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ProAVLAsia September–October 2020


STAR STRUCK Meyer Constellation at JIExpo




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Contents Volume 19 Issue Five September–October 2020

NEWS BUSINESS Global AV report shows future promise


DISTRIBUTION Cheng Seng Trading to represent beyerdynamic in Taiwan


APPOINTMENTS Cherian George joins Fohhn Audio AG


EDUCATION Audac unveils long-term platform


SPECIAL REPORT Phil Ward takes a look at broadcast post-Covid-19


SPECIAL REPORT International momentum for Digital Light Windows


PROJECTS Sovico installs a QSC system at Kyung Hee University


FEATURES BIG BANG THEORY Meyer Sound’s Constellation system at JIExpo, Jakarta


NEW GENERATION ACCOMMODATION Millennial-friendly touches at Capri Hotel 52 USER-FRIENDLY UPGRADE PxD transforms performance spaces at Sydney school 54 BELLS TOLL FOR K-ARRAY New AV package for Singapore’s Chijmes


STRIKING GOLD Redfish Technologies upgrades Western Australian courtroom


STARS OF THE FUTURE New auditorium for Nexus International School (Singapore)


SETTING THE TONE Lambodara Studios opens in Navi Mumbai


FULL CIRCLE CCTV 360 Studio upgrades with China’s first SSL Duality Pro-Station


BUSINESS LETTER FROM AMERICA Dan Daley considers the safe reopening of recording studios 70 LETTER FROM EUROPE Phil Ward explores the virtual crowd concept


COMPANY PROFILE UK’s rising LED processor specialist, Brompton Technology 72 COMPANY PROFILE Marshall Day conquers the Middle Kingdom


TECHNOLOGY Exterity explains why IPTV and digital signage are key to workplaces


PRODUCTS The industry’s most comprehensive product news


ANALYSIS Genelec’s new logistics centre: a masterpiece of sustainability

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

I don’t usually sit down to write this column in a nostalgic frame of mind. Generally, when we reach this stage in our production cycle, we’re celebrating the completion of another issue and looking to the future. However, this time around, two things are giving me cause to look back in time. At the beginning of this year, I travelled to Finland to visit Genelec’s lakeside facility to report, among other things, on its sparkling new logistics centre (Business Analysis, p.106). This was very much in the pre-Covid era and would turn out to be my first and last overseas trip for the magazine this year. We were hearing about the virus at this stage, but it seemed like a distant concern. Apart from an increasing amount of facemasks at the airports I passed through, and a slight sense of foreboding at the cancellation of a growing number of tradeshows, the world was pretty much as we knew it to be. How fast things moved after that. In our line of work, we’ve always hopped on and off planes as if they were buses, seeking out new developments and contacts around our evershrinking world. Freedom to travel at will was one of many things we took for granted. But our travel will doubtless resume and, in the meantime, technology is enabling us to carry on remotely. The company profiles in this issue – Brompton Technology (p.72) and Marshall Day (p.74) – are both great examples of how video technology can bring interview subjects into focus. The second issue giving rise to nostalgia – not just for me but our entire team – reaches further back in time. Raymond Boey, our Singapore office manager, is retiring after 18 years with Blank Canvas Publishing, having joined when Richard Lawn first set up Pro Audio Asia in 2002. For some of us, our association with Raymond goes back even further to the nineties, when we all worked for various outposts of publishing giant Miller Freeman, and Raymond was assigned to a fledgling publication called Pro Sound News Asia, which became the crucible for the magazine you read today. I will never forget Raymond collecting me from Changi on my first-ever trip to Singapore in 1998 and conducting a whistlestop tour to acquaint me with this intriguing new city. His hospitality and kindness whenever one of our team visits Singapore has equalled his calm, professional hand on the helm, steering us through the sometimes obstacle-strewn channel of publication, printing and distribution. Raymond, you will be most missed, definitely not forgotten, and very firmly on our radar whenever we can get back to Singapore.


Contacts GENERAL MANAGER Richard Lawn T: +44 1892 676280

ADVERTISING DIRECTOR Sue Gould T: +44 1892 676280

SENIOR REPORTER Simon Luckhurst T: +44 1892 676280

EDITORIAL COORDINATOR Karen Wallace T: +44 1892 676280

VIDEO EDITOR Chris Yardley T: +44 1892 676280






PRODUCTION MANAGER Adrian Baker T: +44 1892 676280

SINGAPORE OFFICE Raymond Boey T: +65 6457 2340

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

SALES ASSOCIATE Carolyn Valliere T: +1 562 746 1790

CIRCULATION Marne Mittelmann F: +65 6491 6588






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



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

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Global AV industry set to contract by US$20 billion in 2020 due to pandemic WORLD

AVIXA’s 2020 AV Industry Outlook and Trends Analysis (IOTA) report predicts the global pro AV industry is set to decline from US$259 billion in 2019 to US$239 billion in 2020 due to the Covid-19 pandemic. However, the 2020 IOTA also shows the industry regaining its pre-Covid levels in 2022 before growing to US$315 billion in 2025, a 5.8% five-year compound annual growth rate (CAGR), driving revenue of US$56 billion beyond its 2019 level. “The Covid-19 pandemic has broadly impacted the near and longer-term outlooks for economic growth and business activity,” said Sean Wargo, senior director of market intelligence, AVIXA. “Those who have followed AVIXA’s previous forecasts will note the new estimates represent a significant downward revision. Regions and industries are being impacted at different degrees and are on different timetables for recovery. For example, Asia Pacific will weather 2020 better than others, because it was the first to be impacted by Covid-19 and the first to re-open its economies.”

IOTA regional revenues A 7.4% CAGR is forecast for APAC for the five-year period, compared to 4.7% for the Americas and 4.5% for EMEA. In 2025, APAC pro AV revenue will amount to US$126 billion, compared to US$108 billion for the Americas and US$81 billion for EMEA. The corporate market – capturing US$52 billion in global revenues in 2020 –

remains the largest for pro AV products and services. Although a much smaller revenue opportunity at US$7.3 billion, the energy and utility business will generate much higher growth, with revenue rising at a CAGR of 10.4% due to investments in smart grid and sustainable energy sources. Conferencing and collaboration remain the largest solutions

area, generating US$38 billion globally in 2020. As employees return to work in a limited capacity, AVIXA analysts anticipate more need for collaboration among on-premise and remote working. The fastest-growing solution with an 11.4% CAGR is security/surveillance/life safety, with government and military, education and corporate generating the most demand due in part to pandemic response, and city surveillance a significant market for security cameras. Among product segments, streaming media, storage and distribution (SMSD) is projected to be the single largest component of pro AV revenues, generating US$68.5 billion in 2020, at 9.6% growth, one of the highest of the categories. The 2020 IOTA report, produced by AVIXA in conjunction with global research firm Omdia, can be found at avixa.org/IOTA. Regional IOTA reports for the Americas, APAC and EMEA will be released in the coming months. www.avixa.org

Active Audio and APG establish Arbane Groupe WORLD

French audio manufacturers Active Audio and APG have formed Arbane Groupe to unify the two brands under the same corporate entity. The formation of the group completes the pair’s strategic alliance star ted in 2016. Its mission is to offer unique solutions with a par ticular focus on directivity and improve the intelligibility and fidelity across all points of a par ticular venue. Both brands will continue to offer audio solutions that meet those needs, building on their existing international network of distributors, while at the same time

being able to draw on common synergies, par ticularly in production and marketing. “For the past four years, APG and Active Audio have been able to leverage a number of technological and organisational synergies, suppor ted by strategic recruitment and exceptional results,” commented Régis Cazin, CEO of Arbane Groupe. “We’ve seen many successful innovations come directly from our strategic alliance, including APG’s Uniline Compact and Active Audio’s Ray-On. The creation of Arbane Groupe is the natural outcome of our strategy of

bringing together and perpetuating the two brands.” The group takes its name from a variety of grape used in the production of

Champagne which, as Cazin explained, shares many similarities with the two audio manufacturers. “This name per fectly illustrates the philosophy and the common approach of our brands. Robust and singular, it is chosen by some Champagne winemakers in order to stand out from other, more standardised and mass productions. It may not be the best-known grape variety, but it is distinguished by the excellence of its results.” www.activeaudio.fr www.apg.audio

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Clair Global acquires Eighth Day Sound USA

Two world-renowned touring and sound reinforcement companies have joined forces to focus on building industry capabilities during the pause created by Covid-19, as Clair Global announces the acquisition of Eighth Day Sound Systems, with a specific goal of supporting dedicated relationships for touring customers from both rosters. Prior to the industry slowdown, Eighth Day president Tom Arko and Clair Global owner Troy Clair discussed a union that would improve and strengthen future touring support. Scheduled to be announced in early April, the declaration was delayed because of the pandemic’s worldwide impact on the industry. With offices in Cleveland, Los Angeles, London, and Sydney, Eighth Day Sound will also complement the installation division of Clair Global. A joint statement issued by Clair and Arko stated: “First and foremost, our hearts and thoughts are with our colleagues and families affected by this sudden work stoppage worldwide. While the impact is huge, we encourage all to stay healthy and focus on the future. We’ll get through this and return to work when we can safely gather again for production events.”

Sharing the same philosophies, the two family-owned companies combine to offer a broad range of premier speaker brands, as well as the increased availability of a more extensive audio equipment base and flexibility from an expanded global presence. The two companies will continue their long-term relationships with manufacturers, which span many years. “It was a good idea then and an even better idea now,” continued Arko from his headquar ters in Cleveland, Ohio. “By using this available time, we’ll emerge prepared with all the needed resources to ser ve a global customer base effectively. We see it as one world, one focus and

one company. Perhaps more impor tantly, the union ‘keeps it in the family’, with both companies entirely family-owned and operated. Because of our respected mutual values, I have no doubt the passion for the audio industr y will continue in this new venture and become a better solution to meet the needs of the industr y ahead.” The Eighth Day Sound brand will be maintained and will conduct business under the same management and with the same staff. Founded in 1980, its pedigree stretches back almost as far as that of Clair Brothers, which star ted business in the mid-1960s. The company

will become a standalone brand under the Clair Global umbrella, joining Britannia Row Productions in the UK, JPJ in Australia, and AudioRent Clair AG in Switzerland. Based in Pennsylvania, Clair Global is a participant in the Rock Lititz live events production community. “No one can predict the future, but we believe in the future of live events,” commented Clair. “Once it is safe, we fully expect there to be an even greater demand for live enter tainment, and we will be prepared to ser ve that demand.” www.clairglobal.com www.8thdaysound.com

Sennheiser consolidates business WORLD

completely to these two business areas,” added Dr Andreas Sennheiser, co-CEO of the company. “Sennheiser has always stood for excellent sound quality and extraordinary audio experiences since its foundation 75 years ago – this is what we will continue to stand for in the future.” The changed organisational structure will result in job cuts throughout the company, particularly in corporate functions such as supply chain and operations. Measures under consideration include not filling open

Amidst the publication of its 2019 financial report, Sennheiser has announced plans to cut approximately 650 jobs by the end of 2022 in the wake of the Covid-19 pandemic. The German audio manufacturer currently has a total workforce of just over 2,800 employees. It’s expected that nearly half of the losses will come from within Germany. The company cites both the long-term effects of the pandemic, such as the cancellation of live events, as well as “accelerated dynamics” in the consumer headphones market which has declined by 30–40% in recent months, as the reason for the decision.

“We look back on a rather mixed fiscal year 2019. In addition, we face major challenges this year due to massive changes in the consumer market and the declining demand for audio products because of the Covid-19 crisis,” stated Daniel Sennheiser, co-CEO of Sennheiser. “In order to position the company for a successful future, we will adapt our organisational structure to the changing conditions and align it with the new requirements.” “We will continue to focus on our core competencies and further strengthen both our consumer and professional divisions by transferring operational responsibility

positions, a voluntary redundancy scheme and severance options, in addition to opportunities for partial and early retirement. “We are a family-owned company and every single one of our employees is part of the team. With this in mind, these have been very difficult decisions to make and it is important to us primarily to avoid redundancies and to find individual solutions together with employees,” said Dr Andreas Sennheiser. www.sennheiser.com

Andreas and Daniel Sennheiser

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Believe in Music week to replace The NAMM Show 2021



Originally scheduled to take place at the Anaheim Convention Centre in January 2021, The NAMM Show has been replaced with a virtual format in light of the pandemic. The new online event, named Believe in Music, will be held over the week of 18 January 2021 and feature a mix of programming and professional education, as well as an interactive marketplace to connect buyers and sellers. The organisation says that while this won’t be a virtual tradeshow, it will meet the needs of its member companies through thought leader-led education for all segments of the industry, networking and AI matchmaking, and businessto-business-focused opportunities.

Tradeshow news USA: NAB Show New York 2020 will no longer take place this year in its physical form, transforming instead into a 10-day virtual

event taking place from 19–29 October. The virtual format will provide education opportunities and showcase advances in next-generation technology.

“While it remains unsafe for us to gather in person in January, Believe in Music week will use new, intuitive technology to connect us all to harness the incredible energy that happens when we come together,” commented Joe Lamond, NAMM president and CEO.

ISE 2021 to go-ahead, posing “low” risk for attendees

USA: Questex has cancelled Live Design International (LDI) 2020, scheduled to run from 23–25 October 2020 at the Las Vegas Convention Center. The next LDI will now go ahead from 19–21 November 2021. CHINA: Messe Frankfurt (HK) has announced the cancellation of the 2020 edition of Prolight + Sound Shanghai, originally scheduled to take place during the final week of October. Instead, an online conference will take place from 28–31 October to provide extra resources and support to those who cannot travel to Guangzhou. JAPAN: Tokyo’s InterBEE, due to take place from 18–20 November, has been cancelled and will now be held online to provide “a comprehensive overview of the media and entertainment-related industries in the new normal society of the after-corona era”. INDIA: InfoComm India 2020, which had been rescheduled to take place from 19–21 November 2020 having been moved from its original slot in early September, has been cancelled due to mounting concerns

over public health and safety. A virtual threeday exhibition and conference, InfoComm India 2020 GoVIRTUAL, will take place from 18–20 November 2020 in its place. The next InfoComm India is being planned for 15–17 September 2021.

“With a robust marketplace to launch new products and share your brand story, Believe in Music will also feature networking and matchmaking for our buyers and our sellers, education for all segments of the industry, and live music and concerts. And just like at all NAMM events, these activities will raise awareness and financial support to serve our NAMM family across our Circle of Benefits model. Believe in Music week will be a critical step for our industry to help us prepare for the new year and new opportunities.” The industry’s annual events, including the 36th TEC Awards, will now take place during

Believe in Music week as well. The 36th TEC Awards will recognise the individuals, companies and technical innovations behind the sound of recordings, live performances, films, television, video games and multimedia. “If there’s any one common vision, it’s that as a global community, we believe in music,” added Lamond. “We believe in the future of music and, in the future of our industry, and, in this moment, we will unite and support music makers around the world.” www.believeinmusic.tv www.namm.org

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Having carried out a risk assessment for the upcoming Integrated Systems Europe 2021 exhibition, the organisers have stated that the show poses a “low” overall risk of transmission and fur ther spread of the Covid-19 virus. The measures for ensuring a healthy and safe environment for ISE 2021 have been published by Integrated Systems Events and are available as a set of guidelines for exhibitors, ISE and Fira de Barcelona staff. The show will take place at the Fira de Barcelona, Gran Vía on 2–5 Februar y 2021. “We have understandably had many questions from exhibitors and others about how ISE 2021 will be affected by the continuing public health situation,” stated Integrated Systems Events managing director, Mike Blackman. “A Guide to Safe Exhibiting explains the adjustments that we and our exhibitors will need to make to ensure that the show is as safe as it can possibly be. The situation continues to evolve and we will update the guide if any changes to the strategy are required. We remain committed to holding ISE 2021 at the Fira next Februar y as an in-person event.” A Guide to Safe Exhibiting is organised into four sections: Actions by Fira de Barcelona and ISE; Stand Design; Stand Management; and Visitor Guidance. Each section contains essential measures in the areas of health and safety; traffic flow and visitor management; staff, stand personnel and supplier working; and social distancing. www.iseurope.org www.firabarcelona.com

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Duskin Rental selects SIXTY82 JAPAN

More than 400m2 of STAGE82 Hexa Desks from SIXTY82 have recently been delivered to the Duskin Rental Chiba Event Center in Japan. With over 300 outlets throughout the countr y, Duskin is one of the largest rental franchises in the countr y, known for its expansive and diverse product inventor y suitable for a broad range of purposes. Triggered by a growing demand for staging in general, the organisation decided to venture into this market and approached SIXTY82. The sale makes Duskin the owner of the largest quantity of STAGE82 products in Japan. Due to the nature of the Duskin business, the criteria for choosing the right brand were safety, user-friendliness and versatility. Based on this, an extensive internal sur vey was initiated which resulted in SIXTY82 Doughty Japan (SDJ) being selected to become the supplier for Duskin rental across all of their 300 branches with the STAGE82 staging series. “The key points in why our organisation decided to choose SIXTY82 over other

brands are the high loading capacity of 750kg/m2, the unique RFID traceability and the options such as modular stairs increasing simplicity for users as well as decreasing our investment while increasing our returns,” explained Mr Kishira, managing director of the Chiba branch. “Having SDJ nearby also makes communications easier, while also allowing fast ser vice and having stock available quickly from their Tokyo warehouse.” While the Duskin STAGE82 fleet has seen some use, events in Japan have suffered during the Covid-19 outbreak. As it waits for the industr y to recover, it is investing considerable resources into simulations used to train and educate personnel in the use of their new STAGE82 decks. As soon as the first big events hit Japan, Duskin will be ready and will have the equipment and exper tise to back it up. www.sixty82-doughty.com

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Elite Event Technology gears up again AUSTRALIA

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Elite Event Technology has recently invested in another 48 Astera AX1 PixelTubes and 48 AX5s to join the 96 AX1s added to its inventor y at the end of last year. The new equipment was supplied by Astera’s exclusive distributor for Australia and New Zealand, ULA Group. Elite’s owner, Darren Russel, explained how he and his lighting team were initially looking around for a multi-PAR-style fixture to replace the various types of older multiPARs the company had accumulated in hire stock. After seeing Astera products at a tradeshow, Russel decided to invest in a substantial quantity of the Astera AX1s. The first 48 AX1 units were purchased for general stock and were so popular that they were quickly followed by another 48. All 96 AX1s were deployed at a gala dinner at Parliament House, the seat of the Australian government, for which Elite

is the in-house audiovisual supplier. Forty AX1s were deployed as table centres, with 56 more built into a chandelier flown in the centre of the Great Hall. All 96 units were then pixel-mapped. “They are so lightweight and handy that there is almost no limit to how and where they can be used,” explained Russel, adding that the Astera App control in conjunction with iPad is “a very quick, straightforward and cost-effective way of getting lighting up and running without the need for a console”. For Elite, the lights have proved ideal for numerous applications, from room lighting to table centres, architectural illumination to highlighting gardens and pathways, and from stages and music shows to car launches and brand activations. Darren Russel with the Elite Team


Shure and Brightline partner with Logitech WORLD

With a goal to deliver superior video collaboration solutions for meeting rooms of all sizes, Shure has announced a collaboration with Logitech. The Logitech Collaboration Program (LCP) is a customerfocused programme promoting

business partners,” commented Shure director of global systems marketing, Chris Merrick. “This brings together the quality of Shure’s audio ecosystem with the strength of Logitech’s video to provide options for the best virtual conferencing experience.”

enhanced relationships with par tners. Customers who purchase Shure’s Microflex advance ceiling array, tabletop microphone, IntelliMix P300 audio conferencing processor and Microflex wireless microphone products together with select Logitech Video Collaboration products now receive a solution that is optimised for groups to collaborate. The combined result creates simple, scalable and consistent premium audio, says Shure. “Shure and Logitech working together in the video conferencing space creates exceptional new opportunities for our joint end customers and

Meanwhile, Brightline has also joined the LCP to partner its professional LED lighting solutions with Logitech Room Solutions for Zoom Rooms, Microsoft Teams Rooms and Google Meet. Initial Brightline products included in the programme are the cMe2 huddle room light and Flex-T ceilingmounted fixtures. Brightline also plans to include its i-Series desktop fixture for interpersonal collaboration, which is being redesigned to address the growing demand of at-home video conferencing.

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Creative Productions Australia formed after merger AUSTRALIA

Creative Productions Australia has been created by the merger of two leading Australian rental houses – Gold Coast-based Creative Productions and Melbourne’s MPH Australia, founded and led by Dave Jackson and Matt Hansen, respectively. The new company also has a third base, in Sydney, allowing it to offer clients its equipment and services across the country, in particular the busy southeastern Australia region. Audio, lighting and video rigs can be duplicated or triplicated, and trucking costs reduced, allowing Creative Productions Australia to offer a competitive and viable service. “It’s a bit of a crazy time to do this in some ways,” said Jackson, CEO of the new company, which the pair had planned to announce in Frankfurt in March. “We both see this time as a great chance to prepare a strong and stable

Dave Jackson

Matt Hansen

operation for moving forward as the lockdown starts being lifted and the industry restarts. We are confident for the future.” Added Hansen, who assumes the role of head of business development: “Both

companies were in a similar position when we started talking. We both wanted to expand, and we had similar inventories, outlooks and goals and a lot of mutual respect. Joining forces enables all of us

Powersoft sales to benefit Crew Nation support initiative

to grow, develop and continue being at the forefront of production excellence for many years to come.” The consolidation of respective equipment gives Creative Productions Australia a substantial inventory, for example, becoming the largest stockholder of Robe moving lights in Australasia, with over 2,000 fixtures. In addition to the consolidation of inventory and staff, as well as the logistical and strategic advantages it can offer, the company is planning substantial investment to keep up with latest technology. “Being privately owned and in control of our own destiny will ensure that we can make agile and smart decisions and take opportunities swiftly and decisively,” said Jackson. www.creativeproductions.com.au

Black Box and IDK join SDVoE Alliance CANADA

The SDVoE (Software Defined Video over Ethernet) Alliance has announced that Black Box and IDK Corporation have joined founders Christie, NETGEAR, Semtech and ZeeVee as steering members. The six companies have seats on the board of directors along with Grandbeing, a contributing member, and Justin Kennington, president of the alliance. Entering its fourth year, the SDVoE Alliance now has 50 members, over 200 products and more than 1,100 certified SDVoE Design Partners.

Added Ryohei Iwasaki, executive director, IDK Corporation: “We take our expanded responsibility to educate our customers and promote SDVoE solutions all over the world very seriously.”

Justin Kennington from the SDVoE Alliance ITALY

Powersoft has pledged to donate 5% of proceeds from all its touring amplifier platforms sold between 27 July and 15 October to Crew Nation, the fund launched by Live Nation to support touring and venue crews whose livelihoods have been destroyed in the wake of Covid-19. “Like every person involved in the industry, we know how difficult the last months have been for professionals in the live event industry; in particular the touring and venue crew who are completely dependent on live shows to survive,” said Powersoft’s brand, communication and trade marketing manager, Francesco Fanicchi. “We spent time doing research to find the right organisation to partner with, and eventually we came to realise that Crew Nation would be the perfect channel. Although it is difficult to make any assumptions on sales levels during this period, we will use our marketing capabilities to promote this operation to industry professionals in the hope that we will raise a significant contribution to Crew Nation.”

The campaign will be spread across media including web banners, newsletters, social channels and the international trade press. “As an Italian company, we are at the forefront of this unprecedented situation,” added Fabrizio Romano Bolzoni, sales manager, rack amps. “We want to make ourselves engines and promoters of commendable initiatives to support the people in our sector, and we asked our worldwide sales networks to promote this initiative as much as they can, in order to raise awareness for something that is really impacting the live music industry.” Live Nation kickstarted the Crew Nation fund – powered and administered by the Music Forward Foundation charitable organisation – by contributing an initial US$5 million and committing to match the next US$5 million given by artists, fans and employees. Artists including Coldplay, Miley Cyrus, Metallica and John Mayer are among those who have already shown their support and donated. www.powersoft.com

Black Box’s Jonathan McCune “We welcome Black Box and IDK to leadership positions in the SDVoE Alliance and look forward to the contributions they will make in their new roles as we continue to have a profound effect on the industry, driving the demise of dedicated matrix switchers and proprietary AV-over-IP,” said Justin Kennington, president of the SDVoE Alliance. “As one of the original members of the SDVoE Alliance, IDK Corporation has made a significant investment in product innovation, engineering, marketing and customer support for their SDVoE product line as a crucial part of their strategic roadmap. Black Box has been an enthusiastic member of the SDVoE Alliance since they joined us just over a year ago. They have qualified members of their staff as SDVoE Design Partner trainers and have put on live in-person and virtual events for recordbreaking audiences.”

Ryohei Iwasaki from IDK Corporation “SDVoE technology is by far the most promising technology in any AV category and Black Box is committed to leveraging our knowledge and know-how in IT infrastructure and AV to aid in the growth of the SDVoE Alliance,” said Jonathan McCune, director of product management, AV and infrastructure at Black Box. “SDVoE is the backbone of our next-generation products for both AV/IT solutions and integrated AV/IoT solutions.” www.blackbox.co.uk www.idkav.com www.sdvoe.org

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PSA TGP formed to provide Covid-19 guidance



The PSA Tour Production Group has been formed by professionals from throughout the global concert touring industry in order to provide a unified response on live music events in regard to Covid-19. The group is a new arm of UK trade body the Production Services Group, which works with artists of all levels. Its formation centres around the touring community getting back to work safely and supporting its survival in a prevaccine Covid-19 era. Take That’s touring productions operate under the helm of production manager, Chris Vaughan. “We have brought together the leading experts in live music concert touring to agree on how tours should be run whilst the threat of Covid-19 remains with us,” he commented. “Production and tour managers are responsible for the operational, logistical, financial, creative and technical delivery of concerts around the world and, as such, we are proposing a series of guidelines that can be practically and realistically implemented.”

Last year’s BST event in Hyde Park The group acknowledges that tour-specific guidelines will become the norm in order for live production professionals to work and interact safely and offers workable solutions that scale in accordance with current, regionalised threat levels. Sam Smith’s

production manager, Wob Roberts, added: “Covid-19 is an unwelcome addition to the rider yet there’s no better group of people to find the solution than those that deliver shows for a living. More than a document, this is intended to be a responsive set of

protocols that efficiently move with a changing environment.” The Covid-19 Working Procedures Guidance outlines how touring productions – which include one-off shows, festivals and live events of any size that require moving personnel and equipment to a new destination – can better align with suppliers, venues and promoters through consistency and consultation to assist risk management relating to Covid-19 transmission. Based around a hierarchy of control – including elimination, substitution, engineering controls, administration and PPE – and a responsive threat scale, the guidance details different levels of design, schedule and control measures appropriate to conditions. These measures include social distancing, health declarations and monitoring, hygiene and cleaning, and mitigation. The procedures aim to offer unity and hope; a collective voice of peer support and best practice. www.psa.org.uk

Grass Valley acquisition completed WORLD

Headquartered in Montreal, Grass Valley has announced the completion of its acquisition by private equity firm, Black Dragon Capital from Belden Inc. Announced earlier this year, the completion of the transaction puts Grass Valley in an ideal position to leads the media industry’s transition to a cloud-based future and pay-asyou-go business models. With Black Dragon Capital now assuming full control of Grass Valley and all of its assets, Belden will maintain a financial interest in Grass Valley. As such, Belden has entered into a multi-year Transition Services Agreement to ensure the smooth handover of key business and operational systems from Belden to Black Dragon. With the acquisition complete, Grass Valley will continue its dayto-day activities under the leadership of the company’s president, Tim Shoulders.

Black Dragon’s founder and CEO, Louis Hernandez, Jr

Grass Valley president, Tim Shoulders

“Grass Valley has shown itself to be the transformation par tner for our customers

time and again, leading the way with the transition from SDI to IP and now again

with the move to cloud-based and SaaS solutions,” commented Shoulders. “By leveraging Black Dragon’s experience, Grass Valley will be able to more effectively develop and deliver solutions that lead the media industr y through its own digital transformation. The coming months will see us build on the recent successful launch of GV AMPP, the cloudenabled, SaaS platform built specifically for broadcast. I’m thrilled to be at the helm as we work closely with Louis and his team to identify the most mutually beneficial ways to meet the needs of those in the media technology industr y. There’s oppor tunity for growth as we transition to a software-defined future.” www.blackdragoncap.com www.grassvalley.com

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EditShare opens new Singapore office SINGAPORE

EditShare has expanded its APAC operations by opening a new office in Singapore, led by newly appointed vice president of sales for APAC, Alan Dishington. The company, which specialises in collaboration, security and intelligent storage solutions for media creation and management, reports that growth of content creation and consumption, together with remote production across all market sectors, has led to a greater demand for its cloud-based solutions.   Dishington has previously led business development for Tivo, Accenture and Cisco across the region. Joining him areFeaturing Tze Ming

Ng as regional sales manager and William Tay in the role of pre-sales engineer for APAC. The new roles will support EditShare’s growing customer base in the region, which includes media giant Tencent Video, the Beijing Film Academy and NHK, as well as the region’s growing demand for remote solutions. “Asia is a strategic market for EditShare. Having a knowledgeable team on the ground enables us to better serve our partners’ and customers’ business needs,” commented Rob Adams, vice president of worldwide sales.

eight legendary 1073® remote-controlled preamps with Marinair® transformers, digital/analogue monitor signal path www.editshare.com and optional USB and Dante digital connectivity for the modern studio environment.

AVIXA realigns business WORLD

AVIXA has written to its members informing them that it has completed a “strategic realignment of the business” following recent strains brought on by the pandemic. While no specific figures have been given, this restructuring has resulted in “a number of job positions being eliminated entirely”. A letter to members from CEO David Labuskes reads as follows: “We write this letter to share difficult news with all of you. Due to the pandemic and the dramatic impacts to our industry, AVIXA has completed a strategic realignment of the organisation. Throughout this time, we have chosen to focus on the three priorities we face: balancing the needs of our members, the needs of our business and the needs of our team. Unfortunately, this focus has resulted in a number of job positions being eliminated and, while we respect the privacy of our employees and the sensitivity of this matter, we also felt it important to share with our member community the impact of these changes. “While difficult to act on, these changes must position AVIXA to support our industry in 2021 and beyond. If we’ve learned any lessons in 2020, one of them is that we cannot clearly anticipate all futures. We don’t know when tradeshows will come back. And we don’t know what they will look like when they do, but we do know that this industry will continue to grow in importance and vitality.” www.avixa.org


8424 The modern analogue console for today’s connected workflows Legendary 80-series Neve® sound, 4 Groups, 24 Channel faders Connect. Compose. Create. DESIGNED & CRAFTED IN ENGLAND BY NEVE ENGINEERS


w w w. a m s - n e v e . c o m Further product information available by scanning the QR code (left) or visiting ams-neve.com. Neve® & the Neve logo are registered trademarks of AMS Neve Limited. All other trademarks are the property of their respective owners.

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beyerdynamic unites Cheng Seng Trading into its network TAIWAN

Cheng Seng Trading Co Ltd has been appointed as the sole distributor for the German microphone manufacturer beyerdynamic in Taiwan. Founded in Taipei in 1959, the established supplier of North American, European and Japanese consumer and professional electronics, audio, video and photography products serves an extensive network of dealers, department stores and e-commerce platforms. Among other leading brands, the portfolio comprises Genelec, Røde, Sennheiser, Zoom, Tascam, Hughes & Kettner, Roland, Arri, Sound Devices, Canon and Atomos. “We believe beyerdynamic products are a great fit for our customers in the Taiwanese market,” explained Cheng Seng’s sales and director VP, Jeffrey Chiu. “Following extensive negotiations with beyerdynamic’s APAC sales and marketing director, Kamal Mahtani, we were happy to conclude terms of business as our philosophies closely align. Their professional products complement our other brands perfectly and we fully believe that we can better promote their highly reputable and reliable microphones, headphones and other audio products, including their translation systems, here in Taiwan.” Chiu is aware of the challenges that lie ahead but insists that its professional systems integration team is looking forward to introducing beyerdynamic’s portfolio to its customers in the corporate, government and professional studio sectors. “Taiwan is a mature market with its own long-established wireless and OEM microphone brands, so customers here demand world-leading brands and products,” adds Chiu. “Cheng

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Cheng Seng Trading’s team is looking forward to introducing beyerdynamic to its Taiwanese customers Seng fulfils a vital role like a bridge between the manufacturer and the end user and, over the past six decades, we have built a strong reputation among rental production companies, TV stations and broadcasters. In addition, to promoting beyerdynamic’s products and technologies via our wide range of online, offline and e-commerce marketing channels, we will be fully engaging with YouTubers, KOLs, Instagrammers and podcasters, together with a series of

Taiwanese artists and celebrities.” While beyerdynamic’s portfolio of consumer products continue to be distributed on the island by Digi Power Science & Technology Co Ltd, Mahtani is excited to be working closely with the long-established group. “Commanding vast experience with a rich portfolio of leading brands, Cheng Seng has earned great respect within their country for over 60 years. Having appointed this multigeneration, family-owned business into the

beyerdynamic network, we are welcoming a formidable partner. Their connections within online and traditional markets mirror beyerdynamic’s growth and expansion requirements and, as such, we are looking forward to furthering a fruitful business relationship.” www.beyerdynamic.com www.chengseng.com Video: https://youtu.be/XTG7ZhyvugE

Exertis ProAV Australia demonstrates powerful hearing techniques AUSTRALIA

Headquartered in Adelaide, Exertis ProAV Australia has announced the addition of Leyard, Planar and Taiden to its growing portfolio. “Leyard and Planar’s commitment to highquality, leading-edge display technology is unparalleled,” commented Exertis ProAV Australia president and CEO, Kevin Kelly. “With innovations in videowalls, large-format displays and touch interactivity, Leyard and Planar offer the best visualisation solutions for a variety of demanding vertical markets around the globe.” Leyard and Planar regional sales director for Southeast Asia, Australia and New Zealand, Valentin Munoz, is impressed with the Exertis ProAV setup. “Leyard and Planar’s commitment to understanding each customer’s display technology needs fuels our ability to create one-of-a-kind installations for resellers and end users,” he explained. “The Exertis team has a track record of listening to and learning from their customers, which results in solutions designed to support individual, real-world customer needs. Combining our extensive

A Planar videowall

Christy Fang from Taiden with the HCS8300

portfolio of display technology with the Exertis team’s commitment to helping each customer succeed will allow us to achieve a new level of success in the region.” Having commenced distribution partnerships in recent months with Airtame, Aten, Contacta and Unilumin, Exertis ProAV Australia most recently appointed Taiden as a value-added distribution partner in Australia. “Taiden’s successful market

development of advanced conference system technologies has produced an outstanding range of solutions for every size of meeting environment, from conference rooms to auditoriums, classrooms and large-scale congresses,” furthered Kelly. “Spanning 15 different styles and more than 700 distinct product solutions, Taiden offers a solution for every type of meeting. The addition of this vitally important line to

our portfolio of branded solutions brings a new range of options to our resellers and the customers they serve.” Having exhibited annually at each Integrate exhibition, Taiden has consistently grown its customer base and branding over the past decade. The appointment will take the Shenzhen-based conferencing specialist a stage further. “Exertis ProAV Australia’s extensive knowledge of the communications and conferencing needs of all customers across all of the vertical markets we serve is going to help us play an important role to drive our long-term sales growth in Australia,” added overseas marketing department GM, Christy Fang. “We are excited to team up with a valueadded distribution partner who knows how to listen to real-world customer needs and design solutions that meet specific requirements.” www.exertis.com www.exertisaustralia.com www.planar.com www.taiden.com

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Studio Network Solutions extends sales network with Blonde Robot ANZ

Professional content creation provider for the media and entertainment industry, Blonde Robot, has entered into a distribution agreement with media technology company Studio Network Solutions (SNS). Headquartered in St Louis, Missouri, SNS offers complete shared storage solutions via its EVO shared storage workflow server. Based in Melbourne, with offices in Singapore and Malaysia, Blonde Robot distributes products across APAC, including Australia, New Zealand, Singapore, Thailand and Malaysia. “EVO is now used in over 70 countries, and our mission is to help media teams of all sizes succeed,” said SNS president, Ryan Stoutenborough. “Signing Blonde Robot as our distributor for Australia and New Zealand is an ideal partnership because they share our enthusiasm for solving workflow problems, providing great customer service and creativity, and have a genuine love for the brands they represent.

Their distribution network already has strong connections across similar market sectors, such as postproduction, VFX, broadcast, creative agencies, in-house

central, searchable database with storage workspaces in one visible place. Celebrating the company’s 10th anniversary this year, Blonde Robot MD

marketing teams, sports, universities, houses of worship and recording studios. With SNS, Blonde Robot can now address any need for better storage.” The ShareBrowser media asset management software is now being bundled with every new EVO shared storage system. Designed for postproduction teams collaborating around a shared storage workflow, ShareBrowser creates a

Chris Horsley-Wyatt explained the rationale for promoting and distributing SNS in Australia. “The collaborative shared storage solutions offered by SNS are critical in the current climate where remote workflows have become a necessary part of today’s postproduction approach. SNS is to be applauded for its swift response to the challenges presented by Covid-19 through fast-tracking the release of SNS Nomad

and SNS VPN, a complete remote editing workflow solution for users of the EVO shared storage system.” Blonde Robot forms a part of the specialist AV distributor Midwich Group, which boasts an extensive operations network in the UK, Ireland, Europe, North America and APAC. “Collaborative workflows, whether for the postproduction sector or unified communications, is a key focus for Midwich,” added Midwich APAC MD, Michael Broadbent. “As a group, we continue to look at every facet of the media, production, audiovisual and IT landscapes to address any gaps and ensure we can help our reseller network keep pace with constantly shifting technology and deliver on market requirements, including business continuity.” www.blonde-robot.com.au www.midwich.com.au www.studionetworksolutions.com

Joeun Media takes on full distribution for Void in Korea KOREA

Void Acoustics has announced the appointment of Joeun Media Co Ltd as its new distributor for Korea. Based in Busan, Joeun Media has been engaged in wholesale AV distribution for 25 years and has been a dealer for Void since its initial introduction at Prolight + Sound 2014 in Frankfurt. Since that first introduction, it has been Joeun Media CEO, Jung Wook’s ambition to become a distributor for the brand. “I was first made aware of Void Acoustics six or seven years ago and was fascinated by the unique design and innovative speaker arrangement of the Incubus and Nexus systems, which so clearly demonstrate the unique production values of Void Acoustics,” commented Wook.

with our past experience to specify and install Void systems into upcoming major venues and installations.” Sean Iskhandar, APAC sales manager for Void Acoustics, added: “With the past projects Joeun Media has been involved with, and their experience of installing our systems over the years, we knew that this was a great opportunity to work in closer collaboration with Jung and his team. With a number of projects coming back online since the pandemic, we are confident that the Void brand will start to make even more in-roads into the Korean market. It will be exciting times ahead.”

During these intervening years, the company has specified and installed Void systems into numerous clubs around Korea, including Ibiza in Daejun and Flux in Busan.

“When the opportunity arose to become the Korean distributor for Void Acoustics, I contacted the team immediately about taking over the distribution rights,” furthered Wook. “We know we are in a strong position

Jung Wook




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Out Board fast tracks in India with Alphatec INDIA

Immersive audio specialist Out Board has announced the appointment of Alphatec as its new exclusive distributor in India for TiMax SoundHub spatial audio processing and TiMax TrackerD4 stage-tracking systems. “We are very happy to welcome the TiMax products into our distribution range for the Indian market,” commented Alphatec MD,

High End Systems partners with LS Group NEW ZEALAND

Alphatec’s in-depth technology focus also makes it ideal for the promotion and support of the TiMax TrackerD4 performer stagetracking solution for audio spatialisation and advanced lighting and video control automation. “We’ve been fortunate for TiMax to be involved in some great projects in India with

Lighting products and control manufacturer High End Systems has announced a new par tnership with LS Group to raise its profile in the events and enter tainment market in New Zealand. LS Group specialises in providing theatrical and venue solutions, and has an extensive por tfolio of enter tainment technology products, allowing it to offer a one-stop ser vice for projects from small community venues through to large productions.

“We are delighted to represent High End Systems in New Zealand to introduce its premium and innovative lighting luminaires and control products in the entertainment market,” said LS Group director, Mike Jones. Added co-director, Nick Abel: “I am confident that our professional knowledge and wide network will significantly expand the footprint of HES in the region and bring the business to the next level.” www.highend.com www.lightsup.co.nz

Densitron appoints JAA Systems for Malaysia MALAYSIA

Alphatec is TiMax’s new distributor for India Devasis Barkataki. “TiMax fits well within our current portfolio of brands and perfectly suits our core activities in premium system solutions and integration.” The Alphatec team’s broad technical skillset, national network and in-depth experience across the live events and installation sectors are a good match for TiMax SoundHub. The fully integrated spatial audio matrix and playback server is increasingly used for system management, spatial mixing, vocal localisation, immersive audio effects and audio show control in theatrical and musical productions, events and venues in addition to immersive AV installations such as museums, themed attractions, nightclubs and retail.

premier local event producers and venue integrators,” furthered Out Board director, Dave Haydon. “But now is the right time to partner with a nationally established, full-service distribution, design and turnkey operation such as Alphatec. We have now undertaken online TiMax intro and workflow training for their applications teams across three main regions and are already working on a number of exciting project proposals. So, we look forward to a highly productive and mutually beneficial trading partnership with Alphatec in India.” www.alphatec.co.in www.outboard.co.uk

Densitron, the British Human Machine Interaction (HMI) and display technology specialist, has appointed JAA Systems (JAA.S) as its first distributor for Malaysia, to support the development of its Intelligent Display Systems (IDS) platform in Southeast Asia. Based in Kuala Lumpur, JAA.S is a long-established supplier of audio, video, broadcast and IT solutions, working with audio brands including Calrec, Merging Technologies, Orban and Prodys. The development of the IDS platform – already in use at the studios of Malaysia’s public broadcaster Radio Televisyen Malaysia – in the broadcast market has been at the forefront of Densitron’s global strategy since it purchased the technology from IPE in July 2019. The company is continuing to build new technical partnerships, including an alliance with audio console manufacturer Calrec that saw an integration of IDS with Calrec’s Brio12 small-format desk being showcased at InterBee 2019. “The credentials of IDS as a highly flexible and scalable network-based system for a host of broadcast applications are already

hugely respected worldwide,” commented JAA.S general manager, David Chan. “With Malaysia’s broadcast sector currently undergoing exciting creative and technological expansion, we are confident that IDS will resonate with operators in need of adaptable and intuitive broadcast display and control systems.” Added Reuben Such, global business development director for IDS at Densitron: “We see Southeast Asia as a region of tremendous opportunity for Densitron and the IDS platform. From our initial conversations with the JAA.S team onwards, it has been evident that they have the client connections, market knowledge and technological expertise to attract new customers for IDS, both on its own and as part of integrated deployments with Calrec consoles. We look forward to working with JAA.S not only in Malaysia, but also in other countries in the region, such as Indonesia and Thailand, where they have a developing presence.” www.densitron.com www.jaasys.com

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Cherian George focuses on Fohhn Audio AG INDIA

Cherian George has joined Fohhn Audio AG as regional director, Middle East and India. He joins the German manufacturer having spent a decade at Honeywell, where he was instrumental in launching the pro audio por tfolio in 2019, as well as previous stints working for Bosch and Electro-Voice. “I’m excited to join the Fohhn team,” said George. “It’s impor tant after spending 13 years in the industr y to choose your next company carefully. After much deliberation, I was sure that I wanted to join a company that was serious about quality audio. I

have known the Fohhn team for a while now, and what has amazed me time and time again is their commitment to quality. I too believe that ‘the future of the line array is straight’ and it was impor tant to join a company that not only produced state-of-the-ar t products but also nur tured a sound culture. I hope to bring my experience in the region to help expand the business of Fohhn Audio AG in the Middle East, India and the ASEAN territories.” Cherian George



Sam Nord promoted to VP Cottam ascends at Ross Video of sales for Listen Tech

Sam Nord WORLD

Listen Technologies has promoted Sam Nord to vice president of global sales. In this role, Nord will work with Listen Technologies’ partners to sell the company’s audio and content solutions to their customer bases. He will also oversee the company’s outside and inside sales teams. “We’re happy to recognise Sam and promote him to vice president of global sales at Listen Technologies,” said Russ Gentner, CEO of Listen Technologies.

