Pro AVL Asia November-December 2021

ProAVLAsia November–December 2021

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION November–December 2021

TO INFINITY AND BEYOND How AV is driving the new Shanghai Astronomy Museum

CCTV DEBUTS DANTE EFP SYSTEM LECTROSONICS 50TH ANNIVERSARY PROFILE

IMAGICA’S NEW POSTPRODUCTION STUDIO PLASA 2021 SHOW REPORT

MICA (P) 001/06/2021 PPS1604/05/2013(022953) www.proavl-asia.com

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

POWERSOFT.COM

DYNAMIC MUSIC DISTRIBUTION

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

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BETTER-SOUNDING WORLD

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

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

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Contents Volume 20 Issue Six November–December 2021 NEWS BUSINESS Sennheiser and Xilica announce strategic alliance

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DISTRIBUTION Allen & Heath turns to Hibino Intersound in Japan

16

APPOINTMENTS Al McKinna named head of product at Optimal Audio

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PROJECTS 3D laser projection lights up Qila Mubarak in Punjab

24

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

FEATURES SPORTING CHANCE Postponed PON XX national games go ahead in Papua

50

COVER: REACH FOR THE STARS Shanghai Astronomy Museum lifts off

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WHEN VIRTUAL MEETS REALITY The New Zealand company offering VR AV design 54 SPA BREAK Sama Sound upgrades Korea’s first membership spa resort

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RAISING THE BAR Imagica creates Japan’s largest postproduction facility

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PLAYING THE FIELD CCTV debuts its mobile Dante-based EFP system

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BUSINESS LETTER FROM AMERICA Dan Daley on embracing AI and data in pro audio

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LETTER FROM EUROPE Phil Ward ponders Moscow’s Kremlin Palace upgrade 64 COMPANY PROFILE Lectrosonics marks 50 years of manufacturing in New Mexico

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SHOW REVIEW Caroline Moss reports on PLASA’s return to London

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TECHNOLOGY Diversified’s Derek Paquin discusses UCC in the new workplace 72 NEW PRODUCTS The industry’s most comprehensive product news

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ANALYSIS Mike Blackman looks forward to February’s ISE in Barcelona

98

And so we come to the last issue of the second year in which we’ve found solutions to living and working during ongoing lockdowns, fight for our live industries and reluctantly delete planned tradeshows from our calendars. However, we are definitely in a better place than we were last year, with signs of recovery reflected throughout our final issue of 2021.

On p98, Mike Blackman anticipates ISE 2022, set to go ahead in early February 2022 at its new home, the Fira de Barcelona, with a great deal more certainty this time around. The versatility and resilience of this industry is highlighted as companies pivot to new ways of doing business.

New Zealand-based Experience Design is offering AV design consultancy via VR (p54), while technology solutions provider Diversified has increased its focus on Unified Communications and Collaboration (UCC) solutions to assist clients navigate the new workplace (p72). CCTV’s new mobile AoIP Dante-based EFP system came into its own this year on outside broadcasts including the postponed Tokyo 2020 Olympic Games (p62). And in Indonesia, another long-delayed sporting event, PON XX, finally went ahead in October with Energi Sembilan Perkasa providing sound and lighting for the opening and closing ceremonies (p50).

We’ve also got a show report from the first tradeshow we’ve attended in person as PLASA 2021 went ahead on our doorstep in London: a joyful gathering of colleagues and friends who’d missed being together in person (p68). And as parts of APAC start reopening borders, we hope that 2022 brings opportunities to reunite with more of you in further-flung locations.

Contacts

inside

GENERAL MANAGER Richard Lawn

ADVERTISING DIRECTOR Sue Gould

DIGITAL CONTENT EDITOR Libby Stonell

T: +44 1892 676280

T: +44 1892 676280

T: +44 1892 676280

sgould@proavl-asia.com

lstonell@proavl-asia.com

SENIOR REPORTER Simon Luckhurst

EDITORIAL COORDINATOR Karen Wallace

SALES ASSOCIATE Carolyn Valliere

T: +44 1892 676280

T: +44 1892 676280

kwallace@proavl-asia.com

T: +1 562 746 1790

sluckhurst@proavl-asia.com

DIGITAL MEDIA MANAGER Nick Smith

PRODUCTION MANAGER Adrian Baker

VIDEO EDITOR Chris Yardley

T: +44 1892 676280

T: +44 1892 676280

T: +44 1892 676280

BEIJING OFFICE Frank Shao

GUANGZHOU MANAGER Sue Su

CIRCULATION Marne Mittelmann

T: +86 10 8652 5184

T: +86 13609001455

F: +65 6491 6588

rlawn@proavl-asia.com

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58 nsmith@proavl-asia.com

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frank@proaudioasia.com.cn

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

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

@ProAVLAsiaMagazine November–December 2021 PRO AVL ASIA 3

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NEWS

Sennheiser and Xilica announce strategic alliance

WORLD

Xilica has partnered with Sennheiser to develop an integrated room solution that is said to minimise installation time, improve audio quality and enhance collaboration for end users. The partnership pairs the Sennheiser TeamConnect Ceiling 2 (TCC2) beamforming microphone array with Xilica’s ecosystem of DSP, user interfaces and network endpoints to ensure speech intelligibility for physical and remote participants in hybrid spaces, giving end users the flexibility to move throughout their space and present in their own style, while eliminating risk of inaudibility. Integrators and end users benefit from the TCC2’s seamless integration with Xilica Solaro processors

and Xilica Gio network endpoints, providing a simpler, no-code setup with pre-validated compatibility.

As part of the alliance, Xilica has enabled support for the TruVoicelift functionality of the TCC2 across its Solaro Series of DSPs, which simplifies the installation of multiple TCC2 microphones through automatic testing and calibration of audio. Additionally, TruVoicelift offers noise reduction, speaker amplification and creates targeted zones to home in on participants speaking in busy spaces.

When paired with Xilica’s proprietary noise reduction and HearClear echo cancellation algorithms, the combined solution offers “a robust defence against meeting distractions”.

Additionally, TCC2 and Solaro processors offer end-to-end mute status sync for Microsoft Teams. This enables a softwarebased mute action, such as clicking a button in the Microsoft Teams application, to be reflected throughout the chain and back to the TCC2’s status indicator LED. Similarly, when using Xilica user interfaces, a mute action can be reflected both to the TCC2 and back into the Microsoft Teams application, giving room users better visibility.

“Modern meetings have more remote participants than ever, and they need to hear clearly without being distracted by background noise and interruptions,”

Audiotonix acquires Sound Devices

said Charlie Jones, global alliance and partnerships manager for Sennheiser.

“TruVoicelift is perfect for large conference spaces and lecture halls that allow everyone to hear a presenter, or a question from a student that is raised. Together with Xilica DSPs, end users are assured highquality, dependable audio with exceptional room and user control.”

Jones also notes that bundling the Sennheiser TCC2 with the Solaro QR1 is ideal for integrators working in corporate and education environments with limited or no rack space, because no special wiring or configuration is required. “Our customers are seeking cost-effective ways to add audio and UC to rooms that historically had no audio or only a simple microphone,” he said. “The Xilica Solaro QR1’s compact form factor allows installers to mount the DSP virtually anywhere. It’s small, powerful and PoE, and upon first seeing it we realised that many Sennheiser customers could benefit from a combined solution.

It’s also the standard for Sennheiser demonstrator kits worldwide.”

Additionally, general availability of the Xilica follow-me camera tracking module for the TCC2 is expected in Q4 2021, enabling automated pan-tilt-zoom by using the beam position information from the TCC2. This will give room users greater freedom to present throughout their space without consideration of the AV infrastructure. www.sennheiser.com www.xilica.com

Tradeshow news

WORLD

Sound Devices has become the latest member of the Audiotonix group, a collection of audio brands that includes Allen & Heath, Calrec, DiGiCo, DiGiGrid, KLANG:technologies, Solid State Logic and US-based audio and lighting distributor, Group One Limited. The acquisition coincides with the retirement of Sound Devices co-founder, Jon Tatooles, who has driven the company forward for the last 23 years. Co-founder Matt Anderson, who has been chief engineer since inception and CEO since 2013, will continue to serve in both roles.

“It has been incredible to build Sound Devices over the last 23 years into the organisation it is today,” the outgoing co-founder commented.

“I am very excited about the next chapter for the company, and I leave it in great hands.

Audiotonix is a great organisation who will build on the success we have achieved. I don’t believe there is a better partner.”

“I’ve enjoyed getting to know James and the team during the past few months,” added Anderson. “In terms of values and culture, Sound Devices fits perfectly within the Audiotonix group of companies. In a way, it will be business as usual at Sound Devices, as we will carry on doing the same thing we’ve been doing for the past 23 years: focusing intensely

AUSTRALIA: Having been postponed from its original June date, Integrate 2021 will now take place as an online event due to the ongoing Covid-19 situation in Sydney.

With multiple lockdowns across the country in place and the situation showing no signs of improving, the show organiser has reluctantly made the decision to transition to an online platform on 17 and 18 November. The new virtual event will include an exhibitors’ zone where products can be viewed, and the planned education programme will take place across the two days.

L–R: Jon Tatooles, James Gordon and Matt Anderson on making the best sound products we can.

However, the Audiotonix group brings us more strength in terms of access to capital, depth in manufacturing, knowledge in engineering, sourcing of parts and expanding our sales and marketing expertise. I am extremely excited about this new opportunity.”

James Gordon, CEO of Audiotonix, stated: “The addition of Sound Devices and their fantastic team to our portfolio of premium audio brands is a proud moment for all

involved. Their expertise and technical pedigree in film production, broadcasting and professional recording is a great fit. As with previous acquisitions, we always look to increase the knowledge share group-wide and, with FPGA-based solutions and RF wireless technology at their core, we have an enviable opportunity.” www.audiotonix.com

USA: Previously scheduled for 20–23 January, The National Association of Music Merchants (NAMM) has announced that The NAMM Show will reconvene for a three-day event at the Anaheim Convention Center from 3–5 June 2022.

According to NAMM, the change in dates addresses ongoing concerns about pandemic activity, new product development and launches, available in-store inventory and current travel restrictions.

www.sounddevices.com

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Evolution Wireless Digital

Evolving with you.

Embrace the power of a digital UHF system, ready for any RF environment. Evolution Wireless Digital raises the bar by providing the highest dynamic range of any wireless system currently on the market, utilizing advanced features that simplify your setup and guarantee the most reliable connection. www.sennheiser.com/ew-d #EvolvingWithYou

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NEWS: BUSINESS

Latest PMC studio monitors set to redefine the listening experience WORLD

Following five years of intense R&D, UK loudspeaker manufacturer PMC unveiled a range of powerful, compact near- and midfield monitors at the PMC Studio London facility. Replacing the company’s existing twotwo Series, the PMC6, PMC6-2 and PMC8-2 models, together with the associated PMC8 SUB and PMC8-2 SUB subwoofers, aim to redefine the listening experience within stereo or large-scale immersive formats.

By retaining the same sound signature as PMC’s main monitor products, the series will complement existing enclosures including the QB1, BB6, MB3 and IB2. Their

while futureproofing is engineered into every model with advancements such as an expansion card slot for planned future signal interfacing options.

In terms of configuration, PMC has devised simple menu-driven controls on the rear panel in addition to providing access to the SOUNDALIGN network interface. Accessed through wired connections to any standard network via any web browser on a PC, Mac or tablet, SOUNDALIGN’s digital connectivity allows individual monitor control in addition to setups in defined groups for large-scale immersive systems.

disguise makes two acquisitions to augment remote and cloud-based capabilities WORLD

creation is the result of a holistic approach to loudspeaker design, in which the company has recognised and addressed the impact every part of the monitor has on its overall performance. Celebrating its 30th anniversary, PMC set a goal to deliver the highest possible resolution with the lowest possible colouration. The result is the incorporation of all-new drivers, DSP and Class-D amplifiers, in addition to significant improvements to the proprietary ATL bass-loading and Laminair air flow technologies.

“PMC has always understood what is required by world-class recording professionals and our monitors are internationally renowned for delivering exceptional sound quality,” commented CEO, Jeff Willcocks. “The launch of this new range represents a huge leap forward, both for the company and the customers we serve. We know that the level of excellence we can now deliver is unmatched and will have an enormous and positive impact on the professional audio industry.”

The low-frequency extension of the new designs includes advancements in both woofer and ATL bass loading technology.

The active subs can be combined with the monitors to create one of PMC’s unique twincabinet XBD systems that deliver extended bass and dynamics. Alternatively, they can be used as standalone LF monitors for sub channels. The scalable systems can be enhanced to match bespoke requirements,

Paving the way for remote collaboration and cloud-based 3D content previsualisation tools to join the disguise platform, the British visual solutions manufacturer has announced its acquisition of Mapping Matter and Previz. The development marks the next step in the company’s expansion plans and follows investments from the Carlyle Group as well as a minority stake from Epic Games earlier in the year.

“We are incredibly excited for this new chapter in our mission to democratise production workflows with the addition of cloud-based collaboration to the disguise platform,” said disguise CEO, Fernando Kufer. “We have been working closely with the teams at Mapping Matter and Previz over the years and our shared vision for remote collaboration has enabled us to join forces to deliver a more comprehensive and streamlined solution for all our users to create their best story.

We are thrilled to welcome customers of both Mapping Matter and Previz to

L–R: Dan Zimbelman and Jeff Willcocks PMC’s commercial director Ollie Thomas played a key part in the design of the new range. “From the outset, our aim was to raise the bar in terms of what could be achieved with near- and midfield monitoring and to deliver a system that would be ideal for every application, from traditional stereo to the latest immersive audio systems,” commented Thomas, who was celebrating his birthday at the event. “The last five years have been incredibly intensive as we have looked at every element of monitor design to see how we can reduce colouration and dramatically improve resolution. By offering monitors in different sizes and with correspondingly differing bass extensions and maximum SPLs, we can cater for every customer and every room size without compromising PMC’s renowned sound quality.” www.pmc-speakers.com

disguise and look forward to a bright future together.”

A web-based tool for technical design, Mapping Matter plays an important part in the simulation and photometric analysis of AV installation projects, while Previz offers a seamless workflow to design assets, plan projects and communicate directly from the browser. Both platforms enjoy an established reputation for delivering interactive cloud-based solutions.

By integrating both platforms with disguise, users across all three platforms will be able to develop and manage their projects in one unified and comprehensive workflow, and will be able to collaborate by importing, previewing and making creative decisions on the final output together, while sharing their work with clients and peers. www.disguise.one www.mappingmatter.com www.previz.co

New investment to spur APEX growth WORLD

Giva Audiovisual Technologies BV has agreed an investment package with prominent Belgian investor LRM to aid the expansion

L–R: APEX MD Paul Van Hees and technical director Hendrik-Jan Gielis

of its APEX pro AV brand. The injection of additional capital will allow Giva to scale up manufacturing operations in order to meet demand for APEX’s CloudPower installation amplifiers.

“This new backing from LRM is an important part of our ambitious growth strategy,” commented APEX managing director, Paul Van Hees. “CloudPower has been a tremendous success for us and this investment helps us to keep up with the order book without compromising our agility and commitment to outstanding quality and support. In parallel, we are actively strengthening our distribution networks to increase access to the range and to pave the way for the product innovations coming through the R&D pipeline.” www.apex-audio.be

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BirdDog and Ideal Systems launch partnership

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BirdDog, a manufacturer of NDI-enabled PTZ cameras, converters and software, has announced a strategic partnership with Ideal Systems to further drive growth across Asia.

Ideal Systems provides services including consultation, design, installation and

integration across the APAC region. The company, which has 12 offices across eight countries and over 150 staff members, is said to be engaged in some major NDI projects with BirdDog. Jamie Ambrose, chief revenue and operations officer at BirdDog, said that Ideal Systems is the “perfect partner to drive growth in the region, and the right partner to work with” on future projects said to be in the pipeline.

Fintan Mc Kiernan, CEO at Ideal Systems Singapore, said: “We have been using increasing amounts of BirdDog products in our NDI solutions and have designed BirdDog into our solutions for a number of our upcoming projects. We are using BirdDog across both our broadcast and AV divisions and are using the full range of their products from their leading PTZs and NDI converters to their cloud software. Our BirdDog NDI story starts here, and I have no doubt we have exciting times ahead.” www.bird-dog.tv

Fintan Mc Kiernan, CEO at Ideal Systems

www.idealsys.com

Danley and Dynacord join forces WORLD

Danley and Dynacord have formed a strategic alignment to bring complementary product combinations to the global marketplace.

Dynacord, part of the Bosch Group, is equally positive about the move. “Danley has a particularly strong following in the United States, and they are also known

Dynacord’s flagship IPX amplifiers for fixed install applications US-based loudspeaker manufacturer Danley Sound Labs and Dynacord, a German company with a 70-year history, will be using each other’s strengths to offer sound system solutions, with Danley loudspeakers powered and optimised by Dynacord amplifiers, DSP and software. Danley loudspeaker settings will be available for all Dynacord amplifiers.

“This is a big step forward for us, and we’re very excited about this development,” said Mike Hedden, Danley’s chief steward in charge. “Working with Dynacord will change people’s perspective when they think about Danley, as it allows us to go wider and deeper with our product offerings.”

around the world, so we’re excited to link together,” added Dynacord marketing manager, Robert Ferguson. “They are an engineering-driven company, as is Dynacord, and that approach is what makes us a great fit. Danley loudspeakers have a reputation for sound quality, while also providing the coverage and output required to fill entire stadiums and arenas with fewer individual loudspeakers. Now, when they are powered

by Dynacord amps and mixers, it will be the best of both worlds. This alignment brings these advanced technologies to an expanding international customer base with an exceptional value proposition.”

Unilumin expands Mini LED manufacturing CHINA

Unilumin has announced the opening of what it claims is the world’s largest LED display smart factory – its Daya Bay manufacturing base in Huizhou, China. The complex, which is greater than 300,000m2, is divided into Phase I and Phase II and will allow the manufacturer to increase production of its latest Mini LED line in order to meet a yearon-year increase in demand for P0.9 and P0.7 products. Unilumin expects that this increase to fundamentally solve the insufficient capacity problems suffered by the LED industry.

“We are customer-centric driven and value what our customers and partners need.

We are constantly making innovations on

R&D and manufacturing and upgrading our manufacturing in an increasingly digitalised, intelligent and automated way,” commented Mingfeng Lin, chairman of Unilumin Group.

“Starting in February 2019, the Daya Bay Manufacturing Base Phase II has received over US$150m of investment. With this investment, we are introducing various cuttingedge technologies and smart facilities, such as human-machine intelligent interaction, industrial robots and intelligent logistics management, to pave the way for realising ‘digitalised manufacturing’ and ‘Industry 4.0’.” www.unilumin.com

Datapath paves the way WORLD

Allowing customers to familiarise themselves with the company’s latest control room solutions including Aetria, UK visual solutions manufacturer Datapath has announced the opening of its Online Experience Center. Presented from Datapath’s head office in Derby, AVIXA-accredited training sessions and sales demonstrations can now be attended without having to fly in-person to East Midlands Airport.

“We have used the very latest technology to showcase our Aetria solution for our users throughout the world,” explained Datapath’s global training manager, Iñaki Viloria López.

“With multiple camera feeds, displays and countless permutations possible, we can virtually create any control room management setup for training or sales requirements.”

Allowing SIs, IT managers and operators to design systems to meet a wide set of requirements, including connectivity, videowalls, workstations and source management at all scales, Aetria combines all the elements of control room design,

management, control and monitoring within a single solution.

“The requirements for today’s control rooms are highly complex, with ever-increasing demands for sources, data and secure multi-point sharing,” added López. “Add in diagnostics, management and security requirements and things can begin to look overwhelming. With Aetria, all these components are easily managed and, with our experience centre, customers can see the benefits of using a powerful, single interface for themselves.”

The Online Experience Center features Datapath’s Arqa and Aligo solution for seamless KVM and content sharing together with processing power courtesy of VSN1172 video controllers. With a trio of videowalls spread out between two rooms, plus several operator terminals, Datapath’s Online Experience Center showcases operations in real-time courtesy of multiple cameras. www.datapath.co.uk

www.danleysoundlabs.com www.dynacord.com

8 PRO AVL ASIA November–December 2021

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NEWS: BUSINESS

Navori acquires Innes’ PlugnCast software business WORLD

Navori Labs has announced the strategic acquisition of the PlugnCast software business of Innes, a leading French manufacturer of dynamic display solutions used in corporate and government communications. The acquisition will allow Navori Labs to market and sell Innes’ dynamic display solutions globally. Innes will retain control of its hardware business, including a range of media players and meeting room signage solutions, though Navori Labs and Innes have established a strategic alliance to promote Innes’ hardware solutions internationally.

“We at Navori Labs were impressed by the quality and reliability of Innes’ hardware upon evaluation,” said Jerome Moeri, chairman, CEO and founder of Navori Labs.

“The two companies will collaborate on the development of innovative solutions and their international promotion through the network of offices Navori Labs has established in Europe, America and Asia over the past 10 years. Innes’ transition of its PlugnCast software to Navori Labs will take 12 months. This acquisition will give us the opportunity to share our respective

expertise in hardware and software and bring enhanced benefits to our clients.”

The latest version of Navori Labs’ QL Express software will integrate all PlugnCast functionalities. The combined solution will be available in the form of cloud subscriptions, hosted in France, and

perpetual licences self-hosted by the user.

PlugnCast software users will be able to remotely upgrade their Innes players with Navori QL software by following a simplified procedure. Users who migrate will benefit from globally recognised software that is compatible with Samsung, LG and Philips

screens with integrated media players.

When used with Innes media players, users can control content dissemination from a smartphone.

“We will be able to concentrate on the development of our hardware business while ensuring continuity of support and maintenance of PlugnCast software for our clients, as well as support for the transition to Navori QL,” said Franck Dupin, president of Innes. “Innes will continue to enrich its media players with new functionalities, and we will offer a wide range of innovative digital signage products in France and abroad.”

PlugnCast resellers and users will also benefit from an extended range of solutions, including Navori Labs’ Aquaji software, an analytics solution based on AI and computer vision. Launched in February, Aquaji improves business performance and profitability for corporate, government and retail businesses, while also optimising screen-based advertising strategies across digital out-of-home (DOOH) networks. www.navori.com

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NEWS: BUSINESS

Marshall Day Acoustics and Entertech divide to conquer AUSTRALIA

International acoustic consultancy Marshall Day Acoustics (MDA) has announced that its Theatre & AV Design division, Marshall Day Entertech, will be succeeded by Entertech Australia. The new independent theatre design business is to be led by former MDA staff members and theatre specialists Micah Johnson and Kate Kelly.

Established in 1979, Entertech Australia is respected as a pioneering theatre design consultancy, having provided planning, design and operational services to concert halls, theatres, cultural and performing arts industries. In 2006, the company merged with Marshall Day Acoustics, forming Marshall Day Entertech. “We are thrilled for Micah and Kate and what this change will bring. On behalf of the board and leadership team, we thank Micah and Kate for all their efforts as members of the MDA team and look forward to seeing their new business

Environmental Lights becomes Vantage Fixture Alliance partner WORLD

develop in the future,” commented Marshall Day Acoustics’ co-CEO, Amanda Robinson.

MDA made the decision to split the company to increase operational efficiencies and return focus to the core area of the business – acoustics. “Kate and I are excited to begin a new chapter as an independent business, after 15 years as part of Marshall Day,” added Johnson. www.entertech.com.au www.marshallday.com

The Legrand Building Control Systems (BCS) division has announced that its Vantage brand has added a new Fixture Alliance partner, Environmental Lights. The alliance pairs Vantage’s customisable lighting controls with Environmental Lights’ REVI low-voltage LED lighting fixtures and power supplies to create an end-to-end lighting solution.

Using Vantage’s InFusion Controller, the end-to-end solution enables control of the fixtures’ saturations, hues, intensities and colour temperatures via standard DMX protocols. This is said to allow for the rendering of “near-perfect natural light tones” capable of tracking the sun’s light throughout the day and controllable from

a button press of a Vantage keypad or an astronomical event timer.

“Environmental Lights works with its customers to create solutions to match their exact needs in a wide range of environments – from the home to retail and hospitality,” commented Dave Keller, Vantage vice president of sales. “By joining our Fixture Alliance, they can now offer seamless integration with Vantage lighting controls as well – including our new LHUMAN humancentric lighting system – for an end-to-end solution to transform any space using light.” www.environmentallights.com www.legrandintegratedsolutions.com

Binh Duong TV acquires 4K OB van to meet “tomorrow’s production needs” VIETNAM

Coinciding with the celebration of its 43rd anniversary in 2020, Binh Duong TV has acquired a new 4K Outdoor Broadcasting van, making it the first TV station in Vietnam to venture into 4K and all the possibilities that that allows. The station, which is based in Southeast Vietnam and is considered a gateway to Ho Chi Minh City, caters to a diverse audience of 2.5m viewers.

The new 4K OB van can connect with up to 12 cameras, and Thuong Van Phuc, deputy director of Binh Duong TV, explained how this has expanded the company’s abilities and scope within the industry. He said the OB van,

which came equipped with a full range of Sony products, has “come at a perfect time”.

Binh Duong TV looked carefully into the Sony products incorporated within its van: an HDC-3500 system camera for portability and picture quality, the HDC-P50 POV camera for its compactness and wide range, and the XVS6000 for transitions.

Thuong insists Binh Duong TV is ready for the journey ahead, and its 4K OB van is “built for tomorrow’s production needs,” while remaining compatible with its current workflow and software. www.sony-asia.com

PGL eSports teams up with Earthworks WORLD

Microphone manufacturer Earthworks Audio has announced a new partnership with PGL eSports. The esports specialist will now use Earthworks’ line of USB and XLR streaming microphones, including the ICON and ICON Pro, for all its game commentators.

“Since the start of the pandemic, we’ve hosted several online tournaments and finding the best audio capture solution for a remote broadcast was always challenging,” explained PGL sound engineer, Alexandru “ON” Călin. “Right now, I believe we are in the best place; I am enthusiastic about our partnership with Earthworks Audio. Being familiar with their equipment and how they

strive to reach audio quality excellence, we will definitely increase the value of our future remote broadcasts. Their products are the best option on the market when it comes to superior sound capture.”

Earthworks microphones will be heard and seen on PGL event broadcasts for world-renowned competitive games such as DOTA 2, Apex Legends, FIFA and CS:GO, among others. These events regularly bring in over 250,000 peak viewers, with some reaching more than 950,000. Not to mention, the microphones will be seen by some of the most well-known Twitch personalities, adding a higher level of sonic clarity to their streams.

“Livestreaming is the future of our industry,” said Earthworks’ VP of sales and marketing, Mike Dias. “Thanks to the ultra-fast transient response of our microphones, we are able to provide viewers with an experience that puts them right in the middle of the action. We could not be

more excited to work with PGL to provide stellar audio quality to their personnel, and to provide more value to their broadcasts and viewers.” www.earthworksaudio.com www.pglesports.com

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NEWS: BUSINESS

Autograph announces Bose and Lenovo team new company structure up to simplify meetings UK

Formed in 1972, Autograph Sound Recording has established itself as a world leader in theatre sound, both in the UK and across the globe, with productions across APAC including the Mamma Mia! tour of China and Secret Cinema presents Casino Royale in Shanghai. In 1982, the company was joined by Autograph Sales, bringing its theatre experience into the sales and installations markets.

At September’s PLASA show, it was announced that both companies are now operating under the one banner from the same London address, and that Autograph has extended its services to clients, both at home and overseas. While theatre remains a core discipline, the company’s activities now encompass sound design, equipment rental and sales, event solutions, technical support, consultancy, infrastructure design and installation, training and product development.

Autograph’s portfolio now also extends beyond outside audio to encompass advanced digital networking, data management and visual media. Recent projects for which the company has delivered fully integrated AV solutions include several independent schools, RADA, the British Museum and a soon-to-becompleted major car launch. To reflect the

WORLD

Scott Arnold

In response to the new era of hybrid work needs, Bose Professional has announced its latest collaboration efforts with Lenovo. Bose Work solutions, such as the Videobar VB1 allin-one USB conferencing device and the ES1 and DS4 ceiling audio solutions, can be coupled with Lenovo’s ThinkSmart Core + Controller solution in Microsoft Teams Rooms in order to simplify meetings with one-touch control.

ID. It is powered by an 11th-generation Intel Core vPro processor and together with the ThinkSmart Controller – a 10.1-inch touchscreen powered by USB-C – will be certified for Microsoft Teams Rooms.

For huddle spaces and small- to medium-sized conference rooms, the Lenovo ThinkSmart Core + Controller can be combined with the Videobar VB1.

For larger meeting rooms, the Lenovo

“Bose Work solutions provide a true ease-of-conferencing experience.

In-room technology needs to be transparent, intuitive and immediate,” said Martin Bodley, director and global head of Bose Work. “Our collaboration with Lenovo is another way Bose is expanding to provide more flexible options to customise the conference room experience.”

The ThinkSmart Core features Lenovo’s first purpose-built, modular room kit with a new, smaller form factor and Premium

solutions can be used with either the Bose ES1 or DS4 ceiling audio solutions. For integrated rooms, both the Bose ES1 and DS4 solutions keep microphones off the table while offering intelligible audio to help meeting participants focus on what matters.

When combined with the ThinkSmart Core + Controller, users will have a clean, simple one-touch interface that puts them in control.

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new structure and the company’s range of services, a new website is now online.

“The enforced lockdown periods, though not welcomed, did give us the opportunity to concentrate on completing the changes we are now pleased to announce,” explained MD, Scott Arnold. “We are able to deliver all of the qualities and expertise that are uniquely Autograph to a much wider range of customers and applications – whatever the project, the experience our customers receive will very clearly have the Autograph stamp on it.” www.autograph.co.uk

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Ross acquires D3 LED WORLD

Ross Video has announced the acquisition of D3 LED (Dynamic Digital Displays) from Southpaw Live. Based in California, D3 was founded in 2006 and has matured to become a leader in high-quality indoor and outdoor LED displays. The company also develops LED processing, content management and playback systems which can generate, process and distribute video on massive scales. Major broadcasters including ABC and ESPN in addition to international corporations such as Gap, Capital One and Victoria’s Secret rely on D3’s interfacing and control solutions.

Following the recent acquisition of Primestream, D3 is Ross Video’s 18th since 2009. “We’re excited to welcome the amazing D3 team to Ross,” said Ross Video CEO, David Ross. “D3 is in a class of its own for

LED processing technology and the services that make customers succeed. They are innovators who were first to market with many technologies including IP data/video distribution between LED controllers and receivers using their True Element technology to deliver the highest quality imagery. It’s great to add another world-class brand to the Ross family, and I can’t wait to have our R&D teams collaborate and help our customers overcome their creative, business and technical challenges.”

D3 provides its clients with a highly customised, end-to-end experience, and that tradition will carry on as the company becomes Ross D3 LED. Ross intends to further expand D3’s focus on broadcast, retail and hospitality, while also pursuing other live production applications such as Virtual

LED and Extended Reality, as well as IMAG in venues. D3’s solutions complement the existing portfolio offered by Ross and will enable the Canadian manufacturer to offer an even more comprehensive range of content rendering platforms, including XPression

motion graphics, Voyager (based on the Unreal Engine from Epic Games) and the D3 IMS playback system.

Commenting on the acquisition, VP of Ross D3 LED Meric Adriansen commented: “We are very excited about the future and

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NEWS: BUSINESS

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Chris Allen launches Room Sonics WORLD

Following a 15-year career with two major UK audio manufacturers, familiar industry face Chris Allen has established a new company focused on providing room optimisation and speaker lineup services. Named Room Sonics, the company’s aim is to help audio professionals improve the listening experience both in their studios and homes.

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of experience and thorough insight into modernday professional workflows and domestic hi-fi setups,” he explained. “As an independent consultant, I provide genuinely impartial advice to help resolve many of the issues people face, especially when they are working and listening in spaces where the acoustics and speaker setups are less than ideal.”

With technical and commercial responsibilities at both Prism Sound and PMC, Allen has worked with numerous world-class recording, mixing and postproduction studios to specify, supply and commission high-end audio equipment. He intends to use his experience

to help people find solutions that meet their needs, without necessarily incurring huge costs.

“Audio professionals are investing a great deal of money in instruments and equipment that has been beautifully designed to deliver musicality, a clean signal path and remarkable audio quality,” he said. “However, the true performance of that equipment is often limited by the room it is being used in. Many of these issues can be easily overcome with the right advice and mitigation. Often all that is required is a better setup in a given space for the loudspeakers and the listening

position. However, if a problem is particularly severe, Room Sonics can advise on additional solutions, such as acoustic treatment, and recommend the best products to achieve the desired result.”

As well as room optimisation, Room Sonics also offers a loudspeaker lineup service suitable for postproduction and music mixing, including voicing, gain-matching, time-alignment and subwoofer integration for stereo, surround and immersive audio formats such as Dolby Atmos. www.roomsonics.com

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With the pandemic forcing more and more artists and producers to work independently, and often in acoustically challenging spaces, Allen recognised a burgeoning need for an independent room optimisation service that would help customers achieve the best possible results.

“My career within market-leading brands Prism Sound and PMC Speakers has given me a great deal

the benefits that our combined technical expertise will deliver to our customers. Our focus will be on creating products that enable our customers to communicate better with their customers. Whether that is to capture more eyeballs, tell a more compelling story or entertain and educate them better, Ross D3 LED will be there every step of the way.”

Following the announcement that the company would not be attending the NAB Show 2021 in Las Vegas, Ross will now share its new product announcements originally planned for the show as part of its Ross Live series of online broadcasts.

KENNY MORAN ON USING MERGING+ANUBIS AND ITS NEW MUSIC MISSION “I don’t always get excited with new gear, there’s so much good stuff out there I tend to use what I know and like.

But every once in a while something comes my way and I sit up and take a listen. This box gets it! Sound quality and AD convertors second to none. Mic pres, line inputs and 6 outputs - mastering grade DA’s and small enough to fit in a backpack…”

Mobile Sessions has to go anywhere and be anywhere with a no compromise studio, Merging + Anubis gets it!

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NEWS: BUSINESS

disguise and ROE commit Neutrik Group defines to deeper collaboration brand reorganisation

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disguise and ROE Visual have strengthened their existing strategic partnership into what is now being described as a “multi-faced alliance”. Being involved with virtual production techniques since 2017, ROE Visual’s LED technology and disguise’s Extended Reality (xR) workflow have both become a well-recognised part of many virtual production setups globally.

products and techniques and translate them into improved workflows and resulting visual effects for their partners and users. “disguise and ROE Visual’s shared history and commitment to producing cutting-edge technology that empowers users to bring unforgettable experiences to life means that this partnership will further expand the global reach of extended reality,” stated

The xR stage in Los Angeles Furthermore, the two companies both share a similar customer philosophy and way of working that is rooted in high-end products and a solution-based and service-orientated customer approach.

Following the opening of xR showrooms in Los Angeles in the US and London in the UK last year, disguise plans to open more stages with ROE Visual products. The companies create accessible state-of-the-art facilities for the global XR community while giving users the opportunity to explore the possibilities of real-time visual experiences in virtual production. In addition to powering hundreds of xR stages globally, the partnership is funded by teams sharing knowledge and expertise, translating this into product features that will benefit users. Part of this will be a training programme for both technical teams to better understand each other’s

Fernando Kufer, CEO of disguise. “ROE Visual’s dedication to providing the best LED display platforms and outstanding LED solutions drives mutual innovation in virtual production. The teams’ professional attitude and enthusiasm are very motivational to serve our shared clientele with even better solutions and techniques.”

“We’re pleased to be working in close cooperation with the disguise team. disguise and ROE Visual engaging in this partnership is beneficial to both companies and, more importantly, for our global user community,” added Grace Kuo, sales director for ROE Visual. “We believe the partnership will help to develop virtual production technology and bring it to a higher level.”

In a major reorganisation of its global operations, the Neutrik Group has restructured as a multi-brand company with an extended portfolio of products. Headquartered in Liechtenstein, the supplier of professional entertainment and industrial connector products now develops, designs, manufactures and globally distributes electrical and electronic interconnect products and systems under the Neutrik, Rean and Contrik brands.

Several months in the making, the restructure has both expanded and diversified the group’s product offering across a breadth of technologies and applications both within and beyond the entertainment and broadcast production sectors. Further expansion is being undertaken across AV, lighting, Ethernet, fibre optic and power applications globally throughout healthcare and wider industrial sectors, where the company has been building supply chain relationships for some time.

Commenting on the restructure, Chad Trevithick, CEO Neutrik Group, stated: “Our proud history as a family-owned business, rooted in the principality of Liechtenstein, means that our continued success does not require a specific focus on technology.

We would rather continue to provide our passionate employees with a work environment that inspires their creativity and innovation.”

Neutrik manufactures a wide array of XLR connectors and receptacles, jacks and plugs, fibre optic connector systems, Ethernet interconnect and digital network solutions for a broad range of customers, ranging from live audio to lighting design and industrial

Neutrik Group CEO, Chad Trevithick equipment to broadcast solutions. Under the new structure, Neutrik will continue to offer copper connectors, fibre optic systems and digital audio network devices.

Since its acquisition by the Neutrik Group in the early 2000s, Rean has been repositioned as a global supplier with an extensive portfolio of connectors for designers of audio, video and lighting products. Additionally, the Rean portfolio has been expanded to include IP65-rated Ethernet, XLR and RJ45 connector series. Contrik has extended the Neutrik Group product offering with a portfolio of power distribution systems that includes a bonding system and professional power cables.

In a parallel development, Neutrik’s continental American distributor network has been brought under the management of the company’s US subsidiary, now renamed Neutrik Americas. www.neutrik.com

www.disguise.one www.roevisual.com

Jands hands over venue engineering business to HME Services AUSTRALIA

Jands, distributor of professional audiovisual technology solutions, has entered into an agreement to sell Jands Venue Engineering (JVE), manufacturer and installer of staging and venue technology solutions throughout Australia and New Zealand, to HME Services.

Headquartered in Sydney, Jands sold its audio rental, lighting manufacturing and venue engineering businesses to the market leaders as part of a five-year business plan that focused on developing and expanding its distribution operations. Jands also reviewed and made changes to its distribution

operations which resulted in the addition of several tier one audio and lighting brands into its portfolio.

Paul Mulholland, chairman of Jands, spoke kindly of HME founder, Glenn Harris: “Glenn

joined Jands straight out of university and is still the best engineer to have worked at Jands. As I grew to know Glenn, it was obvious his entrepreneurial flair coupled with business SMARTs would inevitably result in him starting

his own business. 18 years later and having overcome considerable adversity, he now has a truly world-class stage machinery business.”

With JVE transitioning to HME Services ownership later this year, Harris said that the “combining of two strong entities creates a new opportunity” and he was excited to continue and build on the “legacy of excellence” that Mulholland and JVE represented. www.hmeservices.com.au www.jands.com.au

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NEWS: BUSINESS

Tongbo opens CODA Audio facility in cultural hub of Beijing CHINA

The opening of the CODA Audio Beijing Operations Centre saw more than 100 industry partners and press gather to celebrate the new development created by Tongbo Electronic Engineering, CODA’s Chinese distributor.

The centre is located in Beijing, specifically the Beijing Zuiki International Cultural and Creative Park, which is a hub hosting a variety of sports venues, concert halls, opera houses and universities. Tongbo was keen to create a high-level development space in the capital, especially with a new sense of opportunity and

freedom, brought about as China emerges on the other side of the Coronavirus pandemic.

“The establishment of the new centre is part of our long-term strategy for the Chinese market. We believe it will further enhance CODA Audio’s reach and enable us to offer in-depth professional service and support for the whole country,” commented president of Tongbo, Zhou Wenbao.

The new operations centre, which took a year to prepare, is made up of three key spaces, which includes a ground floor

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exhibition hall covering 200m2, displaying the entire range of CODA Audio products.

The next floor hosts daily demonstrations of specific products, with customer interaction made possible by more than 100m2 of floor space. The final space is a China-themed VIP Lounge, which was designed for receptions and further showcasing.

Paul Ward, director of global sales for CODA Audio, was convinced that the centre would further cement its presence within the loudspeaker market, saying the centre is a “real statement of intent” from Tongbo, and he added that they are “delighted with their tremendous commitment to the CODA brand”. www.codaaudio.com

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NEWS: DISTRIBUTION

Hibino Intersound appointed as A&H Japanese distributor

www.hibino-intersound.co.jp

“Igloo’s shared immersive technology is a natural addition to our portfolio of integrated solutions,” Sujith Sivaram,

managing director at ESCO commented.

“We share several clients and work across the same markets, including enterprise, education, healthcare and many more.

We’re very excited to offer this innovative technology and address our clients’ needs for faster and smarter collaboration.”

As well as making the solution itself more accessible, the partnership also means that customers who install Igloo immersive workspaces in the region have access to locally provided service and support from ESCO. “ESCO is a key partner for us in the APAC region and will further

“We are very excited to join the Allen & Heath family,” commented Oizuru Osamu, president and CEO of Hibino Intersound.

“Allen & Heath offer a wide range of products which are renowned for their innovation, quality and reliability. We look forward to developing market reach and supporting Allen & Heath customers in Japan.”

