Pro AVL Asia September-October 2021

ProAVLAsia September–October 2021

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION September–October 2021

BY ROYAL APPOINTMENT CST transforms Parkroyal Collection Marina Bay

MICA (P) 001/06/2021 PPS1604/05/2013(022953)

E&E CELEBRATES 70 YEARS

www.proavl-asia.com

NEW SHIKI THEATRES OPEN WITH MEYER

INFOCOMM BEIJING SHOW REPORT MARTIN AUDIO ANNIVERSARY PROFILE Singapore: MICA (P) 001/06/2021 PPS 1604/05/2013(022953)

POWERSOFT.COM

DYNAMIC MUSIC DISTRIBUTION

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

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BETTER-SOUNDING WORLD

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

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

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Contents Volume 20 Issue Five September–October 2021 NEWS BUSINESS Ross Video breaks ground on Ottawa headquarters

4

DISTRIBUTION Hall Technologies selects Nteck Systems for India

14

APPOINTMENTS Alan Chang makes welcome return to QSC

18

PROJECTS Shiki Theatre Company invests in LaON Technology

22

SPECIAL REPORT EV hits high notes on roof of Indochina

50

FEATURES COVER: LEADER OF THE PACK Major AV upgrade for the Parkroyal Collection Marina Bay 52 SAFE BET FOR VENETIAN MACAU New Japanese restaurants aim to attract

56

GOOD ON THE DANCEFLOOR Martin Audio installs new wave of Chinese clubs

58

SHAKING UP THEATRE Japan’s Shiki company rebuilds Haru and Aki theatres

60

TOP OF THE CLASS Sennheiser’s TCC2 assists interactive teaching in China

62

INFOCOMM CHINA Frank Shao reports from the show floor in Beijing

64

BUSINESS LETTER FROM AMERICA Dan Daley looks at private equity in the music industry 66 LETTER FROM EUROPE Phil Ward on challenges faced by high street retailers

66

COMPANY PROFILE A look back over Martin Audio’s half-century

68

COMPANY PROFILE Singapore’s E&E celebrates 70 years in business

72

TECHNOLOGY Ensuring safer sound levels in a post-pandemic world

76

NEW PRODUCTS The industry’s most comprehensive product news

79

ANALYSIS Nick Pearce from Object Matrix ponders the future of tradeshows

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

We’ve got an enticing spread of features for you in this issue as we cover the latest installations and projects across Asia.

In Singapore, Concept Systems Technologies used the circuit breaker downtime to carry out a major AV upgrade at the Parkroyal Collection Marina Bay hotel (p52) which also features on our front cover. Staying with the hospitality theme, cutting-edge installations continue apace across Greater China as new Japanese restaurants at the Venetian Macau aim to lure the young and hip with vibrant LED displays and good sound (p56), while China sees the arrival of even more EDM clubs pushing sound and lighting technologies to the limit (p58). And for those who may be worried about the time spent in such high SPL environments, Phil Ward’s informative feature on preventing hearing loss by staying within safer sound levels is a must (p76).

We’re also pleased to profile two companies that are defined by the shared characteristics of ingenuity and longevity. Martin Audio celebrates its half-century this year, and we look back over the British brand’s evolution, from inventor of sound systems for early rock concerts and festivals to business-focused technology innovator (p68). Meanwhile, in Singapore, E&E is turning 70 as the Goh family marks three generations of raising the AV bar in APAC (p72). Both companies have successfully navigated the changes and challenges of the passing years, diversifying and strengthening at every turn. We found these pieces inspirational to write, and hope you feel the same on reading them.

Contacts

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inside 56

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GENERAL MANAGER Richard Lawn

ADVERTISING DIRECTOR Sue Gould

SENIOR REPORTER Simon Luckhurst

T: +44 1892 676280

T: +44 1892 676280

rlawn@proavl-asia.com

sgould@proavl-asia.com

T: +44 1892 676280

PRODUCTION MANAGER Adrian Baker

EDITORIAL COORDINATOR Karen Wallace

SALES ASSOCIATE Carolyn Valliere

T: +44 1892 676280

T: +44 1892 676280

abaker@proavl-asia.com

kwallace@proavl-asia.com

T: +1 562 746 1790

DIGITAL MEDIA MANAGER Nick Smith

VIDEO EDITOR Chris Yardley

SOCIAL MEDIA COORDINATOR

T: +44 1892 676280

T: +44 1892 676280

T: +44 1892 676280

nsmith@proavl-asia.com

cyardley@proavl-asia.com

cvalliere@proavl-asia.com

58

72

Jessica Ubhi jubhi@proavl-asia.com

BEIJING OFFICE Frank Shao

GUANGZHOU MANAGER Sue Su

CIRCULATION Marne Mittelmann

T: +86 10 8652 5184

T: +86 13609001455

F: +65 6491 6588

frank@proaudioasia.com.cn

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

www.proavl-asia.com

sluckhurst@proavl-asia.com

@ProAVLCentral

ssu@proavl-asia.com

circulation@proavl-asia.com

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

@ProAVLAsiaMagazine September–October 2021 PRO AVL ASIA 3

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NEWS

Ross Video breaks ground on Ottawa headquarters expansion WORLD

With the aim of reducing its carbon footprint, Ross Video is expanding its Iroquois manufacturing plant with the addition of a new 5,179m2 facility.

“People care a lot about the company that they work for,” commented CEO David Ross at the ground-breaking ceremony.

“I think especially nowadays, it’s not just a pay cheque and it’s not even just the work, it’s more what the company does in the community and around the world.”

The Ottawa-based live video production company is also one of the largest manufacturers of professional television control room equipment in the world, assisting with the Super Bowl and the Oscars. “We are a manufacturer,” added Ross. “There’s no big smokestack or anything else like that, but we do consume electrical power and we’re tr ying to figure out how to do that more efficiently.”

In addition to expanding the Iroquois facility, Ross Video has acquired Primestream and taken its personnel headcount over the 1,000 mark. Founded in 1999 and based in Miami, Primestream is renowned for its Media Asset workflow solutions that enable the capture, production, management and distribution of media assets. The acquisition marks Ross Video’s 17th since 2009.

“We are extremely proud of what we have achieved from both a solutions development and customer engagement perspective,” commented Primestream CEO, Claudio Lisman. “We have built an exceptional team that’s ver y customer centric and we’re joining a like-minded group that will help us reach new international markets, scale much more effectively and realise our aspirations.”

CEO David Ross

www.rossvideo.com

AES, AVIXA and NAB all eye Delta surge ahead of October exhibitions USA

AVIXA has announced that the wearing of masks and social distancing policies will be enforced to all par ticipants including attendees, exhibitors, vendors and AVIXA staf f – regardless of Covid-19 vaccination status – at this year’s InfoComm Show. In addition, a 1.8m social distancing guideline is to be reinforced across the show including the exhibit hall, meeting rooms and education sessions. The organiser is currently evaluating onsite testing and vaccine validation, in addition to other safety and precautionar y measures.

AVIXA CEO, David Labuskes

“We’re extremely excited to gather the pro AV industr y together for InfoComm 2021,” said AVIXA CEO, David Labuskes. “However, as the Delta variant of Covid-19 surges, we are actively addressing updated health and safety protocols to protect all those in attendance. There isn’t anything quite like the in-person experience of learning about new technology, making new business connections and meeting up with long-time industr y peers. The pro AV industr y has been af fected in a multitude of ways by the pandemic – some negative, like the pause of live events, others positive, such as the dramatic adoption of video communications. At the show, we’ll explore the trends that emerged, and which will be long-lasting.”

Exhibitor stands and educational workshops will host conferencing and collaboration, content, production, streaming, digital signage, learning, live events and audio technologies. Forecast to generate $43.5 billion in 2021

globally, one of the most prominent solutions discussed during the pandemic was conferencing and collaboration.

InfoComm sessions will explore topics such as designing flexible collaboration spaces, clear audio for conferencing, hybrid workspaces done right and Bring Your Own Meeting (BYOM) systems.

The AV solution least impacted by Covid-19 will also be covered – content, production and streaming. The InfoComm sessions will examine topics such as adding remote guests to livestreams and automatic speech recognition and caption deliver y. In addition, AV solutions for learning including K-12, higher education and corporate learning environments for remote learning or on campus will also be explored. With live events impacted by the pandemic, in-person events have adapted to vir tual experiences, which AVIXA believes will enhance future in-person events.

In the two weeks prior to CEDIA Expo 2021 opening in Indianapolis

on 1st September, the organisers experienced a spate of exhibitor cancellations in quick succession.

Following an announcement made by Savant Systems, over 20 other exhibitors including Crestron, Harman, LG, Legrand AV, Samsung, Sony Electronics and Yamaha withdrew. In announcing its withdrawal from the show, Crestron, via a Twitter statement, said: “Despite our commitment to return, the well-being of our Crestron community is our priority.”

Scheduled to take place between 9–13 October, both The NAB Show and the co-hosted AES Las Vegas 2021 exhibitions

will require all attendees and participants to provide proof of Covid-19 vaccination. www.aesshow.com www.infocommshow.org www.nabshow.com

4 PRO AVL ASIA September–October 2021

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MKE 400

Record with confidence.

Sometimes, good just isn’t good enough. Enter the MKE 400, an on-camera shotgun microphone that combines portability and performance and sheds a whole new light on the way we capture audio for our video. Features that were traditionally accessories—like a windscreen and shock-mount—are now fully integrated and perform better than ever, freeing up space in your camera bag and on top of your camera itself.

www.sennheiser.com/mke-400 #CreateMore

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NEWS: BUSINESS

Wow Vision wholly acquired by Kramer WORLD

Having purchased the remaining 50% of the outstanding shares of the company, Kramer Electronics has acquired wireless collaboration software development company Wow Vision Pte.

technologies that offer our customers and partners better and smarter automated solutions to collaborate, share and communicate in hybrid working and learning environments.”

“We are incredibly excited that Wow Vision and its talented team of software engineers have joined the Kramer family,” said Gilad Yron, CEO of Kramer.

“This acquisition will strengthen our R&D capacity and enable us to continue accelerating Kramer’s growth, especially in the strategic areas of networked softwarebased solutions, collaboration, unified communication and cloud technologies.

It also demonstrates our ongoing commitment to investing in innovative

Yuval Cohen, managing partner of Fortissimo Capital and chairman of the board at Kramer, added: “Kramer’s growth is fuelled by innovation and our ability to develop the best solutions in the market. Kramer continues to invest in technologies that will further enhance its leadership in providing solutions for the rapidly changing environment for how people communicate, work and study.”

Mediatec rebrands for APAC APAC

NEP Group, technical production partner for live sports and entertainment, has announced that Mediatec Asia Pacific, an NEP live events company, has rebranded to become part of sister company, Creative Technology (CT). The Mediatec and CT teams have worked together for many years on projects for corporate clients and international sporting events, including the Olympic and Commonwealth Games.

The combined brand enables NEP and CT to suppor t its corporate and spor t client segments in Australia and New Zealand in the region and worldwide. The CT Australia and New Zealand business

unit will ser vice projects and events across the region, with of fice locations, warehouse facilities and local staf f in Auckland, Melbourne, Per th, Sydney and Wellington.

“I’m excited to bring our Mediatec and CT businesses closer together so we can leverage our talent, innovative technology and amazing solutions across many different markets and geographies,” said CT Australia and New Zealand president, Owen Davison. “It’s a great move for us and our clients, now and going for ward.”

www.kramerav.com

www.ct-group.com

The P.A. People marks half-century AUSTRALIA

The P.A. People is celebrating 50 years in business, having been incorporated in July 1971 as CS (Christian Sound) Ser vices, focused on the needs of the local church, schools, government and community events. With pro audio in its infancy, the company manufactured many of the products it needed, including mixing consoles, amplifiers and the PEM range of self-powered speakers, with thousands of systems installed into Sydney churches. Largescale three-way loudspeaker cabinets followed, with Bose Trees created to provide a rigging solution for indoor and outdoor spaces.

The P.A. People began appearing under the CS Ser vices brand and, by the early 1980s, had evolved into the company’s trading name. Milestones include winning the contract to provide systems for Carols in the Domain and the Sydney Festival Concer t Series including the Australian Opera and the Symphony under the Stars in 1985, before entering the world of touring in 1990 with the purchase of a Turbosound TMS3 system powered by Australian Monitor amplifiers. By the late 1980s, the equipment manufacturing arm had developed into a separate entity, Brisbane-based Creative Audio.

This division also created custom audio solutions including the development of audio teaching systems for the Schools

of Distance Education in Queensland, and the replacement of the stage management systems for the Sydney Opera House. It went on to create the Control Matrix audio paging system, the predecessor of the paging product now known as Vocia. Creative Audio was sold to Biamp Systems in 2008.

The 1990s saw The P.A. People move into larger-scale systems integration projects, including the deliver y of loose equipment and control room

infrastructure for the Brisbane Convention and Exhibition Centre and the expansion of the Sydney Convention and Exhibition Centre. In 1997, The P.A. People successfully tendered for the supply and installation of the sound system for the Olympic Stadium in Homebush for the Sydney 2000 Olympics, going on to operate the system for ever y event at the stadium and upgrading and maintaining the system on three occasions. The P.A. People also provided sound systems for

the Aquatic Centre, the RAS showgrounds and the Velodrome as well as the sitewide PA systems in Sydney Olympic Park, the temporar y AV package for noncompetition venues and communication systems for the opening and closing ceremonies and the majority of spor ts venues.

More recently, The P.A. People acquired a significant inventor y of Bose ShowMatch cabinets and Linea Research amplifiers, which have been deployed for corporate events in the International Convention Centre and for the opening of the Woman’s T20 Cricket World Cup, as well as regular suppor t of the Sydney Kings basketball and Sydney FC football teams.

“Many of the folk who grace our industr y today cut their teeth with or at The P.A. People and we are proud of the legacy these folk have created,” said managing director, Chris Dodds. “There are some 200 of them that have worked for us in a full-time capacity, not to mention hundreds more in a casual capacity. A big thank you to all who have worked with and for us – the company is clearly better for your contribution. And thank you to our customers and suppliers – we literally would not still be here after 50 years without you.” www.papeople.com

6 PRO AVL ASIA September–October 2021

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NEWS: BUSINESS

Vega Global collaborates on hybrid working with New Wave Workspace

B

APAC

L–R: Matthew Deayton from Vega Global and Andrew Green from Kodum AV and IT systems integrator, Vega Global, has expanded its collaboration with New Wave Workspace to deliver a flexible workspace platform across the region, focusing on Indonesia, Japan, Hong Kong and Malaysia. The partnership builds on Vega’s ability to provide flexible digital booking and scheduling solutions to businesses and organisations that are returning to the workplace post-Covid.