“Sam’s enthusiasm, leadership and advocacy for his team, the industry and our partners and customers, are unparalleled. He and his team have been instrumental in helping Listen Technologies increase its product offerings and expand the application of our solutions.” Nord has spent his entire career in the AV industry. He joined Listen Technologies in 2013, after having been a customer for many years in previous roles as a dealer and integrator. Most recently, he was director of global sales. Under his leadership, the sales team achieved record year-over-year growth. Furthermore, his experience as an integrator has helped him anticipate what customers want. “It’s a great feeling whenever we talk to customers about Listen Technologies’ solutions and they realise how they can use those solutions to provide better experiences for their own customers, or we uncover ideas to develop a new product feature or solution,” commented Nord. “I’m challenged and excited every day to work with an amazing team at Listen Technologies and in an industry that continues to evolve and enable global connection and collaboration.” www.listentech.com


Ross Video has promoted Kevin Cottam to vice president, global sports and live events. With a background in sports and live production, Cottam began his TV broadcasting career in 1996 with CTV News, moving onto CTV Sportsnet (now Rogers Sportsnet). He began freelancing with Ross Video in 2006 as a demonstration artist and trainer, joining full time in 2011 as a business development manager, working with professional sports teams for gameday productions as well as high-profile entertainment productions. “I’m delighted to take this next step in my career with Ross, and I look forward to further developing our amazing global customer base in sports and live events,” Cottam commented. “Our team has delivered unprecedented growth over the past nine years – Ross powers many of the major sports franchise facilities around the world and we’re now the trusted production partner of some of the world’s most iconic venues, from the MercedesBenz Stadium in Atlanta to the Adelaide Oval in Australia. We’ve also been busy supporting the biggest names in esports and helping them tell their stories more effectively with cutting-edge technology and advanced workflows. It has been an exciting decade of growth and it’s showing no sign of stopping.”


Net has Tha APA join Sym

Kevin Cottam Added Jeff Moore, executive VP and CMO at Ross: “The creation of this role for Kevin is testament to his dedication and hard work over the last nine years, and he’s very effectively managed our presence in the sports and live events markets. Ross is now a force to be reckoned with in the gameday sports venue production space, and I look forward to even greater success under Kevin’s stewardship.”      www.rossvideo.com

Wong assumes full zone coverage for Symetrix in APAC APAC

Alwyn Wong has been appointed by Symetrix as regional sales manager, overseeing the APAC region. He joins with over 20 years of experience in the professional audio industry, having initially worked on a system installation at the Petronas Twin Towers in Kuala Lumpur in 1998. He later joined Harman Professional and most recently worked for Peavey Commercial Audio as technical manager for APAC. He has a diploma in audio engineering from SAE in Malaysia and a BA in Music Production from Southern Cross University in Sydney, Australia.

“It is my honour to work for one of the top audio DSP brands where I can utilise my expertise in network audio,” said Wong. “With my ample experience in the Asia Pacific market, I feel confident that we can navigate the audiovisual landscape and produce favourable outcomes.” Wong will oversee the sales operations and performance of Symetrix distributors in APAC and consult on operations, sales performance and growth for authorised resellers, distributors and AV consultants. “The SymFamily is thrilled to welcome Alwyn Wong to the team to represent Symetrix and to serve our partners across

Asia Pacific,” said Tylene Robinson, Symetrix international sales and operations manager. “We look forward to the growth and development he will enable and drive. Alwyn has many years of experience working with top manufacturers in the pro audio industry. His unique qualifications, attitude and energy make him a great addition.” Dan Lynch has also joined Symetrix as the new vice president of marketing. He will be leading the growth and development of the marketing, product management and technical support teams. Alwyn Wong


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Hock Thang joins Visionary Solutions


to elp G AN

Hock Thang APAC

Network AV specialist Visionary Solutions has appointed industr y veteran Hock Thang to the newly created role of APAC regional sales manager. Thang joins after more than 14 years with Symetrix, where he oversaw sales and

marketing for the company’s Asia Pacific operations. “We are proud to have Hock representing Visionary Solutions in the APAC region,” said COO, Scott Freshman. “He brings with him many years of extensive experience in AV from both the sales and technical side, as well as a deep understanding of our technology. Visionary is dedicated to continually expanding our global support network, and Hock will be an invaluable resource for our customers in the region.” Added Thang: “I have come to know Visionary Solutions products and technology over several years and can’t speak highly enough about the products and the company. More than simply being leaders and innovators, they also have a well-deserved reputation for their service and customer relations. These are values that are equally important to me, and I’m thrilled to be working together with people who share both a passion for technology and a value of integrity toward their users. I’m really looking forward to growing together with the company.” www.vsicam.com

Sarah Deas joins the Pixel Power sales team WORLD

Pixel Power has appointed Sarah Deas to its head office team where she will provide internal sales support to the sales teams at its base in Cambridge, UK and regional offices in Southeast Asia and the Middle East. “I am delighted to be joining Pixel Power right now as the business grows in the playout automation and non-linear content delivery market,” said Deas. With 15 years of experience in the industry in business analysis and asset management, Deas explains that “developing this further through automated workflows and automation/playout is a natural step”. CEO of Pixel Power, James Gilbert, comments: “Internal sales programmes are critical to ensuring all parts of the process from initial consultation through to deployment are well-connected. The current crisis has brought home to broadcasters everywhere just how important it is to have flexible and scalable software solutions if they want to react to dramatic changes in workflows and demand. Our software-defined installations have been enabling broadcasters to quickly switch their operators to work from home

Sarah Deas or remote locations. It is this flexibility and speed that is getting the attention of many major media and broadcast companies worldwide who want us to be part of their new normal.” www.pixelpower.com

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Chris D’bais takes on India for Meyer Sound INDIA

Chris D’bais has been appointed Meyer Sound’s sales manager for India and the Indian subcontinent, expanding on his role as sales manager, Oceania and Southeast Asia. D’bais will strengthen Meyer Sound’s relationships and direct sales efforts in the region and support the manufacturer’s

network, including Meyer Sound’s exclusive Indian distributor Sun Infonet in New Delhi, dealers Audire and Image Engineering, and Leo collaborator Best Sound System. “I am very excited to build upon our success across Asia and I look forward to taking on this challenge,” said D’bais.

“Along with our local distributor Sun Infonet and their entire team, we are ready to support the continued growth of Meyer Sound in the Indian market with large-scale installs and more.” www.meyersound.com

Chris D’bais

Riedel Beyma introduces the three amigos announces new director of APAC operations New COO announced for Vega Global SPAIN

Transducer manufacturer Beyma has announced the appointment of three new engineers at its headquarters in Valencia. Having worked in Scandanavia for almost 10 years, Diego Ivars joins the R&D department as a transducer engineer. Continuing the international nature of the new trio, Nacho

Botella arrives home following two and a half years as product manager for Beyma China in Guangzhou. Now leading a QC team in the newly created position of quality engineering manager, Botella previously fulfilled five years in Ivars’ current role. The three amigos line up is completed with the arrival

of Alejandro Espi, who has been internally promoted from the R&D department to the position of supply chain manager, where he will lead manufacturing, supply and logistics processes. www.beyma.com


Riedel Communications has appointed Simon Roehrs as director of its Asia Pacific operations. With a background in sales executive management for media technology companies, Roehrs most recently served as APAC sales director for Lawo and as Japan cluster manager/regional director for Vizrt. “In the past couple of years, Riedel has significantly increased its impact and investment in the APAC region,” said Martin Berger, chief sales officer at Riedel. “We have built a regional framework to support our growing customer base served by subsidiaries in Japan, China, Singapore and Australia, and by our network partners. Simon is the perfect

Paul Cullum


AV collaboration solutions specialist Vega Global has announced the appointment of Paul Cullum as chief operating officer, with a responsibility to restructure and transform the company’s business operations, improve efficiency and build growth. Cullum, a BICSI Registered Communications Distribution Designer

(RCDD), has 25 years’ experience of working in the AV industry, overseeing some of the largest technology install projects across Asia. In 2012, he became the founding partner of Coherent Technology Consulting, an AV design consultancy with offices in Hong Kong and Las Vegas, where he supervised the AV design of theatres, arenas and hospitality resorts. In 2018, he joined Verrex (Asia) as Asia Pacific director, tasked to standardise and unify the company’s APAC operations. “I would like to take this opportunity to welcome Paul to the team,” said Matthew Deayton, Vega Global’s deputy chief executive officer. “I wish him all the best and am looking forward to working with him as we continue to grow our business across all regions.” Added Cullum: “Vega is the premier AV systems integrator in the region, and to be part of this team at this time in its journey is a great honour. I look forward to the exciting challenges ahead as we continue

Heather Li

to advance the AV industry by implementing greater standardisation, professionalism and quality.” Vega Global has also appointed Heather Li as director for digital workplace solutions, overseeing account management, delivery and quality of service offerings for the APAC AV and IT systems integrator. www.vega-global.com

Synamedia hires new GM for India

person to take the helm. Not only does he bring deep technical industry expertise and regional knowledge to this role, but he is a believer in industry standards and is a highly influential speaker at major Asian conferences. We look forward to working with Simon as we expand Riedel’s influence in Asia Pacific.” “I am happy to be able to continue building on the great foundation Riedel has established within the APAC region, especially developing its talent, products and vision,” said Roehrs. “I am very excited to contribute to Riedel becoming an even more influential leader in IP. In addition, I will provide my team with an environment in which they feel comfortable and happy so they can perform at the highest level. Freedom and responsibility are important aspects of my leadership, and I firmly believe it will help them to grow and push boundaries.” www.riedel.net


Synamedia has appointed Deepak Bhatia as general manager and head of sales for the country to drive its local business and assume responsibility for the company’s sales and pre-sales teams. Synamedia specialises in end-to-end open video delivery solutions, including video network services, anti-piracy solutions and intelligence and video platforms with fully integrated capabilities such as cloud DVR and advanced advertising. Bhatia joins Synamedia following 13 years at Technicolor, most recently as vice president and business head of sales in South Asia. He graduated in electronics and telecommunications from Maulana Azad National Institute of Technology, Bhopal. “The video landscape is rapidly changing in India, with global OTT players and well-established local OTT platforms

Deepak Bhatia launching new disruptive technologies and setting world records for streaming services,” he commented. “Synamedia,

with its long history in India, next-generation technologies and cloud-based platform underpinned by the world’s most advanced security solutions, is uniquely positioned to help operators thrive in this new era.” Added Sue Couto, Synamedia’s executive vice president and general manager of Asia Pacific and Latin America: “As an accomplished professional with tremendous experience in the pay-TV and broadcast sector, Deepak’s appointment will help drive Synamedia’s India business. India is a strategically important market for Synamedia and he will help us to further strengthen our long-term partnerships with key customers looking to transform their businesses and win in today’s fast-changing market.” www.synamedia.com

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75 Years of Sennheiser. We look back on a rich history of seven and a half decades of innovation, expertise and attention to detail. Discover all stories, magic moments and special offers. www.sennheiser.com/75years

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Product management and global marketing hires at RTI WORLD

Neal Ellsworth has joined control and automation manufacturer RTI as director of product management, AV distribution. He will be tasked with delivering a new portfolio of multizone audio/video distribution systems, amplifiers and videoover-IP systems. “We’re dedicated to providing our dealers with innovative solutions that help them win more business and are excited Neal is leading the team in delivering unique audio and video distribution toward that commitment,” said RTI CEO, Joe Roberts. “He brings a wealth of experience and deep understanding of the AV market, combined with an impressive track record of success in product management and development that will benefit our dealers and distributors.”

Neal Ellsworth

Bill Hensley

Ellsworth joins RTI from Nortek Security and Control, where he served as senior product manager and was responsible for the development of video distribution and AV-over-IP

solutions for the company’s Xantech and ELAN product lines. “AV distribution is an important growth category where we know we can create

great experiences for our dealers and their customers,” commented Ellsworth. “I’m excited to work with the RTI team to present a new generation of solutions that create opportunities for our channel partners.” RTI has also appointed Bill Hensley as head of global marketing, reporting to CEO Joe Roberts. Hensley will focus on increasing awareness of RTI solutions while building the programmes, communications and tools to help integrators create more opportunities and win more business. Hensley comes to RTI from Clare Controls, where he led the marketing launch of its new security and control platform. Prior to Clare, he held a position at Nortek Security & Control, having initially entered the CI industry as director of marketing for Core Brands.

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Hall Research appoints new CEO USA

Jason Schwartz has been appointed chief executive officer of AV and electronic hardware manufacturer Hall Research, in line with the planned retirement of founders, Ali and Gail Haghjoo. Schwartz immediately assumes overall responsibility for creating, planning, implementing and

Jason Schwartz integrating the company’s strategic direction. As a designer of matrix switchers, scalers and extenders for applications, the Californian-based designer is a portfolio company of Blackford Capital. “We are excited to welcome Jason to Hall Research,” said Hall Research board chairman and Blackford Capital operating par tner, Stephen K Parker. “He has a proven reputation

of innovation as an organised and collaborative leader. We know his impact-oriented and analytical strategies will fur ther growth oppor tunities for Hall within the pro AV marketplace.” Schwar tz has more than 20 years of executive-level experience, most recently as head of cloud and mobile gaming at Razer Inc, where he created a new business unit within the gaming company and developed a global go-to-market strategy that has accelerated company revenues. “I am excited to lead an experienced team with strong engineering and operational backgrounds to continue driving growth, providing high-quality customer ser vice and building on the exceptional brand Hall Research has established,” said Schwar tz. “Hall’s ability to develop custom-tailored products for our customers using in-house engineering and product innovation capabilities is unmatched. I look for ward to working with our team to fur ther utilise these capabilities in new market segments and future business oppor tunities.” Hall Research co-founders will be transitioning from their current leadership positions, with Ali Haghjoo continuing to ser ve as a board member. www.hallresearch.com

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Eminence’s Damon Waller Joshua Reiss announced promoted to international as AES president-elect sales manager WORLD


Pro audio and musical instrument transducer manufacturer Eminence has promoted Damon Waller to the position of international sales manager. An experienced industry veteran, Waller previously held sales management responsibilities for the European market, which have now been expanded globally.

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Damon Waller “I have had the pleasure of knowing Damon Waller for over 20 years as a friend, a customer and a colleague,” commented Chris Rose, Eminence president. “Damon has a long track record of experience with

Eminence as our European sales manager. He is well versed in MI, professional audio and international business and we are certain our international customers will appreciate his knowledge and service.” Before being named Eminence European sales manager, Waller accumulated a wealth of industry knowledge and expertise from his past roles, which included international sales manager for Trace Elliot and managing director for Orange Amplification. Concerning the transition to his new position at Eminence, Waller commented: “During the past quarter of a century, my career has revolved around international business, specifically in the MI and pro audio worlds. In this position, it is important to understand each market’s unique circumstance, including social, cultural, political and economic factors. However, most importantly, it is about building relationships – people buy from people. I am both proud and excited to be working with this exceptional Eminence team and envision building upon their legacy and taking a substantial global business to the next level.”

Following the elections for the 2020 Board of Directors and Board of Governors, the Audio Engineering Society’s membership has elected Joshua Reiss as president-elect, Marina Bosi as treasurer-elect and re-elected Valerie Tyler as secretar y. “Congratulations to all the newly elected governors and officers of the AES,” said president, Agnieszka Roginska. “We look for ward to the new ideas and energy they will bring to AES governance. All of the candidates on the 2020 ballot were extremely qualified – they honoured the society with their willingness to ser ve and for that we offer our sincere thanks. To those leaving the boards, we express our deepest gratitude for their ser vice and commitment to the society.” Reiss will ser ve a year as presidentelect, in 2022 as president, in 2023 as past-president and two years as a governor. In 2021, current past-president Nadja Wallaszkovits will transition to governor for the first year of a two-year term. Beginning one-year terms are president Agnieszka Roginska, who

Joshua Reiss will transition to past-president and president-elect Jonathan Wyner, who will become president. www.aes.org



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24/08/2020 11:40


Robert Soo extends the educational circuit SINGAPORE

Cogent Acoustics’ owner, principal consultant and trainer Robert Soo has been using his time wisely during the country’s “circuit breaker” lockdown to conceptualise new and relevant educational courses. Soo freely admits that the Covid-19 situation has proved to be a huge gamechanger. “I’ve actually been working on a number of educational webinars for different target groups,” he revealed. “For example, I’ve delivered sessions on audio and loudspeaker system design specifically for AV systems contractors and integrators. For the education sector, I am currently conducting sessions on microphone fundamentals and techniques, which have received a good response and so I am planning new topics. I will also be embarking on sessions for HOWs that will focus on transiting analogue to digital systems to livestreaming.” Soo is keen to promote education beyond the church sanctuary. “As students are now learning more from home, the education sector is steering towards homebased learning as well as remote and decentralised co-curricular programmes for students. Not surprisingly, all my onsite training programmes were subsequently put on hold. However, I didn’t want the learning and sharing of knowledge to stop, so I embarked on conducting

Robert Soo online training sessions soon after the lockdown. I then extended the courses to schools, because it’s important to educate and inspire the next generation of AV engineers. I want to help raise the quality of audio delivery and take the opportunity to do something I’ve always wanted to do, including debunking myths and fixing common erroneous audio practices going on in many schools today.”

Soo is keen to point out that online educational forums are not new, having originated in the 1990s. “In addition to the numerous online training programmes offered today, the technology is welldeveloped and can even support high-tech events. Webinars are a real godsend during this pandemic where travel restrictions and social distancing have made seminars a near impossibility, but

they do have their limitations. Even in a real-time synchronous setting, which provides trainers and trainees a platform for interaction and immediate feedback, there are some very critical experiential components and skills that trainees cannot fully grasp. Certain topics such as sound mixing, EQ’ing techniques and system tuning are better taught in-person.” Soo’s research found that most AV systems operators in Singaporean educational institutions are mainly teachers and students who have received little or no training on their equipment. “Even in-house technicians are rarely formally trained for AV management. It is very common to witness sound mixers, microphones and so on being used incorrectly, resulting in poor sound quality, unintelligible speech, acoustic feedback, audio distortion and wireless dropouts. I want to educate the users on the fundamentals that should at least help get them on the right track to decent audio. In addition, I want to highlight the importance of correct loudspeaker positioning and the need for good acoustics in classrooms and multipurpose halls, as these have a huge impact on intelligibility and the overall sound experience that ultimately affects the students’ learning.” www.cogentacoustics.com

Ashly Audio University introduces free custom classes WORLD

Audio manufacturer Ashly Audio has launched a series of customised and private training courses. The series is available for free online through the Ashly University portal and allows students to request their own topics for training. “We said from the start of Ashly University that if we got a strong response to our webinars we would add more,” said Noel

Larson, vice president of marketing and business development at Ashly Audio. “With our courses consistently hitting capacity, we made the decision to open up summer school. We want to make sure we’re providing the right content for the customer’s needs, so we’re focusing on personalised businessto-business training sessions in addition to topics that have previously had waitlists.

This free service is just another way Ashly Audio is showing our continuing commitment to training our dealers, representatives and distributors.” To date, the manufacturer has already offered tailored sessions on topics that include digital mixing in houses of worship, saving money with the right amp for the right job, taking advantage of custom remote

layouts, getting the most out of ambient noise compensation, and how Dante and networked audio provides flexibility previously thought impossible. Anyone interested in a private curriculum should contact Ashly’s Bob Tamburri at training@ashly.com.

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21/08/2020 15:27

Audac launches long-term education platform online


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Audac has launched a brand-new digital education platform that will allow its users to view interactive live experiences presented by an Audac expert as a way to better familiarise customers with the manufacturer’s

brand and its solutions. Crucially, Audac doesn’t see the new live webinars as just a temporary solution to bridge these difficult times. Instead, the audio manufacturer looks at it as a long-term strategy to trigger leads and partners in a unique way. During the webinars, viewers can use a chat function to ask questions that will be answered directly by an Audac representative in the chat. Another way to start learning is via its online training videos. These consist of various prerecorded videos, ranging from entry-level trainings that introduce the products, to in-depth trainings that explain all different functionalities. After completing a video series, users can test their knowledge about the subject by taking an exam. Pass all exams and Audac will provide a certificate. The Audac Education Platform is live now at education.audac.eu and the manufacturer is promising plenty of updates in coming weeks. www.audac.eu

Newtek University opens WORLD

NewTek has announced the launch of NewTek University. The platform will offer a range of educational courses to both resellers and end users, ranging from operating guides to classes on selling its solutions. All of the learning materials will be available online and ondemand, with new content added throughout the year. “NewTek University provides our resellers and end user communities with comprehensive training available nowhere else in the market. Certification in using, demonstrating and selling products from the very people who make them is truly valuable,” said

David Paige, senior director of Professional Services for NewTek. “We recognise the unique challenges of the way people are having to work now and our online courses are designed to ensure users remain at the forefront of our technology without having to leave their home.” Currently available courses include Live Production with NewTek TriCaster, NDI and Performance Media Networking, Selling NewTek Technology, NewTek Product Automation Class and NewTek 3Play Operation Class. www.newtek.com

Bluesound creates series of Surroundscapes tech talks ONLINE

Bluesound Professional has created a series of video and podcast content titled Surroundscapes that details novel ideas from a selection of invited experts who are using AV technology in innovative ways. The series is targeted at commercial AV integrators and business owners interested in creating immersive experiences. Hosted by VP and GM of Bluesound Professional, Graeme Harrison, the Surroundscapes series is described as being “part AV tech nerd talk and part psychosocial experimentation”. The goal is to help audiences discover the sound and visual stimulus techniques used in public spaces to engage people and drive business outcomes. “Surroundscapes has been many months in the making and I’m extremely excited to be able to share what we’ve been working on,” commented Harrison. “Initially, we were thinking only of a podcast but as we started to list out who we wanted as guests, it quickly became apparent that it would be difficult to show the breadth of innovations our guests were involved in without a video element,” said June Ip, VP of marketing for Lenbrook International, the parent company of Bluesound Professional. “We therefore decided to create two streams of content – a podcast for listeners who are on the road a lot and video presentations for those who want to take in a multimedia experience.”

The first mini-series launched in August acknowledges the challenges that many retail and hospitality businesses face post-pandemic. As many consumers remain reluctant to eat, shop and patronise hospitality establishments again, Surroundscapes explores the role that multisensory experiences could have in convincing consumers to return to the sector. The second mini-series is scheduled for November and will focus on the future of the workplace, as many businesses are considering how to bring employees back to the office. In February 2021, Surroundscapes will turn its attention to the future of music creation and monetisation. www.bluesoundprofessional.com

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21/08/2020 15:27


In the air tonight

waitin its fav came be ad the lim overc inves estab and IP

Phil Ward assesses the long-term effects of the pandemic on the global broadcast supply chain THANKS TO COVID-19, THE BROADCAST technology supply chain has no anchor. Detailed research by Futuresource Consulting reveals a very confused picture indeed, with global broadcast consumption making strange patterns in lockdown. Product development over the next few years will not be for the faint-hearted. For example, one major anomaly underpins everything. Although viewing figures and Subscription Video on Demand (SVoD) usage are up, advertising revenue is down. The usual assumption that bums-on-seats equals cash cannot be made, and the predicted global recession is likely to put the brakes on recovery in most territories – even though media and entertainment have historically proven to be slump-proof. One reason is the change in delivery platforms and how they are used.

Cheap tricks There are now far more alternatives to conventional broadcasting than ever before, and many of them are cheaper, if not free, and open to various revenue short-circuits such as password sharing. Meanwhile, the interruption to production, such as in drama, will have to be compensated by a drive to create content that could well put a strain on resources, while the rescheduling of the sports calendar is bound to challenge logistics. So, once again, a potential boom may not necessarily result in a smooth recovery. At the same time, will the current surge in SVoD be maintained by subscriber retention or dip as consumers leave the house? Surveys show that streaming services have followed a similar arc, with a significant trend towards older demographics. However, this has not been at the cost of Public Service Broadcasting (PSB), which remains trusted and familiar in uncertain times – witness The BBC’s nostalgic usage of Glastonbury and Wimbledon archive material over the summer – leading many to predict that the most likely outcome is a further acceleration of IP delivery for all networks. This raises the question of how well the internet backbone will cope. Netflix effected a reduction in traffic bitrate of 25% to ease pressure on streaming, with a concomitant downgrading of resolution, while YouTube’s similar measure of defaulting to SD has been necessary to withstand a 60% rise in content watched. Other providers have followed suit as concurrent streaming has rocketed – and a sharp rise in esports engagement has had a lot to do with that. According to gaming analytics specialist Newzoo and its Global Esports Market Report for 2020, esports revenues will grow to US$1.1 billion in 2020, a year-on-year growth of 15.7%, with three-quarters of this generated by media rights and sponsorship. Both NAB and IBC have latterly devoted areas of exhibition and showcase to esports technology, enabling Grass Valley to use NAB


for a demonstration of its “decades of live production” in the new arena of professional gaming. Newzoo executive Cleo Sardelis adds that game streaming “will be a key component of future media strategies”. In the supply chain, this will mostly suit traditional OB players in camera channels, switchers, replay machines and graphics.

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Pod one out Is podcasting the punk rock of audio broadcast? Nothing suits the renegade aspects of remote production better than an inexpensive and hugely accessible medium that sits comfortably on IP and disrupts the establishment values of radio. A glut of online self-help tutorials – podcasts about podcasting, many of them – is encouraging outlets for new, established and in some cases very little talent, all exploiting the perceived improvements in audio infrastructure.

Blackbird’s browser-based digital video editing via the cloud, configured for news coverage


Parcast has supported lockdown hosts with Røde mixers and NTG1 mics Professional podcasting studios have been able to set up remote operation quite easily. LA-based Stitcher, for example, normally has a consistent spread of Shure SM7B microphones and Allen & Heath Qu Series mixers throughout its campus. However, regular producers have been supplied with Samson Q2U cardioids, Sennheiser Handmic Digital mics and Focusrite audio interfaces at home, appended to the Zoom H5 and H6 portable recorders already issued; their guests have taken delivery of USB microphones, headphones and acoustically friendly reflection filters for the mics in order to maximise sonic quality across disparate households. In another sense, the pandemic actually legitimises established workflows. With an international team of sound designers, content creation house and Spotify-owned Parcast has used remote production since its inception some four years before the first cough of Covid, and, over a year ago, introduced the multitrack, multi-party and browser-based digital recorder launched by online studio link expert Cleanfeed for file exchange. Parcast has also reinforced its sheltered hosts with Røde’s Rødecaster Pro mixers and NTG1 microphones – raising the question of whether enterprises like this have already defined a future without central studios. Such a paradigm shift will not happen unless cloud-based storage and file transfer solutions stand up to the test. As Dropbox’s head of media Andy Wilson says, “bandwidth

Cinegy is a pioneer of IP-based production

Esports revenues will grow to US$1.1 billion in 2020 is the number one challenge, which is directly linked to the need to move large media files”. Cue timely start-ups such as London-headquartered Base Media Cloud, which promises “low-cost cloud storage with integrated media software tools, online and on-demand”. The company’s solutions are said to adapt workflows perfectly for today’s conditions, as well as tightening data security, reducing costs and allowing dispersed teams to work from anywhere at any time.

Also in the UK, Quicklink has been adapting its sturdier professional video conferencing platform for broadcast media use, even on game shows: today’s offer provides “software and hardware IP solutions for the transmission of live and edited video”, with unique codecs for the optimisation of variable bandwidth from one area to another, developed since 2003 and coming of age right now. Similarly, Washington DC’s Cinegy is a pioneer of IPbased production that might almost have been

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BUSINESS: SPECIAL REPORT waiting for the current ill wind that is blowing in its favour. Finally, the type of cloud-connected cameras favoured by security systems could be adapted for media production, provided the limitations of internet video delivery are overcome by manufacturers being willing to invest in stable new workflow bridges between established Serial Digital Interface (SDI) links and IP protocols.

Scaling up All very well. But how large a scale of production can be achieved by remote connection? One answer is provided by BT Sport in the UK, whose entire gallery has been constructed virtually for altruistic reasons. “We could have got talent into the studio,” says Jamie Hindhaugh, COO for BT Sport. “I

Jamie Hindhaugh, COO of BT Sport Lawo’s Jürgen Sigrist and Börje Brüggemann deploy webcams and Lawo VisTool screens to complete remote PAT of an mc²56 console


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BT Sport has established a fully dispersed, multiple-home studio gallery could have gone into the studio. But I felt that anything we did as a broadcaster had to reflect the challenges our audiences are facing. We don’t want to be promoting the idea that travel is in anyway helpful at this time.” As a result, BT Sport developed a dispersed studio gallery on a scale claimed to outsize any other attempted, with everyone from PA, producer, vision mixer and director to EVS operator and graphics operators connected via broadband and 5G between lockdown homes. “This workflow means you can have a more inclusive workforce, employing people who could normally not get to our HQ,” adds Hindhaugh. “We’re creating a new format that goes alongside our continued development of 8K, Dolby Atmos for mobile and Object Based Broadcasting. We’ll now be able to go back with these learnings and drive more audience engagement.” At UK-based audio console leader Calrec, marketing manager Kevin Emmott is keen to draw the distinction between remote working and remote production. “We’ve been involved with remote production for years with the RP1 unit,” he says, “but, now, many broadcasters are looking at remote working too. The difference is that RP is where there is DSP at the venue, dealing with no-latency IFBs, and the mixing desk is remote; whereas remote working is where the console operator is neither at the venue nor at the production studio – whether it’s a physical or a virtual console. We’ve had a French customer mixing a talk show at home with a physical Type R panel, over IP; a Brio in somebody’s garage for BT Sport; a live choir production for the BBC … truth is, most of these technologies were already in place; it’s just that they weren’t a priority for most broadcasters. Now they are.

It will become an important box to be ticked – getting remote working fully online and totally reliable.” Emmott is not alone in emphasising the need for QC as, in its basic form, the internet is still considered unsuitable for live AV broadcast by most operators. “Within Calrec,” he says, “we have dedicated IP specialists who make sure we’re fully compliant with every commission, and I think the whole industry is pulling in the same direction. In fact, we have been for a while.”

codec that claims the fastest access to content, a rich set of postproduction tools, together with publishing compatibility with “everywhere”, including social media. Many post facilities, like Halo in London, have responded by adding virtual versions of its complete services using PCoIP and CWDM (multiplexing over fibre) technologies. DAW manufacturers have found it necessary to speed up release schedules, firing off remote-workflow upgrades as they happen instead of waiting for the typical annual binge-rollout. Avid’s Pro Tools has quickly added more channels to Dolby Audio Bridge and Dolby Renderer, for example, as well as fast-tracking dialogue editing and voiceover facilities for Pro Tools Cloud Collaboration, Sibelius Cloud Sharing and Avid Link.

Meanwhile, Blackmagic Design, home of the Fairlight DAW, has among several rapid enhancements two that suggest lockdown: Dialogue Processor, for the removal of ambient noises; and a CMI-style Foley Sampler, filled with push-key, in-the-box effects. Thanks to some improvements in IP, certain complex professional sales channels are being successfully modified, suggesting new models of B2B contact. German digital console mainstay Lawo has successfully deployed remote Factory Acceptance Testing (FAT): its engineers can complete key commissions without having to travel to clients and their studios. “For remote FATs, demos, training and installation support,” explains Lawo’s Wolfgang Huber, “colleagues have established WAN infrastructures and communication setups to keep within scheduled project

Winning post Postproduction is developing along the same lines, with the advantage of offline workflow. For three decades, Blackbird has been pioneering browser-based digital video editing and it’s no surprise to find that now the focus is well and truly on doing this via the cloud. It uses a proprietary

Blackmagic Design has upgraded its DAW with lockdown-friendly Dialogue Processor and a Foley Sampler interface

Remote use of Calrec Type R Image courtesy of Boîte à Outils Broadcast (BOB)/Marine Martignac

phases and deadlines while travelling is not possible and engineers on the customers’ side are also under lockdown.” Furthermore, this is a good example, Huber believes, of new best practices that will survive the pandemic and not simply be discarded as emergency measures. “I am convinced that the Covid-19 crisis may have caused suffering for some companies but the industry as a whole will come out of it with new awareness of its raison d’être, the power of innovation and responsibility for its customers, and, thus, the educational and cultural dimensions of the world we live in,” he says. “These times are a motivation to rethink and to courageously seize opportunities for our business.” Maybe in doing so, the broadcast industry will equip itself to drop anchor in a new world.

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Nicolas Kirsch

Axel Vanderoost

Visionary luminaries

Hong Kong’s Wanchai Pier

Richard Lawn talks to Nicolas Kirsch and Axel Vanderoost, founders of Digital Light Windows Founded in 2016 by Nicolas Kirsch and Axel Vanderoost, Digital Light Windows (DLW) is gaining international credibility as a supplier of professional LED-based video display solutions. Having previously worked together at ACE (Advanced Communications Equipment) in the 1990s, both have reached a stage in their careers where the term “industry veteran” can be applied as a badge of honour. Today, Kirsch (Arup, NexoYamaha) and Vanderoost (AMX, Lighthouse, Daktronics, Leyard) are committed to lending their combined marketing, technical and manufacturing expertise to an AV industry niche that demands higher value technologies. “Ever since I witnessed the U2 Zooropa tour in 1993 with the immense large-scale pixel screens, I have been fascinated by digital screen technology,” muses Kirsch. “Several years later, when I was working on high-rise building projects with Arup, I would promote large-scale screens to be applied as façades and curtain walls for both close-up lighting and distant video effects. However, those LED technologies were extremely cost-prohibitive until recently. When I stepped down as Asian sales manager for Nexo in 2016, I created my own AV consulting and contracting venture in which I could blend audio and visual designs.” At that crossroads in Kirsch’s career, Vanderoost revealed his own ongoing LED project. They quickly opted to join forces. “At the time, I was conducting QC for export buyers, so I was inspecting LED factories,” recalls Vanderoost. “I had been working for several high-profile LED manufacturers and had a clear idea of what the failings and trappings were.” Given China’s dominance within the LED manufacturing ecosystem, Vanderoost decided to cross the border

An installation at a Dubai mall from Hong Kong to research prospective partners, suppliers and vendors for the new venture. “There are literally thousands of factories in southern China together with all the suppliers and subcontractors. Given the dominance and dynamism within this ‘LED Valley’, competition is rife with new companies replacing older ones on a regular basis. Technological advances are supported by a critical mass of suppliers, ensuring continued competition and lowered prices – if you know where to buy.” Given Vanderoost’s 15-year experience, the original consulting and contracting business Kirsch had built in Hong Kong and Macau rapidly matured into a design-andbuild business model with the integration of efficient, reliable and competitively priced LEDs. “DLW is founded on three core

values,” explains Kirsch. “First, we offer the best and latest LED technologies available. Second, we guarantee high quality, reliability and long warranties. Third, our new technological business model sources the adaptation of products that align to a client’s or project’s bespoke requirements, both in terms of specification and budget.” From the outset, Kirsch and Vanderoost have ensured that DLW differs from the established brands. Their adoption of component-based designs and technology aggregation allows them to source parts and sub-assemblies from smaller suppliers with lower overheads. “Despite this, we’re not competing on price,” rationalises Kirsch. “DLW bases its designs on a set of core products that can be customised with a wide range of component options. Rather

than offer a client an industry-standard or expensive brand, we propose a more cost-effective Chinese- or Taiwanesemanufactured LED with maximum brightness levels, IC type, refresh rates, input cards, power supplies, chassis materials for weight control and weatherproofing features. Variables such as certifications for power supply units, cables and connectors can be added to further affect the final product and its cost, from best-in-class to bare minimum, with matching price variations. Our opensource, component-based design platform is ideal for schedule-driven clients.” The professional, customised and flexible nature of the fixed installation market is tailored to this added-value business model. “Our sales model is strictly B2B, where clients demand a very fast response time together with open information,” continues Kirsch. “If an SI is tendering for a job, we need to deliver assurance and profitably to them during the bidding process by offering multiple options at different sizes or format ratios. Costs can be reduced depending on the brief, or some projects may specify indoor-type screens, when they really require full IP65 models. By making the contractor aware these screens will start to fail with green and red patchwork, we are showing that we care about the products in the hope that our B2B partners can gain repeat business, which will lead to repeat orders from us in the long term. Rather than promote the latest design or technology, our goal is to provide quality on an allocated budget. We are not in a race to sell the latest technology just for the sake of it.” The DLW founders have been in the business long enough to understand the requirements of the consultant, the systems integrator and the end user. “Every screen

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purchased for a project comes with its own set of architectural parameters, end user levels of expectation and budget constraints,” explains Kirsch. “We have to provide all possible options, not only to win the SI or consultant the contract, but also to ensure the project is successful in its implementation. All parts of the display are properly tested and packed, while hardware such as the mounting frame is carefully designed and built. For the contractor, the quality of delivery is almost as important as the product itself. Therefore, the screen kit is delivered onsite at the very last stage of the project and fits perfectly into place with instant plug-and-play performance.” Whereas the fixed installation market demands a unique solution, Kirsch believes that the rental and production market is more of a “me too” market where buyers seek consistency for a mainstream performance. “By comparing the functions, components and prices available, rental companies usually have sufficient knowledge to make technological choices. It is more often a question of how cheap the product can be where we cannot add value. However, we supply rental partners and houses of worship in South Korea and Indonesia who trust us to supply high value price-performance solutions. DLW offers innovative, cost-effective products for the rental production market and we’ve hired an Asian sales manager to cater for this sector. Our Portable series, Touring series and Touring Premium series are simply redesigns of other product series for adoption in live productions.” DLW pays close attention to Chip on Board (COB), Glue on Board (GOB) and Common Cathode developments. “These solutions add technological value as they increase the product thermal efficiency and long-term reliability,” explains Vanderoost. “Despite being recent, we immediately added them to our product portfolio as they bring considerable benefits to an application. They come at an additional cost initially, but the benefits greatly outweigh the additional investment over the longer term. As the pricing of COB solutions decrease, they will ultimately replace SMD solutions over the

next two years. Being project-driven, we only add solutions to our portfolio that we know are reliable. For example, the window see-through series was only added to our portfolio six months ago, despite having been available for several years. We felt that these solutions were extremely unreliable until recently.”