“Many of our customers are now using and specifying multiple products across the range, from ZED to dLive,” added Jamie Ward, Allen & Heath’s APAC sales director. “The impressive scale and depth of Hibino Intersound’s market coverage enables us to fully support them, especially as our product range continues to grow and develop into new areas. We are delighted to be working with them in this key territory.” www.allen-heath.com

Oizuru Osamu

KOREA

ZinoPro has been appointed as distributor for QSC’s systems product portfolio, joining existing QSC distributors in the country including Sama CDS, Soundhub Co and Sovico System Corporation.

“We are pleased to partner with ZinoPro in South Korea,” said William Chan, managing director, North Asia, QSC. “With ZinoPro we now have a partner in the region that can offer complete QSC solutions for high-value spaces. With the ability to offer both Q-SYS and the Sennheiser TeamConnect Ceiling 2 microphone, we can improve the pre- and post-sales experience and deliver the most comprehensive set of certified solutions for conferencing applications like Microsoft Teams Rooms.”

“As demand for high-values spaces continues to grow, we look forward to partnering with QSC to deliver these flexible and scalable solutions throughout South Korea,” added JH Sin, managing director, ZinoPro. “With QSC, users can take advantage of an expanded list of

JAPAN

Allen & Heath has named Tokyo-based Hibino Intersound as its distributor for Live, MI and Install products in Japan.

The new partnership is active with immediate effect; however, A&H DJ products will continue to be distributed by High Resolution Co.

QSC appoints ZinoPro for systems portfolio

Teams Rooms-certified audio and video solutions, but also a number of software innovations to help simplify the integration process, enable full room control from the Teams Rooms control console and provide automation like camera switching.”

ZinoPro was established in 2013 and has won numerous awards for sales performance, offering a one-stop solution for QSC Room Solutions for Teams. www.qsc.com

ESCO brings Igloo immersive workspaces into Asia ASIA

Igloo Vision and ESCO have partnered to provide shared immersive workspaces across Asia. The new partnership will mean that customers in Asia can more easily incorporate Igloo’s immersive technology into their workspaces.

Operating across Southeast Asia, ESCO has offices in 13 countries and is headquartered in Singapore. As a leading systems integrator in the region, it delivers workplace and collaboration technology solutions for clients including Microsoft, Citi, UBS, Grab and many others.

enable us to drive our goal of bringing shared immersive workspaces within the reach of any organisation,” said Pippa Halliday, sales and marketing director at Igloo Vision. “We’re already working on several opportunities together and we’re pleased that our future clients will benefit from ESCO’s expertise and experience in delivering outstanding integrated solutions and, crucially, in supporting customers to get the most out of their installations.” www.esco.asia www.igloovision.com

Sonos Libra’s audio expertise appeals to Crestron THAILAND

Crestron Thailand has extended its dealer network in Thailand with the appointment of Sonos Libra. The expansion allows the advanced control and automation technology provider to further enhance its service and support to a new customer base.

Headquartered in Bangkok, Sonos Libra forms part of Crestron’s strategic blueprint for business development in Thailand. The expanded presence and business strategy is being overseen by executive director, Jerry Park.

“We are excited to provide further hands-on support and expertise to our clients in Thailand,” commented Park. “The Sonos Libra office features premium service including an impressive training theatre and demonstration area that will give our customers the opportunity to experience our latest technology and solutions. Crestron is committed to providing the best service and solutions here.”

With a mature audio portfolio that includes Adamson, Allen & Heath, Audinate, dBTechnologies, Earthworks and Xilica,

L–R: Sonos Libra chief Alfonso Martín and Wanthanaporn Suksawat​, country manager Thailand, Crestron Crestron was drawn to Sonos Libra’s strong audio connections, expertise and professional standards. “Sonos Libra has

increasingly been using Crestron products for full turnkey solutions such as the DM NVX AV-over-IP solutions for distributing 4K

video content,” commented Sonos Libra chief, Alfonso Martín. “During the pandemic, we have taken a more AV-centric direction to gain a firmer foothold within the corporate, education, government, hospitality and retail sectors. Crestron is central to this initiative and now that we have been appointed as an approved dealer, we are optimistic that Crestron will open new doors for us leading to representing new AV brands.”

Having appointed a Crestron trained software programming engineer, Sonos Libra is looking to build an extensive Thai dealer network by reinforcing the brand values through marketing, training and roadshows.

“Despite Crestron’s dominance in the market, there are many small integrators who are not fully aware of all the products and solutions in their extensive catalogue, so there is potential,” added Martín. www.crestron.com www.sonoslibra.com

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NEWS: DISTRIBUTION

Midwich to represent Promethean and MediaStar WORLD

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Midwich Asia has signed a new distribution agreement covering Southeast Asia with education technology and classroom solutions provider Promethean.

The Seattle-based manufacturer creates interactive displays and boards for schools intended to enhance learning through collaborative and immersive environments.

A recent study conducted by the company reveals the majority of teachers believe educational technology accelerates classroom learning by a staggering 82%.

“Whether students are participating in remote learning or in-classroom environments, educators are continually challenged with building an EdTech digital ecosystem with fewer technological barriers,” commented Michael Broadbent, Midwich APAC managing director.

“Promethean products are purpose-built and designed by teachers, for teachers, to effectively overcome barriers and help deliver improved student achievement outcomes.”

“We are delighted to pair our innovative designs with the expertise of the Midwich team,” added Gene Ng, regional vice president, Asia Pacific and Japan at Promethean. “Midwich quickly established its presence across Southeast Asia

and, with strong in-region support, has demonstrated its commitment to the success of the region, its partners and customers, and we look forward to their value-added offering in helping us expand our reach throughout the territory.”

The AV distributor has also announced a new distribution partnership for Australia and New Zealand with MediaStar Systems, a UK-based developer of a range of IPTV, streaming and digital signage solutions.

Increased broadband capacity has opened up the digital signage market to wider creative applications, while corporate users can stream advertising, brand messages and logos, while public venues can add revenue streams by allowing advertisers to connect with audiences.

“With proper planning and the right business

partner, IPTV/digital signage deployment can eliminate risk of failure and maximise return on investment for clients of AV consultants and systems integrators,” said Broadbent.

“MediaStar Systems has a proven track record with what is known as ‘place-based media’ and we look forward to growing our business together to help deliver targeted messaging throughout markets such as retail, hospitality, corporate, healthcare and public transportation, to name a few.”

The MediaStar IPTV system broadcasts content via a compressed multicast stream to multiple screens across an IP network using a set of management tools. “Continuing advances in technology, from greater bandwidth capacity to 4K screens, provide unprecedented access to sophisticated high-quality video communications,” added Shaun Oxenham, CEO, MediaStar Systems. “With its strong technical expertise and background in AV technology solutions, Midwich is the ideal partner to facilitate a properly integrated suite of software and hardware products for IPTV, streaming and signage systems that bring confidence and peace of mind to AV and IT teams.” www.mediastarsystems.com www.midwich.com.sg www.prometheanworld.com

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NEWS: DISTRIBUTION

Audio Brands Australia extends the sound barrier AUSTRALIA

Alfatron Electronics has appointed Audio Brands Australia as its exclusive Australian distributor. In addition to a portfolio of loudspeakers and AV-over-IP products including USB cameras and speakerphones, Alfatron Electronics produces a wide range of PTZ cameras, HDMI extenders, splitters, matrix switchers, presentation switchers, USB extension cables, HDMI cables and audio de-embedders.

Incepted in 2013, Audio Brands Australia possesses a rounded portfolio of audio brands including Bosch Commercial Audio, Dynacord and EV installed audio products, Earthworks, FBT, Frontrow, Linea Research, Mipro, Rane, RTS and Univox. “We’ve been looking for such a range for quite some time and are thrilled to now be able to offer our customers such a full suite of proven products,” commented Audio Brands director, Don McConnell.

“The Alfatron catalogue is extensive from simple home office USB webcams through to full meeting room, house of worship and venue PTZ cameras, switching and AV distribution.”

Voice Interaction partners with Australian distributor AUSTRALIA

tm stagetec systems has announced that it will be the Australian distributor for Voice Interaction, a company that works and invests in research and development in closed captioning. With the belief that speech will be the preferred interface for access to information technology in the future, Voice Interaction develops technological solutions in live captioning, media monitoring and transcription services. Voice Interaction’s main user base is within TV broadcasting, livestreaming and content producing, and it enables users to comply with accessibility regulations according to region.

With tm stagetec systems having brought Voice Interaction to Australia, the new product range will aim to meet clients’ rapidly evolving business needs. As part of Voice Interaction’s technology developments and as the corporate world evolves, the company has also found applications for its solutions

Distributed in Europe, South Africa and the United States, all products in the Alfatron catalogue are covered by a seven-year warranty. “We are excited to have the Audio Brands Australia team onboard,” added in the corporate, education, government and healthcare industries. These industries have applications for meeting transcriptions, media monitoring as well as video and audio transcription. tm stagetec systems hopes the partnership will help this technology to further permeate many other industries within Australia.

Mark Lownds, general manager at tm stagetec systems, said: “TMS are excited to now offer Voice Interaction solutions to our clients. Their range of solutions fits perfectly with our existing portfolio of highquality, professional technology integration solutions and products. Particularly for our broadcast clients, Voice Interaction’s range offers solutions in live subtitling and closed captioning that are simple to use, effective and, most importantly, accurate.” www.tm-systems.com.au

Alfatron marketing director, Tiaan Hoogstad.

“We are positive that they will add value, skills and world-class support to the Alfatron Electronics brand in Australia and New Zealand. We are looking forward to working with Don and his team of highly experienced AV professionals to develop the market together.”

Earlier this year, Audio Brands Australia relocated its operational headquarters in the north-western Sydney suburbs to accommodate further growth expansion.

Situated near the previous Baulkham Hills address, the Bella Vista facility is double the size with a significantly larger warehouse, expanded office areas, multiple meeting spaces and improved demo facilities. www.alfatronelectronics.com.au www.audiobrands.com.au

Bluesound Professional expands into Southeast Asia ASIA

Bluesound Professional, audio ecosystem provider for commercial spaces, has extended its partnership with its sister company Lenbrook Asia and subsidiary of Lenbrook International. In doing so, it has extended its distribution to

www.voice-interaction.com

ADAM Audio joins forces with Algam CHINA

Algam has been appointed as the exclusive Chinese distributor for ADAM Audio’s range of professional products. The Focusrite Group-owned studio monitor brand joins a list of others supported by Algam that includes Marshall, Eden Bass Amplification, LAG Guitars and Nord pianos.

“ADAM Audio has been on our radar for quite a while, and from the very beginning of our conversations we felt that this would be a great fit,” explained Algam SAS managing director, Benjamin Garnier. “It is a true pleasure to represent a renowned manufacturer like ADAM Audio, who has been around for over 20 years now and certainly has left their mark on the industry with their studio monitors.”

Algam will represent ADAM Audio for the first time at the upcoming Music China exhibition in January 2022. It also plans to roll out several Listening Centres across the country over upcoming months, giving customers the opportunity to experience ADAM Audio products first-hand.

“Our focus is on ‘getting closer to the customer’, and we are taking every step

to keep moving towards this objective,” commented Christian Hellinger, CEO of ADAM Audio. “We could not hope for a better partner than Algam to serve the exciting and quickly evolving Chinese market; they have the know-how, they have a great team,

they have the passion and they deeply understand the customer’s needs when it comes to professional monitoring solutions.” www.adam-audio.com www.algamchina.com

further parts of Asia to include Singapore, Malaysia, Philippines, Sri Lanka, Vietnam, Cambodia, Brunei and Laos. Since its launch in 2019, Bluesound Professional has expanded to over 25 international markets.

Graeme Harrison, vice president and general manager of Bluesound Professional, said: “Lenbrook Asia’s expanded remit will bring our products into additional markets and help us to build popularity for our ground-breaking streaming audio solutions for commercial spaces.” www.bvd-int.com www.lenbrook.com

L–R: Christian Hellinger virtually shaking hands with Benjamin Garnier

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NEWS: APPOINTMENTS

Al McKinna named head of product at Optimal Audio WORLD

Al McKinna has joined Optimal Audio as the loudspeaker company’s head of product.

A sound technology graduate from LIPA, McKinna moves to Optimal after 15 years at Avid, where he spent three years in sales and 12 in product management. He will be responsible for creating a future product development strategy that aligns with, and remains true to, the brand’s original vision for removing the often unnecessarily complex nature of commercial audio.

“Al’s career speaks for itself, and we are delighted that he has chosen to join us,” commented Dom Harter, managing director of Optimal Audio. “His product management work

Al McKinna

at Avid, in both live sound and audio hardware, mark him out as an exceptional audio industry professional. For a new brand like Optimal Audio, his mastery of business strategy allied to product development will be fundamental to successfully fulfilling our aims and ambitions.”

As director of product management for live sound at Avid, McKinna led the business strategy and product development of the VENUE brand of digital live audio production systems, overseeing 30 major product releases and achieving two patents during that time.

Most recently as director of audio hardware at Avid, he led product management for Pro Tools systems, control surfaces and live sound.

“The first phase of launching the Optimal Audio ecosystem into the market is well underway,” McKinna said. “It’s a fantastic system, based on principles that address a clear demand in the market. My job will be to build a business strategy and create processes that develop and sustain the brand as the best commercial audio offering available in the small-to-medium install space. I’m really excited about the prospect of being an integral part of such a great team and working with them to build a strong and progressive future for the Optimal Audio brand.” www.optimal-audio.co.uk

Vojtech Pokorny returns to Sound Devices as APAC sales manager APAC

Vojtech Pokorny has rejoined Sound Devices as sales manager for the AsiaPacific region. He previously served as the manufacturer’s sales manager for EMEA, as well as vice president of sales for Creative Solutions, the manufacturer of Teradek, Small HD, Wooden Camera and Amimon.

“The whole Sound Devices team is delighted to welcome Vojtech back to the company,” said Kishore Patel, VP of sales. “He has a wealth

of experience in the professional audio market which will hugely benefit our reseller network.”

Prior to joining Sound Devices, Pokorny studied cinematography and directing at the Berlin Film Academy. He actively worked as cinematographer, director and editor for Broadcast & Cinema until 2013, when he transitioned into sales – first working for Band Pro Munich and then Sound Devices as sales manager for Europe, the Middle East and Africa.

“I’m very excited to be rejoining Sound Devices as sales manager for the APAC region,” said Pokorny. “The focus on quality, innovation and customer satisfaction is a passion that I share with everyone in the Sound Devices family. My return to this unique company feels like coming home.”

Vojtech Pokorny

www.sounddevices.com

Andreas Reimer becomes Oliver Zimmermann Speaker Trade Group joins Riedel product manager WORLD

WORLD

Andreas Reimer has been appointed as the new product manager for the Speaker Trade Group. In the new role, he will be responsible for the group’s SE Audiotechnik, VUE Audiotechnik and Mivoc brands with immediate effect.

Reimer, an industrial engineer and industry expert by trade, already worked for numerous well-known manufacturers of professional audio products over the past 11 years, and enjoys a reputation as an efficient achiever with strong implementation skills. Within the company, he will now be responsible for the planning, coordination, marketing and control of the pro and home audio products manufactured inside the company’s own factory, from new product launches to the further development of existing lines and technical solutions.

“For me, good sound means for the right notes to reach every place – regardless of whether it’s a large project or a small construction site, a fixed installation or a mobile application,” Reimer commented. “It’s particularly satisfying when I achieve this as unobtrusively and discreetly as possible. I joined SE Audiotechnik because our brands and products have a lot of potential, there’s a great team onsite and the right design scope for me and my ideas.”

Andreas Reimer Markus Schmittinger, Speaker Trade managing director, added: “We are very proud to have added Mr Reimer to our team and thus, we move one step further in our strategy to establish VUE, SE Audiotechnik and Mivoc as globally recognised brands in the audio sector.” www.se-audiotechnik.de www.vue-audiotechnik.com

Oliver Zimmermann has been appointed as director of manufacturing for Riedel Communications. Zimmermann will focus on Riedel’s supply chain and production processes to enable greater efficiency and agility.

“Oliver has always recognised the human being as the source of all improvement, considering every employee and every team an integral part of the overall organisation,” commented Thomas Riedel, CEO at Riedel Communications.

“This mindset makes him just the right person to guide the Riedel manufacturing division through continuous development as a learning organisation – an approach we believe to be vital in a volatile world undergoing an exponential pace of change.”

In his previous roles, Zimmermann has leveraged his knowledge of models and processes to analyse systems, derive meaningful measures and refine internal structures to help manufacturing organisations become more efficient. A supply chain expert and change management specialist, Zimmermann applies state-of-the-art management models and optimisation tools, such as digitisation and artificial intelligence, to drive improvement.

“Through a holistic end-to-end approach, I strive to build highly integrative, collaborative supply chain networks with the capacity to enhance both adaptability and learning capabilities,” said

Oliver Zimmerman Zimmermann. “As an organisation, Riedel has always managed to complete major projects successfully, despite constantly changing circumstances and inevitable challenges. This is a credit to the enormous motivation of individual Riedel employees, who are used to working in a very goal-oriented manner and with a high level of problem-solving competence. Going forward, we can build on these strengths by improving the interweaving of processes and people, as well as by gleaning more targeted lessons from each project we undertake. I look forward to the challenge.” www.riedel.net

20 PRO AVL ASIA November–December 2021

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NEWS: APPOINTMENTS

Adam Hall Group appoints Ramón Macías as business development manager

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WORLD

In the process of expanding its audio installation solutions for the AV integration sector, Adam Hall Group has appointed longtime employee, Ramón Macías, as its new business development manager. In his new role, Macías is responsible for the company’s fixed installation areas and systems integrations operations.

Previously an Adam Hall Group sales representative for Spain, Macías is focused on the continuous development of the audio installation division. He expressed that he is “excited to help shape the future” of Adam Hall Group, as well as accessing markets that will hopefully lead to “enormous possibilities”.

Markus Janhel, COO of Adam Hall Group, added: “We are extremely pleased to have Ramón Macías onboard. He is an absolute install professional who already knows all the facets of our path into the professional integrated AV market from his time as sales representative manager, as well as product manager.

With his extensive personal contacts to international partners and customers, Ramón will contribute an important part to the growing success of the LD Systems installation division.”

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Boromy Ung joins Ross Jeff Shoesmith appointed for MadisonAV WORLD

Ross Video has announced that Boromy Ung has joined the company in the newly created role of senior director – product management and business development – graphics. Ung has a wealth of industry experience having held senior product management and head of product roles with companies including Grass Valley and ChyronHego. In the new position, he will guide the product management and business development teams for both XPression graphics and Ross Virtual Solutions.

“I’m very pleased to be joining Ross at this important time,” Ung noted.

“The pandemic has forced many of our customers to reassess how they work, and that has naturally influenced our product roadmaps and the way we support potential new customers. Ross has managed to navigate the last 18 months remarkably well, and I’m particularly impressed by the long-term view that David and the Ross senior management team are taking. To use a running analogy, our success is a marathon, not a sprint, and I’m looking forward to playing my part as we keep innovating and building out our graphics offerings.”

AUSTRALIA

Boromy Ung Bas Saleh, VP of graphics at Ross, welcomes Ung to the company. “Boromy is a highly respected industry figure and I’m very happy he has joined us. We have strong ambitions for our graphics product lines and we need the right people with the right expertise to lead our efforts. I’m sure Boromy’s experience will be extremely valuable as we continue building live production’s most powerful and valuable graphics platform.” www.rossvideo.com

Jeff Shoesmith has been appointed national business development manager for MadisonAV. Having previously worked with Audio Brands Australia, The PA People and Jands throughout his 25 years in the industry, he brings a wealth of experience and knowledge of AV. Robert Lackey, national sales manager of MadisonAV, said: “I am very excited to have Jeff join MadisonAV. Since taking on the Harman portfolio, we have been developing a really strong team from both a technical and account management level and Jeff will add further strength and capability to our expanded national team. Jeff brings that rare combination of being highly technical yet able to clearly communicate and share that knowledge and has the customer at the centre of everything he does.”

Shoesmith’s role is to manage relationships between consultants and end users, as well as to support integrator partners in collaborative projects. He will also be working closely with the technical sales support team. He commented: “I’m thrilled to be joining the MadisonAV team. While only a recent addition, I

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Jeff Shoesmith already feel the Madison company culture to be very kind and people-focused, and that culture filters right through to the way they support their customers. I look forward to connecting and re-connecting with Madison’s vast customer base and providing them with a high level of care, product knowledge and technical assistance.” www.madisonav.com.au

Tim Root joins Nureva as VP of strategy WORLD

Nureva has appointed Tim Root as its VP, strategy. In this newly created role, Root will focus on leveraging Nureva’s patented technologies to further develop and implement the company’s long-term vision for its platform and products. A 30year industry veteran, Root is described as bringing deep technical knowledge across all current audio and video platforms and products, as well as a proven ability to deliver new innovations and opportunities.

“Few organisations are truly innovating in the market today, so I am very excited to join Nureva, a company with a culture of technology and industry leadership,” said

Tim Root

Root. “Nureva products are in tremendous demand, and I look forward to working with the team to build on the many successes they have created.”

Root has held similar leadership positions in the past at Poly and Revolabs (acquired by Yamaha), where he delivered breakthrough results. In his role as general manager of Poly’s video business, he is credited with developing Poly’s award-winning enterprise and consumer products along with key business partnerships with leading UCaaS players like Microsoft and Zoom.

Over the past several months, Root has contributed to Nureva as a consultant on the

evolving vision of the core technology and its applications. Now, as a fully fledged member of the executive team, he will play a deeper role in envisioning and creating products that break the mould of traditional approaches to enabling collaboration.

“We are delighted to welcome Tim to the team,” added Nancy Knowlton, Nureva CEO. “He complements and elevates our team, bringing an industryinsider view that accelerates our ability to deliver breakthrough, technology-enabled collaboration.” www.nureva.com

22 PRO AVL ASIA November–December 2021

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NEWS: APPOINTMENTS

New regional manager for NewTek China CHINA

NewTek has appointed Xie Xiaoqing as regional manager for China, in order to further increase the company’s success in the region. Xiaoqing has previous experience in the AV industry, having focused on market development and management at Shure and Bose. Xiaoqing’s new role is to enhance existing partner relationships and further grow partnerships for the future.

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Xie Xiaoqing

“We are very excited about the opportunity for NewTek in China. We have longstanding partnerships in China and are very keen to build on this,” said Paul Dobbs, NewTek APAC sales director.

“This is an important hire for NewTek, and we needed to hire someone who fully understands both the broadcast and pro AV markets together with a deep knowledge and understanding of indirect channels in China. I believe Xie’s rich experience will accelerate NewTek’s development in China.

Her background in pro AV and broadcast markets made her the obvious choice to lead NewTek’s future investment in China.”

Xie added: “China presents such a huge opportunity for NewTek and I am very excited to be leading the region.

Whilst NewTek has always been active in the broadcast space, our products and services are gaining more traction in education, enterprise, government, medical and other industries, helping them communicate more effectively. I am very interested in developing these new markets in China.” www.newtek.com

Allen Broome becomes MediaKind CEO WORLD

MediaKind’s Allen Broome has taken on the role of CEO, advancing from the CTO position. Broome has led the company’s research and development organisation for the past two years as CTO. Before joining MediaKind, he led pivotal technology change in the media industry for more than 20 years, including most recently as VP cloud engineering at Comcast Cable.

“I am excited to lead the amazing MediaKind team into this next chapter and to continue to drive our innovation leadership in the media industry,” commented Broome. “Our goal is to give our customers the freedom to stream live without limits. We’ve tackled the many complex barriers of live video delivery to unlock unprecedented efficiency and ensure quality and low latency at any scale – enabling our customers and partners to focus on their own next-level creativity in content and experience.”

Since joining MediaKind in October 2019, Broome has helped advance the company’s teams in the industrialisation of broadcast-quality OTT streaming, while also reshaping its portfolio to enable fullservice solutions. “The board would like to thank Matt McConnell for his service and leadership and wish him well for the future,”

Allen Broome added Angel Ruiz, chairman of the board at MediaKind. “With the elevation of Allen Broome to CEO, we have a true engineering visionary at the heart of our company. Allen is well equipped to lead and guide our future strategy roadmap and technology innovation and ensure that we continue to provide the best level of support and collaboration with our customers and partners worldwide.” www.mediakind.com

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NEWS: PROJECTS

3D laser projection lights up majestic monument in Punjab INDIA

of Unity – the tallest statue in the world. Qila Mubarak is the second-largest 3D projection mapping permanent installation in India after the former. Lucent Worldwide, architectural lighting design company, acted as the consultant for this project.

To restore the grandeur of the magnificent fortress, conventional lighting has been replaced with 3D projection mapping. “The magic of the historic structures is meticulously recreated by highlighting the ornate designs on the entrances, works of bas-relief featuring geometrical, floral and other images to bring out the nuances from surrounding surfaces through projection mapping techniques,”

Darbar Hall Images courtesy of Pyramid Technologies Christie’s latest project in northwestern India saw 27 1DLP HS Series ANSI 20,000-lumen laser projectors light up Qila Mubarak, an ancient fortress which was previously home to royalty. The company was tasked with preserving the building’s traditionally beautiful Sikh architecture, while incorporating projections that showcase its historical splendour and glory.

The complex, located in the city of Patiala in Punjab, was first built as a mud fortress

by Baba Ala Singh, founder of the Patiala dynasty, in 1763. The fortress occupies four hectares in the heart of Patiala and is known for its majestic design façades within the Ran Baas (guest house), Quila Androon (royal chambers) and its Darbar Hall (royal court).

The royal chambers are said to be particularly beautiful, adorned with scenes from Hindu mythology painted in Patiala’s art style.

Qila Mubarak In the evenings, Christie HS Series 1DLP laser projectors bring the natural beauty of Qila Mubarak to life. The installation was commissioned by Pyramid Technologies, a company that previously worked on the Statue

commented Pyramid Technologies director, Aarti Parwaney.

Parwaney recalled that the team had to take special care during the installation, as the structures of Qila Mubarak are protected

monuments of the Punjabi State. There was a thorough study to ensure that the roof could withstand the weight of the projectors, and that the solar panels wouldn’t cause any damage to the fortress. Mapping and support structures had to be modified due to tree cover around Darbar Hall, so as not to disrupt the trees or courtyard. Parwaney added that the projector housing structures “only protruded minimally” from the backdrop, and that the modifications maintained a clear line of sight without shadows.

The Christie Twist warping and blending engine together with the Christie Mystique automated camera-based alignment tools helped to speed up and simplify the setup, alignment and ​recalibration of the multiprojector systems. Housed in Rover IP55-rated weatherproof enclosures throughout the Qila Mubarak complex, the projectors were precisely installed and commissioned over a three-month period.

Parwaney said all stakeholders involved in the project were delighted, and the projectors have “performed admirably to successfully recreate the magic of this glorious ancient monument”.

Founder partner of Lucent Worldwide, Sarvdeep Basur, added: “We are proud to offer our expertise in lighting design to illuminate the façade of this majestic monument to rekindle the glorious, opulent past of the Patiala kings.”

Rishubh Nayar, sales director for Christie India, extended his “heartiest congratulations” to both Pyramid Technologies and Lucent Worldwide for “completing a remarkable feat and delivering an engaging spectacle that restores the splendour of this ancient fortress”. www.christiedigital.com www.lucentworldwide.com www.pyramidtech.net

British University Vietnam brings smart AV to new campus VIETNAM

British University Vietnam (BUV), the only international university in the country to award direct degrees from UK universities, has created a new campus in the country’s Ecopark township. Crestron equipment has been installed throughout the new campus to provide a smart AV system to bring a new learning experience to lecturers and students.

Established in 2009, BUV provides teaching for 11 undergraduate programmes and an MBA. BUV’s new campus encompasses state-of-the-art teaching and learning facilities and an iconic design, all of which will support 4IR (Fourth Industrial Revolution) use of smart technology. Upon completion of the three phases, the BUV campus will have a total investment of US$80m, meeting the educational needs of 7,000 students.

The first phase, funded by a $36m investment, will accommodate up to 2,000 students. Work on the design, construction and implementation of the extended Phase 1 was carried out by BUV’s IT team in conjunction with systems integrator, Hoang Minh. Challenges they faced included a number of classrooms with different functions, located in different areas, requiring

smart AV systems with support for users, meaning that flexibility to meet the different teaching scenarios was paramount. The system also had to be centrally controlled and monitored via LAN, and had to be integrated into the system installed in Phase 1.

Hoang Minh has provided systems into several areas completed during this phase, which includes a learning theatre,

a multipurpose room, a learning kitchen, a motion capture studio and a control centre in the IT room.

AV and lighting is controlled by Crestron systems, with central management, monitoring and control systems allowing for a reduction in operational staff. Crestron has also provided synchronised lighting and AV control for key rooms. Among Crestron

products installed at BUV are the DM-MD8X8 digital media switchers, CP4 control processors, TS-1070-B-S touchscreens, DM Lite transmitters and receivers, Fusion monitoring and scheduling software and DIN control systems.

Other equipment supplied by Hoang Minh includes a range of Samsung LED screens, Panasonic projectors, Aver cameras, Biamp TesiraFORTÉ CI digital audio servers, RCF HDL 6-A line array speakers with Sub 8003AS subwoofers, Sennheiser ew 100 G4 wireless microphone systems, Shure MX 393/C boundary mics and PGA98H-LC instrument mics and Sony PXW-Z190V camcorders.

“The harmony between technology, space and standard teaching methods is bringing an impressive experience for students to enhance their learning outcomes, help improve the school’s training quality, as well as be a point for attracting new students,” said Nguyen Hoang Trung, ICT director of BUV. www.crestron.com www.hmico.vn

24 PRO AVL ASIA November–December 2021

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NEWS: PROJECTS

PSI Broadcasting demands PlayBox Neo for HD THAILAND

Thai television broadcaster and playout service provider, PSI Broadcasting, has expanded its investment in PlayBox Neo equipment with the purchase of latestgeneration channel-in-a-box (CIAB) servers for integration into its Bangkok headquarters.

Each CIAB server includes a complete suite of AirBox Neo-20 playout software plus TitleBox Neo-20 graphics and Capture Suite ingest management.

“We operate a large playout system for our own 1080i high-definition television channel and in a hosting role on behalf of third-party channels,” explained Rattana Taipong, PSI Broadcasting’s technical manager. “It is based on PlayBox Neo servers which have proved highly reliable over the years. They give our operators all the facilities they need to perform their duties efficiently and effectively, from ingest, programme prescheduling and commercials insertion right through to transmission. The whole process can be performed on a fully automated basis while retaining the ability to go live whenever needed. We also subscribe to PlayBox Neo’s Annual Service Maintenance offering which gives us 24/7

L–R: Rattana Taipong and Nut Deesamer in the playout suite support if needed – fortunately very rare.

We also get access to the latest software updates across the entire product range; that is certainly useful as it ensures we are able to react quickly to new interface protocols and file formats.”

Centred on a scalable multiformat parallel output playout/streaming engine, AirBox Neo-20 allows media files of various kinds

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to be combined into a single transmission playlist. Simultaneous multiple SDI/ IP streaming UHD/HD/SD outputs are supported, while files can be trimmed, edited or repositioned at any time prior to being aired, without losing the freedom to transmit live.

Playlists can be scheduled weeks in advance for automated transmission. Gaps and time overlaps are automatically corrected to ensure

continuous operation even when events with conflicting times are present, while special protection is provided to ensure uninterrupted operation if content files or schedules are missing or misplaced.

TitleBox Neo-20 provides control of titling, graphics generation and text management in advance of transmission and live on-air. The feature set includes horizontal crawling text, vertically rolling credits and messages, still and animated logo graphics, analogue and digital clocks, banner slideshows and chat text with automated horizontal or vertical scrolling.

“PSI Broadcasting has proved an excellent customer over the years, both with its own television channel and as a highly experienced provider of turnkey playout services for its various customers,” said Nut Deesamer, director of PlayBox Neo’s Thailand branch. “We worked directly with them during the installation phase of this latest system expansion and provided training on the recently introduced Capture Suite which is designed to make ingest fast and easy.” www.playboxneo.com www.psi.co.th

No more technical difficulties for Talking Grace after TVU collaboration MALAYSIA

IP-based live video solutions company, TVU Networks, has announced a collaboration with Talking Grace, a weekly online talkshow produced in Malaysia. The programme used TVU solutions to conduct interviews around the country, due to Covid-19 restrictions still disrupting inperson shoots. The production team used TVU Producer and TVU Anywhere, as well

restriction to travel. We can still have live interviews using TVU Anywhere.”

TVU Anywhere captures video footage of the hosts and guests on mobile devices, with the guests being able to communicate freely without sync or latency issues when using TVU Partyline.

The live feeds are then pushed to TVU Producer for production and distribution

as the TVU Partyline real-time platform, in order to collaborate and engage with guests throughout the country.

Sazrul Yacub, technical director of AB Roll, the Malaysian film and television company behind Talking Grace, said: “With TVU, we were able to pull off the talkshow despite the location challenges and it enabled us to produce a show despite the

to social media platforms. AB Roll was also able to add graphics and effects throughout the show.

Yacub also stated that the TV company was considering using the workflow for remote production events and other programming in the future.

CHINA

Peavey Commercial Audio has announced the application of MediaMatrix broadcast system technology at Qingdao Jiaodong International Airport, Shandong Province, China. The solution, integrated

by Sichaun Newway Electronics, is said to provide the growing transportation hub several advantages, including high reliability, powerful processing across multiple broadcast types and good broadcast sound quality on a secure network.

Incepted in 2020 and the city’s first 4F-class airport, Qingdao Jiadong International is sizeable enough to accommodate some of the world’s largest commercial aircrafts. It’s due to extend its terminal from 450,000m2 to 700,000m2 as well as construct two additional runways, with a goal of reaching 60m passengers by 2045.

The main function of Qingdao Jiadong’s new broadcast system is to quickly and accurately disseminate passenger flight notifications, including emergency messages. Qingdao Jiaodong sought a broadcast system with ample processing capacity, including semi-automatic broadcasting and TTS (text-to-speech), due to difficulties passengers might face hearing

announcements and notifications. The system needed to be able to accommodate multiple languages, audio sources and audience segments.

Through various hardware and software products, MediaMatrix introduces Dante/ AES67 real-time networked audio streaming capability, allowing all IP devices to send and receive audio over the local network. Networked audio replaces point-to-point connections and analogue matrix switches allow the audio channels to be controlled from existing network equipment. Qingdao Jiaodong exemplified the application with CKd Series amplifiers from Crest Audio, a Peavey Commercial Audio brand.

The amplifiers utilise remote control and audio transmission through the NexSys Nx Dante-8 interface module. Users can detect and adjust levels according to the sound environments as well as monitor the health status of the entire system.

Qingdao Jiaodong joins six “smart airports” included in the top 25 airports in China that now use MediaMatrix. www.peaveycommercialaudio.com

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Sydney virtual events company invests in Astera AUSTRALIA

Sydney-based Audio Visual Events (AVE), a virtual event production company, has created a new semi-permanent studio space, in collaboration with the SMC Conference & Function Centre at Sydney Masonic Centre and digital event specialist, Create Engage. The studio space, ON AIR, is available for clients to rent and use for producing virtual content within the

corporate, commercial and entertainment sectors.

The pandemic encouraged the need for alternative ways of delivering events, as well as communication in general. Paul Keating, general manager at AVE, said the demand meant the setup of ON AIR was successful and AVE is in the process of building a second studio.

Initially, AVE purchased 104 Astera AX1 Pixel Tubes through ULA Group, Astera’s Australian distributor. These were utilised in the early months of the first ON AIR studio. “Visually, the fixtures can provide that extra texturing and depth that really benefits AV-based recorded or streamed events,” commented Keating.

AVE wanted to invest in more fixtures to replace some of its older products. In the last

few months, the company has purchased 80 Astera AX5 TriplePARs, 16 Hyperion Tubes, AX3 LiteDrops and over 100 Astera AX1 Pixel Tubes.

Wireless control was a major selling point for Keating and his team: “The convenience from a labour perspective is obvious. This in turn fuels creativity and enables us to deliver more complex and dynamic light shows especially onsite in smaller or more challenging spaces.”

One of AVE’s clients is The National Rugby League, which hosts several events staged in various stadiums but often in compact rooms that still require a particular branding for the telecast. Astera’s products with wireless control capabilities proved to be useful, especially where conventional trussing or rigging infrastructure wasn’t readily available.

The AV events team, which can often run up to five or 10 universes of wireless DMX, found the IP65-rated LumenRadio CRMX convenient.

“It’s obvious that Astera’s research and development team is listening to those working on the ground in film, TV and live events sectors, and they just keep on improving and innovating the products. This is a manufacturer invested in a long-term future for its brand,” concluded Keating.

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Tokyo Olympic ceremonies form largest Optocore deployment ever for Norwest JAPAN

According to Norwest head of special projects, Andrew Marsh, whose company has a long pedigree of fashioning vast digital broadcast networks for spectacular Olympic ceremonies, the Tokyo 2020 Summer Olympics opening and closing ceremonies represented the largest deployment of Optocore audio network devices ever seen.

“The system we provided for our client, Hibino Corporation, comprised just under 1,000 audio signals transported on each main and backup network,” explained Marsh.

As usual, Norwest duplicated the 21-node system to provide full redundancy. “And we used every one of them,” he furthered, “along with our usual set of HP switches in RSTP, using our spare pairs of fibre.”

These switches controlled the entire audio system at multiple field locations and control rooms. The network design was a collaboration between Marsh and John Watterson, Norwest’s senior system engineer at the head of a combined team effort.

Norwest, which already holds a large inventory of Optocore devices, expanded further for this event to include a number of M12-BNC devices among the 50 Optocore interfaces deployed. The company also purchased additional X6R-TP and X6R-FX converters and added Optocore D-SUB cabling.

Delaying the Games by a year, and then staging it under severe Covid restrictions, impacted on the traditional ceremonies which bookend the two weeks of competition.

Attendance was scaled back in the Olympic Stadium, both for the athletics parade and artistic elements.

However, there was less compromise than might have been imagined. “In fact, the show was largely performed live, with most parts utilising live microphones as compared with a ‘normal’ ceremony,” explained Marsh. “The most important part of our job was ensuring safe delivery of the live speech mics, such as that of IOC president Thomas Bach, the Japanese emperor’s Opening of the Games and the athlete oaths. Our approach or design didn’t fundamentally change.”

But the team did need to compensate for a sonically unforgiving stadium, with a long decay time. “It also bled a great deal of sound to nearby residents, which meant many rehearsals were conducted at very low levels or sometimes with no PA system on at all. From an infrastructure point of view, the cabling installation posed many challenges as some of it was closer to permanent installation paths rather than temporary,” Marsh furthered.

DiGiCo consoles were deployed at both FOH and monitor locations, feeding a Ramsa PA. The consoles were connected to the network

via MADI, and the control and programming of I/O was done entirely in the audio patch using the Optocore software.

“I don’t know of any other system which would allow us to have 21 nodes of dedicated professional audio I/O in a ring network, and with such simple-to-use software,” Marsh summed up. “Now, with the addition of high channel count MADI

devices such as the M12s, along with macros in the software control, we feel there is no reason to look elsewhere for other MADI-type routers and switchers – it is all contained within Optocore. And while our networks keep getting bigger, they remain reliable and simple.” www.optocore.com

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d&b Soundscape immerses audience in Chinese debut CHINA

d&b Soundscape has been used for the first time in the country on a new immersive musical, Xin Hua Bao Tong, staged at Beijing’s Tianqiao Performing Arts Center to mark the centenary of the founding of the Communist Party of China.

Supported by Beijing Culture and Arts Fund, Xin Hua Bao Tong features a live orchestra, chorus and lead singers with elements of

connected to the Dante network by a DS10 audio network bridge, all provided by Beijing Zenith.

“Using Soundscape, we can easily extract the sound object without computation,” explained Zhao. “d&b Soundscape can reproduce different acoustic environments and effects, according to each scene and object in the auditorium.

With the 360° speakers, the

rock, rap and hip-hop music in a soundtrack written by He Qi. The d&b Soundscape system was overseen by Ma Xin, sound consultant at rental partner Beijing Zenith, in collaboration with artistic director and sound designer Jia Ding and FOH engineer Ma Wen Zhao. “We are the first musical to use d&b Soundscape technology in Chinese theatre, providing holographic sound,” explained Xin. “It creates an enormous and quite remarkable change to traditional theatre culture, and lets the audience become truly immersed in the musical.”

The live music, song and speech elements were fed through the d&b DS100 signal engine processor at the heart of the d&b Soundscape system.

A d&b KSL system comprising main arrays of KSL8 and KSL12 cabinets were supplemented by E-Series point source speakers for front fill, with a combination of Q-Series speakers positioned in the stalls. The system was powered by D80 amplifiers

performers’ movement can be clearly recorded – a significant advance in live performance.”

Balancing vocal clarity and orchestral sounds from behind the stage, the d&b En-Space and En-Scene software tools were used to pinpoint each instrument’s primary location, a consideration taken prior to any speaker placement, augmenting the venue’s architecture to create a big concert hall ambience. The d&b ArrayCalc and ArrayProcessing simulation software tools mapped out the room, enhancing acoustic design and performance prediction. “d&b Soundscape integrates with TTA Stagetracker II, enabling a sound object positioning function that could automatically track the realtime position of performers, naturally moving from left to right, close up and far away, without limitation,” said Xin. “It created a realistic acoustic environment.”

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www.amateaudio.com

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NEWS: PROJECTS

Pixera servers transform Melbourne school hall into medieval village AUSTRALIA

Clear Systems audio, lighting and staging rental and installation company recently required a media server to turn a school hall into a medieval village for a theatre show in Melbourne suburb, Mount Martha.

