Pro AVL Asia March-April 2021

ProAVLAsia March–April 2021

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION March–April 2021

SHOW STOPPER

Hunan TV’s concert broadcast breaks ratings records LED PROCESSING FOR VIRTUAL PRODUCTION

SAM TOYOSHIMA DESIGNS SHANGHAI ACADEMY

DAS AUDIO CELEBRATES HALF-CENTURY

MSI JAPAN PIONEERS HYBRID EVENTS

MICA (P) 017/06/2020 PPS1604/05/2013(022953) www.proavl-asia.com

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

MEZZO The better, smaller solution DRIVING HUMAN AUDIO EXPERIENCE

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BETTER-SOUNDING WORLD

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

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

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Contents Volume 20 Issue Two March–April 2021 NEWS BUSINESS Dr Kramer retires as Fortissimo takes stake in company

4

DISTRIBUTION Christie appoints Exertis ProAV, Pequod builds Chinese network

12

APPOINTMENTS Dave Garlett bolsters Audix team, Glenn Lin joins Adam Hall

16

EDUCATION Abbey Road joins forces with Studios 301, d&b teams up with Avid 20 SPECIAL REPORT A recap of Pro AVL Asia’s evolution of broadcasting webinar

22

PROJECTS Live Date catches Waves to stream, DiGiGrid at StudiOzz

24

RENTAL Hexogon Solution makes major Panasonic projector investment

50

FEATURES VOCATIONAL CALLING The Shanghai high school teaching recording skills

52

ALIVE AND KICKING Thailand’s CAT Expo festival goes ahead

56

FULL STREAM AHEAD MSI Japan’s hybrid events with restricted and online audiences 58 BLUEPRINT FOR SUCCESS Swiss-Belhotel Solo opens in Jakarta

60

BRAND NEW EXPERIENCE Bangkok’s latest designer mall opens

62

REMOTE WORKING TAG Cares joins arts and music project in the Northern Territory 64 COVER: LOOKING TO THE FUTURE Hunan TV’s New Year spectacular breaks records

66

PASS IT ON Hamilton’s Claudelands Events Centre gets QSC Q-Sys infrastructure

68

BUSINESS LETTER FROM AMERICA Dan Daley dissects the US live industry stimulus package

70

LETTER FROM EUROPE Phil Ward looks at the Rolling Stones’ latest ventures

70

SHOW REVIEW NAMM’s Believe in Music Week

72

COMPANY PROFILE Celebrations in Valencia as DAS Audio celebrates half-century

74

TECHNOLOGY Brompton’s Adam Callaway discusses LED processing in virtual production 76 NEW PRODUCTS The industry’s most comprehensive product news ANALYSIS L-Acoustics creates new roles for MEA and India

79

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

As we move into 2021, this issue highlights the ongoing resilience and adaptability of our industry. It also demonstrates that it’s possible to fill these pages with original content sourced from across the world, from our homes in the UK. If someone had told me last March we’d be producing interesting, relevant content without travelling anywhere for a year, I would have called them crazy. But we have, and we certainly couldn’t do this without a lot of assistance. Fortunately, there’s been plenty of that available.

In different times, our trips to Asia and Australasia were a massive exercise in gathering content, and we’d return with hours of audio recordings, pages of notes and stacks of photos and video. Now, an ever-growing community of sterling industry folk provides us with descriptions and details of venues and events we can’t visit in person, as well as photos we can’t take, videos we can’t shoot and quotes we can’t gather, until we can do these things again.

We’ve proved we can do this remotely, and strengthened many connections in the process, but it’s not a long-term substitute for the real thing. Hopefully, the time when we can head back out and gather together is within touching distance. For now though, enjoy inspiring reports of the CAT Expo festival in Thailand (p56), MSI Japan’s hybrid livestreamed events (p58), the virtual NAMM Show (p72) and lots more that fills this issue, with special thanks to those who helped to make them happen. You know who you are.

Contacts

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inside 52

62

GENERAL MANAGER Richard Lawn

ADVERTISING DIRECTOR Sue Gould

SENIOR REPORTER Simon Luckhurst

T: +44 1892 676280

T: +44 1892 676280

rlawn@proavl-asia.com

sgould@proavl-asia.com

T: +44 1892 676280

PRODUCTION MANAGER Adrian Baker

EDITORIAL COORDINATOR Karen Wallace

SALES ASSOCIATE Carolyn Valliere

T: +44 1892 676280

T: +44 1892 676280

abaker@proavl-asia.com

kwallace@proavl-asia.com

T: +1 562 746 1790

DIGITAL MEDIA MANAGER Nick Smith

VIDEO EDITOR Chris Yardley

SOCIAL MEDIA COORDINATOR

T: +44 1892 676280

T: +44 1892 676280

T: +44 1892 676280

nsmith@proavl-asia.com

cyardley@proavl-asia.com

cvalliere@proavl-asia.com

56

64

Jessica Ubhi jubhi@proavl-asia.com

BEIJING OFFICE Frank Shao

GUANGZHOU MANAGER Sue Su

CIRCULATION Marne Mittelmann

T: +86 10 8652 5184

T: +86 13609001455

F: +65 6491 6588

frank@proaudioasia.com.cn

COVER: Hunan Satellite TV PRINTER: Times Printers Singapore LICENCES: Singapore: MICA (P) 017/06/2020; Malaysia PPS 1604/05/2013 (022953) All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

www.proavl-asia.com

sluckhurst@proavl-asia.com

@ProAVLCentral

ssu@proavl-asia.com

circulation@proavl-asia.com

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

@ProAVLAsiaMagazine March–April 2021 PRO AVL ASIA 3

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NEWS

Dr Kramer retires as Fortissimo Capital Fund takes controlling stake in Kramer WORLD

Fortissimo Capital Fund has acquired a majority interest in Israeli manufacturer Kramer Electronics. Michael and Ben-Zion Hochstein, two of the company’s founders, retain their interests in the company, while Dr Joseph Kramer, an entrepreneur and the founder of Kramer Electronics, is retiring.

Fortissimo Capital Fund is a private equity fund based in Israel, with capabilities to facilitate the growth of technology companies.

Fortissimo manages US$1.6 billion in capital and has to date invested in approximately 50 companies in Israel and abroad.

“I would like to thank Dr Kramer for the many years he has dedicated to the success of our company,” commented Kramer chief executive officer, Itzhak Bambagi. “Dr Kramer was one of the founding fathers of the AV industry and

contributed greatly to the company’s position as a world leader in its field. Fortissimo’s investment in our company is a major milestone and I am confident that under their guidance we can grow and become an even more significant player in the market. This year, we

are celebrating 40 years since the founding of Kramer Electronics. The initial pillars upon which the company was built, with a focus on constant innovation, the pursuit of excellence and team spirit, remain the driving force of our business today. These values and our strategic

direction will continue to drive the company’s future success.”

Yuval Cohen, managing partner of Fortissimo Capital and chairman of the board of Kramer, added: “Kramer’s continued innovation and innovative solutions including cutting-edge cloud technologies, pioneering methods of delivering AV-over-IP and wireless presentation and collaboration advances have solidified its position as a leader in the industry. Digital multimedia and AV technologies are thriving, and we see Kramer Electronics as a great global platform with over 25 offices worldwide to further grow and enhance its operations. We are thrilled to participate in the next phase of Kramer’s journey.” www.kramerav.com

Studer acquired from Harman International by Evertz WORLD

Evertz Technologies Limited has announced that it has entered into an asset purchase agreement with Harman International to acquire the Studer brand, technology and related assets in a deal set to close in Q1 of this year. “We’re pleased to welcome this iconic audio brand to our Evertz family of products and solutions that has been serving the broadcast market for more than 50 years,” said Brian Campbell, EVP business development, Evertz. “We also welcome the many valued Studer customers who depend on Studer technology and reliability to deliver the best audio to their audience.”

Following the acquisition, Ontario-based Evertz – which designs and manufactures AV solutions for the television, new media and telecommunications industries – plans to develop next-generation products to meet broadcast customers’ future needs while creating synergies with its existing product lines. “We saw an exciting opportunity to

evolve these premium products with new products and feature development while having Studer continue to redefine how broadcast audio is produced,” continued Campbell.

Founded in Zurich in 1948, Studer has a long tradition of technology that has been deployed in recording and broadcast for

more than 70 years. The brand joined the Harman stable in 1994, bringing it into the digital age.

“We are very pleased that the stewardship of the iconic Studer brand will continue on under Evertz’s leadership,” said Brian Divine, president, Harman Professional Solutions. “The Harman team will be working very closely with Evertz over the coming weeks to assure a seamless transition for the customers.” www.evertz.com www.studer.ch

Sennheiser announces plans to focus on pro business GERMANY

Sennheiser has announced plans to focus on its professional business that will help build greater independence for its business units.

The development of the pro business will be accelerated once a partnership has been secured to strengthen the brand’s market position in consumer electronics. Talks with potential partners will start shortly.

Sennheiser’s Professional and Consumer divisions are currently divided into four business units: pro audio, business communications, Neumann and consumer electronics. “In all of these areas we see great potential for growth but, at the same time, they are characterised by different customer groups, customer requirements, product life cycles and market dynamics,” commented Sennheiser co-CEO, Andreas Sennheiser.

To achieve sustainable growth, Sennheiser aims to increase visibility in the consumer business. Despite this being a highly dynamic market with strong competitive pressure,

Co-CEOs Daniel and Andreas Sennheiser both the soundbar business and wireless headphone market offer such growth potential. “Our products are known for the

best sound and for delivering a unique sound experience,” added co-CEO, Daniel Sennheiser. “These crucial aspects are at the heart of the purchasing decision for our customers in the premium headphones, enhanced hearing, audiophile and soundbars segments. These are the strengths that we want to work with a partner to build upon.”

A partnership for the consumer business will enable Sennheiser to place its focus and resources on strengthening its pro audio, business communications and Neumann business units. “To be best able to exploit the potential in each of these markets, we are concentrating our own resources on these three business areas,” explained Andreas. “Whether in the studio, concert hall, conference room or auditorium – in the pro world, Sennheiser stands for a superior audio experience, the highest reliability and the best customer understanding.”

The audio specialist plans to independently invest in sound competence as well as

market presence and visibility, anticipating that this will allow continued growth at an above-average rate and further expansion in the global market. In particular, Sennheiser has identified significant opportunities in the business communications market that it intends to capture.

“With a strong partner at our side to invest in our consumer business, we will be even better equipped to play to our strengths and to continue to bring the benefit of these strengths to our customers,” said Daniel. His brother Andreas is also looking ahead to the future.

“For over 75 years, Sennheiser has stood for excellent technology and unique audio experiences. In doing so, we always focus on the needs of our customers. And we will continue to do so in the future.” www.sennheiser.com

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CLOSED DYNAMIC HEADPHONE

TEC AWARD 2020

NDH 20 – Reference to go

» »

An excellent tool for analytical listening.

Sound on Sound Magazine

This is a professional audio tool for studio and stage.

Tools4Music Magazin

NDH20_245x335_ProAVLAsia_PanAsian.indd 1 Untitled-2 4

« » « »

Sound, comfort and design are top grade.

Professional Audio Magazin

A headphone that bears the Neumann name quite rightly.

Recording Magazin

« » « »

The ideal complement for anyone working with Neumann speakers.

Sound & Recording Praxis-Magazin

A phenomenal point of reference when working with audio.

Mixdown Magazine

« « 22.02.21 13:08 26/02/2021 17:37

NEWS: BUSINESS

Audio pioneer Rupert Neve passes away WORLD

Rupert Neve Designs has regretfully announced that its founder, Rupert Neve, has passed away in Wimberley, Texas, at the age of 94 from non-Covid-related pneumonia and heart failure.

Neve is known throughout the industry for founding several historic companies and creating some of history’s most enduring and sought-after analogue audio equipment.

He received countless accolades, including a Lifetime Achievement Technical Grammy Award in 1997, Studio Sound Magazine’s Audio Person of the Century Award in 1999, an Audio Engineering Society Fellowship Award in 2006 and 16 TEC (Technical Excellence and Creativity) Awards with Rupert Neve Designs.

He remained engaged and passionate about his work, spending most days on design and development projects.

“I’ve known and worked with Rupert for nearly 30 years,” said Josh Thomas, Rupert Neve Designs’ co-founder and general manager.

“When Rupert, his wife Evelyn and I sat at his kitchen table and founded Rupert Neve Designs 16 years ago, he had two goals. The first was to set a new standard in the quality of recorded sound, drawing upon his unparalleled depth of experience to create high-end solutions for the modern recording engineer, musician and listener alike. The second was to pass on his philosophies, techniques and methodologies to a new generation of designers to carry his life’s work and passion into the future.

“It was always assumed that the company would outlive him on this earth, and for 16 years he poured his energies into creating a team that would become the caretakers of the theories, practices and ideologies that truly

constitute a Rupert Neve design. All of us at the company are exceedingly grateful for the years of careful instruction and mentoring with which he has blessed us, and we will continue to preserve his legacy in everything we do moving forward. The world certainly sounds better because he was here.”

Reportedly in great spirits to the end in Texas, his home for the past 27 years, Neve remained engaged on a perpetual series of audio electronics projects, continuing to mentor his engineering team. He is survived by Evelyn, his wife of almost 70 years, five children, nine grandchildren and five great-grandchildren.

Arrangements for a celebration of his life for family and friends will be made when it is safe to do so. www.rupertneve.com/rupert-neve-obituary

Philips Professional Display Solutions becomes PPDS WORLD

Philips Professional Display Solutions has rebranded as PPDS as part of its new “total solutions” strategy, which aims to provide better support for the AV industry. PPDS encompasses Philips’ range of digital signage, LED display and professional TV solutions. The new PPDS brand, which is showcased alongside a new logo, look and feel, and tagline – Powering Evolution – supersedes the existing Philips Professional Display Solutions identity.

“Our new strategic direction is focused on total solutions, global presence and sustainability,” stated Chris Colpaert, general manager for EMEA, AP and NA at PPDS. “And this important strategic redirection is the right moment to give our organisation a new identity – PPDS. With a strong financial position and firm foundations as a part of TPV – the world’s largest manufacturer of monitors and a leading provider of display solutions – our ongoing investment in our people and our manufacturing facilities, as well as the proven quality delivered by our Philips-branded professional displays, this is the next bright step for our organisation.”

Chris Colpaert

Franck Racapé

The company states that this is more than a simple change of wording, it marks an evolution for the organisation. As part of that new brand strategy, PPDS is accelerating its core strategic business streams to provide more value to the AV channel and to its customers. This will include bringing more advanced and timely total solutions, rather than simply displays, to customers by harnessing its growing third-party partnership network, as well as facilitating access to global markets for customers

backed by a one-stop approach and a single point of contact, regardless of location or geographical reach. Finally, the organisation intends to “lead from the front” in driving and supporting environmental consciousness and sustainability in the industry.

Ron Cottaar, the marketing director behind the new brand at PPDS, explained: “It all starts with powering evolution. We enable our customers, helping them to bring their ideas to life. And we inspire them to push the

Valens and SyncPro partner to expand HDBaseT monitoring capabilities WORLD

Valens, the inventor of HDBaseT technology for the AV market, has expanded its existing partnership with SyncPro to include the latter’s CloudOS platform. This partnership will reportedly accelerate the integration of HDBaseT AV and IT management by allowing remote deployment and monitoring for any HDBaseT devices.

SyncPro’s cloud platform enables IT teams and Managed Service Providers to remotely configure, monitor and maintain audiovisual, unified collaboration and digital signage products. With SyncPro’s CloudOS support, HDBaseT equipment manufacturers can add advanced cloud-based features and remote managed services for their product lines – which has gained importance due to accessibility issues during the pandemic.

Added capabilities include proactive monitoring capabilities, features licensing, firmware updates

and remote configuration, and will allow system integrators and installers to deploy and service their systems at a lower cost and in a shorter time.

“Our collaboration will benefit not just our two companies, but the AV industry as a whole,” said SyncPro CEO, Omer Brookstein. “HDBaseT product manufacturers will be able to empower their channels and systems integrators with unparalleled managed services capabilities while offering more enticing, value-added maintenance contracts for their customers. Using our new support centre feature, integrators can also escalate issues directly to the manufacturer’s support staff for remote debugging, offering an unparalleled support experience.”

Valens recently began using CloudOS to allow HDBaseT chipsets to connect to an integrated cloud, but has now added new capabilities to

CloudOS, including the option to monitor and manage its evaluation kits to better support HDBaseT product development.

Gabi Shriki, SVP and head of the AV business for Valens, emphasised that the SyncPro partnership will further the goal of strengthening HDBaseT by enabling a stronger ecosystem and accelerating AV and IT integration. “This has always been Valens’ vision – to develop a standard that will allow end users more choice, mixing and matching devices from different vendors. CloudOS’ vendor-agnostic approach brings strong value to integrators by extending management applications across more AV and IT devices, regardless of the device vendor or technology.” www.syncpro.io

boundaries to create and deploy new ideas that they didn’t even know were possible. This means we work together, listen to business needs and bring solutions to life. PPDS combines the best of Philips’ professional displays with the ultimate from our hardware, software and systems integration partners.

Our brand stands for the new. For the digital.

And for connecting today’s people into the technology of tomorrow.”

“Our newly launched brand better highlights our agile approach to work, including our ongoing strategy for open technology, breaking silos between hardware and software provision by encouraging full and easy integration with innovative third-party companies,” concluded Franck Racapé, vice president EMEA. “And we will continue to develop our strategy, employing that PPDS dynamism to support our customers locally, while facilitating access to the world for our customers, with a global range and a global presence, now and into the future.” www.ppds.com

Tradeshow news USA: AVIXA has announced the postponement of the InfoComm show in Orlando to 23–29 October 2021 from its original dates in June. InfoComm 2021 will take place at the Orange County Convention Center with the conference running from 23–29 October and exhibition from 27–29 October. www.avixa.org www.infocommshow.org

GERMANY: Messe Frankfur t has announced that it has cancelled Prolight + Sound, scheduled for 13–16 April 2021. The next iteration of the event is planned to take place from 26–29 April 2022. www.pls.messefrankfurt.com

www.valens.com

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NEWS: BUSINESS

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USSI Global invests in digital signage AI with AdMobilize

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WORLD

USSI Global, a turnkey provider of customised network, broadcast and digital signage systems and services worldwide, has announced a strategic partnership with AdMobilize to more easily integrate

“Partnering with AdMobilize to bring our clients cutting-edge AI solutions is an important step for USSI Global heading into 2021,” stated David S Christiano, CEO and president at USSI Global. “We believe our focus and expertise on

AI into digital signage deployments. The partnership will see the implementation of computer vision-based audience analytics across various digital signage projects.

The two teams have worked together to optimise the implementation of AI in digital signage projects for retail, C-Store and other brick and mortar locations. This is said to be key in the adoption of such technologies as it lowers the barriers to entry for a larger number of potential users. USSI Global and AdMobilize are also exploring new market opportunities such as QSR and other consumer engagement technologies.

service/deployment combined with AdMobilize AI can create new opportunities for our clients moving forward as they work to meet changing consumer expectations brought on by the Covid-19 pandemic.”

“We are excited to bring this strategic partnership to market at the start of 2021,” added Rodolfo Saccoman, founder/CEO of AdMobilize. “The expertise and client base of USSI Global combined with the technology of AdMobilize will create immense value for all stakeholders.” www.admobilize.com

Beyma restructures

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SPAIN

Transducer manufacturer Acustica Beyma has undergone an internal shareholding restructure. Together with Ana Masip, general manager Jose Vicente Farinós is now the majority shareholder of the company. The Masip family has been majority owner of Acustica Beyma since the company was founded in 1969, and the exit of current president Jose Masip together with Lidia Masip from the Beyma shareholding is immediate. As an understudy to his father initially, Jose Masip has been working at Beyma for 35 years since 1986.

“Having run the company for the past 17 years and despite the current situation with Covid, I can affirm that we are entering into an exciting phase of development here at Beyma,” confirmed Farinós. “This is largely due to the great work of our teams in all key areas of the company and the invaluable help of our strategic partners worldwide.

The current crisis has not slowed down our mid- to long-term plans in terms of product innovation, improvement of production facilities and Beyma’s ongoing digitalisation processes. We have the team, will and capabilities to continue making history in pro audio at a global level.”

Having started his employment as financial director at Acustica Beyma in 1995, Farinós holds a degree in economics from the University of Valencia and a Master’s in Finance from CEF Madrid. Having become a

Jose Vicente Farinόs minority shareholder of the company in 1997, he was then promoted to lead the company as general manager in 2003. Beyma has confirmed that the shareholding restructuring will provide continuity to the trajectory and management carried out in recent years in addition to consolidating current global strategies. www.beyma.com

www.ussiglobal.com

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NEWS: BUSINESS

Industry mourns Crestron CTO Fred Bargetzi

Having just celebrated his 30th anniversary at Crestron, Fred leaves behind a legacy of innovation, creativity, enthusiasm and kindness that has helped shape the AV industry into what it is today. We are eternally grateful for his dedication and inspiration. He will be deeply missed.

We are planning several ways to honour Fred’s remarkable life. In the meantime, if you would like to share your thoughts, memories and condolences, simply email: rememberingfred@crestron.com.

WORLD

Crestron has announced the death of its chief technology officer, Fred Bargetzi, a veteran of the AV industry who had served the company for three decades.

An official statement from Crestron reads as follows: It’s with great sadness that we announce the passing of Fred Bargetzi, our CTO

and dear friend. His impact on our company cannot be overstated. The impact he’s had on our industry is even greater. Under Fred’s leadership, he challenged us to not only push the boundaries of what’s possible, but to do so with an eye towards making the world a better place.

Fred Bargetzi

www.crestron.com

Kramer partners with NETGEAR for SDVoE solutions WORLD

As part of its long-term commitment to deliver audio and video over the IP network, Kramer has formed a global partnership with networking hardware specialist NETGEAR to deliver complete end-to-end solutions for AV-over-IP infrastructures and accelerate Ethernet-based AV distribution in professional environments. The deal means that Kramer’s offering now includes NETGEAR’s full range of data networking switches worldwide.

Both Kramer and NETGEAR are founding members of the SDVoE Alliance, a consortium of technology providers which aims to standardise the adoption of Ethernet to transport AV signals, allowing software to define AV applications. Aviv Ron, vice president of business development and strategy at Kramer, explains: “Our partnership with NETGEAR

allows us to offer a complete AV-over-IP system in the most demanding environments and to be even more agile when bringing such solutions to market globally.

“NETGEAR’s professionalism and dedication to AV-over-IP is unparalleled and we are thrilled to partner with them in this evolution. Our customers and systems integrators receive

detailed system designs, on demand, within hours and, together with NETGEAR, we support our customers throughout all stages of the solution development process. This enables us to offer cost-effective, high-performance AV networks, suitable for any need.”

“The partnership with Kramer goes beyond just the hardware,” says Laurent Masia, director of product management for managed switches at NETGEAR. “Both companies are committed to providing a range of solutions that make incorporating AV-over-IP easier than ever in the pro AV industry. NETGEAR welcomes the chance to work together and continue to listen to the pro AV community to engineer products that delight our customers.” www.kramerav.com

1/2021 15:09

3D SYSTEM DESIGN, PREDICTION AND OPTIMISATION SOFTWARE

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NEWS: BUSINESS

E&E celebrates 70th anniversary SINGAPORE

E&E is proud to be celebrating its 70th anniversary in 2021, having played a major role in the pro AV industry since it was established in 1951. Milestones along the way include the National Theatre in 1963; the National Stadium in 1973; Esplanade, Theatres by the Bay in 2002; Victoria Theatre and Concert Hall and Singapore Sports Hub in 2014; Changi Airport Terminal 4 in 2017; and, most recently, the Bicentennial Experience in 2019.

E&E was founded by the late Mr Goh Kiok Chuan in 1951, with his eldest son Ronald Goh joining the family business while pursuing his tertiary education in the early 1960s. The Gohs worked closely together, increasing their market dominance locally and regionally, and the company is proud to embody the same entrepreneurial spirit of its founder, Mr Goh. In 2003, Gary Goh followed in the footsteps of his father Ronald Goh, joining the company as a project engineer and serving in various positions before becoming deputy managing director in 2011 where he continues to strengthen the focus on E&E’s commitment to its customers and push new boundaries by expanding its portfolio with product innovation and engineering.

L–R: Cynthia Nah, chief finance officer; Ronald Goh, chairman; Gary Goh, chief executive officer; and Joe Fong, chief operations officer As E&E moves into its next phase, Ronald Goh will assume the role of chairman of the E&E group of companies, with Gary Goh becoming chief executive officer. Joe Fong becomes chief operations officer, with Cynthia Nah as chief finance officer.

“This transition in leadership has been years in the making, with both Gary and Joe having been appointed deputy managing

directors in 2011,” commented Ronald Goh. “Their leadership has been instrumental in both evolving and driving E&E’s growth strategy over the last decade. With both of them at the helm, I am confident that their combined experience and dedication to the company will help carry E&E into the future and secure its continued success in the years to come.

“We are also truly fortunate to have a talented team at E&E who have been instrumental in our success over the years, with more than a quarter of our staff having been with us for over 10 years.”

Added Gary Goh: “We are in unprecedented times as we celebrate this momentous milestone. The pandemic has had a big impact on our industry, but our team has stayed dedicated and resilient with the determination that we will emerge stronger than ever before. E&E is built on the values that have shaped us for the past 70 years, and it is these values that will continue to guide us for the years to come. We are thankful to our clients, partners and team for being on this amazing journey with us as we set out on our next lap of the E&E legacy.”

“Having grown from a family business to what we are today, E&E has become one of the very few AV companies that has been around for 70 years globally,” summed up Fong. “We are excited about this celebration while taking on a new mission to bring E&E to 80, 90 and 100 years.” www.enepl.com.sg

Industry veteran integrates Interfacio launches Vue Audiotechnik into inTeams brands group WORLD

Michael von Keitz GERMANY

Michael von Keitz has acquired 100% ownership of loudspeaker company Vue Audiotechnik that he co-founded in 2012, underscoring his commitment to the brand and belief in its growth and innovation in the global marketplace.

“The huge potential of an absolute highend brand such as Vue was always clear to me,” said von Keitz. “The synergy of bringing together all our resources under one organisation will allow us to better meet customer needs without any compromise.”

Vue Audiotechnik will join SE Audiotechnik and the high-fidelity product line, mivoc, under one roof, which the company believes will result in enhanced production

capacities, larger R&D teams and more efficient logistics leading to greater competitiveness, a quicker time to market and an early extension of the product portfolio into installed applications, with the integration of the sales and marketing departments enabling enhanced communications and customer support. A new domain – www.vue-audiotechnik.com – has been created.

Von Keitz established his first speaker company in Solingen, Germany, in 1980, going on to develop a fully integrated, international pro audio portfolio.

Specialist global recruitment consultancy Interfacio has recently launched a new initiative named inTeams as part of its drive to offer further support and guidance to clients and candidates.

“It is clear that the pandemic has created an uncertainty in everybody’s mind and re-energising is required,” explained director of business development, Isabelle Wear. “inTeams reflects and offers complementary services focusing on personal development, coaching, mentoring and team building.”

The inTeams programme incorporates three elements: a focus on team performance (Perform), individual leadership and management coaching (Elevate) and personal career focusing (Align). Talking specifically about the Align programme, Wear continued: “While much of our focus is about helping companies build their teams and find and secure new talent, we understand that sadly in some cases, businesses are currently being forced to consider downsizing and this means that good people are being let go. Align is designed to support these individuals and can be commissioned by businesses as part of a redundancy support package being provided to those individuals.”

The feedback has already been highly positive with one recent candidate stating: “I have built a day-to-day mental tool-kit, I am a far more effective communicator and I have a much deeper understanding of how to motivate myself and others.

Isabelle Wear Isabelle was instrumental in helping me transform an extremely challenging time into a hugely positive experience.”

Wear can be contacted via the Interfacio website for more information. “We believe that our offering in this area is quite unique and includes our own particular insight and understanding of the industry sector, channels and culture that the people we are working with know and love,” she added, “so we are particularly well placed to deliver a support programme which is relevant, personal and effective.” www.interfacio.com/inteams

www.vue-audiotechnik.com

10 PRO AVL ASIA March–April 2021

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NEWS: DISTRIBUTION

Christie appoints Exertis ProAV Australia ANZ

Christie has appointed Exertis ProAV Australia to serve as its specialist distribution partner in Australia and New Zealand.

Exertis ProAV Australia is a leading supply chain partner for established and emerging technology brands across consumer, business and enterprise. As a wholly owned subsidiary of parent company DCC plc, Exertis has enjoyed a busy 2020 having already assumed distribution responsibility for the AirTame, Contacta, Leyard, Planar and Taiden brands. The Adelaide-based company also acquired advanced audio technologies and loudspeaker solutions specialist, Revolution Acoustics.

“Christie is a global audiovisual, content management and image processing technologies industry leader,” commented Exertis ProAV Australia president and

Nick Cocks

CEO, Kevin Kelly. “Starting with inspired ideas and innovative solutions, Christie offers a complete range of high-quality AV solutions for cinema, business, education, entertainment and industry. We look forward to presenting their award-winning solutions to our resellers across all vertical markets in Australia and New Zealand.”

According to Christie Enterprise executive VP Michael Bosworth, Exertis ProAV Australia’s deep and broad base of knowledge across all vertical markets together with its unmatched commitment to providing high added value, specialist focused programmes will directly contribute to Christie’s future growth in the region.

“Exertis ProAV understands the unique AV needs of resellers and their end-user customers in every type of application in

every vertical market. Their product and market knowledge is going to help us meet our near- and long-term business development objectives.”

Further commenting on the appointment, Exertis ProAV Australia GM Nick Cocks emphasised that Christie’s technology would enable truly awe-inspiring installations to capture the attention of audiences in every vertical market, from houses of worship to Hollywood and from missioncritical command centres to classrooms.

“The addition of Christie’s complete line of solutions to our portfolio is going to provide resellers with many exciting new options to present to their customers.” www.christiedigital.com www.exertisaustralia.com

Analog Way signs distribution agreement in Indonesia INDONESIA

Analog Way has announced a renewed distribution agreement with Jakar tabased Prisma Dinamika Indonesia. The French designer and manufacturer of image processing systems recognises Prisma Dinamika as a leading AV distributor in the archipelago.

Having assumed the role of vice president for Asia with Analog Way in October 2020, Guy de Souza has made an impressive mark in a shor t period of time. “We are delighted to strengthen our mutual collaboration with Prisma Dinamika Indonesia. Having worked with PDI for years now, we are confident that

their in-depth knowledge of our solutions will be a key asset to developing our products and ser vices in Indonesia.”

Founded in 2015 by a team of seasoned AV professionals, Prisma Dinamika Indonesia is assembling a por tfolio of current AV technologies and solutions for its growing customer base in Southeast Asia.“As the industr y leader, Analog Way has always delivered the best quality products that enliven ever y event we’ve worked on over the years,” commented Prisma Dinamika Indonesia MD, Fahmi R Pitono. “In addition, Analog Way was one of the

first brands to trust us and grow with us since the beginning of our journey in 2015. We are ver y pleased to continue our fruitful par tnership.”

This latest announcement follows Analog Way’s recent expansion into Australia and New Zealand with PCB Digital. An exclusive distribution agreement was also signed with Digital Media Technology (DMT) for Hong Kong and Macau together with Kinoton Korea in October 2020.

Guy de Souza

Earthworks sows new seeds in Southeast Asia SEA

Having celebrated its 25th anniversary in 2020, Earthworks has announced expansion of its distribution network in the Asian Pacific, with Sonos Libra assuming exclusive distribution for the US microphone manufacturer in Thailand and Vietnam from 5 March.

“As part of our continued expansion into southeast Asia in addition to the new branding we are promoting, this new partnership will allow Earthworks to truly focus on its mission to provide life-like sound to everyone,” commented VP of sales, Mike Dias. “Our message is that Earthworks Audio is the brand of choice for all content creators looking to capture memories.”

Incepted in 2017, Sonos Libra has made a large impact on the Thai professional audio market in a relatively short time span. Its portfolio includes Allen & Heath, Adamson, Audinate, dBTechnologies, Rational Acoustics and Xilica. “Adding a quality microphone brand fills a gap that previously existed in our product range,” said Sonos Libra’s CEO, Alfonso Martín Rodríguez “I’ve travelled for many years taking a

couple of M30 measurement mics with me for accurate audio setups and developed a deep respect for Earthworks. The build quality of the microphones is unparalleled.”

Having quickly got to grips with the entire product range, Martín and his team are clearly impressed with the Earthworks range, including conferencing systems. “The vocal mics are extremely transparent, while those dedicated for percussion have become a reference in today’s market,” added Martín.

Sonos Libra is planning an extensive tour of seminars and workshops across Thailand and Vietnam in addition to providing online content with product information. “Our new showroom will allow customers to test, compare and experience the quality of the microphones and provide interaction and feedback,” said Martin. “We are honoured to be representing Earthworks in Thailand and Vietnam and look forward to increasing sales and brand awareness.”

www.earthworks.com

Sonos Libra chief, Alfonso Martín, with his pair of Earthworks M30 measurement mics

www.sonoslibra.com

12 PRO AVL ASIA March–April 2021

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NEWS: DISTRIBUTION

Pequod announces new Chinese distribution network CHINA

Italian loudspeaker manufacturer Pequod Acoustics has announced new partnership agreements for its expanding product lineup in China.

Guangzhou Star Performing Arts Equipment Co Ltd (Star) now takes on distribution for Pequod in mainland China, Hong Kong and Macau, as well as Burma, Laos and Cambodia, while Hertz Audio (Guang Zhou) Co Ltd has been appointed as a dealer for mainland China and Hong Kong.

While Pequod is already firmly established in a number of high-profile clubs, including the Yang Club in Singapore and NASA Saigon, Hertz Audio has bigger plans for introducing the products to new customers.

“The brand is not only suitable for the club market, but also applications such as cultural tourism, live performances and highend corporate events. We’re putting together a comprehensive plan to promote the brand in those different segments,” stated Ye Xiangdong, general manager at Hertz Audio. “For the club sector, we’ve joined forced with the Alliance Art Group and will primarily promote the brand in the group’s chain of nightclubs. For live sound, we intend to do a series of roadshows and are also planning to cooperate with internet

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celebrities and TV associations. And then there are also additional opportunities for

sponsorship at corporate events.” Pequod has collaborated with premium brands

www.hertz-group.com www.pequodacoustics.com

Midwich announces Televic Conference ANZ distribution appoints IAG Group partnership with B-Tech for China AV Mounts CHINA

AUSTRALIA

Televic Conference has announced the appointment of IAG Group as its exclusive distributor for the countr y.

Specialist AV distributor Midwich Australia Pty Ltd has announced a new distribution partnership with AV mounting solutions manufacturer, B-Tech AV Mounts. Founded in 1972 and headquartered in the United Kingdom, B-Tech AV Mounts manufactures an

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such as Burberry and Formula One in the past.

“We are deeply attracted by Pequod’s unique artistic style. While getting to know more about the brand, we were impressed by the professionalism of the Pequod team, as well as their understanding and pursuit of top-quality sound,” added Bi Qiquan, president of Star. “The Hutaoli music restaurants and bars owned by the Alliance Art Group have their own artistic style and, when Chinese and Italian art collides, I think there’s bound to be a unique reaction. We believe that Pequod is a disruptive brand in the audio industry but also complements our current portfolio.”

“I’m very excited to work with such an important group in China,” stated Leo Dani, chief operating officer at Pequod.

“They are giving the brand a clearly defined path to travel along in order to achieve the best possible results. They have a very good investment plan and also very high growth potential as a result of the alliances they have in place across many different application fields. I can’t wait to see how this will evolve in 2021.”

extensive range of AV mounts, including the System X, Mode-AL, System 2, Ventry and System V sub-brands. Designed to stringent TUV and UL safety standards, B-Tech AV mounts are available as wall or ceiling mounts, desktop stands or freestanding, mobile or bolt-down floor stands.

“Midwich carefully considers each distribution partnership to ensure we maximise our portfolio and deliver proven, quality products to our channel,” commented Midwich APAC managing director, Michael Broadbent. “B-Tech AV Mounts meets these criteria perfectly and has been a long-term Midwich partner in the

UK with an excellent track record for consistent performance in the field.”

B-Tech mounting solutions cover all AV requirements ranging from small, single screens to large-format displays, projectors, speakers, interactive touchscreens and UC equipment in addition to multi-screen videowalls and digital signage. Collaborative partnerships exist with other Midwich-represented brands, including LG, BrightSign, Datapath and Mersive.

“Expanding our relationship with Midwich into Australia and New Zealand is a natural progression for B-Tech AV Mounts,” explained B-Tech AV Mounts CEO, Matt Bennett. “We look forward to working with the local team to re-establish the reach of our brand and offer a competitive range of solutions that are perfectly suited to today’s diverse AV mounting requirements.” www.btechavmounts.com

“Televic always comes up with truly innovative products,” commented Mr Wang, GM of IAG. “We are convinced that our cooperation will help us provide the best solutions to our customers. Moreover, both Televic’s and IAG’s shared commitment to sustainability in their business model lies at the hear t of a successful collaboration between both par tners and clients.”

“Both Televic’s and IAG’s shared commitment to sustainability in their business model lies at the heart of a successful collaboration between both partners and clients” Based in Shenzhen, IAG has been serving the Chinese AV market since 1991 as a full-range distributor, providing in-house technical support and extensive after-sales services. The company provides custom solutions geared towards the needs of its AV clients. By joining forces, both parties believe they have secured a strong foothold in this rapidly evolving market.

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

www.midwich.com.au

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NEWS: DISTRIBUTION

Meyer Sound initiates reseller network down under ANZ

With immediate effect, Meyer Sound is launching a direct, non-exclusive reseller network for the sales and marketing of its loudspeaker solutions in Australia and New Zealand, ending its threeyear relationship with distributor, Audio Brands Australia. The new business model intends to provide greater factor y-direct suppor t to Meyer Sound customers in this growing market.

“Audio Brands Australia has been a fantastic par tner and has helped us grow Meyer Sound’s brand awareness over the past three years,” commented Meyer Sound senior vice president, John McMahon. “Learnings from the pandemic suggest that moving to a more direct model will benefit customers in this impor tant market.”

Over the decades, the Meyer Sound brand has earned widespread acceptance in Australia and New Zealand. Systems have recently been installed at the Telstra Theatrette Melbourne, Australian Outback

“Audio Brands has delivered a number of key projects throughout Australia and New Zealand,” said Audio Brands Australia founder, Don McConnell. “We are ver y proud of what we achieved and have enjoyed working with the Meyer Sound team. We wish them well with their new direction.”

When asked by Pro AVL Asia about the change, McConnell added: “Meyer’s change of direction took us completely by surprise and the decision was made without any discussion. It is a huge disappointment for us, especially coming of f a ver y successful year. 2020 was massive for Meyer Sound in Australia.”

As the new reseller network comes online over the coming months in Australia and New Zealand, Meyer Sound will be asser ting itself across all ver tical markets. The territor y is managed

by Meyer Sound sales manager, Asia Pacific, Chris D’bais.

Meyer’s Chris D’Bais Spectacular and Townsville Civic Theatre, while Cairns Convention Centre and

Sydney Theatre Company continue to be works in progress.

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www.meyersound.com

Group Technologies to distribute Cordial Visionary selects EZPro AUSTRALIA

Melbourne-based Group Technologies has been appointed by German cable brand Cordial as its exclusive distributor.

Founded in the early 1990s as a division of the Hermann Adam company, Cordial manufactures an extensive range of ready-made cables for instrument, microphone, loudspeaker and recording applications. Headquar tered in nor thern Munich, Cordial is also renowned for its practical bulk cables for installation and integrators.

“We are very excited to partner with a brand that has such a strong heritage and products with excellent attention to detail,” explained Group Technologies’ general

manager, Anthony Touma. “The addition of Cordial to GT’s portfolio makes for a perfect fit and keeps very much in line with our focus on brands that deliver market-leading audio products.”

In addition to its presence in the retail sector, Group Technologies is a supplier of systems integration hardware within the entertainment, hospitality, corporate and educational sectors. The addition of Cordial

will allow for expanded bulk cable product availability for installers throughout Australia.

“We are delighted to appoint a new exclusive Australian distributor with an extensive history in professional audio,” commented Cordial’s head of sales and marketing, Tobias Felbermayr. “Group Technologies has a clear vision, excellent communication and a broad knowledge of the market. We look forward to working with them to offer artists, professionals and integrators in Australia a dependable source of quality cables.”

SSL A

www.grouptechnologies.com.au

SEA

two new AW Series on-walll speakers and IS Series dual-impedance column speakers, and additions to the CA and FA Series power amplifier lines.

California-based AV-over-IP technologies manufacturer Visionary has announced a partnership with EZPro International, which will serve as its exclusive distributor throughout China, Hong Kong and Macau.

www.cordial-cables.com

Ashly Audio partners with EAS Ashly Audio has announced a partnership with systems integrator and supplier of professional AV solutions, Electro-Acoustics Systems (EAS), to expand product availability in Southeast Asia. Over the past two years, Ashly has introduced solutions to enable comprehensive integrations in more locations and to more types of businesses.

“In EAS we have found the perfect partner to further expand Ashly’s distribution throughout the Southeast Asia region,” said Andy Lopez, export sales manager at Ashly. “We look forward to many exciting projects and a longterm partnership that allows us to offer our comprehensive product range to an even wider range of customers.”

Among Ashly’s newest offerings are the mXa-1502 integrated mixer amp solution,

CHINA

“Electro-Acoustics Systems is pleased to represent Ashly Audio as the master distributor for Southeast Asia,” said Lam Tong Loy, founder and CEO of EAS. “Ashly is a brand synonymous with reliability and durability: critical factors for systems integrators, consultants and end users when deciding which brands to use in their designs and setup.

EAS is excited to represent Ashly’s range of audio solutions from speakers, DSP matrix and control software, power amplifiers and digital mixers. We are excited to be partnering with Ashly for the entire Southeast Asia region to offer an even wider range of solutions to our resellers, integrators and clients.”

“EZPro is one of the strongest, most trusted AV distribution companies in China,” said Scott Freshman, chief operations officer for Visionary. “We are pleased to partner with EZPro to strengthen Visionary’s market share in a fast-growing geographical territory.

EZPro’s unique technical resources and strong customer relationships will enable Visionary to expand its presence in China.”

“Visionary is recognised around the world for advanced AV-over-IP technologies with outstanding performance, flexibility and quality,” added Alan Ho, senior VP of business development at EZPro. “We are very excited to become a Visionary distributor for mainland China, Hong Kong and Macau.

Through close collaboration with Visionary, we will bring high-quality AV-over-IP solutions to our customers and expand Visionary’s presence in the Chinese market.”

www.ashly.com

www.ezprointl.com

www.easpl.com.sg

www.vsicam.com

14 PRO AVL ASIA March–April 2021

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NEWS: DISTRIBUTION

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Prism Sound focuses on SEA SEA

ChandraCom has been appointed exclusive country distributor for the range of Prism Sound audio converters and interfaces in Indonesia.

Based in Jakarta, ChandraCom was established in 1997 by Setiadi Chandra, and services the recording, broadcast and hi-fi markets. The company, which has in-house demo and seminar facilities, also represents SSL, Sennheiser/ Neumann, Barefoot Sound, AMS Neve, Steinberg, Native Instruments and Arturia.

“Some Indonesian sound engineers have heard about Prism Sound, but only a few have experienced its highquality audio,” commented Chandra.

“It is our intention to make all local recording professionals aware of the brand and we will be conducting regular demos at our facility and making demo units available to key customers.”

The manufacturer has also appointed SSL Asia Pte Ltd to distribute its entire range of audio interface products in Singapore, Malaysia and Myanmar. Originally established in 1999 to represent console manufacturer SSL, SSL Asia has extended its client base over the years to cover recording, broadcast, live sound and the home studio market.

This has been largely achieved by assuming increasing distribution responsibility for brands including Quested Speakers, Warm Audio, JoeCo, Antelope Audio, Konig&Meyer, AEA Ribbon Microphones and Chandler Limited.

Headquartered in Singapore with a fully equipped demo facility, SSL Asia handles a wide spectrum of turn-key projects in addition to sales and distribution. “The collective experience of our team is

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SSL Asia general manager, Malcolm Chan Chandra made the decision to represent the UK manufacturer after testing a Lyra 2 audio inter face. “We knew Prism Sound was a premium brand but, when we heard Lyra 2, we fell in love with the sound straight away,” continued Chandra. “Prism Sound products are definitely the best when it comes to multichannel AD/DA conver ters and inter faces and we are ver y excited to be representing the range.”

Added Mark Evans, Prism Sound’s sales director: “With over 20 years’ experience in the pro audio business, it is apparent that ChandraCom really knows and understands the needs of their customers.

We are confident that, with the help of Setiadi and his team, Prism Sound conversion will soon be available in all of the top Indonesian audio facilities.”

immense,” commented SSL Asia general manager, Malcolm Chan.

“We believe in letting the products we represent speak for themselves in terms of sonic quality. In Prism Sound’s case, the brand has an established international reputation that goes hand-in-hand with the other brands that we represent, so it’s a very natural partnership.”

“We are delighted that a company with the pedigree of SSL Asia is now representing our product range,” said Evans.

“Their contacts, particularly with the next generation of audio professionals, will allow us to reach new audiences and expand our market share in the Southeast Asia region.” www.chandracom.net www.prismsound.com www.ssl-sg.com

March–April 2021 PRO AVL ASIA 15

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NEWS: APPOINTMENTS

James Oliver joins PK Sound WORLD

PK Sound has announced the appointment of James Oliver as chief strategy officer.

Reporting directly to founder and CEO Jeremy Bridge, Oliver will be responsible for the development, communication, execution and sustainment of strategic corporate initiatives.

In addition to his role on PK Sound’s senior management team, Oliver has also joined the company’s ownership group.

He moves to the robotic line array manufacturer following a seven-year tenure with Adamson Systems Engineering, most recently serving as director of marketing and sales. “Joining PK was the easiest transition of my career. The culture of the organisation and technological advancements

of the product line are completely in tune with the live events industry of tomorrow,” commented Oliver. “The potential I inherit from the PK Sound brand is incredible, and whatever comes next for the organisation is a testament to the foundation that’s been laid before me.”

As chief strategy officer, Oliver is tasked with charting the strategic direction for business development, marketing and communications.