Another example is our capacity to supply anything from a P0.9mm high-resolution screen for a high-profile project to an old school P16 display for a refurbished, older installation. We offer a new paradigm in LED screens that focuses on trust, quality of service and open access to technology with competitive pricing rather than brand.” A commitment to visiting 100 LED manufacturers each year together with the rapid technological advancements taking place ensures the DLW catalogue requires constant updates. “We review our designs and prices every four months following newly negotiated component costs or product updates. We simply cull models that do not perform well or do not offer something unique. As LED screen technology is rapidly evolving, we need to look forward and not become attached to a product that does not perform as well as we hoped. Black LEDs have higher contrast, better black quality and great energy saving and, paired with our HD option, we’ll implement them into our panel series as soon as possible. Another example is diecast aluminium cabinets being updated with composite materials for the rental market. With a reduction of 40% weight, heavier models will be replaced, although pace of change differs according to the country. Those with high labour costs benefit from reduced staff, so weight is critical, whereas for countries with cheaper labour, weight is not as crucial. It’s our job to educate our B2B partners of all the

Dubai retailers, South Korea’s rental production companies and a number of recent upmarket Chinese retail projects. “Promoting our own-branded portfolio from a Hong Kong location really benefits us,” explains Kirsch. “Chinese professionals understand the value of dealing with a trusted B2B supplier in order to fulfil their expectations – a partner who is going to add value rather than a percentage.” Although Covid-19 has stunted DLW’s early growth development, Kirsch is optimistic since Chinese manufacturers returned to work in March. “Despite many projects being delayed or even cancelled, I feel Covid-19 represents a massive opportunity for DLW. Travel restrictions have discouraged buyers wishing to visit the Chinese factories, making the appointment of a trusted supplier much more attractive. Our high-level QC, full reporting and European management ensure customers can place an order without needing to travel.” With pricing competing favourably in the Asian and Middle Eastern markets, DLW is also poised to gain market share in Europe and North America once the correct level of support is established. “We are increasing our network of global AV professionals so we can offer the same level of assistance to our B2B partners,” concludes Kirsch. “Over the long term, we will grow our network of B2B buyers through repeat business. Our partners need to confidently

Factory tests and burning

A cube LED for a Bangkok mall

Testing for an Indonesia church installation

Gordon Ramsay’s Bread Street restaurant in Hong Kong

“We are already implementing the Black LED option into 60% of our product range,” furthers Kirsch. “The latest miniaturised SMD LEDs will completely change the industry by replacing traditional highbrightness LEDs. From major manufacturers they command a high premium, while we prefer to offer Black LEDs at a minimal cost. As part of our commitment to deliver better value to our B2B partners, our long-term strategy includes future-ready products.

technological options and make them aware of how best to deliver a unique response for their clientele.” Headquartered in Hong Kong, DLW’s largest customer base is a network of B2B partners, AV consultants and F&B systems integrators in its own back yard. However, word of mouth recommendations have quickly extended to Indonesian churches, Vietnamese hotels and entertainment projects, Macao’s casino resorts,

and openly discuss how to acquire the best and most competitive solution to win a tender that will deliver in style. Rather than adopting an all-out sales approach, the five-year warranty we offer further demonstrates our commitment. The larger manufacturers try and offload supermarket quantities of products – we’re more like a boutique in comparison.” www.dlwled.com

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Sovico’s Crowning Glory



With its origins dating back to the Korean War, Kyung Hee University (KHU) is home to approximately 20,000 undergraduate and graduate students on three campuses. The original main campus located in the Dongdaemun District of Seoul extends over 990,000m2 and includes the Crown Concert Hall within the College of Music. Following a successful tender process, Sovico System was commissioned to design, supply and install an extensive QSC loudspeaker system into the multipurpose venue as part of an overall upgrade. From the creation of cable conduits to final commissioning in June 2020, Easyworks project manager Cha Min Suk and Sovico System manager Lee Seung Mok led a team of applications engineers within the 7.4m-high room. Used for both university and private hire functions, the Crown Music Hall can seat 720 patrons. “Following demonstrations, the QSC AP series was selected by virtue of its high-power SPLs and even dispersion pattern,” explained Lee. “By offering a QSC Ecosystem of compatible products, we could deliver system compatibility with added benefits.” The ceiling-mounted FOH loudspeaker system comprises QSC AcousticPerformance two-way loudspeakers in an L-C-R configuration. The left and right 15-inch AP-5152 models producing a stereo image are balanced by a central 12-inch AP-5122 cabinet. An axisymmetric waveguide incorporated into the AP-5152 and


AP-5122 designs provides accurate coverage over respective 75° and 90° angles, ensuring that the loudspeakers focus their energies on the audience seats rather than the lateral walls. With a sensitivity rating of 96dB (1W@1m), the 31m x 24.5m venue requires no extra fill speakers, although the addition of two under-stage E218sw dual 18-inch subwoofers extend the lower frequencies down to 77Hz (–6dB) when required. “Although we added six AD-6 speakers into the wall as a surround effect, EASE modelling analysis concluded that the AP-5152 and AP-5122 models could comfortably provide even dispersion throughout the space. The client was happy with the cost saving involved.” Performers and speakers benefit from a Shure QLXD4 wireless microphone system, including Beta 87a handheld models. For monitoring the performances, a pair of QSC

The concert hall benefits from an L-C-R QSC AP loudspeaker system

Six QSC AD-6 speakers have been added as a surround effect E-110 10-inch speakers are connected to stage input boxes. The entire passive loudspeaker system is powered by single 8K8 eight-channel and 4K8 four-channel CX-Q amplifiers. “Providing more than ample headroom with a total of 16,000W, just two CX-Q series amplifiers saved us a lot of rack space,” furthered Lee. “Their inherent networking capabilities extend the control and monitoring capabilities of the Q-Sys Ecosystem.” At the heart of the operations, Sovico System manager Chang Kyu Kim was tasked with programming the Q-Sys Core 110f software. “The client was enlightened to learn that in addition to providing the venue’s DSP, Q-Sys also extends to being a control platform,” commented Chang. “It’s flexible, cost-effective

and simple to programme. In addition to providing all the DSP functionality such as EQ and delays, the Q-Sys Core 110f processor can route any input to any output. Following installation, Sovico System briefed the client with regards to these added benefits. Consequently, the venue is routing the existing video projector, motorised screen and lighting controls through the Q-Sys Core processor and can add further screens or inputs in future should they be required. Located in the rear control room, a compact QSC TouchMix-30 Pro audio mixer loaded with v2.0 software completes the QSC Ecosystem. With 32 input channels and 16 outputs, the touch-and-turn interface of TouchMix provides ease-of-use control over fader and mixer parameters from either a 10-inch multitouch touchscreen or traditional hardware. Mixer functions and displays are duplicated on an iOS iPad touchscreen over Wi-Fi, providing portable, wireless connectivity as well as additional control surfaces of mixer functionality. As the university hires out the hall for private parties from time to time, parameters can be locked, ensuring that the hirer cannot readjust the set parameters. Now upgraded with a fully networkable QSC audio and control system, the Crown Concert Hall is looking to bask in glory for many years to come. www.khu.ac.kr www.sovicosystem.co.kr

ETC lighting chosen for Adamson selected for Auckland arts centre  Monet garden in Taipei TAIWAN


An Adamson IS7 two-way, full-range line array system has been selected for the Lady Joyce Fisher theatre, part of the Raye Freedman Arts Centre which opened in Auckland in 2005. The system was supplied by New Zealand distributor Direct Imports and installed by Tritone Audio. The proscenium theatre features an orchestra pit which can be adapted by use of a 10m x 2m stage extension. In both configurations, sightlines and acoustics needed to be considered for the 258 seats in the house, while the system also had to provide flexibility to cope with the wide variety of events staged in the theatre, which range from classical music to rock and roll and

musical shows. The small footprint of the Adamson IS7, combined with its powerful performance capabilities, proved an ideal combination for the venue. Together with his team, Tritone MD Bodhi Twilley installed an L-C-R speaker configuration consisting of three hangs of IS7s, augmented with three IS118 subwoofers. The system is powered by Lab.gruppen D40 and D80 amplifiers. Additionally, four Adamson M12 foldback monitors provide a full solution for the venue, equipping it for the future. www.directimports.co.nz

An ETC Source 4WRD II lighting system has been used to illuminate a Monetinspired garden at Taipei 101. Featuring colour ful plants and flowers, the garden is part of a French-themed art installation in the building’s fourth-floor atrium, created by Rokerfly Design. The multifunctional skyscraper, which was recognised in 2004 as the world’s tallest building, houses offices, an observation deck and a luxury mall. Taipei 101 is dedicated to bringing the best products and experiences to its visitors and was looking for a lighting fixture that could offer high quality and per formance. “After the evaluation of different brands by the lighting designer, Source 4WRD II was ultimately selected as it met the colour temperature requirement,” said Chan

Jen Wei, art director at Rokerfly Design and lighting designer for the project. “The beautifully designed art installation is illuminated authentically with the use of this fixture. Source 4WRD II is also brighter while using less power.”

www.tritone.co.nz www.etcconnect.com

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A spark of live: concerts resume in New Zealand NEW ZEALAND

As the country’s much anticipated live music events return, chart-topping Reggae band L.A.B. have played a sold-out show for 6,000 fans at Spark Arena in Auckland. Moved from its originally scheduled theatre venue due to demand, this was the first major concert since lockdown. College Hill Productions supplied an L-Acoustics K1 system for a celebratory performance to the enthusiastic crowd. L.A.B.’s label and management, Loop Media, is a long-time client of College Hill Productions. Headed by Michael (Mikee) Tucker, with Dan Clist and Scott Tindale assisting him, the College Hill team was thrilled to supply the audio system for the world’s first arena concert following the Covid-19 lockdown. “The show was originally scheduled as a smaller club-style show to happen later in the year,” commented College Hill’s audio production manager, James Thompson. “Once Covid-19 hit New Zealand, we weren’t sure when the industry was going to pick up again. When Mikee contacted us to say he was planning on shifting the concert to Spark Arena, making it the first arena concert back, we got our planning books out and waited until the all clear was given to host mass gatherings.” In the background, quotes, plans and logistics were being formulated by Thompson.

Once restrictions were lifted, the College Hill team had four weeks to pull everything together from their home offices. The company

has a full inventory of L-Acoustics products ranging from the flagship K Series systems through to smaller coaxial enclosures. Using Soundvision 3D modelling software, a preliminary design was made to evaluate cabinet counts and configuration options, before refining onsite to a more detailed prediction for inter-box angles, in addition to FIR filter and Air Compensation starting points. Using SPL mapping and probes, FOH system design and system engineer Johnny Keirle was able to predict in advance how the PA would respond in an empty, dry room, as well as where he foresaw any problematic areas caused by atmospheric conditions during the show. The final configuration comprised L-R hangs of eight K1, four K2 and four K1-SB subs. Eight K2s were deployed for side fill with additional fill from 12 dV-DOSC and six ARCS, while 24 SB28 dual 18-inch subwoofers were floor stacked. “The crowd could really feel the energy of the band through the PA, which was a fantastic result,” Thompson continued. “We were told by several attendees that it was good to be back at a concert with great sound. The College Hill team followed up L.A.B.’s Auckland show with another sold-out performance in Hamilton a few days later.” www.l-acoustics.com




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Sri Lanka heralds new normal with drive-in concert series SRI LANKA

Live music has returned to South Asia with the BNS Drive-in Concerts series, with Universal Sound Productions deploying a Harman Professional solution for the largescale events. Put together by the Sri Lankan entertainment channel TV Derana, and hosted by pop duo Bathiya and Santhush, the concerts were held at Colombo International Airport as part of the “Restart Sri Lanka” initiative, and were designed to motivate the community. The concerts enforced strict health and security guidelines, while proceeds from ticket sales were donated to the Itukama Healthcare and Social Security Fund. “The venue had many challenges to overcome,” said Malinda Lowe of Universal Sound Productions. “The stage was directly facing massive aircraft hangars and many of them were made of metal structures, so we had to work with the JBL Line Array Calculator (LAC) to get rid of all the slapback with accurate measurement. We were also not in a position to deploy towers, as they would obstruct the view, so we managed to deliver the required vertical coverage, despite the heavy surrounding wind. One thing I love about the JBL loudspeakers

is their HF/MF waveguides and power handling.” The concerts, featuring artists such as Umaria, Wasthi, Yohani De Silva and Infinity, drew more than 6,000 fans in more than 1,200 vehicles each night. Guests were not allowed to leave their cars, so audio was broadcast on a high-definition FM station in addition to the sound reinforcement system. Instead of clapping or cheering, fans honked horns and flashed headlights to show their

appreciation during the performances. “Another challenge was to match the PA feed with the broadcast feed,” continued Lowe. “The JBL Performance Manager software and Soundcraft ViSi remote app played major roles in accomplishing this task. By measuring a few vehicles running pink noise through the radio feed at different locations, we managed to match the radio broadcast with the PA and outer fills.”

Universal Sound Productions deployed 40 JBL VT4888 three-way high-directivity loudspeakers, with left and right arrays comprising 12 speakers and the remaining 16 deployed in four ground stacks. A total of 24 VTX G28 dual 18-inch subwoofers were arrayed across the front of the stage, with eight VT4882 midsize subwoofers on the sides. The system also featured eight SRX712M 12-inch stage monitors and a PRX618S 18-inch self-powered subwoofer. The system was powered by nine Crown VRack 4X3500 HD amplifier racks as well as 20 Macro-Tech i Series and six XTi 6002 power amplifiers. JBL LAC was used to design and configure the system, with Performance Manager used to tune it. The show was mixed through a Soundcraft Vi3000 digital console and controlled via a Soundcraft Realtime Rack and two dbx DriveRack 4800 speaker management systems. “As usual, the sound system delivered pristine audio with the clarity and punch we desired,” said Bathiya Jayakody of BNS. “We have been using Harman products via our audio and venue sound partner Universal Sound Productions for over 10 years now.” www.harman.com

SE Audiotechnik kick starts live events in China CHINA

SE Audiotechnik recently partnered with the EV EDM Festival at Shanghai Theme Park Happy Valley, which ran from the middle of July until the end of August. Anticipating more than 2,000 visitors per day, EV EDM is one of the first large-scale commercial dance events to happen

32 M-F3A PRO FS flying subwoofers were rigged. The M-F3A PROs were flown in two arrays of 18 cabinets, while the subs were divided into two hangs of eight per side to ensure the SPLs demanded by EDM will be consistent throughout the festival site. There was also a requirement to integrate

worldwide since Covid-19 shut down the entertainment industry. SE Audiotechnik provided a total of 126 M-Line cabinets for the event, which lasts for more than 50 days and takes place during Shanghai’s rainy season. A system of 36 M-F3A PRO full-range speakers and

the system discreetly into the stage design, and again the M-F3A PRO, was the preferred choice. With the M-F3A PROs weighing 8.3kg each, and the subs at 25kg, it was possible to hang the whole array directly from the frame of the main stage structure without much difficulty.

Additional low-frequency reinforcement was provided by 24 B21 subwoofers, with eight positioned below each array and another eight in front of the stage,

extending the frequency range of the system down to below 30Hz. Due to the extra-wide stage design, coverage in front of the stage was provided by two sets of two S15 PRO subs with two M-F3A PROs stacked on top, one set to the left and one to the right of the eight B21 subwoofers in front of the stage. Onstage, 12 SMX 12As evenly positioned at the stage lip handled monitoring, with another set of two S15 PRO subwoofers and three M-F3A PROs stacked left and right of the DJ position. Two more M-F3A PROs have been mounted at each side of the FOH mixing console, positioned off to one side of the stage to leave the area clear for the audience. As the FOH position is protected from the weather, dampening high frequencies, these speakers provided the FOH engineer with the extra sound reinforcement required. “We are very pleased with the outcome,” commented Xiong Le, SE Audiotechnik’s sales director for China. “From the smooth setup process to the flawless daily performances, we’ve had the best feedback from everyone involved. Our small M-Line speakers prove that they can easily keep up with those who still believe that ‘bigger is better’. We are looking forward to supporting many other major events this year with our high-performance, worry-free sound solutions.” www.se-audiotechnik.de

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Malaysian government agencies upgrade with TOA

Most of KDN is covered by an EN-54 TOA ceiling speaker solution MALAYSIA

The recent relocation of the country’s administrative government agencies, which have been centralised in Putrajaya to the south of Kuala Lumpur, has necessitated a long overdue upgrade of its PA system. A TOA PA system has been installed at Parcel D Block, KDN Putrajaya, to ensure intelligible messages arrive punctually at their designated zones. Like most Asian capitals, traffic congestion in Kuala Lumpur continues to test the motorist. To its credit, the Malaysian government has invested in a modern, affordable and efficient Mass Transit Railway (MTR) system that greatly hastens journey times. The relocation took place prior to the completion of the new MTR. The nine blocks comprising KDN Putrajaya include offices that oversee safety and public order, immigration, punishment,

border control, registry and media regulations. For 21 years, the extensive ministry has relied upon a TOA SX-1000 matrix system to faithfully broadcast announcements, prayers and officers’ songs. This has now been replaced in two distinct phases with a fully digital VX-3000 IP matrix as TOA Electronics (M) engineering manager Kenny Chang Siew Khoon explained. “The nine blocks are decentralised, but they can be managed over the fibre-optic infrastructure on Dell touchscreen interfaces.” Obstacles awaited Chang and his three colleagues. In addition to the DOS software programming inherent with the SX-1000 matrix, they were also confronted with the original Japanese manuals. “It was all designed prior to the existence of Microsoft Windows, so it was quite challenging trying

to understand it. In addition, there were budget constraints and so we could only replace what was required following the laying of a new cabling infrastructure. The old system was both difficult to understand and to use, and, as the nine blocks are so spread out, it’s not easy to manage and maintain.” Each individual control centre in the nine blocks combines two VX-3016F evacuation frames that control the voice evacuation announcements. Compliant with the European Standard EN 54 for fire alarm systems, an emergency broadcast is assigned with a higher priority. DSP settings were configured for the individual input audio sources and zones, including feedback suppression, a VOX audio trigger and an ANC function that enables an ambient noise control. Inputs include RM-210F remote and RM-200SF fireman’s microphones, CD-2011R player/tuners, TT-208 programme timers and EV-700 digital announcers.


Having laid new cabling, amplification to the EN 54-rated PC-1867FC ceiling and BS-680FC wall-mounted speakers is provided from four VX-050DA amplifiers in each of the nine-block building control centres. In addition, VX-3000DS emergency power supply managers have also been added to the racks to ensure continued operation during an electrical outage. Zoned volume control is simplified courtesy of 255 AT-4060 control attenuators. “As the PA was in use from 8am each day, we had to respect the fact that timed announcements, prayers and songs were being aired while we were upgrading. This really disrupted our workflow, but we got into a routine eventually.” State-of-the-art now perhaps, but what will the SI make of the Dell PC touchscreens with customised software when the next upgrade takes place in another 20 years. www.toamys.com.my

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800° Degrees creates ambience with Yamaha The system is managed by an MTX5-D matrix processor and powered by XMV8140 and XMV4280 multichannel amplifiers. “The system is programmed with presets for parties, in-store performances and presentations, with the music selection and levels tailored for different times of the day,” said Suzuki. “It is very simple to use, allowing any restaurant staff to operate it.” The response from the Tokyo public and of fice workers has been ver y positive. “Customers have said that they enjoy the contrast between the casual style of the ser vice and the richness of the food and music,” says Mio Ueki, senior music designer at Mood Media Japan. “That is exactly what we aimed for, creating an audio experience that seamlessly complements the interior design and lighting. The audible environment enhances the entire space and has played a vital role in successfully delivering the 800° Degrees concept.”

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The country’s second 800° Degrees woodfired pizza restaurant has opened in Tokyo’s Marunouchi business district, with seating for 100 diners and a VIP room for 10 people. “While maintaining the core Californian brand and taste, we have a dedicated concept for each restaurant, with a specially designed interior and menu in each location,” explained Kazuma Suzuki, general manager of the market development department

system to create the impression of all the restaurant’s energy coming from the kiln,” explained Fujita, who installed Yamaha VXS5 surface-mount speakers and VXS10S subwoofers at the entrance, delivering music to customers as soon as they step into the restaurant. “It is designed to highlight the feeling of a wave of heat coming from the kiln while they choose toppings and wait until their pizza is ready. With its compact format, wide coverage, high SPL

L–R: Kazuma Suzuki, Mio Ueki and Kohji Fujita of Lumine Co, the Japanese retail developer that brought the 800° Degrees brand to Japan. “The new restaurant is relatively large for this busy office district and we wanted to offer a stylish, cosmopolitan lounge space in Marunouchi.” Suzuki recognised that audio is essential to creating an enjoyable atmosphere and customer experience, so contracted Kohji Fujita, space planner at Hiranya Access Co, to design a Yamaha audio system. “The pizza kiln is at the centre of the restaurant, so I designed the

and cost efficiency, the VXS5 was an important factor in helping us to design the audio space.” VXC5F low-profile ceiling speakers have been used for the counter and the VIP room, with VXS1ML compact surface-mount speakers installed in the takeaway area. The VIP room also has a projector and screen and can be booked for private or business events. A range of audio and video inputs are provided, with the entire audio system controlled from here via DCP4V4S and DCP1V4S wallmounted controllers.

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TAG supports the arts AUSTRALIA

QSC distributor TAG has revealed details of its More Than A Black Box art project, a collaboration that commissions street and graffiti artists to paint a pair of QSC speakers. Inspiration for the project struck when the company opened its new Victorian office in 2019. It soon became apparent that the huge side wall of TAGV was desirable visual real estate, having displayed street art including Fintan Magee’s The Refugee. Indeed, when TAG moved in, the wall was adorned with a huge anatomical dissection of a kangaroo painted by Nychos. With the help of street art expert Dean Sunshine and photographer p1xels, plus eight street artists, a plan was hatched to bring the wall to life once again with an enormous collaborative work paying homage to Keith Haring and Jean-Michel Basquiat to coincide with the National Gallery of Victoria’s exhibition of the two late artists. Over three weekends, the TAGV wall was stripped back and brought to life in vibrant colour as portraits appeared of Haring and Basquiat by Mongolian artist Heesco, with a background painted by Conrad Bizjack and Chehehe, and five graffiti by Dvate, Sabeth, Phibs, Ling and Duke. The collaboration of styles and approaches inspired QSC marketing manager Nicholas Simonsen to think about how to continue working with artists.

“As the work started, we set up a pair of QSC speakers to add music to the creative process,” he explained. “Watching the wall come to life with such wonderful colour was unreal and got our whole team inspired. The first idea that came to mind was sharing art with music and making our QSC K.2 speakers look as vibrant as they sound. From there, it was clear that we had the perfect means of showing that the K.2 speakers were so much more than a black box by working with a slew of talented artists and commissioning them to use the speakers as a canvas for their work.” Artist Chehehe, who contributed to the TAGV office wall project, painted the first speakers, which premiered at urban arts festival Can’t Do Tomorrow at the end of February. “Chehehe’s style was ideal and he really brought the speaker boxes to life with his artwork,” continued Simonsen. “Our first concept was to paint just the speaker grilles but Chehehe showed us very quickly, and very spectacularly, that the whole speaker cabinet was the canvas – not just the grille – and we realised this was something quite unique and quite special.” The second collaboration was with multidisciplinary artist Knock, whose work is about transporting people into their imagination and out of the world around them. A pair of K10.2 speakers and KS112 sub were integrated into Knock’s recent Tektoniks

Malaysian TV channel installs Calrec Brio36

JAA Systems and AlHijrah celebrate commissioning the Calrec Brio36 MALAYSIA

The country’s first Islamic TV channel, AlHijrah TV, has upgraded the audio system in its audio control room (ACR). A Calrec Brio36 digital broadcast audio mixer and Calrec Br.IO stagebox, supplied by distributor JAA Systems, is at the heart of the new system, which was commissioned – later than expected due to Covid-19 – in early July. “This project, though small, was challenging due to the unprecedented global pandemic,” explained David Chan, director of JAA Systems. “We had to stop work when the Malaysian government declared a Movement Control Order (MCO) in mid-March. We were able to start work again about three months later during the Recovery MCO (RMCO) but with strict health policies and working procedures. To minimise possible infection, we had to work in complete face masks with strict hygienic measure at site,

and work late at night when there were few people around. With our professional and resourceful team, combined with the straightforward installation of the Calrec Brio36 mixer, we were able to complete the whole project successfully without any issues or downtime.” “It was time for us to replace our 10-yearold, outdated mixer, and we found the Calrec Brio36 suited us the best,” added Hafizal Ariffin, head of engineering division, AlHijrah TV. “It has everything that you need in the broadcast environment: great features, ease of use and superb audio quality. Thanks to David Chan and the team at JAA Systems for the wonderful installation work, even during this difficult time.”

exhibition, which aimed to create a visual and auditory exploration of tectonic forces shaping the landscape of planets above and below the surface. Knock’s set of fully functional speakers took up residence at Melbourne record store Oh! Jean Records where they are being used for in-store performances. The third More Than A Black Box collaboration was with New Zealand artist

Haser, also part of the Can’t Do Tomorrow festival in February. Haser painted a pair of K10.2s onsite during the festival as attendees watched him transform the speakers. “Having Haser paint his pair of K10.2s during the festival was absolute magic,” said Simonsen. “Thousands of punters got to see him put his style on the speakers with his canvas work serving as the perfect backdrop. No one in our market has gone down this road before and it seems to be catching everyone by surprise.” With a number of collaborations completed and more in progress, the QSC speakers are now set to travel to locations around the country. Readers can keep up with More Than A Black Box by following QSC Australia on Facebook and Instagram. www.qsc.com www.tag.com.au

d&b chosen for live audience broadcast CHINA

Online shopping website Tmall has held a live event in conjunction with Jiangsu TV to promote the 6.18 retail festival. This was not only the largest e-commerce holiday to happen in China since the Covid-19 pandemic, it also marked the first occasion that the broadcaster has permitted audiences back into its live shows since the Chinese New Year. A d&b audiotechnik sound system was supplied for the event by Nanjing Original Soundtrack Technology, a long-term partner of Jiangsu TV and d&b. It was designed and operated by sound engineer Jin Shaogang and his team. The show took place in the gymnasium of the Nanjing Youth Olympic Games Park and was broadcast live on Jiangsu Satellite TV, as

well as being livestreamed and replayed on websites including Youku and Bilibili. The twoand-a-half hour event included performances from artists such as Nicholas Tse, Chris Lee (Li Yuchun) and GEM, drumming up online sales of almost one trillion RMB. The main system consisted of a hang of 12 d&b KSL8 three-way line array speakers and eight SL-SUB subwoofers per side, with 28 V8 cabinets used for front fill. A total of 28 M4 monitors were used to cover the entire stage evenly. The system was driven by 55 D80 amplifiers and controlled using R1 software. www.dbaudio.com

www.jaasys.com www.tvalhijrah.com

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The ULTRA-X40 and its companion subwoofer the 750-LFC give you a compact and highly portable system with precise and powerful performance. With 11 integrated rigging points, an abundance of mounting accessories, and simplified 90-degree horn rotation, the ULTRA-X40 is also highly configurable for a wide variety of applications.

So, put two and two together and add pairs of ULTRA-X40 and 750-LFC to your inventory.

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25/08/2020 14:32


Vega installs Extron for Schaeffler Group SINGAPORE

Vega Project has installed a range of Extron systems across the new headquarters for the Schaeffler Group. The company has recently expanded its automotive supply operations across Asia Pacific and wanted to realise its vision of collaborative, user-friendly meeting spaces. Vega deployed the same system design into each of the eight board rooms, three auditoriums and two brainstorming areas. An Extron HC 404 meeting space collaboration system feeds a wall-mounted flat panel display. These comprise Extron ShareLink 250W EU wireless collaboration gateways connected to the HDMI input of

the HC 404 receivers, facilitating wireless communication. Meeting rooms and breakout spaces required more extensive signal routing

capabilities, with an Extron DTP CrossPoint 4K Series presentation matrix switcher providing AV and control signal switching and distribution. Each matrix switcher includes an integrated IP Link Pro control processor and the LinkLicense user interface upgrade, enabling use of an iPad for local system operation and remote monitoring and control. “Extron systems enable Schaeffler Asia Pacific to conduct meetings and townhall events with superior participant engagement,” said Angeline Tan, executive director at Vega Project. Schaeffler IT had final signoff of each design, as well as at the end of

each integration phase and system commissioning. Careful product selection, device capabilities and compatibility between system components allowed AV systems installation and commissioning to be completed within the six-month deadline. “Throughout the journey from design to implementation, Extron demonstrated their dedication to superior customer service based on factors like response time, logistics and training support,” commented Charles Lee, IT manager SEA at Schaeffler.

for the benefit of sports broadcasts and other high-end content creation works. A spine-leaf topology IP network employs Huawei switches for the backbone with two CE8850 switches for the redundantly designed core and four CE6865 switches as leaves. Sony vision switchers and cameras complete the setup. “Lawo turned out to be not only strong in audio consoles, but also in IP video processing,” commented a CCTV video engineer. “The success of this project was only

possible with Lawo, as the vm-dmv multiviewer solution, with its 12G single link for both IP and base-band signals, offers true 4K performance with extremely low latency.” CCTV has been using Lawo technology for the past 13 years, and has now extended its trust to the manufacturer’s video technology to provide an advanced IP solution for a 40G network environment.

www.extron.com www.vega-global.com.sg

Lawo provides mobile IP video solution for CCTV CHINA

China Central Television (CCTV) has installed the country‘s first full mobile IP video system for video production, utilising Lawo’s V__matrix software-defined IP-routing, processing and multiviewing platform as its core infrastructure. Working in conjunction with Lawo China and video partner Acro-bright, CCTV commissioned systems integrator, Beijing Yutian, to complete the work. The SI has integrated a number of Lawo projects for CCTV in HD/UHD OB vans, audio SCRs and studios at CCTV’s Beijing headquarters. Work on the UHD 4K mobile studio installation – originally contracted for the Tokyo 2020 Olympic Games broadcasts – began in January 2019 under the supervision of the CCTV production department. The project’s multiviewer design is based on three Lawo V__matrix systems using 19 C-100 core processing modules and 19 Virtual-Module installations using the Lawo vm-dmv IP multiviewer. Twelve Sony UHD camera channels are fed into an EVS server to achieve slow motion instant replays and effects in full HD resolution


The iconic CCTV building

VTV adds 4K capability with Sony solutions VIETNAM

With seven national channels and two regional channels, and available via digital terrestrial satellite and cable TV, national broadcaster Vietnam Television (VTV) has demonstrated its commitment to 4K by building a dedicated studio exclusively for the format. Studio 7 is VTV’s first 4K TV studio and features an array of Sony 4K solutions from 4K/HD/HDR camera systems to multi-format switchers and servers. “Studio 7 marks an important milestone for VTV,” said Nguyen Van Chung, director of VTV-technical and production centre. “It’s our first 4K studio and we had to make sure it was equipped with 4K solutions that will serve us well, now and in the future.” At the heart of Studio 7 is the Sony HDC-3500 system camera. “The HDC-3500 impressed us with its picture quality and ease of use,” said Chung. “It also features the world’s first 2⁄3-inch 4K CMOS sensor with

global shutter technology that eliminates the ‘jello effect’ and banding noise. The result is superb images with 4K high resolution, exceptionally low noise, impressive sensitivity and high dynamic range.”

Complementing the HDC-3500 is the XVS-6000 multi-format server. The switcher gives VTV the added benefit of SDI and IP Live production support. Besides ramping up its 4K production capabilities, VTV also used the opportunity to upgrade its HD equipment for the broadcaster’s studios and OB vans. The latest HD acquisitions include the HDC-3100 system camera, the “Point-of-View” HDC-P1 camera and the MVS-6530 production switcher. “Studio 7 comes at an opportune time. VTV is gearing up to produce more local 4K content, especially dramas and entertainment shows,” said Chung. “Sony has been our strong partner from day one and has seen VTV grow. We are confident our Sonyequipped Studio 7 will help VTV achieve new milestones.” www.sony.com

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21/08/2020 15:33



Exterity provides infotainment system throughout new Hong Kong hotel HONG KONG

The Alva Hotel by Royal recently turned to Exterity to provide a cutting-edge digital signage and in-room infotainment system across different screens throughout the new resort. With 680 rooms and suites and located in the riverside area of Shatin, the hotel’s active, green and social spaces combine contemporary design, healthy living and smart technology, and the hotel’s senior management was keen to implement a user experience that matches its contemporary outlook. Local telecommunications company SmarTone – which specialises in providing solutions to elevate business performance – was approached to develop a unique guest entertainment and communications solution across the resort, including guest rooms. “Our brief was to make sure that they had a reliable, robust and flexible solution that could

ArtioGuest in a guest room

The Alva Hotel bar

deliver the better-than-home experience they wanted to create,” said Daniel Leung, GM of enterprise solution development at SmarTone. “Capabilities, service and support were of paramount importance, so our natural choice was Exterity, which has built a strong reputation in the hospitality world while still being costeffective and backed by an excellent local management, support team and distributor, Comm-Tec.” SmarTone’s Exterity in-room guest entertainment solution has been deployed to over 700 Sony Bravia smart TVs, while digital signage has been added across the hotel’s public areas. The integrator opted to use the Exterity system’s ability to stream content and signage directly to smart TVs rather than use set-top boxes

(STB) to simplify the engineering of the system. Using Exterity’s ArtioGuest software, each guest room has a simple interface allowing a range of features to be accessed from either the TV or an iPad. These include local and premium TV channels, available in up to 4K quality. The Exterity solution is also used to group different channels together for viewing in public areas. In addition, each Sony Bravia runs the ArtioGuest-powered interface with integrated Google Chromecast and Apple iOS Mirroring for guests to connect to their own mobile devices and stream their own content onto the TV. The system can also access in-room environmental controls. SmarTone has also integrated capabilities such as a selfservice check-in process, the ability to check out directly from the TVs and to use a mobile device as a room key – crucial in a postcoronavirus era and its demand for speedy services and touchless technology. Leung points to the features that, in his opinion, set a new standard in the hotel TV experience, including an STB-less IPTV system; seamless user experience across multiple TV endpoints; integrated room and TV control via iPad; and personalised video entertainment through mirroring and casting features. “The platforms have proven exceptionally reliable, while the software applications offer a great deal of flexibility, which has allowed us to deliver one of the most forward-thinking properties in the region,” he said. “The thoughtfulness in the design makes it simple to use, and easy to support the facilities management team at the hotel.”

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Valencia (Spain) | Tel.: +34 96 125 08 55 www.fenixstage.com | export@fenixstage.com

40 PRO AVL ASIA September–October 2020

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21/08/2020 15:39

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MBC improves communications with Genie KOREA

Public broadcaster Munhwa Broadcasting Corporation (MBC) has chosen LaON Technology’s Genie digital intercom systems for its Digital Media City (DMC) in Sangam, Seoul. MBC was looking for a new intercom solution for two studio facilities in the Management Center and Media Center in DMC to replace a previous analogue DECT-based system, improving the antenna efficiency and capacity of wireless beltpack connections. The broadcaster wanted to find an intercom solution that did not interfere with, or be affected by, other equipment in the studios. Following assessment by the technical managers of the production division, MBC chose LaON Technology’s Genie for its ability to operate in the channelrich and worldwide licence-free 5GHz UNII band. MBC already had experience of using Genie with more than 45 beltpacks in congested broadcast environments during the 2019 FINA World Swimming Championship. Hyukjin Kwon, technical director at LaON Technology, explained that the company carried out an advanced survey of the site, scanning all wireless signals being used. From the survey of MBC’s studios, the analyser showed that the 2.4GHz frequency was already fully occupied by other devices, with

of beltpack connections per antenna with just one LAN cable and representing a cost saving for installation and maintenance. MBC chose the LNH-20D neck-worn headset for all the 28 wireless beltpacks and LaOn’s new BAT50R rechargeable battery, which increases the number of charging cycles by four. According to LaOn, MBC is particularly impressed by the scalability that Genie provides as a boundaryless intercom system, as well as its audio quality. www.laon-tech.com

The Sangam studio


Two base stations have been installed in each of the control rooms a number of signals on the 5GHz frequency as well. Since up to 27 RF channels on 5GHz are allowed to be used in Korea, with four or five channels not permitted for Wi-Fi use, LaON picked up those RF channels which were not occupied, or were bordering occupied channels, and assigned those best available RF channels to each antenna. The client can monitor the RF channels being used for each antenna and change the setup to auto-scan or other non-occupied frequency channels using the Genie Configuration Manager. A total of four Genie systems with antennas and beltpacks were installed, one for the audio and PD teams of each of the studios and one each for lighting teams, and two base stations in each of the control rooms synchronised via Ethernet. One antenna can serve up to 128 wireless beltpacks, greatly increasingly the number

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21/08/2020 16:19


Transformation radio launches with all-digital networked system TAIWAN

More and more radio stations are now streaming content, and Transformation Radio, located in Taipei, is one of the country’s most recent examples. Unlike established stations, however, Transformation has gone straight to a fully digital networked system, designed by Junan Chen from broadcast systems integrator, VTek Engineering. Chen established two main architectures, MADI and Dante, for both the main and the backup systems. Both systems can perform digital streaming and FM radio broadcast simultaneously. Transformation Radio has six on-air studios, each installed with DHD SX2 modular broadcast console mixers. The main and

backup signals are routed to the DHD SX2’s dedicated switch via optical fibre before being converted into AES signals by the audio streaming encoding system, and then to the streaming network or radio frequency broadcasting system. Each on-air studio is also equipped with a UNiKA NBB-1616 Dante base station, connected via the analogue output of the SX2, and then aggregated to the Cisco Giga switch through the Cat-6 network cable. The signal is then imported into the audio stream encoding system for broadcasting. In addition to providing a backup for the DHD SX2 system, programme recordings can also be carried out.

Mipro provides mobile systems for float parade

Chen has been assisting with online tutoring and maintenance since the station launched in February, although the digital system can operate automatically for the most part. “In the past, analogue or hybrid systems required a large engineering team to maintain them,

but Transformation Radio can broadcast FM and internet livestreaming at the same time,” said Chen. www.unikapro.com www.v-tek.com.tw


Guangzhou Chimelong Safari Park has a new attraction: a float parade featuring more than 100 Chinese and foreign actors performing together on a series of moving floats. The show has been carefully planned and programmed by a combination of Chinese and overseas teams, who selected five Mipro MA-808 portable wireless PA systems as the wireless solution for the parade. Outdoor entertainment such as this requires a system with clear sound, easy setup and simple operation. As the floats need to move around the park, the layout of the sound system was potentially difficult; creating a conventional audio system would have required complicated cabling and installation as well as presenting possible difficulties for the theme park operators. The Mipro MA-808 wireless PA system, which includes a speaker driver with high sensibility, high-efficiency amplifier and cardioid condenser mic, all of which help to deliver clear sound and address ambient noise issues, has mitigated these issues. Five systems have been positioned across two of the floats – four on the lead truck and

one on an additional vehicle. The master MA-808 is connected to an MTM-92 Interlinking Transmitter Module and acts as main system, with the single MA-808 as a secondary system to provide synchronised sound throughout the parade. Output control is via the main system, setup is quick and simple, and the speakers have wheels and handrails, allowing them to be repositioned easily, adding flexibility for other temporary performances that take place in the park. www.mipro.com.tw

DiGiCo’s SD9 fits into The Cube AUSTRALIA

DiGiCo consoles have found an additional life beyond their well-regarded position in live events: the world of livestreaming. This is illustrated by the installation of a DiGiCo SD9 into The Cube, a premium livestreaming event space in Melbourne, which exemplifies how industry-leading audio quality and ease of operation are infiltrating cutting-edge live DJ streaming. Comparable to an entire festival stage, The Cube is an impressive feat of light and sound, expertly crammed into a compact streaming space. Its unique design is the combined effort of Melbourne AV retailer Concert Audio Visual, lighting and visuals specialists VizFx and Melbourne-based online radio station LESH FM. Supplied by DiGiCo’s Australian distributor, Group Technologies, the SD9 was selected for the pre-broadcast audio mix, in addition to stage monitors, DJ booth audio and front of house.  “The SD9 can accomplish a lot from such a compact format,” said Concert AV’s sales manager, Anthony Graziani, one of The Cube’s primary team members. “DiGiCo was the logical choice for the setup. The routing options and on-board signal processing mean we have something in place that is well-suited for supporting DJ performance audio but can just as easily handle mixing an

entire band for the stream, or whatever else you can throw at it.” The team’s in-house engineer, Oliver Coupe Sando, added that the SD9 was chosen for its sonic transparency. “When we stream, we’re looking to introduce as little tone shaping and colour to the sound as possible, so that we can translate what we’re hearing in the space, to people’s headphones and living rooms, with the maximum amount of clarity available to us,” he explained. “DiGiCo consoles are perfect for that, making the audio unobtrusive, so viewers can just focus on what they’re watching without having to worry about whether the sound quality is up to par or not.”  The SD9’s versatile mix architecture, I/O options and sonic quality all provide a solid backbone for The Cube, resulting in a stage that sounds as good as it looks.  www.digico.biz www.grouptechnologies.com.au

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21/08/2020 16:04


Genelec chosen for Beijing’s latest Dolby Atmos HE studio


The new mix room at Beijing San Gui Media International has gained Dolby Atmos Home Entertainment Studio certification with a 7.1.4 Genelec SAM studio monitor setup. Established in 2009 and located in a twostorey building in the Beijing Dongfeng (East Wind) Art Zone, San Gui is a film and video production company handling video editing, sound postproduction and colour correction and the facility also offers six further audio mix/edit suites, five video editing rooms and a colour mixing studio. The 7.1.4 certified room has been installed with three Genelec 1032Cs as the front L-C-R system, four 8340As as side surrounds and a further four 8340As as top surrounds. Two Genelec 7370A subwoofers provide the sub-bass channel.

“Since 2018, the video platform we’ve been working with for a long time has been telling us they want to try the Dolby Atmos format for a few of their series,” said Yi Maomao, one

of the chief sound technicians at the facility, who believes that Dolby Atmos is the future of film and video sound creation. “We have been watching market trends and are following them.”

The acoustic design and renovation of the 40m2 room was handled by Xu Tie, with system integration implemented by DMT Beijing. The goal was simple: to gain Dolby Atmos Home Entertainment Studio Certification and meet the requirements of film pre-mixing. However, the construction process was not so easy, the biggest challenge being the insufficient height of the room, which couldn’t meet Dolby’s requirements. The only solution was to remove the first-floor ceiling and rebuild it, vastly increasing the cost of the project. “We thought of giving up, actually,” confided Yi. “We know it would have been easy not to go ahead with the certification but pass it off as a Dolby Atmos studio, but this is not the way we work; we always want high standards and good quality.” A decision was finally taken to remove the ceiling. With many years’ experience, Yi and his colleague, Zhou Guang, have used a range of monitor brands. “From a creation point of view, I think Genelec’s sound is detailed and true; I can hear what I need to,” said Zhou, who has used Genelec since the days of mono recording. “Many TV programmes used to be recorded in mono, and if you wanted to reproduce complex audio scenes, the only way was to work on the frequencies. This was very demanding of the skill and experience of the audio professional. From stereo to 5.1 surround systems and Dolby Atmos, there is now a much bigger space in which to create, and the richness and realism of the sound would have once been unimaginable. Our team does not survive by taking ‘quick’ jobs, and our long-term partner also has a high demand for quality and detail. We believe that this insistence on high-quality work rather than a quick turnaround is the way to progress.” Agreeing with this sentiment, Yi added: “We really believe those who have a requirement for quality will choose to work with us.” www.genelec.com.cn

44 PRO AVL ASIA September–October 2020

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25/08/2020 09:47


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Technical Audio Group captures the sounds of Amata AUSTRALIA

The Technical Audio Group’s philanthropic arm, TAG Cares, has travelled to Amata, a remote community of around 350 people, to record the eight-piece Musgrave Band, a musical collective from the remote Indigenous Community of Amata in the South Australian Anangu Pitjantjatjara Yankunytjatjara (APY) lands. Amata is 200km south of Uluru (Ayers Rock), a 3,000km drive from TAG HQ in Sydney, the last stretch via unsealed roads. “When Tapaya Edwards, a local community leader, invited the TAG Cares team to bring some instruments and equipment for local musicians and the Amata Anangu School in early 2019, we were blown away by the wealth of local talent and the incredible level of musicianship,” explained Giles Brading, TAG national sales manager. “After a number of discussions, some of the musicians asked if the TAG team could assist them in capturing the sounds of Amata and record their music so it could be heard far and wide.” The team returned to the Amata community in March for a two-day recording session, converting the community’s school gymnasium into a makeshift studio with the help of a QSC TouchMix-30 Pro, a pair of QSC K12.2 speakers and a variety of Audio-Technica microphones and headphones. “The talent in Amata was astonishing,” said QSC brand manager, Nicholas Simonsen. “So many of the band members play multiple instruments, and seeing them swap instruments and work together was amazing. It was no wonder that they had such great creative chemistry and locked in so well when it was time to record.”