The companies’ partnership began in 2018 when they started to offer intelligent scheduling Software as a Service (SaaS) integrated into Crestron hardware. They have since worked together to deliver enterprise room and desk scheduling solutions to new and existing clients. Vega and New Wave are now poised to deliver hybrid workplace and digital office solutions that can potentially decrease real-

estate costs while keeping employees safe and productive.

“We are seeing growing demands from our clients needing practical, intuitive room and desk booking, and scheduling systems; it means we need to work with a company that truly understands our client’s workspace,” said Heather Li, Vega’s director – digital workplace.

“New Wave Workspace will add tremendous value to Vega’s digital workplace business as well as the clients we serve. We are indeed excited about this partnership.”

Added New Wave Workspace’s commercial director, Nica Faustino: “Vega’s presence, expertise and experience across Asia Pacific is truly remarkable. This partnership has grown from an initial conversation with Matthew Deayton a couple of years ago. Vega has invested many in-country resources all pulling into one direction to help customers to obtain the best return on investment from their workplace. As companies return to the office

post-pandemic, Vega and New Wave Workspace are poised to play a critical role in a safe return to the office with our flexible workspace platform that enables the hybrid workplace and the digital office. We do look forward to the next chapter in our partnership with Vega Global.”

In other news, Vega Global is also expanding its service offerings and delivery in the APAC region with the acquisition of Kodum, a leading services provider operating in ANZ and the Pacific Islands. The investment will allow Vega to expand its services and offer better service to multinational clients. The acquisition sees Kodum executive Andrew Green taking on the position of CEO of Vega ANZPAC (Australia, New Zealand, Pacific Islands), while current Vega Australia country manager, Nikolce Blazevski, is promoted to global project director.

Kodum has more than 16 years’ experience providing audiovisual, automation and conferencing solutions to its local customers, while Vega, with regional offices in over 16 APAC locations, provides a consistent approach to consulting, project management and managed services to streamline their offerings to their local and multinational clients.

Vega and Kodum both identify a shift in the AV market towards IT as a key opportunity to advance. As a result, the businesses are developing their in-house abilities to address this shift and elevate their services to provide complete digital solutions. The pair have complementary vertical market experiences, particularly MNCs, government, hospitality, retail and education, and, by coming together, realise there are greater opportunities to strengthen and broaden their capabilities. www.newwaveworkspace.com www.vega-global.com

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8 PRO AVL ASIA September–October 2021

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NEWS: BUSINESS

Biamp acquires Neets WORLD

Biamp has acquired independent AV control systems manufacturer Neets A/S. Based in Horsens, Denmark, Neets offers a mature, comprehensive family of device controllers, control interfaces and software

“Neets is a company I’ve been impressed by and have been following for many years” that is defined by its ease-of-use functionality and elegant design.

By integrating Neets’ products and expertise within Biamp’s current control portfolio, the US brand has advanced its position amongst the main brands of AV suppliers.

“Neets is a company I’ve been impressed by and have been following for many years, so I’m extremely pleased to welcome Neets into the Biamp family,” commented Biamp president, CEO and co-chairman, Rashid Skaf.

“Their products are notable for their extraordinary ease of use and careful consideration of everyone that encounters them in the product life cycle – from designer to programmer, and installer to end user. Their products directly complement our solutions and will allow us to target an increasingly wider range of venue types, sizes and use cases. This acquisition makes it easier than ever for our customers to stay within the Biamp solutions family for all applications.”

In addition to control, Neets recently added several other innovative products to its catalogue that target conferencing applications including media bars, cameras, device hubs and in-table connectivity systems. “The Neets team has spent over two decades building and refining the best control solutions in the industry, so I am excited to combine forces with Biamp and deliver the benefits of Neets’ solutions to a global audience,” added Neets A/S CEO, Michael Jarl Christensen.

“As part of Biamp, with its broad product portfolio and worldwide distribution system, Neets will be able to deliver

its products to a far larger customer community. Together, Biamp will offer one of the broadest, most capable family of AV solutions available from any vendor anywhere in the world.”

Neets will join Biamp as a new product family within the company’s portfolio, with business functions gradually being blended to form a single Biamp business. www.biamp.com

Biamp president, CEO and co-chairman, Rashid Skaf

neets.io

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NEWS: BUSINESS

ARRI and Roe pool expertise on virtual production testing WORLD

Having worked closely together during the onset of the pandemic to develop a better understanding of the impact of virtual and mixed reality production on LED volumes and camera performance, Roe Visual and ARRI have decided to continue this cooperation through the development of a joint continuous testing programme.

continued Kortekaas. “But we also tested colour and colour processing, how the colour gamut relates to the camera’s capabilities, how to optimise syncing the LED with the camera shutter and gamma curves. We were also able to test topics like artefacts, scan lines, refresh rates and multiplexing.”

Amadeus CEO becomes majority shareholder WORLD

French loudspeaker manufacturer Amadeus has been acquired by CEO, Gaetan Byk. The brand was originally co-created by Michel Deluc and Gaetan’s father, Bernard Byk, 30 years ago. Deluc will remain at Amadeus to lead specific design and manufacturing projects.

“For many years, my mission has been to find a space for Amadeus, a unique place where technological innovations with arts and crafts, combine and complement each other,” stated Gaetan. “I think we need to go where our main competitors cannot, do not know how to or do not want to go. My goal is to remain, as far as possible, the majority shareholder of the Amadeus company structure to preserve our DNA and above all not enter into a logic of unbridled growth. My wish is to do better, not more.”

Gaetan has guided the company and its product development for the last decade, with notable accomplishments including the Hi-Fi Philharmonia reference monitor created with architect Jean Nouvel for the Philharmonie de Paris concert hall recording studios; stoneclad speakers made for the Panthéon; the unique speakers designed for the iconic Krug Champagne House; and, most recently, the

Gaetan Byk 40m-long bespoke sound ramp designed for the Festival d’Avignon. Collaborating with IRCAM and several other key French institutions, Amadeus has also been a pioneer of spatial sound for the live field via its HOLOPHONIX immersive sound processor. www.amadeuslab.com

Audio Brands expands AUSTRALIA

Victor Kortekaas Working under NDA to protect the intellectual property involved, both companies created a safe and open environment wherein their technical teams could openly share their thoughts and insights. “We started this cooperation just by spending some time on Zoom immersing ourselves in related professional fields and becoming familiar with each other’s technology,” explained Victor Kortekaas, technical director for Roe Visual Europe.

“This exchange of knowledge was beneficial and soon we realised we both touch on the same subjects, only had not yet developed a common vocabulary to describe everything.”

The cooperation resulted in the implementation of two identical test environments, one in Ismaning near Munich at the ARRI premises and one in Leek at Roe Visual Europe. These setups comprise a Ruby LED wall and an AMIRA camera. The involvement deepened during the regular recaps of the technical teams, led by Kortkaas and Andreas Oestreich, who is responsible for software development for mixed reality production solutions at ARRI, and touching on LED panel and camera behaviour.

“It was basically about what happens internally in the LED volume and the camera, testing from theory to practice,”

“One of our key findings, particularly interesting for ARRI, was the behaviour of rolling shutter sensors in combination with LED walls,” added Oestreich.

“There was a common sentiment that rolling shutters are not suited in mixed reality productions. Our research proved differently. By optimising the timing of the camera and the LED volume, it became clear that the use of a rolling shutter was not a limitation. “In addition, we also found a way to reduce common artefacts by offsetting the synchronisation correctly, therefore aligning the exposure time of the camera with the refresh cycle of the LED and enabling the full camera sensor.”

Based on the results achieved so far, the two manufacturers will intensify the collaboration and prolong their testing programme. “Our goal for the future is to continue our research on the deepest possible levels,” furthered Oestreich. “In doing so, we strive to obtain optimum integration between systems resulting in a more user-friendly experience. For ARRI, the collaboration with Roe Visual is another important step to offer our customers the best possible solutions for mixed reality applications.”

Audio Brands Australia has relocated its operational headquarters in the northwestern Sydney suburbs in order to accommodate further growth expansion.

The new office in Bella Vista was selected as it offers easier access for customers and comprises improved facilities for both staff and visitors.

Situated in close proximity to the previous Baulkham Hills address, the Bella Vista facility is double the size with a significantly larger warehouse, expanded office areas, multiple meeting spaces and improved demo facilities.

In addition to numerous break-out rooms within the building, the facility is located within a corporate area that overlooks a creek and a reserve within walking distance to many cafés and restaurants.

“Our focus is commercial and professional audio and our integrator customers need

somewhere to meet, bring customers, see products and, of course, they expect the product to be in stock,” commented Audio Brands director, Don McConnell. “Our new facility allows us to better cater for those requirements but, quite simply, we needed more space. Due to the growth of our existing brands along with some plans we have for the not-too-distant future, we were running out of warehouse space. We are approaching our eighth year of business and this is our third location – each time has been over double the size of previous building.”

Audio Brands Australia distributes Bosch, Earthworks, FBT, FrontRow, Linea Research, Mipro, Rane, Univox together with a select range of the Electro-Voice, Dynacord and RTS catalogue from Bosch. www.audiobrands.com.au

www.arri.com www.roevisual.com

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

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

Find out more at www.genelec.com/glm

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NEWS: DISTRIBUTION

Hall Technologies selects Christie names new Nteck Systems for India rental partner for China INDIA

US video distribution and switcher manufacturer, Hall Technologies, has announced the appointment of Bangalorebased Nteck Systems as its exclusive distributor.

Set up at the beginning of the year, Nteck Systems already represents a number of brands operating in the unified communications (UC) market including Inogeni, Opticis and Belgian streaming solutions provider, CrowdBeamer. “UC is a growing sector for us which we are focusing on,” explained company owner and founder, Nataraju Upputuri, previously head of national operations for Crestron India. “However, we are also concentrating on other areas of commercial AV as well.

We were looking at some new innovative products and OEMs and we came across Hall Technologies and discovered more about their business expansion plans outside of the USA.” “We are delighted to be partnering with Nteck Systems to distribute Hall Technologies products in India. Nteck Systems’ stellar rapport and in-depth understanding of their customer’s needs mirrored our company values and objectives,” commented Hall Technologies sales director EMEA, Roy Leggett. “Adding Nteck was a natural progression in our ongoing global initiatives and creating a value-added distribution chain to deliver our industry-leading AV technology to other parts of the world.”

Nteck Systems is already in discussions regarding a number of educational projects,

CHINA

Nataraju Upputuri including a state-owned medical college to implement an AVoIP solution across its campus. “We are really excited about the way products such as EMCEE200 and HIVE are designed, as although they are sophisticated, they keep the customer in mind with an ease of configuration and implementation,” added Upputuri.

“It’s a very good addition to our existing product lines. With EMCEE200’s inbuilt capabilities such as the USB AV bridge and HDBT extension, it’s perfect for the many educational, corporate and government projects we are involved in, and in which we anticipate good business towards the end of this year and into 2022.”

Christie has appointed Shenzhen-based Astron Digital Technology as a rental and staging par tner for the countr y.

The company specialises in the supply of projection and AV systems for live events and exhibitions, as well as implementation of lighting, immersive and interactive projects.

“We are honored to be associated with Christie, which is renowned for its stateof-the-ar t projection technologies,” said Hualong Zhang, general manager, Astron Digital Technology. “The visual quality and per formance of Christie’s 3DLP projection and content management systems, as well as their excellent customer ser vice, will allow us to offer the most appropriate, cost-effective solutions for customers. I look for ward

to working closely with the Christie team to build a long and fruitful business relationship.”

Added Michael Boswor th, executive vice president, Enterprise, Christie: “As an established rental and staging company with many major projects under its belt, Astron Digital Technology has car ved a niche in this highly dynamic market since its establishment in 2017. The appointment of Astron Digital Technology as our rental and staging par tner will enable Christie’s visual solutions to be deployed for various live events and projects, thereby reaching out to more market segments and customers in China.” www.christiedigital.com

ProPlugin to spearhead AKG Professional distribution in Thailand

www.halltechav.com www.ntecksystems.com

Growth in Asia central to Earthworks’ expansion APAC

Earthworks Audio has expanded its network by appointing two new distributors in the region: Dasan SR in South Korea and Loud Technologies in Singapore.

“At Earthworks, we fundamentally understand that music and culture in the US is directly influenced by trends in Korea, Japan, Singapore, Malaysia, Thailand and

China,” explained Mike Dias, VP of sales and marketing. “The look, sound and feel of what is happening right now in Asia will be the look, sound and feel of the US next year. This is why we’ve appointed these companies for regional distribution. Both Dasan SR and Loud Technologies have excellent relationships with artists, tastemakers and consumers.

“The future of US pop culture hinges on the present happenings in Asia. The influence of

K-Pop and J-Pop is global. For us to grow in the US, we must succeed in APAC and our new distribution partnerships will enable that success.”

Dias maintains that the lines between artist, influencer, celebrity, gamer and consumer continue to blur as streaming dominates all forms of entertainment. “We are all content creators now and Earthworks microphones help everyone create,” he continued. “The lines between distributor, reseller and online B-to-C platforms also continue to blur and business practices from the past no longer make sense in today’s interconnected world.

I believe that Asia is still 10 years ahead of us in this respect. Streaming content has no borders or global limits: everyone has an audience. Entertainment is interactive and collaborative: you are the watcher and the participant. And every one of those creators needs a better microphone.” www.dasansr.com www.earthworksaudio.com www.loudtechnologiesasia.com

The ProPlugin team THAILAND

Harman Professional Solutions has appointed ProPlugin as its dedicated distributor for AKG Professional product lines in Thailand. Featuring an extensive portfolio that includes Focusrite, KRK, Native Instruments, Tascam and Universal Audio, the Bangkok-based supplier is a nationally renowned MI expert. Promoting itself under the “Amplify Your Dreams” slogan, ProPlugIn supports creators requiring professional audio equipment including microphones and headphones. Beyond an extensive MI infrastructure, ProPlugin’s expanding network covers entertainment and consultancy services, in addition to technical, testing and repair services.

“Harman Professional audio brands and solutions are well established for their technological superiority and world-class quality,” commented ProPlugin CEO, Joe Traithep Srikalra. “We understand our customers’ need for solutions and support.

With our hands-on experience in the Thai market, we are thrilled to bring AKG

Professional products to our customers and elevate their experiences.”