He will assist the management team in the formulation of overall corporate objectives and advise on all matters related to the PK Sound brand. www.pksound.ca

Glenn Lin to join Adam Hall Group APAC

Glenn Lin has joined the Adam Hall Group as business development manager for the Asia Pacific region, taking responsibility for the strategic business development of the company, including individual brands as well as sales and services divisions.

developing its product por tfolio and expanding it to the AV installation market, brands such as LD Systems and Cameo have earned an excellent reputation as innovative, reliable and practice-oriented solutions providers.

Based on my experience in the field of

Dave Garlett bolsters Audix sales team WORLD

Audix has announced that Dave Garlett has joined its team as key accounts manager and consultant liaison. Garlett moves to the American microphone manufacturer from The Farm AV. Prior to that, he served in various management roles within the systems integration industry, as well as with manufacturers such as Lightspeed Technologies and Carver Professional.

“I look forward to supporting integrators and consultants who want to use existing Audix products in their designs and to make sure their voice is heard in future product developments,” commented Garlett.

“With his many years working in the install and contracting space, Dave is a strong and welcome addition to the Audix sales team,” said Steve Johnson, VP of sales and marketing

for Audix. “He’s already hit the ground running and will continue to fuel the impressive growth we’ve experienced in our contractor-exclusive products.” www.audixusa.com

Marc Schwarze named COO and MD of the Qvest Group WORLD

L–R: Glenn Lin, Alessio Foti and Markus Jahnel In his new role, Lin – previously business development manager Asia Pacific for the Harman Group – will support the business development team led by COO Markus Jahnel and global business development manager, Alessio Foti.

“I am ver y much looking for ward to my new role at Adam Hall Group and have been following the impressive development of the company for some time now,” Lin commented. “With the opening of the office and showroom in Singapore in 2015, Adam Hall took a decisive first step in suppor ting the local Asian market. In the course of

strategic business development, I am looking for ward to fur ther expanding the international reach of Adam Hall Group.”

Added Jahnel: “With the appointment of Glenn Lin, we reaffirm our goal of driving growth in the Asia Pacific region, as well as expanding our regional par tner network in the individual countries and markets. Glenn’s international experience establishes him as a key figure in helping us to develop this impor tant market over the long term.” www.adamhall.com

Qvest Media has appointed Marc Schwarze as chief operating officer (COO) and managing director of the Qvest Group. He will be responsible in particular for the companywide organisation of resource, process and project management, as well as for the unit’s Managed Technology, Service & Support, Purchasing and Logistics. In addition, he will be involved in the management of several domestic and international subsidiaries as well as in the strategic development of the company group.

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For the new COO, who in the past held the commercial leadership of the German consumer TV business across the entire entertainment portfolio of Telekom Deutschland, the growth potential of Qvest represents an exciting task: “I am very pleased to join the Qvest Group and to be able to make a significant contribution to operational excellence at the current high speed of organic and inorganic company growth.”

“Marc Schwarze brings along excellent knowledge of the pay TV and OTT market and combines commercial and technical expertise,” commented Peter Nöthen, CEO of the Qvest Group. “We are very pleased to have gained such an experienced manager with a strong network in the telecommunications and media industry. He will significantly drive forward the process optimisation as well as the realisation of synergies between the companies of the Qvest Group and thereby visibly further increase client satisfaction.”

Dav www.qvestmedia.com

16 PRO AVL ASIA March–April 2021

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Jared Schatz appointed SVP of vertical markets and solutions for Ross WORLD

Jared Schatz has been promoted by Ross Vvideo to the role of senior vice president of vertical markets and solutions. Schatz has worked for the video solutions manufacturer for 15 years in a variety of sales and sales leadership positions, most recently as VP of sales for North America.

In his previous position, he helped steer the company to significant growth in the core North American broadcast market, as well as overseeing its expansion in other sectors, most notably sports, corporate, legislature and worship production. His passion for customers in these different industries and market verticals has led to this new strategic role.

“Ross is continuing to invest in different markets which, although similar in terms of the toolset used, are very diverse when we consider their audiences and working practices,” commented Schatz. “I’m delighted to be starting this new chapter of my career with Ross, and our vertical market and solutions team will be focused on leveraging the breadth of our solutions portfolio to give our customers a more unique and tailored experience.”

“Jared is one of our most experienced sales professionals and leaders,” said Jeff Moore, Ross Video executive vice president and CMO. “He has a deep understanding of our company culture and commitment to customer service, and these attributes

Jared Schatz will be incredibly important as we accelerate our growth in new vertical markets. We have always believed that Ross should be a diverse business, and I know Jared will do an excellent job of cementing our reputation as a trusted advisor and partner in these new target markets.” www.rossvideo.com

David Workman joins Embrionix as global OEM sales manager WORLD

Riedel Communications subsidiary Embrionix has announced the appointment of David Workman as global OEM sales manager. Reporting to Rik Hoerée, director Americas at Riedel, Workman will collaborate with manufacturers of high-end broadcast electronics equipment to help them deliver multiformat I/O solutions to their customers.

“With a rich career spanning almost four decades, David is an outstanding addition to our team,”

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commented Hoerée. “Coupled with his demonstrated expertise in all aspects of broadcast audio/video production and distribution technologies, David’s hands-on experience in business and product development, sales and marketing, finance and strategy will be critical as we expand our OEM business around the world.”

Most recently, Workman served for almost four years as director of sales and business development for Telemetrics Inc, a manufacturer of high-end camera robotics equipment. Other prior positions include vice president, news automation systems, for Vizrt USA; senior director, segment marketing, for Grass Valley; and business development consultant for LucasFilms’ THX Ltd. Earlier in his career, Workman held product management and engineering positions for Microsoft Corporation, Abekas Video Systems and Grass Valley.

“Embrionix SFP modules allow broadcast equipment manufacturers to offer a much wider array of I/O options in their products, and even provide flexibility to configure finished goods at the last minute with any mix of SDI, fibre, IP and even HDMI,” said Workman. “These are just some of the reasons why Embrionix modules are being used in more products today than ever before, and I am thrilled to be taking on the challenge to further advance the worldwide distribution of these innovative technologies.” www.embrionix.com

David Workman

www.riedel.net

March–April 2021 PRO AVL ASIA 17

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NEWS: APPOINTMENTS

Digigram announces new management team

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WORLD

French manufacturer Digigram has announced a new management team, with three senior executives becoming directors.

Previously the company’s CFO, Florence Marchal, has been appointed as director of finance, human resources and legal affairs. Nancy Diaz Curiel has assumed the role of director of sales, marketing and communications. Based in Singapore since 2010, she has overseen Asian and Pacific operations, including product distribution.

Remaining in Singapore, her new role will include the supervision of teams and projects worldwide. Xavier Allanic, the manufacturer’s current VP sales EMEA and Americas, has become director of operations where he will oversee the company’s general operations and supervise R&D projects, as well as customer support and manufacturing.

Jérémie Weber, who has been the company CEO since 2017, remains chairman of Digigram Group. “I am very pleased that Digigram’s operating capacity is fully deployed with this

Florence Marchal

Nancy Diaz Curiel

Xavier Allanic

new organisation, as we engage towards unfolding our vision and perspective for the coming years,” Weber commented. “As I have worked in the past with each of them, I am convinced that Florence, Nancy and Xavier’s bond as a team will flawlessly turn the company’s projects into success stories.”

Previous years have seen the company

expanding its product range through the developments and release of professional audio IP solutions, addressing new markets and users’ needs, and focusing recent efforts on the remote broadcasting segment.

The company roadmap for the near future supports an ambition for Digigram to strengthen its position as a key player and

expand its structure to become a reference in the audio industry. “Our target is to deliver Digigram branded solutions acknowledged as the simplest to use and the most reliable on the market, along with Digigram products’ longstanding reputation,” added Weber. www.digigram.com

L-Acoustics creates Frank Trossen joins dedicated team in India PPDS as international key account director MIDDLE EAST

L-Acoustics has announced the creation of a dedicated sales and application team for the Middle East and India comprising Chris Mead as sales manager for the Middle East, India and East Africa, and Rahul Samuel as applications engineer for the Middle East and India. The team will nurture new and closer relationships in the region, previously supported by L-Acoustics sales manager, Peter Owen, who will now focus his attention on the Russian and Eastern European markets.

Mead is tasked with building sales growth across the region, through forging and deepening relationships with current and future partners, identifying and developing new business opportunities and growing brand awareness. He is a recognised industry professional with over 15 years of experience in the UK and the Middle East. He began his career designing and implementing AV solutions for end users and most recently provided technical support and developed sales in the Middle East region for Meyer Sound.

Samuel will be responsible for providing technical expertise to partners and projects

Rahul Samuel

WORLD

Chris Mead throughout the Middle East and his native India. He is an award-winning live sound engineer with over 15 years’ experience as an acoustic consultant, FOH/monitor and systems engineer, systems designer and educator. He has contributed to the production of some of India’s most spectacular live performances, and latterly representing Meyer Sound, providing technical support in the region.

Global director of business development at L-Acoustics, Jochen Frohn, concluded: “Clients and partners in the Middle East and India have consistently shown an interest in premium products and a willingness to go the extra mile to achieve excellence and offer the most engaging audience experience. Having this locally based team, with Chris and Rahul’s combined expertise, will allow us to build deeper relationships and offer outstanding support to clients in a region that continues to take a more central role to the strategic growth of L-Acoustics.” www.l-acoustics.com

PPDS has announced the appointment of Frank Trossen as international key account director, focusing on the corporate vertical market. Trossen joins PPDS having held senior management and director positions at some of the industry’s other leading brands, including NEC Display Solutions, ONELAN/Tripleplay and Promethean. He will report to Franck Racapé, VP EMEA, based at the manufacturer’s Amsterdam head office.

With a pro AV career spanning over 20 years, Trossen has extensive channel and partner management, as well as key account management experience – specialising in collaboration solutions across Philips’ digital signage, videowalls, LED displays and pro TVs – and focusing primarily, although not exclusively, within corporate, retail and education settings. His areas of expertise include international sales, strategic planning, routes to market, channel strategy, channel sales, solution selling, international business, distribution sales, partner sales, key account management and professional services.

“PPDS is a company that is already on a well-established, fantastic journey and I’m truly excited about the opportunities that lie ahead,” commented Trossen. “Joining a company during a pandemic isn’t ideal, but the team here at PPDS have been incredibly welcoming, and we’ve really been able to hit the ground running by building some great opportunities with customers all over the world. It’s great to be here.”

Trossen joins a team of four international key account management experts created explicitly to provide seamless execution of projects and a single point-of-contact support to customers with a multinational presence across multiple locations anywhere around the globe. This

Frank Trossen team supports the new approach PPDS has launched together with its new brand look and feel and aims to deliver a sustainable, total solutions, one-stop global approach.

“2020 has been a defining year for PPDS, truly establishing ourselves as a premium brand and a go-to technology and solutions partner of choice for businesses in a variety of different verticals, ranging from retail, hospitality, corporate, education, healthcare and others,” commented Racapé. “Not only are we bringing to market some truly innovative and, indeed, ground-breaking products and support to customers, we’re also attracting the best in the business when it comes to personnel. Frank absolutely falls into that thinking. We’re delighted to have someone of his pedigree in our team as we continue our momentum into 2021 and take our international support to the next level.” www.ppds.com

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NEWS: APPOINTMENTS

Olswang joins Symetrix as director of product management USA

Symetrix has appointed Benjamin Olswang as director of product management, expanding its focus on product development and innovation.

“I chose Symetrix because of the people and the products,” said Olswang, who has over 19 years’ experience in the professional audio industry. “Symetrix has an amazing team and an incredibly talented engineering department.

I was floored by the cool ideas and innovative new products they were working on and I knew I had to be a part of it.”

Olswang will be responsible for managing products through their lifecycle, from creating the vision and strategy with the executive team, to collaborating with engineering through the development process, to championing the product once it has been released. He joins Symetrix from his previous role as a product management consultant helping companies

create user-focused audio products. He has a BS in Electrical Engineering from Northwestern University and a MSc in Digital Signal Processing from Kings College London.

“We’re very proud to have Ben Olswang join our team,” said Dan Lynch, VP of marketing at Symetrix. “His wealth of technical knowledge and years of industry experience have already had a huge impact on our upcoming products, and Ben’s personality and attitude make him a perfect fit for the Symetrix family. He has immediately become an essential part of our wildly diverse team, because he shares our common love for creating phenomenal products and understands that we should be having fun while we’re doing it.”

Ben Olswang

www.symetrix.co

B-Tech AV Mounts appoints Danny Ng for Southeast Asia SEA

B-Tech AV Mounts has appointed Danny Ng as sales manager for Southeast Asia, looking after markets in Singapore, Malaysia, Indonesia, Brunei, Thailand, Cambodia, Myanmar, Philippines and Laos. Based in Singapore, Ng has previously worked at Esco, IBM Singapore, BMW Asia, Intel Technologies Asia and most recently at B-Tech’s AV distribution partner, Mindstec Asia.

“I am looking forward to contributing to the continual growth of B-Tech across the ASEAN countries and providing support to existing clients and partners based on their needs,” said Ng. “I am also excited to be working with new partners

and clients, helping to improve and build their relationship with B-Tech and to contribute to making B-Tech the top mounting solutions brand in the region.”

Added Jenny Li, director of operations (APAC): “With his proven skill set, Danny is an excellent addition to the team and his experience in sales management will help B-Tech continue our mission of providing customer service levels that combine the benefits of a global organisation with the dedicated approach you get from personal, localised support. I am confident that this is just one of the many areas in which he can contribute to the further development of the B-Tech brand and our growing client portfolio.” www.btechavmounts.com

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NEWS: EDUCATION

Abbey Road to join forces with Studios 301 in Sydney

L–R: David Drummond, Ron Haryanto and Zbys Klich at Studios 301 AUSTRALIA

Abbey Road Institute Australia has announced it will co-locate with Studios 301 in 2021. The move will bring music production schooling developed at Abbey Road Studios in London together with Studios 301 in Sydney, following a multi-million-dollar revamp in 2018.

“This professional integration will offer Abbey Road Institute students access to one of the best recording studios in the world as an important part of their learning experience,” said Ron Haryanto, Studios 301 general manager/Abbey Road Institute Sydney CEO. “Our team at Studios 301 will add another layer

of perspective and music industry experience to their education. The teaching spaces will be located within our world-class facilities, with the Institute having their own dedicated studios, production and writing rooms and classroom, alongside our commercial spaces dedicated to our existing and growing client base. Studios 301’s dynamic array of specialised skills, recording experience, technical excellence and industry links will now be available to Australia’s up-andcoming talent to help them become the music producers and audio professionals of the future, and that is a truly exciting partnership.”

Students at the Sydney campus of Abbey Road Institute will have the opportunity to learn in an iconic Australian recording, mixing and mastering facility, working with the local music community and industry network to provide a unique learning environment.

“Locating Abbey Road Institute Sydney inside active commercial studios offers an experience where students get unparalleled insights into the real-world environment of recording studios and gain a head-start on a career in music production,” commented Luca Barassi, CEO Abbey Road Institute – Global. “We are delighted that the opportunity has been created to move our Australian Abbey Road Institute into the newly enhanced and cutting-edge facilities at Studios 301 in Sydney. This establishes a pioneering breakthrough in Australian audio education.”

Abbey Road Institute offers a hands-on, immersive education for aspiring music producers and engineers in a real-world working environment. A one-year intensive Advanced Diploma in Music Industry starts on 21 June 2021 and applications are open now. www.abbeyroadinstitute.com.au www.sae.edu.au

d&b teams up with Avid and Zero 88 offers new BlackTrax for immersive demos online training sessions SINGAPORE

d&b audiotechnik Asia Pacific devoted three days in February to delivering a “Soundscape Experience” at its premises in Singapore. Open to anyone interested in providing immersive performances, two sessions per day were held to demonstrate a fully integrated production environment in collaboration with Avid and BlackTrax and their respective local distributors.

d&b’s regional business development manager, Kheong Sen Lim, and application engineer, Gareth Kelbrick, led the programme with the purpose of showing audible and visible results rather than technical details.

“After numerous Soundscape applications and installations around the world, including the iconic Esplanade and the Marina Bay Sands Theatre here in Singapore, we are seeing increasing interest from all market segments,”

ONLINE

explained Kheong. “We had a broad crosssection of the industry attending the event, including sound engineers, designers, producers and even decision-makers of organisations and venues.”

Not unlike a real-world scenario, Kheong and Kelbrick used pre-recorded signals and their own spoken words to show the capabilities of the d&b DS100 engine, including En-Scene localisation and En-Space acoustic enhancement software. Equipped with BlackTrax beacons, the presenters demonstrated real-time stage tracking with both audio and moving lights following their every move, before Malcolm Fooh, product specialist at Acoustic & Lighting System, further described BlackTrax’s functionality.

Serving as the central control unit, an Avid Venue S6L console sat at the centre of a seamlessly integrated system, communicating via Dante, clarified by IMS Mahajak’s general manager, Shah Tahir.

Kheong concluded: “Coming from the initial L-R stereo concept, more and more designers are realising the benefits of immersive systems, as well as in conference venues and places of worship where it results in significantly improving the engagement of the audience.” www.avid.com www.blacktrax.cast-soft.com

Back by popular demand, Zero 88 has announced a new array of online product training sessions running through March 2021, presented in-person by product specialist Edward Smith. The new sessions follow a huge number of regular training seminars initiated by the manufacturer throughout 2020, taking advantage of the unexpected free time that so many lighting professionals found themselves facing as lockdowns and Covid restrictions kicked in.

Most of the training is focused on Zero 88’s FLX range of lighting control consoles.

The first sessions of the year will cover the FLX, FLX S24 and FLX S48, plus the ZerOS Server, and will also be applicable to other Zero 88 consoles running the ZerOS operating system. Running via Zoom, participants can also request a link to the recording for re-watching and use the assets as a tool for refreshing and reinvigorating their lighting console programming skills.

“We wanted to continue the trend and keep assisting with learning and refreshing in the areas people are demanding,” stated Smith.

“We love getting consoles in front of people, to show their full capabilities. Rather than repeating the same sessions ad infinitum, the training programme is a dynamic project that is constantly updated with new sessions

exploring different and specific areas of the console. Currently, the only difference is that it is a virtual console – with the Phantom ZerOS offline editor being used to demonstrate the procedures.

Up to 10 different topics will be covered, ranging from general subjects like Discovering the FLX Range: Getting to grips with the consoles and the powerful ZerOS software, which will be two hours in length, to specifics like ZerOS & Capture: Understand how to connect these features and learn 2-way communication, which lasts for an hour. www.zero88.com/training#eventdates

www.dbsoundscape.com

API announces Saul Walker Memorial Scholarship WORLD

API has opened submissions for its 14th Annual API Saul Walker Memorial Scholarship.

Formerly known as the API Visionary Scholarship, the programme honours the late Saul Walker, API co-founder and 2019 Technical GRAMMY award recipient, who lent his brilliance to several institutions and shared his passion for audio through teaching for many years.

The recording console manufacturer believes that academic excellence in sound training must

be facilitated by using high-quality analogue equipment in the audio lab. The API Saul Walker Memorial Scholarship is one way that the company gives back to the audio community, and invests in audio students who work with analogue gear during their education.

The scholarship application consists of a short essay and a submission of the applicant’s best audio work. Applicants must attend a higher education facility with an API console in order

to qualify for the scholarship. Past years have brought in applications from around the world, with musical selections ranging from classic rock covers to original orchestral compositions, and many varieties in between. API will accept all applications emailed or postmarked before the 3 May deadline, and winners will be announced by 30 June. www.apiaudio.com/scholarships.php

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NEWS: WEBINAR

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The evolution of broadcasting Over the course of an hour, panellists discussed the evolution of the modern broadcaster and the ongoing effects of the pandemic ROUNDING OFF 2020, PRO AVL ASIA AND Shure South Asia jointly held an online panel discussion on the topic of the evolution currently underway in broadcast, a sector that has endured many trials and tribulations over the past 12 months, and indeed much success.

One needs only to walk the aisles of a large international broadcast-focused tradeshow such as IBC or NAB to see first-hand how the industry has shifted. Suits and tie-wearers are increasingly being replaced by a younger generation wielding audiovisual gizmos in place of business cards. Alongside this shift, traditional types of programming are being pushed to the side. That was all before the pandemic hit.

First up was the question of who is considered a broadcaster in the 21st century, and our discussions took off from there with an audio engineer from a major national broadcaster contrasting their experiences with that of a much smaller, independent TV and film producer and those from the microphone manufacturer’s perspective.

“There are many people now that are a selfmade kind of broadcaster where you livecast to Facebook, but I wouldn’t call this broadcast, because you are only broadcasting to a group of friends,” kicked off Foo. “For broadcasting in the general sense, whether you’re using the web or using other wireless technology to send your content out, you don’t really have to know who your audience is. When I talk about broadcast, I generally use the word very loosely too to describe content that is being widely consumed.”

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THE PANEL Rishmond Tew Having previously attained many years of pro audio experience as an audio solutions counsellor, Shure market development specialist Tew is based in Singapore. In his current role, Tew supports many clients across Southeast Asia, ranging from corporate to education and government agencies.

Suren Balakrishnan Balakrishnan is a senior broadcast engineer for Malaysian broadcaster Astro TV. Joining Astro as a trainee, his passion for the subject saw him quickly rise up the ranks within the broadcaster’s audio department, before taking on the challenging task of senior broadcast engineer. Most recently, Balakrishnan’s role is heavily involved in creating new curriculums and modules for Astro’s trainees and junior broadcast engineers.

Jeremiah Foo Foo is a composer, author, musician, producer and educator who has been actively involved in the development of young talent in the creative industry since 1987. He travels widely for film music and has a Chinese YouTube Channel dedicated to film and sound. As a filmmaker, Foo has recently set up eMuse Pictures in Malaysia to develop films for the international market.

www.shure.com

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NEWS: WEBINAR Foo highlighted some of the major shifts to have taken place over the last decade. With the introduction of internet and streaming platforms, everyone is now a potential broadcaster. This has, of course, had a knock-on effect for the traditional television broadcasters, and Balakrishnan highlighted the fact that this has also driven Astro as a national broadcaster to constantly advance its operations and programming. “Netflix and these platforms have affected us in the movie sector, but still we are catering to the local market with lots of diverse content. I would say Astro is still the frontrunner in this regard as we have our own tailor-made local brands and channels,” said the Astro engineer. “When it comes to sport, in Malaysia there are so many traditional sports, and we are still the main broadcaster for these types of events.”

Manufacturers like Shure are having to appeal to both ends of the market. “From Shure’s perspective, the modern broadcaster has changed and evolved a lot in our region, especially in 2020,” noted Tew. “Broadcasters are no longer broadcasting only from a studio or TV station, we’re seeing a big increase in online livestreamers and people broadcasting or podcasting from the home. Many smaller independent broadcasters have appeared on the network.”

In normal times, both broadcasters would typically be out engaged in production.

Instead, this year, Covid-19 has dominated our actions. When the pandemic first hit, onsite production was the first to be affected. Sporting fixtures were immediately cancelled, but vital broadcasting such as news

production, so we just sit at our base and try to collect all of these inputs from those parties who are involved from there. We edit them and we do our broadcast in that way now. It’s a new thing for us and we are also learning. I think that we as traditional broadcasters still play a vital role, because we have a dedicated infrastructure. The local internet providers really need to up their game.”

For Foo, without the need for live production, the challenges – and solutions – are entirely

programming became even more essential.

Remote production is, of course, the answer, but achieving this is not without its challenges in many Southeast Asian countries. In the knowledge that their doors would be closing for an indefinite period of time, engineers had to think out of the box to keep production on track. While the restrictions are the same for both our panellists, the way the situation had affected operations was in stark difference to each other.

Balakrishnan was quick to talk us through the challenges currently being faced by Astro, where poor internet connectivity has limited remote production possibilities. “There are three big broadcasters in Malaysia and we would all typically do about 10–15 live shows in both entertainment and sports per month.

All of this has changed because of the pandemic, because of social distancing and all the restrictions from the government,” he explained. “This has pushed us to adopt more remote workflows. It has massively affected our business. We really can’t go outside and do a

different. Production consistency has become the answer to many of the travel and social distancing restrictions put in place, but the pandemic also presents some opportunities.

“I produce content mainly for China and, because of the pandemic, we have had to rethink our operations,” the eMuse founder shared. “In the past, cinema has made more money than TV but, because cinemas are closed, the audience has shifted from cinema back to home. As a result, there’s a 52% rise in large-screen TVs in China and that means that there are now cinemas at home.

Now, it’s possible to produce high-quality content for the home, and at home people tend to watch for longer. We are no longer thinking of two-hour and three-hour limits. We will probably look to produce more long-form content like mini-series.” For eMuse, which doesn’t face the challenges of ongoing live production, its main challenge has been in ensuring that consistent production standards are implemented during recording to aid the later postproduction process. In this respect,

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PAA Pg4-51 News.indd 23

the company has adopted an approach of controlled consistency.

Having thoroughly explored the unique challenges and opportunities due to the pandemic in 2020, the conversation turned to the future and the role that advances in microphone technology and techniques can play in advancing production quality. Since the pandemic, the panellists have found greater need for non-technical users to take a deeper role in the production process. The engineers have increasingly become the presenters and narrators themselves, locked at home working. “We did some research where we have presenters that can’t come to the studio and so broadcast from their home,” explained the Astro engineer. “We need to be able to provide them with all of the facilities so that they can do their live broadcast, and they want it to be very simple, plug-and-play. It’s a challenge for us. They have no idea what goes on in the back of a broadcast. In a way, this situation has educated them on some of the challenges that engineers face.”

Foo thought technology could play a big role in this respect. “I think moving forward we can benefit from more intelligent microphones, especially if they are going to be used more and more by non-technical users who aren’t audio engineers. What we need is something smarter – you plug it in, it will detect someone talking and automatically correct for any noise.

Mobile phones are doing this pretty perfectly.”

This highlighted the need for simple and easily controlled equipment, an area of recent focus for Shure with its line of Motiv microphones. “I think the solutions for the modern broadcaster are much more diverse than before,” said Tew. “For the smaller, independent broadcasters working from home, they will love the Shure MV7 podcast microphones which are very easy to set up and can still be used in imperfect environments with perfect quality. Other broadcasters right now need something for on-the-go like our MV88+ which comes with a phone mount and can just be plugged into a phone or laptop to do a livestream. On the one hand, for outside or sports production, they are looking for microphones that are portable and rugged. So, microphones need to be waterproof and they need a greater number of accessories to suit the different needs and miking techniques outdoors.”

Lastly, the session took a more detailed look at nurturing talent through education, something that both Balakrishnan and Foo are actively involved in and passionate about.

As a manufacturer, Shure has also seen an increase in users looking for information on the safe use of microphones during the pandemic. “We are trying to figure out how they can do things differently or correctly to keep business running, so we have seen a lot of enquiries regarding proper hygiene and the cleaning of microphones,” Tew commented.

“In response, Shure has developed some tips on our website to address these questions. We understand the struggles that broadcasters are going through, and we want to figure out how to be more collaborative.

We’ve been tailoring our solutions to large productions that currently have less manpower. We also want to educate users working at home on what quality to expect and solutions like our MV7 microphone provide all the tools needed for them to achieve perfect recordings themselves.”

At the end of the debate, the panel’s provocative thought and insight had enlightened both the audience and myself.

Questions from our online viewers quickly followed, serving as a taster for further discussion and debate.

Much has been said about the new normal – whether we will return to our old ways or adopt a hybrid model remains to be seen – but technicians have had to adapt accordingly with strict hygiene and social distancing restrictions in place. Advances in internet connectively across Southeast Asia bring the most potential for the biggest changes across the board, and 5G was highlighted as one such upcoming key technology for broadcast.

Smaller broadcasters can no doubt benefit from flexibility and agility that the major broadcasters lack. Similarly, given time to plan and adjust accordingly, the larger broadcasters have enviable resources at their disposal. But, as restrictions gradually lift in Asia, both our participants are looking forward to getting back to doing what they do best, alongside an ever-increasing number of broadcasters.

This article is just a snapshot of the full and detailed discussion, which can be found in its entirety at youtu.be/9j6C3gFCl3s

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NEWS: PROJECTS

Live Date catches Waves to stream JAPAN

Tokyo-based sound engineering company Live Date has selected a Waves eMotion LV1 mixer and plug-ins solution to improve audio for livestreamed productions. Live Date provides live sound mixing, onstage computer/DAW setups and livestreaming for acts including Yorushika, My First Story, Survive Said The Prophet and Ms.OOJA. Like everywhere, Japan’s live music industry has been badly hit by the pandemic, with concert promoters selling more expensive tickets for restricted audience live events and more affordable ones for online streaming.

“Covid-19 has placed many restrictions on the number of staff members working in the studios and venues from which we stream,” commented Live Date CEO, Shigeo Aoki. “Normally, a few people would cover the PA but, now, we are sometimes limited to only one person at a time. This requires new solutions that are easy to operate. Also, performances by popular Japanese artists are nowadays streamed live from non-traditional locations such as rehearsal studios, restaurants and private homes.

Traditional mixing consoles are often unsuitable for these sites. To handle these new conditions, we were looking for a mixer that could be transported and operated by a small number

The Live Date team with its Waves eMotion LV1 of people, with a similar or higher level of sonic quality and a minimal footprint.”

Having researched available solutions, Aoki chose the Waves eMotion LV1. “A complete LV1 system’s footprint is less than half of a medium live console, so you can place it in any space, such as a hallway or dressing room. Our

complete LV1 system includes the Waves Axis One computer, the Extreme Server-C plug-in DSP server and the StudioSound STG-1608 and STG-2412 audio interfaces. We also own a DiGiGrid MGB interface and all the interfaces are connected to each other via a network switch and a digicom REDLink 10 with a LAN cable.

The facility’s largest halls – the Thanakorn Rooms – can be separated into two smaller meeting spaces and required multifunctional audio systems with the versatility to support large-scale

Mahajak also equipped both Thanakorn Rooms with a 21m LED motorised display, Soundcraft Si Impact digital mixing console and Soundcraft Mini Stagebox 16i, while BSS BLU-100 signal processors with BLU link, BSS BLU-B0B2 output expanders and BSS Ethernet controllers provide Montatip Hall with customisable zone control.

Mar tin Professional MAC Quantum Profile LED fixtures and a networked AV system based around AMX NMX-ATC-N4321 audio transceivers, NMX-ENC-N1115-WP wallplate encoders and NMX-ENC-N1122 and NMX-DEC-N1222 AV-over-IP encoders and decoders, with AMX MST-701 touchpanels and NX-2200 NetLinx NX integrated controllers, complete the AV setup in the Thanakorn Rooms.

Mahajak equipped Montatip Hall’s smaller conference spaces with similar AV to those found in the Thanakorn Rooms. Accommodating up to 400 and

Harman systems provide flexibility in Udon Thani convention centre

I chose a Dell P2418HT as the LV1’s touchscreen display. It’s a very compact system that can go anywhere.”

Live Date’s FOH and monitor engineer Masaru Sasaki compared livestreaming via the eMotion LV1 with audio output from the PA system via the venue’s regular console: “The quality of the LV1 was so good that the venue staff were surprised at the difference between the main PA and broadcast stream. The sound resolution from the LV1 was significantly higher.”

Live Date’s engineers control the LV1 via both a touchscreen and the Waves FIT Controller, specifically designed for eMotion LV1. Waves plug-ins are also an integral part of Live Date’s workflow. “There are many good plug-ins on the market, but I believe Waves is the best prepared to respond quickly to various mixing, recording, PA and streaming,” said FOH and monitor engineer, Takura Sawada. “For us to keep the entertainment business alive, we need to continue to bring live music to the audience via the internet. Our job is to supply superior sound, which the Waves eMotion LV1 delivers, anywhere, anytime.” www.waves.com

THAILAND

Mahajak Development has designed and installed Harman Professional AV and lighting solutions throughout meeting spaces at Montatip Hall, Udon Thani International Convention and Exhibition Centre.

Developed by Udon Plaza Co, the 25,000m2 Montatip Hall features 80 meeting rooms, several banquet halls and a convention centre that accommodates up to 5,000 people.

“The client wanted powerful, flexible AV and lighting systems to support events of any scale, reinforce brand image and ensure customer satisfaction,” said Pongsakorn Kanchanachayphoom, project director, Mahajak Development. “It was challenging to design the audio system to cover all areas of the venue and deliver sound uniformly in all directions. We integrated a range of Harman Professional’s AV and lighting systems across the facility, providing premium performance with the versatility to accommodate future applications.”

300 people, respectively, the Passakorn Rooms and Apicha Room feature JBL Control 328C and Control 16C/T ceiling loudspeakers, 305P MkII studio monitors and PRX815W and PRX818XLFW powered loudspeakers, with JBL CSA 140Z and Crown XTi 2002 amplifiers supplying power in the Passakorn Rooms, while CSA 180Z and Crown XTi 1002 amplifiers suppor t the system in the Apicha Room. All three halls are provided with a Soundcraft Si Impact digital console. Both Passakorn Rooms have motorised LCD projectors, BSS BLU-100 signal processors and the same AMX networked AV components as the Thanakorn Rooms. In addition to AMX NX-2200 and MST-701 control systems, the Apicha Room system includes the dbx DriveRack VENU360 loudspeaker management system. www.harman.com

events and separate, simultaneous conferences. Mahajak deployed an array of JBL Professional speakers including Control 16C/T ceiling loudspeakers, Control SB-2 subwoofers, SCS 12 surround loudspeakers and 305P MkII studio monitors featuring Image Control Waveguide technology, powered by JBL CSA 1300Z Commercial Series amplifiers along with Crown XTi 2002 and XTi 4002 power amplifiers, plus a range of JBL SRX800 Series self-powered systems, including SRX818SP and SRX828SP subwoofers and SRX815P and SRX835P loudspeakers.

Mahajak also installed PRX815W 15-inch powered loudspeakers as floor monitors.

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MD 445 and MM 445

Closer. More direct. More intense.

The most powerful version of our dynamic high-end microphone series enhances vocals with an unprecedented intimacy and range of detail.

At the same time, the high-rejection, super-cardioid pattern offers an extremely high level of feedback resistance.

Learn more about the MD 445 top-of-the-range microphone and the MM 445 capsule. www.sennheiser.com

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NEWS: PROJECTS

DiGiGrid DLI provides flexibility at StudiOzz AUSTRALIA

Sound engineer Mike Osman has invested in a DiGiGrid DLI networking hub for his StudiOzz facility in Brisbane.

Originally working as a young musician 10,000 miles away in his native South Wales, Osman started a small PA company providing audio for a wide range of events, moving to London to work in the West End and with rental companies as front of house or monitor engineer for a wide range of artists. As monitor engineer for Art Garfunkel, Osman became the first engineer to tour with the DiGiCo SD8 console.

In 2012, Osman moved to Brisbane and continued to tour internationally. Creating StudiOzz as a recording and mixing facility to complement his freelance work, he continues to develop its remit which now includes live multitrack recording and streaming for hybrid or virtual events.

Osman first encountered DiGiGrid when using an MGB interface with a DiGiCo console, and now uses a DLI as a key part of his setup.

“I use a DLI to interface with the HDX cards in my Avid Profile console,” he explained. “I use it for multitrack recording, virtual soundcheck and to network several computers to the console at corporate events where I need several sources of playback.

“The key advantage is that I can record 64 channels to several computers simultaneously via a Cat-5 cable. It means I can always have main and redundant recording, without having to have extra hardware and splits. With the Profile, I have 16 assignable inputs always available on the HDX card, so I can have up to eight stereo inputs from networked

computers, all sharing the DLI patching, all via standard network cables. It’s very flexible and makes life easy. With the addition of a DiGiGrid MGB, I can also take inputs and send outputs via MADI, to and from broadcast trucks, without having to swap any cards in the Profile.”

As live work picks up, Osman intends to add an MGB to his setup to keep the same networking infrastructure when working on DiGiCo or other MADI-equipped consoles. For the moment, he remains in the studio mixing an album by the aptly named UK folk band, The Time Stealers. www.digigrid.net

Quidich AR production reaches new heights with AJA INDIA

Quidich Innovation Labs has developed a drone-based AR production solution to service clients across sports and entertainment in a setup that includes the AJA Kona 4 video and audio I/O card and GEN10 HD/SD sync generator. The Mumbaibased company has used the technology on events including Indian Premier League cricket and Men’s Hockey World Cup. “When we started Quidich, drone technology was relatively nascent and a rare commodity in India, with most aerial cinematography captured via helicopter,” explained Rahat Kulshreshtha, founder and

which is sent to a base station on the ground and then to a studio. Video footage is ingested into three workstations using AJA Kona cards, and fed through a Vizrt graphics system, where the Quidich team adds AR effects in real time to enhance storytelling for the game. The final output is sent to the control room and distributed to audiences across the globe. The AJA Software Development Kit (SDK) allows Spatio to integrate the output into its realtime workflow and the AJA GEN10 provides sync, so that all of the video signals can be genlocked.

CEO, Quidich. “We saw an opportunity to use this technology to make live production from the sky much more affordable and efficient, and got down to business, developing drone systems to capture aerial footage of cities, arenas, stadiums and more. Then AR technology emerged onto the scene, which we knew could add a whole new dimension to live production, and we saw our next big evolution.”

Spatio, the drone-based AR production solution developed by Quidich, allows them to build graphics for live broadcast that can interact with the movement of drone cameras in the air. For each client production, cameras affixed to drones capture aerial footage in 1080i full HD,

“We’re often deploying multiple kit at the same time and pride ourselves in ensuring a quality standard,” added Kulshreshtha. “Our AJA gear has a large role to play in that; we can always count on it to keep our systems running smoothly and our production quality consistent, even when working with different teams across wide-ranging geographies.

On top of this, the AJA SDK is accessible and intuitive, which makes our day-to-day much easier, plus AJA’s support team are responsive and quick to resolve any issues in a timely fashion, and there’s nothing more valuable than that in the live production business.” www.aja.com

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NEWS: PROJECTS

Summer Sounds 2021 Martin Professional lights made possible with pods up Daejeon Arts Center KOREA

Hansam System has installed a Martin Professional lighting solution into the Daejeon Arts Center.

Housed in a five-storey, 100,000m2 building, the centre features four events and meeting spaces, including the 1,546-seat Art Hall, where a lighting upgrade was needed.

centre to the edge of the stage with a low failure rate, considering the heat generated during operation. We used the Martin ERA 800 Performance LED fixture because of its performance, flexibility and price.”

Hansam System installed 16 Martin ERA 800 Performance moving heads,

AUSTRALIA

Adelaide’s Summer Sounds Festival took place throughout January, with 18 live shows playing to 2,100-capacity audiences safely distanced in “party pods” accommodating 4–6 people each.

With fans restricted to the pods, the challenge of providing consistent, clear coverage to the whole audience area was crucial, so L-Acoustics rental network partner Novatech worked out a precise sound design. The main PA system consisted of 12 L-Acoustics K2 line array elements and eight SB28 subs per side, with four Kara speakers for front-fill, and a delay system of Syva colinear line source speakers and Syva Subs rigged to the rear of the pods. The

compact but powerful Syva provided ample coverage for the pods in the back rows while ensuring clear views of the stage. Onstage, 10 L-Acoustics X15 HIQ foldback wedges and two L-Acoustics SB18 subs took care of monitoring.

“While some people were apprehensive about being ‘penned in’, all doubts were removed after the first weekend,” commented Leko Novakovic, managing director of Novatech. “About 80% of the feedback we’ve heard is that this is the way all festivals should be staged from now on, Covid or not.

Most people want comfort and luxury, and to be able to sit down.”

Different packages were available for festival-goers. “The VIP and Gold sections were really nice with their white picket fencing and vines, and everyone had tables and chairs,” continued Novakovic. “The Silver and Bronze pods further back were on raised decks, so everyone had good sightlines.

Audiences need to experience this system for the first time to appreciate how great it is.”

Appearing at the festival were Australian artists including Bernard Fanning, Spiderbait and Hayden James, which was put on by the partnership of Five Four Entertainment, Groove Events and Secret Sounds.

The Art Hall

Daejeon Arts Center “The client wanted to replace their existing lamp lighting with energy-efficient LED lighting units,” explained Taehan Kim of Hansam System. “They wanted LED fixtures that produce a balanced light beam from the

featuring an 800W white LED engine producing a 6,500K gobo projection with a flat field, across the venue. The ERA 800 Performance is equipped with 1:8 zoom, electronic dimming and strobe, CMY colour mixing and separate colour wheel, variable colour temperature control and animation wheel.

“After seeing the ERA 800 Performance during a dance show by Daejeon Metropolitan Dance Company, we were quite impressed,” said Hun Chung, lighting director at Daejeon Arts Center. “With this installation, we have become the first venue to introduce and operate the ERA 800 Performance in Korea.” www.harman.com

www.l-acoustics.com

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NEWS: PROJECTS

Voyager brings CCTV’s New Year Gala to life CHINA

While Chinese communities traditionally look forward to their New Year festivities in February, Chinese broadcaster CCTV still celebrates the Occidental New Year with a high-profile show featuring variety acts, music and dance. A highlight of the New Year’s Eve Set Sail in 2021 gala was Peacock, a music show designed for the visually impaired that featured songs, story-telling and narrative, all set within five different virtual worlds. Produced

by China Media Group (CMG), the show was considered ground-breaking as it represented the first time Extended Reality (XR) had been used on a Chinese TV show. CMG chose the Voyager graphics rendering solution from Ross Video to bring the immersive worlds to life.

In this case, the set comprised a large LED display wall with an LED floor in front, so that graphics could be rendered and displayed both behind and below the talent and guests. In addition, augmented reality elements were also included around the talent on set, with camera

perspective, the cameramen needed to know the subject position and depth of the XR scenes to better design the shots and camera moves, and the producer of the XR scenes needed to ensure that the scenes were seamlessly connected with the edge of the LED displays based upon the camera positions in order to achieve the best visual effect.

“We couldn’t be happier with the results,” added Feng. “This was one of the most technically challenging shows I’ve ever worked on, but everyone was amazed at the final visuals which were absolutely stunning. XR isn’t just an alternative to a green screen – it’s a revolution that offers so much more creativity and immersion, and it’s being driven by developments in real-time rendering like the Voyager solution.

We’ve already started planning the Spring Gala Festival show for CCTV – the world’s most widely viewed TV programme.”

tracking ensuring that all the graphics moved and director needed to know the scope and boundary appeared natural as they panned and tilted. of the virtual scene in order to better design “This was an incredibly complex project, and the scene and shooting angle, the LED display we started the planning process several months team needed to accurately align the video signal before shooting,” noted CMG technical engineer, with the pixel points on the screen to ensure ai161288565451_AUDAC-MFA-series-190x135mm-with-award-logos.pdf 1 9/02/2021 16:47:35 www.rossvideo.com Feng. “Planning really involved everyone – the that the XR scene did not distort and affect the

CTS TV selects LaON’s Genie intercom system

AUDIO SOURCE

KOREA

Christian Television System (CTS TV) based in Seoul has chosen LaON’s flagship intercom system, Genie, for its two studios and art hall. CTS TV preaches the gospel to non-believers as well as to 50,000 Korean churches and 12 million believers. It is described as the first 130-year-old mission video broadcasting station in Korean church history to produce mission, education, culture, art, lifestyle and information programmes.

Previously, CTS TV had been using old analogue intercom systems for a long time and needed to replace them with a new, state-of-the-art system that would help the station increase programming and events during the pandemic. A Genie BS1000 base station has been installed in the studios’ control room

and four four-wire lines have been connected to the existing matrix.

LaON has also provided different communication group channels for the beltpacks in the two studios.

Meanwhile, a second Genie system that includes two remote antennas has been installed in the art hall located inside the CTS TV building.

The wireless beltpacks in the art hall and studios can be used together C if more beltpacks are required M by linking the base station to the Y beltpack screen menu.

Joonyoung Jung, technical director CM at CTS TV, commented: “The audio MY quality of Genie is really excellent and it is scalable with any number of CY beltpack connections. Also, Genie isCMY a very efficient and flexible system to design and one system can be used K for multiple studios.”

Miyoun Park, sales manager at LaON Techonlogy, added: “Typically, between one and three separate wireless intercom systems are used in a broadcasting studio. With earlier intercom systems, there was a limit on the number of group communication channels, so it was normal for each team to have its own system. However, Genie supports multiple group channels which can reduce the amount of systems needed if the client’s workflow allows it. It is one of Genie’s big advantages.” www.cts.tv

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NEWS: PROJECTS

N

Visionary’s PacketAV Matrix Series reaches new heights at Shanghai Tower CHINA

Visionary’s PacketAV Matrix Series has been chosen for boardrooms and ballrooms in the J Hotel, which has opened in the Shanghai Tower. Situated in the central business district of Lujiazui, at 632m the tower is the largest building in China and the second tallest in the world.

PCI China was selected to design, engineer and integrate technology throughout meeting and communal spaces at the J Hotel, which has 240 guest rooms spanning many of the skyscraper’s highest floors. “Because the Shanghai Tower is a monumental, exquisite piece of architecture, it was necessary to design a state-of-the-art audio and video system to meet our client’s expectations,” said Norman Hu, marketing manager for PCI China. “We designed three boardrooms, two ballrooms and other public areas. The Shanghai Tower had an existing Gigabit network infrastructure; therefore, we needed a video solution able to operate with standard network wiring.

We selected Visionary’s PacketAV Matrix Series because of its resilience, reliability and price-point. The solution fitted our client’s specific needs.”

Each ballroom can be divided into two smaller spaces for business meetings, conferences, weddings and other events. “We incorporated PacketAV Matrix Series encoders and decoders to provide a solution that is scalable based on changing room designs for different event functions,” explained Hu. “Each LED videowall features four PacketAV D4100 decoders that enable up to four separate images or a single large image. An additional D4100 was provided to ensure the banquet space

can be extended with a video display output.”

The J Hotel’s boardrooms also required a simple-to-use, compact BYOD solution, for which six PacketAV E4100 encoders and three D4100 decoders were chosen, positioned behind the video display and underneath desks to save space. Also provided was the PacketAV Matrix Series’ PoE power supply, which requires just one cable connected to the switcher and has an integrated audio port connection.

Visionary’s PacketAV Series is designed for standard network infrastructure, allowing PCI China to create a scalable solution for the J Hotel. “Visionary’s PacketAV Series lays the foundation for future system upgrades because of its ability to utilise an existing network,” said Hu. “Additionally, the PacketAV Series integrates seamlessly with other solutions to eliminate unnecessary downtime for programming and control.