The band set up in the round and recorded a number of tracks live to the TouchMix, using the mixer’s multitrack recording function. Stems of the recorded songs were exported from the TouchMix console and mixed and mastered by team member Andrew Crawford before being delivered to the band. “What you hear is the band with no bells and whistles, no click track and only a few minor overdubs for vocals and lead guitar,” continued Simonsen. Sung in the Pitjantjatjara language, Families and Munganka – the band’s first recording sessions – are the first two songs to be released. The songs are receiving radio play on a number of stations including Triple R in Melbourne. Meanwhile, viewing figures for the two music videos filmed and produced by Edwards’ cousin Nicole Klaer together with Chris Clark of Eluminate Media Production are starting to climb, and can be seen on YouTube. “Music is a big part of our lives in the APY Communities,” said Edwards. “We practise and play music all the time, so we were ready to record our songs and let people know about Amata.” TAG Cares acknowledges and respects Aboriginal peoples as the state’s first peoples and nations, and recognises them as traditional owners and occupants of land and waters in South Australia. Further, that their spiritual, social, cultural and economic practices come from their traditional lands and waters, that they maintain their cultural and heritage beliefs, languages and laws which are of ongoing importance, and that they have made and continue to make a unique and irreplaceable contribution to the state. www.tag.com.au

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21/08/2020 16:08



Mahajak brings Phuket’s first Hotel Indigo to life


NewRach recen desig a pro Auckl desig Wash The Live F Fringe


Phuket’s Hotel Indigo Patong has been outfitted with brand-new audio and video systems from Harman. Mahajak was enlisted by Kebsup Group for the project, which features new equipment serving the venue’s canteen, lobby, all-day dining and bar areas, both the public and rooftop bar, the gym and the hotel meeting rooms. Situated at the heart of Patong next to Patong beach, the hotel was constructed in 2017 with a distinctive design inspired by the destination’s origin as a small fishing village. It comprises 180 guest rooms across 6,400m2 of space and is situated close to tourist attractions. In addition, it was the first time that Kebsup Group Company Limited and InterContinental Hotels Group (IHG) worked together to open the first Hotel Indigo in Phuket. The audio system is providing sound for two separate public area zones. The lobby, all-day dining, canteen and gym have been outfitted with JBL Control14CT and Control8124 ceiling speakers and Control25-1+MTC-PC2 5-inch loudspeakers, driven by JBL CSA2120Z amplifiers. BSS BLU-100 and BLU-50 processors are used for control and sound

configuration from the computer source. Each area permits independent playback, with local volume control from a BSS BLU-3 mounted on the wall. The entire audio system connects with the building’s fire alarm system in case of an emergency. The bar, rooftop and public pool areas have similarly been installed with Control14CT and Control8124 ceiling speakers and Control251+MTC-PC2 5-inch loudspeakers, as well as additional Control23-1+MTC-23WMG-1 weatherproof cabinets. These are driven by a combination of JBL CSA1120Z, CSA2120Z

and Crown XLi3500 amps, with BSS BLU-100 and BLU-50 again used for control and sound configuration in these areas. Additional weatherresistant Control29-1AV, Control25-1+MTC25WMG-1 w+MTC-PC2 and Control SB2210 subwoofers are called upon to support additional entertainment requirements for the outdoor areas. The hotel’s two meetings room can be used separately or combined and each feature independent audio systems comprising Control16C/T and JBL Control8124 ceiling loudspeakers, driven by Crown XLS1502 amps for use during meetings, seminars and banquets. These systems are driven by Crown XLS1502 amps and processed, controlled and configured

by a BSS BLU-100. Shure SLX24/SM58 wireless microphones were provided for both rooms and feed into a Soundcraft Signature 10 mixing console. The visual system for these rooms utilises HDBaseT to transport the video signal through Cat-6 cabling, with HDMI over HDBaseT supported by the KANEXPRO EXT-HDBT70MRX receiver and WP-HDBASETX dual-input wall-plate transmitter. Panasonic PT-VW350 projectors were provided for both rooms and have been paired with RAZR EMW-H120 120-inch and EMW-H150 150-inch screens that support WUXGA resolution. www.mahajak.com

46 PRO AVL ASIA September–October 2020

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24/08/2020 12:19


Rock ‘n’ roll meets art in Auckland NEW ZEALAND

New-Zealand based lighting designer Rachel Marlow of Filament Eleven 11 recently created an immersive lighting design for Who Lived in a Vinegar Bottle, a production staged over four days at the Auckland Town Hall Concert Chamber. The design drew heavily on Robe’s MMX spots, WashBeams and T1 profile. The production was part of the Auckland Live Fringe Town aspect of the city’s annual Fringe Festival event, an independent and


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popular open-access arts festival that took place earlier in the year. Marlow used the venue’s lighting equipment which includes Robe MMX Spots, WashBeams and T1 Profiles to help realise the piece, which was commissioned by Auckland Live programmer, Anders Falstie-Jensen. The lighting design included the notion of creating an art installation using what are essentially


rock ‘n’ roll moving lights, plus a few custom elements. The performance area was beneath a box truss in the centre of the room. The four MMX Spots and eight MMX WashBeams were rigged on this, with the single T1 Profile on-loan from Jands NZ positioned right in the centre of the box. Auckland Live was so impressed with the T1’s output that it


subsequently purchased a new batch of five T1 fixtures. One major factor in the design was the room, which usually hosts seated musicals. As it turned out, the audience – limited to 20 per show – stood all around the space and moved as the journey evolved and propelled them through the experience. The T1 Profile was selected for the centre luminaire as Marlow needed a powerful light source with framing shutters to keep it tight, as well a fixture with a wide range of looks, colours and effects. T1 and MMX effects included rapid shutter cut chases that gave the impression of movement and fluidity as the light mimicked the audio image during certain parts. Having these fixtures available “definitely helped facilitate the ideas I wanted to achieve,” explained Marlow. “The T1 is a fabulous light to control and it especially had a lot of impact during the louder and more intense moments towards the end.” Two projectors rigged on the trussing and pointing vertically downwards were used to project subtle abstract moving images onto the floorspace immediately below the box. All of the lights were programmed on one of the venue’s grandMA2 consoles and ran to timecode for the four evenings of the show. www.robe.cz





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24/08/2020 12:21


Four Leopards per side cover the upper balcony areas

Big bang theory

A Meyer Sound Constellation acoustic system has raised the bar high for performing arts in Indonesia. Richard Lawn visits the new Jakarta International Expo Theatre OPENING IN LATE 2019, THE NEWLY CONSTRUCTED theatre at the Jakarta International Expo (JIExpo) is currently the largest venue in Asia Pacific to be equipped with a Meyer Sound Constellation system. However, just 18 months prior to its opening, a serious blaze in the adjacent Niaga Building nearly ended the aspirations of supplier Mega Swara and systems integrator Kairos Multi Jaya. As smoke spewed into the sky from the building, theatre owner Prajna Murdaya watched on as 18 fire trucks were deployed to control the fire. While his prayers were answered, the damaged building warranted extensive reconstruction. Having started to lay the AV and networking conduits and cabling throughout the theatre, Kairos Multi Jaya was forced to return to site three months later to repeat its original works. Both Mega Swara and Kairos Multi Jaya have teamed up before to breathe electro-acoustic energy into other notable theatrical landmarks in Jakarta. Completed in 2015, the 1,300-seat Ciputra Artpreneur Theatre boasts an extensive Meyer Sound system comprising L-R Mica arrays, HP700 subwoofers and an extensive assortment of fills, including UPJ, UPA and UPM models. The Ciputra project drew several noted western experts together. Former associate director (operations) at the Hong Kong Academy for Performing Arts, Australian Philip Soden, was drafted in as the venue’s

technical and operations consultant. He was joined by Jakarta resident and operations expert Bernard Grover, who actually heralds from the Lone Star State of Texas, bringing with him 45 years of theatre, film and television production experience. At the request of the Berca Sportindo managing director Prajna Murdaya, the pair found themselves reunited for the JIExpo Theatre project. By his own admission, Grover was late to site when he took up the position of general manager in September 2019. “It is a little bit different when you are learning the setup rather than watching the system go in as you have planned,” he muses. “The size of the stage is on a par with Radio City Music Hall in New York. Although it can be trimmed back, the proscenium is in fact bigger, while the pit is one of the largest I have encountered. The auditorium design provides perfect sightlines from every seat, of which you can see all 2,500 when you stand at the rear wall of the stage.” Every nuance in theatre design has been calculated in precise detail. The walls and ceiling have been meticulously designed for pristine acoustics, providing absorption and limiting acoustic transmissions. The air conditioning vents are located below the seats, and the steel frame of the stalls is isolated, further dampening the mechanical noise of the building. Devoid of rising columns and other structural obstructions, all seats located in the three-tiered auditorium

The main PA comprises 12 Leopard arrays per side

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L–R: Reyhan Dharma (Kairos Multi Jaya video engineer), Bayu Wicaksana (JIExpo Theatre technical manager), Leo Tanzil (Kairos Multi Jaya project manager), Bernard Grover (JIExpo Theatre GM) and Damaran Kristanto (Kairos Multi Jaya project manager)

Above: Galileo Galaxy 816 processors provide optimisation for the main Leopard array Below: UPM-1P cabinets mounted into the stage lip

offer clear sightlines of the 840m2 performance area. With the removal of 41 seats, a 70m2 pit can be hoisted to host a 50-piece orchestra, while other loading lifts expediate the load-in and load-out times of stage equipment to waiting trucks at the two dock bays. Behind the 11.5m x 29.5m (HxW) proscenium, the fully computerised fly bar system facilitates rapid scene changes at 1.5m per second from above the 26m-high grid. Working closely with general contractor Total Bangun Persada Berca Buana Sakti and electrical contractor PT Skemanusa Consultama Teknik, Kairos Multi Jaya project manager Aurellia Faustina and site manager Damaran Kristanto realised that the team was up against the clock to fully complete their works. “I knew at the outset of this project that this theatre was taking Jakarta to another level, and not just in terms of scale,” he says. Called to site for a second time in September 2018, his team’s works included the implementation of the main loudspeaker and extensive back of house systems. With acoustic design by international specialist WSDG, the venue can function as a multipurpose theatre, catering to all styles of music and performance. Serving the stalls and first-level balcony, the main PA comprises 12 Meyer Leopard arrays per side, while an additional set of four Leopards per side are dedicated to the upper-level balcony. The Leopard

system is equipped with a Meyer RM server so that the AV operator can see the status of each speaker and monitor the system status in real time. UPQ loudspeakers provide centre-fill for the centre channel, while UPJ enclosures act as side-fills, UPM cabinets deliver both front- and underbalcony-fill and six 1100-LFC low-frequency control elements provide low-end reinforcement. Dual Galileo Galaxy 816 processors provide system optimisation for the selfpowered speakers. Meyer Sound’s director of system optimisation, Bob McCarthy, provided the sound design using MAPP online, which highlighted the placement of all the individual selfpowered speaker models stipulated in the design. “The stage has variable widths between 18m and 30m and so the main systems have two different configurations to accommodate this,” reveals McCarthy, who spent five days at the theatre tuning and commissioning the PA. “The subwoofers are centrally located above the stage in a cardioid configuration, ensuring uniform LF coverage with very little leakage onto the stage.” The venue’s rider-friendly credentials are furthered by twin SSL Live L550 digital consoles for monitor and main FOH mixing, receiving their inputs from ML 32.32 Dante stageboxes over the Dante network. “Prajna loves recording and has a passion for what he claims is the Rolls Royce

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FEATURES: ENTERTAINMENT brand of mixing consoles,” asserts Grover. “When combined with the Meyer speaker setup, this venue offers a totally unique setting for drama and musicals. Prajna is particularly impressed by the sonic richness and an almost analogue warmth quality. On the one hand, it’s natural and uncoloured but, on the other, there’s no requirement on our part for any further signal processing or for accessing plug-ins via MADI connectivity.” The rear control room is also home to a grandMA2 lighting control surface with 4,096 parameters and 648 dimmer circuits. A Dante-enabled MediaMatrix Nion nE DSP platform serves as the backbone for back of house announcements and artist calls. The audio signals are routed through Powersoft Quattrocanali and Ottocanali 1204+4K4 amplifiers to zoned RCF PL 8X ceiling speakers. Providing user-friendly digital benefits for those working on-set and behind the scenes, a combination of 12 wired and eight wireless Clear-Com two-channel headsets are connected to a Helix MS-4X base station. Switchcraft Studiopatch 6425 patchbays connect analogue and digital I/O interfaces with DB-25 cables. Given the notoriety of the city’s traffic, a digital signage system consisting of seven 43-inch displays has been integrated on all four levels of the theatre for latecomers. Live content captured on Datavideo PTZ PTC-200 cameras is routed to a Panasonic AW-HS50 video switcher via SDI before being output over the Cat-6a infrastructure. Just Add Power encoders and decoders enable the video-over-IP conversion, while live content captured on a Datavideo PTC-200 PTZ camera is routed to a Blackmagic Micro Converter before being output to the video-over-IP system. Just Add Power transmitters and receivers enable video distribution over the building’s network infrastructure. Following a meeting with Kairos Multi Jaya’s Faustina, Prajna was compelled to experience Constellation prior to the audio installation. Based on digital Variable Room Acoustic System (VRAS) technology, Constellation is a network-based digital audio processing and distribution platform for configuration in sound reinforcement, show design and system control. His defining listening experience at the Singaporean American School coincided with a visit by John and Helen Meyer, who were touring the world as part of their Sonic Experience 50th anniversary. Prajna was astounded by how much Constellation could change the acoustics of a space to suit classical soloist, musical theatre, jazz and full rock concert scenarios at the touch of a button. Despite the mitigating works of WSDG and Soden, the theatre provided some major challenges owing to its physical volume and considerable height. Designed by Meyer Sound acoustic engineer Jessica Borowski, the Constellation system was a mixed blessing for Kairos Multi Jaya. “Initially, this project comprised a PA and theatre package encompassing intercom, patching, lighting and other systems,” remembers Kristanto from when he first cast an eye over the schematic drawings and plans. “There was no discussion of a Constellation system at the outset, so Soden handled the redesign with input from Meyer Sound. I had to familiarise myself by studying new technical aspects on the Meyer Sound website, but ultimately this took us to a new level of expertise, and we had a lot of fun along the way.” A distributed array of 51 miniature DPA cardioid and shotgun microphones capture the acoustic ambience from above the stage and audience seats. In between the microphones and loudspeaker output, a D-Mitri digital audio platform comprising 26 modules provides DSP and matrixing. The microphone inputs are routed from four D-Mitri audio input (DAI-24) interfaces over the proprietary Matrix Link Ethernet network to four D-Mitri Core Processors that host the VRAS algorithm. The Constellation system is divided into six zones, each served by a DVRAS (Digital Variable Room Acoustic System) module containing unique measurement data and audio files used in system verification. A DCM-4 matrix mixing module mixes up to 288 busses of audio inputs before outputting the digitally enhanced signals to 10 D-Mitri Analog Out (DAO-24) units. Six Meyer Sound Netgear GS724Tv4 24-port network switches route the Cat-6 AVB, Cat-6 control, Cat-5e Matrix Link and redundant Cat-6 infrastructures. The Constellation outputs consist of 119 MM-4XP 4-inch flush-mounted wall loudspeakers, 22 UP-4XP ultra-compact enclosures, 48 Ashby-5c ceiling models, 20 UPM-1XP

The L550 desks receive inputs from ML 32.32 Dante stageboxes

A UPQ-2P provides centre-fill for the main PA

The Kairos Multi Jaya team installed 293 Meyer Sound speakers

cabinets, 13 UP Junior-XP enclosures and 16 UMS-1XP compact subwoofers. Distributed throughout the venue in order to minimise cable runs, 30 MPS-488HP eight-channel power supplies route dedicated DC 48V and balanced audio signals to the 238 self-powered systems. Providing intelligent power control via the web interface, 12 Surge-X Axess Elite SX-AX16Ei IP-addressable power sequencers take up an additional 45U of space in the fourth-level comms room rack. As the theatre project progressed, the exacting requirements of installing and deploying a Constellation system became evident to Kristanto’s colleague, Leo Tanzil. As the enormity of the team’s tasks dawned upon Tanzil, including the discovery that Constellation demands a Noise Criterion rating of NC20 prior to installation, sleepless nights followed. “Any noise that enters the room is immediately amplified by Constellation’s inherent reverberation and so no external noise can penetrate through,” he explains. “In addition to some lighting emissions, I discovered that the air conditioning was showing a reading of over NC40, so I was relieved when I found an abandoned kitten stuck in the air duct.” As the kitten lost one of her nine lives, so Tanzil and Kristanto continued to lose sleep during the installation process. “We didn’t expect such a high degree of accuracy,” admits Tanzil. “Constellation demands perfection as the deployment of all the microphone drop lengths had to be exact to within 10mm. With such a tolerance, we initially made mistakes and wasted cable in the process, especially with some of those located above the stage.” Following SIM3 calculations, speaker placements were created. “The various ceiling and wall-mounted speakers also needed to be installed in the exact locations,” explains Kristanto. “The speakers had to be angled at a specific inclination without compromise and the locations could not deviate more than 100mm from the plans, despite obstacles such as fire sprinklers and lighting. Each one of the 119 MM-4XP models, for example, required a 20mm gap around it and a layer of rockwool at the rear to ensure no resonance. In terms of power supplies, none of the 238 speakers could be run in parallel and many of the cable runs to the technical room for terminating to the power supplies were well over 100m, so they needed to be split into two locations.” Once installed, all the speakers and microphones had to be individually matched, calibrated and voiced. Silence was required, so the presence of other contractors completing their construction works provided another obstacle for the installation team. As a result, Prajna arranged for the contractors to complete their work at night over an 11-day period, ensuring the Constellation acoustics team could finish their intensive works on schedule. “Meyer demanded no ground noise, so other contractors such as cleaners were prohibited entry and there could be no talking during voicing,” adds Kristanto. “In addition to referencing the outputs using pink noise, Meyer’s John Pellowe tuned the Constellation system with his own voice by reading a magazine article, shouting and walking all over the theatre and stage. He also created several room presets which can be applied on the Constellation system. Each speaker had already been tuned by Meyer Sound’s senior constellation specialist, Tom Cavnar, during Meyer’s first visit to the site. The room becomes so dry that you can hear footsteps from a distance, so we could not have any interruptions. Naturally, any little problem with the speaker is very noticeable, and checking was required. By accessing the web programme using wireless iPad control, we could identify any speaker with problems.” Like the rescued kitten, Grover found himself purring upon listening to the fully commissioned audio systems. “The acoustic profile is about as close to perfect as anywhere I have been,” he declares. “When you combine the Meyer Leopard system with Constellation, you get an audio experience that is not only unequalled in Indonesia, it challenges anything in Asia. That is a big claim I know, but it stands up to scrutiny.” Nerves built prior to the inaugural performance for the JIExpo Theatre – Yo-Yo Ma’s first-ever concert in Indonesia in early December 2019, with the multiple Grammy Award-winning cellist performing Bach’s Six Cello Suites. Although the rider stipulated just two pairs of microphones and a loudspeaker system to amplify his cello, Grover decided to test the

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FEATURES: ENTERTAINMENT Constellation system during the soundcheck. “Upon hearing, his team made the decision to proceed with the performance completely unamplified,” says Grover. As arriving guests sat down to witness Yo-Yo Ma’s genius from unrestricted seat views, they were unaware of the significance the audio system would play in the performance. “Despite being sat on the upper balcony some 25m away from Yo-Yo, it felt as if I was standing next to the artist,” continues Grover. “Constellation’s passive amplification was perfect as there was absolutely no sense of audio directionality or delays, and I could hear every minute detail of his fingering and bowing. At the end of the first movement on the second suite, there is a single note he holds for four measures with a small fade. This was audible to the moment he took the bow off the string. Impressed isn’t even the word for it in my 46 years of professionalism – I was emotionally moved.” By bringing Yo-Yo Ma to Jakarta, Grover and the team are persuading more local and international artists to perform at the unique venue. “With Constellation, we don’t need to

mic every single individual onstage or set up shotguns for an acapella choir, for example,” he says. This is down to profiles and presets within the D-Mitri software set up by the Meyer Sound engineers, allowing theatre technicians to adjust the warmth, strength and brightness characteristics of the reverberation envelope. “The acoustic sound profiles that are built into it offer the right atmosphere for a choir, symphony, a musical, a rock band or whatever you want – and that’s what makes this venue unique,” concludes Grover. “The look and feel of the venue create a wow effect upon entry. By fine-tuning the audio experience to whatever arts performance you want to bring in here, the audience will be in awe. Once you have experienced Constellation, you don’t want to listen to a traditional loudspeaker system again.” www.jiexpo.com www.kairosmultijaya.com

Yo-Yo Ma’s first-ever concert in Indonesia was enhanced by Constellation

www.meyersound.com www.wsdg.com


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New generation accommodation Guests are greeted by an LED display of 112 AOTO tiles

Eiki DLP projectors and LAV Hariz screens in the function room

EV ceiling speakers provide ambience in the dining area

Underwater audio is provided by 10 EV UW30 speakers

Singaporean systems integrator CST has provided millennial-friendly touches to the new Capri by Fraser hotel. Richard Lawn checks in PERHAPS ITS TELEPHONE NUMBER IS SET TO SPEED DIAL in hotels across the island state, but Concept Systems Technologies (CST) certainly seems to land the lion’s share of AV installations in Singapore’s hospitality sector. Working closely with the architect and the interior designer for the project, CST recently arrived for a limited stay at the latest Frasers Hospitality hotel at China Square Central. Marketed under its Capri brand, CST has played a significant role in wooing the target audience of young business travellers to South Bridge Road by supplying and installing the AV, wireless control and LED wall system components. There’s an energy at the new Capri hotel that sets it apart from the moment a guest checks in. BGM plays a vital role, while the impact generated by the 3mm pixel pitch LED display on entering the lobby distinguishes the hotel from its neighbours. Measuring 6.27m x 3.84m (HxW), this powerful opening statement comprises 112 Shenzhen AOTO Electronics 480mm x 480mm individual LED tiles. “As the distributor for AOTO, we demonstrated the virtues of the HD and 4K technology to the client at our showroom,” explains CST project manager, John Tan. “In terms of cost, reliability and control, LED technology offers many advantages over traditional projection systems, and, of course, it creates a wow factor for entering guests.” CST strengthened its hand with a service agreement offering peace of mind by enabling the rapid exchange of any faulty tiles under guarantee. Capri by Fraser, China Square, actively promotes new technologies to make its guests’ stays more convenient and lifestyle-focused. As such, the CST team had to apply its considerable experience well beyond the powerful LED display to all 16 levels of the 304-room property. The company’s signature ease-of-use functionality has been particularly well-applied in the second-level divisible function room which relies on a Crestron CP3N wireless media control system connected to Linksys 2.4Ghz POE access points. Programmed to interface with house dimmers, curtains, projectors, screens, video scalers, switchers and audio, users can simply operate and manage functions from a Crestron TSW-1060 10.1-inch wired touchscreen wall panels in either room.

Concept Systems Technologies’ John Tan and George Aung In combined and partitioned modes, traditional projection systems provide the visuals. Three Eiki EK-305U 5,000-ANSI lumen DLP outputs are each paired to LAV Hariz BN 2.4m x 2.4m motorised screens. Kramer WP20 wall plates route the local HDMI, VGA, RJ45 and stereo microphone inputs to a single Kramer VS-66HN media presentation matrix switcher enabled by Kramer TP-580 HDMI-over-HDBaseT 8G+ transmitters and receivers. HD wireless presentations via laptops, tablets and smartphones are enabled by Crestron AM-101 technology. A Symetrix Jupiter 8 processor is central to the DSP room, combining audio settings in the function rooms, including EQ, FIR filters, auto mixing matrixing and gain management. Sennheiser XSW wireless 825 hand-held and ME2 clip-on transmitters, together with a CD player, are output to a ceiling speaker solution comprising 18 EV C8.2 8-inch coaxials and six EV C10.1 subwoofers. “The EV models are an industry standard that CST has consistently relied upon for its projects,” says assistant project engineer, George Aung. “They’re powerful, offering plenty of bass reproduction, with even dispersion courtesy of their inherent 180° conical dispersion and, crucially for ourselves as the SI, they’re straightforward to install.” Two Apart Revamp 4240T four-channel amplifiers supply the power in 8Ω mode. The same Apart Revamp 4240T, EV C8.2 and EV C10.1 audio components have been extended to the neighbouring second-

level executive lounge and lobby area. Microphone paging and music sources are fed into an Apart Zone4 audio matrix locally controlled from Apart Zone4R wall panels. EV ceiling speakers in the adjacent all-day dining area are routed to an Apart PM7400 Mk II eight-in/two-out zone mixer. For the guestroom corridors, a network of Bose DS16F 4-inch ceiling speakers powered by Apart Revamp 4240T amplifiers extends the BGM to level 15 from the same Audiosports digital media player system. A dedicated audio system provides music for the 16th-level pool deck and gym. Above the waterline and hidden in foliage, 12 weatherised TIC GS30 4.5-inch outdoor 80W speakers provide 360° horizontal dispersion. Below the water, the likes of Coldplay and Keane emit from 10 EV UW30 underwater speakers. The 100V line system is complete in the gym where four EV Evid 4.2T 6.5-inch cabinets can be controlled according to required adrenalin surges. As below, an Apart PM7400 zone mixer and a Revamp 4240T amplifier together with a CD player create the ambience of this standalone zone. “Capri by Fraser was launched to cater to the unique lifestyle of millennial travellers whose needs have evolved and will keep evolving,” commented Frasers Hospitality chief executive officer, Choe Peng Sum, at the opening ceremony. Naturally, AV is just one component of the hotel’s mosaic; the technology CST has employed is perhaps somewhat conservative compared to other features. These include robots that pick up laundry trolley carts and the self-service Spin & Play laundrette. The hotel has received positive feedback on its interactive Prama flooring, designer furniture in the Den, wireless charging pads and games including Atari Pong. Innovation continues in guest rooms as smart control technology detects guest occupancy, rendering card keys redundant, while in the showers, CST has delivered a final flourish: all 304 guest bathrooms are installed with moisture-resistant Bluetooth ceiling speakers that can be programmed with a password by each hotel guest. The ODM speakers have been manufactured by CST, which worked with the hotel on designing products for its specific needs. www.concept-systems.com.sg www.frasershospitality.com

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User-friendly upgrade

Richard Lawn reports on an Australian school where two performance venues, key to its daily activities, are benefitting from an AV upgrade LOCATED NORTH OF SYDNEY, NORTHERN BEACHES Christian School (NBCS) is no ordinary educational establishment. Fundamental to its design is a sequence of multilevel pavilions beneath a 3,000m2 intelligent, “living” structure that generates energy through an 80kW solar system, harvesting rainwater and cooling the spaces below. In contrast, the ageing AV systems integrated into the Marina Pryor Centre for the Performing Arts (MPC) and City indoor/outdoor meeting space lagged behind the sophisticated building management system. Hosting an ever-changing programme of student assemblies, worship services, musicals, concerts and celebrations, both 800-capacity venues required extensive AV upgrades. Requested by the music department to mix FOH for some endof-year showcases, Production by Design (PxD) project manager Chad Keating had become familiar with both venues. “The school facilities are amazing, but the AV systems installed into the performance spaces were designed for a more professional end user,” he explains. “As the school had no recognised AV technicians on the staff at the time, it was left to the student team to create the performances. Rather than simply mix, I started working with them, training and identifying the challenges in the system and fixing faults on the fly. By the third event, the students were mixing the events for themselves.” NBCS general manager and audiophile Alan Schultz then entered into discussions with Keating. “The MPC systems were designed in 2009 and the City systems in 2012,” says Schultz. “Technology has forged ahead and some of our needs have changed. The age of some components was apparent in the difficulty of operation. In addition, there were major differences between the MPC and City infrastructure and gear and the complex systems required significant manoeuvring and setup times. For NBCS, the usage for diverse live music, playback and speech remains unchanged. We required a long-term, costeffective solution that continues to be inspiring and ultra-flexible.

Assembly in the MPC

mode, the school demanded a premium audio solution that could not necessarily be met by room automation systems. That basic setup demanded up to four UHF microphones and laptop playback, together with live AV streaming from the other venue. “There are always issues to resolve in upgrades,” adds Keating. “In the case of NBCS, using the existing cable infrastructure and adapting some components of the old system within the new environment proved to be quite challenging.” Keating reveals that the project went smoothly because of open, honest communication with the school and particularly with NBCS AV specialist, Ben Carlisle. Based on the PxD design created by Keating and resident Q-Sys programmer Chris Pierson, a flexible AV solution now meets all of NBCS’ requirements. Supplied by Sydney-based distributor Technical Audio Group (TAG), the Allen & Heath dLive mixing system and Q-Sys AV control platform jointly promote system compatibility and Dante networking. “While it is highly

Given students are users of the systems, all components have to be user-friendly.” A wish list was drawn up, including a new automated mixing interface with a simplified setup for assemblies in the City. More specifically, the proposed new projectors and centre screen for the MPC required conversion from an existing VGA/DVI signal path to a full HD workflow with full automation interface control. By creating standardised systems across both venues, the goal was to design highly intuitive AV user interfaces. “Usability for the untrained end user became the centrepiece of the design,” continues Keating. “The high expectations placed on the performing arts productions were more professional than student in nature. The multifunctional venues needed to cover full-scale concerts and musicals at one end of the spectrum, and lectures using a microphone and screen-sharing wireless devices without technical assistance at the other. In basic

A portable vision control rack can be patched into either venue

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FEATURES: EDUCATION recognised as a DSP platform, Q-Sys was adopted as the main GUI control interface and master controller,” explains Keating. “Q-Sys also controls all the visual routing via the Blackmagic SDI routers in each venue.” Retained components in the MPC include the Nexo PS R2 15 and PS R2 8 loudspeakers, R15 subwoofers, NXAmp amplifiers and PSR2 10 and 8 monitors together with Jands stage machinery, lighting bars and drapes. In City, a d&b Yi10 and Yi7 speaker system, Vi-Subs, D80 amplifiers, Nexo PS10 monitors and LED walls remain in situ. Visual inputs and outputs across the venues are accessed from a pre-existing Blackmagic 1 M/E switcher and Atem broadcast panel. Additional Blackmagic Smart VideoHubs are installed into each venue, allowing presets to be recalled over Q-Sys in basic mode. Once the consoles are stored away, Allen & Heath’s dLive architecture ensures the system can operate remotely. Serving as an instant camera director station, a portable vision control rack accommodating an Atem 1 M/E broadcast panel with 4K SmartView multiview interfaces with the newly installed visual infrastructure in both venues from a customised patch panel. The rack also includes three Mac Minis – two of which run ProPresenter software for playback, while a third is pre-cabled to livestream and record on a Blackmagic Hyperdeck Studio Mini. Crucially, the AV operations in either venue can be show-ready in 10 minutes. Basic AV room control parameters for daily school activities can be activated from the programmed Q-Sys touchscreen panels throughout the campus. Teachers can access and select the AV source, microphone volume and room configuration without much technical knowledge. Carlisle, however, can maintain system processing from the dLive MixPad App on a wireless iPad. Every time basic mode is selected via Q-Sys, a GPIO trigger recalls the dLive so that all system settings can be reused. For more complex events, NBCS invested in dLive S5000 and C1500 Surfaces for deployment in either venue, or as a combination to manage larger shows sharing the DM32 MixRack over Allen & Heath’s gigaACE protocol. Both consoles are stored

AV operations can be configured from Q-Sys touchscreens

A tilt station for the S5000 aids one-man operation in road cases for single-person setup. The C1500 has been fitted into a custom rack-mounted case with side tables and the S5000 is in a tilt station using gas struts to ensure no lifting is required to protect staff and students alike. The addition of DX168 portable I/O expanders enhances venue flexibility and an ME personal mixing system comprising an ME-U hub and six ME-500 personal mixers can be utilised by the young musicians. “Moving to dLive has given NBCS the flexibility it needed,” comments Keating. “This upgrade has reduced the setup time

for an end-of-year event from a day-and-a-half for an eight-person student crew to just two hours for a single staff member. The enhanced audio quality is immediately noticeable too – even for basic assemblies. By eliminating a lot of hardware clutter in the signal path, PxD has improved the FOH speaker systems to sound with the clarity they were designed to produce. By moving the brain of the audio mixing to the rack in each space, PxD has further created an elegant, powerful system that can handle everything NBCS previously did and more. There is no switching between complex systems for different events or users; the best quality audio is now always available. dLive’s user-friendly interface also allows the students to achieve outstanding results with the system.” To ensure that multiple users are not working with legacy settings, PxD programmed Scope Recalls to reset the key system patching and processes, auto-correcting any critical mistakes. “Dante is used for both audio and video transport, making NBCS one of the first schools to implement both elements across this network distribution,” explains Keating. “NBCS can now host a concert in the MPC and transmit it live on the big screen in City. AV transport across the school infrastructure has been achieved by fitting Dante network cards into permanently racked DM32 MixRacks in both venues. Seamlessly integrating over the same Q-Sys QLAN network, Dante AV also enables multitrack recording. Combining Dante with a remote DSP ensures that dLive can continue to process the audio via the Q-Sys control panel should the dLive control surfaces be out of operation.” Adds Schulz: “NBCS has restored state-of-the-art audiovisual technology to its venues. dLive has given NBCS a high-quality product that meets our needs and offers a good return on investment. We have achieved our goals, freeing up NBCS staff to focus on students and their love of learning.” www.productionbydesign.com.au www.nbcs.nsw.edu.au www.tag.com.au

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The bells toll for K-array

Singaporean landmark Chijmes has been upgraded with new AV packages throughout its main function hall and entertainment venues. Richard Lawn looks and listens to be the best-suited for this application on account of their precise directional properties and extraordinary clarity.” Each fixture is equipped with a pair of Kayman-KY102 passive speakers with a Rumble-KU210 dual 10-inch subwoofer directly below. At 125mm, it’s the widest model in the Italian manufacturer’s portfolio, yet the weatherproof passive models remain unobtrusively attached to each pole. Equipped with eight identical 4-inch woofers, the sources are coupled to produce a true line array that radiates a very wide horizontal sound beam uniformly over a long distance. In the 300-capacity Chijmes Hall, the main FOH system consists of four Kobra-KK102 cabinets affixed in pairs in an L-R configuration, while two floor-mounted Thunder-KMT21P 21-inch subwoofers hidden behind curtains provide the main

The grand setting of Chijmes Hall posed an acoustic challenge to XJ Audio & Visual Productions REINVENTING AND REPURPOSING A HISTORIC BUILDING for commercial use is more than a challenge – it’s a commercial risk. Constructed in the late 19th century as a Catholic convent and Gothic-style chapel, Singapore’s downtown Chijmes (Convent of the Holy Infant Jesus) complex was significantly restored in the early 1990s. Successfully transformed into a neo-classical edifice, Singaporeans and visitors alike are beckoned to this landmark, where a rich mix of dining and entertainment gives little hint of its religious origins. At heart of the Victoria Street landmark is a five-storey spire aloft the Gothic Revival chapel for the convent, incorporating original features such as Belgian stained-glass windows together with 648 capitals, each of these architectural features leaving a unique impression of tropical flora and birds upon the columns and corridors. Renamed Chijmes Hall and managed by Watabe Singapore, the function hall now serves as a venue for weddings and corporate functions, and was used for a wedding scene in the Hollywood film Crazy Rich Asians. Its gothic arches and high ceilings are elegantly lit by an array of sparkling crystal chandeliers to provide an unforgettable ambience. However, unlike the visual impact created by the architecture, sound reinforcement is an altogether more muted affair. Xiang Ju Chan from XJ Audio & Visual Productions was commissioned to improve the overall audio quality in both the chapel and the outdoor garden areas, within whose perimeter lie the outlets. “The heritage status of the complex dictated that modifications applied to the fixtures had to be extremely sensitive,” explains Xiang. “Once detailed plans had been submitted and approved, we commenced works onsite, starting with laying the cable infrastructure to the loudspeaker points in the gardens between midnight and 6am.” Tiled flooring was lifted for loudspeaker cable conduits running underground to four posts, including sign directors around the perimeter. “The SPLs of the surrounding entertainment outlets increase as the evening wears on and, as a result, the management needed a speaker system that would cut through,” adds Xiang. “Following demonstrations by Loud Technologies Asia, the consultant opted for the virtues of a K-array loudspeaker package to be rolled out at Chijmes. Not only are these cabinets hard to detect but they were deemed

Xiang Ju Chan from XJ Audio & Visual Productions and Colin Quek from K-array distributor, LTA low-frequency extension. Comprising 16 2-inch neodymium magnet woofers, the 1m Kobra-KK102 cabinets are arrayed on top of one another. Finished in white, the 59mm x 81mm (WxD) stainless chassis are not only hard to detect, they also provide up to 120° coverage in the horizontal plain down to 150Hz (–6dB). Vertical coverage can be selected between spot (7°) and flood (35°). Mounted onto rising pillars further away from the stage, four pairs of Kayman-KY102 cabinets together with single Rumble-KU44 arrayable quad 4-inch subwoofers provide side- and rear-fills. A combination of three Kommander-KA84 and two -KA24 four-channel amplifiers provide ample headroom and DSP to both the indoor chapel and outdoor garden systems. Visual projections onto the chapel can now be displayed from a Barco UDX-4K32 3-chip DLP laser phosphor projector. Housed within a customised, climate-controlled cabinet within the gardens, the electronics of the 31,000-lumen projector are locked out from the outdoor effects of high humidity, rain and heat. Mapped images onto the chapel ensure that the venue can be seen well beyond the existing courtyard in the evening. “Having analysed a number of projectors available on the market, I selected the Barco model on account of its brightness and image quality,” says Xiang. “For AV synchronisation, an audio feed is connected to the SQ-6 console.” Perhaps it is just as well that the nuns are no longer around to witness the AV transformation performed by XJ Audio & Visual Productions. However, for patrons and businesses, the newly added components provide aural clarity where needed within this stylish venue and entertainment hub. www.chijmes.com.sg www.loudtechnologiesasia.com

Chijmes Hall is a restored 19th-century chapel


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Striking gold in Western Australia

Richard Lawn meets a fellow Englishman who has made the craft of courtroom, parliamentary, law enforcement and local government AV his speciality down under

L–R: Stuart Herring (Redfish Technologies), Brad Sillence (manager of governance) and Marc Sharman (TAG) FROM GOLD, NICKEL AND COPPER TO LITHIUM AND diamonds, the remote and huge expanse that is Western Australia continues to bear a rich mix of minerals that contribute greatly to the GDP of the state. However, having emigrated to Australia in 1998, Englishman Stuar t Herring entered the countr y with AV and IT rather than geological experience. Over the last decade, he has enhanced his exper tise by tapping into what was an undiscovered rich motherload – the local governance sector. “I was extremely lucky when I arrived,” reflects Herring, referring to the role he was offered with a software development company that was to emerge as a leading producer of cour t recording software, For the Record (FTR). Herring immersed himself into that business, studying cour troom operations and integrating AV products with the software. Leaving FTR in 2008, Herring star ted his own business a year later in the justice sector and its adoption of AV systems and cour t recording software. “Shor tly after leaving FTR, I soon realised that there was a significant gap in terms of overall AV technology in law cour ts,” he continues. “This led me to take a more detailed look at similar ver tical markets like the justice sector, and local governance was something that had

The City of Joondalup council chambers

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FEATURES: GOVERNMENT similar requirements.” Naming his company with a play on words of his surname, Redfish Technologies has continued to pioneer the adoption of digital recording products, including those from FTR and Liber ty Cour t Recorder to the Western Australia and greater Australian justice sector. A small niche perhaps, but the fledgling business-enhancing AV systems in this remote outpost star ted to blossom, focused upon evidential-based recording and integrated AV systems.

Cat-6a cabling connects to a Cisco SG350 network switch in the rear room equipment rack

Enacted in 1973, the Corridor Plan for Per th cited that Fremantle, Midland, Armadale, Rockingham and Joondalup would become nodes of commercial and economic focus to take the commercial burden away from the Per th CBD. Joondalup, which gets its name from the Noongar word, Doondalup, meaning “lake that glistens”, star ted to become an impor tant city in the nor th and a key regional hub during the late 1980s. It became a local government in its own right when it split from the former City of Wanneroo in 1998, shor tly after which the council chambers for the City of Joondalup were formally opened. Brad Sillence has held the role of manager of governance at the City of Joondalup since 2011. “My primar y focus is to suppor t the decision-making processes of the Joondalup Council,” he explains. “The elected council meets and makes decisions in these chambers that benefit the businesses, visitors and a community of over 160,000 residents that covers a 99km2 catchment area. A decision was made to upgrade the original electronic voting system, microphones and speakers that had been in operation for over 15 years. The original AV system had exceeded its life expectancy and, as the equipment could not be suppor ted, we had to take the strategic decision of upgrading and future-proofing the chamber. In addition to replacing the voting and discussion system, the audio, visuals and acoustics required significant improvements.” No stranger to the chamber, Redfish Technologies submitted a detailed tender based on the bespoke requirements of the Joondalup council. “Our company has been providing AV suppor t here since the business star ted in 2009,” explains Herring. “We initially provided a risk assessment ser vice, filed maintenance repor ts and per formed a par tial upgrade/maintenance with some piecemeal equipment. Immersing the business in the local government sector, we have become increasingly aware that people’s lives are affected by the decisions made in any council chamber, and as such they need to hear what is being discussed and fully obser ve the meetings. Similarly, I assessed it from the client’s point of view, concluding that the overall functionality of the technical equipment required ease-of-use operations as a main consideration.” Herring’s tender documentation left no stone unturned thanks to his understanding of the decision-making processes and, subsequently, Redfish Technologies was

An InterSpace FiliBuster cue system notifies councillors when to talk

Councillors are equipped with a Bosch Dicentis discussion unit and a 15-inch HD display

AV in the public gallery is enhanced with Samsung 82-inch HD displays and Martin Audio CDD8 speakers

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FEATURES: GOVERNMENT awarded the contract. “We knew what we wanted, but not the technical aspects,” explains Sillence. “In awarding the contract to Redfish, I was confident that they fully comprehended what we were doing and so understood what we wanted.” Sillence acknowledges that maintaining even audio coverage in the public galler y area that can seat up to 180 guests had always been a struggle. “Acoustically there are some challenges, and we didn’t want anyone to question the ability of the sound system or the acoustics. Previously, we had focused our attention more on the clarity of the voting procedures for the council members, rather the public galler y guests.” As one of the first local governments to adopt the original Bosch Consensus electronic voting and discussion system, Joondalup council had continued to be for wardthinking in terms of its application of AV technology. “We were one of the first council chambers to have installed an e-voting system and we have simply built on that platform, adding Bosch software in 2012,” continues Sillence. “A new discussion system was sought for the elected body that would better facilitate voting, agendas and the recording of minutes. The goal was to benefit decisionmaking processes with the interaction of the elected members and, of course, the procedures of the meetings.” Accordingly, Sillence instructed his team to research other local government chambers. “Our officers under took the task to research the technology applied elsewhere in addition to assessing our bespoke future needs, such as video streaming, any interactions and legislative requirements going for ward. What is good today in terms of technology, however, may be derelict and dated tomorrow. The equipment and technology need to stand the test of time and allow expansion for at least the next 10 years.” Provided with a brief, Redfish Technologies could star t planning the upgrade accordingly. “For any AV integration company, planning is the foundation stone of the works,” explains Herring. “There is no point entering into a project assuming that you know ever ything, so at the onset of the works we star t with a concept plan and an over view of what major components we are intending to implement

A QSC TSC-80T display provides touchscreen control

DVD content is played onto a motorised projection screen at the tender submission stage. After being awarded the project, we proceed to the planning stage and the detailed design plan. That in turn builds into schematics using D-Tools software that determines the cable routing to be applied and where the base equipment will be located. From that point, we can create the elevation and rack drawings. The whole package has to be agreed before the star t of the project and signed off with adjustments where required.” The transformation, from decommissioning the complete old system in the chamber to signing off the commissioning of the new system, took place during a three-week recess window in late 2019/early 2020, including Christmas and New Year breaks. “To fully comprehend the solution being applied, all the documentation has to be clearly understood,” says Herring. “It is a transfer of knowledge without having to explain the details verbally, so the documentation has to be thorough. From the outset of the tendering process, my biggest concern was the tight time frame we had to complete the cabling, installation, fit out, commissioning and systems training, all prior to the next scheduled council meeting, that couldn’t be changed. Having carefully made our plans, I was confident that we could deliver the whole package on time and on budget.” Redfish Technologies operates within a niche sector in a remote region, but Herring and his team, which includes a dedicated AV and control systems programmer, refuse to adopt cut-and-paste AV designs. The conferencing, audio and visual technologies selected for the Joondalup Council Chambers had been installed in some of the team’s previous governmental works as separate systems, but never as one integrated whole. These include a Bosch Dicentis conferencing system, a Vision video network based on WyreStorm NetworkHD transmitters and receivers and a QSC Q-Sys audio DSP platform that also provides all the AV control functions in the room. “The infrastructure relies heavily on a Cat-6a shielded and structured cabling network, which in turn minimised the audio and visual cabling requirements,” adds

Herring. “With the exception of the audio outputs, all of the technology operates within the digital domain. The Q-Sys DSP audio system also controls the WyreStorm visual system, while ever ything else is peripheral and sits on top. There is always going to be some sor t of risk when integrating disparate products from different manufacturers within such an environment. Following research into these new technologies, we thoroughly tested them once we’d been given relevant information and samples from the suppliers.” Allowing multiple delegates to speak at the same time, a wired version of the Bosch Dicentis discussion and voting system was selected for its feature set, reliability and world-class attributes. Operating over the Omneo IP-based network, Dicentis incorporates a Near Field Communication card reader that identifies the user. The foundation of the Dicentis Network is Cat-6 shielded cabling connected to a dedicated 48-por t Cisco SG350 network switch. Equipped with 18-inch gooseneck mics, 15 of the 25 connected DCNM-DE discussion units come with licensed voting capabilities exclusively for the mayor and elected members. Loaded onto a dedicated discussion laptop, the Chamber Meeting Agenda software located on the Minutes Desk allows control of all 25 discussion units from anyone in the city’s governance team. The dedicated discussion and minutes computer is connected via USB to a QSC I/O-8 Flex network expander, providing the audio to the two-channel High Criteria Liber ty Meeting Recorder. It can display into the chamber via HDMI to the WyreStorm NHD-100-TX transmitter. “As a discussion platform, Dicentis is ideally suited for a setup such as Joondalup,” says Herring. “With its high-quality audio processing including acoustic feedback suppression and excellent functionality, I was immediately impressed with the intuitive feature set of Dicentis. The userfriendly inter face allows councillors to monitor from the integrated loudspeaker or headphone connection. From the touchscreen controller, you can see who is talking or waiting in the queue. For the 15 voting units, elected members simply press the coloured buttons on the touchscreen.”

