASPC aims to enhance its ability to offer optimum sound quality, intuitive operation and versatile functionality for live events of all scales.

To further optimise performance, ASPC has also invested in RPIO PM stageboxes –designed specifically for Yamaha Rivage

Media Vision has invested in over 120 Martin Professional MAC Viper XIP units, supplied by local distributor Mahajak Development. Through the purchase, the former aims to elevate Thailand’s entertainment and lighting industry to international standards.

Founded in 1994, Media Vision is a well-established player in the region’s professional audiovisual systems market, working across various highprofile projects in the country. The recent Martin Professional purchase marks the company’s entry into the world of professional lighting.

Hoping to develop its understanding of global production standards, the company sought a lighting solution that would meet the demands of international productions and that is officially recognised in the tech riders of worldrenowned artists and show designers. In addition to its confidence in the MAC Viper XIP’s capabilities, a key factor for the investment was Media Vision’s trust in Mahajak Development’s reliable aftersales support.

www.audiosynergy.com.my

Meyer Sound and Sun Infonet educate in Mumbai

“I typically measure the success and engagement of a training based on the questions I receive during the sessions and the breaks,” noted Ramirez. “In Mumbai, I didn’t have a moment to spare throughout the three days, which for me is a good sign that the audience was engaged and enthusiastic about the course we presented.”

Andrea Granata, Meyer Sound’s sales manager for MEA and India, was also present at the

The rental company noted it was particularly impressed by the fixtures’ ability to deliver sharp and bright lighting, even in high ambient light environments, which is especially important for both indoor and outdoor concerts with large-scale LED videowalls. Furthermore, Media Vision cited the luminaires’ IP65 rating as a key feature for the outdoor events it works across, as well as the MAC Viper XIP’s colour mixing system and optics which it will leverage to add depth and visual impact for international-scale productions.

Following the investment, Media Vision has already deployed the units for major large-scale projects in Thailand such as the S2O Songkran Music Festival 2025 and White Party Bangkok 2025. The lights were leveraged for their ability to ensure intensive use in the demanding conditions of both events. Looking ahead, Media Vision said it plans to feature the Martin fixtures in several international concerts later this year.

www.mahajak.com www.martin.com

deployment, offering a comprehensive overview of deploying sound systems covering the entire workflow from system design to final verification, while the third day covered low-frequency management within sound systems. All sessions featured an extensive use of practical experiments and demonstrations, providing attendees with in-depth technical knowledge and hands-on experience with the brand’s audio solutions.

According to the Meyer Sound and Sun Infonet team who presented the training, the sessions were well-received by participants, with people particularly enjoying Ramirez’s ability to transfer his expertise through a combination of theoretical knowledge and practical exercises.

make more conscious decisions practically, such as for tuning systems and selecting the correct tools for Meyer Sound projects.

“I recall years ago, when I first came to India, we had concerns about starting trainings due to how well they would be received by the local community and whether we would get a good attendance,” said Granata. “Now years later, we are hosting packed sessions with skilled professionals on a Sunday morning. I believe this perfectly highlights Meyer Sound’s growth in the region’s industry, which Sun Infonet has played an important role in building.”

www.meyersound.com www.suninfonet.net

MALAYSIA

L–R: Thanaruch Hongskule, CEO and founder of Media Vision, with Pongsakorn Kanchanachayphoom, COO – professional products and solutions business at Mahajak Development THAILAND

Future vision

More than 250 NEXO speakers bring the love to the France Pavilion at World Expo Osaka, 2025

WITH THE AMBITION TO DESIGN A future society for our lives, World Expo 2025 opened in Osaka in April, returning to the Japanese city that hosted the first World Expo some 55 years ago.

Covering a 960-acre site on the Yumeshima (Dream Island), more than 160 countries are showcasing their cultures, crafts, technologies and visions of the future in a series of exhibits that includes the extraordinary France Pavilion, designed and operated by official French exhibition organisers Cofrex. Ideally located at the entrance to the expo, the visually striking venue is expected to welcome more than 20,000 visitors each day for the six-month duration of the event.

“If there was just one feeling associated with the French mindset, it would be love,” believes French President Emmanuel Macron and it is a French vision of the world, a paean to love, boldness and dialogue, that he expects visitors to the France Pavilion will discover.

“The way we chose to embody the theme of love is through Pulsations, guided by music and a steady heartbeat in a journey through eight different art installations,” explains visual artist and artistic director for the project, Justine Emard, who worked with international experience designers GSM Project to create a multi-sensory experience showcasing French creativity and excellence exemplified by sponsors including LVMH, AXA, Les Vins d’Alsace and Ninapharm, and the profound connection between France and Japan.

With music and sound central to an immersive visitor experience, specially composed music and sonic content developed by IRCAM, the French institute dedicated to the research of music and sound, is

delivered by a system comprising more than 250 individual NEXO loudspeakers installed throughout the France Pavilion.

Compact GEO M line arrays cover the area in front of the pavilion, while an ID14 L-C-R system is virtually invisible in the entry lobby. Also visually discreet is the ID14 system in the first art installation featuring a stunning Aubusson tapestry by Hayao Miyazaki, then visitors carry on up a walkway covered from above by 16 NEXO ID14s delivering a unique wavefield synthesis by IRCAM composers.

Unique aural and visual experiences from AXA combine work by the musician Rone, the choreographer Angelin Preljocaj and the filmmaker Thierry De Mey, delivered by a hugely powerful “cinema-style” NEXO P18 system with L20 subs hidden behind the curved screen and complemented by ID14 and ID24 top and surround speakers.

Then it’s off to pay a vibrant tribute to Louis Vuitton’s savoir-faire in a room where 85 wardrobe trunks surround the united hands of Rodin’s La Cathédrale with the characteristic rhythm of the mechanical murmur of the workshops reproduced by an entirely invisible series of NEXO ID14s.

In Dior’s space, compact ID14s are mounted on hidden brackets and finished in white to complement the stunning display of collections that create an ode to the virtuosity of the Parisian ateliers.

NEXO’s ePS Outdoor speakers make perfect sense in a tranquil garden which is watered every day and features a 1,000-year-old olive tree, before visitors head underground where NEXO P8s and L15 subs help to create the unique atmosphere in the cellars of the Alsace vineyards.

Resonant with the geography of Japan comes an archipelago made up three islands, the first showing the rebirth of Notre-Dame de Paris following the fire in 2019, the second featuring Mont-Saint-Michel Abbey which has benefitted from a campaign to restore its island character and ecosystem, and the last illustrating France and Japan’s fascination with the Pacific coral lands through the imaginary representation of two of them: Bora-Bora and Iriomote.

Compact ID14s are mounted on hidden brackets

Invisible NEXO ID14s provide the mechanical murmur of Louis Vuitton’s workshops

NEXO P8s and L15 subs represent the cellars of the Alsace vineyards

Although each space has a very different soundtrack, NEXO ID and P+ Series systems help to maintain a consistent sonic signature promoting a fluid journey through the spaces. Amplification and processing for the installation come from a total of 65 NEXO Powered TD Controllers, drawn from both nanoNXAMP and NXAMPMk2 ranges.

“The sound quality is really good, it really covers all the spaces,” reports Maxime Poirot, in charge of sound installation at the France Pavilion for Cofrex. “The speakers proved to be ‘plug-and-play’ in the sense that once the speaker is installed in the space, it already sounds very good. There are minimal adjustments required for the different locations as some reverberate more than others, but I find the quality really good. And I received great support from NEXO, even before my arrival onsite.”

“We started working with Cofrex back in September last year, advising on the system design and performance modelling, then the network configuration, naming devices and setting IPs so the installers could arrive onsite with everything already prepared offline,” says NEXO engineering support director, François Deffarges. “The amplifiers and speakers were delivered onsite in January by the supplier Loct’ambule, and the NEXO ES team was onsite from 1 February until shortly after the opening, assisting with installing speakers, cabling, building racks and so on.

“During the tuning stage, the NEXO NeMo App was extremely helpful as we could work wirelessly in each zone to EQ the speakers as required,” Deffarges continues. “Then, in the final stage before opening, we were able to assist with synchronising the spaces to ensure the consistency of the ‘beat’ that takes visitors on their journey through the pavilion.”

“This is a complex project requiring a very specific sound system,” adds Cofrex pavilion director, Philippe Mille. “There are more than 240 channels with innumerable loudspeakers

and multiple challenges, both because of the very high demands of the experience design and the installation constraints related to this very distinctive building.

“So, we were looking for a French technical service provider with a very high level of skills. We reached out to a couple of manufacturers and NEXO immediately responded and met the demand and has supported us very well in the development and engineering stages, in pre-production and then in production, and onsite with the daily presence of their ‘in-house’ engineers who have not only guided us but were

also extremely active during the installation period.”

“As a French company, manufacturing in France, we are proud that our products have been chosen to help represent to the world the best of French culture, craft and technology,” concludes NEXO president, Jean Mullor. “And as part of the Yamaha group of companies, we are particularly proud that our speakers have been selected for this prestigious event in Japan, the home of Yamaha.”

www.nexo-sa.com

Ecler appoints Brown & Company

Ecler has announced a distribution partnership with Brown & Company, a prominent digital marketing and business solutions provider, to significantly expand its presence in the South Korean market. The alliance will bring Ecler’s audio technology to a broader range of customers and projects across the country.

While primarily known for its digital marketing expertise, Brown & Company

retail spaces and corporate offices.”

www.ecler.com

Mr Tao and his team, I was convinced that they are the best choice. They have got the right experience and channel network as

QSC and Music Bliss join forces

Music Bliss has been appointed as the authorised distributor for QSC Asia’s audio product portfolio in Malaysia. The distributor boasts a multistorey facility in Petaling Utama, within the vicinity of Petaling Jaya and Kuala Lumpur, featuring four floors of showroom, a guitar repair centre and a service and warranty centre.

Kim Muurholm Juergensen, director of QSC audio sales, APAC, commented: “Music Bliss is renowned for providing quality solutions and exceptional service to music enthusiasts. Their team is prepared to support the QSC Audio portfolio of products, including our latest awardwinning 3-way column speaker, the KC12. With their dedication and expertise, I am confident

VMT teams up with Linea Research

Linea Research has welcomed Vardhaman Megatech (VMT) as its exclusive distributor in India. The distributor boasts teams and satellite offices across the country, closely linked to its head office in Mumbai. Linea Research cited this as a key benefit for its customers, enabling VMT to provide quick support in all regions nationwide.

“VMT is a well-respected and established distributor operating throughout India with strengths in all the markets Linea Research operates in, including both touring and installation,” commented Martin Hildred, sales and marketing director for Linea Research. VMT director, Jeff Mandot, added: “We are proud to add the exclusive distribution rights to Linea Research to our professional

audio portfolio. The brand is trusted by professionals in touring, fixed installations and premium venues and, through the partnership, its full range of products are now available exclusively through our network.”

Generation AV, which manages the distribution of the Focusrite Group products throughout Asia, will provide full support to VMT. Dave McKinney, Generation AV’s managing director, added: “This is exciting for Linea. They are the perfect match for the other brands in VMT’s distribution range and, in terms of both sales and service, Linea Research could not be in better hands.”

www.generationav.net

www.linea-research.co.uk

www.vmt.in

www.acproaudio.com

www.presonus.com

knowledge and passion for audio to deliver the brand’s solutions to its growing community of musicians, engineers, venues and performers throughout Malaysia. “QSC is a brand that commands deep respect across the industry,” he noted. “The sound performance of QSC products is truly impressive and we have great confidence in the quality they bring to professionals and the wider music community. This partnership represents an exciting new chapter and we are committed to supporting the QSC vision with dedication and excellence.”

www.musicbliss.com.my www.qsc.com

that QSC has found a committed partner for longterm growth in Malaysia.”

Representatives from Ecler and Brown & Company

L–R: Kamal Mahtani of PreSonus with A&C’s Tao Cheng

L–R: Generation AV’s Dave McKinney with Dinesh Mandot, Jeff Mandot and Ness Mandot of VMT

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Entergrain takes on EV and Dynacord

SOUTH KOREA

Audio specialist Entergrain has been appointed by Robert Bosch Korea, Building Technologies division, as the exclusive distributor for Electro-Voice (EV) and Dynacord in South Korea, representing the brands’ portable speakers, amplifiers, installed systems and microphones.

Founded in 1993 as Alphatech, Entergrain has over 30 years’ experience in the manufacture, export and import of audio equipment. As well as representing international audio brands, the company is highly regarded for its flagship brand, Kanals, with products including wired and wireless microphones and amplifiers.

Operating from an 8,300m² facility in Incheon, Entergrain is organised into

out. Our company’s leadership has trusted and personally used these brands for a long time. As their official distributor, our goal is to elevate the brands’ value in the Korean market.”

Product demonstrations of the newly acquired brands will be possible at Entergrain’s premises. “Since audio products heavily rely on sound quality and user experience, demos are considered one of the most effective ways to build trust and encourage sales,” noted Hong.

Ho-Sung Lee, director of Robert Bosch Korea, Building Technologies, added: “We are confident that our collaboration with Entergrain will enable Electro-Voice’s exceptional products to reach an even broader customer base. We firmly believe that this partnership will make a significant and positive contribution to the advancement of the Korean audio industry.”

www.electrovoice.com www.entergrain.com/en

Generation AV – which represents Martin Audio in the APAC countries – visited Phnom Penh to

base. “The high standards they uphold in all their installations and projects align perfectly with what we were looking for,” he noted. “There is significant potential in the Cambodian market and, with Dennis and his team leading the way, Martin Audio is wellpositioned for success.”

completed their first installations – so they are

Group Technologies broadens

German audio interface manufacturer

RME Audio has appointed Group Technologies Australasia as its exclusive distributor in Australia and New Zealand (ANZ). RME technology powers a number of missioncritical systems across the professional audio landscape, from recording studios to global broadcast, high-profile live events to scientific research and major theatre productions to national art installations.

Founded in 1996, RME is best known for its Fireface and HDSPe audio interfaces and its products not only underpin many essential, high-performance systems in entertainment, but can also be found in

critical system monitoring roles. Recognised for its expertise in high-quality audio solutions for the Australian market, Group Technologies said it is well-positioned to further expand RME’s international reach. In addition to its nationwide retail partnerships, Group Technologies is a hardware provider in live production and maintains a strong presence across the studio, AV, integration and broadcast markets.

The company believes that the integration of RME into its portfolio will enable a broader offering across all its market verticals.

“We are extremely delighted to partner with Group Technologies, a premier audio solutions provider with a strong reputation in the market and industry,” commented Eric Chiu, sales director, RME Trading. “With the Group Technologies team, we are confident

Dennis Khiew, managing director of Luxury Supply, added: “My team and I are huge fans of Martin Audio. After extensive research into their product range, we are excited to introduce these exceptional products to the Cambodian market for both installation and entertainment projects, as well as touring systems. Our dealers and rental business partners have shown great support and confidence in us.”

www.avlls.com www.martin-audio.com

that this partnership will help us to deliver RME audio technology to more customers.”

Anthony Touma, general manager, Group Technologies, added: “This partnership with RME perfectly complements GT’s portfolio of classleading professional audio brands. RME’s stellar performance and unparalleled reliability make their solutions the ideal choice for working professionals with discerning audio requirements. We are thrilled to be working with a manufacturer that has made such a measurable impact on the industry and look forward to further growing the brand in our region.”

www.grouptechnologies.com.au www.rme-audio.com

ANZ

L–R: Hosung Lee of Bosch Building Technologies with Kwi-Sung Hong of Entergrain

L–R: The Luxury Supply team with Kevin Kee and Jeremiah Joseph of Generation AV at the Martin Audio Experience Centre in Cambodia

Audio Wizard enhances its portfolio

Hyderabad-based Audio Wizard has been appointed as the exclusive distributor for both Apex Audio and Fulcrum Acoustic in India. The distributor offers a wealth of experience in professional audio systems design, deployment and support, working across various verticals like hospitality, houses of worship, nightlife and sports venues.

Val Gilbert, sales manager at Apex and director of business development for export at Fulcrum Acoustic, remarked: “With Audio Wizard’s proven technical expertise, strong customer relationships and an impressive portfolio of respected brands, we’re confident they are the ideal partner to grow Apex’s sales and profile in the region. Furthermore, as the Indian AV market continues to grow and prioritise premium audio experiences,

Audio Wizard is an ideal partner to introduce Fulcrum’s performance-driven solutions to a broader range of projects.”

“Fulcrum’s reputation for high-performance loudspeakers and immersive technologies makes them a perfect fit for the Indian market,” said Nitesh Ahuja, managing director, Audio Wizard. “We are also excited to bring Apex’s innovative amplifier technology to our customers – CloudPower’s remote management capabilities, integral DSP and pristine audio quality make it a strong match for many of our clients’ applications.”

www.apex-audio.be www.audiowizard.co.in www.fulcrum-acoustic.com

CSF COMMON HF/LF MAGNET COAXIALS

Professional Audio & Television (PAT) has become the exclusive distributor for Bolin Technology in Australia and New Zealand. The announcement follows Mike Heard’s

promotion to head of technology for ANZ at PAT and coincides with Bolin Technology’s announcement that its PTZ camera range is now natively integrated into the Lawo HOME environment.

“It is with great pleasure that we add Bolin Technology to the stellar list of manufacturers we represent in Australia and New Zealand,” commented Heard. “Bolin Technology has long been known as a leader in technology for outdoor and indoor PTZ cameras and the addition of this brand to our other world-class manufacturers is an organic fit and makes perfect sense.”

All CSF coaxials (6.5”, 8”, 10”, 12”, 15”) are developed using advanced linear modelling techniques to optimize symmetry in Bl(x), linearize Le(x) and minimize parasitic effects and reluctance force on the LF voice coil. Each model employs a single ferrite magnet ‘dual gap’ motor with two demodulating rings and a Polyimide HF diaphragm/surround; Coherently aligned performance and value comes as standard.

PAT’s managing director, Patrick Salloch, added: “With an increasing demand for more content and shrinking budgets, we see a higher demand for remote productions and this is where Bolin Technology’s indoor and outdoor PTZ cameras play a significant role. With Bolin Technologies, we add another manufacturer to our portfolio who helps us deliver turnkey projects and solutions to our customers in ANZ.”

Duncan Smith, director for Bolin Technology Europe, continued: “We have been watching PAT for a while now and we feel that their go-to-market approach matches our passion for leading technology solutions, delivered through unsurpassed pre- and post-sales customer service.”

www.bolintechnology.com www.proaudiotv.com.au

The Audio Wizard team

• MARCO VAN DER KNAAP

• GLOBAL PRODUCT MANAGER –PHILIPS LED DISPLAYS

PPDS

• ANGIE CAWTHORNE

• DIRECTOR OF GLOBAL PARTNERSHIPS

VISIONARY

• STEVE LEYLAND

•

Ross Video welcomes Bhaskar Majumdar

Bolstering its presence in India, Ross Video has welcomed Bhaskar Majumdar as general manager for the SAARC region. The appointment is part of a wider growth strategy in the locales centred on strengthening partnerships, expanding into new verticals and increasing local expertise to better support customers.

Majumdar brings over two decades of experience in the broadcast industry, most recently managing global sales revenue and business development for Benchmark Broadcast Systems. Prior to this, he served as head of marketing for Globecast Singapore and vice president – business development for Planetcast, where he was responsible for managing global sales teams and setting up sales processes for SaaSbased media solutions.

“For over 20 years, I have been working with key players in the broadcast industry

and am looking forward to leading Ross Video’s growth and expansion in the SAARC region,” said Majumdar. “Over the coming months, we will be expanding our local team to better support customers and focusing our growth on aligning with major industry trends and opportunities in the region.” Oscar Juste, Ross Video’s senior vice president of global sales, said that the company is committed to growing its presence in SAARC by strengthening relationships with key partners, expanding into new verticals and increasing its local expertise. “These steps reinforce our dedication to delivering exceptional value and support to our customers. We are thrilled to have Bhaskar join our team and lead our expansion in the region,” remarked Juste.

www.rossvideo.com

Montarbo makes key appointments

Italian audio manufacturer Montarbo has made a series of strategic appointments to strengthen its global market position and optimise internal operations. The appointments align with the company’s transition into the professional audio market, supported by a strong R&D department and the backing of AEB Industriale.

At the forefront of this new team is Salvatore Curcio who serves as the

new sales and marketing director. With extensive experience in the industry, Curcio will lead the development and execution of commercial strategies, driving Montarbo’s growth in international markets.

To reinforce its presence worldwide, the company has appointed Manuele Poli as head of sales – APAC, where he will be responsible for expanding the brand’s commercial reach across the APAC region. Meanwhile, Gianluca Di Stefano joins as export sales manager, charged with identifying and developing international business opportunities.

In addition to the global expansion, Montarbo has reinforced its internal teams to provide enhanced operations and client support. Vincenzo Manuel Gismondi has taken on the role of application engineer, offering advanced technical support to partners and clients, while Letizia Buti has joined the marketing department, bringing creativity and a fresh approach to brand communication and promotion. Federica Pederzoli continues to lead the company’s customer service, serving as a reliable

AEB Industriale, commented: “Building on the solid foundation established in recent years, we are ready to embrace new and exciting challenges, with the goal of further strengthening the brand’s positioning and identity.”

www.montarbo.com

INDIA WORLD

Bhaskar Majumdar

Manuele Poli

Salvatore Curcio

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Norhisham Iskhandar delivered to UPS FBT: factory builds team

Universal Procurement Systems (UPS), part of the Thakral Group, has welcomed Norhisham Iskhandar as technical sales consultant. In this position, Iskhandar, who is widely known in the industry as Sham, will play a key leadership role in supporting the growth of the Singaporean distributor’s pro AV and technology solutions division. Iskhandar brings over 15 years of leadership and hands-on experience in the professional AV industry, including working with various renowned AV brands, successfully leading and securing iconic large-scale projects. During his career, he has specialised in technical sales, systems integration and business development for

live events, commercial installations and high-profile government and corporate projects across Southeast Asia, the Middle East and broader Asia Pacific markets.

Highly regarded for his deep industry insights, strategic thinking and collaborative approach, Iskhandar has successfully built and managed distributor networks, trained partners and clients across Asia and helped elevate the market positioning of the brands he represented.

UPS cited his ability to combine technical design expertise with commercial strategy as a key factor for his widely acclaimed industry recognition.

At UPS, he will place a focus on highperformance, client-centric delivery across sectors such as performing arts and theatres, stadiums and sports venues, hospitality and leisure, broadcast and houses of worship, and government and enterprise infrastructure.

The distributor said that it is confident that Iskhandar’s vast regional network, combined with his passion for delivering impactful AV experiences, will further strengthen UPS’s position as a partner in technology procurement, design consulting and systems delivery.

“We are excited to welcome Sham, an industry veteran with extensive regional experience in project management and audiovisual project delivery across diverse markets,” remarked Christian Liebenberg, senior consultant, UPS. “With Sham’s unparalleled expertise, we look forward to strengthening and expanding our regional business footprint together.”

proaudio.upsprocurement.com

FBT has strengthened its team with the appointment of Alessandro Bassetti as export manager, Francesco Cinti as audio system designer and Matteo Stella as application engineer. The manufacturer said that their passion and drive align perfectly with the company’s mission and it is confident that all new members will play key roles in pushing the FBT brand and performance to the next level.

Bringing a wealth of international experience and strategic insight to the company, Bassetti will be pivotal in

expanding FBT’s reach and strengthening relationships with partners and clients worldwide.

“Being part of FBT is both a privilege and an exciting opportunity that I embrace with enthusiasm,” he said. “With a background in the industry and a deep passion for sound and music, I’m looking forward to supporting our existing partners, forging relationships and exploring new opportunities to expand FBT’s international presence. I am particularly eager to engage with a multisector audience, bringing FBT’s audio solutions to different markets and contributing to the company’s continued growth and success.”

Audio system designer Cinti has a passion for immersive audio experiences and brings new ideas and ways of thinking to the role. “Thanks to my electronic engineering skills, I can provide design solutions as required, technical support to the sales network and customers, preliminary analysis, commissioning and system testing,” he explained. “Being part of FBT allows me to work in audio and especially electronics applied to acoustics, which I have always been fascinated by.” FBT believes that application engineer Stella’s sharp technical expertise and approach will deliver greater value and innovation to customers. “I’m truly excited to be part of the big family at FBT,” commented Stella. “I aim to bring a creative approach to my role, turning passion into purpose and supporting our clients directly, from technical solutions to training.”

www.fbt.it

Void names Brandon as new managing director

Void Acoustics has named Sam Brandon as its new managing director, succeeding co-founder Alex Skan, who has held the role since 2016. Skan will remain involved with the company, contributing to its ongoing activities. The manufacturer was established over two decades ago by Rog Mogale and Skan and, over the years, Skan has played a key role in the growth of Void Acoustics’ partner network and internal team. “I’m excited to welcome our new managing director, Sam, to the Void team,” said Skan. “While I will be transitioning out of the managing director role, I will remain actively involved with Void Acoustics, supporting our team and contributing to the vision and culture that define our success. I am deeply grateful to our incredible team, partners and customers who have been part of this journey so far. I have no doubt that the future of Void Acoustics is brighter than ever.”

Brandon joins with experience in technical, engineering, commercial and leadership roles across Europe, the Middle East and Africa. Most recently, he served as CEO of the EAV Group, an audio distribution company operating in 10 European countries. Prior to that, he was director of audio at Harman Professional Studios, managing nine brands in the region.

“After 20 years of admiring Void Acoustics from afar, I’m incredibly honoured to join as managing director,” commented Brandon.

“No other brand looks or sounds quite like Void. Its commitment to elevating sound into an art form and its bold design philosophy set it apart in an industry often defined by conformity. I’m excited to build on the company’s strong foundation and lead it into a new era of innovation and growth.”

www.voidacoustics.com

Alessandro Bassetti

Alex Skan and Sam Brandon

TAG appoints Maroni for APAC

TAG Video Systems has named Paul Maroni as vice president of sales for APAC, bringing over 30 years of experience in broadcast operations, sales and partner development.

Maroni started out as an engineering trainee at Channel 7 in Sydney, advancing to leading live production marketing at Sony APAC. He has held key sales roles at EVS and, while at Magna, helped deliver one of TAG’s largest regional projects, supporting Foxtel with a software-based monitoring deployment.

“Paul knows the APAC market inside and out and has built long-standing, trusted relationships across the region,” said Kevin Joyce, TAG’s zer0 friction officer. “He understands the challenges our customers face and brings practical, real-world experience to help solve them. We’re excited to have him join the TAG

“TAG’s software-defined model is exactly what APAC media companies need – it’s flexible, efficient and designed to meet today’s workflow challenges,” added Maroni. “I’m thrilled to work closely with our customers and partners across the region to help them simplify operations and gain more confidence in their media infrastructure.”

www.tagvs.com

Calrec advances Sid Stanley from GM to MD

Calrec has promoted Sid Stanley to managing director. Since joining the company in 2018 as general manager, he has been instrumental in guiding it through major developmental changes as the broadcast industry continues to evolve towards remote and distributed production.

“It’s an honour to lead such a prestigious company, which has achieved much success

over the years and to work with our strong team,” said Stanley. “Calrec has played a significant role in the transition to creating new, flexible workflows and will continue to develop and deliver advanced solutions as we head further into this new age of audio broadcast.”

www.calrec.com

Staying in tune

Kevin Emmott

Pro audio and broadcast journalist of Lift Audio shares his passion for making recycled instruments and how he now teaches others his craft

What’s your industry background and current day-to-day role?

I was a sports journalist for the Press Association for four years before joining Calrec in 2000 as a marketing coordinator. I continued at the company for 22 years, managing their global communications and marketing division. After turning 50, I decided it was time for a career change and began freelance work. Now, I specialise in writing for lots of lovely people and companies in the professional audio and broadcast fields.

When and how did you get interested in making recycled instruments?

I’ve always been a terrible guitarist; I learnt to play when I was 17 and my ability hasn’t improved since then! In 2009, I saw a YouTube video of someone playing a three-string Dulcimer. As the guitar has fewer strings and no sharp notes, I thought it would be easier for me to play. At that time, Dulcimers cost approximately £160 to buy, which I couldn’t afford and, therefore, I ambitiously decided to build one myself. I used spare wood and an old tin from my kitchen to build my first one and inevitably I made a lot of mistakes during the process. However, this spurred me to make another with less mistakes – I kept doing that until I ended up making 50!

Are you building these instruments just as a personal hobby?

Tedeschi Trucks Band with his wife, Susan Tedeschi. For the last Made Up Mind, Derek played Slide on a guitar which I made on my kitchen table in 2017. I remember testing it once it was built to ensure that the intonation was correct, and I thought it sounded good; however, when it was in the hands of a skilled musician like Derek, the guitar absolutely sung. It was incredible. Outside of having children, it’s the coolest thing that’s ever happened to me.

Has this hobby progressed beyond making the instruments?

It has led me to teaching classes at Todmorden Community College near where I live. This was spurred by me taking a guitar I had built to my local music shop and them asking if I could build more for them to sell. Unfortunately, I couldn’t do that as it is such a time-consuming process, so I decided to hire a space at the college to deliver evening lessons on how to create the instruments. It was a very fulfilling experience because the participants all came away with something that they could play that they’d built themselves from scratch.

How did you learn to build the instruments?

I watched a lot of videos online and read carpentry books, which enabled me to learn various new skills and pick up helpful tools along the way. One such skill is using a spokeshave to shape a guitar neck, which is an incredibly relaxing process – with each movement of the spokeshave you take off a small amount of wood. Then, you feel the neck to check that it is smooth enough for your hand to run down it, before you take off a little bit more. It is great because you can take your time – it takes me between four and six months to make one instrument.

I make recycled instruments solely because I enjoy the process of building. The other great satisfaction with creating instruments from scrap materials is that you never know how the finished product will be and you’ll inevitably make a mistake. That is what gives them their character – they’re not Fenders or Gibsons – they’ve got flaws. It’s about embracing the Japanese concept Wabi-Sabi which encourages appreciating the beauty in imperfection and impermanence. Whenever I have sold a guitar, people value their uniqueness – they’re worn in and there’s a story behind them.

Do you have a standout guitar that you’ve made?

My favourite is a three-string guitar that is played by Grammy award-winning musician Derek Trucks who performs in the

How important it is to have an outlet like this and why?

It’s cathartic. Whether you do archery, wild swimming or jigsaws, having a hobby or interest which takes you out of what you do dayto-day and allows you to focus your mind onto one thing, making any worries or stress that you have go quiet for a little while. It’s all about having mini holidays for yourself by taking you away from work. For me, it’s never been about making money from the instruments I build, it’s about creating something from scratch and allowing myself to be creative in the process. I also find fulfilment in making something from scrap materials that has a value to it – I’ll find objects in skips that people have thrown away and turn them into instruments. I think people like that because it gives the instrument a narrative; there’s a story attached to it and it has flaws, which I believe adds a value that isn’t monetary.

A guitar Emmott built using a bedpan

All of Emmott’s instruments are made using recycled scrap materials

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Perfectly matched with the Libra 5CT pendant speaker, the Libra 8S is more than just a subwoofer, it is a statement in acoustic design and architectural integration.

Examples of possible customizations according to availability

Cosmo celebrates in style

HK Audio systems were called on for a celebration in Malaysia at Stadium Perpaduan Petra Jaya in Kuching recently. Supporting cultural performances and speeches for the Majlis Sambutan Aidilfitri Madani, an HK Audio Cosmo concert sound system was deployed by local company Authentic Ideas and Events Enterprise (AIEE).

The high-profile event brought together thousands of attendees, including Malaysia’s prime minister, the Premier of Sarawak and other senior officials. With a venue of this scale and significance, speech intelligibility and full-range musical clarity were critical. To meet the challenge, AIEE called on the Cosmo solution, with additional HK Audio LTSA and L SUB 4000A used for out fill coverage. The result was said to be “consistent, high-definition sound across every corner of the stadium’s seating areas”.

Two DiGiCo consoles have been supplied by the manufacturer’s Chinese distributor RAC Pro for local pop singer Lars Huang’s most recent tour FUN! ONLY. The design concept for the tour is a celebration of video game and digital culture, requiring fans to “level up” to get the most out of the experience. The tour’s audio team specified DiGiCo consoles, choosing a Quantum 852 for FOH and a Quantum 338 for monitors.

“We insist upon using only the very best equipment and the Quantum 852 delivers excellence for us,” noted Li Wenhao, senior product manager at RAC Pro and technical support for the tour. “At the monitor position, the Quantum 338’s compact design and highly efficient signal processing capabilities provide clear and accurate monitor feedback for all performers. It has been a great pairing.”