We paired Visionary’s PacketAV Matrix Series alongside QSC’s Q-Sys system for a seamless audio solution.

Visionary’s PacketAV Matrix Series supports HDMI audio and transmits the audio directly to the Q-Sys system for processing through the network.

The end user has a simple-to-use AV solution by utilising a single output to an HDMI and, meanwhile, eliminating unnecessary audio cables.” www.vsicam.com

Mackie chosen for Orange Mint Lounge in Powai INDIA

The Orange Mint Lounge has opened a fourth outlet in Powai, Mumbai, installed with an audio system of speakers from Mackie and Indian manufacturer, Dynatech.

The system, installed by Mumbaibased SoS Audio, consists of Mackie SRM650 powered speakers hung from the ceiling, with Dynatech HP-15A+ speakers provided for DJ monitoring.

“Having previously installed Mackie Thump15A speakers at their Vashi location, the management of Orange Mint wanted to stay with Mackie for their new branch as well,” said Prashant Salvi of SoS Audio. “We suggested the SRM650 owing to its impactful delivery, coverage and headroom. As for the Dynatech

HP-15A+, they offer great clarity, are extremely versatile and super easy to move around. We could tell that the patrons were loving the highenergy ambience and thoroughly enjoying the music experience at the launch party. The management is thrilled with the response garnered and so are we.” www.dynatechaudio.com www.mackie.com

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NEWS: PROJECTS

Nexo returns to Thai Wonderfruit festival THAILAND

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Promoter Mooban was able to go ahead with the Wonderfruit Festival in late December, with Mr Team Productions supplying Nexo STM systems for the seventh consecutive year as Pok Sutat Kohkiat and his team adapted their designs for a reduced audience area at the Siam Country Club in Pattaya.

“Wonder fruit attracts an elite international audience,” said Pok. “Visitors come from all over Southeast Asia for this event because of the quality of the per formers and the diversity of the entertainment, which includes arts, crafts, cooking and yoga classes as well as live music. Standards are high. Our technicians are often amazed by the quality of per formers, who come from all over the world. They bring their own engineers, and we have to look after more than 40 riders.”

Mr Team Productions handles audio production for the main Baan Sabai live stage as well as Baan Arai DJ tent, and decided to fly the Nexo S118 sub-bass cabinets with the main arrays of the STM Series at the main stage for the first time. “We only had 40m from FOH to the back of the area; the lowered stage didn’t have enough room to house a sub array, so we put 16 S118s in omni mode and flew them together with

be found in the festival canteen, where ID24s kept up the entertainment.

All attendees and staff at the festival complied with Thailand’s strict pandemic rules, including body temperature readings, hand sanitisation and mask wearing.

Attendance was reduced to just 30% capacity, which regrettably resulted in Moobaan Wonder having to cancel the last couple of weekends in the schedule.

“We are now dependant on the vaccine to see whether we can come back this year,” said Pok. “At Mr Team, we are diversifying into other areas – government projects, video mapping, museum and exhibition projects, and installations – in order to keep going. I believe small events will resume if the health situation improves, and we will start to see the first signs of new growth.” www.mrteam.co.th

The Baan Sabai main stage the six-a-side main and bass STM Series main arrays,” he continued.

A front-fill system of down-firing Nexo Alpha cabinets was mounted in the roof, with Alpha also used for side-fill. Stage monitors were 12 Nexo PS15s under the control of a Yamaha PM5D monitor console.

More Alpha was used at the Baan Arai DJ tent, supplemented by STM B112 bass cabinets and S2 sub-bass. Two other DJ stages, Singha’s Ziggurat and Baan Moonism, were using Nexo PS15s, and the French brand could even

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Extron serves up multimedia at Neptune Restaurant

HONG KONG

Extron systems are providing AV switching, distribution and control at the Neptune gourmet restaurant at the Ocean Park oceanarium and amusement park, the centrepiece of which is a 13m-wide, floor-to-ceiling aquarium teeming with 5,000 sea creatures.

AV integrator BAP Technology Consultants designed an AV solution to provide sophisticated multimedia throughout the venue, which can be divided into separate spaces for different events. The system features an Extron DTP CrossPoint 86 4K 8x6 scaling presentation matrix switcher and

DMP 128 Plus C ProDSP processors with Dante handling video and audio processing and distribution for all the dining and presentation spaces. The matrix switcher distributes video from sources including a PTZ camera, Blu-ray players, laptops and USB memory sticks to laser projectors and flat panel displays in interior meeting, dining and service areas, as well as outdoor video signage. The switcher’s Vector 4K scaling engine matches its output to the native resolution of the displays, optimising image quality in each venue. The DMP 128 Plus

ProDSP processors distribute audio via Dante networking, providing DSP functions for each room, including mixing, equalisation, tone control and acoustic echo cancellation. Extron XPA U 1002-70V amps drive ceiling speakers in the restaurant seating area and two intimate VIP dining rooms. IPCP Pro 555 and IPL Pro CR88 IP Link Pro control processors regulate operation of the matrix switcher, audio processors, Bluray players, displays and projectors, screen raise and lower, and mood lighting. Staff can configure functions via a TLP Pro 725T 7-inch TouchLink Pro touchpanel at the reception desk.

“With the fully networked audio system, combining and dividing rooms is simple and efficient, with all inputs and outputs automatically assigned in preset states,” explained BAP’s sales director, Marco Tang. “Microphones can be assigned to any partition space to accommodate event bookings. The TouchLink Pro touchpanel provides intuitive control of venue partitioning, signal source selection, screen raise and lower, mood lighting adjustment, audio level adjustment, and display power. For combined usage of the space, a simple button press reconfigures the AV system to send signals to designated areas. The Extron matrix switcher fulfils application and performance requirements such as HDMI and DTP inputs and outputs that support 4K video over short and long cable runs. For audio, the Extron ProDSP Processor and Dante networking makes combining and dividing rooms simple and efficient, with all inputs and outputs automatically assigned in preset states. Importantly, non-technical restaurant personnel are able to manipulate the system to change room layouts as well as operate AV and lighting systems via the user-friendly touchpanel controls.”

According to Finson Lam, director of engineering at BAP: “Our control system programmer put in a lot of effort to understand the client’s operational requirements and workflows and created a solution that allows control everywhere with the touch of a button.

This drastically reduces the restaurant’s labour costs and turnaround times when setting up the venue for each new event.”

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www.extron.com

Brompton LED processing demonstrates future of VP at Spectre Studios AUSTRALIA

Spectre Studios has used its ICVFX fullservice LED VP studio, set up in conjunction with Big Picture, part of the NEP Worldwide Network, to film an entry for Epic Games’ Unreal Build: Virtual Production, joining international creative studios in showcasing next-generation tools and techniques for filmmaking. Brompton Tessera SX40 4K LED processing was used for the video work that Spectre showed at the event.

“We were invited to submit some of our early work to be included into a sizzle reel they were putting together to highlight some of the great work being done globally,” said Spectre Studios’ technical director, Rick Pearce. “Like the majority of our projects, we used Brompton’s 4K Tessera SX40 LED processing system to drive our setup, which gives us a headache-free production workflow every time.”

Pearce and his team used a 14m x 4.8m LED wall made up of ROE Black Onyx 2.8mm panels, a 4m x 4m ceiling using 5mm screens and two 3m x 3m LED side screens. This allowed them to demonstrate the advantages of virtual production across the product life cycle, the benefits of using

Actor Jake Speer in the production titled Shifted Image courtesy of ICVFX VP and what they see as key strengths for the technology in the future.

“Working with NEP and Big Picture has allowed us to understand the benefits of using tier one equipment for the ideas we want to execute,” continued Pearce. “They are the experts when it comes to what works best to achieve the quality and speed we need and the decision is easy when Brompton Tessera

processing is an option. We find the Tessera SX40 to be the industry leader when it comes to a reliable LED processing solution, with functions like the OSCA seam correction and ChromaTune colour correction tools being invaluable to us. The same goes for the advanced remote software control option which adds fluidity to our workflow, which is especially useful in the current climate.”

Pearce notes that virtual production technology is not a new tool, with variations of computer-aided production in use for decades and the company using real-time engines and virtual production technologies for its work on Hollywood blockbusters. “What excites us is the merging of game engine technology, film production and cutting-edge hardware improvements which have removed a lot of barriers. Real-time virtual production used to be something only large, wellfunded studios had access to. Now, UE4 has democratised that and the speed of development means, as a creator, you are always finding new ways to do things you didn’t believe were possible.

“We feel confident that with our knowledge and expertise, as well as working with leading industry partners such as Big Picture that supply future-proof products that we can rely on and trust, we are able to facilitate whatever challenge our clients throw at us and whatever new technological innovations come our way.” www.bromptontech.com

32 PRO AVL ASIA March–April 2021

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Vans chooses Harman for new Gangnam store KOREA

Systems integrator TechDataPS has equipped the new Vans Brand Showcase Store in Seoul’s Gangnam district with a Harman Professional Solutions audio system spanning two floors, featuring JBL loudspeakers, Crown amplifiers and dbx zone processors.

In addition to being a retail outlet for the brand’s footwear and apparel, Vans Brand Showcase Store Gangnam also presents shoppers with the company’s histor y. The first floor features a lineup of

from 62Hz to 20kHz with 110° coverage. JBL Control CRV architectural speakers feature a cur ved design that enabled TechDataPS to mount them into the corners.

Crown CDi 4|600 amplifiers power the loudspeakers and feature proprietar y DriveCore technology which repor tedly provides high-per formance amplification and efficiency, while dbx ZonePRO 1260m digital zone processors separate the system into multiple zones for independent

historic merchandise, books, vinyl records and more, as well as a DJ booth and functioning wall of vintage loudspeakers.

The second floor houses an area where customers can design and personalise their own shoes and apparel, as well as space for hosting weekly workshops and events.

The store required high-quality loudspeakers and a flexible zone management system to provide audio coverage for background music and special events. TechDataPS deployed JBL Control 65 P/T full-range pendant speakers to provide consistent 120° conical coverage across the shop floor, using Radiation Boundar y Integrator technology.

These are supplemented by JBL Control 16 C/T in-ceiling speakers, which deliver sound

control, including the vintage speaker wall. dbx ZC8 wallmounted zone controllers give staff the ability to assign zones and control volume levels.

“For projects like Vans Brand Showcase Store Gangnam, elevating the audiovisual experiences of visitors can be game-changing,” said Ramesh Jayaraman, vice president and general manager, Harman Professional Solutions, APAC. “It will cer tainly create the right atmosphere, enter taining people and encouraging them to shop. We would like to thank our par tner TechDataPS for being involved in ever y step of creating this one-of-a-kind store experience and ensuring the best products were used to achieve the desired results.”

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NEWS: PROJECTS

TVU Networks facilitates online TV summit INDIA

Indiantelevision.com (ITV) has partnered with TVU Networks to broadcast the fourth edition of its annual News Television Summit & Awards (NT Awards). The two-day long summit and awards ceremony has been a part of ITV’s annual calendar since 2007.

The summit saw industry leaders discuss broadcast news topics including regulations, controversies, content, programming,

Using the TVU Anywhere mobile app or TVU Partyline browser link, guest speakers were able to participate in the session via smartphone or laptop. The speakers joined by scanning or typing in a user code or by logging into the TVU cloud account through TVU Partyline.

“We thank the organisers for their trust in TVU,” said Sushant Rai, VP of

ratings and technology, while the NT Awards recognised the best in the broadcast news industry across multiple categories.

Over 750 entries were rigorously screened by a 37-member jury, including senior members of the industry. TVU Networks deployed remote production solutions – TVU Producer, TVU Partyline and TVU Anywhere – to broadcast the event, which included live presentation, guest interaction and broadcast to audiences on social media.

sales – South Asia, Middle East, Africa, TVU Networks. “With this event, TVU has made TVU Partyline, TVU Producer and TVU Anywhere visible to the news television industry in India. TVU’s products and technologies will bring immense possibilities to India’s future broadcast industry as demonstrated by our efforts with the NT Summit & Awards.”

Vietnam broadcaster installs AEQ VIETNAM

Vinh Yen City Radio and TV has purchased a quantity of AEQ Phoenix Mercury audiocodecs for its broadcasting centre near Hanoi. The project was executed by AEQ’s local partner in Vietnam, Broadcasting Development Joint Stock Company.

The Phoenix Mercury duplex, stereo IP audiocodec is controlled through a PC interface, allowing for the remote or local management of one or a series of audiocodecs. Developed in accordance with the N/ACIP EBU Tech3326 international recommendation, the compact audiocodec is compatible with third-party audiocodecs.

The Mercury supports SIP signalling and

common encoding algorithms, including the proprietary AEQ LD and optional AAC encoding modes.

This isn’t the first acquisition of AEQ technology by Vinh Yen City Radio and TV, which has a Capitol IP Dante-enabled digital on-air mixing console installed in its TV studio. The eight-fader console offers IP connectivity on a single 16-in/16-out module, and the broadcaster has stated that it appreciates the Capitol IP’s flexibility in controlling and managing the audio inputs and outputs of its TV and radio studios. www.aeq.eu

www.tvunetworks.com

Leading sound engineer installs China’s first SSL Origin CHINA

Sound engineer Kaka Cheung, a graduate of the London College of Communication in the UK, has bought the first Solid State Logic Origin console in the country for his 101 Studios in Guangzhou. Since his internship at Abbey Road Studios in London, Cheung had dreamed of owning an SSL console.

“Abbey Road had an SSL 9000J mixer at the time,” he recalled. “That was the first time I came to know about large-scale SSL consoles and I was very impressed. When I needed to change consoles recently, the first thing that came to mind was SSL.” Cheung decided to buy an Origin purely by researching the console online, purchasing it from distributor DMT’s Guangzhou office.

The main reason he chose Origin is that it can provide a complete analogue signal flow. “In the digital workflow, the digital part can be completed in-the-box,” he said.

“A symphony orchestra or relatively large mixing project may require the help of a fully analogue console. The Origin can provide full analogue signal flow and, in terms of operation, it’s not very different from the SSL 4000 and 9000 series.”

Cost-effectiveness was also a key factor.

“After I studied all its functions and heard

the sound, I felt it has a perfect balance of price and sound. It’s unbeatable in consoles of the same level.”

“Kaka Cheung’s team has always been an active and professional team dedicated to recording production, and is also our close partner,” said Raymond Wen, head of DMT’s Guangzhou office. “The first Origin in China proves that producers have attached large importance to music, and also reflects the fact that the southern market is booming.”

Cheung’s studio handles more than 30 mixes every month. The summing of each is carried out on the Origin, with about half of the tracks mixed entirely on the console. In blind tests that Cheung conducted, 70–80% of participants chose the version mixed on the Origin. “The Origin makes the soundfield a little wider, and the sound a little bit tighter and richer,” said Cheung. “It’s like adding a little condiment to make the whole dish more tasty.” But he also emphasised that

use of the Origin depends on the style of the music.

According to Cheung, SSL’s products and culture coincide with his philosophy.

“The early SSL 4000 series gave a warm analogue feeling, while the sound of the 9000J is pure and transparent. SSL’s appreciation of music has been changing, and I believe there must be a difference between the current and previous sounds.

I can’t say which is better, but there must be change: artistic work as such needs to be constantly supplemented with fresh blood. There is inspiration in the process of combining the old and the new. I personally tend to try new things, and I think Origin is in line with the sound of the modern age. Many of SSL’s ideas and products are very innovative, which fits the needs of the market from a commercial perspective. They have designed many products that are adapted to today’s quick working methods.”

Cheung also revealed that he is preparing to build a new recording studio, inviting WSDG to handle studio design. www.solidstatelogic.com

34 PRO AVL ASIA March–April 2021

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NEWS: PROJECTS

Genelec and Audient upgrade Mondosonic Studios INDIA

Studio owner and producer Varun Krrishna has invested in new equipment for his Mondosonic Studios in Kerala, in the south west of the country, namely Genelec Smart Active Monitoring and an Audient ASP8024 Heritage Edition console.

“I have a sound of my own, so each selection is based on that particular sound and workflow,” Krrishna explained. “Investing in all of that gear without a great-sounding room would have been a failure, so I got to work.

It took more than three years to develop my studio’s control room and recording hall.”

After trying out a range of monitors that could provide the coverage and quality he was looking for in the 56m2 mixing space, Krrishna contacted Genelec’s distributor in Mumbai, Sound Team. “Varun spoke to me in 2019 about setting up this new room, and we discussed a few Genelec monitor options to consider,” recalled Sound Team’s Shiv Sood. “We finally locked on the 1238DF with 7380A subwoofer. Varun was looking at a highpowered three-way active monitor but didn’t want to flush-mount the monitors. The 1238DF was perfect as its cabinet depth is around 28cm and, coupled with the 7380A, makes a perfect full-range monitoring solution.”

Genelec Loudspeaker Manager (GLM) software was used to tune the system once it was installed. “I recollect that prior to ordering

Varun Krrishna with his Genelec 1238DFs and 7380A subwoofer

The Audient ASP8024 Heritage Edition console at Mondosonic Studios

World’s largest dnp Supernova screen installed in Tokyo

the system, Varun had questions about calibration, phase alignment, level matching and so on,” said Sood. “As a solutions provider, I could confidently explain how GLM effectively helps sort all these issues out, and provide him with the ability to set up all of this by himself. I believe the sonic experience customers are getting is because GLM really plays a central part in the loudspeaker performance coming together.”

Referring to the Audient ASP8024 Heritage Edition console, Krrishna adds: “This console is the best decision I’ve made in my career. I used to go to many studios while I was studying [in

the UK]. I found out that even though there is a digital revolution going on, the analogue domain still has that sound that is missing in plug-ins.

As I use very coloured analogue outboard, I wanted a clean yet punchy-sounding console with great routing options.”

Krrishna ordered a 36-channel ASP8024-HE with 36 channels, patchbay and DLC, supplied

by Tanseer at The Inventory, after hearing it at a demo at The Bridge Studios, London. “I had a great time exploring the features; the sound was huge, wide and smooth,” he said.

“These preamps are phenomenal. I have many outboard preamps with different colours, but I’m more fond of using the console’s built-in preamps. Activating the built-in Retro-Iron, the subtle harmonics take my mixes to another level. I am also really blown away by the low noise floor of the console.”

Krrishna is using the desk’s in-line architecture to start mixing while he’s tracking to give an idea of how it will end up in the final stages of production, and the Dual Layer Control (DLC) is another of his go-to features.

“I can switch between the DAW control and analogue automation so easily and I can patch anything into the DLC.” www.audient.com www.genelec.com www.mondosonicstudios.com

RTM turns to TSL Products

JAPAN

The world’s largest dnp Supernova display has been installed at the Tokyo Port City Takeshiba Office Tower, a 40-storey skyscraper that hosts large conferences, shows and events.

Events company Infield Inc, which works with conference facilities, was tasked with finding a display to cover the back wall of a huge conference room. After several visits to the showroom of dnp partner, KIC Corporation, the company decided that a 724-inch dnp Supernova Infinity display – the largest of its kind in the world – could fulfil requirements.

Featuring dnp’s Ambient Light Rejection (ALR) technology, the Supernova Infinity modular screen system can be combined to

create exceptionally large displays with no visible screen joints. The panels have been installed in the conference room from the bottom of the wall to the top of the ceiling.

“The panels are perfectly joined and the entire display looks astonishingly seamless,” said Kunihiro Kobori, conference coordinator sub manager at Infield Inc. “Many visitors have mistaken the dnp Supernova Infinity installation for a huge LED screen for its amazing quality.”

The conference room is now ready to host a variety of large-scale exhibitions, launches, art events, IT seminars, award ceremonies and fashion shows. www.dnp-screens.com

MALAYSIA

Systems integrator Mahajak Trio was recently commissioned to upgrade the audio monitoring, advanced broadcast control and technical display applications for Radio Television Malaysia in Kuala Lumpur. Led by general manager for broadcast, Lee Chin Kah, the Mahajak Trio team was able to offer a turnkey power and monitoring solution to the Malaysian public broadcaster.

“We turned to TSL Products because it is one of the most well-known and trusted brands on the market,” commented Lee. “In addition, all of the audio monitoring tools that are available, such as comprehensive loudness monitoring, audio metering, phase metering and waveform that feature GUI and panel designs, are amazingly easy to work with.

All functions we need are inside the box and there are no additional tools required.”

As part of the project, the full-service provider specified and installed TSL Products’ MDU and PDU power solutions. The equipment provided all the necessary hardware and can handle all analogue, AES and Dante applications. “In today’s cost-conscious and environmentally sensitive world, systems managers may now be required both to streamline maintenance and support teams, and to minimise energy consumption. These challenges call for a comprehensive solution that functions remotely over wide or local area networks and can provide both monitoring and control of systems and effective power management. TSL Products was able to deliver a solution that meets all of our needs.” www.rtm.gov.my www.tslproducts.com

36 PRO AVL ASIA March–April 2021

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NEWS: PROJECTS

MBC relies on TVU Networks for remote broadcast KOREA

Munhwa Broadcasting Corp (MBC), the nation’s second largest broadcaster, used three integrated remote production technologies from TVU Networks to bring in 64 guests via remotes for a government-funded live broadcast to address Covid-19.

Despite its modern broadcast facility, MBC did not have the ability to bring in high-quality, low-latency live video of 64 guests. It relied upon TVU Anywhere mobile broadcasting app, TVU Par tyline cloud-based video conferencing platform and TVU Receivers to suppor t remote contribution; integration of live shots into the programme; and real-time, interactive communication among hosts and guests.

Guests used the TVU Anywhere app on smar tphones and other digital devices from their remote locations, while MBC producers used the broadcaster’s TVU Receivers to take in and manage those shots. At the MBC studio, TVU Receivers decoded all incoming TVU Anywhere streams.

The receivers gave the studio complete control over the TVU Anywhere transmissions and integrated them into the show.

The receivers fed their SDI output into the inputs of the broadcaster’s routing switcher.

Producers in the production control room accessed those sources from their production switcher to take guests to air as required.

TVU Par tyline, which delivers real-time, broadcast-quality interactive HD video and audio conferencing, allowed hosts to interact with one another naturally during the show. “TVU Par tyline was an elegant solution to a dif ficult problem,” said Kim Sang Dong, production engineering depar tment manager.

“Enabling so many guests to par ticipate in the special from their homes and of fices isn’t within the realm of what we could do using conventional remote technology. However, TVU Par tyline along with TVU Anywhere and TVU Receivers made it possible to overcome the distance separating ever yone and the delays that you’d normally expect. All of the guests and hosts could interact as if they were together in the studio, and viewers were spared the distraction of endless pauses due to technical limitations, so they could focus on the impor tant information being conveyed about Covid-19.

“Without this technology, it’s hard to imagine how we would have been able to produce such a live show with so many par ticipants, each of fering their unique viewpoints on such an impor tant topic. I am confident TVU Par tyline will become a regularly used tool in our production toolbox, especially when remote guests need to par ticipate live in our shows.” www.tvunetworks.com

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NEWS: PROJECTS

StreamGuys selected for Australian Radio Network

Joe Sexton AUSTRALIA

ARN (Australian Radio Network) has turned to solutions provided by StreamGuys to simplify its streaming operations and prepare for growth.

The broadcaster and on-demand audio company has ownership or investment in 12 radio stations nationwide, as well as digital entertainment platform iHeartRadio and the iHeartPodcast Network. It was the first broadcaster in Australia to offer dynamic addressable content with interactive inventory, and had worked with several major streaming and cloud vendors, but found their day-to-day operations becoming too cumbersome.

“While we learnt a lot in the process, the most obvious lesson was the challenge of managing our own public-facing production platform,” explained Joe Sexton, technology director, ARN. “It wasn’t as simple as ‘set it and forget it’. The server farm required constant maintenance.”

ARN decided to migrate its services to a hybrid hosting environment and wanted to explore using a managed service that had previous experience with dynamic audio. “We had multiple vendors and legacy systems supporting our livestreams, making the existing infrastructure overly complicated and difficult to scale,” added Sexton. “We

also wanted to increase our streaming capacity to accommodate an expanding number of audio channels and ensure suitable headroom for the forecasted listener growth. Finally, we wanted to improve our reporting and analytics, as our management, commercial and content teams had limited visibility of real-time or historical data.”

ARN’s iHeartRadio partners in New Zealand, NZME, had transitioned to a managed service one year earlier with StreamGuys as its provider. StreamGuys now manages livestreaming with midstream ad replacement for ARN’s Australian brands KIIS, Pure

Gold and The Edge, which are integrated into the iHeartRadio platform. StreamGuys handles the broadcaster’s full audio payload, including radio simulcasts, DAB+ simulcasts, iHeartRadio stations and an expanding array of audio partnerships. Audio streams are hosted through StreamGuys’ Australian data centre, giving 100% uptime to ARN’s listeners.

StreamGuys’ SaaS (software-as-a-service) suite also provides ARN with tools to monitor operations. SGmetadata monitors what ARN is encoding from its studio complex to ensure that ad break replacement is being properly triggered. StreamGuys also created custom alerts in its SGalerts monitoring system to notify staff of changes to ARN’s load balancing or other system outages.

“During the Covid-19 pandemic, we have seen a significant increase in streaming traffic across all ARN and iHeartRadio audiences,” said Sexton. “In a relatively short time, StreamGuys have delivered multiple significant benefits – doubling our streaming capacity, adding new commercial inventory opportunities, and overcoming our data visualisation issues. The operational stress of managing the server farms and day-to-day operation ourselves has not been missed, and StreamGuys have proven to be a valuable technology partner. They have an approachable, can-do attitude that always fills our teams with confidence, and they are a pleasure to work with.” www.streamguys.com

Brompton and ROE at centre of League of Legends virtual tournament CHINA

Brompton’s Tessera 4K SX40 LED processors and ROE Visual LED panels were used for a 240-hour live broadcast of League of Legends’ World Championship (Worlds) which relied heavily on XR (Extended Reality) and MR (Mixed Reality) technologies.

Riot Games’ League of Legends tournaments have traditionally taken place in host counties, with each round held in different cities. Given current travel restrictions, creative developer agency Possible Productions looked for a sophisticated solution while broadcasting the entire production live from Shanghai.

“The key challenge that Riot presented us with was extending the feeling of a campaign throughout the entire month of the tournament without physically bringing people to different locations,” said Michael Figge, creative director at Possible Productions. “It quickly became apparent that in order to bring different places to us, we needed to build a highly advanced extended reality stage that would sustain hundreds of hours of live broadcast of mixed reality content.”

Possible Productions’ team included those that had worked on the Disney+ The Mandalorian TV series. All equipment including ROE and Brompton technology was

supplied by Riot’s engineering partner, Lux Machina. “With a compressed schedule and Covid regulations in front of us, we had to choose known, high-quality products that would without doubt meet the needs of production,” explained Wyatt Bartel, senior technical director at Lux Machina. “From The Mandalorian to League of Legends Worlds, these products have not let us down.”

A giant soundstage, wrapped in LED screens, created social distancing for the players while offering scope for the Possible team’s ideas. The final setup featured over 1,000 ROE tiles, displaying visuals at 32K resolution and 60fps, made using a modified version of Unreal Engine.

“ROE Black Pearl 2.8mm panels were used for the walls and ROE Black Marble for the

floor. The overall size of the volume was 16.5m wide by 17m deep and 4.4m tall, all running on Brompton Tessera 4K SX40 LED processors,” continued Figge. “For an event of this scale and using such a large number of LED tiles, it’s hard to ensure they’re all from one batch, so Tessera’s On Screen Colour Adjustment (OSCA) feature is ideal for that.”

The SX40’s ability to interlock with a frame rate is also useful for XR applications. “This was the largest version of a mixed reality stage ever deployed and the most advanced mixed reality stage that’s ever been built, with two cameras running simultaneously, allowing the team to swap between two simulated perspectives, and four cameras to shoot the action on set, all happening live,” said Figge. “The behind-the-scenes work was highly challenging and complex, but the viewer experience was engaging and seamless.

Our collective determination delivered the extended and mixed reality live event of this season. This was in no small part thanks to Brompton processing, which ensured accurate scaling and colour, so the LED screens looked flawless.” www.bromptontech.com www.roevisual.com

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NEWS: PROJECTS

Absen LED solutions transform Guangzhou property CHINA

Kaisa Prosperity real estate developer has used digital signage technology from Absen at its newly developed Guangzhou Kaisa Baiyun City Plaza. Absen worked with Jiake Intelligent solutions provider to customise LED technology for the new property.

Covering an area of around 420,000m2 in Guangzhou’s Baiyun district, the Plaza is a combination of residential buildings, business centres, commercial Cantonese-style streets and hotels. “LED is one of the cutting-edge technologies that Kaisa has been utilising in various properties across the country,” said Qin Yi, manager of the innovation R&D department at Jiake Intelligent. “LED has the power to bring interactive, visual experiences to any location, and the innovative digital solution that we delivered jointly with Absen to the Plaza fulfils this purpose.”

Absen’s range of digital solutions installed inside and outside the sales centre where Kaisa showcases and sells its properties deliver striking visuals and brand messages. Mounted on the exterior of the building, a 274.89m2 trapezoid-shaped LED wall has transformed it into a landmark by displaying dynamic and vibrant messages. Absen’s GS5.9 Plus can be used in direct sunlight and provides high brightness, a wide colour gamut of 110% and a range of pixel pitch options from 3–16mm.

The lobby of the sales centre features a 7m x 4m videowall created with Absen’s N1.8 Plus, used to display images and adverts presenting property information. Four Absen N4 Plus LED strips are mounted on the ceiling above an architectural model of the Plaza. The N Plus series has a lightweight and slim design and is suitable for mounting on walls and ceilings.

Image courtesy of Absen

Behind the LED videowall is an immersive cave where Kaisa displays creative and futuristic content, as well as real-estate advertisements, to visitors. Absen’s PL2.9 Lite with front and rear module maintenance access, light weight and reinforced cabinet design met the requirements for an LED cave of this magnitude.

“There were no big problems with the configuration of the solutions; any difficulty lies in the construction and product customisation,” said Eddide Liu, sales manager for Eastern Guangdong at Absen.

“The construction plan was the main focus of conversation in the early stage, and then

it was product delivery. To secure the timely delivery of the customised products, our team proactively coordinated the resources of the entire supply chain. As the schedule of onsite installation was even tighter, the team worked against the clock and fulfilled the whole project in less than two months.”

“We chose Absen as it has a reputation of providing high-quality products,” added Yi. “The cooperation and support we received from the Absen team was invaluable. The team are professional; they paid great attention to detail and were quick to respond during this project.” www.absen-europe.com

Christie delivers immersive installation at Beijing science park CHINA

A new installation at a science park in Beijing has chosen Christie’s DS Series laser projectors and Pandoras Box to deliver visuals for an immersive, four-sided installation highlighting the development of health sciences. Ten Christie LWU900-DS 3LCD laser projectors and a Pandoras Box player have been installed and commissioned by Christie partner, Dicction (Beijing) Science and Technology Development Co. “This is an exciting installation that creates an immersive space featuring amazing visual

details that elevates the viewing experience for visitors,” said Leo Zhang, chief executive officer, Dicction. “We are proud to accomplish this installation using Christie’s solutions that are designed to blend in with the environment to deliver outstanding images that enhance the theme of this unique space.”

The trapezoidal-shaped room required advanced projector alignment and calibration, with all 10 LWU900-DS laser projectors strategically mounted on the ceiling, each covering an area measuring 6m long and

3.75m high. “Since this is not a regularshaped space, image processing is required for the visuals to be properly displayed,” continued Zhang. “We have deployed the Christie Pandoras Box Player to manage the playback and editing of displayed content transmitted from the projectors. In addition, UPS power has been installed to ensure uninterrupted operation and to improve energy efficiency.” www.christiedigital.com

Mahajak passes music to Rugby School Thailand THAILAND

Located near Pattaya in Chonburi, Rugby School Thailand is pioneering a new era of international schools in the country. Set on an 80-acre purpose-built campus, the private school is home to students ranging from prepreparatory to sixth form levels, maintaining the ethos of “whole person, whole point”. Academic excellence is paramount at Rugby School, but the teaching staff ensure that sport, music, art, drama and co-curricular activities also play a significant role in the educational experience.

In keeping with the other campus facilities, the school’s Music Drama Auditorium (MDA) building was designed by a leading architect.

While the AV, lighting and acoustic design was delegated to audio and vibration consultants Atkrist Company, Mahajak was appointed to fulfil the AV and lighting integration in the classrooms and rehearsal areas, on account of the company’s previous work on the Assembly Halls. Having accepted the tender, Rugby School Thailand specified a flexible, reliable system that would provide ease of use for the

operators together with high-quality playback for both vocal and music reproduction throughout the facility.

Four music classrooms have been installed with active JBL 8-inch IRX 108BT and 12-inch 112BT speakers receiving audio signals via Bluetooth. Eight- and 16-channel inputs of Soundcraft Notepad series consoles, together with dbx 1215V EQs and passive DJDI boxes, interface with the mic inputs of the mixer.

Visual images can be transmitted from any of

the four classrooms to the school’s main hall screen served by a Panasonic PT-RZ120BA 12,000-ANSI lumens projector courtesy of Extron DTP HWP4K231D wall plates.

A Blackbox studio showcases student performances and is equipped with a Soundcraft Signature 16 console that can receive various audio inputs. A stage lighting system combines Silverstar PARs, profiles and moving heads that can be moved on the bar according to performance requirements.

A DMX splitter and lighting system control board have also been installed. A Soundcraft Expression 1 digital console with an inserted Dante network card has been installed in the recording studio. A Soundcraft Notepad mixer, dbx passive DI boxes and a Harman Kardon Bluetooth receiver connecting JBL IRX speakers enhance tuition in both the drama and dance studios. www.mahajak.com www.rugbyschool.ac.th

40 PRO AVL ASIA March–April 2021

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NEWS: PROJECTS

Robe illuminates Downtown Shakedown

G M

NEW ZEALAND

The Downtown Shakedown event in Wellington has kicked off the 2020–21 summer festival season. Stage lighting, including Robe moving lights, plus rigging and power, were supplied by Grouse Lighting, with Steve Sanders working for the rental company as project manager.

The brand-new event, which attracted 10,000 music fans, was organised by Precision Live.

A 350m2 stage was located inside a 40m x 90m (WxL) marquee, with a ground support system providing the lighting positions and an upstage 10m x 4m LED wall.

Sanders scrutinised the riders for artists Fat Freddy’s Drop (LD Bradley Gledhill) and L.A.B (LD Jack Hooper) in particular to get a basis for the lighting rig, which had to be appropriately scaled to fit the marquee and stage environment. All the headliners also had their own custom floor lighting packages, so Sanders needed a house overhead and side rig with enough adaptability for all acts.

Twenty Robe LEDWash 600s were used for overhead washes and side-fill positions, with 24 LEDBeam 100s allocated for various floor packages, with some on

Image courtesy of Lucy Hammond

trusses above the audience. Twenty-four Pointes were used on the rear truss, the upstage side drops either side and in selected floor packages. Eight Robe ColorStrobes were also added to the rear truss/side bars. Lighting Control was via a grandMA2 console.

“We were extremely happy to be part of the event,” said Sanders, who worked alongside lighting operator and crew chief Rowan McShane and lighting systems tech Cam Harley.

Other key suppliers for Downtown Shakedown included Metro Productions which built the stage, Western Audio which provided the PA and Streamliner Productions which delivered the LED screens.

Grouse Lighting, which has worked with Precision Live for 10 years, is a major Robe investor, the most recent purchase being T1 PC Wash luminaires. After several months with no live events, the company is now busy dealing with a standard amount of summer season bookings plus rescheduled shows from earlier in the year. www.robe.cz

Arthur makes debut in Korea KOREA

Arthur, Robert Juliat’s new 800W LED followspot, which has a 5.5°–15° zoom designed for long-throw applications in larger venues, has made its global debut at Big Eoul Madang at the Yongin Cultural Foundation in Seoul.

The first two Ar thur followspots were supplied by Rober t Juliat’s Korean distributor, C&C Lightway, specified by Big Eoul Madang’s lighting designer, So-Jin Kang, who chose them after seeing them at LDI 2019 in Las Vegas.

“We were already familiar with the quality of Rober t Juliat products, having 36 RJ 700 Series zoom profiles in our generic rig,” commented Kang. “However, Rober t Juliat’s reputation for excellent followspots is well known and the new Ar thur did not disappoint. It delivers a bright, uniform beam, is easy to control for both dimming and irising and, having an LED source, gives out less heat and saves on power. It ticked all our boxes.”

The Yongin Cultural Foundation multipurpose cultural hub has six

per forming ar ts spaces, providing a meeting place for Yongin citizens to gather together to enjoy classical music concer ts and shows. Big Eoul Madang is a proscenium theatre with 599 seats over two levels, equipped with moving stages, an orchestra pit and an acoustic shell. The Ar thur followspots are sited in the purpose-built followspot booth above the second level with a 25m throw distance to the stage.

The followspots were immediately put to work on a Gukck concer t of traditional Korean music, which gave the lighting team a chance to put them through their paces. Since then, they have been in continual use. “After using the new Ar thurs, we were convinced the choice was a good one,” said Kang. “We are ver y happy with their per formance and with the ser vice we received from C&C Lightway.” www.cclightway.com www.robertjuliat.fr

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NEWS: PROJECTS

Genelec 4000 Series chosen for Mikkeller Shanghai CHINA

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A Genelec 4000 Series sound system has been installed into the newly opened Mikkeller Shanghai bar by Nanjing-based integrator, Forcpace.

Mikkeller Shanghai is the first Chinese venture for Mikkel Borg Bjergsø, who started brewing beer in his kitchen with childhood friend Kristian Keller in 2003. Today, Mikkeller exports craft beer to over 50 countries and operates the same number of bars and restaurants around the globe. The new Shanghai bar is a fusion of Chinese architecture and Nordic minimalism, with wooden furniture and soft lighting contrasting with concrete floors and exposed brickwork.

Four Genelec 4030 loudspeakers are installed in the main bar, comprising seating areas and the bar counter itself, with another one covering the shop on a semienclosed mezzanine overlooking the main bar, where customers can purchase merchandising and bottled beer.

The bar is run by Martin Aamodt, the managing partner of Mikkeller

Shanghai. Aamodt, who is also a musician, has lived in Shanghai for many years and previously managed a Mikkeller bar in Copenhagen. “I’ve travelled pretty extensively, and I’ve noticed that Genelec loudspeakers are widely used in the upmarket restaurant and bar sector, as well as in some live clubs,” he commented. “I was keen to use Genelec for Mikkeller Shanghai as I felt that it was a great fit for us, both from a quality standpoint as well as aesthetically.

The mark of a good system for this type of environment is that it goes unnoticed – people are just enjoying themselves without really realising why. However, anyone from a musical background or with an interest in music notices immediately that we have good loudspeakers.”

Aamodt also appreciates the simplicity of the active loudspeakers, which don’t require the extra expense of an amplifier; nor do the 4030s need a separate subwoofer in this setting. “The 4030 is powerful enough to deliver the SPL I need and still have plenty

left in reserve. It’s a relatively compact loudspeaker, but the sound is really big. You know that a Genelec solution will last a lifetime, so even if the initial outlay may seem high, not only are you saving money in the long run, you have the peace of mind of knowing that you’ve invested in the best.”

Forcpace used Genelec’s adjustable wall brackets to angle each speaker, with room response controls at the back of each loudspeaker allowing them to be individually adjusted for sensitivity and tone.

“I wanted a simple, high-quality, plug-and-play solution that our non-technical staff could operate easily and that would integrate seamlessly with the environment. That’s exactly what I’ve got, and I’m delighted with the results,” said Aamodt, who reports that the bar has enjoyed success since its opening, despite the difficulties caused by Covid-19. www.genelec.com

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Japanese lighting designer creates striking Robe Lighting Show JAPAN

Lighting designer Mitsumasa Hayashi has created the Robe Lighting Show at the Urayasu Mai Studio of the Nihon Stage Co, featuring over 350 Robe moving lights. These were supplied by rental companies, M-Tech Style and

the Mula Corporation. The piece was commissioned by Masaharu Sakamoto who heads up LTG, Robe’s Japanese distributor.

With live per formances halted worldwide, Sakamoto was keen to produce a concept that could be enjoyed and appreciated by lighting enthusiasts worldwide, and knew Hayashi was the right person to work with on the project.“A show like this using Robe products exclusively is unprecedented in Japan, so it was great to create one with ever yone’s cooperation,” commented Sakamoto.

The 10-minute lightshow features three music tracks, with the action taking place on a stage which is empty apar t from a large piece of driftwood, which Hayashi has surrounded with light as inspired by the music. His goal was to keep the space open and the lighting fluid and kinetic, allowing viewers to enjoy their individual interpretations of the combined visual and sonic experience.

A total of 126 Robe BMFL WashBeam EVs, 168 MegaPointes, 12 Esprites and 56 Tetra2s were chosen to create the work, with 120 BMFL WashBeams arranged in a back wall, six rows deep, each row with 20 fixtures, the highest at 11m off the stage and the lowest at 2m.

These trusses moved up and down on an automation system. A fur ther four BMFL WashBeams were deployed in each

corner of the per formance space on the floor, with a fifth upstage centre on the floor. Two left- and right-side trusses consisted of 24 MegaPointes each, with a third set of 24 MegaPointes at the bottom of the back wall of BMFL EVs.

The same positions for another 72 MegaPointes were mirrored on the floor, with another 24 fixtures rigged on a circular truss above the stage. Above the centre point of the stage, a Parasol KLR spinning truss was loaded with the 12 Esprites, while directly above the driftwood tree trunk, pinpointing the epicentre of the geometric design, was a single BMFL WashBeam. The Tetra2 bars were rigged along the back wall, on the lower run of side trussing and on the floor.

“It was amazing to see Mr Hayashi’s work,” said Josef Valchar, CEO of Robe.

“He crafted an exquisite show utilising so many fine-tuned features of the fixtures, which was really thought-through and explored the boundaries of what can be achieved with a spectacular result.”

Hayashi has been an advocate for Robe since first using the Pointe in 2014, specifying the brand where possible for all his large projects. Both his company, the Mula Corporation, and M-Tech Style have invested steadily in Robe in recent years.

The Robe Lighting Show was programmed on a grandMA2 console by Masaki Morii from the Mula Corporation and visualised

by Michiko Yagi working for the Hayashi office. The production manager was YoIchi Ashikawa from M-Tech Style and the video was directed by Jihoon Kim of V-Con KK and produced by Shinji Ootake from KK Moi.

AtlasIED chosen for Ritz-Carlton Xi’an CHINA

More than 300 AtlasIED speakers have been installed by AV distributor and integrator Litron at the new Ritz-Carlton Xi’an in Xi’an Shaanxi Province. Litron recommended the brand as part of a Dante-networked solution to distribute music throughout the lobby, meeting rooms, indoor and outdoor recreation spaces and other areas, with minimal impact on the architecture and interior design.

“We found the wide range of high-fidelity speakers, along with controllers and amplifiers from AtlasIED to be ideally suited for a project of this calibre,” said Zhe Meng, Litron founder and vice president. “Rather than having to purchase different products from different manufacturers, we were able to work with one source – AtlasIED – minimising time, effort and hassle, and ensuring seamless integration for top-notch performance.

A total of 300 FAP42TC ceiling speakers have been installed throughout the areas, as well as 28 12CXT60s, 45 GSS-G all-weather outdoor landscape speakers, 17 SM8CXT surfacemount speakers, 14 SM52T wall-mount all-weather speakers, 12 SW115 subwoofers and 16 SMA-12 portable speakers, with 17

BB-88DT Dante BlueBridge networkable DSPs, seven BB-EB1616DT I/O expansion boxes, 32 BBWP-S4K1 Dante BlueBridge controllers and a range of DPA and HPA Series amplifiers.

All models function as one unified system thanks to the Dante network. “As an iconic hotel brand, the Ritz-Carlton needs to ensure standardisation across the board, where every speaker, no matter where it’s located, plays the same music,” continued Meng. “The AtlasIED Dante DSPs enable this important feature while still providing hotel staff the ease and flexibility to cater to guests’ requests; for example, to hear a birthday song during a celebration in the hotel restaurant.”

This is borne out by feedback given to the hotel. “We have received many positive comments from guests, as well as fellow integrators about this project,” added Jason Cai, regional business development manager of Atlas Sound Asia Pacific Marketed. “With the success of this installation under our belt, we will be able to develop partnerships with other notable hotels in the area.” www.atlasied.com

Lynx provides durability at Bali beachfront hotel INDONESIA

Lynx Pro Audio distributor Melodia and AV consultant partner Sontastic has supplied and installed weather-resistant Juno loudspeakers at the Hotel Mamaka in Bali.

Mamaka’s beachfront location in a tropical climate meant that a system was needed that was resistant to elements such as rain and salt, with IP46 rating protection.

A total of 49 Juno enclosures have been distributed around the hotel entrance,

restaurant, lounge bar, DJ area and swimming pool. The JN-6T 6-inch speakers in white were installed mainly indoors, while the black finish 8-inch speakers can be found between the pool and DJ area.

Most of the speakers have been set up horizontally, using the U-bracket supplied as standard with each cabinet. www.lynxproaudio.com

www.robe.cz

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NEWS: PROJECTS

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A-Works installs Nexo GEO into Korean auditorium KOREA

Nexo distributor A-Works prosound has installed a GEO M12 mid-size line array system into a new auditorium, owned by billion-dollar network marketing company Atomy.

Following a four-way shoot-out competition last summer, A-Works won the contract with its demonstration of Nexo’s GEO M12, paired with MSUB18 subs, extended by a delay system of ID24 point source cabinets. Regular GEO M12 production company and GEO M12 user Plan24 oversaw the shoot-out system, which was tuned by engineer So-Yong Lee from Prof Sound Korea.

The auditorium at Atomy’s HQ in Gongju is used for small concerts, education, internal events and the Atomy Corporation’s annual awards ceremony.

L-R arrays of eight GEO M12 modules

per side, with a three-module hang in the centre, cover the auditorium, with 12 18-inch MSUB bass units flown above the centre of the stage. Four ID24 compact cabinets beneath the stage provide near-fill.

Around the auditorium, a total of 34 white ID24s comprise the delay system. For stage monitoring, A-works chose Nexo’s new P12 point source speakers, and the system is driven by NXAMP4x4Mk2 amplifiers.