An Epson EBL-1070 projector outputs DVD playback

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FEATURES: GOVERNMENT Operating with Bosch Agenda Management, the centralised control provides audio to the digital Liber ty Meeting Recorder. “The PC-based evidential recorder is well-designed for this type of environment,” explains Herring. “The recorder wholly integrates with MS Word, and time stamps can be inser ted at any point into the document as the minutes are produced. Following the meeting, the audio can be monitored and proofread for corrections. For higher-quality transcriptions and speech management such as meeting minutes, the recorder also allows up to four cameras to be inser ted, in addition to eight channels of audio recording. A broadcast engine outputs the live audio/video feed to the web for the benefit of local community, if required, but it can also be conver ted into a non-proprietar y format for uploading onto the website the following day.” Providing the public submission area with a clear visual signal of when to begin and cease talking, an InterSpace FiliBuster cue system, Combi-Tower and Combi-Lamp have been added to the 25-seat chamber setup. Creating scalable matrix distribution over the network, the WyreStorm HD-over-IP AV matrix distribution platform is zoned to provide var ying visual outputs. Six vision inputs are provided into this digital system and controlled via Q-Sys TSC-80T touchscreen panel via the TCP/IP network switch. Fur ther sources can be inputted, while zones can be expanded with the addition of more transmitters or receivers. HDMI video signals in the main council space are provided to 22 councillors on Liliput 15-inch HD executive screens. The vision inputs are broadcast over the Vision LAN network to WyreStorm NHD-100-RX receivers and Kramer VM-4UHD 1:4 and VM-8UX 1:8 distribution amplifiers. Equalised and re-clocked, the 1080p@60Hz HDMI signals are then outputted to the displays. The mayor and executive officer on the front bench receive exclusive HDMI feeds on their individual displays equipped with a dedicated receiver, allowing different outputs to those shown for the councillors. Visually, the public galler y is enhanced with Samsung 82-inch HD displays mounted on the left and right walls with Chief PDRUB mounted brackets, while a third Samsung 82-inch display outside the chambers provides an overflow display. The HD outputs are connected by fur ther WyreStorm receivers that sit behind these large screens to provide the output. A Chief RPMAUW universal mounting kit has been used to install the new Epson EBL-1070 laser projector system to the low ceiling at the rear of the room, with added QLAN network connectivity enabling Q-Sys control.

Speech intelligibility is reinforced by L-R Martin Audio O-Line modules

“Once the works have been completed, training the operatives and the council staff is a vital part of the process. They need to know how the system works and how to control it.” The Q-Sys control and DSP platform is a game-changer for Redfish Technologies. “I’d used another brand of DSP for many years but, having trialled Q-Sys in 2018, I was impressed by its capabilities,” adds Herring. “In addition to providing the most power ful DSP on the market, it comes with its own control platform. It’s simple to programme, flexible, cost-effective and, aesthetically, it blends in. The Q-Sys Core 110f processor provides more than our DSP requirements, in addition to coming with a huge amount of extra functionality. As a result, no other control system or touchpanels were required. The Q-Sys system controls the WyreStorm NetworkHD system and can route any input to any output. This platform offers abundant future-proofing capabilities for the city should they decide to fur ther upgrade in six months’ or six years’ time, such as added screens or inputs.” As Redfish Technologies was introducing Q-Sys for the first time, QSC distributor Technical Audio Group (TAG)

worked ver y closely with its client to ensure the project was a success. “I had been promoting the vir tues of Q-Sys to Stuar t for some time before this project,” says TAG WA sales manager, Marc Sharman. “From the initial design and documentation to suppor t during the commissioning, it was impor tant that I assisted Redfish. With ease of programming in mind, Joondalup leant itself well for capitalising on both the control capabilities and audio processing functionality of Q-Sys. It is a complete AV platform and, with the control side, the fully developed GUI benefits the technical staff in the council. The control panel GUI on the dedicated QSC TSC-80T touchscreen control panel provides quick switching and selection from the Vision inputs to the required number of output zones.” The main audio signal from the Bosch Dicentis DCNM-APS central discussion system is routed to the Q-Sys Core 110f processor. Fur ther inputs including a Denon Pro Blu-ray and CD player, together with four channels of Sennheiser

ew 500 G4 wireless using MKE2 clip-on lavaliers and e945 handheld wireless mics, enable video and music playback during citizenship ceremonies within the same chamber. Transmission is boosted by hidden A-2003-UHF antennas and ASA-214-UHF splitters. AES signals are then output to three distinct zones via QSC MP-A40V two-channel and MP-A80V eight-channel amplifiers. The pre-existing QSC AD-C8T-LP line ceiling speakers in the foyer are output at 100V impedance, while three Mar tin Audio CDD8 speakers cater for seated guests in the public galler y. However, a more bespoke sound reinforcement solution was required for the third zone. “Even though I had studied the plans, I was slightly over whelmed by the acoustic challenges presented by the room,” says Sharman. “As speech intelligibility was the overriding criteria for the chamber, I recommended that the Mar tin Audio O-Line be added.” Following a full evaluation, a front of house system comprising eight modules per side are driven in low impedance mode. Delay settings have been applied to the 100V line ceiling speakers and CDD8 enclosures. “Initially, I came up with a concept and sent pictures and details to the TAG design team in Sydney who verified the design,” fur thers Sharman. “Following simulation, the Mar tin Audio software was used to calculate the number of speakers to be used, STI predictions, coverage needed and approximate angles for splaying between cabinets so we could confidently give Redfish an estimate. Once approved, we provided the exact angles and heights above the floor in addition to the chambers with the three different floor levels. Finally, there was a requirement to have these painted to match the stone wall colour of the chamber. Their colour char t allowed us to match this with an RAL – a Dulux Barrister White (PN1E6) – and we painted the arrays prior to assembly in Sydney before shipping.” The Q-Sys system driving the arrays is set up in one box resolution with one MP-A80V amplifier channel used per array. The outputs on the Core 110f allow individual elements to be driven and tuned according to the throw and EQ required. A final output from the Core 110f connects to a Williams Sound IR assistive listening system. The absence of induction loops meant an IR solution had to be adopted, par ticularly as audio bleeding can’t be tolerated in such a sensitive environment. “Following the upgrade, the STI average has been increased to 0.74,” confirms Herring. “This reading was better than we could have initially hoped for.” Reflecting on Redfish’s decision to debut the Dicentis, Q-Sys and WyreStorm digital technologies together, Herring asser ts that he suffered no ner ves prior to the chambers going live. “Once the works have been completed, training the operatives and the council staff is a vital par t of the process. They need to know how the system works and how to control it without getting lost in there, so the GUIs need to be intuitive. We spent the last day-and-a-half with the client and relevant workforce hosting various threehour training classes.” Should any gaps in knowledge remain, Redfish has published a thorough customised reference guide for staff as par t of the final documentation deliverables. The Redfish founder admits, however, that not ever ything went exactly to plan. “Before we drilled into the limestone block walls, they appeared solid, but they were in fact ver y soft,” he says. “My installation teams leader always builds in contingencies to allow time for these challenges, but the client in this instance was also flexible with the times, allowing us to work late onsite and reposition some speakers and visual fixtures.” Having dug deep into the narrow but rich seam of local governance, Herring’s open-mindedness and impar tiality have provided a seamless ser vice for his clients. www.boschsecurity.com www.joondalup.wa.gov.au www.qsc.com www.redfishtechnologies.com.au www.tag.com.au www.wyrestorm.com

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L–R: Nexus’ Paul Beach, EAS project managers Patrick Chee and Chester Tan, Nexus’ Jeremy Lewis and Tee Zhang and EAS executive director Tze Tze Lam

Stars of the future

EAS has completed a new auditorium for the Nexus International School (Singapore) where students can learn drama and technical skills in style. Richard Lawn visits the new campus THE COMPLETION OF A 600-CAPACITY AUDITORIUM AT the Nexus International School (Singapore) was all in a day’s work for AV and lighting systems integrator, Electro-Acoustics Systems (EAS). However, for the more-than-satisfied school, the building is the crowning focal point of its new, wholly owned premises. Nexus, which welcomed its first students in July 2011, embarked on building its own school, relocating from Pandan Valley to the new Aljunied campus in January 2020. The school recognises that teaching is no longer confined to four walls, creating open and flexible spaces with areas where children can exhibit their work, collaborate or work alone in quiet zones. Facilities within the 12-storey campus include design and technology rooms, an aquatic centre with Olympic-sized swimming pool, two gymnasiums, a double-storey library and an AstroTurf playing pitch. Music lessons have been significantly enhanced by recording and mixing studios and soundproof classrooms. Brought to life by EAS, the newly constructed two-tier theatre could easily be envisaged as a premium commercial venue. The company also created two black box drama suites for performing. For the starry-eyed under-18 performers and their teachers, the 13m-wide stage is set to inspire those in the spotlight, while for the 600-capacity audience, the column-free vista provides good sightlines from every comfortable seat. “User-friendliness and ease-of-use functionality remain our key client requirements in educational settings,” explains EAS executive director, Tze Tze Lam. “The teachers specified the design they had in mind. Our role was to fully comprehend these requirements and make the school aware of the various options available. Preparations began several years before construction started, which helped. Over time, technology changes rapidly, but the school was receptive to our

All 600 seats have a column-free vista of the stage

Four facility panels provide lectern location flexibility

ETC Source Four zoom profiles serve as side fixures

suggestions to make upgrades that would benefit them while staying within budget and the existing specifications set by Acviron Acoustics principal consultant, Dr Lim.” Called to site in late 2019, 12 months after groundbreaking, EAS assistant project manager Chester Tan initially oversaw the integration of the loudspeaker, HDMI, VGA and network infrastructure. While the school is future-proofed to accommodate 2,000 students, there are also more than enough data points for the years ahead. The EAS installation team for the four-storey theatre consisted of 15 engineers, installers and a safety assessment expert. Due for completion in August 2019 prior to the new school year, construction delays meant that the official opening would be postponed by four months. Nexus’ AV music technician Tee Zhang can control all the AV, lighting, drapes and HVAC parameters from a Crestron Control app on an iPad. A rack-mounted Crestron AV3 processor programmed by EAS is central to all AV operations, while an isolated control subnet provides a dedicated Gigabit Ethernet LAN for all the Crestron-controlled devices. The auditorium’s main focal point is a framed 2.9mm pixel pitch Sansi LED measuring 9m x 7.5m, behind the main stage. Routed to the Crestron network via a DM NVX 4K60 4:4:4 HDR network AV encoder/decoder, the 4K LED is the sole output apart from three Samsung HD monitor displays. Six NovaStar MCTRL500 LED controllers provide video processing connected to a CVI320 network switcher and LightWare HDMI fibre transmitters and receivers. Four facility panels incorporating speakON, Kramer HDMI and VGA input connections provide venue flexibility when positioning the stage lectern. In addition to a Blu-ray player, six fixed Panasonic AW-4HE40 HD PTZ cameras are managed by a single AW-RP50 controller. Inputs are switched on a Datavideo

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FEATURES: EDUCATION SE-2200 six-channel effects matrix, with an HDR-70 HD-SDI recorder for special occasions, such as musical performances and graduation ceremonies. L-R line arrays of five Renkus-Heinz Varia 101i-7 modules per side provide the main FOH audio for the tapered theatre. Incorporating a single 10-inch LF woofer with dual 1-inch HF compression drivers, the self-powered VA101i-7 can be arrayed from 0–7.5° in 1.5° steps. Low-frequency extension beyond 80Hz (±3dB) and down to 35Hz is provided by two-per-side CX118S subwoofers suspended above each of the arrays. Front and balcony fills consist of four CX121 12-inch and four dual 4-inch CX42 loudspeakers, respectively, while foldback monitoring is provided by Renkus-Heinz CFX121M wedges. The Dante network offers NISS uncompressed, multichannel, low-latency digital audio over Ethernet using Layer 3 IP packets. Incorporating Lake signal processing parameters, the loudspeaker system is powered by eight Lab.gruppen D Series four-channel amplifiers. The D 40:4L, D 20:4L and D 10:4L models serve as the Dante network connection between the Renkus-Heinz loudspeaker outputs and digital inputs. The glazed operations room at the rear of the venue houses a Yamaha QL5 console in 32+2 fader configuration. A Shure QLX-D wireless system including handheld and tie-clip transmitters, together with wired Shure SM57 instrument and SM58 vocal mics, are fed into a Rio3224-D stage rack and out to the QL5 for mixing. Various DSP room configurations have been stored in a Yamaha MTX5-D processor. For students preferring not to be in the glare of the Robert Juliat Lucy 1449 follow spots, back of house operations may be of greater appeal. Here, the comms system consists of wired CC-300 headsets and FreeSpeak II wireless beltpacks. Equipped with 18-inch goosenecks, a Clear-Com MS-702 twochannel master station with remote station can be used for operations. The UHF signals of the Shure QLX-D system are boosted by UA874 and UA844 antennas and boosters, while Clear-Com intercoms are enhanced by FSII wall-mounted active antennas and splitters.

The Varia 101i-7 arrays are supplemented by CX118S subs The extensive lighting setup comprises five cyclorama LX bars, two bridges, left- and right-hand side spots, moving heads and followspots. From the control surface of an ETC Ion Xe console connected to a 20x1 fader wing, the ambience of the theatre is monitored from a 22-inch display. Overhead and side fixtures include ETC Source Four Fresnels and zooms, together with ETC ColorSource LED spots and PARs. Eight Martin Rush MH1 moving head washes and profiles add further dazzle if required, once the J&C Joel motorised drapes have been drawn.

Dante connectivity extends to the two black box theatres, both outfitted with audio, lighting and video systems. Powered and networked by Lab.gruppen Class D four-channel amplifiers, four Renkus-Heinz CX121 speakers augmented by dual CX118S subwoofers are fixed to ceiling-suspended steel pipe truss frames in each theatre. Yamaha QL1 mixing consoles, RenkusHeinz CX81 wedges and Shure ULX-D wireless microphones complete the audio setup. Video inventory includes Panasonic PTZ cameras fed into a Datavideo matrix switcher, with Epson 8,000-lumen LCD laser projectors selected for brightness and low-maintenance performance. ETC dimmers and Source Four fixtures are controlled from an Ion Xe interface, while Crestron iPad control extends the ease-of-use features. Crucially, flexibility is the main criteria, and this has been added with the insertion of customised panels incorporating XLR mic inputs and DMX outlets. Given the number of higher educational facilities that industry veteran and EAS senior project manager Patrick Chee has been involved with over two decades at the company, he should possibly consider teaching AV installation to others. “We tend to be successful with our bids as we are quite unique in what we offer,” he says. “With our in-house expertise, EAS doesn’t need to involve third parties and, as such, we don’t need to sub-contract any of the works. That saves us time and – most importantly perhaps – it offers the client a much better guarantee of quality.” “Seeing the amount of work that had to be completed back in September, the extended December deadline looked challenging,” comments Nexus’ marketing executive, Jeremy Lewis. “However, when EAS came to complete the theatre and black box rooms, it was like watching a military team transform the venues once they had terminated the connections. Our state-of-the-art theatre will continue to impress our guests just as much as it will inspire our students for many years to come.” www.easpl.com.sg www.nexus.edu.sg


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PAA Pg64-65 Nexus School.indd 65

11.06.19 13:57

September–October 2020 PRO AVL ASIA 65

21/08/2020 12:50



Setting the tone An SSL AWS 948 console is central to the setup

Sound Wizard has completed a new facility for Shankar and Siddharth Mahadevan in Navi Mumbai. Caroline Moss hears about Lambodara Studios ONCE IN A WHILE, A WELL-EXECUTED STUDIO FACILITY can act like a calling card for its designer, as Sound Wizard recently discovered. In 2018, the south Indian acoustic consultancy had completed Island City Studios in Khar West for Mumbai-based musician, Jehangir Jehangir. “Nice work!” read the WhatsApp message received later that year from Siddharth Mahadevan who had just visited Island City. “I’m building my own studio here in Mumbai and I want you guys to design it.” This was no small praise. Filmscore composer Mahadevan is the son of Shankar Mahadevan, a prolific singer and composer of Indian film soundtracks. For almost a decade, they’d had a small out-of-town studio, while Siddharth also had a small programming room in Bandra, but, as the family was building a new house, the time was right to add a stateof-the-art studio to the blueprints. When Sound Wizard first visited the project in Navi Mumbai in 2019, the shell of the studio had already been constructed, and the acoustic design team began working out possible layouts that could accommodate the Mahadevans’ wish list: a main control room, live recording area, reception, machine rack, bathrooms and an administrative area. Sound Wizard’s architect Mehul Kumar, together with acoustician Didier Weiss, puzzled over the task of fitting the required areas into the 100m2 space. Once a tentative layout had been approved by the client, Sound Wizard began detailed interior acoustics, isolation and system design for the space. The usual challenges of designing a professional studio in Mumbai presented themselves early on, namely a low,

Lambodara’s spacious live recording area flat ceiling and parallel walls. Provision had to be made to accommodate a complex ducted air conditioning system that would not only create a temperate working environment in the humid city, but would also remain virtually silent. After much deliberation, Sound Wizard formulated an unorthodox yet simple solution to combat the space constraints. The 33m2 control room and 30m2 recording area were placed side by side, as opposed to the more usual front-to-back orientation. This opened up extra floor space, maintaining visual contact via a window between the recording room and control room, and freeing up space on the front baffle wall between the main studio monitors for a large video display. “When a concept is

simple, then the outcome is often efficient and harmonious,” says Weiss, who was given free rein in the design process. Construction team Ashok Interiors, also part of the Island City Studios team, was recruited to implement the sound isolation and acoustic interior design. Sound Wizard worked closely with Ashok, assisting in the interpretation of complex technical drawings and following up with onsite meetings. As with any Sound Wizard project, acoustic design aided by EASE simulation was key to unlocking the full potential of the space. “Transparency is the main goal of any recording studio design, and Lambodara Studios has multiple acoustic features that help it achieve this goal,” explains Weiss. This included the front baffle wall of the control room, which acts as a waveguide to redirect the energy from the flushmounted Quested Q412D three-way active studio monitors and QSB118 passive 18-inch subwoofers. The Mahadevans had heard the Quested monitors installed at Harris Jayaraj’s studio as well as at Island City, which sealed their decision. “I must have tested 10 or 12 monitors before picking them; I was after mastering grade monitors that were top notch,” says Siddharth. “The ones at Island City sounded so beautiful, and the top end and low end were so transparent and clean that we decided to go for Quested.” The system was supplied by Mumbai-based Rivera International, which recently took on Indian distribution for Quested, and was the company’s first order. “The Quested system, chosen in Tomato Red by Mr Mahadevan and Siddharth, was a great choice and sets the studio apart,” comments Rivera International CEO, Rajesh Sadarangani.

66 PRO AVL ASIA September–October 2020

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Sound Wizard’s acoustic treatment in the live area Sound Wizard angled the three-pane window between the recording room and control room vertically within the control room to prevent first reflections from interfering with the direct sound and colouring the signal. To create symmetry in the room, mirrors have been placed on the opposite wall to simulate the acoustic performance of glazing, optimising the stereo image at the listening position. Central to the recording setup are an SSL AWS 948 48-input analogue console supplied by Sound Team. The console can control two DAW systems, in this case Avid Pro Tools and Logic Pro X. A range of outboard equipment including Neve 4081 and Chandler TG12411 preamplifiers, Lexicon PCM reverb, Universal Audio Apollo x16 interfaces, a Manley Massive Passive equaliser and Universal Audio UAD 1176, Dangerous Music, API 2500 and Universal Audio Teletronix LA-2A compressors complete the recording setup, together with Neumann U87, Brauner VM1 and AKG C12 VR microphones. All cabling is Sommer, and nearfield monitors are a pair of Barefoot MicroMain 26 speakers. Both the control room and recording area benefit from “room within a room” designs that reduce sound transmission through structural vibration. A combination of custom-designed diaphragmatic absorbers as well as ceiling and side-wall absorbers have been used to eliminate standing waves and create a flat reverberation time curve at all frequencies. Sound Wizard had initially planned to use QRD (Quadratic Residue Diffuser) or slat diffusers in the control room. However, Siddharth preferred a more complex honeycomb design. Using software simulation to determine the form and dimensions required to diffuse sound at a targeted frequency range, Sound Wizard provided interior designer Kiran Shetty with the framework to turn a functional acoustical device into an interior and lighting design element. Acoustically, the device achieves its target of scattering mid and high frequencies to minimise comb filtering at the listening position, while also creating a more pleasant and “live” listening environment. Not to be overlooked was implementation of the studio’s crucial heating, ventilation and air conditioning (HVAC) system.

Lambodara Studios has been divided into two independent air conditioning zones: the recording room and the control room, which meet a noise level target of NC15 and NC20, respectively. Having two independent setups lowers the machine noise levels, mitigates sound transmission between separate spaces and offers better control over energy consumption. Sound Wizard devised the concept layout and detailing for the duct work, which was fur ther developed and adapted by the HVAC vendor in the final system design.

Shankar Mahadevan is delighted with his new studio By the time India went into lockdown in March, Lambodara was around 90% complete. “There’s a final bit of wiring to be done, and the patchbay still has to be configured, but it was truly a blessing that we got as much done before lockdown,” says Siddhar th. “Having a studio where we live during these times, I couldn’t have asked for anything more.” He calculates the pair has managed to complete around 40 projects in the last four months, including a video collaboration with the Berklee College of Music featuring over 100 ar tists to raise money during the crisis for out-of-work musicians. The Lambodara project was given a satisfying sense of closure when Sound Wizard received another appreciative WhatsApp message, this time from Shankar. “Hi Didier, just wanted to tell you that this is by far the best studio I have heard and am so thankful to you and your team for doing such a fabulous job. We really feel proud having this studio of serious quality and aesthetics!” www.soundwizard.net

September–October 2020 PRO AVL ASIA 67

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One of the main audio control rooms at the original CCTV building in Beijing has undergone an upgrade. Sue Su reports from 360 Recording Studio LOCATED IN FUXING ROAD, BEIJING, THE CHROMATIC Television Center was completed in 1986 for China Central Television (CCTV) and was named one of the top 10 buildings in Beijing during the 1980s. In 2018, the China Central Media Group was established in the building, which became the group’s headquarters. Although most of CCTV’s TV channels have now moved to the broadcaster’s iconic HQ on Guanghua Road, some news production is still operating from the older location, together with some of CCTV’s digital channels and the Spring Festival Gala. When the Chromatic Television Center was built, it was equipped with two recording studios of 480m2 and 360m2, respectively, to handle music recording and mixing for largescale cultural programmes, music channels and CCTV feature films. As time passed and equipment began to age, together with a requirement to meet the needs of 3D sound production, it was decided to upgrade the 50m2 control room of the 360m2 studio, dubbed 360 Recording Studio. “When we design a system for large-scale music recording studios, especially when multiple recording studios need to be linked, there are some new requirements to consider,” explains Lu Nannan, head of the music production department at CCTV. “First of all, we must consider where the boundary between digital and analogue should be, because in the music recording field, a lot of attention is still being paid to the use of analogue equipment. Secondly, we must consider how the studios can be networked and, finally, sound production has developed to the stage of 3D audio, which we must embrace.” The bidding process for the update of 360 Recording Studio was launched at the end of 2018 and was finally awarded to Digital Media Technology (DMT), which has comprehensive experience in recording studio integration as well as a long history of cooperation with CCTV. The project took around six months to complete.

360 Recording Studio’s spacious live room 360 Recording Studio comprises the 360m2 live room and a 30m2 control room as well as the 50m2 control room which has been upgraded. Unlike the larger 480m2 studio, which is a relatively warm room with 1.3s at 1kHz reverberation time, 360 Studio’s reverberation time is about 0.3s at 1kHz, making it an acoustically dry room, and therefore more suitable for multitrack recording of non-traditional music. When the studio was built, the first mixing console to be installed was an SSL 4000E. More than 30 years later, the SSL brand was once again chosen, with the studio being installed with the first 48-channel SSL Duality Pro-Station console in China. Pro-Station is a version of Duality that offers an alternative centre section layout, allowing sound engineers to control a digital audio workstation – in this case an Avid Pro Tools HDX – from a single, centralised position. According to Lu, the SSL sound can be roughly divided by the introduction of the 9000 Series. “After the 9000 Series, the sound became cleaner and Duality belongs to this type,” he says. “The previous models like the 4000 Series

will have a certain colourisation and the two styles are very different. You can’t say which one is better but, by adding SSL’s Variable Harmonic Drive preamp, Duality can of course provide more sound possibilities. In addition, the SSL is very user-friendly when it comes to working with DAWs. In terms of technical specifications, Duality is also a good analogue console.” The main monitor speakers in the control room have also been replaced, with a pair of Genelec 1234A smart active studio monitors embedded in the front wall, which has undergone necessary acoustic improvements. A 5.1.4 monitoring system has been installed, comprising an L-C-R system of Genelec 8351B SAMs, four Genelec 8331A SAMs for the top channels and two 8341A SAMs for the rear channels, plus a 7370A SAM subwoofer. A pair of Yamaha NS10s are being used for nearfield monitoring. “Genelec has a high degree of recognition in the professional audio market in China, and their R&D has been leading the field in recent years,” continues Lu. “Since they launched the coaxial speakers, I think that the sound quality and sound density have improved even more. The GLM software makes the tuning of the 3D sound system more convenient, and they combine AoIP technology as well.” The recording studio is already equipped with various types of classic microphones, and some new models were also purchased for the upgrade, giving it an inventory of different brands, including DPA, Neumann, Schoeps, Telefunken and Brauner, in addition to classic models from Royer, Audix, Sennheiser, AKG, Shure and beyerdynamic. The studio’s auxiliary equipment is also a combination of the old and the new. Some models have been used from the very beginning, including outboard equipment from AMS Neve, Urei, Pultec, Manley, Rupert Neve and Avalon, as well as Lexicon, EMT, Bricasti, TC reverbs and delays and Eventide effects.

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L–R: Johnathan Wang from DMT and Lu Nannan from CCTV

The control room has an extensive selection of outboard equipment

In addition to an Avid MTRX interface, some Prism Sound interfaces have been added as part of the upgrade. “The audio characteristics of a recording studio of a certain scale with a fixed console are already formed,” says Lu. “If you want to add a different tone to it, you must make certain tradeoffs. The Avid MTRX interface used with this workstation is characterised by its delicate, transparent and colourless qualities. We have also added a small number of Prism Sound AD/DA interfaces to achieve a completely different style. In addition, the Neve-styled Amek and Focusrite preamps have very different qualities to the SSL. Together with some classic VCA, FET, Class-A, Pultec and tube outboard equipment, this can enrich and colour the sound.” The original SSL 4000E console, together with a Sony PCM-3348HR digital multitrack recorder and Studer A820 two-track analogue tape machine used in the studio’s early years, have also been integrated into the system. A total of

17 patch panels have been kept to retain the sound and character of older equipment and to provide more options for the engineers. “After powering up the SSL 4000E console and doing some basic sound tests, we found that its performance was still good after more than 30 years,” adds Johnathan Wang, technical director of DMT. “This made us very excited. After discussions with Mr Lu, we decided to return it to the control room and use it as an insert to the Duality. Even though it would cost more in wiring and labour, we all looked forward to how the combination of the new and old SSL console would enrich the sound characteristics of the room.” The 30m2 control room on the other side of the studio is also installed with an SSL, this time an AWS 924. The two control rooms and the 480m2 recording studio share Avid Nexis | E2 SSD core network storage, and each of the

studios are installed with an Avid MTRX interface equipped with a Dante card, which facilitates networking and signal transmission through the Dante protocol. There are plans to connect to the MCR at the old site in the future. The studio is now able to meet the requirements of contemporary stereo, surround and 3D productions. “This is a high-quality system that meets the demands of today’s music recording,” concludes Lu. Just as the two CCTV sites in Beijing continue to complement each other, the upgrade of 360 Recording Studio combines the best of analogue and digital worlds. www.cctv.com www.dmtpro.com www.genelec.com www.solidstatelogic.com


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A letter from America

Welcome back? Dan Daley considers how recording studios will have to convince clients it’s safe to return

IN THE LAST COLUMN, WE LOOKED AT WHAT THE pandemic had done to the live music industry. Tours cancelled, venues closed (in some cases, for good) and persistent but somehow sadly half-hearted and at times near-desperate attempts at making a performance from home over Zoom feel like the real thing. It doesn’t. It can’t. Nonetheless, we tipped, digitally. More recently, recording studios have been trying to find their way back open. I ran a TEC Tracks panel on the topic in June, right around when the Producers & Engineers Wing of the Recording Academy issued its own lengthy and comprehensive set of protocols for getting studios ready to welcome recording artists once again. They revolve around sanitisation and disinfection, cleaning every surface and keeping people at least 2m apart in an environment designed to encourage close collaboration. These protocols are, like much of life during the plague, tedious but necessary. I try to imagine Albert Camus producing a record. This process is going to be in orders of magnitude beyond the familiar “No drinks on the console” warnings. There’s the sheer amount of shared space in studios – faders and knobs that are communal territory, control rooms that have evolved from purely technical into collaboration spaces as hip-hop became ascendant, lounges that once were social areas in facilities that have become satellite studios for songwriters

and electronic instruments. Making those truly safe will be a major and ongoing undertaking. Interns will soon become experts on sanitation as well as on the studio’s gear.

Welcome back? But the hardest task at hand will be convincing clients that it’s safe to return to the studio. Studio clientele will have been largely in varying degrees of lockdown mode for months, depending on where they’re coming from. In the US, that’s differed widely, from places like New York City, which was the literal epicentre of the pandemic in the States, to cities like Nashville and others in, let’s say charitably, redder areas, politically speaking, where the requirement to wear masks was deemed an affront to civil liberties. To whatever extent these measures were enacted, they have produced a rather traumatised client base, sick of the fear of getting sick. They’re going to need an enormous amount of hand-holding, all while keeping politics out of the conversation. Then there’s the situation in which artists of some standing will find their record labels pushing back on the idea of using anything but a private studio. This sword could cut both ways: labels have been known to fund personal studios for certain artists, with the expectation that that will reduce their production outlays going forward. Doing so would certainly help

artists limit exposure; on the other hand, it can also argue for lock-out rentals. The latter has always been a tough call for studios – the predictable long-term revenue versus having the studio off the market for extended periods and being forgotten about. But the pandemic may push that equation strongly one way or the other. People react to what they see and hear, and whichever strategies studios decide to pursue, getting pictures and blurbs out that reveal people working in those studios is going to be a critical move. In the trade magazines and blogs, as well as in more general media, anything that proclaims to the world that it’s safe and good to be back in the studio. It may be that recorded music – and thus music recording – may be a beneficiary of an extended time without live music. Analyst Mark Mulligan’s recent appraisal of that sees recorded music’s retail values increasing slightly this year, even as live revenues drop by as much as 75%. It’s opportunistic, but in a good way. It’s a chance to reposition the traditional recording studio in the culture of music. It’s not suddenly going to become the 1980s and 1990s again, but studios can be seen as coming out of this with a renewed emphasis on customer service and support, something that personal studios weren’t designed for. In making a studio a safe place to be creative in, it’s making the studio once again a destination.

A letter from Europe Virtual crowds, virtual noise – it’s all a bit like playing a FIFA video game, considers Phil Ward IT TAKES A TRANCHE OF ACADEMIC RESEARCH TO confirm the obvious but, according to Texas Tech University professor, Glenn Cummings, TV sports audiences respond to the noise of the crowd. No kidding. Apparently, a surge in atmospheric roar provides auditory clues to what’s happening on the pitch – the more intense they are, the more exciting audiences think the game is. I wonder how much that study cost. Amusingly, this particularly applies to VIPs at the game, because, as ZeeVee president and CEO Bob Michaels told me recently, they mostly watch it on the screens provided, and only turn to the pitch when the crowd erupts. Even more amusingly, if the network latency is poor, it means they turn their heads just after someone has scored, turn back again just after it appears on the video link and, effectively, miss the goal twice. Michaels will then point out that’s why you need ZeeVee’s SDVoE ZyPer4K encoders and decoders offering uncompressed 4K AV at less than a millisecond of latency, and you can hardly blame him. Try watching a football match on television when no crowd is allowed into the stadium. It’s happened before, when teams have been punished for bad crowd behaviour, but it’s fast

become the norm in the current climate. The net result – see what I did there – is a ghostly kick-about with all the thrill of live chess in a car park. You know, like watching Everton. So, now that European football attempts to conclude its paused seasons, broadcasters have a particular problem. All the revenue comes from television rights and, ultimately, advertising, so viewing figures need to stack up. Sky Sports is among the first to experiment with virtual crowd noise for its English Premier League coverage, in the hope of compensating for the dullness of empty stadiums. The current solution has been developed in conjunction with Electronic Arts, the company behind the hugely popular FIFA video game series. It turns out that the industry phrase for crowd noise, or any background chatter in drama or animation, is called “walla”. Don’t ask me why. Anyway, for interactive media, it has to be scripted, recorded, programmed and stored in several banks, so that the right sounds are triggered by given cues. The sound design is, of course, critical – all hail Viviana Caro, the Columbian-born sound designer behind the latest releases. FIFA uses a gaming engine called Frostbite.

When it comes to live sport, the equivalent of FOH sound engineers have to step up and ride the faders, just like a gig. Fox Sports Australia has created 60 sound beds and effects for National Rugby League games that engineers draw upon via a tablet – kind of halfway between playing FIFA and playing, well, reality. For the German Bundesliga, Sky Deutschland’s engineers have taken recordings of recent full-attendance matches to create a palette of effects, push-button ready. And get this: in Denmark, they mix in fans on Zoom watching in real time, encouraging them to sing. Don’t try that in Liverpool without profanity delay. What about the players? Again, in the Bundesliga, the virtual audio is fed to the bowl speakers to add some spirit of tension, to go with the cardboard cutout figures spread out around the seats like stunt hooligans. Sadly, similar measures at South Korea K-League club FC Seoul backfired when, following a “mixup”, a dozen silicone sex dolls were installed for a game against FC Gwangju – thoughtfully outfitted in Covid-ready facemasks – in lieu of the morale-boosting “premium mannequins” expected. Imagine that in Dolby Atmos.

70 PRO AVL ASIA September–October 2020

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The Brompton Technology team

Caroline Moss interviews Brompton Technology about becoming one of the UK’s fastest-growing export companies and setting up a Chinese division to work with LED panel manufacturers

WHEN BROMPTON TECHNOLOGY LAUNCHED IN 2011, THE whole team led by Richard Mead and Chris Deighton was confident its Tessera M2 LED processor would address a vital niche in the live events market. Selling the initial six-month run before production began, then seeing the Tessera M2 deployed at the Academy Awards a few months later, could be seen as beginner’s luck. However, Brompton Technology has continued to hit the heights. Last year, the company was listed in the Sunday Times Tech Track 100 as one of the fastest-growing private tech companies in the UK for the second year running, as well as in the publication’s Export Track 100 for fastestgrowing international sales. And, in April, it was announced that Brompton Technology had won the prestigious Queen’s Award for Enterprise: International Trade. Brompton’s founders were part of a team of designers, software developers and hardware engineers at lighting control manufacturer Flying Pig, going on to found Carallon in 2004 following Flying Pig’s merger with High End Systems. In 2011, Carallon set up Brompton Technology, with Mead and Deighton as managing director and CTO, respectively, continuing in a symbiotic relationship with Carallon, whose R&D team they can access for product development. “Carallon morphed into a product development hub that generates spinoffs where it’s identified an opportunity, and Brompton was one of those spinoffs,” explains Mead on the Zoom call that replaced our planned face-to-face interview. “We were having lots of conversations with video techs working on live events who weren’t happy with the usability of their equipment. Often, it was repurposed broadcast and consumer equipment because video products weren’t being specifically developed for the niche live events market. We had the skills and the experience of developing products for live events, so we saw an opportunity to develop something specifically for that space.” The challenge Brompton identified was that of touring LED walls, sometimes consisting of hundreds and even thousands of panels. “Products for install applications were being used for the fast-moving live events market, so that was the core starting

Brompton Technology MD, Richard Mead point,” continues Mead. LED wall processing formats a video signal to the size and shape of the screen, adjusting colour and brightness depending on the application and environment and splitting the signal to correspond with the individual panels. “The data is transmitted via Gigabit Ethernet, and keeping it synchronised with the lowest possible latency is a huge part of the challenge. We rely heavily on FPGA technology and work with just one or two frames of latency, so it’s very fast.” A collaboration with VER, now part of PRG, but at that time a large, privately owned rental company, was an early coup for Brompton. “They were aware we were developing our flagship Tessera M2 processor before we launched it and bought our entire first production run,” Mead recalls. “It was enormously helpful in getting the business started – our first six months of products had sold before we’d built them. VER was using our products on some of the biggest jobs in the world: we launched it in the middle of 2012 and it was being used on the Oscars at the start of 2013. That was extremely useful for proving the

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product was strong and making people aware it existed. It was also a mutually beneficial arrangement: we helped them solve a problem and in return got some early investment.” Although Brompton had planned to develop a range of video products for live events, the M2 was so widely accepted that they have remained focused on Tessera LED processing. “We’ve developed more and more features and capability within our Tessera processing range,” says Mead. All processors benefit from software updates for the product’s lifespan, including recent upgrades to HDR, where Brompton’s Dynamic Calibration technology helps deliver extremely lifelike image quality. The M2 LED processor was followed in 2016 with two smaller family members, the T1 and S4. Another major milestone in early 2018 was the launch of the SX40 4K processor. “That got a fantastic reception and resulted in Brompton effectively doubling in size,” Mead continues. “We saw the step to 4K as about more than a new video format, with the amount of extra processing and infrastructure this required, and we wanted to make life easier for the people setting up the screens. So, we decided to output 10 Gigabit Ethernet from the processor and created a separate distribution box that hangs on the LED wall truss, taking in the 10 Gig signal and splitting it down. Some perceived us as late to market with our 4K product, but we stuck to our mantra: we’d rather take the time required to do it right. And the market response has told us we were correct to do that. We were massively backordered from the day we started shipping, and for 12 months sold them as fast as we could build.” 2016 was a big year all round for Brompton, which relocated to a larger West London premises to accommodate its growing team, as well as winning New Company of the Year at the Electronics Weekly Elektra Awards and hiring Elijah Ebo as general manager, Asia. Ebo was appointed to address Brompton’s other client base besides the rental and production companies to whom it supplies the LED processors: the panel manufacturers themselves, into whose technology the Tessera receiver card is fitted. This precipitated setting up an office in Shenzen,

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Brom its HD Audio at Am


BUSINESS: COMPANY PROFILE southern China, the heartland of LED panel manufacturers. “It’s not enough for us to work with the rental companies using the LED panels; we also have to work closely with the panel manufacturers, most of whom are based in China, to incorporate our receiver cards into their panels,” explains Mead. “It is possible to retrofit existing screens, and we did that a bit initially, but we prefer to work with them from design and build.” Brompton’s main competitors are Chinese companies that produce relatively inexpensive processing, often developed for the volume market of digital signage, but panel manufacturers are finding that, at the top end of the market, their own customers are demanding Brompton. “From the panel manufacturer’s perspective, we are sometimes initially viewed as an unhelpful distraction because they just want to make the sale,” says Mead. “But we work hard to make it as easy as possible for them to move over to using our processing, and we’ve built up a good set of manufacturers who work with us regularly. Quite a lot of them now stock Brompton panels as standard. It’s a process of wooing them over – we are unashamedly not the cheapest option. We set out our benefits: quality, reliability and usability; the need to move the wall, set it up and make it look great in a short space of time. A system that’s more usable makes that a more realistic proposition. Ultimately, we might be enabling tours to pack in more dates because they can set the screens up more easily.”

Fortnite World Cup 2019 at the Arthur Ashe Stadium in New York Image courtesy of Epic Games Prior to lockdown, Ebo was spending two weeks per month in Shenzen. “Luckily, the team has matured enough to work by themselves, and we’ve recruited three people during this quiet period,” he says. “We’ve gone from a team of five to eight, and we’ve taken the opportunity to train up these new employees during the relatively quiet spell, so it seemed worth taking a small risk during this time. I’d like to get back out there as soon as I can.” A design engineer himself, Ebo decided he wanted to interface more with people, something his current role certainly demands; he’s thrown himself into Chinese business culture

and learned some Mandarin. “We set up an office and started visiting people and building up relationships,” he says. “We would give a demonstration and get all sorts of reactions, from reservation to absolute enthusiasm. We were initially perceived as expensive, and ‘just’ a processor, so I took that back to R&D, who started to incorporate features that would be useful for manufacturers, adding value such as improving defects in the manufacturing process like overheating, so they can get more out of the LEDs. They would say ‘I know this panel and I’ve never seen it look like this before’; we were just driving it differently, and they liked it. Slowly but surely, we’re making progress. We’ve been invited to industry events in China like panel manufacturing conferences, to give presentations and make them laugh with my feeble attempts at Mandarin.” Despite the office in China, Brompton is resolutely a British manufacturer. Although receiver cards and some electronics are sourced from China, its processors are assembled by hand in the company’s London workshop. Brompton’s UK home market is one of its strongest, along with North America and Australia, where it works with rental companies such as TDC, Big Picture and MediaTEC. Japan, Singapore and the Middle East are also becoming important territories, and Ebo has identified China as a potentially huge market. But with the majority of the company’s clients working in live events, the inevitable question crops up: how is Brompton weathering the Covid-19 downturn?