As Huang’s eagerly awaited arena tour, the shows welcomed crowds of over 10,000 people

Stage monitoring was delivered via Sonar 115Xi wedges, a trusted choice for AIEE due to their clarity and price-to-performance ratio. The monitors reportedly performed well once again, supporting a range of artists and stage setups with ease.

The event ran smoothly from start to finish, with clear, balanced sound carrying every word and musical moment to all corners of the stadium.

“HK Audio’s Cosmo is a very easy system to set up, and our team only needed a short learning curve to get the most out of it,” AIEE managing director Nawawi Bin Bujang commented. “This event had to deliver with clarity, especially for the prime minister and premier’s keynotes, and the system handled the stadium coverage beautifully.”

www.hkaudio.com

per venue. The FUN! ONLY characters, (除了快乐禁止入内) also translate to “Without Happiness, No Entry”, so delivering a fun and happy experience for the audiences was high on the list of priorities for the audio team. With the ample headroom of the Quantum 852 and Quantum 338, the team said the consoles were able to provide clear and accurate audio for the events.

“With DiGiCo, sound breaks free from the constraints of physical distance – it is no longer just a concept, but becomes something that we can touch and feel,” concluded Wenhao. “Our DiGiCo consoles can handle whatever we throw at them, offering better mixing flexibility and keeping up with the unique style and energy of Lars and his countless fans.”

www.digico.biz

Super club NOYA opens with K2

INDONESIA

The 1,500-capacity super club NOYA x 80PROFF has opened in Jakarta’s PIK2 coastal township and boasts the first L-Acoustics K2 system in Indonesia. Seeking to set a new standard in the region’s club scene, NOYA places a focus on immersing its patrons with a combination of top-tier technology, including 3D visuals, concert-level sound systems and an extensive remit of lighting technology.

Audiovisual specialist PT Gracia Auvindo was awarded the tender to provide the audio system for the venue, with the club owner specifying L-Acoustics. “When the owner heard L-Acoustics at Tomorrowland, he fell in love with the brand,” noted Hendra Halim of PT Gracia Auvindo. “So, he contacted us as their local distributor to provide a system for NOYA.”

The mammoth venue features one large main club space measuring 41m x 33m x 9m (DxWxH). NOYA’s unique concept offers a live show with singers, dancers and a DJ from 9.30pm. At midnight, a DJ takes the reins until the venue closes in the early hours of the morning. “As

able to create a precise audio design for the venue, including the mechanics, weight of the speakers and where they would be positioned, which we then presented to the club owner and to the construction teams onsite.”

Following the predictions, the team chose a setup of 18 K2 boxes as main L-R hangs beside

the club features a multipurpose concept, we proposed the K Series and A Series which offer that same sonic experience as the Tomorrowland festival and are powerful enough to fill the large space,” explained Halim.

PT Gracia Auvindo began the project creating designs in Soundvision modelling software. “Using Soundvision made everything much easier for us,” noted Halim. “We were

the stage, supplemented in the lower frequencies by 16 KS28 as the main subwoofers. As the audience is 180° around the side of the stage, four KS21 were installed as wing subs to cover the sides. Six A15 cabinets, four focus and two wide, deliver out fills, complemented by eight A10 Focus for front fill. Monitoring for the DJs is covered by two KS21 and two ARCS II in a pair. The entire system is driven by 15 LA12X and

two LA4X amplified controllers run on the P1 AVB processor and six LS10 switches. A Midas Heritage console was also deployed for FOH and an M32 was implemented for monitoring.

According to Halim, a problem the team faced was the careful coordination with the lighting and LED equipment. “NOYA features over 1,600 lighting fixtures and there are LED screens all over the club, including a very large one at the centre of the stage,” he explained. “This required a lot of coordination between the contractors, LED and lighting teams, working around each other.”

Since launching, the club has already hosted packed-out nights, including its opening ceremony featuring reportedly the “largest lighting show in Southeast Asia”, with more than 1,000 fixtures and dozens of lasers. This was followed by a special performance the next night from Melbourne DJ Timmy Trumpet.

www.graciaauvindo.com www.l-acoustics.com

Fuzion joins the dots at the Wireless House

The Wireless House at One Bangkok is a free exhibition preserving the legacy of the area and its radio roots. The site, which first transmitted radio signals over 100 years ago, has been transported into the 21st century with a Fuzion Far East audio upgrade commissioned by Frasers Property Management Services (Thailand).

The Wireless House combines a coffee shop with an exhibition area revealing the history of the Saladaeng Radio Telegraph Station. Almost a century after its closure, the station’s 60m radio mast and other artefacts were unearthed during One Bangkok’s construction. One Bangkok’s curatorial team collaborated with the Fine Arts Department, archaeologists, conservation architects and designers to create this unique outlet.

Six self-powered Genelec 8030CP 2-way monitors output content at designated points. “The unique museum-style exhibition audio design conceived by Fuzion had to be integrated into the broadcasting studio setup pre-designed by the client,” commented Fuzion Far East’s project sales manager, Kanokporn Jaidee.

The Wireless Club required a more powerful audio solution for BGM and DJ playback at its café. The main system comprises four ceiling-mounted NEXO ePS8 8-inch loudspeakers powered by a NEXO DTD 4-channel amplifier and managed

Mega Star Arena enhances its audio credentials with Yamaha

Kuala Lumpur’s premier live event venue, Mega Star Arena, has invested in a Yamaha Rivage PM5 digital mixing system. Supplied and installed by Concept Associates (KL), the purchase includes a CS-R5 control surface, a DSP-RX engine, together with RPIO622 and RPIO222 I/O racks.

Hosting a wide range of productions including live concerts and corporate events, the 5,000-capacity Megastar Arena demanded a mixing solution that would deliver world-class audio quality, ease of operation, reliability and flexibility.

“We were looking for a mixing system that could handle the diverse demands of our venue,” explained Megastar Arena founder and chairman, Dr Paul Wong. “Yamaha’s Rivage PM5 not only offers exceptional sonic performance, but it also provides the flexibility and scalability needed for our productions. With its flagship sound engine, intuitive workflow and advanced networking capabilities, the PM5 system was the ideal choice.

Onboard Rupert Neve Designs Silk

processing and 96kHz audio fidelity further enhance its ability to deliver pristine sound for high-profile events.”

Technical director and sound engineer Anthony Chow started digital mixing on a Yamaha O1R control surface in 1996 before progressing to an M7CL. “Having invested in the Yamaha Rivage PM5 console at FOH alongside the Yamaha CL5 deployed at monitor world, we have enhanced our rider appeal,” he said. “The Yamaha Malaysia office provides us with excellent technical service support and hands-on training when we need it. We work with local schools and, by signing up with Yamaha Technology, we have extended that appeal.”

Chow, known as Dr Sound in the industry, is also a trainer. In addition to his interest in audio transmissions and their connection to the human body, he has developed an understanding of digital audio networking. With the insertion of an HY144-SRC Dante card, the venue’s Dante audio network protocol can also unleash the recording capabilities of the Rivage PM5.

by a DTD digital controller. For BGM, a secondary indoor network of 12 Quest MX801 8-inch ceiling speakers is powered by an LEA Professional Connect 702 amplifier. In a garden zone, two weatherresistant Quest MX801 speakers and five Work Pro NGS80 outdoor models extend the café’s ambience.

Zone separation, remote volume control and preset configurations have been added into the Wireless Club’s infrastructure. Hosting six microphone and two line inputs, a Zoom L-8 digital mixer connects to sources including a Pioneer PLX-1000 turntable. DSP management is via a Symetrix Jupiter 8 processor, with parameters including volume and source accessible from the ARC-2e digital wall panel controller or remotely via the Symnet app.

“Owing to tight regulations and access constraints within a limited space, our team had a short time period to conduct the works,” explained Jaidee. “As the deadline approached, the client made design changes which demanded great coordination with the exhibition and space designers. The client expressed satisfaction with the audio clarity within the exhibition area and the hi-fi quality of the café.”

www.fuzion.co.th

www.onebangkok.com

The Mega Star Arena is installed with an extensive NEXO STM line array system powered by NX4X4 amplifiers, with PS15 and Alpha delay speakers. The venue has also been recently fitted with a new grandMA3 lighting console, with Concept

Associates also supplying additional moving heads, including ACME Super Dotline washes for the venue’s extensive Spartan lighting inventory.

www.yamaha.com/2/proaudio

MALAYSIA

The Wireless Club café outputs music over a NEXO speaker system

Adamson ignites VAC

CHINA

The Vision & Colour Music Festival (VAC) returned to Zhuai, backed by an Adamson system deployed and designed by the manufacturer’s local distributor Real Music in partnership with Beijing Global Visual. A significant event on the Chinese electronic music scene, VAC attracts large crowds of up to 80,000 people with its star-studded lineups of international and local electronic music artists.

Taking place at Hengqin Chimelong Bay Hotel in Guandong province, this year’s instalment featured performances from Skrillex, Mellodeath, Armin van Buuren and Gesaffelstein. Adamson systems, powered by Lab Gruppen amplifiers, were deployed across the festival’s three stages.

“The design of the Adamson units makes them highly suitable for this kind of project – the midrange clarity and dynamics are superb and the highs stay beautifully refined even at high SPLs,” noted Zhibing Pan, a renowned FOH engineer who worked as sound designer and systems engineer for VAC.

The VAC Stage setup comprised 20 deep main arrays of 18 E15 line source enclosures over two E12 line

of nine E15 over nine E12, while a further E12 speakers provided front fills. Flown subs were deployed in an L-R configuration comprising 16 E119 per side, supported by 54 E219 subs on the ground. There were also two delay lines, with the first driven by 18 E15 and the second driven by 12 S10 units.

Artists onstage were supported by three separate monitor rigs featuring two S119 under three S10

Amplification across the stages was provided by Lab Gruppen PLM 12K44 and PLM 20K44 units, driven by Lake LM 44 loudspeaker management systems. Mixing was delivered through DiGiCo SD5 and SD10 consoles alongside a Midas M32 and Avid’s S6L desk. “I have been fortunate enough to experience three of the VAC festivals and I am always in awe of the turnout of people and the energy

per side and an additional 16 M15 floor monitors were provided for the artists.

Over at the Bass Lords Stage, the smaller setup featured nine E15 over three E12 in an L-R configuration. Six S10 provided front fill, complemented by 18 E219 subwoofers. Monitoring was courtesy of eight S10, alongside four S119 subs and four M15. The smallest stage at VAC, Future Lord Stage, boasted a main system featuring four S10 stacked over two

of the crowds,” said Adamson’s APAC applications engineer Carlos Sallaberry. “I strongly believe that this energy is transmitted to them by the excellent sound of Adamson systems. Real Music and their partner Beijing Global Visual have done an excellent job at designing the right system for this application and a superb job at deploying it. The system sounded incredible – punchy, full, rich, clear, warm and musical.”

www.adamson.ai

Robe glides for Swan Lake

SINGAPORE

Robe ESPRITE fixtures illuminated a recent production of Swan Lake staged by the Singapore Ballet at Esplanade Theatres by the Bay in Singapore. Local lighting designer Adrian Tan of The Light Project incorporated 32 units into his design, including 16 profiles and Fresnels each.

The fixtures were part of the theatre’s new lighting package it acquired recently, including 28 fixtures, while an additional four units were sourced through Robe’s APAC office in Singapore.

The production marked the third re-light of Swan Lake at the venue, the second time that the Singapore Ballet has been accompanied by the Metropolitan Festival Orchestra and the first time that ESPRITES were used as the main workhorse lighting fixture.

Tan, who has worked at Esplanade many times, noted that noise was often a challenge with previous fixtures, especially with productions such as opera. He cited the quietness of the ESPRITES as a key benefit.

For the ballet production, all ESPRITES were positioned above the stage and the trim height of the fly bars was approximately 10m. Tan said the fixture’s output was “amazing – I never needed to go to full and they worked brilliantly as a top wash”. Due to the staging being very classical, the lighting needed to emulate the tungsten

aesthetic. As a designer, Tan noted his appreciation for the Robe units’ subtlety and texture of the pastel colours. Furthermore, he sought a warm sunlight glow – at around 3,000K – which he said he achieved with the ESPRITES without the need for much colour mixing. For the lake scenes, he arrived at a 5,600K tone with all the right nuance and texturing.

The LD explained that he is “a stickler” for hyper-sensitive linear dimming and elegant refined pastels, cool steels and warm whites.

“Most manufacturers can do a saturated blue or a red but, when it comes to pastels, colour mixing, especially using an LED source, it is a whole new art form,” he noted.

He added that creating the intricate gobo scenes required for this production was

“substantially faster” using the ESPRITES and moving lights than it had been previously, and that he had the additional benefit of being able to repurpose those same fixtures that were instrumental in building the gobo scenes, for something completely different just moments later as the story unfolded.

www.robe.cz

Image courtesy of Bernie Ng

Optimal Audio impresses at Luft – The Air

Situated in the heart of the Andheri West entertainment district in Mumbai, the Luft – The Air bar features an Optimal Audio sound system, installed by Generation AV. Sitting amongst a collection of Bollywood studios and neighbouring the Yash Raj Films studios, the venue attracts a young crowd of Bollywood stars and aspiring actors.

When Luft – The Air changed ownership, the venue began a renovation project which included the installation of new sound systems to impress its patrons. Measuring approximately 5,000m2, with capacity for up to 1,500 people, the bar is split across three distinct zones which can be rented out for separate functions or combined into one space. It plays mostly DJ music, focusing on the techno

with HH Audio amps deployed for the subs. NST Audio’s VMX 88 controls the entire system and all the DJ inputs are routed into the VMX 88.

The entire setup can be intuitively controlled via an iPad or on a touchpanel, enabling staff to combine the three zones or separate them for different functions. Additionally, the NST Audio system features Dante processing and a 16-out option was implemented, enabling future expansion.

According to Govindan, the bar’s DJ, Goku, was one of the big influencers for choosing Optimal Audio. “Goku was very clear that he didn’t want to be messing around with knobs and fiddling around in settings,” said Govindan.

“He liked the fact that, compared to analogue

and house genres, as well as hosts events such as Bollywood nights and a Sundown party.

With the owner specifying “British tonality”, Generation AV set up a demonstration of two British brands, including Optimal Audio, at Mumbai's Gymkhana 91 Bar & Kitchen, which features a newly installed Optimal Audio system.

“The owner loved the tone of Optimal,” noted Prashant Govindan, head of Generation AV India. “Within five seconds of hearing the system, he decided the brand was the right fit for his venue and asked if we could recreate the system for Luft – The Air.”

The venue has been outfitted with a 3-way system featuring 20 Optimal Audio loudspeakers, including two Cuboid 15, four Cuboid 12, 10 Cuboid 10 and two Cuboid 8 loudspeakers for tops. This is complemented by two TNA2800S and four TNA1800S subwoofers from HH Audio for the low end. LEA amplifiers power the tops,

systems, with Optimal Audio everything is already preset.”

Another advantage offered is the LEA and NST Audio systems are completely automated and can be controlled from anywhere, meaning visiting DJs don’t need to know the intricacies of the system and can just “plug and play”.

“I visited the venue on the day it opened and, of course, Luft – The Air’s frequent customers from the Bollywood world go to a lot of parties,” noted Govindan. “While I was there, I spoke to a few people and they said that the system was by far the clearest sounding they had heard in Mumbai. For me that was a validation that the project was a success.”

www.generationav.net

www.hhaudio.com

www.leaprofessional.com

www.optimal-audio.co.uk

The Opera Convention Center recently opened in Hai Phone, featuring an RCF audio system installed by the Italian manufacturer’s local distributor ProAVL. Aiming to establish itself as a premiere venue for internationalclass artistic performances, conventions and large-scale weddings, the facility is committed to excellence in sound and lighting.

The audio system comprises a robust lineup of RCF products, including 38 HDL 6-A compact line array modules. The units have been implemented to provide consistent sound coverage throughout the venue,

The Batavia Water Fountain Show at Pantai Indah Kapuk (PIK) in northwest Jakarta is leveraging a dBTechnologies sound system supplied by PT Gracia Auvindo. The 45-minute sound, light and water show combines LED lighting, powerful line arrays and high-power water fountain jets on the canal dividing the PIK island to recreate the atmosphere of colonial-era Indonesia.

In recent years, new developments Golf Island, Ebony Island and the futuristic waterfront city of PIK 2 have emerged on reclaimed land. At 26,500m2, PIK 2 is one of the largest development projects in the Jakarta metropolitan area.

Following a public tender, PT Gracia Auvindo was awarded the contract to design, supply and install an audio system with a dBTechnologies active, 3-way loudspeaker system and subwoofers at the heart of its design.

Suspended from towers under rain canopies, L-R arrays each combining four DVA T12 with three DVA T8 speakers are supplemented by two ground-stacked DVA S30N dual 18-inch subwoofers per side. Suspended on two towers on the bridge facing the outdoor theatre, two hangs of one

DVA T12 and three T8 modules provide delay.

Following EASE simulations conducted by PT Gracia Auvindo’s project director Ario Muljono, Aurora Net software. “One of the main challenges we faced was to keep the SPLs onsite,” said Muljono. “When there is a wind coming off the canal, it can be problematic. The results are pleasing and the client is happy.”

Completing the setup is a Midas M32 digital console with two onstage Midas DL32 stageboxes, and four Klark Teknik DN9610 AES50 repeaters extending the audio signal to the delay speakers. A PhaseLab DSP 4-in/8-out loudspeaker processor handles digital signal management.

PT Gracia Auvindo has also supplied dBTechnologies speaker systems into East Coast by The Sea, Pantjoran PIK, Central Market, Land’s End, La Riviera, Aloha, Urban Farm, Dragon Points and Orange Grove at PIK and PIK 2.

www.dbtechnologies.com www.graciaauvindo.com

ensuring optimal acoustic experiences for every seat.

Complementing the line arrays are 12 SUB 8008-AS active subwoofers to enhance LF reinforcement and deliver impactful bass for a wide variety of performances, from intimate concerts to dynamic theatrical productions. Stage monitoring is handled by 12 ART 912-A active loudspeakers which also offer additional sound reinforcement, enabling flexible configuration tailored to specific requirements. www.rcf.it

Bekasi City venue stays ahead through investment

INDONESIA

The Gedung Pertemuan Al Muhajirin in Bekasi City, east of Jakarta, has upgraded to an Allen & Heath dLive CS3500 surface, provided by PT Kairos Multi Jaya, to complement its RCF audio system.

The venue was established in 2015 as a performance venue for the 11 schools it represents. Overseeing the management of the educational department, general manager Arif Setiadi realised the multipurpose venue could be utilised for other events beyond school use, highlighting a packed programme of events for the months ahead, with the venue becoming a magnet for wedding and corporate event organisers.

The RCF HDL 20-A line array system installed in 2018 has stood the test of time; however, the original PT Kairos Multi Jaya package included an Allen & Heath T80 console connected to an iDR48 MixRack, which needed upgrading. “An increasing number of performances today demand more input channels,” explained Setiadi. “The brand reliability played a more important role in our decision to stick with Allen & Heath, as the T80 has never let

us down. Ultimately, we decided to take stock of a dLive CS3500 model, which not only incorporates many new features, but provides us with up to 32 input channels.”

Operational engineer Muakhir, who has worked at the venue since 2015, is now enjoying mixing on the new control surface. “It may be a digital interface, but the quality of the preamps is astounding,” he commented. “In addition to audio quality, ease of operation is an important factor for a one-man operator such as me. Having to perform multiple functions during an event, I cannot be tied to the console location. The built-in presets are a great benefit as I can simply switch from speeches to live music from the intuitive touchscreen interface.

“Having provided me with full training of many new features inherent in the new control surface, Kairos Multi Jaya continue to have my back. It is reassuring to know that I can simply message or call them and someone is there to troubleshoot.”

www.allen-heath.com

www.kairosmultijaya.com www.rcf.it

UK brands work harmoniously at Sheng Live Show

installed an EM Acoustics and XTA audio system for the Sheng Live Show centre situated in the Chinese city of Ganzhou. The large multiuse entertainment venue is the second project by the Sheng Live Show brand and presents a wide range of DJ sets and live performances.

The distributor was engaged to provide a complete audio package for the venue, including systems design and support for the local integrator’s team, plus tuning and after-sales support. After assessing Sheng Live’s requirements, ST Audio founder Xian Shengtao recommended an EM Acoustics system featuring eight Halo-A and four Halo-B

units, including six i-C15 and eight EMS-81X and EMS-159 cabinets respectively. Eight EMS-218 and 12 EMS-118 subwoofers enhance the low end.

The system benefits from 10 XTA digital audio network amplifiers, including three DNA100 (four 3,700W into 2.7R) and seven DNA120 (two 6,250W into 2.7R). These are completed by four XTA audio management units, including two DP448 and DP548 each.

“The combination of EM Acoustics loudspeakers and XTA amplification is fantastic,” added Shengtao, who noted that the project has led to another in the city of Zhumadian in Henan Province. “We look

Christie light ups Thiruvalluvar Statue

Thiruvalluvar Statue in Tamil Nadu has been illuminated with a laser light and sound show as part of the statue’s silver jubilee celebrations. Perched on a small island near the coastal town of Kanyakumari, the 41m-high statue was brought to life with six Christie Griffyn 4K35-RGB pure laser projectors, with an M 4K25 RGB screening visuals for audiences watching

Tamil Nadu chief minister M K Stalin, was created by Christie’s partner MSS World and celebrates the teachings of Tamil poet Thiruvalluvar through his literary masterpiece, Thirukkural, with narration in both Tamil and English.

The demanding coastal environment posed significant challenges. Positioned 650m away, the source required marine-grade cables to transmit content across the sea to the projectors mounted on a rocky outcrop near the statue. The long throw distance of 420m further necessitated the use of custom-designed enclosures to protect the projectors and precise calibration to achieve optimal image quality.

forward to building an even deeper and broader partnership in the future and remain committed to working closely with our partner brands to deliver more premium products and enhanced services to our customers throughout China.”

Richard Fleming of XTA concluded: “ST Audio are carrying out great work in China as evidenced by this completed project leading directly to another with the same client. Their experience and customer support aligns perfectly with clients’ real-world needs and their proactive support for their exclusive brands is exceptional.”

www.emacoustics.co.uk

www.xta.co.uk

The illumination drew positive reviews from visitors, who described the experience as “spectacular” and “mesmerising”. Even those watching the show on a large screen powered by the M 4K25 RGB projector were equally impressed.

“The Thiruvalluvar Statue light and sound show exemplifies how modern projection technology can breathe new life into cultural heritage sites,” said Pratik Wadhwa, CEO, MSS World. “This initiative not only enhances the site’s appeal but also underscores the role of technology in making cultural experiences more accessible.”

Rishubh Nayar, sales director for India, Christie, commented: “The Griffyn Series and M 4K RGB Series exemplify excellence in experiential installations and this project highlights their transformative potential.”

www.christiedigital.com

INDIA

Image courtesy of Knownsense Studios

An Allen & Heath dLive CS3500 console now mixes the venue’s packed events programme

Beijing’s 8082 gets creative with Genelec

CHINA

Beijing’s 8082 Audio Studio has elevated its facilities with the addition of Genelec’s 8381A Adaptive Point Source Main Monitors. One of China’s fastestgrowing hubs for immersive audio production, the studio is building a reputation for its work across film, TV and game audio, including notable blockbuster titles.

8082 was founded by audio professionals Jackie Li, Sean Xu and Chocolate Zhu. In 2022, it relocated to a new 1,500m 2 facility which now houses over 100 Genelec monitors across seven recording studios, three mixing studios and 14 production rooms.

“Our goal has always been to create a space where we can completely immerse ourselves in audio,” explained co-founder Zhu. “Whether it’s for games, film or original music, Genelec has allowed us to experience our work with a clarity and precision that opens up new creative possibilities.”

Alongside the opportunities that immersive audio is creating, stereo playback still has a crucial role to play at 8082. The studio’s three founders chose to install a pair of 8381A main monitors in Studio A – transforming what was originally a voiceover booth into a high-performance environment for recording, mixing and production. The 8381A’s wide sweet spot and adaptive technology made it an ideal choice for the 35m 2 space.

According to Li, consistency is key in the facility: “Whether you’re close to or far from the monitors, the 8381A delivers a uniform sound. That’s essential when multiple engineers are working together and making decisions.”

8082 aims to provide a seamless monitoring experience throughout the facility, with immersive workflows being central to its business. From stereo editing to Dolby Atmos mixing, Genelec’s Smart Active Monitors and GLM calibration software have been implemented to deliver the same sonic truth in each space.

Three 8351B coaxial monitors have been integrated for mixing in Studio B, while Studios C through G rely on a mix of 8040B, 8030B, 8330A and 8030A models for editing tasks. 8341A and 8361A monitors are utilised in larger immersive spaces such as Studios X, Y and Z, paired with 7370A and 7382A subwoofers.

Li cited the benefits of the 8381A system during recent work on the animated series Perfect World: “The track Huang 荒 featured both ethereal verses and a thunderous chorus – and the 8381A conveyed every nuance beautifully. It doesn’t just improve sound quality, it enhances our creative vision.”

www.genelec.com

8082’s flagship 9.1.6 Studio Z

Stagetec Asia strengthens Media Prima broadcast infrastructure TT+ Audio powers performances in Huzhou

VME and Stagetec Asia have announced a collaboration with Malaysian integrated media company Media Prima Berhad, which has transitioned to a new broadcast facility at the Balai Berita hub in Bangsar. The partnership, which handled the supply, installation and integration of complete audio systems at Media

feature motorised faders, five 10.1-inch multi-touch displays and an intuitive control interface. “We designed these solutions with high-pressure environments in mind,” said Leong Tong Sing, technical director of Stagetec Asia. “The interface simplifies operations, allowing teams to stay focused on content

since 1984, is recognised for its high-quality news, entertainment and drama programming. Meanwhile, 8TV, established in 2004, is a trusted source for Chinese-language content, with both local and international programmes.

“There are currently two newsrooms in Balai Berita, but the inspiration is to create a single newsroom as a unified space for content gathering and curation, which can be distributed across our platforms,” said Media Prima CTO, Mohamad Rezwan Khalil Azmi. “The transition was challenging and full credit goes to the team. The project was inspired by the concept of ‘serumah’, or one house, bringing multiple platforms under one roof.”

Stagetec Asia integrated DHD.audio SX2 smart IP modular broadcast consoles, which

Local

production services company

PVN Vy Phuong deployed a NEXO STM modular line array system to power sound at Vietnam’s Hype Fest. Taking place at the 30,000-capacity Cần Thơ Stadium, the festival featured headlining sets from top DJs including Tơng Duy Tân, Hieuthuhai, Quang Hùng MasterD, Wean and DJ Wukong.

The objective was to deliver maximum impact for the high-energy audience. Taking this into consideration, PVN chose a setup of left and right hangs of nine M46 Main and B112 Bass modules flown side by side with two M28 down fill boxes and side fill arrays of eight M28 units flown beneath two S118 subs.

A comprehensive training and commissioning process ensured that Media Prima’s production teams could adapt smoothly to the new technology.

An AVT TH2plus V2 IP Telephone Hybrid system has been integrated to facilitate real-time communication between field reporters and newsroom anchors. Supporting POTS and VoIP connections, this dual hybrid model includes pre-talk functions, caller conferencing, automatic call acceptance and blacklist capabilities. “The integration of these systems has significantly improved workflow efficiency and our teams are now better equipped for seamless coordination across departments,” Azmi commented.

www.stagetecasia.com

A TT+ Audio sound system was deployed for the AI Love Letter Nostalgia Concert held at the Huzhou Olympic Sports Center. Approximately 30,000 adoring fans flocked to the show to see performances by acclaimed artists such as Hacken Lee, Valen Hsu, Kenji Wu and Jane Zhang.

The audio system was provided by CDSTAGE, with Benkuo Liu serving as the lead PA sound engineer, supported closely by Lucio Boiardi Serri and Rong Zhao Yong from TT+ Audio. The aim for the design was to ensure that every musical noted reached each seat of the 40,000-capacity stadium with pristine clarity. Taking this objective into consideration, the final audio setup comprised 21 main arrays of GTX 12 modules per side to deliver sound across the central audience area. Coverage to the peripheral seats was taken care of by side arrays with 18 GTX 12 modules per side. To cover the low-end frequencies, 36 ground-stacked GTS 29 subwoofers were implemented, complemented by eight flown GTS 29 subs per side for maximum bass impact.

Eight stacks of three GTX 10 modules catered to front-row attendees, providing an enhanced listening experience up close.

Delay reinforcement was handled by two RCF custom delay systems, the first with 16 HL 50 modules per side and the second with six HL 50 modules per side.

For stage monitoring, three GTX 10 modules were implemented as side fills, stacked on a GTS 29 subwoofer per side. The entire system was managed by 15 TTR 16K racks. Furthermore, a DiGiCo SD5 console was deployed at FOH for mixing, backed up by an Avid S6L, while another SD5 handled onstage monitor mixes.

“The GTX system performed exceptionally, confirming once again its extraordinary capability to deliver consistent, high-quality audio in large venues,” said Boiardi Serri. “We’re proud of the flawless execution and teamwork involved. Moreover, introducing the system to some of China’s leading audio experts garnered remarkable acclaim. GTX is truly making its mark in the market.”

Zhao Yong added: “This concert set a new benchmark for audio performance at the Huzhou Olympic Sports Center. The synergy between artists, engineers and technology was truly inspiring.”

www.ttaudio.com

To ensure that the music was felt as much as it was heard, PVN deployed a row of S118 subs, which it refers to as its “bass monsters”, across the front of the stage. Amplification and processing for the entire system were handled from racks of NEXO’s NXAMP Powered TD Controllers.

PVN is highly regarded by event organisers in Vietnam, bringing over 10 years of experience in providing sound and lighting systems as well as AV solutions for professional events and projects.

www.nexo-sa.com www.pvnvyphuong.com

Superior clarity with extraordinary scalability.

GTX delivers consistent performance to the most demanding events with power and precision. Engineered for touring professionals and world-class Artists.

Taiden elevates the meeting room

Xtep Group, a major Chinese sportswear company based in Fujian, has partnered with Taiden to create an advanced smart meeting space that is both adaptable and future-ready.

The project includes the integration of Taiden’s digital infrared wireless conference system with its paperless multimedia congress system, designed to provide an intuitive experience tailored to diverse meeting formats.

The meeting room has been equipped with HCS-5391 series digital infrared wireless conference units to provide secure and interference-free communication. Each microphone base features a columnar design and an OLED display showing channel and language names, alongside buttons designed to be userfriendly for participants.

The system leverages the manufacturer’s infrared transmission technology, designed to

enable high-quality audio and low distortion, resistance to eavesdropping and freedom from radio frequency interference.

Taiden’s HCS-8679 series retractable paperless multimedia congress terminal has been installed to elevate the room into a digital workspace. Each terminal is equipped with a 15.6-inch 2K full HD touchscreen, covered with matte glass to enhance the reading experience. A customised logo on the back of each screen reinforces Xtep’s brand identity, while a side-mounted 1.3-inch touch panel allows users to adjust settings such as language and screen control. When the meeting is over, the display retracts into the table surface.

This paperless system supports a range of functions that cover the entire meeting lifecycle. From pre-meeting preparations to in-session collaboration and post-meeting documentation, participants can sign in, browse agendas and

documents, cast votes, share desktops and view multimedia content – all directly from their terminals.

In addition, the manufacturer has provided a suite of modular software features, including microphone control, voting management, file and video services. The system supports multiple communication protocols and integrates with third-party platforms such as OA systems.

A sonic mix of DAS for Aurora

Attracting over 150,000 people at Clark Global City, Pampanga, Aurora Music Festival featured headline artists such as BINI and Rico Blanco, cementing its status as one of the biggest music events in the Philippines. MixSonic, a professional audio integration company, designed a solution for the event leveraging over 200 DAS Audio sound systems.

The project was made possible through collaboration with six local rental companies that use the manufacturer’s equipment. Main coverage was courtesy of 24 LARA-100 in an L-R setup, complemented by 16 LARA-SUBs for out fill, with 20 SARA-100 and eight SARA-SUBs implemented for a well-defined sub-bass foundation. Sixteen EVENT-210A units provided front fill and covered the front rows, while six delay towers equipped with 72 EVENT-212A and 36 EVENT-218A units in an end-fire configuration

K-pop girl group 2NE1 took to the stage at Kuala Lumpur’s National Hockey Stadium for a sold-out concert, backed by INFiLED outdoor LED displays. Debuting back in 2009, 2NE1 are considered one of the original K-pop girl groups and, following a six-year hiatus, commemorated their 15th anniversary with their Welcome Back Tour which featured 27 shows across Asia.