Jinhee Kim from A-works prosound completed the system design using Nexo’s NS-1 proprietary modelling and simulation software. Coordination of both the initial demo and subsequent installation were overseen by Sung-Ho Lee, general manager of A-works prosound. www.aworkskorea.com www.nexo-sa.com

Vioso helps Recursive create immersive experience in Shenzhen

CHINA

Recursive was recently called on to create a fully immersive, projection-based experience for a high-end fashion store located in Shenzhen. The client, which had seen Recursive’s previous work at the Puma Fifth Avenue store in New York, wanted a company to create a multimedia experience for its customers that would take them on “an enchanted journey of discovery” through a magical and ethereal landscape with meaningful real-time interactions between the virtual and physical worlds. Recursive called on technology from Vioso to bring the experience to life.

“We were tasked with developing the system architecture and interpreting the creative intent into a physical solution that could allow four different worlds based on four core themes across the natural world, to be experienced by users, triggered automatically from social interaction and adapting each time to each user’s unique movements within the space,” explained Recursive CEO, David Yates. “We identified early on that we would need to work with a real-time rendering environment and that this would require a method to adapt the content to the shape and layout of the physical room, which is both 360° in coverage and complex

in shape, with both convex and concave surfaces.”

The team also identified that the final resolution and canvas size would be exceptionally large, requiring the use of six 21,000-lumen 4K laser projectors across the walls and floor. The real-time nature of the rendering meant that the load would need to be split over several machines that acted together as one, communicating over the network with each other. This led Recursive to Unreal Engine’s nDisplay system, as it not only renders the environment, but distributes the workload between several workstations in a way that is manageable.

The team also made use of Vioso technology to scan the space and generate the necessary files, in the required formats, to help the Unreal system understand the layout and shape of the nDisplay viewports.

“The projection surface we had to work with in the given space is profoundly irregular,” commented audio visual consultant, Paul Marshall. “We needed a reliable and flexible projection mapping solution that enables complex projection blending and is capable of synchronising multiple workstations in real time. We used multiple cameras to scan the space and then went through a conversion process to arrive at a single unified MPDCI output.”

The MPCDI files were then brought into nDisplay and used within the nDisplay configuration in order to assign the outputs to the projectors that were attached to each nDisplay node. “Outside of the core requirement for real-time rendering, there was also a need for other physical elements of the installation to communicate,” added Richard Smith, associate director at Recursive. “Again, nDisplay allows this via Unreal’s blueprint through many networkbased protocols such as OSC and UDP,

enabling us to control dynamic lighting, Nano winches, hazers and audio systems in real time.”

The Vioso system offered the team automated multi-camera, multi-projector calibration, which allowed them to generate the necessary files for the nDisplay configuration. “Through discussions with the Vioso team, we arrived at the principle of using the Vioso software to both scan the space, align this to the 3D model space and output this dataset in an MPCDI v2 format which could then be used by nDisplay,” said Smith. “Given that nDisplay was also essential for the real-time rendering aspects of the project, we paid great attention to the only other instance of this combination of approaches being used together; which was for the Childish Gambino for his Pharos concert series.”

The team achieved the required level of tracking and control through developing their own in-house system based on multiple depth cameras. The system makes use of a point cloud approach to be able to view the user from multiple angles through interpreting the depth data in real time.

The real-time interactions across both the virtual and physical makes this space unique both in the user experience, but also in the design and implementation challenges.

“There were lots of stakeholders in this process around the globe, all working on a separate aspect of the project,” explained Marshall. “We had to plan far ahead and support their work; therefore, testing was crucial. The content was developed in the US and the final room was built within the store in Shenzhen with the design and client teams based in the UK.” recursive.digital www.vioso.com

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NEWS: PROJECTS

Christie projection creates immersive visuals at Xiong’an dome theatre with arts and culture to strengthen community bonds in this new city,” said Xiongcheng Deng, general manager of Guangzhou Zhaocheng Electronic Technology Co, a subsidiary of Zhongqing Yingye Group. “We are pleased to be involved in the projection component of this project, and the Christie GS Series laser projectors have been our top choice since day one. Not only do they deliver stunning image quality,

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Christie G Series 1DLP laser projectors are delivering visuals in a new dome theatre located in Xiong’an New Area, a self-sufficient and sustainable city in Hebei province developed by the government to prioritise green development and environmental protection.

The Five Senses Bubble is the first dome theatre in the fledgling city and is situated along Luosa Street in Rongcheng County, which has been earmarked for cultural and community development. With a diameter

of 8.5m and a height of 6.3m, the Five Senses Bubble was constructed using airfilm reinforced concrete, its exterior design representing the different senses. Inside, the visuals are powered by five Christie DWU8902-GS 1DLP laser projectors installed

by Christie’s 1DLP distributor Zhongqing Yingye Group, displaying immersive, 3.2m-high images.

“The Five Senses Bubble dome theatre is a unique structure that integrates technology

realistic colour reproduction and reliability, their quiet operation and small footprint also ensures they remain invisible during the shows.”

The projected contents embody the themes of life and harmony in an immersive viewing experience designed to evoke the senses.

“It’s amazing how brilliant projections can create a brand-new experiential space that generates excitement,” continued Deng, adding that the Christie DWU8902-GS projectors’ built-in warping, blending and colour matching resulted in a relatively smooth installation process.

“Our technicians worked tirelessly in sub-zero temperatures to complete the projectors’ integration and calibration on schedule, and the end results speak for themselves,” he explained. “We are particularly pleased with the colour reproduction, thanks to Christie BoldColor Technology that displays bold and lifelike images at high brightness levels, giving rise to richer, more appealing visual content.”

Since its opening in early January 2021, the Five Senses Bubble has become a popular destination for locals and visitors.

One visitor remarked: “I’m mesmerised by the bright and colourful contents that seem to transport me to different environments – from floating snowflakes to soaring sky lanterns at night, to mysterious underwater worlds and the infinite boundaries of space. These rapidly changing worlds have created a highly realistic and entertaining experience.” www.christiedigital.com

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Bosch Dicentis chosen Mahajak provides AV at for Viettel Group’s Naresuan University Hanoi HQ THAILAND

VIETNAM

The Viettel Group is one of Southeast Asia’s leading telecommunications companies, also heading the list of Vietnam’s top 10 most valuable enterprises as voted by Forbes magazine.

Having specified Bosch conference systems in the past, the group again turned to them for its new, architecturally striking HQ in Hanoi’s Cau Giay district.

Viettel’s board of directors had experienced the Bosch Dicentis conference system at government meeting venues and it became the obvious choice to meet the group’s complex technical requirements and interior design aesthetics.

The Dicentis conference system has been integrated into the large meeting rooms of Viettel Group HQ for corporate briefings, while for the smaller meeting rooms and multipurpose rooms, Dicentis wireless conference systems are being used for the regular meetings, training sessions and internal discussion activities that regularly take place in the building. The multiple

glass walls of the building posed acoustic challenges for meeting room functionality, causing feedback and echo. To combat this, Bosch recommended the use of highly directional microphones, with low noise and low susceptibility to interference.

Dicentis is designed to be easy to operate and can be managed centrally. It provides integration with other systems

in the building, including cameras, video conferencing software and loudspeakers.

Data security is of top priority to Viettel Group’s board of directors, and Dicentis was also able to meet this requirement.

“Many partners of Viettel Group have considered our conference rooms as a case study, and they would like to adopt the same systems design for their conference rooms,” said Ha Quang Huy, director of Viettel Asset Management Company. “Furthermore, the systems have a beautiful design, which complements the Viettel Group HQ.”

Contracted to enhance the learning experience for students and guests, Mahajak Development recently supplied and installed an AV system into the newly built, multipurpose building at Naresuan University. Located in the heart of Phitsanulok province, Naresuan University is one of the top government universities in Thailand. Originally established as the College of Education in 1967, the school was renamed to Naresuan University in 1990 in celebration of the 400th anniversary of King Naresuan’s accession to the throne.

Naresuan University has constructed a divisible 3,200m2 facility that can function as a single 4,000-capacity hall. The new AV system supports a wide range of events such as graduation ceremonies, exhibitions and training. For large events where the facility is configured as a single room, JBL VTX A8 line array loudspeakers provide 110° horizontal coverage. VTX B18 and VTX G28 subwoofers extend the low frequencies with AE Series enclosures providing additional reinforcement as side and rear fills.

Crown I-Tech HD Series amplifiers power the loudspeakers, while a Soundcraft Si Performer digital console provides intuitive mixing control. BSS BLU-800 signal processors distribute audio throughout the venue via a digital audio network. JBL PRX800 series portable cabinets and a second Soundcraft Si Impact console are deployed when the hall is divided into two separate rooms. For the visual

system, Mahajak installed three 300-inch motorised screens with AMX audio and video encoders and decoders. An AMX touchpanel provides intuitive control and switching of video sources.

“Achieving an effective AV design for a multipurpose venue is always a challenge but, using the versatile solutions offered by Harman, Naresuan University has created an exceptional collaborative space for students and visitors alike,” commented Harman Professional Solutions, APAC VP & GM Ramesh Jayaraman. www.mahajak.com www.pro.harman.com

www.boschsecurity.com

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CCTV conducts first 8K UHD live broadcast across 5G network CHINA

In what it claims is the world’s first 8K UHD TV live broadcast across a 5G network, China Central TV (CCTV) has broadcast its first live 8K Ultra-High-Definition (UHD) TV channel test signals from the Beijing National Grand Theater and Shanghai International. The test broadcast used Telestream’s 2110 IP solution including its Inspect 2110 IP monitoring system, Prism waveform monitor and SPG8000A precision multiformat video signal generator.

The Telestream monitoring solution is used throughout the production and distribution workflows, and the broadcast was supported by China Mobile, China Telecom, China Unicom and China Radio and Television.

More than 30 UHD large screens and China’s first consignment of 8K TVs broadcast the images

in public places across nine cities, including Shanghai, Guangzhou, Shenzhen, Chengdu, Hangzhou, Jinan, Haikou and Qingdao. CCTV has also broadcast the Chinese New Year’s Eve celebrations using its 8K UHD TV channel, broadcast live as part of CCTV’s Spring Festival Gala.

In 2022, CCTV will start broadcasting 8K UHD channels in the runup to the Beijing Winter Olympics, and plans to implement 8K UHD as the standard production format for the Games, including full-time comprehensive 8K Telestream live monitoring from content production to editing and broadcasting.

Telestream’s Inspect 2110 and Prism monitors help CCTV to monitor IP 2110 8K signals in real time around the clock, providing network health

protection and automatic alarm functions and checking the consistency of the main and backup channels.

Compared with traditional SDI networks, CCTV’s IP network is more versatile and simpler.

However, some issues with an IP network of this scale exist: if 8K signals up to 33Gbps are transmitted across the IP network, there can be issues such as packet loss and disorder, separate video, audio; and whether all the auxiliary data is present. Other issues include consistency between main and backup signals, and whether the PTP clock synchronisation can be locked, and Telestream’s video monitoring solution addresses these issues.

Inspect 2110 probes monitor and record multiple RTP indicators in real time and compare

the main and backup signals, identifying any inconsistency in audio and video content and auxiliary data, alerting operational staff. When CCTV staff encounter a serious issue, the Telestream Prism provides in-depth diagnosis and analysis of the problem video stream. This

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TSL Lighting shines for Magic Mike Live in Australia AUSTRALIA

Channing Tatum’s dance show Magic Mike Live opened in Sydney on 17 December with a new lighting design created by Philip Gladwell, using a rig supplied by TSL Lighting.

Unlike productions in London, Las Vegas and Berlin, the Australian show takes place in a specially designed Spiegeltent constructed in the city’s Entertainment Quarter in Moore Park.

An immersive lighting experience accompanies the energetic dance routines with the action performed in the round, facilitating acrobatics and synchronised 360° dance routines that envelop the audience.

Gladwell, who has designed all versions of Magic Mike Live around the world, worked with TSL Lighting to specify the lighting rig. “Gaz Clowes is our talented and hard-working production electrician, and he introduced me to TSL as he had worked with them on some projects before,” commented Gladwell. “With a huge rig to source and supply, this was a challenging project in terms of lighting. I had a large wish list and some of the fixtures I wanted were non-negotiable, but TSL completely understood this and simply sourced them ready for use.”

The team is using a number of products for the first time on the Australian show, including High End SolaFrame and Coemar LEDko fixtures. The team is also using Robe Spiiders to form a ceiling piece over the centre of the room, which can “slice” in half to allow scenic items to fly in and out, and is pixel mapped to create effects. The other main fixtures include Robe MegaPointes, which cut through the rest of the rig for effects, GLP X4 Bar 10s and Martin RUSH PAR units. The dancers are tracked using a BlackTrax system for followspots and the show is controlled via an ETC EOS Ti by programmer Liam Jones. The show

is predominantly run on timecode to handle the large number of complex cues.

“It’s been great to work with Phil and Gaz, we’ve really enjoyed having the chance to properly welcome them to TSL and to put this show together,” said TSL account director, Loz Wilcox. “It’s also been a real boost to our team spirit seeing venues in Sydney reopen and to see shows back onstage.”

Magic Mike Live Australia is scheduled for a six-month run in Sydney before moving to Melbourne in June 2021. www.tsllighting.com

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SPONSORED BY

Hexogon Solution makes major investment in Panasonic 4K laser projectors

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Hexogon Solution, one of the region’s largest rental and staging companies, has added Panasonic PT-RQ35K 30,000 lumens 4K laser-based projectors to its inventory, becoming the first company in Asia to do so. Headquartered in Singapore with offices in Thailand, Japan, Taiwan, Hong Kong and Vietnam, Hexogon Solution specialises in AV, lighting and multimedia show integration.

The purchase, which makes Hexogon Solution the current largest rental company owner of the projectors globally, is part of the company’s long-term strategy. “We are looking to transit from our lamp-based projectors to laser-based, and this is our first step towards that transition,” explained Adrian Goh, group managing director, Hexogon Solution.

“Currently, we have a range of 20,000 to 45,000 lumens projectors in our inventory with the majority being the 20,000 lumens. From a business aspect, we wanted to strategically move to have more 30,000 lumens 4K projectors in our inventory.”

Released in early December 2020, the Panasonic PT-RQ35K is the world’s smallest and lightest 30,000 lumens 3-chip DLPTM 4K projector, based on publicly available dimensions and weight for 3-chip DLP 4K laser projectors with 26,000–35,000 lumen brightness as of December 2020. Other than the compact size, the projector offers high brightness and image quality with its combination of two blue and one red laser.

The PT-RQ35K airflow path, cooling system and finless radiator reinforce reliability, and the Dynamic Digital Control regulates red laser output and cooling for consistent image quality.

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Hexogon committed to the PT-RQ35K after a shoot-out with several other renowned projector brands. “Our past eight years of experience using projection technology has taught us quite a bit,” continued Goh. “We had a check-list of requirements that we needed

footprint allows it to be deployed in limited spaces. The Smart Projector Control app available for iOS and Android devices can be used to adjust and control up to 64 projectors individually or simultaneously from anywhere within the wireless network range. Users need

We are thrilled with this purchase as it will further boost our inventory to handle projects in our various offices to tick off for our transition to laser-based projectors. Other than laser-based, high brightness and vivid colours, we were looking for a compact and lightweight projector. The projectors are normally shipped across to our different offices and events within Asia quite frequently, and it helps keep shipping costs down. Another key aspect is that we wanted projectors with a good track record of reliability in adapting to Southeast Asia’s hot and high humidity environment. The projectors should also be able to withstand the saltladen environment as Singapore is a coastal country. I am glad to say that our experience with Panasonic projectors over the last two years has been very reliable with no issues, and we expect the same from the PT-RQ35K. The bonus aspect – that the lenses from existing models are interchangeable and can be used in this new projector, even with a 4K resolution output – is extremely beneficial.”

Due to its lightweight body of less than 70kg, the Panasonic PT-RQ35K only requires two personnel for installation, while a small

simply to scan a QR Code displayed on the projector’s Information Monitor. Projectors can be paired with a smartphone via NFC when the projector is off and disconnected from AC power by touching the device against the projector’s NFC touchpoint. Users can adjust settings using Smart Projector Control app, such as Projector ID and IP address while waiting for power to be connected and set up. Fleets of projectors can be prepped for immediate network connection and set up when power rolls out on the installation site. Remote Preview confirms video-signal integrity by viewing the input signal’s thumbnails on a laptop prior to projection.

Accessed via software or web browser, Remote Preview works with the projector in standby or with the shutter on and is useful where opportunities to check content on screen are limited due to stage traffic and other factors. Remote Preview reduces the chance of errors before the performance, helping narrow down the possible cause to the signal.

For more details visit https://business. panasonic.sg/visual-system/pt-rq35k “We are thrilled with this purchase as it will further boost our inventory to handle projects in our various offices,” said Goh. “I am happy to report that the PT-RQ35K projectors were recently deployed for an event and we look forward to its deployment at more events.

This purchase is part of our aggressive fiveyear plan for ‘lamp-to-laser’ transition of our projector fleet. It also aligns with our plan to manage the largest and most reliable and technologically advanced projection system in the region. Though the pandemic has slowed down the progress of our growth plan, we strongly believe that we must look at the bigger picture while cautiously moving and planning. Hexogon will continue to invest and ensure that we meet our goals as designed.”

Added William Chan, deputy managing director, Panasonic System Solutions Asia Pacific: “We collaborated with Hexogon from the commercial to engineering aspects of the PT-RQ35K as we wanted to ensure total satisfaction. We are pleased that we are able to play our part in their transition to laserbased technology.”

Hexogon Solution, which has worked on a wide range of AV and lighting extravaganzas across Asia, set a Guinness World Record in 2015 at the 28th SEA Games held in Singapore for the greatest light output ever produced on a single surface, delivering a brightness of 3.2 million lumens with 160 projectors.

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NEWS: RENTAL

Chetana Radio equips Maharashtra Legislative Assembly INDIA

Due to the ongoing pandemic, a meeting to discuss the winter session of the Maharashtra Legislative Assembly was held last December in Mumbai instead of the traditional venue of Nagpur.

Audio equipment for the event was supplied to rental company Chetana Radio by Hira Sound, an authorised dealer of Dynatech, JTS, P.Audio and Mackie for the state of Maharashtra.

Keeping in accordance with safety measures such as physical distancing, Chetana Radio equipped the venue with JTS GM-5225L and GM-5218 gooseneck microphones and ST-5030 bases, together with Dynatech HP-15A+ active loudspeakers.

“This has been a key project for us, and we’re really proud that we could fulfil the client’s request of equipping the sessions with world-class products that are not just efficient and easy to use, but also offer great versatility and unbeatable performance,” said Pragnesh Mehta of Chetana Radio. “The JTS gooseneck mics facilitate crystal clear audio pickup which translates beautifully through the Dynatech HP-15A+ loudspeakers, which are powerful and clean with just the right balance of highs, mids and bass. We’re extremely happy with our JTS and Dynatech inventory.” www.sonotone.in

Digiland invests in Adamson INDIA

New Delhi-based events and rental company Digiland has added an Adamson S-Series system to its inventory, allowing it to increase its market and diversify into new areas. The system was supplied

by Adamson’s Indian distributor, Stagemix Technologies.

Digiland’s new system consists of 12 S10 two-way, full range array enclosures and eight S119 subwoofers powered by Lab. gruppen PLM20K44 amplifiers.

Digiland’s staff and technicians have also received Adamson’s globally-standardised training conducted by Sonotone director, Karan Nagpal, and audio engineer, Nitesh Narayan.

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“I am really impressed with Adamson’s S-Series; it boasts a magnificent sound quality and adapt effortlessly to any environment owing to the compact size and easy rigging,” said Manish Jindal, director of Digiland. “We needed a system that could provide excellent sound reinforcement for a number of different productions, and the S-Series completely fits the bill.

Another major selling point is Adamson’s Blueprint AV software - it’s straightforward to use, and the result is crystal clear sound that translates seamlessly to the real world.” www.adamsonsystems.com

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An SSL Duality δelta 48 at the centre of the spacious teaching control room

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A high school in Shanghai is providing students with state-of-the-art recording and performance spaces to equip them for a bright future. Caroline Moss learns more IN ITS DRIVE TO EQUIP THE COUNTRY FOR FURTHER development, the Chinese government has made significant investment in vocational skills training at all levels of the educational system. As an alternative to traditional high schools, vocational schools are opening across the country to teach students a trade with market demand. Vocational high schools now account for around 40% of all secondary schools across the country, preparing students for industries such as manufacturing, elevator maintenance, high-speed railways, e-commerce and, for a handful of lucky Shanghai youths, music production.

Featuring a complex of teaching studios designed by worldrenowned acoustician Sam Toyoshima, the US$5.5 million Shanghai Vocational School of Contemporary Music aims to cultivate talent in modern music production and performance at a professional level. The school, which currently has 300 students, is supported by the Shanghai Municipal Government and offers majors in recording art, music production and music performance.

It aims to provide a high level of contemporary music training, as well as assistance in gaining employment after graduation.

The bid to design and equip the facility was won in late 2018

by Shanghai SunYart Digital Technology Co, which had worked on other projects with Toyoshima in the past, including a world-class recording studio at the Jiangsu Centre for the Performing Arts in Nanjing, and brought the Japanese acoustician into this project too. Work began to convert an existing school, and the Shanghai Vocational School of Contemporary Music opened its doors to students in early 2020.

Shanghai SunYart Digital Technology director Alex Wei and his team carried out a basic layout design for the new facility, with Toyoshima providing an acoustic design. Wei and Toyoshima continued to discuss and refine the plans, with the latter making regular visits to Shanghai to oversee the project.

At the centre of the new school, taking pride of place on the ground floor, is a large music recording studio capable of

Alex Wei explains the installation of the Genelec 1236A SAM monitors in the glass

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FEATURES: EDUCATION accommodating a symphony orchestra. One of the biggest challenges in creating this studio was to provide enough ceiling height. This was limited by the previous teaching building, which was converted to create the new facility, and consisted mainly of standard classrooms with a height of just 2.5m. Wei and his team decided to make use of the courtyard of the original building, digging into the ground to create the extra height needed for acoustic isolation and absorption. The resulting space now covers an area of more than 300m2, with a ceiling height of 7.8m. This incorporates a 91m2 control room, a 214.6m2 orchestral studio, two 53.6m2 rooms for drum and piano, and a 38.4m2 vocal booth. Toyoshima managed to reduce the weight of the floating floor by 30% by adjusting the layout of the rubber cushion and introducing a multi-panel system instead of heavy concrete blocks for isolation walls between the studio and control room, and the studio and booths.

The recording area is arranged in a roughly circular shape around the control room. Two retractable soundproofed doors can separate the area into three spaces with different reverberation times: the orchestra, piano and drum rooms.

With the doors open, the whole 322m2 area can be used. In the larger orchestral space, more than 70 rotating columns

The Neve Genesys Black and Genelec 5.1 system in the multifunctional studio

Six windows resembling a keyboard vary sound reflections

of different heights and diameter, with varying sizes of sound absorption holes, can be used to achieve a reverberation time of between 0.8–1.2s.

Wei and Toyoshima share the same design aesthetics, particularly when it comes to the provision of large floor-toceiling windows to create light and enhance communication.

“Sam showed me many of the studios he had designed all over the world, and I was amazed,” recalls Wei. “I wanted this project to meet the acoustic requirements while also having the visual impact to produce a ‘wow’ factor; our ideas fitted well.”

The shared aesthetics are particularly apparent when it comes to a series of windows overlooking the recording area. Toyoshima divided the glass into six rectangular shapes that gradually get smaller, to vary reflections and create a smooth reverberation.

Motorised curtains can be opened and closed to vary the amount of natural light. “The outer wall of the control room is west-facing, and in the afternoon the sun comes through the window,” says Wei. “When I got a sketch of Sam’s design, I was blown away, as he’d designed the glass window in the shape of a keyboard. He always manages to perfectly combine cultural elements with the design requirements.”

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FEATURES: EDUCATION Another striking feature of Toyoshima’s design is a pair of Genelec 1236A SAM main monitors embedded in the floor-toceiling window overlooking the recording area. The acoustician revisited a design he executed around 30 years ago at London’s Metropolis Studios together with architect John Flynn. “We wanted to make the large Genelec 1035 monitors look as if they were floating in the glass,” recalls Toyoshima. “The biggest problem was how to support the heavy cabinets; something the 24mmthick glass could not do.” The solution they devised back then was to put the monitors into boxes hung from the supporting beam by a rubber cushion to insulate the vibration, with the gap between the boxes and the glass carefully filled with silicon putty.

“Alex has done it almost the same way here, but using metal springs instead of rubber cushions, to give more strength and stability,” Toyoshima adds.

Wei wanted to optimise the control room’s working space as well as to accommodate more students and provide good visibility. “If we mounted the 1236As conventionally, the limited ceiling height would have reduced the working area, narrowing the viewing angle of the recording engineer and making acoustic treatment more difficult,” he says. “I asked Sam to embed them into the window to achieve better monitoring accuracy, increase the use of the control room and give a better viewing angle of the window.”

To support the combined weight of the speakers plus frames – 646kg – four elastic structures on each frame were welded to the beam to reduce pressure, with welding points carefully calculated to share the load evenly and avoid excessive vibrations. Given the optimum listening height of 1.2m, the 1236As had to be tilted downwards by 6.9°. Acoustic material at the bottom of the frame prevents the speakers from sliding and dropping down.

The large window between control room and studio inspired Toyoshima to revisit another design, this one at Abbey Road’s Studio 1 orchestral room, to minimise reflections. “I had the know-how to solve this problem by designing the position of the main monitors, the angle of the big windows and the shape and absorption coefficients of the walls in the room,” he explains.

Three Genelec 8351A loudspeakers on retractable stands can rise mechanically to provide a 5.1 system for surround mixing and be lowered below the height of the mixing console when not needed. Two 7380A SAM studio subwoofers provide the low-frequency element. “Genelec loudspeakers have gained a good reputation in the industry, and were an inevitable choice,” explains Wei. “We’ve ended up with excellent sound and very accurate image positioning. The teachers at the school, the

Genelec 1236A SAM main monitors are mounted in the glass between the control room and studio professors at the Shanghai Conservatory of Music and the visiting professors from other schools think that this is the best studio they had ever seen.”

Digital Genelec monitoring has been provided by BGA (Beijing Genelec Audio) throughout the entire facility, with 61 speakers in total, including the flagship 1236A as well as 1238, 8351, 8260 and 7380 models. All can be aligned and calibrated for optimum sound in the individual studios using Genelec’s GLM software.

An SSL Duality δelta 48 takes pride of place in the main control room, supplied by local distributor, DMT. Patch panels have been provided throughout the large recording area, along with several mobile cable carts equipped with integrated plugs and cabling, allowing connection from anywhere in the spacious recording area. The long worktable in the control room that wraps around the mixing console is equipped with a mobile equipment rack to add flexibility for operators working on different tasks. Behind

Shallow steps provide student seating in the staircase classroom the worktable, a perforated aluminium screen absorbs sound and facilitates wiring.

A number of Sony BRC-H780 PTZ cameras cover all areas of the studio. As well as monitoring, these will be used to broadcast musical TV shows and programmes that look behind the scenes to demonstrate how music is being created. Video interfaces are provided in wall-mount boxes, along with Canare cables to interface with 4K equipment. A projector and customised 200-inch projection screen have been installed into the studio for movie scoring and remote recording applications. Video signals from this studio and the basement teaching room can be transmitted to a broadcasting centre on the second floor for recording and postproduction, while a media asset management system stores video content for future release.

Another key area is the basement teaching practice room, also known as the staircase classroom. This was designed to comply with requests of the teaching staff for a creative teaching environment, in particular from the school’s vice president Mr Zhou. Instead of desks and chairs, the room has shallow steps rising to the back, with power and headphone sockets for all students participating in a lesson.

To one side of the teaching space is a recording area, separated by another large floor-to-ceiling window. When the teacher is demonstrating in here, students can either enter to observe, or watch by sitting on the steps the other side of the glass. The gradient of the stairs and position of the large window have been carefully designed to facilitate viewing from the staircase.

At the front of the classroom, above the Avid S3 mixing system with Dock controller, a high-definition camera has been installed to film the teacher’s hands as they operate the console, displaying video on a large screen at the front of the room. A pair of Genelec 1238A monitors and a pair of Dynaudio nearfields are also installed here.

The facility also houses four other recording spaces: a mastering room on the ground floor, and a multifunctional teaching studio for small- and medium-sized bands and foley effects, plus two small practice studios in the basement. The multifunctional studio is equipped with an AMS Neve Genesys Black console with analogue circuit design and digital control, and a 5.1 system of five Genelec 8260A monitors, a 7370A subwoofer and a GLM

The school’s mastering studio kit for management. There are plans to upgrade the 5.1 system to Dolby Atmos in the future. The mastering room has a pair of Genelec 1238A monitors as well as a 5.1 setup of five 8351s and a 7073 subwoofer, plus Dynaudio nearfields. The two 45m2 practice studios are each equipped with AMS Neve 1073 mic preamp modules, a pair of Genelec 8351 monitors, RME Fireface UFX+ 188-channel 24-bit/192kHz audio interfaces and Merging Hapi Ravenna/AES67 converters.

Avid Pro Tools and Merging Technologies Pyramix platforms supplied by distributors DMT and Dreamula, respectively, are provided throughout the facility, with Pyramix used for high-quality recordings up to DSD256, and Merging Technologies Horus interfaces with 48 I/O cards are also supplied. Audio processors are mainly models from SPL, Tube-Tech and Elysia, and there is a TC Electronic Music 600 and System 6000 in the studio in the basement and mastering studio, respectively.

A Ravenna network connects all six recording rooms throughout the facility, with audio signals transferred via fibre optic cable and optical transmitters. “Right from the beginning of the design phase, we knew we wanted to be able to control multiple studios from any of the control rooms,” says Wei. “For example, when I’m in the control room in the main studio downstairs, I can record the signals from any studio upstairs. Each node can be recorded, played back and used for backup.”

Additionally, 11 edit suites on the ground floor are each equipped with a pair of Genelec 8340As. Eight of these rooms have RME Fireface UFX+ interfaces, with RME Babyface Pro interfaces in the other three. “We’ve invested in a lot of RME products, including Micstasy preamp/converters and MADI converters as well as the UFX+ and Babyface Pro interfaces, to guarantee a high quality of education,” says Wei. The Shanghai Vocational School of Contemporary Music opened its doors in 2020 and is now educating 300 pupils, all of whom are being prepared to graduate with a developed understanding of the art of recording.

“The good acoustic environment that’s been created, together with the high-quality equipment provided, should quickly develop the skills necessary for future audio engineers,” concludes Toyoshima. www.genelec.com www.solidstatelogic.com

The spacious main recording area

www.sunyart.net

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FEATURES: LIVE

Alive and kicking

By September 2020, Thailand’s internal transmissions of Covid-19 were at zero, deeming it safe to slowly restart live entertainment. Caroline Moss reports on the CAT Expo festival

L–R:

OCTOBER TO DECEMBER ARE TRADITIONALLY PEAK months for outdoor music festivals in Thailand, and the country’s handling of the pandemic and consequent controlling of infection rates meant that many events were able to go ahead in the latter part of 2020, subject to satisfactory risk assessments. Numerous festivals were rolled out across the country’s islands, beaches and mountainsides as Thai residents enjoyed what most of the world could only dream of.

This included the CAT Expo musical gathering, which not only took place during 2020 but was also the biggest yet in the event’s seven-year history. More than 60,000 people attended the two-day expo featuring five stages of alternative music including new and upcoming artists, plus stalls manned by independent record labels selling merchandise and scouting for talent, food and beverage outlets and meeting areas. Organised by CAT Radio in Bangkok, the 2020 event returned to an abandoned amusement park, the Siam Wonder World Extreme Park, northeast of the Thai capital.

Part of the reason for returning here was that the spacious venue allowed a large audience to attend without crowding, providing a good internal flow between the stages. This helped with social distancing measures which, together with mask-wearing and hygienic practices, ensured the festival could proceed in a safe manner.

The main stage featured the first Adamson E15 threeway line source system to arrive in Thailand, supplied to rental company Live4 Viva by Adamson’s Thai distributor, Sonos Libra. Live4 Viva has been providing a complete AV and lighting system for the main stage at CAT Expo for several years, and this was the second time that Sonos Libra worked with the rental company on the festival, having supported the use of an Adamson S10 system in 2019.

“We provided sales, import, technical and engineering support, including training for first-time use of the system,” explains Sonos Libra chief, Alfonso Martin.

The companies were planning to carry out some training on the new E15 system prior to the festival, but a delay in

Live4 Viva’s Adamson E15s are flown for the first time

shipment meant it needed to go to the festival almost directly from the airport. “The shipment arrived from Toronto through Taipei and then to Bangkok, and things got stuck in Taipei because logistics were giving priority to food and medical supplies, and because there weren’t many commercial flights, space was limited,” recalls Martin. “It arrived in bits and pieces and we couldn’t clear customs until we had the whole lot, but we made it in time for CAT Expo.”

This was fortunate as Live4 Viva needed to deploy the complete system for the festival, supplementing it with Adamson components it already owned. “I’ve known Live4 Viva for many years; they were one of the first companies I talked to when I arrived in Thailand,” continues Martin, who hails from Spain, initially joining audio distributor One Systems Global in 2013 before starting his own company four years later. “They bought an S10 line array system three years ago, becoming the first official Adamson users in Thailand, and they’ve been upgrading slowly. They were dry hiring additional equipment from other rental companies as needed, and so it eventually made sense to purchase their own. Happily, they decided to stick with Adamson.”

“We’ve been looking to expand our audio capabilities progressively each year,” explains Live4 Viva general manager, Mr Vitoo. “Since we stepped up to Adamson S10, we knew we were playing in a different league and that’s motivated us to think about the next step. 2020 has presented a lot of challenges but also some good opportunities. Sonos Libra and Adamson gave us several good reasons to move to the E-Series and we decided to do so.”

The main stage at CAT Expo hosted some of the most popular artists to play the festival over the two days, accommodating between 15,000 and 20,000 people at peak capacity. The 22m-wide stage, together with a FOH position at 60m, were two of the audio team’s main challenges when it came to guaranteeing audio uniformity and consistent coverage for the target audience area of 90m x 50m (DxW).

“We were lucky to have enough trimming height for the system and a proper rigging infrastructure,” says Martin,

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L–R: Sonos Libra engineers Nattapoon Pumipuntu and Simon Rains with Alfonso Martin whose engineering team assisted the Live4 Viva technical staff to rig the new system safely and correctly. “There were some challenges that needed our initial input. Some of the positioning and physical layouts for FOH and stage were not satisfactory and we had to push to get a compromise. We wanted to ensure the correct sonic fingerprint of the E15 as there was a lot of anticipation about hearing it for the first time in Thailand.

“With the FOH at 60m, a bit further than the usual location, we ran the risk of not having enough SPL for certain frequency ranges there, but the Adamson E15 system with E219 subs blew us away: 60m became 30m but, if you walked to the actual 30m position, the SPL variance was minimal.

Everyone, including FOH engineers for the bands, organisers and technicians, pointed out how uniform and consistent the system was over the distances and how present it was at FOH despite the length.”

The main PA consisted of 12 Adamson E15 line array elements with two Adamson S10s flown beneath as downfills. The front-fill system consists of a further eight Adamson S10s split into four stacks of two each, to cover the near centre stage and act as out-fills. Twelve Adamson E219 and eight E119 subwoofers, developed to boost the low end of the E-Series were configured in a central line array arc configuration.

The entire system was powered by 17 Lab Gruppen PLM 20K44 SP amps, mounted in five Adamson E-Rack turnkey packages using Lake digital signal processing and audio networking to control the system. Signal distribution was via Dante, with AES and analogue automatic fallback ensuring redundancy.

At front of house, two Allen & Heath dLive S5000 consoles connected in dual surface configuration to a DM64 MixRack

Hoisting the E15 system you see bands scaling up throughout the festival, starting on stage five and progressing over time to the main stage.”

The use of the E15 system raised the audio quality and atmosphere of the main stage to new heights, according to feedback received after the event. “Several audience members remarked how clear the sound was, and how easily they could understand the lyrics, as well as the amount of punch and impact the sound had across the audience area,” says Martin. “Human beings are highly influenced by the sense of hearing and this is something that, although they might not know, they certainly felt.”

To work on a large-scale event like CAT Expo during 2020, with the added bonus of deploying a brand-new, large-format system for the first time, placed Sonos Libra and Live4 Viva in a unique position. “We felt really privileged and happy to be here, seeing the scene recovering slowly and things starting to move again, especially given the concurrent situation in other countries,” concluded Martin shortly after the event. “My dream has always been to put a big PA system in Thailand. There’s a lot of PA here already, so I’m proud that we did this with our own company and the brand we’ve chosen to represent. We’ve already placed large Adamson systems with our subsidiaries in Vietnam and Myanmar, but I’m based here, and I wanted my customers to experience a system like this. It’s all about seeing the industry progress and develop. We’d been working towards this for a year-anda-half and it just happened to come together during these strange times we’ve been living through.”

fitted with a Dante card and DX32 modular expander with Prime 32-bit input/output modules was on mixing duties.

Live4 Viva was one of the first Thai clients to buy the dLive from Martin at One Systems Global, and the rental company continues to upgrade the system with new accessories.

Sonos Libra’s systems engineering setup consisted of two Apple Mac Minis, two Dell touchscreens, a Xilica Solaro FR1 DSP core, a Mipro ACT-848 Dante-enabled quad-channel UHF digital receiver with four TA-80 digital wireless transmitters, four Isemcon EMX-7150 measurement mics, Smaart V8 audio analysis software and Lake Controller software.

With Thailand’s foreign tourism industry shut down due to the pandemic, which has also prevented its own population from travelling abroad, domestic events such as CAT Expo are important for the country’s economy, not to mention morale.

“Some live events and festivals do attract an international crowd, but CAT Expo is predominantly a Thai festival,” says Martin. “It has a well-defined audience profile, as CAT Radio is a new wave, indie station that actively promotes local talent, so

www.adamsonsystems.com www.live4viva.com www.sonoslibra.com

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Full stream ahead

Japan’s live music production industry has been hard hit by Covid-19, forcing the cancellation of more than 150,000 concerts in 2020. Caroline Moss finds out how production rental company, MSI Japan, has adapted

MSI Japan’s Moto Yamasaki

FOUNDED IN 1979 AND CHANGING ITS NAME TO MSI JAPAN in 1992, the company has played a major role in establishing touring standards in the country. “I wanted Japan to experience the same high levels of production that existed in America,” MSI founder Shuzo Fujii told Pro AVL Asia when we interviewed him for a profile in 2018, and this modest statement underscores the genuine love of music, good sound and live production that drives the company.

Having introduced L-Acoustics to Japan in 1998 by becoming a V-DOSC partner, MSI has continued to raise the bar for live audio production across the country. Early adoption of similarly groundbreaking technology, including d&b audiotechnik’s J-Series loudspeakers, Martin Audio’s Multi-cellular Loudspeaker Array (MLA) technology and the Avid S6L console, has seen the company building up a vast inventory of products to ensure international touring standards and riders are upheld across Japan. Offices in Hong Kong, Beijing, Shanghai and Taiwan extend the service across neighbouring countries and, in 2007, a sales division, Audio Brains, was added to the mix.

Recently, MSI turned its attention to the US, setting up MJ Sound Entertainment in November 2018 with the aim of bringing Japanese engineers over to work in the US, thereby extending their experience to worldwide touring.

“In order to create more opportunities for our company and staff, we set up a base in Los Angeles,” explains Moto Yamasaki, who transferred to the US to head up the new division. “We were also considering supporting and coordinating concerts by Japanese artists in the United States.” For a year and three months, red tape replaced console faders as Yamasaki set about preparing for his work visa, officially setting up the company and hiring office staff. Until the visa was granted, he couldn’t begin work in live production, aside from a stint coordinating the Chara Expo 2019 Japanese anime event at the Anaheim Convention Center in December 2019.

In a cruel twist of fate, Yamasaki’s long-awaited work visa was finally granted in February 2020, just in time for the Covid-19 pandemic to begin closing down all forms of live entertainment and ruining the company’s carefully constructed plans, including the arrival of a second engineer to expand the US business.

Returning to Japan in April last year, Yamasaki began work with the rest of the team to figure out what was salvageable. At this stage, MSI Japan had hundreds of tours and concerts of all sizes scheduled, almost all of which were in the process of being postponed or cancelled.

However, all was not lost. As Japan fought to contain the initial outbreak of the virus, concerts began to cautiously resume from the end of May, with permitted audiences of 200 people outdoors and 100 indoors, or 50% of the capacity, whichever was smaller. By late June, this was increased to 1,000 people or 50% of capacity and, by mid-July, regulations were further relaxed to 5,000 or 50% of capacity, again adhering to the smaller figure. In the last few months of 2020, venues that could accommodate more than 10,000 were limited to 50% or less, while those with a capacity of 10,000 or less were allowed a maximum of 5,000 or 50%, whichever was smaller. An exception was made for classical concerts, where 100% capacity audiences were allowed due to a presumed absence of loud cheering.

From May, MSI Japan started to work on livestreamed events, including those taking place without an audience in its own live music club, Vi-code in Osaka, as well as from other existing venues and rehearsal studios. “Livestreaming for large-scale concerts is carried out by specialised video and audio recording companies, although some of the smallscale live music clubs and rehearsal studios purchase their own streaming equipment,” explains Yamasaki. Some of the equipment being used for livestreaming includes the Roland VR4-HD HD AV mixer, Blackmagic Design Atem Mini Pro camera

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An eq

FEATURES: LIVE switcher, 4K cameras including the Panasonic HC-VX992M and Sony HDR-CX470, and OBS Studio streaming software.

Yamasaki drew on immersive technology from German company, Klang:technologies, to enhance the livestream for audiences watching at home. “It’s difficult to experience the realism and excitement of a live concert just by streaming with a stereo mix,” he says. “We wanted to give the audience a more realistic experience by reproducing the position where the performer is playing in 3D sound, using Klang:fabrik from Klang:technologies.

This was originally created for use in IEM applications, as it was thought that artists could play better by obtaining a clear sense of localisation without raising the volume.”

The technology was felt to be particularly effective in Japan where, according to MSI’s research, high-density accommodation means that more people listen to music through earphones or headphones than through speakers. “We used more audience microphones for the mix than we would normally use in an IEM system, to make the venue more immersive,” continues Yamasaki. “We told the livestream audience that we’d be using 3D sound technology, so it would be best to listen with earphones and headphones. Feedback has shown that audience members felt as if they were hearing the music as it was actually being performed.”

MSI Japan has also supported some shows livestreamed from the Tokyo Dome, which has a normal capacity of 50,000. Most of these were only able to accommodate a maximum audience

L-Acoustics K2 delay towers at the Tokyo Dome

An equipment sterilisation box at MSI’s warehouse

of 5,000; however, restrictions were relaxed from September to November as the pandemic abated for a few months. This saw MSI Japan carrying out its biggest show of the year on 3 November, before an audience of 19,000.

The company flew main L-R arrays of L-Acoustics K1 and K2 line source cabinets per side, with side arrays also comprising K1s and K2s. Six KS28 subwoofers were flown and nine were ground-stacked, and L-R delay towers were equipped with further K2s. The system was powered by LA12X amplified controllers, and an Avid Venue S6L-24D handled front of house duties, with a Yamaha Rivage PM7 on monitors and Wisycom MTH400 wireless handheld transmitter for vocals.

The half-empty venues present a challenge for sound crews.

“Even if we’re working at a venue where we’ve put on concerts many times before, it’s often very confusing because room acoustics such as sound reflection and reverberation are completely different if only half of the audience is present,” explains Yamasaki, adding that the same thing applies to stage monitoring. Even with reduced attendance, MSI has still needed to provide around 80% of the usual sound coverage for an audience spread out across the venue, separated by empty seats. However, system control has been a different matter. “Since it’s been forbidden to cheer or sing loudly, we’ve been installing speakers towards the stage in the delay tower and playing back audience recordings from this system, for the benefit of both the performing artists and to add ambience for the audience. This is a method that is widely used, not only in the Tokyo Dome but also in arenasized venues in Japan during Covid-19.”

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As well as adhering to national Covid-19 safety regulations such as observing a quarantine period when returning from overseas, MSI Japan has implemented its own rules.

All equipment is thoroughly disinfected before and after concerts with particular care paid to microphones, which are prepared for each performer and not reused. Ozone generators are installed at several locations throughout the warehouse, disinfecting equipment by night when the premises are unmanned. Crew members are obliged to wear a mask, have their temperatures checked each morning and remember to wash hands frequently. MSI staff are also vigilant in ensuring all premises they are working in are regularly ventilated.

Microphones are disinfected before and after performances Over the Christmas and New Year period, MSI staged some hybrid theatre shows at the 1,496-capacity Nissay Theatre with reduced audiences, which were also livestreamed. Three Yamaha CL and QL consoles were used for the Wisycom wireless mic system with RF Venue Diversity Fin antenna, the sound effects and music mixes, respectively. Two immersive systems – Astro Spatial Audio’s Sara II rendering engine for the Martin Audio PA system and Klang:fabrik for streaming – were patched via a Dante network.

“Audio Brains has the knowhow to synchronise and control the 3D localisation of Sara II and Klang:fabrik at the same time, so the immersive sensation experienced by the audience at the venue could also be reproduced by the streaming system,” explains Yamasaki. “The immersive presentation at the venue was wonderful, and people who watched the livestream said that they felt as if they were at the venue.”

At time of writing, most of the world including Japan was experiencing a further tightening of restrictions as the pandemic flared up again. However, by using its considerable technology and expertise, MSI Japan has been able to successfully diversify, continuing to bring live experiences to music fans across the country. www.msi-japan.com

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FEATURES: HOSPITALITY

Blueprint for success All meeting rooms are equipped with portable video screens

In a quest for differentiation in a competitive market, demand for high-quality AV systems in hotels continues unabated. However, available budgets remain static at best in many parts of the globe. Richard Lawn reports on the state of play in the expansive Indonesian archipelago “TO FULFIL TENDERS, AV INSTALLERS MUST DELIVER five-star ser vice functionality and value on a three-star budget,” comments PT Ideal Systems’ CEO for SEA, Fintan Mc Kiernan. This wr y obser vation followed the successful AV fulfilment of meeting rooms, restaurants, lobby and ballroom in the Mercure Jakar ta Batavia in Java’s capital city.

The satisfied property now promotes its cutting-edge AV functionality – including networked audio, conferencing, digital signage and projection – to a widening clientele of business travellers and tourists. Naturally, the extensive works were completed on a limited budget.