The company turned to ANZ distributor Show Technology for a solution from Austrian

manufacturer, AV Stumpfl, comprising two Pixera mini media servers with two outputs and a Pixera director USB dongle.

“We needed media servers that could provide advanced mapping and content feed throughs, and AV Stumpfl’s Pixera minis were the perfect solution,” said

VMT equips new hospital auditorium INDIA

Distributor VMT Enterprise has supplied and installed an Ohm and British Acoustics audio system into a new auditorium at the JNM Hospital and College of Medicine, a government medical college and tertiary referral hospital under the West Bengal University of Health Sciences in Kalyani, West Bengal. Founded in 2009, the college is recognised by the Medical Council of India for MBBS and postgraduate medical degrees in selected subjects. The college and hospital are located on the same campus on a 76-acre site.

The new 1,200-seat auditorium is spread across three floors with a 300-seat upper balcony, spanning 21m with a ceiling height of 10m. The brief was to tune the auditorium to provide a wide sweet spot, with even coverage from front to back. As many presentations and seminars will be held here, speech intelligibility was paramount.

The main system consists of Ohm TRS 212 dual 12-inch mid-high cabinets supplemented

by Radial 25 speakers for front fill and

8-inch VS-8s for in fill. British Acoustics ETA 318S self-powered, long-excursion subwoofers were placed within the stage for low-frequency extension. A further four VS-8s were added as under-balcony fills, while four ETA 315M take care of stage monitoring. The system is powered by TK Series amplifiers and controlled via a British Acoustics Delta Drive two-in/eight-out DSP. VS-4 speakers have also been provided for the control room, green rooms and other supporting areas, powered by Q-350i amplifiers.

“The British Acoustics system has taken us by surprise,” said Mithun Kamkar, site in-charge at the Kolkata Metropolitan Development Authority. “We are happy with the tonal quality and performance of the system. The auditorium sounds complete and the quality and speed at which the install was completed was exemplary.” www.vmt.in

Daniel Bowen, Clear System’s hire manager.

One Pixera mini server, designed for realtime media processing, compositing and management, handled content from two Panasonic RZ-970 laser projectors on six projector screens, the other mini server being used to stitch together two short-throw laser projectors for a single cyclorama wide banner image at the rear wall of the stage.

“The great thing about the Pixera product family is that there is a hardware/software solution for any size of project and any budget,” added Show Technology’s Branden Butler. “So, whether you are looking for a versatile system for a small live event, or a large-scale solution for a massive museum installation, Pixera will be the perfect fit in both cases.”

Clear Systems also supplied a Global Truss performer stage to extend the existing stage in the hall, with curved sections drawing the audience closer to the stage, for full immersivity.

“Both servers were linked with the Pixera director dongle which was controlled via the lighting console for perfect timing of every cue,” continued Bowen. “The lighting system was created with Martin Professional MAC Auras and ShowPRO Tri PARs, ShowPRO Fusion Bars and ShowPRO Pharos. The implementation of the project was a lot easier than envisaged thanks to the expertise and support from Branden, who shared his wealth of knowledge from the very beginning. Show Technology’s guidance provided us with the best method of setup at the start, so any alternations made through rehearsals were handled without any issues and prevented any challenges from cropping up later in the process. It was truly a great result, one that Clear Systems were proud to have been a part of.” www.avstumpfl.com

Hanoi’s military theatre installs L-Acoustics K3 VIETNAM

To celebrate the country’s unique history, the Vietnamese Government has built many private theatres to host cultural performances for its military. Choirs put on performances that convey messages of patriotism and Vietnamese pride to up to 700

government officials and military leaders. In the capital Hanoi, one theatre worked with local L-Acoustics distributor, ProAVL Vietnam, to upgrade its sound system by installing the new K3 line source array.

ProAVL managing director, Thang Le, built strong relationships with the Vietnamese military early on his career and has provided solutions for a range of military theatres over the years. He said: “When the director of the Hanoi military theatre expressed his wish to enhance and replace the sound system previously installed, which had begun to degrade in quality, I introduced him to my proudest option – the L-Acoustics K3 system.”

Le emphasised that carrying out projects for the government isn’t necessarily easy, due to requirements stating that a company must be a certified distributor and possess at least five years’ experience in providing performance audio equipment. Using L-Acoustics Soundvision 3D modelling software

The L-R hangs each comprise six K3 dual 10-inch modules to calculate optimal sound coverage in the theatre, ProAVL Vietnam installed a system consisting of six L-Acoustics K3 per side, which met the criteria due to its “compact size and full-range sound”. The K3 is suitable for mobile performances, meaning that shows can take place in other recreational venues serving the military. Low frequency is handled by four KS28 subwoofers, and the entire system is powered by LA12X amplified controllers.

www.l-acoustics.com www.proavl-vn.com

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Queensland convention centre deploys “Australia’s first” Griffyn 4K32-RGB

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Mackay Entertainment and Convention Centre (MECC) has deployed a Christie Griffyn 4K32-RGB pure laser projector for its facility, which is said to be Australia’s first install of the product. Having decided to upgrade its ageing lampbased projectors, the MECC turned to Diversified Australia for the integration of a futureproofed solution.

our convention centre to deliver bright and high-quality visuals that will mesmerise our clients and guests,” said MECC head of AV, Mark Blake.

Describing the installation process as a seamless changeover from the existing projectors, Blake noted that his team was able to install the Griffyn 4K32-RGB within the same space as the previous projector without

The MECC is a major event and performing arts venue catering to a diverse customer base from multinational mining companies to local dance schools. Facilities at the MECC include a 1,000-person main theatre, a large flat floor convention centre with multiple meeting rooms and a total of nine spaces for hire.

The Griffyn 4K32-RGB is currently serving the main theatre to deliver projections onto a 10m-wide screen. In addition, three meeting rooms have been upgraded with Christie D13WU-HS 1DLP laser projectors. The 12,000 ANSI-lumen models are equipped with a long-life laser light source providing up to 20,000 hours of virtually maintenancefree operation.

“We’re pleased to have the feature-rich Christie D13WU-HS laser projectors fitted in

impacting existing services and sightlines.

This was accomplished with the creative use of aluminium truss and mounting hardware for the Griffyn 4K32-RGB. The 34,000 ANSIlumen Griffyn product is Christie’s first projector to offer electronic colour convergence (ECC) that can adjust colour alignment via remote control.

Following the successful integration and commissioning, Blake concluded: “I am certainly happy with the outcome as not only are we able to meet the current demand for quality images but can continue to keep up with clients’ rising expectations in the near future.”

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AUSTRALIA

SE Audiotechnik battles the elements at Happy Valley Festival CHINA

SE Audiotechnik has continued its collaboration with the 2021 Shanghai Happy Valley EV Electronic Music Festival, which ran for two months from 10 July – 12 September. As the official audio brand for the festival, SE Audiotechnik called on 32 M-F3A PROs, 14 M-F3A FSs and 20 B 21 A active subwoofers. The festival was the market debut for the B 21 A subwoofer, which served to enhance the low-frequency performance of the PA system.

A total of 32 M-F3A PROs and 14 M-F3A FSs were flown on either side of the stage as the main PA system. Due to the special stage design, these were hung from Leia shelves which were unable to meet the listening coverage requirements in front of the stage. For this reason, a further four M-F3A PROs were used as the front area fill system to fill in the coverage gap, while 20 single 21-inch B 21 A active subwoofers were placed on both sides in front of the stage.

With the festival featuring an eclectic range of music, from rappers to EDM bands, SE Audiotechnik had to consider this when designing the stage monitor system. Twelve SMX 12A stage monitors were used to amplify the performances of the DJs, MCs and rappers. Additionally, two stacks of M-F3A S15 PRO and M-F3A PRO systems were used on both sides of the DJ position in the rear middle of the stage to meet the DJ monitor requirements.

The Happy Valley EV Festival was held during the rainy season, meaning that all the equipment had to be waterproofed. All of SE Audiotechnik’s live market products are equipped with raincoats, which come with a transparent window so that users can see the working status of the speaker. Having dealt with more than two months of intense heat and then heavy rain in Shanghai, the SE Audiotechnik solution was once again highly praised by the event organiser. www.se-audiotechnik.com

www.christiedigital.com www.onediversified.com/au

Harman Pro solutions committed to Institution INDIA

The Centre for Materials for Electronics Technology (CMET) in Hyderabad has refurbished its auditorium with a Harman Professional audio solution installed by AV integration provider KVIK Infotel.

An autonomous group under the Government of India’s Ministry of Electronics & Information Technology, CMET is a research institute dedicated to developing materials for electronics using local resources and supporting India’s technological industries.

Administrators at CMET wanted to extend the facility’s auditorium for events including training sessions, conferences and seminars. However, the auditorium’s previous audio system lacked versatility for different types of events.

JBL PRX415M two-way monitors

“The Centre for Material for Electronics Technology required an audio solution that could provide breathtaking sound output and clarity for a variety of events,” said K Venkata Krishna Rao, director of KVIK Infotel in Hyderabad. “We decided that the JBL PRX speakers would be the best solution, as they would deliver extensive coverage.”

The audio system can be used either at full capacity or as two divisible seminar halls, using a combined set of JBL PRX415M twoway monitors and PRX418S subwoofers.

Additionally, JBL AC18/26 and Control 23-1 loudspeakers offer reinforced coverage during full-capacity events. The system is powered

by JBL Commercial CSA240Z and Crown

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NEWS: PROJECTS

South Korean music studio thinks outside the box with new Dolby setup KOREA

South Korea-based Sound360 has become the first certified Dolby Atmos music studio in Asia, and the only one of its kind in the country capable of mixing and mastering in Dolby Atmos 9.1.6. As more and more studios are utilising and setting up for 3D sound and mixing system, Sound360 decided on a circular studio for better speaking positioning.

Having worked with artists as successful as K-Pop music sensation, BlackPink, the owner of Sound360 is well versed in a 7.1.4 surround system mixing studio. Junghoon Choi chose a circular shape for his 9.1.6 studio, after numerous simulations and finetuning to determine the quality of the sound experience.

Having placed Focusrite RedNet MP8R and A16R units, together with a Red 16Line audio interface and Red 8Pre preamp, at the heart of his studio system, Choi recalls his earlier days within the recording industry: “Ever since the early 1990s when I first started working in music studios, I’ve always used Focusrite products. I had my eye on Red and RedNet since they first launched and was able to experience them while working at a seminar held in my studio.”

The conventional setup for Dolby systems is to use two separate computers with Red interfaces and a RedNet network setup, yet Sound360 decided to use a single computer for mixing and rendering instead, which Choi insisted “simplified all the technicalities of the Dolby mixing environment”.

He continued: “All the recording at Sound360 is done through the Red 8Pre and the additional MP8R. I’ve used countless mic preamps in my career but the preamps on these devices are astounding and I don’t feel the need to use any external

preamps. A simple setup means I can be more flexible when it comes to mixing in Atmos format, while having full confidence in my mixes with the excellent conversion that the Red 16Line provides.”

As well as its new control room, Sound360 has a 9.1.6 channel monitoring system in the recording booth, and a main hall within the studio that was built with recording,

Junghoon Choi video and studio concerts in mind. Having worked with notable artists and currently the only studio in Korea of its kind, Studio360 is a worthy example of when

thinking outside the box pays off. www.dolby.com/technologies/dolby-atmos pro.focusrite.com

SI SERIES P10 und S210 VERSATILE INSTALLATION TOOLS

PROFESSIONAL

With the new SI SERIES HK Audio has unveiled a family of speakers tailored to meet the needs of today’s installation market.

The two new S210 V and S210 P subwoofers complement the P10 column speakers in the low-frequency range. For use in particularly demanding outdoor environments, both the P10 and S210 P are tested and certified with IP 66 protection class.

The combination of dustproof as well as water proof mid/high unit and subwoofer is unique worldwide and delivers uncompromising audio quality even under the most difficult environmental conditions.

Certified for voice alarm (EN 54-24:2008)

Certified ingress protection class IP 66 (EN 60529, applies to P10 and S210 P)

Certified ball impact proof (DIN 18032-3)

XTi 2 Series amplifiers, while a BSS BLU-100 signal processor provides bandwidth and low-latency processing via 12 analogue inputs and a 48-channel digital audio bus.

Analogue mixing is performed on a Soundcraft Signature 22 console.

KVIK also supplied CMET with AKG microphones including GN50 ESP gooseneck microphones. A WMS470 wireless microphone system offers up to 16 channels on the same frequency band for events requiring more inputs.

P10i/j: low impedance (16 ohms), 300 W (RMS), 128 dB SPL (10 % THD)

P10i/j TR: 100/70 V transformer, 3 power taps (150 W max.), 125 dB SPL (10 % THD)

Extensive mounting accessories for walls, ceilings and for flown installations

hkaudio.com

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Calibre provides art and science for Somoy TV expands Just In XX at Taipei Fashion Week with TVU Networks

TAIWAN

Calibre LEDFusion A130-15 displays were recently used for designer Justin Chou’s label, Just In XX, at Taipei Fashion Week, for the debut of Chou’s retro 1990s’ autumn/ winter collection Salon des Visionaires – Luxxury Godbage and opening party held at Ximen Literature and Arts Centre.

“We rely on lighting and video to play a powerful role in the creative design and to help tell the story of each of the garments,”

said Chou. “For this project, the main stage needed to look amazing from so many different angles to meet the demands of photographers, television broadcast, social media and the audience in attendance.”

The fashion show and stage performance was hosted on the main rotating circular stage. Owing to their small form factor and ease of setup, the LEDFusion displays could be transported and positioned into

the tight confines by the venue construction staff within an hour. “This was the first-ever fashion show in Taiwan that used traditional stage elements combined with audio and visual elements to bring the 1990s’ theme to life,” continued Chou. “To support our use of a lot of colourful, bold clothing and makeup, we positioned Calibre LEDFusion displays on each side of the main stage to create a stunning effect that faithfully represented vibrant colours. It created a high-impact and a ‘fashion drama show’ with engaging sound and light effects, best presenting the finer details of clothing.”

With a contrast ratio of 5,000:1, Calibre LEDFusion produces images near to 100% of the Rec709 colour space with Calibre’s precise colour calibration technology.

Chou noted that the colours on Calibre LEDFusion were very accurate: “In this show, the makeup and hairstyling used multiple colours such as yellow, peach and red. The Calibre LEDFusion showed us true colours and the visual effect was so amazing. In addition to the colour performance, the 130-inch large screen also allows the audience to appreciate the finer details of the hand-sewn techniques of the designer, even in the back row.”

KOREA

A JBL VTX V20 line array reliable, even sound and is accessible for staff members to use. Amar Subash, VP and general manager for Harman Professional Solutions, APAC, said: “Cultural centres like Yangsan Culture & Arts Center require audio systems that are easy to use and flexible enough to meet

Cloud and IP-based live video solutions specialist, TVU Networks, has announced an expanded relationship with 24-hour news channel, Somoy TV. Known for its breaking news coverage and progressive use of technology, Somoy TV began using solutions from TVU Networks in 2014 to strengthen its remote newsgathering, using its mobile transmitters and servers to replace the station’s planned DSNG van purchase. Now, Somoy TV has further augmented its newsgathering fleet to increase the speed and widen the coverage area of its reporting.

www.calibreuk.com

TechDataPS applies Harman science in arts centre TechDataPS has equipped the Yangsan Culture & Arts Center with a new audio solution from JBL Professional and Crown Audio. Dedicated to promoting the arts community in Yangsan City, the venue boasts a nearly 800-seat grand concert hall, a small 167-seat indoor hall and a 300-seat outdoor stage, as well as an exhibition space and practice room. The centre requested a user-friendly audio system with high-quality subwoofers that would deliver an impactful listening experience to every seat. TechDataPS realised that this would be a challenge due to the venue’s deep balconies, so selected JBL speakers and subwoofers alongside Crown amplifiers, in order to meet the client’s expectations.

With a horizontal coverage of 105° as well as the ability to maintain clear audio at high volumes, TechDataPS installed left/right arrays of JBL VTX V20 line array speakers, as well as JBL VTX S25 subwoofers with built in Differential Drive technology for the low frequencies. The installation also included the Crown I-Tech 4x3500HD and Crown I-Tech 12000HD amplifiers, featuring OMNIDRIVE FIR filters, which were said to provide ample headroom.

Representatives for the Yangsan Culture & Arts Center were pleased by the new audio system, stating that it provided

BANGLADESH

various configurations. We would like to thank our partner TechDataPS for their expertise and successful completion of the project, creating an unmatched space for performance.”

“Thanks to the cost savings we experienced using TVU’s IP and cloud-based solutions, we’ve been able to purchase additional tools,” said Ahmed Jobaer, MD and CEO of Somoy TV. “TVU has been an important partner, helping us enhance our live coverage from the field with greater flexibility. TVU solutions deliver the lowest latency, fastest boot time and best transmission quality around. We’ve seen how their IS+ technology combined with HEVC produce outstanding picture quality using lower data bandwidth, which is ideal for the existing mobile network conditions we have in Bangladesh. Our coverage is no longer limited by distance. We cover breaking news from Capital City and beyond every day.”

TVU Anywhere now has integrated support for Center Stage – an iPad Pro feature that automates subject tracking. The integration of Center Stage uses AI to automatically recognise the reporter or anchor using TVU Anywhere to track them as they move around. It also features dual-camera support for simultaneous broadcast from front and rear cameras in a picture-in-picture or splitscreen option. Content captured using TVU Anywhere can be sent directly to the cloud to be produced and distributed.

“Somoy TV is a critical partner for us in Bangladesh,” said Sushant Rai, vice president of sales for SAMEA, TVU Networks. “They’re known for their honest and up-to-the-minute news coverage throughout the country. We’re thrilled that our technology is able to help fulfil the mission of this important organisation. We look forward to seeing the results of the continued TVU–Somoy partnership.”

pro.harman.com www.tvunetworks.com

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

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

Find out more at www.genelec.com/glm

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NEWS: PROJECTS

Christie inspires Seoul Garden of Imagination KOREA

Christie has provided projection support for a contemporary art exhibition that recounts the history of Deoksugung Palace, one of five royal palaces located in central Seoul. The exhibition, titled Deoksugung Project 2021: Garden of Imagination, was inspired by the late Joseon Dynasty’s culture of uiwon, which translates to “garden of one’s mind”.

animator, Yong-bae Lee and landscape architect, Jong-sang Sung, required the assistance of a D13WU-HS 1DLP laser projector from Christie.

Jung-Min Oh, team manager of SNC Alliance, the local installer for Christie, said that the artists had requested a highbrightness and reliable projection system, that the projector did an “incredible job

Nine modern artists showcasing media art, installation, crafts and painting, feature within the exhibition, all depicting their interpretation of gardens based on uiwon.

The ongoing event was a collaboration between the National Museum of Modern and Contemporary Art, Korea (MMCA) and the Cultural Heritage Administration.

The exhibition, which runs through to 28 November at Deoksugung Palace, marks the fifth collaboration between Christie and MMCA since 2012.

One piece within the exhibition is a digital art installation titled Dream Journey to a Garden, which depicts the living and sleeping quarters of the last ruling monarch of the Joseon Dynasty, as well as picturesque garden scenery. The piece, which was a combined effort from

of preserving the soft oriental colours of the displayed animations, despite the presence of ambient light” and that both artists had placed their trust in Christie to “accurately and faithfully match their artistic intent”.

Paul Lee, sales manager for Christie based in Korea, commented: “We are delighted to be part of this contemporary art exhibition that highlights the creative works of talented Korean artists, with the gardens of Deoksugung Palace serving as the source of inspiration. It is heartening that the Christie D13WU-HS laser projector used for the Dream Journey to a Garden art installation has delivered colourful, trueto-life visuals that mesmerise visitors.”

Martin Audio Blackline fulfils vows on wedding venue tour JAPAN

As the name implies, Berry Goodman’s Wedding Tour 2021 saw the one-man show visit wedding halls across Japan to promote his latest song, There Can Be No Other Life.

As the tour needed to cover 13 prefectures in a van loaded with musical instruments and PA equipment, the artist’s production management company, Arigato Music, set out to purchase a small PA for the duration, which it could then use itself. Martin Audio’s Blackline XP12 12-inch, two-way portable system was deemed to be the optimum solution, being easy to carry and fast to set up in any venue, so that Goodman could go live immediately. Being self-powered, it would also take care of the space constraints of each venue.

For the performance at The Beach, Yokohama, a mobile stage and DJ booth were set up with a capacity of 120 people, and a small digital mixer and wireless mics were installed at the side of the stage. The sound check was able to start within an hourand-a-half of load-in.

“This was the second venue to use these speakers,” explained MSI Japan Tokyo’s Mr Kuroda. “Unlike the previous hall, which was horizontally wide, the second venue had a lot more depth in the vertical plane. And although this place was awash with glass, making reflections quite strong, I was able to control it in the mix.

“The set list included songs that require a certain amount of volume, so I was trying to create an environment that was easy to listen to in the front rows while audiences towards the back could experience a similar atmosphere. I think the Blackline XP12 did a great job in this respect. Although the available mains power supply was limited at the venue, the Blackline XP12 fully satisfied both volume level and sound quality.” www.martin-audio.com

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Peacekeeper Elite League hosts with Dante CHINA

VSPN, a co-organiser of the Peacekeeper Elite League eSports competition for the videogame Peacekeeper Elite, recently experimented with a new way to host its events using Audinate’s Dante for broadcast audio over a vast geographic distance.

Twenty professional teams from across the country gathered at Chongqing Banan Huaxi Sports Center for the first weekly final of the Peacekeeper Elite League 2021 S2 season. Using Dante, the event’s commentators and production staff were able to largely work remotely in Xi’an, 750km away from where the competition was taking place in Chonqing, with minimal audio latency.

This setup enabled cost savings by reducing the number of individuals onsite, minimising AV cable runs and simplifying the workflow via the Dante network.

The event’s workflow used an SSL System T S300-32 platform with redundant T25 DSP engine for outside broadcast. An SSL Live L550 audio mixing console was also used with several Dante interface boxes to capture team voice chat.

The Dante network located at the competition site in Chongqing was

then connected to the studio in Xi’an through a dedicated network line, facilitating real-time, remote audio production in the live broadcast with minimal latency. The team was also able to add features and management capabilities using Dante Domain Manager.

“To realise the Dante remote production, we needed to solve signal transmission across subnets, network delay and PTP clock synchronisation,” said WangWei Xie, technical manager of VSPN. “To solve most of this we added

Dante Domain Manager to the system, which allowed us to group and isolate devices across subnets and plan device group attributes. In our system, Dante Domain Manager enables PTP V2 functionality for all Dante

devices. It locks the devices in the two places under their respective GPS clocks through the Assign Zone function and divides the domains of the Dante devices in the system for distributed management. It also allows us to activate the maximum latency value of the Dante devices, and opens enough buffer space to deal with the data transmission delay caused by the remote transmission of the dedicated network line.”

A Leader LT4610 GPS master clock generator integrated with the Dante systems in Xi’an and Chongqing, enabling both to receive GPS satellite signals through an antenna and convert the signals into PTP, BB and other clock synchronisation signals.

“The result was that the system was stable, and the live event was a complete success,” continued Xie. “We used Dante to realise the two-way real-time transmission of nearly 20 uncompressed audio streams through the dedicated network line. After three days of live broadcast and testing, the entire audio system had no failure. It perfectly achieved our expected results.” www.audinate.com

All-new Ohm system for music venue in Hyderabad INDIA

Ohm distributor, VMT Enterprise, has provided a new sound system for Nine O Nine, a modern pub based in Hyderabad. Nine O Nine hosts an array of well-known bands and DJs from across India, so a versatile system was key.

The building had a lot of potential prior to the installation, which was carried out by systems integrator, Awan India. This included ample ceiling height, segmented audience areas and aesthetic freedom in terms of speaker placement. The Ohm TRS 115 was selected for FOH, due to its capability of delivering 135dB SPL, which enables a longer sound-throw over a

wide dynamic range. Low-frequency extension is provided by TRS 218s, subwoofers suited to nightlife and entertainment venues, which were used throughout Nine O Nine. The system is powered by British Acoustics X Series amplifiers, which Vishwanath MB, regional sales manager for VMT Enterprise, describes as being “known for their extreme reliability”.

Prasad ES, owner of Awan India, has deemed the installation a “success”, one that has been met with positive reviews from both Nine O Nine and the team at Awan. www.vmt.in

Re-defining durability in professional audio products, the IS-Series Weatherized delivers pristine audio in every extreme environmental condition. With full corrosion resistance and an IP55 rating, a long lifespan is ensured.

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Extron AV solutions promote collaboration within Vietnamese Telecom HQ VIETNAM

Viettel Group, the largest telecommunications service provider in Southeast Asia, has turned to Extron AV to promote collaboration and communication within its new Hanoi headquarters. The company is listed among the top 30 most valuable telecom businesses in the world and the Vietnam Ministry of Defence operates the company as a stateowned enterprise. Designed by American architectural firm Gensler, the LEED-Silvercertified building curves and slopes from the foot to the top of the grass-covered roof in an oval shape inspired by the company logo.

As befits a world-class telecommunications company, Viettel’s headquarters incorporates cutting-edge building management systems to conserve energy. With green issues in mind, systems integrator Hong Ky Technology and Investment Development Company was appointed to design and install the extensive AV infrastructure for the 1,000 employees onsite. Extron AV systems were selected to provide all AV switching, distribution and control equipment within the 10 meeting rooms, in addition to conference spaces, training rooms and a large auditorium.

“Extron’s product line provides system designers with the flexibility to select the optimal solution for each application,” commented Hong Ky Technology technical lead, Le Ngoc Thang.

In addition to a training room seating 52 students, the conference rooms accommodate between 20 and 65 people.

AV amenities in these rooms include multiple projectors, flat panel displays, wired and wireless content sharing, PTZ cameras and wireless microphones. The AV systems are built around DTP CrossPoint 108 4K scaling presentation matrix switchers with DTP transmitters and receivers for distribution over shielded twisted pair cable. Featuring acoustic echo cancellation (AEC), DMP 128 Plus digital matrix processors tailor the audio in the rooms for output to XPA 2002 amplifiers and SF 26CT SoundField ceiling speakers. ShareLink Pro wireless presentation gateways allow attendees to share content from BYOD devices via Wi-Fi.

Viettel’s new Hanoi headquarters

A small conference room

The auditorium AV equipment rack hosts two XTP II CrossPoint 3200 matrix processors

The auditorium

All four walls of the briefing room are equipped with PTZ cameras and flat panel displays, including a 98-inch LCD at the front of the room and a 189-inch projection screen that lowers from the ceiling. Lining the brow of the ceiling at the front is a row of auxiliary flat panel displays. An XTP II CrossPoint 3200 matrix switcher distributes content via HDMI, SDI, analogue audio and twisted pair XTP inputs and outputs.

Serving as matrix inputs, the PTZ cameras are fed via a live video switcher and an Annotator 300 Annotation Processor allows presenters to draw, point or type over live presentations. Central to the audio system, a DMP 128 Plus receives audio inputs from PCs, wired and wireless mics for output to an XPA 2002 amplifier and 12 ceiling speakers.

The 600-seat auditorium hosts major company and civic events and productions.

Input sources include four studio cameras with outputs processed by a live video production switcher, four PTZ cameras and five HDMI sources, including three dedicated laptop PCs. In addition, content from BYOD devices is streamed via Wi-Fi through a ShareLink Pro wireless presentation gateway and stored content is routed from an SMP 352 streaming media processor. Visual outputs include a main onstage ceiling projector together with six flat panel displays in the audience seating area.

Typical large conference room The auditorium relies upon two XTP II CrossPoint 3200 switchers to distribute content via HDMI, SDI, analogue audio and XTP inputs and outputs. XTP transmitters and receivers transport signals that run over long distances via shielded twisted pair cable.

Room acoustics including audio delay and AEC characteristics are adjusted within a DMP 128 Plus processor. With the addition of auxiliary video outputs routed to WPD 100 TP series XTP/DTP pass-through wall plates, venue flexibility has been added should additional projectors or displays be required.

To simplify configuration, maintenance and operation, all rooms share a common AV control architecture built around IPCP Pro 360 control processors and TLP Pro 1025T TouchLink Pro touch panels. OCS 100C occupancy sensors turn room systems on and off as attendees arrive and depart, while all room entrances are adorned by TLS 725M TouchLink scheduling panels.

Taking almost 12 months to complete the work, the headquarters is in full operation with the conference rooms in constant use. Should they be empty, these venues contribute to Viettel’s environmental responsibility goals by automatically shutting down their AV systems in response to the company’s calendaring services or room occupancy sensors. www.extron.com www.viettel.com.vn

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Don’t just hear it. Hear it right.

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

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NEWS: PROJECTS

Singapore National Day celebrated within the virtual realm

that the displays blended as if they were live stage elements, aiming for a seamless appearance. Both companies were challenged to choreograph the AR elements into the show very precisely.

Following collaborative planning from Anomalyst Studio and the camera crew, the AR elements were sent to MediaCorp for transmission.

Despite the restrictions, both companies were keen to make the parade accessible for home viewers.

“With this technology used for the first time in this famous annual event, it took a while for everyone to warm to the prospect of broadcasting AR graphics for a traditionally physical mass display show,” commented Pixotope VP of global business development, Sam Leadsom.

“After the first few rehearsals, the potential of having additional engaging content complemented the various live components that added an entirely new dimension to the overall show’s display.

Pixotope’s effective AR overlays were well received by both the committee and the thousands of viewers at home and will have a high potential to become a mainstay for subsequent shows in years to come.”

The event itself was divided into a main parade at the Marina Bay Floating Platform together with the song-anddance extravaganza. With both segments scaled back owing to Covid, the events to mark the 56th anniversary of the nation’s birth were a fitting commemoration and included an aerial display enjoyed by around 1,000 people onsite. Delivered in Singapore’s four official languages, the National Day show was broadcast across MediaCorp’s free-to-air TV channels, radio stations and its own digital streaming platform, meWATCH and YouTube.

SINGAPORE

Pushed back by 12 days owing to an increase in Covid-19 cases, this year’s Singapore National Day Parade distinguished itself with a first-ever Augmented Reality (AR) production that would lack any delay transmissions.

Total Solution Marketing (TSM) was selected to support appointed vendor The Show Company (TSC) in its creation of the display at The Float @ Marina Bay. For this mission-critical event, a BroaMan MUX22 fibre multiplexer and Repeat 48 3G/HD/SD-SDI video/ MADI fibre extender were provided

by TSM. The fibre-based solutions were used between transmitters and receivers, across distances averaging 250m over LC multimode fibre to three different camera locations. Significantly reducing the number of the cables normally associated with long-distance transmissions, all the data could be transported over a single duplex fibre, ensuring extremely low-latency broadcast.

The AR camera transmissions relied upon CWDM-equipped MUX22 devices configured with eight 3G/HD/SD-SDI I/Os and RTS four-wire intercoms. The setup also included HD-SDI 1080p@50Hz camera signal outputs, HD-SDI 1080p@50Hz camera PGM inputs, external sync via Genlock sync generator (black burst) and IP addresses in the form of lens data for camera tracking and IR Sensor, camera tracking data and robotic arm remote control.

TSC also utilised Repeat 48 extenders over a multicore single mode fibre for transmitting the three main and three redundant HD-SDI LED content feeds to MediaCorp’s OB truck. These signals comprised 16:9 graphical content, 16:9 LED programme feed and multi-cam production programme mix with subtitles.

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www.anomalyst.studio www.broadcastmanufactur.com www.pixotope.com www.show-company.com

BroaMan’s MUX22 in the rack

www.tsm-int.com

Imag

With such a huge physical cast and stage, NDP 2021 requested the services of Singaporean digital-based multimedia specialist Anomalyst Studio to provide a solution. Highly regarded for its live AR and virtual productions, Anomalyst Studio incorporated Pixotape’s software to generate all the AR overlays for five segments of the large-scale TV event.

In one instance, five stars rose from a physical stage prop, transitioning to form a virtual display of the Singaporean national flag.

The various animated elements were created in Maya before being imported into Pixotope for playback in the main show. After the first pass of AR visuals were complete, the lighting department sampled the lighting choreography to use as reflection maps for the AR content. The designers had to ensure

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Christie laser Ross solution leaves projectors strike Tesseract in “great shape” the right visuals for China’s Big Ben INDIA

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An iconic clock tower in Hebi has been brought to life with the addition of Christie HS Series 1DLP laser projectors. Often referred to as China’s “Big Ben”, the 66m-high clock tower was built around the time of the new Millennium to become one of the most recognisable landmarks of the prefecture-level city in northern Henan province.

In a move to soften Hebi’s industrial image and to inject more vibrancy to the city’s administrative, cultural and leisure precinct known as New Century Square, the municipal government commissioned a foursided projection mapping show on the façade of Hebi Clock Tower.

Spectators can now enjoy visuals regardless of which part of the tower they are facing.

“We are proud to be involved in this sensational 3D projection mapping light show on all sides of Hebi Clock Tower, which is one of the most prominent contemporary structures in Henan province,” commented a Zhongqing Yingye Group spokesperson. “We have chosen Christie’s DWU2022-HS for this project due to its long-lasting, solid-state illumination in a compact chassis and easy-to-use features.”

Divided into four groups, with five projectors used on each side of the clock tower, all 20 DWU2022-HS projectors are equipped with telephoto lenses, double-stacked and installed in customised enclosures for protection from adverse weather conditions. Finally, the projectors are strategically positioned between

International interest in esports has been on the rise in recent times, and the growth in companies dedicated to its community has increased too. Tesseract Esports, a Hyderabad-based company that has been developing the esports scene in South and Southeast Asia since 2015, were said to be the first to introduce mobile esports to the region. Tesseract and its facilities were struggling to keep up with the demand, so it turned to Ross Video for assistance.

With the esports specialist having designed and organised over 200 tournaments and events since starting the company, Gowtham Reddy, founder of Tesseract, has said that when working at a fast pace, production solutions that perform reliably and easily are essential. He added that Ross came up with a setup that was “extremely scalable” and helped with budgeting.

The solution included Carbonite Ultra production switchers, the Ultrix routing/AV processing platform, XPression graphics and the DashBoard control system.

“Esport titles generate a lot of live data,” Reddy notes.

“At times we are showing dead or alive statuses of up to 64 players, their various stats, live kills and so on, all in real time. With XPression DataLinq, we were able to integrate game API directly without any major database development. And the way that XPression CG handles such large amounts of data in milliseconds is phenomenal.” www.rossvideo.com

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Incorporating 20 Christie DWU2022-HS 1DLP laser projectors specifically developed for the Chinese market, the ambitious project was undertaken by Christie partner Zhongqing Yingye Group.

Producing a 20,600-lumen output and weighing less than 42kg, the DWU2022-HS was specified on account of the model’s true-tolife visuals and enhanced colour accuracy of Christie’s BoldColor Technology and WUXGA resolution.

Proven projection mapping credentials come in the form of the Christie Twist warping and blending engine in addition to the Mystique automated camera-based alignment tools.

28–56m from the clock tower for the images to be warped and blended to create the optimal effect.

The group’s spokesperson added that the show’s projections have set a new benchmark for large-scale cultural events in China’s northcentral region. “Since its official debut, the nightly projection mapping show at New Century Square has become an instant hit with the public, attracting huge crowds to experience vibrant and dynamic images on the tower. Among the highlights is a life-like golden dragon that seems to break out of the tower, drawing gasps from excited spectators.” www.christiedigital.com

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grandMA3 controls over 4,000 fixtures for CCP celebrations CHINA

Over 4,000 lighting fixtures were controlled by an MA Lighting grandMA3 control system at the National Stadium in Beijing as part of a spectacular live show to commemorate 100 years of the Chinese Communist Party. Sha Xiaolan, one of the country’s most prolific lighting designers, was the person who drove the decision to go with an MA Lighting control solution.

Entitled The Great Journey, the four-part, specially commissioned epic performance was directed by Chen Weiya with visual direction from Xiaolan, working closely with stage designer Sun Tianwei and a whole lighting design team headed by Wu Guoqiang and Wang Xinglei, and assisted

by Du Zibin, Zhang Shuaishuai, Wang Wei, Hou Xin and Liu Chongzhi.

Five grandMA3 full-size consoles, a grandMA3 light and a grandMA3 extension all running grandMA3 software were at the heart of the lighting system for the performance, which saw half of the famous Bird’s Nest venue utilised as the stage.

A giant video screen was installed along one of the sides and the show featured multiple automated scenic elements including two oval-shaped revolves. It was attended by an invited audience of 20,000 special guests, including Chinese leader Xi Jinping, as well as being broadcast live on national TV. The impressive production lasted two hours and comprised 20 colourful scenes within the four acts, plus a prologue and epilogue.

The grandMA3 network also utilised six grandMA3 processing unit XL and gigabit core switches for the transmission of

Dejero delivers Summer Games to Italian broadcasters JAPAN

Image courtesy of Huang Guan

MA-Net3 protocol, with 29 end switches connected via a ring network to transmit sACN and 70 four-port DMX decoder networks. The platform was chosen for several reasons, such as having the power, flexibility and large channel capabilities needed to control such a huge number of lighting fixtures, as well the ability to safely and stably manage and process the numbers and amounts of associated data and logistics involved all in one session.

Of the 4,000 fixtures deployed, 3,000 were moving lights, requiring approximately 90,000 control parameters in total.

Approximately six weeks were spent perfecting the different show visual elements onsite, with 20 of those days dedicated solely to lighting. All lighting equipment came from three rental companies – Funshine Culture, Beijing

Eastern Star Culture & Art Co and Ansheng – with Beijing Eastern Star Culture & Art and Funshine Culture supplying the grandMA3 elements. They were closely supported throughout the whole project by ACE, MA Lighting’s mainland China, Hong Kong and Macau distributor, with additional input from MA’s international resources in Germany and Singapore, including Daniel Kannenberg, Max Brokbals and Luke Chikkala from MA Lighting International.

“This was the first large-scale domestic event in China to use grandMA3 for control, and it was fantastic to see grandMA3 help unlock so many creative possibilities for the design team as the whole lighting process evolved into a breath-taking live show,” said Li Yiran from ACE.

and backup H.264 recording to central networkattached storage (NAS).

With the Busan branch usually capturing 20 live races per day on average, eight days each month, ranging from 3–5 minutes per video, the team at KRA needed a reliable, professional

system. To accommodate workflow demands, KRA chose to integrate Ki Pro GO, which supports high-quality multichannel H.264 capture to an internal NAS. Simple setup and operation through Ki Pro GO’s web-based UI enabled the team to record HD content from 10 cameras, managed via Sony switchers and a 128x128 router.

KRA can now share recordings with other users for archival and postproduction purposes since utilising the dual Ki Pro GOs, which capture races directly to the NAS storage volume. The recorded footage is then edited via non-linear editors (NLEs) and distributed for TV and online viewing.

“Ki Pro GO has simplified our recording workflow and saved our team time and money throughout productions,” said Do Cheol Hee, manager, KRA department of broadcasting.

“We can immediately access recorded content via network drives, allowing us to speed through editorial and more rapidly deliver final content.”

Italian production company Nexting has provided live coverage, edited highlights and interviews from the Summer Games in Tokyo to a range of Italian broadcasters using Dejero EnGo 260 transmitters.

Due to travel restrictions, the Naplesbased broadcast specialist required robust connectivity from multiple remote venues, including the Tokyo Aquatics Centre, Ariake Arena and Saitama Super Arena, to deliver daily live coverage to Mediaset, Sky Sports Italia and Italia Team TV, the Italian team’s OTT platform. EnGo uses Smart Blending Technology to aggregate cellular connections from multiple providers to form a virtual “network of networks” delivered as a single service.

www.malighting.com

KRA leads the race with broadcast system upgrade from AJA KOREA

A horse racing company hosting equestrian events across Seoul, Busan and Jeju, Korean Racing Authority (KRA), has undergone a broadcast system upgrade. The Busan branch installed two AJA Ki Pro GO digital recorders to streamline failproof primary

The Dejero EnGo 260 allowed Nexting to send broadcast-quality live video to all of its clients with latency as low as 0.8s. As there was a seven-hour time difference between Italy and Japan, the five production crews were effectively operating for 31 hours continuously in a rolling pattern. Region-specific SIM cards installed in the EnGo transmitters provided cellular connectivity from the local carriers in Japan and also while roaming around different venues.

“I feel safe using Dejero,” said Antonio Palmieri, CEO of Nexting. “We can be confident that if we have a problem, the Dejero team is immediately available to solve everything.

That gives us a real sense of security in such a time-critical environment.”

As well as providing live coverage and edited packages throughout the afternoon and evening into Italy’s news and sports news programmes, Nexting spent the mornings gathering post-event interviews from the athletes’ Mixed Zone using five EnGo transmitters.

www.aja.com www.kra.co.kr/globalEn/main.do

www.dejero.com

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The XSL System.

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The newest addition to the SL family. All the unparalleled features only SL-Series provides: Full broadband directivity control, extended low frequency response, innovative rigging. More SL. Nothing less.

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NEWS: PROJECTS

TV Asahi broadcasts Open Championship with TVU Networks JAPAN

TV Asahi used two TVU Remote Production Systems (RPS) to supplement the host broadcaster’s world feed coverage of The Open Championship. Synchronised signals from the venue were sent over IP networks for production at the TV Asahi studios in Tokyo.

also required less crew and equipment than a typical mobile truck scenario. “The setup greatly reduced the equipment and the staff at the event, which was a key consideration, given tight Covid restrictions in the UK, Japan and the rest of the world,” added Takata.