For the Malaysian show, INFiLED collaborated with its partner, event production company DC Zon Entertainment, which designed a visual spectacle to match the group’s iconic status. In addition, the group members had been highly involved in every creative aspect of the concert, including the stage design, setlist, choreography and costuming.

The brief was to create an emotionally laden, captivating visual experience between the artist and each audience member. This faced two big challenges, such as the size of the stadium which has a capacity for 16,000 spectators and, therefore, the visual

design needed to ensure each member of the audience could be fully immersed in the performance. Secondly, meaningful design elements relating to the theme of the tour were a significant factor for the show, with colour vibrancy of the LED screens being essential for visual appeal.

Taking these into consideration, the team selected and modified six screens from INFiLED’s AP series, chosen for their fast-installation, curve flexibility and visual capabilities. Each display featured a pixel pitch of 3.9mm and measured 295m2. One display was positioned on either side of the stage, each with an area of 98m2, while four curved screens were placed above the stage, two measuring 19.5m2 and two at 30m2. The team adjusted the curve of the suspended LED screens using one of the nine distinct angles (–10° to +10°) to deepen the immersive experience for the fans. INFiLED said that visuals were further enhanced by the screen’s brightness capabilities which reach up to 5,000 nits,

“This project reflects our focus on delivering practical innovation,” said Shuya Zhang, business manager at Taiden. “We tailored the system to support both structured agendas and dynamic discussions, allowing Xtep to run meetings that are as agile as their business.”

www.taiden.com

maintained sonic coherence all the way to the farthest areas. For stage monitoring, 18 ARA-M210A units were supplied for the artists, complemented by four EVENT-118A and eight EVENT-28A units as side fill.

“The integration of DAS Audio’s flagship systems allowed us to deliver a top-level sound experience, with clear and powerful coverage throughout the venue,” explained Milo Cavarlez, CEO, MixSonic. “The LARA system was precise and powerful, while the LARA-SUB and SARA-SUB subwoofers made a big difference.”

Germán Rodríguez, technical support manager, DAS Audio in APAC, added: “This was our first time working at the Aurora Music Festival and the result was spectacular. MixSonic did an impeccable job from design to execution.”

www.dasaudio.com

making the AP series ideal for the outdoor setting of the stadium, where reliable visibility in changing light conditions is challenging. Furthermore, with a refresh rate of 7,680Hz, paired with a contrast ratio of

10,000:1, the visuals were vibrant, ensuring fans could see and enjoy the intricate details of 2NE1’s performance.

www.infiled.com

Jhansi Fort comes alive with EV and Dynacord

An immersive sound and light show leveraging Electro-Voice and Dynacord equipment is helping to tell the story of Jhansi Fort in northern India. The storied history of the 17th-century fortress in Jhansi Smart City is being celebrated through a projection mapping which leverages the fort itself as a canvas for the visuals, complemented by a surround sound system.

Jhansi Fort saw heavy fighting during the Indian Mutiny of 1857–1858. To highlight this while educating visitors, the 30-minute sound and light show depicts the life and death of Lakshmi Bai, the 22-year-old rani (queen) of Jhansi, who died fighting the British East India Company during the rebellion.

For the project, systems integrator Pan Intellecom created a 270°, 83m-wide projection mapping canvas on the walls of the hilltop fort. The visuals are enhanced with a 5.1 audio solution from Electro-Voice and Dynacord featuring 12 Electro-Voice Sx600 2-way loudspeakers supported by four EVF-2151D dual 15-inch front-loaded subwoofers. Eight Dynacord L3600FD 2x1,800W DSP amplifiers provide power for the system.

“The high output solution perfectly complements the stunning visuals to

help tell the story of Lakshmi Bai and has become a spectacularly successful endeavour for the city,” said Sankalp Srivastava, AGM of projects for Pan Intellecom.

According to the team, the main challenge for the project was the short turnaround time to deliver the solution. To ensure the production would be ready to show India’s prime minister Narendra Modi, who was visiting Jhansi Smart City, the initial project timeline was shortened by two months. To combat this, the Pan Intellecom team worked day and night alongside other contractors to ensure the new deadline was hit.

“We were able to design a world-class audio experience with a range of products from the Electro-Voice and Dynacord family,” added Srivastava. “It acts as a beacon of knowledge, informing people and tourists about the historical significance of the queen’s valour and her participation in the revolt of 1857. Additionally, it serves as a strong tourist spot, enhancing the local economy and promoting a strong sense of pride in and kinship with Jhansi’s cultural history.”

www.dynacord.com www.electrovoice.com

Favorite Music Radio upgrades with AEQ

PHILIPPINES

The Favorite Music Radio group is a radio conglomerate with a presence in all major cities across the country and whose success is based on dynamic programming that combines live entertainment with a careful selection of national and international music. Favorite Music Radio Cebu, which transmits on 93.1 FM, has carried out a complete renovation of its main broadcast studio as part of its commitment to innovation and continuous improvement. The station has selected AEQ digital technology, in particular a compact Capitol IP, which acts as the core of the system. All signals generated in the studio pass through this mixing console to provide a smooth, accurate and high-quality operation.

The Capitol IP is a fixed configuration digital audio mixing console, equipped with eight faders and advanced IP connectivity, based

on a single module that offers 16 input and 16 output channels. It’s popular among regional broadcasters worldwide thanks to its advanced digital technology with IP functions, making it ideally suited for continuous work studios, even in remote locations.

www.aeq.eu

The next generation of Hog is here! The Hog family brings a robust set of road tested features featuring RGB-backlit keys and 10 RGB-backlit motorized faders on the Hog platform programmers know and love. Boasting portability, adaptability, and cutting-edge technology, the Hog family is the perfect fit for any production environment.

Expo pavilions

Brompton Technology’s Tessera LED processors are being used to power AOTO and INFiLED LED screens across multiple key pavilions at Expo 2025 Osaka, which opened in Yumeshima, Osaka Bay in April. With a focus on “Designing Future Society for Our Lives”, the 184day event showcases a compelling vision of the future, forged through technological innovation, cultural exchange and global partnership.

“The technical requirements for an event of this magnitude demand the highest standards of visual processing,” said Sebastian Kanabar, head of APAC sales, Brompton Technology. “Our Tessera platform was selected for its ability to deliver not just exceptional image quality, but also for the robust reliability required for continuous operation throughout the exposition’s six-month duration.”

With over 150 countries and regions participating in the expo, the manufacturer’s SX40 processors and XD data distribution units, configured specifically for optimal performance in each pavilion environment, were deployed at the Japan Pavilion, Indonesia Pavilion and Immersive Entertainment Zone.

Located adjacent to The Grand Ring, the Japan Pavilion represents a collaborative design achievement between Tokyo-based architectural firm Nikken Sekkei and acclaimed designer Oki Sato, founder of Nendo. The pavilion features exhibition spaces thoughtfully integrated between wooden formations.

The Indonesia Pavilion, regarded as one of the most technologically sophisticated presentations at the World Expo, also utilises Brompton Technology processors to power INFiLED displays.

Beyond the pavilions, Brompton also played a crucial role in the expo’s opening ceremony, with a single SX40 processor managing AOTO RM2.3 LED panels across 112 individual units.

“The opening ceremony required absolute precision in visual delivery,” noted Kanabar.

“The SX40’s frame-accurate synchronisation capabilities and low-latency processing ensured that every moment of this historic event was presented with perfect timing and uncompromised quality.”

www.bromptontech.com

Barco plays a key role in Osaka

Barco technology is playing a key role across multiple pavilions at the expo, which in 2025 features diverse zones, including waterthemed relaxing areas and spacious outdoor event plazas and is expected to attract over 28 million visitors.

The manufacturer was selected to be part of the consortium of creative and technological companies to support the Belgian Pavilion’s narrative of “Human Regeneration”. Barco co-created the visual experience for the Belgian Pavilion focusing on the sub-theme “Saving Lives”, aligning with the expo’s main concept.

The company has provided 24 I600 and three UDX projectors for the pavilion as well as two ClickShare units. Furthermore, during the Health and Well-being theme week, the Healthcare team provided a unique demonstration of its latest creation in autostereoscopic 3D display technology for medical use cases.

Several international pavilions also leverage Barco products: the Algeria Pavilion features four G50 units, the Taiwan Trade Center utilises 11 F80 and four UDM projectors, the Tunisia Pavilion incorporates 24 G62 projectors and the India Industry Group has three UDM devices. The G62 projectors will also be used at one of the event’s pop-up stages. In addition to providing projection technology, Barco will have a dedicated technical team onsite to support the pavilions with a servicing offering, providing immediate response and quick resolutions to any technical issues. “It’s a privilege for Barco to play a pivotal role in the World Expo 2025,” said An Steegen, Barco CEO. “We take immense pride in representing Belgium on this global stage and are excited to make a significant impact at this prestigious event.”

www.barco.com

ON brings Portuguese pride to Japan

ON, an international provider of audiovisual solutions, managed the full AV integration and daily operation of Osaka’s Portugal Pavilion. Designed by architect Kengo Kuma, the exhibition explores “The Ocean: The Blue Dialogue” through immersive storytelling and large-scale projections and has welcomed over 500,000 visitors so far. Rimond SRL, the general contractor, tasked ON with the complete AVL infrastructure for the pavilion, covering equipment acquisition, systems design, installation, integration and daily operation. This included projection systems for walls, floors and a custom minidome, along with lighting, multichannel sound, LED installations, touchscreen displays and centralised control automation. Given the pavilion’s reliance on audiovisual content, systems integration and reliability were important. An eight-person ON team worked in Osaka, collaborating with local Japanese and Portuguese partners to meet deadlines. MUSE – Museums & Expos led the exhibition design.

The experience begins in the waiting area with a multichannel soundscape by composer

“islands”, each interpreted through light, projection, image and sound. A notable feature is the Minidome, which uses a custom fisheye lens and a single Epson EB-L730U projector for clear, uniform projection of navigational maps. Other islands include interactive multi-touchscreen displays,

exploring linguistic parallels between the Portuguese and Japanese languages. Five Optoma ZK708T 4K DLP laser projectors provide ambient visuals, integrated with an LED ribbon and Audac surround sound. The journey continues into room two, the pavilion’s immersive space. Here,

16 Barco G62-W9 laser projectors and a Watchout 3D-modelled content engine create an animated underwater landscape across curved walls and the floor, with surround sound and kinetic lighting, offering a contemplative experience about sustainability.

Beyond the exhibition, ON also equipped the restaurant, terrace, shop and multipurpose room with ambient audio and versatile AV setups for various events, including concerts and diplomatic receptions. This included dual Barco projectors, Shure microphone systems, livestreaming and a simultaneous interpretation infrastructure. All equipment was acquired new in Portugal and shipped to Japan, customised to meet both Portuguese and Japanese technical standards. Sustainability was a key design principle, with energy-efficient LED lighting and laser-based projection systems, along with modular mounts and Japanese recycling protocols.

www.onprojecoes.com

Give the pe ple what they want

Follow the crowd here

The NEW Quantum326 Pulse incorporates all of the new design features introduced with the Quantum338, and of course uses three large-scale seventh generation FPGAs to continue the unrivaled Quantum legacy. The console merges tried and tested workflows with immense processing muscle, bold innovation and all of the Quantum features, giving you the ultimate tool set that is

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Argo Visual waves the flag for Indonesia

INDONESIA

Jakarta-based AV company Argo Visual has provided an extensive remit of technology for the Indonesia Pavilion. In keeping with the expo’s main theme, the creative vision for the pavilion was based on looking at the potential future of Indonesia as though it is a hidden gem, taking visitors on a rich cultural journey of the region

geography and culture. The units are also incorporated to power visuals of the city plan for Indonesia’s New Capital City named Nusantara. d&b loudspeakers are used in both spaces, with E6 cabinets and E27S subwoofers for the new capital showcase and E8 loudspeakers and E27S subs for the immersive room.

Accessible audio with Ampetronic

JAPAN

Ampetronic is offering ListenWIFI, the audio-over-Wi-Fi-based assistive listening solution from Listen Technologies, to optimise the audio experience at the UK Pavilion, where guests are invited to participate in an immersive and interactive exhibit that features a 20-minute heartfelt story of a Japanese father and daughter and their experiences of the UK. The ListenWIFI app can be downloaded by visitors for free on their smartphones, where they can stream audio accompanying the displays in either Japanese or English. Visitors with Bluetooth-enabled hearing aids and

Lawo

composes the future

via Lawo HOME. This IP infrastructure management platform provides direct access to all networked resources.

For the orchestral recording, the first piano part was played on a Bösendorfer Enspire grand piano and then both its MIDI data and audio signals were recorded. Following this, the audio tracks were played back to the conductor and the ensemble as a headphone guide – allowing the orchestra to perform in sync with the piano. A__stage interfaces were used to record the various instruments and sections with a 7.1 microphone array and additional spot mics and the recording was mixed on the mc²56.

cochlear implants can stream the audio from their smartphones.

Ampetronic is offering hearing loop technology at reception and information desks and in the pavilion shop. Auri, an Auracast broadcast audio-based assistive listening system, is also being showcased in the exhibition meeting rooms and conference spaces. Ed Beck, international BDM, Ampetronic, said: “We hope everyone will be inspired by their experience to request and utilise assistive listening systems whenever they visit a public venue.”

reliably throughout the duration of the expo, while a media server controls both the MIDI www.lawo.com

The expo recordings at Max Schlereth Hall

Image courtesy of Christian Schneider at Universität Mozarteum

All that glitters

The Thai outpost of luxury fashion brand Dior now has an audio system worthy of its distinctive exterior, as Richard Lawn discovers on a visit to Bangkok

CREATING A STRONG IDENTITY AS ONE OF THAILAND’S leading AV distributors and systems integrators does not come overnight. Over a 42-year span, Vichai Trading (1983) has merited its position as a preferred supplier and turnkey solutions provider. The Bangkok-based company was recently commissioned to apply a Midas touch to the unique golden landmark that is the Dior Gold House, supplying an audio system to enhance the venue’s ambience while escaping detection by the naked eye.

Surrounded by verdant foliage in a neighbourhood of upmarket apartments, boutiques, 5-star hotels and embassies, the Dior Gold House distinguishes itself as an unprecedented concept store. The 1,000m2 property evolves with the seasons as a stopover on the “Dior Around the World” odyssey and highlights the strong ties between Dior, France and Thailand.

Led by project manager Patiyuth Trongsatith, the Vichai Trading team conducted simulations in EASE 4.4, with modelling based on Sonance’s Professional Series (PS) and Invisible Series (IS) ceiling speakers. With an average audio consistency of 98–100dB, the Sonance solution suited the client’s request for an invisible audio system and was approved by the architect, V2 Design Studios, with an acoustic design by Acousme.

baffle, air flex woofer and wave flex drive unit constitute Sonance’s Motion Flex Technology which is a key component of the IS range. A second peripheral expander connects to a QSC MP-A40V amplifier powering 22 Sonance LS6T landscape satellite speakers in four outdoor zones including Café Jardin, the car park and the walkways. To increase power, a third peripheral is connected by Belden speaker cable to a QSC ISA500Ti amplifier supplying the two Sonance LS12T landscape subwoofers in the outdoor Café Jardin zone. A final output connects a Lab Gruppen CA1202 amplifier supplying a Sonance Omni-6T omnidirectional speaker in the rest room.

The project commenced in September 2024 for completion in time for the Christmas rush. Digital audio signal routers in AV racks in the main building and an adjacent service property are routed via a Q-SYS Q-LAN network. Room processing, including EQ, delays and crossovers, is managed by the Q-SYS processor.

Audio signals are transmitted via a Netgear smart switch on fibre optic cabling from the service building to another Netgear switch in the Dior Gold House. To support the topology required, the addition of three Q-SYS QIO network expansion peripherals proved the most cost-effective way to scale up the network I/O. The outputs from the main Q-SYS processor are transmitted to three network peripherals that in turn are dedicated to unique loudspeaker zones.

The two QIO-L4o expanders output to eight channels of a QSC MP-A40V amplifier which powers the level one showcase pop-up and central atrium. Here, Sonance PS and IS speakers supply their invisible audio touch. Designed for ease of installation in addition to minimising visual distraction and reducing shadow lines, the PS ceiling speakers feature a magnetic retention and a bezel-less grille. With the addition of a paintable grille adapter, the models blend seamlessly into the ceiling décor, while sealed enclosures incorporating cabling and conduit clamping ensure invisibility on the Dior ceilings.

Two other amplifier channels serve the leather showroom and women’s accessories showcases, with a total of 12 IS6T invisible in-wall speakers providing evenly distributed musical ambience. With a 170° hemispherical dispersion up to 10kHz, the IS6T loudspeakers function fully beneath 3mm of building plaster.

“The speakers were fixed into the wall and ceiling recesses before the building contractor sealed the enclosures with a final coat of plaster,” explains Trongsatith. An acoustically isolated

Ease-of-use audio control was paramount in the design. This is provided by two types of touchscreen panel: an Apple iPad and a Q-SYS TSC-70 7-inch wall-mounted PoE (Power over Ethernet) touchscreen controller. Like the three Q-SYS QIO-L4o output peripherals, a single Q-SYS CX-Q 2K4 amplifier is connected by Cat6 cabling from the Netgear PoE smart switch to enhance the listening experience. This Q-SYS amplifier supplies power with low impedance directly to four Sonance IS8T 2-way speakers and two IS15W subwoofers in the Café Jardin area.

Reporting directly to Dior, the Vichai Trading (1983) team was able to fully commission the project before the required deadline. “Given the high-profile brand name and the tight deadline we were given, added pressure was placed on the team,” reflects Trongsatith. “Not only is this entire speaker system hidden from view but we have also managed to create a consistent dispersion of BGM throughout the venue, including the outdoor gardens.” With a fully concealed BGM system now enhancing the ambience for Dior’s well-heeled customers, it’s not only the latest fashions and architecture of the Gold House that’s creating an exclusive shopping experience.

www.qsc.com

www.sonance.com

www.vichai.group

L–R: Vichai Trading (1983)’s project manager Patiyuth Trongsatith and Napat Naroensilip

Sonance IS6T in-wall speakers provide even coverage in the women’s accessories showcase behind 3mm of plaster

Everyone in view, all the time

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Part of the furniture

Caroline Moss visits Itoki, a Japanese corporate furniture designer and manufacturer teaming up with leading AV brands on workplaces of the future

GOOD TECHNOLOGY, LIKE GOOD AESTHETIC DESIGN, often works best when it’s in the background, functional and stylish yet unobtrusive. Itoki Corporation, a Japanese commercial furniture and solutions specialist founded 130 years ago, understands this very well. By collaborating with leading AV manufacturers including Crestron and Shure, Itoki is offering solutions that go far beyond the ergonomic swivel chair and executive desk.

The fruits of these partnerships can be seen at the Itoki headquarters in central Tokyo, recently renamed Itoki Design House, where three floors have been renovated and equipped with smart technology and furniture designed to integrate into it, creating sleek, open workspaces that encourage communication and collaboration. This not only provides a space for corporate, sales and spatial design departments to work together harmoniously but also functions as a showroom to inspire and educate visitors about the possibilities of smart workplaces. Itoki is certainly putting into practice what it terms the “next-generation work style”, integrating environments that maximise worker activity with a spatial quality that maintains mental and physical health. Established in 1890 as Itoki Shoten, the corporation has always strived to anticipate and support working styles of the future in offices, public and educational facilities, healthcare and welfare institutions and personal spaces. A new development is Data Trekking, an office data analysis service which creates and operates data-driven workspaces, combining data from employee surveys about the operational status and performance of offices. By utilising ICT (information and communication technology) in its products, Itoki has become a solutions provider that can develop smart offices and automated innovative rooms.

Around 1,000 people are employed at Itoki Design House in the corporate, sales and spatial design departments, with an average of 30% of employees present in the office.

“Signature Experience is the key concept here,” explains Junji Hayashi, executive director of sales – Japan at Crestron, which has been an Itoki partner for several decades, creating technology that can be integrated with its commercial furniture. “They are promoting an environment for

displays, and has been designed to enhance parity for all meeting participants, whether remote or in-person.

those who require a more flexible and comfortable way of working that can only be done in the office. After Covid, companies may be struggling to balance the amount of people who come to the office or work remotely, so they are monitoring which kinds of spaces are popular and those that aren’t being utilised, providing different kinds of spaces, with an emphasis on high-quality interiors and flexibility of use.”

Workspaces have motivational names such as Inspire, Inform, Create and Decision. They range from cubicles with low partitions allowing occupants to see what is going on around them and small “office-within-an-office” booths that can be dismantled and assembled again where required, to larger spaces including a design studio and an area on the 12th floor where staff can gather to watch presentations and meetings going on elsewhere on a 217-inch LED screen. All systems have been designed, integrated and networked by an in-house AV team of six people.

Itoki Design House marks the first time that Crestron Sightline Experience technology has been deployed in Japan. Working with the Microsoft Team or Zoom Rooms platforms, this combines intelligent video with multi-camera speaker tracking and in-room

“Crestron used to be considered a company that delivered control systems, but now we can provide complete end-to-end solutions for any type of space to make the room smarter and to enhance people’s collaboration with our AVoIP, intelligent cameras and videoconferencing solutions,” continues Hayashi. “Crestron can provide many solutions as well as agility, and one of the key focuses here was to create multipurpose rooms with this technology. We have deployed massive AVoIP lots of solutions in this quote into this showroom in a partnership with Netgear as well. Using its switches and our most reliable AVoIP solution with DM-NVX networking technology, Itoki’s working showrooms can easily connect and broadcast between rooms across the floors, which they have never done before.”

Itoki was looking to facilitate hybrid conferencing in the most recent phase of the upgrade in late 2024, which added two luxurious new spaces: the Decision Room and the Stadium Room. Both have adopted new layout designs to create an environment where in-person and online participants can come together and communicate productively. This has addressed issues that are common in conventional conference rooms hosting face-to-face and remote participants, such as a difficulty in hearing the live audio when joining remotely, visually interpreting the reactions of participants and an unequal participation in discussions. A particular requirement was for a camera tracking system that could convey the facial expressions of the speaker, along with a microphone to clearly and accurately capture voices without disturbing the discussion. The entire system needed to be simple and unobtrusive, removing any need for participants to think about it.

“Voice is the best way to convey your thoughts to another person,” says Shiino Yoshigo, head of the system design office, sales headquarters, Itoki. “It is important to clarify who is speaking

Crestron’s Junji Hayashi (second left) with Itoki’s in-house AV team

Crestron’s 1 Beyond cameras automatically track or frame meeting participants and presenters

Shiino Yoshigo, head of Itoki’s system design office

The Stadium Room is a smaller, well-appointed presentation space

and to convey their feelings correctly. To do this, the microphone and camera need to work smoothly together to convey the speaker’s facial expressions and emotions to remote participants. For that reason, in both rooms we paid special attention to the microphone’s sound pickup performance and the ability to link with the camera tracking system.”

A solution comprising Shure’s MXA920 ceiling array microphone combined with the IntelliMix P300 audio processor was selected for both rooms to accurately pinpoint the speaker’s position and deliver clear audio with reduced echo and noise to remote locations. Equipped with advanced microphone array technology, the MXA920 is designed to capture the speaker’s position in three dimensions and transmit that information to the Crestron Automate VX camera tracking system and 1 Beyond cameras.

The Decision Room executive boardroom has two rows of horseshoe-shaped seating at different heights, allowing face-to-face participants to make eye contact naturally and encouraging equal participation. This has been installed with the largest amount of Crestron equipment in the building, including six 1 Beyond P12 cameras and one 1 Beyond i12 intelligent PTZ camera which use visual AI to automatically track or frame meeting participants and

presenters. The multi-camera system is controlled by a Crestron Automate VX voice-activated camera switching solution. The Shure MXA920 and IntelliMix P300 audio processor work in conjunction with the camera to capture the speaker by producing audio-positional information in 3D, creating a camera tracking system that can reliably convey the speaker’s face, allowing natural conversation and allowing remote participants to actively join in.

Meeting participants can display content from their own devices via Crestron’s AirMedia wireless conferencing technology, simply connecting to a USB-C adapter without the need to install driver software. Microsoft Teams Rooms enables meetings to be shared to remote areas such as the Stadium Room and the 217-inch LED screen on the 12th floor as well as to different branch offices. The Decision Room can also be used for private discussions.

The Stadium Room is a smaller, equally well-appointed presentation space where up to 16 people can gather, designed to allow participants to concentrate on the meeting or lecture. This is installed with two more 1 Beyond i12 intelligent PTZ cameras to track whoever is speaking: one for the presenter and another for

the audience. Again, wireless conferencing is handled by Crestron AirMedia presentation technology complete with a touchpanel so presenters and participants can easily share content and control the system. As in the Decision Room, audio is captured via Shure’s MXA920 ceiling array microphone combined with the IntelliMix P300 audio processor. Six Crestron Saros ceiling speakers have been painted to integrate seamlessly into the room.

A month after the refurbished building opened, the Itoki Corporation announced its highest-ever employee engagement score: 82.5%. This gauges factors such as staff pride in the company, job satisfaction and confidence in the future, as well as fiscal performance. From a visitor’s perspective, Itoki Design House exemplifies many of Japan’s great traditions: a blend of the futuristic and traditional, a minimal, stylish design, cutting-edge technology and great respect for the people who work hard to ensure a bright, productive future.

www.crestron.com www.itoki.jp www.shure.com

Participants can display content via Crestron’s AirMedia wireless conferencing technology

The Decision Room has two rows of horseshoe-shaped seating at different heights

Universal appeal

Richard Lawn visits Rangsit University’s leading Thai music school, where the main venue has been upgraded with an Adamson loudspeaker system

LOCATED IN THE NORTHERN OUTSKIRTS OF BANGKOK, the Suryadhep Music Sala is known for its superb architectural design and top-tier facilities. With internationally renowned features including a spacious stage with a lift, an orchestra pit for up to 100 musicians and adjustable acoustical walls, it’s hard to believe that the 1,100-seat venue belongs to the third music school in Thailand at Rangsit University. Focusing solely on Western music, including classical, contemporary and popular formats, the university has extended its live music credentials following a significant audio upgrade of the venue executed by professional AV distribution company, Sonos Libra.

The walls of the Music Sala are composed of motorised rotating triangular pillars, with the three faces offering the choice of full absorption, pure reflection and mixed acoustics. Depending on the performance, stored presets carry out touch-of-a-button room reverberation adjustments. “The room’s variable acoustic panels can change it from opera to theatre, for example,” explains Sonos Libra chief, Alfonso Martín. “Orchestral performances benefit from full diffusion and reflection whereby the reverberation time can be increased up to 2.5s. A theatre performance can have a mix of absorption and diffusion, where the reverberation time goes down to around 1.2s.”

Originally installed in 2015 at the time of the Suryadhep Music Sala’s inception, the original loudspeaker system had been malfunctioning for some time and could no longer be relied upon. The open tender for a new speaker system coincided with the university’s desire to enhance the commercial appeal of the multipurpose venue beyond internal performances by hosting concerts and weddings. Compared to repairing the existing system, Martín was confident a new loudspeaker system would be more cost-effective.

“Several companies tendered and demonstrated their systems,” he recalls. “The university committee made an informed decision based on a variety of factors, including technical requirements that would have to fulfil a budget, after-sales service and support. With an emphasis placed on even coverage rather than SPL

power, we adopted a line array solution for our simulations. With the proscenium and the stage being quite high, we couldn’t install longer arrays owing to budgetary constraints, so we had to curve each module quite a lot to hit the lower seats.”

Based on the approved budget, Sonos Libra prepared two loudspeaker designs. From the outset, Martín favoured the compact Adamson IS7 submission. “Our basic aim was to match the acoustics of the venue, so we modelled everything through Blueprint initially, followed by EASE to achieve our usual target of ±3dB. It is very rare to find a venue with such good acoustics, where the designer is presented with fewer problems that can arise from reflections and reverberations. With the IS7, the results were more granular, partly because the compact cabinet can target different areas.”

Sporting an unobtrusive design to preserve the aesthetics of the venue, Adamson’s IS Series is central to the upgrade. Suspended from the ceiling, L-R arrays comprising nine-per-side IS7 full-range line array modules are complemented by secondary arrays of four-per-side IS118 companion subwoofers. Extending the low frequencies down to 30Hz (±3dB), a further two IS219 subwoofers have been installed discreetly under the stage. The front stalls benefit from eight Adamson PC5 coaxial loudspeakers at the edge of the stage. “Our modelling dictated that front fills would be required in front of the orchestra pit to cover the first front rows of seats,” explains Martín.

Delivering full-range audio to the second balcony, the IS7s provide extra headroom during vocal and orchestral performances. “The system design dictated that the university could host any performance, from speeches and presentations to weddings, concerts and orchestral performances,” he continues. “Capable of reducing the frequency range a further 20Hz down to 60Hz, the fourper-side IS118 subs are suspended in cardioid mode.”

Providing even coverage for the central seats, two IS10p speakers form a centre cluster directly above the stage. “Because we were restricted with the placements for the main left and right arrays, a drop in dBs emerged in the centre seats. This necessitated the

L–R: Alfonso Martín, Sonos Libra; Teerachai Sirilorsakulpe, Suryadhep Music Sala; Neung, Sonos Libra

L-R arrays combine Adamson IS7 and IS118 subwoofers

The Music Sala’s interior aesthetics demanded an unobtrusive audio design

need for a centre cluster to fill the gap, but we were restricted to hanging just two IS10p cabinets above the stage as it shares the same location as the university emblem. However, this fills up a sizeable gap and maintains both the sound and the visual images towards the central seats in the balcony and stalls. With the central cluster adding a mono feed to the existing L-R stereo design, this channel can be dedicated to a lead violin, solo vocal or speech.”

The Adamson system dictated the addition of rigging bars and a hoist system. With the theatre’s aesthetics demanding prime consideration, discretion was key. However, locating optimum rigging points proved to be a challenge. With the cable runs from the mix position and amplifiers to the speakers adding up to 50m, Klotz AIS 6mm2 cable was used. To reduce the cable lengths, an original plan to route separate left and right runs was abandoned in favour of a linked trunking design. To support this, the rigging was customised and additional supports added before the hoists were installed.

Lab Gruppen amplifiers, including D 200:4L, D 120:4L and D 40:4L Class-D models, power the Adamson components. With new cabling installed into the upper mechanical structure and walkways, the venue operators can maintain system management through the amplifiers. “If an error occurs, we can troubleshoot the fault through the Lake processing inherent within the amplification,” says Martín. Scenes and presets have also been included in the mixing console. The commissioning of the system followed the designs laid out during the EASE and Blueprint simulations. “We returned to the 50 random measurement points initially marked out throughout the venue during simulations,” relates Martín. “When comparing the actual results with the initial modelling, we were shocked to learn that our simulations had been surpassed. Whether you sit in the corner of the balcony or in the centre of the stalls, the audio levels are consistent and are no greater than –4dB. It is important to have good acoustics because the performance needs to be natural without having to overload the SPLs.”

Following commissioning, Sonos Libra provided a full training programme for the theatre technicians. In addition to highlighting

basic troubleshooting, Lake control processing within the Lab Gruppen software was explained. “It took some time for the venue’s technicians to familiarise themselves with the Adamson PA, so we shadowed their first few events and assisted when needed,” says Martín. “Essentially, we want them to get the most out of the numerous inherent features. Having added versatility, flexibility and power on budget with an international brand of loudspeaker, the venue can now cater for higher rider events and performances.” Ultimately, the original loudspeaker system was repaired and reinstalled in the university’s black box venue. Following the Suryadhep Music Sala upgrade, performers and vendors alike have noticed a big difference, according to Martín. “Acoustically, this is one of the best sounding auditoriums, with a half-natural, transparent sound,” he says. “The Adamson speaker system and the room acoustics have combined to create a very good marriage.”

www.adamson.ai

music.rsu.ac.th www.sonoslibra.com

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Front fill Adamson PC5 loudspeakers are fixed to the stage lip

The acoustic walls are composed of triangular motorised pillars

Culture meets innovation

A historic auditorium in Kolkata is benefitting from improved coverage thanks to an audio upgrade

systems integration specialist Star Professional Audio. One of the Indian city’s leading cultural institutions, Sangit Kala Mandir is committed to promoting the arts and music by hosting a varied year-round programme of events. Founded by Indian industrialist Basan Kumar Birla, the not-for-profit institution has grown steadily over decades to promote creative freedom and provide a platform for talent and cultural expression. The previously installed system wasn’t providing enough audio clarity or power to cover the venue. It was decided to introduce line array technology into the auditorium to ensure controlled directivity and sufficient powerful output. The tender to supply a new system was won by Star Professional Audio, which worked closely with Alphatec Audio Video to propose a Coda Audio N-Ray line array system. This was chosen for its compact size as the space around the proscenium was very tight, with limited room for installation. The age of the building presented significant hurdles. Decadesold construction meant a lack of readily available architectural

drawings, including internal design specifications. “This absence of crucial data made preplanning and system design extremely challenging,” explains Bhagwat. “Application engineers typically rely on such documentation to determine optimal speaker placement, predict sound impact and model the acoustic environment. Without these resources, the team faced a trialand-error process, physically testing speaker positions and configurations to achieve the desired results.”