Indonesian systems integrators who serve the hospitality sector are long accustomed to cash flow problems, construction delays and tight deadlines. Balancing limited budgets while providing an exceptional level of per formance is also a leading trait among successful SIs. Respected for many years among the broadcasting fraternity, PT Ideal Systems relocated to a new office in late 2019, where the expanded team continues to lend its expertise to international hotel chains among the other verticals it services.

Having delivered an impressive package at the Mercure Jakarta Batavia, PT Ideal Systems was requested by developer PT Delta Merlin Dunia Properti to tender for its next hospitality project in the heart of Central Java. As one of three bidders for the four-star Swiss-Belhotel Solo, PT Ideal Systems created a new AV blueprint that would enhance functionality for business, leisure and events. The winning design proposed by PT Ideal Systems’ designer, Suteja, was selected as it would justifiably stimulate the guest experience and provide ease of functionality for the hotel duty managers within the owner’s restricted budget.

Having been selected to install an extensive AV infrastructure, the Jakarta-based SI worked closely with independent consultant, Dani M Alafah. Crucially, however, Suteja and his colleagues could modify plans and specifications from the outset to the benefit of all parties.

“Most Indonesian hotel BGM designs are based on dated

Apart CM6T ceiling speakers adorn the fifth-level restaurant

Extron-equipped racks analogue audio systems,” comments Suteja. “I think a fear remains that digital equates to expensive, so I had to convince the client that not only would digital be more beneficial in terms of remote management, reliability and ease of use, it would also be slightly cheaper.”

The hotel’s BGM is streamed digitally from a groundlevel server connected to two Extron DMP 128 Plus AT matrix processors and the loudspeaker outputs over an Ethernet Cat-6 local area network (LAN). “Extron was of great assistance, as our works in Solo represent the first

application of digital BGM being installed in an Indonesian hotel,” adds Suteja. Volume control and other audio parameters connecting the various Samsung DVD players and other sources are controlled from Samsung Galaxy Tab wireless touchscreens. “The tablets not only provide ease of use for managers on the move, but they’re relatively inexpensive.”

In addition to the 12 analogue inputs and eight outputs, a USB port on each DMP 128 Plus AT processor provides up to four channels of digital audio input and output and eight

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FEATURES: HOSPITALITY audio file players. For the Swiss-Belhotel project, Dante audio networking enabled by the two digital processors are capable of connecting up to 96 audio inputs and 48 outputs.

The BGM is streamed over the LAN to four Extron AXI 44 AT audio interfaces located on each level. Each quarter rack width Dante-enabled unit features four line inputs and outputs for routing to the loudspeaker outputs. Enabled by an AV Network BGM switch, an Extron IPCP Pro 250 processor controls the multiple devices and signals within the AV infrastructure.

Powering a combination of QSC AC-C8T and Apart CM6T and CMT4 ceiling speakers, the Extron ecosystem is completed with the addition of Extron XPA 1002, 2002 and 1004 two-channel amplifiers. “By selecting 70V line low-level impedance, the distributed cable runs on each level are minimised,” confirms project manager, Chairul Amri. Between the downstairs lobby lounge and fifth-level restaurant, PT Ideal Systems designed standalone BGM networks for the fourth-level spa, outdoor swimming pool and fitness centre.

A higher SPL system comprising Yamaha VXS speakers and subwoofers was specified for the pool deck and gym. Aerobic teachers provide instructions using a AKG WMS420 Presenter head-worn wireless mic.

The majority of the company’s works, however, focus on the eight meeting rooms and ballroom located on the second level. Ranging from 57m–131m² in size, the meeting rooms can host a multitude of business clients for conducting commerce, training and team building exercises.

To cater for every event, PT Ideal Systems has carefully integrated standalone conferencing, sound reinforcement and video projection technology. Standard setups include Epson EB-685 3,500-ANSI lumens LCD projectors, LG 22-inch digital signage displays, Yamaha MG10 rack-mounted consoles and AKG wired D5 and wireless Perception microphones. All nine rooms have been installed with Apart CMT4 4-inch ceiling speakers powered by Extron XPA 1002 2x60W amplifiers.

QSC AC-C8T ceiling speakers blend into the ballroom’s ceiling

Designed to cater for conferences, gala dinners and weddings, the hotel’s 669m² ballroom is an impressive centrepiece on the level above. With a capacity to cater for up 1,000 guests, providing intelligible speech and BGM, the 4.5m-high room has been equipped with 20 QSC AC-C8T 8-inch ceiling speakers powered by two Extron XPA 4002 amplifiers. “Should a wedding function require a live band to perform, they can either hire their own PA or utilise the hotel’s Yamaha DBR10 and DSR118 portable active PA system by patching into one of the several facility panels we have installed,” explains Amri.

A Yamaha MGP24X console offers simplified analogue mixing when required. In terms of microphones, the podium is equipped with dual Clockaudio C801ES-RF 18-inch goosenecks, while speakers and performers can either select AKG WMS420 clip-on or handheld wireless models.

Visual entertainment is output from Epson EB-G7000 6,500ANSI lumens projectors onto dual Grandview LS-Z200 16:9 200-inch fast fold screens. Extron DTP HDMI transmitters and receivers ensure image clarity from visual sources to the main screen. Seven Apart CM6T 6.5-inch ceiling speakers, together with two 32-inch LG digital signage displays, provide information and BGM for arriving guests in the pre-function area.

With 12 new properties due to open by 2022 in Indonesia, Swiss-Belhotel International is clearly expecting significant growth among business travellers and tourists over the forthcoming decade. Like all other hotel chains, financial constraints exist, but not at the risk of deterring guests on account of offering second-rate facilities. Staying ahead of the pack by integrating Indonesia’s first Dante-enabled BGM, PT Delta Merlin Dunia Properti’s relationship with PT Ideal Systems looks set to continue for some time. www.extron.com www.idealsys.com

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FEATURES: RETAIL

Brand-new experience

Networked TOA weatherproof speakers extend the BGM solution

Richard Lawn reports from Bangkok’s newest designer outlet mall, which has been installed with TOA systems throughout the main areas

ONCE SMALL AND CROWDED, BANGKOK’S MALLS TODAY include some of the world’s biggest and most luxurious brands.

Locals and tourists are spoilt for choice with such a rich selection of air-conditioned retail opportunities with impressive food courts and entertainment. From the recently opened Iconsiam to the established Siam Paragon, Bangkok has some of Asia’s largest malls with real estate taken by international high-end brands. The fierce competition recently intensified as joint developer Siam Piwat Simon opted to entice shoppers to an alternative setting away from the crowds of the congested capital.

Located to the east of the capital, Siam Premium Outlets Bangkok can be reached in 45 minutes from central Bangkok.

Aiming to combine leisure and relaxation as part of the shopping experience, the designer outlet features high-end brands together with restaurants serving Asian and Western food.

Set amidst a lush green landscape are fountains, a children’s playground, amphitheatre seating and creative overhead art and sculptures designed by respected local Thai artists.

Premium audio quality ranked high on the agenda of Siam Piwat Simon. “The developer placed audio quality as one of the main design criteria,” explains TOA Thailand consultant support designer, Nutpawin J T. “Following research of the market, their team had a better appreciation and understanding of our products and services. We were invited to supply a system for a blind demonstration, after which they were reassured to discover they had been listening to a TOA system.”

It really was a case of the demo making the sale, as TOA Electronics Thailand was requested to work directly with the owner to provide reliable audio quality throughout.

The company was directly awarded the contract to design, supply and install the BGM, announcement and EVAC audio system throughout the six main zones that cover 40% of the 50,000m2 development. Specified for its safe, reliable and easy operation, an EN-54-rated network-enabled TOA SX-2000SM System Manager lies at the heart of the outlet’s audio.

The fire alarm, together with a backup battery power supply and a programme timer, inter face with the

Siam Premium Outlets relies on a TOA ceiling speaker infrastructure SX-2000SM unit connected to the main switch hub. In addition, an SX-2100AI matrix audio input is connected to the same switch hub for the provision of zoned announcements and BGM, digitally transmitted from four TOA RM-200SA remote microphone stations and an online music streaming unit. Audio input levels are indicated on the meters provided for each input channel, and volumes

can be adjusted for each channel on the front panel or in the SX-2000 software.

The digital signals are then routed to three SX-2100AO audio output units that are connected to dedicated M-9000M2 preamplifiers. To facilitate multi-zone paging, music distribution and room-combining functionality, the addition of the 9000M2 units allows stored DSP settings to be recalled via the front panel. Tone, EQ and compression parameters can be configured via D-001T and T-001T plug-in modules inserted into each of the 9000M2 units. The signals are then powered by a series of fourchannel DA-250FH and DA-500FH amplifiers and to the speaker outputs via two SS-1010R speaker selectors.

A ceiling speaker solution was chosen for the corridors and public areas of the development. A combination of 6-inch PC-2360 and 8-inch PC-2852 ceiling-mount speakers were selected on account of their intelligible audio reproduction and metallic construction.

Rapid speaker mounting and termination was extended courtesy of the inherent spring clamp mechanism and push-in type input terminal block. Various tappings between 6W and 15W have been applied to the individual speakers on the network, although the input impedance can be simply changed by switching the tap position of the transformer.

Discreet audio reinforcement in the outdoor areas is catered for by a cabled network of GS-302 garden speakers. Incorporating a 6-inch weatherproof cone, the inconspicuous design of the outdoor models allow then to blend into the shrubs in their garden settings.

The amphitheatre is catered for by F-1300 Series 5-inch two-way cabinets selected on account of their higher power capabilities and wide 110° x 100° coverage.

“Our contracted time onsite coincided with the Covid-19 pandemic,” adds Nutpawin. “Naturally, the government restrictions slowed down our progress as we had to follow the social distancing measures imposed, which also led to a reduction in the number of workers onsite. However, we were able to execute our plans efficiently and completed the project on time.”

Like the upmarket brands on sale at Siam Premium Outlets Bangkok, the TOA audio system adds an assurance of quality at this stylish new development. www.siampremiumoutlets.com www.toa.com.sg www.toathailand.com

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FEATURES: RECORDING

Remote working

A musical project in remotest Australia is recording and producing Indigenous musicians, while putting some QSC speakers to imaginative use. Caroline Moss reports on BRA in Tennant Creek

L–R: BRA’s Reggie O’Riley, Jeff McLaughlin and Dirk Dickenson opening TAG Care’s studio package

Susie Peterson uses a traditional dot style for her QSC K10.2

AT 323,514KM², THE NORTHERN TERRITORY OF Australia’s Barkly Regional Council is the second largest local government area in the country, as well as one of the most sparsely populated regions. Centred around the junction of the Stuart and Barkly Highways, the region stretches from the old Telegraph Station at Barrow Creek in the south to the historical droving township of Newcastle Waters in the north, and 620km east to the Queensland border. Almost half of the region’s 8,000 population – an average of two people per 100km2 – is concentrated in the largest town of Tennant Creek, approximately 1,000km south of Darwin and 500km north of Alice Springs.

Tennant Creek is home to Barkly Regional Arts (BRA), a hub of Indigenous music and art whose programmes provide an interface between mainstream and Indigenous cultures.

The organisation represents around 120 visual artists, 300 musicians, 50 traditional dancers and 20 writers. Fifty annual programmes or projects are held, affirming core BRA values, including a celebration of cultural diversity and recognition of a unique Indigenous demographic. As well as being a hub for musicians and artists, BRA provides an interface between Indigenous and non-Indigenous cultures, showcasing the talent of all genres across the region. Most of BRA’s activities are based in Tennant Creek, including the Winanjjikari Studios, one of Australia’s most remote recording studios, plus a performance space and an abundance of musical talent, managed by Jeff McLaughlin, Reggie O’Riley and Dirk Dickenson, though the team travels far and wide to record artists.

Australian audio distributor Technical Audio Group supports BRA through its philanthropic arm, TAG Cares, with the company’s director Maxwell Twartz and sales manager James McKenna taking active roles. Recently, TAG Cares has provided new equipment for Winanjjikari Studio in 2020, as well as donating QSC K10.2 powered 10-inch speakers to be used as canvases by two of the artists, Heather Anderson and Susie Peterson. The latter project was inspired by BRA’s visual arts programme encouraging artists to paint onto everyday items such as car bonnets, exhaust pipes and the guitars made at the arts hub.

drover. Spread throughout the landscapes are trees and mountains, clouds and rain, and red-dirt roads traversed by 4x4 vehicles.

The speakers’ stories didn’t end in Tennant Creek, however, as they went on to star at the Glebe Youth Service (GYS) NAIDOC week in inner city Sydney, 3,000km away. GYS is an institution where youths aged 12–24, many of them Indigenous, can participate in a variety of programmes encompassing sports, art, food and fashion. Programme manager Michael Coleman, keen to add a music production and content creation element, was already in touch with TAG Cares, which had provided equipment to start the programme, including Audio-Technica microphones, QSC speakers, headphones and turntables. “TAG also asked us if we could use two hand-painted speakers from Tennant Creek for any of our NAIDOC week events,” says Coleman.

L–R: BRA’s Marcus Finlay, TAG’s James McKenna and BRA’s Waylon Ward Peterson, from the Alyawarr language group and based at the remote settlement of Epenarra, has participated in exhibitions in Australia and internationally. Painting in a refined landscape dot style with elegant brush strokes, she chose a bush tucker theme for the speaker, depicting the fruits, nuts and seeds that are freely available in the bush.

Because the perforated nature of the speaker grille was not compatible with her dot painting, she painted all the other surfaces, which brought the speaker to vivid, threedimensional life.

Meanwhile Anderson, a Warumungu woman and one of the Tartukula artists based in Tennant Creek, was inspired to paint a Barkly regional landscape that wrapped a story of the lands around the speaker. It includes an Australian bush scene featuring a kangaroo and a lizard, and a pastural depiction with cows, fences, water tanks and a

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FEATURES: RECORDING One of the biggest events in the Indigenous calendar, NAIDOC week is when Australians all over the country come together to celebrate the history and diverse cultures of Aboriginal and Torres Strait Islander peoples. Coleman put together a programme of presentations, musical performances and community events to participate in NAIDOC 2020. The musicians enjoyed playing through the unique painted speakers, while the artists were delighted to see their work on display in Sydney, and a connection was made between GYS and BRA. Back in the Northern Territory, Winanjjikari Studios – part of a music centre set up by McLaughlin 15 years ago and originally equipped with what he describes as “bush gear” – has also benefitted from BRA’s association with TAG. In 2020, TAG Cares contributed some QSC K10.2 and K12.2 speakers with KS118 subwoofers, an Allen & Heath SQ-6 48-channel digital mixer with stageboxes and accessories, plus a selection of Audio-Technica mics to help BRA with its recording programmes. The studios are used to record contemporary music performed by Indigenous musicians telling stories of the land and the people, with songs sung in traditional languages and some in English. The studio is managed and operated by local musicians, with CD recordings of original music written by the Winanjjikari musicians available for purchase.

“It’s a place for Indigenous musicians to come and record, and it’s turned into a production company too, recording live performances,” explains McLaughlin. “For us it was like Christmas; we’d built our own stuff out here, and to get world-class equipment was incredible. We used it on our Desert Harmony Festival last year, with the recordings all made and produced using that equipment.”

Based in a building that was formerly a school, Winanjjikari consists of Studio A – “The Big Room”, Studio B – “The Little Room” and a mixing and mastering facility set up in what was a photography darkroom. The studios are run by Reggie O’Riley and Dirk Dickenson, who have trained on the job to be audio engineers.

Live recordings can also take place in a large performance hall next to the studios using the Allen & Heath AR2412 and AR84

The music centre also has a mobile recording studio that travels to some of the most remote locations in Australia, where McLaughlin and his crew work with musicians in 14 different languages, travelling up to 800km to record them. “Some of these places are off road so we have four-wheel-drive vehicles with suspended trailers and set up the studio out there to record the musicians in the middle of nowhere,” he says. “We’ve taken

Heather Anderson paints a Barkly landscape onto a QSC K10.2 AudioRacks, which can be connected via Ethernet to both studios using the mixer’s SQ SLink port. “Sometimes we’ll use the main hall, where we have a setup as well, to record things like big snare drums so people can walk in and do a live recording using the stageboxes,” continues McLaughlin. “We’ve got a radio station too, so we record a song, do a quick mix and master and it goes out across the whole of Barkly and Alice Springs.”

people to studios in Sydney, which can be overwhelming, so building studios in communities is a huge thing.”

McLaughlin, who is now the mayor of Tennant Creek in addition to his work at Winanjjikari, is in the process of setting up six community studios with TAG. “It’s really empowering for people, and having TAG involved in what we do is huge,” he says. “As well as the equipment, they’ve also provided loads of technical support, such as taking the studio operators through running a digital desk. Max and everyone at TAG Cares are amazing people to help us like this.” www.barklyarts.com.au www.tag.com.au

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FEATURES: ENTERTAINMENT

Looking to the future

In recent years, televised New Year’s Eve concerts in China have become bigger and more spectacular as broadcasters compete to outdo one another. Sue Su assesses this year’s festivities from Hunan Satellite TV IN THE COMPETITION BETWEEN PRESTIGIOUS NEW Year’s Eve concerts in China, Hunan Satellite TV’s event has repeatedly broken ratings records since it launched in 2005.

In addition to a strong lineup of guests and hosts, the high level of musical content and stage sets have always been a feature of the broadcaster’s New Year’s Eve concert.

December 2020’s concert saw the first-time involvement of Sha Xiaolan, lighting designer for the Beijing Olympic Games and many other important events, as visual director. Using “technology” and “future” as key themes, Sha and his team at Beijing FengShangShiJi Culture Media created a “city of the future” at the heart of their design, simultaneously pushing the boundaries of technology with the L-Acoustics and DiGiCo sound system deployed on the show.

This year’s broadcast was live from the Wuyuanhe Stadium in Haikou City, Hainan province, for the second year running, and again the asymmetrical venue presented acoustic challenges. “Last year, the performance took place on the short side of the stadium,” explains the show’s sound director, He Biao. “This year, the stage was moved to the long side, making the reflection surface larger. The seats and roof have hard, reflective surfaces, which collect the sound and return it to the stage, creating a lot of echo. This was the most difficult challenge for us to overcome.”

Spanning more than 100m with a catwalk extending far into the auditorium, the stage also presented another problem for He’s sound design and system alignment. “The ideal distance between the left and right systems is about 30m,” he continues. “After negotiations with the stage design team, we hung two centre columns of speakers, but the distance between them was almost 60m, with the distance between the left and right columns nearly 120m, making it very difficult to adjust the system.”

Mr He has worked with Hunan Satellite TV for many years, with L-Acoustics and DiGiCo systems at the heart of all shows. A loyal user of the brands, he owns L-Acoustics K1, K2, K3 and other speaker systems, as well as almost all products from the DiGiCo catalogue. These two brands have been used on popular programmes that He has worked on as sound director, including Singer and Sisters Riding the Winds and Breaking the Waves.

He Biao (right) discusses the show with a Hunan TV engineer. Naho Yamada is in the background In order to overcome the inherent challenges of the venue and stage design, He designed a huge system consisting of nearly 400 speakers, deploying numerous rigging points to obtain uniform soundfield coverage, as well as methods including adjusting the angle of the speakers and using direct sound to override the reflected sound. “We used a large quantity of speakers to cover the audience of almost 20,000, with the goal of achieving very high soundfield uniformity and clarity,” he explains. “The large number of speakers ensured sufficient dynamic headroom, so that we could control the energy of the low and middle frequencies without having to run the speakers too loud, so they wouldn’t reflect excessive energy back.”

He and his team, together with technical engineers from L-Acoustics’ local distributor Rightway Audio Consultants, simulated the entire soundfield using L-Acoustics’ Soundvision software to determine the final plan. The

main system was configured in an L-C-R configuration.

The L-R system was a hang of 20 K1s per side with four K2s suspended beneath. This is the maximum number of speakers that L-Acoustics advises can be hung on a single K1 rigging frame, and was also rumoured to be the largest amount of K1s to have been flown on a single rigging point in Asia. The centre clusters consisted of two columns of 16 K2s each. The side-fill system was hung next to the main L-R system at either side, with eight K1s at the top and four K2s at the bottom. In order to cover the audience seated at the side of the stage near the back, a rear-fill system composed of two K1s at the top and four K2s beneath was flown at each side. A third audience level at one side of the asymmetrical stadium was covered by a delay system consisting of four groups of eight K2s. The entire system was driven by 60 LA8 and 50 LA12 amplified controllers.

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FEATURES: ENTERTAINMENT “From the largest K1 to the smallest Kiva, the phase curve and tone of the L-Acoustics K series is consistent, and there is basically no attenuation in the high-frequency band above 18kHz,” continues He. “Other brands cannot compare with L-Acoustics here; I think their overall high-frequency control is the best on the market. Mid-frequencies are clear, and the mid-low frequencies work well with the amplifier, so the entire energy curve is adjustable. It’s very straightforward for me to carry out testing and alignment. After I align the larger speaker groups, I can work on the entire frequency curve so that the frequency response of the speakers becomes even and consistent, avoiding big reflections.”

An elaborate revolving “time machine” with stage mechanisms installed to lower and raise it was created in the centre of the stage, with the catwalk extending outwards so that the actors were performing in front of the speakers.

This ran the risk of creating serious feedback if not handled correctly. Using the Soundvision simulation, K2 was selected for the centre array and at the bottom of the left and right arrays due to its adjustable horizontal coverage angles (70°-110° and 90° left-right), which move the mid-high frequencies as much as possible from the stage area. The coverage angle of the four K2s at the bottom of the L-R array was set to 110°, while those at the bottom of the centre array was set to 90°.

The subwoofer system included eight K1-SBs flown next to the L-R arrays on each side, and a total of 32 KS28 and 16 SB28 subwoofers stacked in four groups in front of the stage.

The front-fill system, consisting mainly of K1, K2 and Kara cabinets, also ran along the front of the stage. In some areas, He changed the fill speakers from Kara to the more powerful K2, using direct sound to overwhelm the reflected sound.

More than 150 monitor speakers were used onstage, including L-Acoustics X15 HiQ, 115XT HiQ and Kara cabinets alongside Verity Audio Muse15 speakers. “The monitors were mainly used for the dance troupes,” explains He. “The stage was divided into seven zones and, in such a big area, the distance between each zone was different. We chose different types of monitors for each zone to ensure that the dance troupe could hear very clearly, and the rhythm was steady. In areas with longer distances, we chose 8-inch line arrays; for distances of 5–6m, we chose coaxial speakers, while at a distance of about 10m we chose traditional hornloaded monitors.”

A total of seven DiGiCo consoles were used for the event and broadcast, with two SD5s used as the main and backup PA consoles and an SD10 for mixing different language versions. Two SD5s were also used for main and backup monitor consoles. In the OB room, an SD7 with Quantum engine was used for the stereo broadcast mix while another SD5 handled the music mix. The onsite music playback system included two mirrored 360 System Instant Replay hard disk recorders, with a main QLab live show control system and a second for backup. All the DiGiCo consoles shared an optical fibre loop composed of six SD-Rack

The L-R system of 20 K1s and four K2s per side – one of the largest flown in Asia stageboxes. “The entire DiGiCo loop is very stable,” comments He. “All the consoles get their signals directly from the stagebox, making the system simpler and safer, and reducing errors. DiGiCo’s single-fibre loop can connect up to 14 stageboxes and five consoles, and the dual-fibre loop can double this. It’s very convenient for routing large-scale events.

And because of their similar operating surfaces, you can use the entire line of DiGiCo products if you’re familiar with only using one of them.”

The FOH sound engineer was Naho Yamada from MSI Japan, who has worked with He for nine years and in China for 11, with this being one of her largest productions to date. Among the many consoles she has used, her favourites are DiGiCo because of their operating functions and sound qualities.

Almost 100 wireless microphone channels were used for the show, with models including Sennheiser’s Digital 6000 and 9000 series, Shure’s Axient Digital series and a Shure PSM 1000 IEM system. All 16 moderators used Sennheiser SKM 9000 handheld transmitters, and both Sennheiser and Shure sent engineers to the show to provide wireless frequency planning and onsite technical support.

Two DiGiCo SD5s were used in the OB room

FOH engineer Naho Yamada from MSI Japan at the SD7

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The sound system was provided and set up by Guangzhou Haona Audio. L-Acoustics’ distributor Rightway Audio joined forces with He’s team to design the system two months in advance, and also provided technical support engineers for the show. All departments began work at the venue from the beginning of December for the month it took to complete such a huge project.

As the AV industry moves beyond the most difficult year it has ever encountered, large-scale productions such as this are like a beacon of hope, reminding us of what may become possible again as 2021 unfolds.

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March–April 2021 PRO AVL ASIA 67

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FEATURES: LEISURE

Pass it on

Following an upgrade at the FMG Stadium Waikato in New Zealand, Hamilton venue manager H3 has again chosen a QSC Q-Sys backbone for the Claudelands Events Centre across the river. Richard Lawn reports AS ANY REPUTABLE SYSTEMS INTEGRATOR WILL TESTIFY, good business is built on customer retention. Having successfully completed the digital AV upgrade of Hamilton’s FMG Waikato rugby stadium in 2016, AV Solutions entered into a harmonious relationship with Hamilton City Council’s venue management team, H3. As intelligible audio, significant ROI savings and ease of control features inherent within the QSC Q-Sys backbone proved themselves at the stadium, repeat business followed four years later.

Located on the opposite bank of the Waikato River and set out on 34 hectares of parkland, Claudelands Events Centre (CEC) is a flexible, purpose-built venue that is similarly managed by the H3 unit. Completed in 2011 at a cost of NZD$68.4 million, the CEC combines 10,000m2 of indoor and outdoor exhibition space, a 6,000-capacity arena, a divisible conference space and 11 breakout rooms for a multitude of scalable events. Unfortunately, the limitations of a CobraNet audio platform that had been

Q-Sys controls the video projection screens and lifters

The Arena was hired for the 2019 NZ Darts Masters

specified to interconnect the extensive site had attained full capacity as the FMG Waikato upgrade was in full swing.

Relocating to New Zealand over 30 years ago from his native Switzerland, AV Solutions owner Hanspeter Frick has carved out a solid customer base on the North Island. Clients that simply want to operate their AV systems from a touchscreen without needing to know the fundamental mechanics turn to this reliable engineer of custom AV designs. “The system had been expanded but, as it adopted CobraNet as its audio transport protocol between the five DSP mainframes, no further expansion was possible beyond the 58 inputs and 61 outputs it was running out at,” explains Frick. “In fact, several I/O expanders had been added to accommodate the increasing demand on the analogue I/O count.”

In November 2019, H3 invited AV Solutions to submit a proposal for the replacement of the AV system with the exception of the loudspeaker outputs and hardware. “Providing reliable network paging and announcements to the individual paging zones via CobraNet had become more challenging for the operator,” continues Frick. “The limited number of available channels per link was at capacity, and the DSP platform could only support a maximum of 28 paging zones. Furthermore, multiple third-party control systems had been retrofitted at expense to provide audio,

QSC manages AV parameters of the Arena

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lightin rooms Enve was s “Havin of the braine staff o propo comm The Core 5 Future netwo also o insert analo five Q extens Brook limited Attero effect A ne paging Opera ports mess functio router annou event “Q-S “H3 te statio event, core p

FEATURES: LEISURE lighting and video projection controls in the conference centre rooms, with local touch panels added as user interfaces.”

Enveloping audio, video and control processing, QSC’s Q-Sys was specified on account of its expandable and modular design.

“Having designed and supplied a Q-Sys ecosystem in 2016 as part of the PA system upgrade at FMG Stadium Waikato, it was a nobrainer use to propose Q-Sys again,” Frick explains. “The technical staff of H3 were very happy with the performance of it.” The proposal for the upgrade was accepted by H3, and AV Solutions commenced the project in early 2020.

The existing five mainframes have been replaced by two Q-Sys Core 510i processors, the second unit providing redundancy.

Future-proofed to accept up to 128x128 analogue and 256x256 network audio channels for any further expansions, the setup also offers system redundancy. Input and output cards have been inserted to further enable local audio input capacity as well as analogue audio output to assistive listening devices. In addition, five Q-Sys I/O-8 Flex channel expanders provide remote I/O extensions for the Heaphy conferencing rooms, the Arena and Brooklyn rooms and Grandstand function space. For rooms with limited I/O requirements, such as the outdoor exhibition halls, Attero Tech UNAIA 2x2 AES67 interfaces provide a more costeffective alternative for I/O expansion.

A networked paging solution allows three PS-1600G Q-Sys paging stations to be used anywhere throughout the complex.

Operating over PoE between the switcher and the dual Ethernet ports on the gooseneck microphones, announcements and messages can be relayed using command keys. Paging functions can be added or customised as needed, while a PA router supports live and delayed paging, scheduled messaging, announcement recording, live page routing, triggered playback and event scheduling.

“Q-Sys makes adding functionality so simple,” explains Frick.

“H3 technical staff can configure the functionality of each paging station using the Q-Sys Administrator software as required for any event, without interruption to the software operating the Proany AVL Asia_228x154mm.pdf 1 2020/12/10 上午on 10:03:01 core processor. Once a file has been created, it is then deployed to

e ut a want ng neer as it e five the k. “In the

the Core processor over the Q-LAN network with the paging station working in conjunction with the public address router. Finally, two Attero Tech Zip4-3G Dante/AES67 paging interfaces have been added into the exhibition halls for connecting two of these gooseneck microphones when events take place.”

Rather than creating new analogue outputs for the existing power amplifiers, AV Solutions managed to convince H3 that the addition of seven QSC CX-Q and CX-Qn series networked amplifiers across the venue would achieve a more significant ROI. In addition to providing local amplification, the four- and eight-channel models accept analogue audio inputs to the system across the network.

Replacing the previous third-party control systems, a combination of 11 QSC TSC-80w 8-inch and TSC-55w 5.5-inch touchscreen controllers serve as GUIs for the H3 operators. The selection

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of the intuitive and capacitive LCDs was not made purely as a finishing touch, however. “With Q-Sys providing analogue inputs and outputs, in addition to serial ports, it was possible to bring everything into the Q-Sys ecosystem. This adds much greater reliability overall.

“In addition to the Q-Sys system controlling all the video projection screens and lifters throughout the CEC, it also controls the Philips/Dynalite lighting system throughout the conference centre. We also interfaced it with the IPTV network, allowing prerecorded emergency messages including evacuation routes to be triggered and displayed during an evacuation announcement.”

AV Solutions’ operations commenced once other networking hardware had been upgraded as part of the pre-works fulfilment.

“The arrival of Covid-19 slowed everything down before stopping us for a while,” recalls Frick. “But we soon picked things up again.

The network capacity allowed the old system to remain operational while the new system was installed and tested. Once we troubleshooted some networking bugs with the IT service provider and were certain that everything was 100%, we transferred to the new system.”

H3 venue manager Andrew Boulton has not stopped counting the benefits that AV Solutions and Q-Sys have now provided the CEC. “Naturally, adopting the Q-Sys platform for all audio and control across the whole venue allows for a single, unified user control interface,” says Boulton. “This now enables the H3 technical staff to monitor, troubleshoot and assist local area managers throughout the CEC from within a single system.”

With his team rapidly familiarising themselves with the inherent benefits, Boulton opted to integrate the standalone Grandstand heritage function space within the same network. “By simply adding an I/O-8 Flex expander and a touch panel, the transition was a very straightforward process,” he says. “There appears to be no limits to what we can do with Q-Sys.”

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March–April 2021 PRO AVL ASIA 69

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BUSINESS: COMMENT

A letter from America

As the US receives a stimulus package for the live events industry, Dan Daley considers the first question we need to ask

THE US LIVE EVENTS INDUSTRY GOT A CHRISTMAS present at the end of last year: out of the US$900 billion stimulus package passed by Congress to address the financial effects of the ongoing coronavirus pandemic, $15 billion was earmarked as “dedicated funding for live venues, independent movie theatres and cultural institutions”.

It’s a lot of money, but not as much as was lost during the Plague Year. Pollstar’s year-end report, released in December, indicated industry-wide revenue losses of $9.7 billion in 2020, a year that had been projected to instead see a record-setting $12.2 billion profit. The loss was further estimated at more than three times that when ancillary revenue from sources like hotels, merchandise, transportation, sponsorships and other economic activity tied to live events was factored in.

The damage is massive and real, but the $15 billion is also worthy of those adjectives. The challenges, though, will be how to disburse it equitably and fairly, and how to do so before some other very real and existential dangers to the live music business take hold.

Look at how the funds from the first Covid-stimulus response last March were distributed: each American got $1,200 – whether they needed it or not. What that meant in reality was those who needed help the most were underfunded and those who could ride out the economic storm just put it in the

bank. Meanwhile, the same legislation gifted an estimated $257.95 billion to corporations and billionaires in the form of tax breaks and other considerations.

The latest round of stimulus help does try to address some of those inequities. For instance, during the first 14 days of the programme, initial grants of up to $10 million will be awarded only to those venues with 90% revenue losses. That will be followed by businesses with at least 70% revenue losses during the next two weeks. After the first month, other eligible businesses can receive grants.

But what of the largest entities in an entertainment business that’s been steadily consolidating? Does Live Nation – which asserted 95% losses in Q3 2019 year-on-year – qualify?

According to the way the legislation is written, yes – despite Live Nation having on hand total cash and cash equivalents of $2.6 billion.

Admittedly, Live Nation has been generous with its Crew Nation initiative to help touring and venue workers, but the company is still working from a position of strength, one that will certainly help it to further acquire new venue and festival properties when this is over.

Already picking over the bones of music venues are a number of private-equity and venture-capital efforts. Foremost amongst that pack is Marc Geiger, the former mega-agent behind

Lollapalooza who is seeking minimum 51% stakes in clubs and venues around the US, using a $75 million initial round of capital. His stated long game is to “create a network effect”, he told The NY Times, that will bolster their collective bottom lines after Covid. Geiger contends his initiative, called SaveLive, isn’t a property-flip play. But the combination of equity capital and Wall Street/City types who have moved into music’s spaces this century might suggest a different outcome. Spotify, Tencent, Apple and Amazon dominate music and NASDAQ, and equitybacked ventures like Hipgnosis and Kobalt Capital are spending billions of dollars on music publishing catalogues.

As musicians and their technical crews remain largely sidelined by the pandemic, the ultimate irony is that there is a lot of money to be made in the music business now, and legislation promises to pump in even more. But where it goes and who benefits are murky questions. The publishing money is chasing time-tested copyrights, and even with barely two months on the road last year, Elton John’s chart-topping “Farewell Yellow Brick Road Tour” still earned $87 million, while Celine Dion scooped up $71 million and U2 grossed $52 million. The rich will get richer, but how everyone else manages to get hold of some of the lifelines now being tossed blindly into a roiling economic sea is a far dodgier question. It is, however, the first one we need to ask.

A letter from Europe The Rolling Stones will not fade away anytime soon, reports Phil Ward THE ROLLING STONES ARE SHOWING NO SIGNS OF WHAT physicists call negative velocity. They keep popping up, sometimes in the most unexpected places. For example, they were the first band to perform together, in separate houses, on Zoom during lockdown, their notoriously loose synchronisation actually improved by latency. A few years ago, they even headlined Glastonbury, a fitting occasion for two reasons: firstly, they are named after a song by Muddy Waters; and, secondly, they sounded on this particular night very much like a dilapidated tractor pulling stranded sheep out of a quagmire.

Now they’re going to be the subject of a new touring exhibition about their life and work, opening at the Groninger Museum in the Netherlands – where the band actually played in 1999 – and then making its way around the world.

The reason it’s of special interest is because, just like the Pink Floyd exhibition at the Victoria & Albert Museum in London a couple of years ago, it concludes with a newly mixed immersive audio experience featuring concert footage and an audiovisual system that promises to “take fans deep into the Rolling Stones world with a more immersive

experience than was possible, even at the concert itself”, according to previews.

Quite how it can be more “immersive” than actually being there certainly challenges expectations – do you get to swig Jack Daniels with Keef? – especially as the concert footage in question is taken from yet another ground-breaking appearance to flout convention: the 2016 gig in Havana, Cuba. This was the highlight of a full tour of Latin America, with catering supplied by Pablo Escobar. Just kidding. At least here Mick Jagger’s ersatz Southern drawl was a little closer to its natural habitat, unlike Dartford.

It is in fact part of a documentary about the tour to be screened within the exhibition, and it’s a big deal not only for the Dolby Atmos platform – which provides the cinematic surround sound created at Capital Studios in LA – but also for one of the UK loudspeaker brands that truly matches the Stones note-for-note in the status of Great British Exports.

This is the Professional Monitor Company (PMC), a real RollsRoyce in this field, and with much more attractive drivers.

As well as PMC monitors being used in the mixing of the soundtrack into Dolby Atmos, a completely new range is being

debuted for the exhibition and a custom model developed to deliver the Stones’ music into this context. Dubbed Custom Install (ci), the range provides 23 channels of Atmos soundtrack and introduces the ci140-XBD, the BST sub and ci65 overheads. They join five huge screens and amplification cranked up to over 20,000W to place you right there, sucking on a Montecristo No 2 and rubbing shoulders with Naomi Campbell and Richard Gere in the VIP section, just a few days after Barack Obama’s epoch-ending presidential footfall on the island and a few months before old Fidel finally went to that great gig in the sky.

As if that wasn’t enough, the Stones are also opening a boutique – on Carnaby Street in London’s Soho district which, for the past 50 years, has been about as hip as Ripley’s Believe It Or Not family fun franchise. It’s a fine installation – with speakers, this time, by PMC’s countrymen Bowers & Wilkins – but really? Rock and roll has changed the world, and the symbolic arrival of Obama and Jagger at the end of Castro’s last speech is one example. But the world has also changed rock and roll – and wants to serve it up as windowdressing. I can’t get no satisfaction, I’m afraid, from that.

70 PRO AVL ASIA March–April 2021

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26/02/2021 17:51

BUSINESS: SHOW REVIEW

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Believe in Music Week

Herb Trawick and Joe Lamond in the Believe TV studio

NAMM tries its hand at the virtual exhibition format with Believe in Music Week, reports Simon Luckhurst IN A NORMAL YEAR, MANY OF US WOULD HAVE BEEN heading to the California sunshine at the end of January for the first industry gathering of the year: The NAMM Show. Last year’s event was one of the last tradeshows to go ahead as usual and a reminder of what now seems like a different era, with the freedom to travel and meet up. Instead, from 18–23 January, I travelled to California in spirit from the comfort of my laptop.

Believe in Music Week spanned five days in replacement of the physical exhibition and promised a global online gathering.

Education, training, product launches and networking – all the standard aspects of a NAMM tradeshow – in healthy doses.

Recent months have shown the virtual tradeshow concept to be somewhat of a minefield for exhibition organisers.

Nevertheless, the National Association of Music Merchants has had more time than most to adjust its online programming having made the early and wise decision to move proceedings

online, and president Joe Lamond was confident in the run-up that NAMM could deliver truly unique content. “In recognising the profound impact of Covid-19 on both companies and individual professionals, we knew that we had to look to a larger vision, and that vision led us to Believe in Music Week. The NAMM team set out to bring this vision to life with our platform vendor, Swapcard, to create and encapsulate those valuable networking opportunities, education and training, and brand experiences found at The NAMM Show. Our goal is to look to the future success of our members and the industry and help propel everyone into 2021 with new products, professional training and the fun, networking comradery of the Hilton bar through our main station, Believe TV.” While there were a number of prominent pro audio exhibitors missing from the schedule, with 1,227 participating companies in total, most of the major players in the pro audio sector

More than 2,000 people tuned in for the Believe in Music global livestream

were present. For exhibitors, several different packages were available to maximise visibility, while a range of other homepage and communications sponsorship options were also present. As a digital event, the organisers staked importance in the value of lead acquisition for exhibitors and created a set of tools and informative guides to aid this process.

AI matchmatching technology was implemented to drive networking connections and suggest tailored content as users engaged more with the platform throughout the week.

In addition to the exhibition elements, NAMM was presenting a healthy programme of more than 160 educational training sessions delivered both live and available to watch on demand once the week was over.

This included regular NAMM favourites such as TEC Tracks, where members took part in big-picture sessions and highprofile topics in recording, live sound and music business, and the AES (Audio Engineering Society), which presented

As with all things online, it wasn’t always plain sailing

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BUSINESS: SHOW REVIEW educational sessions on key topics for audio professionals, including streaming live performances, next steps for the live event industry, mastering mixes and careers in professional audio. A3E, Advanced Audio + Applications Exchange, also returned with a series on how nextgeneration content creation is reshaping the entertainment industry.

So that was what was promised, but how did it all go down for virtual attendees? Hosting 1,200+ participating brands in virtual booths that allowed manufacturers to collate all their company, product and seminar information in a single place, the central element to Believe in Music Week was the marketplace, which is where the AI matching tools came into play. “In a way, the technology we used can be thought of as saving a few steps of walking around the Anaheim convention centre looking for the latest, coolest products,” said Lamond. “The user profile will get things started and, as the user interfaces more and more with the platform, it

The platform revealed who was attending the same events and facilitated networking

Electro-Voice invited attendees to take a virtual tour of its headquarters

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Behind the scenes in the Believe TV control room will ‘learn’ more about their preferences and recommend new and interesting products and companies that they might not have ever thought of or run into on the show floor.”

Unfortunately, my experience was fairly solitary and I found most of the information I required by actively seeking it out rather than having the platform suggest it. Of course, my perspective is somewhat skewed compared to that of a manufacturer; however, many of the exhibitors I spoke to shared experiences of low traffic and low interaction, particularly among the smaller exhibitors.

Described by some as being like the UK’s Marmite – “you either love it or you hate it” – my experiences of the Swapcard platform were largely positive. Creating a new profile and starting the process of building a schedule in the week running up to the show was straightforward enough. But it wasn’t immediately clear what my next steps should be upon the show starting. I wasn’t alone.

“I must say I found it very difficult and confusing to find the right pages and parts of the programme, and so I ended up often leaving the pages open overnight to save time searching for them again the next morning,” shares EVE Audio’s Kerstin Mischke. “Plus, I understand that it’s NAMM and it takes place on US time, but that means all the events take place when it’s nighttime for me.”

This is one of the major challenges faced by all virtual tradeshows: time allocation. At a traditional show, from the time the doors open in the morning until they close in the afternoon, you are focused on one job, and you make time to find out about companies that you would otherwise never have been able to discover. A virtual exhibition opens up the attendee list to the world but doesn’t demand the same dedication as a proper in-person event; it’s easy to check in and check out.

In this regard, the timing of NAMM’s programming was less than ideal from an Asian and even European perspective. Many of the more interesting sessions started well into the night in my time zone, meaning I had to create extra time in the evening to participate.

Product launches were organised into a dedicated listings page alongside the marketplace which could be easily broken down by type or application. Given the vast range of NAMM exhibitors – everything from music instruments to large-scale sound reinforcement systems is covered – it was important that NAMM got this element right. And it did. So, it was a little disappointing that rather than using this space to its full

Yamaha and Nexo made full use of the virtual booth functionality potential, many companies offered only rudimentary product information before pushing viewers to their own manufacturer websites. There was often very little interactivity beyond sending a representative a message.

The “Gear TV” channel of the NAMM Product Preview therefore became all the more valuable for sussing out the latest new launches and offering a more in-depth look.

These pages were filled with multimedia content from manufacturers; however, the content covered a broad spectrum of both pro audio and musical instrument releases, not all of which will have applied to all viewers and could be quite time-consuming to sort through. An update was made to the Swapcard platform during the middle of the week that allowed exhibitors to choose the order of the products presented on their brand experience pages. This was a nice touch and showed that the organisers were listening to feedback and looking to implement changes quickly.

One of the main events of any recent NAMM has been an unveiling by DiGiCo that would typically see hundreds of engineers gathered around the booth awaiting their first glimpse of a new product. DiGiCo focused on smaller-scale products this time around with the launch of the Klang Immersive Personal Mixer. The launch may not have garnered the typical crowds but, nonetheless, the DiGiCo team felt that they had received a good online response.

While the product offerings were vast, genuinely new launches were substantially fewer than at a normal show. Electro-Voice led the pack by debuting the Evolve 50M column loudspeaker systems and ELX200 series loudspeakers. Avid launched its new Pro Tools Carbon interface and Avid Play music distributors service, which allows creators to publish their Atmos mixes to Amazon Music and Tidal. Other notable highlights included Apogee showcasing the new Symphony ECS Channel Strip plug-in; Roland launching the Verselab MV-1 Song Production Studio; Meyer Sound unveiling the Leopard-M80 loudspeaker,

a new narrow coverage variant that delivers 80° horizontal coverage in contrast to the original 110°; Adam Hall unveiling the Palmer Monicon XL Active Studio Monitor; and LD Systems debuting its MAUI 44 G2.

Shure chose to highlight its recently released SLX-D digital wireless system, which promises 24-bit digital audio with RF performance and a simple setup, while Focusrite Pro used the occasion to educate customers on its RedNet R1 desktop remote processor and Universal Audio focused its attention on the Apollo Heritage Editions interfaces. MXL highlighted its new Revelation Mini FET microphone, KRK its range of Studio subwoofers and Solid State Logic its SSL 500-Series Modules and XL Desk. Sony was also present but under the guise of 360 Reality Audio, its new music experience making use of Sony’s spatial sound technologies. Harman Professional showcased a number of products from the JBL Professional and Martin brands, including the JBL IRX115S powered subwoofer for IRX Series portable PAs, the dual 18-inch VTX B28, an expansion of the Martin ELP LED ellipsoidal fixture family with IP65 variants and the Martin MAC Aura PXL. Some of the larger sound reinforcement manufacturers such as L-Acoustics, d&b audiotecknik, Meyer Sound and Yamaha Pro Audio/Nexo placed less emphasis on new products in favour of hosting educational sessions on their respective technologies, with many sessions garnering a greater number of viewers than an in-person seminar might hope to attract.

The interactive chat for attendees was a nice element of these sessions.

Whether their experience at Believe in Music Week was a positive one or not, one thing remained consistent for all exhibitors – a desire to attend NAMM in person in 2022. That fate may not be up to the organisers and, even if the show is able to return to its roots in 2022, it’s likely that there will continue to be a healthy dose of accompanying online content to satisfy absentees.

“We had a very small presence,” summarised Mischke at the end of the week. “In the end, we had two requests: one was for a cooperation, so that may turn into a relationship, and the other was regarding some features of a product in our range. I wouldn’t call it busy.”