P st Gravity Media attracts Supercars with versatile LED videowall AUSTRALIA

Provider of complex live broadcast facilities and production services to content owners, Gravity Media has developed its new broadcast technology offering with the installation of a 1.2mm pixel pitch display LED wall at its Production Centre in Sydney (PCS), which is said to be the first in Australia.

Designed for sharing information and entertaining in a more modern way, Gravity Media’s new LED wall stands at 10m x 2.5m, with a resolution of 6400x1920. Supercars, a touring car racing

Using two TVU RPS systems, TV Asahi delivered coverage for the specific tastes of its audience. A total of 12 synchronised signals were sent from the UK’s Royal St George’s golf course to the TV Asahi studios. These included signals from wireless cameras from the golf course, locally switched signals of Japanese players in action, multiple camera angles from each hole and the host broadcaster’s world feed backup and world feed preview. TV Asahi was able to produce scenes that easily transitioned from golfer to golfer and hole to hole – a critical element of live golf production.

“We created a localised feed that we knew our viewers would appreciate,” said Itaru Takata at TV Asahi’s equipment and operation management centre. “TVU RPS allowed us to enrich our programming with feeds targeting our audience. Our audience got to enjoy cheering on the tournament leaders and all of the Japanese players.”

Using the public internet instead of satellite or dedicated fibre saved considerable expense for the broadcaster. The production

TVU RPS leverages existing studio infrastructures and the public internet to synchronise multi-camera live remote production. Feeds are synchronised from the venue and sent to the broadcast studio, while a bidirectional IFB maintains communication between locations. While it delivers broadcast-quality production standards, personnel and equipment requirements are minimised, and it eliminates the need for a mobile truck on location.

“Given that TV Asahi first used TVU RPS last September for coverage of the US Open Golf Championship, we’re thrilled that they’ve embraced the technology so thoroughly in such a short time,” said Kap Shin, head of global services, TVU Networks. “Our solution significantly reduced TV Asahi’s expenses, equipment and staffing required while securing multiple signal synchronisation over IP, resilient transmission and pristine broadcast quality. We look forward to seeing how TV Asahi continues to use TVU RPS.” www.tvunetworks.com

company in Australia, used the PCS as well as the LED wall for its Cash Converters Supercars E Series. The PCS acted as a main hub with the LED wall in a dedicated studio, displaying various feeds managed from the control room. Camera feeds of two commentators were sent from Gravity Media’s production centre in Melbourne via fibre to its Sydney facility, allowing the hosts to interact with their colleagues. gravitymedia.com

NBT selects LaON for 20 studio sites THAILAND

The National Broadcasting Services of Thailand (NBT), the broadcasting arm of the Government Public Relations Department (PRD), has invested in LaON LT750 5GHz wireless intercom systems supplied by DSE Co, the manufacturer’s distributor for the country.

A division of the Thai Government, NBT operates comprehensive media services consisting of radio, terrestrial and satellite television networks, online services and social media. It issued a public tender to select a wireless intercom system that could be installed in 20 studio sites around the country.

NBT purchased 20 sets of LaON’s BS750 base station with 100 BP750 beltpacks and 40 RBS75 antenna repeaters.

DSE president Chai Mekratri explained why the LaON LT750 5GHz wireless intercom system was successful during the tendering process: “The

system operates in the channel-rich 5GHz UNII band, providing many RF channels,” he said. “Just one system can link more than 100 wireless beltpacks, allowing 10 additional antenna repeater connections. Each antenna can support up to 128 wireless beltpack connections, so it was easy to configure or change when installing the system at each site.” www.laon-tech.com

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d&b celebrates Chanel N°5 in China CHINA

d&b has provided systems for an exhibition to commemorate the centenary of the iconic Chanel N°5 scent. Chanel Correspondences – named after the French poet Baudelaire’s sonnet, Correspondences – launched at the Shanghai West Bund Art Centre before embarking on an exhibition tour.

Eight d&b E4s have been deployed at the entrance of the exhibition, with four E6s and six E8s in Room Numero; 16 Y7Ps and four V-SUBs at the Espace Central Garden; 16 E6s in the Blue

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area; two E6s at Coco Mademoiselle; 11 E8s at Gabrielle; eight further E8s at Couloir Immersif, La Maison; and 51 E4s concealed in seat headrests in the movie area.

“The three-way passive V8 and V12 line array loudspeakers provide 80° and 120° horizontal dispersion respectively, maintained down to 250Hz, with a rotatable HF horn, easy to be managed as it could be vertically or horizontally installed,” said Mr Lai, project manager from Beijing Wenshengweixuan Stage Equipment

www.

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PRLX Creative Production raises streaming game with AJA AUSTRALIA

PRLX Creative Production has added an AJA Helo H.264 encoding, streaming and recording device and Kumo 1616-12G router to its video delivery services for clients in live events, sports and business across Darwin and Melbourne.

“The move towards more hybrid events with a livestream component throughout the pandemic has helped to broaden many of our clients’ audiences, attracting attendees from around the world who otherwise wouldn’t have attended. It’s been incredible to watch and support them in these endeavors,” said PRLX director, Ashley Blenkinsop.

One such client is live dirt motorsports venue Northline Speedway, which worked with Blenkinsop as a freelancer before PRLX was formed. Blenkinsop also helped produce the virtual iRacing competition iCOT, a livestreamed motorsports series that followed remote drivers across Australia and the US during the 2020 lockdown, attracting 47,000 viewers across five nights on Facebook and Vimeo.

“Pulling off livestreams like these requires reliable gear that we can trust to deliver a quality stream,” Blenkinsop continued. “We need to be confident that our equipment won’t suddenly fail or that the audience feed doesn’t buffer, and both Helo and Kumo have proven rock solid.”

A 14U fly pack travels with the crew to every event and includes a range of cameras, a switcher, an AJA Helo and a Kumo 1616-12G, which forms the routing backbone for every PRLX production. Onsite, camera signals are sent via patch panel before moving through PRLX’s switcher.

The switched output is then sent back through Kumo to feed onsite control room multiviewers and splitoff multiviewers for onsite event commentators. Using Helo’s loop out function, the PRLX team hard patches the main switcher output to Helo and into Vimeo, where it is split off to Facebook Live, YouTube or the final delivery platform. Content is also recorded in AJA Helo for archiving.

“Prep with our Kumo router is so easy,” Blenkinsop continued. “If I’m not onsite, I can also easily remote in and adjust parameters, and the salvos provide convenient ‘set and forget’-style operation. With Kumo 12G-SDI connectivity, we’re also 4K-ready. AJA gear is almost always at the top of our list because it’s affordable and intuitive, delivers highquality video and continuously proves a steady workhorse in the field.” www.aja.com

SMALL BIG

FORM FACTOR

IMPACT

MEDIORNET FUSION 3 & 6 • Standalone IP Converter & Multiviewer • Miniature SFP frame for UHD / HD / SD • Installable close to signal sources or destinations • For full IP or IP-SDI hybrid solutions

DIGITAL SIGNAGE

CONNECTIVITY SDI

IP Gateway App J2K/JXS

MULTIVIEWER 16 x 1

JPEG-2000 / JPEG-XS En- / Decoder Apps

IP VIDEO

HDMI ETHERNET FIBER SDI

16x1 / 9x1 / 4x1 MultiViewer Apps

FUSION 6

SOFTWARE-DEFINED

DISTRIBUTED

SCALABLE

FUSION 3 FLEXIBLE Co, which provided the systems. “As the exhibition is in an open area, the exceptional directivity control and remarkable low weight set the d&b V-Series and Y-Series loudspeakers apart. They also have the advantage of outstanding headroom, extraordinary power capacity, dynamic bandwidth and an extensive range of accessories.”

www.riedel.net

/VIDEO

www.dbaudio.com

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HoloStage helps research Immersive active institute to conduct visual learning keeps Griffith experiments University collaborating JAPAN

AUSTRALIA

The National Institute for Land and Infrastructure Management (NILIM), a research institute affiliated to Japan’s Ministry of Land, Infrastructure, Transport and Tourism (MLIT) has adopted the Christie HoloStage visualisation solution. The system was supplied by Ushio Lighting and constructed by Forum8, 3D and virtual reality (VR) specialist, which acted as the main contractor for the project.

simulation software “UC-win/Road”, which provides immersion with a wide viewing angle and motion tracking, when viewed with 3D glasses.

With the HoloStage solution, NILIM can conduct experiments related to the design, construction and maintenance of public infrastructure, made possible by being able to visualise CIM models stereoscopically, such as structures and road traffic. The

NLIM was seeking a 3D projection system that negated the need for large-scale field experiments. The solution needed to work seamlessly with smart software in adapting to various Building Information Modelling (BIM) and Construction Information Modelling (CIM) models to create realistic drive simulations as well as unmanned construction experiments in a virtual space. The system also needed to output video signals without any degradation in image quality.

Christie’s stereoscopic 4K VR system supports the visualisation of CIM models for MLIT’s digital transformation initiative in the infrastructure field. The HoloStage, installed at NILIM’s Asahi office, is comprised of four Mirage 304K projectors displaying visuals on four surfaces, with each visual measuring 4.4m x 2.3m (WxH). Stereoscopic images are achieved with Forum8’s 3D real-time

research institute can embark on technological development and verification in a highly realistic virtual environment.

Akikazu Dempoya, executive director, Enterprise Japan, Christie, commented: “We are delighted that NILIM has adopted the Christie HoloStage solution, a spatially integrated immersive environment that promotes collaborative learning and teamwork.

Equipped with stunning 4K resolution, stereoscopic 3D images, motion tracking and interactive capabilities, the Christie HoloStage delivers powerful performance, image quality, resolution and reliability that our customers can count on for advanced visualisation applications.”

Griffith University recently collaborated with ThreeOneFive Innovations and Videopro to create an immersive active learning space.

The pair equipped classrooms with AMX SVSI N1000 Series encoders and decoders to enable seamless streaming between teaching spaces.

Founded in 1971, Griffith University is a public research university in Southeast Queensland with five physical campuses spanning three cities, and a sixth digital campus. “The client requested a high-tech solution to connect two rooms so that staff could deliver multiple lectures without having to travel across campus,” said Chris Duckworth, owner, ThreeOneFive Innovations. “They also wanted to improve the learning experience for students with state-of-the-art solutions. To create a classleading engagement space, we selected the AMX SVSi N1000 platform. Its ultra-low latency and flexible I/O are critical for lectures in this space.”

The SVSi platform simplifies the control of peripheral devices and enables the sharing of content remotely to suit post-Covid teaching requirements. An NX-2200 controller enabled ThreeOneFive Innovations to temporarily run the N1000 AVoIP platform on a separate standalone network while the university prepared the campus network for AVoIP deployment. “Once the campus network was AVoIP-enabled, we were able to easily migrate the SVSi devices and

leverage the N1000 platform to share images between teaching spaces,” added Duckworth.

“More recently, the rooms were combined to uphold social distancing requirements. The AMX platform has delivered above and beyond our expectations with excellent functionality and reliability.”

ThreeOneFive Innovations and Videopro outfitted the new active learning space with an Acendo Vibe Conferencing Soundbar and a Massio keypad at each student’s location.

“Before we had the system in place, the lecturers found it difficult to engage with a large number of students at once,” explained Merv Connell, technology architect, Griffith University.

“So, we devised a model where the academics could engage with students without having to walk around the classroom in person. All of the equipment used to design the system has been tried and tested on the campus before, so we were confident about choosing Harman products. The switching controls, microphone, video system and receivers are all standard equipment that we have used before but, in this project, they were deployed in a different manner to create an immersive experience.

It’s exciting to be the first to introduce the AMX Acendo Vibe as part of our teaching application.”

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Immersive studio stage “delighting audiences” with KOREA

NP Studio has announced its partnership with ROE Visual and local installer, ARK Ventures, in creating its new XR stage. With digital content production at its core, the studio aims to provide a studio acting as an immersive environment that meets its clients’ expectations.

With its expertise in fixed installation and virtual production, ARK Ventures decided ROE Visual and its LED screens were best suited to the client. The main LED wall for the XR stage is composed of Black Pearl BP2 panels, while the LED floor is composed of Black Marble

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NEWS: PROJECTS

Shanghai radio and arts centre installs L-ISA immersive sound system CHINA

Rightway Audio Consultants (Racpro) has installed an L-Acoustics sound system for Shanghai Media Group (SMG), which is said to be the first permanent immersive installation of its kind on Mainland China.

SMG is one of China’s largest media conglomerates, catering to radio, television, film and digital entertainment.

With an aim to revolutionise its radio operations, SMG built the Radio Shanghai Arts Centre, which includes a sunken plaza, eight online live broadcasting studios, a workshop, an outdoor patio and an immersive studio. The latter is equipped with L-Acoustics L-ISA Immersive Hyperreal Sound Technology, which will enable SMG to host creative performances for the public.

Racpro worked with Alvin Koh, application director Asia Pacific at L-Acoustics and SMG to design an L-ISA configuration that would fit the space and performance requirements of the venue. The team installed five arrays of one A10 Focus with two A10 Wide enclosures, each for the main

system. Two hangs of two A10 Wide on either side of the Scene system extend the panoramic aspect, while four X8s are rigged in the ceiling above the audience and nine on the peripherals. The four KS21s flown behind the centre array extend the system response down to 29Hz. At the back of the stage is an LED screen intended for high-quality visuals, and a BlackTrax tracking system was employed for the venue launch event, which integrates into the L-ISA Controller to track performers and match the audio to their movements.

At the grand opening of Radio Shanghai Arts Centre, government officials and industry leaders were in attendance for a night of dance and classical music. “Racpro has a longstanding relationship

with SMG, supporting projects in recent years that contribute to the group’s dynamic,” said Nan Hu, marketing director at Racpro. “SMG’s technical team has always held L-Acoustics in high regard, due to its innovation in technology and its range of premium quality offerings, so it made sense that, when they looked to innovate at Shanghai Radio Arts Centre, they would turn to L-ISA immersive sound technology.”

The launch of the new technology has received positive feedback and praise from the performers and audience alike. SMG has hosted concerts and other immersive events since the installation was completed. Hu concluded: “I feel that Racpro has helped SMG take a vital step towards the future and impose themselves as a leader in the Chinese – and the world’s – media industry.” www.l-acoustics.com www.racpro.net

ROE Visual BM4. Measuring 24m x 6m, the complete XR stage is intended for hosting presentations and product launches, shooting music videos and streaming concerts.

Grace Kuo, ROE Visual’s sales director, said of the installation: “Working in close cooperation with NP Studio was a real pleasure. We look forward to seeing some excellent performances coming from NP studio’s XR stage and to see

the visuals displayed on our LED panels.”

“It was great to work together on this project,” commented David Oh, director of ARK Ventures, South Korea. “The collaboration was enjoyable throughout the complete project. We hope our joint efforts will result in delivering more impressive projects to delight audiences.” www.arkventures.co.kr www.roevisual.com

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FEATURES: LIVE

Sporting chance

The PON XX Papua 2021 opening ceremony

Clay Paky Sharpy washes were among the

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Indonesia’s national sports week, Pekan Olahraga Nasional or PON XX, went ahead in Papua in October 2021, after the postponement of last year’s event WITH A CAPACITY OF 40,000, JAYAPURA’S LUKAS Enembe Stadium is one of the largest in APAC. This proved fortunate for the organisers of PON XX Papua 2021 as, even at quarter-capacity, the venue was still able to host 10,000 doublevaccinated and screened spectators for the opening and closing ceremonies of the games.

“PON XX Papua is ready to be held and will serve as a test event – the success of the Papua PON is the success of Indonesia,” commented the Indonesian minister of youth and sports, Menpora Zainudin Amali, prior to the games, which had been in doubt earlier this year. The Indonesian government had drawn confidence from the staging of the delayed Tokyo 2020 Summer Olympic Games in July though, and the games went ahead with strict onsite Covid-19 requirements for production workers.

Having supplied extensive lighting for the opening and closing ceremonies of the 2018 Asian Games at Jakarta’s Gelora Bung Karno Stadium, Energi Sembilan Perkasa was encouraged to tender for the PON XX contract. The Jakarta-based production company had previously worked with local and international tour operators as well as on ceremonies for large sporting events.

Following a successful tendering process at the height of the pandemic, Energi was contracted to supply the audio and lighting systems for both ceremonies.

“The production company, PRG Alliance, was impressed with our quick setup and load in for the Asian Games back in 2018, where we deployed many SGM, Clay Paky and Robe fixtures and moving heads in the Jakarta stadium,” explains Energi’s general manager, Bonar Abraham. “For the PON XX ceremonies, we were assisted by Norwest Productions’ Andrew Marsh for the audio setup. We were fortunate to work alongside both PRG and Norwest on their full productions and learnt to admire their professional values. Therefore, we decided to mirror their standard audio and lighting inventories so that they can utilise our stock whenever they are commissioned for an event in Indonesia.”

Energi deployed part of the extensive L-Acoustics loudspeaker consignment that had shipped in March 2020 from SSE in the UK, consisting of 80 K1 and K2 three-way active full-range WST enclosures, 24 Kara II modular line source speakers, 30 KS28 subwoofers and LA12X amplified controllers. Now constituting the largest L-Acoustics inventory in Indonesia, the system had sat in storage since the start of the pandemic before finally being released from the warehouse for its debut at PON XX. “We were planning to deploy all 80 K1 and K2 top boxes to be prepared for a full house but, due to health and safety, social

distancing was applied, so we needed to reduce the speaker stack to cover the smaller audience area,” continues Abraham.

A total of 24 each K1, K2, Kara and KS28 components formed the main system, which was designed using Soundvision simulation software and ground stacked to cover the areas of the stadium that were in use, powered by more than 40 LA12X amplified controllers. Onstage monitoring consisted of 24 d&b audiotechnik M2 wedges powered by D80 amplifiers. “Our audio setup includes customised networkable amplifier racks, which have been custom-designed for ease and speed of setup and tear down,” explains Abraham.

Complementing the M2s, 24 Shure PSM 1000 personal in-ear monitors were also available for the performers, plus a large selection of Shure handheld and clip-on wireless microphones

A DiGiCo SD10 was used to mix FOH for both ceremonies

Energi’s Bonar Abraham with an L-Acoustics stack

for transmission over 16 Axient digital channels. Shure’s Wireless Workbench software remotely monitored the wireless systems and tracked RF data, together with an AXT600 Axient spectrum manager. A DiGiCo SD10 console was used at FOH, with an Avid S6L on monitors, both providing the required redundancy, and all comms equipment was from Riedel.

Two full-sized MA Lighting grandMA2 lighting consoles were used to control the vast inventory of lighting fixtures and moving heads. This included hundreds of Robe BMFL Blades, WashBeams and ColorStrobes, Clay Paky Mythos 2, Alpha, Sharpy and B-EYE K10 and K20 washes, Martin MAC Viper profiles and SGM Q-7 floodlights. Robert Juliat Lancelot 4K and Epical Staging Fine 4000 XF followspots rounded off the luminaires. Integrated into the audio and lighting connections, fibre optic connections and distributors provided added redundancy.

A team of engineers and technicians from Energi flew to Papua for the setup and operation of the opening and closing ceremonies. “Our team has the creative talents, problemsolving skills and commitment to service that really sets us apart,” says company director Benyamin Ellyas, who also points out that its full complement of Indonesian engineers were employed on the production at a time when the entertainment industry has severely declined due to the effects of the pandemic.

For the audio team, Edi Jacobus and Sandy Herdian took on FOH responsibilities with Rizal Rahul and Agus Heri at the monitor position. Other members of the technical team

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FEATURES: LIVE PON XX events,” says Abrahams, confessing that “although we have hosted some small productions over the past 18 months, we were a little nervous before the PON XX setup.

When confronted with technologies and production equipment that we were previously familiar with pre-pandemic, we realised that we needed to brush up our skills and retrain. In addition, several new software features and firmware updates had been integrated into the consoles. Once we had set up the PA system and conducted our first line check, it felt like heaven to hear full-range music through such a large system. It had seemed so long since we had heard such an impressive system.”

The PON XX games were inaugurated by President Joko Widodo, for whom the lighting team prepared a special lighting effect using a Light Nova p300c soft light. The opening ceremony began with dozens of traditional performers in a dance that formed the words: “Welcome to Papua”. Next, a video displayed footage of Papua’s Cendrawasih bird of paradise before showcasing the island’s natural beauty, featuring Lake Sentani, the McArthur Monument and megalithic

hundreds of lighting fixtures used included systems integration engineer Nabil Husin, loudspeaker technician Tony Subarkah, RF technician Alfred Yaputra and replay engineer Kevin Solideo. Meanwhile, the lighting crew included lighting and systems tech Dzikru R, lighting and equipment tech Sukirno, FOH engineers M Lutfi and Agus Wijaya and lighting techs Ahmad S and Arga Bone. Energi also worked closely with live content creation company, Fivecurrents.

“Working with Fivecurrents and technical director David Williams levelled up the production team’s experience in working on large events and helped to deliver these successful

Fireworks at the closing ceremony of PON XX Papua 2021 sites, as well as handicrafts and local cuisine. The ceremony went on to tell the story of Papua’s past, present and future, the creative and cultural performances carrying messages of awakening for Papua’s future generations. Both ceremonies featured local tribes, dancers and musicians performing live in the stadium, alongside national celebrities and Papuan artists.

Pre-recorded audio was synched to the lighting and video elements via QLab cue software running on Apple Macs.

Abraham cited the main challenges of setting up for the ceremonies as the heat and unpredictable weather, as well as having to make adjustments to the lighting design in the recently opened stadium, which hadn’t hosted many major events. However, the adrenaline-fuelled preparations and work during the ceremonies paid off, and both went ahead seamlessly, achieving the audio and lighting goals that Energi had set following their long period of downtime. www.energi9perkasa.com www.fivecurrents.com

Energi director Benyamin Ellyas with some of the moving heads used for the events

www.ponxx2021papua.com www.prg.com/alliance/en

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Reach for the stars

The new 38,000m2 Shanghai Astronomy Museum (SAM) in Pudong New Area has become the world’s largest museum dedicated to the study of astronomy. Caroline Moss reports on China’s new attraction AT THE HEART OF US-BASED ENNEAD ARCHITECTS’ design for the newly opened Shanghai Astronomy Museum was a desire to create a structure whose scale and context would remind visitors of where humans sit in relation to the cosmos, inspiring them to look around and upwards to appreciate our unique planet. SAM presents a great deal of scientific theory, planetary history and artistic endeavour. It also embodies the architect’s ecological values: the museum has attained a threestar rating in China’s Green Building System framework, the highest level awarded.

Ennead designed the building’s exterior to have no straight lines or right angles, a concept inspired by the orbits of celestial bodies and the geometry of the cosmos. The building’s material palette is simple: concrete, glass fibre-reinforced concrete and anodised aluminium façade panels. Drawing inspiration from planetary form and motion, the building’s three main architectural components – Oculus, Inverted Dome and Sphere – function as astronomical instruments that track the sun, the moon and the stars. At the entrance to SAM, the gold-panelled Oculus functions as a giant sundial, reflecting and projecting sunlight to indicate time and season. Inside, pathways connect all three spaces, allowing visitors to orbit the Inverted Dome, a glass tension structure hovering above the central atrium that provides visitors with a clear view of the sky above, and to access the planetarium, which is housed in the Sphere.

This impressive layout also features numerous other exhibits powered by advanced AV technologies to provide an engaging and immersive experience for visitors throughout the three main exhibition zones: Home, Cosmos and Odyssey. Meyer Sound’s Chinese distributor Shanghai Broad Future has provided systems for two of the zones: the Sphere’s 8K ultrahigh definition theatre and the Optical Planetarium housed within the Home exhibition zone.

The independent 8K dome theatre inside the Sphere is half-submerged in the building, emerging from the top of the

The g as a

A “cosmic thread” connects areas within the Odyssey zone external roof like a moonrise, with little visible support below and space to walk underneath. The dome has a diameter of 20m and seating within for an audience of 250, who are shown a 20-minute film covering 4.6 billion years of evolutionary history.

A total of 32 UPJ-1P full-range speakers and four 900-LFC subwoofers are used to create a multichannel system which was designed using Meyer Sound’s MAPP 3D simulation software to provide an optimum immersive listening experience. In this venue, Meyer Sound’s D-Mitri digital audio platform is being used to control the multichannel system, using a 64-channel hard-disc music player and eight audio input channels to create 72 tracks

of sound sources. These are distributed to the 36-channel speaker system by Spacemap technology, providing accurate sound images for each track and moving the sound images around to follow the content of the programme.

In the Home zone, the Optical Planetarium is a sphere-shaped structure representing the earth, with an outer diameter of 30m and inner diameter of 23m. A film about nature and the universe is shown as the audience below learns about the cosmos and planetary movements and constellations. Here, Shanghai Broad Future’s acoustic design uses 36 Meyer Sound UPJunior speakers over four levels to reproduce the sound image

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FEATURES: LEISURE of the entire sphere, with four 900-LFC subwoofers used as an independent channel at the top centre of the sphere to extend the low frequency. All the speakers are controlled by Meyer Sound’s Galaxy digital audio platform, which also provided a convenient alignment method.

The Cosmos exhibition zone houses the What If theatre, featuring a 360° circular screen with 7.1.4 3D immersive sound to create an enveloping universe, with AV design and production handled by Shanghai Motion Magic Digital Creative Technology. The project was led by Zhu Jie, technical director of Beijing Dream Formula Digital Technology and support centre of Merging Asia Pacific, with a Merging Technologies audio production system brought in to solve a particular challenge.

Christie D20WU-HS models project images onto a rotating globe

The 8K dome theatre is half-submerged into the Sphere with space to walk underneath

e on

The gold-panelled Oculus at the entrance functions as a giant sundial

The 7.1.4 speaker layout for What If was custom-made for the architectural structure and soundfield of the theatre, and didn’t meet existing audio production standards such as Dolby Atmos or Auro 3D. This presented a challenge for Motion Magic: whenever sound effects producers played audio files mixed in a standard surround sound recording studio back, they were “very different” to what they heard during production due to the different placement of the speakers. Yet the project site only had a replay environment, with no production equipment. After studying onsite sound reinforcement and immersive audio production systems, sound designer Chen Baizhou moved a Merging Pyramix audio production system to the site, turning the theatre into a mix studio.

The theatre’s audio network is based on the Dante protocol. Magic Digital used the Pyramix MassCore audio workstation running on Ravenna as the core of audio production with a Merging+Hapi handling the outputs.

Through the AES67 protocol, the two connect in Dante Controller, converting the theatre speakers into monitors for sound effects production. The sound effects producer relies on the user-defined bus function in Pyramix to input the position coordinates of the live speakers into the software one by one, giving a 3D immersion in the Pyramix workstation that is exactly the same as the live speaker layout and position. By processing more than 100 audio tracks and dozens of effects plugins, a 12-channel 7.1.4 3D immersive sound file was finally completed for the What If theatre, fitting the live acoustic conditions and speaker layout to achieve a satisfactory 3D experience.

Across the site, more than 40 Christie HS Series and GS Series 1DLP laser projectors of varying brightness and image resolutions convey celestial projections, with real-time video playback and processing provided by Christie’s Pandoras Box V8 and Christie Widget Designer. Christie partner Wincomn Technology, together with Zhongqing Yingye Group, was responsible for the installation and commissioning of all projection solutions across the museum, while the Christie

Pandoras Box products were installed by Marvel Vision, one of Christie’s distributors for content management and image processing solutions in China.

The HS and GS Series laser projectors are deployed across 12 galleries in the three main Home, Cosmos and Odyssey exhibition zones, leading visitors on a tour around the solar system, faraway galaxies and black holes. The exhibits are designed to provide a greater understanding of the history of astronomy and inspire visitors to think about the future of the planet and cosmos. Highlights include projections onto a 20m-diameter rotating globe using seven Christie D20WU-HS laser projectors, as well as interactive projections on a 60m wall from 10 Christie DWU1075-GS laser projectors. In another gallery, detailed images of celestial bodies are realised by three Christie 4K7-HS laser projectors with 4K UHD resolution and built-in Christie Twist for creating multi-projector setups. In the Odyssey exhibition zone, visuals are displayed onto the 50m, ribbon-like “cosmic thread” using 10 Christie DWU630-GS laser projectors and Christie Pandoras Box V8 Software License.

The theatre in Cosmos was turned into a mix studio by installing a Pyramix system “The Shanghai Astronomy Museum marks a new milestone in the integration of science, nature and modern technology to provide an ‘out-of-this-world’ experience for astronomy fans and the general public,” says April Qin, sales director for China, Enterprise, Christie. “We are thrilled that a wide range of Christie laser projection and content management solutions have been installed by our partners to deliver awe and wonder, enabling visitors of all ages to explore the universe with greater detail and realism.”

Presenting the history of the universe while simultaneously looking ahead to space exploration programmes to come, the new Shanghai Astronomy Museum links past, present and future in an educational, highly engaging experience, drawing on the latest in AV technology to realise its stratospheric goals. www.christiedigital.com www.merging.com www.meyersound.com

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FEATURES: VIRTUAL REALITY

When virtual meets reality New Zealand-based company Experience Design is carving out a niche for itself by offering AV design consultancy via VR. Richard Lawn finds out more

Jarden occupies the 32nd level of Auckland’s PwC Tower

COMMISSIONED TO PROVIDE EXPERTISE, DETAIL AND added value to a project, the role of an AV consultant cannot be underestimated. Largely competing with traditional turnkey systems integrators (SIs), such a specialist takes on a broader perspective by attempting to understand how a client can achieve its goals. Carving a unique identity for itself in New Zealand, Experience Design (XD) is providing a deeper insight on behalf of its clients. By allowing access to a Virtual 3D design, its intricate software serves as a guarantee that no stone will be left unturned prior to the build phase.

It was never the intention of XD managing director Rupert Brown to establish an AV design consultancy with a difference. Having cut his teeth working for SIs in London and Auckland, Brown was seemingly content to provide acoustic measurements, component evaluation and system design on AutoCAD. But that all changed in 2015 when he experienced what he refers to as a “light bulb moment” that would ultimately redirect his career.

At the time, Brown was managing the corporate deployment section of a design department for an SI. “I was fortunate to have Jamie Shaw: a forward-thinking project manager who encouraged the client to engage us early in a consultancy capacity in understanding the importance of getting the tech right,” explains Brown. “As an integrator, you’re typically brought in too late to add any input on fundamentals such

XD executed an AV design that blends into Jarden’s corporate spaces

XD managing director Rupert Brown as acoustics, room size, shape and furniture. Therefore, it was a hugely positive experience to influence how the technology could be incorporated into the architecture by educating the client and the architect early in the design phase. By being collaborative, it was like shopping with friends who trusted and valued your recommendations, rather than feeling like you are trying to sell a solution. The

project went smoothly, and the client was very happy with the outcome but, crucially, the success of this project was that light bulb moment.”

Following internal discussions, a breakout of the design team as a dedicated consultancy was proposed.

“Fortunately, our employer Automation Associates agreed, and since that date we have maintained a faithful client base giving us plenty of repeat business. With the design and build business model in this country remaining dominant, it takes time to promote an added value specialised service.” Differentiating itself by heavy emphasis on 3D design software programmes and Virtual Reality (VR) custom development led to the recruitment of specialists including 3D engineer Xavier Estevez whose experience in the VFX industry includes working for Weta Digital, taking XD to another level.

By reformatting two-dimensional PDF schematics and drawings into Revit architectural 3D software, XD can accurately create precise renderings of the rooms under transformation. Having made large investments in the technology, their constantly evolving 3D VR modelling is continuing to gain momentum within the corporate sector.

“We adopted a VR prototype while working on one of our earlier projects,” continues Brown. “From an investment perspective, it was not a profitable exercise, but we learnt a great deal. Crucially, the client gained confidence in us

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FEATURES: VIRTUAL REALITY as the fidelity of the model was superior in comparison to other products out there. Following a VR demonstration of their large meeting and boardrooms, the CEO bought in as he believed in our design abilities and could see the vision.”

Following an initial consultation, the XD team creates a browser-based 3D model by transferring and incorporating data from sheets, schematics, photos, 2D elevations, specifications and colour schemes using web and Extended Reality tools. XD’s in-house Building Information Modelling (BIM) team then enables fully integrated design collaboration by loading interactive 3D previews onto VR headsets that allow C-level employees and executives to walk through. A typical view of the architect’s model inside the headset includes furniture, lighting and shadow effects together with AV technology such as touchpanels, videoconferencing interfaces and wall-mounted displays.

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Shure MXA910 ceiling array microphones facilitate ease of use AV conferencing “We would previously publish a large stack of drawings that executives rarely had time to look at. As a result, they had a limited understanding of the proposed solution. With the VR alternative, it normally takes a matter of minutes to receive both the positive and negative feedback on the basic design plan. The modelling helps them visualise the overall concept and proportions. Our modelling allows everyone to see and understand the same vision for the finished project.

Incorporating new ideas is faster, promoting more design cycles, more creativity and better outcomes.”

Having started operations from the fitting room of a Wellington menswear store, the Jarden financial institution has grown over 60 years to become New Zealand’s leading investment and advisory group. Relocating to the 32nd floor of the newly constructed PwC Tower on Auckland’s Commercial Bay in 2019, Jarden commissioned XD to design the AV package for its bespoke needs. The Jarden executives highlighted a requirement for superior audio with a discreet aesthetic following previous unsatisfactory experiences.

XD designs for a wide range of insurance and legal corporate clients whose AV designs may appear to be similar, but in fact differ markedly. “For the Jarden project, the client engaged us at an unusually early stage over two years before the deployment. It’s difficult to predict what is going to be relevant when working far in advance as technology moves at a greater pace. Rather than specify equipment at such an early stage, we focused on the requirements of the space itself and undertook a pricing exercise. Once a mutual agreement is made on the spaces and their fundamental uses, we can move onto the design process. You need to be disciplined and discourage the technical enthusiasts from discussing solutions and technology too soon.”

Over the following 12 months, regular weekly and fortnightly in-person meetings were held in Jarden’s office.

“There were changes of personnel during that time, so we needed to bring new members of staff up to speed.

Having agreed upon the design parameters, a change in staff would precipitate further amendments. For example, we designed an IP telephony system with custom diallers, but the client then decided to implement a Zoom-based

Ecler rail mount Trail 103 speakers have been added to the lighting rails in some zones

solution, so we had to discard those plans and disregard the dummies and GUI interfaces.

In addition, room PCs were swapped out for laptops. For the client, these changes were simple, but from our perspective we had to totally redesign the switching mechanisms and interfaces.”

Having put the project on ice for a year, the AV design was ultimately modelled by XD building in the latest technologies, including the newly launched Crestron Flex UC control series. Various scale schematics and plans were made for all the rooms on the 32nd level. These included elevation diagrams highlighting the location of all the AV technology inputs and outputs together with floor boxes, touchpanels, data points, HDMI and cable routing.

At this point of XD’s evolution, the VR offering was an optional add-on rather than an integral part of the design.

“The Jarden team needed to envisage where the various Sharp 4K Ultra HD displays would appear in the meeting, conference and boardrooms. Having accepted our proposal to build a complete VR model of these rooms, we then modelled different screen configurations in VR for the decision-makers to gain a better perception. For the 3D work within VR, we needed to add the right lighting design, the finish of the furniture and the right materials together to get the renders and the VR experience right.”

Once modelled, a demonstration was presented to the entire Jarden project team and CEO. “It’s normally difficult to get a CEO to commit their time, but he duly took an eightminute Uber to our facility and put the headset on, together with others in the project team. Prior to this some decisions had bounced around for some time, but in this session everyone had a say, ultimately specifying bigger screens in some rooms and dual displays as opposed to single in others as a result. Tricky decisions were closed out with everyone understanding and aligned on the solution. The

use of VR helped spark their ideas and find and solve AV problems, while raising other questions around furniture and interior design.”

As a consultant, XD must remain brand agnostic, although Brown confesses the company has its favourites. “We must be open-minded to a client’s specific requirements and are always open to new and different technologies. We are not a cut-and-paste consultancy; not all jobs require a QSC processor, for example. When a client has a large budget to spend, it’s important to maintain discipline and ask if all those requests are really necessary. What problems are they actually solving? As a consultant you must ask the right questions when it comes to budget versus expected results.

We work closely with suppliers as they provide us with an idea of their product roadmap and what they are working on.”

In terms of technology installed within Jarden’s workplace, XD created an ecosystem that leaned heavily on QSC and Shure products. Programmed to operate with Zoom and other videoconferencing platforms, Shure MXA910 Microflex Advance ceiling array tiles provide a highly effective, stylish audio conferencing solution. The IntelliMix steerable DSP technology eliminates equipment clutter to naturally enhance intelligible speech. In addition, the autofocus technology fine-tunes the audio pickup in real time, should participants spontaneously lean back or stand up.

With a Crestron CP3N processor lying at the heart of the AV control system, Crestron 10.1-inch capacitive touchscreen displays are the focal points of the board, meeting and conferencing rooms. The varying room DSPs are stored in a central QSC Core 510i processor. Powered

by QSC CX-Qn 8K4 and 4K2 network amplifiers, speech reinforcement is taken care of by QSC AD-C6T ceiling speakers, with music in social areas transmitted via Ecler Trail 103 3-inch speakers disguised as spotlights together

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FEATURES: VIRTUAL REALITY with Ecler SB6Ts. The AV package is rounded off with Logitech Rally Cam conferencing cameras, Chief display brackets and Attero Tech unA610-BT Bluetooth interfaces.

A full height rack hosts the AV equipment including Crestron encoders and decoder together with a digital signage player in a dedicated comms room.

Ecler’s SB6T architectural loudspeakers provide a discreet profile possible. Having gained experience by working for several SIs, Brown can easily relate to all the project’s technical people in his current leadership role.

“The onus is very much placed on the SI to deliver the design. To get the best outcome for the client and for the SI to make money, you need to communicate, be Crestron’s new generation of TSW touchscreens The essence of the design is in the detail rather than the technology, however. “XD was fortunate enough to work closely with the architect Harry Rowntree from Unispace, who we have worked with before. Harry is very pragmatic in understanding the practical use requirements of the rooms and the need for technology, while balancing an aesthetically beautiful interior design. We don’t want it to appear as though we have come along at the end and simply thrown some TVs onto the walls. A good consultant must look at the integration with the interior design in detail. For example, we collaborated with the architect for routing the booking cabling through the aluminium doorframes without displaying a surface-mounted cable.”

Reassuringly, XD’s responsibilities continue until the project is completed and commissioned. In addition to Unispace, close relationships were maintained with the lighting designer, an acoustician, the project manager and the client before assisting the integrator and other contractors to get the architectural integration as tight as

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Owing to its remote geographical location, New Zealand has been spared the socioeconomic impact that the pandemic brought. With videoconferencing platforms becoming more affordable, XD noted an uptake of AV technology by corporates needing to communicate more efficiently with the rest of the world. “Rooms that used to be broom cupboards or stationary closets are now redesigned into AV conferencing spaces,” attests Brown. Outside the corporate sector, XD is expanding its portfolio, including a large, specialised sports training facility that aims to attract overseas teams with state-of-the-art technology, accommodation, bars, restaurants and meeting rooms.

Despite attracting the attention of potential clients overseas, expansion beyond New Zealand is currently not top of the agenda. “We are just emerging from an ambitious R&D programme that we commenced several years ago. Our systems pipeline is still being refined, we are iterating on every project we are involved in to improve this. All our projects are unique and some of our clients are more receptive than others, but collaboration is improving. Following the construction phase the project team dissolves, making it hard to follow up and maintain a relationship with some clients. This is something I want to improve upon.”

The post-Covid corporate landscape will doubtless fuel XD’s fortunes, but Brown is the first to admit that human contact is paramount. “The stronger the interactions and collaborations you forge with everyone from the architect to the service engineer, the better the outcome will be,” he concludes.

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thorough and promote a collaborative result. During the delivery portion, we worked with the electrical and blinds contractors to make sure that they could implement the correct connections in the right places. Even though it is not our remit, we try to make the integrators’ lives easier, so where we can, we’ll come onsite and assist the teams as they aren’t privy to all the details of what was discussed during the design phase. It is helpful if you can relay any additional information and ensure they really understand the design or they can lose a lot of time onsite.”

During the relatively short lockdown period that New Zealand experienced at the start of the pandemic in 2020, the XD team was forced to work remotely. With productivity increasing during that period, Brown proposed to continue the working practice. “By removing the normal daily micro-distractions that occur in an office, the technical and creative designers discovered that they could focus better on their work. There was some reluctance initially to this transition by some of the directors, but the data backed this up. I’m not ruling out returning to an office environment though, and we’ll continue to evaluate as there are distractions in working from home too. Overall however, working in the digital domain was an easy transition for us and, as we live in the same vicinity, we all meet on a regular basis for social events.”

The XD team

www.xd.nz

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FEATURES: LEISURE

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Martin Audio distributor Sama Sound has finished upgrading the first of several Resom Resort facilities that are under new ownership. Caroline Moss discovers how the best audio technology is contributing to the relaxation of clients and venue staff alike THREE YEARS AGO, SOUTH KOREAN CONSTRUCTION company Hoban Co began proceedings to acquire Resom Resort from its creditors at a cost of US$224 million. Splas Resom, one of the company’s three resorts in Chungcheong Province, has just undergone refurbishment of its existing facilities and the construction of a new building, reopening as the country’s first membership spa resort.