All three members of the team provided expertise that was instrumental in navigating the complexities of the project at this historic venue. The Star Professional Audio integration team, headed by Roger Drego, drew on over five decades of experience to counter the challenges that were faced.

Since no structural changes could be made to improve the venue’s acoustics, the team relied on the directivity of the line array system to cover the auditorium. An L-R flown system of eight Coda N-Ray ultra-compact 3-way line array speakers per side has been deployed, with two SCN-F sensor-controlled LFE (Low-Frequency Extension) units per side and two ground-stacked SCP subwoofers providing low-end reinforcement. Three Coda HOPS5 ultra compact 2-way speakers serve as front fills with four more as under-balcony delays and two as balcony fills, to maintain balanced sound coverage across the space.

source is digital with the advantages of high sample rates and superior audio fidelity. However, for enhanced reliability, the system has also been provided with analogue backup in case of digital signal loss.

The system is powered by two Coda Audio Linus14D and two Linus6.4i-D DSP amplifiers. Other equipment provided includes microphones from Audio-Technica’s 3000 series wireless range, ES 933 cardioid condenser hanging microphones and Pro44 unidirectional boundary mics with Klark Teknik DI boxes.

A Symetrix Radius NX 12x8 configurable DSP unit featuring 12 analogue mic/line inputs and eight analogue outputs has been used to further fine-tune the system and manage presets.

A Behringer Wing digital mixer connected to two Behringer S32 stageboxes is the main mixing console for live production audio control. The S32s, which are equipped with remote-controllable mic preamps, convert the analogue signals to onstage AES50 and send them digitally to the Behringer Wing mixer. A setup of Christie DWU1400-GS laser projectors, combined with a cyclorama screen, provides performances with visual enhancements.

The system operates primarily over AoIP, leveraging Dante for signal routing and amplification control. The primary audio

During installation, establishing flying points that combined safety with optimum positioning for audio quality and coverage presented the team with a major challenge, according to Alphatec’s live and installed audio specialist, Dwayne Das. The auditorium’s balcony height also posed a significant architectural constraint. Line array deployment, which typically benefits from greater vertical clearance for optimal beam angle adjustment, was restricted. This limitation made achieving even sound coverage throughout the auditorium, particularly in the rear seats, a complex task. The limited height made fine-tuning the system for optimal clarity and impact difficult and extended the time needed for installation. However, the final result has brought Kolkata’s historic Sangit Kala Mandir into the modern age of sound reinforcement.

www.alphatec.net

www.codaaudio.com

www.rogerdrego.com

Sangit Kala Mandir is one of Kolkata’s leading cultural institutions

delay system

N-RAY

Flexible line array loudspeaker for small to medium-scale venues One

Timed to perfection

More than two decades after reporting on its opening, Richard Lawn revisits the Putrajaya International Convention Centre (PICC) to assess a new AV system that replaces the original

BUILT AT THE TURN OF THE MILLENNIUM, PUTRAJAYA was crowned as the administrative centre of the Federal Government of Malaysia. The country’s first intelligent garden city marked a new chapter of planning which, in turn, raised the bar of entry to all solutions providers wishing to play their role in its creation.

Convention centres are vital for attracting overseas visitors and boosting tourist revenue. Located at the top of the city’s tallest hill, the nine-level PICC is no different. Taking its shape from the eye of the pending perak (silver royal belt buckle), the layout has been designed so that the various areas and rooms are set in a series of radiating circular spaces, with the Head of States, Plenary and Banquet Halls set at the innermost core of this circle. In addition, the 135,000m2 venue integrates two multipurpose halls, 10 conference rooms, seven VVIP rooms, one VVIP lounge, 33 meeting rooms, two public galleries, a restaurant, three prayer rooms and two car parking levels. With a high-capacity, fully digital telecommunications infrastructure, the city’s convention centre warranted an AV system befitting of sultans and international dignitaries. Fulfilling this criterion at the time of its launch in 2002, the Klotz Varizone fully digital public address system has endured

at PICC for over two decades. In contrast to traditional PA systems using analogue 70V or 100V line technology, the fully digital system transmitted audio to the speakers via a network of programmable 2-channel distributed power amplifier modules (PAMs). Driving up to two loudspeakers per channel and integrating DSP including 4-band parametric EQ, each 100mm-diameter PAM could be mounted out of sight in ceilings close to the speakers. The digital bus structure distributing uncompressed digital audio data without any audible latency to an unlimited network of loudspeakers over Cat5 or J-Y cabling was undoubtedly ahead of its years. Long before the advent of Dante and AVoIP networks, Varizone monitored for technical and signal faults throughout the entire system down to component level. Offering integrated control of the matrix from its Vadis mainframe network router, Varizone was possibly the first technology to alert users remotely to faults. The multichannel bus could transmit eight audio channels with 16-bit resolution at 48kHz up to 200m. Fast forward two decades and the BGM, voice evacuation and paging system was in urgent need of renewal.

Head of Smart City Section Putrajaya Corporation and senior principal assistant director, Musabri Shaharom is tasked

with overseeing the phased upgrades. “PICC came online in September 2003, so this AV upgrade was overdue,” he assesses. “Most of the original analogue system was still in operation but had long passed its expected life. Back then, all the rooms were designed for standalone operation, so our main goal was to create a fibre network for transmitting AVoIP signals that can centralise operations.”

Integral to the phase one works was the laying of a fibre cabling network to interconnect all the major venues including the Exhibition, Head of States, Banquet and Plenary Halls. “When a large event such as a university graduation takes place in the Plenary Hall, the audience needs to watch it in the other rooms, including Exhibition Halls A and B,” explains Shaharom. Before the close of 2026, the entire PICC will be renovated, refreshed and upgraded in three phases. The AV upgrade of Exhibition Halls A1, A2, B1 and B2 has been included in this initial phase.

Just like the audio system, the projection and control systems had endured the test of time but urgently required upgrading and a connection to a sitewide AVoIP network. “One of our main design specifications called for ease-of-use operations, especially for the connectivity of the audio and visual systems,”

PICC senior principal assistant director Musabri Shaharom (third from left) with the Mahajak Trio and Turbine Technique teams

extends to the other venues including the Plenary Hall. An Aten video matrix serves as the interface for all the source inputs including PTZ cameras and 4K outputs.

Turbine Technique turned to Puchong-based distributor Mahajak Trio to assist in the design of the Dante networking. Sales manager Ronnie Chee provided acoustic measurements and EASE simulation data that would accurately depict the performance of the proposed solution. “The client demanded ease-of-use features and a healthy ROI whereby the system would remain operational in 10 years’ time,” he explains.

“For the loudspeakers, PICC stipulated a powerful, full-range solution that would provide even dispersion for both speech and music. Remote control can be accessed anywhere in PICC and the Dante signal is transmitted over the Cat6 cabling network to the processor and the control panels. Should the network go down, a backup solution runs on analogue.”

Given the requirement for high power and even dispersion, the previous ceiling speaker solution was discarded in favour of an Electro-Voice X2 line array system. Supplemented by a total of four Electro-Voice X12-128 dual 18-inch portable subwoofers, each divisible exhibition hall now incorporates L-R hangs comprising three X2-212/90 speakers with a single X2-212/120 down fill. The eight X12 modules and four subwoofers are powered by four Dynacord TGX10 and two TGX20 DSP amplifiers, respectively. Combining a 12-inch LF woofer with two 3-inch LF ND6A transducers, each X2 module operates within a 52Hz–19kHz (–3dB) frequency range.

“With parameters such as crossover and frequency set within the processing, programming the power factor correction for adjusting the incoming AC power supply was simplified by combining Dynacord amps with EV speakers,” continues Chee. “Should a fault be detected, such as a drop in impedance, the

continues Shaharom. “With these benchmarks, a high standard was set for those companies submitting tender design documents. In addition to specifying best-in-class technology, we demanded excellent local service and support without having to rely on parts or expertise to be sent from overseas should a problem arise.”

Founded in 1988, Turbine Technique was appointed to conduct the phase one upgrade of both 1,500-capacity divisible exhibition halls. The company’s AV design conformed to international standards, and local support was assured to service the system over the coming years. The phased upgrade would need to be sensitively scheduled within the PICC’s busy timetable of events over extended time periods. With careful planning, the systems integrator completed the works on time. A vast AVoIP cabling infrastructure now interconnects all the PICC’s venues. Visionary 5100 encoders and decoders connected to Netgear 1G PoE+ network switches broadcast 4K video from the various VGA and SDI inputs to the INFiLED displays via NovaStar H2 videowall splicers in each hall. Lowlatency streams of around 4ms can be transported over HDMI, KVM and USB-C at 60fps with a 4:4:4 ratio. The fully digitalised AVoIP backbone that also connects both exhibition halls

The Electro-Voice X2 speakers are suspended to the left and right of each INFiLED display

Omneo-ready Dynacord amplifiers send notifications over the Dante network. Compared to the previous analogue speakers and patchbays, the staff are more confident using stored presets and the FIR filtering.”

Turbine Technique deployed scissor lifts to rig the four loudspeaker hangs, with each X2 module weighing in at 42kg. Owing to a ceiling congested with lighting fixtures and air conditioning ducts, the rigging positions were slightly relocated from those predetermined in the EASE 4.4 simulations. Enhancing venue flexibility, a portable rack hosts Shure QLX-D wireless mic receivers with KSM8 handheld transmitters and a Soundcraft Si Impact digital console for patching locally into various wall and floor facility panels.

For maintenance, the X2’s new waveguide provides very precise control of the mid- to high-frequency range. “Turbine’s technical team have made it easy for us to maintain the system,” says Shaharom. “Should a loudspeaker develop a fault, a scissor lift is no longer required owing to the motorised hoists that have been installed. Following training, our technical team can now confidently maintain the system without requiring assistance from the contractor because of stored configuration presets.”

Q-SYS is used as the main AV control, combining the audio, video and data routing. In addition to audio routing, individual Q-SYS Core 110f processors in each exhibition hall storeroom combine and divide DSP settings. Given the inclusion of the Dynacord amplifiers, the Dante network was preferable to the Q-SYS Q-LAN platform which is, however, also compatible with the Bosch Omneo paging and Aten video switching systems. Providing improved system control and added security, all IP-addressable AV devices can be controlled within Dante Domain Manager from the same iPad touchscreen or a fixed PC.

“The technicians’ lives have been greatly simplified with wireless Q-SYS touchscreen control,” continues Shaharom. “Parameters including mute and volume levels can be accessed with a passcode, and the presets provide onetouch operation for activating the type of performance being staged. Should anything not be connected, or it goes offline, a notification is automatically emailed or texted.”

Just as venue flexibility and versatility are paramount considerations for owners and managers, governments looking to live broadcast demand best-in-class technology. “The phase one upgrade has resulted in more people occupying neighbouring rooms during an event,” adds Shaharom. “We no longer need to hire equipment and lay cable between rooms, which has already led to significant savings on portable AV equipment rentals.”

Shaharom stresses that his expectations for this initial upgrade have been greatly exceeded. “The clarity of the audio has received such positive remarks from management and visitors alike,” he says. “This success has triggered our phase two and three developments.”

Following in the footsteps of the landmark Varizone technology, PICC has implemented an AV upgrade that it is hoped will endure for a similar duration. Only time will tell.

www.electrovoice.com

www.mahajaktrio.com

www.qsc.com

www.turbine-technique.com

A hang of three X2-212/90 speakers with an X2-212/120 down fill

A portable rack is fitted with a Soundcraft Si Impact digital console

Each hall is reinforced with four Electro-Voice X12-128 portable subwoofers

L–R: Turbine Technique’s Mohd Zaidi bin Hussin and Samin Wahid in ballroom B of PICC

Sky’s the limit

Richard Lawn goes sky-high in Bangkok as three venues in one of the city’s leading hotels get an elaborate audio makeover

A NEW YORK-INSPIRED EVENING OF MUSIC, COCKTAILS and steakhouse classics awaits guests venturing to the upper three levels of Park Hyatt Bangkok’s Penthouse Bar and Grill, comprising an uppermost rooftop bar, a high-ceilinged cocktail bar and Down at the Grill restaurant. Overlooking the Thai capital’s skyline and interconnected by 8km of networked cabling, the three venues output hi-fidelity BGM and reinforced audio.

Over two decades, Never2Late (N2L) founder and audio designer Maarten Goetheer has developed a strong working relationship with the Park Hyatt hotel chain. “I started my professional career in 2002 as a musical director with the chain in Shenzhen, China, and I have maintained good relationships with the brand’s management across APAC,” he relates.

Built on the site of the old British Embassy, the Bangkok property commissioned Goetheer as the AV consultant for an upgrade in 2024. “For this latest instalment, I was asked to revamp their Penthouse concept,” he continues. “The management wanted to bring in famous DJs and live acts to play on the rooftop with an audio signal routed in real time to all three venues. The previous BGM lacked the horsepower to support the higher standard of music and entertainment packages that the venue now demands.” Working closely with systems integrator Aura Visual, the works had to be conducted in phases during normal hotel operations. “Aura Visual consistently delivers reputable turnkey installations, which is crucial for N2L’s reputation,” explains Goetheer. “They are client-focused and, for a hotel, that is very important because there are a lot of meetings in the build-up to a project. Upgrading

an audio system during operations and running new cabling demanded a very high level of detailed coordination between the teams and proved to be a delicate operation.”

The initial phase in the 32nd floor restaurant presented a challenging acoustic environment, with Goetheer placing his faith in two British brands – Allen & Heath and Void Acoustics. “With its low ceiling and high seat density, the grill restaurant proved to be tricky,” he says. “Void’s ultra-compact Cyclone 4 model, together with a slim profile companion subwoofer, proved to be the perfect pairing. In addition to receiving a lot of attention and compliments, their full-range capabilities allow them to adjust from daytime background music to late night high-SPL entertainment over a long duration, every day of the week.”

Behind the main stage, an equipment rack features two Bias Q3 4-channel amplifiers that power the speakers in the combined venues. “It’s only when you tune and commission the system that you realise that the result surpasses the simulation,” says Alfonso Martín, chief of Thai distributor, Sonos Libra. “This was partly helped by the hotel, which allowed us to install the Cyclone 4s where desired, without restrictions.”

To create consistency throughout the multizoned, 33rd-level venue, various sizes of Cyclone speakers have been installed. With the cocktail bar hosting a live band and DJ every night, a higher SPL solution was required. Fixed to the ceiling on custommounted poles, a pair of jet engine-inspired Void Airten V3 dual 10-inch enclosures provide ample power. The low frequencies are extended beyond 60Hz by two wall-mounted Stasys 118 subwoofers. Cyclone 8, Venu 210, Cyclone 55 and Cyclone 4 enclosures fill the pockets and niches, including on the upper mezzanine level.

The final phase of development was the rooftop bar. Mounted to the upper wall, a pair of black Cyclone 10 enclosures combine

The DJ area is located on the mezzanine level above the cocktail bar

The dancefloor of the cocktail bar is reinforced by Void Airten V3 speakers

Ground-stacked Air 15 subwoofers enhance low frequencies in the Rooftop Bar

Various Cyclone models fill the pockets on the Penthouse’s mezzanine level

with a pair of ground-stacked Air 15 subwoofers. Their hi-fi audio and weatherproof properties are suited to this outdoor setting where strong direct sunlight, high temperatures, heavy rainfall and pollution combine. The UV-resilient paint, stainless steel fittings and IP55 rating make Void a firm favourite amongst Bangkok’s rooftop bar owners.

Audio signals from two media players, a Pioneer mixer, Pioneer DJ turntables and a BGM source are transmitted to the Void speakers from an Allen & Heath AHM-16 16x16 processing matrix fitted with a Dante 32x32 I/O input card. An Allen & Heath DT22 Dante 2-in/2-out interface splits the audio signal for monitoring. Behind the drumkit, a DT164-W Dante wall panel expander connects 16 microphone inputs for up to four outputs.

Live musicians benefit from an Allen & Heath CQ-18T ultra compact mixer with a 7-inch touchscreen, rotary control, 16 mic/line inputs, custom soft keys for access to commonly used functions and dual-band Wi-Fi connection allowing mixing from anywhere in the venue.

Routing 8,000m of cabling from the main rack across all three levels would not have been possible in the analogue era, according to Martín: “Digital signal processing has significantly shortened transmission distances, and the audio quality is much higher without the analogue hums. With zoned audio distribution, sources can be output to anywhere, and users can select their own sources.”

controllers, the client can also use their own devices including smartphones and tablets with the downloaded app and a customised GUI.”

Initially concerned that non-technical personnel would face added layers of complexity, the client was reassured by the ease-of-use control features. “There are essentially three types of users,” explains Martín. “Firstly, performers, who manage their parameters from an iPad which the DJ can interface with the Pioneer mixer when configuring the system on the fly. Secondly, venue management and staff, who only need to adjust the levels according to customer requirements via iPad control or the IP1 panels. Finally, the hotel engineers, who fulfil tasks ranging from changing light bulbs to managing the audio system, are provided with the most basic controls.”

Having defined the users and their appropriate level of control, the programmers designed three different interfaces, ranging from an overall fader or knob for volume control. “Custom control programming dictates the parameters available for the three layers of users from the configurations,” he continues. “To provide something highly technically that is simply non-technical is a huge asset. The venue is now benefitting from a heightened level of flexibility whereby they can add any channel, microphone, wireless device or additional instruments”

The Park Hyatt management has access to the Aura Visual hotline, but they will probably never need to have it on speed dial.

GENERATION III

Audio settings in the Allen & Heath AHM-16 matrix can be configured from a wireless tablet

Staging the future

Su visits a new film scoring stage at the historic Beijing Film Academy which has been

FOUNDED IN 1950 AS THE INSTITUTE OF PERFORMING Arts, Beijing Film Academy (BFA) is now the largest in Asia and China’s only professional film school, with graduates including award-winning directors Zhang Yimou, Chen Kaige and Jia Zhangke. In 2015, BFA’s Sound School was officially created from the long-established film engineering and recording departments. Since the original facilities could not keep up with modern teaching requirements, 10 years were spent building a large, sophisticated audio postproduction complex on the Haidian campus, incorporating premix, Foley, dialogue, sound editing, Dolby Atmos final mix and music recording studios.

Last to be completed was the film scoring stage, which has become the jewel in the crown of the complex, with its music recording studio benefitting from an acoustic design by WSDG. The studio comprises a 50m2 control room, a 145m2, 9m-high live room that can accommodate a 50-piece orchestra and a 34.3m2 rehearsal room. As well as hosting undergraduate and graduate courses for the Sound School, the studio is also hired out for some commercial projects.

WSDG had completed renovations for the Vienna Synchron Stage Music Production Center in Austria and, as the BFA had many similar requirements for its studio, the Sound School’s chief engineer, Sean Song, reached out to WSDG’s Guangzhou-

based representative, Victor Cañellas. A series of video calls and in-person meetings confirmed BFA’s decision to award the project to WSDG, with the design and integration of the audio system completed by Song’s team.

“The spatial layout, acoustic conditions and equipment selection of our audio facilities are aligned with the world’s highest production standards,” explains Professor Li Yuesong of the BFA Sound School. “The studio must meet the needs of teaching and be able to record various types of music. At the beginning of the design, we proposed to WSDG that we needed to vary the reverberation time in the studio.”

This is mainly achieved by four 6m-drop motorised acoustic “banners” on two sides of the live room which can adjust the reverberation time between 1.1s and 1.5s. Custom-designed rear-wall and side-wall resonators, a ceiling cloud and several bass traps can further adjust the acoustics. The ceiling of the control room not only houses lighting but serves as a diffuser and bass trap. Fabric-covered front- and side-wall resonators fine-tune the listening experience throughout the room. The room is designed to provide optimal sightlines for five students seated at the rear of the room and a clear view of the live room for engineers, producers and instructors working at the mixing console.

The live room is a room-in-room structure suspended on spring devices. Curved floor-to-ceiling windows are actually composed of two unconnected glass pieces. An 8.3m2 sound lock on the soundproof door connects the two rooms, isolating the sound on both sides. The HVAC system has been modified by Liu Bin from China Radio, Film & TV Design and Research Institute to reduce noise criteria to less than NC15. The rehearsal room can also be used as an isolation booth for vocals, drums and instrumental solos.

“WSDG’s design cleverly conceals the acoustic treatment within some large decorative structures so that it’s visually unobtrusive,” continues Li. “We selected the colours, fabrics and reflective panels from the range they suggested. In

Sean Song (far left) with the BFA Sound School team

The main Genelec monitors were mounted high to make space for larger Meyer Sound midfield speakers

Sue

designed by WSDG

addition, the 9m height of the studio required that a series of materials and processes should be developed specially to carry out the acoustic treatment.”

These materials and processes include the custom rear-wall resonator in the live room, which is constructed from 388 wooden boxes. To ensure the wall wouldn’t collapse from the weight, Song and his team kept in communication with WSDG about the structure of the wall and the type of the wood used for the boxes, drawing CAD diagrams for each box and sending them to the factory for processing. The installation was completed by the students in the Sound School together with the construction team. Meanwhile, the side-wall diffuser in the live room is faced with stone slabs. In order to achieve the diffusion effect required by WSDG, Song repeatedly studied and experimented with different cement materials, working with teachers from BFA’s fine arts department, finally producing a wall with an irregular texture on the surface that met the requirements.

The equipment selection and systems integration process were carried out to the same high standards. While a digital console would have been a simpler choice, the school decided on an AMS Neve 88RS analogue console for its suitability in teaching music scoring for film, as well as for sound quality. “We needed a console with an in-line structure so that students could thoroughly understand the classic workflow of music recording, and the sound of the console needed to adapt perfectly to various types of music without any style preference,” continues Li. “The bus architecture of the Neve 88RS is the most complex and comprehensive of analogue and digital consoles. It clearly displays the recording and mixing processes of surround sound movies. This model has been selected by many internationally renowned motion picture scoring stages.”

Since the Sound School already has two Dolby Atmos mix studios, the film scoring stage studio has adopted a 5.1 surround sound format, with cabling systems provided for future ceiling speaker installation. The main 5.1 in-wall monitor system consists of three Genelec 1234A SAM 3-way active monitors for the L-C-R channels, two Genelec 1238A SAM in-wall surround speakers and two Genelec 7380A SAM subwoofers for the LFE channel, calibrated with GLM software.

while session files can be shared through Avid Nexis video storage solutions. Multiple wallplates with analogue, Dante, AES, MADI and other interfaces are available throughout the different rooms.

“Our audio system design is completely based on the needs of teaching and music production. The idea is to be able to easily change to any setting that the user wants,” explains BFA Sound Schoolteacher, Yang Jie. “Although it looks like classic analogue architecture, we’ve incorporated a lot of the latest digital equipment and network interfaces. You can easily turn it into a modern, purely computer-based workflow. If external recording engineers bring their own equipment, they can quickly connect to our system at any time.”

Three Meyer Sound Bluehorn speakers provide the L-C-R channels for the midfield 5.1 system, with HD-1 models as surround channels on both sides and an X-400C high-power cinema subwoofer for LFE. A wide choice of nearfield monitors can be placed on the meter bridge of the console as needed.

“We had asked WSDG to raise the main monitors as high as possible, so that there would be enough space for some larger speakers in the midfield without causing too much interference,” says Li. “We recognised Genelec’s resolution and transient response when selecting the model, and the frequency response of such a large box is naturally not a problem. Midfield monitoring must be different from the main system, and Bluehorn and Genelec have many differences in sound characteristics. Meyer Sound’s cinema speakers are some of the best in the world, and this suits our studio well as we are mainly for film music.”

The control room offers three types of digital audio workstations including Avid Pro Tools Ultimate, Steinberg Nuendo and Merging Technologies Pyramix MassCore

systems, which can be switched easily at any time. Clock and synchronisation interfaces include Antelope Trinity, Avid, Mutec, Steinberg and Brainstorm models, with DAD AX32, Avid HDX, Merging Technologies Horus and EMM Labs audio interfaces and converters and RTW and Dorrough meters. Preamps include classic AMS Neve, Grace Design, Millennia, Focusrite and Avalon models, with effect processors from Lexicon, Bricasti, TC Electronic and Eventide, and compressors and limiters from AMS Neve, Focusrite, Urei and Tube-Tech. Some analogue outboard equipment the school has owned since the 1970s and 1980s has also been repaired and integrated, giving more sonic possibilities.

Multiple cameras covering the entire studio are used for video calls and communication, with the screens also used to display film footage for scoring via Avid Media Composer video editing software. The live room is equipped with a Sony VPL-F630HZ silent laser projector and a 5.5m x 3.6m Harkness Matt Plus screen for film soundtracks and remote scoring. The three rooms are connected by Dante networking,

During the entire construction process, Song and several BFA professors kept up a good communication with the WSDG team to implement the project. “WSDG is very professional and experienced,” he says. “During video conferences there was usually a team of four or five people experienced in different fields to continue modifying the design and construction process.” Despite the many testing appliances now available, the BFA professors identified some low-frequency and early reflection problems by listening and recording, then successfully resolving the issues.

The renovation has provided the BFA with the recording studio it hoped to achieve. “All our students can practise in the studio now, so that they have a deeper understanding of different recording methods and processes,” concludes Li. “We’ve also recorded various types of music here, which are not only limited to Chinese film music but also classical, folk, pop and other styles. BFA’s teachers and the external recording engineers are very pleased with the rich and controllable sound layers, variable reverberation times and the studio’s flexible systems configuration.”

BFA is now planning to build a larger music studio as well as more Dolby Atmos mixing studios at the Huairou campus north of Beijing, all of which will be a blessing for the students as well as the Chinese film and music industries.

www.ams-neve.com

www.genelec.com

www.meyersound.com

An AMS Neve 88RS analogue console was chosen for teaching music scoring for film, as well as for sound quality

The rear-wall resonator in the live room is constructed from 388 wooden boxes

The rehearsal room can be used as an isolation booth for vocals, drums and solos

A letter from Europe

“Tariff”

might be the US president’s favourite word, but it doesn’t sit well with the rest of us. Phil Ward looks at possible impacts on the global AV industry

AND SO WE HAVE ARRIVED AT LIBERATION DAY: THE moment when President Trump revealed far-reaching tariffs on goods flowing into the US from all corners of the planet. Originally, this included 20% for the European Union, 10% for the UK, 34% for China and, bizarrely, 10% for Heard Island and McDonald Islands in the Indian Ocean, which are uninhabited.

Of course, the effect of these tariffs will vary according to how long they remain, and on the response of other countries to the US. The UK, for example, which exported 15.3% of its goods to the US in 2023, amounting to £60.4b, held fire until a unique trade deal was announced on VE Day. The rest of Europe is far less forthcoming, and commerce as a whole is holding its breath. The entertainment technology sector is, as usual, ready to swim with the tide: pro audio, video and lighting traders are nothing if not resourceful.

UK manufacturers immediately saw the advantages of securing only half the tariff rate of competitors in Europe. The feeling is: if it’s going to happen, let’s make the most of any breaks we get. Jamie Gomez, global demand

marketing manager at Focusrite Group, sums up the mood of expediency. “We have strategies to deal with the situation,” he comments. “The main thing I’d say is that we’re a UK manufacturer and, because of that, we have some advantages over our competitors in mainland Europe. It provides us with an opportunity; there’s certainly a silver lining to it.”

Whether British or European, manufacturers are faced with the stark choice between dropping prices to remain attractive to US buyers, or reducing output intended for the American market. If there are any upsides, they will occur as Europe readjusts in the search for alternative revenues. In its advantageous position, the UK could become a larger hub for trans-Atlantic trade. At the same time, demand for intra-European options could increase if the American brands begin to feel out of reach. In general, the more nimble the business, the easier the ride.

This is borne out by the views of Richard Watts, regional sales manager for the UK at DPA Microphones – now under the same corporate ownership as Wisycom, the Italianbased RF technology manufacturer. “Everything we do is

A letter from America

manufactured in Denmark,” he says. “We do ship to the US – we have a main operation near Denver, Colorado that distributes us and Wisycom, which is made in Italy – but like everyone we made sure that the warehouses were fully stocked before the tariffs went live.

“I believe we benefit from not being a big company. We make products that compete with the best in the world, but other companies have one single sales department that is bigger than our entire operation worldwide. It makes us highly manoeuvrable, and capable of finding ways around it.”

Another tariff threat to films made outside of the US has a particular resonance in the microphone sector. “A lot of US films are made, or at least partially made, in the UK,” Watts adds, “and they would all be hit. I know that an element of caution has already crept into this market. All it takes is a rumour to knock confidence anyway, so this does not help.” Historically, trade tariffs were replaced by income tax as the fulcrum of Western government revenue in the early part of the 20th century. Why do you suppose wealthy Republicans want to reverse that paradigm?

Dan Daley eschews tariff-talk for a discussion on the use of uncompensated content to train AI that’s looming over creative industries

I’D LOVE TO TALK ABOUT TARIFFS. THEY ARE THE topic of the day, here and everywhere. But I won’t. Instead, there’s another – possibly more insidious – dynamic at work, one that affects virtually every kind of content there is, including the sort made manifest by the engine rooms of AV: music, films, television, theatre (which is what live music has, after all, become now, at US$500-plus a ticket) and so on: artificial intelligence – AI to its close friends. Just as Tascam’s Portastudio and its ilk remade the landscape for music production 40 years ago, culminating in remarkably good-sounding beats for sale on the internet that enable music production on an iPhone, AI is reinventing the very nature of the content being made on those same palm-sized platforms. You don’t really have to write the song – or the screenplay or the novel – anymore. That’s all taken care of algorithmically and, more concerningly, done increasingly well. There now exists the nearest things yet to the “just-addtalent” app that at one time was the punchline to jokes about how far digital technology could take human creativity: apps and services such as Mureka and Lalals that essentially write the song or other content for you.

However, that “talent” has to come from somewhere, and it’s increasingly coming from the work of actually talented people, relatively few if any of whom benefit financially or reputationally from their work as it’s turned into the raw fuel for AI-enabled content “creation”. Given that this generation of AI has a century of time-tested music and well-produced recordings to feast upon, it’s only going to get better at creating new music of its own, leaving actual creators further behind.

Piracy has been an issue since the arrival of digital delivery formats for music, movies, television and other media. The ability of AI to grind existing successful content into digital hamburger, learn from it and then reform it into new commercial outcomes crosses the line into actual plagiarism. However, neither crime has any well-developed solutions, since the “evidence” of such infractions exists at a digital DNA level. There are now some technology products, such as MIPPIA, that allow creators to check to make sure their own content hasn’t, unintentionally or otherwise, infringed on existing copywritten material. But what if the underlying tools of this sort of

second-order creativity are based on AI that was trained on uncompensated content? This takes the sampling controversies of the 1990s into entirely new legal territory. It costs just a few dollars to use the cornucopia of digital toys available now to create new works of art or content (the gulf between those terms is huge but it all counts). But the costs they’ll incur to the traditional creator economy are enormous and inestimable. Authors and journalists are fighting with AI developers over the unpaid and uncredited use of their content to train large-language models – the very AI algorithms that threaten to replace them. Guess who’s winning?

The EU has been better than most governing bodies in taking on the collateral effects of technological change, compelling Apple, for instance, to abandon its restrictive Lightning connector for the iPhone in favour of the open USB-C format. That dynamic hasn’t had the same traction in the US and will have less under the current government administration. How to curtail the erosion of creativity in the face of AI’s onslaught? Maybe tariffs? I’m kidding. This is one question that won’t have an easy answer.

KOBA 2025

Staying

relevant during challenging times, KOBA 2025 sounded a defiant chord

BILLED AS “AI-ENHANCED CREATIVITY: THE NEXT WAVE of Media Innovation”, the 33rd KOBA (Korea International Broadcasting, Media, Audio & Lighting) Show opened its doors in Seoul’s COEX exhibition centre between 20–23 May. Organised by Korea E&EX and the Korea Broadcasting Engineers & Technicians Association (KOBETA), KOBA remains South Korea’s only specialised event for broadcasting and communications convergence.