“I actually did receive quite a few requests but none of them were useful: for example, Chinese companies sourcing new contacts and salespeople trying to sell masks,” added DirectOut’s Christian Müller. “For us, the event was considered as an online platform to represent our company, just being present and flying our flag. That was what I expected so it was not a waste of time for us.”

After a year of pandemic-inflicted tradeshow cancellations, it’s become clear that virtual exhibitions are a means to an end rather than the preferred format, and this is in no way the organiser’s fault. In terms of numbers, Believe in Music Week should be considered a big success, with NAMM reporting that 93,226 people from 187 different countries took part in the week. That’s not too far shy of typical attendance for the in-person exhibition. What’s more, 983 special sessions and events were held, as well as 611 hours of livestreamed and programmed content, and nearly 200 education, training and professional development sessions and new product introductions, all of which continued to be accessible throughout February.

“Since we extended Believe through to the end of February and we’re having thousands of people a day still on the platform, it’s still a little too soon to tell the real impact,” Lamond said at the close of the week, “but I can tell you that with limited expectations, having never done anything like it before, the member response has been terrific.”

NAMM did a good job with its first-ever fully online event but there’s no doubt that regular attendees miss NAMM’s unique atmosphere. “Believe in Music Week is a brilliant use of technology that brings forward programmes and products to individuals who might not ordinarily have the opportunity to attend the show,” said Harman’s David Glaubke. “While we wish we could have all been together in Anaheim, we are pleased that NAMM was committed to delivering the best possible experience.”

Like many, I’ll also be wishing for a return to the Californian sun in January 2022. www.namm.org

March–April 2021 PRO AVL ASIA 73

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26/02/2021 17:05

BUSINESS: COMPANY PROFILE

The D

Sound and dynamic

DAS supplied an extensive Aero-40A system into the Miami AmericanAirlines Arena

Richard Lawn takes a look back over the 50-year history of Spanish loudspeaker manufacturer, DAS Audio A 1978 marketing photo

Juan Alberola supplies an early DAS Audio system to a club

JUAN ALBEROLA’S CAREER WAS PREDESTINED AT BIRTH. THE son of an orchestral conductor, his passions for music and hi-fi compelled him to establish an audio installation business for nightclubs and bars. Back in 1971, as Spain transitioned from a dictatorship to a democracy, the country would remain outside the European Economic Community (EEC) for another 15 years, with demand for imported loudspeakers dampened by high import duties. Recognising the consequent domestic demand, a young Alberola took a leap of faith and founded Dynamic and Sound. Fifty years on, DAS Audio is stronger than ever.

In 2000, industrial engineer graduate from the Polytechnic University of Valencia, Javier Navarro, joined DAS Audio’s engineering team. Navarro has become an instrumental figure over two decades, taking on increased responsibility and currently assuming the joint role of CEO and head of engineering. “What makes DAS so unique is that it remains a family-owned company in control of its own destiny,” he reflects.

Valencia has played a significant role in shaping the company’s character. “We are blessed with a large community of working street musicians,” continues Navarro. “In every small village, you will hear a band with trumpets, saxophones, clarinets and drums.

Everyone at DAS loves music, and it shows.” The city is home to other notable manufacturers such as Musicson, Beyma, Ram Audio

and Equipson. “The founders of these companies were openminded and open to risk by putting their money on the table to start a company they passionately believed in. Juan was no exception.”

Global branding and export sales always took precedent over the domestic market for DAS. “Our founder was always passionate in exporting our speaker designs,” continues Navarro. “He would pack speakers into the car and drive to SIB in Rimini, SIEL in Paris and Musikmesse in Frankfurt with then-sales director, Jack Palacio.”

When Spain joined the EEC in 1986, DAS was poised to capitalise on its investments in tradeshow attendance.

In that same year, DAS Audio relocated to its current facilities in an industrial zone in Fuente del Jarro on the outskirts of Valencia.

Here, Alberola made a decision to manufacture transducers, compression drivers and other components in-house. A reliance on external suppliers was removed, resulting in added quality control and improved cost benefits that continue to enhance competitive pricing. “We are providing tools for end users that demand reliability, so we employ very strict protocols during each phase of manufacture and testing of our products,” Navarro says.

“We are focused on making systems that help them make their business profitable.”

Alberola continued to invest profits back into the facility. A large three-storey production area was added, where cinema systems,

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plastic recen the or woodw events Two was la design “The a comp imme play p a resu Over signifi includ and C opera reliabl The DAS’s itself b first-ge the ac covera Nava R&D – protot tools have b as sim rely on throug DAS c At th provid “We’v years you co Nava 2013 as ele field w with D dynam DAS power power by add the us settin DS-15 DSP p univer The engine the pa rather

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BUSINESS: COMPANY PROFILE create technologically advanced products that will make the jobs of our customers easier. An active speaker system operating both the front and back of house areas of a theatre needs to be controlled using the same control and software platform. Nothing works in isolation anymore.” Product categories have been simplified and streamlined into solutions for three main categories: touring, mobile retail and installation.

In the 1990s, sharing Spanish as a common language would transform exports to the Americas. “We were distributed by Sennheiser in North America and had established a headquarters in California,” explains Navarro. “A year later, we relocated to Miami as most of our new opportunities to grow the US market were coming up from the east side of the country, and language was an important factor.”

This proved to be a masterstroke, as training seminars and demonstrations extended the distribution and dealer network.

“Miami is a Latin city and proved to be a great hub for our customers from Columbia, Venezuela, the Caribbean and central

The current pandemic has also meant a decline in sales. “We are still doing good business but it’s been important to take care of our employees. DAS has also focused on maximum flexibility by offering our customers financing, increasing product warranties to five years and ensuring that none of our sales partners run out of stock. We’ve also ramped up our online support with a selection of training videos and webinars. By maintaining a healthy financial status, we have been able to continue and will come back stronger.”

Company successes are often measured by increased sales, new subsidiaries or successful product launches. Navarro also takes pride in some landmark DAS installations, including two sports stadiums on home ground. “For me, the 20,000-seater American Airlines Arena in Miami stands out: here, we installed 128 Aero-40 cabinets into the bowl with 16 UX-218 subs and 16 Aero-20s on the scoreboard. In Valencia, we have just installed a major system into the Mestalla football stadium. Such applications make me feel immensely proud.”

The DAS production line in 1980 plastic enclosures, electronics and amplifiers are produced. More recently, an adjacent space was converted and connected to the original site via an underground tunnel where, in addition to woodworking and warehousing, a theatre has been built for hosting events and training.

Two years before Navarro’s arrival at DAS, the DS-15A enclosure was launched to critical acclaim. The polypropylene single 15-inch design was a catalyst for future loudspeaker development at DAS. “The analogue electronics we created for the DS-15A cannot be compared to what we do digitally today,” explains Navarro. “We immediately saw the benefits of active speakers in terms of plug ‘n’ play performance, consistent audio quality and easy expansion. As a result, our core business is predominantly in active speakers.”

Over the past 20 years, active speaker development has evolved significantly. “In 2000, we developed the first wooden cabinets including three-way, point source systems that integrated software and Class-D power supplies using ICE power amplifiers. Despite operating on lower consumptions, these designs proved to be more reliable and powerful with greater efficiencies.”

The launch of the Aero-28, -38 and -48 systems in 2002 marked DAS’s initiation into line array development. Aero distinguished itself by offering price-performance benefits at a time when first-generation line arrays were greatly stretching budgets. Like the active speakers, Aero has continued to improve in terms of coverage, power, size and software applications.

Navarro has overseen the development of two key areas in R&D – electronics and software. “If we need to manufacture a prototype, it will be very similar to the final product because of the tools we are now using. Software is like a living organism and we have become much more reliant on software-based tools such as simulations. The way we design our waveguides and horns rely on accurate software predictions to maintain consistency throughout.” More recently, DAS has developed the DASaim and DAS control software tools.

At the heart of the powered speaker systems and DSP, DASnet provides remote monitoring control of up to 256 devices from a PC. “We’ve incorporated the latest version of DASnet for more than two years now, but software development is a never-ending process as you continually add new features and technologies.”

Navarro recalls the development of the Avant series prior to the 2013 launch. “The laws of loudspeaker physics cannot be changed as electro-acoustics still involves a coil moving inside a magnetic field with current. But this was the first time that we started working with DSPs to control parameters, including crossover points, dynamics and delays.”

DAS aims to consistently enhance the electronics within its powered enclosures. “Speakers may be more efficient and powerful, offering improved control with less distortion but, by adding a microcontroller with internal DSP remote control, the user can change or recall presets, while muting or delaying settings. We have gone deeper into the digital domain since the DS-15A was launched by developing switching power supplies, DSP processing including FIR filtering and remote monitoring universal mains and Class-D amplifiers.”

The company takes an increasingly systems-based approach to engineering. “Our engineering team has been transformed over the past 10 years, focusing on specific tasks with specialist skills rather than covering too many bases. Our design philosophy is to

A compressor driver being produced in 2000

Javier Navarro provides training for the new Aero-38 in Las Vegas in 2006

Javier Navarro and Juan Alberola celebrate the 25th anniversary of DAS Audio in America at NAMM 2020 America initially. The office in Miami celebrated its 25th anniversary last year, and we have continually invested in specialist personnel to service both Latin and North America. It has resulted in DAS being recognised as an established brand throughout the Americas, culminating in tremendous growth in recent years.”

Looking eastwards, Juan Luis Garcia established APAC headquarters in Singapore in 2007, a quest that Navarro admits was challenging. “Asia is a lot bigger with a more diversified set of cultures and languages. As a result of our presence, we have grown in countries including Vietnam, Indonesia, Thailand and New Zealand.” DAS recently opened a Chinese subsidiary in Shanghai with a local team fluent in several languages.

Over half a century, DAS has encountered obstacles including the 2009 global financial crisis that particularly ravaged Spain.

“The situation for the people and the economy back then was harsh, but fortunately we were largely shielded from the same impact,” explains Navarro. “Being predominantly an exporter, the effects of low sales in the domestic market did not affect us badly. DAS Audio has adapted to survive the hard times, while maintaining consistent growth.”

While many western companies have largely outsourced production, DAS continues to manufacture predominantly in Spain. “Our family-owned DNA and culture is reflected in the way we treat our customers, our partners and our employees.

It is important for us to be perceived as a thoughtful partner: honest, open and friendly. Doing business and having a respectful partnership should not be a trade-off. It is always flattering to hear a customer compliment you for growth they’ve enjoyed as a result of using our products.”

Now in the capable hands of Navarro, Alberola’s vision remains as focused today as it was when he produced his first hi-fi speakers. The company has survived and thrived over an eventful half-century, reinvesting engineering resources back into operations, and adhering to an open-minded engineering philosophy to create best-in-category loudspeaker systems based on price performance. As DAS Audio embarks on its next 50 years, Navarro demonstrates the same progressive, dynamic approach to audio as its founder, Juan Alberola. www.dasaudio.com

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BUSINESS: TECHNOLOGY

and C colou enviro light o objec conte With enviro Range SDR i that m came much shot o and re a “fla Brom users displa targe huge critica super to fai come been As t film a increa scree world sound From Insura broad virtua toolki

LED processing in virtual production On Air Studio, a partnership between AVE, Create Engage and Sydney Masonic Centre, was enhanced by Brompton Tessera processing

Advances in technology combined with enforced travel restrictions and social distancing on set have boosted the appeal of virtual production.

Brompton Technology’s technical project manager, Adam Callaway, discusses the use of LED processing as an alternative to green screen technology

VIRTUAL PRODUCTION IS GENERALLY USED TO DESCRIBE the process of using in-camera visual effects in real time. This brings what the director and camera operators see, either on set or in live monitors, much closer to the final edit, allowing filmmakers to shoot a scene which would not be possible on location or by using practical effects.

Virtual production could arguably be said to date back to the 1930s when projection screens were used behind static vehicles to create the impression of a location shoot with a moving backdrop. Many new techniques have been pioneered, using not just filmed footage but also CGI VFX, while the use of powerful game engines has allowed an entire environment and set to be created digitally and rendered in real time.

The VFX workflow of the last few decades has largely involved the use of green screens behind the filming of live action footage, with the final result not seen until weeks, months or even years of postproduction has been completed. With virtual production, a large amount of the VFX work is completed ahead of the shoot, leading to a much shorter postproduction process. Advanced game engine and graphics capabilities have opened up the prospect of modifying the background in real time as the camera is moved, to create much greater realism and perspective. This requires another key technology – camera tracking – which can accurately capture the exact position of the camera as it is moved or panned around the virtual set.

This technology can be combined with green screen, but it has really come of age with the advent of high-resolution LED displays. The innovative use of these displays on TV shows like The Mandalorian is a major reason that the world of film and television is taking such interest in this new workflow, choosing increasingly to use LED screens for virtual production.

The National Rugby League’s Dally M Awards was the world’s first live-to-air XR broadcast Successful virtual production with LED combines an array of different technologies working closely together in sync, with the complexity of the setup dictating how many of the technologies are needed. This is a scalable workflow, and it’s a myth that a blockbuster budget is needed for virtual production. A simple setup might just be an LED screen placed behind a set element: for example, a train carriage window to simulate countryside flashing by. If the camera position is fixed, camera tracking may not even be necessary.

However, the creation of an entire set which can be generated and manipulated in real time using graphics engines requires more elements. Companies such as disguise have developed comprehensive extended reality (XR) technologies that orchestrate LED, real-time content and camera tracking to power virtual production environments.

Having a reliable LED processor is key for a number of reasons.

The genlock functionality in the Brompton Tessera processor is useful for ensuring accurate timing and seamless switching between cameras. The OSCA (On Screen Colour Adjustment)

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BUSINESS: TECHNOLOGY and ChromaTune features are also invaluable to change the colour balance and individual values. This is crucial in an XR environment, where the lighting and LED need to be emitting light of the exact same colour to effectively blend physical objects in front of the LED volume within the virtual realms of the content on the LED screen itself.

With the film industry perhaps the most demanding environment for LED screens, Brompton HDR (High Dynamic Range) is particularly interesting for on-set use. Compared to SDR it offers much larger contrast ratios and colour gamuts that more closely mimic what we see in the real world, and what cameras are capable of capturing. This ultimately provides a much more lifelike final image when the LED screen is being shot on camera, translating to an improvement in image quality and realism, and offering more flexibility in grading than if using a “flatter-looking” SDR screen.

Brompton’s Dynamic Calibration technique, which gives users a readout of a panel’s capable colour gamut and displays whether a given LED panel can hit the required colour targets on a pixel-by-pixel, frame-by-frame basis, is another huge benefit in this demanding environment. Accuracy is critical in virtual production workflows, as visual effects supervisors and cinematographers require the LED screens to faithfully reproduce the content that has been created. This comes into its own when working with HDR content which has been encoded with metadata that needs to be adhered to.

As travel restrictions and safe staffing levels have impacted film and TV production, virtual production has become increasingly appealing. The use of LED rather than green screens allows the possibility of shooting anywhere in the world, without having to leave the environment of a Covid-safe sound stage.

From Australia’s first full virtual production for an NRMA Insurance TV commercial to the world’s first live-to-air XR broadcast for the National Rugby League’s Dally M Awards, virtual production is quickly becoming an integral part of creative toolkits, with Brompton LED processing playing an important role

stage ever built. Two cameras ran simultaneously, allowing the team to swap between two simulated perspectives, while four cameras shot the live action on set. A giant soundstage wrapped in over 1,000 ROE LED panels displayed visuals at 32K resolution and 60fps, using a modified version of Unreal Engine. Brompton Tessera SX40 4K LED processors were used to run all LED screens throughout the month-long tournament.

Their ability to interlock with a specific frame rate is imperative for XR applications where the camera conveys the field of view required for the system and re-projects that field of view back onto the LED. In order for that illusion to work, the LED has to be in perfect sync with the cameras, and the Tessera SX40s played a key part in making that happen.

Riot Games’ LoL Worlds 2020 relied on mixed and extended reality in conveying realistic, immersive visual storytelling. Companies such as Audio Visual Events (AVE), Big Picture, Ikonix, Intraware, Last Pixel, Mediatec, Novatech, Spectre Studios, Technical Direction Company (TDC), ULA Group and Woohah Productions have all embraced virtual production, relying on Brompton processing in their pioneering use of this technology.

Esports is another area where the use of XR has been well received, allowing the fans to be closer to the action and more engaged with the broadcast. The players can also see much of what viewers at home see; something not possible with a traditional green screen. Video game developer Riot Games has been integrating XR technology into its broadcasts for a number of years. However, it revolutionised the use of XR in esports by fully integrating the technology into its League of Legends World Championship (Worlds 2020), using XR for every match at the world’s biggest esports event in Shanghai.

This saw the largest version of a mixed reality stage ever deployed, and the most technologically advanced mixed reality

NEP Live Event’s Big Picture studio When it comes to virtual production, timing is everything.

With companies frequently working to impossibly short time frames, choosing equipment that is both reliable and puts the customer in control is the number one priority. Brompton’s LED processing power and its ability to anticipate customers’ needs, combined with Tessera’s comprehensive feature set, makes the work of blending the “virtual” and “real” worlds, and delivering exceptional oncamera results, a smooth and hassle-free experience. www.bromptontech.com

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HIGH BRIGHTNESS BUSINESS PROJECTOR EB- L30000UNL

WORLD’S LIGHTEST & SMALLEST 30,000 LUMENS 3LCD LASER PROJECTOR. *

Presenting spectacular image quality with outstanding levels of colour brightness, the Epson EB-L30000UNL is among the world’s lightest and smallest 30,000 lumens 3LCD projector with 4K quality lens. It is extremely reliable with superior heat resistance and 20,000 hours** of maintenance-free use on its laser light source.

Project any and every way you want with its flexible 360° rotation and adjustable tilt, and allow its variety of lenses to cater to all your projection needs!

IT’S IN THE DETAILS. 3LCD technology that delivers quality projected images and reliable performance. * Based on Futuresource Consulting. ** 20,000H life for laser light source: Approximate time until brightness decreases 50% from first usage. Measured by acceleration test assuming use of 0.04 - 0.20 mg/m 3 of particulate matter. Time varies depending on usage conditions and environments. Replacement of parts other than the light source may be required in a shorter period.

Images courtesy of Resort World Manila.

BUSINESS: SPONSORED SHOW PREVIEW

Prolight + Sound Guangzhou 2021

2021 Goes Hybrid to unify, support and meet the immediate business needs of the global pro AV and entertainment industries TO ADAPT TO THE “NEW NORMAL”, THE ORGANISERS OF Prolight + Sound Guangzhou (PLSG) have unveiled details of enhanced digital services to run alongside the upcoming physical edition. PLSG was the first pro lighting and audio trade fair to resume in China during 2020. This forwardthinking spirit will be continued in 2021, not only at the physical event, but also via the new Prolight + Sound Guangzhou 2021 Goes Hybrid initiative which has been introduced to foster a global marketplace, and to gather, support and inspire professionals from all over the world with the latest products and innovations.

The physical fair is on track to take place from 16–19 May 2021 in an expanded space of 150,000m2 (up 87.5% from 2020) and with more than 1,300 exhibitors in attendance.

The increased scale of the physical event is a reflection of renewed hunger among industry professionals to meet for face-to-face business networking and product showcasing.

What are the new digital offerings?

Go hybrid anytime, anywhere Exhibitors can take advantage of in-person interactions, while also presenting their company profile and products to global stakeholders online. Likewise, global trade professionals can discover the latest market information and connect with exhibitors through digital business matching, live conferences and livestreamed onsite activities.

The organisers are keenly aware of the importance of reaching an international audience. A professional filming team and moderator will provide coverage of product demonstrations, fringe events and conduct interviews with

PRO AVL ASIA March–April 2021

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company representatives and industry experts. Overseas media and exhibitors will be connected online to discuss hot entertainment sector topics and share technical knowledge.

Reach out to a wider industry community through one-on-one online meetings Participants, no matter what their location, can preview participating company profiles and products and match with the right suppliers using smart tools.

More specifically, a newly introduced WeChat Business Matching & Appointment Making Service is a bilingual, pre-booking appointment service for registered participants. The system bases its recommendations on products of interest to provide the best fit for visitors and to optimise the quality of contact suggestions at no extra cost. This allows exhibitors to come into contact with highquality leads who are interested precisely in their product and solution spectrum.

Enhanced industry engagement through a 365-day online platform The main idea behind these online initiatives is to replicate the experiences that international participants who are unable to travel would otherwise have enjoyed at the show.

One of the main benefits is that online services are not limited by the usual time constraints of a physical trade fair.

The full programme of conferences, interviews and product demonstrations will be available online and on the website, well after the physical fair has closed its doors. The WeChat Business Matching & Appointment Making Service will be available from pre- to post-show between 10–26 May.

Judy Cheung, deputy general manager, Messe Frankfurt (HK) says: “PLSG is combining the best of both worlds, both physically and virtually: personal interaction and virtual networking options. We want to create a digital opportunity for all companies and professionals, elevating and extending the fair experience to new heights.”

Further information about the Prolight + Sound Guangzhou 2021 Goes Hybrid will be available soon. www.prolightsound-guangzhou.com

PLSG’s selection of pro lighting and audio products: Professional Audio Professional Lighting Stage Equipment AV & Communication Equipment Parts & Accessories Projection & Display System Integration IT & Data

PLSG’s selection of pro lighting and audio services: Construction Design Event & Production Location Service Maintenance Rental Company Security Total Solution Training Media / Publications Association Others

www.prolightsound-guangzhou.com

01/03/2021 16:47

sound reinforcement Discreet but powerful

in even the most challenging of projects

Suited to both indoor and outdoor use, the VERTUS CLA range comprises two models: The VERTUS CLA 803 and the CLA 403.

Completely dustproof and weatherproof, the enclosure’s grille is covered with a special hydrophobic fabric to ensure absolute rejection of all atmospheric agents.

Full EN54-24 certification also means both columns can be used for emergency and evacuation applications.

CLA 403T

CLA 803T

www.fbt.it - info@fbt.it

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NEWPRODUCTS

INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING A–ZCONTENTS

Avolites unveils Diamond 9 flagship console

The new flagship from Avolites brings lighting, media and other visual aspects of a performance under control inside a single enclosure DESCRIBED BY the British manufacturer as the result of decades of innovation from the Avolites team, the Diamond 9 is available in two versions – the D9-330 and D9-215. The main front panel of the Diamond 9 has been machined from a single sheet of aluminium to create a distinctive look. Operationally, the D9-330 boasts 11 ultra-bright touchscreens, including three main workspace screens, three for media preview and specific screens for attribute control and softkey short cuts. The three main workspace screens provide adjustable brightness up to 1,000 nits and prioritise ensuring that data, visualisation and creative programming tools are easily accessible.

The three 4.3-inch preview screens have been developed to ensure that the main screens remain uncluttered for maximum information density. A macro/executer screen has been added for electronic labelling without occupying main screen space; a dedicated T-bar screen comes with a permanent Scene Master status; a dedicated level wheel screen gives users

instant live intensity data, no matter the selected attribute group; a vertical editor screen is located in the programming panel to simplify control of complex fixtures and media servers, and shows the main cue list status in a new display; and a softkey menu screen frees up workspace and unifies the layout of all the main screens.

The motorised, touch-sensitive Penny & Giles faders and optical high-resolution rotary encoders each have their own RGB bar graphs so levels can be monitored at a glance. Users can define fader and encoder level indicator colours to make it easier to group and quickly recognise controls. There’s also a return of the backlit integrated keyboard. Carefully selected Cherry MX low-profile keys with RGB illumination are said to provide optimal tactility with low fatigue for programming sessions.

On the right-hand side, users will find five encoder wheels, a T-bar for controlling scene masters and a new set of bespoke buttons carefully positioned so they’re

easy to find. The T-bar is said to deliver more refined control with even smoother manual fades and is paired with the manufacturer’s Scene Master functionality, which is complemented by a double-width Commit button and four further control buttons, plus a dedicated LCD screen for continuous status data. The dedicated master cue list control section comes with two motorised faders, eight control buttons and a double-width Go button.

However, Avolites is keen to point out that the key differentiators go far beyond the aesthetics. The console builds on the manufacturer’s Synergy feature set, released in October 2019, that allows integration between media server and lighting control. The D9 is said to bring this to users’ fingertips with an “intuitive design” and layouts ideal for media playback and control. The console also supports Avolites’ new logo, described as the first significant change since the company’s inception in 1976.

ADJ VS3IP 100 89 AEQ Atrium 85 Alcons Audio CRMS-SRIW/120 89 Allen & Heath SQ MADI card 94 Arthur Holm Dynamic4 99 ATEN UC9040 StreamLIVE Pro 91 Attero Tech Axon D2i/Axon DBU 91 Audient iD4 and iD14 (MKII) 88 Audix TM2 79 Avolites Diamond 9 99 Blackmagic Design Fairlight desktop console 85 Bluesound Professional BSW150 98 CEDAR Audio Unwrap/Studio 9 for Mac 96 Celestion HornWizard/SpeakerMix Pro 98 Christie Secure Series II 100 City Theatrical Multiverse Studio 94 ClearOne BMA 360 95 Clockaudio Q-Sys incorporated into TIM-1000 96 CODA Audio System Optimiser v0.5 Crestron DM-NVX-E760 94 95 d&b audiotechnik En-snap 85 Danley BC215/SM90 101 Datavideo NVS-34 86 Earthworks Icon/Icon Pro 83 EAW MKD1294/MKD1264 86 Electro-Voice RE20 in black 98 Epson EB-L200 series 88 Extron XTP II CP HD 8K I/O boards 82 FaitalPRO 12HX500/8PR320/5PR160 97 Genelec GLM 4 80 High End Systems SolaFrame Studio 84 JBL Professional AE Series FIR tunings 90 Just Add Power ST1 82 Kling & Freitag SWR additions/Spectra 212i 93 Kramer PT−2UT/R−KIT/VS-211X 85 KV2 Audio D Series 93 Lawo A__UHD Core Phase II/mc²36 Listen Technologies Listen Everywhere private channels 96 90 Lynx Technik OTR 5444/OSW 1022 80 MA Lighting grandMA3 I/O Node and DIN-Rail Marshall Electronics CV730-NDI/CV630-NDI/ML-454 99 81 Martin Audio CDD series update 80 Martin Professional ERA 600 and 800 Profile 100 Modulo Pi Modulo Kinetic update 86 Neumann.Berlin MA 1 92 Neutrik Minea 84 Nexo P15/L18 82 Outline Vegas 4 83 Pioneer Professional Audio CM-510ST/CM-S54T 81 QSC AD-S5T/Room Solutions for Microsoft Teams 81 RCF CD240-K/LF18N408/RDNet 4.0 84 Renkus-Heinz Iconyx Compact 36/3-RN and 48/3-RN 92 Riedel RSP-1216HL/Bolero 2.2 88 Røde Vlogger Kits 89 Rohde & Schwarz BSCC2.0/Tx9evo Roland P-20HD 98 80 Rotolight Titan X1 88 Samson Concert 288x 86 Sennheiser MD 445 86 Shure MV5C/partnership with Huddly 94 Sommer Cable SC-MERCATOR CAT.6a highflex 89 SSL Fusion update 80 Strand Neo Compact 10 and PC Wing 90 Studio Technologies Model 5482 Dante Bridge 96 Symetrix Symetrix In Control/ARC-WEB 92 Tascam US-HR Series/BD-MP4K/VS-R v1.1 95 Tasker 12G-SDI 101 Telestream Lightspeed Live C4 95 Waves Abbey Road RS124/CLA Epic 95 Yamaha Y7 reverb/Rivage PM V4.7

www.avolites.com

Turn your exissng LED screen into an all-in-one Video Conference Device With a Unified Communicaaons Bar from

Supports

Zoom Teams Google GoTo Meeeng LifeSize Ring Central Click Meeeng Me U Meeeng Bluejeans

Video Conferencing & AV Soluuons Contact av@idealsys.com www.idealsys.com

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PRODUCTS

Small but powerful

M

STRAND HAS unveiled a more compact version of its NEO lighting console – the NEO Compact 10. The 7-inch touchscreen is said to make it easy to program a complete light show, while the ability to add an external touch monitor “brings the full programming capabilities of the NEO software for more complex productions”. Thanks to the integrated 10-button numeric keypad and command line support, the NEO Compact 10 reportedly offers fast programming of its advanced effects

IN A d instal annou for its and m enviro The poten produ suppl UPM and 1 woode exten

capabilities. It comes with seven different on-board effects engines as well as userconfigurable buttons, faders and palettes that let users adapt NEO to the way they work.

Strand is also debuting the NEO Compact 10 PC Wing, a USB control surface accessory for Strand NEO PC that is based on the same hardware design as the Compact 10 console.

The 10-fader USB wing offers NEO PC users the same 10-button numeric keypad, as well as a touchscreen interface that allows users

Signal distribution made easier MA LIGHTING has released two tools for signal distribution said to make daily life easier for grandMA3 users. The grandMA3 I/O Node and grandMA3 I/O Node DIN-Rail can be used for receiving and sending external signals. They come in the same housing as a grandMA3 2/4 Port Node DIN-Rail and are also available as PoE versions. The displays show the status of all input and output signals. Once the units receive MIDI, timecode or DC Remote signals, these are available immediately throughout the grandMA3 lighting control system and can be used in any grandMA3 onPC or console. The same applies for transmitting MIDI or timecode signals.

Both units can be used to connect locally with external signals to integrate them into the MA-Net3 workflow. grandMA3 viz-key is described by MA Lighting as the easiest way to cross-connect between

any scale of grandMA3 lighting control system and compatible third-party visualisers. Users can connect the grandMA3 viz-key with the visualisation computer and it will enable all necessary parameters for visualisation. All compatible third-party manufacturers are MA-Net3 members on the network and can visualise all granted parameters instantly.

MARTIN HAS expanded its ERA product range with the ERA 600 and 800 Profiles, which join the ERA 300 Profile and three ERA Performance fixtures. Designed for applications needing an all-in-one moving head that is compact, lightweight and bright, the ERA 600 incorporates a 550W, 6,500K LED engine that produces 19,000 lumens and the ERA 800 comes with an 800W, 6,500K LED engine that produces 34,000 lumens. Both units are said to deliver sharp image projection with a flat field. Additional benefits include 1:8 zoom, electronic

dimming/strobe, CMY/CTO, iris for beam adjustment and dual rotating gobo wheels, plus an additional static wheel, loaded with gobos from the Martin MAC range.

The lighting manufacturer has also announced that its P3 System Controller software version 5.2.0 is now available as a free update for the entire family of Martin P3 System Controllers. The update comes with a range of new features and improvements that benefit newer products such as the MAC Aura PXL and VDO Atomic Dot, as well as long-time favourites such as VDO

A new ERA

High End Systems adds to SolaFrame series SOLAFRAME STUDIO is an automated luminaire which uses a 300W high CRI bright white engine to produce 10,000 lumens. The fixture’s convection-cooled engine repor tedly allows for completely fanless operation. Features include a high-quality 13-lens optic system with patented Lens Defogger, a 5.5–57° zoom, a CMY/CTO-Linear colour mixing system, a seven-position plus open replaceable colour wheel, a full-cur tain framing system for control of beam shaping, a 16-blade iris for tight beam ef fects, a light dif fusion with additional, optional heavy dif fusion, a seven-position plus open rotating gobo wheel and a linear

prism for controlled pattern replication across a stage.

NEO Compact 10

to quickly select palettes and groups. With the NEO Compact 10 PC Wing and a laptop running NEO PC, users can reportedly program upcoming shows from anywhere or run a live

grandMA3 viz-key also enables all non-granted parameters for visualisation.

The manufacturer has also unveiled grandMA3 software version 1.4. This release rolls out enhancements that reportedly improve the basic workflow, as well as new features that “enrich the overall lighting control experience”. Additionally, it introduces the

production with tactile buttons and faders from a laptop. www.strandlighting.com

new concepts of Recipes and MAgic (MA grid interpolation concept). The MAtricks have been expanded from a Selection Tool to a full three-dimensional manipulation tool for Phase, Speed, Fade, Delay and several Invert Value and Invert Encoder functionalities. The streamlined UI – known as Phaser Editor – is now available straight from the Encoder bar and hosts a step editor. The Programmer and Cue-Parts can host Recipes for pre-arranging events, changing ingredients and re-cooking single parts or the whole event. Along with an optimised 3D window, there are different selection modes to copy any selection straight into the grid view. The colour picker improvements for additive colour mixing also allow generic use of GDTF colour information to match colours of different fixture types.

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www.malighting.com

CD24

Sceptron, VDO Fatron and Exterior PixLine.

Users can toggle individual fixtures between video control and DMX control and create an Art-Net to P3 Bridge using the PixelMap Input functionality to visualise lighting designs in real time. Other benefits include

receiving PixelMap input from a lighting desk for up to 128 universes, driving fixtures with a video feed from a media server or dynamically switching between the two. www.martin.com

Titanic return ROTOLIGHT DESCRIBES its Titan X1 as a pioneering LED that reinvents the 1x1 light.

Featuring SmartSoft, the manufacturer’s electronic diffusion technology, users can control diffusion, focus and spread without the need for gels. The LED builds on the Titan X2 and includes a high-speed sync RGB flash and built-in wireless connectivity (Bluetooth/wDMX). Users can access key features through the touchscreen display and reportedly save time with an easy-touse interface, quick-start icons and 50 customisable presets. The Titan X1 also includes Rotolight’s RGBWW pentachromic colour engine for “precise skin tones and vivid colour saturation”. With CRI and TLCI performance across the entire CCT

spectrum, the LED is also said to help save time in postproduction. www.rotolight.com

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IN A drive to meet the growing needs of installation applications, Martin Audio has announced new additions and upgraded voicing for its CDD series, including both weatherised and marine editions to cater for all outdoor environments, including cruise ships.

The manufacturer is further maximising the potential of the CDD series by increasing production capacity, including improved supplier sources. In addition, the normal UPM Formi cabinet construction of the 12and 15-inch models has been changed to wooden enclosures. Product lines have been extended to include 70V/100V transformer

and weatherised variants of the 8- and 10-inch models, enabling daisy-chaining of loudspeakers for increased amplifier efficiency in larger installation projects.

New DSP settings have been added across the range to reflect current voicing. These are available to complement any amplifier solution, although new FIR-based presets for iKON amplifiers and DX4.0 controllers further enhance the audio performance qualities. New CDD voicing settings are available to download from the manufacturer’s website.

The CDD series

Back to basics for RCF PRIOR TO the development of the Art loudspeaker series in 1995, RCF was renowned for its transducer developments.

The Italian systems manufacturer continues to innovate and manufacture high-compression drivers and low-frequency woofers both for its own designs and as an OEM business. Two new designs have entered its catalogue.

The CD240-K is a high-performance 1.5-inch diaphragm compression driver with a 1-inch exit throat featuring a single-piece, lowcompression, radial phase plug.

CD240-K Ideal for array applications, the diaphragm and suspension are precision formed from Polymide for high stability also at high working temperatures. Measuring 91mm in diameter, the compact CD240-K is rated at 50W (continuous) program power handling and operates within a frequency range of 1.5–20kHz. Other features of the 0.93kg driver include an optimised geometry radial phase plug, aluminium voice coil and ceramic magnet assembly.

Designed to provide accurate bass frequencies, the LF18N408 is an extended low-frequency 18-inch diameter woofer with a 4-inch voice coil offering high power handling with low distortion, low power compression and very high SPL output. The LF18N408 combines

LF18N408

a fibre-loaded cone assembly together with a large triple roll surround for added strength and control. The single spider system is specifically designed with a

heavy cloth to enhance control during large excursions. A fully optimised T-pole together with double aluminium demodulating rings reduce flux modulations that benefit harmonic and intermodulation distortions while improving the transient response. The dualforced, air-venting, magnetic structure system provides a very efficient voice coil ventilation to minimise power compression. Capable of producing a sensitivity rating of 97dB, the 3,000W-rated (continuous program) LF18N408 can extend the LF range to 25Hz (–10dB).

A new version of the RCF management software suite, RDNet, is now available for download. Version 4.0 updates include a complete measurement suite, cloud storage and a new interface design. RDNet Measure is a four-input, dual-channel FFT audio analyser that can measure magnitude, phase, RTA, coherence and impulse response. Functions included spans from a delay finder, a multiple signal generator and an integrated SPL meter/ logger with calibration tools. www.rcf.it

www.martin-audio.com

QSC expands AcousticDesign Series WITH THE introduction of the AD-S5T, QSC has extended the AcousticDesign Series of installed speakers. Designed for a variety of foreground and background sound reinforcement applications, the two-way, surface-mount loudspeaker comprises a 5.25-inch weather-treated woofer and 1-inch silk dome tweeter. Available in black (RAL9011) or white (RAL9010), the IP54rated ABS polymer enclosure can be aimed and installed at a variety of angles with no slippage courtesy of the integrated X-Mount

the Q-Sys native PTZ-IP conference cameras, which are in the process of testing and validation to attain certification for Teams, are said to be able to further simplify room deployments in high-value specialty rooms such as divisible spaces, training rooms, executive boardrooms and all-hands spaces. They are also accompanied by a comprehensive suite of QSC software for the Teams Rooms experience that aims collectively to simplify the integration process, enable full room control and Teams

AD-S5T system. Directivity Matched Transition (DMT) reportedly ensures a uniform frequency response between 60Hz – 20kHz (–10dB) over the 115° coverage area.

Advanced voicing filter sets using QSC Intrinsic Correction are available through the Q-Sys and CXD amplifier platform. The AcousticDesign Series includes a variety of surface-mount, pendant-mount, ceilingmount, columnar and SUB/SAT models that offer users consistent sonic characteristics.

QSC Room Solutions for Microsoft Teams has also been launched by the Californian AV manufacturer and comprises a singular package capable of delivering all AV elements of the room, including computer, audio, video and room control capabilities, certified for Teams. As a part of this offering, QSC has also announced new Microsoft Teams certified accessories for Q-Sys and a host of new Teams Rooms-related software innovations.

The new QSC Room Solutions are built around the manufacturer’s existing portfolio of Teams Rooms certified accessories, along with products from partners. Additionally,

Rooms call control onto a single device, as well as to unify the experience for the end user.

The upcoming v9.0 release of Q-Sys Designer software will include specific software components for Teams Rooms to allow for direct integration and collective control of Q-Sys and the room’s third-party devices, all from a singular Microsoft certified controller device, and has been optimised for the Logitech Tap controller. It will also add remote monitoring capabilities for QSC Room Solutions certified devices via cloud-based Q-Sys Reflect Enterprise Manager.

Other software innovations include sample room designs that adhere to Microsoft’s audio performance standards, a configuration wizard for simple room audio optimisation, a Q-Sys UCI for Teams Rooms to deliver the familiar aesthetic, commissioning tools for a Teams Rooms workflow and a Teams Rooms feature licence to enable the necessary Q-Sys user control interface deployment functionality and Q-Sys control engine. www.qsc.com

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Chauvet unleashes imagination FaitalPRO launches the three new loudspeakers THE 12HX500 from FaitalPRO comes with a neodymium magnet assembly in a dual magnet and dual gap configuration which gives it “an incredible amount of magnetic energy making it extremely linear and efficient”. The incorporated demodulation ring provides crystal clear sound with very low distortion. Power is no longer an issue thanks to the 3-inch Copper Clad Aluminium Wire (CCAW) voice coils for both drivers and the double voice coil system can withstand elevated temperature levels. The woofer section is equipped with a custom geometry cone structure designed using selected high-performance materials to minimise high-frequency breakup. The lead wires, integrated in the spider, increase reliability at high excursions while maintaining the cone integrity for a balanced performance.

The built-in compression driver incorporates FEM-optimised, titanium dome and phase plug designs. The embedded aluminium horn provides optimal directivity and conical highfrequency dispersion with a 100° coverage angle.

12HX500 The 8PR320 is a high-power 8-inch neodymium woofer which combines a FEM-optimised magnet assembly, a 2.65-inch CCAW voice coil and a lightweight moving mass. The magnet assembly keeps temperatures under control, increasing the reliability and the longevity of the loudspeaker. It incorporates a stiff, weatherproof paper cone which provides low distortion, a smooth frequency response

and high-frequency breakup control. The 8PR320 is said to give great results in bassreflex enclosures, reaching low frequencies and maintaining linearity.

The 5PR160 is a neodymium 5-inch midrange speaker with a FEM-optimised magnet assembly equipped with an aluminium demodulation ring that provides low distortion and a good transient response. The large decompression hole in the t-yoke keeps the air noise at the lowest levels and improves voice coil ventilation. The 37mm CCAW voice coil on a

Elation adds to KL series

K&F puts to sea KLING & FREITAG has announced that SWR options are now available for the Gravis, K&F Nomos and Sequenza series. This feature reportedly ensures that the products are sea-weather resistant. Special types of materials are used and the enclosures and crossovers are given special protection. This is said to make the SWR speakers the ideal choice for all sea weather locations, such as beach clubs, yachts or cruise ships.

includes the VariQ unit, to reportedly enable easy conversion from point to line source.

It has been designed for integration within architecturally demanding environments or it can be placed more prominently. Offered in black and white, the 212i is available in all colours within the RAL palette on request.

K&F has also released a new firmware version for its VIDA Systems available on

Spectra 212i

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EA A images can be seen easily, even during daylight hours.

The panel features rugged aluminium extrusion housing and is easy to install thanks to its flexible mounting options, which include adjustable brackets on each side.

Up to four strips can be suspended from a single rig point using the end brackets.

In addition to its IP65 rating, the F6 Strip IP includes panels that are convection cooled 5PR160 to optimise heat dissipation for even colour distribution. It also has a dedicated compact power supply enhanced stability over Kapton formerfor ensures a lightweight extended use.and an extended frequency moving mass response. The stiff, weatherproof paper www.chauvetprofessional.com cone combined with the M-roll surround provide “exceptional control of the highfrequency breakup and reduce distortion significantly”. The 5PR160 works well in small, bass-reflex enclosures but can be easily integrated into a multitude of control options include DMX, Art-Net and applications. sACN. It can also be controlled manually using the included encoders and OLED display, www.faitalpro.com reportedly providing instant control of intensity, colour temperature, green shift and other settings. The integration of Elation’s E-Fly wireless DMX system is said to allow for even more flexibility of use.

To complement its growing line of special effects sister company Magmatic providemachines, flexible impedance options.

Wide has unveiledreportedly a new linemeans of fluid that called dispersion users Atmosity.

Thefewer universal fluidthe hasCM-S54T been can deploy boxes – specially formulated for use in disperses at 120° x 120°, theMagmatic’s CM-S56T Magma and Thermatic haze and fogat at 110° x 110° and the CM-S58T machines, PolarThe snow machines, Rocket 100° x 100°. models are rated IP54 cryogenic simulation CO and include rigid notcheseffects insideand the other U 2 specialty effects products. bracket for users to adjust the direction of the sound. The directivity can be fixed www.elationlighting.com by hand or, for extra security, with an Allen key or screwdriver. For any alternative deployment, the 60mm pitched holes on the rear of the speakers can be used to fit the units into challenging spaces.

Pioneer reduces its size LISTENING TO feedback from installers asking for smaller speakers that can be used in a wider variety of venues, Pioneer Professional Audio has released four new units: the 10-inch CM-510ST subwoofer and the 4-inch CM-S54T, 6-inch CM-S56T and 8-inch CM-S58T surface-mount loudspeakers. The models are available in black or white and have been designed for discreet installation in a variety of spaces where reliability is crucial. Features include transformer taps for users that need a professional and adaptable fixed installation solution.

Flooding the stage with light

of control possibilities, such as DMX, RDM, Art-Net, sACN and wireless DMX. It has a slim design at 12cm high and comes with tilt angle adjustment, beam control and flexible hanging and stacking options.

With the K&F Spectra 212i, the manufacturer has expanded its existing Spectra 212 line with a new installation model. Created specifically for wall and ceiling mounting, accessories allow the fixture to be aligned to all listening planes, either singly or in a cluster. As with all the models in the Spectra series, the 212i

the manufacturer’s website. Besides some minor fixes, it contains Aux-Out presets for VIDA to match the company’s self-powered subwoofers and “take per formance to an even higher level”. A new version of the VIDA App is also available. www.kling-freitag.com

The new speakers can be controlled by Powersoft’s ArmoníaPlus 2.0 software.

This tool reportedly enables users to assemble systems in simpler, more effective ways as it eliminates the need for an external matrix and reduces the number of cable runs in many applications.

A mobile app can be used to adjust the sound in different zones.

The CM-S54T, CM-S56T and CM-S58T include a 1-inch soft dome tweeter for short-throw, high-definition high frequencies. The bass-reflex port has been constructed with ribs to ensure that air flows without distortion, maximise low frequencies and eliminate any unwanted vibrations. Built-in transformer taps

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The CM-510ST subwoofer filters out EclCyclorama unwanted mid- and high-range frequencies100 and includes the manufacturer’s newly With all the characteristics of its sibling, developed Vortex Bass Accelerator the EclCyclorama 050 is a 170W technology to deliver “pure, smoothlinear basssoft CYC aand floodlight with An RGB + warm white with quick response”. impedance of colour mixing.

8Ω is said to give high and low impedance options. Users can deploy two subwoofers on www.prolights.it one amp channel, dropping the impedance to 4Ω. The sub is packed into a 50l box that saves space and reportedly fits discreetly into any location. M8 holes mean the sub can be fixed to the floor, wall or ceiling in the location that best suits the installation and sound coverage. www.pioneerproaudio.comEclCyclorama 050

The SWR speakers

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EAW develops three-way height reduction Ayrton starts aaDomino effect AS THEDEVELOPED first fixture in new series HAVING theAyrton’s MKD1200, of LT (Long Throw) products Eastern Acoustic Works (EAW)dedicated has added to long-range Karif-LT a new three-wayapplications, model to thethe MKD Series an ultra-compact 300W LED beamof is full-range installation loudspeakers. spot. Equipped a 168mm and frontal Offering enhancedwith LF response lens offering a zoom ratio of the 17:1 and a increased output capabilities, 2.8–47° (90° x 45°; zoom range,HxV) the narrowness is MKD1294 and MKD1264 a distinguishable featureare of engineered this LED. The (60° x 45°; HxV) designs low-etendue, compact LED to high-efficiency, produce high fidelity while maintaining module delivers intense which, broadband patternan control in beam all scales of calibrated Both at 8,500K, reportedlydual application. modelscan incorporate generate metallic white light and deep, 12-inch LF transducers with 3-inch vented vividcoils colours.