The remaining long-term Harman partnerships serving the Thailand market for retail, install, cinema, AMX video and controls and Martin Lighting remain unchanged. “In line with our APAC business strategy aimed at enhancing customer touchpoints across the brands, solutions and verticals that we serve, we are happy to appoint ProPlugin as distribution partner for AKG Professional in Thailand,” explained Harman Professional Solutions VP and general manager for APAC, Amar Subash.

“Thailand forms an important market in APAC with strong growth potential for professional audio solutions, especially headphones and microphones. The expanded distribution model leverages our brand strengths and ProPlugin’s strong network in providing world-class audio solutions to their customers.” pro.harman.com www.proplugin.com

14 PRO AVL ASIA September–October 2021

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NEWS: DISTRIBUTION

Analog Way appoints Goldenduck APAC

Analog Way has announced a distribution agreement with Goldenduck Group for Thailand and Vietnam. With expertise in AV, the digital cinema and broadcast solutions systems integrator has also established a strong presence in the pro AV market.

“I am grateful for the opportunity to be able to team up with Goldenduck for these markets,” commented Analog Way’s Asia VP, Guy de Souza. “With Analog Way’s portfolio of products that complement Goldenduck’s area of focus, I’m convinced we are on the right path to success.”

Having assumed his role in October 2020, de Souza has made a mark in the region during a relatively short period which has seen the French brand appoint several new distributors in APAC. This latest announcement follows Analog Way’s recent expansion into Australia and New Zealand with PCB Digital, exclusive distribution agreements with Digital Media Technology (DMT) for Hong Kong and Macau together with Kinoton Korea and most recently with Prisma Dinamika in Indonesia.

Employing 200 people with offices in six ASEAN countries, Goldenduck Group has been working with cinema projection and sound systems for over 40 years. The

d&b partners with Singapore’s Luther Music SINGAPORE

company currently services over 2,000 digital screens in the theatres across the region. “Besides the cinema business, we have been working in the pro AV industry for many years,” added Goldenduck Group CEO, Sittiporn Srisaguansakul. “We have accomplished so many remarkable projects, and we go forward with confidence. Analog Way has stood out as the total pro AV solutions provider in Europe. Forming a partnership with a company that has the same direction as we do strengthens our capabilities to expand our growth across ASEAN countries. We look forward to offering our clients Analog Way’s proven solutions.” www.analogway.com www.goldenduckgroup.com

Martin Audio turns to Spectrum for Singapore

d&b audiotechnik has joined forces with audio and music equipment retailer Luther Music to widen market visibility in the professional musician, venue owner and highend domestic markets. Luther Music runs a chain of professional retail outlets in the state, as well as an online store.

In-store demos of d&b loudspeakers, amplifiers, subwoofers and accessories are now available, with systems including a d&b 2.1 stereo setup comprising two 8S loudspeakers and a B8 subwoofer, plus the d&b 16C column loudspeaker.

“This in-store and online presence partnership provides a single platform for customers to consolidate and shop for all the high-quality musical instruments and paraphernalia along with a world-class audio system,” explained d&b Asia Pacific president, Anand Narayanan.

“The collaboration between d&b audiotechnik and Luther Music enables us to address midsegment customers such as bars, restaurants, residential, houses of worship and schools.”

Added Luther Music co-owner, Luther Ong: “We’re thrilled to have d&b audiotechnik

Anand Narayanan loudspeakers in-store. We’ve always known d&b as a premium manufacturer of speakers and for their amazing sound, and we have previously installed several of their systems, so this was a natural extension. We have suitable clients visiting us, ranging from commercial to high-end residential, so allowing them to hear the difference with d&b products is really elevating our offering.” www.dbaudio.com www.luthermusic.com

Link Audio named sales partner for Gravity AUSTRALIA

Melbourne-based Link Audio has been appointed sales partner for Gravity stands and accessory solutions, to address both the traditional retail and the online sector.

“We are delighted to have found an exclusive sales partner for Australia in Link Audio,” said Markus Jahnel, COO of the Adam Hall Group.

“The Australian retail market is particularly challenging due to Australia’s geographical size alone, and plays an important role in our international endeavours. Link Audio is a young, dynamic and flexible company that benefits from a wealth of sales experience with wellknown audio brands. We are looking forward to

working together to make Gravity’s ever-growing portfolio even more popular in Australia.”

Added Michael Jago, managing director at Link Audio: “We are extremely proud to sell Gravity in Australia. For us, Gravity meets all the criteria of a successful brand: high-quality design, attractive packaging solutions and a five-year guarantee. Gravity is a great addition to our existing portfolio – we can’t wait to get started.” www.adamhall.com www.gravitystands.com www.linkaudio.com.au

knowledge and after-sales suppor t is of the ver y highest standard in this region.

We look for ward to working closely to fur ther strengthen and grow the Mar tin Audio installation business in Singapore.”

“It is par ticularly exciting to welcome Spectrum Audio Visual to the Mar tin Audio family at this time, especially with the recent launch of Torus, our new constant cur vature array,” said Mar tin Audio MD, Dom Har ter. “We look for ward to suppor ting Spectrum in their effor ts to make Mar tin Audio the first choice for their customers in Singapore.”

Generation AV and Mar tin Audio will continue to suppor t enter tainment and touring par tners directly in the region.

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16 PRO AVL ASIA September–October 2021

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Martin Audio and Generation AV have announced the appointment of Spectrum Audio Visual as its distributor for the installation sector.

“Being recognised by Mar tin Audio as their business par tner, and trusting us to grow the business in the Singapore market, is something that excites the whole Spectrum team,” commented Wayne Soo, general manager of Spectrum.

“Our MD Vincent Chua and I are really relishing this long-term business relationship.”

Added David Wong, sales director for Generation AV and Mar tin Audio: “We are ver y pleased to welcome Spectrum Audio Visual as our new par tner in Singapore.

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NEWS: DISTRIBUTION

New APAC distributors for Optimal Audio APAC

Recently launched UK manufacturer Optimal Audio has announced the appointment of distributors in China, Thailand, Singapore and Vietnam.

Guangzhou Guidance will distribute the control, amplification and loudspeaker brand for commercial installations in China. The Guangzhou-based company, also newly established, has set up a dealer network across the country, and plans to promote Optimal Audio to the education and conference sector as well as hospitality and retail.

Bangkok-based ProPlugin has been appointed for Thailand. The established company has a strong dealer channel network supported by retail and online stores. Singapore’s Alvo Technology also serves a wide dealer network and online platform, and is

confident that Optimal Audio’s turnkey, end-toend solutions will prove popular with integrators and end users alike. Completing the quartet is Duc Proaudio Technology of Ho Chi Minh City, which will handle Vietnam.

“We are excited to announce partnerships with four strong and well-structured distributors,” said David McKinney, sales and support, APAC, Optimal Audio. “Each has an in-depth knowledge of the commercial audio market in their respective territories, and we’re confident that our fresh and innovative approach to the sector, combined with their experience and excellent networks, will quickly establish Optimal Audio as a leading brand in the APAC region.” www.optimal-audio.co.uk

Simply the Best Crews in China for Zylia CHINA

Zylia has announced a partnership agreement with Chinese distributor Best Crews that means customers in China, Hong Kong and Macau can purchase all Zylia products, including the Zylia 6 Degrees of Freedom Navigable Audio solution, directly from the local provider.

The 3D audio recording brand continues to specialise in the production and development of solutions for all audio creators including musicians, audio engineers, VR designers, game developers and audio researchers exploring navigable, multidimensional audio.

Already established in Europe and North America, Zylia is now focusing on China with its 750 million digital music users.

“We were observing the Chinese market for quite some time, considering the right moment to enter and seeking the best local partner,” commented Zylia CEO, Tomasz

Zernicki. “Best Crews won our trust thanks to their professionalism, pro-customer approach and great passion for music and technology. I hope that with easy access to Zylia’s solutions, our Chinese customers will be able to create outstanding 3D audio productions and pursue their musical passions.”

As the official distributor for Behringer, Running Man (Mackie in China) and Yamaha, Best Crews has several subsidiaries including Shanghai Touch Sound and Shanghai Top Ear. In addition, the successful adoption of online technical training and promotions over multiple media platforms has helped spearhead repeat business. A Chinese language version of the Zylia Studio software will be very soon introduced by the Polish developer. www.bestcrews.com.cn www.zylia.co

Renkus-Heinz strengthens Taiwan presence with Seapower Technology TAIWAN

Seapower Technology has announced a new partnership with Renkus-Heinz to strengthen the company’s array of loudspeaker offerings in the Taiwanese market.

“We are very happy about this strategic partnership with Seapower, a highly recognised company that is excited and passionate about high-quality audio solutions,” commented Karan Kathuria, director of sales and business development, Renkus-Heinz. “We are sure this collaboration will enable the best support, education and training for end users, integrators and system designers across various business verticals in Taiwan.”

The Renkus-Heinz portfolio includes networkable Dante-enabled, self-powered loudspeakers and the brand enjoys a global presence in permanent installations at auditoriums, transit centres, sports venues, houses of worship and musical performance venues, as well as in the concert touring industry.

“We’re extremely excited to partner with Renkus-Heinz,” said Douglas Chang, MD at

Seapower’s Douglas Chang Seapower. “Renkus-Heinz’s offerings are very well aligned with our Solutions portfolio in providing high-quality, engineered audio solutions to resellers and integrators across the Taiwanese market. We know the product lines Renkus-Heinz offers will be very well received, and will result in impressive audio installations across the region.” www.renkus-heinz.com www.seapowertech.com

TAG becomes exclusive regional distributor for QSC in Australia AUSTRALIA

QSC has announced TAG as the exclusive distributor of its entire portfolio throughout the country, including its systems, live sound and now cinema solutions.

“As the modern cinema entertainment complex is expanding beyond the traditional auditorium into adjacent areas for dining, bowling, gaming and more, it makes perfect

TAG has represented QSC in Australia for more than 25 years and has a head office and service centre in Stanmore (NSW), sales office and training facility in Collingwood (VIC) and warehouse at Kings Park (NSW).

“We now offer our customers full access to the QSC portfolio, giving them the opportunity to explore cinema-quality solutions in

Orban announces new distributor for India INDIA

Audio processing manufacturer Orban has announced the appointment of Comcon Technologies Ltd as its new distributor for India. The announcement comes in the wake of the tragic passing of Surinder Gupta, owner of Harriban Broadcast, who had been a longserving distributor and friend of Orban for over 22 years.

“Surinder’s passing was a shock to all of us,” said Peter Lee, Orban’s senior VP of global sales. “We had worked together for such a long time. But we also needed to make sure our customers in India have a local company that takes care of their needs so we got in contact with Comcon.” Based in New Delhi, Comcon Technologies represents

a number of established brands, including Sonifex and Audio Precision.

“We are confident that Orban is the ideal partner to complement our portfolio with bestof-breed audio processing,” added Gaurav Aggarwal, CEO of Comcon Technologies.

“Many broadcasters already depend on Orban audio processors every day and, with our expertise in sales and technical support, we look forward to introducing many more to the power of modern audio processing.

Our entire organisation is very excited about this partnership.” www.comcon.co.in www.orban.com

Maxwell Twartz and Anthony Russo from TAG with QSC president Joe Pham sense to empower a single distributor like TAG to serve the entire complex with a unified QSC solution,” commented Andy Pearce, QSC’s senior director of sales, Asia Pacific.

“As one of our longest-standing partners, TAG is well-equipped to fuse their deep technology knowledge of the Q-Sys Platform with this ever-expanding opportunity for cinema customers.”

multipurpose auditoriums, performance centres and other presentation spaces,” said Giles Brading TAG’s CQO, head of the QSC business unit at TAG. “We are thrilled to continue our solid partnership with QSC and proliferate their cinema solutions in the Australian market.” www.qsc.com www.tag.com.au

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NEWS: APPOINTMENTS

A pr

Johannes Kampert to Alan Chang makes welcome return to QSC lead Pan Acoustics global sales APAC

QSC Audio has welcomed the return of Alan Chang as director of country development in Japan and Korea, working

Alan Chang out of QSC Asia offices in Hong Kong.

Having previously served as sales manager (Asia) from 2006–2008, in which he made significant contributions

towards building the manufacturer’s sales network in APAC, Chang will be responsible for driving sales, developing business and building local go-to-market teams and strategies in his newly appointed position.

“As we continue to grow our team and presence in APAC, we are thrilled to have Alan join the QSC team,” commented North Asia senior director, William Chan.

“With his extensive knowledge of the QSC product portfolio, he will be an invaluable asset as we focus on bolstering the influence of QSC in this region.”

Chang brings over 25 years of sales and channel management experience and 16 years of leadership experience to the new role. Most recently, he worked as regional sales senior director for Shure Asia. “QSC has an innovative product portfolio along with a stellar reputation for quality and reliability,” said Chang.

“I am excited to return to QSC and look forward to understanding more about customers’ needs and building the brand at QSC.” www.qsc.com

WORLD

After serving in the position for more than a decade, Pan Acoustics international sales manager Jan Leerschool has announced he is retiring. He will hand over the reins to head of global sales Johannes Kampert, who will now be responsible for the loudspeaker manufacturer’s international business.

Interested in audio technology since his youth, Leerschool used his experience and network in the AV industry to advance the Wolfenbüttel-based company internationally piece by piece together with founder and CEO, Udo Borgmann. “When Udo and I introduced the Pan Beam series of active line source speakers to the world 11 years ago, we were an eight-man operation,” Leerschool recalled. “To date, Pan Acoustics has grown to almost 30 employees, which is great.”

The manufacturer also moved into newly constructed company headquarters last year. “The fact that we are where we are now and operate as a reliable global player that keeps pace with the competition in terms of technology is also largely thanks to

Jan,” explained Borgmann. “Jan manages to think outside the box. With his humorous manner and tact, he has opened many doors for us.”

These doors have resulted in projects in France, England, Denmark, Switzerland, Italy, Turkey, the Arab world and elsewhere. “And the great thing is that the loudspeaker installations are still running reliably after more than 10 years,” enthused Leerschool.

Johannes Kampert, who has headed up overall sales at Pan Acoustics since March 2021, will now lead all international sales activities for the company. “Jan leaves big shoes to fill and has created an amazing distributor network,” Kampert commented.