Previously known as Resom Spa Castle, Splas Resom is located in Yesan, Chungcheongnam-do, an hour-and-a-half’s drive from Seoul and 30 minutes away from mountains, beaches and a variety of cultural tourist attractions. Splas Resom is supplied with waters from the Deoksan hot springs, revered by Koreans for 600 years for their healing properties.

Martin Audio’s Korean distributor, Sama Sound, partnered with dealer Asea Sound to submit a successful bid to supply sound systems for several multipurpose halls, including the main Juniper Hall, all of which host corporate events, seminars and workshops. The systems needed to be sufficiently versatile to handle a number of source feeds ranging from background music to voice announcements and occasionally, live music. Overseeing the project for Sama Sound was sales manager Jong Hwa Seo, while Seung Hwan Kim designed the system and Hong Geun Kim took charge of the speaker installations and system tuning.

Juniper Hall is mainly rented to third parties for a diverse programme of events, most of which include a speech component. This made speech intelligibility one of the first priorities when selecting an audio system for the hall. A cardioid subwoofer had also been specified in order to reduce leakage from behind the sub. Martin Audio’s Wavefront Precision Compact (WPC) proved to meet all the performance criteria.

“The system pretty much decided itself,” explains Sama Sound product manager, Edan Kwon, “and since a cardioid subwoofer had been specified, we designed the system using Martin Audio’s SXC118 sub.”

The main Martin Audio WPC system in the Juniper Hall The scalable Wavefront Precision offered additional advantages, too. “The venue was constructed without regard for architectural acoustics, so there were consequently many sound reflections, especially from the venue’s back wall, as well as from backstage,” continues Kwon. “The Hard Avoid feature in the proprietary Display software helped us to control those reflections, while the customer was more than satisfied at how the SXC118 cardioid subwoofer reduced the radiation behind.”

A main system of five WPC elements per side and a single W8VDQ Differential Dispersion central speaker, driven by iKON iK81 Dante eight-channel and four iK42 Dante fourchannel amplifiers, has been installed in the Juniper Hall, accompanied by two-per-side SXC118 compact subs in cardioid mode, with a pair of LE200 wedges provided for stage monitoring. Four CDD12Bs function as delay speakers, with side fill handled by a CDD12B on each side of the hall.

Five Martin Audio WPCs per side are paired with two SXC118 subs in cardioid mode In the smaller Rosemary Hall, a pair of Martin Audio W8VDQs and two SXC118 subs form the main system, with two CDD8Bs acting as delay speakers, all powered from a four-channel iK42 and an LEA Connect 702 amplifier.

The Geranium Hall has a pair of CDD8Bs as main speakers and a pair of CDD5Bs for delay, with four CDD8Bs in the Iris and Marigold halls, and a pair of the same speakers in each of the Sage Hall, Jasmine Hall and Verbena Hall spaces. All the CDD models are powered by LEA Professional’s Connect amp series, a relatively new brand which Splas Resom’s house engineer,

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FEATURES: LEISURE Seung Hyuk Im, hadn’t worked with before. “I was surprised at the sound performance in conjunction with the CDDs; they are a really good combination,” he says. “Considering the performance and the IoT features they offer, they are very costeffective products.”

All other equipment installed throughout the halls was wellknown to the engineer. “Since the venue is mostly rented, I wanted to choose equipment that was familiar to visiting engineers,” continues Im. “Martin Audio was one of my considerations from the beginning, and it provided me with the best solution. I have experienced [the brand] both at exhibitions and also when I was working at a rental company. The sound is so clear and punchy, and the balance extremely good.

Engineers who came in to rent systems for their events were all 100% satisfied.”

The optimisation and Hard Avoid features had worked really well, he adds. “I was also satisfied with the performance of the SXC118 cardioid subwoofer. Since we are a resort, the aesthetics were also important. Martin Audio speakers look classy and fabulous but are also small enough to be fairly unobtrusive – particularly the cardioid subwoofer; it is not easy to find one this small.”

Im is also unstinting in his praise for the CDD Series. “We are using many CDDs in our rooms for main speakers and also for delays,” he says. “In the Juniper Hall, they work as delay speakers, but also as the main speaker system when the hall is divided into several spaces. What makes them so special is that they sound exactly the same, no matter which size, from 5- to 15-inch models. It’s so easy for me to control the sound when there are different sizes of CDDs installed at the venue and, as well as the sound, I also love its small size and design.”

A top-of-the-range Allen & Heath dLive S7000 with DM64 mix rack was selected as front of house console in the Juniper Hall.

“The dLive S7000 had enough input channels to handle all the equipment and devices in the room and it has an outstanding preamp,” says Im. “My most important consideration was stability. I’d never experienced any issues with the Allen & Heath

An Allen & Heath dLive S7000 was selected as FOH console in the Juniper Hall SQ6 which we used before the S7000, so I am very satisfied with the stability of Allen & Heath consoles. I also like the fact that the interface is simple and intuitive, and it was very easy for me to learn how to use it. One click and you are there.”

Sama Sound also supplied Shure QLXD4 wireless mic systems to all the halls. “I am very satisfied with Shure QLXD; not just with the sound quality, but with the RF stability,” says Im. “I have many times suffered with RF disconnections with other wireless products, but I haven’t experienced any with QLXD over the course of a year. I tested them using all our 24 channels at the same time at the venue before installing them, and there was no problem at all.”

Im is confident that the new audio infrastructure will allow events to be staged smoothly using the resort’s own equipment, and that visiting rental companies can put on events without needing to bring in their own systems. “Thanks to Sama Sound, their proposal was just what I needed and our collaboration fulfilled all the requirements to achieve my plan,” he says. www.allen-heath.com www.leaprofessional.com www.martin-audio.com www.samasound.co.kr www.shure.com

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FEATURES: POSTPRODUCTION

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Genelec S360As are used as overhead and surround speakers in Studio 101, the Dolby Atmos HE room

Japan’s Imagica Group has created the largest postproduction studio in Japan to date. Caroline Moss takes a look at the new Tokyo facility FOR A COUNTRY WITH A STRONG, SOPHISTICATED tradition of broadcast and filmmaking, Imagica Entertainment Media Service’s new Tokyo postproduction studios raise an already-high bar, providing Japan with its largest facility to date. Imagica Group’s history in the media and entertainment business is an equally long one. Imagica started life as the Far East Laboratory film company in 1935 and has gone on to work with filmmakers and creatives in all aspects of postproduction. In 2020, Imagica Group created the Shiodome Sound Studio.

The facility in Tokyo’s Shinagawa-ku ward is staffed by an experienced team headed by general manager Hitoshi Nozu, who has spent 16 years at Imagica Lab. Studio director Hiroshi Urago joined Imagica Lab in 2016 after an 18-year stint at AC Create and oversees a group of producers and mixing engineers, all of whom have extensive experience at Tokyo’s existing studios.

The new Shiodome Sound Studio houses five rooms, making it one of the largest dubbing facilities in Japan and offering studios ranging from 5.1 surround to 7.1.4 Dolby Atmos HE. The largest of the rooms is Studio 102 which has a recording booth of 41m2 and a 27m2 control room, which can accommodate 25 and 10 people, respectively. The other three ADR 5.1 rooms have recording booths of between 17–19m2 and control rooms of between 25–30m2, and can accommodate around eight people in each space. The Dolby Atmos HE mixing room, meanwhile, offers a total floorspace of 35m2 and can accommodate 12 people. All four ADR rooms are hybrid spaces that can double up as mixing rooms, and they have been designed to accommodate Japanese-style dubbing featuring multiple actors, as well as Western-style dubbing.

“This is the first time in the long history of Imagica Group that we’ve built a dubbing studio of this scale,” says Nozu. “Extending our language localisation services to these large new studios is the perfect addition to our portfolio. We focused most on layout

Mix engineer, Ryosuke Maruhashi

Shiodome Sound Studio general manager, Hitoshi Nozu and room modes while designing our studios. International clients prefer a large projection screen rather than an LED display. However, the norm in Japan is for talent to read from handheld printed scripts. This requires a different lighting configuration in the studio. Luckily, we planned for this, and ensured that all requirements were listened to and an agreement was reached to keep all talent happy.”

“Non-Japanese clients are more likely to prefer dry recording rooms to live ones, and to add the appropriate reverb during the mix,” adds mixing engineer, Ryosuke Maruhashi. “They pay more attention to the size of the booth and the height of the room. If the ceiling is too low, the voice actors feel cramped. This can be stressful when recording full length features. As such, we were looking at ensuring a minimum height of 3m. For the clients’ comfort in the control room, we decided to install desks and chairs instead of sofas. Clients often bring their computers these days, so we prioritised these practical needs.”

Studio 101 is Imagica Group’s first Dolby Atmos HE mastering room. The 7.1.4 setup is provided by 11 S360A Genelec monitors and a pair of 7380A subwoofers. “We compared other active speakers in the same price range before the purchase, and the S360 produced the best results,” continues Maruhashi. “The other staff members who test-listened were impressed, saying: ‘The sound jumps

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FEATURES: POSTPRODUCTION directly from the box to any listening position.’ We tested a piece of music and the dubbed source that we mixed in stereo, which resulted in an overwhelming level of resolution and perfectly balanced frequencies throughout low to mid to high frequencies compared to the other brands we tested. All the staff who attended the session agreed that we all wanted to acquire not only The Ones series but the S360 as well.”

I/O 16x16 interfaces and Waves Diamond plugins, acts as a sub system. This studio is also installed with a Dolby Atmos HT-RMU home theatre rendering mastering unit for its immersive work.

Most of Imagica’s dubbing work is 5.1 so the four dubbing rooms – 102, 103, 104 and 105 – have been equipped with identical 5.1 systems, each comprising five Genelec 8351B studio monitors and a pair of 7370A subwoofers. According to the studio, they chose Genelec as they believe it to be a reputable, highly valued brand in Japan, and they had been considering The Ones series ever since it was launched. The Ones series encompassed all the requirements Imagica needed to meet the project brief: three-way coaxial sources, wide sweet spot, high SPL, horizontal mount and compact size, plus the advantage of the GLM loudspeaker management software.

“As expected, for a multichannel audio acoustic environment, coaxial speakers like The Ones series fit best with the correct phase characteristics,” explains Maruhashi. “It sounds relatively tight. The sound never gets distorted and has no annoying elements that can cause the low end to get blurred with extremely loud content.”

All four of these 5.1 rooms have been installed with similar recording and mixing setups. This includes Avid S3/Pro Tools Ultimate systems with Avid MTRX audio interfaces, a wide range of plugins, microphones including Neumann U87 Ai, Sennheiser MKH 416, MKH 50, MKH 60 and HMD 301 Pro models, DPA Core 4060 and Shure SM57 and SM58 mics, with Neve Portico 511 and SSL 500 E-Series Dynamics Module mic preamps, SSL X-Desks for mixing microphones and Tritech CB-Q1 studio cue boxes.

“There are many dubbing studios in Japan, but this studio is equipped to meet both demands from domestic Japanese clients and international clients, which makes us unique,” reflects Nozu. “I would like to take this opportunity to thank everyone who contributed to working together to create such a state-of-the-art studio.”

The largest of the 5.1 rooms is Studio 102

A pair of Genelec 7380A subwoofers provide the low end for the Dolby Atmos HE setup The 7.1.4 setup is complemented by a stereo pair of ADAM Audio S2V nearfield monitors, and a Grace Design m908 monitor controller completes the picture.

The main DAW system in Studio 101 is Pro Tools Ultimate software running on an Apple Mac Pro computer, paired with an Avid S4 control surface, an Avid MTRX audio interface and a wide range of plugins from Waves, AudioEase, Nugen, iZotope, Serato and Soundtoys. A second Mac Pro running Pro Tools Ultimate, this time with an Avid S3 control surface, Avid HD I/O 8x8x8 and HD

Studio 103, one of Shiodome Sound Studio’s new ADR facilities

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FEATURES: BROADCAST

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The EFP system was used for CCTV’s 2021 Spring Festival Gala

Playing the field Sue Su reports from CCTV in Beijing, which this year rolled out a mobile AoIP Dante-based EFP production system BACK IN 2017, THE CHINA MEDIA GROUP – THE holding company for national broadcaster CCTV – began to gradually implement full AoIP audio production. After gaining sufficient experience, the group initiated a project to build a mobile Ultra HD video and audio EFP (electronic field production) system for variety shows, which would give it the ability to produce programmes in 3D sound. This would also meet the requirements of large-scale shows and sporting events, as well as adapting to the eventual production and broadcasting in Ultra HD 4K/8K for large-scale variety shows in the field.

The tender was won by Digital Media Technology (DMT), which provided a portable Dante AoIP solution with Solid State Logic’s System T platform as the core. The system was integrated and delivered in 2020 and is entirely IP-based, from video to audio and control to monitoring. Throughout this year, it has been put to use for major events such as the Tokyo 2020 Olympic Games, the 2021 Spring Festival Gala (8K version) and the 100th anniversary of the Communist Party of China in Tiananmen Square (8K version).

“This is CCTV’s first all-IP-based EFP audio production system for large-scale variety shows,” explains Johnathan Wang, technical director of DMT. “The system should be able to be flexibly set up to adapt to venues and can be quickly deployed in a short time. It also provides very high sound processing capabilities.”

The SSL System T S500m console in use on a music show The main console is a 48-fader System T S500m, a mobile version of the System T designed to be 25% lighter with a reduced form factor, which comes complete with flightcases and is suited to EFP applications. With a 16-fader System T S300 as the backup console, the whole system also includes four SB32.24 stageboxes (mic/line input and output), three A16.D16 Dante I/Os, one D64 AES network interface and three MADI-Bridges to provide a wealth of I/O options.

“SSL’s Tempest processing engine has up to 800 channels of audio processing capacity, and 96 effects processing modules, which can meet customers’ needs for sound production of large-scale music variety shows,” continues Wang. “In addition, because System T uses the Dante protocol as its underlying AoIP architecture, it inherits the advantages of Dante, including automatic discovery and recognition and matrix crosspoints. Furthermore, because SSL comes with a lot of audio processing effects, it can greatly reduce the number of external effects and makes the entire EFP audio system more compact.”

The entire signal transmission of the production system is based on Dante, using two Huawei CloudEngine 6865s as the main core switches. These interact with the video signal source from the 4K/8K video system and the main control system through fibre optic in ST 2110-30 format multicast stream. For traditional audio baseband equipment such as microphones and speakers, the signals are first transmitted to the stagebox and converted into AoIP audio signals, then distributed to the main and backup consoles through a Huawei S5720 switch. All multicast streams across the entire system meet the redundancy requirements of the SMPTE 2022-7 standard, and the system clock adheres to SMPTE 2059-2.

The convenience of operation and production values of Dante meet the strict rapid setup and configuration

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FEATURES: BROADCAST user experience,” says Wang. “It is not necessary for them to frequently switch back and forth between various web pages to configure the system.”

In order to meet the standards of 3D sound production, the control room is equipped with a 5.1.4 monitoring system comprising Genelec’s The Ones series, including five 8341A SAM surround speakers, four 8331A SAMs as overheads and one 7360A sub. There is also a pair of 8320A SAMs for stereo nearfield monitoring, while the director’s surround monitoring system consists of five Genelec 8430A SAMs.

The stageboxes provide a wealth of I/O options requirements of the EFP system. The signal interaction between the audio and video systems can be carried out by the main and backup fibre optic cables, which greatly reduces the number of baseband cables and is highly suitable for mobile field work. The system is equipped with Dante Domain Manager (DDM) software to facilitate the signal interaction setting between the audio system and the video/main control system, adapting and adjusting according to each of the other system’s needs. “This centralised control management also deeply impressed our customers because, for such a largescale audio system, all devices can be managed and operated through just one software interface, which creates a very good

The SSL System Ts broadcasting from the Tokyo 2020 Olympics This model supports AoIP audio and is compatible with the AES67 AoIP standard.

CCTV’s EFP system played an important role in the Tokyo 2020 Olympic Games this summer. Due to the pandemic, the broadcaster cut back on the amount of crew that was sent to cover the games, but the scale of the audio system was increased by 30% compared with the previous Rio 2016 Olympic Games in Brazil. CCTV set up a broadcasting hub

in the International Broadcasting Centre (IBC) at the Koto International Exhibition Centre in Tokyo. The entire audio system consisted of three large studio setups and several smaller systems, all of which were using AoIP architecture. One of the three large studios used this EFP system to produce and broadcast talkshows consisting of sports commentary and interviews with athletes. With the help of AoIP technology, the audio team was able to quickly construct a world-class, fully networked audio production system which could share audio signal resources and the maximise multi-regional, cross-border transmission efficiency.

As a member of the audio team at IBC, CCTV engineer Yang Qi feels that EFP systems like this are increasingly relevant to the broadcast industry. “As more and more AoIP audio systems are built, the scale effect of the AoIP system becomes more obvious,” he says. “I think this EFP AoIP audio system can be used as a template. Whether it’s because it can interact with various devices inside the audio system, from the aspect of using software for signal monitoring, management, control or its external signal interaction with other IP systems, all aspects have an exemplary effect. Judging from the use of this system, the number of XLR cables is rapidly reducing. For both the Spring Festival Gala 8K production in 2021 and the 100th anniversary of the Communist Party of China, XLR cables were only used for the monitor speakers at the end stage of the system. I look forward to going out to work without having to bring any baseband cables in the future.”

Yang is clearly looking forward to the widespread adoption of AoIP technology in the broadcast market. “We have been implementing audio systems with AoIP design in mind since 2017,” he says. “With the continuous evolution of protocol technology, I believe that all audio systems of the future will be fully AoIP. That era will come soon.” www.dmtpro.com www.genelec.com www.solidstatelogic.com

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BUSINESS: COMMENT

A letter from America Better to embrace AI and data in pro audio sooner than later Dan Daley reflects NASHVILLE HAS BEEN CALLED MUSIC CITY FOR THE last half-century. However, while the music and audio industry in that town remains relatively robust, with an estimated 8,300 music industry jobs in the Nashville area, according to the RIAA’s Nashville Music Industry: Impact, Contribution and Cluster Analysis, it also found that less than 750 of those are in music and audio production. And that same report, released this year, avoided similar estimates for live sound and touring, which until the onset of the pandemic in March 2020 had become the single-biggest revenue generator for the industry. That sector has since become virtually moribund, as the US entered its fourth Covid surge in the autumn, and as more tours cancel or reschedule as the Delta virus variant expands. So, lots of jobs but pro audio represents a single-digit fraction of them, and even those are under pressure.

Now, though, a more sanguine sobriquet for Nashville – which many look to as a bellwether for the larger music and audio business – may be Data City. Another 2021 analysis, the DICE Tech Job Report, puts Nashville at number three in the entire country for technology-sector employment growth, posting a rather astounding 32% increase in jobs. In August, Nashville’s Belmont University, which has one of the oldest music business and audio production education programmes in the world (it’s nearly 50 years

old), announced the launch of the Belmont Data Collaborative, funded with US$60 million and intended to “prepare students and professionals to fill the need for data skills in nearly every workforce environment,” including music and audio.

That’s not surprising. Look at any business overview of music and audio sectors, from Spotify to Facebook, and data crunching is at the top of virtually every hierarchical list. Data-based music creation is already a thing; AI-based creation engines like Amper, which allows non-musicians to create music by indicating parameters like genre, mood and tempo, is now widely used to score podcasts, commercials and videos. And the data-based engine has already “passed” a Turing-like test, meaning that listeners couldn’t differentiate between music generated by its algorithms or by actual brains and hands. AI is also already playing a role in pro audio, including in data-assisted mixing (Izotope’s Neutron 3) and mastering (LANDR).

Another way to look at this is as the follow-on inflection point after audio’s historic, tectonic shifts from analogue to digital, and from physical to virtual formats. More than merely Digital 2.0, the new prominence of data could precipitate its own era, with everything that implies. Most audio production education programmes no longer include things like tape machine alignment courses, but have been encompassing skills such as

programming. Airline pilots today are systems managers; music and audio producers of coming generations will see the same kind of shift in their skillsets and knowledge bases (though in both cases knowing the fundamentals will be important in an emergency).

Not all of this prophesises some dystopic future of man vs machine. Rather, AI and data-based analyses will be helpful as workflows become more time-crunched. For instance, Amahook’s Sound Assistant helps producers search for the right sample in a sea of them. Algonaut’s Atlas will then help you map your own vast trove of samples using AI. There’s a brave-and-scary new world of pro audio products on the frontiers of sound and, as “productivity” replaces “creativity” as the core watchword of the business, our future selves (and perhaps more than a few of our current ones) are going to need that boost in their workflows.

Does that mean that creativity goes out the window? That the machines finally take over? No. But creativity itself is undergoing its own revolution, as tools such as sampling create entirely new forms of music and sound. Thus, all the more reason that data-based approaches to the arts need to be embraced sooner than later. We’ll still be here, at least for a while, to imbue the machines with souls.

A letter from Europe Stealth processing? Phil Ward contemplates the DiGiCo upgrade at Moscow’s State Kremlin Palace THE EXACT BORDER BETWEEN EUROPE AND ASIA IS marked by a very Soviet-looking obelisk and war memorial near the city of Pervouralsk, in the Ural Federal District of Russia. As with all borders not defined by a shoreline, it’s an imaginary line drawn in the conceptual sand. On the nearby motorway, the P242, the line is a little more real: a row of curved, red tiles crosses the road, leading to a blunt monument topped with a frieze sculpture that looks like a Pokémon owl. Perhaps it’s called Twitwoo.

It does mean that everything to the west of this line is officially European, including Moscow, although there have been times when, to a European, Moscow could not have seemed more alien. The ideological divide between Eastern and Western Europe that survived for most of the 20th century created a fear and suspicion that no dystopian computer game could ever match, and everyone over the age of 40 can still feel it. You might, in Pervouralsk, reach the end of Europe but, as things were, we might on more than one occasion have reached the end of the world.

It still surprises me how much of Moscow is deliberately Western, and not just the Renaissance remains of Peter

the Great. Even the Soviets attempted to recreate the New York skyline with their seven spiky skyscrapers – less glasnost, more Ghostbusters – forgetting that imitation turns to flattery if you don’t do it better. And, of course, the Metro looks like Marie Antionette’s boudoir with rats.

Then there’s the State Kremlin Palace, which is not nearly as old as it sounds. Built 10 years after London’s modernist Royal Festival Hall, it could easily be mistaken for it by a drugged tourist. Unfortunately, the acoustics were lost in translation. Instead of the Festival Hall’s tightly controlled reflections, helped by neat innovations like absorption tiles on the underside of empty seats, Moscow’s equivalent is a pinball machine for soundwaves.

This isn’t helped by the frankly intimidating overhead embankment of original lighting, aimed more at the audience than the stage, such that the whole auditorium suggests a dentist’s chair for the masses.

This may or may not have anything to do with the propaganda speeches delivered by successive Soviet leaders over the decades, but it didn’t help the orchestra of the State Kremlin Ballet back then and it doesn’t help DiGiCo now. Fortunately, local exclusive distributor Aris

knows the venue intimately and has been able to continue its steady upgrade through the years into a production hall of international standing. The habit of looking west for inspiration, validation and plain job satisfaction has not left Muscovites in all this time, and finally has direct access to the tools and skills that can close the age-old gap between Russian ambition and Russian achievement.

The arrival of DiGiCo’s Quantum7 and Quantum338 consoles is the latest flow from this cultural and technological pipeline, and as if to provide the perfect metaphor in any discussion of borderlines, these desks are now able to exploit new custom software, as well as OSC, and integrate with the venue’s existing Stage Tec Nexus routing system. UK… Germany… Russia: a straight line.

Nearly 20 years ago, I witnessed Meyer Sound’s engineer tame this hall with a Jimi Hendrix CD, both of us relishing the symbolic use of guitar feedback to erase the last words of Nikita Khrushchev from these echoing walls. With an even greater sense of audio dispersion, he tuned the entire system to the seat earmarked not for Vladimir Putin but, right next to him, his wife. Some border crossings will always require stealth.

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BUSINESS: COMPANY PROFILE

Radio activity

Aerial view of Lectrosonics’ two-building facility, either side of the car park

Phil Ward profiles US wireless audio pioneer Lectrosonics, 50 years and counting

The Mouse range of portable guitar amps were the force behind legions of musicians

THERE’S NOTHING QUITE LIKE AN ATOM BOMB TO GET your point of view across. They know about this in New Mexico.

Fortunately, alternative means are available. The State of New Mexico happens to be where Lectrosonics has been helping people to address all kinds of public for five decades, with a commitment to local manufacturing and a consistency of innovation that blows away all but the finest competition.

It all started with voice projection. Elegantly improving upon the time-honoured bullhorn, early Lectrosonics models were like a cross between a guitar practice amp and a vacuum cleaner.

The Albuquerque Police Department was especially grateful, receiving the first production unit in September 1971. Within just four years, and remarkably early in the technology curve, the idea of going wireless took root as part of a dedicated mission to provide the highest possible degree of mobility and portability. Wherever anyone needed to raise a message above the general hubbub, it seemed Lectrosonics had solutions that literally placed sound reinforcement in the palm of your hand.

Seventies’ buskers got a helping hand, too. The now-legendary Mouse range of portable guitar amps were the battery-powered force behind legions of street musicians, especially in San Francisco and New York, where the music stores stocked them in their thousands. And if you can make it there, to coin a phrase…

With scores of audio manufacturers tempted to move at least some production offshore, Lectrosonics has prospered for 50 years by making everything in-house. Starting life in a former metal reclamation centre in Albuquerque with 17 staff, in 1988 Lectrosonics purchased some land 12 miles away in Rio Rancho where it opened a new factory. Two expansions later, the company now employs 140 people across its 3,700m2 facility, where all manufacturing including machine shop, surface mount electronic fabrication, assembly and testing is done; the premises also houses engineering, accounting, marketing, sales and management offices.

Inevitably, the last 18 months has largely been dominated

by Covid-19. “Everything fell off the cliff,” admits VP of sales marketing, Karl Winkler. “But we’re a very practical company, and we worked out a game plan: to make this a safe place to work; to keep staff on the payroll; and to communicate with them – that was really important. We’re lucky in that one of our core markets is news, which never stops. By the fall of 2020, production for live events was slowly coming back – even if sometimes it was a parking lot church service – and apart from

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VP of sales marketing, Karl Winkler

Lectrosonics’ original premises, a former metal reclamation centre, in the 1970s a few retirements and career changes we haven’t had to lay off anybody. I believe matching capacity to demand via production scheduling was the key to that.”

This has always been the case. While auctioneers, lecturers, marching band directors and many other disparate users provided a solid base of raised voices during the first 10 years, more sophisticated markets lay in wait for expertly crafted audio capture on the move. By the turn of the 1980s and 1990s, the US had nearly 500 VHF television stations, each going through their own Groundhog Day of ENG with Lectrosonics’ transmitters and receivers connecting presenter to camera. This was a nimble technique quickly picked up by the movie industry on location, dramatically expanding the manufacturer’s footprint into media and entertainment. As the market evolved with highquality small, portable mixers and digital recorders, it made the perfect marriage with wireless flexibility and the stage was set for a new name in global production.

As that recovers today, Lectrosonics has been through the Covid learning curve along with everyone else. “Fortunately,” says Winkler, “we have some extremely high-level customers who tackled the distancing problems head on, figuring out how to select different combinations of technology to create safe working environments over fibre links – which is complex, if you consider remote IFB, AoIP and control links. Having products that were already Dante-enabled was a help, like the Duet IEM/IFB and D Squared DSQD digital receiver system. Those have found a new life in the distance-networked world we now occupy.”

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BUSINESS: COMPANY PROFILE Lectrosonics has spent over two decades weighing up the pros and cons of migrating wireless performance from analogue to digital: analogue, with negligible latency, good battery life, easily patchable but some artefacts; digital, with cleaner signals, spectrum efficiency but inevitable latency. It was a brainstorm that resulted in 2002’s Digital Hybrid Wireless system – such a good combination for film production that it won an Academy Award 15 years later. The audio is processed digitally, minimising distortion, but the modulation is analogue FM – robust but less channel-rich. The latency is in the digital midrange, from 2.9–3.2ms.

However, as Winkler readily acknowledges, the onward march of digital components is more or less unstoppable, whatever the trade-offs. Their advantages came home to roost in 2009’s Audio Signal Processing Expansion Network (ASPEN), which introduced both a digital matrix and IP. Then in 2015, Lemo connectors were adopted for the smallest-yet transmitter, aimed exactly at the theatre market: a classic example of Lectrosonics factoring its forms and standardising for a specific niche.

And then there’s spectrum. 5G does not, as some believe, offer any mitigation to the squeeze on highest-quality, zero-latency audio capture, even if it does increase the bandwidth available for real-time transmission. Winkler is sanguine: “5G is a tool, a reality, and we simply have to find the technical solutions to work alongside it. It does impinge on the space we have to do what we do, but it won’t help to view it as the enemy.”

The core issue of interference in the signal even applies to the myriad users who don’t, after all, need that many channels for their local productions. “At the Church Facilities Conference and Expo in Dallas recently,” Winkler reveals, “users were telling us how their wireless is suffering with the loss of spectrum. I’m afraid the lower-cost systems weren’t designed for this reality, and even the licence-free 2.4GHz band is not a great solution if you need more than one or two channels. Every gathering of people has a gathering of devices! But we’re happy to help and advise about band-planning and network monitoring – the basics of how to navigate this.”

Lectrosonics’ D Squared Dante digital wireless system The future may see growth in another staple: live sound and touring. “Our niche is content capture,” Winkler confirms. “How it’s mixed and delivered after that is open to anyone. So I do see us gaining momentum in live production because of the increasing quality of sound and reliability of equipment in that sector. As the techniques become more studio-like, there’ll be a demand for better sound quality at the point of capture – better mics, better radio, better wireless IEM. And, even as audiences return, the priority for good capture-for-camera will remain, because streaming will be part of the live industry. That puts us in a good position.”

What hasn’t changed is the annual 1 April spoof press release.

In 2016, the full range of transmitters was given an upgrade that saw each model “powered completely by political discourse during debates, campaign speeches, by news pundits and any other political speech-related verbal blather” accompanied by very topical pictures of both Donald Trump and Hilary Clinton.

Wow. Less than 100 miles from where the world’s first atomic bomb exploded; acute sense of political satire; some of the best audio capture technology ever seen. At Lectrosonics, they’re really listening to what’s going on.

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BUSINESS: SHOW REVIEW

PLASA 2021

How did the first European tradeshow for 18 months fare when it unfolded across three days during a London heatwave?

PLASA RETURNED TO LONDON OLYMPIA AFTER A TWOyear absence, and the positivity and sense of renewed connections it provided surpassed expectations of even the most optimistic. Upon arrival, all visitors and exhibitors were obliged to provide proof of double-jabbed status or negative test result, while the show’s “mask-friendly” approach saw most visitors ditch optional face coverings once inside the majestic old hall. Accordingly, PLASA harked back to an age before live entertainment was put on pause. Business as usual, perhaps?

When the bulldozers moved in to demolish Earls Court, PLASA traded in its West London roots for a three-year slot at the Excel Centre east of the city from 2014. While audiences declined, PLASA has retained its advantageous early September slot. The timing, coming after the Northern Hemisphere summer holidays, has always been crucial in maintaining the identity and lure of the exhibition. The stage was set under late summer blue skies as PLASA got underway, co-located this year with the ABTT Theatre Show. England commenced day four at the Oval trying to minimise the runs that India were scoring in their second innings, while the national football team prepared for a home FIFA 2022 qualifier fixture against Andorra. Meanwhile, those who play in the arena of entertainment technology descended upon Kensington, where a revitalised PLASA was attempting to make up for lost time.

Over the past 18 months, home recording, conferencing and podcasting technologies have boomed, while digital console manufacturers, production companies and freelance engineers have had to batten down the hatches against the pandemic storm. Today, they could be excused from not having to observe social distancing rules, elbow bumps and restrained dialogue.

Like PLASA of old, participants were here to celebrate a new chapter with old-fashioned handshakes and hugs.

Manufacturers who’ve missed the opportunity to promote new products since international platforms stalled after NAMM 2020 were aware that a global audience would take note of PLASA 2021 launches. Notable debuts on day one included the Avolites New Diamond 9 lighting console, while L-Acoustics stuck to its road map, presenting the K3 long-throw line source speaker and super-compact SB10i installation subwoofer while also introducing the Creations residential speakers and Contour XO earphones. Allen & Heath showed the latest addition to the dLive range – the CTi1500 – while d&b audiotechnik chose

The #

The L-Acoustics K3 line source is no longer in the virtual world DiGiCo’s Tim Shaxson was busy promoting the Quantum digital consoles and KLANG’s konductor immersive software to focus on its Soundscape immersive technology and the fixed installation sector, removing the wraps off the 44S dual 4.5-inch system and D40 amplifier.

Microphone manufacturers will admit that some products in their catalogues gathered warehouse dust at the height of the pandemic, while others could not be produced fast enough. “It feels great to be exhibiting and seeing customers in person again,” remarked Sennheiser’s Lee Shuttlewood against a floral backdrop. “We recently launched the EW-D wireless system, a cost-effective wireless whose transmitters and receivers can be controlled with an app.” Reflecting on the past 18 months, Shuttlewood continued: “We have sold remarkable volumes of Neumann microphones and monitors for home recordists and podcasters in addition to the mini shotgun MKE200 and 400 models for videographers. At the show, we are daring to promote our e-series percussion, ew G4 and Digital 6000 wireless mics.”

Shure has also continued to release new mics beyond the meeting and boardrooms during the same time period. Its distinctive booth displayed a similarly floral theme to host the ADX5D Axient Digital and SLX-D wireless platforms. “In addition to a UK roadshow that we are currently committed to, we’re hosting educational Wireless Workbench workshops here at the show,” commented Shure UK’s Dave Phillips.

The d&b Soundscape theatre presented a number of demonstrations

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BUSINESS: SHOW REVIEW The SSE/Wigwam/Solotech booth hosted several big-hitting brands including Riedel, which was demonstrating its Artist, Bolero and MediorNet technologies. DiGiCo unveiled the SD12T for the theatre featuring the new “T” software, alongside KLANG:technologies’ new KLANG:konductor immersive 3D software and its S21 and Quantum 338 and 225 control surfaces.

Glensound, a regular at broadcast exhibitions, was debuting the GTM dedicated esports gaming interface as chairman Gavin Davis explained the rationale behind participating at PLASA for the first time: “Our audio solutions are increasingly sitting on IT networks such as Dante in live sound applications in addition to broadcast. There have been no other trade events to sign up for, so it made sense to come to Olympia in a bid to meet new customers.”

Under Olympia’s glass canopy, sunlight mitigated the dazzling effects of lighting manufacturers, which for Robe included its TE Transferable Engine technology as well as T2, T11, SpotSystem, iPointe, iBar, iSpiider and the latest Forte and Esprite moving heads. Chauvet highlighted the Maverick Silens 2 Profile and Ovation Rêve E-3 fixtures in addition to the ChamSys MagicQ MQ250M console. Among an impressive selection of Source Four and Color Source fixtures, ETC presented the newly released Lonestar, while Astera debuted the PixelBrick, AX2 PixelBar and the AX9 PowerPAR.

The #WeMakeEvents panel

Sennheiser UK’s Lee Shuttlewood highlighted the app-controllable EW-D wireless platform

Glensound’s Gavin Davis presenting the latest GTM esports gaming interface Located near the entrance with the Horizon line array system taking centre stage, FBT UK’s Mike Roissetter summed up the mood perfectly: “I can’t stop smiling – it feels so good to be talking to our friends in the industry once again. We have managed to do good business in the fixed installation business, but now we can hopefully promote our live sound systems as before.”

Fellow Italian manufacturer RCF showed the latest ninth generation of its ART series and TT515A speakers. “Marketing our new products during the pandemic has been limited to social media and talking to dealers,” explained RCF MD, Dean Davoile.

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BUSINESS: SHOW REVIEW “The time has now arrived to promote these latest releases by participating at an in-person tradeshow. The pandemic taught us to communicate regularly with our customers – perhaps we have all been complacent in previous times when the economy was favourable. Now that we’ve all been double-jabbed and are taking precautions, it feels right to be back at PLASA.” RCF also took one of the demo rooms on offer, together with d&b audiotechnik and KV2 Audio, which showcased Soundscape and Super Analog point source systems, respectively.

Demonstrating the latest Rivage PM3 and PM5 consoles, Yamaha shared its booth with Nexo, which was showcasing the iD14 4-inch and iD84 column together with the P+ series of loudspeakers. On day two, Nexo hosted the official launch of its ePS series of cost-effective installation speakers, with sales and marketing director Gareth Collyer reporting a spate of messages from European distributors requesting photos and feedback from the first tradeshow in 18 months. “Being back at a tradeshow is absolutely brilliant,” he said. “It’s not only positive for the UK market, it also sends a message globally.”

Day two got off to a quiet start, building throughout the day to a packed show floor and segueing into evening drinks at the PLASA Show Bar, where Martin Audio managing director Dom Harter treated the crowd to an eclectic DJ set. We caught up with PLASA MD Peter Heath earlier in the day, who was dashing between a #WeMakeEvents panel onstage and preparing for the PLASA Awards for Innovation.

“It’s been really difficult because we haven’t been able to have any tradeshows or events for 18 months, and up until the beginning of July it was still ‘are we aren’t we’, depending on government advice,” he said. “So we’ve managed to put on a show in eight weeks that normally we’d be planning and prepping for about 10 months. Like any other company we’ve got staff on furlough and reduced working time, so everyone piled in to make

Czech mates – Robe showcased its latest Forte and Esprite moving heads

The latest ADX5D wireless planted on the Shure exhibit

sure we put on a good show. But what we have to acknowledge is the exhibitors who’ve been incredible, because they’ve been challenged when it comes to finances and resources as much as we have. But they’ve put it on and made it look like this. It’s given everyone hope in the sense that it looks like a normal show.

They want to support PLASA and they want to support the show.”

And that was exactly what Out Board Electronics had in mind. “We came to the show with no real preconceptions; we just wanted to show that we’re still around, and celebrate the fact that things are waking up, and it’s already better than we anticipated,” said director, Dave Haydon.

get the feeling that those people who aren’t here are too busy, because there are so many shows happening. We are at full tilt, there is no more room for anything else, and it’s definitely not what we anticipated at this point.”

Hosting a busy seminar and training programme, the Innovation Awards, the ABTT Theatre Show Hub, the #WeMakeEvents Hub and numerous product launches, it really did feel like the tradeshow is back. A respite from the misery and frustration of the past 18 months filled London Olympia with positivity, and a sense that change is finally underway.

RCF demonstrated the ninth generation ART series and latest Theatre and Touring (TT) systems

PLASA MD Peter Heath: “The exhibitors have been incredible”

Nexo’s Gareth Collyer takes the wraps off the new ePS series

Avolites was launching the Diamond 9 lighting console. “It’s hard to find the words to say how good it feels to be back at a tradeshow because I’ve been at every one of these since 1988.

I’ve really missed seeing all our friends,” said director, Steve Warren. “It’s been a long break away from them, and here they all are, coming through the door; it’s really joyous. There was never any doubt that we wouldn’t be here. The industry is back and we’ve been waiting for this. Zoom has been great, but we’ve had enough of Zoom, and we want to see people face-to-face, and we’ve had the chance to show a new product that nobody’s seen before. And there’s definitely been a lot of focus on keeping everyone safe.”

L-Acoustics’ head of communications, Mary Beth Henson, was relishing the opportunity to catch up with people for the first time since ISE 2020. “There are lots of people here and it’s good to be back,” she said. “I remember hoping last year that PLASA would be the first one back and realising that it wasn’t going to happen, so it feels fitting that PLASA now is the first one back.

Most visitors have been from the UK, though we just hosted some people from English-speaking Africa. And having to show proof of Covid status on the way in gives you a measure of comfort.”

For almost all participants on the show floor, PLASA 2021 seemed to exceed expectations, as did the sudden upswing in UK events and productions. “I anticipated it to be a bit slower, with less people, but we haven’t stopped from the minute the doors opened,” said GLP’s Simon Barrett. “And I

L–R: Out Board’s Robin Whittaker, Dave Haydon and Glen Ward

2021 Dates:

5–7 September

2022 Dates:

4–6 September

Venue:

London Olympia

Total exhibitors:

608

Attendance:

3,800

Contact:

www.plasashow.com

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Q& BUSINESS: TECHNOLOGY

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Diversified’s Derek Paquin

UCC in the new workplace GLOBAL TECHNOLOGY SOLUTIONS PROVIDER Diversified has been reinvigorating its approach to Unified Communications and Collaboration (UCC) solutions, providing a stronger partnership as its clients around the world navigate user expectations in the new workplace environment. Derek Paquin, vice president of Diversified’s Advanced Visual Environments speciality, discusses the move to hybrid and remote working as clients return to the office and demand for huddle and collaboration rooms rises.

What services did Diversified need to offer its clients once Covid began closing down workplaces? How did you meet the challenges of doing this?

Diversified not only designs and integrates technology solutions into specific applications but also has a very robust global services and support structure. Immediately upon shutdown, our onsite ADOPT dedicated technology specialists pivoted from providing onsite support services to providing remote support services for virtual webinars, event management, town halls, meeting support, briefing centre guidance and various UC platform meeting support. The need for easy-to-use production recording and

The demand for huddle and collaboration rooms has risen streaming systems for enterprise, higher education and healthcare was also required to give clients the ability to create remote instruction, town halls, training seminars and corporate communications.