Karif-LT an overall output voice together withhas coaxial 3.5-inch of 13,000 lumensand at a1.75-inch colour temperature voice coil midrange voice 7,500K and a centre-beam luminous coilofHF compression drivers. Enhancing intensity of 3.5 options, million candelas. pattern coverage the large-format include a CMY colour hornOther may features be rotated. mixing system, a multi-position CTO wheel with seven different colour correction filters, a wheel of 13 complementary colours for infinite pastel hues and saturatedFOR colours, nine interchangeable DESIGNED contemporary installations rotating HDperformance glass gobos features, and a wheel with offering price 39 fixed Karif-LT also has a glass Outline hasgobos. unveiled its smallest passive monochrome bidirectional enclosure to datemulti-position, within the Vegas series. effects wheelmodels, and a prism effectsissystem Like the larger the Vegas 4 comprising combinable rotating a point sourcefour model incorporating a prisms for creating complex effects.

Standard unique single-driver design and new 4-inch features also include lightand andmeasuring heavy transducer.

Weighing 1.6kg frost filters, a dynamic animation 120mm x 120mm x 126mm, multipleeffect with speed anddeployed fade adjustment and an Vegas 4s can be where high-fidelity electronic dimmer for perfect fades. audio is required together with minimum visual footprint. Applications include delays

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and surrounds in theatre, corporate AV, leisure, retail and houses of worship.

Providing axisymmetric 60° dispersion and operating within a frequency range ofKarif-LT 110Hz – 18kHz (±10dB), the Italian manufacturer recommends deployment of delivering 51,000 for lumens theCapable SUB 110ofcompact subwoofer fullfromapplications. a 1,000W LED source, Domino range Outline’s latest L3000 combines the output and optics of DSP-equipped miniature power amplifier Huracán-X an IP65-rated for can drive andinprocess up to 16body Vegas 4s applications.

Equipped with a oroutdoor eight Vegas 4s and two SUB 110s.

Providing flexibility of use, each Vegas 4 is

shipped with a specially designed bracket Domino for mounting on surfaces in addition to liquid-cooling system of six IP68-rated regular microphone stands. submersible fans outside its weatherproof Manufactured in Italy to an IP55 rating, each enclosure, the fixture is fitted with cabinet is available in black, white or aany one 178mm frontal lens. Itstooptical of over 200 RAL colours match system an interior uses 13 lenses, producing a Other 10:1 zoom designer’s decor specification. models available in the Vegas point source series

ratio andand a zoom range of 6–60°. The 145dB 147dB, respectively.

Audio optics deliver a uniformterminal flat beam with input is via rear-panel block no hot-spot to reproduce high-definition connectors and operation can be made in images over theorentire zoommodes. range. either passive biamped Domino with a subtractive CMY Housedcomes in Baltic birch plywood and colour mixing system combined finished in a standard black or with white, athe variable CTO and a wheel with six US manufacturer has made optional colours pasteland andweather saturated colours. customfor colours protection The framingIntegrated section allows available.

M10 accurate mounting points positioning of wall-mount each of its or four shutter and optional ceiling-mount blades across a 100% sur face area, hardware provide alternate installation while the image section includes 14 options. interchangeable HD glass gobos on two wheels. www.eaw.com The effects section contains two dynamic effects wheels with continuous movement in both directions, a CMY multilayered wheel for creating multi-coloured effects, a standard monochromatic effects wheel, a 15-blade iris diaphragm, two frost filters, CRI and TM30 optimising filters, two rotating prisms, a dynamic sparkle effect with speed and fade adjustment and an electronic dimmer.

The 52kg fixture is available in S and TC versions – the former delivers metallic white light at a colour temperature of 7,000K, while the latter is calibrated at a colour 6,000K includetemperature the 24 (dual of 4-inch), 6.5,with 10, a12CRI and greater thanwith 90 and TM30 readings.

15 together threehigh coaxial cabinets (8CX, 12CX and 15CX). www.ayrton.eu www.outline.it

Daniel drives and supports your customers. He understands sales, distribution and your solutions.

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All models in the MKD Series employ EAW Core Technology. This includes Beamwidth Matched Crossovers for eliminating polar irregularities in the crossover region and Focusing that employs DSP to refine the impulse response in the time domain. The dual woofers in the enclosures are fixed into position using a slanted mounting technique that helps to reduce the overall cabinet height while improving time coherency. Operating within a frequency response ranging from 47Hz – 20kHz, the MKD1294 and MKD1264 cabinets are also capable of producing a maximum SPL of

Behind every great business is a Daniel.

Daniel understands industry technologies and their application. He cultivates strong relationships to develop your business.

Interfacio connects professionals with world-leading pro AVL brands.

China Sales Manager

Touring, recording and installed sound.

Contact: bardy@interfacio.com www.interfacio.com Int: +44 208 986 5002 USA: 1-800 578 0144 @interfacio

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PRODUCTS

Iconyx gets longer, but no less compact RENKUS-HEINZ HAS extended the length of its Iconyx Compact series with two additional models, the Iconyx Compact 36/3-RN and the 48/3-RN. The ICC 36/3 is a 3m-long column array, while the ICC 48/3 measures 4m in length.

Both retain the series’ original compact footprint and architecturally friendly attributes. The new additions also complete the Compact Series, which was introduced to provide additional solutions for integrators in highly problematic acoustic spaces.

Both the ICC 36/3 and ICC 48/3, which offer 36 and 48 channels respectively, are constructed with fullrange, high-sensitivity treated paper cone drivers and feature an amplifier and DSP channel for each driver. The new products also offer full RHAON II beam-steering with the latest URGO beam algorithms, a movable acoustic centre, multiple beam opening angles and high-pass filtering of individual beams. The included wall-mount brackets aid mounting while staying nearly invisible behind the arrays.

Standard RN units have analogue and AES inputs.

Featuring a low profile suitable for a multitude of applications, the S Series Subwoofer line has been extended with the introduction of the SA28/SX28.

Designed to provide low-frequency response below 45Hz in conjunction with Renkus-Heinz’s full-range loudspeakers, the dual 8-inch model is available in both passive (SX28) and powered (SA28) versions. Multiple units can be arranged to create cardioid, endfire and steered low-frequency arrays.

Finished in black or white and housed in a painted plywood cabinet incorporating 16 M10 universal mounting points, the SX/SA28 can also be flown using M10 eyebolts. Recessed handles and a top-mounted pole adapter enhance por tability, while integrated rear cable channels promote discreet installations.

The SA1250 amplifier matches the power needs of the SA28. Controlled via a PC loaded with RHAON II, the SA1250 integrates DSP, including eight fully parametric EQ filters, high- and lowshelf and high- and low-pass filters, plus

JBL adds FIR tunings to AE Series JBL PROFESSIONAL has produced FIR tunings for its AE Series to optimise frequency response and phase response “to a finer degree of precision than traditionally possible with standard IIR, parameter-based filters”.

According to the manufacturer, the result is enhanced sonic quality, more consistent

coverage and improved arrayability. In addition, built-in LevelMax Limiter settings are said to protect speakers from damage due to overpowering. To cover the broad spectrum of AE Series models in their various configuration modes (passive and/or biamplified), the release contains 70 individual tuning files for use with Crown DCI-N and DCI-DA power amplifiers. In addition to new installations, these tunings can also be retrofitted into existing AE Series systems.

In other news, JBL has announced the release of EON ONE USB power cable, which is said to expand the versatility of EON ONE Compact battery-powered portable PAs by powering AKG WMS and DMS100 and DMS300 wireless systems and DigiTech and DOD guitar pedals directly from the sound system. The 1m cable features a USB-A terminal that connects to an EON ONE Compact PA and a 5.5mm power terminal that connects to external devices. Two versions are available: a 12V version powers AKG WMS wireless systems, while a 9V version powers AKG DMS100 and DMS300 wireless systems as well as DigiTech and DOD effects pedals.

The AM5212/64 from the AE Series

pro.harman.com

NEXO HAS unveiled the P15 two-way passive/active speaker, promising a combination of heritage and contemporary design 25 years after the launch of its PS15 15-inch point source cabinet.

The P15 completes the P+ Series which offers advantages of scalability, compatibility and performance to multiple market sectors. Designed for FOH and monitoring

neodymium magnet coaxial driver with a 3.5-inch voice coil. Frequency response is 57Hz – 20kHz. The P15 can be reconfigured from passive to active mode, while horn flanges are interchangeable from the standard 60° x 60° to 90° x 40° or an asymmetrical 50°–100° x 40°. Large handles mounted on each side hold a 35mm pole mount for connection of mounting accessories.

The companion sub is the new L18 compact, horn-loaded model with a highexcursion 18-inch woofer. Built around a custom-made 15mm bent plywood shell, the L18 weighs in at 50kg. It is scalable and can be used with the smaller P12 point source cabinet. The ability to fly one or two L18s above a P15 cabinet is said to offer a cost-effective alternative to a small line array configuration.

The L18 matches the output power of the NXAMP4x2mk2 controller amplifier, with processing algorithms optimising the match between the L18 maximum excursion with the NXAMP4x2mk2 output voltage capacity, producing dynamic sound without triggering the thermal limit of the driver. The NXAMP4x2mk2 also offers a dedicated minimum latency setup, compatible with the monitor setups on the P15.

The P15 and L18 are available in black and white structural paint finishes, and in Installation and Touring versions.

Nexo completes P+ Series

ICC 36/3-RN

ICC 48/3-RN

up to 358ms of delay. The SA28-RD1 and SA128-RD add Dante digital signal distribution capability, including AES67 compatibility and network redundancy. www.renkus-heinz.com

P15

SA28/SX28

applications, the P15 15-inch coaxial loudspeaker can be used with or without the new L18 subwoofer. Offering modular directivity that can be changed by the user, it features hallmarks of the P+ Series point source category, as seen in the P8, P10 and P12 models launched in the last 15 months.

The P15’s curvilinear enclosures of custom birch and poplar plywood reportedly result in robust, lightweight cabinets. Weighing 23kg and measuring 600mm x 483mm x 352mm, it delivers 139dB (passive) to 141dB (active) SPL from a purpose-designed, 15-inch

www.nexo-sa.com

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CRMS Series expands by slimming down ORIGINALLY DEVELOPED by Alcons Audio as a compact reference main/screen system or compact surround system in immersive sound-for-picture applications, the CRMS-SRIW/120 has been remodelled for use as a full-range audio system within installed audio applications. A new waveguide has allowed the Dutch innovator to minimise the cabinet depth to 100mm, allowing installation in typical 2x4 wall constructions while maintaining full projection control up to 20kHz. By using identical mid/high-frequency components for the CRMSC-SRIW/120, consistent voicing matching is realised between the screen and surround system, reportedly resulting in a wide and uniform sound stage throughout the entire listening area. The two-way, passive-filtered CRMSCSRIW/120 enclosure consists of the RBN202 pro-ribbon driver for the HF section and a vented 6.5-inch mid-bass for LF reproduction.

The HF section has a 500W peak power input enabling a 1:16 dynamic range with up to 90% less distortion from 1–20kHz. The 120° and 90° dispersions up to the highest frequencies offer a very wide and coherent direct-field coverage throughout the listening space, in addition to providing a consistent, reflected, diffuse-field response.

The LF section is tuned for a usable frequency response down to 53Hz, enabling

a smooth transition with additional LFE subwoofer systems. Signal Integrity Sensing (SIS) pre-wiring is said to ensure complete cable/connector compensation between the CRMSC-SRIW/120 and the ALC amplified loudspeaker controller. SIS significantly increases response accuracy, regardless of cable length and system impedance, courtesy of the dedicated drive engine and VHIR processing. Other features include a revolving RBN waveguide, optional cloth grille and Architect Colour Option in 180+ RAL colour schemes for in-wall or on-wall mounting.

Direct yet flexible for Danley DANLEY SOUND Labs has added the BC215 directional subwoofer and SM90 full-range utility loudspeaker to its growing portfolio.

Offering the same low-frequency directivity and horn design philosophy as its predecessors – the BC412, BC415 and BC218 – the BC215 also features multiple horn exit options, providing numerous other configurations. In stand-up configuration, the 1125mm x 1125mm x 600mm (HxWxD) dimensions of the 164kg enclosure allow it to fit below a standard 48-inch stage deck but, with a change of the horn exit, the cabinet can be laid down in horizontal mode. Stood up, the BC215 offers the most directivity and can be coupled in a pair or a quad configuration for maximum low-frequency directivity. Capable of handling 3,400W continuous and 13,600W peak power over 2Ω, the BC215 is capable of reproducing 33–180Hz output at 137dB and 143dB, respectively.

www.alconsaudio.com

KV2 launches D Series amps GLOBALLY RECOGNISED for its analogue engineering, KV2 has developed a range of D Series amplifiers featuring on-board control and diagnostics. Five new amplifiers – the ESR 3000D, ESR 2800D, ESP 2000D, SL3000D and VHD 3 – incorporate a range of topologies, including a Class-AB design for enhanced high-frequency response, a unique high-current switching topology on low frequencies and hand-wound toroidal transformers that ensure consistent power delivery.

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model. Supporting the increasing need of monitored loudspeaker systems in public spaces, the diagnostics section provides information on the temperature of heatsinks, mains voltage, real-time health checking and the output levels relative to limiting. Made in the Czech Republic, the amplifiers may be set up individually or in groups using the new KV2 Control & Diagnostics software tool, including saving and recalling presets or show files. Configuration and monitoring are accessible either via the front panel or remotely via any Windows or macOS device.

“Finally, our users can now benefit from control without compromise as well as real-time monitoring and system diagnostics – elements that are vital when running large systems,” commented KV2 Audio founder, George Krampera Sr. “Our customers no longer have to rely on third-party solutions which inevitably affect the sound.

By embracing digital technology for control where it is suited, but maintaining the fastest, highest-quality analogue electronics for the audio path where it is needed, we have developed a revolutionary hybrid solution that offers user-friendly operation while maintaining the integrity of audiophile reproduction.”

www.kv2audio.com

SM90

BC215 As the latest addition to its SM Series of full-range loudspeakers, the SM90 incorporates 12-inch and one-inch coaxial drivers that adopt Synergy Horn technology to deliver a 90° conical coverage pattern.

Multiple mounting options are available from wall, ceiling or suspension mounting to pan/tilt via threaded inserts on the rear of the cabinet when using the Adaptive Technologies MM-060 bracket. Capable of delivering flat output from 63Hz – 24kHz (–3dB) within a frequency range of 40Hz – 30kHz (–10dB), the SM90 can deliver 120dB continuous and 126dB peak output while handling 300W (continuous) power. Other features include the built-in Sentinel high-frequency protection circuitry.

Housed in a Baltic birch enclosure and finished with a polyurea coating in black or white, the 25kg loudspeaker can also be shipped in a range of custom colours. www.danleysoundlabs.com

Bluesound simply lowers the tone BLUESOUND PROFESSIONAL has designed the networkable BSW150 active subwoofer for discreet placement within boardrooms or small commercial establishments.

Based on the BluOS platform, the BSW150 can be network paired with other Bluesound Professional speakers or streamers to form a complete system. Capable of playing and distributing content through its line input, the subwoofer can also access content by streaming the local network storage via wired Ethernet or Wi-Fi. A number of streaming services including SoundMachine, Custom Channels, QSIC and internet radio stations are available.

Operating within a frequency response of 22–150Hz (–10dB), the compact 8-inch subwoofer is finished in either black or white. An integrated 150W Class-D amplifier allows the subwoofer to operate in low power standby mode and incorporates DSP parameters including EQ and crossover.

Speaker control can be managed from any

computer, iOS/Android phone or tablets in addition to the Bluesound Professional CP100 wall-mount controller and other third-party control systems. Volume, crossover and phase control parameters can be managed directly in the BluOS Controller App, while security provisions prevent unauthorised control of the system. www.bluesoundprofessional.com

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PRODUCTS

Earthworks enters the USB space Back in black DESIGNED TO enhance the quality and experience of remote working, podcasting, gaming and home recording, Earthworks has released the Icon, a studio-quality USB microphone, and the Icon Pro, a broadcastquality XLR streaming

microphone. When the pandemic hit, the Earthworks production team quickly shifted focus to help isolated remote workers feel more connected.

The manufacturer partnered with TriadOrbit to design and build a custom desktop microphone stand that ships with the Icon mics. The integrated M2-R swivel ball joint can be disconnected and remounted on any studio mic stand or boom arm.

The Icon Pro looks and feels similar to the Icon USB microphone but it is hand-tuned with an extended frequency response and the capsule has a faster Rise Time Speed of 11.67ms. The extra speed is said to make the vocals even richer, fuller and more detailed. Because it is an XLR broadcast microphone requiring 48V of phantom power, it offers extended headroom and dynamics. The Icon Pro also ships with an integrated Triad-Orbit M2-R adaptor.

Icon Pro

www.earthworksaudio.com

WITH THE quality of home capture being one of the major audio challenges as a result of the pandemic, Shure is taking its professional expertise into the home with the MV5C home office microphones, the latest in

the MOTIV series of microphones that are intended to provide clearer audio in meetings.

The MV5C is a directional microphone that features the manufacturer’s Speech Enhancement Mode to enhance the user’s voice on audio or video calls. A fully adjustable desk mount stand lets the mic be positioned close to the user’s mouth.

Setup is achieved by plugging the mic into a computer USB port; however, there are also different audio modes provided for “set it and forget it” applications. It is compatible with Mac or Windows devices by using the supplied USB-A or USB-C cables.

“With nearly everything now operating from home – TV productions, education, health and wellness, and our everyday work – we quickly realised the need for improved audio in these settings,” said John Born, senior global product manager at Shure. “The MV5C provides drastically better sound from a brand that professionals have been trusting for decades to support their biggest moments onstage. In the simplest and most concise way, you can now have the confidence that your message, presentation or story is being heard loud and clear.”

ELECTRO-VOICE HAS added a new colour option for the classic RE20 broadcast microphone.

Now over 50 years old and considered to be an industry standard in commentary and broadcasting circles, the RE20 can now be obtained in a low-reflection dark

charcoal finish. Acoustically, electrically and mechanically identical to the original, the RE20Black provides an aesthetic alternative to the iconic original finish. Its Variable-D design allows musicians and announcers to work naturally around the mic at varying distances, while ensuring full, smooth audio quality.

NEUMANN.BERLIN HAS launched the MA 1, an integrated hard/software tool for acoustic calibration and room correction, tailor-made for Neumann studio monitors. Calibration algorithms, jointly developed with the Fraunhofer Institute for Integrated Circuits (IIS),

respective acoustic problem. Depending on user preferences, the target curve can be further adjusted manually to meet individual requirements.

The software guides the user step by step through the measurements and analyses the

reportedly ensure superior monitoring quality in any environment – from acoustically untreated bedroom studios to professional control rooms.

The system consists of an individually calibrated Neumann measurement microphone and the corresponding software for Mac and PC. It is an integrated system that allows accurate adjustments since all system-inherent parameters of the monitors are taken into account. In addition, the Automatic Monitor Alignment uses calibration algorithms that generate a room-adaptive target curve and make precise adjustments to correct the

respective listening environment. The resulting correction data is stored and processed directly in the DSP-controlled monitors. The user does not have to load a plug-in and deactivate it again for audio export. After the alignment, the familiar workflow remains completely unaffected. KH 80 DSP stereo pairs can be controlled directly by the software. All other nonDSP-equipped stereo pairs in the KH series can be aligned by connecting them to the analogue outputs of the KH 750 DSP subwoofer. Owners of KH 120, KH 310 and KH 420 monitors benefit not only from an extended bass response, but also from the room correction and the phase linearisation of the analogue speakers.

www.electrovoice.com

A new era of monitoring

Moving professional to the home

MV5C

www.shure.com

www.neumann.com

Sennheiser accepts the challenge THE LATEST vocal microphone from Sennheiser, the MD 445, has been designed for operation in challenging environments, such as loud stage settings.

The model is a large diaphragm dynamic microphone with tight super-cardioid polar pattern to provide isolation from other onstage sound sources together with a high level of feedback resistance.

According to the German manufacturer, the acoustics of the MD 445 have been tailored to modern stage setups with B stages and runways in front of the PA. At the core of

the acoustic design is a newly developed voice coil made of lightweight aluminiumcopper. It is said to offer a fast transient response and a very detailed, nuanced and transparent sound that is complemented by rich mid-range and bass. The sound is described as acoustically close, intimate and open, irrespective of how loud the instrument soundscape may be.

The dynamic range is 146dB(A) and the microphone can handle sound pressure levels of up to 163dB/1kHz. The unit is housed inside a rugged enclosure

meant for life on the road. It features a metal casing and has a shock-mounted capsule to protect it from structure-borne noise. A hum compensating coil protects the microphone against electromagnetic interference. The capsule is also available with an MM 445 microphone head for use with Sennheiser wireless transmitters. www.sennheiser.com

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Taking video on the Røde THREE NEW additions to Røde Microphone’s portfolio to support mobile filmmaking have been announced – the Røde Vlogger Kits. The kits are said to

The concert goes on SAMSON’S NEW Concert 288x is a dualchannel UHF wireless microphone system that combines professional-grade audio with ease of use, making it suited to live performance, presentations, education and house of worship applications, or anywhere two wireless handled mics are required.

To facilitate simple setup, a one-touch scan function automatically selects the clearest operating frequency for the performance space, while IR sync wirelessly pairs the transmitter and receiver frequency. An RF Diversity design ensures wireless reception while tone-key and auto-mute prevent undesired noise and interference when a transmitter is off or out of range.

The CR288x fits two RF receivers into a single half-rack chassis. The receiver provides two balanced XLR outputs, one for each channel, and an unbalanced ¼-inch mixed output that

combines the signal from both channels into a single output jack. This is useful for when more microphones are needed and there are not enough inputs on a mixer. An included rackmount kit allows one or two CR288x receivers to be installed in a portable rack for gigs or in a permanent structure for large and small venues.

The Concert 288x Handheld features two CH88 handheld transmitters equipped with Samson’s Q8x dynamic microphone capsules, which offer a frequency response tailored to vocals and speech, and the supercardioid pickup pattern for when more gain before feedback is required as well as good off-axis rejection. Each can operate for up to eight hours on a pair of AA batteries.

US MANUFACTURER Audix is shipping the TM2 Integrated Acoustic Coupler for in-ear monitors (IEMs). Designed as measurement devices, the ear simulator couplers are used by IEM manufacturers during the R&D, final production and quality control stages. The TM2 incorporates the functionality of lab-type testing equipment into an integrated

compact package for live sound and studio engineers who want an effective way to test IEM per formance. Comprising precision-machined brass and aluminium components, the TM2 includes adapters to fit a wide range of IEMs, including custom moulds.

“We saw a need for a tool that didn’t really exist and, instead of waiting for

include everything needed to capture highquality video content from a smartphone in a variety of formats and comprise a Røde VideoMic tripod, phone grip, LED light and additional accessories.

The range caters to every type of smartphone. The option for iPhones includes a Røde VideoMic Me-L with a Lightning connector, while the option for Android devices features the new Røde VideoMic Me-C with a USB-C connector.

There is also a Universal Edition, which includes a Røde VideoMicro for use with smartphones that feature a 3.5mm input.

This can also be used with Lightning and USB-C equipped smartphones using a certified adaptor.

In addition to these compact microphones, each kit includes the new Røde Tripod 2, a three-position tripod with a gimbal head, the new Røde SmartGrip, an all-metal mount with rubberised grips for keeping smartphones stable and secure, and the new Røde MicroLED on-camera light, which slots onto the SmartGrip.

www.samsontech.com

Audix engineers an Integrated Acoustic Coupler for IEMs

Extra Extron

DESIGNED TO route video, audio, bidirectional control and Ethernet, the XTP II CrossPoint Series matrix series has been enhanced with the development of the CP HD 8K I/O boards. Accepting HDMI 2.1 data rates up to 40.1Gbps and enabling support of uncompressed 8K video with HDR, the HDCP 2.3-compliant boards provide input equalisation and output re-clocking in addition to connecting active HDMI cables.

The XTP II CP HD 8K I/O boards provide up to 50Gbps backplane of XTP II CrossPoint Series matrix switchers for accommodating a combination of resolutions, frame rates and colour bit depths within the HDMI 2.1 specification.

The Californian manufacturer has added a new wall plate transmitter in the form of the 4K/60 4:4:4 HDMI DTP2 T 201 D. Capable of supporting video resolutions up to 4K/60 at 4:4:4 colour sampling and HDCP 2.3 compliant, the one-gang model can transmit HDMI signals up to 100m over a shielded

Extron’s XTP systems CATx cable to other Extron DTP-enabled products. Supporting CEC pass-through and embedded HD lossless audio formats, the transmitter wall plate can be applied in point-to-point applications or with an Extron IN1800 Series presentation switcher or other DTP-enabled products.

Enabling content to be shared from computers, tablets or smartphones to a display, Extron has created the ShareLink Pro 1100 4K wired and wireless presentation system. Support for Windows 10 sharing via Miracast will soon be made available using an optional adapter without the need to download software.

can confirm the functionality of each per former’s IEMs before the show. www.audixusa.com

ShareLink Pro systems support simultaneous display of up to four devices, including an HDMIconnected device, and dynamically updates the display layout as new content is shared or removed. Wireless and wired sources with computer and video resolutions up to 4K are supported for connection to 4K displays, with the HDMI input supporting wired connections from any connected source. Extron GlobalViewer Enterprise (GVE) software allows multiple units to be managed across an enterprise or campus. Designed to display the entire screen for more fluid and easy collaboration sessions, the ShareLink Pro 1100 allows full-screen mirroring for all devices, including Mac/ Windows computers and Android/iOS tablets and smartphones. In addition, centralised management tools enable simultaneous configuration, firmware updates, management, monitoring and control of multiple units from one central location. www.extron.com

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one to come along, we just built it,” commented Audix director of US sales, Steve Young. Live monitor engineers and HOW technicians previously had no reliably consistent method to test the functionality of IEMs. With the TM2 and readily available measurement software including Rational Acoustic’s Smaar t or Studio Six Digital’s Audio Tools, engineers

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Allen & Heath extends SQ series HAVING FIRMLY established itself as a pro streaming and AV production system during 2020, the SQ range of consoles has been expanded with the addition of a new SQ MADI card. Joining the existing Dante, SLink and Waves option cards, the 64x64 channel MADI inter face is said

to unlock a host of new possibilities for integration with broadcast and recording systems, OB vans and third-par ty consoles for high-channel count feeds over coaxial cables. SQ MADI runs at either 48kHz or 96kHz, while two BNC inputs pair with two BNC outputs to allow for split or redundant

R&S continues 5G focus AS 5G technology continues to evolve, Rohde & Schwarz has introduced a new enhanced version of its Broadcast Server & Control Centre (BSCC). Building on the success of its processor, which has been used for proof-of-concept 5G Broadcast/Multicast trials in a number of regional markets, the enhanced

and protocols are implemented within the 5G Broadcast environment and include FLUTE (File Delivery over Unidirectional Transport Stream), DASH (Dynamic Adaptive Steaming over HTTP) and HLS (HTTP Live Streaming).

The German manufacturer says that a number of key factors differentiate it from

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BSCC2.0 device is able to deliver more mobile services, such as over-the-air updates and upgrades, venue casting, automotive services, e-learning, multimedia streaming on demand, public warning announcements, e-sports, e-agriculture, live casting and live commerce.

A cornerstone of 5G Broadcast is its ability to provide mobile users with access to super high-quality video content, and to this end the BSCC2.0 supports a wide range of streaming platforms. These new streaming services will become a reality as new algorithms

setups. A sync can be created from inputs or a separate BNC Wordclock dual function (in/out) for enabling the console to be operated as either master or slave in the system.

The SQ MADI card in the back of an SQ-6

www.allen-heath.com

AEQ opts for open-air architecture DESIGNED FOR on-air audio production in radio and television studios with intensive operational requirements and workflows, AEQ has engineered the Atrium digital audio mixer. Managing up to 96 motorised faders with up to eight pages for each fader, the control sur face operates independently from the Core or Audio Engine. Capable of managing up to 1,000 audio channels of local content or AoIP through one or more control sur faces, Atrium can operate up to six control sur faces from one Engine or Core over a LAN.

preconfigured, dynamically adapting their function when required.

Signal inputs and outputs together with control element processes can be distributed to other networked remote equipment via AoIP. Incorporating the latest X_CORE engine, Atrium is equipped with the capacity to develop redundancy at all levels in addition to the storage and instant recover y of snapshots, together with the convergence of physical and vir tual control elements plus automatic mixing and level adjustments. X_Core comes

rival solutions, including 3GPP Release 16 support, the integration of Transport Streams over IP (TsoIP) protocols and multi-service support.

On the transmitter side, R&S has introduced the Tx9evo. The Tx9 transmitters provide FeMBMS created on a software-based signal processing platform. This reportedly gives network operators flexibility and should prepare them for future signal processing requirements. www.rohde-schwarz.com

SSL adds new colour to Fusion LAUNCHED IN 2018 with five colours to help users add tonal character, weight and space to stereo stems, SSL has unveiled a sixth colour, already present in Fusion: a fullband LMC processor with wet/dry control.

By pushing and holding the HF Compressor button on Fusion’s front panel for 5s, users can unlock full band LMC mode. When in

audio spectrum. As the design of the HF Compressor section was based on the SSL Listen Mic Compressor circuit, it came as no surprise that this alternative mode sounded great. Two years on, it’s finally time to reveal this special audio treat to our Fusion family.”

The SSL Listen Mic Compressor – whose origins derive from the SSL 4000 series

LMC mode, the X-OVER knob turns into a Wet/Dry control, providing LMC processing with parallel control. This feature already exists in all Fusion units and no update is required.

“During the development of Fusion, we experimented and trailed many variants of the five analogue circuits,” explained Andy Jackson, studio product manager at SSL. “One variant of particular interest was an alternative mode for the HF Compressor section, making it operate across the full

consoles – was a “secret weapon” among producers and many say was the catalyst for the 1980s’ drum sound, which prominently features on tracks of the era. Originally designed to prevent overloading the return feed from a studio communications mic, the LMC’s fixed attack and release curves were soon discovered to be suitable on drums, and equally interesting on guitars, vocals and many other instruments.

For more complex productions and programming, multi-studio mode can be activated at the press of a key. By switching the control between studios, multi-control mode allows all or par t of the control functions to be managed in parallel or separately. Ease of operation is provided with touchscreens, encoders, indicators and keys that can be

with a redundant controller and power supplies for handling up to 1024x1024 audio channels. Audio input and output boards for microphones, headphones, analogue, digital AES/EBU and USB signals, multichannel AoIP Dante/ AES67/SMPTE ST2110-30, MADI links and AEQ high-speed 1,024-channel links can be modularly inser ted.

The control sur face and individual controls can be customised for operations. Classic workflows can be implemented so that each fader adopts A/B configuration, or each channel can have direct access for sending to predefined busses or two-way multiplex channels can be defined for mix-minus or N-1 channel allocations. Mixed or ver y special workflows can be configured with flexible programming of keys to act on the routing of the console. Each console operator belongs to a group of users with a list of activated permissions. www.aeq.eu

www.solidstatelogic.com

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PRODUCTS

In or out FUNCTIONING AS either an input or output, Just Add Power has introduced its 2GΩ/3G ST1 sound transceiver, an audioonly component that allows integrators to add a stereo audio source to any J+P system or extract stereo audio from an existing transmitter. The ST1 feeds stereo audio into a J+P system. Any audio source with an analogue audio out – a TV, Sonos amp, CD player, microphone and more – can be connected and played

Ax mix audio and video in new ways, such as providing clients with the ability to watch spor ting events while listening to radio commentar y, give a presentation by mixing PC video with microphone audio or even add an audio return channel. As with all models in the J+P lineup, the ST1 is said to integrate seamlessly with any generation of the company’s products.

on any receiver. As an audio output, the transceiver is repor tedly capable of playing any stereo audio content from any J+P device, while providing variable audio control. This allows users to send analogue audio from a display to the main rack without having to run an extra network cable.

By combining the transceiver with J+P transmitters and receivers in the same installation, installers have the ability to

www.justaddpower.com

Lynx Technik extends Series 5000 platform AS DEMAND for 4K content increases, broadcast and production facilities often have the requirements to implement 4K into their existing workflows, which may still use a legacy coax infrastructure. The OTR 5444 12G bidirectional quad SDI/fibre transceiver has been designed to address these requirements and preserve the full uncompressed quality of the content as it delivers uncompressed 4K signals over fibre between equipment in a broadcast facility or over long distances. The unit provides a bidirectional electrical-to-optical or opticalto-electrical conversion solution over four independent channels with support up to 12G-SDI. Up to eight modules can be supported in a standard Lynx 2U rack frame.

Optional fibre SFP sub-modules are available and are secured on the backplane allowing for card removal and hot-swapping without removing any of the modules’ rear I/O fibre connections.

The transceiver includes four bidirectional electrical interfaces, four 12G-SDI optical inputs and four 12G-SDI optical outputs.

The user can configure the card via the APPolo control software to set the signal

yellobrik switches to a new connection path when power fails. The optical switch will revert to its original connection path when power returns. The OSW 1022 can also be configured with the yelloGUI software. It can

OTR 5444

flow direction to either transmit or receive on the optical side, depending on the specific application.

The German manufacturer has also announced a new 2x2 optical switch for its yellobrik line of “throw down” bricks.

The OSW 1022 is designed to improve connectivity and security on fibre networks, serve as a fibre line emergency switch, provide restoration and reconfiguration over optical paths and route diversity as well as support to a wide range of other fibre-optic applications.

A This 2x2 optical switch selectively switches signals over optical fibres from one channel to another. It is data rate and formatindependent and provides connection paths between two fibre inputs and two fibre outputs (two pairs). The OSW 1022 can be configured in two modes: latching or nonlatching. In latching mode, it maintains its current optical connection path when power is weak or is lost. In non-latching mode, the

be used as a standalone device, individually mounted or used with the 19-inch yellobrik rack trays as part of a larger system. www.lynx-technik.com

New Dante options from Studio Technologies

Model 5482 WITH DANTE increasingly being adopted as the go-to method for interconnecting devices via Ethernet networks, Studio Technologies has released the Model 5482 Dante Bridge and also provided an update for its Model 5422 Dante Intercom Audio Engine. The Model 5482 provides a means of bridging up to 64 audio-over-Ethernet channels between LANs or Dante domains.

Each of the Model 5482’s independent interfaces offers three Gigabit Ethernet network ports, providing support for both switched and redundant Dante operation along with a separate management network connection. Each “side” of a Model 5482 can be independently configured to match the unique demands of an application. The unit allows up to 64 audio channels to pass in each direction with support for up to 24-bit

at 44.1kHz, 48kHz and 96kHz sampling rates. Sample-rate-conversion (SRC) capability ensures that audio signals with different sampling rates and timing references can be directly interconnected.

The device is compliant with the AES67 standard and supports Audinate’s Dante Domain Manager (DDM) software application.

Each of the unit’s Dante interfaces can function independently – for example, one of the network interfaces can be operated through DDM while the other remains open.

Each interface can be configured to support AES67 digital audio signals, allowing the Model 5482 to serve as a unique Dante-toAES67 bridge. The unit is housed in a rugged yet lightweight 1U enclosure with a front panel featuring LED indicator lights, a graphics display and push-button switches to observe and configure key operating parameters.

The latest update for the Model 5422 Dante Intercom Audio Engine offers several improvements, including Auto Mix functionality and three additional operating modes.

Two of the modes add Auto Mix capability for party-line intercom and summing bus (unity gain mixer) applications, while the third mode, Audio Switching, allows control of multiple Dante audio channels using high-frequency audio tones generated by a range of other Studio Technologies products.

Also improved is the ability to name Dante channels within the Model 5422, offering a superior experience when configurating the unit and establishing group, mode and channel names. Users can also more easily manage the Model 5422’s capabilities with an updated web page design and, finally, the level trim range for all Dante transmitter (output) channels has been increased to ±20dB, matching the capability of the Model 5422’s Dante receiver (input) channels. www.studio-tech.com

Model 5422

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ATTERO TECH has unveiled additions to the Axon family of network audio interfaces and Axiom family of analogue audio I/O extenders, as well as a new purpose-built network amplifier. Like the rest of the Attero Tech by QSC portfolio, these new endpoints can integrate into the Q-Sys Ecosystem with Q-Sys extensions available in Q-Sys Designer Software.

The Axon D2i is a single-gang Dante/ AES67 network audio I/O wall plate for integration of analogue devices into network audio applications. It features two XLR+1⁄4-inch TRS combo inputs for on-ramp of microphones, instruments or mixer outputs in applications where conveniently located audio connectivity is a must. It also includes an Axiom por t for integration

of Attero Tech by QSC Axiom wall plates (USB, Bluetooth or XLR) for additional I/O customisation.

The Axon DBU is a sur face-mount Dante/ AES67 network audio inter face offering bidirectional USB and stereo Bluetooth audio I/O for the Q-Sys Ecosystem. It allows users to connect their personal devices to integrate the room’s audio into their web conferencing applications (such as Microsoft Teams, Zoom and Google Meet) via USB or Bluetooth. Its compact form factor is said to maximise system design flexibility with capabilities to mount under a table or in a rack.

The Axiom AXPio audio expander includes two Flex I/O channels, allowing integrators to pair the AXPio with up to two Axiom wall plates (Axiom ML1, USB1, BT1) to integrate analogue audio devices into a room’s audio system, including QSC Business Music mixers and amplifiers. In addition, the AXPio provides RS-232 connectivity for control integration into Q-Sys. The Axiom USB1 provides bidirectional USB audio connectivity for education,

corporate or hospitality applications. With the USB1, users can inter face a device’s USB audio with the room’s audio system.

It also offers BYOD suppor t, allowing users to connect their laptops and integrate the room’s audio into web conferencing applications.

The Axiom BT1 is a bidirectional Bluetooth audio wall plate that allows users to connect consumer-grade devices to a room’s audio system for music playback or Bluetooth conference call bridging, and has been designed for education, corporate or hospitality AV systems.

Finally, the Axon DTH1620 is a Dante/ AES67 network amplifier created to suppor t high-channel, low-power applications, such as theme park rides, attractions and immersive exhibits. It offers 20W to each of its 16 channels in a compact form factor. It suppor ts both traditional passive transducers and haptic transducers for specialised audio applications. www.atterotech.com

Audient upgrades iD interfaces THE NEXT generation (mark II) of two iD audio interfaces – iD4 (MKII) and iD14 (MKII) – have been released by Audient. Making sure they are comparable with the iD44, both the iD4 (MKII) and iD14 (MKII) now provide 126dB of dynamic range on the DACs and 120dB on the ADCs, representing a step up in audio performance. As well as the improvements to the audio specs, new features have also been added. The iD14 (MKII) is completely bus powered via USB3.0 and benefits from the addition of dual headphone outputs, two extra line outputs and a USB-C connection, reportedly making collaboration, connectivity and portability that bit easier. Both models now sport a modern gun-metal finish.

The British console manufacturer has also launched Evo Control as the companion to its Evo 4 audio interface. The control

iD4 (MKII)

Evo Control

software provides control of hardware and an audio loop-back mixer and adds remote, computer control to the one-in/ two-out device. The control app is free to

download form the manufacturer’s website.

From setting and monitoring levels, muting microphones, to activating Smartgain, the Evo Control app allows users to access the

S-Series Dante 48 Systems

Networked Audio

interface’s feature set directly from their laptop. The Evo 4’s audio loop-back feature is further enhanced with the addition of the audio loop-back mixer, which enables the loop-back functionality to be configured via its own dedicated mixer software. Opening a small mixer window on a computer, users can now take audio playback from the computer, balance the levels and capture it in their recording software, or send it straight to a streaming service.

In brief, Evo by Audient has launched the Evo Start Recording Bundle, which comprises the Evo 4 audio interface, the SR1 large diaphragm condenser mic plus shockmount and the SR2000 monitoring grade headphones. www.audient.com

Including:

DMI-DANTE64@96

3 x A168D STAGE

Why not add...

DMI-KLANG Immersive Mixing

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PRODUCTS

Tascam networks with musicians RSP-1216HL

Riedel adds SmartPanel to 1200 Series RIEDEL HAS introduced a new 1U SmartPanel in the 1200 Series of intelligent intercom and control interface panels for real-time audio, video, data and communications networks.

Equipped with a single speaker and 16 hybrid-lever keys, the compact RSP-1216HL features the same full-colour, high-resolution touchscreen as the 2U RSP-1232HL model.

A unique hybrid-lever key design combines both lever- and rotary-style key styles for controlling parameters with a single key. The fully IP-centric panel incorporates the same connectivity options as its bigger app-based counterpart, with support for AES3 and SMPTE 2110-30 (AES67) connections together with GPIO, analogue or AES67 four-wire, in addition to front and rear USB connectivity.

The manufacturer has also released an update to its Bolero wireless intercom system. With a new DECT Region Japan (JDECT) setting, Bolero 2.2 supports up to 100 antennas and 60 beltpacks (over six DECT bands) in a non-interfered environment.

Improved PHS detection reportedly helps to prevent interference from mobile phone signals which share a frequency spectrum with the JDECT band. The 2.2 release also features new RF monitoring capabilities that allow users to leverage both antennas and beltpacks to scan or monitor the radio spectrum used by DECT devices. Built into antennas, a radio scanner enables period measurement of time-slot usage and identification of DECT systems in the RF space, in turn serving as

WHETHER IT’S a welcome choice or not, desktop audio recording has been big business in recent months due to countries’ various lockdowns, and so the timing was perfect for the release of Tascam’s new US-HR lineup of high-resolution desktop

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or instrument capability per input. The US-2x2HR’s MIDI in and out terminals facilitate external MIDI devices for synchronisation and control. Equipped with four XLR mic inputs, four TRS line inputs and four outputs, the US-4x4HR is geared towards

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The US-HR series

audio interfaces. Designed for use in a multitude of applications, the series comprises three models – the US-1x2HR, US-2x2HR and US-4x4HR – which all feature 24-bit/192kHz resolution, ultra-low latency with a four-sample driver buffer, HDDA mic preamplifiers with +48V phantom power and a comprehensive software suite. In addition, the USB bus-powered devices include a loop-back function with stereo/mono switch support (Windows, Mac, iOS, iPad OS), support for OBS streaming software and a USB Type-C connection with an included USB C-A cable. The enclosure’s dye-cast aluminium honeycomb design includes an upward tilt angled to make the interfaces easier to operate. The software bundle

producers working on music productions. In addition to offering mic, line or instrument capability per input, the interface also includes two headphone outputs.

On the video side, Tascam’s new BD-MP4K Blu-ray, media and network player for 4K and UHD resolution is suited to commercial installations and touring applications requiring ultra-HD image quality with up to 7.1 surround sound. The 1U player accepts a range of media and file formats from discs (Blu-ray, DVD, CD), USB flash devices, SD cards or network shares on a NAS or remote server through Gigabit Ethernet. For integrated media systems, the BD-MP4K offers both RS-232C and IP network connectivity, providing two-way control between devices with status feedback.

Bolero 2.2 The software-defined architecture of the 1200 Series SmartPanels is said to ensure longevity in the dynamic broadcast, event production and pro AV environments. With a Control Panel App and Audio Monitoring App currently in development, the 1200 Series SmartPanels are ideal for applications where space is at a premium.

an additional capacity monitor while making it easier to diagnose radio issues and plan for system expansion. Up to five Bolero beltpacks in a network space can be set to periodically monitor the radio spectrum at their locations while still operating normally. www.riedel.net

Neutrik races to Milan with Minea FOLLOWING THE development of its first Milan audio modules in 2020, Neutrik has launched Minea which is the first Milan-certified audio module. The 2x2 stream design adopts a readyto-go solution that allows manufacturers to implement Milan into single loudspeakers, amplifiers, microphones, audio embedders and de-embedders in addition to multichannel mixing desks and multi-port conferencing systems. With the development of Milan audio modules, Neutrik is offering OEM customers time- and

BD-MP4K

cost-saving benefits for developing future audio network solutions built on the Milan protocol. www.neutrik.com

includes Steinberg’s Cubase LE/Cubasis LE 3, IK Multimedia’s SampleTank 4 SE and a free, three-month subscription to Auto-Tune Unlimited.

Ideally suited for guitar and vocal recording musicians, the US-1x2HR is a one-mic, two-in/two-out USB audio interface with XLR and 1⁄4-inch TRS inputs that can be switched between line or instrument connection.

Developed more for music production, podcasts and livestreaming, the US-2x2HR is a two-in/two-out MIDI and USB interface with two XLR/TRS combo inputs offering mic, line

A firmware update for Tascam’s VS-R series video streamers/recorders is also available for download, allowing the number of concurrent RTMP streams to be increased from one to three. As a result, up to three online video platforms can be streamed using the RTMP or RTMPS protocol. With multiple RTMP streams available, the VS-R264 and VS-R265 can send one stream to the main server URL and a second to a different URL for redundancy. www.tascam.com

92 PRO AVL ASIA March–April 2021

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PRODUCTS

Lawo unveils next-gen Core engine and compact mc²36 to the compact mc²36 as well. Offering 256 processing channels at both 48kHz and 96kHz operation, DSP capacity has more than doubled. In addition, the I/O capacity has been increased to 864 channels, with local connections including three redundant IP network interfaces, 16 Lawo-grade mic/ line inputs, 16 line outputs, eight AES3 inputs and outputs, eight GPIO connections and an SFP MADI port. Powered by an A__UHD Core, the console natively

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A__UHD Core UNVEILED DURING an online launch, both the A__UHD Core Phase II audio engine and next generation mc²36 audio production console have been designed by Lawo to deliver maximum output using minimal space, weight and power requirements.

Delivering 1,024 channels of audio processing with a power consumption of 220W, the 1U A__UHD Core is the German manufacturer’s new console core for mc² consoles. Designed to operate within IP networks and manage networked devices at 48kHz and 96kHz, the A__UHD Core is a native IP device. As such, it is based fully on open standards such as ST2110-30/-31, AES67, Ravenna, Ember+ and NMOS. The software-defined hardware for the A__UHD Core’s feature set is defined purely by software to reportedly ensure future-proofed benefits. Users can tailor the capabilities of their A__UHD Core to fit individual needs and budgets, by changing features

and functionality based on permanent or temporary software licences. A “pooling” licence allows one A__UHD Core to divide its DSP power between multiple mixing surfaces, allowing either unit to power several smaller consoles with 256 channels each or one large console with 1,024 DSP channels.