Roger Waters’ 2018 tour with screens from Universal Pixels

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Image courtesy of Nathan Reinds

Brompton Technology presented its HDR technology at Faber Audiovisuals’ virtual production demo at Amsterdam Studio

BT Tower, London

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Ed Sheeran’s 2017 tour with screens provided by Colonel Tom Touring “Until now, live events have been our main market, so clearly that sucks,” says Mead. “Realistically, even when live events are back, it may well take six months or more before any of the rental companies are in a position to invest.” There is, however, a ray of light. “Right now, there is a huge shift in the film and TV world towards using LED walls as a backdrop instead of a greenscreen. There are lots of benefits to filming in front of LED walls – the actors and creatives prefer it because standing in a green box isn’t inspiring, the directors don’t know what it will look like until the visual effects have been done, sometimes months later, and, if something doesn’t look right, they can adjust it there and then. It also makes the lighting on the actors’ faces appear more natural than a lot of greenscreen shoots where this needs to be addressed later. It can save money in the long run on expensive postproduction. Brompton’s processing is particularly well-suited to LED being used on camera, so, together with the rental companies, we are hoping this is the market that saves us all – film shooting is getting back much faster than the touring market.” Like touring, the invitation to the Buckingham Palace garden party to collect the Queen’s Award is on hold for the moment. But with the entertainment technology landscape shifting and new markets opening up, Brompton Technology has plenty to celebrate.

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September–October 2020 PRO AVL ASIA 73

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Conquering the Middle Kingdom

Over two decades, the hard work and cultural sensitivity of Australian acoustic consultancy Marshall Day Acoustics has resulted in spectacular arts centres across China. Richard Lawn conveys the company’s history

Sir Harold Marshall

WIDELY REGARDED AS ONE OF THE WORLD’S LEADING acoustic consultancies, Marshall Day Acoustics grew from humble beginnings in Auckland, New Zealand. Although few western acoustic consultancies had ever ventured into the People’s Republic of China, the firm’s bold fascination with the Middle Kingdom would significantly challenge its credentials beyond what was possible in the southern hemisphere. Peter Fearnside became the third partner in Marshall Day Acoustics, joining New Zealand-based co-founders Christopher Day and Sir Harold Marshall to establish Marshall Day Acoustics in Australia. The year was 1987 and Englishman Fearnside had just returned from working in the US. He had met Day in 1972, just after he graduated in mechanical engineering from City, University of London, and moved to Australia in 1975. Over the following decades, Marshall Day Acoustics was increasingly commissioned to create innovative acoustic designs in Australia, ranging from concert halls to wind farms and everything in between. The company’s credentials

in building acoustics, sound system design, planning and environmental noise, industrial noise control and structural dynamics analysis increased year-on-year. Its growing reputation was enhanced by the creation of Marshall Day Entertech, a specialist theatre design and planning consultancy. By encompassing performing arts design, the company experienced a growing demand for its professional and specialist services from overseas, with projects commissioned and completed in Europe, the Middle East, Pacific Islands, Southeast Asia and the US. Then China beckoned. “My first visit to China was to Shanghai in November 2001 on a fact-finding tour, when we quickly realised that many performing arts centres were being rapidly built and the quality of the acoustic design was poor,” recalls Fearnside. “Despite the striking and somewhat majestic architectural designs, many returning expatriates to China who had studied overseas were unimpressed by ‘Made in China’ products back then. Sir Harold Marshall was widely respected in China and his research papers in concert hall design had been translated into Chinese. With Sir Harold so

Christopher Day

Peter Fearnside

Beijing TV Theatre was the breakthrough project for Marshall Day

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BUSINESS: COMPANY PROFILE highly regarded, we decided to select China as a potential new business territory.” It would be just over a year before Marshall Day made its first bid on a project in Beijing. “The temperature in Melbourne was in the high 30s but, when I went to meet the head of Beijing TV, it was below zero with a significant wind chill factor and a deep covering of snow. I only became aware of just how cold it was the day before I left, and had to borrow a very large woollen overcoat from a friend as it was impossible to buy any winter clothing in the middle of January in Melbourne.” Having adjusted to seasonal differences in weather, Fearnside then set about negotiating the many obstacles in doing business. “You can’t succeed in China without someone that you totally trust, who can speak Mandarin and possibly Cantonese, write impeccable reports in Chinese and English, and work exclusively for you. Translating technical English into Chinese is a complex task that requires a deep understanding of the language and the subject matter.”

Du’s inside knowledge of doing business in Chinese, together with his proficient command of the language, served as a powerful catalyst. In addition, Marshall Day received a further boost from a new source within the Australian Trade Commission in Beijing: New Zealander Carolyn Hughes. “We owe much of our early success to Carolyn,” explains Fearnside. “Unlike the other Austrade trade commissioners, who were comfortable assisting Australian companies trying to sell goods rather than services, Carolyn understood acoustics and theatre design, and where we could fit into the increasing number of arts centres being built in China. Not only did she teach us about the importance of developing relationships first before trying to do business, she also guided us on how to approach meetings. That meant learning to relax during the first hour of pleasantries regarding family and travel, and avoiding my natural instincts for a full-frontal attack on the subject at hand. Most importantly, she taught me that, in China, you need to concede many points if you want to succeed, to

Raisi Xiaojun Du

Peter Exton

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Exton discovered a violin maker close to the Conservatory of Music in Chengdu Enter Xiaojun Du, a graduate of Shanghai University with a Masters in Structural Dynamics from Melbourne’s Monash University. Du’s help in assisting Marshall Day in its Chinese quest ensured that the formidable obstacles it would encounter either vanished or diminished in size. “Du’s ability to translate Sir Harold’s work into Chinese helped open doors for us,” continues Fearnside. “Once Du had mastered the technical translations and successfully added Chinese subtitles to our presentations, we had created a powerful calling card.” Having avoided the trap of setting up a joint venture with another Chinese company, Fearnside admits that he learnt other Sino-Australian trade aspects the hard way. “We soon realised that we had to supply bilingual Chinese–English reports and, in doing so, we could not trust a Chinese interpreter or translator with material of a technical nature. When you write your own contract in Chinese, you have made a declaration that you fully understand the contract. It is legally binding and the English version you understand should be considered purely as a guide.” Together with their colleagues Marshall, Peter Exton and Tim Marks, they made a formidable team. “Du taught us about negotiating at three tier levels,” explains Fearnside. “In China, you need to win over the well-connected party officials who set up the project companies, for it is they that have the ultimate control of whether you are appointed or not. At the second level, the project owners are ultimately responsible for employing you and delivering the project, and at the third level are the technicians and project managers who you will need to work with. It is essential that all these individuals or groups are won over if you are to succeed.”

know the battles you need to win and those that, in the big picture, are unimportant. “In our early days of negotiating on the Beijing TV project, we would tell Carolyn the subjects that we would be meeting. She in turn would tell us how important they were. On a few occasions, she considered a meeting so important she would arrive in the Australian Embassy limousine complete with flag on the bumper and accompany us to a meeting with top party officials. She also taught me to count the dishes at lunch or dinner, saying that if you get to 21, you are assured of a contract. At Beijing TV, I had my first 21-course lunch and we had our first per forming arts project in China. There have now been over 15 concert halls, 20 opera theatres and 25 theatres throughout the length and breadth of the Middle Kingdom.” In the early days, the company learned to conduct one project at a time, finding that this strategy helped it to progress courtesy of word-of-mouth referrals. “Doing business in China is not for the faint-hearted,” continues Fearnside. “If you don’t fall in love with the country, the people, the food, the gigantic cities and the speed at which buildings are designed and built, it’s better to look somewhere else. I rapidly grew to love China and, for the next 17 years, I flew there over 60 times. In that time, I have been fortunate to visit almost all of the largest cities with a population in excess of 10 million and work on the design of per forming arts centres in Beijing, Nanjing, Xian and Chengdu.” Biggest is not always best, however. “I have also visited delightful smaller cities such as Yixing and Zhuhai, with

Tim Marks

The Yixing Grand Theatre

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Raising the bar at the Guangzhou Opera House

The Zhuhai Opera House is a landmark architectural design

The Jiangsu Grand Theatre in Nanjing

The Xi’an Concert Hall

The grandeur of the Chengdu Conservatory of Music

populations of 1.2 and 1.6 million, respectively. In close proximity to purple clay known as Zisha, Yixing has been the teapot capital of China for centuries. In Yixing, Peter Exton designed a beautifully crafted, 1,200-seat grand theatre and a 650-seat concert hall. In Zhuhai, we designed the spectacular opera house with its 90m-high, shell-shaped exterior. This is the first building that greets you as you drive over the new 55km Hong Kong–Zhuhai bridge.” Still making an impression today as it did when it first opened in 2008, the performing arts centre within the Guangzhou Opera House remains one of the firm’s pinnacle works. “Be prepared to play a long game if entering the Chinese marketplace,” advises Fearndale. “Looking back

on how our business evolved, I would say that any new company venturing into China for the first time should be prepared to invest for five years without significant return. When we received a faxed notification that we had won the Guangzhou project in 2005, it was a watershed moment for us in China. On this project, we worked with the late architect Zaha Hadid to develop the world’s first asymmetrical opera house, which has regularly been featured in the top 10 best opera houses in the world. The 10th anniversary was celebrated by a fully imported production of Franco Zeffirelli’s Aida with a cast of over 170 per formers, and imported principals accompanied by the Xian Symphony Orchestra conducted by Australian, Dane Lam.” Renowned throughout the world for its terracotta warriors and Tang Dynasty architecture, Xi’an remains Fearnside’s favourite city. “Following the completion of the 1,250-seat Xi’an Concert Hall in 2009, we embarked on the design of the opera house, which opened in 2017 with a fully imported Italian production of Turandot. The Xi’an Concert Hall and Opera Theatre both have traditional, Tang-style exteriors and modern interiors. Adjacent to them is a museum dedicated to shadow puppets, which dates back to the Han Dynasty. We have since been appointed on a new concert hall and opera theatre in Xi’an.” Recently in Chengdu, Fearnside and Exton were commissioning a new performing arts centre attached to the Conservatory of Music. Walking back from lunch, they were passing several music shops when they came across one specialising in the care of stringed instruments. The shop was run by Lin, a graduate of the Violin Making School of America in Salt Lake City who was working in the shop established by his father, also a violin maker and repairer. Exton, who was an accomplished professional violinist before taking up acoustics, was delighted at this chance meeting. “We were welcomed with tea, and a personal tour of the workshop, complete with a demonstration of the hand tools used by Lin in a way that has not changed since the

craft was established in northern Italy in the 17th century,” recalls Fearnside. “The violin was excellent and, on a later visit, the acquaintance was renewed as Peter used the instrument to demonstrate the fine acoustics of the violin and the new concert hall to a delighted client.” Marshall Day Acoustics followed up its establishment of an office in Shanghai in 2008 by setting up another in Hong Kong five years later. “Local support and logistics are vital as construction normally outpaces design, meaning you have to work at a breathtaking pace,” explains Fearnside. “Our largest project to date is the Jiangsu Grand Theatre project in Nanjing, which includes a 2,300-seat opera house, a 1,500-seat concert hall and a 1,000-seat drama theatre. The project opened this year and will probably be the last of the very large, multi-venue performing arts complexes to be built in China for some time. It was extremely challenging.” Having stepped down as CEO in 2017, Fearnside remains a principal of Marshall Day Acoustics in Australia and is committed to working with the firm, particularly in China. Despite the long train journeys, delayed flights and missed connections, together with the odd bout of food poisoning along the way, his passion for China remains all-consuming. “Establishing the business there over the past two decades and working with Peter Exton and Sir Harold Marshall has been the most rewarding time of my business life. I would often travel there overnight on a Sunday and go to three cities in five days before travelling home on Friday. Sometimes, I would spend two weeks out there, but I had to limit the amount of time travelling, so that I could spend my weekends at home to see my young son grow up.” Over the same timescale, Chinese arts and the attendant performance venues that have sprung up to accommodate them have also matured at an accelerated rate to become the envy of the world, thanks in no small part to Marshall Day Acoustics. www.marshallday.com

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Digital signage is the most effective way of offering easily updatable guidelines

The workplace revolution Colin Farquhar, Exterity CEO

Exterity CEO Colin Farquhar considers how IPTV and digital signage will become key as workplaces open back up COVID-19 HAS HAD AN IMMEDIATE AND FAR-REACHING impact on the way the world of work operates. After months of lockdown, restrictions are starting to be eased but the virus will continue to have an enduring impact on work culture and the shape of offices going forward. It has become abundantly clear that remote working, social distancing and a rethink of how office space is being used and is run will redefine what is “normal” for a long time to come. The first and most obvious change to the corporate world has been the surge in remote working. Homeworking has become more common in recent years, but offices have remained central to many work cultures due to the value placed on face-to-face, handshake interactions – which many employers see as essential to successful collaboration, communication and creativity. The crisis has meant, however, that entire teams were forced into working remotely overnight. Now, as more people around the globe begin to filter back to their workplaces, the reality is that many organisations are reconsidering their working environments as they look to their short- and longer-term futures. For some, this may mean remote working rotas introduced to ensure office spaces are not densely occupied and staff adhere to social distancing requirements. Others are questioning their need to maintain such large office spaces and may make a wholesale shift to enabling more staff to work from home. It is highly likely that many organisations will implement a hybrid approach that involves both remote working and radically revamped workspaces. All these options require that employers take

steps to keep those coming back to the workplace informed of a raft of changes as well as ongoing adjustments as the crisis continues to evolve. Social distancing and “stop the spread” measures implemented both by government and business leaders will play an important role in determining how organisations operate workspaces for the foreseeable future. Therefore, it is imperative that they leverage workplace technologies that can efficiently keep employees up to date with the latest company news, announcements, training and policies. For organisations such as global enterprises with scattered workforces, hospitals keeping staff and patients safe and places of education that need to teach from a safe distance, IP video-based technologies have become absolutely critical. Indeed, IPTV and digital signage will play an increasingly bigger role in ensuring the secure delivery of content to any device and facility-wide screens as organisations ensure that vital communications on safety guidelines and hygiene policies, and, as well as practical matters and business concerns, reach everyone they need to. A clear example of the importance of effective IP-based communications is in the banking and finance industry. IP video technology, employed by many businesses in this sector before the crisis, has been a boon to financial firms as the pandemic has impacted global markets. It has enabled real-time and on-demand streaming of business news, meetings and presentations across multiple rooms and locations to ensure everyone has access to important information when they need it.

The ramifications of Covid-19 for economies – from falling interest rates, fluctuating markets, rising unemployment, government inter ventions, tax changes and stagnant consumer and business activity – has put financial institutions under intense pressure. The Bank of China is one company that had already implemented an IP video solution to facilitate the livestreaming of business channels in HD, allowing its employees to stream financial feeds to their desks so they can evaluate transaction risks and keep track of the latest trends and regulations in real time. This type of setup also enables staff to keep up to speed on the latest news around the world as events, such as critical developments related to coronavirus, impact markets. Indeed, this level of IP-enabled information sharing is now more widespread and crucial than ever. Other organisations facing pressure to open as soon as safely possible include schools and universities. The need to adhere to social distancing guidelines, manage reduced class sizes and provide support for health and wellbeing are all top priorities, so the capability to effectively communicate with students and staff quickly and clearly is essential as educational institutions start to reopen. To help, eye-catching graphics and text, complemented by videos or live TV, can be displayed on screens in lobbies, common areas, cafeterias, lecture halls, libraries, labs, hallways and everywhere in between. The University of UAE provides a prime example of how a cutting-edge, integrated IP video and digital signage system improves communication, with live TV and video channels delivered across its campus and the internet to support distance learning – all of which can now be instantly put to good use when campus life resumes with more complex communication requirements.

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It goes without saying that throughout the pandemic, the safety of healthcare workers has been paramount. Ensuring they have access to the latest training and information about new developments – from government guidelines and updates on medical breakthroughs to information on protective equipment and other ways they can guard themselves – is fundamentally important. IP video technologies can play a crucial role in keeping people updated on these developments. Enabling optimal communications and information sharing among frontline medical sector workers across disparate facilities has been especially important. Pharmaceutical giant Sanofi, which is involved in the development of vaccines and innovative drugs, is a case in point. A few years ago, Sanofi deployed an IPTV system, which ensures that staff across multiple buildings in Paris have quick and easy access to internal communications, as well as reports from medical, business and news channels to keep well-informed of the latest healthcare developments. For many people, particularly key workers in healthcare and other occupations vital to the fight to overcome Covid-19,

remote working is simply not an option. For those already required to operate from office buildings, including many in government, public service, transport, logistics, utilities, telecoms and financial services, it is critical that traditional workspaces be equipped with the right communication tools to provide real-time updates on what is expected of them, the latest government advice, protective measures to help keep everyone safe, the actions their organisation is taking and other important information. As lockdown restrictions are lifted and the economy comes back online, more workers across all sectors will need additional support as they return. For those employees moving back into the workplace, digital signage and IP video are key tools in keeping them safe and well-informed throughout their working day. Many will need reminders and answers to fundamental questions on social distancing, moving within and between buildings, which entrances and exits to take, and even which

An IPTV solution in a company breakout room

restrooms to use. What’s more, people will be anxious for information on matters that might not previously have seemed important, such as how deliveries are handled, visitor management, onsite security, cleaning schedules and where they can wash their hands and get hand sanitiser. For many, IPTV and digital signage throughout premises will be critical to reopening premises safely – even as conditions shift as the crisis continues to evolve. That makes it all the more important that digital signage can be easily updated remotely in real time. Making effective use of digital signage and IP video – which can include taking advantage of the ability to add more screens to the network easily and quickly – is central to keeping things as close to “business as usual” as possible through the pandemic and its aftermath. For both those working remotely and those working onsite, IP technology is playing a vital role in instilling a sense of confidence and supporting business continuity at a time when both are in short supply. www.exterity.com

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sound reinforcement Discreet but powerful

in even the most challenging of projects

Suited to both indoor and outdoor use, the VERTUS CLA range comprises two models: The VERTUS CLA 803 and the CLA 403. Completely dustproof and weatherproof, the enclosure’s grille is covered with a special hydrophobic fabric to ensure absolute rejection of all atmospheric agents. Full EN54-24 certiďŹ cation also means both columns can be used for emergency and evacuation applications. CLA 403T

CLA 803T

www.fbt.it - info@fbt.it

Untitled-3 4

21/08/2020 13:21



AMS Neve’s 8424 targets hybrid workflows Delivering Neve 80 series voltage mixing sound with four groups and 24 channel faders, AMS Neve has introduced the Neve 8424 console THE SMALL-FORMAT Neve 8424 is designed to fulfil the needs of a modern hybrid studio where the speed of in-thebox workflow is enhanced with the sound quality of analogue outboard gear. Following on from the Genesys Black console, the British manufacturer has created a centralised platform with connectivity to create an ergonomic link between the linear analogue processing world of outboard gear and analogue synthesisers and instruments to the digital world of DAW workflow, software plug-ins and session recall. The 8424’s dual-input channel strip reportedly allows for seamless switching between recording and mixing inputs without additional patching. Simple input connectivity is provided by 24 line-level inputs, dual 1073 preamps and dual instrument DI channels. Performers can record directly from the control room by taking advantage of the 8424’s dual cue mix system with three-way talkback/return

talkback capability and dual headphone amplifiers. In terms of mixing, the 8424’s analogue mixing platform is furnished with 24 DAW returns across 24 channel faders. For larger DAW sessions, a 48-mix mode allows a total of 48 mono inputs with individual level and pan controls to be mixed through the 8424’s Marinair transformer-coupled stereo mix bus. The 8424’s mono and stereo aux busses can connect to outboard FX units and route

them back into the console’s two dedicated stereo reverb returns. Four mono groups with two-band shelving EQ, inserts and direct outs promote stem mixing, while the 8424 stereo mix bus provides true voltage mixing into Marinair transformers. Mixing engineers further benefit from in-built features including stereo insert, two-band shelving EQ and stereo width control. Each channel, group and stereo mix bush comes with its own switchable insert point, to provide a level of connectivity to analogue outboard units normally associated with large-format consoles. Dual 500 series slots can be utilised to customise the signal chain and build a modular hybrid recording system by connecting through the 8424 console. With an on-board Recall system, the analogue console can save, load and recall all settings, faders and pot positions on a session-by-session basis.

Adamson CS-Series 82 Adder Technology ADDERLink XDIP/ALIF4000 102 AJA Ki Pro Ultra 12G/Ki Pro Go v2.0 102 Allen & Heath SQ V1.5 93 Altman Lighting PHX3 LED/Genesis 104 84 Amphion FlexBase 25 update AMS Neve Neve 8424 81 Analog Way Midra 4K/Picturall 3.0 99 Antelope Audio Blonder Tongue Audio Baton/Filtek MK3 92 Aten UC3022 CamLive Pro 103 AtlasIED SHS-CVR/SHS-6T2CVR 85 Atlona AT-HDVS-CAM-HDMI/AT-HDVS-CAM-HDBT 101 Audinate Dante AVIO USB-C/Dante AVIO Bluetooth 85 Audio Precision APx500 version 6.0 94 Audio-Technica Wireless Manager version 1.1.1 93 82 AudioControl CM Series Beyma 21QLEX16000Fe/18QLEX1600Fe/15QLEX1600Fe 85 Blackmagic Design Atem Mini Pro 100 Broadcast Pix StreamingPix 96 CEDAR Audio CEDAR Cambridge v13 95 98 Christie Griffyn 4K32-RGB/Mystique Lite City Theatrical RadioScan Spectrum Analyzer 86 88 d&b audiotechnik Soundscape update Datavideo KMU-200 100 Dejero EnGo 260/CuePoint 99 90 DPA Microphones 4097 Core Micro Shotgun Dynacord MXE5 88 Elation Prisma/NX Sync 105 Elgato/Lewitt Wave:1/Wave:3 91 ETC ArcSystem Navis/F-Drive 104 89 Extron TLP Pro 300M/NBP 50 Focusrite Scarlett Solo and Scarlett 2i2 update 90 Innertron IDE-WP19 86 JBL Professional BRX300 84 Kramer Schoolroom Solutions 99 85 Lawo Mix Kitchen Mackie MC-350/MC-450/MP-320 91 Magewell Capture Express 3.2/Ultra Stream 1.3 95 Marshall Electronics CV730-BK/CV630-IP 101 Martin MAC Aura PXL/ELP zoom lenses 104 Martin Audio SXC115/SXCF118 84 Neutrik speakON XX-receptacle 91 NewTek TriCaster Mini 4K update 96 Out Board TiMax Crowdscape 94 Pan Acoustics P 261-AMT | Cine 85 98 Panasonic PT-RZ990/PT-RQ35K Series Peerless-AV Xtreme High Bright 65 inches 98 Pliant Technologies MicroCom M/MicroCom XR 86 Point Source Audio CM-i3/CM-i5 update 91 Powersoft Duecanali 6404 DSP+D/Quattrocanali 8804 DSP+D 82 QSC TeamConnect Ceiling 2 microphone plug-in 94 Renkus-Heinz Iconyx Compact Series 12/3-RN 84 Riedel DisTag 103 RME DigiCheck NG 92 Robe Hot-spot lens for ESprite and T1 Series 104 ROE Visual Ballast Calculator 103 Roland VC-100UHD 102 Ross Video Graphite PPC/Carbonite Ultra v4 96 Sennheiser Control Cockpit version 4.0.0 95 Shure MXN5-C/MXA710 90 Sommer Cable SC-Semicolon 4 92 Sony SRG-XP1/SRG-XB25 100 Sound Devices NoiseAssist 95 Stage Tec Avatus 1.12 92 SurgeX Squid 86 Tasker Tasker Live 92 103 Telestream Inspect 2110 Televic Conference Confero 360 94 Waves Audio CA1000/CA2000 90 Wohler iVAM1-1 88 WolfVision Cynap Pure Pro 88 WyreStorm HAOC-FRL Series/DAOC Series 91


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Powersoft expands Duecanali CM Series adds Dante and Quattrocanali ranges POWERSOFT HAS unveiled additions to both its Duecanali range of two-channel amplifiers and Quattrocanali series of four-channel amps. The new additions include the Duecanali 6404 DSP+D and Quattrocanali 8804 DSP+D, addressing the requirement for small and large fixed install applications where channel count is limited but flexibility and high- and low-Z compatibility are crucial. Both new models integrate Dante digital audio networking architecture and on-board signal processing, as well as being able to deliver 175Vpeak – suitable for high SPL

up to 400V). Power specifications for the Quattrocanali 8804 DSP+D are 1,800W at 2Ω, 2,400W at 4Ω or 1,600W at 8Ω. Both of the products can be connected to networks through standard Cat-5 cables or Wi-Fi. Remote access via ArmoníaPlus allows for full operability, including monitoring and diagnostics, from a decentralised location. In other news, Powersoft has announced that its full line of amplifiers will be available for specification

DANTE CONNECTIVITY has been added to a line-up of three 70V amplifiers from AudioControl, reportedly making a multi-zone audio install more flexible and efficient. The CM Series 70V amps are available

The 70V amplifiers also integrate DSP control and signal matrix capabilities. System setup and diagnostics can be managed remotely via an IP web-based browser or app for PC, Mac, iOS and

CM4-750 as two-, three- and four-channel models. Each amplifier delivers 750W per channel in 70V/100V mode, 500W per channel at 8Ω (stereo or mono output), 750W per channel at 2Ω or 4Ω, and 1,500W bridged into either a 70V/100V and 8Ω or 4Ω load. Each amplifier offers eight analogue inputs plus four digital stereo inputs: digital coax and optical. The outputs can be individually controlled or be controlled as two stereo pairs, giving integrators the configuration flexibility to accommodate “any system architecture”.

Android, facilitating control via IP or RS-232. DSP capabilities include on-board speaker profiles crafted by engineers from leading architectural and commercial loudspeaker manufacturers such as Dynaudio, Graysound, James Loudspeaker, Monitor Audio, Nuvo, Origin Acoustics, Stealth Acoustics and Triad Speakers. The amplifiers also offer graphic and parametric equalisation along with on-board crossovers. www.audiocontrol.com

Adamson stays faithful to AVB

The Duecanali range

The CS-Series applications such as clubs, performance venues and stadiums. They also both feature Powersoft’s switch-mode power supply with Power Factor Correction, Smart Rail Management and bridgeable switch mode fixed-frequency Class-D circuit topology. The Duecanali 6404 DSP+D offers the highest power output in the Duecanali series to date – 4,600W, 3,200W or 1,800W per channel at 2Ω, 4Ω and 8Ω, respectively. In bridge mode, it’s capable of outputting 9,200W at 4Ω or 6,400W at 8Ω. Fully integrated DSP yields system management functionality. In addition to sound shaping and limiter functions, the DSP hardware and ArmoníaPlus software enable sound system compliance for emergency purposes.

within its D-Tools software for systems integrators. As a result, Powersoft dealers will be eligible for an exclusive, free, 45-day trial of D-Tools Cloud. The Italian manufacturer has also released new plug-ins suppor ting Mezzo Series and its non-DSP install dedicated amplifier platform ranges for the Q-Sys and Crestron control ecosystems. The free-to-download plug-ins repor tedly provide user-friendly, network-based control of amplifier functionality via thirdpar ty systems. In addition, a new Q-Sys plug-in suppor ting DSP+D versions of Duecanali, Quattrocanali, Ottocanali, X and T series will be released shor tly. Finally, the Italian manufacturer has gained cer tification for its amplifiers to be used in PAVA systems according to

Occupying just 1U, the Quattrocanali 8804 DSP+D promises smaller dimensions and lighter weight with no trade-off in per formance. The unit implements a microprocessorcontrolled power supply with built-in PFC that allows worldwide operation with any AC mains voltage in the 85–275VAC range (tolerant to peaks of

the European EN 54-16 requirements. With the new cer tification, businesses can now invest in Powersoft amplifiers not only as par t of an enter tainment system, but also for voice alarm purposes, such as those used in the event of an emergency or fire. www.powersoft.com

AVAILABLE AS standalone products or as an upgrade to the existing S-Series of sub-compact enclosures with on-board amplification, DSP and Milan-ready AVB connectivity, the CS-Series from Adamson Systems Engineering has been unveiled. Boasting integrated network redundancy, a single cable relays audio and control signals over the Milan-ready AVB architecture. Currently, the CS-Series comprises the CS7 full-range array enclosure, CS7p point source enclosure and companion CS118 subwoofer, together with the sub-compact CS10 full-range array enclosure, CS10n narrow-dispersion array enclosure, CS10p point source cabinet and companion CS119 subwoofer. Featuring the same form factors as their S-Series counterparts, the compatible sonic signatures also mirror the S-Series and IS-Series for promoting scalable configurations from portable to highperformance systems. Any existing S-Series cabinets can be converted to CS models using the turnkey CS Upgrade Kit, removing four screws, connecting the CS Jackplate with the provided wiring connectors and switching the front grille.

Four rack-mounted products also debut as part of the CS-Series. Containing dual-LAN, Milan-ready AVB, AES/EBU and analogue connections, the CS Gateway is a 16x16 matrix with 16 channels of DSP. The NDS is a network and analogue patchbay for transmitting redundant audio and control to CS loudspeakers on a single network cable. The PDS reportedly ensures that all CS-Series systems receive enough power regardless of region, while monitoring per power output and overall draw consumption data. The CS Bridge replaces the existing network infrastructure in Adamson’s E-Rack, integrating the CS-Series into existing inventories by converting dualLAN, Milan-ready AVB signals to AES/EBU and providing six channels of DSP per unit. Completing the suite, the Canadian manufacturer’s CS software enhances the ability to design, deploy, control and monitor systems in mobile and installed environments. A simplified workflow and an easy-to-navigate user interface moves logically from design and simulation through to patch, control, metering, optimisation and diagnostics. www.adamsonsystems.com

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JBL further pitches its scales EXCLUSIVELY DESIGNED for small and medium applications, the BRX300 is a modular, two-way line array from JBL. The series includes the BRX308-LA line array element, BRX325SP powered subwoofer, BRX308-ACC transport kit, BRX308-AF array frame and BRX308-PM pole mount and adapter kit. Comprising dual 8-inch LF drivers and a 3-inch titanium compression driver, the BRX308-LA is capable of producing a maximum output of 136dB and 110° horizontal dispersion with variable inter-cabinet angles for adjustable vertical coverage. With built-in, 1,000W, six-channel amplification that can power up to four BRX308-LA enclosures, the dual 15-inch BRX325SP powered subwoofer extends the low frequency to 32Hz and provides up to 136dB output. The internal DSP parameters include EQ, filters, driver-protection circuitry and crossover management. The BRX308-ACC is a self-contained transport system for four BRX308-LA elements and includes padded covers for the cart, BRX3255 subwoofer and required speaker cables. Tested for a safety factor of 4:1, the BRX308-AF array frame, on the other hand, supports one BRX325SP subwoofer or up to eight BRX308-LA cabinets in flown configuration. The BRX300

designs are housed in all-wooden cabinets and finished with a Duraflex coating, while the BRX235SP is equipped with integrated casters to simplify transport. www.jblpro.com

FlexBase25 doubles up FINNISH LOUDSPEAKER manufacturer Amphion has announced an upgrade to its flagship stereo bass extension and management system, FlexBase25. The key enhancement is the new 2x700W amplifier – nearly double that of its predecessor – which means that, according to the manufacturer, FlexBase25 has a faster and more powerful response, as well as improved headroom and lower distortion across all frequency ranges. Upgraded control parameters allow for a wide range of adjustment possibilities over crossover frequency (35–260Hz) and subwoofer level as well as the mono-stereo spread, reportedly giving FlexBase25 the ability to adjust to any professional recording environment or home studio. Although FlexBase25 is optimised for use with Amphion’s existing family of studio monitors and is also compatible with speaker systems from other manufacturers. “The FlexBase25 was designed for a complete, synergistic relationship with a pair of monitors to create a three-way, full-range system that would truly enhance any musical experience,” said Amphion founder and CEO, Anssi Hyvönen. “The improvements that we have made to it now give our users total control over

the sound and maximum impact in the low end. This provides creators the ability to dial-in to emphasise the vibe and feel of a track while writing and producing, or tune for a transparent and analytical response to ensure precision and accuracy while mixing and mastering.”

Compact combines flexibility and precision CREATED FOR medium-sized installations in the corporate, education, government, HOW and transportation sectors, Renkus-Heinz has expanded the Iconyx Compact Series with the development of the 12/3-RN single array module. Designed to combine performance and directivity in spaces where larger-format Iconyx arrays may be restricted, the Iconyx Compact Series is characterised by an unobtrusive cabinet that is 40% smaller than the classic Iconyx. Measuring 1m x 111mm x 121mm (HxWxD), the folded aluminium housing can be finished in black or white in addition to customised RAL colours. In terms of performance, the vertical directivity of the beamsteered line arrays can help overcome architecturally sensitive spaces. Beams can be digitally steered and directed from 800Hz and 400Hz, respectively. Vertical computer adjustable opening angles

vary between 10° to 45°. RHAON II beam steering incorporates URGO beam algorithms, a movable acoustic centre, multiple beam-opening angles and high-pass filtering of individual beams. Each of the 12 3-inch fullrange paper cone drivers is powered by a dedicated 40W (at 8Ω) digital amplifier, allowing individual DSP parameters, including EQ, filters and delays up to 340ms, to be configured. In addition to analogue and AES inputs, the rear panel includes two RJ45 Ethernet connectors together with looping Ethernet, RHAON or optional Dante connectors. A rear-fixing, wall-mount bracket is also included. 

when compared with a conventional single 15-inch subwoofer. The enclosures are constructed from tourgrade plywood and finished with a textured polyurea coating. They are equipped with four grab handles and foam-backed per forated steel grilles protect the front and rear drivers. The SXC115 is said be an ideal partner for WPM line arrays or Martin Audio point source systems where low-frequency pattern control is required.


FlexBase25 with the FlexAmp1200


driven independently by separate amplifier channels and DSP. Inside both models, each driver has its own chamber with optimised bass-reflex porting. The recommended iK42 amplifier optimises the DSP parameters for front and rear drivers to maximise rear rejection – from 21dB at 43Hz to 28dB at 75Hz. This reportedly keeps low frequencies away from stages, turntables and walls, as well as reducing reverberant energy in the room. In front of the enclosure, the output from the two drivers is additive, giving an extra 2dB output

It can be used on its own, stacked or flown individually by means of threaded flying inserts. Integral flying hardware, coupled with the WPSGRIDT, allows the SXCF118 to be incorporated at the top of a WPS array, or flown as a separate array alongside. Interlocking skids prevent movement when stacked and a threaded plate in the top sur face facilitates pole-mounting of up to four WPM enclosures or a single point source enclosure. www.martin-audio.com

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Martin heads on tour MARTIN AUDIO has introduced two new cardioid subwoofers. Designed for touring sound and installations, the SXC115 is a compact subwoofer featuring a 15-inch forward-facing and 12-inch rear-facing transducer, each driven independently by separate amplifier channels and DSP. The SXCF118 is a flown version of the SXC118 and described as the ideal partner for flown WPS arrays. It features an 18-inch forwardfacing and 14-inch rear-facing driver, each


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Pan Acoustics adds to AMT series GERMAN MANUFACTURER Pan Acoustics has unveiled the compact P 261-AMT | Cine for speech and music applications. It uses





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a custom-made Mundor f AMT tweeter unit in a D’Appolito setting, complete with two 6.5-inch drivers. The passive loudspeaker is said to ensure a per fectly coordinated bass-reflex system for power ful sound and reaches a frequency response of 50Hz – 24kHz and 127dB at 1m. With power at 1,000W peak and 500W program, the P 261-AMT | Cine has a ver tical dispersion of 130° and a horizontal dispersion of 20°. The compact column design measures 550mm x 224mm x 210mm and weighs 9kg. The housing is made of aluminium and can be painted in all colours according to customer requirements. The chassis is protected from external elements by a per forated plate integrated into the design. With extensive mounting options available for both permanent and mobile applications, the P 261-AMT | Cine is suited to cinema, immersive sound, studio, theatre and conference installations. www.pan-acoustics.de


AtlasIED minimises the spread of dust DESIGNED TO help medical and manufacturing facilities minimise the spread of dust and other particles that can pass through speaker grilles, AtlasIED has developed a rubber cover that is available separately (SHS-CVR) or included with the manufacturer’s SHS strategically hidden speaker (SHS-6T2CVR). The cover is said to offer a simple, affordable solution for any environment where clean air quality is of paramount importance, such as dust-sensitive manufacturing and

testing facilities with “cleanroom-type” requirements. The SHS-CVR installs easily over the opening of the SHS strategically hidden speaker to create a barrier between the building plenum, where particles exist, and the room environment. The covered SHS speaker can be calibrated so that announcements and paging maintain a high level of clarity and coverage. www.atlasied.com

Beyma applies force to create QLEX AVAILABLE IN 15-, 18- and 21-inch formats, Beyma has created a new series of ceramic woofers that incorporate the Quattro four-layer voicecoil. Proven to increase the BL Force factor by up to 30%, the 1,600W AES-rated transducers require less amplification. The FEA optimisation of the 21QLEX1600Fe, 18QLEX1600Fe and 15QLEX1600Fe

motor structures promotes optimal linearity and ultra-low distor tion. With inherent Maltcross cooling system technology applied to all three models, the heat dissipation of the whole LEX family is fur ther enhanced. The Spanish maufacturer promotes their use in the design of vented, bandpass and horn-loaded

AVIO adapters offer new connectivity options AUDINATE HAS added two new models to The Dante AVIO Bluetooth adapter provides its line of AVIO adapters, bringing USB-C wireless connectivity to Dante networks for and Bluetooth connectivity. The adapters mobile devices and computers and is suitable allow users to connect non-networked audio for both playback from smartphones to larger equipment to a Dante audio network. sound systems and for connecting networked The Dante AVIO USB-C adapter speakers and microphones allows devices with USB-C to conferencing ports to deliver and software. Once receive two configured, Bluetooth channels of can be used to switch audio with a from local smartphone Dante audio audio to a complete network. It conferencing system to share is a classwhat is being said with others. compliant Elsewhere, Audinate has USB audio device released a reference design kit that requires no additional for the Dante Embedded Platform drivers and works with any on the popular NXP i.MX 8M Mini application, making it ideal Dante AVIO Bluetooth QuadLite SoC, which provides for rapid setup of conference Dante audio-over-IP to OEMs as onrooms and background music applications. chip software. It supports up to 64x64 lossless The USB-C adapter can either be powered audio channels with latency between 2ms and by the connected device or via PoE and 10ms and is fully interoperable with all other will work with common USB-C to USB-A Dante-enabled products and Dante tools, such adapters. When using PoE, it features power as Dante Controller, Dante Virtual Soundcard pass-through for mobile devices, enabling and Dante Domain Manager. smartphones to remain charged while www.audinate.com connected to a Dante network.

enclosures. With a sensitivity reading of 98dB (1W/1m), the 21QLEX1600Fe can operate within a frequency range of 30Hz – 1kHz. Aluminium demodulating rings, waterproof cone treatment and double silicon spiders are fur ther features of the QLEX series. www.beyma.com


Mixing on the move LAWO REPORTS that its mc²-series audio production consoles as well as its surfaceless operations including mc² Micro Core can be controlled from any place in the world with a decent internet connection, even using a smartphone as a 4G personal hotspot. Inspired by the German manufacturer’s desire to assist audio engineers during the lockdown situation, Lawo’s Mix Kitchen is a long-term solution for any scenario where physical access to the broadcast centre is difficult. The most important ingredient of the proposed setup is remote fader control using a Mackie HUI-compatible fader panel. Mix Kitchen is said to only require slight configuration adaptions (using supplied templates) to enable the Nova73 console core on the broadcaster’s premises to be remote controlled.

The solution also enables in-place access to any Mac- or Windows-based computer in the broadcaster’s data centre and can be complemented with an integrated vsmPanel providing full remote control of third-party broadcast studio devices. Mix Kitchen includes LiveView video monitoring capabilities in combination with Lawo’s IP video solutions. According to the manufacturer, no additional hardware is required; readily available, off-the-shelf tools, a laptop and Lawo’s mxGUI software (included with all mc²-series mixers) allow the engineer in charge to take control of the Lawo hardware at the broadcast centre or hub. www.lawo.com

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Innertron gets vocal

City Theatrical prevents interference RADIOSCAN SPECTRUM Analyzer from City Theatrical is a 900MHz and 2.4GHz spectrum analyser that allows users to visualise radio energy that is otherwise invisible. With its hardware dongle and accompanying free software, RadioScan helps customers create wireless DMX broadcast plans that optimise the available spectrum, and help prevent interference with nearby mission-critical radio devices. RadioScan shows all nearby radio activity in a chosen frequency, including frequency hopping gear like wireless DMX, as well as Wi-Fi networks, Bluetooth, wireless headsets, video transmitters, cordless phones, baby monitors and microwave ovens. RadioScan can display spectrum data either in Spectrogram View or Waterfall View, and snapshots can be taken of both in the program. Scans of unlimited length can be recorded, saved, emailed and played back with the RadioScan software, without the need for the RadioScan hardware dongle. By identifying SSIDs, broadcast channel and the signal strength of wireless networks,

the analyser can help IT departments set up, maintain and troubleshoot their wireless installations. For users of City Theatrical Multiverse wireless DMX/RDM products, RadioScan guides users in creating the optimum broadcast plan for a production. The software program for PC or Mac guides customers in selecting Multiverse SHoW IDs by opening a table that shows the relationship of Multiverse SHoW IDs to the spectrum and helps choose the optimum area of the band in which to broadcast. The RadioScan hardware dongle is a 2cm x 5cm x 1.3cm square that fits in the hand or pocket, and is made of rugged NEMA 4 IP20 ABS plastic. Its detachable external omnidirectional broadband, 2dBi 900MHz, 4dBi 2.4GHz antenna allows for 900MHz and 2.4GHz dual-band spectrum analysis. It comes with a USB-C power/data connector with a 1m USB-A to USB-C cable.

In active mode, the IDE-WP19 has an RF frequency range of 470–937.5MHz and a maximum noise output of 2dB. The one-in/ one-out unit has an amp gain of –8dB to 18dB in 2dB steps and a maximum gain flatness of 1.5dB. The input and output return loss both measure 11dB minimum and the impedance is 50Ω. In passive mode, the RF frequency range is 420–1,050MHz and the antenna gain is 5.8–6.5dBi. It has a vertical beam width of 70° and a horizontal beam width of 120°. www.innertron.com


SurgeX manages power

WITH A compact footprint, Squid is a new power management device from SurgeX that offers boxed network control, remote monitoring and power protection in a compact chassis. It features the manufacturer’s patented Multi-Stage surge suppression technology, along with two 5V USB port inputs for charging and network troubleshooting and eight outputs, four of which are traditionally controlled and monitored IEC receptacles, and four are DC so integrators can eliminate the need for wall warts or a two-box solution. By using a relay-based system, SurgeX reports that the AC and DC ports can be controlled and the device can be monitored and integrated into third-party control systems. Available in three models for (2) 12V, (2) 24V and a combination of the two, integrators can use Squid to power small spaces and keep them running smoothly with preventative maintenance, mounting the small device in the rack, behind a flat panel, mounted under a table or integrated into a table hatch. With built-in autosensing, Squid is also the first SurgeX product with universal compatibility with 120–240V, reportedly allowing global companies to simplify installations and spec the same product into offices worldwide. Squid

THE VOCALLUX series from Innertron is reportedly the first digital wireless microphone in the 900MHz band in Korea and the manufacturer has announced the release of its IDE-WP19 as an accessory for the range. Following in the footsteps of the IDA-W19, the IDE-WP19 is a compact, broadband, soft-gain adjustment LPDA antenna with a waterproof finish. The antenna has also been designed to have air-loading slots to overcome average wind conditions. As a result, the IDE-WP19 can be used with different lengths of attenuation feed cable with the expectation of custom antenna gains.