We also took a serious look at how we could help our healthcare clients who had many workers on the frontline in need of advanced technology solutions for hybrid work

and communications. For a particular hospital in Sydney, Australia, Diversified deployed the latest in communication and collaboration technologies for 125 rooms across 12 floors, including conference rooms, training centres and waiting areas. Additionally, for the hospital’s connected university system, we implemented 70 rooms consisting of large cabaret-style training theatres, large teaching spaces and numerous Zoom-enabled collaboration rooms.

Possibly the most extraordinary part of this project was the design and implementation of a first-of-its-kind National Infectious Disease Unit (NIDU) command centre enabled with cameras, a talkback system and videoconferencing capabilities. The space was designed with the future in mind, planning for the possibility of another outbreak like Covid. If this were to occur, hospital staff now have the ability to communicate effectively with patients while they are isolated in a safe space.

Can you outline how your UCC solutions business had developed up to that point, and how it progressed once lockdowns started to affect different regions around the world?

UCC offerings have always been a key focus for Diversified as businesses need to be more connected across the globe, but I would say it has changed rather than progressed due to the pandemic. The change that has occurred is one of taking a holistic, all-encompassing ecosystem approach rather than looking at individual components within an organisation. Prepandemic, we would consult with clients on enhancing their UC platform, meeting room strategy or corporate communications rollout. Today, these components are all viewed as working together and therefore should be consulted on as a whole, not as individual parts.

Do you think the transition to hybrid working would have happened if the pandemic had not occurred?

Diversified deployed the latest UCC technologies for a Sydney hospital

There are two definitions of this phenomenon: remote work – pre-pandemic working, and hybrid work – pandemic and post-pandemic working. I estimate that pre-pandemic remote work accounted for approximately 5% of the workforce. As a collaboration solution provider, we have been building remote work solutions for years. We found that organisations felt the benefits were not relevant enough to expedite or invest in, and therefore the adoption was extremely slow and limited. Overnight, the arrival of the pandemic, giving no choice but to adopt a new way of working, accounted for approximately 40% of remote work. By experiencing this

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BUSINESS: TECHNOLOGY change I think organisations now understand the benefits and know the demand from the workforce will require it. Hybrid work will continue to become more effective as solutions evolve and on-the-job experiences make it more viable moving forward. Even though platform providers, device manufacturers and solution providers have continued to innovate and make hybrid work more effective, adoption would not have occurred like it has without being forced to adapt.

on platforms such as Microsoft Teams, Zoom, Cisco and Google. We work well with all platform companies and in some cases have created partnering initiatives to help organisations understand all aspects of hybrid work. Diversified and Microsoft have created a Hybrid Meetings Workshop which allows the client a deep dive into assessing current meeting structures, educating on the platform’s capabilities and delivering a roadmap of recommendations on how to successfully implement them. The physical operation within the room is then performed by the devices. Selecting devices that have proven operability with the platform is also important for client success. We work with numerous device manufacturers such as Crestron, Logitech, Lenovo, HP, Poly and Yealink. The third component is the deployment and support of the system solution. Installation, deployment and configuration, along with change management, adoption training, onsite and remote support, are vital to the success of the entire ecosystem. We partner with the client to create a custom deployment and support system to minimise their total cost of ownership.

What are the advantages of working in this way?

Anytime you read about the advantages of hybrid work, you will of course see the obvious benefits of increased productivity due to flexibility, increased employee job satisfaction from an improved work–life balance and decreased operational costs from increased facility utilisation and improved staffing efficiencies. While these are tremendous advantages to all organisations, there are two others that are transformative for organisations. People are vital to an organisation’s success, so increased technical experience to improve communication and the ability to access a more diverse and talented workforce are two components sometimes overlooked. Better employee collaboration and communication by using digital workplace tools enables employees to work securely from any location, improving workflows, reducing redundant tasks and improving collaboration. This not only greatly improves overall efficiency but spurs innovation from all areas of the organisation. Once employees feel comfortable and empowered by workplace technology tools, the ability to become proficient with communication magnifies. Secondly, it offers access to wider talent pools. Hiring locally demonstrates an investment within the local community; however, this can prevent organisations from accessing the wider pool of talent that is available. Combining local talent with unrestricted access to global talent creates improvements for team building, culture and scale.

Diversified works with all common platforms and device manufacturers

Can you describe some typical setups you’ve installed for clients, namechecking the key brands you work with as well as your UCC partners, and how you work together with them?

We have found there are three facets to technically migrating to hybrid work: the platform, the room devices and the deployment support structure. Understanding how the client currently works and how they envision working in the future helps define a primary platform. While multiple platforms may be used at the same time during migration, the intent is typically to migrate to a single platform to achieve the benefits and efficiency of standardisation. We are seeing organisations standardising

How do you see this way of working developing once Covid infections are low enough for most people to return to more traditional workplaces: is remote and hybrid working here to stay?

I feel the overall philosophy of hybrid working is here to stay. The benefits have been realised and organisations will continue to leverage them. However, I feel for most positions within an organisation, 100% remote working is not sustainable. We have learned from clients that a certain amount of in-office participation is required for ad-hoc communication, retention, cultural consistency and accountability. www.onediversified.com

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NEWPRODUCTS

INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING A–ZCONTENTS Absen Jade Dragon (JD) Series 94 ADJ Focus Wash 400 96 AJA OG-FiDO-R-12G-ST/OG-FiDO-2R-12G 93 AMX Precis PR-Series 94 Apantac AP-1080P-PTZ-20x 91 API Audio API Select 86 89 Ashly Audio AquaControl v1.2.4 Astera AX9 PowerPAR/PixelBrick 96 ATEN UC9040 StreamLIVE PRO update 94 Atlona AT-OME-EX-WP-KIT-LT 82 Audac Audac Touch v2.6 90 90 Audinate Dante Domain Manager version 1.2 Audio-Technica AT2040/ATH-M50xBT2 85 Austrian Audio OC707/OD505 85 B-Tech AV Mounts BT8312 94 Barco XDM/XDX 90 92 Blackmagic Design Blackmagic Studio Cameras CEDAR Audio Isolate 85 Christie CP4415-RGB/CP4420-RGB 91 Clear-Com Arcadia Central Station 87 82 ClearOne Versa Mediabar/UNITE 180 ePTZ CODA Audio System Optimiser Beta v0.5.2 90 Crestron AirMedia update 82 d&b XSL System 77 DiGiCo SD12T 89 disguise r19 with Unreal Engine 4.27 88 DTS Lighting Alchemy 7 97 Dynacord SONICUE Control app for iOS 89 Elation Pixel Tape 16IP and 40IP 96 Electro-Voice MTS series 77 Equipson LightShark FX engine 97 95 Extron MGP 641/TLI Pro 201 Fane Pro Audio Carol Series/Argus Series 76 80 Focusrite Clarett+ 2Pre, 4Pre and 8Pre Fohhn Audio Hybrid-1/Scale-1 and Scale-2 80 Fulcrum Acoustic Rotated versions of GX Series 80 89 Genelec GLM 4.1 GLP Fusion Stick FS16 Z 97 HH Electronics Tensor-GO 78 High End Systems Lonestar 96 IFBlue IFB receiver 87 78 JBL Professional PRX ONE Just Add Power MaxColor 4K60 Series 93 92 JVC Professional Video 4K KY-PZ400NW/NB KLANG:technologies KLANG:konductor 87 Kramer VIA Connect2/VP-550X 83 L-Acoustics SB10i 78 LEA Professional 802.1X security protocol 87 Neumann.Berlin KH 750 AES67 80 NewTek NC2 Studio I/O Module 94 75 Nexo ePS series Outline Architectural Series 76 Panasonic AW-HE145/AT-KC1000 92 PMC PMC6/PMC6-2/PMC8-2 76 PreSonus Revelator io24 81 QSC Microsoft Teams Rooms expansion 81 RCF ART 9/RDNet 4.1 78 Renkus-Heinz ICC 12/3-RD1 77 Robe CUETE 97 85 Røde Thread Adaptor/Tripod 2 Sennheiser CHG 2N/Sennheiser Control Cockpit v5.0 86 Sharp NEC Display Solutions NC2443ML/dvLED E Series 90 Shure Stem Ecosystem 84 Solid State Logic System T V3.1/TE1 and TE2 Tempest 88 Sommer Cable LIGHT 1 84 Studio Technologies DPL-KIT-01/KIT-02 87 Symetrix Radius NX compatible with Barco 83 Tascam CA-XLR2d/Mixcast 4 Podcast Station 86 Tasker Twisted pair cables 84 Telestream Inspect 2110 update/IQ update 93 TVU Networks TVU Cloud Production Service 88 UNiKA PRO-BT5/PRO-USB 88 Waves CLA Nx 89 Wharfedale Pro Tourus-AX8/Tourus-AX8-MBT 80 81 Xilica Xilica Gio/Barco partnership Yamaha DHR Series/CHR Series 76

Nexo unveils cost-effective installation series Three two-way passive cabinets and two partner subbass units are the first models in a new “utility” range THE ePS series comprises three two-way passive cabinets and two accompanying subbass units, and takes a no-frills approach with slimmed-down connection and mounting options. The French manufacturer explains that by taking advantage of new manufacturing techniques and driver designs, it has been able to reach “unprecedented price points” for its point source products, and that ePS models provide a way for many public and private installation projects to access a Nexo-badged system without breaking the bank.

The ePS range features three lightweight point source models, in 6-inch, 8-inch and 10-inch iterations. Each cabinet includes a 1.4-inch HF driver and lightweight LF driver, with Nexo’s trademark rotatable-horn design offering dispersion options to the user.

Presented in Baltic birch plywood with steel grilles for IP54 (and IP55) certified weather resistance, the ePS6, ePS8 and ePS10 offer peak SPL stats of 125dB, 128dB and 130dB respectively. The ePS6 weighs 7.1kg, with a footprint of 367mm x 200mm x 182mm and a frequency response of 90Hz–20kHz. The ePS8 weighs 8.1kg, has a profile of 425mm x

252mm x 227mm and a frequency response of 80Hz–20kHz. The most powerful of the three models, the ePS10, weighs 14.8kg, occupies a 533mm x 318mm x 283mm footprint and has a frequency response of 70Hz–20kHz. All three cabinets are minimally fitted with a hard-wired strip for connection, offering two generic 7mm pitch in/out screw connectors.

The IP cover protects the connectors from moisture in outdoor applications. On each side of the cabinet, two M6 with 80mm pitch and one M10 fitting allow connection to U Bracket, bumper or eye bolts. The back of each speaker is fitted with three M6 with 70mm pitch for wall mounting in both horizontal and vertical positions. All units are finished in black structural paint – white and all other RAL colours are available to order – with a UV-resistant acoustic fabric stretched over the front grille.

All three of the main ePS models are intended to be paired with a dedicated subbass option, although they are phase-compatible with any Nexo model. In the case of ePS, two compact subs have joined the series – the single 12-inch eLS400 and single 15-inch eLS600 – which

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The eLS400 is a compact installation sub that can be stacked or flown, weighing 14.5kg and measuring 365mm x 425mm x 447mm. The single 12-inch sub has been conceived as the partner for both the ePS6 and ePS8 cabinets.

The eLS600 is 425mm x 533mm x 562mm and weighs 26.3kg, using a high-excursion 15-inch driver in a bass-reflex enclosure design capable of 136dB peak output. It is designed to partner the ePS8 and ePS10. The dimensions of the rectangular subs match their main partner cabinets: a dedicated accessory allows the ePS to be flown beneath the subwoofer, creating small-footprint wideband systems.

Two M10 fittings connect the eLS600 to U Bracket, eye bolts or dedicated accessories.

Unused M10 fittings can be used for extra rigging points in areas where legislation requires it. Rear connection is via two (in/ out) pairs of screw terminal blocks, while the included IP cover protects the connectors from moisture in outdoor applications. www.nexo-sa.com

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PRODUCTS

Yamaha releases DHR and CHR Series speakers BOTH THE DHR and CHR Series have been designed to meet the demands of a variety of sound reinforcement applications. The 10-inch models are equipped with rotating horns and compatible with an optional UB-DXRDHR10 U Bracket for use in fixed installations and utility, while the 12-inch models are the first Yamaha speakers to feature a coaxial compression driver for improved clarity and smoother frequency response for floor monitoring. The largest in the lineup are the 15-inch models, which feature dual-angle pole sockets and rigging points for use in fixed

installations or as temporary main speakers for sound reinforcement.

The DHR Series transducers are driven by DSP-equipped Class-D power amplifiers to deliver enhanced sound quality and clarity.

Following in the footsteps of the high-end DZR/ CZR and DXRmkII Series as well the DBR/ CBR Series, the new speakers are housed in a premium plywood cabinet finished in a tough polyurea coating. www.yamaha.com/2/proaudio

Fane starts a new chapter FOLLOWING ON from the success of the SV, ST and Storm series, UK-based component loudspeaker manufacturer, Fane International, has introduced the company’s first range of line array systems.

The Carol Series comprises the dual 12-inch C22 and dual 10-inch C10 line arrays for augmentation with the flyable 18-inch cardioid C58S and double 18-inch ground-stack C28 subwoofers. The Argus Series line arrays currently group the Argus 1 dual 12-inch and Argus 2 dual 10-inch models with the Argus 2S 18-inch flyable subwoofer. The new Fane Pro Audio models feature optimised, bespoke drive units from Fane and transducers from UK sister company, Precision Devices.

Optimised to deliver high vocal intelligibility and audio reproduction, Fane Pro Audio has also announced the launch of the UK Series with the UK-810 (10-inch) and UK-812 (12-inch) KTV systems. The GK Series consists of the GK-410, GK-412, GK-610 and GK-612 10-inch and 12-inch professional KTV systems. www.faneproaudio.com

PMC takes a fresh approach PMC HAS announced a replacement for its twotwo Series with new near- and midfield monitors. In development for five years, the PMC6, PMC6-2 and PMC8-2 – along with their associated subwoofers, the PMC8 SUB and PMC8-2 SUB – have the same sound signature as PMC’s main monitor products but have been designed to provide “the highest possible resolution with the lowest possible colouration”. Features include new drivers, DSP and Class-D amplifiers, as well as improvements to the manufacturer’s proprietary ATL bass-loading and Laminair air flow technologies.

The active subs can be combined with the monitors to create one of PMC’s twin-cabinet XBD systems that reportedly deliver extended bass and dynamics.

Alternatively, they can be used as standalone LF monitors for sub channels. Futureproofing has also been engineered into every model with advancements such as an expansion card slot for planned future signal interfacing options.

Configuration is via simple menu-driven controls on the rear panel, or through the company’s SOUNDALIGN network interface.

Accessed through wired connections to any standard network via any web browser on a PC, Mac or tablet, SOUNDALIGN’s digital connectivity allows users to individually control each monitor or set them up in defined groups ideal for large-scale immersive systems. www.pmc-speakers.com

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Outline scores an “A” with Architectural Series

WITH THE launch of the Architectural “A” Series, Outline has specifically designed a range of loudspeakers to meet the discreet aesthetic and high-performance audio demands of architects, interior designers and SIs. Comprising the Ai41 and Ai81 ultra-compact columns together with the Charlie 4 cube, the mid-high modules can deliver balanced playback or live audio with the addition of a dedicated AS6 micro-subwoofer. According to the Italian brand, the inclusion of an MTM configuration of midrange and HF elements in the mid-high Ai41 and Ai81 modules delivers “extraordinary imaging and precision coverage” for the compact units. By symmetrically arranging multiple transducers within the enclosure, the MTM design greatly reduces unwanted lobing effects in the radiating sphere of a loudspeaker.

Weighing 0.6kg and measuring 350mm x 46mm x 25mm (HxWxD), the Ai41 is a column loudspeaker featuring four 1-inch neodymium magnet drivers and a single 0.7-inch treated silk dome tweeter. Capable of producing a wide nominal dispersion (160° x 60° (HxV)) and a maximum SPL peak of 107.5dB within a 280Hz–20kHz (–10dB) frequency range, four Ai41 enclosures can be deployed from one single amplification channel over a nominal impedance of 8Ω. Comprising eight 1-inch drivers with a single 0.7-inch tweeter, the Ai81 570mm-long column can produce a nominal

dispersion of 160° x 40° (HxV) and a maximum SPL peak of 112dB within a 300Hz–20kHz range.

Contained within a 120mm x 120mm x 126mm (HxWxD) enclosure and weighing 1.55kg, Charlie 4 features a single 4-inch cone transducer. Rated at 70W (continuous), Charlie 4 exerts an axisymmetric 60° dispersion and operates across a 110Hz– 17kHz frequency range. Installation options are enhanced with dual M6 bolts and a multi-adaptable mounting bracket, while two O-rings assist with vibration damping. Featuring a 6-inch woofer and a passive radiator, the AS6 subwoofer system extends the LF of the Architectural Series’ mid-highs. Capable of producing 114dB max SPL output down to 42Hz (–10dB), the 6.5kg cabinet can be deployed as floor standing or suspended with a dedicated bracket.

Housed in HCDF (Hydrophobic Compact Density Fibre), the four cabinets are finished in standard black or white polyurethane paint, with a range of RAL colour options available to match customised architectural requests.

All four modules are fully passive to minimise the number of amplifier channels required to effectively operate them.

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The next standard in stadium sound WITH THE introduction of the MTS series of full-range, long-throw, point source loudspeaker systems, Electro-Voice is expanding its portfolio of sound solutions for stadiums and sports venues. Reportedly capable of generating more than 151dB peak SPL with exact directivity for very long-throw applications, each high output model is equipped with four 15-inch woofers and dual coaxial mid/high-frequency compression drivers. Four slot-loaded, LF drivers are symmetrically coupled to the same full-range waveguide as the compression drivers to create a true point source with substantial bass response.

Consisting of 16 unique models, the MTS series is based on two standard three-way configurations (MTS-4153) with 60° x 40° or 40° x 30° coverage and two cardioid configurations (MTS-6154) that provide the

same coverage patterns with enhanced LF directional control. The 60° x 40° models are capable of delivering SPLs of 151dB peak (music) and 154dB peak (speech) down to 55Hz at –10dB. The 40° x 30° models can attain 152dB peak (music) and 155dB peak (speech) down to 50Hz at –10dB. Finished in either black or white, each IP55rated enclosure is available as partially weatherised (PW) or fully weatherised (FW) versions.

Ensuring pattern control to below 350Hz, a dual lossless Hydra waveform converter has been integrated into the MTS design to drive a large constant directivity waveguide with a coherent arc

d&b rounds off SL-Series d&b AUDIOTECHNIK has completed the lineup of the SL-Series with the addition of the XSL System, a smaller and more lightweight solution than its SL siblings, but still encompassing the primary feature set of broadband directivity control and extended low-frequency performance, as well as comprehensive rigging, cabling and transportation.

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MTS products initially devised for acoustically combining the output of multiple transducers.

Developed for HF compression drivers, EV has extended the technology to both the coaxial compression drivers and the low-frequency drivers for the MTS Series.

MTS is engineered for use with Dynacord amplification and processing as part of a SONICUE-driven hardware/software ecosystem, for energy-efficient system design with performance optimisation and system protection features. Proprietary speaker settings and limiter functions reportedly ensure exceptional performance at extremely high output levels. A complete package of design files is provided for advanced acoustical and mechanical system simulation in venues utilising Electro-Voice Preview software. source. In addition, EV has also pioneered manifold loudspeaker and horn technology for

www.electrovoice.com

Renkus-Heinz IC series adds Dante interoperability

spoken word, together with the need for high power, full-spectrum performance. In contrast, the XSL mobile version addresses the needs of a range of touring applications. Both the XSL and XSLi can be deployed as a standalone, self-contained package, or as a delay or fill system to accompany its GSL and KSL cabinets.

The cabinet itself houses a pair of 8-inch front LF drivers, two 6.5-inch side-facing LF drivers, a 6.5-inch mid-frequency driver/ horn unit and a pair of 1-inch exit compression drivers with a 2-inch voice coil on a waveguide.

Weighing 39kg, the enclosure occupies a 700mm x 283mm x 507mm (WxHxD) footprint. The system can be powered by the manufacturer’s amplifier family, including the 40D installation and D40 mobile amplifiers.

With directivity first in mind, the XSL delivers cardioid performance across the full frequency spectrum, which is said to result in reduced audio spill onto open mics onstage, improved clarity and impact of individual instruments and less colouration of midrange buildup in venues and on broadcast and recording feeds.

COMPLETING THE Iconyx Compact Series portfolio, Renkus-Heinz has unveiled the -RD1 lineup. Initially launched in 2020, the ICC 12/3-RD1, 24/3-RD1, 36/3-RD1 and 48/3-RD1 loudspeakers have been created to deliver accurate, coherent and steerable sound solutions in problematic acoustic spaces.

According to the manufacturer, the series brings performance and directivity to spaces where even the classic Iconyx arrays might be too large.

In addition to adding improved interoperability and flexibility through Dante audio-over-IP functionality, the narrow profile -RD1 models now offer new control options by integrating into Crestron’s remote-control solutions.

“The -RD1 versions allow for quick, cost-effective and easy integration using Audinate’s highly integrated Dante Ultimo chip,” commented Renkus-Heinz VP of strategic development, Graham Hendry.

“The Ultimo platform is perfect for the smaller footprint Iconyx Compact Series where the diminutive dimensions also mean there is a need for more spaceconstrained network devices featuring a lower channel count. The -RD1 ICC family supports all the features that have driven widespread adoption of Dante technology: auto-discovery of devices, label-based routing of signals, true plugand-play operation and superb audio performance over standard networks.”

The new models include 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. Wall-mount brackets come as standard together with analogue and AES inputs.

www.dbaudio.com

www.renkus-heinz.com

ICC 12/3-RD1

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PRODUCTS

L-Acoustics scales down DELIVERING THE same sonic signature of the company’s much larger subs, but from a vastly scaled-down enclosure design, L-Acoustics has unveiled the SB10i as the newest member of its SB subwoofer range.

Equipped with a single 10-inch driver, the SB10i measures a 27Hz bandwidth limit and 124dB maximum SPL output yet measures 540mm x 540mm x 170mm (LxWxH) for discreet installation. Sonically corresponding with the

manuacturer’s X4i and 5XT ultra-compact coaxial speakers, the 15kg sub is available in RAL colours, making it suitable for high-end residential and commercial applications. An integrated “tech face” contains all connectors and mounting points in one unobtrusive panel, ensuring that mounting hardware, cables and connectors can be hidden. www.l-acoustics.com

To the power of 9 with ART All systems GO for HH’s Tensor family HH ELECTRONICS has expanded the Tensor loudspeaker range with the addition of the portable Tensor-GO array system. Integrating a lithium-ion battery for promoting cable-free installation in applications without a dedicated mains supply, a built-in 12V DC charge point promotes charging from a 12V output such as a vehicle battery.

Housed in a polypropylene enclosure, the 8-inch HH subwoofer incorporates a 200W (RMS) Class-D amplifier.

Comprising six arrayed 2.75 -inch mid/high woofers providing wide horizontal dispersion, the accompanying 562mm x 107mm x 107mm satellite attaches to the base of the 9.9kg subwoofer with a simple Click and Connect design, bypassing the need for external Sub-Sat cabling.

Equipped with fourchannel integrated mic/ line mixing functionality, mic inputs include two balanced ¼-inch/ XLR combos, 3.5mm stereo aux in and a mic/line preset switch together with two RCAs. Four voiced audio modes – music, live, natural, speech – optimise Tensor-GO’s characteristics to desired applications.

Bluetooth v5.0 expands wireless connectivity by pairing with mobile devices for wireless audio streaming and transmitting audio to a second Tensor-GO system via the integrated Wireless Stereo Pairing technology. www.hhelectronics.com

CONSTITUTING THE ninth generation of newly designed ART speakers, RCF has enhanced the industry standard ART audio solution as a main loudspeaker PA, fill speaker or stage monitor. The six new active 550W (RMS)-rated models are 50% more powerful than their predecessors, sharing two-channel, Class-D amplification with DSP processing. The energy-efficient amplifier bypasses the need for a cooling fan with a circuit attached to a solid aluminium heat exchanger in the unit’s rear.

Comprising Kapton, titanium and neodymium, the newly designed 10- to 15-inch transducers gain more stability over high currents with less distortion. The 1.75-inch compression driver integrates a polyimide-Kapton dome with new bonding technology and reinforced ribs for enhanced durability. Capable of delivering a maximum 135dB SPL down to 45Hz, ART 945-A is the largest model of the series with a 4-inch titanium compression driver and a neodymium woofer. Sharing the same 3-inch titanium compression driver, the ART 935-A and ART 932-A models can produce 134dB and 133dB SPL respectively. A new Kapton driver features in the ART 915-A, ART 912-A and ART 910-A designs.

Electroacoustic innovations include True Resistive Waveguide (TRW), which mimics a resonance-free pure resistive load for reducing the HF distortion of a classic horn. With its asymmetric acoustic radiation, the coverage angle of the waveguide provides constant directivity to the entire listening area with a

balanced stereo panorama. Exclusive DSP algorithms have been incorporated for both phase linearisation and crossover design,

ART 9 together with woofer excursion management.

System latencies are minimised and a coherent distribution of sound without phase distortions is ensured by adopting proprietary

digital FiRPHASE FiR technology. With FiRPHASE technology applied, the ART 9 acts as a single source for a true sound image.

The Bass Motion Control woofer excursion management feature creates a complete map of the dynamic behaviour of the transducer, to generate a custom algorithm that only limits over-excursions. By granting freedom of signal reproduction, both high-pass filters and largeband limiters are avoided and the speaker is allowed to reproduce the input signal at all volume levels for the entire audible spectrum.

In brief, RDNet 4.1 has been designed to unlink future software and firmware updates, so the user will no longer be required to perform an RDNet installation when new firmware upgrades are available. In addition, RDNet 4.1 is able to auto-update when a new version is released. This is made possible through the introduction of the RDNet Launcher. For the user, this is a completely transparent operation, keeping the system up to date with the latest release for maximum compatibility with all RDNetcompatible products.

It is recommended to uninstall the old versions of RDNet when installing RDNet 4.1. www.rcf.it

JBL launches PRX ONE portable PA

DESIGNED TO fulfil the requirements of a wide range of portable and installed applications, JBL Professional has extended the PRX column portable PA series with the addition of the PRX ONE. Weighing in at 25.45kg, the system is capable of delivering a maximum SPL of 130dB courtesy of the 12-tweeter column array and a 12-inch bass-reflex woofer that integrates a 500W Class-D amplifier.

The incorporation of AIM (Array Inumbration Mechanics) acoustic design enhances consistent front-to-back throw properties and even response of the high-frequency transducers. High-frequency performance is optimised down to 500Hz, allowing the woofer to deliver a more natural bass sound, while the 12-inch woofer itself is capable of lowfrequency extension down to 35Hz (±10dB). An optional bracket and adapter allow the array to be wall- or truss-mounted independently of the subwoofer for permanent installations. PRX ONE’s I/O set features four Neutrik XLR Combo jacks, two channels of phantom power, a Hi-Z input and two USB 2.0 ports.

PRX ONE’s suite of Lexicon and dbx processors, including eight customisable presets, enhance ease-of-use features. Built-in effects include reverb, eight-band EQ, delay, compression, limiting, ducking, echo, sub synth and dbx DriveRack Inside technology, featuring AFS Pro (Automatic Feedback Suppression).

The Triple Tier DSP control offers multi-level user experiences based on varying knowledge levels. Manageable via the new JBL Pro Connect universal app or a full-colour LCD that provides complete access to all functions, the Soundcraft-designed, seven-channel, dual-mode digital mixer can be set to control either general mix functions or channel-strip functions. A Setup Saver recalls snapshots, while Simple Success dynamic LED metering verifies levels and channel functions, including mute and clipping.

The latest JBL Pro Connect app promotes simplified management of the PRX ONE system. Available for Android and iOS phones and tablets, the universal app provides user control over a full suite of PRX ONE mixer,

DSP and Bluetooth features. From the streamlined interface, adjustments and control across every feature can be made on multiple speakers from anywhere in the room, including adjusting volume levels and EQ. Bluetooth 5.0 connectivity allows remote control of up to 10 units using the JBL Pro Connect app, and an XLR Thru output offers true analogue expansion with the ability to time-align multiple speakers with up to 100ms of delay per speaker. pro.harman.com

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• Dual-channel receiver with 148 MHz UHF tuning bandwidth (470–608 MHz and 653–663 MHz)

• Dual-mode OLED switches between main screen and meter screen

• Dual-compander circuitry for unmatched audio quality

back

• 8 receivers (16 channels) fed by a single pair of antennas

• Balanced XLR outputs

Optional Dante® output •

• Rugged cH-style screw-down 4-pin connector

• Industry-standard thread mount accepts six interchangeable capsule options

• Function button switches to backup frequency if needed

Trusted Performer

Third-generation 5000 Series delivers proven, critically acclaimed performance

• Wireless network monitoring and control software

The 5000 Series frequency-agile true diversity UHF wireless system has long been the system that artists and broadcasters turn to for rock-solid audio performance of the highest quality. Retaining the durability and reliability professionals have come to trust, the third-generation 5000 Series offers additional flexibility, a wide 148 MHz tuning bandwidth, and an antenna cascade output to feed up to 16 channels. This is the technology you trust with a whole lot more.

• Six interchangeable capsule WWW

Audio Technica (S.E.A) Pte Ltd

11 Ubi Road 1, #06-01, Meiban Industrial Building Singapore 408723

Tel: +65 6749 5686 | Fax: +65 6749 5689 | marketing@audio-technica.com.sg | sea.audio-technica.com Dante® is a registered trademark of Audinate Pty Ltd.

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PRODUCTS

Fohhn faces the Media

QS

WITH THE development of the Hybrid-1 active loudspeaker system, Fohhn is attempting to penetrate the growing AV corporate sector of meeting, seminar, conferencing and board rooms.

Comprising a customised coaxial HF diffraction waveguide and Fohhn DSP, the integrated bass-reflex system promotes natural speech intelligibility and even dispersion across a 100° vertical and horizontal listening plain. Capable of extending bass reproduction down to 46Hz, the active soundbar can be integrated with other media components to create a standardised system. The Scale-Bar is optimised for use in videoconference and meeting rooms with the addition of a camera and microphone, but equally appeals within retail, hospitality and educational applications

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without this additional functionality. Housed within a metal enclosure, the Hybrid-1 can be attached to walls, ceilings and displays either horizontally or vertically via fixed or swivel mounting brackets.

Scale-1 from the Media Series is a compact, passive loudspeaker with a 4-inch woofer, 0.75-inch dome tweeter and Fohhn Sub Extension. Capable of producing 104dB maximum SPL, the 50W-rated model is a point source design within a line source enclosure offering a nominal dispersion of 140° x 90° (HxV). The enclosure length can be customised to fit the height of a screen or recessed space.

The speakers are driven and configured by an MA-4.100 amplifier by integrated speaker presets. Scale-1 Cam is equipped with a

Fulcrum adds GLL files for rotated GX12 products FULCRUM ACOUSTIC has released rotated versions of its GX12 products to use in EASE Focus 3. This addition builds on Fulcrum’s library of more than 50 loudspeaker models available to use in the EASE modelling software. The manufacturer’s coaxial transducers and horns can be rotated, allowing coverage to be tailored to an application’s requirements.

Now the rotated versions of the GX1226, GX1265 and GX1295 are available for download in bundled ZIP files on the support page of Fulcrum Acoustic’s website. www.fulcrum-acoustic.com

Hybrid-1 conference camera in the middle of the enclosure. The more powerful 100W-rated Scale-2 differentiates itself from Scale-1 by incorporating dual 4-inch drivers and two Fohhn sub extensions. Available in RAL classic, NCS,

Pantone and Fohhn Texture Design finishes, the enclosure can be mounted from rear continuous T-slots. www.fohhn.com

No bull with Tourus WITH THE launch of the AX8, Wharfedale Pro has extended the Tourus series of polypropylene active loudspeakers. Adopting the same design philosophy as the larger Tourus 12- and 15-inch models, the smaller 8-inch version is equipped with handles, M8 rigging points and steel grilles to protect the internal drivers and electronics. The USB/Bluetooth-enabled Tourus-AX8-MBT features USB MP3 playback and Bluetooth connectivity with a TWS stereo link mode. Providing 250W of continuous output power, the internal electronics includes both Class-D and Class-AB amplification for powering the 8-inch woofer and 1.75-inch HF compression driver respectively. Designed to partner with the Sub-AX15B active subwoofer, rear panel connectivity includes RCA, XLR and 6.3mm jack inputs.

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www.wharfedalepro.com

Neumann.Berlin caters for AES67 THE KH 750 AES67 subwoofer from Neumann.Berlin is a product variant of the KH 750 DSP for AES67-based environments. It has been designed for all areas in which audioover-IP in an existing AES67 infrastructure is to be routed all the way to the loudspeakers in a redundant and lossless manner. The AES67 interface allows users to address not only the subwoofer but the entire stereo system, including the speakers connected to the KH 750 AES67. The dual AES67 audio network connections are fully compliant with broadcast standards, such as ST 2110 and ST 2022-7 redundancy. The KH 750 AES67 is also compatible with Dante-generated AES67 network streams.

The acoustic properties of the KH 750 DSP have been retained, as well as all other features, such as the unique Bass Manager with four routing modes, flexible acoustical controls for a wide range of configurations and setup conditions, as well as analogue and digital inputs and outputs.

In combination with the Automatic Monitor Alignment (MA 1), which is available for Mac and PC, the entire monitoring system can be calibrated to suit the specific room character.

This also includes the monitors connected to it, whose amplitude and phase frequency responses are corrected and adapted to the monitoring environment. The KH 750 AES67 is an ideal complement to all KH-Line analogue

monitors, such as the KH 120, KH 310 and KH 420, as well as to Neumann’s DSP-based monitors, such as the KH 80 DSP. The 10-inch ultra-long excursion woofer features a linear magnet system with ELFF technology (Extremely Linear Force Factor). Despite its compact dimensions, the KH 750 AES67 provides bass extension down to 18Hz. Because the subwoofer relieves the connected monitors of much of the low-frequency reproduction, intermodulation distortion is said to be drastically reduced, and the maximum sound pressure level is increased. By adding another KH 750 AES67, even larger systems can be created. www.neumann.com

Clarity redefined FOCUSRITE HAS introduced the Clarett+ range of USB audio interfaces for PC and Mac. Building on the strengths of the previous Clarett ranges, the Clarett+ 2Pre, 4Pre and 8Pre interfaces feature mic preamps with very high headroom, low distortion and ultralow noise. All-analogue Air with impedance switching and relay control enhances the vocals by emulating the ISA 110 mic preamp from the Focusrite Studio Console. Other benefits include improved high-dynamic-

Clarett+ 2Pre range AD/DA conversion with ultra-low distortion and improved headphone outputs and DAC performance. A collection of

software, including mixing plugins and virtual instruments, are included. The Clarett+ 2Pre is a 10-in/four-out bus-powered USB-C interface.

It comes with two Clarett+ mic preamps and two JFET instrument inputs. The Clarett+ 4Pre is a 18-in/eight-out interface with four preamps, two analogue headphone outputs and two JFET instrument inputs. The Clarett+ 8Pre is an 18-in/20-out interface with eight preamps and two analogue headphone outputs. All three interfaces are expandable using ADAT optical output. www.focusrite.com

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PRODUCTS

QSC expands Microsoft Teams Rooms certified solutions QSC HAS expanded its portfolio of Microsoft Teams Rooms certified meeting room accessories with the addition of new Q-SYS products. This completes the certification of its existing portfolio of collaboration devices for high-value spaces,

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including classrooms, executive boardrooms, divisible rooms, flexible spaces, immersive videoconferencing rooms and training spaces.

The certified solutions include additional Q-SYS Core processing options – the Core 8 Flex, Core Nano and NV-32-H (Core Capable) – providing more options to size the processing requirements for a particular room and I/O requirements. For video camera streams, the certified Q-SYS PTZ-IP conference cameras integrate with the Q-SYS Cores or

I/O-USB bridge to deliver professionalquality conference feeds and allow the addition of multiple conference cameras

for remote webconferencing participants.

Users can incorporate the newly certified CX-Q Series for additional amplification options.

Like the other QSC Teams Rooms certified solutions, the QSC software innovations are designed to simplify the integration process onto a single device by enabling full room and Teams Rooms control over online meetings.

QSC has also announced that Google has certified the Q-SYS Platform for use with Google Meet hardware kits.

This certification allows integrators and IT end users to select from any Q-SYS Core processor or USB audio bridging endpoint, regardless of processing or I/O requirements, to ensure seamless integration with Google Meet hardware. www.qsc.com

Audio interface for recording and streaming PRESONUS HAS developed its Revelator io24 for both recording and streaming. The loopback mixer allows users to add backing tracks to a livestream performance or bring in a Zoom caller to a podcast. With two dedicated stereo channels just for loopback audio on both macOS and Windows, the audio can be mixed and recorded from two different applications, along with both channels of the Revelator io24, all at the same time. Users can also stream and record to Studio One and other applications simultaneously.

The audio interface comes with onboard DSP. When ready to stream, users can engage Stream Mix mode and analogue inputs, loopback channels, reverb and effects are routed directly to USB and then sent to the streaming software. Two XMAX-L mic preamps can reportedly capture complex musical harmonics smoothly and naturally, with no audible distortion. Wireless remote control via UC Surface for iPadOS, Windows and Android devices provides users with touchscreen control over all of Revelator io24’s features.

headphones. MIDI In and Out ports can be used to connect MIDI controllers and external hardware synthesisers and drum machines.

Revelator io24’s mixer can be used to create a custom zero-latency monitor mix.

Independent levels for the headphone and main outputs (plus a mute option for the latter) allow switching between mixing on studio speakers and monitoring on

www.presonus.com

Xilica interfaces with Barco and Gio BRIDGING PERSONAL devices to installed AV systems, the Xilica Gio series features three Dante interface products for collaborative and reconfigurable AV environments. Offering USB, Bluetooth and XLR connectivity, the Gio networked endpoints have been designed to enhance the adoption of BYOM strategies and to extend the use of installed AV systems. By bridging the gap between communications peripherals such as laptops and the networked AV system, the Gio USB and Gio Bluetooth devices are focused specifically towards corporate and education environments. Bypassing the need to integrate personal devices with AV and UC applications, both products offer a single cable installation for both power and data, while extending Dante audio signals across installed IT networks.

Extending USB audio from in-room PCs, laptops or UC peripherals within a meeting space, the Gio USB can be installed under a table or behind the display to transport two-way USB Dante audio over Ethernet. A presenter can build entire BYOM experiences around a laptop, while providing clear, intelligible audio. In addition, the Gio USB supports centralised processing applications by enabling USB transport over a network infrastructure from meeting rooms and classrooms to the Xilica Solaro FR1-D processor located in a comms or ELV room.

Xilica Gio interfaces Xilica Gio Bluetooth provides similar wireless, networked AV experiences, but adds greater flexibility to streaming media applications by supporting BGM and media playback through installed AV systems. Using Bluetooth 5.0 Class 2 technology, the device enables flexible options for both business and entertainment in communal spaces, such as ballrooms and auditoriums. The Gio Bluetooth

module fits into standard US single-gang Decora wall plates to match existing décor, with a separate variant available for UK and EU wall boxes. Advanced security features to address Bluetooth security concerns include configurable PIN codes, automatic and selectable pairing modes, custom device naming and protection against accidental connections.

Designed for larger spaces and special events, Xilica Gio XLR offers the same flexible Dante-enabled connectivity across multiple rooms and event spaces by extending installed AV systems over IP. Featuring two-in/two-out Neutrik XLR connections, the Gio XLR interface bridges microphones, loudspeakers and other installed components with the facility’s networked audio system, while centralising Xilica Solaro DSP processing for all networked spaces.

The Canadian brand has further optimised the BYOD meeting spaces by integrating the Solaro DSP Series with Barco’s ClickShare Conference wireless conferencing system. The partnership creates a fully compatible wireless ecosystem within meeting spaces and conference rooms that will also support hybrid meetings. The workflow streamlines the process of launching a presentation and connecting to meeting room AV peripherals. The Solaro Series DSPs boost voice intelligibility, eliminate noise and echo, and deliver seamless room control in alignment with ClickShare Conference via USB connectivity. Options include the Solaro FR1 together with the compact, 1⁄4 -rack-width Solaro QR1. www.xilica.com

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PRODUCTS

Atlona extends to the classroom Crestron reveals Next Generation AirMedia portfolio

THE LATEST extender from Atlona has been Power for the transmitter is supplied remotely designed to make inconspicuous AV and USB over HDBaseT from the receiver, simplifying signal extension more affordable for classrooms wiring while maximising installation flexibility. and small meeting rooms. The AT-OME-EXAn LED indicator on the transmitter enables WP-KIT-LT wall quick visual plate extender confirmation of transmitter/ the HDBaseT receiver kit link between the extends 4K/ transmitter and UHD HDMI video, receiver, while embedded audio, a free software power, control utility provides signals and real-time link USB data over status plus HDBaseT for detailed HDBaseT videoconferencing, and HDMI signal distance learning information. and other In brief, the applications. The manufacturer has new extender also released offers the the AT-WAVE-101 AT-OME-EX-TX-WP-LT same core wireless functionality as the manufacturer’s AT-OMEpresentation and collaboration platform EX-WP-KI, but at a lower price point and designed for easy content sharing from iOS, optimised for shorter extension requirements. Android, Mac, Chromebook and Windows The OME-EX-WP-KIT-LT extends 1080p60 HDMI and USB data signals up to 70m over HDBaseT, while 4K/UHD HDMI video at 60Hz with 4:2:0 chroma subsampling, or 30Hz with 4:4:4, can be extended up to 40m. HDCP 2.2 compliance enables the transport of protected content.