“That’s a great foundation for me and I’m looking forward to creating more projects with our sound reinforcement solutions together with our partners worldwide. And a few spots on the world map are still blank – our network is open to grow and to include more countries.” www.pan-acoustics.de

Beyma recruits two industrial engineers WORLD

Beyma has hired Adrián Benlloch and Jose Torres as part of its ongoing recruitment programme. The two professionals come with extensive industry experience and will play significant roles within the production processes and digitisation of the Valenciabased manufacturer.

Newly appointed director of operations Benlloch has extensive industrial engineering experience within the automotive industry, specialising in PMP (Project Management Professional), agile project management, lean manufacturing and finance. Benlloch takes a seat on the

board of directors and will lead Beyma’s manufacturing operations with a focus on the company’s ongoing automation and digitisation processes.

Joining Beyma as a production manager, industrial engineer Jose Torres also heralds from the automotive industry. Torres will draw on his extensive experience in lean manufacturing to oversee and manage various production teams in addition to monitoring key indicators to ensure continuous improvements in production.

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Winston Er appointed sales director APAC for TAG APAC

TAG has appointed Winstor Er as sales director, APAC, becoming the fourth new team member to join the Israeli company in the past month as it expands its global presence in response to growth in 2020 and 2021.

“Winston brings with him a wealth of knowledge regarding the APAC region, its culture, business practices and technological requirements,” said Adi Itzhaki, vice president of sales for EMEA and APAC. “His engineering background and his sales skills are a rare and desirable combination. We have every

Winston Er

confidence that he is the perfect candidate for this position, and are delighted that he will be representing the company.”

Reporting to Itzhaki, Er will manage sales activities in APAC where he will meet with customers, prospects and partners to track market trends, analyse economic indicators and uncover regional priorities and requirements. Working with TAG’s executive team and R&D department, he will develop, execute and oversee marketing strategies and technical solutions aimed at building and maintaining local relationships, and increasing awareness of TAG’s status in

probing, monitoring and multiviewing. Prior to joining TAG, Er held several positions at Grass Valley in Singapore over a 15-year period. During his early career, Er worked as a cameraman, video editor, multimedia technologist and engineer.

“I’m excited to join TAG, a growing and successful company that is in the right technical space at the right time,” added Er. “The APAC region is an incredible market that will benefit tremendously from TAG’s visionary solutions.” www.tagvs.com

18 PRO AVL ASIA September–October 2021

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NEWS: APPOINTMENTS

APEX hires new production manager

Hall Technologies appoints Eagle

Graeme Stevenson has been appointed as production manager for Belgium-based pro AV manufacturer, APEX. Originally from the UK, Stevenson is no stranger to pro audio, having spent nine years as an audio technician with fellow Belgian company, Audac.

“We’re excited to bring Graeme on board to strengthen our manufacturing operations,” said APEX managing director, Paul Van Hees.

“We are seeing strong growth in demand, particularly for our CloudPower installation amplifiers and Liviau touchscreen AV controllers. Graeme’s experience and drive will ensure that we can scale to meet this demand while maintaining the reliability and flexibility that our customers expect from APEX.” “I am delighted to join the team at this key stage in the brand’s development,” added Stevenson. “APEX is an ambitious business with exciting plans for the future. I am looking

Hall Technologies has appointed AV industry veteran Ken Eagle as vice president of technology, responsible for enhancing the product portfolio, leading the engineering team and launching new solutions for communications and business.

“Our products have been a staple in the AV industry for many years and today, with the addition of Ken, we are poised for incredible growth,” said Hall Technologies CEO, Jason Schwartz. “Ken brings years of expertise in developing innovative, holistic solutions that will serve our customers. We’re excited to collaborate with Ken on industry-changing products.”

Added Eagle: “I am honoured to be joining the Hall Technologies team. Hall is a company with a rich history of solid product performance which is positioned for a future of tremendous growth and innovation. I am encouraged by

WORLD

www.apex-audio.be

their commitment to the AV industry and am looking forward to sharing my 20 years of AV experience with the team.” www.halltechav.com

WORLD

Crestron has announced that president and CEO Randy Klein is to retire this year, with the current chairman and COO, Daniel Feldstein, to assume the president and CEO role. Klein has served more than three decades with the manufacturer, including the last eight as Crestron CEO.

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forward to helping APEX grow its capacity and maintain its reputation for innovative designs, excellent quality and friendly service.”

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Randy Klein “Later this fall, I will be retiring from this wonderful company that has been my home and second family for more than 30 years,” stated Klein. “As president and CEO, I make a lot of decisions every day. This was one of the most difficult decisions I have ever made. The timing is right and Crestron is in a better

place than it has ever been. We have emerged from the past 16 months stronger than ever, more united and more resolved to take on the future and all the opportunity that it holds.”

Feldstein has been with Crestron for over 25 years.

With a background in computer engineering, he spent the first decade of his Crestron career in R&D, playing a role in designing a number of the technologies the company still employs today.

Since then, he has been working in operations alongside Klein and former CTO, Fred Bargetzi.

“The potential for Crestron’s business today and in the future is incredible,” said Feldstein.

“We have an amazing team with world-class talent which will ensure Crestron’s continued technology leadership. I look forward to continuing to build our momentum long into the future.”

“George Feldstein knew my commitment to preserve Crestron’s core principles of being a technology innovator while remaining a family company when he named me CEO nearly eight years ago,” added Klein. “I have been a proud guardian of that vision and our growth to over a billion dollars. Dan Feldstein is the logical choice to take the reins.” www.crestron.com

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NEWS: APPOINTMENTS

Akira Mochimaru joins Powersoft as global marketing director WORLD

Akira Mochimaru has been appointed by Italian amplifier manufacturer Powersoft as its new global marketing manager. His duties in the new role will be to “connect the dots” between customers, technology, products, communication and distribution through strategic business planning and guiding implementation. Based in the US, he will also coordinate with Powersoft’s New Jerseybased operations to help grow the company’s presence in the install market through his knowledge and network of contacts.

“My personal mission is to connect customer experience and products through the use of advanced technology with unique value,” explained Mochimaru.

“I have already experienced situations

Akira Mochimaru

where customer problem-driven ideas met a company’s technology-driven ideas.

Powersoft has the capability and foundation to convert technologies to solve customers’ problems and improve their experience, so I look forward to working closely with staff across the divisions to develop a plan and execute it with excellence.”

“We are proud and delighted to have Akira Mochimaru joining our team,” added Luca Lastrucci, Powersoft CEO. “His appointment represents an important step in the process of implementing Powersoft’s strategy of strengthening its presence in the installation sector, especially in specific vertical applications. Akira’s experience will be essential to help us to encompass

the current and future needs of the market, by focusing on objectives and defining the products of the future, which will make Powersoft able to maintain a leading role in professional audio.”

Luca Giorgi, Powersoft sales director, furthered: “Powersoft has been successfully interacting with partners and clients since the beginning; actively listening to their points of view on everything from product design to customer service. Having Akira on board allows us to improve the customer experiences even more, ensuring we always meet their needs and move quickly to solve their common problems.” www.powersoft.com

Microhire names James Keane director of partnerships AUSTRALIA

Audio visual and event staging services supplier Microhire has appointed James Keane to the role of director of partnerships.

Keane will be responsible for all current venue partnerships and creating new relationships as the organisation looks to build upon recent new contract wins with Centrepiece and W Melbourne.

“We are delighted to have James join our team and his knowledge and experience in our industry will be a welcome advantage to our

business,” commented Jamie Hughes, group general manager, Microhire. “In such turbulent times for the events market, we know the strength of his skillset and in-depth knowledge will provide our clients with an extra level of expertise and service they have come to expect from Microhire.”

Keane has worked for 34 years in the industry and has risen to hold various roles at senior management level within the hospitality sector of the AV industry and has a well-established

Darren McLanders joins LSC AUSTRALIA

Darren McLanders has joined entertainment industry power, dimming and data devices manufacturer LSC Control Systems as NSW sales manager. McLanders started his 20-year lighting career in the industry with a Sydney production company, and has worked across entertainment production, architectural projects and theatre installations in both technical and commercial aspects of the business.

“I’m really excited to be joining LSC,” said McLanders. “It has been a difficult time for many in the industry and I am really looking forward to reconnecting with friends and colleagues to see how we can help. It is doubly exciting to work for an Australian-owned and operated manufacturer. If the last 12 months has taught us anything, it is that supply chains are very fragile and often Australia is at the end of those chains. An agile, local company like LSC and, in turn, our customers can weather these uncertainties far better than many others who will be waiting for their next shipment to arrive.”

Darren McLanders Added Gary Pritchard, founder and managing director of LSC: “I am excited to have Darren join our team at this time of renewed growth for the company. Darren’s broad range of experience will complement us perfectly and give us better coverage in the market.” www.lsccontrol.com.au

background in the meeting and events industry. He also has strong relationships with several hotel brands including IHG, Accor, Hyatt and Marriott, as well as venues and convention centres such as Marvel Stadium, Melbourne Town Hall and convention centres nationwide, which he plans to expand within the organisation.

“I am thrilled to take on the new role of director of partnerships at Microhire and am looking forward to working with Jamie and

the team,” Keane commented. “I think there are so many new opportunities for robust organisations like Microhire in the market as we start to rebuild and move forward following the pandemic. The events industry has been hit hard but I intend to utilise my experience of 34 years in the industry to build upon Microhire’s fresh approach to AV and create some longstanding relationships with our partners.” www.microhire.com.au

Xytech appoints Tanya Kelly APAC

Xytech has appointed Tanya Kelly as managing director, APAC, following the company’s acquisition of ScheduALL from Net Insight in April. The move underlines the broadcast facility management software’s commitment to the region.

Kelly previously served as a sales and solutions consultant for ScheduALL’s broadcast and broadcast service provider customers in the ANZ region for six years. Her background in technical operations includes nine years as head of studio operations at Fox Sports Australia.

“Tanya has a unique understanding of the industry and region and has ties to Xytech and ScheduALL reaching back through the years,” said Greg Dolan, CCO of Xytech. “APAC is critical for Xytech as we move forward to the next phase in our growth. We know with Tanya at the helm our customers are in great hands and her strategic input is critical to Xytech’s success. Tanya’s background in broadcast operations gives her a complete perspective and understanding of our customers’ needs and processes. Now, anyone needing to manage resources can have someone available

Tanya Kelly for them all the time, in their time zone, offering the best solutions available in the market.”

“I am thrilled to join the Xytech team and to continue serving our customers,” added Kelly.

“Xytech is committed to the APAC region and this region is often lacking with global vendors.

Working across multiple businesses and workflows over the last few years, I can quickly grasp a customer’s requirements and concerns and work with them to find the best solution.” www.xytechsystems.com

20 PRO AVL ASIA September–October 2021

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NEWS: PROJECTS

Shiki Theatre Company invests in LaON Technology JAPAN

The Shiki Theatre Company, one of Japan’s leading commercial theatre companies with productions ranging from theatre plays to international musicals, has chosen a LaON digital wireless intercom system.

The LT750 system is in operation in two theatres: the JIYU Theatre and the Nagoya Shiki Theatre. The JIYU Theatre opened in 2003 and the team was looking to upgrade the wireless intercom system due to the age of the equipment.

The main reasons for choosing LaON were the clarity of the sound and the smaller size of the

beltpack compared to other brands. It also has a different frequency band to the one used by the other sections, which prevents interference. There is also a wide range of batteries that can be used in addition to the dedicated rechargeable batteries.

The aim of the project was to renew the old equipment in both theatres. There have been no complaints from those who have used the system onsite and everyone is satisfied with it.

The JIYU Theatre

The Nagoya Shiki Theatre

Image courtesy of Akihito Abe

Image courtesy of Katsushiko Hori

As simple as ABC with AVT upgrade at KELANTANfm

www.laon-tech.com

Three Chinese clubs install Adamson

MALAYSIA

Since first going on air in 1963, Malaysian state radio broadcaster KELANTANfm has grown its network of listeners beyond its catchment area to the neighbouring states of Jerteh Terengganu, Lipis Pahang and southern Thailand. As the first radio state in Malaysia, KELANTANfm has developed from a limited number of daily transmissions to a full programme from morning until night from their studio facilities and multipurpose Auditorium Hall.

Having initially installed a Zenon Media radio automation software platform in 2010, Stagetec Asia has continued to design and supply radio broadcasting products for KELANTANfm. Recently the broadcaster turned to the Kuala Lumpur-based supplier to replace a Telephone Hybrid for its radio application.

Following demonstrations, they became the first RTM radio station to accept an Audio Video Technologies solution in the form of a MAGIC TH2plus Telephone Hybrid.

Future-proofed with VoIP modes, the all-in-one telephone system is equipped with a dual hybrid and three operating modes including analogue/digital ISDN and LAN interfaces. The KELANTANfm operators can manage functions including caller conferences in addition to

storing caller information within their database.

The added MAGIC PhonerSet enables announcers to call and receive clear telephone numbers via a touchscreen-enabled telephone.

Citing a simple, well-designed phone interface on par with a mobile phone touchscreen, producer Nur Hafizai binti Awang Ya is enjoying the intuitive and convenient operation. “The straightforward GUI within the telephone hybrid has greatly assisted the engineers to both monitor and control the telephone system,” commented engineer Muhammad Aiman Bin Yusoff. “Furthermore, the system is networkable and can be expanded in future.”

According to KELANTANfm’s director, Wan Azhan Bin Wan Hamat, the MAGIC TH2plus Telephone Hybrid solution has simplified live conference calls. “The Smartphone set of technologies continues to exponentially improve broadcast operations by instilling our journalists with greater confidence in a live environment.

Equipped with the MAGIC TH2plus Telephone Hybrid solution and PhonerSet, our operators at KELANTANfm are comfortable for many years ahead.” www.rtm.gov.my www.stagetecasia.com

Assistant engineer Fakrudin bin Hamzah Mohammad Nor operating the MAGIC TH2plus Telephone Hybrid

Adamson IS10 delays in Space Nanchang CHINA

Real Music Acoustics & Lighting Technology has supplied three Adamson systems to clubs in Shenzhen, Nanchang and Xi’an.

“Our nightclub customers like Adamson products very much, and they fit their requirements perfectly,” said Richie Wang, Real Music’s general manager. “When the music starts up in these clubs, people go crazy. The power and coverage make people instantly happy.”

The Space club chain is a long-term Real Music client, with Adamson systems installed in its EDM venues in Chengdu, Wuhan, Xining, Nanning, Chongqing, Xi’an, Kunming and Xiamen. Now, Space has added two more new clubs, one in Shenzhen and another in Nanchang.