Featuring high on the agenda were AI-driven content creation, 5G/6G real-time transmission systems, cloud-based broadcasting, HD video solutions, IP-based studio technologies and integrated AR/XR platforms. Accordingly, many exhibitors were keen to promote their latest hardware and software solutions following world premieres at the ISE and NAB shows. Technicians, engineers and students were keen to discover the latest technologies on show in addition to attending the numerous demonstrations, technical seminars and workshops. Despite the clash with other tradeshows including BroadcastAsia, CABSAT, Prolight + Sound Guangzhou and PALM Expo India, a significant number of international brand representatives had also travelled to support their distributors. Among international companies on large-scale booths were Blackmagic Design, Canon, Nikon, Panasonic, Sony and

From the show floor

Joe Tan, LaON Technologies:

“We are highlighting our Genie second-generation 5GHz wireless intercom solutions including a wireless beltpack and wired intercom panel. With networks increasingly operating over IP, a user only needs an intercom panel or a connection over a switch. We are located on the main aisle between Dongyang Digital and Canon near the entrance of the show, where the floor traffic has been good. Most of the visitors work at Korean TV stations, but we are also meeting some engineers who come from the house of worship and government sectors in addition to defence agencies.”

Yamaha, joining leading South Korean AI companies including Naver Cloud, Stra, StreamVision, GeminiSoft and SoundPlatform. Several side events enticed visitors from the show floor over the four days, including the 15-session KOBA 2025 Media Conference at the COEX, covering media platforms, trends, AI, IP networks and topical broadcasting industry issues. Other draws included the KOBA live stage where noted artists performed and a Media Content Creation Zone with an experiential demo space for solo media producers, streamers, YouTubers, podcasters and short-form content creators.

Sticking to its traditional format in three (A, C and D) halls of the COEX, with the upper third-level halls presenting broadcast and video equipment, pro audio and lighting in Hall A is still

a world where time is the most precious commodity, this “less is more” strategy ensures that visitors and exhibitors alike can focus on relevant technologies more efficiently. By streamlining workflows and enhancing efficiencies, both social and AVoIP networks appear to be sharing the same path of convergence. Well-organised and open to new technologies joining the fold, KOBA refuses to limit itself to the confines of broadcast. Having navigated a maelstrom of obstacles outside the control of the industry during the past 12 months, the South Korean AV and broadcasting sectors will be looking forward to more stable times.

It’s important to be seen by

From the show floor

Gina Park, Sound Solutions:

“We opted for a smaller footprint this year by adding a double decker for meetings above. On the show floor we are exhibiting brands including Adamson, DPA, Midas, RCF, Sommer, Stagetec, Symetrix, Tannoy, Wisycom and Visionary.

However, we are presenting a more selective portfolio for this year’s visitors as we don’t want to overwhelm them. There are fewer exhibitors and visitors compared to last year. With some of our competitors not exhibiting, this is to our advantage. However, the music can be too loud, which makes this an uncomfortable environment for holding conversations.”

Sunmo Kang, Dasan SR:

“We can tailor our product range towards the broadcast sector by showcasing relevant technologies from three of our brands. Earlier this year we were appointed as the distributor for SSL, and KOBA has provided us with an ideal opportunity to showcase control surfaces from the Live and T Series. Conversations we’ve had with potential new customers have been encouraging. Having assumed responsibility for Riedel in 2023, KOBA is the right show to exhibit the Artist 1024 matrix, SmartPanels and virtual user interfaces together with the punQtum partyline and Bolero wireless intercoms. In addition, the Powersoft Nota 142 amplifier has been a big hit.”

Boon Siong Tan, Lawo:

Steve Kim, Ingang Audio:

“Owing to low economic confidence, my expectations for KOBA this year were not very high. However, this year’s exhibition has given us the opportunity to demonstrate new technologies from Calrec, Meyer Sound and our other brands to potential customers. Apart from broadcasters, the lower floor attracts users from other audio and AV sectors, including house of worship, live production, education and sports complexes. Despite being familiar with most of the industry decision makers, it’s important to meet engineers and reassure them we are there for them. Since being appointed as the Meyer Sound distributor in 2017, Ingang Audio has invested heavily each year in this show.”

“Our message to ‘rethink your infrastructure’ is getting through, with broadcasters looking to upgrade and enhance their workflow efficiencies. KOBA feels more positive this year, with more foot traffic and quality visitors. Most of the major network broadcasters visit the show out of curiosity and we keep them updated by promoting our scalable solutions rather than products. By demonstrating the latest developments within the Home open platform in addition to the Crystal, Diamond and mc256 work surfaces, we are showing a complete yet simpler workflow. Using the Crystal mixer as a controller for the mc visualise the benefits of operating a large-format desk from a much smaller piece of hardware.”

Prolight + Sound Guangzhou 2025

Sue Gould reports from the ever-growing behemoth that is the annual pro AV tradeshow held in southern China

LABELLING IT “THE LARGEST ENTERTAINMENT AND pro AV trade fair in the world” is a bold move on behalf of the organisers, but show statistics for the 23rd edition of Prolight + Sound Guangzhou (PLSG) speak for themselves. Breaking all records again at the China Import and Export Fair Complex, this year’s edition – covering 210,000m2 over 22 exhibition halls including the brand-new Hall D – presented a staggering 2,209 exhibitors over the four-day period.

Unfortunately, despite the May dates being shifted slightly further back, PLSG still overlapped with the glut of other regional tradeshows, with a number of exhibitors questioning whether this had impacted visitor numbers. But even if the attendance had reduced, the show consistently manages to attract vast numbers of visitors from across the pro audio, lighting, staging, multimedia, conferencing, KTV and home theatre segments. With the aim of connecting the overseas and domestic markets through both business and knowledge exchanges, the organisers had clearly been working hard, hosting a record-breaking 59 buyer groups with professionals from the Middle East, South America and Southeast Asia visiting the show, many for the first time.

As in previous years, a packed programme of live demonstrations, technical workshops and immersive showcases could be accessed for free throughout the show and, for the first time, a joint initiative between the China Association of Recording Engineers and the UHD World Association was announced.

Under the umbrella of “Tech Meets Culture”, visitors were presented with a range of experiences including the Unicorn Series, China’s first large-scale creative showcase; a debut VR cultural tour presented as a journey through time to Yuanmingyan; and an immersive experience inspired by the great classical Chinese novel, Journey to the West. There’s clearly a real potential in the market pushing the cultural tourism sector forward in

From the show floor

Alan Chang, Shure:

“This is a good show for us to highlight new products for the first time to customers in China, such as the Axient Digital PSM with its new features. And it’s a proud moment: not a lot of companies have 100 years of history so it’s an opportunity to not only celebrate the past 100 years, but also look forward to the future. Growth is challenging right now due to what’s going on in the global economy, but there are opportunities for us in key territories like Japan and China.”

Jamie Ward, Allen & Heath:

“We’re here with ACE, our new partners in China, and it’s been a really busy show. Probably less volume overall, but lots of quality interest with good conversations from different vertical markets. Our business has been very strong for many years in China, but we want to move deeper into the touring and installation markets with the help of ACE. The market is changing in China, but we see opportunities and we’re all adapting to new ways of doing business.”

The recent adoption of a government policy to promote equipment renewal in the field of culture and tourism to enhance safety, energy efficiency and performance means that many cultural venues and tourism shows will need to upgrade their stage lighting, sound systems, display technologies and mechanical equipment. Despite murmurings of tariff impacts, the timing of the show and the ever-present rain, PLSG retains its pole position as the go-to platform for manufacturers displaying their latest products to the Chinese market.

According to the China Association of Performing Arts, there’s been a 72% year-on-year increase in large-scale

Christian Kämmer, K&M:

continues to provide ample opportunities for exhibitors and visitors alike at PLSG.

2025 Dates: 27 – 30 May

2026 Dates: 28 – 31 May

Venue: China Import and Export Fair Complex, Guangzhou

Total exhibitors: 2,209

Attendance: 110,363

Contact: www.prolightsound-guangzhou.com

“We’re here with our Chinese partner and have met a number of new contacts for the domestic market but, overall, we feel there are fewer visitors than last year. I’m not sure why, maybe the bad weather or the economic situation but I’d say this year it’s been more localised. Previously, we had more international contacts from the Middle East and Indian markets for example, and I think the reduced numbers may be due to all the other tradeshows at this time.”

Joe White, Nexo:

“This year, the show has been fantastic. For us, the quality of the visitors that have come onto our stand really demonstrates to us that there is still a lot of business to be done in China, covering all the diverse market sectors. We’re very excited about what’s to come, especially in the world of immersive. There are a lot of projects in the pipeline so we’re very bullish for the future here in China.”

China as the demand for immersive experiences and innovative solutions continues to grow.

Kenan Phang, Sennheiser:

“I think this show has become much more of a regional show, with industry professionals making the time to come over to visit. This year, a highlight at the show and what we’re most excited about is the launch of Spectera, our first bidirectional wireless audio transmission system. I’m expecting to see a lot of familiar faces from Southeast Asia, not just from China.”

demo space. This is much more suitable for appreciating the RCF and TT+ Audio lines, and there have already been some contracts signed, so I believe it was the right decision. The Chinese market is huge and changing every year, so we have to be here; there is no other option.”

overall it’s been OK and we’re still seeing new customers here so we’ll definitely be back.”

Richard Fleming, XTA:

“I feel that the numbers are a little lower than last year, but the quality of people is better than ever so, for us, it’s been a great show. We’ve seen people from across Asia and it’s also been interesting to see distributors from places like South Africa who we didn’t know were coming to the show. It’s certainly been diverse and of a high quality.”

Luca Bertani, Powersoft:

“This is our first year exhibiting independently as Powersoft and the reaction has been overwhelmingly good. We’ve got some interesting new products to show: Nota has taken the industry by storm and everybody is really excited to see this little amplifier. It’s been a great experience and amazing to be here and to connect with people from all across Asia.”

opportunity for people to see the new products we’ve been working on. Plus, we’ve been part of the outdoor demo for the first time and there’s been an incredible response; it ensures customers can hear the products in the right setting.”

Don McConnell, Audio Brands Australia:

“It’s my first time and it’s big. It took me a while to get my head around where everyone is and on my first day I clocked up 30,000 steps. But it’s certainly been worthwhile coming. There’s a good mix of brands we know and companies we don’t. It’s great to see what the manufacturers are developing and there’s some interesting products they’re working on.”

BroadcastAsia 2025

Richard Lawn was receiving fading signals at the annual Singapore tradeshow

THE OMENS WERE NOT GOOD FOR THIS YEAR’S

BroadcastAsia, the final stop for many international visitors and exhibitors on the tradeshow circuit that commenced three weeks earlier in Dubai at CABSAT, with exhibition fatigue evident. Perhaps the somewhat underwhelming events of 2024 had been erased from memory banks. A total recall was quickly delivered, however, at the registration counter where a S$30 fee was demanded of those who’d not preregistered for this year’s downsized exhibition.

Returning to three exhibition halls in the Singapore Expo, the show remains devoid of grandeur. IBC and NAB may have booked the deluxe suites but, with sleeveless exhibition badges and aisle carpets removed, BroadcastAsia continues to emit standard room billing. As neighbouring ASEAN countries have matured over the years, Singapore’s dominance as a regional hub has declined. Additionally, the relatively high costs to attend a show such as BroadcastAsia is a further deterrent for prospective visitors. At best, the attendance of overseas visitors in recent years has constituted 50% of the total.

Comprising BroadcastAsia, CommunicAsia and SatelliteAsia, the collective Asia Tech X Singapore (ATXSG) was reformatted at the Expo in 2022, with visitor numbers recovering in 2023. Carrying on from the 2024 edition, this year continued the theme of diminishing returns, with numbers visibly down. However, BroadcastAsia welcomed back a mixed crowd of regular broadcasters, distributors and developers, together with personnel from educational facilities, hotels and venues.

From the show floor

On display were NDI networking, OTT platforms, audio-over-IP technology, cloud technology, live production, UHD content and film production equipment. Blackmagic Design returned for a second successive showing, but previous exhibitors including Panasonic and Sony remained absent. Discussions and workshop panels were aplenty, with Artificial Intelligence (AI) continuing its role as chief disruptor.

Exhibitors were reacquainted with attendees from surrounding ASEAN countries including sponsored groups from the Philippines. JAA Systems showcased technologies from Artel, BTL, Calrec, Merging, Orban and Prodys. With Calrec’s recently launched Argo M console taking the spotlight alongside the established Brio36, a SonicView24 digital mixer from Tascam was also garnering second looks.

Highlighting the Home server-based processing apps, Lawo has been ever present since 2002, exhibiting this year with distributor BCI and challenging broadcasters to “Rethink your Infrastructure”. Fellow German audio digital developer, Stagetec, which put down Asian roots in 2004, displayed the Avatus console, with Stagetec Asia also promoting solutions from DHD, DirectOut, Nixer, RTW, Sonifex, Yellowtec and Zenon. Evertz meanwhile focused on the Studer Vista platform and recently launched software.

Deity and Shure were among the few microphone suppliers present. Celebrating its 100th anniversary, Shure showcased its latest products in partnership with Singaporean distributor Electronics & Engineering. The booth was split between digital wireless, location sound and a portfolio including the MV88+ video kit for content creators.

David Chan, JAA Systems:

However, comms were prominent, with AEQ and Hollyland showcasing cost-effective solutions with abundant priceperformance features. Clear-Com vied for attention with the IP-based Arcadia Central station, Eclipse HX digital matrix, the latest FreeSpeak Icon beltpack and IrisX user panels. LaON Technologies highlighted its Genie 5GHz technology, while Riedel showed its Bolero intercom platforms and all-in-one and cloud-based live video production, video network and SmartPanel displays and the latest SimplyLive technology. The convergence of broadcast and AV technologies continues to grow, but there is little to suggest that BroadcastAsia is addressing this convergence. To address the slide and remain on air, the show needs to draw a wider audience of contemporary social media broadcasters and content creators to its event, but with carrots rather than $30 sticks.

2025 Dates: 27 – 29 May

2026 Dates: 20 – 22 May

Venue: Singapore Expo

Total exhibitors: 900 (unaudited)

Attendance: 22,000 (unaudited)

Contact: www.broadcast-asia.com

“There is a need to educate customers in the region about the benefits of AI and AVoIP technology, but it is taking time for them to adopt. The attendance is lower this year, partly because of the other exhibitions taking place. The broadcast sector is suffering from decreasing budgets and is not readily converting from conventional SDI to IP. It is becoming increasingly expensive to exhibit here, so companies are looking to adopt more cost-effective methods including dedicated seminars or workshops in different countries. To justify the exhibition costs

BroadcastAsia was opened by Kiat How Tan, senior minister of state at Singapore’s ministry of digital development

From the show floor

Advon Tan, Stagetec Asia:

“Since I first attended BroadcastAsia in 1993, the show has gone from four or five halls to just one. But, in addition to traditional TV and radio broadcasters, there are many independent broadcasters creating content for social media or operating in esports, houses of worship and educational facilities, so BroadcastAsia remains relevant in terms of the networking platform it provides. The attendance has been lower, and perhaps overseas visitors are deterred from travelling to Singapore because of the expensive accommodation. Some of the larger manufacturers such as Sony stopped exhibiting some years ago and Panasonic held its own event this week – it’s more cost-effective to build a permanent experience centre and see visitors there.”

Fintan Mc Kiernan, Ideal Systems:

“On the first day of the show, Ideal Systems announced the acquisition of Singaporean-based audio specialist and systems integrator Control Logic Systems. Their audio expertise will allow Ideal Systems to better compete in the AV sector, and BroadcastAsia needs to penetrate more into AV. We have been promoting AI, NDI networks and cloud-based technologies for many years because that is where the growth is for our broadcast customers who are either wanting to make or save money. It appears a little quieter, but we’ve been encouraged by the quality over quantity conversations. The broadcast business in Southeast Asia is generally slow and the background noise of tariffs is adding to the anxiety, which has led to a pause in many scheduled investments. On the positive side, research is continuing and many broadcasters are investigating designs for future projects. Visitors are coming here for specific reasons so, once the economy bounces back, we’ll experience a resurgence.”

Yosua Heriyanto, Promedia Innovative Solutions, Indonesia:

BroadcastAsia is not just a broadcast-centric show because it

“Having attended Prolight + Sound Guangzhou for the past two days, I have just landed in Singapore to attend the final day of BroadcastAsia before I head home to Jakarta. I was very impressed with the exhibition in China as they have very enthusiastic staff who provided me with a VIP room, together with lunch and travel allowances. In comparison to BroadcastAsia, which is in decline, Guangzhou is much better value for money as the show is a lot bigger and busier.”

developed for parliaments and esports applications. By exhibiting each year, we are showing our commitment to the region and enhancing our branding. Compared to last year the show has been quieter, but it has been a case of quality over quantity. Many visitors are specifying for esports and government projects and knew that we could provide an option for them before coming to the show to

PALM Expo India 2025

Two significant firsts characterised the 23rd PALM Expo India show as a new owner stepped in and a new hall opened up

HALL 6, THE FIRST NEWLY BUILT SPACE TO COME online at the Bombay Exhibition Centre, is finally a reality. In tandem with this welcome development, it was also the first PALM show to be staged in conjunction with Informa Markets, which has acquired Hyve India Group’s Indian operations and exhibitions.

Spacious and high-ceilinged, with a functional air conditioning system to relieve late May’s pre-monsoon heat and humidity, Hall 6 is a definite improvement. International pro audio brands and distributors were relocated here in roughly the same layout as the previous audio hall. A second pro audio exhibition of primarily Chinese and locally manufactured brands and speaker components was in Hall 2, with lighting moved to Hall 4. On day one, exhibitors in Hall 6 were praising the organiser’s efforts in bringing in serious visitors. However, by day two, the

An improved venue for the PALM Conference and Seminar was set up at the back of Hall 3, the pro AV hall, which hosted the AV-ICN Expo part of the show. Here, 59 speakers from a broad cross section of the pro audio industry and 42 from AV-ICN proved a popular draw throughout the three days. The Demo Qubes, once an attraction for exhibitors wanting to entice visitors away from the show floor for a more meaningful product demonstration, were taken by three Indian brands: Aerons (India), Pope Professional and N-Labs, as well as Funktion-One, a late taker. However, noise levels even from 100m away

As India gears up to be the world’s leading AV market, with related spending expected to grow by 8.3% in 2025 according to AVIXA, the PALM show gets bigger and busier year on year, with exhibitors and attendance figures slightly up from 2024. Ongoing improvements at the Bombay Exhibition Centre, together with the arrival of decent F&B outlets and an underground carpark, are definitely helping, but the venue

2025 Dates: 29 – 31 May

2026 Dates: 28 – 30 May

Venue: Bombay Exhibition Centre

optimised. The organisers are acknowledging the fact that professional global brand entry is needed in the industry.”

Total exhibitors: 300

Attendance: 26,251

Contact: www.palmexpo.in

Richard Deffner, Adam Hall Group:

“This was my first time at the show and it was overwhelming at first because there are so many brands here, including local manufacturers. It’s good to see PALM investing in expanding as it’s one of the main shows in the country. India is one of the fastestgrowing markets for the Adam Hall Group in Asia, so it’s great for us to meet local customers. Compared to other tradeshows, it is not as sales driven; PALM provides a friendly networking event where we can catch up with clients and partners from across the country. We launched our ICOR Pro Series here, and it has generated a lot of interest.”

conversations. I cut short my trip to Guangzhou for Prolight + Sound to be in Mumbai for all three days of PALM. I wanted to support our distributor Stagemix, who have done an incredible job for us in India. What differentiates PALM is the level of visitor engagement; here you start doing a demo on a console and suddenly you have 50 people gathered around the stand to have a look.”

Informa Market’s Peter Hall gives the PALM India keynote speech

InfoComm Orlando 2025

Orlando might not be Vegas, but InfoComm 2025 proved it doesn’t need to be flashy to be effective

THE BUILD-UP TO INFOCOMM 2025 FELT LIKE NO other for the 5,580 or so international visitors heading to Orlando. However, the elephant in the room – the disruptive nature of ongoing trade wars and tariffs – seemed to be largely forgotten following painless immigration checks at Orlando International Airport, with most visitors ending the show in the knowledge that their investment this year had been vindicated.

Staged across some 40,000m2 in the immense West Hall of the Orange County Convention Center (OCCC), the energy was palpable from the moment the doors opened, according to AVIXA senior VP of expositions, Americas, Jenn Heinold: “What was most fulfilling to see was the business being done on the show floor. We were very intentional about attracting end users to the show. They are a critical part of growth for the pro AV, IT and broadcast ecosystem. They drive product enhancements from manufacturers and push for more innovative technology. Solutions providers came out in full force, with product launches and interactive experiences.”  For four days prior to the exhibition, a vast programme of educational workshops, networking events, keynote presentations and certification exams drew an increasing audience to the OCCC. Discussions included the rising demand for immersive and personalised experiences and the critical role that cloud infrastructure and AI-driven experiences are playing. Speakers including Brad Hintze from Crestron, Eric Hutto of Diversified, Christine Schyvinck from Shure and David Labuskes, CEO of AVIXA, discussed the future of AV, covering topics from the workplace to collaboration, standards and AI. Led by technologist Noelle Russell, the AVIXA Women’s Breakfast also drew hundreds of attendees.   But it was on the show floor where the positive tone for this year’s InfoComm was set. And with demonstrations from 1 Sound to TOA Corporation, there was something for everyone in the adjacent rooms. Despite these spaces being acoustically unforgiving, manufacturers went to enormous efforts to bring their technologies to life with musical

selections and narratives. A reminder, perhaps, that music is a subjective and human artform that cannot be replaced by AI. There was no escaping the fact that Shure was celebrating its 100th birthday this year. The booth, which included a café and Innovation Lab, was buzzing with visitors curious to learn more about recently launched technologies, including Microflex wireless, IntelliMix Room Kits and Axient Digital PSMs. A relative youngster at 80 years of age, Sennheiser was demonstrating its Spectera wireless platform, which is now shipping.

In addition to showcasing point source, line array and beam steering loudspeaker systems in various guises, audio developers including Adamson, d&b audiotechnik, EAW, L-Acoustics and RCF showcased new-to-market amplifier series. Now part of the Sonance family, Blaze Audio attracted attention adjacent to the LEA Professional booth, which in turn highlighted the latest addition to its Connect Series. Having acquired K-array in February, Powersoft showed its latest Unica T and Nota

142 models. And on the Harman booth, Crown’s ComTech Dante amplifier series was presented alongside BSS Omni processors and JBL loudspeakers.

AV installers heralding from the US’s Midwest and East Coast states appeared more than content to listen, learn and network. At the far side of the hall, 4K LED displays drew inquisitive eyes. Almost wholly produced in Guangdong province, brands including Muxwave, Unilumin and YesTech dominated, yet the exhibits did not possess the same commanding presence as ISE’s Hall 3. As AV and broadcasting technologies continue to converge, it appeared that most of the new product launches had been premiered at ISE or NAB.

Finding the right solution is no longer about sourcing the shiniest new hardware or current software, according to Diversified’s Hutto: “It is about simplifying a solution so that the best possible outcome is achieved for everyone using it. Customers are ultimately going to pay for the result rather than their project. If you’re selling, you’re losing, but if you’re solving, you are winning.”

The Florida heat might have challenged InfoComm’s status as the coolest pro AV gathering on the plane but, as the doors closed on the 2025 edition, most exhibitors and visitors had been reassured that the AV industry is both resilient and resourceful enough to weather the current economic storms.

2025 Dates: 11 – 13 June, Orlando

2026 Dates: 17 – 19 June

Venue: Orange County Convention Center

Total exhibitors: 817

Attendance: 30,998

Contact: www.infocommshow.org

Busy aisles right from the start

Packed out AVIXA discussions on the show floor are always a highlight of InfoComm

Demo rooms were filled to capacity, even on the preview day

“This was the US debut for our D-Net MADI processor, so we had high hopes – and InfoComm didn’t disappoint. People came specifically to see it.

Roberto Mataloni, FBT: “InfoComm 2025 has proved to be better than Las Vegas in 2024. Although we have met a few customers from Latin America, most

AV comes from planet IT, and InfoComm is where we meet many people including large

arrived, so the next generation is starting to do things differently. It used to be: the answer is a box, what was the question? But now the answer is AI, what problem can AI solve for you?”

wanted to see, including end users and more meaningful conversations. I’d love into the hall to draw traffic through. The

Sound, sculpted for your space. Infinite possibilities with steerable sound.

Deus ex machina

Scott Sugden, director of production management, solutions at L-Acoustics, discusses

how machine learning can be used to develop tools that give artists unprecedented creative freedom, such as the recently developed L-Acoustics DJ

DEEP LEARNING HAS REVOLUTIONISED MUSIC demixing in recent years, ushering in significant advances. Yet a critical gap remains: despite these breakthroughs, minimal attention has been paid to adapting these powerful neural networks for real-time, low-latency applications. Such innovation isn’t just incremental; it promises to unlock transformative capabilities for everything from enhancing hearing aids to revolutionising live audio production and dynamic remixing. Audio source separation is the process of separating a mixture of audio into its individual components. This can be useful in music production, experience creation, speech enhancement, source separation, dereverberation and as a pre-processing step for sound event detection. Music source separation (MSS) –also known as demixing or unmixing – offers powerful control over audio, allowing the balance within a track to be precisely adjusted. This means you could make vocals louder, suppress an unwanted sound, alter an instrument’s spatial location, create loops from individual parts, enable object-based mixing or even transform a 2-channel stereo recording into a multichannel surround sound experience. In recent years there has been considerable interest in utilising deep learning for MSS, resulting in substantial improvements in separation quality. These studies have modelled MSS as a supervised learning problem where the constituent components are known beforehand, for example vocals, drums and bass. However, the computational cost and latency of these models are generally high, making them suitable for offline tasks and studio productions but not for real-time, lowlatency scenarios.

Our research into low-latency audio processing continues across multiple fronts. The fundamental technology we’ve created – audio source separation with just 19ms of latency –represents a significant breakthrough that can enhance many aspects of professional audio, unlocking a range of applications and solutions that were once thought of as impossible with sound. This performance is achieved through a distinct training process that sets L-Acoustics DJ apart from the generative AI approaches that have recently been in the spotlight. Unlike those models, which often contend with complex content acquisition and usage considerations, our approach utilises a hybrid neural network architecture known as the HS-TasNet. This combines two parallel processing paths, one analysing spectral

characteristics using traditional frequency domain analysis while the other directly processes raw waveform data.

L-Acoustics DJ learns to recognise the mathematical signatures that distinguish instruments like drums from bass, or vocals from other elements, based purely on their acoustic properties rather than their musical content. This distinction is crucial: our networks are trained on the fundamental physics of sound separation, not on replicating existing musical works. Based on their spectral characteristics, the algorithm learns to identify and isolate different instrument types. It’s essentially taught to recognise the distinct acoustic “fingerprints” of various sound sources. This allows it to work with any musical content without requiring prior knowledge of that specific content.

The real technical challenge, however, was achieving this sophisticated separation in live music environments with minimal latency. Traditional methods either took too long to process or introduced audible artefacts. Our hybrid approach achieved a signal-to-distortion ratio of 4.65 with only 19ms of processing delay – fast enough for live performance applications. One of the critical tenets was to be as accurate as possible to the original; the separated sources, when recombined, are identical in both content and quality.

L-Acoustics DJ is a tool for “creative empowerment” not “creative replacement” and this critical distinction guides its very purpose. We’re giving artists new tools to express their own creativity, not automating the creative process itself. L-Acoustics DJ is not generative AI; it doesn’t create new musical content from existing works. Instead, it provides new ways for artists to manipulate and present their own original compositions, working exclusively with their own content or music they have the rights to use. The technology doesn’t learn from, replicate or recombine existing copyrighted works, it provides new technical capabilities for manipulating audio that artists already own or control. Imagine this technology as a revolutionary new mixing console or audio effects processor. These are not tools that replace the artist; instead, they expand what artists can achieve with their own material. Crucially, the creative ownership remains entirely with the artist, who can conceptualise and utilise entire physical spaces as dynamic instruments. Picture a DJ taking a standard stereo track and, in real-time, positioning individual elements throughout a 3D environment: a bassline sweeping through the venue, intricate call-

and-response effects echoing between different zones or tension building as musical elements gradually envelop the audience. These aren’t just technical improvements; they’re entirely new forms of artistic expression. Just as the electric guitar enabled musical genres that were previously impossible, real-time spatial audio manipulation could inspire new artistic movements we haven’t yet imagined.

The key is to expand the creative palette available to artists, not limit it. When you give creative professionals new technical capabilities, they invariably find applications you never anticipated. The most exciting possibilities may be ones we can’t foresee, emerging from the intersection of human creativity and enhanced technical capability. When artists have access to real-time manipulation of complex audio sources, entirely new forms of immersive, interactive musical experiences become possible.

www.l-acoustics.com

L-Acoustics DJ gives artists tools to express their own creativity

Scott Sugden at an L-Acoustics Keynote 2025 event

Concept sparks innovation

Richard Lawn meets the driving forces behind Malaysian AV distributor and integrator, Concept Associates

ESTABLISHED ON THE ISLAND OF PENANG OVER TWO decades ago, Concept Associates has grown to become one of Malaysia’s leading pro audio players. Opening the new Budiman Business Park headquarters in Kuala Lumpur’s south-eastern suburb of Kajang was a milestone for the company, as founder Andy Tan testifies. Together with managing director Castrit Lim, he is now fixing his sights firmly on the road ahead.

Lim joined Concept Associates in Penang as a sound and lighting technician in 2003 and was encouraged by Tan to assume more responsibility in sales and managerial roles. Having built strong relationships with key industry players in its formative years, Concept Associates has established a reliable reputation, continuing to serve a broad spectrum of industries that require professional AV solutions. The company’s diverse customer base includes systems integrators, consultants, rental companies, houses of worship, educational institutions, AV retailers and corporate clients across all nine Malaysian states.

A rounded portfolio of audio brands includes Nexo, Shure, Quest, Powersoft, JBL Entertainment Sound, LD Systems, Gravity, Clear-Com and Yamaha. More recent distribution agreements were signed in 2023 with Aver, Q-SYS, Neutrik and Spartan. Over the years, Concept Associates has built up its strength and reputation as an audio specialist before more recently expanding into cameras and lighting.

“Having progressively expanded our brand portfolio, we have continued to secure distribution and reseller agreements with leading global manufacturers,” explains Lim. “We have experienced significant growth over the past decade by maintaining a focus on distributing best-in-class equipment. This has led to continued reinvestment because AV equipment distribution is not related to sales alone.”

Located several kilometres away from the warehouse and showroom, a small three-level shophouse in Cheras served as the company headquarters for almost 20 years. Growing pains and inefficiencies led Concept Associates to open a new facility in Sungai Long, Cheras. Serving as a catalyst for continued growth,

the entire team now works here. The larger location serves as a dynamic space for demonstrations, warehousing, training sessions and live product presentations, marking an exciting new chapter for Concept.

“Our new 600m2 headquarters and offices are more than just a workplace,” explains Tan. “This move reflects our commitment to providing enhanced services, logistic capabilities and support to our clients and partners. The dedicated demonstration space allows clients to experience our products first hand, and the educational facilities provide comprehensive technical training to both partners and customers. Whether it’s a live show or a big install they are working on, our customers work in very demanding, face-to-face environments, where failure won’t be tolerated. We appreciate that technicians and engineers require up-to-date training, excellent service and rapid problem-solving assistance.”

Coinciding with consistent expansion of its service offerings and customer base, Concept Associates has focused on specific recruitment. “We value both experienced professionals and promising young talent,” says Lim. “Experience provides valuable industry knowledge and expertise, while youth brings fresh perspectives and adaptability to new technologies. All our employees demonstrate a strong work ethic, a passion for the AV industry and a commitment to continuous learning. Attracted perhaps by our favourable working hours and conditions, some of our experienced engineers are industry veterans who originally worked for some of Malaysia’s most reputable rental production companies. Our high standards in after-sales servicing supports a wide variety of customers, ranging from musicians to government institutes.”