The kit’s USB 2.0 extension capabilities make it suitable for soft codec and webbased conferencing applications. Supporting AT-WAVE-101 a host PC and one peripheral device at the transmitter plus two ports for peripherals at devices; and the AT-VTPG-1000VL which the receiver, the extender can integrate a PC combines a 10-inch touchpanel with an and speakerphone or microphone near the integrated Velocity gateway to simplify presenter with a camera or soundbar at a installations that require control of only a single wall-mounted display elsewhere in the room. room or AV system.

The kit can also provide AV and USB extension for a touch-enabled display, enabling remote www.atlona.com PC control at a lectern or other location.

PURPOSE-BUILT TO support more efficient meetings in the modern workplace with one-touch presentation and meeting control from any collaboration device, Crestron has delivered the next generation of AirMedia presentations systems. Designed to seamlessly connect presentation, collaboration, and

The AirMedia AM-TX3-100 Connect adaptor brings detethered wireless presentation to the AirMedia lineup without the need for additional wiring or infrastructure. Two receivers are available as part of the package. An entry-level option in the AM-3100 has been created for smaller setups where simple

display capabilities together for the enterprise workspace on the Crestron Flex digital workplace platform, the portfolio of wireless presentation devices come with new features.

Supporting wireless content sharing and conferencing from any device, whether BYOD or on in-room displays, AirMedia now comes with Advanced Presentation. Eliminating the need to constantly change between presenters, Advanced Presentation can share up to nine screens, allowing multiple documents to be viewed and worked on simultaneously.

Enhanced 4K video support provides streaming for meetings, while a customisable user interface promotes logo customisation and backgrounds for a fully branded environment in addition to important room information.

wireless presentation is needed. Incorporating additional features including an audio output for interfacing with room audio, Dual LAN network, an HDMI input and RS-232 and IR ports for built-in display control, the AM-3200 is an updated version of the legacy AirMedia device. Native support for Microsoft Teams or Zoom videoconferencing is made possible via a wireless connection on the AirMedia network or by connecting any USB-C device into the AirMedia Connect. The Crestron XiO Cloud Service promotes management and software updates for AirMedia, including configuration, deployment and analytics for end-devices in the enterprise. www.crestron.com

Virtual communication

Versa Mediabar VERSA MEDIABAR is ClearOne’s first all-in-one audio and video capture device that combines the simplicity of a soundbar with the manufacturer’s audio capture and 4K camera technologies. It features a built-in 4K Ultra HD

camera with a 110° ultra-wide-angle field of view and a four-element microphone array with 360° voice pickup and intelligent DSP that provides acoustic echo cancellation (AEC) and automatic noise reduction. The camera combines

electronic pan, tilt and zoom functions (ePTZ) with artificial intelligence to enable auto-framing and people tracking that keeps the speaker in view even if they move around the room.

The Versa Mediabar also features a built-in speaker with Bluetooth connectivity that allows it to also serve as a fully featured conferencing solution or a Bluetooth speaker for impromptu calls using any Bluetooth device. These attributes are said to make the soundbar suitable for cloud-based collaboration applications such as Microsoft Teams and Zoom.

The microphone manufacturer has also launched the UNITE 180 ePTZ professional camera. Designed for professional-quality visual collaboration, conferencing, UC applications and distance learning, the camera provides six viewing mode options as well as panoramic view. Compose Mode presents a panoramic view along with optional close-ups of up to eight people using people tracking.

Manual Mode is for focusing on a specific area of the meeting room. Auto Framing Mode automatically frames participants in the room.

Grid Mode uses people tracking to track each participant in a separate window showing up to four participants. Speaker Mode detects the presenter and, finally, Presentation Mode features a content-sharing window on the main screen with a picture-in-picture floating window of the presenter. Users can easily switch between modes using their PC, Mac or the UNITE 180 manual control.

Finally, ClearOne has developed a new camera control module for Crestron control systems that is designed to work with the ClearOne BMA 360 beamforming microphone array ceiling tile, UNITE 200 systems or any other PTZ camera complying with the VISCA control protocol. The Crestron Controller Module for the BMA 360 provides precision camera tracking of up to 12 beams per ceiling tile. The device also simplifies configuration of the BMA 360’s camera control feature via an “easy-to-use” graphical interface that associates PTZ presets in the camera with BMA 360 Beam Reports. www.clearone.com

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PRODUCTS

New route to collaboration with VIA Connect2 DESIGNED TO facilitate hybrid meetings and learning in the Hybrid Generation (Generation H), Kramer has extended the VIA family of collaboration solutions.

Described as simple, flexible and secure, VIA Connect2 enables any Windows, Mac, Chromebook, Android or iOS device to join a meeting or class instantly and

over twisted pair CAT copper infrastructures The VP-550X is a 10-input HDR presentation scaler/switcher for 4K@60 (4:4:4) HDMI, USB-C, VGA and composite video signals. The unit scales the video and provides options to use the embedded digital or analogue audio input signals.

Radius NX and ClickShare combine for improved conferencing

SYMETRIX HAS entered a compatibility partnership with Barco by pairing its Radius NX DSP with Barco ClickShare Conference technology, resulting in enhanced audio quality with ease of use for presentation and conferencing applications of all sizes.

Compatible with devices running Windows, Android or iOS operating systems, the wireless ClickShare Conference solution turns any meeting room into a meeting and conference facility. The addition of a Symetrix Radius NX DSP unit adds functionality to environments needing a more powerful audio solution.

The Radius NX allows the creation of custom audio processing for the specific needs of the room, including support for multiple microphones and speakers. When

connected to the ClickShare Conference via USB, audio from conferencing software on the wirelessly connected computer is heard throughout the room with reportedly enhanced clarity and intelligibility.

“Radius NX is the perfect conferencing DSP solution for delivering best-in-class sound quality, powerful custom processing and flexible control,” commented Symetrix director of product development, Ben Olswang. “And when combined with ClickShare Conference, users can connect their devices wirelessly while still utilising the room’s speakers, mics and processing.”

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VIA Connect 2 creates one Unified Communications & Collaboration (UC&C) experience, with flexibility for wirelessly sharing and collaborating anywhere, from any device, with any videoconference platform. A wired HDMI input offers automatic switching to an in-room 4K or HD display.

Participants can Bring their Own Meeting (BYOM) using built-in VIA apps for mobile and desktop or over local networks via AirPlay and Miracast. Once paired, VIA Connect 2 adds professional in-room AV equipment via USB, including displays, cameras, microphones and speakers.

Alternatively, the Teams or Zoom client can be launched directly through VIA Connect 2.

The VIA Connect 2 platform can be centrally deployed, managed and configured using the VIA Site Management (VSM) software that maintains hardware remotely via the cloud or through on-premises networks.

HDBaseT 2.0 4K60Hz (4:2:0) HDMI, USB, RS-232 and IR signals can be extended with the inclusion of TP-590R receivers and TP-590T transmitters over twisted pair, before being converted back to original input signals. The HDBaseT extender provides 40m longer reach signals for up to 4K@60Hz (4:2:0) 24bpp video resolution

After processing and scaling, the embedded AV signal is sent to the two mirrored HDMI outputs simultaneously, and the audio is also sent to a balanced stereo audio output.

A further new addition comes in the form of an active optical armoured 4K HDMI cable. Designed for touring applications, the CRSPLUGNVIEW-H is a durable, highspeed HDMI active optical cable (AOC) capable of supporting resolutions up to 4K@60 (4:4:4) at 18Gbps over 100m distance without the need for additional extenders. Features include a stainless steel and corrugated tube, while Kevlar reinforcement protects the internal optical fibres. A TPU jacket, heavy-duty connectors and a waterproof, impact-resistant connector cover reportedly ensure high pulling strength and compression load.

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www.kramerav.com

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PRODUCTS

Shure reveals full Stem Ecosystem CREATED AS a set of intuitive tools for all types of all collaboration spaces and budgets, Shure has announced the worldwide availability of its full Stem Ecosystem. Having conscientiously removed technical hurdles, the mix-and-match audio pickup devices within the Stem Ecosystem are backed by a platform of tools, designed to ease the adoption of new audio technology.

The audio package within the Stem Ecosystem includes wall and table speakerphones, a ceiling microphone that syncs with networked loudspeakers and dedicated control systems. Equipped with 15 microphones that perform beamforming, plus full-range speakers and subwoofers, Stem Wall can capture everybody’s voice in the room. Optimised for tabletops and flat surfaces, the Stem Table product is equipped with nine microphones that perform beamforming and a downward-facing speaker.

A 100-microphone Stem Ceiling array comes with low-profile or chandelier mode mounting options together with three-beam options.

For applications when more than one Stem Ecosystem device is used in a room, the Stem Hub enables multiple units to communicate with each other in the room and function more effectively as a solution. The solution is equipped with USB Type B, Ethernet, Dante, VoIP connectivity and pluggable terminal blocks for external speakers. The dedicated touch controller, Stem Control, allows access to the Stem Ecosystem platform and remote management functionality.

With the development of the Microflex A400MB, Shure has introduced a touchsensitive Mute Button accessory that adds audio mute functionality to several Microflex

output to separate preamps in the creation of multi-feed audio. Each audio signal path is completely isolated with its own ground to ensure that electrical interference is not transferred between mics. Noise pickup from nearby mobile phones and tablets is minimised and RF interference is rejected with the integrated CommShield technology.

The dual cardioid Microflex cartridges are interchangeable with other Microflex polar patterns. A foam windscreen and mesh ball grille together with a shock mount for pop protection and full accessory kit are included.

Stem Ecosystem

MX415

Connecting to the digital world SOMMER CABLE has developed a number of desk connection sets, both as desktop or add-on versions and also for integrated installation. The mechanically robust and modular construction is said to allow retrofitting or modifications for all sets at any time.

For a quick and easy installation with no alteration to the piece of furniture, the compact, budget-priced beginner set LIGHT 1 comes with a convenient screw or adhesive fixation. Universal brackets allow different alignments – a slant desktop solution, inclined towards the user, is equally possible as the invisible “hanging” installation under the tabletop. Users can choose from three

standard colours, with custom colours available on request.

On the front side, the HDMI input allows users to connect a computer or notebook, plus there are two GHMT-certified Cat6A 10Gbit network sockets for home networking and three power outlets for power supply. On the back, there is a ready-to-connect HI-HDRL active HDMI connection cable for a screen/ beamer as well as ready-to-connect network and power lines in the desired length. For clean cable management on the table leg, a 2m braided hose in silver-grey is included. www.sommercable.com

microphones. Hiding the circuitry underneath the surface, the A400MB installs like a washer between the body of the MX395LED boundary and the table or the MX405, MX410 and MX415 modular goosenecks and the lectern surface. The mute function is programmed with onboard switches and can be configured as push-to-talk/ push-to-mute or push-on/push-off.

The A400MB Mute Button includes local mode in addition to remote mode and can be customised to address various room types and configurations.

With a streamlined appearance, the Microflex MX415 dual cartridge gooseneck microphone has been designed for broadcast events and corporate presentations. Mounted to a single gooseneck, the low-profile, dualcartridge housing ensures speech is captured simultaneously by two cardioid cartridges for

(Unshielded Twisted Pair) and may or may not have a shielding on the grouping; in this case, they become

In brief, Shure’s AI Denoiser for IntelliMix Room is included in the latest IntelliMix Room DSP software version 3.1. The denoiser is a machine-learned program trained to separate speech from noises such as typing and keyboard noise, pen clicking and pencil tapping, shuffling papers and slamming doors. www.shure.com

S/UTP (Shielded Unshielded Twisted Pair).

There are also shielded cables with aluminium foil – the FTP (Foiled Twisted Pair) – and cables with double shielding, which add a tinned copper braid on the grouping – these cables are classified as S/FTP (Shielded Foiled Twisted Pair).

Tasker has released a new range of cables for mobile installation: the C725 (Cat5e, S/UTP), C728 (Cat6A S/FTP) and C726 (Cat7, S/FTP). These cables are described as extra flexible thanks to their elementary stranded formation. They are available with PVC jackets, LSZH or PUR, depending on their applications.

For fixed installations, monofilar conductors such as the C727 (Cat7, S/FTP) are preferable and also available with different types of outer sheaths to suit various applications.

Finally, the C722 B2ca is a LAN Cat6 S/F/UTP, 4x2x0.25mm² section designed for multiple applications and approved for the maximum risk class according to CPR legislation. www.tasker.it

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Digital AV over LAN cables TWISTED PAIR cables are increasingly being used in areas beyond simple data transfer, such as digital audio applications, where users can create a network, and control it remotely, between professional devices. Using only one type of cable will lower budgets compared to regular analogue audio networks. Tasker’s range of Ethernet cables is divided into different categories – 5e, 6A and 7 – according to the transmission speeds and types of shielding applied to the single cables.

Depending on the type of shield, the unshielded pair cables are indicated as UTP

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Broadcast-quality audio for content creators WITH THE continued rise in podcasting, Audio-Technica has created a new hypercardioid dynamic microphone specifically for this growing sector of audio users. The new model seeks to blend the performance of A-T’s BP40 Large-Diaphragm Dynamic Broadcast Microphone at a more affordable price point for typical content creators.

The new AT2040 microphone is said to excel at isolated/up-close vocal reproduction and the rejection of unwanted room noise as a result of its tight, hypercardioid polar pattern. The manufacturer states that the mic produces a “smooth, warm and natural sound”, while its multistage windscreen combines a non-woven filter with foam mesh to provide internal pop filtering.

ATH-M50xBT2

AT2040 Featuring a rugged allmetal construction, the model also includes a specially designed integrated shockmount to prevent unwanted noise by attenuating vibration from a boom arm or mic stand. The AT2040’s XLR output connects to a conventional analogue microphone input and comes standard with a pivoting stand mount, threaded adapter and a soft protective pouch.

Meanwhile, the manufacturer has added to its popular ATH-M50x professional monitor

headphones. The ATH-M50xBT2 offers updated features such as improved vocal pickup, dual-microphone beamforming technology for clearer phone calls and communication with the built-in Amazon Alexa voice assistant; the addition of multipoint pairing to let users connect wirelessly to two Bluetooth devices at once; an updated USB-C connection; a low-latency mode, improving synchronicity between audio and video for streaming and gaming; and compatibility with multiple audio codecs (SBC, AAC and LDAC). Users can adjust the headphone’s EQ settings by making the changes in the A-T Connect app and saving the settings on the headphones themselves.

Isolating unwanted noise the right way CEDAR AUDIO is claiming a world-first with the development of Isolate, a new CEDAR Trinity 5 module that the company says will transform the way in which it’s possible to record in noisy environments.

Typically, isolating individual sound sources in noisy environments is achieved through the deployment of large arrays of matched microphones.

CEDAR’s alternative mic array is not only smaller than a beer mat already, but even smaller devices from other manufacturers can also be used with the solution. Isolate can identify and output multiple speakers simultaneously, allowing users to hear and record whole conversations taking place in noisy environments.

“The human auditory system has a remarkable ability to focus its attention on one or more sound sources in a noisy environment, which is why it’s possible for us to have a conversation in a space such as a club or a restaurant. Unfortunately, some of the information that enables the brain to perform this task is lost when audio is picked up and recorded using microphones,

www.austrian.audio

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www.cedaraudio.com

durable stainless steel and brass with a hardwearing finish, the Thread Adaptor has been designed for sound engineers, filmmakers and photographers.

The Tripod 2 is a tripod for mounting cameras, microphones and other accessories.

Previously released as part of the Røde Vlogger Kit range, the Tripod 2 is now available as a standalone product. In the closed position, the Tripod 2 is suitable for handheld use. The tripod legs can also be opened out to a mid or wide setting for optimal positioning and stability on a tabletop. The Tripod 2 has a 1⁄4 -inch thread for attaching cameras and camera accessories, and also includes a 1⁄4 - to 3⁄8 -inch thread adaptor for use with microphones. There are also six 1⁄4 -inch female thread connectors – two on each tripod leg – for mounting accessories onto the side.

www.audio-technica.com

stage rumble are effectively eliminated.

Open Acoustics Technology allows sound to enter the capsule almost entirely unimpeded from all sides. Contact points between the mounted capsule and the enclosure are reduced to a minimum, allowing for an open and natural sound without any colouration.

The reduction of sound-reflecting surfaces in the vicinity of the capsule ensures that the signal source is reproduced as resonance free as possible. Super cardioid polar patterns promote off-axis rejection and maximum suppression of feedback.

so recording in noisy environments is often unsuccessful,” explained managing director, Gordon Reid. “Unlike existing beamforming systems, we can identify and isolate multiple speakers simultaneously, outputting a clean signal containing all of the people in a conversation. Isolate overcomes the practical limitations of beamformers and significantly outperforms what they can achieve over short and medium distances.”

Røde accessorises

Austrian Audio take studiograde quality to the stage DEVELOPED AND built in Vienna, Austrian Audio has added two new handheld vocal microphones to its growing catalogue.

Featuring true condenser technology, the OC707 contains a small-diaphragm condenser capsule with a frequency response optimised for the human voice. A combination of low 19dB SPL self-noise (19dB SPL) and a high 150dB SPL results in a wide dynamic range to create a vocal microphone that promotes studio mic characteristics in live sound applications.

The OD505 is an active dynamic that combines the advantages of a dynamic stage mic with the sonic refinements of a condenser. With its dual capsule design, where the bottom capsule is phase-inverted and passively switched, the OD505 produces a similar sensitivity to a condenser mic. Combined with a switchable 2nd order high-pass filter and Open Acoustics Technology, noise from handling, bumps and

CEDAR Isolate and CMA-8 array

www.rode.com

Thread Adaptor MICROPHONE MANUFACTURER Røde has added the Thread Adaptor and Tripod 2 to its range of accessories. The Thread Adaptor is a universal adaptor kit for mounting a range of devices onto any mic stand, boompole, tripod or studio arm. It features 1⁄4-, 3⁄8- and 5 ⁄8-inch adaptors in an integrated set that can be configured to connect any standard thread to any standard mount. The Thread Adaptor also features a driver for tightening and loosening adaptors or camera plates and a carabiner for clipping it onto keys, clothing or a camera or audio bag for safekeeping. Made from

Tripod 2

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PRODUCTS

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Sennheiser charges its Lines AS PART of its ongoing commitment to simplify and enhance digital workflows on campus, Sennheiser has developed the CHG 2N charger within the SpeechLine Digital Wireless microphone system. Scaled down from the four-bay version for smaller applications, the two-bay networkable charger features individual bays for recharging SpeechLine bodypack and handheld microphones. Each bay has four LEDs to indicate the battery charging status and the network interface offers IPv4 and IPv6 compatibility. All settings and battery status information can be monitored and remotely controlled using the latest version of Sennheiser Control Cockpit (v5.0.1).

Making remote management of Sennheiser audio devices easier, a major update of the Control Cockpit software is available for download. Version 5.0 allows AV and IT staff to control the new charger in addition to allowing them to monitor the status of the MobileConnect Manager, by linking this assistive listening system with the microphone

HM 200

CHG 2N charger systems in Sennheiser’s education portfolio.

By monitoring both microphone and assistive listening systems from one software, the operators can receive status notifications via text or email. Version 5.0 promotes the

powering down of transmitters remotely.

The transmitters can also be switched off automatically after a set amount of time when there is no link going to the receiver.

To avoid accidental operation during use, the Power and Pairing buttons on the portable SpeechLine transmitters can now be locked remotely.

Sennheiser has also launched a “sturdy yet lightweight” head mic, that brings the sound of its MKE 1 lavalier microphone into a headset configuration. The HM 200 uses the same capsule as the German manufacturer’s smallest lavalier mic, the MKE 1, which is known for its omnidirectional design that offers lower susceptibility to wind noise while still putting an audible focus on the speaker’s

voice. The HM 200 head mic is said to be virtually invisible from a distance while offering powerful sound – making it an ideal choice for musical productions.

The metal frame of the HM 200 microphone is lightweight and flexible with a fixed cable fitted with a professional three-pin connector.

The boom arm is shorter than other similar models, which the manufacturer says adds to the inconspicuous nature of the design. The headset is silver-coloured with transparent ear-bows and a beige cable. It comes with a beige foam windshield, one large and one small protection cap for the makeup artist, six attachment clips and a transport case. www.sennheiser.com

API goes Select DESIGNED, BUILT and tested at the Automated Processes Inc (API) factory in Maryland, the API Select line has been specifically engineered to complement API’s classic mix of mic preamps, equalisers and compressors.

“Over the years, we’ve acquired the technology and experience to engineer and produce audio products that don’t necessarily conform to API’s classic component structure or topography,” explained API president, Larry Droppa. “API Select gives us the opportunity to offer gear that’s very high quality, but that’s different from API’s legendary line of classic products. A great example of this is API Select’s new T12 Tube Mic Preamp, which is a two-channel, all-tube, Class-A microphone preamplifier. Its tube technology is combined with API’s proprietary

AP2516 transformer in the input stage and a custom API transformer on the output stage, so it produces that incredibly rich API sound – but in a distinctly different way.”

API has introduced several API Select vintagestyle products to mark the new line’s debut.

Rackmount gear includes the T12 Tube Mic Preamplifier, the T25 Tube Compressor, the SR22 Dual Channel Compressor and the SR24 Dual Channel Equaliser. Designed to fit into a standard pedal board using standard 9V power supplies, two new guitar pedals complete the line’s introduction in the form of the TranZformer GTR for guitar equalisation and the TranZformer CMP for compression effects.

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Mirrorless cameras benefit from Tascam upgrade AS MIRRORLESS cameras typically used for high-quality video shooting do not accommodate an XLR input for a microphone or preamplifier input, a digital audio recorder is required to capture audio separately from the camera leading to extra video synchronisation editing. The Tascam CA-XLR2d microphone adaptor serves as an XLR input expansion adaptor for mirrorless cameras to enable the capture of professional audio directly into cameras. This results in audio being directly recorded into the camera from the XLR input together with the video bypassing the need to synchronise audio and video when editing.

A digitised accessory shoe from Canon and hot shoe from Fujifilm are equipped with an AD converter enabling filmmakers to transfer digital audio directly into cameras without audio degradation. Power is supplied by the camera using the data transmission shoe for both these models. The HDDA (High Definition Discrete Architecture) mic preamplifier reportedly ensures low noise and a wide dynamic range (mic/line level

The CA-XLR2d on a Canon EOS R3 switchable, +48V Phantom power supply).

The analogue output features camera mode for audio transfer to the microphone input

and headphone mode for direct headphone monitoring.

In other news, Tascam has developed the Mixcast 4 Podcast Station for podcast creation, livestreaming, event production or voice over.

It can mix and record mic inputs, internal sounds and music via the system’s trigger pads, as well as external audio input from a phone or PC. Mixcast 4 has an internal 14-track recorder that records directly to an SD card. It also includes four TRS/XLR combo jack mic inputs and four individual headphone outputs so that as many as four podcasters can interact with each another. Combined with the included 5-inch colour touchscreen that is said to provide quick and intuitive access to desired menu control settings, the system enables podcasters to focus on their content without being distracted by complex operational tasks.

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Mixcast 4 In brief, the manufacturer has released a version 2.0 upgrade for the VS-R264/VS-R265 video-over-IP streamers/recorders. Features include the upgraded ability to record to internal storage, support for the MP4 recording file format and an expansion in the maximum capacity of files recorded to external storage. www.tascam.com

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PRODUCTS

KLANG conducts the onstage mix GERMAN DEVELOPER KLANG has unveiled KLANG:konductor, an immersive in-ear mixing processor capable of delivering up to 16 immersive mixes and processing 128 input signals at up to 96kHz, with a processing latency of less than 0.25ms. Designed for monitor engineers and fixed installations, KLANG:konductor offers three DMI slots on its rear to provide I/O freedom and integration into any existing setup. Two DMI-MADI cards can

KLANG:quelle on the front of the device, IEMs can be directly connected and routed to the console’s cue output. The device also has a front-mounted 7-inch colour touch display to allow for direct mix control, audio setup, routing and monitoring meters. A network port on the front of the unit provides power over Ethernet to directly connect a KLANG:konductor or KLANG:quelle, and dual redundant power supplies offer maximum reliability.

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LEA strengthens network security LEA PROFESSIONAL has added its 802.1X security protocol to the company’s range of Connect Series amplifiers. 802.1X is an IEEE Standard for Port-Based Network Access Control that provides protected authentication for devices on the network and provides secure network access. It is the gold standard of network authentication security and defines authentication controls

for any user or device trying to access a LAN or WLAN. The new feature further protects data and equipment from a cyberattack, while also preventing rogue devices from connecting to the local network and releasing viruses, malware or allowing man-in-the-middle attacks. www.leaprofessional.com

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provide 128 input channels and mixes to be returned to a console; and one DMI-Dante card can connect the mixes to KLANG:konductors.

Paired with integral single-channel routing capabilities, it also allows the user to freely route between the immersive mix engine and convert between different DMI formats, such as Optocore, Dante or MADI, with each DMI card offering up to 64 input and output channels at both 48kHz and 96kHz. Integration into DiGiCo’s control interface and the KLANG:app provides direct control for engineers, with KLANG:konductor allowing musicians to control their own mix. By incorporating the same amplifier circuit as

KLANG has also teamed up with DPA to create a system that will enable live event teams to immerse singers and musicians in their onstage performances. The solution integrates DPA’s 5100 Mobile Surround Microphone and KLANG’s Immersive Mixing Processor. In addition to KLANG’s panning capabilities, the use of DPA surround mics replaces the need for large quantities of microphones to capture the entire environment. Dedicated presets can be integrated through the KLANG:app, including KLANG:vokal and KLANG:kontroller. www.klang.com

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THE LATEST solution from Clear-Com integrates all its wired and wireless partyline systems into a single solution. Named Arcadia, the next-generation platform can license up to 96 IP ports in a single RU device, with further licensing add-ons anticipated in the future, making it the manufacturer’s intercom centrepiece for a vast range of applications best served by partyline workflows.

Clear-Com states that Arcadia represents the next evolution in partyline workflows, by combining digital, analogue and AoIP intercom technologies into a single integrated system. General connectivity to a wide range of Clear-Com endpoints is available through a mixture of

two-wire and four-wire audio ports, together with third-party Dante and AES67 AoIP devices, while the solution also supports the full range of FreeSpeak digital wireless

products encompassing the 1.9GHz, 2.4GHz and 5GHz bands, and HelixNet wired digital partyline systems.

The need for quick adjustments to the system is reflected in Arcadia’s dual large front panel touchscreens, which include four rotary encoders to scroll through menus or for use as a four-way key station. System configuration and monitoring is achieved through a new, re-imagined version of the manufacturer’s browser-based CCM software. www.clearcom.com

Studio Technologies joins the party IFB receiver and charging dock IFBLUE, A new value-priced brand of products being distributed worldwide by Lectrosonics, has introduced an IFB (Interruptible Foldback) receiver pack and associated dock charging system. The new IFBlue receivers are fully compatible with Lectrosonics IFBT4 transmitters, or any Lectrosonics Digital Hybrid Wireless transmitters operating in IFB compatibility mode, so that users can add these receivers to existing IFB systems. The IFB receiver comes with 10 presets and is said to be easily programmable from the backlit LCD front panel.

There are five tuning ranges: the VHF version covers 174–216MHz, the A1 (470–537MHz), B1 (537–614MHz) and C1 (614–692MHz)

versions cover the UHF TV frequencies for most countries, and the 941MHz band version covers the North American licence-only 941–960MHz range. Future firmware updates can be installed in the field via the USB jack located behind the battery door. The IFBlue receivers have an integrated, spring-loaded belt clip for lightweight and easy, secure placement.

The IFBlue companion dock charging system, the CHSIFBR1C, is capable of charging up to four receivers when using NiMh rechargeable batteries. The charging dock units can be mechanically linked for easy organisation on the mounting surface. www.ifblue.com

TWO PARTY-LINE (PL) intercom kits that use Dante audio-over-IP networking have been added to Studio Technologies’ catalogue.

The Party-Line Intercom Kit 1 (DPL-KIT-01) includes a Model 5421 Dante Intercom Audio Engine and four Model 372A Intercom Beltpacks. Party-Line Intercom Kit 2 (DPLKIT-02) also includes a Model 5421 Dante Intercom Audio Engine but with four Model 373A Intercom Beltpacks. The kits have been designed to enable users to implement a high-performance, Dante-enabled PL intercom system in fixed and mobile broadcast facilities, postproduction studios, commercial and educational theatre environments, industrial and general entertainment applications. The Model 5421 Dante Intercom Audio Engine is a compact 1⁄2-rack unit that supports 16 Dante receiver (input) and transmitter (output) channels, while the Model 372A Intercom Beltpack offers a fivepin female XLR connector to support single-

Kit 1 and dual-channel headsets commonly used in professional broadcast environments. www.studio-tech.com

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Cloud-based livestreaming TVU NETWORKS has released a cloudbased livestreaming package for remote production. TVU Cloud Production Service offers a pay-as-you-go model, reportedly minimising a company’s capital expenditures while realising live production capabilities within its daily operating expenses. The service was recently tested for coverage of a large-scale wedding in Manila to reach guests who couldn’t travel to the event because of Covid-19 restrictions.

With the TVU Cloud Production Service, customers can set up a livestreaming business for events such as weddings, online seminars and corporate presentations. The system

is easy to use and requires no extensive hardware or software. Because it’s completely cloud-based, production can be done remotely.

Without sending crews to a location, productions are streamed in HD quality and produced with an affordable TVU Networks’ system. TVU Cloud Production Service is powered by the TVU Producer cloud-based live production platform, TVU Partyline for collaboration and broadcast-quality conferencing, TVU Anywhere app and the TVU Nano for Video IP video transmitter.

UNiKA extends PRO series DI boxes DESIGNED TO integrate digital sources into professional audio environments, UNiKA has introduced the PRO-BT5 and PRO-USB DI boxes. The PRO-BT5 employs

www.tvunetworks.com

Bluetooth 5.0 to wirelessly connect smartphones, tablets and computers of distances up to 35m when streaming music playlists during performance intermissions. The digital signal is then translated into analogue audio with a resolution of 44.1kHz at 16-bit. The power supply can be handled through a standard smartphone charger or a power bank, providing 5V of power via USB-C. The PRO-USB provides DA conversion with up to 192kHz at 32-bit for computers via USB-C, supporting all common formats including Direct Stream Digital (DSD). Both the PROBT5 and PRO-USB feature a 3.5mm monitor output for headphones and a stepped volume knob for controlling the headphone level. Balanced XLR stereo outputs transmit over long distances to mixing consoles, preamps or active speakers. Both PRO series DI boxes integrate a custom-designed transformer within the steel housing chassis. www.unikapro.com

No longer a game for Unreal Engine EPIC GAME’S latest 4.27 software release of Unreal Engine targets the virtual production industry by creating pixel-perfect graphics with cinematic quality. With disguise’s r19 software release together with its open-sourced RenderStream plugin, Unreal Engine can be integrated alongside its disguise workflow.

Epic Games has collaborated with disguise to deliver 3D graphics within virtual production, broadcast, corporate events and other applications. Unreal Engine continues to develop photorealistic 3D graphics for which disguise has delivered real-time generated content into LED volumes, projection setups and physical display configurations. Integrated directly with Unreal Engine via its RenderStream infrastructure, output streams can be created on Unreal Engine projects and changed in real time directly from disguise’s software

interface Designer. In addition to speeding up the creation of real-time content, r19’s latest functionalities include dynamic control with remote textures, streamlined workflows and 3D

object transforms. Live imagery and video input can be migrated from Designer into Unreal and tracked objects can be synchronised with 3D object transforms for free object rotation.

Epic Game’s latest 4.27 release targets the virtual production industry by reportedly creating pixel-perfect graphics with cinematic quality. Highlights include major updates to its in-camera visual effects toolset for virtual production, adding support for more features such as Multi-User Editing and an extensible core architecture. Live Link Vcam is a new iOS app for driving a Cine Camera in-engine using an iPad. Other benefits include improvements for producing correct motion blur in travelling shots and accounting for the physical camera with a moving background. Existing disguise operators currently running RenderStream can skip the setup and download their updated RenderStream plugin. www.disguise.one

Pay-as-you-go licensing SOLID STATE Logic’s System T V3.1 software release introduces pay-as-you-go licensing that enables operators using the new TE1 and TE2 Tempest Engines to flexibly scale processing capabilities according to broadcast production requirements. Software licences for five different processing packs, defined by the total number of mono All-Paths equivalent channels supported, from 85–800, are now available as perpetual or short-term, time-based rental upgrades.

The TE1 Tempest Engine supports Processing Pack 1 (140 paths) or 2 (256 paths) while the TE2 engine supports all five packs, from 140–800 paths at 48kHz or 85–500 paths at 96kHz. The TE1 is equivalent to the original T25 engine for System T, which offered a maximum of 256 paths, while the TE2 matches

the previous 800-path T80 engine. The two new engines and five processing packs expand beyond those configurations to offer a wider variety of channel path capacities that align with a broader range of applications and budgets.

SSL’s new licensing reflects a trend within the broadcast industry toward a pay-as-yougo model, which allows users to temporarily scale up equipment capabilities by adding software processing for a limited time for special events, thereby providing better use of capital expenditure. For example, a production rental company or centralised broadcast hub operation might purchase an SSL System T running a processing pack supporting 256 paths, then license a pack supporting 800 paths for a client working on a large-scale

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The bus and stem mono path count, processing resources such as path EQ and dynamics, and effects rack are dependent on a system’s hardware configuration. System T’s Compatibility Mode allows a user to allocate processing resources on lower capacity engines or software processing packs, or lower

capacity when working at a higher sample rate.

This means that a showfile built on a larger engine or processing pack can be loaded onto any system, even one with a lower capacity.

The user chooses which channels, busses and effects modules not to use on the lower capacity engine. www.solidstatelogic.com

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DiGiCo reveals SD12T for theatre DiGiCo HAS released the T theatre extension software for the SD12 console. Featuring refined hardware and Stealth Digital Processing, the SD12T’s functionality and work surface are instantly reconfigured to provide specialist theatre programming tools that deliver theatre sound design, rehearsal and show operation. Hosting 96 inputs as standard, 48 busses and a 12x8 matrix, the SD12T features a flexible, expandable I/O structure including dual DMI card slots promoting expansion with formats such as analogue, Dante and Waves SoundGrid. The SD12’s extensive local I/O section offers eight mic line inputs, eight line outs, eight mono AES/ EBU, dual MADI in/out and optional

Optocore for expanded rack connectivity.

“Our T consoles are incredibly popular because they address so many of the specifics of theatre productions,” commented DiGiCo brand ambassador, Dan Page. “In recent months, our theatre customers, particularly those working on regional tours, have been asking for another compact, costeffective desk. The SD12 is extremely popular in other market sectors and fits the bill for them in terms of size. Adding the theatre-specific software tools now gives the SD12 the same feature set as with our other T consoles, making it the ideal addition to the T range.” www.digico.biz

Dynacord cues iOS control management NOW AVAILABLE for iOS devices, Dynacord‘s SONICUE Control panel-viewer app allows the monitoring and control of preassigned sound system parameters. Free to download from the App Store, enabling iPads and iPhones to be supported for the first time, SONICUE was previously restricted to desktop PCs running the TPC-1 touchpanel controller. With the release of V1.2.2, a host of new additions and functionality are added to the audio system software ecosystem, including quicker setup in addition to tuning and audio system operations.

The app allows users to operate control panels that have been created using the SONICUE control panel designer, which can be used to create standalone control panel applications for running on the SONICUE Control app. The design of the user interface is customisable with various control functions and access-protected according to user type.

When connected to a compatible hardware device, such as the Dynacord MXE5 matrix mix engine, the operator can monitor and control all assigned functions. In addition, the v1.2.2 update improves the functionality

FINNISH MANUFACTURER Genelec is celebrating the 15th anniversary of its GLM loudspeaker manager software with the release of GLM 4.1. GLM integrates with the DSP hardware within each Genelec Smart Active Monitor, allowing each monitor and subwoofer to be networked, configured and individually calibrated for the user’s specific acoustic environment.

GLM 4.1 offers improved calibration of spaces that are more acoustically “lively” than was once the norm, and assists those choosing to monitor at ultra nearfield (UNF) distances right down to 50cm – which is now growing in popularity as a bridge between in-room and headphone monitoring. In addition, the new AutoCal 2 feature takes advantage of detailed background information of each monitor in a system, producing a quicker and more accurate discrimination between direct and reflected sound. The fast calibration speed is further enhanced by a new 64-bit architecture and a fresh, lean code.

Other features include an increased number of EQ filters offering more flexibility, weighting refinements when taking advantage of GLM’s unlimited number of microphone measurement points and a Solo-X mode for faster soloing of monitors when working with immersive content.

Finally, through the addition of French, Italian and Portuguese language options, international users of GLM 4.1 are now able to choose from 10 user languages. www.genelec.com

Mixing in LA

AFTER MODELLING GRAMMY-winning mixer Chris Lord-Alge’s console and classic hardware gear in previous CLA-designated plugins, Waves and CLA have teamed up to replicate Lord-Alge’s Mix LA room acoustics and monitoring system.

The CLA Nx plugin combines Waves Nx spatial audio technology with precise measurements of Mix LA, to replicate the acoustic response of Lord-Alge’s control room inside any set of headphones.

CLA Nx is powered by Waves’ Nx technology for immersive spatial audio, using channel crosstalk, inter-aural delays (ITD), filters (ILD), early reflections, head motion tracking and

personalised head anatomy calibration to replicate the immersive experience of hearing audio in the real world. These elements are coupled in CLA Nx with precision acoustic measurements of Lord-Alge’s control room and adjustable levels of the studio’s ambience to deliver a three-dimensional “out-of-head” representation of the Mix LA room. CLA Nx also supports head tracking – via a webcam or the optional Waves Nx Head Tracker Bluetooth device – for enhanced realism of the immersive three-dimensional spatial effect. www.waves.com

SONICUE Control app of the SONCIUE panel designer with further control parameters, design options and faster installation routines. Load-drive supervision for Dynacord IPX and C Series amplifiers and a new service tool for the TPC-1 touchpanel controller further extend the enhanced functionality. www.dynacord.com

Virtual Ashly controller arrives in free AquaControl update A VIRTUAL version of the Ashly Audio WR-5 controller has been introduced with the company’s latest upgrade to the AquaControl software suite (v1.2.4). The WR-5 remote is reportedly one of the most popular accessories added to systems featuring Ashly solutions, and the development of the virtualised version is part of the manufacturer’s commitment to the long-term support of its audio solution platform.

The virtual WR-5 remote operates on commonly used touchscreen devices, allowing end users to quickly and easily control their onsite audio systems. The software also includes additional notifications for preset recall and import, improvements to tips and warnings, and the ability to save and load individual presets to and from files and templates.

The company has also announced an overhaul of its ducker within the AquaControl

software, which brings improved flexibility and smoothness of operation, free from incorrect triggering and uncomfortable volume changes. This provides greater customisation of priority signal management to reportedly deliver a better customer experience in schools, hotels, retail stores and restaurants. www.ashly.com

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DDM offers add-on options with v1.2

THE LATEST features present in Dante Domain Manager version 1.2 are intended to improve how AV and IT managers use and maintain their Dante-based networks. All editions of Dante Domain Manager are now expandable to accommodate growing needs

for Dante nodes or Dante domains, while features previously reserved for Platinum customers are now available as add-ons to the Silver and Gold editions. Futhermore, the base versions of the Silver and Gold editions now support twice as many nodes out of the box: Silver supports 20 Dante nodes and Gold supports 100 nodes. Additional nodes can later be purchased in packs of 20, 50 or 100. V1.2 of the software is already available to download, and existing customers can take advantage of new editions if they have a support and maintenance agreement in place.

In brief, Audinate has announced full availability of its Dante Application Library software development kit (SDK). www.audinate.com

Audac has the Touch WITH THE availability of the v2.6 software update, Audac Touch 2 has added widgets for dashboards, including a dynamic voice file picker, a mute for multiple outputs and a play voice file. In addition, the Belgian audio manufacturer has added an additional Touchlink configuration, a DAB Dynamic Range Compression within the DMP settings and Frequency Range within TMP settings.

Other improvements include message clarification for user authentication when going to device settings for the first time, the renaming of offline mode to direct mode and an information banner about the default address to the peripheral settings page.

Additionally, v2.6 also provides support for speaker filters resolution of 0.1dB for the AMP203 and several bug

fixes have been addressed, including some Bluetooth settings. www.audac.eu

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Coda improves Optimiser with latest Beta v0.5.2

CREATING AN accurate simulation of Coda Audio loudspeakers in any 3D View, Coda Audio has announced the availability of its proprietary prediction software, System Optimiser Beta v0.5.2. With documentation available online, further details for offline use in addition to full v.0.5.2 release notes can be accessed on

the dedicated website. Offering bespoke tools and detailed SPL pressure mapping, the software promotes the design of audio systems of all sizes, from the smallest gatherings to the largest stadium productions.