The main stage at Space Shenzhen is flanked by six-per-side hangs of Adamson E12 line array elements. Further down the room are two delay hangs consisting of four Adamson IS7 line array elements and a flown IS118 each side. Two Adamson PC12 point concentric loudspeakers handle front fill for the stage, while 14 Point 15 point source boxes around the club fill in any gaps. Providing the low-frequency extension so vital to EDM is a combination four E219, eight IS219 and 10 E218 subwoofers.

Space Nanchang’s main L-R PA combines six units of IS10n narrow dispersion line array elements underhung with two IS10 elements per side. Four more IS10 elements per side are hung three-quarters of the way down the club as delays. Two Adamson IS7p point source two-ways provide front fill, while a dozen Point 15s cover any point out of the main array’s throw. Bass is provided by a total of 20 IS219 subwoofers arrayed across the front of the stage.

The third install is the more intimate Club Xiaoyang live music venue in Xi’an.

A new client for Real Music, the club has been installed with two main hangs of four IS10n speakers per side with eight IS219 subwoofers, two PC 12s for front fill and eight Point 15s for side fill.

All three projects were designed and installed by Real Music which worked closely with the clients to design and install systems that could achieve their goals.

“Both Space and Xiaoyang had the same requirements,” explained Wang. “They wanted high SPL mids and highs without noise or distortion. And the all-important low frequencies had to be very powerful.” www.adamsonsystems.com

22 PRO AVL ASIA September–October 2021

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NEWS: PROJECTS

M

BMW iX Electric SUV China launch driven

by L-ISA

A

CHINA

Hard at work at the VA Studio in Hanam

Virtual studios go online in Korea with Roe Visual

Surrounded by BMW owners, car dealership executives and media, BMW unveiled its latest electric vehicle, the BMW iX SUV, at the Shanghai World Expo Exhibition and Convention Centre.

A 120m-deep stage surrounded on three sides by LED screens was created for the event visuals, while an electronic soundtrack composed by Academy Award winner Hans Zimmer was relayed via a 360° sound system using L-Acoustics’ L-ISA immersive sound technology. Event producers Beijing Junwei Renhe Event Management Co brought

with eight X15 HiQ as stage monitors. The entire system was powered by 24 LA12X amplified controllers.

As the electric purr of the BMW iX would provide little sonic impact on the huge stage, Shaogang captured 360° surround recordings of the BMW iX engine and its movements with the assistance of L-Acoustics Asia Pacific director of application projects, Alvin Koh. For the live show, the onstage iX was equipped with a BlackTrax infrared sensor for real-time tracking. Integrated into the L-ISA controller, the BlackTrax movements

in sound engineer Jin Shaogang, who’d previously worked with L-ISA on hit TV show Sing! China, to design the system. Shaogang specified an L-ISA configuration supplied by Hangzhou Das Wumei Technology Co, which boasts a large L-Acoustics inventory and welltrained engineers.

The L-ISA immersive sound configuration consisted of five hangs of eight L-Acoustics Kara spread across the stage area, while nine arrays of two L-Acoustics A10 – one Focus and one Wide each – surrounded the sides and back of the audience. Six KS28 subwoofers per side provided low-end rumble,

triggered the engine sound recordings in real time with the onstage car. This was mixed live with the presenter’s speech and Zimmer’s soundtrack.

“The natural and vivid experience of L-ISA Immersive Hyperreal Sound elevated the show to greater heights,” explained Koh. “Thanks to the astute technical vision of Mr Shaogang, and the collaboration between various partners involved in this show, we were all proud to present a brilliant dualsensory show for BMW and the audience.”

KOREA

VA Corporation has opened the VA Studio Hanam virtual production studio, claiming it to be the largest in Asia. The studio was created in partnership with Roe Visual and Ark Ventures.

VA Corporation was established in January to build a virtual production infrastructure that could provide a one-stop-shop from planning to production, encompassing games, movies, commercials and real-time performances.

With the acquisition of long-established Korean VFX expert MOFAC, the company was ready to enter the virtual production arena, purchasing a range of LED products through Ark Ventures. As one of the AV Alliance members, LED display and media server specialist Ark enjoys an ongoing relationship with Roe Visual.

With a total floor area of around 11,265m2, VA Studio Hanam offers three virtual production studios equipped with large LED volumes and is optimised for film as well as commercial shoots. Each studio has a large LED wall enabling the film crews to shoot

against a virtually composed backdrop, with the natural reflections and light created by the LED background offering an alternative to traditional greenscreen. The two main walls in the first studio are composed of Roe Visual Sapphire SP1.5, offering a small pixel pitch of 1.5mm.

The other two studios are equipped with LED volumes created from Black Pearl BP2, offering a 2.8mm pixel pitch. The LED floors are composed of Black Marble BM4 panels. The studios are further equipped with Carbon CB5 LED panels for additional light or side fill.

“We’re very fortunate to be able to work in such close collaboration with MOFAC and VA Corporation,” said Roe Visual sales director, Grace Kuo. “Sharing knowhow and experience is very helpful in the further development of our products and capabilities. We’re looking forward to working together on future projects with VA Corporation, demonstrating its ambition of providing a high level of services and facilities.”

www.l-acoustics.com

www.roevisual.com

Dr Oscar acoustics cured with DAS remedy CHINA

The Dr Oscar nightclub chain has installed a DAS Audio system into its latest club in the Beilun District of Ningbo City. The Dr Oscar brand has added over 12 clubs across the country over the past three years, featuring its trademark theatre-style concept, cutting-edge sound and light systems and advanced stage design.

Dr Oscar invited DAS Audio’s Asian technical director, German Rodriguez, to design a sound system for a rectangular 13m-high venue with no supporting columns in the central area.

“The hall is prone to bad acoustical problems,” said Rodriguez who, together with the Spanish brand’s dealer for the entertainment market, Guangzhou Dasi Audio Equipment, provided a set of application solutions based on the site.

The main system for the central area has deployed 12 DAS Artec-320 line array speakers with four Artec-315.96 point source speakers for delay and a total of 14 Vantec-218 subwoofers taking care of low frequencies. Two

Artec-315.96 speakers have been provided onstage for monitoring, while monitoring for the DJ booth is via DAS Action-M512 speakers. All speakers are driven by DAS DI100 four-channel digital amplifiers and PA Series amps.

“A DAS solution is very suited to the reproduction of live music in clubs; it is an efficient system,” said Zhou Zechu of Dasi Audio. “Although I don’t need to use a hugely powerful amplifier to drive it, its SPL output is much higher than that of other speaker systems I have used. In addition, I only need to use the default parameters in the digital amplifier, and rarely need EQ or compressors. Just by spending a little time to adjust and correct the speaker position and sound coverage, it’s done. I keep the SPL below 120dB as I don’t want to harm the listening experience of the performers and audience. After all, we want them to remain in the club for long periods of time.” www.dasaudio.com

24 PRO AVL ASIA September–October 2021

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With a solutio and E Quant Group

by AV compa suppli “The step u the D choice acqui SADC alread syste the la capab The conso event Theat SD Ra “Cur SD9s 338s SD-M theatr audio Red B a num event

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NEWS: PROJECTS

MCEC adds Quantum 338s to DiGiCo inventory AUSTRALIA

With an extended history of investing in DiGiCo solutions for live audio, the Melbourne Convention and Exhibition Centre (MCEC) has installed two Quantum 338s. Supplied by local distributor Group Technologies, the consoles were delivered

by AV integrator Soundcorp – a Diversified company (SADC), one of MCEC’s approved suppliers, which will provide local support.

“The Quantum 338 offers a fairly dramatic step up in connectivity and processing within the DiGiCo workflow, and so was the logical choice for when MCEC enquired about the acquisition of new workflow systems,” said SADC’s Scott Jamieson. “As their team are already very familiar with the DiGiCo ecosystem, we were excited to provide them with the latest Quantum iteration as the upgraded capabilities are really impressive.”

The MCEC already has an inventory of DiGiCo consoles and equipment used for live music, events and conventions, and its Plenary Theatre is permanently installed with a DiGiCo SD Rack and Optocore infrastructure.

“Currently MCEC has three SD11is, two SD9s, two SD8s, two SD10s, two Quantum 338s and an S21, as well as several SD-Racks, SD-Miniracks and a D-Rack in one of our theatres,” explained Michael Pfundt, MCEC’s audio specialist. “We also utilise DiGiCo Little Red Boxes for flexible routing arrangements in a number of spaces. We deliver hundreds of events every year and have a large technical

staff, so ease of use is really important to us.

DiGiCo consoles provide a highly intuitive user interface, along with powerful processing and flexible routing capabilities, meaning that it is easy for our crew to deliver what’s required by our clients. On top of this, the reliability of SD-Racks and Optocore are important to us when we are doing back-to-back shows and there is limited time for troubleshooting.”

The Quantum 338s were chosen following careful research. “Stand-out reasons for me were the processing redundancy, enhanced screen space and nodal processing,” continued Pfundt. “The Mustard processing and the Spice Rack are also pretty great, and we’re crossing our fingers that more effects modules are added to the Spice Rack soon.

“We’re anticipating the 338s being a riderfriendly console for touring shows where a little more than what the SD10 can provide is needed.

Outside of that, the nodal processing makes it a great monitors option, not to mention the possibilities it opens in the hybrid event space.” www.digico.biz www.grouptechnologies.com.au

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NEWS: PROJECTS

Monochrome venue demands Nexo stereo AUSTRALIA

Melbourne’s Broadmeadows Town Hall, constructed in 1964, has undergone an A$25 million refurbishment, including the addition of new AV technology installed by Light and Sound Solutions, and featuring two Nexo GEO M6 line array systems. The town hall was recently awarded a Victorian Architecture Medal, as well as the John George Knight Award for heritage architecture, and has set its sights on serving a new generation of modern-day community needs.

Mounted perpendicular to one another and comprised of two hangs each, the two GEO M6 systems provide separate directional setups to allow for multiple seating arrangements and varied stage and audience structures. When combined with additional Nexo ID24 fill speakers, the auditorium can provide a full system for applications such as live music, speech reinforcement and DJ/playback sessions.

To complement the auditorium’s monochrome interior, Light and Sound Solutions chose a black and a white M6 system which match a black internal dividing wall and a white structural wall, respectively.

The black system is comprised of four M620s and an M6B per side, while the white system consists of four M620s and two M6Bs per side.

“The design and product selection meets the aesthetic requirements set out by the architect, while also maintaining the sonic quality that the client expects,” explained Daniel Thomas, senior project manager at Light and Sound Solutions Integration. “The combination of two white arrays and two black arrays in the same room presented some technical challenges, but the end result looks and sounds fantastic.”

Accompanying the line arrays are matching black and white ID24-I installation speakers with rotatable horns. Dedicated features for installation include captive cable connectivity and cloth grille.

“The upgrade required an attentive approach, as this project is a refurbishment, not a newbuild, and the nature of these classic buildings can present a variety of challenges from an audio, video and lighting perspective,” continued Thomas. “The original building

did not have suitable cable pathways, rigging or mounting points for the PA, lights, projectors or screens. Our design and installation team were responsible for all the custom work required to build this infrastructure and achieve the installation set out in the architect’s specifications.”

Light and Sound Solutions also upgraded the Broadmeadows Town Hall art gallery

space with a system of MXC601 Quest Engineering ceiling monitors to provide even sonic coverage across the length of the gallery. The MX series was among over 100 Quest loudspeakers installed by Light and Sound Solutions throughout additional areas of the building. www.nexo-sa.com

Dhwani Acoustics installs MPCC HQ INDIA

Kun performing at the Beijing Cadillac Center

d&b selected for Kun’s first tour of China CHINA

Rising star Cai Xukun (Kun) embarked on his first tour in July, the first stop being the Beijing Cadillac Center. A favourite with performing artists, the Cadillac Center has a deep, wide audience area, which can pose a challenge when it comes to uniformity of sound.

The production team for the concert, including sound director Jin Shao Gang, worked with d&b audiotechnik rental partner Nanjing OST to design a system using d&b ArrayCalc audio prediction software. This ensured that an optimum system for the venue would be provided, and simplified the process of installation and tuning. Over 100 d&b speakers formed the system, including a main L-R hang of 16 GSL8 and two GSL12 line array modules per side, 12 SL-SUB subwoofers, 24 KSL8 and four KSL12

modules for out fill and side fill and 14 V8s for additional fill. Stage monitoring was taken care of by 14 M4s, and the entire system was driven by 50 D80 amplifiers.

ArrayProcessing software was also used to optimise the tonal and level performance of the main line array column system. This can improve frequency response over distance to provide a consistent spatial balance. It applies a target frequency response to different loudspeaker columns, giving each array the same sonic character and consistency, and generates filter settings for each loudspeaker to run on the latest generation of d&b amplifiers, with individual channels driving each array element.

Dhwani Acoustics has installed the HQ of Maharashtra Pradesh Congress Committee (MPCC) at Tilak Bhavan in Dadar, Mumbai, with Dynatech BRT26 and BRT6 install speakers powered by CS-6001 amps, a Mackie DL16S digital mixer and a JTS US-8010D wireless microphone system. All equipment was supplied by Indian distributor, Sonotone.

“We take pride in extracting the best out of the customer’s given budget, constraints and electronics,” said Dhwani Acoustics’ Mehul Mepani. “The MPCC headquarters have been installed with first-rate products that are not just convenient to use, but also effective and sophisticated in terms of technology. The venue has been fitted with a total of 10 premium install speakers from the BRT series; all time aligned for pristine intelligibility with scenes set up for full house meeting, half house meeting

and teleconferencing at just a click. The high-class look of the speaker in addition to the level of clarity and detail it creates for a cabinet of its size was a huge USP that easily convinced the client.

“The Mackie DL16S digital mixer was a breeze to set up to work in conjunction with the newly installed videowall, be it for live feed or teleconferences,” he continued. “Its powerful processing also eliminated the need for an additional DSP. This little beast in a stagebox form factor with built-in Wi-Fi is very fast and reliable. The CS-6001 amplifiers from Dynatech provide clean, efficient power in an appealing design. Furthermore, the JTS US-8010D wireless microphone system serves precise audio pickup which is rendered exquisitely through the system. All in all, the client is extremely happy, and so are we.” www.sonotone.in

www.dbaudio.com

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NEWS: PROJECTS

China’s first VHD5 installed at TAXX II

T

CHINA

The f irst KV2 Audio VHD5 system in China has been installed at TAXX II in Shanghai. The original TAXX club in Shanghai was one of the city’s largest, boasting over 3,000m2 of space over two floors. KV2’s Chinese distributor, AVMedia, designed and installed a KV2 Audio solution based on the VHD2.0 long throw system, supplemented by SL412s and several ESD12s. Recently the TAXX investment team decided to open a second venue – this time even bigger and demanding an even more powerful audio system. Sticking with the winning formula at TAXX, the investment team opted once again for a KV2 system, this time for the company’s flagship VHD5.