Lawo’s phase two development of the A__UHD Core includes the IP Easy functionality to permit operation of network audio devices.

Features include dynamic resource allocation that allows any mc² surface to be allocated to any networked A__UHD Core, and complete network interface redundancy. Eight front-panel ports are split into four SFP network interfaces to provide dual, independent IP network connections.

ST2022-7 Class-C Seamless Protection Switching (SPS) with extended buffer size operates on WAN in addition to LAN, with each SFP interface receiving a total of 128 Tx and Rx streams providing 512 audio

An mc236 with 32 faders channels. A second A__UHD Core with a redundancy licence can be deployed locally as a 1+1 hot spare device mirroring the active device and taking over if needed, and the redundant power supply units are hotswappable.

The new mc²36 mixer doubles the DSP channel count of the original, introducing a compact 16-fader version to give the smallest mc² footprint to date. Following recent redesigns of the mc²96 and mc²56 consoles, the latest technology has been introduced

supports ST2110, AES67, Ravenna and Ember+. Other features include ButtonGlow, touch-sensitive rotary controls, colour TFT fader-strip displays, LiveView video thumbnails, 21.5-inch HD touchscreen controls, loudness control compliant with ITU 1770 (EBU/R128 or ATSC/A85) standard, remote desktop integration for recording systems and effects engines, and Waves plug-in integration. www.lawo.com

Switched, extended and tagged by Kramer DESIGNED FOR applications such as conference and meeting rooms that use a room camera and soundbar extension, the PT-2UT/R-KIT is an extended-reach Cat extender kit for USB 2.0, RS-232 and audio signals and two-way powering over twisted pair. A transmitter converts the USB input signal into a Cat signal and a receiver converts the transmitted Cat signal into a USB signal. The kit promotes extended-reach Cat signals and two-way power over twisted pair copper infrastructures. A local USB host is auto-connected to remote-connected USB devices using interrupt, bulk or isochronous USB 2.0 standard data transfer communication. A variety of USB peripheral devices can be extended, including cameras, touchscreens and audio devices, while fast USB charging of peripheral devices is achieved when the receiver is powered.

Kramer is shipping the VS-211X and VS-411X 2x1 and 4x1 automatic switchers for 4K HDR and HDMI video signal operations. Offering priority and last-connected switching options, it automatically switches according to the selected switching scheme based on active video signal detection. Suppor ting up to 32 channels of uncompressed stereo signals for surround-sound applications, the auto switcher can be overridden at the press of a button to manual mode. Plug-and-play operation

PT-2UT/R-KIT for HDMI source and display systems is promoted cour tesy of I-EDIDPro Kramer Intelligent EDID Processing, which incorporates Intelligent EDID handling, processing, locking and pass-through algorithms. The digital audio signal passing through to the HDMI output is de-embedded, conver ted to an analogue signal and transmitted to the stereo unbalanced analogue audio output.

Audio can be output to locally connected

VS-211X

speakers in parallel to speakers connected to the AV acceptor device.

Local buttons or remotely connected contact-closure buttons ensure flexible user input selection and switching control, while status LED indicators for HDMI por ts facilitate local maintenance and troubleshooting. The compact DigiTOOLS fanless enclosure promotes table mounting or three units in a 1U rack space with a recommended rack adapter.

The Corona Tag is a compact, wearable device designed to eliminate the need for site-wide shutdowns in case of a Covid-19 infection in workplaces, schools and public venues. Corona Tag monitors social distancing by tracking the distance and exposure time between tags using low-energy Bluetooth signals. It operates automatically when worn and stays active for months without any recharging requirements. No personal data such as names and locations visited is stored in the tags as the only information recorded is other tags’ physical Mac address and the time spent together in proximity. Retrieving the information from the tags can be done only by a certified administrator via a specially designated USB cable. As the device does not require external hardware, third-party technologies or communication signals, mobile phones or connections such as GPRS, Wi-Fi or GPS are not required. When someone tests positive for Covid-19, an approved company administrator uses the MAC address to access information about all the tags that have come into contact with that person over the last two weeks, so that only the people who are at risk of infection can be notified to take the correct precautions. Corona Tag can be attached to a lanyard and comes in multiple colour options, while customised logo additions are available to suit corporate branding and identities. www.kramerav.com

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PRODUCTS

Uniform gain across all frequencies

12

THE CLEARONE BMA 360 has been designed to be a truly wideband, frequency invariant beamforming microphone array ceiling tile with uniform gain response across all frequency bands. With FiBeam technology, conference participants will experience

the need for per-beam processing in a DSP mixer. Built-in amplifiers, configurable as 4x 15W or 2x 30W, provide flexibility for driving loudspeakers. The BMA 360 also supports daisy-chaining of up to three ceiling tiles via P-Link for divisible rooms or larger conference

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“natural and full fidelity audio” across all beams and within a single beam. Deep sidelobe beamforming, DsBeam, provides maximum sidelobe depth, below –40dB, and is said to result in rejection of reverberation and noise in difficult spaces.

The BMA 360 is based on a new approach to beamforming that provides a new beam topology to reportedly achieve distortion-free, full 360° coverage of any room shape and any seating arrangement using ClearOne Audio Intelligence. Further advancements in adaptive steering provide coverage of each conference participant as well as support for camera tracking.

In addition to the advancements in beamforming technology, the 6G Acoustic Echo Cancellation (AEC) reportedly delivers unmatched per-beam full-duplex audio performance. On-board audio algorithms, such as noise reduction, filtering and Automatic Level Control, are said to eliminate

setups. Available in three ceiling grid sizes – 24 inches, 600mm and 625mm – the BMA 360 incorporates a VESA-standard hole pattern for pole mounting.

Convergence AV Network Manager software also now supports the BMA 360. According to the manufacturer, Convergence has been upgraded to increase its database connection pool to an unlimited number of ClearOne devices and users on a single network.

In other news, the US manufacturer has released its newest Conference Controller.

The 10-inch touchscreen has been designed for easy control of Converge Pro 2 audio DSP mixers as well as Collaborate Live video conferencing room systems from a single device. The Conference Controller functions can also be accessed from a personal mobile device, eliminating the need for touching shared surfaces by downloading the free mobile apps.

Crestron adds AVoIP bridging to DM NVX DESCRIBED BY Crestron as the first AVoIP bridging technology that enables tight integration for standards-based HDBaseT solutions or the expansion of an existing room system for broader distribution, the DM-NVX-E760 features support for Crestron DigitalMedia technology, including DM matrix switchers, all-in-one DMPS systems and DM Lite transmitters. Offering a single-wire solution for power, audio and video, it can be powered through a supplied power pack, PoE+, 802.3bt or UPoE. For customers that have invested in DigitalMedia or other HDBaseT solutions, the DM-NVX-E760 reportedly provides the ability to continue to leverage those investments while still taking advantage of everything AVoIP provides, such as room overflow capability and global source distribution.

The manufacturer has also announced that its 70 Series Scheduling Panels have been integrated with Microsoft Teams.

The partnership brings Teams meeting scheduling functionality to panel displays.

The Crestron Scheduling Panels provide in-office employees with the ability to manage and monitor room availability and capacity using enterprise tools and software that they’re already familiar with, such as Microsoft Exchange and the Teams Admin Center. Employees use Teams panels to view meeting room details, reserve a space, view upcoming reservations and identify the current availability of a room. Designed to be mounted outside the meeting room, the Crestron Scheduling Panel displays data from inside the room to the people approaching the room, avoiding issues before they arise. Network-based occupancy sensors provide data to notify employees when a room is at capacity or automatically release the space if no one shows up.

DESIGNED TO offer flexibility, independence and mobility in meeting experiences, the Arthur Holm Dynamic4 is a fully integrated meeting solution requiring only power and an internet connection. Composed of four high-resolution screens, four cameras, two integrated loudspeakers and array microphones, a CPU, USB power and HDMI inputs, Dynamic4 allows users to connect wirelessly or by cable and is ideal for conference calls.

for loading a platform such as Skype, Teams or Zoom.

Dynamic4 can either be integrated into a personal table or one ordered from the Spanish manufacturer with a customised finish to match the office interior. It can also be integrated into a flightcase for pop-up meetings. Four high-resolution monitors appear smoothly from inside the table interior in an upright, streamlined motion. The mechanism then groups the monitors in a practical square

www.crestron.com

Arthur Holm tables Dynamic4

Dynamic4 Capable of adapting to various table shapes with any number of users, flexibility is a key feature in transforming a room into a dynamic collaboration space. Screen movements can be stored within the unit, allowing users to return to their preferred settings. Switching between the four inputs is internally stored inside the unit and a built-in CPU allows connection to a server

or diamond shape, before rotating them to the ideal user position. The monitors are activated by push buttons, RS-422, GPI or the wireless AHlink App. Two motorised covers open downwards to allow the lifting platform elevation, which provides access to the complete tabletop multimedia system.

www.clearone.com

Sommer patching cable feels the flex THE LATEST cable release from German manufacturer Sommer is a flexible Cat-6a 10Gbit patch cable named the SCMERCATOR CAT.6a highflex. The new model has an external diameter of just 6mm and also boasts a very small bending radius of 20mm, making it ideally suited to bending its way through patch panels, data cabinets and touring racks. Despite this flexibility, Sommer promises that the cable remains sturdy due to its robust PVC jacket, plus S/FTP design with a braided shield and AL/PT foil screen around the 4x2xAWG26/7 wire pairs. The overall construction has been guaranteed to meet Cat-6a performance up to 500MHz. The standardised, ready-made C6AFU patch cable comes with ultra-compact

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25mm short RJ45 connectors and 50mm transparent shrinking tubes for individual labelling. The Neutrik NE8MX/NE8MX-B etherCON cable plug protection can be retrofitted anytime. www.sommercable.com

www.arthurholm.com

94 PRO AVL ASIA March–April 2021

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PRODUCTS

12G-SDI standards from Tasker Q-Sys control options for Clockaudio’s TIM-1000

THE TSK1078 LSZH is a double-shielded coax with dimensions of 0.8/3.5/7mm for applications up to 59m. It is available with a PUR sheath and is resistant to flame, UV, oil, water, chemicals and atmospheric agents.

In addition to being halogen free, it can be installed in water up to 50m in depth and is suitable for cold and hot applications between –40°C and +80°C. Both versions can be equipped with an external metal armour braid

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The TSK1079 CPR Cca s1a-d0-a1 comes with CPR homologation for distances up to 72m.

Other 12G-SDI products include the TSK1091 series, which offers six different combinations of coaxial cables and DMX audio, with between one and four conductors, while the TSK1070 LSZH supplies 3x2.5mm² power. A LAN cable Cat-7 S/FTP is also available.

The T42 has a 26/7 AWG (0.8mm) stranded formation in OFC red copper, with dielectric gas-injected PE of 4.8mm and a double OFC tinned copper braid with a coverage of 89% and 86%, respectively. The sheath is available in PUR or soft PVC. The T42 PUR is suitable for installations on professional cable reels for broadcast but also for a drag chain, with efficiency tests performed at 500,000 cycles with a maximum speed of 3.3m/s and maximum acceleration of 4m/s². The T42 is able to work at the frequencies imposed by the latest SMPTE standards, such as 12G-SDI up to 60m.

Emulating a classic WAVES HAS started shipping the Abbey Road RS124 compressor, a digital replication of the infamous Abbey Road RS124, known for its “silky-smooth” compression, and the only RS124 software emulation to be approved by Abbey Road. The Waves Abbey Road plug-in features two distinct RS124 flavours modelled from the original hardware, Studio and Cutter.

Studio models RS124 serial no. 60070B – a favourite unit used for tracking at Abbey Road from the late 1950s into the 1960s, due to its faster attack and release times. This is the more aggressive sound of the RS124 and creates a “squashed” sound on transients.

Cutter is a modification with slower attack and release times. The slower RS124s were favoured for studio reduction mixes and in Abbey Road’s cutting rooms during the 1960s. The more relaxed attack made these units suitable and more forgiving for bus compression and mastering purposes.

Both models include the “Super Fuse” mode that matches release time to attack time, creating a compression character that sounds like it’s “fighting against itself”.

www.tasker.it

Abbey Road RS124 The CLA Epic plug-in has been designed with Grammy-award-winning mix engineer, Chris Lord-Alge. The plug-in features Lord-Alge’s four go-to delays (Slap, Throw, Tape, Crowd) and four go-to reverbs (Plate, Room, Hall, Space). These modules are each based on his favourite studio gear, which he uses in various combinations in every one of his mixes. Whether used on vocals, drums or other instruments, CLA Epic “opens the gate to more depth in mixes and productions”.

CLOCKAUDIO HAS announced the availability of a new QSC Q-Sys Ecosystem Control plug-in for its Trackable Intelligent Microphone (TIM-1000) which enables the dynamic features of the TIM-1000 to be controlled through the Q-Sys software-based audio, video and control ecosystem. This plug-in will be available through the Asset Manager portal within the Q-Sys Designer Software.

The addition of the Q-Sys plug-in simplifies integration of the TIM-1000 into Q-Sys and enhances the setting controls for the TIM-1000, providing users with additional visual cues and performance options for the microphone. These cues can be customised to specific colours or can be programmed to let meeting attendees know when a mic is muted or in an alternate state. It can also be programmed to signal specific events, such as when a phone is ringing or to remind attendees that a meeting is coming to an end. Facilitation of the control programming

and interface for the new plug-in was done by control programming and software development experts, Control Concepts. www.clockaudio.com

Y7 reverb added for Rivage

YAMAHA HAS teamed up with Bricasti Design on the creation of a premium reverb for Rivage PM Series digital mixing consoles.

As a manufacturer of hand-crafted, hardware digital reverbs, Bricasti is best known for its M7 rackmount reverb unit. The new Y7 reverb, available as part of the V4.7 firmware, is said to bring the highest level of expressiveness to Rivage PM users.

“All Yamaha mixers are built on the philosophy of allowing engineers to capture the onstage sound accurately, without colouration,” explained Yamaha group manager, PA marketing and sales group, Motome Tanaka. “Plug-ins play a vital role in allowing engineers to take this transparent sound and apply their artistry to the mix. High-

quality reverb is one of the most important tools to achieve this and we are confident that the Y7 will become a key part of the creative expression for many sound engineers.”

Alongside the release of the Y7, the manufacturer has released firmware version 5.6 for its CL and QL digital mixers series, which introduces support for Neutrik’s NA2-IO-DPRO Dante interface, a small I/O solution that reportedly adds more flexibility in a network setup for line, mic and AES signals.

Additionally, support is now offered for NEXO’s NXAMP4x4MK2 and Yamaha’s PC Series controls, allowing for more flexible system construction. www.yamahaproaudio.com

www.waves.com

Soundscape snaps into place D&B AUDIOTECHNIK has partnered with Gareth Owen Sound on the launch of En-Snap, cue automation software that aids in the creation of immersive mixes in Soundscape.

The German manufacturer has been working with the renowned sound designer and his team to bring the En-Snap tool free of charge to registered Soundscape users.

En-Snap enables cue-based control within the d&b Soundscape environment. The software tool connects directly to the d&b DS100 Signal Engine and, with a single click, stores the parameter values of all 64 sound objects and any En-Space room emulation

setting as an En-Snap cue. User-specified transition time and recall safe functions in every cue reportedly ensure seamless user options for scenes and applications.

En-Snap sound cues can be manually operated as well as integrated into automated production workflows, by cue recall, via OSC and MIDI timecode for up to two DS100s simultaneously. The software is described as an important creative tool for projects of any size, from musical theatre to live concerts and corporate events. www.dbaudio.com

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PRODUCTS

Listen Everywhere gets confidential

No spider for Celestion’s work on the web SERVING AS a portal to the company’s powerful horn design software, Celestion has created a desktop and mobile app.

HornWizard introduces systems engineers to Celestion’s horn design capabilities such as testing a basic concept design or determining whether a particular horn specification can work in practice. In the app, users can verify designs, adjust them with different parameters and then view the results.

Created as a WPA (Web Progressive App), HornWizard can be applied on both desktop and mobile devices. Acting as a portal, input parameters are processed by the in-house software and the results are returned to the app interface. The UK manufacturer stresses that HornWizard is not a complete horn simulator but uses a simplified method to produce a close estimate of directivity and frequency response.

The SpeakerMix Pro plug-in is a digital speaker solution that captures and mixes Impulse Responses (IRs) and Dynamic Speaker Responses (DSRs) in the creation of realistic guitar speaker tones in a DAW. The self-contained, studio-grade DAW plug-in adds

The HornWizard app detail and realism to guitar and bass speaker tone. In addition to being an IR loader and convolution engine for hosting IRs, it mixes up to six channels of different IRs into a stereo or mono track and fixes IR sample rate and project mismatches. Additionally, as the host program for Celestion DSRs, SpeakerMix Pro is said to present a next-generation virtual speaker solution.

SpeakerMix Pro is available for VST-, AU- and AAX-compatible DAWs. www.celestion.com

Symetrix In Control FOLLOWING THE release of the T-5 glass touchscreen remote and the W Series IP, the addition of Lua Scripting in Symetrix Composer 8.0 software now completes the Symetrix In Control Solution. The high-resolution T-5 touchscreen provides access to custom SymVue control screens specifically created for a system in either a desktop or wall-mounted configuration.

Programming for a restaurant begins by adding a Symetrix T-5 touchscreen to a design file where an interface for the bar zone with selector and volume control can be created. A second screen can be created for the patio area, then they are linked together and exported to the T-5 as a SymVue screen. Custom Intelligent Modules for Symetrix Composer 8.0 can be created in Lua scripting for tasks ranging from muting a fire alarm system to changing

camera positions based on detected audio levels in a council chamber.

ARC-WEB is a virtual user interface that can be used to control presets for volume, mute and source selection on a smartphone, tablet or PC as a standalone primary control system or as an addition to other Symetrix control hardware. The webbased event scheduler is a free addition to the Control Server, allowing access to events and scheduled presets by time and day, providing a way to automate routing, source selection and volume for daily changes, special events or other automated configuration changes. The scheduler is accessible from the Control Server using any web browser on a connected smartphone, tablet or PC.

AS PART of a firmware upgrade to Listen Everywhere, Listen Technologies has launched a private channels feature so that venues can create confidential, password-protected audio channels on their networks. Listen Everywhere private channels have been designed for conference rooms, courtrooms and boardrooms where confidentiality may be necessary. In academic environments, administrators can create a private audio channel for closed classes or study groups. Venues can also use the private channels feature to offer members and guests access to premium content.

For example, they could offer VIP ticket holders at drive-in sporting or theatre events exclusive access to behind-the-scenes commentary.

Venue administrators, professors or IT personnel can select any or all channels on their networks to mark private, and generate passwords directly from their smartphones through the new administrator section of the mobile app. Passwords can be communicated to the intended recipients in any manner that meets a venue’s security protocol and needs, for example email, text, website or signage in the room. When listeners want to stream a channel that is designated as private, they are prompted for a password and must enter the correct

G

password to hear the audio on their own iOS and Android devices.

Additional features include a new app administrator section on the mobile app that allows for password management by venue managers and administrators. This is compatible with iOS and Android devices. The private channels feature is also flexible so administrators can set up channels as public, private or any combination. www.listentech.com

CODA puts System Optimiser to the test CODA AUDIO has made available the latest public beta version of its proprietary prediction software, System Optimiser. The major beta v0.5 update provides integration with other 3D design software, including Trimble, SketchUp and Flux. Notable additions include XYZ support for free planes, a redesigned floorplan editor, multiple new features in microphones and an added screenshot export feature.

The System Optimiser provides an accurate simulation of several CODA Audio loudspeakers in any 3D Scene ranging in scale from a small gathering to a stadium production. According to the manufacturer, in creating proposals for clients, SPL Pressure mapping is presented in “incredible detail”.

In busy environments where workflow is tantamount to accuracy, bespoke tools are provided to fully enable the systems designer.

Computationally intensive operations have been optimised to deliver results in seconds, while

predictions are based on real-world, electroacoustic measurements using multifaceted multipole expansions. Providing further accuracy, an atmospheric model takes temperature, dewpoint, humidity and altitude into account.

Complex response functions are grouped using continuous phase techniques, reportedly resulting in authentic free-field predictions.

The layout tool can be used to place loudspeakers in a multitude of shapes and arrangements, while the template engine manages entities within the layout system.

Line array angles can be created using probes, which are a smart extension of measurement microphones and can be placed anywhere within the 3D scene. Link Groups define how line arrays are connected and allow electronic filters to be applied to correct for distance and splay angle. www.codaaudio.com

www.symetrix.co

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PRODUCTS

Genelec unveils GLM 4 GENELEC HAS announced a major free upgrade to its GLM software for audio monitor system setup, calibration and control. GLM 4 now provides users of Genelec Smart Active Monitors with the added benefits of macOS Catalina compatibility and a new user interface among other features. By minimising the room’s distractive acoustic influence on the sound quality, GLM 4 seeks to provide a more truthful sonic reference wherever the user chooses to work.

Integrating with the intelligent DSP hardware within each Smart Active Monitor, GLM 4 networks, configures and individually calibrates each monitor and subwoofer within a specific acoustic environment. GLM’s reference microphone kit allows the user’s room acoustics to be accurately analysed, after which GLM’s AutoCal feature automatically optimises each monitor and subwoofer for level, distance delay, subwoofer crossover phase and room response equalisation. At that point, a range of other options are available for further manual adjustment.

Compatible with Windows and macOS, including 10.15 Catalina, GLM 4 comes with a new user interface that was designed for intuitive navigation. Created in conjunction with leading industrial designer Harri Koskinen, a hexagonal design also supports the idea of natural growth. This intends to create a sense of developing personal

listening skills thereby allowing a monitoring system to easily expand from mono to complex immersive as needs evolve.

Other features include dedicated setup and control functions for immersive monitoring in addition to compatibility with an increasing number of audio monitoring standards in international mastering, broadcast, OTT and film. GLM 4 supports Cloud-based and local storage of settings for complete mobility. A Cloud helpdesk is permanently on hand to

provide remote consultancy via a team of dedicated Genelec audio experts.

Regarded by the company as being the most advanced, flexible and cost-effective room calibration system on the market, GLM 4 supports scalable systems from mono and stereo to more than 80 channels of immersive reproduction. Users can switch between monitor setups without having to use added DAW outputs or further invest in external hardware.

Designed to avoid switching between “record” and “mix” modes, GLM 4 users can benefit from fixed and low-latency performance without having to bypass any monitoring software sitting on the master audio bus. Once calibrated, GLM 4 settings can also be stored within the monitor or subwoofer itself, thus avoiding the possibility of accidental changes. www.genelec.com

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CEDAR unwraps latest update CEDAR AUDIO has unveiled its Unwrap module for CEDAR Cambridge, a process that reportedly makes unusable audio clear and intelligible. The manufacturer has been investigating the problem of sample wrapping – a form of clipping distortion where, instead of being flattened at the maximum and minimum amplitudes of the audio format used, samples appear with the right shape but at the wrong amplitude. Although rare, this was being encountered on digital audio recordings made using devices ranging from small, handheld units such as interview recorders to the large, professional recorders used in the film and broadcast industries, and the consequence was a loud and aggressive form of distortion that could totally obliterate the wanted signal and render the audio completely useless. With Unwrap, CEDAR has developed an algorithm

to identify and correct sample wrapping distortion. If further problems exist, these can then be addressed using additional CEDAR processes, such as broadband noise reduction, crackle and hum removal.

In other news, the manufacturer has announced the availability of CEDAR Studio 9 for Mac, the latest version of its

audio processing and restoration suite for AAX Native, VST2, VST3 and AU formats, which is compatible with all Intel-based Macs. CEDAR Studio 9 for Mac is also compatible with all previous Mac operating systems from OS X 10.12 (Sierra) through to macOS 10.15 (Catalina). Among other algorithmic improvements, it includes a

new version of Retouch with its machinelearning Matching and AI-driven Repair capabilities. Four CEDAR Studio 9 packages are available: DNS, Restore, Retouch and Complete. CEDAR Studio 9 for Mac is AAX Native compatible on Pro Tools v11, v12 (32- and 64-bit), 2018, 2019, 2020 (64-bit only), as well as VST2, VST3 and AU. Retouch is also supplied as a standalone application. Customers who licensed CEDAR Studio 7 or CEDAR Studio 8 on or after 1 April 2018 are eligible for a free upgrade to CEDAR Studio 9.

In brief, for users running CEDAR Trinity Enhance on Macs, the company has launched CEDAR Trinity Enhance v1.1, which is compatible with macOS 11 Big Sur as well as OS X 10.12 (Sierra) through to macOS 10.15 (Catalina). www.cedaraudio.com

Epson heads to the classroom Christie combines security and performance CHRISTIE HAS announced the next generation of its Secure Series. The Secure Series II includes multi-source viewing without a processor and is available in five sizes, ranging from 55–98 inches. The hallmark of the Secure Series is non-RF video transmission, critical for facilities like government and military, as well as any application that requires onscreen content

EB-L200F THE EB-L200 laser projector series – featuring the EB-L200F, EB-L200W, and EB-L200X – have been unveiled by Epson as its first affordable laser light source lineup for schools and offices who are looking for an efficient projection solution for classrooms and meeting rooms. The models cater to a wide range of resolutions – from XGA, WXGA to Full HD – and use three separate liquid crystal panels to process each primary colour (red, green and blue) simultaneously. The colour beams are then recombined in a prism before being projected as a complete image, eliminating the “rainbow effect” commonly seen in single-chip processors.

Combined with a colour and white light output of up to 4,500 lumens and display

to be secure from external interference. The Secure Series II is ADA and TAA compliant and features an OPS slot, a smaller bezel and DICOM simulation mode for advanced greyscale reproduction and the analysis of x-rays and medical scans for training purposes. www.christiedigital.com

size of up to 500 inches, the EB-L200 units reportedly ensure that all participants in the classroom or meeting room can enjoy vibrant, natural-looking projections in greater detail, especially now that social distancing measures are being observed. Built-in Wi-Fi and Miracast support allow classroom or meeting participants to share content from any smart device, and users can benefit from the split screen feature, which allows content to be projected from up to four different displays in one screen. The projectors boast a longer life cycle of up to 20,000 maintenance-free hours compared to lamp projectors. www.epson.com

Roland gets in the game DESCRIBED AS an affordable solution for bringing professional relay capabilities to any live production environment, Roland has debuted the P-20HD Video Instant Replayer.

The device enables a single operator to cue up replays of action, either on a streaming feed or live event screens in the venue, making it ideal for school sports, coaches, trainers and e-sports. Recording directly to high-capacity SD cards, action can be replayed in forward, reverse or slow motion, stepped through frame by frame or frozen for detailed analysis. The production is continuously recorded in the background during replays, with no gaps in the action.

With the ability to function on its own, or the upstream or downstream of any Roland video

switcher, the P-20HD features a front panel comprising an array of dedicated hardware controls for a hands-on operation. Transport buttons include play, pause, forward, rewind, mark in and mark out. A jog/shuttle wheel with optical encoding provides precise control to scrub clips for replay and editing, while the T-bar directly adjusts playback speed. A Speed Range function offers fine control to aid with focusing in on tight action and contested plays.

In recording view, the P-20HD’s on-board colour LCD display screen shows the current video input, plus critical SD card information like recording duration, remaining storage

space and available time. In playback view, users can display cropped previews of all video clips for live replay or later compilation.

After the action is over, the media playlist builder aggregates clips into curated pro videos, letting users celebrate the best moments of a game on social media or distribute practice and training sessions to coaches and players for evaluation. The P-20HD natively records in the universal H.264 format. Users can connect two video sources via HDMI and switch/composite between them for replay capture. proav.roland.com

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Capture, stream, switch

Fairlight mixes multiple tracks

THE UC9040 StreamLIVE Pro from ATEN Technology, a more advanced version of its forerunner, the UC9020, allows users to capture, stream and switch between two Full HD video inputs over the internet and create multi-camera setups that reportedly take video production to the next level. It offers users an all-in-one, four-port HDMI AV mixer, containing direct streaming, direct recording and scene-based switching capabilities.

The UC9040 also uses the ATEN OnAir app to turn an iPad into a touch interface for controlling, preview monitoring, real-time editing and arranging multielements into programme mixing, helping to reduce the complexity of a user’s livestreaming setup, equipment and cabling. The app includes DVE (Digital Video Effects) and a built-in graphics editor to make a user’s iPad a personal video editing suite. Videos can be combined, cropped and scaled to make PnP, PbP or split layouts.

Transparent PNG images and backgrounds can be added from an iPad photo library, as well as title overlays with professional-looking effects.

The UC9040 integrates 1080p video capture, video recorder, video switch, streaming encoder, video converter, video splitter and audio mixer.

BLACKMAGIC DESIGN has unveiled its new Fairlight desktop console, a portable audio control surface featuring 12 touch-sensitive flying faders, built-in LCDs above each channel strip for pan and effects control, and full automation control. It also features an HDMI interface for connecting a monitor to view an expanded graphical interface with audio status and metering. The manufacturer describes the console as a complete audio mixing control surface for

It is reportedly compatible with every major platform and can livestream to two platforms at the same time, such as Facebook, YouTube, Vimeo, Livestream or any custom RTMP destination. The device is plug and play, so computers, monitors or complicated setups or software settings are not required. A built-in encoder and streaming server mean users only need to connect to their video sources and network.

graphics user interface with channel status and full audio level metering. The interface lets customers use their own HDMI monitor with Fairlight 2, 3, 4 or 5 bay studio consoles for direct visual feedback. It works by converting the console’s Ethernet data into HDMI and SDI, making it compatible with other computer displays or broadcast monitors.

In other news, DaVinci Resolve 17 comes with over 100 new features and 200 improvements. The colour

Fairlight desktop console

www.aten.com

Marshall adds 4K PTZ models TWO NDI 4K PTZ camera models have been added to Marshall Electronics’ lineup: the CV730-NDI and CV630-NDI. The CV730-NDI features 4K60 over simultaneous 12G-SDI, HDMI 2.0 and NDI | HX with up to 3840x2160p UHD resolution at 60fps.

The CV630-NDI features up to 3840x2160p UHD resolution at 30fps with 3G-SDI, HDMI and NDI | HX. Both models contain an extended 30x optical zoom range wrapped around a high-performing Sony broadcast sensor – the CV730 starts at a 65° angle-of-view and the CV630 starts at a 70° angle-of-view all the way out to 200mm, allowing operators to pull long shots closer with an extended zoom range. The cameras boast a flexible 340° horizontal pan range with 120° vertical tilt, giving them a wide range of movement when capturing high-quality UHD or HD video.

Meanwhile, the ML-454 Quad 4.5-inch rack monitor features four high-resolution screens in only two rack units. It supports a range of inputs including HDMI, 3G-SDI and composite. Both SDI and composite inputs have active loop through with independent tallies and controls on each screen. The

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DaVinci Resolve 17

CV730-NDI monitor also features front-panel access to functions, such as aspect ratio, marker and backlight level. The ML-454’s four 1280x800 pixel LCD screens are mounted in a tilting design that reportedly allows users to achieve the best viewing angle even at the top of a tall rack. Adjustable backlight accommodates indoor or outdoor applications. The monitor is ideal for a range of remote applications such as houses of worship or any other type of production that has a variety of sources. www.marshall-usa.com

mixing multiple tracks at once, automating a variety of parameters and plug-in settings, controlling channel functions, recording, monitoring and navigation.

Features include precision control knobs and illuminated buttons for quickly identifying channels. Customers can use the knobs and buttons to control channel parameters, EQ, dynamics and plug-ins.

The built-in HDMI output lets users connect a display, giving them the same interactive graphical feedback as larger consoles. The sculpted faders are described as smooth and are said to provide the perfect amount of resistance for making subtle adjustments. Individual LCDs display track information for each channel.

The Fairlight HDMI monitor interface has also been launched. It lets customers use any HDMI or SDI television or computer monitor with the large Fairlight studio consoles. For users who like to customise their large audio consoles and even design their own custom desks and studio furniture, this converter will reportedly allow them to use any display to get a real-time Fairlight

page features new HDR grading tools, redesigned primary controls and an AI-based magic mask. Editors get a metadata slate view with bin dividers, zoomed waveforms for audio trimming, smart reframing, a unified inspector and dozens of other time-saving tools. In addition, compositions created in Fusion can now be used as an effect, title or transition on the edit and cut pages.

Power Window drawing has been improved and features new split screen wipe options, an additional Sat vs Lum curve, improved scopes and support for 17-point 3D LUTs. Other features include an HDR grading palette which lets customers create new colour wheels with custom rolloff for specific tonal ranges; a mesh-based warping tool so that two colour parameters can be adjusted at once; a new transient analysis tool which automatically detects individual words, beats or sound effects; and new features for the cut page to help users finish projects even faster. www.blackmagicdesign.com

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XR events are brought to life MODULO PI has announced the addition of Extended Reality (XR) capabilities to the fully integrated media server solution, Modulo Kinetic. Upgraded with XR features, the new version will simplify the production of virtual and hybrid events and make them more accessible.

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Li ADJ expands Vision Series

Modulo Kinetic is a comprehensive media server solution successfully deployed in large immersive installations, in corporate events and live performances such as the Australian Gold Coast Commonwealth Games. With the advent of the Covid-19 crisis and current social distancing guidelines, the manufacturer developed new XR features in Modulo Kinetic to address the need for virtual and hybrid events. Since last summer, several XR corporate events were successfully produced working with a preview version of the new Modulo Kinetic upgrade.

New capabilities include an enhanced chroma keyer, improved embedded 3D engine and the support of camera tracking for the Panasonic AW-UE150, Stype and Vive systems. Based on these new capabilities, pro AV players will be able to produce virtual events featuring

encountered in physical events. Virtual events produced with Modulo Kinetic are compatible with LED screen configurations in addition to green screen setups for budget projects. The Modulo Kinetic platform embeds all necessary tools to produce real-time virtual sets. These include pre-visualisation tools for realtime 3D study, simulation and VR, a 3D environment and 3D engine for real-time generative content, an improved chroma keyer, powerful 2D real-time compositing tools, a timeline sequencer and a nodal editor to easily add interactivity in a show.

In addition, Modulo Kinetic includes a lowlatency live mixer for real-time production, and a UI Designer to create custom control panels compatible with PC, Mac, iOS and Android devices. www.modulo-pi.com

THE VISION Series of LED video panels has a new member. Designed for both inside and outside events, the VS3IP is ADJ’s highest-resolution, IP-rated LED video panel to date. It features a 150x150 matrix of three-in-one SMD1921 LEDs, delivering a pixel pitch of 3.84mm for a pixel density of 67,816 per m2. It delivers a maximum brightness of 4,500 NITS with a contrast ratio of 5000:1, making it suitable for use in daylight hours.

The VS3IP also offers 0–100% brightness adjustment allowing the output to be reduced when required, for example in smaller indoor applications or to ensure that video content doesn’t overpower lighting fixtures and onstage content when used as a backdrop.

The panel features protection of its front surface from liquid and particles rated to the IP65 standard. The rear panel has an IP54 rating and the unit is fitted with IP65-rated locking sockets for power and data (RJ45). The input and thru connections for both are also fitted with rubber caps to provide added protection during transit

and also if a thru socket is not in use for a particular deployment.

A viewing angle of 160° x 140° (HxV) at 3m can be further enhanced using the optional angling feature. It allows the panels to be joined together at either a concave or convex angle of 3° or 6°. This means that curving LED video screens can be constructed to allow better viewing for audience members positioned to the side of a stage or to fit with the contours of a curved stage set or venue design.

Weighing 9kg, the panel is fitted with retractable corner protectors that fold out from the back to keep the corners safe from knocks during transportation, setup and teardown. The low-profile panel measures 576mm x 576mm x 76.8mm (HxWxD) and can run on any voltage between 100V and 240V (50–60Hz), making it suitable for international touring duties. It has a maximum power consumption of 210W per panel and an average operating power consumption of 84W per panel. www.adj.com

City Theatrical adds to its Multiverse CITY THEATRICAL’S Multiverse wireless DMX/RDM technology is now available for film and video projects with a new line of Multiverse Studio products, including the Multiverse Studio Receiver, Multiverse Studio Kit and Multiverse Studio Add On Kit. The Multiverse Studio Receiver contains a long-life lithium-ion polymer battery giving 20 hours of use, while its full four-button user interface with a backlit LED display reportedly makes setup easy and gives feedback on system performance. Each Multiverse Studio Receiver includes a DMX corded connector, which allows the external antenna to hang below the lighting fixture, giving improved data fidelity.

The 900MHz/2.4GHz (P/N 5904) version has two built-in radios, 2.4GHz (for worldwide use) and 900MHz (for use in the Americas only), which allows the user to select which single universe to receive and which radio band to use via the Multiverse SHoW ID. The 2.4GHz (P/N 5905) version can be used worldwide on the 2.4GHz band.

The Multiverse Studio Kit will help lighting technicians plan, set up and operate wireless

DMX/RDM onset – all with contactless charging. Each kit includes six Multiverse Studio Receivers, one Multiverse Transmitter with hanging bracket and clamp (for multiuniverse broadcasts), one Multiverse Node with hanging bracket and clamp (for singleuniverse broadcasts), one DMXcat MultiFunction Test Tool (to turn on and troubleshoot any lighting fixture onset), one RadioScan Spectrum Analyzer (for planning) and various accessories to keep equipment organised, mounted and charged.

The Multiverse Studio Add On Kit was developed to provide an easy way for film and video professionals to scale up wireless DMX projects. This kit features six Multiverse Studio Receivers in a contactless charging case. Individual chargers and USB cables are also

included to enable charging or powering individual units outside the case. www.citytheatrical.com

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Streaming to multiple destinations THE NVS-34 from Datavideo is an H.264 multi-platform video streaming server which offers two distinct bit rate options for streaming and recording simultaneously and supports vertical video streaming. The encoder accepts SDI and HDMI inputs, along with embedded or analogue RCA unbalanced audio. The recording file system supports NTFS, FAT32 or exFat for continuous recording without file size limitations.

Other features include H.264 livestreaming to dual destinations and

server is reportedly compatible with all major streaming platforms and RTMP(S), SRT and many other streaming protocols.

It has a multi-language web UI (English, traditional Chinese or simplified Chinese) and LED status indicators.

The Datavideo NVS-34 can record MP4 or TS files to an SD card and can be remotely controlled using a mobile device with a web browser. vertical video encoding for mobile platform social media streaming. Users can select

Lightspeed productions TELESTREAM HAS added a third model to its Lightspeed Live family. According to the manufacturer, the Lightspeed Live C4 server has up to 50% more encoding and processing power when compared to the current C3 server and is capable of running Telestream’s Live Capture and Live Stream applications simultaneously across up to eight SDI channels and IP inputs of live video data. Live Capture C4 supports capturing from eight concurrent SD/3G-HD SDI inputs or two concurrent 4K/UHD inputs, or from several Transport/RTMP IP inputs. It records in multiple video formats, including AVC-Intra and XAVC-Intra Class 100/300/480, at the same time simultaneously creating H.264/AVC proxy files and storing them to a large local media

the audio output – embedded audio, external audio or mixed audio – and the

www.datavideo.com

RAID or to external shared storage such as a NAS or SAN. Enhancements have also been made to the CaptionMaker authoring software and the Vantage media processing platform.

CaptionMaker and Vantage Timed Text Flip now support IMSC 1.1, the latest version of the SMPTE standard for subtitling and captioning.

IMSC is of particular importance in the preparation of IMF packages, and IMSC 1.1 is required for those who are producing content for the Japanese market, as well as global companies, such as Netflix. Vantage IMF Producer can now automate the creation of IMF packages from Adobe Premiere Pro. www.telestream.net

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BUSINESS: ANALYSIS

New chapter

Starting a new job, where the office is home and introductions to colleagues and clients happen onscreen, is one of many surreal aspects of business life in this strange new world.

Caroline Moss catches up with Chris Mead and Rahul Samuel, recently appointed by L-Acoustics

L–R: L-Acoustics’ Chris Mead and Rahul Samuel WHEN DUBAI-BASED MEAD AND SAMUEL JOINED L-Acoustics in late 2020 as sales manager for the Middle East, India and Africa and applications engineer for the Middle East and India, respectively, both had worked together for two years already with Meyer Sound in the region. Their established working relationship, together with a good knowledge of the local market, certainly made the transition easier. So has the fact that certain of their regions, including the UAE, Saudi Arabia and Qatar, have coped well during the pandemic.

“Medical resources are good, and the pandemic’s been dealt with in a strict and organised fashion, so hopefully recovery will be quicker here,” comments Mead. “India has been hit really hard and I believe recovery will be slower; this is also true of less developed countries in the region such as Egypt, Jordan and Lebanon. But it’s impossible to plan this year with any kind of accuracy.”

Events across the region have been scaled right back, though a few were able to go ahead in the UAE over Christmas and the New Year, including a Kiss concert at Atlantis, The Palm with an L-Acoustics system supplied by PRGdeltasound. L-Acoustics systems were also used for UAE National Day celebrations in Dubai, Sharjah and Abu Dhabi in December, with L-ISA immersive technology used on the latter.

The French manufacturer’s other key market is, of course, integration. “L-Acoustics have been excelling in this for the last few years, although their longer history is in the touring world,” Mead continues. “One of the key things for this part of the world is to build good relationships with consultants, integrators and end users. Integration projects tend to have many stakeholders so it’s important we are here to support them all. It really helps to be based here to meet and spend time with people. We’ve been able to do that within reason this past year, although it’s not the same as it was. Within the UAE we’ve been able to travel around and have face-toface meetings, although people aren’t doing it as much as they normally would, and we mostly haven’t been able to get out of the UAE to the rest of the region at all.”

“We are slowly opening up the possibility of meetings where required, and my job sometimes requires my presence onsite,” adds Samuel. “I can do a lot of testing remotely and we’ve developed as an applications team so we can support our customers.” He’s also made a successful transition to working with a new loudspeaker brand thanks to online training. “As I come from a touring background, I’ve worked on L-Acoustics systems before. Newer technology has come in since, so I’ve been doing training online.” This has had the added bonus of allowing Samuel to transfer the online training to others more easily. “However, at the end of a project, when a system needs to be handed over or a calibration needs to be done, I need to be onsite,” he says. “We have a very strict protocol for travel and we’re well prepared.”

Both agree there needs to be a greater reason for having a physical meeting than there would have been a year ago.

“Historically, sales managers in our industry have spent a lot of time travelling around the region meeting people,” says Mead. “It’s not the most time-efficient or cost-effective way to see people, even though a face-to-face meeting is the best. But things are adapting, especially with the use of video conferencing platforms, and it’ll be interesting to see how the market changes as we move forward.”

Video conferencing has overwhelmingly become the norm for interactions with India; Samuel has been unable to visit since last March as the country entered a lengthy and strict lockdown, only to see cases spike alarmingly once restrictions relaxed. “It’s been phone and Teams ever since,” he says. “India is a very different kind of economy to the Middle East: lots of people depend on daily wages and need to be out working.”

For now, installation projects are on hold and events cancelled, although Samuel reports a few new enquiries starting to trickle in, and the national vaccination programme is underway. “The hope is that things will get better; projects can take a year-and-a-half to realise. As for live sound, where L-Acoustics is a market leader in India, that’s completely on hold, with rental companies maintaining a skeleton crew, and

some of them doing virtual events. But bars are reopening, artists are starting to get booked and smaller events organised. India’s events calendar doesn’t pick up until later in the year, so hopefully by then we should see some of those large events come back.”

A similar events season, beginning in October, is also in the UAE’s favour. “As the vaccines are rolled out, by the end of the Northern Hemisphere summer when the season starts, I’m hoping life will be a bit more normal,” says Mead. “And when Expo goes ahead in October, which I believe it will, the region could potentially be incredibly busy.

There’ll be a lot of excitement from the public about getting back to live gigs, and Expo will have five stages running for 180 days, with at least one show a day. That’ll require a huge amount of support from our industry, not to mention all of the installation work going on in advance. So it should be a good end to the year.”

Construction for the Dubai Expo, originally scheduled to take place in 2020, has carried on, with workers given special permits to continue, even in the more serious lockdowns. This will include a permanent installation of L-ISA technology in the Al Wasl Dome.

When Expo finishes, the 2022 FIFA World Cup in Qatar will be looming on the horizon, and the pair are also looking towards development projects in Saudi Arabia.

“The Saudi market is growing phenomenally quickly with projects like Neom, Qiddiya and the Red Sea Project,” says Mead. “There’s a lot of potential there, and the market will be looking towards the latest technologies such as our immersive format, L-ISA, which will be very popular in that young and vibrant market.”

L-Acoustics has clearly taken the long view by hiring Mead and Samuel to reinforce its presence in MEA and India during these difficult times; a decision that looks set to pay dividends once business picks up across the regions they cover. www.l-acoustics.com

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M55WD DN4 Four-input Dante–AES67 interface for single-element Audix Dante–AES67 enabled microphones

Hanging microphone with interchangeable capsules and dual LED status indicator

M70WD Flush-mount, steerable ceiling microphone with dual LED status indicator

M3DK DN43 Two-input Dante–AES67 interface for one M3W or M3G tri-element microphone and one single-element Audix Dante–AES67 enabled microphone

System kit that includes DN43, M3W or M3G tri-element hanging microphone, and a 3’ plenum-rated CAT6 mic-to-interface cable

DANTE ®–AES67 MADE SIMPLE The Audix Dante–AES67 integrated microphone system is the fast and trouble-free way to stream Audix audio performance through Ethernet networks. High-quality audio and all microphone functions —including on-off contact closure and dual-color LED status indicators — are available on a single CAT5 - CAT7 cable. RJ45 connectors on Audix Dante–AES67 enabled microphones eliminate the need for fabricating complex connections, minimizing errors, accelerating installation, and reducing cost. And all Audix Dante–AES67 enabled microphone gain structures are optimized for their intended use, providing quality audio at the DSP. The result is true plug-and-play installation.

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K3

Full-Range. Compact. No Compromises.

Introducing K3: a versatile loudspeaker satisfying all your requirements for mid-size events and venues without any compromises.

Completing the K series line, K3 boasts an optimal mechanical design for reduced weight, Panflex™ variable directivity, laminar vents for a powerful, linear low-frequency response down to 42Hz, and class-leading SPL. Optimized for audiences of 1,000 to 10,000, K3 reduces the need for amplification and dedicated subwoofer, making it faster, more straightforward, sustainable, and economical to deploy. It’s ready for your next event. l-acoustics.com

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