Micro beltbacks with full-duplex capability PLIANT TECHNOLOGIES has begun shipping its latest MicroCom M and MicroCom XR beltpacks. Available in 2.4GHz and 900MHz (where regional restrictions permit), the systems both offer full-duplex, multi-user intercom and are being targeted at pricesensitive customers. MicroCom M is an economical single-channel system that features a 10-hour lithium

also offers SurgeX Axess Elite capabilities such as sequencing, scheduling, autoping, IP Control, monitoring and management, helping integrators reduce service calls through proactive management. The device features built-in diagnostic monitoring, similar to the popular SurgeX enVision, providing a single solution for management, mitigation and control of the system’s power. Squid measures electrical parameters, including voltage, current, power, frequency, power factor and crest factor. It features an internal storage of 30 days’ worth of max/min/average electrical parameters and provides support for all the leading network security protocols including 802.1x authentication and active directory. www.surgex.com

MicroCom 900M

ion battery operation and the ability to have up to five full-duplex users, while MicroCom XR is a two-channel intercom system that provides extended range and a 15-hour, field-replaceable battery. It boasts the ability to have up to 10 full-duplex users. MicroCom XR features an OLED display, an optional I/O feature for connection to existing intercom systems, a drop-in charger and is IP67-rated. Both the M and XR versions provide for unlimited listening users in addition to duplex users, without the need for a base station. To accommodate the new models, SmartBoom headsets have now been expanded to include versions for use with MicroCom M and MicroCom XR beltpacks. Elsewhere, Pliant has added new accessory offerings for CrewCom, including a new Drop-in Charger and FleXLR, an XLR headset adapter. The FleXLR adapter gives users the flexibility to connect headsets to devices with nonmatching four- and five-pin XLRs. www.plianttechnologies.com

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Dynacord enters The Matrix THE LAUNCH of the MXE5 marks the onset of a new audio matrix mix engine series for Dynacord. Comprising 12 analogue mic/line inputs, eight line outputs and 24 Dante audio channels, the 24x24 crosspoint performance audio matrix offers both routing and mixing functionalities. Additionally, the MXE5 serves as a

engine incorporates the entire network infrastructure. Input and output processing features include zone mixing, dynamic EQ, delay, compression, limiting, ducking and de-essing. Future additions will include free DSP configuration, auto mixing, a task engine, Acoustic Echo Cancellation (AEC), Automatic Gain Control (AGC) and Ambient Noise Control (ANC).

communications hub for all IP-based peripherals, providing comprehensive supervision of all system-wide commands. Designed for high-quality BGM and live performance audio applications, the MXE5 is equipped with advanced DSP that includes a sampling rate of 96kHz, audio latency of less than 0.22ms, low distortion (<0.002dB THD) and a signal-tonoise ratio in excess of 118dB. The MXE5 also functions as a systems manager, an OCA controller with complete monitoring and supervision abilities and a FIR-Drive speaker controller. Third-party integration is enabled via plug-ins to upgrade existing systems for enhanced performance, starting with a plug-in for Q-Sys. With Dante audio transport and AES70compliant control and no requirement for retrofitted external cards, the matrix mix

Primary and secondary OMNEO ports offer reliability and failure-safe operation for flexibly integrating into various network designs. The eight GPIO control ports comprise an integrated multicast filter for controlling the MXE5 over Wi-Fi networks. Remote control operations can be per formed with Dynacord’s Sonicue sound system software, which can assign the MXE5 with personalised features, rights management and GPIO configuration. An optional TPC-1 touchpanel controller can be configured via Sonicue. The lowprofile form factor features a 5.7-inch HD display, which can be easily mounted and installed with the universal mounting socket and built-in PoE.

d&b enhances performance


A NEW set of performance-enhancing capabilities for the German manufacturer’s Soundscape audio platform have been announced. A Soundscape system has three elements: the DS100 Signal Engine, the hardware platform with matrix functionality that can operate in a standalone system configuration mode or be combined with one or both of two software modules; En-Scene, an object-based positioning tool; and En-Space room-emulation software. The latest feature updates are Scenes, hardware-based scene memory capabilities within the DS100 Signal Engine and for the Soundscape software platform; two new room signatures within En-Space; and a configurable “spread factor” for function groups in En-Scene. Scenes enables snapshots of all DS100 and Soundscape parameters (Matrix, En-Scene and En-Space) to be stored within the DS100 hardware memory. Users can create scenes in R1, d&b’s remote-control software, offline without the DS100 for later transfer to the DS100 hardware memory. These scenes can be recalled from there using R1, but also via OSC commands, either as a direct call to a

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desired scene number or by stepping through the Scene list step by step using the “Next/ Previous” function. Two new rooms join the existing seven concert and recital halls in En-Space. With the very short and “dry” reverberation of 1.3s from the Alegrie Theatre and the 5.6s from the Cathedral of San Vitale, users now have two distinctly different rooms from the concert halls already available and these are said to open up new applications and creative possibilities for existing designs. Soundscape software allows for loudspeakers to be combined into function groups and the new “spread factor” increases the functionality of these groups. With an individual spread factor per function group, users can now adjust how the spread setting of the objects are handled by the various function groups, determining the energy distribution between the loudspeakers within the different function groups according to the specific needs of the setup. www.dbaudio.com


No running with the pack for WolfVision CREATED FOR classrooms, meeting rooms and huddle spaces, WolfVision has extended the Cynap system portfolio with the Cynap Pure Pro wireless presentation and collaboration system. The compact system provides BYOD wireless screen mirroring capability, combined with web conferencing, annotation and other collaboration tools. Cynap Pure Pro features comprehensive BYOD screen mirroring capability, providing wireless screen sharing for all iOS, Android,

Windows, macOS and Chrome OS devices onto a central shared display screen.

Connection is simplified with support for AirPlay, Chromecast and Miracast mirroring protocols, bypassing the requirement for additional software, apps or dongles when sharing content on-screen from smartphones, tablets or laptops. Collaboration tools include touchscreencompatible annotation and whiteboard functionality, support for Zoom and WebRTC meetings, a built-in media player, plus optional room booking and Office 365 modules. Other features include 4K

(2160p60/30, 1080p60/30, 720p60) output resolution, up to four window onscreen displays, enterprise grade security encryption, touchscreen compatibility and touchback functionality for enabling remote control of laptops while working on a shared, multi-touch screen. Benefitting from free firmware updates, the installed units can be managed and updated remotely using browser-based administration tools. www.wolfvision.com

Flexible licensing with latest iVAM1-1 monitor WOHLER HAS developed the iVAM1-1 as an audiovisual monitor for budget-conscious applications. Equipped with 3G-SDI and analogue inputs, other signal formats including AES3, MADI64, SMPTE 2110 and SMPTE 2022 can be licensed as and when required. Touchscreen front panel controls utilise previous philosophies of the US manufacturer’s iAM series, while the traditional front panel controls offer access to the main

volume, balance and auxiliary parameters. A front-mounted USB port is integrated into the

design to download software updates. Capable of monitoring up to 16 channels from multiple sources, the iVAM1-1 comes with dual 3G-SDI inputs on BNC, a

3G-SDI output of selected source on BNC and an optional I/O for AES3 on HD-15, MADI on BNC and SMPTE 2110 or SMPTE 2022 via SFP. An HDMI output of the monitored video source is included, together with built-in speakers, a headphone jack and Ethernet ports. www.wohler.com

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Further on with Extron DESIGNED TO control video, audio, lighting and other systems within an application, Extron is shipping the TLP Pro 300M 3.5-inch portrait wall-mount TouchLink Pro touchpanel. Equipped with a 320x480 resolution capacitive touchscreen, the TLP Pro 300M operates with any Extron IP Link Pro control processor or HC 400 Series system. For wall mounting, a single PoE cable connection is made to the mounted one-gang junction box. A fully customisable AV system control interface is now available for the US manufacturer’s control systems and HC 400 Series products. Connected to a control processor over standard Ethernet, the NBP 50 Network Button Panel is equipped with simplified control panels to perform a wide variety of AV system functions such as display on/off, input switching and volume control. Mountable in a two-gang junction box, the NBP 50 includes black and white face plates and a mud ring. The buttons can be further customised using Extron Button Label Generator software. Applications reliant on critical audio and video distribution can now benefit from FOX3 Systems’ fibre-optic distribution solutions. Securely delivering 4K/60 4:4:4 video, audio, USB and control signals, the latest generation of FOX3 Systems provide point-to-point extension to non-blocking matrix applications

up to 2,000x2,000. With I/O sizes available from 8x8 to 320x320, the rear panel hosts an RS-232 port, a Dante audio network interface

and DMP expansion port, together with analogue audio inputs and outputs. With the launch of the NetPA U 1002 and NetPA U 1004 power amplifiers, Extron has extended its Dante network-enabled audio ecosystem including the Extron DMP Plus

TLP Pro 300M

NetPA U 1004

Series processor. Delivering 100W channels into two- and four-channels respectively, the NetPA U 1002 and NetPA U 1004 amplifiers are equipped with a defeatable auto‑standby with fast wake up and a Class-D Ripple Suppression (CDRS). Built-in network and

RS-232 connections extend control of amplifier parameters in addition to monitoring the amplifier’s status. Integrated DSP parameters including gain adjustment, filters, dynamics, ducking and delay can be managed remotely in the DDM downloaded in the Dante Controller software. A DSP analogue line output simplifies the connection of additional amplifiers to maintain consistent processing. Built-in 6x6 and 8x8 matrices allow any input from the respective NetPA U 1002 and NetPA U 1004 amplifiers to be routed to any amplifier, Dante or analogue line outputs. NBP 50


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Waves unveils Commercial Audio line THE CA1000 and CA2000 Commercial Audio DSP engines have been launched as the first products in Waves’ Commercial Audio line. Designed to improve audio playback quality and speech intelligibility in any Dante-based AV installation, the single-box software-plushardware turnkey solution incorporates over two dozen premium Waves processors with pre-configured audio processing presets. The CA1000 and CA2000 Professional DSP engine units can integrate into both new or existing AV installations that use

channels, groups or zones to deliver optimal results based on the IO, PA and room. The rack-mountable CA1000 and CA2000 can be configured to process up to 16x16 and 64x64 bidirectional audio channels over the Dante network, respectively. In other news, Waves has added further enhancements to its SoundGrid Studio software and its StudioRack plug-in chainer. The upgraded SoundGrid Studio software contains a new Control Room section so that users can toggle between multiple sources,



Dante networking. Nineteen audio processing presets troubleshoot playback quality, speech intelligibility via a wide array of microphones and amplification systems, feedback elimination and voice processing, reportedly without loss of tonality. The presets can be further customised and stored according to individual room or zone requirements. As a result, common problems associated with media playback, wireless mics, meeting room/table mics, lectern/pulpit mics and broadcast/streaming can be overcome. Once customised, each of the presets can be locked in by the installer for individual

as well as the ability to stream audio between up to 14 audio interfaces and an updated interface for both the SoundGrid Studio control panel and the eMotion ST mixer. The StudioRack update adds eight macros per chain, parallel processing racks and multiband split racks, along with a plug-in search function. In brief, the US manufacturer has added MOTU support to its SoundGrid BR1 device to enable Waves real-time plug-in processing on any MOTU-based AVB network with MOTU’s AVB-enabled audio interfaces. www.waves.com

Scarlett extended to USB-C iPad Pro

THIRD-GENERATION SCARLETT Solo and Scarlett 2i2 interfaces can now be used on USB-C iPad Pro devices in fully mobile, bus-powered mode for over several hours. Focusrite recommends the use of a powered connection wherever possible and an appropriate USB-C hub is required for powered operation. Scarlett Solo and Scarlett 2i2 devices have been tested with several iOS

music applications running on USB-C iPad Pros, including Garageband, Cubasis 2, Auria Pro, Ampify Launchpad, Ampify Groovebox and Ampify Blocs Waves in addition to FL Studio. An on-boarding path is available in the Easy Start Tool for assisting iPad Pro users to better familiarise their interfaces.

4097 designed for Covid-19 age


FEATURING THE same sonic qualities as the super-cardioid choir microphone, the 4097 Core Micro Shotgun has been optimised to pick up speech from a distance. Incorporated into DPA’s 4097 Core Interview Kit, the plug-and-play mic has been created for use with a lightweight boom and windjammer. Designed primarily for journalists in today’s socially distanced world, interviews can be conducted from up to 2m away. Equipped with an integrated shockmount, the 4097 provides a highly directional pickup pattern, low self-noise and flat off-axis frequency response. As the 4097’s directional characteristics enable it to reduce background noise compared to a standard omnidirectional lavalier microphone, the new model can capture reporter voiceovers following an interview. When combined with the MMA-A Digital Audio Interface, the 4097 can be used as a remote recording package. The two-channel microphone preamp and A/D converter interfaces provide mono, dual and stereo capabilities for use with iOS devices, Mac and PC computers. The kit includes a 4099 Cold Shoe Mount, MicroDot cable, transmitter plate, lightweight telescopic boom pole to further ensure social distance protocols and a windjammer for outdoor productions. Terminating in a MicroDot connection, the 4097 Core Micro Shotgun can attach directly to a

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The 4097 Core Micro Shotgun attached to a transmitter transmitter or be used with the 4099 series mounts, clamps and clips for mounting on any surface. IP58 certified for protection against water and dust with a water-repellant nano-coating on the cover and housing, the amplifier of the 4097 is hermetically sealed and the diaphragm is strengthened by dual gold plating. www.dpamicrophones.com

Shure returns to the loudspeaker market


DESIGNED TO enhance speech lobes with the 60cm array and eight lobes reproduction for AV conferencing with the 120cm array, the new models applications, Shure has developed the incorporate steerable coverage technology Microflex MXN5-C networked for capturing audio anywhere in the loudspeaker. PoE-enabled with room. On-board IntelliMix DSP an on-board amplifier, the includes Automatic Mixing, shallow can profile with Acoustic Echo Cancellation, a removeable grille Noise Reduction and is compatible with Automatic Gain Control most drop-ceiling for promoting echoconfigurations. and noise-free audio. Integrating with the Autofocus technology US manufacturer’s fine-tunes each lobe conferencing ecosystem position in real time, of networked hardware adjusting for meeting and software solutions, participant movements. the MXN5-C’s pre-tuned Room coverage templates frequency response further promotes within the Designer System intelligibility. Network connection for Configuration software enables easy MXN5-C portable devices via Shure software lobe optimisation in ceiling, table provides access for setup, configuration, and wall installations. Available in three remote management and troubleshooting. colours (white, black and aluminium), the Further benefits of the UL 2043 plenumPoE-powered MXA710 is compatible with rated MXN5-C include Shure Audio both Dante and AES67 audio networking Encryption for secure meeting content, protocols. LED status bars at each end DSP utilities (EQ, delay, limiter, signal/tone of the array come with configurable generator) and compatibility with AES67 colours and brightness. Designed for and Dante Domain Manager networks. muting and unmuting Shure networked Created as an alternative for spaces systems, including all MXA arrays and the where the MXA910 or MXA310 might not IntelliMix P300, the MXA Network Mute be the best option, the MXA710 linear array Button is a configurable PoE-powered mute button accessory. microphone blends into meeting rooms with its low-profile form factor without www.shure.com sacrificing audio quality. Featuring four


90 PRO AVL ASIA September–October 2020

PAA Pg80-105 Products.indd 90

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Elgato rides the waves IN PARTNERSHIP with microphone manufacturer Lewitt, Elgato has launched its first-ever microphones, the Elgato Wave:1 and Wave:3. They will ship with the Wave Link app to become a complete digital mixing solution for users creating podcasts or streaming to Twitch or YouTube. Born from “rigorous calibration and fine-tuning in state-of-the-art acoustic testing chambers and real-world streaming scenarios”, Wave:1 and Wave:3 boast

broadcast-quality audio capture powered by a cardioid condenser capsule and 24-bit analogue-to-digital converter. The proprietary Clipguard anti-distortion technology that Lewitt developed for the Wave microphones analyses input in real time and automatically provides the additional headroom that is needed, before sending them to the computer.

Point Source enhances intercom headsets

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THE CM-i3 and CM-i5 intercom headsets have been upgraded by Point Source Audio to include in-earphones for quick

detachment for cleaning, replacing or swapping for personal IEMs. Designed for clarity and all-day wearing comfor t,

the latest models promote quicker changeovers with a new connector that is common among IEM manufacturers, including 64 Audio or Ultimate Ears. Additionally, the detachable design addresses hygienic concerns with earbuds that quickly detach from the cable so they can be assigned to the user and replaced for new users. Weighing from 25–50g, the CM-i headsets with in-earphones provide noise isolation typical from large earmuffs for wearing comfor tably all day. The removable earphones are a common feature to both the CM-i3 and CM-i5 intercom headsets, which in turn helps to address the health management of cleaning and maintenance. www.point-sourceaudio.com

More IEMs and headphones from Mackie WITH THE MC-350 and MC-450, Mackie has expanded its MC series of professional headphones. Fulfilling a 20Hz – 20kHz frequency output, the ergonomically fitting models feature a rugged design, leather adjustable headbands and conforming ear pads. Like the MC-150 and MC-250 models, the MC-350 headphones feature a closedback design to avoid background noise and leakage. With an impedance rating of 32Ω and 97dB sensitivity, the MC-350’s 50mm transducers are said to provide impressive LF extension. Featuring 42mm transducers, the MC-450 headphones employ an open-back design for promoting reduced ear fatigue, high headroom, smooth midrange and clarity. Both new models come with premium cables with locking bayonet connectors.

Having already launched the MP-120, MP-220 and MP-240 IEMs, Mackie has added MP-320, MP-360 and MP-460 models to the current line-up. With the introduction of the MP-BTA Bluetooth Adapter, all six MP series IEMs boast Bluetooth connectivity. The three new IEMs employ a precision three-way crossover to provide a balanced sound across the entire 20Hz – 20kHz frequency range. An over-ear design ensures MP series monitors fit securely in the ears with the cables behind the head for uninterrupted performance. The moulded enclosures come with foam, silicone, wide-bore silicone and triple flange ear tips in three different sizes. The detachable, shielded cables are equipped with MMCX connectors for added flexibility. MC-350

is compatible with new content exceeding the current HDMI 2.0 standard. With each core rated at 12Gbps, the combined bandwidth means that the CAB-HAOC-FRL will support future content up to 48Gbps, equating to 8K UltraHD. In other news, the cable manufacturer is bringing the wealth it has accumulated in hybrid HDMI cable technology to the DAOC Series, which will offer the same benefits to the DisplayPort System. Easily connecting PC graphic cards or high-performance media

Compliance for devices using existing horizontal burn-rated materials in connector components will require enclosure of these certified materials in 2021. This makes them potentially bulkier and less likely to be accommodated within the constraints of existing circuit layouts. Using certified receptacle components including UL 94 V-O materials enables device certification to be claimed on the basis that all affected connectors are themselves certified. For additional safety, Neutrik is also upgrading its cable connectors to meet the standard. Currently, the NL4FC speakON cable connectors are fully compatible with the new XX-receptacle series, with other cable connectors in the process of being updated to meet the specifications of the standard. The speakON XX-receptacle series includes several design modifications, including special copper alloy contacts and tarnish-resistant plating for improved electrical performance and an all-black colour scheme, enhanced high visibility logoing and product ID marking.


WyreStorm expands HAOC Series THE HYBRID Active Optical Cables (HAOC), which can send 5K, UltraHD, HDR and 8K content, have been expanded to include 8K and DisplayPort technology. WyreStorm reports that its HAOC-FRL Series comprises next-generation HDMI cables designed for the next generation of 8K and 4K HDR content. The cables are said to offer the best of both worlds: pixel-perfect, longdistance transmission of content and native HDMI communication. Adopting a 48Gbps four-core transmission system, the passive optical transmission within the HAOC-FRL Series

BASED ON the company’s iconic speakON connector series, Neutrik has created the speakON XX-receptacle (two-pole and four-pole). As the first Neutrik speakON chassis line to be IEC 62368-1 market compliant, the materials have passed safety regulations ensuring that any materials used in potential ignition sources have a V-O vertical burn classification.


playback systems, the DAOC Series can extend super high-bandwidth video, with up to 32 channels of digital audio, up to 10m using the latest in active optical transmission technology. Suited for corporate, education and RTOC environments, the DAOC Series features true native HDMI communication and reportedly ensures that CEC and EDID communication occurs between compatible devices. CAB-HOAC-20


September–October 2020 PRO AVL ASIA 91

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21/08/2020 14:40


Strength in Sommer THE LATEST cable from Sommer is an AES/EBU patch and microphone cable with ARAMID fibres worked into the outer jacket for reinforcement named SC-Semicolon 4.

This extra strength is said to increase the number of bending cycles the cable is capable of withstanding. The design is popular in broadcast and theatre applications, in connection with belt pull cable drums in OB vans or on theatre stages. It’s also suitable for connecting effects devices and control units where a return signal is required. www.sommercable.com

DigiCheck comes to macOS

GERMAN MANUFACTURER RME has debuted a preview edition of its DigiCheck NG audio metering and analysing software for macOS with 64-bit support. The company states that the software has been completely rewritten and is a newly designed version of its former DigiCheck. It’s being released as a free app, supports macOS

Catalina and also Dark Mode. A Windows version will be released soon. The DigiCheck NG settings of each measurement module are similar to the previous version of DigiCheck and include new extensions, such as Phosphorescence in the Analyser module. The appearance is also set individually for every instrument and the input selection dialogue has extended mouse support and additional buttons to aid the setup of multichannel interfaces. In addition to being scalable, DigiCheck NG allows the main windows to include up to four metering modules with freely adjustable sizes. It can open several main windows at the same time and any configuration can be stored and recalled as a Workspace. www.rme-audio.de

Stage Tec promotes dual-user operation A 1.12 software release for the Avatus IP console is available for download by Stage Tec. The virtual division of a console, which can also consist of several physical buckets, takes place in blocks of 12 control strips, each making up one cassette. Operating simultaneously, both sound engineers have unlimited and independent access to various functions, including their own Solo and PFL functionalities at their disposal. The global layer switching, function selection and synchronous scrolling of lists (such as aux, N-1, groups and EQ bands) only affect the respective user area. Functions such as spill, the temporary link function or aux/N-1 to faders can be altered independently by both sound engineers. Furthermore, both users can access all audio channels simultaneously and work with the same channels.

With the new software release, the Berlinbased manufacturer claims that Avatus performance and response times are enhanced significantly. The talk functionality of the two command paths can now be assigned to any user button, offering the possibility of temporarily linking the two control rooms to each other at the push of a button. Both control rooms carry the same monitoring signal, but can be operated independently, while volume, mute functions, DIM, side and polarity swaps remain independent. Another new feature is the alternative monitoring function for both Avatus control rooms, making it possible to switch between two monitoring systems. www.stagetec.com


Tasker goes live ITALIAN CABLE manufacturer Tasker has released a new line of assembled cables for musical instruments, microphones, speakers and audio applications. The Live range is divided into three lines of assembled cables. The Studio Series comprises jack connectors that are said to guarantee a perfect electric connection thanks to a unique OFC copper bar that goes from the welding spoon to the contact point. The range has been designed for high-power audio products such as professional amplifiers where the thermic variation is important to guarantee high audio fidelity in both low and high frequencies. The Premium Series comes with pure OFC copper cables with different colour sheaths which are described as extremely soft and flexible. They

can be combined with special professional connectors with gold-plated contacts. These cables have been developed for live performances and reportedly guarantee maximum technical reliability without any limits on movement around the stage. Finally, the Classic Series is manufactured with pure OFC copper cables and provides users with the possibility of combining both Tasker and Neutrik connectors. www.tasker.it

Antelope emulates the classics BLONDER TONGUE Audio Baton and Filtek MK3 are two new hardware-based software effects from Antelope Audio that emulate EQ classics and are capable of running in real time using the manufacturer’s Discrete 4 Synergy Core, Discrete 8 Synergy Core, Orion Studio Synergy Core and Zen Tour Synergy Core audio interfaces, and the Edge Go buspowered modelling microphone.

Tongue Audio Baton can correct frequency response errors, such as excessive bass or shrill high-end, and reportedly improve the clarity of instruments, vocals and speech. The Filtek MK3 is a three-band equaliser with modelled, transformer-based input and output sections that work in real time with zero latency. Its switch and knob combinations are said to encourage experimentation –


WIR Aud Win con the dev Blonder Tongue Audio Baton GUI

Filtek MK3 GUI The original Audio Baton boasts seven separate amplifiers tuned to distinct frequencies, followed by high- and low-pass filters running in parallel with their outputs routed to separate level controls. Choices for frequencies correspond to actual notes and octaves on a piano keyboard. Those markers move up and down the white vertical stripes when turning the associated rotary controls to assist with visualising boosts and cuts over nine frequency bands with a 28dB control range per band. The resultant frequency response curve is graphically overlaid on top of four horizontal stripes where each frequency region is distinctly coloured. By adding a Magic Eye peak meter, Blonder

extreme settings at broad bandwidths turn the high and low bands into respectable shelving filters, for example. Users can boost the high-end without introducing harshness, while a unique signal path allows for parallel equalisation by mixing the boosted/ attenuated signal with unprocessed audio. The three-band design has been modelled with high- and low-pass filters, while each band offers a choice of 12 frequencies with boosts and cuts of up to 16dB. The three-way bandwidth (Q) switches for each band allow for bypassing specific bands when in midposition.

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92 PRO AVL ASIA September–October 2020

PAA Pg80-105 Products.indd 92

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RTA updated for SQ series ALLEN & HEATH has launched V1.5 firmware for its 96kHz SQ series, adding updates for the RTA and a new, independent RTA for per channel use. The channel RTA provides a display on PEQ and GEQ processing screens; a fixed channel option; display and averaging options; max/peak indication (with “hold” possible); a prominent frequency indication; PEQ bar or line modes; and an LF damping option to represent “real-world energy”. New workflow options for DCA centric mixing include an instant spill of DCA members across channel strips and layers; jump in and out of DCA spill; on-screen spill indication; SoftKey options for individual DCAs; and SoftKey for “spill on select” mode. Sample rate conversion has been added for both USB connections, with a new 48kHz option added for SQ-Drive and USB-B. Record or playback is available for up to 32 channels using SQ-Drive and users can record only patched channels to save on storage space. There is a new USB input/ output meters page and customers can remix old 48kHz DAW projects. Following customer requests, HPF and LPF options have been added on all input and output PEQs. Users can cut high and/or low frequencies on monitors and “clean up” noisy input signals. New slope settings for

dedicated input HPF and RackFX add-ons have also been added. Further add-ons include Hypabass, a very low distortion sub-harmonic synthesiser that can generate infra (18–36Hz) and sub-bass (36–70Hz) from sources with a weaker low end; Bucket Brigade, a stereo analogue delay model with the signal degradation and feedback non-linearities of vintage bucket brigade chip technology; and Echo, a faithful reproduction of the classic tape echo unit, including harmonic content when driven, record head saturation and frequency warping when adjusting repeat rate. www.allen-heath.com

A-T updates Wireless Manager WIRELESS MANAGER, Audio-Technica’s macOS/ Windows application for remote configuration and control of the manufacturer’s wireless devices, has been upgraded

to version 1.1.1. Updated features reportedly include improved usability, layout and control; enhanced scrolling capability; improved visibility of all frequency coordinated devices; updated and expanded channel list reports; upgraded user tools; and minor bug fixes. The software is compatible with Microsoft Windows 8.1 and 10, macOS High Sierra (version 10.13) and macOS Mojave (version 10.14). www.audio-technica.com

September–October 2020 PRO AVL ASIA 93

PAA Pg80-105 Products.indd 93

24/08/2020 11:58


Q-Sys controls the meeting room


TWO NEW Q-Sys Control plug-ins are available in Q-Sys Designer Asset Manager and have been developed to enhance touchless meeting spaces and quickly integrate Sennheiser TeamConnect Ceiling 2 microphones. Saving programming time and resources, the TeamConnect Ceiling 2 microphone plug-in and the UCI (user control inter face) QR Code plug-in allow for drag-and-drop integration into the Q-Sys Ecosystem.

The Sennheiser plug-in discovers the microphone on the same subnet as the Q-Sys Core processor, monitors audio levels and views the vertical and horizontal angle of the detected person speaking in real time. All these capabilities can be exposed as graphic elements and dragged and dropped onto any custom UCI. The QSC UCI QR Code plug-in extends room controls to a smartphone. Designers can use the plug-in to create direct links

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AS GLOBAL professional sports teams resume matches in a Covid-restricted world, Out Board has created TiMax Crowdscape to restore one element that helps drive the players: the crowd. TiMax Crowdscape provides a live and interactive sonic cocoon of sound that immerses the players in realistic and responsive spectator reactions to the game. Studies have shown that player engagement, motivation and performance are hugely influenced by the crowd. Crowdscape uses a multichannel “bowl”

sound system mounted in the seating bleachers and pointing in towards the playing area. One or more operators use iPads to trigger and variably spatialise selected crowd atmosphere loops as well as cheering, applause and booing spot effects, plus whatever other tailored content is relevant to the game and teams. Samples are spatially mixed to anywhere in the arena or stadium using individual iPad 3D panners, faders and triggers, and can be merged selectively into the existing house system for added energy and immersion.

Bringing back the crowds

Televic moves towards software TELEVIC HAS introduced web-based software to facilitate online meetings that requires no installation to operate. It can be used with the Confero 360 licence to add management tools to the meeting and can also be added to existing

Participants can identify themselves by inserting their access control card in any conference device. Ad hoc voting can be conducted during any meeting and results can be captured instantly. Users can visualise room overview, speaker and

Televic Plixus systems to provide simple meeting control and system diagnostics. The release is the beginning of the manufacturer’s shift towards software solutions. The first release of Confero 360 addresses the need for small- and medium-sized city councils to per form software-based moderation, electronic voting, identification by access control cards and meeting reporting. Moderation of meetings can be done via a layout representing the meeting room and provides the capability to manage the speaker and request list with drag-anddrop reshuffling capabilities.

request list and voting results on a big screen or projector and define the available functionality of password-protected user roles. Meeting reports can be generated to capture meeting title, participants, voting results and a link to the audio recording of the meeting. “Confero is the start of our new software direction and focuses on simplifying workflows in moderated meeting spaces,” said Bart Deschodt, Televic Conference’s general manager. “Confero is vital to achieving our goal to become the reference in the moderated conference industry.”

to a given Q-Sys UCI and place them on existing Q-Sys touchscreen devices. By aiming a phone’s camera at the special QR codes, the smartphone opens the room’s

Crowdscape comes as a portable gamein-a-box package which includes on-board playback, spatialisation, mixing and system zone management.

predetermined controls through the Q-Sys Control App or standard web browser. www.qsc.com

As well as locally triggered and mixed immersive crowd content, Crowdscape operators can spatially mix external crowd fx stems from broadcasters or Viewer Response systems and place them in the appropriate segments of the arena or stadium. Downmixed stereo, 5.1 and mono crowd content feeds can also be simultaneously generated live in Crowdscape and returned to the truck for broadcast or streaming. www.outboard.co.uk

AP reduces test time WITH APX500 audio measurement software version 6.0, Audio Precision reports that multiple simultaneous input types are supported, enabling the concurrent measurement of up to 16 channels of digital and eight channels of analogue audio data. This new multi-input capability reportedly provides APx users critical cross-domain insight and the opportunity to reduce testing time. Multiple simultaneous input types, or multiinput, is the ability to activate a second input type on any APx modular audio analyser, or APx515 analyser, and make measurements simultaneously on analogue and digital signals. With two input types enabled, there will be measurement results for every enabled input channel. In addition, the sensitivity or gain function of digital microphones and other converters can be directly found via a new derived result, Sensitivity, which displays the RMS Level relationship between the analogue and digital inputs. The multi-input feature is available for use in both Sequence Mode and Bench Mode and supports all the essential measurements used for the analysis of microphones and

microphone arrays. This includes Transfer Function, a dual-channel FFT analysis function added in the previous release of the software. With multi-input and Transfer Function, the complex, magnitude and phase relationship between multiple analogue or digital microphones or other cross-domain devices can be found. For audio devices that can have both analogue and digital outputs active simultaneously, the new multi-input feature enables the simultaneous evaluation of those outputs, whether in a design lab or on a manufacturing line. Concurrent measurement of both signal types also has the potential to reduce test times, which is especially important in manufacturing applications. Multi-input is especially useful for devices with digital microphones – smart speakers, mobile phones, Bluetooth headsets and other devices – as it allows for the simultaneous measurement of the device’s microphone in conjunction with an analogue measurement microphone as a reference.


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94 PRO AVL ASIA September–October 2020

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Keeping down the noise SOUND DEVICES has released the NoiseAssist Noise Suppression Plugin for its 8-Series mixer-recorders. The plug-in is described as a signal processing algorithm that reduces background noises such as traffic, generators and HVAC noise. It features a simple user interface with only one adjustment – the amount of background noise to suppress.

calculations. The background noise and reverberation can then be suppressed by a user-selectable dB level without affecting the desired speech signal. This is all done in real time with 1ms of latency, thanks to the 8-Series’ FPGA processing. Up to two instances of NoiseAssist can run on any combination of isolated channels (excluding 17–32 on Scorpio),


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NoiseAssist automatically and continuously monitors the background noise independently from the desired speech in the signal. According to the manufacturer, there is no need to “learn” the signal, as this is done automatically. The plug-in discriminates between the desired speech signal and background noise through proprietary advanced multi-band frequency, level and statistical

bus L or bus R. It maintains the two independent audio channels’ frequency bandwidth, while effectively suppressing the background noise and reverberation. The plug-in is compatible with all 8-Series mixer-recorders running firmware version 5.00 or higher. www.sounddevices.com

Magewell adds SRT streaming

AN UPGRADE to Magewell’s Capture Express recording application has expanded the software’s streaming capabilities. Version 3.2 adds new suppor t

for multiple streaming technologies, including the Secure Reliable Transpor t (SRT) protocol developed and opensourced by Haivision.

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Cambridge v13 debuted by CEDAR CEDAR AUDIO’S Cambridge audio restoration platform has been updated to v13, introducing a new impulse noise eliminator, Retouch 8 and improved performance. The new INR is a real-time impulse noise deduction module that was developed as a more powerful alternative to CEDAR’s Declickle. The manufacturer describes that it is capable of digging deeper into the signal to remove the clicks and noise bursts that Declickle could not. While its primary use is in the forensic arena, it can also be used for badly degraded commercial audio, such as optical soundtracks with noisy clicks and bursts that are not recognised by other declickers. Retouch 8 is the next version of CEDAR’s spectral editing suite and adds two new capabilities: Matching and Repair. Matching makes use of machine learning to identify unwanted sounds. The user marks one of the offending sounds and the software

searches for all other instances within the recording. A threshold control allows users to bias its decision-making toward including more or fewer possibilities to find the desired level. Having identified all of the matches, they can be eliminated using the appropriate Retouch tool. Repair, on the other hand, uses artificial intelligence to do its job. Users mark the sound and some of the surrounding signal and then use the single knob to suppress it or completely eliminate it. CEDAR says that unlike other spectral editing tools, only the significant signal within the region is identified and processed, leaving all low-level signals as well as the ambience unaffected. Repair also allows users to bring items in clips to the foreground by amplifying the event while leaving the rest of the signal unaffected. www.cedaraudio.com

Version 3.0 initially offered easy recording and encoder hardware. The new update enables previewing functionality, while the subsequent recording to the device’s built-in storage or version 3.1 added the ability to stream H.264attached USB drive with a choice of two modes. encoded video using the RTMP protocol. Now, as The default method stops recording if storage well as the SRT protocol, version 3.2 provides becomes full, while a continuous, loop-like support for MPEG-TS over UDP or recording mode automatically deletes the RTP. The update automatically oldest saved clip to make detects compatible room when storage graphics hardware fills up. in the host system The Ultra Stream 1.3 firmware upgrade and leverages GPUadds a user-selectable accelerated H.264 encoding when Auto-Recording option that automatically starts recording possible, using the CPU for encoding only as necessary. to internal storage, a USB drive Capture Express runs on the Windows Ultra Stream or both when a stable input signal is operating system and is compatible detected. The update also adds support with all current Magewell capture product lines – for the RTSP streaming protocol alongside Ultra including USB Capture Gen 2 and USB Capture Stream’s existing RTMP capabilities. Other Plus external devices, Pro Capture PCIe cards enhancements include expanded controls in the and Eco Capture M.2 hardware – as well as web-based interface, new tools for downloading Magewell’s first-generation capture cards and recorded clips and image adjustments, including boxes. brightness, contrast, saturation and hue. The Chinese manufacturer has also released www.magewell.com version 1.3 of its Ultra Stream livestreaming

Enhanced monitoring in Control Cockpit A 4.0.0 version of Sennheiser’s Control Cockpit has been released, giving users the ability to monitor the new SpeechLine MultiChannel Receiver and the EM 6000 receiver from the manufacturer’s Digital 6000 series, along with evolution wireless G3 and G4, SpeechLine and the TeamConnect Ceiling 2 microphone. The update also includes a “location-based Mute” functionality. This means that all devices in a room can be grouped and their mute switches synchronised, so that they

can be muted and unmuted together, either centrally via the Sennheiser Control Cockpit or locally on one of the devices. Locationbased Mute is available for TeamConnect Ceiling 2 and SpeechLine Digital Wireless, including the new Multi-Channel Receiver. The software also employs SSL encr yption to make data transmission between the user inter face and the host server even more secure. In addition, users can now switch between Details View and Monitoring View.

Staying with the TeamConnect Ceiling 2 microphone, Sennheiser has announced compatibility with Zoom Meetings, along with the Bose ES1 Ceiling Audio Solution, an in-ceiling unified communications solution consisting of the Sennheiser TeamConnect Ceiling 2 microphone, the Bose ControlSpace EX-440C conferencing DSP, Bose EdgeMax EM180 in-ceiling loudspeaker and Bose PowerSpace P2600A amplifier. Control Cockpit version 4.0.0


September–October 2020 PRO AVL ASIA 95

PAA Pg80-105 Products.indd 95

21/08/2020 14:42


Ross Live | 2020 product launches AS PART of a 10-week programme of product launches, Ross Video has introduced the Graphic PPC, a portable production centre that can incorporate up to two MEs, four DVEs, six frame syncs,

different frame rates, adds adjustable delays on all frame-synched inputs in HD and UHD, while extending Wide Colour Gamut and HDR conversion in HD as well as UHD. First seen in the Graphite

softGear breakout boxes are supported and the engine offers Sample Rate Conversion for all frame syncs. The Canadian company’s Ultrix routing and AV processing platform has been upgraded with a v4.2 firmware update. A new SFP I/O module is included for the Ultrix-FR1, FR2 and FR5 chasses, offering multiviewers, frame syncs, clean/quiet switching, audio embedding/de-embedding and other Ultrix features. Ideal for use with large fibre deployments, UHD systems where cable distance is important or where additional HDMI I/O is needed, the board features 16 SFP cages for standard video SFPs and two aux ports for video/MADI connections. A new optional Ultrisync-UHD licence can be

Graphite PPC four media stores and two multiviewers. Capable of handling up to 13 inputs and eight outputs, Graphite PPC also includes the same RAVE audio engine and XPression graphics and clips package that comes with the larger Graphite solution. Equipped with a soft-shell carrying case and a pull-out handle and wheels, the 19kg package further benefits from quiet fan cooling and requires just a single operator. A v4 update for the Carbonite Ultra production switcher includes support for

integrated solution, the RAVE audio engine is now integrated into the Carbonite Ultra switcher. This provides access to 13x48 stereo channel mixers, 384 external audio channels (24 SDI inputs x 16 audio signals) and 10 internal inputs together with compression limiting and EQ functionality within the engine. Up to three RAVE ABU

purchased for assigning 12G frame syncs with up to 0.5s of variable audio delay per mono channel. The licences can float inside the frame for moving between inputs as required. The Ultricore-TLX Tie Line Control Manager automatically manages and simplifies routes between multiple frames. Ultricore-TLX is an optional licence for Ultricore-BCS offering

multi-hop automatic path-finding between all supported router types. softGear is a new signal processing platform that draws its design and methodology from Ross’ openGear ecosystem. It is said to provide users with new ways to acquire, process, manage and distribute content and complements existing hardware-based workflows with software-based processing for both on-premise workflows and cloud environments. Within softGear, algorithms are encapsulated using modern container technology, targeting CPU or GPU rather than FPGA or DSP, and media processing services are deployed as microservices, instead of dedicated physical cards. A common user interface framework through DashBoard is said to ensure that softGear is user-friendly for operators everywhere. In brief, Ross Video’s Virtual Solutions control platform now integrates with Monogram’s Creative Console, a new customisable and modular console intended to perform “free-form” control; Voyager V4.0 is the latest version of the manufacturer’s graphics rendering solution for virtual studio and augmented reality applications; and AirCleaner-2 is the latest version of Ross’ live event protection delay solution. www.rossvideo.com

NewTek unveils TriCaster Mini 4K StreamingPix goes live FOLLOWING THE launch of TriCaster Mini at the end of 2019, NewTek has gone one step further with the launch of TriCaster Mini 4K. As the name implies, the product introduces support for 4K video for the TriCaster Mini, while also adding new features such as Live Story Creator and LivePanel, which are intended to make the production of shows even easier for lone producers or small teams. The enhanced TriCaster Mini 4K promises simple setup with extensive live production capabilities, including broadcast-quality, fully customisable virtual sets to turn any environment into a professional studio. Broadcast graphics, media playback, one-touch automated control, multichannel remote Skype video calling, integrated replay and social media integration can all be achieved with up to full UHD p60 resolution. Live Story Creator enables an individual to run an entire production from a Microsoft Word document. A script created in Microsoft Word includes trigger actions when loaded into the TriCaster Mini 4K, allowing the storyteller to concentrate on delivery

of the message rather than on technical setup and production. LivePanel introduces customisable, browser-based remote control of the TriCaster Mini 4K from anywhere on the same local area network, letting anyone control live switching, compositing, mix/effects, media playback, audio and automation from tablets, smartphones and laptops. Configurable macros are also supported, allowing routine but complex tasks and sequences to be executed at the push of a button. www.newtek.com

DESIGNED TO produce compelling professional content, Broadcast Pix has launched StreamingPix, a complete live production and streaming solution that incorporates many of the manufacturer’s tried-and-tested streaming tools but with the addition of easy-to-use control interfaces and a library of clips and graphics. Features include a RoboPix PTZ camera with integrated remote control; high-quality audio capture using a LAV microphone; SDI, HDMI, IP and NDI inputs for the ability to input PowerPoint and social media; a library of readyto-use clips and graphics; media-aware macros to make content visually interesting; and one-tomany streaming to popular streaming services,

such as Facebook Live, YouTube Live or Vimeo, and virtual meetings, including Zoom, Skype and GotoMeeting. Tony Mastantuono, StreamingPix product manager, commented: “StreamingPix grew out of our observation that as the desire to stream events and content has exploded, particularly in recent months, most organisations lack the kind of broadcast training required by current systems on the market today. Users need a simpler, more accessible and easier automated way to produce compelling streams and get them online, at a cost-effective price point.” www.broadcastpix.com

96 PRO AVL ASIA September–October 2020

PAA Pg80-105 Products.indd 96

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Rider Friendly . Affordable . Expandable Main Features: • 72 Input Channels (expandable to 96) • 36 Aux / Sub-Group Busses (expandable to 48) • 12 x 8 Full Processing Matrix • 119 Dynamic Equalisers / Multi-band Compressors • 12 Digital FX • LR/LCR Master Buss • 48/96 kHz Sample Rate

A compact, multi-application digital console benefiting from built in UB MADI, dual MADI, Optocore Option, Local I/O and dual DMI Slots, options include KLANG, Dante, Automatic Mic Mixing and Waves. MAXIMUM CONNECTIVITY AT EXCEPTIONAL VALUE


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24/08/2020 12:09


Griffyn 4K32-RGB is made for the stage

Griffyn 4K32-RGB PRIMARILY DESIGNED for theme parks, sports venues and other environments with little regard for downtime, Christie has developed the Griffyn 4K32-RGB. With 360° orientation capabilities, the Griffyn 4K32-RGB

includes next-generation Trulife+ all-in-one electronics for “a blur-free experience, unrestricted connectivity and pictureperfect image alignment”. The omnidirectional RGB pure laser model is housed in a compact single chassis with no additional components or option cards required. Capable of providing up to 34,000 lumens while operating at less than 50dB at full brightness, the Griffyn 4K32-RGB is the company’s first projector to offer new digital convergence by individually selecting red, green or blue by remote control. It produces a wide colour gamut, achieving greater than 96% of the Rec. 2020 colour space for a richer visual experience. It also features

optional HFR capability to achieve 120Hz at 4K resolution or up to 480Hz with HD resolution for lifelike images. In other news, the manufacturer has launched two free software solutions: Christie Mystique Lite and Christie Conductor. Christie Mystique Lite removes the time-consuming work of image alignment in multi-projector arrays. It works with an inexpensive third-party webcam to warp, blend and align up to three supported Christie projectors in a single horizontal projector array on a flat surface or screen with the click of a button. The interface automatically detects the projectors and webcam, allowing users to mark the corners of their screen to then align, blend and warp an image.