With a capacity of 1,000, TAXX II is a club designed to push the boundaries at every level, offering 5D sound and light experiences to create a transforming sensory world. A panoramic DJ station that stretches for 30m, occupying the full length of the room, redefines

the typical DJ/crowd experience and is accentuated by the high-impact KV2 setup.

Designed and installed once again by AVMedia, the audio setup comprises an L-R system of one VHD5.0 mid/hi element and two VHD8.10 low/mid elements per side, powered and controlled by a pair of VHD5000 for the mid/highs and a further two VHD5000s units for the low/mids. Fourteen ESD12 two-way, full-range loudspeakers – known as TIME12T in China – act as a fill system for the numerous private booths and VIP areas.

“The investors’ vision was to bring the atmosphere of an outdoor festival indoors, and what better way to do that than with a VHD5 system,” commented AVMedia’s Mr Tony, who also specified the original system at TAXX. “They loved the sound of the first club with VHD2.0 and had even greater ambitions for the second venue. The clarity and definition of KV2 systems is legendary, and the VHD5 is, in my opinion,

the best-sounding, large-format point source system in the world. The investors, club-goers and DJs alike are all thrilled with the results.

TAXX is a pioneering club at every level – it has the most highly specified hardware configuration

Malaysia’s Visual Three turns to AJA FS-HDR for live production MALAYSIA

Visual Three has equipped its 4K/UltraHD HDR infrastructure with a range of AJA broadcast solutions, including the FS-HDR real-time HDR/WCG frame sync and converter. Visual Three has provided regional and international support for entertainment and sports productions since 1997 and offers state-of-the-art broadcast equipment through to one-stopshop production facilities and streamlining delivery of live 4K/UltraHD HDR content.

Under the direction of business development director Jacky Lim, Visual Three recently provided technical support to a local Malaysian television station to deliver the first-ever live UltraHD broadcast in the country.

While the client required an HDR master for archival purposes, the broadcast was to be transmitted in UltraHD SDR. The team leveraged FS-HDR to power live HDR and SDR conversions as well as embedding audio for

final distribution. Visual Three used a similar workflow using FS-HDR to embed audio for Singapore’s National Day Parade in 2019.

“FS-HDR boasts a power ful feature set for live productions that allows us to

per form a wide range of daily core tasks using a single device – ever ything from real-time format and colour conversion, embedding and disembedding, frame synchronisation and fibre transmission,”

8CCC Radio chooses AEQ

in Shanghai and is undoubtedly one of the world’s best-sounding large clubs with an unprecedented customer experience.” www.kv2audio.com

said Jason Lim, lead engineer, Visual Three.

FS-HDR simplifies workflows for Visual Three by converting and matching signals from different operating systems, as well as matching colour between multiple camera brands. Its web-based UI also provides a simplified workflow for remotely configuring and controlling cameras located in multiple locations. Lim added: “FS-HDR also features ports where you can install optional SFP modules to output media over 12G-SDI fibre or coax, making the device future-proofed for the most advanced workflows. AJA also offers local support and releases frequent firmware updates that continually improve the performance of their products, further simplifying our workflow.”

Visual Three is also using AJA’s FS4 4K/UltraHD and multichannel 2K/HD frame sync and universal converter for colour matching cameras from a central control room, and Ki Pro Ultra to simultaneously record up to four HD channels as Apple ProRes files, with analogue or AES audio. www.aja.com www.visualthree.com

AUSTRALIA

8CCC Radio, a community station with a programming focus on the Northern Territory, has renewed the technical equipment of its broadcasting studios. The station chose AEQ consoles to meet its two main parameters: to be robust and user-friendly. The installation, configuration, commissioning and training was carried out by Broadcast Components, AEQ’s local partner in the country, located in New South Wales.

The Northern Territory of Australia covers an area of almost 1.5 million km2 with a population of just 240,000. The main 8CCC Radio studios are in Alice Springs, with secondary studios in Tennant Creek, over 500km further north. Both locations are a long way from other population centres, so robust and fail-safe equipment is a must. In addition, many volunteer staff run

programmes without specific radio training, so systems need to be easy to operate.

With this in mind, 8CCC Radio has installed an AEQ Forum IP console in Alice Springs and an AEQ Capitol IP eight-channel digital mixing console mixer in the main studio at Tennant Creek, offering a large input and output capacity of varying formats.

The Forum IP console at Alice Springs is based on the same technology, but offers increased input, output and control capacity, while its modular composition means that any module needing to be serviced can be replaced easily by the station staff rather than sending the whole desk for repair to Sydney, on the opposite side of the country. www.aeq.eu

The AEQ Forum IP console in use at 8CCC Radio

www.broadcastcomponents.com.au

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NEWS: PROJECTS

TSL’s TallyMan adds offsite control for TJ Sports CHINA

Tencent China and Riot Games have joined forces to create large-scale eSports remote production centre TJ Sports, which they are claiming as the first in Asia. Management of large-scale video switchers, audio mixers and the AV matrix for events are being handled by TSL Products’ TallyMan advanced broadcast control system.

“TSL enables us to produce more events that are more intensive and complex,” said Zhang Xuming, head of broadcast technology planning at TJ Sports. “The TSL TallyMan controller greatly reduces execution risk during production while improving the overall operator experience, and its price-to-performance ratio is extremely attractive. With TSL’s TallyMan, we have successfully accomplished offsite control of remote network production for major international events.”

With more teams, venues and cities involved in eSports, as well as an increase in overseas competitions, TJ Sports requires a centralised control system to carry out high-quality, telecast productions across multiple venues. To provide balanced coverage, eSports productions have to capture both the live venue and virtual gaming ecosystem aspects of the

event. Unique to eSports is the observer role – essentially the game director working with the programme director to help guide the event and production in identifying in-game highlights and ideal slow-motion moments. A complex broadcast control

system allows the resulting large number of production signals to be more easily managed.

TSL’s TallyMan can host centralised scheduling and control over the entire signal path throughout its studio complex,

which includes five studios, five control rooms, the core server room and multiple specialised eSports function rooms.

The system’s controller and virtual panels (TMVP) privide control throughout the 3,550m2 facility. The system simultaneously carries out centralised tally management as well as some personalised items throughout the broadcast process.

It also controls third-party AV equipment at the facility, while matching the remote production of offsite network control.

“The TallyMan virtual panel provides a complete software control interface and intelligently drew out a two-storey floor-based floor plan across the entire production centre,” added Xuming. “TSL is able to hide the complexity of the underlying system so that operators can always focus on producing great content.

“TSL is always ready to listen to our needs and make a timely response with customised product adjustments and program design tailored to our special needs. By exchanging ideas and brainstorming together, we can figure out some fantastic ideas that combine both of our strengths.” www.tslproducts.com

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PPTV Thailand selects Versio for playout upgrade THAILAND

PPTV Thailand’s existing playout facility in Bangkok has been upgraded with a new Imagine Communications turnkey playout solution based on its modular Versio platform. The fully redundant 1+1 playout system was selected by the broadcaster as it was looking to maximise its operational workflows while ensuring on-air availability and security. PPTV is a commercial broadcaster in Thailand, owned by Bangkok Media and Broadcasting. It delivers a single HD service on channel 36 of the country’s digital terrestrial network, showing a broad variety of content including premium sports as well as entertainment.

Versio is a fully virtualised platform that can be implemented in dedicated on-premises hardware, as at PPTV, or as software in a data centre or in the cloud. It integrates with the station’s existing content storage network and can accept both IP and SDI live feeds from its studios or from outside sources, such as sports feeds for PPTV’s premium sports channel. “We wanted to update our playout system with

full automation, graphics, master control and the ability to move instantly between automated and live delivery,” explained Bundit Khamnueng, broadcasting and operations director of PPTV. “Imagine’s team demonstrated that they could meet all our playout needs in a turnkey system that

ManPAC invests in Pliant Technologies AUSTRALIA

Mandurah Performing Arts Centre, also known as ManPAC, has installed a MicroCom XR digital wireless intercom system from Pliant Technologies.

“As head of staging, it’s my responsibility to make sure ever ything is organised for our clients so that their production runs as smoothly as possible, both on and off the stage,” said ManPAC’s Ciaron McCormack.

“Pliant’s MicroCom XR, paired with the brand’s Smar tBoom headsets, allows me to provide the crew with the tools

they need for clear communication between the front of house and backstage areas. The lightweight, compact design of the MicroCom XR beltpacks immediately stood out to me, as it seamlessly clips onto staff members’ clothing without being bulky or getting in the way while they move around the theatre.”

The wireless users of ManPAC’s eight MicroCom XR packs include the audio and lighting operators, stage manager, flyman, mechanist, follow spot operator, front of house manager and bar manager. MicroCom XR provides communications to help execute all aspects of a production properly, with a coverage zone that reaches from backstage to front of house and beyond.

McCormack finds the flip-up microphone muting option on the Smar tBoom headsets a benefit to production workflow. “The talk/mute function built into the Smar tBoom headset was a selling point for us,” he added. “With their exceptional audio quality, the headsets pair per fectly with the calibre of the intercom. It’s so easy to just flip up the boom arm when you want to mute yourself, and then flip it back down when you’re ready to talk – it helps us to be even more efficient in our flow of communication. Thanks to Pliant’s MicroCom, we can continue to put on the exceptional per formance quality that the Mandurah community knows us for.”

is highly reliable and easy to monitor and maintain.”

PPTV’s new solution includes storage for scheduled content via Versio IOX shared storage. Nexio Motion and Versio Content Portal provide a transparent connection to the station’s content storage network,

calling media assets as required. Two Versio playout channels are included in the system, running in tight synchronisation, to provide full redundancy with automatic failover.

Playout engines use embedded instances of Imagine ADC automation software, which shares data with the scheduling system to guarantee that the right content goes to air accurately.

“It is cost-effective for applications like PPTV, where we can deliver a feature-rich solution with all the functionality, reliability and graphics capability a premium HD channel needs. At the same time, Versio and ADC can scale in the future as PPTV’s business requirements change,” said Mathias Eckert, SVP and GM EMEA and APAC for Imagine Communications. “This is our first contract with PPTV, and we aim to continue to demonstrate, through our local support and through our innovative technology, that we are the ideal partner for all broadcasters across the region.” www.imaginecommunications.com

Largest ever Nexus network deployed in Beijing CHINA

A ceremony held in Tiananmen Square, Beijing, to mark the 100th anniversary of the Communist Party of China (CPC) deployed the largest Stagetec Nexus routing and mixing network ever installed.

The event, attended by 70,000 invited guests and broadcast worldwide by the China Media Group, was supported by Stagetec’s Chinese distributor, Salzbrenner Stagetec Media Technology (Beijing) Co. A total of 15 Nexus Star routers, 17 Avatus, Aurus and Crescendo mixing console systems and 67 Nexus Base Devices comprising eight different distribution systems were used. The central digital audio routing was handled by two Nexus Star routers and 27 Nexus Base Devices, while two Avatus consoles, three Aurus platinum consoles and one Crescendo platinum console were used at FOH. Audio routing was handled by four Nexus Star routers and nine Nexus Base Devices. The OB van used to broadcast the ceremony was equipped with an Aurus platinum and an On Air Flex mixing console, with a Nexus Star and six Nexus Base Devices used for routing. In the OB van, which broadcast a performance from the National Stadium in

Beijing, the second-largest Nexus subnetwork of the event was used, with five Nexus Star and 14 Nexus Base Devices as well as four Avatus and one Crescendo platinum. The audio of the stadium’s permanently installed PA system was transmitted by two Aurus platinum mixing consoles, one Nexus Star and seven Nexus Base Devices. Meanwhile, two studios providing national and international broadcast feeds were each equipped with a Crescendo platinum console, a Nexus Star and two Nexus Base Devices.

“Reliability and redundancy are particularly crucial for live broadcasts, especially for high-profile events like this one,” commented Dong Zeng, GM of Salzbrenner Stagetec Media Technology. “With Nexus, we never had any concerns about network size, and the performance of Stagetec’s mixing console systems speaks for itself. The elements of the ceremony were salutes, eulogies, choirs and military bands with extraordinarily high demands on the sound quality. Without a doubt, Stagetec is the best choice for this.” www.stagetec.com

www.plianttechnologies.com

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MultiTek Solutions shine at Warrnambool’s Lighthouse Theatre AUSTRALIA

Warrnambool’s council-run Lighthouse Theatre has undergone a major technology upgrade, including a d&b T-Series system with Y-Series subs installed by Geelongbased integrator MultiTek Solutions, with support from distributor NAS Solutions.

The upgrade replaces an outdated point source system from the 1980s. “We would frequently get complaints about the sound,” commented venue manager, Xavier Dannock. “The sound coverage was patchy, including in the sound booth. We could only ground-stack the subs, which made the experience unpleasant for those at the front. There was a general lack of clarity.”

MultiTek Solutions carried out a minor upgrade at the theatre around 10 years ago. “We upgraded the cabling infrastructure and other necessary behind-thescenes aspects, but there wasn’t budget for an audio upgrade,” explained director, Gavin Hulme. “Everyone

knew that an audio upgrade was inevitable.” Criteria for the new system included the provision of even coverage to all 584 seats and sound booth; the ability to switch modes when the stage front was extended to accommodate an orchestra; consistency for all applications and levels of operator proficiency; and the accommodation of flown subs.

Following a competitive shootout, the d&b T-Series with ArrayProcessing emerged on top. “All three PAs in our shootout were exceptional,” said Dannock. “But hearing the ArrayProcessing in action was what won us over. It’s easy to get sold on a system on paper but you need to hear it. It takes it from a bunch of colourful drawings and gives you the reassurance that Gav and NAS can deliver the system they’re promising.”

The system consists of 16 Ti10L and eight 8S loudspeakers, with four Yi-SUB subwoofers, driven by

Yi-SUB subwoofers flown above the proscenium a 10D and five 30D amplifiers. Each T-Series enclosure has its own amp channel and processing, with tonal and dispersion characteristics optimised for the room, and one-touch electronic reconfiguring to accommodate the stage extension. “Thanks to the ArrayProcessing the system can adapt to changes in the space, or absorb further optimisations in the processing,” said Dannock. “I needed to be convinced that this PA would stand the test of time – I can’t just go cap in hand to the council in five or 10 years’ time for a new PA – and it was ArrayProcessing that really got me over the line in that regard.”