The current service centre setup with an extensive stock of spare parts is staffed by four experienced engineers who oversee repairs of equipment including lighting fixtures, loudspeakers and digital mixing consoles. “The authorised service centre was one of the major factors behind centralising our operations,” Lim continues. “As we are in the electronics business, we must offer peace of mind because electronics eventually malfunction. Following on from

Looking ahead, Lim envisages Concept Associates as a leading provider of comprehensive AV solutions for the region. “We aim to expand our market share, strengthen our brand presence and enhance our service offerings,” he asserts. “To remain at the forefront of the AV industry and provide exceptional value to our customers and partners, we must continue to invest in technology and innovation, as well as in our team.”

www.conceptaudio.com.my

A Yamaha/Nexo collaboration event with Concept Associates

Concept Associates managing director Castrit Lim

Sales and marketing staff brainstorm ideas in a Shure huddle room

The new Concept Associates headquarters in Kajang

Where India is Shaping the

DIGITALFORWARD FUTURE

CONNECT WITH US

India’s Premier Pro AV and Integrated Experience Event

Global Innovations Unveiled

Cutting-Edge Technologies Where Industry Leaders Converge

Amplified control NEWPRODUCTS

LA1-16i

Building on the LA7.16i, L-Acoustics has unveiled the LA1.16i 16-channel amplified controller

THE LA1.16I from L-Acoustics is an ultracompact 16-channel amplified controller specifically designed for the installation market. It delivers “unmatched” channel density in a 1U format and is suitable for near-field applications requiring lower sound pressure levels, such as hospitality venues, retail environments, cultural spaces and residential installations. Its high channel count can deploy large quantities of speakers – for example, up to 48 X4i compact enclosures – and it incorporates L-SMART power management technology that intelligently matches real-time power delivery to the needs of the loudspeaker system. This is said to optimise efficiency and ensure reliable performance while reducing energy consumption compared to traditional amplifier designs.

systems through Q-SYS plugins, Crestron modules and HTTP API.

Processor II and P1 networked audio processor – with purpose-built software featuring an updated L-ISA Controller with L-Acoustics DJ App, LA Network Manager and Soundvision. The user interface allows DJs to create dynamic movement, depth and dimension without requiring extensive technical knowledge. Artists can position beats, basslines, melodies and vocals throughout the physical space, crafting immersive audio that transforms ordinary performances into extraordinary multidimensional experiences.

The LA1.16i can be used in front-fill and delay systems, distributed background music systems, and L-ISA spatial audio and Ambiance active acoustic installations. For network integration, the Milan-certified controller supports Milan-AVB and AES67 audio network protocols with seamless redundancy, alongside AES/EBU and analogue inputs. Installation-friendly features include terminal block connectors for all audio outputs, GPIOs for third-party control system integration and a 24V DC backup power input for the DSP card. It is remotely configurable, monitored using L-Acoustics LA Network Manager software and offers integration with popular media control

L-Acoustics DJ transforms standard stereo into dynamic, three-dimensional soundscapes. The proprietary Source Separate low-latency machine learningpowered technology separates stereo music into multiple discrete stems – live – routing the stems into a spatial mix engine to enable positioning and movement throughout the venue. The system integrates with digital and analogue DJ setups, requiring no changes to existing gear or techniques. DJs can control the immersive experience themselves or work with a dedicated spatial audio engineer. The technology delivers a comprehensive ecosystem that combines specialised hardware – including L-Acoustics loudspeakers, amplified controllers, L-ISA

Meanwhile, Soundvision Connect is a cloudbased platform that will expand the reach of the manufacturer’s Soundvision 3D sound modelling software. This platform connects audio design in an intuitive environment and will enable fast collaboration that produces technically precise systems that can be aligned with the needs of each project. It transforms complex sound designs into interactive 3D experiences that are said to be easy to explore and understand.

L-ISA 2025 is the latest evolution of L-Acoustics’ immersive audio technology, introducing Sound Spaces to allow designers to create and mix into multiple spatial audio environments within a single project. L-ISA 2025 supports up to eight discrete Spaces, each with its own system arrangement managed from a single L-ISA Controller session and a single L-ISA Processor II.

www.l-acoustics.com

L-Acoustics DJ

Image courtesy of Maria Zhytnikova, Red Flame Creations

The start of a new era

AIMED AT simplifying audio setup and operation for production events, EAW’s NT206L is the first in the manufacturer's NT Series of next-generation speaker products. According to the company, the compact NT206L self-powered line array loudspeaker differs from conventional compact line arrays. In addition to a patented EAW waveguide that leverages the manufacturer’s Focusing technology, the NT206L debuts an EAW Core Technology called Adjustable Horizontal Directivity (AHD), enabling users to quickly choose between four horizontal coverage profiles through simple hand-operated adjustments

GERMAN MANUFACTURER

ic audio has released a wall-mounted speaker for cleanrooms and demanding environments. Thanks to the company's exciter technology, the WA 06-77/T CLR is fully encapsulated, preventing airborne dust particles and ensuring a dustproof housing (IP67). Despite its compact size, the manufacturer reports that the 6W speaker offers extremely high speech intelligibility. The housing is made of impactresistant and UV-resistant ABS plastic (UL94V0) with a smooth front panel that is also wipeable. The speaker is resistant to high humidity and allows for maintenance-free operation. Available in RAL 9016, the unit meets Cleanroom Class 1 according to ISO 14644-1.

Meanwhile, the DL-SE-AB 06-200/T-EN54 is an A/B line ceiling speaker with metal fire dome for voice alarm applications, certified according to EN 54-24 and suitable

for voice announcements and background music. It comes with two independent speakers and 100V transformers to enable an economic operation of two separate speaker lines (A/B lines) for the highest security demands. In case of a failure of one speaker line, the redundancy of the speakers and the transformers reportedly provides unimpaired function. The double 6W powered speaker is equipped with two full-range loudspeakers and two 100V transformers with three power adjustments each. The powder-coated metal in RAL 9016 provides longterm stability. For additional reliability, the speaker is impregnated against moisture. It can be installed quickly and easily with the WAGO 221 connector and comes with strong spring clamps with protective caps for vibration damping.

www.ic-audio.com

THE MP (Mini Power) Series of compact line arrays from HH Audio has been created for small-scale touring and fixed installation sound. Designed to deliver high SPL sound in a portable and simple format, the series consists of the MP42 quad 5-inch 2-way passive line array loudspeaker and the MP2P double 12-inch passive subwoofer. The MP42 and MP2P pair together seamlessly via either the integrated pin-based rigging system or pole-mount socket.

The Prince Series consists of a selection of line array, point source and subwoofer enclosures. The PS5 5-inch, PS6 6.5-inch, PS8 8-inch, PS10 10-inch, PS12 12-inch and PS15 15-inch single passive 2-way point source speakers combine with the LA10D double 10-inch and LA8D double 8-inch units. In

Designed for production companies seeking fast, flexible deployment of loudspeakers, the NT206L weighs under 14.5kg which EAW says is lighter than most passive, plastic enclosures in its class. It plays up to 139dB, goes low (65Hz–20kHz) and features familiar analogue inputs and controls without the need for complex audio networking. Housed in a Baltic birch, steel and aluminium enclosure, the loudspeaker includes a comprehensive assortment of accessories for transport, stacking, pole mounting and rigging.

www.eaw.com

Immaculately clean audio Power to the max Signature sound

THE BR118.2 features the latest Funktion-One bass-reflex developments. Improved port d esign minimises turbulence, reducing distortion and delivering an extra level of depth and definition. The dual aspect handles and cabinet skirt are said to make handling and setup easier, while interlocking locator feet provide secure stacking in all orientations. The bass-reflex range is recommended for indoor venues and smaller outdoor events where Funktion-One’s signature bass sound is required at close range.

The SB212LP is a versatile installation bass speaker that provides powerful low-frequency extension for Funktion-One compact systems. Its low-profile design and corner-mounted

S18-H single 18-inch and S15-H single 15-inch passive line array subwoofers, along with the S28 double 18-inch, S15 single 15-inch and S18 single 18-inch subwoofers. The series is completed by the M15 single 15-inch passive stage monitor.

The Royal Series comprises passive line array enclosures (L2-Array, L3-Array and L4-Array), passive subwoofer enclosures (GSE, GSE-H, GSS and GSD), passive 2-way point source loudspeakers (H8, H10, H12 and H15), constant curvature arrays (F1-Array and F2-Array), passive array point source loudspeakers (P2-Array and P3-Array) and a passive 2-way stage monitor (UM1). Finally, the compact MZ-140DX has been added to the manufacturer’s MZ Series of multi-zone amplifiers and can be deployed

input panel make it suitable for installation under seating and against walls. The SB212LP combines with the F101.2 and F1201.2 as the low-frequency reinforcement in a standalone full-range system.

The SB12 is said to provide a powerful and involving bass listening experience. Small enough to fit into tight spaces, it has been designed for distributed audio solutions where strong low frequency is required. The SB12 works with the F81.2 and F101.2 as the low-frequency reinforcement in a standalone full-range system.

Finally, a full release of the manufacturer’s Projection v1.0 software enables users to build complex venues in 2D and seamlessly add arrays, individual loudspeakers and

microphones to optimise both mechanical and electronic array settings. The software’s 3D view also enables SPL calculations, providing a comprehensive visualisation of the design and allowing for more precise adjustments. Projection v1.0 features two 3D SPL calculation algorithms and introduces a wavebased low-frequency model. This technology fully predicts linear wave behaviour, including reflections, diffractions and occlusions, which Funktion-One says ensures accurate performance simulations. For frequencies above 160Hz, the real-time point source model delivers immediate and accurate insights into

www.funktion-one.com

drivers with 2-inch voice coils, a

1.75-inch high-frequency driver and boasts 1,500W of onboard power.

Prince Series BR118.2

RCF extends on all fronts

DELIVERING INTELLIGIBILITY within an IP55-rated and corrosion-resistant polyurethane enclosure, the X Series is the latest range of RCF multipurpose, passive 2-way loudspeakers. Utilising a 12-inch woofer and a 1-inch compression driver with a 1.4-inch voice coil compression driver coupled to a 90° x 70° constant directivity rotatable horn, the X-MAX 12 is capable of 800W program power handling. Operating within a 60Hz–20kHz frequency range, the 12-inch model can produce a maximum SPL of 129dB dispersion. Housed in a plywood cabinet and finished in a black textured acrylic paint, the X-MAX 12 incorporates installation points on the rear, top and bottom panels.

Similarly equipped with a rotatable horn providing a 90° x 70° dispersion pattern, the smaller 10-inch X-MAX 10 delivers a maximum SPL of 128dB across a 65Hz–20kHz frequency range. Rated with 700W program power handling, the full-range passive speaker incorporates an LICC crossover design with

added electronic protection on the highfrequency device.

Currently available in 12- and 15-inch versions, the Compact C WP Series of multipurpose speakers are suitable for both near and mid-distance applications.

vertically. Rated with a 700W power handling (RMS) to produce a maximum SPL of 138dB, the C 45 operates within a 48Hz–20kHz frequency range. Housed in a birch plywood cabinet and finished with a polyurea

speakers

maximum SPL of 137dB, the C 32 operates within a 54Hz–20kHz frequency range. With the optional HN-KIT Compact C 32 C 45 accessory, speaker horns can be replaced and directivity changed to either 100° x 25° or 60° x 25°.

Designed for ceiling-mounted applications, the CMR Series has been extended with the addition of the CMR 30 and CMR-S 60T models. Providing 130° of omnidirectional coverage, the CMR 30 full-range speaker delivers BGM and intelligible speech within a 70Hz–20kHz frequency range. The discreet CMR-S 60T boosts low-frequency support.

www.rcf.it

SoundTube releases Danteenabled ceiling speakers

THE ARCLITE 15B mid-bass extension from Void Acoustics is available with or without rigging to ground stack or fly beneath its Arclite speakers. The mutually coupling 15-inch LF driver has been designed to extend system output over the working frequency range of 45–569Hz. It comes with a high power handling of 1,000W at 8Ω, a 4-inch voice coil with dual-forced air ventilation for reduced power compression and an NL4 speakON input with link-through capability. The Arclite 15B also features a rear-mounted snap-back spring shackle for versatile rigging when paired with the Arclite loudspeaker. It can function as a standalone mid-bass enclosure for small to medium-sized Void loudspeakers and includes an M20 mounting point for added flexibility.

Meanwhile, the Air 12 loudspeaker is a passive, 2-way system consisting of one high-power 12-inch LF transducer and a 1-inch coaxial HF compression driver

mounted in a direct-radiating, reflexloaded enclosure. It is constructed from low-resonance fibreglass composite with a smooth cellulose finish and includes integral threaded inserts for fitting mounting hardware. The speaker has a frequency response of 92Hz–20kHz (±3dB) and a power handling of 400W AES at a rated impedance of 8Ω. Wiring connection is via a single removable lockable wiring connector with four screw-down terminals (one pair for input and one pair for loop-out to another loudspeaker) to provide secure wiring and to allow for pre-wiring of the connector before installation. The Air 12 features a neodymium magnet structure and is constructed with a resonant-free, heavy-duty basket with a 3-inch voice coil, wound with copper wire on a high-quality former for high power handling and longterm reliability.

www.voidacoustics.com

BUILDING ON the CM-BGM-II-US series launched last year, the Dante/AES67 IPenabled PoE IPD-CM62-BGM-II-US speaker from SoundTube features a 6.5-inch coaxial woofer with a 1-inch silk dome tweeter. It also comes with BroadBeam Ring technology, while a tuned port on the baffle provides smooth off-axis performance, midrange clarity and bass response to 60Hz (–10dB). Low-latency digital audio, power and control are delivered to the speaker via standard category cable. The speaker requires a 10.5-inch hole cutout and has an 11.75-inch overall diameter when viewed from below. It comes in a lime green enclosure.

www.soundtube.com

DESCRIBING IT as the ideal drop-in replacement and upgrade solution for a wide range of 8-inch mid/bass applications, the Truvox 0820 from Celestion is an 8-inch

cabinets or as the mid-bass/midrange element in larger, 3-way systems. Its industry-standard fixing dimensions ensure simple drop-in replacement, and it is supplied with front and rear mounting gaskets for

Standout features include a greater maximum stability thanks to its triple roll surround, enabling a greater Xmax of 5mm while ensuring stability at extremes of excursion, the lightest weight in its product class at 3kg, maximum energy transfer thanks to a robust pressed steel chassis, a power rating of 250W (500W peak) and

The 8Ω-rated driver has a frequency response of 70Hz–6kHz and utilises a ferrite magnet, a 2-inch copper voice coil with a polyimide former and a cellulose cone with a cloth-sealed surround.

Arclite 15B

Hortus Audio redesigns its OT-13 speaker

HORTUS AUDIO updated its classic OT-13 and unveiled the OT-13 CB and OT-13 CW. According to the manufacturer, both models bring the same highperformance audio in a more accessible, modern design.

Part of the manufacturer’s Otarkio series, the OT-13 has a 140Hz–18kHz frequency response (–6dB) and a 1W@1m

ICOA

efficiency of 88dB. It has peak power of 40W, 21.8cm x 19.8cm and weighs 1.48kg.

Enter the Dragon

most demanding users in terms of sound and design”.

THE IP43-RATED Dragon-KXT18P is a passive triaxial full-range element that acts as the larger counterpart to the KXT12P. Its 18-inch woofer is paired with two coaxial compression drivers – a 2-inch HF and 4-inch MF unit – offering 144dB SPL and supporting a broad frequency range that reaches down to 48Hz. Crafted with a birch plywood cabinet, the KXT18P’s mesh grille can be removed to showcase the coaxial horn as a distinctive design element. Weighing 41kg and designed for high-energy venues, installations and live events, the Dragon-KXT18P has a 1,600W (LF) and

Pro gets right down to business

LD SYSTEMS’ ICOA PRO series has been further developed to include two active full-range coaxial speakers for bands, musicians and DJs or dry-hire and commercial customers, and a new active 21-inch bassreflex PA subwoofer. The ICOA PRO series is characterised by its use of modern connection and control options via Bluetooth 5.1 in tandem with the specially developed ICOA PRO smartphone and tablet app

The ICOA PRO 12 A and ICOA PRO 15 A full-range PA systems are based on a coaxial speaker design featuring a 12- or 15-inch woofer and a 3-inch HF driver. A BEMoptimised, rotatable CD horn ensures precise dispersion of 90° x 50°. Additional bass-reflex ports enable the speakers to reproduce a full range down to 50Hz. The integrated Class-D power amplifier delivers 2,000W for the ICOA

Nexo builds on Alpha Series

THE ALPHA + is a hybrid source sound reinforcement system that draws on the original Alpha Series while applying new technologies to optimise performance and flexibility. The three-box system consists of the M210 main, B218 bass and L20 sub-bass modules. The M210 is a horn-loaded double 10-inch cabinet with four 3-inch HF compression drivers; the B218 is a horn-loaded double 18-inch module; and the L20 is a band-pass single 20-inch unit taken from the existing P+ Series range. With a comprehensive package of hardware available, stacked and installed systems of various sizes can be configured with the main and bass modules which would typically be used in a 1:1 ratio.

The continuously varying horizontal directivity from 60° at the top of the M210 to 120° at the bottom can be modified to 90°/120° or 60°/60° using flanges, and the waveguide block can be “unlocked” and its articulation changed from narrow vertical coverage (0°/–20°) to wide/standard (+20°/–20°). The NXAMP4X4Mk2 provides the ideal amplification and processing platform – a basic stacked system of one M210, one B218 and two L20 left and right

ABS housing with various rigging and mounting options. The PRO models have a newly designed control panel on the back, with a 2.4-inch colour display and a single controller for intuitive menu navigation. The ICOA PRO SUB 21 A is a highperformance bass-reflex subwoofer with integrated Class-D amplifier, outputting 3,000W peak power and 136dB SPL maximum level. It’s capable of reproducing frequencies down to 29Hz with its combination of 21-inch woofer, 4.5-inch voice coil and neodymium magnet. Despite its power, it remains compact (a 21-inch sub in an 18-inch format), combining maximum power with a handy size.

www.ldsystems.com

ComTech D Series

Compact Power Sharing Amplifiers with DSP and Dante ®

The all-new Crown ComTech D Series amplifiers are designed for versatility, flexibility, and ease of installation. With 2, 4, and 8-channel configurations, Dante inputs and outputs, built-in DSP, power sharing, Lo-Z/Hi-Z switching, and a simple to use web configuration interface, ComTech D amplifiers are ideal for meeting the changing demands of diverse installed audio applications. Learn more at crownaudio.com

A tasty 10-inch sub EVIVA elevates power

ELECTRO-VOICE HAS designed the EVIVA family of portable powered loudspeakers for DJs, musicians, houses of worship, small venues and startup production and rental companies. The series comprises the 12-inch EVIVA 12P and 15-inch EVIVA 15P 2-way loudspeakers, along with the EVIVA 18SP 18-inch subwoofer. The 2-way models come with a custom-designed, high-energy neodymium high-frequency compression driver, as well as Electro-Voice’s patented SST (Signal Synchronized Transducers).

Both the EVIVA 12P and EVIVA 15P offer a 90° x 60° (HxV) coverage pattern, delivering clean, even sound across the audience area. The 12P has a frequency range of 50Hz–20kHz (–10dB) and a maximum SPL of 125dB, while the 15P has a wider frequency range of 45Hz–20kHz (–10dB) and has a higher maximum SPL of 126dB. Supplementing the low frequencies, the 18SP takes the frequency response down to 38–200Hz (–10dB) and has a maximum SPL of 132dB. All units feature a 1,000W amplifier with a 2-channel analogue input section. Control comes with gain knobs for level adjustment and switches for mode changes between Music and Live. With the 12P and 15P, there are also switches for high pass changes between No Sub and With Sub EVIVA 18SP, while with the 18SP there are switches for low pass between 100Hz 12P/15P and 150Hz, and polarity between Normal and Reverse. The loudspeakers feature an auto-switching universal 100–240V mains voltage input and are powered via an IEC mains input.

Four in one

The 18SP offers two XLR/TRS combo jack line inputs as well as a pair of XLR pass throughs. Meanwhile, the 12P and 15P are equipped with two XLR/TRS combo jack mic/ line inputs, an XLR mix output and Bluetooth audio streaming with switchable mono/stereo mix output.

www.electrovoice.com

DBTECHNOLOGIES HAS released A2Net, a digital audio and control protocol that enables signal transmission over a single cable. The first devices compatible with A2Net are the Control24A controller and the ACU-1 expansion card.

with digital audio transmission. It controls up to 64 speakers equipped with ACU-1 cards, with connectivity via USB-C or TCP/IP (etherCON). The unit comprises four XLR inputs, configurable as analogue or AES/EBU digital inputs, two XLR outputs for AES/EBU

FEATURING TWO opposing-facing 10-inch woofers, the SUB210 from US speaker specialist 1 Sound is a 1,200W singlechannel subwoofer delivering a bass response down to 35Hz, and with a maximum SPL of 128dB. Designed for positioning parallel or perpendicular to walls, the IP55-rated SUB210 has eight M10 rigging points for hanging and can accept a recessed Pole Cup for mounting satellite speakers using 1 Sound’s Active Speaker Tubes or an industry-standard M20 screw-in pole. At only 12 inches wide, the sub weighs less than 30kg and is available with custom colours and fabrics.

www.1-sound.com

Bose speaks the truth

CONSISTING OF the 2160BH, 2160BL, 1100BH and 250BL, the Veritas series is Bose Professional’s next generation of smart mixer amplifiers that provide background/foreground music, paging and multimedia to commercial spaces. Features include up to 30 selectable loudspeaker EQ presets, Bluetooth connectivity and

easy setup, configuration and control. A quick-start QR code is embedded in the OLED screen which directs users to a selfguided webpage for simple installation and operation. Veritas amplifiers support up to four zones and are compatible with both distributed 70V/100V and low-impedance systems.

and efficient”.

The signal transmission follows a classic point-to-point cabling architecture, using Cat5, Cat6 or Cat7 cables. For additional reliability, an analogue XLR connection serves as a redundant backup. In the event of a digital signal failure, the system automatically switches to the analogue signal without audible interruption.

The Control24A is the first dBTechnologies control unit designed natively for A2Net. It integrates audio and network management into a compact solution, expanding RDNet functionality

for speakers equipped with DIGIPRO G4 amplifier modules. A2Net ensures a high level of operational security by automatically switching to analogue inputs and outputs as a backup in case of a digital signal failure. The “True Bypass” function guarantees that the audio signal continues to flow, even if a speaker in the signal chain loses power. The system is fully compatible with RDNet, allowing hybrid setups where both RDNet and A2Net devices can be used together. Control is managed via Aurora Net software.

www.dbtechnologies.com

Compact power for portable sound

WORK PRO’S PulseDrive Series is a family of compact, easy-to-carry DSP amplifiers. Ideal for a range of portable sound reinforcement systems, there are four models in the series: the PulseDrive 602 (2x300W channels), PulseDrive 1002 (2x500W channels), PulseDrive 1204

configure parameters including EQ, delay and compression. Each amplifier can be controlled via an onboard OLED display or from a PC, with an encoder giving simple navigation of DSP settings. The range also features LAN connectivity for remote control and monitoring via PC software. The PulseDrive Series runs on

Control24A

COMBINING UP to six IEM (in-ear monitor) transmitter signals into one feed via a single external antenna, the Combine6 IEM transmitter combiner from RF Venue features a passive expansion circuit. It can be connected to a second unit to offer a total of 12 IEM channels in a single rack unit. HDR – or High Dynamic Range –reduces noise caused by intermodulation distortion and can enhance wireless microphone performance when sharing the same RF spectrum as IEMs. Designed for use with any brand or model of wireless microphone, the Distro5 HDR antenna and power distribution system incorporates low-noise figure amplifiers that deliver HDR across the spectrum. Building on the legacy of the Distro4, the Distro5 HDR delivers buffered antenna signals for up to five channels of wireless mic receivers. Housed in a ½-rack unit, up to nine channels

RF Venue widens its appeal across the spectrum ARX finds the right balance

equipment. An Octopus power cable uses the internal power supply to provide up to five amps of DC current to power devices, while a 12V DC power input for battery-

ARX HAS released the USB DI, a plugand-play, 24-bit, high-resolution digital to analogue pro audio interface. According to the manufacturer, it removes the need to use any existing sound card outputs, with their inherent noisy environment

Omni keypads combine simplicity with customisation

DESIGNED FOR integration into the BSS Omni signal processing and AMX Muse automation and control environments, BSS has created the Omni keypads. Featuring dynamic programmable LCD buttons, the Omni keypads support full-colour images and multiple states. In addition to promoting customisation, the keypads aesthetically blend into modern interior designs, without sacrificing functionality.

Enabled by Harman’s AVX Suite, the keypads can be configured and managed through the unified software platform. By adopting Harman’s HControl protocol, the keypads communicate natively with BSS Omni DSP

processors and I/O expanders or AMX Muse automation controllers, and are compatible with AMX NetLinx or third-party control platforms. Incorporating PoE connections to simplify cabling, the keypads are currently finished in black or white. Available in tabletop and wall-mount configurations, the three tabletop models come in 6-button, 6-button with rotary control and 8-button with rotary control variations. Wall-mount models are compatible with worldwide variations of single-gang electrical boxes and include 6- or 8-button layouts with optional rotary control or a rotaryonly configuration.

pro.harman.com

stores and retrieves RF spectrum data for the simplified monitoring and optimisation of wireless microphone and IEM systems in the 400–700MHz band. Saving data in

its internal storage, time-stamped CSV files can be retrieved directly via USB drive or accessed remotely over a local network. The Spectrum Recorder can be directly connected to a wireless microphone antenna system to capture an RF environment snapshot for analysis and logging. Using its supplied whip antenna, the spectrum data can be captured for a site survey. Battery ready, the portable Spectrum Recorder includes PoE capability and an Ethernet connection. Data can be uploaded to RF Venue’s web-based Wireless System Builder tool for system design and frequency coordination worldwide or imported natively to third-party software.

www.rfvenue.com

and problematic grounding. The interface features full transformer balanced output isolation to eliminate earth loops/ground hum and other extraneous interaction noise and distortion.

The USB DI installs as a fully compatible, generic USB audio device, requiring no special driver program installation on macOS, Windows XP and Windows 7, 8 and 10. The front panel has a Type B USB input connector and two transformer balanced analogue audio XLR line out connectors for connecting to any standard balanced analogue input. A status

LED on the front panel indicates that the USB DI is connected and operating.

The unit is housed in a heavy-duty steel chassis finished in a matt textured powdercoat, with hardwearing epoxy screen printing and slip-resistant rubber pad. It is suitable for interfacing any USB-equipped computer (especially notebook computers) with the balanced inputs of professional sound systems. It is available in dual-channel format and includes a USB-A to USB-B cable.

www.arx.com.au

Licence updates from DirectOut

A RAV.IO and RAV.SRC.IO 256 channel-mode upgrade and an NMOS Out-of-Band (NMOS OOB) network functionality upgrade have been announced by DirectOut.

The 256 channel-mode for the RAV.(SRC.)IO will double the capacity of the network audio module. The module-bound licence upgrade means that licences can be installed on multiple host devices and will automatically activate only when the licensed RAV.SRC.IO or RAV.IO module is inserted. This is said to increase the flexibility and performance of the Ravenna stack, being able to max out physical limits, while saving budget. The manufacturer’s HD SRC is

boundaries while maintaining signal integrity with 1ms of latency.

The second addition to the DirectOut licences is the NMOS OOB service. For many years, RAV.IO and RAV.SRC.IO modules have supported NMOS standards IS-04 and IS-05 for device discovery, registration and stream connection. By adding the NMOS OOB licence to the PRODIGY or MAVEN.A, additional access to the NMOS stack via the management network interface of the host device is granted. This allows the system designer to integrate node discovery and stream configuration in a separate control network that is independent of the media network.

AUDINATE HAS expanded its Dante AVIO range with the Dante AVIO Install series of adapters. Available in 2-channel analogue input and output versions, the adapters have been designed for seamless integration into installed Dante-enabled systems, integrating legacy analogue equipment and enabling new connections. Features include Euroblock terminals, the Dante AVIO ClickGrid mounting system, and flexible and clean mounting options, adaptable to under-table, shelf or rack installations. The compact, PoE-powered devices offer sample rates of up to 96kHz, 24-bit audio resolution and ultra-low latency. The adapters have been designed for meeting rooms, classrooms, houses of worship and performance venues.

The manufacturer has also announced the availability of telemetry monitoring and retention features for Dante Director. As a result, the cloud-based SaaS tool now

enables the collection and retention of device latency for up to 30 days, viewable in a convenient time-series chart that displays latency spikes as they occur. Latency can be compared across multiple channels using mini-charts, enabling administrators to quickly scan for patterns between various channels. With a better understanding of latency on a device channel level, administrators can explore the network and identify if latency is being introduced between devices. This enables the efficient replacement of any defective cabling or switches or even the potential for rewiring to establish more efficient signal connections. In brief, Dante Controller v4.15 is now available. The update includes support for Dante media encryption and the ability to select and copy information from tables in Dante Controller.

www.audinate.com

Energy to the core

KLOTZ AIS has released the EC1-1625G4 Energy Multicore, designed for indoor and outdoor mobile events, productions and media applications, in compliance

Tasker goes on tour

TASKER HAS created a series of audio, video and data application cables for external mobile use, designed for continuous winding and unwinding on professional cable drums. The C128 PUR can be used to perform balanced audio in

The C282 Super is a strong 8x4mm² speaker cable manufactured with a crown-shaped grouping around a central PE filler that gives it a solid but also flexible structure, essential for customers involved in mobile and rental installations.

use in multi-amplifier systems and is 100% compatible with L-Acoustics SC32 cables. It is equipped with RMP 37p metal connectors with silver-plated contacts and transparent shrink sleeves on both sides for free labelling.

The LP321XY4D breakout adapter provides a secure connection for the LP321XY1M. The robust design provides reliable speaker wiring demanding live stage environment.

Thanks to its clear layout and easy handling, setup and teardown times during live operation are said to be significantly reduced. The base is the LSC3215YS LS-Multicore Xtreme cable, assembled with the durable 37p RMP M connector on one side and a 4x 8p PA-COM F resolution at the fanout.

LP321XY4D adapters are available with either an ultra-durable SGB metal strain relief at the fanout or a braided sleeve as a cost-

The PowerLink Box is a robust and easy-touse power distribution system that has been specially developed for use in harsh stage environments. Equipped with one powerCON

TRUE1 input and five powerCON TRUE1 outputs, the LV-NM5F box offers a current carrying capacity of up to 16A at 250V. This high-quality connector is characterised by its locking system and can be safely plugged in and unplugged even under load.

Despite its lightweight design, the 1.5mmthick aluminium housing can withstand even the highest mechanical loads. A matte black powder coating provides reliable protection against external hazards.

LAN cables allow users to transmit digital

suitable for digital audio applications on the Dante protocol, passing through the C728

(24/7 AWG) section designed for HDBaseT transmissions, ending with the C726 PUR, a Cat7 cable with a diameter of only 6mm, or its bigger brother, the C726 PUR Super, a Cat7A cable that allows a data transmission speed

In the broadcast sector, the T42 PUR has a flexible coaxial cable with formation and a double braid shield in tinned copper OFC which allows 12G-SDI video transmissions up to 70m. The T442 PUR contains four T42 PUR, without losing any flexibility or softness, while the TR11 PUR Extra Flex is a triaxial cable with a silver-plated conductor and

Finally, the SEW cable series has been designed for wireless systems and can be provided with Neutrik Silent Plug connectors for noiseless instrument changes during live performances. For secure connections at the bodypack, the cables use screwable Switchcraft mini-jack connectors. On the instrument side, a variety of jack connector options are available, each with 24-carat gold-plated contacts for nearly loss-free

LP321XY1M

transmission. In demanding live situations, the SEW series provides a secure cable connection between the Sennheiser Evolution Wireless System and the connected devices at all times.

www.klotz-ais.com

Dante AVIO Install series

Sommer Cable gets RFID-ready

SOMMER CABLE’S connection cables are now RFID-ready with integrated transponders from relyos, the manufacturer’s partner company. The solution has been designed to increase efficiency in goods and inventory management. The relyos handheld scanner or GATE counts every incoming or outgoing product in a logistics line. Sommer Cable’s connection cables are now available premade with a built-in RFID relyos transponder and can be tracked using the relyos system. This aims to enable users to keep track of their cables. The RFID transponders are attached at the cable

braiding, and is compatible with GG45 and AR45 connectors in addition to the standard RJ45 interface. The cable meets all requirements of application classes 1 and 2 (Cat8.1 and Cat8.2), which provide a maximum link length of 30m, and is also downwards compatible with all lower network classes, meaning it also complies with Cat7A, Cat7, Cat6A, Cat6, Cat5E and Cat5. www.sommercable.com

Dragonfly SMPTE

LEMO SMPTE

SmartBeam DUO SmartBeam QUAD SmartBeam OCTO SmartBeam DODEKA

All routes Flock to Patch and Switch

for device chaining. With eight Dante-enabled inputs and outputs, the 1U rack unit includes a total of 64 point connections. Digital control is conducted using the Patch App routing software, where recall routings can be created and stored. For larger I/O systems, a multiple unit expansion via Dante is available.