Panasonic streamlines production WITH THE development of the PT-RZ990 laser projectors, Panasonic is targeting the growing immersive experience demand among HOW congregations. The Japanese manufacturer’s Smart Projector Control feature allows users to make use of the on/off function in addition to adjustments that can be made to the lens via a smartphone. The air-tight, dust-resistant optical units further benefit from a new filterfree cooling system to reportedly promote a virtually maintenance-free, 24/7 operation for up to 20,000 hours. Available in either black or white and compatible with 1-chip DLP lens options, all models deliver WUXGA (1920x1200) resolution and vary between 6,000 and 9,400 lumens in brightness. The PT-RQ35K Series has been designed to deliver eye-catching visuals with blue and red laser technology, 30,000 lumens of brightness and 4K resolution. The PT-RQ35K 4K (3840x2400) resolution with Quad Pixel Drive On and PT-RZ34K WUXGA (1920x1200) are said to significantly reduce logistics and installation hassles with the inclusion of Smart Projector Control and Near Field Communication function. These features are said to make it easy to read and change basic setups by holding a mobile device against the projector’s

PT-RZ990 touchpoint. The Remote Preview function makes it possible for users to check the content signal remotely via multimedia control software or a web browser. The SQ1H Series has an increased panel brightness of 1,000cd/m2 to ensure highquality content can be displayed, even in bright spaces. Available in 86- and 75-inch models, this series is capable of 24/7 operation and is said to allow for easy and flexible setup with Digital Link, based on the HDBaseT standard, connecting video, audio and control signals to external devices with a single LAN cable. The products also feature the Intel Smart Display Module (SDM) slot, making it possible to customise

the display and connectivity for a customer’s production and environmental needs. The SQE1 Series has been created to complement the current SQ1 Series with the addition of Wi-Fi connectivity. The displays are offered in a wide range of sizes, from the large 98-inch model to the 43-inch model, making them suitable for vertical


Christie Conductor is a monitoring and control software solution for up to 256 Christie 3DLP projectors. Conductor reportedly enables end users to proactively diagnose technical issues, execute repetitive processes with a single click and keep projectors working optimally, reportedly reducing the risk of downtime and saving hours of manual work. www.christiedigital.com

installation and 24/7 operation. The SQE1 Series is also equipped with the Intel SDM slot, as well as a wide range of terminals, and can be connected with various playback equipment and expansion boards. Built-in speakers are featured for playing content with audio. The Kairos IT/IP video processing platform has been developed to satisfy an increasing demand for hosting rich and engaging remote streaming content experiences. According to Panasonic, the live video switching comes with maximum CPU/GPU processor utilisation for “virtually unlimited” ME scalability, in addition to resolution and format independence. As a native IP, ST 2110 system, Kairos supports transitions to live, uncompressed IP workflows, bypassing the need for dedicated hardware.

display’s brightness to optimise power consumption and the overall viewing experience. The panel is said to be fully protected against moisture, as well as any potential debris.



“We see growing demand from advertising companies to replace analogue with digital and the requirement for larger screen sizes,” said Keith Dutch, MD – EMEA, Peerless-AV. “We’re pleased to still be

leading in the market with the widest temperature range and ingress protection rating for our Xtreme range.” www.peerless-av.com

The Xtreme High Bright range

98 PRO AVL ASIA September–October 2020

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Peerless-AV goes to the Xtreme THE LATEST addition to Peerless-AV’s line-up of displays is an IP66 all-weather model in the form of the 65-inch Xtreme High Bright Outdoor Display. In addition to the inclusion of Peerless’ patented Dynamic Thermal Transfer system, the product brings a new size offering to the digital out-of-home market. The 65-inch screen includes cover glass that is optically bonded to cut down on glare and improve picture quality, even in direct sunlight. With an operating temperature range of –35°C to +60°C, the manufacturer claims that the Xtreme Displays are designed for year-round outside use, in even the harshest of environments. The integrated ambient light sensor automatically adjusts the

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Dejero gets 5G-ready THE 5G-READY EnGo 260 is the latest version of Dejero’s EnGo mobile transmitter and weighs 30% less than its predecessor. Featuring Smart Blending and Hybrid Encoding technologies, the EnGo 260 also features a screen that is 85% larger, a three-hour internal rechargeable battery and global modems for international travel. Built with aircraft aluminium construction and polycarbonate ABS bumpers, the EnGo 260 is designed for durability to withstand onthe-go daily use by news, sports and live production crews. Dejero has also unveiled a smaller form factor CuePoint server for use in field environments where it can be easily racked into mobile carts or vehicles. The server simplifies talent cueing, production and confidence monitoring, and real-time teleprompting in the field. CuePoint servers reportedly provide latency as low as 250ms and keep teams at the broadcast facility and remote location synchronised by sending video and audio, alongside teleprompting feeds, to production teams in the field for the creation of live content. Up to eight return video and teleprompting feeds from

EnGo 260 the broadcast facility can be seen in the field on a tablet or dedicated monitor above or below the camera, or on multiple mobile devices by camera operators, field directors and technicians. The WayPoint 204 receiver has become the first Dejero product to support SMPTE ST 2110 standards. It reconstructs

WayPoint 204 also be used for backup connectivity as part of a disaster recovery plan, or other cases that solve first- and last-mile connectivity challenges for broadcasters and media organisations.

anywhere in the world in point-to-point, pointto-multipoint and multipoint-to-multipoint scenarios. www.dejero.com

Kramer heads back to school

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Lastly, Dejero has unveiled its IronRoute for Media solution that combines the link diversity, service quality and centralised management benefits of software-defined blended connectivity, with the flexibility and scalability benefits of a cloud-based workflow for global distribution over IP networks. IronRoute blends broadband and cellular (3G/4G/5G) alongside satellite connectivity from Intelsat’s global network. The cloud-based solution is also said to simplify the simultaneous distribution of live and file-based content to multiple locations

video transported over multiple IP connections from Dejero transmitters, decodes HEVC or AVC, delivers four channels of balanced IFB and provides four outputs supporting SMPTE ST 2110. The GateWay 200 series is said to provide fast, reliable and secure access to the internet, private networks and SaaS providers in mobile situations. Recently added features include increased reliability on any type of IP connection and faster file transfer methods. The GateWay series can

TO HELP education facilities specify technology that injects flexibility, hands-free connectivity and secure networks into multiple classroom environments, Kramer Electronics

has released its Kramer Schoolroom Solutions campaign. Designed for school administrators, IT managers and integrators worldwide, the solutions have been designed

to adapt to rapid change across classroom styles following the Covid-19 pandemic. As concerns grow over equipment hygiene, Kramer Schoolroom Solutions are said to provide a quick and secure way to encourage BYOD connectivity and automated handsfree classrooms. The tools also support hybrid learning, actively promoting class participation, reducing teacher setup time and offering a variety of connectivity options. The accurate reproduction of teaching materials is crucial to supporting lessons. Kramer’s systems support automated scaling and switching of content from BYOD devices to reportedly ensure picture quality matches

the display technology resolution. In addition, the systems support livestreaming to all major video platforms and carry video signals up to 4K. For IT departments that require more offsite management, the solutions promote remote servicing and reduce the amount of unnecessary service calls. Its user-proof automation and networked capabilities are said to provide a full overview of the campus site system and support a “grow-as-you-go” technology vision, with backward compatibility with existing systems. www.kramerav.com

Analog Way presents Midra 4K BASED ON the Midra 4K platform and fifthgeneration scaling engine inherited from the LivePremier presentation systems, Analog Way has unveiled the Midra 4K series of multi-layer video mixers and presentation switchers. The four products in the range – QuickVu 4K, QuickMatrix 4K, Pulse 4K and Eikos 4K – feature 4K60 10-bit 4:4:4 image processing, genlock synchronisation, true seamless switching, HDR support and HDCP 2.2 compatibility. Created for small- and medium-sized fixed installations and live applications, the switchers feature 10 inputs, including eight 4K60 (four HDMI 2.0, two 12G-SDI and two DisplayPort 1.2) and two 1080p with userselectable HDMI and SDI connectors. Two 4K60 outputs, each with mirrored HDMI and SDI connectors, can be combined to create a dual-output, edge-blended display or configured as two independent programme outputs or one programme output and one

auxiliary output. A dedicated multiviewer with resizable widgets is available to monitor the Program & Preview screens and all the connected sources. Ease-of-setup features include on-board Web RCS, which is an HTML5-based user interface with live source thumbnails. All products in the range feature Ethernet control via a standard TCP/IP socket connection supported by all major third-party control systems. They can also be controlled by the free Crestron driver in addition to Analog Way’s drag-and-drop Crestron user interface, AW VideoCompositor. Analog Way has also added software release 3.0 for its Picturall series of media servers. New features include the support of cue tracking, the NotchLC video codec, NewTek NDI v4.5 and virtual displays, in addition to a new web-based media manager and a free AWX encoder plug-in for Adobe Creative Cloud.

Midra 4K The support of cue tracking enables jumping from one cue to another in the cue stack, allowing changes to be recorded between the two cues and added to the final result. The GPU-powered NotchLC video codec enables delivery of up to 10-bit colour depth for clean gradients. In its largest

configuration, a Picturall media server can play back one 8K@60Hz or four 4K@60Hz video files. Support for NewTek NDI v4.5 technology reportedly increases the decoding speed and improves video quality. www.analogway.com

September–October 2020 PRO AVL ASIA 99

PAA Pg80-105 Products.indd 99

21/08/2020 14:44


Blackmagic Design adds hardware and software CREATED WITH a similar feature set as the Atem Mini, the Atem Mini Pro is a new live production switcher with added features for recording, streaming and monitoring. Blackmagic Design has launched a hardware streaming engine which allows direct streaming via its Ethernet connection to YouTube Live, Facebook and Twitch. A miniaturised control

display settings, such as switching reference modes and adjusting brightness. An integrated scaler ensures the video input standard is scaled to the native resolution of the connected DisplayPort monitor, although unscaled HD or 4K content can be viewed in pixel-by-pixel mode. For desktop or rack-mounted use, the rear panel of the 8K DisplayPort is further equipped with a USB-C connector, Quad Link 12G-SDI for HD and Ultra HD for up to 8K formats.

Atem Mini Pro panel-based design offers support for recording the stream direct to USB flash disks in H.264 in addition to multiple disks for continuous recording. The new model integrates a multiview on the HDMI video output for monitoring all inputs on a single screen. Equipped with four independent HDMI inputs, video sources resync to the switcher if they operate at different video standards. Each HDMI input features a dedicated standards converter for automatically changing 1080p, 1080i and 720p sources to the video standard of the switcher. A USB connection operates

Blackmagic Camera update 6.9 now provides a connection for the 4K and 6K Pocket Cinema Camera models to the Atem Mini switcher. The software update controls the video lens and tally light parameters of up to four cameras via the HDMI video connection. Enhancements include up to 25600 ISO for low light performance, Blackmagic RAW recording and a built-in 5-inch touchscreen for accurate focusing in 6K.

Datavideo switches and mixes


THE KMU-200 has been revealed as the latest addition to Datavideo’s series of multichannel 4K touchscreen region of interest switchers. Designed for smaller panel interview applications, the portable KMU-200 combines switching and audio mixing together with built-in streaming and recording capabilities. Depending on the user, the KMU-200’s workflow can switch between horizontal (16:9) and vertical (9:16) modes, with the latter providing multiple camera angles and high-quality audio. An integrated encoder streams directly to popular CDN platforms, while live events can be recorded with the built-in SD

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recording card. A single 4K camera can be used to obtain four cutouts or regions of interest and the full screen view,

plus another HDMI input for an additional camera or computer. For those applications that require social distancing, the KMU200 reduces the need to have multiple crew members producing and streaming a production. www.datavideo.com

Sony promotes remote solutions DESIGNED TO deliver high-quality images at 4K60p alongside full IP connectivity, Sony has developed the SRG-XP1 (POV) and SRG-XB25 (box) compact cameras. Each model is equipped with a wide-angle lens or optical zoom, promoting their use in hard-to-access applications where space is limited for a full-sized camera and dedicated operator. A single network cable is required for power supply, image distribution and full IP-based camera operation. Equipped with NDI | HX1 capability via an optional

worship. When the cameras are combined with the AI-based Edge Analytics Appliance REA-C1000, content can be created in real time to provide a remote shooting and streaming solution. Sony has also updated its Venice firmware. Version 6.0 allows importing of Advanced Rendering Transform (.art) files that improve monitoring picture quality and viewing options on-set. These .art files can be generated by Sony’s RAW Viewer software, from users’ own 3D LUT files. Additionally, Sony is collaborating

HyperDeck Studio Mini as a simple webcam source for use with any video software. Two 3.5mm stereo audio inputs provide connections to desktop and lapel microphones. The audio sources can be further processed by the built-in limiter, compressor and six-band EQ, in addition to being routed to the separately connected Fairlight audio mixer. A further new addition from Blackmagic is the Teranex Mini SDI to DisplayPort 8K HDR, an advanced 8K DisplayPort monitoring solution for DisplayPort monitors such as the new Apple Pro Display XDR. Dual on-screen scope overlays, HDR, scaled and pixel-by-pixel modes and 33-point 3D LUTs come as standard. The front panel includes controls and a colour display for monitoring the video input, audio meters and video standard indication. The Pro Display XDR panel can be used to control

With the addition of software update v7.1, the HyperDeck Studio Mini broadcast recorders now include an H.264 codec that supports true interlaced HD formats, a new AAC audio codec for uploading files direct to YouTube, Ethernet transfers of 110MB/s and support for longer duration in a single file of at least three hours. Designed to be portable, the miniaturised broadcast deck incorporates H.264, ProRes or DNx codecs for recording to SD or UHS-II card media in either QuickTime or MXF file formats. Other features include 6G-SDI for all formats up to 2160p30, HDMI for monitoring, dual SD card slots for non-stop recording and a built-in sync generator for daisy-chaining and synchronising multiple decks together. www.blackmagicdesign.com

Teranex Mini SDI to DisplayPort 8K HDR

The SRG-XP1 and SRG-XB25 licence, both cameras can operate with other NDI-compatible hardware or software on the network. Real Time Streaming Protocol (RTSP) and Real Time Messaging Protocol (RTMP) are also supported for AV recording and distribution. The SRG-XP1 POV camera is capable of capturing over 100° wide horizontal viewing angle and is particularly useful for recording reality shows and in settings such as esports and remote meeting/discussion, where the entire location can be captured regardless of the installation position. On the other hand, the SRG-XB25 box camera is suited for large spaces thanks to its 25x optical zoom, capturing footage from a distance for events, lectures, seminars and houses of

with Technicolor to create a new “look library” for the Venice camera, which will be available online as a resource for creatives wishing to quickly access some of Technicolor’s established looks. Version 2.0 of FX9 firmware supports 4K60p/50p recording through oversampling from a 5K cropped area of a 6K full-frame sensor. Version 2.0 also enables output of a 4K 16-bit RAW signal to an external recorder with the optional XDCA-FX9 accessory. This additional bit depth beyond the camera’s internal 10-bit recording is said to be ideal for projects requiring more intensive postproduction. pro.sony

100 PRO AVL ASIA September–October 2020

PAA Pg80-105 Products.indd 100

21/08/2020 14:44

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Marshall enhances broadcast workflows


DESIGNED TO easily integrate existing HD and UHD video into any IP-based workflows, Marshall Electronics has added the CV730-BK, CV630-IP, CV420-30X-IP and CV355-30X-IP cameras. The four cameras provide a wide variety of resolution options and a 30x optical zoom range. The CV730-BK PTZ model provides up to UHD (3840x2160) video resolutions at 60fps through IP, HDMI and 12G-SDI simultaneous outputs. The CV630-IP PTZ offers the same UHD resolution up to 30fps through IP and HDMI outputs and 1920x1080p (HD) outputs at 60fps through 3G-SDI. The CV420-30X-IP Zoom provides up to UHD resolution at 60fps through simultaneous HDMI and IP streams, while the CV355-30X-IP delivers up to HD (1920x1080p) resolution at 60fps through 3G/HD-SDI, IP and HDMI. An 8.5-megapixel image sensor is common on all four models, with the CV730-BK having the largest size sensor at


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such as Dante. A built-in web server has 1/1.8-inch. In addition to a been created for saved channel 12V power supply, mixes, system settings and a PoE connection updates. A network further enables of up 64 remote control channels can be management in addition to a simultaneously dedicated RS-232 displayed or (Cat-5/6) using zoomed in on Visca-over-IP commands. via a touch A 3.5mm audio input enables of the display. stereo audio embedding via The AR-DM61AAC/G.711 encoding over IP on all BT-64DT is an models. audio/video analysis CV420-30X-IP monitor designed specifically for Housed within a 1U chassis, the AR-DM61-BT-64DT multichannel TV stations, broadcast trucks, digital audio monitor integrates stereo master control and house of worship speakers, a 10-inch LCD touchscreen facilities. The AR-DM61-BT-DB version interface and multiple display modes. The is equipped with a pre-installed Dolby audio monitor adopts both traditional SDI, module. AES, analogue, Dolby and MADI formats, www.marshall-usa.com in addition to networked digital formats

Atlona ships HDBaseT and HDMI PTZ cameras ADDING TO its HDVS-CAM family for extending video, power and of video conferencing systems, camera control over distances up Atlona has unveiled the AT-HDVS- to 100m, and is said to enable CAM-HDMI, which features an simple, clean connectivity over HDMI output plus a USB 2.0 category network cabling. This interface for video and camera camera reportedly simplifies control, with simultaneous remote interfacing with video output HDBaseT available over switchers and both interfaces extenders. to support Remote camera conferencing and powering over lecture capture, HDBaseT further or a legacy streamlines hardware codec integration, with alongside modern the freedom software video to install the conferencing. camera The camera anywhere is said to without the add value need for within AC power. multi-usage Whereas AT-HDVS-CAM-HDMI the HDMI model is applications for live presentation, recording, ideal for small- and medium-sized streaming and conferencing. meeting spaces and classrooms, Software video conferencing the AT-HDVS-CAM-HDBT is said capability is enabled via USB to provide customers with an connection to a PC, with PTZ easily extendable solution for camera control available from larger meeting spaces, lecture popular soft codec and UC halls and auditoriums. clients such as Microsoft In brief, the manufacturer’s Teams, Zoom, BlueJeans, Slack, Velocity IP-enabled AV control, Cisco WebEx and GoToMeeting. room scheduling and device Integrators working with Atlona’s management platform has Omega Series of switchers and been updated to version 2.1. extenders can also integrate with Enhancements include simplified these systems, and develop a menu navigation, two-way complete conferencing system driver creation, custom UI that includes AV and USB enhancement, bulk add rooms extension. and context-based training. The AT-HDVS-CAM-HDBT www.atlona.com features an HDBaseT output

September–October 2020 PRO AVL ASIA 101

PAA Pg80-105 Products.indd 101

21/08/2020 14:46


Adder supercharges ADDERLink XDIP solution ADDER TECHNOLOGY has announced a series of enhancements to its ADDERLink XDIP IP KVM solution. New functionality comprises an expansion for the receiver to access 16 sources and the transmitter to broadcast to 256 receivers. Improved remote control, either via a RESTful API or HTTPS web browser, is said to give users even more choice and flexibility with how they control their XDIP solution. Managing all endpoints through an API will reportedly help customers simplify configuration and maintenance. According to the manufacturer, this level of interoperability, combined with new multicasting functionality, means the XDIP is the ideal solution to bridge the gap between KVM and video-over-IP. Customers can now take advantage of best-in-class KVM functionality while delivering video and AV content around a large-scale installation, all over an existing 1GbE network.

ADDERLink XDIP PoE support has also been made available in the US, so that XDIP customers can reportedly benefit from quicker installation times and cost savings, delivered by mitigating the need for additional power sources. In addition, PoE support is said to improve reliability by leveraging the redundant power options delivered by PoE switches. In other news, the UK manufacturer has unveiled the latest addition to its

ADDERLink Infinity 4000 Series, the ALIF4000. Multigigabit Ethernet support has been added to provide customers with the ability to balance their video quality and bandwidth usage requirements by delivering 4K over varying network capabilities, from 1Gb/s to 10Gb/s. Integrated 1GbE ports reportedly enable easy delivery of 4K60 video over ubiquitous 1Gb/s copper links

T using 100m of standard Cat-5e or Cat-6 cable, while dual multigigabit or 1GbE ports can be teamed together for enhanced resiliency or improved video capability. Compatibility with the existing ADDERLink Infinity range means the ALIF4000 can be phased into an existing network, “without disruption, downtime or the costly need to rip and replace”. When combined with a solution such as the ADDERLink ipeps+, the manufacturer’s remote KVM solution, users can reportedly achieve real-time, secure, remote access to their system from anywhere in the world.

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AJA promotes 12G-SDI connectivity WITH KI Pro Ultra 12G, AJA Video Systems has developed a single-channel 4K/ UltraHD recorder and player featuring 12G-SDI connectivity. Offering up to 50/60p recording and playback to and from Apple ProRes or Avid DNxHR, flexible connectivity options for the Ki Pro Ultra 12G include 12G-SDI, HDMI v2.0 together with optional 12G SFP+ fibre input and outputs. Alternatively, Ki Pro Ultra 12G can provide up to four channels of simultaneous HD recording up to 1080 50/60p with independent ProRes profiles per channel. Suited for a range of production environments, features of the 2U, half-rack unit include DMI 2.0 I/O with HFR 4:4:4 and HDR capabilities with support for the latest HDR formats, including HLG and HDR10 recording and playback. A multimatrix HD video display can be used for up to four channels during recording over SDI monitor out, HDMI out and the built-in

Ki Pro Ultra 12G display. During a power failure, Ki Protect protects recordings from being lost, while WebUI ensures that file transfer and remote monitoring, configuration and control can be performed using a standard web browser.

Following the launch of the Ki Pro Go, the Californian manufacturer has released v2.0 firmware. Recording support for up to 25Mbps, 10-bit and 4:2:2 colour space has been added, in addition to new

destinations, including 4K LED walls, HD displays and USB 3.0 livestreams. Ultra Scaler technology simultaneously delivers 1080p video at rates up to 240Hz for a gaming monitor, 59.94/50Hz for HD video systems and LED displays, and 59.94/50Hz for an HD livestream broadcast.

The half-rack unit provides premium conversion for synchronised big-screen IMAG and dot-by-dot scaling for LED wall displays. With a high-definition source signal connected to the 12G-SDI or HDMI 2.0 video inputs, the VC-100UHD automatically processes and converts to different resolutions, ready for distribution at 12G-SDI, HDMI and USB 3.0 rear-panel outputs. The VC-100UHD includes built-in visual effects for rotating, flipping, trimming and mirror imaging on each output, while Frame Synchronizer and Genlock allow video images to be re-clocked and stabilised. Furthermore, a plug-and-play USB 3.0 webcam output promotes the broadcasting of uncompressed 1080p video at 59.94/50Hz on streaming platforms. Inclusive VR Capture software records HD livestreams in ProRes 422 (Mac) or MP4

Roland connects to 4K LED walls

DESIGNED AS a next-generation AV signal management solution for live events, fixed installations and streaming applications, Roland has launched the VC-100UHD 4K video scaler. Equipped with Roland’s Ultra Scaler processing, the VC-100UHD inputs 4K and 1080p video sources for simultaneous distribution to multiple

timecode capabilities with LTC, in-system drive formatting, network file downloads and gang recording support. Five recording settings can now be selected, including low for talking heads, conference backups and security recording, medium/low, medium, medium/high and high for fast-moving content. Improved super out and front-panel audio monitoring also displays the remaining media percentage and audio meters for all four video channels. Removing the need for a separate PC, the firmware update also adds in-system media formatting, while network file downloading promotes the recording of files to a central server on the LAN in live production applications. Gang support has been added to allow users to connect multiple Ki Pro Go devices together via Ethernet to control the group of devices using one unit.


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(Windows) formats for further editing and distribution. In addition to video, the VC-100UHD can process embedded digital audio from its 12G-SDI and HDMI 2.0 inputs. Analogue I/O comes in the form of balanced audio on a 25-pin D-sub connector for professional applications and line-level stereo audio on RCA jacks for prosumer video requirements. An audio patching system routes and embeds/de-embeds up to 16 input channels and output up to eight channels. An adjustable delay is also provided on each output to correct lip sync issues. Other integration capabilities include custom EDID on HDMI, 24 video test patterns, an audio test tone generator, system backup via USB memory and remote-control support over LAN. proav.roland.com

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Inspect 2110 FURTHER EXTENDING the Telestream IQ Solutions monitoring family, Inspect 2110 helps content creators monitor ST 2110 video streams at broadcast and production facilities. It ensures video flowing across the network is correct, working as expected and synchronised, enabling users to make the shift from SDI to IP video, while introducing several benefits in flexibility, scale, migration and efficiency. Inspect 2110 solves the

problem of monitoring IP networks with limited staff. Any individual program can be tracked throughout the network to ensure that the video content on any particular stream is exactly what it should be in terms of media, format, audio and metadata. The video monitoring solution also offers a direct link to the Prism IP media analysis platform. Ideal for enterprise-scale workflows, Capture C2 is the smaller version of Lightspeed

Black Onyx, Black Pearl and Sapphire, but also the newly added Vanish V8 and Ruby panels. Users must add the panel type, the required size of the videowall and the amount of stacking rear trusses

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Lightspeed Live Capture C2

THE UC3022 CamLive Pro is a new video capture and mixer device designed to stream two 4K cameras to a global audience with “seamless transitions and extraordinary image quality”. Aten reports that the device has been developed to fulfil the growing demand for video conferencing, livestreaming, distance learning and online worship by allowing users to publish and stream professional-level content that really stands out. The UC3022 CamLive Pro combines capturing, mixing, encoding and two-channel video source switching from HDMI cameras and a professional-level audio device. With the Aten OnAir Lite Android and iOS app, users can work freely and wirelessly control their video stream while editing it in real time

from anywhere and arrange multiple elements into the program mix with continuous feature updates. Sources are automatically converted to clean-looking USB video format in 720p or 1080p, which is sent to the user’s laptop or smartphone via USB. This reportedly helps livestreams and events flow smoothly and stand out from other online content. www.aten.com

Riedel keeps its distance


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The Californian developer has announced major new functionality and feature sets for its software-based Prism Waveform Monitor. Remotely accessible, the single next-generation solution is suited to SDI and IP workflow applications, including postproduction workflows up to 8K resolution. In addition to offering a full suite of IPbased Waveform Monitoring tools up to 4K resolution on 25G Ethernet, Prism includes enhanced HDR and Wide Colour Gamut (WCG) reports and tools.

Smooth streaming

Safety first ROE VISUAL has developed a Ballast Calculator to help users add the right amount of ballast to a stacked LED screen. When building a large videowall, one of the most impor tant challenges

Live, offering a dual-channel ingest solution and media processing for less complex applications. The dual-channel ingest solution captures two concurrent HD inputs up to 1080p60 and generates a low-res proxy of the content. Supporting all major HD codecs, the server provides production tools, such as simultaneous edit-while-capture, transcodewhile-capture and deliver-while-capture. Telestream reports that its Lightspeed Live Capture is the only capture portfolio that supports all the common formats, HDR, VTR digitising, remote production, IP input and delivery to Avid systems, without hardware changes. By integrating the new server system alongside its flagship, software-based Vantage Media Processing Platform, the Vantage for Capture option adds transcoding that runs directly on the Lightspeed Live Capture C2 server alongside Live Capture, Live Stream and Avid integration. Facilities include Live Edit sub-clipping of live and growing capture files using an HLS proxy embedded in a user-friendly, web-based UI.

is to do this safely. Even with the use of ROE’s LED stacking systems, in most cases it’s necessar y to add extra ballast. Not all AV technicians are aware of the total weight a complete LED screen can amount to and what forces it generates, even if the screen is mounted indoors. Available in six languages, the calculator offers ballast information for a broad range of the manufacturer’s LED panel types, such as the Carbon series,

used, and the amount of ballast needed for the stacking system will be automatically calculated. All available types of stacking system are added to the ballast calculator. The calculator is only available for indoor situations and cannot be used outdoors. ROE also recommends that users check what local or regional standards and regulations apply. www.roevisual.com

WORN AROUND the neck or carried in a pocket, Riedel has devised DisTag as a reliable distance monitoring device. The wearer is alerted via haptic, visual and acoustic signals whenever the mandatory minimum distance to other people is about to be breached. DisTag is designed to maintain a safe distance between employees, visitors and customers operating in media and event production, industrial operations, retail, medical facilities, cultural institutions and educational organisations. Weighing 61g, the compact 93mm x 41mm device offers three signal levels – a twostage vibration alarm (haptic), a two-stage LED signal (visual) and a two-stage sound signal (acoustic). The proximity limits of the warning signals can be individually defined and adjusted in accordance with local regulations for social distance. The minimalist device can be worn indoors or out, while an integrated battery provides

power for up to 12 hours. Requiring no additional infrastructure, the system can be easily expanded. www.riedel.net

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Genesis is a revelation for Altman FOLLOWING ON from the PHX LED ellipsoidals, Altman Lighting has developed the PHX3 LED Profile and PHX3 LED Zoom luminaires. Designed for use in applications requiring energy-efficient lighting, the PHX3 LED ellipsoidals use a 340W red, green, blue and lime (RGBL) LED engine that can output the equivalent of over 10,000 lumens. Available in 5°, 10°, 19°, 26°, 36° and 50° fixed focus Profile Spot models in addition to 15–35° and 30–55° Zoom Spots, the fully locking shutters and 360° rotating barrel maintain the PHX3 fixture focus intact with little light bleed. Incorporating multiple on-board control options including colour fades and strobes, PHX3 luminaires also offer a console-free, standalone Player Mode and 8-bit or 16-bit virtual dimming for smooth blackouts and colour shift minimisation during dimming. The US manufacturer has created the Genesis console for controlling multifunctional automated and LED luminaires. Providing the programmer the creative control of automated and LED luminaires, Genesis fulfils ease-of-use design requests by combining a fader-based controller with a


touchscreen interface. Advanced programming functionality with features such as Shape FX, Chases, Fan and Individual Cue Timing are included. Additionally, the GUI allows control of luminaire parameters via familiar icons, colour picker, movement targets or touch sliders. For moving light control, pan and tilt are also controlled via the touchpad, adding a fine movement control for critical focus points. The animate feature is said to quickly create chases, sequencing and patterned attribute control within a single cue. Genesis consoles can control up to 24 discreetly addressed luminaires, each with a physical intensity fader and bump button. www.altmanlighting.com


ETC simplifies installation FEATURING PRISTINE light from a modular design, the ArcSystem Navis is the latest line of LED luminaires conceptualised by ETC. Primarily designed for ease of installation and maintenance, the Navis line combines in-field customisation and high-grade TIR optics with stepless dimming. The fixtures are available in multiple colour temperature options ranging from 2,700–5,000K, in addition to an RGBW colour-mixing option. A 3,000K Fade to Warm variant

hardware accessories. An optional wall wash accessory also transforms the Navis 100 into a luminaire capable of providing a smooth blanket of light for a wall or corridor application. Providing power and data support via Cat-type cabling for up to 48 individually controllable Navis 100 luminaires, the F-Drive LED power control solution operates with ArcSystem Navis luminaires and third-party fixture applications. Adding flexibility, the F-Drive family includes an

The F-Drive and ArcSystem Navis luminaires provides an intimate, warm light at lower intensity levels. Aesthetic changes can reportedly be made in seconds, with various magnetic trim plates, clip-in optical accessories and twist-and-click beam angle lenses. The recessed Navis 100 measures 100mm high with three wind-down clamps catering to ceiling thicknesses ranging from 0.5–20mm. Any Navis 100 can be transformed into a surface cylinder or pendant solution by sliding it into the purpose-designed

R12 rack-mount option and a W1 wallmount option. Measuring 3U, the R12 option features 12 slots for swappable output cards with four channels of power output each, which are compatible with a variety of LED fixtures, including constant current and constant voltage loads. The hot-swappable cards allow changes to be made while maintaining power for the rest of the LED system. www.etcconnect.com


Return of the Mac WITH THE launch of the MAC Aura PXL LED, Martin by Harman has reportedly created the industry’s first wash light with individual pixel control of both the main beam and Aura backlight. Featuring an RGBW LED engine capable of producing a 13,000-lumen output, the MAC Aura PXL expands on the LED backlight concept introduced in the MAC Aura. Precisely calibrated LEDs deliver rich, saturated colours and subtle, pastel hues with instant colour mixing and minimal degradation over time. The MAC Aura PXL’s silent 1:8 zoom ranges from wide wash coverage to a high intensity 5° narrow beam, while fast LED refresh rates enable flickerfree operation with no banding. The enhanced Aura backlight comes with 141 individually controllable LEDs and the 19 pixels that make up the beam can be programmed individually or used as a

video element within a P3 system. A single etherCON data connection supports all protocols such as P3, ArtNet and sACN, while a five-pin DMX connection ensures


either black or white housing. Their six-lens design reportedly delivers optics, ultrabright output, flat projection and a crisp focus of a static lens with the speed and flexibility of a zoom lens. The lenses feature universal a mechanical anti-slip locking compatibility. mechanism and a service hatch for The Ethernet ELP zoom cleaning and maintenance. A gobo/ switch with lenses accessory gate accommodates fail-safe relay means A/B-size gobos and a colour gel frame is the fixture can be turned on and off without also included. Variant 1 offers a 15–30° affecting other fixtures down the line. range with a 7,000-lumen output (ELP CL The appeal of Martin’s ELP family of in high output mode) and Variant 2 offers ellipsoidal LED light fixtures has been a 25–50° range with an output of 6,900 enhanced with a range of zoom lens lumens (ELP CL in high output mode). accessories. The ELP zoom lenses broaden the functionality of ELP CL and WW LED pro.harman.com ellipsoidal lights with two beam ranges in

Robe creates 6:1 hot-spot lens HEEDING A request made by Lightswitch, Robe has created a patented 6:1 hot-spot lens system for its new ESprite LED profile luminaire. As the Czech Republic-based optical design manufacturer introduced its latest automated LED luminaire, the team at Lightswitch offered to collaborate. In doing so, the joint team created the Hot-Spot Lens system for the ESprite and T1 Series of LED profiles. Successfully tested in previous generations of Robe LED profiles, the new lens system accessory will continue to be implemented

in future product releases. The ESprite LED is a fully featured automated luminaire that has a fast-change, transferable light engine to troubleshoot performance longevity for white source LED luminaires. Capable of producing 27,000 lumens and 85,000 lux at 5m, the TE 650W white LED source and the Hot-Spot Lens system allow designers to move from a flat field beam to a 6:1 ratio hot-spot beam, giving uniform intensity when overlaying beam edges. The ESprite with hot-spot and frost

The ESprite without hot-spot or frost


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Elation adds UV PRISMA IS a series of UV LED lighting products created for Elation’s Magmatic Atmospheric Effects range. With a weatherproof IP65 rating, the lights have been designed to make it easier for end users to implement UV light into their projects. They are described by the manufacturer as compact, lightweight and easy to handle, and a variety of narrow and wide beam angles are available. Because Prisma uses high-quality, medicalgrade LEDs that emit UV light in the 365nm range, no visible light is emitted, meaning only the UV reactive material glows and nothing else. A further advantage over traditional UV LED lights is that Prisma uses durable LEDs with special silicone lenses that are UV resistant and slow to degrade, reportedly lasting up to 25 years or more. The Prisma Par 20 comes with 12 2W high-power UV diode LEDs and a narrow 20° beam angle, while the Prisma Par 50 incorporates 16 2W LEDs and a wide 50° beam angle from a large internal LED reflector. The Prisma Mini Par 20 and Prisma Mini Par 45 have seven 2W LEDs and a 20° and 45° beam angle, respectively. The Prisma Mini Bar 20 includes 10 2W LEDs and a 20° beam angle. Up to eight Prisma Mini Par 20, Mini Par 45 and Mini Bar 20 units can be powered by the Prisma Driver 8, a 48VDC driver that provides individual DMX-512 control, including variable delayed time dimming modes. The Prisma Wash 25

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MIDI Timecode (MTC) stream, where it can be read into Onyx or any other MIDI Timecode-compatible software. Additionally, it also has the power to take MTC and send it back out as SMPTE. It does not require custom drivers and, in addition to working with Onyx, it can be used as an SMPTE to MTC/ MTC to SMPTE device for both Windows 10 and macOS software applications. NX Sync www.elation.com

The Prisma series

Andy sees and creates the future. He understands product, channels and global business.


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and Prisma Wash 100 contain 38 2W LEDs and a scoop LED reflector design that creates a 25° and 90° beam angle, respectively. A Black Glass diffusion filter option creates a complete blackout effect, only allowing UV rays to penetrate. Meanwhile, Elation’s Obsidian Control Systems has launched the NX Sync, a plug-and-play USB SMPTE timecode device that captures timecode in various SMPTE formats from its threepin XLR connection and conver ts it to a

He leads, resolves and communicates. And Andy knows his customers. A Product Manager is the heart of the brand. Interfacio connects professionals with world-leading pro AVL brands.

Behind every great brand is an Andy.

Product Manager – China

New opportunities in the conferencing and professional video display market segments.

Contact: bardy@interfacio.com www.interfacio.com Int: +44 208 986 5002 USA: 1-800 578 0144 @interfacio


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Sustainable investing Genelec’s new logistics centre is providing the manufacturer with increased capacity and sustainability, and the extra space is proving invaluable too. Caroline Moss reports from Finland

L–R: production director Piia-Riitta Bergman, logistics manager Minna Hukkanen and development engineer Anninka Hujanen in the new logistics centre

SUSTAINABILITY IS NOT A NEW BUZZWORD FOR Genelec. Its lakeside factory in Iisalmi, Finland, was constructed in 1985 with environmental concerns in mind, and products are designed to have a long lifespan and ease of service, with spare parts available years after discontinuation. Since 2000, the company has initiated regular procedures to ensure sustainable development, the most recent and farreaching being last year’s addition of a new logistics facility at its headquarters. This has increased the space, flexibility and efficiency of warehousing and logistics operations, while enabling the entire facility to be powered exclusively by sustainable sources including solar, wind and hydroelectric energy. “We wanted to keep manufacturing and R&D under one roof in Iisalmi,” explains production director, Piia-Riitta Bergman, one of several inspirational women who oversaw the expansion. “The main aims were to maintain the high quality of production and make sure our processes are streamlined as new products get introduced, especially in the key area of final testing of our equipment. The company has grown, new items have gone into production and we realised we needed more space. Building an extension was a natural way to respond to our growth as we keep developing production processes and bringing some new ones in. In a multi-product environment, it makes sense to optimise the internal logistics: how the goods come in, where they are stocked, how are they reached from the stock and delivered to the assembly stations and then how the readymade speakers are transported. Now, we have much more room for the shipping department; the space we have available to handle incoming and outgoing goods is much bigger.” A key investment was an automated warehouse and retrieval system, providing hundreds of metres of shelving and storage capacity for the entire production process. Automated vertical storage is planned to boost handling efficiency by up to 65% and increase floor space by up to 70%. Fully automated, it allows production staff to select a job on a screen and, moments later, receive a tray containing the necessary components. To minimise error, lasers point to the correct item when the shelf comes into view, so exactly the right components can be collected and transported to the assembly station on a dedicated trolley. Future plans involve fitting a robot driver onto the trolleys so they can automatically get to where they are needed on the production floor. “Automation in

our type of industry is typically used to free up a person to do something that creates more value,” says Bergman. “Some of the simple routine and repetitive tasks can be taken over by a robot, or a person and a machine working together, to improve quality and productivity.” Development engineer Annika Hujanen, who managed the project, came on board in late 2018, with building work starting in March 2019 and lasting 10 months. “We did a lot of research into the companies we worked with on the construction,” she explains. “To keep the carbon footprint down, the furthest the contractors came from was Kuopio, 85km away, and they used local subcontractors from Iisalmi.” A steering group was formed so that big decisions could be taken collectively. “This enabled very smooth communication with all the partners, and we learned a lot through the process,” adds Hujanen. Although Genelec moved from oil to wind- and hydroelectricgenerated energy some time ago, the new building sees its first-time use of solar panels, with over 450 mounted on the roof. “We chose a local solar provider,” says Hujanen. “In the winter, and when they are covered with more than 10cm of snow, we don’t get any power but, in the summer, even the nights are bright. And if we make more than we need, we can sell the power. We’ve calculated that one-third of our electricity comes from our local solar panels – a very good achievement and it’s still early days.”

Genelec’s new warehouse and retrieval system Another contribution to carbon reduction comes from the consolidation of two former warehouses in the Iisalmi area into the new building. “There was a lot of traffic going back and forth, so we’ve reduced the carbon footprint here,” says Hujanen. “We’ve also made a lot of changes to our recycling system, investing in a crusher, and doing smart recycling that only gets collected when it is ready. Our ultimate goal is to run our operation with zero waste. We ask our partners around the world if they can use recycled materials, planting ideas and encouraging them. When we audit our factories, we also audit from the point of view of sustainability.” Of course, the new extension is also providing an unanticipated bonus in these times of social distancing. “The extra space has helped during this period as the warehouse and material logistics have been working in a separate area,” says Bergman. “We’ve divided production into different groups and shifts, with smaller groups working at different times, while also implementing working practices and routines to protect the health and safety of personnel. Safe distancing has been implemented and we are limiting and organising team movement in separate areas of the factory.” Not quite the future Genelec was envisioning when planning the new factory extension, but its timely construction has ticked another box as the company continues its drive towards sustainability. www.genelec.com

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Profile for Blank Canvas Publishing Ltd

Pro AVL Asia September-October 2020  

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