The subwoofers were a crucial aspect of the design. “For the past eight years, we’ve had subs on the floor next to our stairs, which is a huge access and OH&S issue,” he continued. “Getting the subs off the floor and in the air was important to us.”

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Riedel provides systems for Shaanxi Broadcasting’s new OB van CHINA

DS Series Deeper. Louder. Cleaner.

The new DS Series subwoofers combine an extremely strong motor for excellent cone control and efficiency, with the latest suspension materials for long excursion and durability.

Now available with a lower price point 4” (100mm) diameter voice coil in 15” and 18” frame sizes, with the field proven durability and performance you expect from B&C Speakers.

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Shaanxi Broadcasting Corporation’s new 4K OB van features an advanced all-IP intercom solution from Riedel Communications comprising Artist and SmartPanel Bolero to support rapid creation of video content for new media platforms, along with the traditional Shaanxi Broadcasting Corporation broadcast output. The van was unveiled at the China Content Broadcasting Network Show 2021 (CCBN).

“The convergence of linear and nonlinear media and the migration of broadcasting to IP have brought greater complexity to production,” said a representative from Shaanxi Broadcasting Corporation. “Traditional intercom systems aren’t designed to handle the higher volume of signal connections and more complicated routing requirements associated with modern production, but Riedel’s advanced IP-compatible intercom systems are up to the challenge. The Riedel Artist and SmartPanel systems integrate smoothly into the SMPTE ST 2110-based IP infrastructure implemented on this new van and, if needed, can easily connect to any other IP-based infrastructure.”

The Shaanxi Broadcasting Corporation 4K OB van is equipped with a Riedel Artist 64 intercom matrix and RSP-1232HL and RSP-2318 SmartPanels, deployed in a spine-and-leaf configuration. The Riedel systems communicate with other devices via Layer-3 routing. The NMOS API running on Artist provides centralised control, while IS-04 and IS-05 support streamlines multicast routing. To maintain synchronisation, the Artist system locks to the system PTP timing server, facilitating connection to other systems in IP mode.

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MultiTek Solutions worked with the NAS projects team on a design which encompassed four Yi-SUB subwoofers spaced and flown above the proscenium, their cardioid design ensuring less energy would be directed onto the stage and more into the auditorium.

The installation also included a Pliant Technologies CrewCom system, with one antenna positioned side of stage. Although this superseded the previous wireless system, MultiTek Solutions integrated the theatre’s old two-wire loop.

“You can’t notice any latency, they work together perfectly,” confirmed Dannock. www.dbaudio.com www.multiteksolutions.com.au www.nas.solutions www.plianttechnologies.com

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The OB van’s first assignment will be the live broadcast from Xi’an, Shaanxi Province, for September’s 14th National Games of the People’s Republic of China.

“We are honoured to be providing a full IP-based communication system for Shaanxi Broadcasting Corporation and to contribute to the live broadcast of the 14th National Games,” said Gao Jian, general manager of Riedel China. “China is already at the forefront in implementing IP infrastructure for radio and television. Together, media convergence and the emergence of 5G have enabled China’s radio and television broadcasters to take another leap ahead in this field. Riedel has been an intercom and transmission solutions provider for more than 35 years, and we’re proud to be supporting China’s advances in deploying IP-based systems.”

www.amateaudio.com

www.riedel.net

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CCTV broadcasts second moon exploration series with help from Ross

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CHINA

In 2019, national broadcaster CCTV transmitted its Mission to The Moon series of documentaries to coincide with the country’s first lunar exploration mission that saw the Chang’e 4 spacecraft land on the far side of the moon. CCTV’s programme-makers created the world’s first 4K UHD Immersive Mixed Reality (IMR) production environment for broadcast television, and the show’s success paved the way for a second series that has now aired.

For series two, China Media Group (CMG) again turned to Ross Video for help creating a lunar space environment that provided the audience with an immersive visual experience. CMG built the world’s first 4K mixed reality real-time digital VFX production studio to create the many original 3D animations that underpinned the series.

The new studio also helped to create an AI astronaut character who was a regular feature of the series, guiding the audience around the lunar environment. The bulk of the visuals were rendered using the Voyager rendering solution based on Unreal Engine from Epic Games.

“We chose to work with Ross Video again because Ross has a comprehensive product and solution portfolio,” commented Wang Zijian, CMG’s senior engineer and director of program packaging technology for Mission to The Moon.

“The company has an extremely mature range of 12G-SDI solutions and also helped us a great deal with other elements such as IP streaming. This second series was a huge endeavour that took over a year to plan and

create. It saw us tackle new technologies and work with cutting-edge image capture methods.

Highly complex workflows like these depend on expert, reliable technology partners, and we have received invaluable support from the team at Ross. The key to the success of both series one and two has been the combination of strong educational content married with amazing visuals, and Ross solutions have been the backbone of the latter.”

Wang is now turning his thoughts to 2022.

“Ross has supported us for a number of years with the Chinese New Year Spring Festival Gala – the world’s most widely viewed TV show – and we also used Extended Reality [XR] technology for the first time last year,” he said. “We’re very excited to see how XR will develop and how Voyager from Ross will enable us to raise the bar for visual effects even higher as we begin planning our flagship 2022 shows.” www.rossvideo.com

New Shenzhen EDM club chooses d&b CHINA

Japan Jam returns with MLA for main stage JAPAN

Japan Jam has returned this year to the Soga Sports Park in Chiba, having been cancelled last year due to the pandemic.

Attendance was restricted to 10,000 people per day – down from 30,000 in 2019 – but the Martin Audio system remained the same.

MLA was adopted as the main speaker, with 10 MLA elements including an MLD down fill and three stacks of subwoofers – nine per side in total – on the main stage, with the middle sub rear-facing for the cardioid pattern. Four WPM were deployed for front fill and out fill.

Precautions were taken to avoid infection, even on the stage. Bunshiro Hote from rental company MSI JAPAN Tokyo explained: “The microphones that would normally have been reused, were completely replaced.

As a result, we used five lines (including spares) to operate only the announcements.

We introduced a UV irradiation desiccator for some mics that needed to be used by multiple people, while the console was sanitised every time the sound engineer changed. All microphones (vocal mics for the artists and talkback mics for the engineers) were regulated.

“Because of Covid, Tokyo was in a state of emergency and, as a neighbouring prefecture, Chiba also needed to prevent the spread of infection. It made us even more considerate of noise complaints than usual,” he continued.

“When we did the sound check, we played the CD at 100dBA at FOH, and prepared three delay settings of 60m, 70m and 80m from the stage for the main MLA area, and assessed to what degree it could be heard at the monitoring point outside the venue. As a result, we chose the 70m pattern as the standard in the three-stage MLA area. We monitored the neighbourhood as well and sometimes changed the settings depending on the situation. MLA was the perfect choice to make this possible.

“I believe in the power of music to heal people who are tired of this situation and want to increase the number of safe live entertainment operations. Although there were pros and cons for hosting this event, we pulled it off without any increase in Covid cases. I hope that this event will help to gradually gain the support and confidence of the music industry throughout the summer.”

New EDM club TIMI 20XX has opened in Shenzhen with a d&b audiotechnik largeformat line array system.

The ¥150 million project incorporates the latest technology to create a 3D visual and auditory immersive experience for clubbers.

The main dancefloor system consists of four KSLi8 and two KSLi12 line array cabinets suspended at each side of the main stage. KSLi is an installation version of the large-scale KSL sound reinforcement system. Offering features such as fullfrequency directivity control, low-frequency headroom and enhanced high-frequency resolution, the KSLi system was deemed to be suitable for large, high-ceilinged spaces like TIMI 20XX.

Low-frequencies are boosted by the addition of eight dual 8-inch B22 and 22 18-inch 18S subwoofers. Handling front fill are two 12G coaxial loudspeakers, with six MAX2 monitors distributed throughout the room and a further two MAX2s for DJ monitoring. VIP seating at higher levels is covered by six ALi90 augmented array speakers.

The system is driven by three D80 and six 30D amplifiers, using the DS10 Dante audio network bridge to interface to the club’s Dante network. The system was designed using ArrayCalc simulation software and is controlled via R1 remote control software. www.dbaudio.com

Onstage at the TIMI 20XX club www.martin-audio.com

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LEA Professional Connects to Beachcomber Resort AUSTRALIA

Pro Sound and Lighting has used LEA Professional amplifiers to power an upgrade at the Beachcomber Hotel and Resort, a waterfront destination in Toukley on the Central Coast. With nearly 100m of lake frontage and its own private pier, the sprawling complex was recently relaunched as a four-star, 80-room waterfront resort with indoor and outdoor bars, restaurants, function rooms, gaming facilites, pool, sauna and gym.

Local production company Pro Sound and Lighting was called in to provide new audio systems for the resort’s gaming and sports bar and DJ zone as well as some outdoor and lobby areas. They used five LEA Professional Dante Connect Series, Internet of Things-enabled amps: three Connect 354Ds, one Connect 702D and one Connect 704D. “This project had a particularly quick turnaround time; we needed to get the entire install done within the space of three or four weeks,” said Leonard Buckley, production manager at Pro Sound and Lighting. “One of the main reasons why we chose the LEA amps was because they were one of few companies with no supply chain issues.”

Pro Sound’s system encompasses Q-Sys and QSC speakers, InDesign box and ceiling speakers, Community speakers and Shure wireless systems.

“As the LEA amps can integrate with any

kind of system, I wasn’t worried about investing in them without knowing what kind of system we would end up putting in the space,” continued Buckley. “We didn’t have to worr y about what we were

pairing with, and that’s what made it so easy for us to use them: there was no special programming or training involved, ever ything talked to each other nice and simple. The ver y first thing I did with the amps was connect them to the cloud.

I was able to remote monitor and see what was going on; it was really handy, especially as our office is a three-hour drive from the resor t.”

The main challenges of the project was that the scope of the work was constantly changing due to the owners reconfiguring the space. “The versatility of these amps was amazing. We never had to stress about things changing at the last minute because the amps were flexible in terms of what they could drive in their power outputs, we just put them in and knew we’d be okay.”

This was the first time that Pro Sound and Lighting had used LEA Professional amplifiers. “Ever ything was so intuitive that I didn’t need any assistance with getting ever ything going. I’m really glad I found them,” concluded Buckley. www.leaprofessional.com

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Brompton brings ancient Egypt to life in Australia AUSTRALIA

Opera Australia (OA) has used integrated digital technologies for Davide Livermore’s production of Verdi’s Aida, including giant LED screens driven by Brompton processing and deployed by Big Picture at the State Theatre, Ar ts Centre Melbourne.

Ten columns comprising 175m2 of UniView Tekken LED screens created an immersive experience using video

The next step was to employ processing power to deliver the required visual quality. “We needed something that worked really well at low brightness. We already had a large stock of ROE Black Onyx 2.8 running on Brompton, so we knew what results we could expect from Brompton when coupled with a good high-res product,” Bojdak continued.

Image courtesy of Prudence Upton

designs brought to life by 4K Tessera SX40 LED processors that conveyed the scale of this monumental opera, set in ancient Egypt. A fully redundant disguise system comprising four GX2c ser vers managed eight 4K content layers and dealt with incoming data streams from OA’s custom Raynok automation system, which was used for individual screen rotation and tracking on- and of fstage.

“We originally chose the UniView Tekken 3.9 because it fitted a ver y par ticular brief that we had been given from Opera Australia during the design process for the Opera Digital Stage,” said Nick Bojdak, technical director, Big Picture. “To work with the automation system, it needed to be relatively light per square metre. It also needed to be high enough resolution for still images to resolve like the painted set pieces found in contemporar y theatre productions, so the audience forgot that they were watching video screens.

Finally, it needed to be robust enough to be built in large pieces for quick changeovers between shows. Usually, speed and high-res LED are mutually exclusive terms, and it is normally a painstaking and delicate process panel by panel, but luckily the Tekken is well built.”

Big Picture drew on its inventor y of 4K Tessera SX40 LED processors and Tessera XD 10G data distribution units. “The deployment of the XDs via fibre allowed us to decentralise our processing and streamline our system up in the galleries of the Sydney Opera House where space is at an absolute premium,” said Bojdak. “The show currently runs with two SX40s and six XDs as its base configuration. Later in 2021, the system will be expanded considerably for Opera Australia’s Ring Cycle production in Brisbane.

“We are really proud of our ongoing relationship with Opera Australia, and we are excited that we have finally been able to bring the digital stage environment to Melbourne in 2021 after three successful years in Sydney.

Brompton’s Tessera processing has proven to be the ultimate tool when it comes to managing LED screens at low brightness, allowing us to get a much clearer and smoother image with enhanced detail in darker areas, achieving unprecedented per formance and superior overall visual colour accuracy which completely enveloped the audience in the world of ancient Egypt.”

Christie transports visitors across time and space CHINA

Christie laser projection and content management solutions have been deployed at the new Shanghai Astronomy Museum to help transport visitors across time and space via immersive visuals. The projection solutions were installed and commissioned

by Christie partners Wincomn Technology and Zhongqing Yingye Group.

Located in the Lingang area of Shanghai, the 38,000m2 structure is currently the world’s largest museum solely dedicated to the study of astronomy. It is designed by US-based design firm Ennead Architects and features an exterior with no straight lines or right angles, a concept inspired by the orbits of celestial bodies and the geometry of the cosmos. Instead, the building’s three main architectural components – the Oculus, Inverted Dome and Sphere – function as astronomical instruments that track the sun, the moon and the stars.

The impressive layout extends to inside, where numerous exhibits are powered by advanced AV technologies to provide an engaging and immersive experience to visitors. These include projections accomplished by more than 40 Christie HS Series and GS Series 1DLP laser projectors of varying brightness – from 6,350 to 20,600 lumens – and image resolutions, along with real-time video playback and processing achieved from Christie’s Pandoras Box V8 and Christie Widget Designer.

While Wincomn Technology and Zhongqing Yingye Group were responsible for the installation and commissioning of all projection solutions across the museum, the suite of Christie Pandoras Box products were installed by Marvel Vision, one of Christie’s distributors for content management and image processing solutions in China.

Among the highlights of the exhibits are stunning projections on a huge rotating

globe measuring 20m in diameter using seven Christie D20WU-HS laser projectors, as well as interactive projections on a large wall measuring 60m in length from 10 Christie DWU1075-GS laser projectors.