The Canadian company has also devised the Switch controller for routing synthesiser and analogue instruments. The Switch toggle provides digital and mechanical control for up to eight mono or stereo instrument inputs. With analogue

SSL 18 takes centre stage

PROCLAIMING THAT the device marks the start of a new era of rackmount production technology, Solid State Logic’s SSL 18 USB audio interface has been designed to be the centrepiece in a 19-inch rack, supporting both desktop setups or full professional studios with best-in-class conversion, high-performance mic pres, flexible I/O and monitor control capabilities.

Next-generation 32-bit/192kHz converters provide the platform with dynamic range performance of 120dB across all its microphone, line level and instrument inputs, and 125dB dynamic range on the monitor and line outputs. Meanwhile, its integrated highcurrent amplifier features dual headphone outputs offering 120dB dynamic range. Featuring eight high-performance mic preamplifiers with switchable mic/line configuration, the SSL 18’s inputs provide an ultra-low noise floor and a large dynamic range, allowing every detail of a performance to be captured with accuracy. A 2-stage circuit design ensures ultra-low distortion during recordings while maintaining the natural character of the source. Each input can also be flipped into Legacy 4K Analogue Enhancement Mode, which adds real analogue saturation and a musical high-frequency boost,

allowing users to access the iconic 4000 series sonic character for vocals and drums. Inputs 1 and 2 are conveniently located on the front panel and offer instrument/Hi-Z inputs to capture DI’d guitars and vintage synths or drum machines. For connectivity, the interface comes equipped with 10 balanced line level outputs located on the rear of the unit. Line outputs 1, 2, 3 and 4 can be configured to +9dBu or +24dBu, ensuring compatibility with a broad array of studio monitors and vintage equipment. Outputs 3–10 operate at +24dBu, making them suitable for integrating

Studio Tech spans the bridge from ST 2110 to Dante

BY INCORPORATING Merging Technologies’ ZMAN module as the core ST 2110 engine, Studio Technologies has updated its Model 5512A audio and Model 5518A mic/line interfaces. Both units interface analogue signals with applications including the SMPTE ST 2110 suite of standards to implement audio-over-Ethernet

which arrive via Ethernet connections, are converted to analogue and then output as balanced line level signals. Two versions are available, with the Model 5512A-01 supporting eight channels and the Model 5512A-02 supporting 16 channels. The Model 5518A mic/line interface allows up to eight analogue microphone or line level sources

professional outboard equipment. All outputs are DC-coupled and capable of sending Control Voltage (CV) to synthesisers and/ or modular rigs. Additionally, the SSL 18 features configurable analogue insert points for inputs 1 and 2, making it possible to track with analogue processing in the chain. Meanwhile, the Alpha 8 is equipped with next-generation 32-bit/192kHz converters and is suitable for users that require a simple bidirectional analogue to ADAT/ SPDIF converter, an aggregate 18/18 USB

routing and no AD/DA conversion or latency, the device is equipped with a large LCD display rotary knob that can be customised to display the device name and other input information.

www.flockaudio.com

and output can be individually adjusted to +9, +18, +20 or +24dBu, ensuring optimal signal integrity and maximising headroom for any device connected to the Alpha 8. Whether it is paired with 19-inch rack gear, vintage synthesisers, analogue mixers, 500-series modules or monitor controllers, the Alpha 8 optimises the signal path to and from other equipment. On the digital side, the unit features Word Clock I/O, ADAT and S/PDIF clocking options to provide jitter-free operation.

of user features and configurable resources, making them suitable for broadcast, sports, esports, live event and streaming applications. Requiring only minimal connections for deployment, the units provide on-air talent with the resources they need for a wide range of scenarios.

networking connectivity. Redundant stream performance is supported following the ST 2022-7 standard.

The Model 5512A allows line level analogue sources to be connected and output in the digital domain by way of one or two Ethernet interfaces. ST 2110 digital audio signals,

to be connected and output within the ST 2110 digital domain via one or two Ethernet interfaces. Eight digital audio channels are converted to analogue and then output as balanced line level signals.

The manufacturer has also unveiled three announcer consoles that feature ST 2110

support. Each model offers advanced features but differs in the number of talkback sender (output) channels, with the 6-talkback-channel Model 5536, 4-talkback-channel Model 5534 and 2-talkback-channel Model 5532. The models provide a combination of analogue and digital audio capabilities with a wide range

The units support the SMPTE ST 2110 suite of standards to implement audioover-Ethernet networking connectivity. For enhanced network reliability, redundant stream performance following the ST 2022-7 standard is also supported. Housed in a compact, rugged, steel enclosure, the units are intended for tabletop use, small enough for use “court-side” or in a crowded booth, yet flexible enough for numerous remote production workflows. An independent Gigabit network interface provides access to the products’ management web pages. By using a standard web browser, support personnel can quickly and easily “customise” a unit’s operation.

www.studio-tech.com

Alpha 8

SSL 18

Shure expands SLX-D capabilities

and Dante-enabled (SLXD4QDAN+) versions, the SLX-D Quad channel digital receiver can be paired with existing SLX-D transmitters. Consolidating four channels of wireless into a single rack unit, the receiver incorporates a suite of improved capabilities, including an expanded 138MHz tuning range.

Simplifying the management of wireless output levels and receiver outputs to best match open mixer channels, the audio summing feature can set and combine audio levels, before mixing down to between one and four outputs. Facilitating the ability to quickly scale up multichannel wireless systems, RF cascading combines two SLX-D Quad receivers to create an 8-channel SLX-D receiver system without additional accessories.

Multiple open frequencies can be detected and sync’d with existing SLX-D transmitters, in addition to the receiver’s display guiding through setup and showing the battery life and health

Dante output options, SLX-D Quad receivers can connect to UA874 active directional antennas without additional power supplies being required.

The SLXD4Q+ Quad receiver comes with four XLR and four ¼-inch outputs with two Ethernet connections, whereas the Dante-enabled SLXD4QDAN+ also includes a Dante digital output. Additionally, the expansion of Shure’s partnership with Yamaha digital consoles now includes the SLX-D wireless receivers. The receiver gain of SLX-D systems can be controlled from the mix position, where information such as battery status and RF level can also be monitored.

Three years on since the launch of its KSM11 wireless condenser capsule, Shure has made the same cardioid available as a wired XLR microphone. The deep cardioid polar pattern reduces off-axis phase distortion for focused vocal reproduction to provide a full low-frequency response, linear and transparent midrange,

DAD highlights AX64 modular interface

OCCUPYING A 2U rackspace and designed to take on a wealth of studio and postproduction, installed audio and live sound tasks, Digital Audio Denmark’s AX64 is a modular multi-format audio interface with eight slots for audio I/O cards from the AX32 and Penta product family. Up to 64 analogue input or output channels can be accommodated, retaining the manufacturer’s high-end sonic quality. The feature set includes a wide palette of digital connectivity, built-in DAD SPQ processing, Eucon high-speed Ethernet control compatibility, an internal summing engine and drivers for macOS and Windows.

Another recent addition from the Danish manufacturer is the Core 256, the most compact model in the DAD Thunder | Core

AIMING TO make its DS100 signal engine more accessible to a broader range of users, speaker specialist d&b audiotechnik has announced scalable I/O sizes for its DS100 and DS100M signal engines, an extension to the d&b Soundscape ecosystem. The DS100 firmware has been updated to offer three licence sizes to provide a more cost-effective entry point for d&b Soundscape projects, as well as enabling larger productions to benefit from increased channel capacity. In addition, available function groups have also been doubled to make more complex systems easier to manage. En-Scene will now come

series. A digital router and monitoring interface with 848 input and output channels, it is intended for use in postproduction, studio and installed audio environments. Sampling rates of 44.14kHz up to 384kHz are supported, while ADAT, MADI and Dante connectivity allow the addition of analogue preamps or insert points to the mix. At 1U high and ½-rack width, the device can share a rack shelf with an Apple Mac Mini running Dolby Atmos Renderer, Dolby Atmos Production Suite or Dolby Atmos Mastering Suite.

The RX2 is based on central and fader modules that can be integrated to match a wide range of radio and TV production environments. The RX2 scales easily from six or 12 faders up to 96 faders. Each module has a dedicated high-brightness 10.1-inch

capsule uses a 0.75-inch gold diaphragm and incorporates a suspended isolation system and a steel grille with three-stage plosive reduction pop filtering.

Microsoft Teams Room system on Windows. Based on ease of AV setup, security and cloud management, the kits promote clear audio quality for meeting participants. With AI tools such as Microsoft 365 Copilot, the IntelliMix Room Kits enhance audio intelligibility and transcription accuracy by enhancing speech and removing distracting sounds. With Zero Touch Provisioning, the audio, video, touch panel and compute device auto-configure once the components have been connected, and powered on prior to log-in. The DSP comes pre-installed and pre-configured on the Teams Room for automatic connection to Shure’s MXA902 ceiling array microphone and loudspeaker.

www.shure.com

touchscreen which gives access to main control and channel settings, metering and system snapshots. Assignable hardware buttons are provided in the central section, plus adaptive labels in a separate 7-inch vertical touch display. The central module of the RX2 houses the main audio I/Os plus a direct microphone input and a stereo headphone output. Loudspeakers can also be driven directly from this module. Each RX2 fader module includes six dust-protected 100mm track-length motorised faders. Delivering more expansion options for its Thunder | Core and Penta product series, two more plugin expansion cards for both ranges have also been announced. Based on the

IEEE-developed Time Sensitive Networking standard, its AVB Milan module aims to unlock the full potential of the company’s Control | Pack solution which provides tools for live sound engineers in front-ofhouse audio production, monitor mixing and playback. Meanwhile, an ST 2110-30 module aims to simplify the integration of network-driven audio routing in broadcast studios, mobile production trucks and postproduction suites, bridging the gap across the growing number of digital audio distribution formats. The company has also joined the Ravenna AoIP community.

www.digitalaudio.dk

pre-installed on all future DS100 units, ensuring that users can immediately benefit from its object-based mixing capabilities. The upgrade is free to existing DS100 and DS100M users and increases I/O processing from 64x64 to 128x64. Meanwhile, two DS100 I/O sizes providing 64x24 and 64x64 will also be introduced. d&b says licences are upgradeable at any time, allowing users to tailor I/O to specific projects without the need for additional hardware.

www.dbaudio.com

IntelliMix Room Kits

Audio-Technica expands

WITH THE introduction of the ATH-R30x open-back reference headphones, AudioTechnica has added to its R-Series, joining the ATH-R50x and flagship ATH-R70xa. All three models are said to provide a natural, spacious sound similar to that produced by a speaker monitor system. They are suitable for mixing, mastering and creating in a studio or other private space. The ATH-R30x can be used in a home studio to create an accurate audio reproduction with a spacious soundstage that replicates live performance. Fully open-back sound relies solely on the performance of the 40mm drivers. The ATH-R30x headphones are engineered to eliminate internal resonances and provide a quick transient response to deliver an authentic open-air experience with minimal distortion.

Riedel thinks smart with StageLink Mipro unveils cardioid vocal mic

The transducer design reportedly results in very little additional tuning or damping, while highefficiency magnets and a pure alloy magnetic circuit design are said to reduce distortion and ensure an accurate and extended high-frequency response. Acoustically transparent, honeycombmesh housings provide a natural and spacious open-back sound.

The headband features an adjustable headpad that can be positioned to the user’s preference, providing a high level of comfort. The replaceable velour earpads and cooling open-back design allow the user to stay fully immersed in the audio.

The ATH-R30x is fitted with a 3.5mm TRS connector, with a screw-on 6.3mm adapter also included.

www.audio-technica.com

of its StageLink family of smart edge devices for seamless network streaming. The networked I/O boxes have been designed for broadcast, live production and studio environments and will streamline decentralised signal distribution over generic IP networks, eliminating the complexities of traditional cabling and configuration.

The StageLink product line enables media professionals to capture and distribute signals across their networks, ensuring a smooth, reliable and cost-effective transition to IP-based workflows. By leveraging standard network cables instead

preamps, headphone outputs and stereo speaker connectivity. The NSA-007A (Dual In/Out) serves as a broadcast-grade 2-in/ 2-out I/O box that also functions as a classic analogue or digital 4-wire device for Artist and Bolero intercom systems. Finally, the NSA-010C (GPIO) is a networkbased GPIO interface that operates in either integrated Artist/Bolero mode or standalone mode, enabling third-party connections via

instead of multiple single-purpose panels. This approach reduces hardware costs and complexity while futureproofing investments, as new features can be added via software updates. At launch, the DSP-1216HL will support all three 1200 Series SmartPanel Apps: the Intercom App for real-time communication, the Control Panel App for third-party integration and the Audio Monitoring App for high-performance audio monitoring.

of specialised infrastructure, StageLink devices create a scalable system that integrates microphones, intercom, GPIO devices and other audio-enabled equipment.

The lineup consists of six devices, each tailored to specific workflow needs.

The NSA-003A (Dual Partyline) enables integration of third-party legacy 2-wire intercom systems into Riedel’s Artist and Bolero ecosystems. The NSA-004A (Quad In) and NSA-005A (Quad Out) offer four universal input and output ports respectively, supporting both analogue and digital audio connections. Designed as an all-in-one interface for media workplaces,

Much like a smartphone, a SmartPanel allows users to adapt its functionality to

The DSP-1216HL features 16 hybrid lever keys for intuitive Talk-Mute and Talk-Listen workflows, along with high-resolution, fullcolour multitouch displays and customisable LED rings for clear signalisation. Designed for seamless integration with the Riedel Artist intercom ecosystem, the DSP-1216HL comes with extensive connectivity options and a focus on open IP standards. It can be connected to the Artist-1024 via AES67 (SMPTE ST 2110-30) or to the Artist-32/64/128 via AES3 and feels at home in modern production networks. The panel’s 2.1 speaker system not only enhances intercom workflows in headset-free scenarios but also enables use as an audio monitoring www.riedel.net

High five with Lawo Sennheiser hits all bases PRODUCTS

ANNOUNCING THE introduction of its Lawo Workspace user interface, German broadcast specialist Lawo has launched of an array of HOME Apps designed to address a range of production requirements on one unified platform. Created to provide mission-specific production functionality on the go, Lawo Workspaces represent a mobile approach to working with Lawo’s HOME App architecture and launches with three purpose-designed

while a built-in audio engine provides local mixing and low-latency monitoring directly in the app.

HOME Video Monitor provides low-latency video and audio monitoring for laptops, mobile devices and AR headsets, and can show between one and nine concurrent video streams, with or without audio metering. Lastly, the HOME mc² crystal Controller enables Lawo’s compact crystal console to complement mc² audio control surfaces operated in a variety of applications.

HOME Commentary is a flexible approach to both off-tube and onsite commentary scenarios enabling commentators or contributors to monitor up to two video streams, send their audio and video to production for contribution or monitoring, and interact with production coordination via a built-in talkback function. The commentator’s coordination mix tunnel and talkback are processed in the HOME Apps backend, but can be controlled directly from the Workspace UI,

high-resolution audio meters and a video feed, and extends the crystal console’s functionality with additional onscreen touch controls.

Meanwhile, Lawo has also announced its HOME Intelligent Multiviewer which minimises bandwidth and CPU usage by intelligently selecting optimal downsized video proxies for its mosaic layouts. Lawo says it is perfectly suited for high-bandwidth/low-latency ST 2110 broadcast environments, SRT stream workflows in the cloud, NDI devices and compressed formats like JPEG XS.

Finally, Lawo’s HOME Apps platform now enables radio stations to create efficient media facilities with a virtual DSP mixing engine for diamond, crystal and crystal Clear audio consoles. Leveraging the HOME Apps platform to provide instant processing, mixing, routing and monitoring for radio and TV workflows identical to physical Power Core units, users can choose among a compact, large and XL instance of the app to make optimal use of the available CPU power.

www.lawo.com

WIRELESS COORDINATION, production management and team collaboration can be achieved via a single solution with Sennheiser’s SoundBase App, which the German manufacturer says removes the tedious and cumbersome job of coordinating and setting up a production’s wireless microphones and monitoring systems brand by brand.

Developed by audio veterans Matt Dale and Donny Kuser, SoundBase addresses the fragmented workflow challenges that have long plagued the live sound industry. It offers functionality through its unified wireless coordination system that integrates with equipment from all major manufacturers, eliminating the need to switch between multiple applications, particularly during critical production moments. The app can be operated from any device with a modern web browser and any changes are automatically synced so that everybody on the team has the up-to-date version at hand.

The app enables real-time collaboration where entire teams can coordinate remotely –a capability that is essential as productions increasingly span multiple locations. Edits to an audio project are automatically saved and shared with the team, and messaging can happen directly in the app. Collaboration also continues beyond the production’s own audio team. For sharing between different productions, for example in an entertainment district, SoundBase provides real-time reports with unique static links that will automatically update as collaborators edit.

In future, SoundBase will expand its offering beyond wireless coordination to create an even more comprehensive ecosystem for live sound production, including forthcoming modules for intercom engineers, A1/A2 mixers, stage plotting and production scheduling.

In addition to SoundBase, Sennheiser has unveiled a broadcast and film microphone in the form of the MKH 8018 high-class shotgun condenser mic. The unit has been designed to excel in outdoor environments, with natural sound capture that promises “virtually no offaxis colour”.

The MKH 8018 features three switchable stereo modes: MS stereo, wide XY stereo and narrow XY stereo. The MS mode allows the engineer to adjust the spatial imaging steplessly on the mixing desk, while the XY modes are premixed in the MKH 8018.

Unlike other models in the 8000 Series, the unit is non-modular with a fixed XLR-5M output and integrated –10dB pad to protect against overdriving, filters for tailoring the frequency response and an additional switchable –3dB low-cut filter at 70Hz.

As the MKH 8018 has been designed for broadcasting and filming applications, the usual extremely wide-frequency response of the MKH mics has been limited to 40Hz–20kHz. This avoids any overloading of the mixing console with unhearable distortion below 40Hz and above 20kHz, where ultrasonic camera lens measurement systems are active.

www.sennheiser.com

Waves moves ahead of the curve

WAVES AUDIO has begun shipping what it calls the world’s first autonomous EQ. Following the success of Curves Equator, its resonance suppression plugin and the first product in the Curves series, Curves AQ is a smart EQ, which rather than relying on a rigid “take-it-or-leave-it” preset curve with limited adjustment and control, instead employs generative AI Spectral Targeting Technology. As a result, the plugin is cognitive – just click Learn and the EQ is calculated, significantly accelerating mixing workflows. The white curve on the plugin represents the sound destination, referred to as the Spectral Target. Adjusting the Spectral Target resembles

working with a regular EQ; however, the adjustment modifies the EQ’s destination and the processing adapts accordingly. Next, AQ offers EQ controls to personalise and perfect sound and tweak it to an individual’s taste. These include Boosts and Cuts, Static/Dynamic Slider, Smart Tilt, MixSense, Adaptive Mode, four Frequency Anchors and “Traditional EQ”. Curves AQ offers the ability to add nodes on the Spectral Target, shape Qs and add HP and LP filtering. For live performances, Curves AQ Live offers zero-latency processing with the same capabilities as Curves AQ.

www.waves.com

Curtain up on V20 software

DIGICO’S V20 software for the Quantum and SD-Range consoles introduces worksurface integration for Fourier Audio and Sound Devices, the addition of a Mustard Source Expander and an optional theatre-software extension for the Quantum225

The introduction of direct Fourier Audio integration for all Quantum console worksurfaces means users can connect their desk to the Fourier transform.engine’s control network to synchronise session files and snapshots, as well as see and control plugins on their console touchscreen. All visual processing is done within the transform.engine, taking no processing power from the console. V20 also adds further support for Sound

Meanwhile, the Mustard Source Expander (MSE) is a dynamics option for Mustard processing strips on Quantum consoles that reduces the level of a signal by a given amount when it is under a threshold. By reducing the level when a singer stops singing, the MSE can minimise the chance of feedback and reduce the level of stage noise spilling onto open mics.

Finally, V20 is also brings DiGiCo’s optional Theatre-software suite to the company’s compact Quantum2 25 console and is tailored specifically for theatrical applications. The package modifies how console cue lists operate and provides a way to manage cast and costume

Devices’ transmitters. The company says the Astral External control device means macros can be triggered directly from the transmitter when using the A20-Nexus and A20-SuperNexus receivers. Potential use cases include simple push-to-talk, unmuting a separate feed to a director in a broadcast scenario or allowing a vocalist to turn on or off a particular effect send for their microphone during a performance.

changes through Players and Aliases. Upgrading to the Theatre software offers the same channel count and processing as the company’s Pulse upgrade, with 96 input channels, 48 busses, 36 Mustard processes and 48 Nodal processes, but expands the matrix to 24x24.

www.digico.biz

PROVIDING NATIVE integration with DiGiCo Quantum consoles, Fourier Audio’s v1.4 update now enables transform.engine plugins to be viewed and controlled directly from a DiGiCo desk’s touchscreens, while console snapshots and sessions can also be synchronised to the transform.engine. Plugin chains, previously only available in mono and stereo, can now input and output as many channels as desired, enabling users to take advantage of multichannel plugins, which the company says is a necessity for surround and immersive audio applications. Meanwhile, v1.4 also enables sidechaining for plugins, such as compressors fed from external inputs, patched from a Dante network. Plus, the device’s Dante AES67 mode increases connectivity options by allowing cross-compatibility with a wide range of AES67 devices.

and new compressor add-ons from dLive.

Headlining the V1.6 feature set is the ability to split each of the three stereo matrices into a pair of mono matrices, enabling the use of up to six mono matrices and new possibilities for speaker fills and managing audio in multiroom spaces.

The update also introduces a suite of scenerelated enhancements, improving workflows for engineers across multiple applications. The new Cue List feature streamlines scene management, allowing for quick insertion and reordering of scenes. Integration of MIDI Show Control enables recall by cue number in addition to scene number, benefitting both music and theatre productions. The Scene Crossfade option delivers smooth level changes between

FLUX:: expands audio analysis SQ Series gets V1.6 firmware

provides a streamlined workflow for festival and house engineers who frequently adjust input configurations. Another major V1.6 addition is the ability to use SQ-Drive and the USB audio interface together, allowing simultaneous redundant recording onto a computer and SQ-Drive. Rounding out the update is the new DEEP compressors, Bus and OptTronik, available as individual purchases or as part of A&H’s Compressor Pack II bundle. OptTronik is modelled after an electro-optical levelling amplifier, while Bus is based on a legendary British VCA compressor, renowned for adding punch to a mix, bus or instrument without compromising clarity.

www.allen-heath.com

Fourier Audio says chain groups can also be created, the introduction of customisable plugin grids allows users to control multiple plugins simultaneously and an overview mode further enables every chain in a showfile to be viewed at once.

www.fourieraudio.com

HARMAN BRAND FLUX:: has released the MiRA software family, designed for diverse audio analysis and measurement applications. Suitable for mixing and mastering, system calibration and loudness metering, MiRA has been designed for multichannel immersive audio deployments. The MiRA family is built on the FLUX:: Analyzer production, postproduction and audio mastering software. Incorporating the manufacturer’s Sample Push technology, MiRA is said to extend integration capabilities by enabling hardware connections through ASIO and Core Audio. Samples are broadcast to the standalone MiRA application via local or standard IP networks, simplifying routing challenges in multichannel immersive audio setups.

Features include a fully customisable workspaces that allow users to tailor layouts and settings to their specific preferences and tools for Transfer Function readings, Magnitude, Phase, Coherence traces, live

impulse response and delay computation. The Nebula Spatial Spectrogram is a visualiser that combines spectrum analysis with vector scope technology, enhancing localisation and immersive audio monitoring. Adaptive Resolution Transform (ART) provides readable and responsive transfer function measurements, while the flexible MultiMicrophone Capture supports up to 23 microphones with features like pairing mode for enhanced coherence between floor and ear levels, as well as real-time averaging and delay finding.

Three tailored variants are available: MiRA Live for real-time live mixing with instant visual control; MiRA Studio for mastering and postproduction applications; and MiRA Session which focuses on system calibration. The MiRA Ultimate bundle is also available, combining all three variants into a single package.

pro.harman.com

CELEBRATING 15 years of Mixbus, Harrison Audio says its Mixbus 11 and Mixbus 11 Pro Music Production Suite upgrades bring Harrison’s analogue console-inspired sound and workflow into a user-friendly digital audio workstation environment. Aiming to deliver classic knob-per-function, recording console-style workflows, its upgraded user interface introduces production tools, processing, transport features, as well as a Focus Channel that functions as a hub so users can access all of Harrison’s signature elements simultaneously – even on smaller laptop monitors.

Mixbus 11 imparts Harrison’s signature sound onto every channel with the Harrison 32C EQ, signal processing and analogue console-inspired saturation. Meanwhile, the top-tier Mixbus 11 Pro version adds a switchable SSL SL9000J channel strip EQ as well as the ability to export Dolby Atmos certified .adm files with 3D object-based panning, dynamic automation tools, loudness optimisation, and binaural and 7.1.4 speaker monitoring.

Stacked out

Its upgraded GUI features dedicated Cue, Record, Edit and Mix pages, while an updated transport toolbar and Locator Bar help users navigate a session’s critical points through each stage of production. Mixbus 11 also features livestyle clip launching, advanced smart-audio-editing capabilities and per-region effects processing for applying plugin effects directly to audio clips with real-time auditioning and automation.

The D510 500 Series System is a flexible 10-slot D510r rack with expandable analogue summing mixer and is the only 500 Series rack to feature an optional Dante interface. Designed to deliver a comprehensive solution for users of Harrison’s 500 Series audio technology, the company says the D510 can function as a studio centrepiece, console sidecar, high-

architecture principles, the Q-SYS full-stack AV platform replaces disparate systems with a unified foundation of technologies that grows with customer needs. The company has introduced v10 upgrades to its Q-SYS Designer Software, unveiled three Core processors, a VisionSuite Accelerator and upgraded reporting capabilities for Q-SYS Reflect.

Analogue-inspired sound on a DAW Neumann

NEUMANN HAS launched its RIME (Reference Immersive Monitoring Environment) software, described as an integrated solution for monitoring immersive audio on headphones. RIME enables music producers and mixing engineers to monitor immersive formats like Dolby Atmos in reference quality, providing an alternative when a multichannel loudspeaker setup is unavailable or when working on the go. RIME is a plugin for all major DAWs on Mac and PC (VST3/AU/AAX) and is typically used on the output or monitoring bus. It converts multichannel formats to binaural audio, retaining surround and height channel information.

category established by the Core 110f with improvements across processing power, onboard I/O support, network I/O capacity and AV bridging support, and delivers integrated control engine with support for 96 peripherals.

Meanwhile, the Q-SYS X Class Server Cores utilise enterprise-grade server hardware for larger-scale applications, are fully networked and pair with localised, edge-based I/O

power of the Core X10.

The Q-SYS VisionSuite introduces multimodal technologies including a Speaker Spotlight that triangulates active speakers using voice and image, and a Presenter Spotlight that delivers predictive, full-body presenter tracking. Driving these capabilities is the Q-SYS VSA-100 VisionSuite AI Accelerator, a native Q-SYS device built to power advanced automation.

RIME captures a real purpose-built studio room using reference-quality Neumann equipment throughout. Immersive setups of Neumann KH Line loudspeakers and subwoofers were installed by acoustics experts and fine-tuned using MA 1 automatic monitor

performance portable solution or live sound production tool.

Built into a standard 3U steel enclosure, its built-in power supply delivers 30% more power per module than the standard 500 Series specification. Meanwhile, Harrison says the D510r rack enables users to experience the depth and three-dimensional soundstage of Harrison’s analogue summing in any studio or live sound environment by adding an optional D510mx mixer card. Eight 32Cpre+ modules can create the ultimate portable Harrison tracking rig, or can be combined with EQ and dynamics modules for a custom 8-channel Harrison mixer. With level and pan controls on each channel, the D510mx features dual independent headphone outputs with “blend”, which can be fed from a “mix” of 500 Series modules or, if equipped with D510dante interface, any audio source on the AoIP network. Harrison says a USB + ADAT interface module compatible with the D510 500 Series system is currently in development.

www.harrisonaudio.com

The update also introduces Q-SYS VisionSuite Designer, a 3D configuration and visualisation tool that the company says models and deploys spaces with greater accuracy and efficiency.

Q-SYS Reflect now offers data and reporting tools and the ability to analyse AV reliability, track system health and visualise trends across deployments.

Finally, Q-SYS says its Designer Software v10 is its largest software release to date, introducing support for both the Q-SYS Cores and the VisionSuite AI Accelerator. It also adds Android UCI Viewer support, native ST 2110 audio with NMOS control, improved audio support for the NV-21-HU and a software development workflow for UI/UX creation.

www.qsys.com

KU 100 binaural head microphone connected to its MT 48 audio interface. This setup is said to ensure pristine sound quality throughout the entire signal chain. Neumann states that unlike competing solutions that confound the user with a multitude of options and different sounding virtual spaces, RIME is easy to use and reproduces one reference room as a single source of truth. For added realism, RIME supports OSC-compatible head tracker devices to create a listening experience that responds to the user’s head movements. Moreover, RIME can also be used for stereo playback to enjoy a loudspeaker-like listening experience without the in-head localisation typically associated with headphones.

www.neumann.com

alignment. The three-dimensional soundfield was captured using the manufacturer’s

Mixbus 11

Creating an icon

TAKING MANY of the most successful Cedar processes from the past and adding new ones that develop the art and science of audio processing even further, Cedar icons are VST3/AU/ AAX-compatible plugins that can be downloaded from Cedar’s online shop. The first eight released icons fall into two groups: the Live Sound series offers near-zero latency for live sound and liveto-air use, while the Production series

advances in Quantum near-zero latency dialogue noise reduction, reportedly ensures no loss of lip-sync. ScreenVox is suitable for all scenarios, including live sound, broadcasting, podcasting, postproduction and archiving.

VoicEX 2 is the newest member of the Production series, joining Adaptive Limiter, Declick, Declip and Decrackle. Requiring lower processing power than the original VoicEX and with an improved response as

concentrates on postproduction in all of its forms.

Joining the existing DNS One are the StageVox and ScreenVox. Recognising the need for a near-zero latency noise reduction plugin designed specifically for singers, StageVox is based on the manufacturer’s Quantum technology, designed for eliminating noise when working with live sound and tracking. It’s also suitable for mixing and mastering, and suppresses excessive reverberation.

ScreenVox is a dedicated plugin for the spoken word which, thanks to the latest

the signal-to-noise ratio deteriorates, it’s described as simple to use for novices and experts alike with only two controls –one to determine the loudness of the background and the other to control the loudness of the speech. Users can reduce the former to make noise and excessive reverberation go away, or reduce the latter and the voices go away.

Free upgrades are offered from any relevant Cedar Studio processes to the icons equivalent.

www.cedaraudio.com

MAGEWELL HAS unveiled its USB Capture SDI 4K Pro plug-and-play device which enables PCs to capture SDI signals up to 4K resolution at 60fps via standard USB 3.2. The unit is the latest addition to the manufacturer’s range of USB Capture products and can be used to capture SDI signals up to 4096x2160 (including 3840x2160 Ultra HD) at 60fps with 4:2:2 chroma fidelity via the USB 3.2 Gen 2x2 interface. The USB Capture SDI 4K Pro is said to provide seamless video capture with minimal CPU usage and no external power source.

The unit can accept many different video formats up to 12G or frame rates up to 240fps. Along with video, the device can capture two channels of embedded audio or analogue audio via a 3.5mm line in interface. Embedded audio can also be extracted and output via the 3.5mm line out interface. The unit is FPGA-based and makes no demands on the PC’s CPU, but does require a 20Gbps USB 3.2 Gen 2x2 connection for maximum performance. It also features a driver-free setup and automatic input signal format detection for true plug-and-play operation, with support for Windows, macOS, Linux and ChromeOS. Magewell’s free USB Capture Utility software is included and permits the setting of capture-related parameters, firmware upgrades and logging. The manufacturer has also released the Pro Convert IP to

USB, a plug-and-play device which enables computers, including laptops, to capture an NDI, NDI HX or streaming source through a USB interface with no additional power source required. It is ideal for use in conference rooms, production studios and in environments where a user’s software does not natively support NDI or other IP protocols and/or the installation of additional software is not permitted.