SHARP NEC Display Solutions Europe has launched the newest addition to its range of modular laser cinema projectors – the NEC NC2443ML. This projector model uses RB laser technology to reportedly provide crisp, nearly speckle-free images with natural, life-like colours. Part of the new ML Series, the NEC NC2443ML has a customisable light output with interchangeable light modules at 24,500lm, 20,000lm and 18,000lm for different brightness demands. The projector also boasts virtually zero maintenance – according to the manufacturer, there should be no lamp and no filter replacement

(1.2mm), 135 inches (1.5mm) and 162 inches (1.8mm). The dvLED FE-E provides an affordable alternative at 1.2mm, 1.5mm and 1.9mm pixel pitches.

The NEC Message Series lineup supports three different performance levels while all incorporating the Intel Smart Display Module (Intel SDM) interface specification. After teaming up with BirdDog to develop an NDI-powered decoder and encoder solution based on the Intel SDM form factor specification, Sharp/ NEC together with BirdDog now offers a full NDI and Dante-powered ecosystem for the higher

www.codaaudio.com

Crisp images from Sharp NEC

Barco expands laser portfolio DESIGNED WITH theme parks in mind, Barco has expanded its laser projection portfolio with the XDM and XDX RGB models featuring Rec. 2020 colours and native 4K resolution. The RGB laser light source enables a wider colour gamut and the projectors make full use of evolving standards around High Frame Rate (HFR) and High Dynamic Range (HDR).

Incorporating Barco’s Colorgenic technology, the XDM and XDX projectors maintain their high brightness levels when showing Rec. 2020 content.

The incorporation of high-quality components together with optimised cooling combine to achieve a laser lifetime of up to 40,000 hours. Sealed optics and complete

next-level modularity, including individual laser plates within the light source itself, ensure projector uptime. Like the UDM and UDX projectors, the XDM and XDX can be managed through Barco’s cloud-based Projector Management Platform featuring remote health condition monitoring.

The XDM and XDX models offer a variety of lens options, including 14 highbrightness and five high-contrast variants with ratios ranging from an ultra-short throw 0.38:1 to a long throw 11:1. www.barco.com

NEC NC2443ML costs, no maintenance personnel costs and no lamp stock due to the innovative Laser Light engine. With low power consumption and up to 50,000 hours life, the laser light source reportedly results in a significantly lower total cost of ownership.

The manufacturer has also extended its dvLED lineup, adding the E “Essential” LED prepared bundles and the “Fine pitch Enterprise Eco” solutions for LED customised videowalls. The new dvLED E Series is said to deliver great visual performance for any indoor videowall applications. The solutions are suitable for applications in corporate environments with large-scale presentation and meeting room needs, for signage and infotainment in retail and in the leisure sector as well as for higher education customers with meeting and information display needs. The E Series offers full front service and comes in three different bundle options at 108 inches

education and corporate signage markets where NDI plays a significant role. The M1 is an Intel SDM-L specification-based module that enables simultaneous NDI sending and receiving, while the M2 is based on the Intel SDM-S specification and is an NDI decoding receiver only.

Finally, the NEC ME Series of business projectors has been created for small meeting rooms and classrooms. The projectors come with integrated 16W speakers, HDMI compatibility and futureproof 4K@30Hz input processing. They reportedly have up to 20,000 hours of trouble-free projection and remove the effort and cost associated with lamp replacement. The NEC ME403U has WUXGA 1920x1200 resolution, 4,000 AL brightness and 1.6x optical zoom, while the NEC ME383W has a WXGA 1280x800 resolution, 3,800 AL brightness and 1.7x optical zoom. www.sharpnecdisplays.eu

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Christie delivers big cinema performance for the smaller screen PRIMARILY DESIGNED for affordable, DCI-compliant cinema projection, Christie has introduced a duo of RGB pure laser projectors with 4K resolution. The CP4415-RGB and CP4420-RGB deliver 4K resolution. Created for screens up to 18m wide, the CP4415-RGB is capable of delivering up to 15,000 lumens and the 20,000-lumen CP4420-RGB is suitable for screens up to 20m wide. Both models feature a Real|Laser RGB pure laser illumination light source capable of providing over 50,000 hours of optimal performance. Incorporating MultiLaser Pack Devices (MPDs) to produce a wide colour gamut greater than 95% of Rec. 2020 coverage, the projectors are said to deliver a vibrant visual experience.

Continuing the legacy of its M Series first launched in 2007, Christie has also released its M 4K25 RGB pure laser projector. RGB

CP4415-RGB pure laser technology reportedly delivers twice the colour of the original M Series for

vibrant, bright images that approach Rec. 2020 colour volume, a colour standard closest to what the human eye can see. The 25,000-lumen 4K UHD resolution projector comes with TruLife+ electronics, which features electronic colour convergence (ECC) so that users can correct colour convergence imperfections and individually adjust red, green and blue via remote. The manufacturer’s intelligent lens system (ILS1) is said to make swapping lenses easy for rental and staging, and offers motorised zoom, focus and offset via remote. Existing Christie owners can use their M, J and

M 4K25 RGB Crimson Series lenses, as well as the M Series rigging frame, with the M 4K25 RGB for added cost savings. www.christiedigital.com

Apantac’s latest PTZ embraces NDI JOINING A growing IP ecosystem of products enabling IP-based workflows, Apantac has designed a PTZ camera for professional video and streaming applications using NDI. The 1080p PTZ camera is recognised as a source by other NDI-enabled applications and devices connected to a standard Ethernet local area network. In addition, it also integrates with

most software applications. Developed by the Vizrt Group to allow bidirectional AV signals to be shared across a network, every source can be immediately turned into a destination. Apantac’s AP-1080P-PTZ-20x (NDI) is designed for capturing video up to 1080p and offers 3G-SDI, HDMI, USB 3.0 and HD video-over-IP decoding. In a typical

application, an SDI or HDMI camera video feed can be converted into an NDI stream for transmission over the network. An NDI video feed can be converted into an SDI to HDMI video output and plugged into a monitor. www.apantac.com

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PRODUCTS

Dark arts practised with a full deck INTEGRATING FEATURES common with large studio cameras, the Blackmagic Studio Cameras is a family of compact formats for live production applications. Enhancing portability, the chassis is made of a carbon fibre-reinforced polycarbonate. The cameras feature gain from –12dB (100 ISO) up to +36dB (25,600 ISO) to reduce grain and noise in images, while maintaining the full dynamic range of the sensor and overcoming difficult lighting conditions.

Designed to easily track and frame shots, the integrated 7-inch resolution viewfinder overlays show status and record parameters, histogram, focus peaking indicators, levels and frame guides.

Advanced features include talkback, tally, camera control, built-in colour corrector and Blackmagic RAW recording to USB disks. Together with knobs for brightness, contrast and focus peaking, the touchscreen incorporates camera setting menus. When combined with Blackmagic generation 5 colour science, the 4K sensor provides the same imaging technology used in digital film cameras.

The camera caters for colour correction with 13 stops of dynamic range, which can be controlled from the switcher.

Designed to record H.264, Apple ProRes and DNx video files to SD cards or SSD media with either PCM or AAC audio, the brand has added a new series of four HyperDeck Studio recorders. Intended for live production

HD and UltraHD in standards up to 2160p60.

All four models incorporate dual media slots for non-stop recording and support recording to common SD or UHS-II cards. The DNx and ProRes file formats support H.264 up to full 10-bit 4:2:2 when recording in NTSC, PAL, 720p, 1080p and true 1080i interlaced formats.

Featuring an upgraded UltraHD resolution H.264 encoder for livestreaming in native UltraHD, a 4K model has been added to the Blackmagic Web Presenter family. A 12G-SDI input with down converter promotes livestreaming in 1080p HD or 2160p UltraHD resolutions direct to YouTube, Facebook and

or multiscreen digital signage applications, ISO recording, timecode and reference generators are built in for syncing multiple units. The 3G-SDI-based HD Mini records and plays H.264, ProRes or DNxHD files onto SD cards, UHS-II cards or external USB disks in SD and HD formats up to 1080p60. The HD Plus and full-rack HD Pro host added features. The 4K Pro model records H.264, H.265, ProRes or DNx in SD,

the SRT technology adds automatic repeat request (ARQ) and forward error correction (FEC) to prevent packet loss typically found on internet connections, as well as stream encryption for content protection.

Additionally, with incorporated Vertical Interval Time Code (VITC) with Network Time Protocol (NTP), the new JVC PTZ cameras also feature multi-camera synchronisation for live event production. This feature is ideal for the mixing and streaming of live productions where image synchronisation is crucial. Remote control capabilities are made possible through JVC’s RMLP100 Remote Camera Controller, KMIP6000/4000 Live IP Production Suites or a variety of other options from vMix, OBS Studio and NewTek.

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Low light solutions from Panasonic DESIGNED FOR capturing content in low light situations, the AW-HE145 Full HD integrated pan-tilt-zoom (PTZ) camera from Panasonic is equipped with a large 1-inch MOS sensor and optical 20x zoom to achieve high-sensitivity (F9/2000) shooting even in dark scenes. The new camera delivers smooth “on-air” moves and

Panasonic has also announced upgrades to its Kairos live video production platform.

The new Kairos Core 1000 (AT-KC1000) alongside the current, compact Kairos Core 100 (AT-KC100) have been designed for live video production applications.

The Kairos Core 1000 mainframe is said to offer more processing power, thanks to increased CPU and GPU capabilities, and enables the platform to be utilised in a broader and more complex range of

AT-KC1000

pro.jvc.com

KY-PZ400NW/NB

Twitter. For remote location streaming, an Apple or Android phone can be plugged in to connect to the internet via mobile data. The USB connections of the compact unit simulate a webcam when connected to a PC with any streaming software. www.blackmagicdesign.com

AW-HE145 supports HDR for capturing images with a high dynamic range. The camera’s 75.1° horizontal wide angle lens helps production staff capture full shots in large spaces and is described as invaluable for settings with limited space.

The camera supports RTMP to allow direct upload of video to livestreaming services such as YouTube and Facebook Live. In addition, Secure Reliable Transport (SRT) is supported to maintain stability while transmitting highquality video, even on unstable networks.

Outputs include 3G-SDI, HDMI and IP for the flexibility to integrate with a variety of workflow infrastructures.

productions. It provides an “unlimited video layers” concept and has the capability to manage different scenes simultaneously and broadcast them via a variety of outputs. The GPU’s higher video processing capacity also allows full use of the multilayered video composition and output in high resolution, including 8K video.

The Kairos Core 1000 also expands the system’s standard outputs to 20 HD or five 4K outputs. It offers 4K support and the Canvas function as standard, which allows the use of non-standard resolutions and formats. With RTP/SRT/RTMP/RTSP streaming to eight inputs, the Kairos Core 1000’s video streaming capabilities have also increased. www.panasonic.com

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Blackmagic Studio Camera

JVC PTZs focus on remote production capabilities JVC HAS unveiled three new PTZ cameras that aim to provide the optimal image quality and performance for streaming and remote production purposes. The KY-PZ400NW/NB and KY-PZ200NW/NB differ in their output capabilities but are both equipped with NDI|HX and SRT streaming, H.265/H.264/ MJPEG encoding and VITC (Vertical Interval Timecode) multi-camera synchronisation technologies. The third option, the new HD KY-PZ200W/B, provides a more economical solution by removing the NDI|HX functionality.

All three new camera models are available in black or white variations to best match a venue. The KY-PZ400NW/NB is a 4K model while the KY-PZ200NW/NB is capable of HD output. All three cameras include SRT, HTTP, RTSP, RTMP/RTMPS and standard protocols.

The advanced streaming capabilities of

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AJA opens up with added Gear and firmware CRITICAL TO cable run reductions and the secure transmission of high-bandwidth signals over long distances, facilities demanding fibre solutions are upgrading to 12G-SDI infrastructures. Offering reliable conversion within the rack-mountable OG-FiDO-TR-12G fibre transceiver, AJA Video Systems has released the OG-FiDO 12G openGear receiver cards.

v1.5.3 adds support for embedded audio passthrough of Dolby Digital and Dolby Digital Plus compressed audio, including Dolby Digital Plus JOC for immersive audio.

The new OG-12GM v1.1.2 firmware update also introduces PsF support for inputs and outputs.

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The OG-FiDO-R-12G-ST receiver is a singlechannel converter for Single Mode ST Fibre to 12G-SDI conversion. For dual-channel conversion, the OG-FiDO-2R-12G receiver offers two independent channels of LC Fibre to 12G-SDI conversion. Both new models receive 12G-SDI signals from standard fibre video sources and are compatible with OG-X-FR, OG-3-FR and DFR-8321 openGear frames. AJA’s OG-FiDO 12G cards are hot-swappable, support HDR video and feature automatic detection and re-clocking.

Support for Ross DashBoard software enables remote status monitoring on a LAN computer.

In addition to the new OG-FiDO 12G cards, AJA has also released a collection of new firmware updates for select AJA openGear card models. The v1.5.3 update introduces Extended Display Identification Data (EDID) emulation, for specifying the desired video format to the connected HDMI source. OGHA5-4K v1.5.3 and OG-12GM v1.1.2 add simple frame rate conversion capabilities from p60 to p59.94 and p59.94 to p60.

For the latest audio workflows, OG-HA5-4K

Desktop Software v16.1 AJA Video Systems has also added Desktop Software v16.1 for KONA, Io and T-TAP Pro products, together with AJA SDK v16.1 for Developer Partners. Both releases include native support for the Apple M1 chip, and feature enhancements that optimise audio, broadcast, production and post workflows and third-party tools built with AJA Developer Partner solutions.

Key release highlights include an improved Telestream Wirecast support, including 4K via 12G-/6G-SDI, digital AES and analogue audio inputs, AJA Control Panel enhancements and 64-channel audio support for NTV2 SDK. www.aja.com

TELESTREAM HAS announced an upgrade to its Inspect 2110 monitoring platform. New to the platform is monitoring of ST 2022-6 data streams which, when added to the existing capability of monitoring ST 2110 video, audio and data essences within facilities and across networks, is said to provide a seamless means of assuring reliability within hybrid SDI-over-IP and ST 2110 deployments. The capability reportedly simplifies operations and operational costs. Also added is enhanced monitoring of primary and secondary streams in applications which employ 2022-7 for stream redundancy and support for NMOS IS-04 and IS-05 APIs, which provide a means to discover and register devices and to handle connection management.

The manufacturer has also unveiled enhancements to the IQ family of monitoring products and systems. The update is said to give users increased visibility, reporting and analytics within their VOD networks and provide more granular ways to find and fix faults. The update includes expanded codec

monitoring, including support for HEVC 4:2:2 profile. Enhancements also include additional pre-compression rapid pixel analysis of I-Frames.

ScreenFlow 10 is the latest version of the manufacturer’s video editing and screen recording software for Macs. Users can now record multiple cameras, microphones and screens, including iPhone and iPad screens, simultaneously. Version 10 includes a new integrated Title Library, enhanced Color Effect Presets, an automatic Background Remover, support for Apple Silicon hardware, multiple performance enhancements and an Archive Storage feature that stores only what was used in the final finished program.

Finally, the latest version of Lightspeed Live Capture sees the introduction of Live Schedule and Live Play functions to support the system’s existing Live Edit functionality. These new functions complement the power of Lightspeed Live Capture, integrated with Vantage, with three applications for sub-clip editing, scheduling and confidence monitoring. Live Schedule is a Unified Schedule Application.

Its web-based UI automates the recording of channels on a single standalone Live Capture server or any channel within multiple Live Capture servers joined into a multi-capture server domain. Live Play is an SDI SD/HD playback option which is a confidence monitor that can play back individual files, multi-file playlists or from a growing file created by a Live Capture server.

ScreenFlow 10

www.telestream.net

Just Add Power adds MaxColor 4K60 DESIGNED TO provide a scalable 4K UHD distribution platform, Just Add Power has introduced the MaxColor 4K60 Series. The MaxColor 4K60 transmitter and receiver series natively supports 4K60 in and out for 4K UltraHD video playback from 4K sources and devices over existing network infrastructures. Eliminating the expense of upgrading to fibre with further network switches, 4K 12-bit video can be distributed over existing Cat5/Cat6 cable. The series operates with existing Just Add Power drivers and supported control systems. In addition, it supports MPEG

downstreaming for connected devices, such as a laptop or a mobile device. The series features instant seamless switching, 4K up- and downscaling, all audio formats, seamless HDR management and Dolby Vision.

The manufacturer has also announced the availability of a new driver supporting Luxul’s SW-51048P-F, SW-610-24P-R and SW610-48P-F managed L2/L3 Gigabit switches. Providing integration with the company’s JADConfig software, the driver allows integrators to incorporate the units into Just Add Power AV-over-IP distribution systems requiring a single

switch. Luxul’s SW-510-48P-F, SW-610-24P-R and SW-610-48P-F switches feature 48, 24 and 48 PoE+ ports respectively, and offer high performance with fast switching capacities of 104Gbps, 128Gbps and 176Gbps. The SW-510-48P-F and SW-610-48P-F feature front-facing ports and a total power budget of 740W, while the SW-610-24P-R offers rearfacing ports and a power budget of 370W. All three rack-mountable switches combine QoS and VLAN support with a unified management interface. Integrated Luxul ProWatch cloud management supports remote monitoring and management. www.justaddpower.com

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NewTek connects solutions

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SUPPORTING 12G-SDI and 10 Gigabit Ethernet connections, the NC2 Studio I/O Module from NewTek unites traditional SDI equipment and infrastructure with the flexibility of IP networks.

The turnkey design offers up to eight channels of dynamic I/O including media file playback and

ATEN HAS added new features to its UC9040 StreamLIVE PRO all-in-one, multichannel AV mixer which users can take anywhere without the need for carrying a monitor and a computer. Before the upgrade, the mixer could be controlled either via the hardware console interface or an iPad loaded with an OnAir Pro App. Now, the firmware update supports Android tablets as well as iPads for controlling, preview monitoring, real-time editing and arranging elements into a program mixing. Streaming applications can be expanded for remote UC9040 operation by using the new “On-the-go livestreaming control” feature on the Android tablet.

The Android tablet’s network is through Wi-Fi and the UC9040’s is through Ethernet.

ATEN is also collaborating with Olympus Corporation to increase the videoscope functionality of products from both parties. Combining the VE8950 4K HDMI-over-IP extender with the IPLEX GAir videoscope allows the latter to be remotely

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recording in a 1U chassis, all underpinned by its connectivity with NDI 5.

The new module connects multiple video and audio formats including NDI, SDI and other IP formats. It also provides a unified interface, including selectable multiviewers and professional video scopes. This is said to offer users greater control of their signals through built-in precision colour correction. The module

is ideal for interconnecting video signal types with a complement of audio formats, creating adaptable workflows through Dante, AES67 and ASIO/WDM software audio drivers. Management of each channel can be harnessed locally, through integrated NDI KVM technology or a web-based API.

The module has been optimised to work with all the latest features of NDI 5 to reportedly create new opportunities for producers seeking to expand their productions. The combination of the two products is said to remove the restrictions of productions bound to their physical location by offering efficient, secure and reliable workflows. www.newtek.com

operated and transmit video up to 4K with little delay or degradation up to 100m. The VE8950 provides long-range over-IP video transmission to send images from the industrial videoscope to remote operators. www.aten.com

UC9040

Precis PR switchers bring videoconferencing into the meeting room AMX’S NEW Precis PR-Series of matrix switchers comprises six models intended to facilitate modern meeting and lecture spaces using software-based conferencing platforms like Zoom and Teams, as well as the need for capture, switching and window processing.

The series debut includes four new Precis PR-Series models supporting up to eight sources and eight outputs, the Precis PRWP-412 windowing processor to dynamically window up to four sources and the UVC1-4K HDMI to USB 3.0 capture device. The switchers can be used either individually or together to provide a set of collaboration tools at a competitive price point for video routing in small or medium installations.

The four matrix switchers are available in four configurations – 4x2, 6x2, 4x4 and

8x8. All models include capabilities such as pixel-for-pixel video reproduction, fast switching, comprehensive EDID management, HDMI audio de-embedding, an open control API and a simpleto-use web interface. The PR0402 also supports auto-switching to provide touch-free video switching in small applications.

The AMX PR-WP-412 widowing processor combines a 4x1+1 windowing and a 4x2 seamless matrix switcher in a single, compact unit. Collaboration in meetings

Absen launches new LED display series DISPLAY MANUFACTURER Absen has unveiled its latest LED series in the form of the Jade Dragon (JD) Series. The JD Series is a transparent display solution created to be used in windows or

to divide spaces. The panels boast up to 7,000 nits brightness and up to 86% transparency, while weighing 6.5kg and with a thickness of 10mm.

The standard size of the panels in the series is 1,000mm x 500mm, but the three models in the series offer alternative sizing and design customisation to meet more creative demands. The models differ in pixel pitch and transparency and can be frame-less if required. The JD10 and the JD16 are capable of over 80% transparency and can be fully customised in shape, down to the LED strip. In addition, customers can choose to install the transparent PC cover for the JD3.9 model, which further protects the panel and prevents dust buildup. www.absen.com

and distance learning can be enhanced and amplified via included technologies like seamless switching, 4K60 4:4:4 video quality, integrated audio breakaway, an open control API and a simple-to-use web interface.

The UVC1-4K capture device solves the immediate issue of PCs that lack HDMI or other video inputs, by seamlessly delivering content from video cameras, document cameras or other HDMI sources into software-based conferencing and streaming applications via the computer’s USB port. Features include 4K60 4:4:4 video input, HDMI and separate analogue audio input, standard UVC interface and control and USB 3.0 output up to 3840x2160p@30fps. www.amx.com

B-Tech unveils soft-opening mount B-TECH AV Mounts has updated its BT8312, a slim-line, soft open videowall mount. The new version is a combination of the best parts of the original product launched in 2017 and the BT8310, which was released in 2012. The “pop-out” function has been developed for closeto-the-wall and recessed applications, where full service access is required for installation and maintenance. In addition to the pop-out function is a patent-pending soft open feature, a design mechanism which, according to the manufacturer, is unlike anything used on other push to release mounts. Following a light push, this feature reportedly ensures a controlled and unassisted outward movement of the mount, which protects display bezels during servicing by staying in alignment throughout the opening and closing process.

The BT8312 has been designed with eight points of micro-adjustment for accurate screen alignment, including adjustability at each corner. These adjustments are fully tool-less and can be adjusted comfortably by hand using the ergonomically designed knobs. In

addition, the BT8312 can be mounted in both landscape and portrait orientations. Other features include keyhole mounting and reusable display-specific wall plate spacer kits that allow for easy building out of videowall configurations. www.btechavmounts.com

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PRODUCTS

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DESIGNED TO deliver professional presentations for live events and highend environments, Extron has launchedor in a curved arc. Finished in a deep the MGP 641 multi-window processor. black coating, the Cr ystal LED C-series provides high contrast of 1,000,000:1.

Incorporating the exclusive Vector 4K scaling Offering a high brightness (1,800cd/m2), engine, the processor is capable of scaling and presenting up to four 4K/60 4:4:4 the B-series is distinguished with a matte finish and anti-reflection coating. With source signals on a single screen. In addition lower power consumption, the fan-less to four HDMI inputs supporting data rates up to 18Gbps, the HDCP 2.3-compliant MGP 641 processor includes an HDMI background WITH THE introduction of the TLI Pro 201 input for presenting live, non-scaled content TouchLink Interface, a third-party 4K behind source windows. An HDMI output touchscreen display can be used as a point accommodates a local display, while the DTP2 of control within an Extron IP Link Pro or Pro xi output drives a remote display located up to control system. Supporting video resolutions 100m away with identical content. Features up to 4K/30 at 4:4:4, the PoE interface include customisable window layouts, video includes a scaled HDCP 2.2-compliant and logo keying, window transition effects, HDMI input for preview. The 1⁄2 -rack, 1-inch, together with source and output rotation. To low-profile enclosure includes an embedded simplify integration, embedded audio can universal interactive display driver that be passed to the DTP2 or HDMI output or supports most touchscreens. Operable extracted to the analogue outputs.

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and narrow bend radius allows for flexible installation, including plenum air spaces.

Capable of delivering two 350W channels into 8Ω or 4Ω, the XPA U 3502 is a 1U, 1 ⁄2 -rack, Energy Star-qualified power amplifier. The convection-cooled model is UL 2043-rated for plenum installation and includes hardware for rack-mount configurations. The Class-D amplifier incorporates power factor correction, ultra-low inrush current, defeatable auto‑standby with fast wake-up and patented CDRS – Class-D Ripple Suppression. When combined with a 1 ⁄2 -rack DSP unit, such as the DMP 64 Plus,

using a standard network infrastructure and Ethernet cable, TouchLink Pro products can be customised using Extron GUI Designer software.

Ideal for applications requiring cable Bose is combining connection between any Barco ClickShare Conference device to the VB1 USB host and FOLLOWING ITS launch at ISE 2020, stand or a wall-mount kit, both of which peripheral devices Bose Professional include tilt to ensure a central video image. over distances up to is now shipping the all-in-one USB conferencing Videobar VB1.

The Bose Videobar VB1 connects to 19.8m, the Californian Proprietary transducers reproduce existing network infrastructures and producer has added from multimedia presentations in integrates with third-party cloud services, theaudio SuperSpeed addition to playing Bluetooth, while six including Microsoft Teams, Google 5Gbps USB-A 3.2 beam-steering optical extension microphones focus on voices Meet and Zoom. Remote management in the and reject noise.

A male-to4K HD andUconfiguration capabilities make it XPA 3502 cables to room its catalogue.

The USB-A camera withunidirectional auto-framing cables delivers video simple to deploy and manage remotely female optical support that allows remote participants to visualise a single unit or installaudio up toswitching, 1,000 in anasintegrator can provide a SuperSpeed USB data rate of 5Gbps and presenters, whiteboards othertoin-room conference rooms. Available as an rack app DSP and amplification within a single deliver 5V and up to 900mA and of power the objects.

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Forming part of the DWX wireless series, Sony’s DWR-S03DAPPLICATIONS slot-in receiver has received FOR DEMANDING BUSINESS a firmware upgrade. Using the dedicated DWASLAU1 adaptor, sound engineers can now benefit from the DWX series using the UniSlot or SuperSlot interface. This new compatibility will reportedly offer a wideband digital audio solution for location sound recording for movies, dramas and documentaries. The free v1.10 firmware upgrade, which includes direct frequency input function and digital or analogue audio output settings when the DWA-SLAU1 adaptor is attached, means that existing owners of the DWX series can expand the use of their equipment for new applications.

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created, tested and simulated offline before being deployed to the T-10 Glass. As part of Symetrix’s free Composer software, SymVue can be used to manipulate control objects, text and images in a “simple, convenient workflow”. Multiple pages with custom controls andINNOVATION backgrounds can be AUDIO created and exported to a single T-10 Glass MADE IN GERMANY. 10 YEARS WARRANTY. or batch exported to multiple touchscreens WWW.PAN-ACOUSTICS.DE simultaneously.

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The Lonestar shines bright beyond Texas IN LONESTAR, High End Systems has released a bright white LED framing fixture that exceeds 15,400 lumens of output in small- and medium-sized venues. Features include a CMY colour mixing system, 3.8–55° zoom, full curtain framing, diffusion and prism effects together with a 13-lens optic system and electronic linear CCT mixing control.

Housed within the compact automatic fixture, Lonestar combines a 290W Ultra-Bright engine, 16-blade iris for extremely tight beam effects and dual prisms for compound beam and projection effects. A nine position plus open rotating gobo wheel in addition to a linearly insertable rotating animation wheel and an open colour wheel plus a full-curtain framing system for total control of beam shaping are included. www.etcconnect.com

Astera builds portfolio with Bricks FOLLOWING IN the footsteps of the AX5 TriplePAR LED, Astera has added an all-purpose, larger-format, threein-one LED lighting fixture in the form of the AX9. Offering a wireless PAR light source that can also be run as a wired PAR for longer-term installations and an elegant uplighter, the fixture’s 105W output offers over 3,000 lumens of homogenised light.

Incorporating a similar engine to the Titan LED, the AX9 can be used on-set, onstage, in the studio or on location. In situ as a wired PAR, the AX9 can operate for sustained periods of time. The compact, multipurpose fixture can also be deployed as a wall or surface washing uplighter without a flex cover and with the bracket removed to produce a streamlined effect. The LED engine comes with a high CRI, a wide range of tuneable colour temperature whites and diverse colours.

Designed for use in live events, the PixelBrick is a flexible luminaire. The 1.1kg, compact

Pixel Tape series gets IP65-rated additions LED TAPE has become increasingly popular as a solution for novel stage illumination in worship applications, and Elation Professional has added two new outdoor-rated variants to its Pixel Tape lineup.

scenic elements, accentuate outdoor architecture or customise lighting on any event.

The Pixel Tape 16IP features the same pixel spacing as Elation’s Pixel Bar series.

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AX9 PowerPAR uplighter combines a Titan LED engine with the AX3 LightDrop in new, fully adaptable housing.

The IP65-rated model can be suspended outdoors as a universal light for accenting and texturing buildings or façades. Offering 450 lumens and 1,200 Lux at 2m – both at 3,200K – the PixelBrick can also be deployed as a generalpurpose PAR fixture complete with a bracket.

In addition to an onboard battery pack offering five hours of full-brightness operation, features include an RGB Mint Amber for creating colours and authentic white tones from 1,750–20,000K and a CRI of 96 or above. Several different beam options are available, while the fixture’s native 13° angle can be customised with the use of a 17° diffuser for a soft-light effect or a 30° flood filter.

PixelBrick

www.astera-led.com

THE FOCUS Wash 400 has been added to ADJ’s Focus Series of LED-powered moving head luminaires. The dedicated wash fixture combines a potent colour-mixing LED light engine with a Fresnel lens and motorised zoom mechanism to create a versatile, soft-edged beam with an even field and high CRI. Providing colour mixing for stage-based applications, a 400W six-in-one LED light source combines red, green, blue, amber, cyan and lime LED chips. With a 50,000-hour average life expectancy, the LED engine configuration allows for a CRI of more than 90, together with white light output across a range of colour temperatures. The light source also offers a high CRI R9 rating of 87.3, making it capable of effectively illuminating problematic saturated red subjects.

Independent colour-mixing control over the LED source’s six primary colours creates a wide spectrum of saturates and pastel shades.

To aid quick programming, Virtual Colour Wheel control provides easy access to 60 pre-programmed colour macros in addition to

five preset white colour temperature macros.

Using the six LED chips to emulate CMY colour mixing, the fixture includes a virtual CMY mode for patching and controlling as a CMY fixture.

Fitted with a 6-inch Fresnel lens, the Wash 400 can produce a soft-edged wash output with an even field and no colour shadows. This is paired with a motorised zoom function with a variable beam angle of 10–41°, featuring 16-bit fine control over the zoom motor for smooth effects. The wide zoom range can be used to wash a large area of a stage and to spotlight performers or small scenic elements.

Electronic dimming is combined with selectable dimming modes, curves and speeds that can be set remotely via DMX. Fitted with pan and tilt motors, the Wash 400 can achieve quick movement in addition to precise static positioning and smooth movements at slow speed with 16-bit fine control. The fixture also features electronic strobing for the creation of regular, random and pulse effects at various speeds.

ADJ gains more Focus

Pixel Tape 16IP The Pixel Tape 16IP and Pixel Tape 40IP are flexible LED tapes featuring RGB SMD tri-colour LED pixels capable of producing over 1 billion colours.

The strips both spread light at a 120° viewing angle and are surface coated with an IP65-rated conformal coating for safe use in any type of weather. Each is constructed using a rugged UV-protected silicone casing, creating a low-profile and flexible design with a bright yet low heat output. Both the Pixel Tape 16IP and Pixel Tape 40IP use industry standard four-pin XLR connectors for power/control input and are ideal low-maintenance, lowenergy solutions to integrate into stage

pixel tape with 170 RGB SMD tri-colour LED pixels spaced on 16mm centres.

The tape can be cut and extended every 25mm. It emits 455 lumens of light with a low max power consumption of 35W and is ETL approved.

The Pixel Tape 40IP is a 6.8m x 14.5mm (LxW) LED pixel tape featuring 170 RGB SMD tri-colour LED pixels spaced on 40mm centres. The tape can be cut and extended every 62mm. The Pixel Tape 40IP emits 475 lumens of light with a max power consumption of 35W and is also ETL approved. www.elationlighting.com

www.adj.com

96 PRO AVL ASIA November–December 2021

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PRODUCTS

Equipson upgrades LightShark LIGHTING TECHNICIANS can now create and synchronise effects on multiple parameters and apply different types of curves during each step of the effect, thanks to an update to LightShark’s FX engine. It is also now possible to position fixtures on a grid so that the engine can easily find them and apply effects at the right point in relation to these fixtures. The upgrade required a

major re-working of the product’s original renderer.

Once completed, this allowed the engine to operate in two very different modes – basic, where effects and shapes are created around a base value, and advanced, where users can define minimum and maximum values and create effects with up to six different steps.

They can also stack up to 20 layers of effects and synchronise different layers with each other.

Other benefits include the ability to choose up to 24 directions when applying an effect,

TWO YEARS after launching the Alchemy 5, DTS Lighting is expanding its range of Fresnel wash moving heads. The Alchemy 7 features a 250mm Fresnel lens and a six-colour chip LED source that allows users to recreate a wide range of shades, especially when it comes to pastel tones.

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FUSION BY GLP has introduced a contemporary LED stick in a weatherproof (IP65) design. The Fusion Stick FS16 Z can not only be connected to produce seamless lines but, thanks to its halo diffuser rings, it can be placed in front of the individual light sources to develop a new optical effect. It is also based on the Fusion Stick FS20 with identical dimensions so that all FS20 accessories are also compatible with the FS16 Z. The Fusion Stick FS16 Z is populated with 16 20W RGBW LEDs and the motorised zoom ranges from 8–40°. The 1m-long sticks are only 23.6cm high, 9cm deep and, despite the weatherproof design in the die-cast aluminium housing, weigh only 13kg. The halo diffuser ring is said to ensure the FS16 Z will create “a real impact in every application”.

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repetitions of each effect. Users can also apply different types of curves to each of the steps, as well as to modify the parameters of the curves.

Colour tags can also be associated with a particular group to make it easier to locate.

In addition, users can change the behaviour of the CLEAR button (single or double), adjust the speed of the effects with TAP to time and set a physical fader as a master of speed or effect size.

CUETE IS the latest moving head spotlight fixture from Robe designed for small and medium productions. Features include fast pan and tilt movement and quick and simple dynamic effects. The fixture reportedly offers an excellent CMY colour mixing system and a 4,200-lumen output of sharp, crystal clear white light.

To achieve this output and to maintain the light quality and consistency across any lighting rig or inventory, Cuete uses Robe’s patented TE 120W White LED Engine which is at the core of the manufacturer’s Transferable Engine technology. The 16° fixed beam lens has remote control focus and can be swapped to the optional 24° lenses for shorter throw and low-ceiling scenarios.

The Cuete incorporates a CPulse flicker-free management system for setups using HD and UHD cameras; the L3 Low Light Linearity dimming software for smooth fades to black; and AirLOC (Less Optical Cleaning) technology which reportedly keeps the optical elements in good condition over long time periods.

The fixture’s effects package includes a colour wheel with 13 dichroic filters;

a gobo wheel with nine fully indexable, rotating, replaceable gobos; a static gobo wheel with 10 fixed gobos including four beam reducers; an eight-facet bidirectional rotating prism; and a 5° frost filter to assist with producing smooth, even washes. www.robe.cz

www.equipson.es

DTS Lighting launches Alchemy 7

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TLCI values up to 98 and 96 respectively.

It comes with a vast array of gel filters and users can benefit from desaturation or gel mixing, even when changing colour temperature or when calibrating the green tint.

LED projector to generate the same effect of halogen lamps on the dimming curve.

Features include a two-blade framing system with a 180° full system rotation and a 22,000-lumen output. According to the manufacturer, this output is nearly constant throughout its linear CCT that goes from 1,800–10,000K, with CRI and

www.dts-lighting.it

A fusion of light

According to the manufacturer, thanks to the ring surrounding the front lens, the visibility of the pixels in the camera has been significantly improved. The pixels are

clearly visible even from very acute camera angles, whereas the lens is retracted far back into the housing in a conventional design, due to the zoom mechanism. The fanless

design provides extremely quiet operation, which also makes the new LED stick ideal for noise-sensitive environments.

Various installation options are said to offer even greater flexibility and creative experimentation.

The individual FS16 Z LED sticks can be connected to one another without difficulty, so that both vertically hanging and groundstanding installations can be implemented with minimal rigging effort. Two different dimmer curves and four control modes up to a maximum of 79 DMX channels are available.

The built-in FX engine is said to make it easy to create impressive, dynamic looks. www.glp.de

November–December 2021 PRO AVL ASIA 97

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BUSINESS: ANALYSIS

ISE 2022 ISE managing director Mike Blackman discusses the show’s long-anticipated move to Fira de Barcelona, scheduled for 1–4 February 2022

At this time last year, you referred to the uncertainty of putting on the 2021 show, comparing it to rolling the dice. Is there more certainty this time around?

You are right, there was a lot of uncertainty last year. The past 18 months have been challenging for everyone, but it does feel much more positive now, although we are not totally out of the woods yet. At ISE we’ve remained agile, listening to what our industry wants while responding to an ever-changing landscape caused by the pandemic. The clear message from our research is that AV professionals do want an event and in-person networking. We are proud that we achieved two safe live events in 2021 during such an enormously difficult time as well as curating an engaging online experience through ISE Digital.

What does the Fira offer you that wasn’t possible in Amsterdam?

Amsterdam certainly served us very well and over the years ISE grew significantly there but, as I have said before, we had reached the time when a move was needed to be able to continue to develop new ideas and content and offer the industry a great in-person experience. The ISE event in Barcelona in June 2021 was well-supported and a fantastic taster of what is to come. Our partners from the city, from Catalonia and across Spain all welcomed us with open arms, and we made some great connections. It was thrilling to see so many people there from all elements of the industry, enjoying some great sessions on the Main Stage and taking part in the AV Experience Zone, the content of which was in Spanish. The large, modern facility that is the Gran Via, Fira de Barcelona is ideal for the ISE experience. We know it will take time for the ISE team, exhibitors, partners and visitors alike to settle into our new venue, but it will also be fun discovering the new and exciting features and events.

Already, the floorplan is looking very good. Once again, we are using Technology Zones to group together exhibitors with similar technologies; this approach makes it easier and quicker for attendees to find and compare the solutions they are looking for. While previously there were space limitations for some of these zones, this is no longer the case, so more companies have been able to take stands in their preferred

location, and we are also welcoming many companies new to ISE this year.

We have created five Technology Zones: Audio (Hall 7), Digital Signage & DooH (Hall 6), Lighting & Staging (Hall 7), Residential & Smart Building (Hall 2) and Unified Communications & Education Technology (Hall 2).

Has the announcement that NAMM has postponed its show from January to summer 2022 affected your confidence that ISE will go ahead in Barcelona just 10 days after the original NAMM dates?

For any large, in-person event, it is important to take into consideration that each region is experiencing different conditions relating to the spread of Covid as well as vaccination uptake. The US Covid case rate (per 100,000) is currently much higher than the Spanish and the EU average.

In fact, many European countries are gradually relaxing their restrictions. However, we will continue to keep a very close eye on all developments. The current outlook is positive for a successful in-person ISE 2022 and we are confident we can deliver the show that the industry tells us it wants, and we will remain vigilant and agile in our planning.

Last year you carried out a thorough WHO risk assessment – what have you needed to do for next year’s show?

As attendance at physical events continues to grow, people are getting used to travelling and safely meeting up again.

We will continue to work closely with the venue and all appropriate authorities to ensure ISE 2022 will remain a safe and Covid-compliant event. We will be monitoring the situation closely and will provide updates as we get closer to February 2022.

What do you think of the current AV and integration market trends and what will dominate the next edition?

Our industry is at the forefront of many trends that have accelerated through the impact of the pandemic across

the world, and technological innovations in several of these areas will be showcased at ISE. Unified communications have become more important than ever, and the technology is moving forward at a super rate.

The integrations and partnerships that are facilitating this rapid evolution are a testament to our industry. With the rise in remote working, and with many corporates no longer requiring their employees to attend the office full-time, it’s becoming even more important that offices are well equipped to enable collaboration between colleagues, whatever their location. We will see many exhibitors in the Unified Communications & Education Technology Zone and throughout the ISE show floor, highlighting solutions to improve the meeting and collaboration experience.

There is also an increased appreciation of the importance of audio in meeting rooms, leading to greater demand for microphone arrays, beam-steering speakers to direct sound where it’s needed and digital signal processing (DSP) to improve intelligibility. The pandemic has also increased the appetite for nontouch solutions in pro AV and we can expect to see more of these being launched next year. Voice control solutions have not always given a good user experience in the past, but a significant development is that Alexa for Business can now be integrated into many UC solutions for voice control of meetings and other “digital assistant” functions. Another area that is very exciting at the moment is live events. It’s been a very tough year for this sector, but the pivot to online events has seen a surge in the adoption of innovation such as holographic technology. It will be interesting to see how this technology is used to enhance the experience of live/hybrid and digital events over the next 12 months.

There has been increased demand in the residential AV sector as well, as homeowners, property developers and architects and designers are creating hybrid spaces to live, work and play, creating connected homes featuring immersive spaces. There has also been a growth in wellness solutions as organisations across the world recognise the importance of wellbeing and mental health. www.iseurope.org

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ART 9 SERIES A giant leap

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#ExperienceRCF

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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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