Finally, Magewell has unveiled Q-SYS Certified plugins for the Pro Convert family of NDI encoders and decoders. The plugins integrate with the Q-SYS cloud-manageable audio, video and control platform, and are now available for download through Q-SYS Designer Asset Manager found in the Designer Software.

www.magewell.com

THE MONARCH Edge Series from Matrox consists of 10-bit remote production and contribution encoders and decoders that can be easily integrated with video distribution workflows. Users can transmit high-resolution, low-latency synchronised streams of HDR 4:2:2 10-bit video carrying ancillary data (SCTE and ANC) over SRT and MPEG-2 TS. Features include multi-unit sync, multi-stream sync and onboard genlock so that customers can integrate with advanced automation workflows and deliver audienceready feeds to cloud distribution platforms and private video circuits.

The optimised H.264 engine powering the Monarch Edge keeps data rates low without sacrificing quality. If quality is of the highest importance, streams can be encoded up to 120Mbps. Four inputs can be streamed

at resolutions up to 1080p60, or one input at 2160p60 using the High 4:2:2 H.264 encoding profile. Furthermore, multiple processes can be performed on each input

productions and live, multi-camera events, with encoding of up to four synchronised HD streams or one UHD 4Kp60 stream of securely encrypted, low-latency, HDR 10-bit

by the unit’s scaling and de-interlacing engines. This enables each input to be streamed at multiple resolutions and bitrates simultaneously, which is useful for remote monitoring.

The Monarch Edge E4 encoder is suitable for demanding, broadcast-quality

4:2:2 video on industry-standard transport protocols like SRT. Users can improve production efficiency with Tally and Talkback and easily tackle the largest shows with multi-unit ganging to transmit dozens of sync streams. A Monarch Edge D4 decoder can be used for ultra-low latency and high-quality

video transport. Programmes destined for over-the-top (OTT) or cloud delivery can encode low bit rate 4:2:0 8-bit streams. Meanwhile, the Monarch Edge S1 is a simultaneous encode/decode appliance that provides return feeds to multi-camera production crews in the field. Bringing remote guests and talent together from separate locations for live productions, the S1 can simultaneously encode and decode HD feeds and provide remote participants with a single encoding channel while decoding a return channel. Coupled with the device’s ability to provide low latency while using public internet, this feature allows participants to interact with the live show and panel in near real time.

www.matrox.com

USB Capture SDI 4K Pro

Grass Valley brings film to life

THE LDX 180 is Grass Valley’s first purpose-built cinematic camera for live production environments. Equipped with an S35 global shutter CMOS imager, the unit delivers cinematic depth of field with the speed and precision of a broadcast camera. Built on the LDX 100 Series camera platform and with a new GV-developed imager and Creative Grading, the camera seamlessly integrates with existing LDX Series cameras to ensure consistent colourimetry, shared transmission and a unified visual language within a single production.

The LDX 180 enables productions to blend shallow depth of field cinematic shots with wide tactical 2⁄3-inch perspectives to capture

every layer of the story with one suite of cameras. It also works seamlessly with XCU and NativeIP to provide options ranging from SDI to SMPTE ST 2110, fitting directly into existing live production workflows, eliminating additional integration complexity and reducing setup time.

The camera incorporates Grass Valley’s in-house developed Xenios CMOS imager which offers oversampled UHD resolution for cinematic depth of field, while integration with Creative Grading allows for every shading adjustment to be seen in real time with graphical controls.

For hybrid productions such as live sports and concerts, the combination of LDX cameras

Full frame camera comes with accessories Marshall

HDR 1,500-nit LCD screen and records

Blackmagic RAW and H.264 proxies. Audiowise, it boasts a mini XLR input with 48V phantom power.

Light enough to mount on a range of camera rigs such as cranes, gimbals or drones, in addition to the multiple thread mounts on the top and bottom of the body, the PYXIS also has a range of side plates that further extend the ability to mount accessories such as handles, microphones or SSDs.

The company has also announced a PYXIS Pro Handle and Pro Grip, consisting of a top handle with a built-in OLED viewfinder and microphone and side grip with secure hand strap. Blackmagic says it transforms the PYXIS into a flexible broadcast camera.

MARSHALL ELECTRONICS has launched its CVM-26 housing, the latest addition to the brand's camera accessory line. The all-metal housing accessory has been built specifically to protect compact and miniature cameras in various weather conditions.

Engineered with durability in mind, the housing has a three-position sun hood

servers generating broadcast graphics, virtual sets or GPU-based AI image processing, all directly integrated into a 2110 IP broadcast infrastructure.

that require extra flexibility. With its metal construction, the CVM-26 can hold a maximum camera weight of 2.3kg and features a ¼-inch mounting thread on the bottom base.

The manufacturer has also unveiled its latest camera controller, the RCP Plus. Designed to enhance production capabilities and streamline workflow for professionals in the broadcast and AV industries, the controller gives users the ability to mix and match Serial and IP camera control, allowing for customised configurations where both types can be easily programmed to adjacent buttons. Customers will not have to switch modes; the communication type remains completely transparent, enhancing overall user capability.

device includes Power over Ethernet (PoE) capability, which eliminates the need for a traditional wall-mounted power supply, streamlining setup and reducing clutter. The controller features a breakout adapter that facilitates the connection for RS-485. This adapter converts XLR connections to a secure screw terminal (Phoenix-type) connection, allowing for straightforward setup without the need for complex wiring. The design reportedly ensures that users can avoid the hassle of breaking out soldering tools for any connections. To further enhance usability, an optional rack ear can also be included to integrate the controller into a control desk setup. Additionally,

In addition, Blackmagic has introduced the DeckLink IP 100G, a PCIe Gen 4 card which can capture and playback up to eight channels

www.blackmagicdesign.com

The RCP Plus features an Ethernet connection that supports Visca-over-IP, along with the ability to control via traditional RS-485. Additionally, the

customers can update the controller’s firmware with a USB stick, streamlining the maintenance process. www.marshall-usa.com

Smaller, lighter, brighter and better connected

CLAIMING TO be the smallest and lightest in its class, the environmentally friendly VMZ82 Series of LCD projectors from Panasonic consists of the VMZ82 (8,000 lumens), VMZ72 (7,200 lumens) and VMZ62 (6,500 lumens).

Focusing on sustainability, all three use 25% less energy than current Panasonic LCD projectors, have bodies made from up to 59% recycled resins and use laser light sources and ECO filters that operate maintenance-free for up to 20,000 hours.

The VMZ82 Series units project a 100-inch image from anywhere between 2.35m and 3.80m, and offers a 1.6x optical zoom with a 1.09–1.77:1 throw ratio. Panasonic’s Angle Monitor technology means one technician can adjust the projector angle via the onscreen GUI, while the series also features wide-range lens

shift, a Digital Zoom Extender and Geometric Adjustment functionality for positioning the projector anywhere it is needed. Daylight View Basic functionality also optimises image quality based on ambient lighting, making it suitable for well-lit classrooms, meeting rooms or entertainment spaces.

Meanwhile, Panasonic has expanded its range of all-in-one professional LED displays with the introduction of the 137-inch TL-137AD15AW and the 165-inch TL-165AD19AW. Alongside the 110-inch TL-110AD12AW, Panasonic says the 110-, 137- and 165-inch displays are easy to configure and set up, feature a brightness of up to 700cd/m2 and a pixel pitch of 1.2mm, 1.5mm and 1.9mm respectively. Boasting IP-based connectivity and configurability, they feature dual Intel SDM slots for seamless AVoIP integration

with proprietary or third-party function boards, both reducing cabling and increasing collaboration between multiple devices in different locations over IP.

The company’s proprietary Average Picture Level (APL) technology also reduces power consumption by optimising brightness and power to suit the environment. Shipped semi-assembled and with mounting hardware included, they can be used immediately after being connected to a playback device using an HDMI cable.

Finally, Panasonic has announced the availability of its Matrox ConvertIP SDM card with its full range of AVoIP-enabled visual systems, enhancing IP-based workflows across

its projectors, LED and professional displays. Matrox ConvertIP SDM cards support the IPMX open standard format as well as ST 2110 and are compatible with the Intel SDM specification slots found on Panasonic’s range of LED displays, 4K projectors and conventional displays.

In brief, the manufacturer has also released the HC-X2100 4K60p 10-bit camcorder with a 25mm wide angle lens and 24x optical zoom, and the AG-CX370 camcorder which features 4K image quality and IP-based live production capabilities in a compact chassis.

eu.connect.panasonic.com

TL-110AD12AW, TL-137AD15AW and TL-165AD19AW

Atlona goes the distance

IN CONJUNCTION with its membership with the SDVoE Alliance, Atlona has unveiled the PRO5 Series, an innovative matrix switching solution featuring SDVoE technology for long-distance, point-to-point extension. The PRO5 Series is anchored by the AT-PRO5-MX810, an 8x10 matrix

the Atlona Omega Series AT-OME-SW21-TX is a 2x1 switcher and HDBaseT transmitter with USB-C and HDMI inputs, and mirrored HDMI and HDBaseT outputs. The compact switcher includes flexible BYOD interfacing, single-cable connectivity and integrated AV and USB extension.

switcher with HDMI inputs and SDVoE extension outputs for transmission of 4K HDR video and audio to companion PRO5 Series receivers. Each SDVoE output features copper or fibre optic connectivity for extending 4K/UHD @ 60Hz with 4:4:4 chroma sampling and HDR formats.

With the ability to send 4K video, plus embedded audio, control and USB 2.0 over distances up to 100m, Atlona says the OME-SW21-TX is a cost-effective USB-C and HDMI source connection point that can be used with Omega Series receivers, switchers with HDBaseT inputs, or as a standalone AV

upscaling and downscaling, and frame rate conversion. Additional features reportedly provide customers with enhanced visual fidelity and options to tailor to their unique system integration needs.

Designed for learning and meeting spaces in education and corporate environments,

mbined with the latter’s TeamConnect (TC) Bar Solutions.

The VEO-SWC45 is a 4K presentation switcher designed for modern meeting spaces. It is said to offer easy connectivity and intuitive control, featuring dual HDMI outputs, advanced display management and USB ports for integrating video conferencing systems with intelligent camera switching. It supports wireless presentation via Chromecast, Miracast, Airplay, the VEOShare application and 4K accessories such as the VEO-SWC45TH and VEO-SWC45TU for HDMI and USB-C connections.

supports 4K HDR and 4K/60 4:4:4 at HDMI data rates up to 18Gbps. Additionally, 4K downscaling to 1080p is available for the HDMI output when connected to an HD display or projector.

www.atlona.com

WITH MORE than twice the brightness of typical cinema presentations and a contrast

result of a renewed collaboration between Christie and Dolby Laboratories.

Building on over 10 years of cooperation, the 4K projection system uses RGB pure laser illumination to enable Dolby’s Wide Colour Gamut 1.0, which is nearly twice the colour gamut of Rec. 709 and 122% of DCI-P3-capable projectors. Moreover, with its lighter-weight design and smaller chassis, Dolby and Christie say it integrates more easily into a range of premium theatrical offerings to extend the reach of Dolby Vision to even more

www.christiedigital.com www.dolby.com

The main HDMI output supports up to 4K60 and features a balanced stereo audio extractor with Euroblock connector. It includes a built-in web GUI interface for configuration and control, plus GPI, RS-232 and TCP/IP via two RJ45 ports with

independent LAN connections. It allows up to

additional participants. With HDCP 2.2 and PoE+ support, the VEO-SWC45 delivers a scalable solution for modern presentation and conferencing needs.

By combining the VEO-SWC45 with Sennheiser’s TC Bars, organisations gain a streamlined conferencing solution with wireless screen sharing, automatic camera switching, premium audio and high-quality video with Al-powered enhancements. The integration also supports flexible expansion via Dante, versatile mounting options and enhanced control and security features. Together, the VEO-SWC45 and TC Bars create a collaborative conferencing solution that simplifies meetings and enhances communication.

www.ecler.com

www.sennheiser.com

Building bridges

PACKED INTO a compact 1U unit, the Bridge Live 3G-8 from AJA Video Systems is an IP video workflow bridge delivering up to eight channels of bidirectional 3G-SDI with encoding/decoding/transcoding

users to receive NDI (full and HX) and decode to SDI or input SDI, and encode to full NDI. Users can also integrate remote NDI and non-NDI equipment/facilities via RTP/UDP/SRT and tap directly into the NDI

capabilities. Doubling the 3G-SDI I/O capabilities of the company’s Bridge Live, the Bridge Live 3G-8 supports industrystandard codecs and formats like H.264, H.265, NDI, SRT and HLS. AJA says its pure IP transcode capability expands its use beyond SDI workflows, enabling conversion between any IP codec, such as NDI to/from H.264 with SRT or HLS encapsulation. Its eight bidirectional SDI ports have multi-frame rate capability to enable usage of 25/50 and 59.94/60 frame rates at the same time, while bidirectional NDI-SDI conversion enables

network for a conduit to content delivery networks or other delivery mechanisms. Multi-channel/multi-system transport supports the backhaul of multiple SDI sources, which egress at the exact same time from the remote location, and a receiving Bridge Live 3G-8 ensures the SDI outputs are aligned and genlocked. This timing feature also enables production switching, multi-cam recording or other workflows where live sources are required to be timed together.

www.aja.com

Dual control on a single cable

PROMISING TRUE dual-screen extended desktop functionality over a single USB-C connection, the Taurus UCX-4x3-HCM40 from video signal management specialist

Lightware claims to be the first universal matrix switcher in its category with this functionality. Designed for hybrid meeting spaces and supporting up to two independent 4K60 displays with USB 3.1 device control and up to 100W charging, the Taurus UCX-4x3-HCM40 is compatible across macOS, Windows and tablets. Lightware says it overcomes the display limitations of Apple M1/M2/M3 devices, eliminates the need for multiple adapters or additional hardware, and automatically switches between DisplayPort MultiStream and DisplayLink technologies. The device also includes Gigabit Ethernet, USB 3 device sharing, HDMI I/O, GPIO, occupancy

sensors, RS-232 and Lightware’s Open API for full integration with third-party control systems.

Meanwhile, its Lightware Advanced Room Automation (LARA) enables smart logic functions, such as automatic switching and routing as well as the ability to automatically control room equipment such as lights, peripherals and displays. It also presents a welcome screen that prompts users to “connect the USB-C cable” when someone enters a room. In addition, LARA receives realtime call status feedback from the Lightware Companion App to automatically manage USB peripherals and screen expansion based on platforms such as Microsoft Teams or Zoom, and all with no user interaction.

Meanwhile, the manufacturer has produced a redefined version of its Taurus TPX USB extension solution. By placing all input

Seamless scaling

THE MX-0812-SCL from WyreStorm is an HDMI matrix switcher featuring eight HDMI inputs and 12 outputs, each capable of handling 4K60 video, with advanced scaling for each output. It includes video processing capabilities for videowalls, such as cropping, bezel correction and the ability to rotate images, as well as multiview options like Picture-in-Picture and Quad view. Designed for various applications, it offers seamless switching, videowall control and multiview functions, alongside audio support through HDMI de-embedding, analogue and Dante audio connections. The matrix also offers multiview capabilities, supporting the simultaneous display of up to four separate video sources on a single screen. When activated, the multiview configuration is mirrored across HDMI outputs 1–4, providing consistent visual outputs on multiple displays.

and the introduction of an internal power supply and PoE to a connected touchpanel is said to help to further streamline system designs. Under the hood, the Taurus TPX bundle offers all the capabilities as its

keep their laptops charged and connected for a seamless meeting experience. Its compact and clutter-free design provides for a professional meeting environment, while its

Meanwhile, the NHD-USB-TRX is a flexible USB 2.0 over IP transceiver designed to work natively with the manufacturer’s NetworkHD 500 series or in combination with other NetworkHD series. It allows the extension of USB devices like keyboards, mice, cameras and other peripherals over an IP network, making it suitable for point-to-point or one-to-many applications. Equipped with PoE and SFP fibre connectivity,

USB hub enables integration of multiple USB devices to provide easy management across distances. With support for up to seven USB devices and 21 endpoints, the NHD-USB-TRX has been designed for corporate, educational, healthcare, courtroom and government applications. It also supports KM-over-IP for fast, low-latency switching between multiple devices or screens in control rooms and collaborative environments.

Serving as a connectivity hub for conference rooms and collaborative spaces, Wyrestorm’s IDB-300 retractable in-desk box solution offers dual input channels (USB-C and HDMI+USB) with automatic source switching. Available in button (IDB-300-BTN) and non-button (IDB-300) versions, the

Datapath adds five-slot V3 option

DATAPATH HAS released further options to its videowall controller range with the introduction of a five-slot, high-end processor. Designed for demanding but compact videowall projects, the VSN V3-5 sits alongside its 11-slot “big brother”, the VSN V3.

Complementing Datapath’s Aetria solution for control room and multi-video source management, the VSN V3-5 offers all the benefits of its sibling but will save costs for customers who don’t require a larger volume of graphics and capture cards.

Replacing the VSN400N, it comes with an improved chassis design for optimum cooling, hot-swappable fans for 24/7 uptime in mission critical environments and the same rigorous reliability testing as the 11-slot V3.

In brief, a revised VSNMicro 600 videowall controller is now available with an updated motherboard and processor, and is suitable for small to medium-sized projects where a compact footprint is a requirement.

www.datapath.co.uk

of video, audio and control signals in one direction and the USB 2.0 data in the other, up to a transmission distance of 100m.

UCX-4x3-HCM40

MX-0812-SCL

Martin unveils the Exterior Projection Pro Compact

DESIGNED FOR use in architectural, façade and landscape applications, the Martin Professional Exterior Projection Pro Compact is an outdoor image projector with 11 configurable options and up to four layers of effects. Featuring a modular design and lightweight housing, the fixture can be pole-mounted and

The Exterior Projection Pro Compact includes a built-in zoom system, enabling adjustment of the projection angle from 15–45°, supported by an optical system that delivers 4,400 lumens across the entire zoom range. For energy efficiency, the fixture includes a dedicated hibernation power mode, activated through the DMX control channel, reducing power consumption when not in use. It offers users control over multiple effects, including zoom, focus, colours, gobos and animations. Using the optional framing module, the projected image can be framed to match the façade. Smart controls feature a magnetic switch, DMX, RDM and standalone programming via Martin Companion, providing straightforward configuration and programming.

Engineered to meet stringent environmental standards, the fixture reduces its carbon footprint through its optical system, FSC-certified packaging and full repairability.

www.martin.com

THE FPR PreRig Truss from Spanish truss and stage specialist Fantek combines a redesigned trussing system with a trolley that aims to address common pain points such as storage, transport and adaptability. Unlike conventional PreRig trusses that only feature an open bottom, the company says the FPR truss adopts an industryfirst, open-sided profile design, which allows alignment between LED panels and maximises lighting options by enabling users to place additional fixtures in the centre when connecting two trusses. Available in 2.4m and 3m lengths, truss width is designed to ensure compatibility with most lighting fixtures on the market, including larger models, and to maximise truck space by allowing up to four rows of trusses to fit side-by-side.

At the heart of the FPR PreRig Truss system is a trolley design that features a folding mechanism allowing users to collapse and stack trolleys effortlessly, both minimising

Visual radio

unveiled its VisualRplus visual radio system consisting of a group of cameras and a video switcher. It has been designed to allow users to reach an alternative viewing audience through an additional broadcast channel. It can be integrated with the manufacturer’s consoles and AoIP network interfaces to provide full automation of camera controls via the video switcher. The confi guration and programming can be customised online or, with su ffi cient defi nition data, delivered as a turnkey project.

VisualRplus generates visual content in parallel with regular radio content and can be streamed online or broadcast as a traditional television feed. It is suitable for small and medium-sized TV stations that need a high level of automation for their productions. If no AEQ mixer is available in the setup, an AoIP interface such as the Netbox 8V or 32V can be used to provide the necessary information regarding open microphone and levels to the video switcher. In addition, instructions to the video

Wash Twist Flash!

ROBE HAS unveiled the WTF!, said to deliver “turbocharged” strobe, wash and blinder effects. Built for all environments, the Wash Twist Flash! comes with three rapid motorised zooms: a 98 x 14° to 125 x 97° linear zoom for the central white LED strobe and a 13–95° zoom for the two RGBW sections. The unit comes with 72 20W linear white LEDs and 16 60W RGBW LEDs. A High Intensity Blinder feature adds 1,000W of warm white and amber LEDs, generating effects in the 1,800–3,200K range with tungsten emulation of lamps from 750–2,500W. Pan and tilt offer 360° continuous rotation control with EMS (Electronic Motion Stabilizer) technology for instant stop capabilities. Zonal control

and takedown times. The system allows for double-height stacking to safely stack and transport two fully assembled PreRig trusses on top of each other, maximising space and efficiency during transportation. It also

handling with forklifts, and multiple height settings to enable users to adapt quickly to different operational requirements.

www.fantek.es

production system can be provided from the programmable keys of the Atrium, Forum and Capitol IP mixing consoles and via control objects in the AEQ AudioPlus radio automation system. That way, the video production system’s control is integrated in the mixing console and automation system, so the control technician can send instructions to the system without the need for any additional device.

www.aeq.es

enables mapping across 12 white strobe zones plus 16 RGBW zones with macros for faster programming. Additional features include flash durations of 13–860ms and a variable rate of between 0.3–30Hz. The fixture also incorporates Robe’s RAINS, POLAR+ and parCOAT IP65 active protection technologies.

The LedPOINTE is the manufacturer’s next-generation LED fixture in the POINTE family. It has an advanced 280W HP (High Performance) White LED Transferable Engine, delivering 200,000 lux at 5m. The fixture comes with an L70 rating of 50,000 hours, a 155mm front lens, a 2:1 beam hot-spot ratio, a flexible 1.8–44°

zoom range and EMS software. Colour control is via a CMY colour mixing system that allows users to blend hues from delicate pastels to deep saturates. The colour wheel contains 13 dichroic colours, while the onboard DataSwatch library provides instant access to favourite colours and the most popular calibrated whites, with 2,700K, 3,200K, 4,200K, 5,600K and 8,000K all included for faster programming and adaptability.

In brief, the T31 Cyc Slim and T32 Cyc Slim have joined the T31 Cyc and T32 Cyc. The half-size luminaires have been designed to make lighting smaller cycs and set pieces in compact venues more flexible and adaptable.

www.robe.cz

Four on the floor

ITALIAN LIGHTING specialist Claypaky has introduced a quartet of lighting fixtures designed to meet the needs of a range of environments. The Tambora Stormy Linear is a hybrid lighting bar that delivers bursts of graphical strobes with 25 central RGBW LEDs and two strobe lines with 125 WW/CW LEDs, each divided into 25 controllable s e gments. Meanwhile, the Tambora Glare is another hybrid bar with two strobe lines that each feature 25 segments of WW/CW LEDs. Designed to create electrifying

Size matters

r hythmic pulses for high-energy shows, it has 10 50W RGBA LEDs that provide rich, warm hues with precise colour mixing, while red-shift technology mimics tungsten glow for dimming effects.

Meanwhile, Claypaky describes the Volero Twins as redefining batten-style lighting by merging the power of an effects light with the versatility of a moving head. It features solid beams, linear zoom, strobe effects and seamless modularity, and is equipped with dual lighting engines, endless PAN

THE KL Profile Compact’s advanced optical engineering is combined with integrated manual zoom and focus to provide projections that are free from colour shifts or aberrations, regardless of the zoom, focus or framing position. Features include variable 16-bit dimming curve modes and a 94.9 CRI engine (TLCI of 95) that uses a 225W five-colour homogenised LED array of red, green, blue, mint and amber sources. The RGBMA engine, calibrated at a native colour temperature of 6,000K, emits diffused saturates and soft-field pastels, including tuneable white light. The carefully tuned LEDs are said to provide an accurate colour reproduction while delivering an output of 5,880 lumens.

The Proteus Brutus FS is an IP66-rated LED followspot fixture said to offer high intensity and colour quality at long distances. Operated manually with removable handles or remotely through any automated remote tracking system, the fixture is suitable for indoor and outdoor applications that require flexible colour control in medium to long-throw followspot applications.

rotation and six layers of effects. High-output RGBW LEDs, large lenses and 20 cold white strobe segments create high-energy, high-definition effects for touring, TV and EDM shows. Finally, designed for broadcast, film and theatre, the Actoris Fresnel is the newest addition to Claypaky’s Multispectral family. It features a 6-colour RGBAL and Royal Blue LED engine, and a CRI of up to 97.

www.claypaky.com

Hog goes on tour

It also comes with a removable IP-rated camera housing to attach all commonly used PoE or SDI cameras.

Finally, the Fuze PFX is an LED framing effects fixture capable of projecting tight beams, precise framing and wide washes. It provides over 15,000 lumens of output from its 400W white LED engine. Housing 19 carefully designed gobos and a 3–53° zoom, the unit can create mid-air effects as well as precise image projections. The PFX creates even stage washes using its variable frost filter, while a wide array of colours is possible from a seamless CMY colour mixing system plus colour wheel. Full blackout framing blades allow shaping of the beam to highlight precise areas on the stage, and function as a creative mid-air effect as well. Dual independent rotating and overlaying prisms plus a fast iris complete the feature set.

In brief, the manufacturer has also added a Profile LT version to its Paragon series which produces up to 50,000 lumens with a 200mm lens for narrow, long-throw beams and comes with a 3.9–45° zoom and a variable CRI of 70–93.

www.elation.global

ETC HAS unveiled its next generation of Hog lighting control consoles. The Tour Hog console has been built for professionals who need a powerful and flexible console on the move. Featuring new hardware and software updates, the console enhances the Hog workflow while maintaining a compact design. Function keys have been reconfigured with large full-colour displays and provide access to Hog’s traditional commands, while eight new user-definable keys allow for further customisation of the front panel. Features include a 24-inch articulating display, dual 12.5-inch dashboard screens and motorised RGB-backlit keys and faders. The Stage Hog offers the same power and precision as the Tour Hog but without a monitor, allowing users to incorporate their own displays and other accessories. Its modular design features the same front panel controls as the Tour Hog, while accessory mounts accommodate third-party adapters for monitors, tablets, laptops and cameras to tailor the setup to individual needs.

The Flex Hog console is designed for smaller productions or backstage setups where space is at a premium. Stripped of its dashboard displays and keyboard drawer, the Flex Hog offers a minimalist design while delivering the same front panel controls as its bigger brothers. It

provides the same precision and control needed for smaller venues and tech positions, all within a compact package. For technicians and programmers who need flexibility and portability, the Gig Hog programming wing reportedly integrates into any setup, providing USB-C connectivity, Ethernet and USB ports, all while powering laptops up to 100W. With RGB backlit keys, five RGB backlit motorised faders and five rotary encoders with dual wheel keys, the Gig Hog is a fully functional wing perfectly paired with the HPU hybrid processor or Hog PC. When paired with Hog PC, the Gig Hog unlocks 12 universes of control directly. The Gig Hog and HPU can be mounted in standard 19-inch racks, providing integration into existing setups.

Additionally, Hog version 5.0 software –released alongside the new consoles – is also available to existing Hog 4 customers. Users can move to a new Hog running version 5 or upgrade their existing Hog 4 console to version 5, without changing their workflow or losing valuable programming. Show files from version 4.x open normally in version 5.x.

In brief, the manufacturer has released Mk2 versions of its Paradigm Architectural Control Processors.

www.etcconnect.com

Tour Hog

Fuze PFX

KL Profile Compact

Proteus Brutus FS

Volero Twins

Mastering the art

SEBASTIAN KANABAR IS BROMPTON TECHNOLOGY’S

head of sales for APAC. Recently, he announced the company’s main priority for 2025, and it resonates strongly. It is, he said, “pushing LED into newer markets – markets traditionally served by projection or LCD technologies”. Not only does this have a direct influence on how reproduced art is displayed in galleries created for it, it’s the exact equivalent of what’s happening with audio: a wholesale upgrade in terms of resolution, flexibility and market reach. One of the most fruitful destinations at the moment is the arts sector. This business is booming, from London to Hong Kong, the new approach of galleries is to go multimedia, combining audio and video. Technology is penetrating the spaces previously considered sacrosanct worldwide, and the aim appears to be to breathe life into the static medium of paint, graphics and projection for the basic goal of attracting more visitors. Moving pictures, with sound, is turning art into a new kind of cinema.

Purpose-built venues are being constructed for this new wave of art exhibitions, or a meaningful space co-opted, making full use of the location. Amsterdam’s 17th-century Noorderkerk church recently displayed a 360° “world of colours” with 38 Digital Projection projectors to show how Rembrandt inspired Vincent van Gogh. This used 12 Fohhn Audio DLI-130 beam steering active column speakers and five Fohhn AS-06 ASX subwoofers to carry an audio narrative. In Hong Kong’s Xiqu Centre, a temporary gallery has been showing the works of French Impressionist Claude Monet using video mapping onto a large 360° digital canvas; the accompanying soundtrack was composed, produced and performed by a group called Echo Collective via a 7.1 surround audio installation. Meanwhile L-Acoustics, home of the L-ISA Immersive Hyperreal Sound solution, specifically calls its applications “Art for Your Ears” while “bringing concert sound into any space” – including, in one instance, a shopping mall. Digital art in the Haikou International Duty-Free City Shopping Complex in China is dynamically charged by audio via several compact Kara, X12 and X8 loudspeakers spread across five atrium floors. Some venues are using networked AV and steerable loudspeakers to minimise reflections: 16 Bosch LA3-Vari-BH steerable active column speakers with DSP are helping not to disturb the royal mummies at the National Museum of Egyptian Civilization in Cairo, backed by Dynacord DSA amps and a Q-SYS Core 510i processor.

Currently, two successful exhibitions in London reveal the sophistication of the sound and projection design driving this market forward. Budgets are being stretched to accommodate leading consultants and engineers, confirming the confidence in the business and the ambition of the aesthetics. London’s Lightroom is a four-storey venue that uses spatial audio via two Holoplot X1 Matrix Arrays and their carefully placed reflector panels, with input from leading sound designer Gareth Fry and lighting ace Ben Pearcy: sound, lighting and video are all threedimensional. This was joined in 2023 by Lightroom Seoul, a new immersive exhibition space developed by Lightroom London in partnership with Korean NFT art platform, Etnah Company. Back in London, Frameless is a kinetic display of famous works from the Renaissance to Kandinsky that uses, fittingly enough, the interior dimensions of a former West End cinema. This, too, has spatial audio, courtesy of EM Acoustics’ EMS-41 2-way passive coaxial speakers and TiMax panLab spatial audio mixing software.

Directional Audio is a relatively new specialist in this field, with UK clients including Tate Modern, the Eden Project, the Wellcome Trust and even Banksy’s esoteric displays at the Walled Off Hotel, Bethlehem. The range now includes ultrasonic and dome speakers, sound “showers”, directional soundbars and overhead arrays, all of which disperse audio with pinpoint accuracy. MD James Hunter says “directional” (with a small “d”) sound is growing rapidly enough for it to be his new priority. “It concentrates audio exactly where you need it,” he explains, “but is much more affordable than beam steering, spatial audio or similar. It’s for focusing on individual people or, at the most, small groups – which is why we’re picking up more and more work in the art space.”

Dr Alison Eardley, senior lecturer in psychology at the University of Westminster in London, has been awarded a grant jointly funded by the Arts and Humanities Research Council (AHRC) and the National Endowment for Humanities (US) to research how inclusive digital museum audio might transform the visitor experience for everyone. One project is developing the idea of the Sensational Museum, which also asks how access provision for non-normative visitors – audio description, British Sign Language (BSL), audio guides, interactive content – can be redesigned so that it can benefit all museum audiences. Part of it is looking

at the collections themselves and how they can be more multisensory, especially using sound. “Sound can be the exhibit in itself, rather than just a photograph or written description,” Eardley says. “Many collection objects have sound properties that can be exploited to add meaning and to enrich the experience.” Most of all, the market is now rich enough to sustain full-time AV managers at the highest level of institutions. Tate Britain and Tate Modern are venerated fixtures on the London scene, and Dan Crompton is the AV services manager. “Everybody talks about ‘the visual arts’ but it’s really ‘the audio visual arts’,” he says. “It has an impact on what we do: paintings on walls have enormous visual power but step away and you don’t know they’re there. A work with sound, however – and I’ve done many tests –can be heard a minimum of three galleries away. Curatorship now has to take account of this.”

www.bromptontech.com www.fohhn.com www.l-acoustics.com www.timaxspatial.com

Visitors at London’s Frameless kinetic display