The D20WU-HS and DWU1075-GS have a brightness of 20,600 and 10,875 lumens respectively. In another gallery, highly detailed images of celestial bodies are realised by three Christie 4K7-HS laser projectors boasting 4K UHD resolution and built-in Christie Twist for creating multiprojector setups.

In the Odyssey exhibition zone, visuals are displayed on a 50m-long ribbon-like “cosmic thread” using 10 Christie DWU630-GS laser projectors and Christie Pandoras Box V8 Software License. “Pandoras Box Version 8 is the ideal software solution for various applications such as the elaborate multimedia exhibits in Shanghai Astronomy Museum,” said Gary Wang, sales representative for China, Enterprise, Christie. “With Version 8, a myriad of images can be perfectly displayed on various surfaces, allowing content designers and developers to express their creativity and bring their visions to reality any time, with any hardware.”

“The Shanghai Astronomy Museum marks a new milestone in the integration of science, nature and modern technology to provide an ‘out-of-the-world’ experience for astronomy fans and the general public,” added April Qin, sales director for China, Enterprise, Christie.

“We are thrilled that a wide range of Christie laser projection and content management solutions have been installed by our partners to deliver awe and wonder, enabling visitors of all ages to explore the universe with greater detail and realism.” www.christiedigital.com

www.bromptontech.com

The 50m-long cosmic thread

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NEWS: PROJECTS

Allen & Heath equips Xi’an Olympic Sports Center CHINA

Distributor EZPro has designed and supplied an audio system for the $1.12 billion, 866,667m2 Xi’an Olympic Sports Center, purpose-built to host the 2021 National Games of China in September.

With a 60,000-seat athletics stadium, an 18,000-capacity gymnasium and a swimming and diving hall for 4,000 spectators, this is the largest sports venue in the north-western province of Shaanxi.

After the 14th National Games, the centre will host international sports events, exhibitions and conferences and function as a sports centre for nearby cities and towns.

“The challenges we had to overcome in the system design of Xi’an Olympic Sports Center included long-distance digital audio signal transmission, D/A signal switching

and audio signal delay,” explained EZPro’s Zhang Xianjun, the project’s technical designer. “But when it came to specifying the six digital mixers for the project, we knew we wouldn’t have to look beyond Allen & Heath’s range of digital mixers, with Dante cards enabling the scalable redundant audio transmission.” The dLive, Avantis and SQ series are built on the XCVI 96kHz FPGA engine to deliver highresolution, low-latency audio across the main and backup systems.

For the main stadium, a dLive C3500 Surface is partnered with a CDM48 MixRack. The MixRack offers 128 channels of input processing, with a configurable 64 bus architecture. An Avantis standalone mixer offering 24 faders, 64 input channels

and 42 mix busses, plus a GX4816 I/O Expander to mirror the analogue I/O of the primary system, provides backup. Both consoles are fitted with Dante I/O cards to integrate with the primary and secondary Dante networks. A rack of 34 Powersoft Quattrocanali 4804 DSP+D amplifiers – connected directly to the primary Dante network, with the secondary network converted to analogue via DT168 – feed 136 EAW speakers throughout the stadium.

In the gymnasium, the main system is also built around a dLive C3500 surface, this time paired with the compact CDM32 MixRack, with an SQ-7 as the backup system. The SQ-7’s 32 onboard mic preamps mirror the 32 mic inputs on the CDM32, with 33 faders for control. Both

systems integrate with the Dante networks via Dante I/O cards to provide redundant feeds to the gymnasium’s Powersoft amp rack and EAW speakers.

“In the main stadium and gymnasium, there is no openable observation window in the control room,” explained Xianjun. “As the dLive audio engine is in the MixRack, we can confidently change the location of the surface when required. We can effectively reduce the risk of control interface crashing and, at the same time, meet the requirements of a flexible tuning position, ease of use and fast setup.”

In the swimming and diving hall, where visibility is not an issue, a pair of SQ-6 mixers are deployed as the main and backup mixer, with Dante cards fitted to both for redundancy of the networked audio, again feeding Powersoft amps and EAW speakers.

EZPro implemented redundancy throughout the system. At the input stage, nonredundant analogue sources are patched through passive splitters to deliver discrete signals to the main and backup systems.

In each of the three venues, a pair of Allen & Heath mixers run simultaneously.

Dante outputs from the main and backup mixers feed the primary and secondary Dante networks respectively, with a third independent network for control signals throughout the complex. Amplifiers with both Dante and analogue inputs were chosen, with the primary Dante network feeding the amps directly, and the secondary Dante network output converted to analogue – via Allen & Heath’s DT168 Dante I/O expanders – to provide a redundant signal to the amplifiers.

“The schedule was pressing, yet the sound system installation and commission were finished on time thanks to EZPro’s efforts,” said Zhou Jun, chief technical engineer of the stadium project. www.allen-heath.com www.ezprointl.com

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NEWS: PROJECTS

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TechDataPS upgrades cultural centre and theme park KOREA

TechDataPS has collaborated with integration specialist All That Sound to equip YeonCheon Sureul Art Hall with a Harman Professional audio solution consisting of JBL Professional, Crown and Soundcraft components.

The cultural facility stages small plays, musicals and solo concerts, and houses a 580-seat and smaller, 166-capacity concert halls. Its infrastructure presented several challenges, including panel configuration, electrical disconnection, I/O accessibility and access to monitoring networks.

To supplement the venue’s existing JBL VT4887A line array loudspeakers, the installation team equipped it with a range of JBL solutions including VTX V20 and VTX S25 line array speakers, VTX M20 stage monitors, AC18 two-way speakers, 308P MkII studio monitors, Control 28-1 indoor/outdoor speakers and Control 24CT ceiling speakers. This solution provides coverage throughout the facility with a sound pressure deviation of ±2.5dB across all seats. The system is powered by Crown I-Tech 4X3500HD, DCi 2|300N and DCi 4|300N amplifiers, while a Soundcraft Vi series digital console provides I/O and DSP capabilities.

ground, the speakers were positioned to isolate sound within the theatre area without projecting into neighbouring spaces. The speaker systems are powered by Crown amplifiers with onboard signal processing.

Soundcraft Ui24R mixing consoles enable park staff to mix remotely using an iPad or other mobile device, while BSS signal processors form the system’s backend, connecting everything via a digital audio network. TechDataPS also provided AKG microphones.

Pororo & Tayo Theme Park Jeju

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on YeonCheon Sureul Art Hall Meanwhile, TechDataPS has also upgraded ageing sound systems at Pororo & Tayo Theme Park Jeju, with Harman Professional audio solutions. Based on the characters Pororo the Little Penguin and Tayo the Little Bus, Pororo & Tayo Theme Park Jeju features “edutainment” attractions that encourage children to learn while having fun. However, the previously installed sound systems were causing auditory fatigue for park employees and visitors due to echo in the high ceilings, wide spaces and harsh frequencies.

Having experienced JBL Control 60 loudspeakers at the BSS Harman Zone in Yongin, park organisers hired TechDataPS to equip the facility and grounds with a complete Harman Professional audio system. TechDataPS selected JBL Control 67 P/T pendant speakers, which provide 120° conical coverage, with JBL VRX 900 Series line array loudspeakers provided for the outdoor stages. Since the main stage is close to the park’s parade

Visit us at Plasa - Stand D7 September 5-7, Olympia London emacoustics.co.uk info@emacoustics.co.uk

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Yokohama Stadium hosts Summer Games baseball with RCF system

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JAPAN

An RCF system for sports and entertainment events has been installed into the Yokohama Stadium, one of the venues for the postponed 2020 Summer Olympics. The stadium, one of the most important sports facilities in Japan, is the largest venue in the Kantō region and is primarily used for baseball as the home field of the Yokohama DeNA BayStars. After a complete renovation in 2018, the stadium was selected as a venue for the 2020 Tokyo Olympics and Paralympics, which was then postponed to the following year to due to the Covid-19 pandemic.

The RCF installation serves as a PAGA (public address and general alarm) system. Two arrays of four TTL 33-WP speakers have been mounted on six poles around the stadium, giving a total of 48 speakers. Fly bars are fixed to custom-built titanium brackets. To cover the expanded seating on each side, four P4228s have been installed on the top edge of the left wing, with five additional units on the right wing. Additionally, nine P3108s and a P4228 serve as under-balcony fills to cover the seats behind

the plate. Lastly, one P2110-T and a P8015-S cover the dugout.

Meanwhile, Digigram has supplied French-based radio broadcaster RMC with its ONE IP solution to broadcast audio sports commentaries during the games. RMC Radio broadcast live commentaries and recorded interviews from the Tokyo IBC facility and designed a solution including an Iqoya Serv/Link multichannel IP audio codec located in Paris and Tokyo, respectively, operating 28 codec instances each. In addition, Digigram’s portable Iqoya Talk codec, coupled to the Iqoya Guest service, enabled 10 onsite journalists to operate across the various venues of the games.

Iqoya Talk allowed each reporter to quickly recall their preferred configurations so they could focus on interviewing athletes prior to competitions, and report live from the opening ceremony. Iqoya Connect handled overall system management, including monitoring and control, providing secure communications between Paris and Tokyo. RMC designed the infrastructure

RCF’s TTL 33-WP speakers at Yokohama Stadium to meet the specific challenges of holding the games during a pandemic, including the remote mixing of audio streams onsite prior to broadcasting them to Paris.

The Xi’an Olympic Centre Stadium, which hosted the opening ceremony and track and field competitions, has been installed with a sound system by distributor EZPro, ccomprising 236 EAW loudspeakers, nine Allen & Heath digital mixers, four

Symetrix digital processors and 43 Powersoft Quattrocanali 4804 DSP+D amplifiers controlled by ArmoníaPlus. The 866,667m2 venue houses a 60,000-seat stadium, an 18,000-capacity gymnasium and 4,000-seat natatorium. www.digigram.com www.ezprointl.com www.powersoft.com www.rcf.it

JBL enhances BSJ INDONESIA

Established by the British Embassy in 1973, the British School Jakarta (BSJ) is an international school in Greater Jakarta that educates children from around the world. As one of the best-equipped schools in Asia for sports and other extracurricular activities, the performing arts also plays an important part of the school’s culture. As such, PT Inti Megah Swara (IMS) was recently appointed to supply and install a dedicated Harman Professional audio solution into the BSJ theatre.

Delivering full-range music and intelligible speech for a wide range of events and per formances within the school’s main theatre, IMS outfitted JBL JRX215 enclosures

to the left and right sides of the stage. On the stage itself, accurate and clear monitoring for the per formers and speakers has been delegated to JBL IRX112BT powered speakers.

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NEWS: PROJECTS

Japan’s Itabashi Hall upgrades with Kara II JAPAN

The Itabashi Culture Hall in Tokyo has undergone an audio upgrade carried out over five years as components such as mixing consoles and wireless systems were replaced. The upgrade culminated this year with the installation of an L-Acoustics Kara II system in the 1,263seat main hall. The system was supplied by distributor Bestec Audio and installed by Hibino Space Tech Co. The cultural hub, which opened in 1982, presents a programme ranging from pop, jazz, classical and rock through to traditional Japanese music and drama. As the main hall’s ageing sound system was no longer offering satisfactory bandwidth and coverage and was causing degradation of high frequencies requiring constant equalisation as well as generating feedback during sound checks, the team at Itabashi set out to replace it.

Katsuhisa Mochida from Sigma Communications and head of sound at the Itabashi Culture Hall first encountered L-Acoustics when he joined the team 10 years ago and heard the hall’s mobile ARCS system. “When I first heard the sound, I was impressed by its resolution and clarity, and I still have that impression now,” he commented. “We chose Kara II because we knew it would achieve consistency of sound coverage from the ground floor all the way up to the balcony.”

Hibino Space Tech Co used L-Acoustics Soundvision to design

Mochida is now overseeing a full digital network system upgrade, including an Avid Venue console in the control room which provides AES input to the P1 AVB processor, while LA Network Manager monitors and controls the entire system. For the moment, the existing analogue lines are still available for redundancy, allowing the system to be switched instantly in the case of emergency so that the performance can continue without disruption. “However, there is a clear difference in sound quality with AVB and we hope to convert everything to digital soon to realise the full potential of our new Kara II sound system,” he said. www.bestecaudio.com www.hibino-spacetech.co.jp

Inside Tokyo’s Itabashi Culture Hall

www.l-acoustics.com

the system, which comprises a centre array of 12 Kara IIs, with L-R hangs of five Kara IIs per side. Two additional arrays of 10 Kara IIs each serve as side fills, while two coaxial X15 HiQs are deployed as stage monitors and three KS21 subs per side provide low end. The whole system is driven by one LA2Xi and 14 LA4X amplified controllers, alongside two L-Acoustics P1 AVB processors.

“With the Kara II system, no matter how loud we drive it, there is no feedback,” said Mochida.

“It’s amazing how L-Acoustics can provide a high level of sound reproduction for the large auditorium of the Itabashi Culture Hall.”

performances

Offering a small footprint, remote control mixing capabilities and an intuitive GUI, the Soundcraft Ui12 consoles offer ease-of-use functionality for staff mixing the school’s arts per formances.

Ensuring balanced full-range coverage throughout the space, IMS further installed JBL Control 16C/T ceiling speakers and Control 19CST in-ceiling subwoofers. The passive JBL loudspeakers are powered by racked Crown XTi 2002 and CDi 1000 amplifiers.

Following final commissioning, the new audio system has surpassed BSJ’s expectations by enhancing theatrical per formances. “We were thrilled to receive such positive feedback from the customer,” commented Harman Pro director of channel management and audio solutions, G Amar Subash. www.bsj.sch.id www.imsindo.co.id pro.harman.com

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NEWS: PROJECTS

Renkus-Heinz IC8s conform to ANU’s heritage AUSTRALIA

The Mills Room in the Australian National University The Australian National University (ANU) has carried out an AV upgrade of its historic Mills Room. Located across the river from Capital Hill and the national parliament in Canberra, the university offers seven academic colleges of learning, and additionally hosts high-profile meetings in the Mills Room in the Chancelry Tower. Distinguished by Tasmanian blackwood carpentry, the ornate conferencing and meeting space can host up to 54 people, including high-ranking members of the government.

The room’s design and hosting of significant ANU meetings since 1964

has led to the meeting space being granted heritage significance. “Because the space was deemed to be of heritage importance, we were given the directive of no substantive changes to the room,” explained Alder Technology collaborative technology design consultant, Christopher Watson. “The space itself measures roughly 17m x 12m, with a massively vaulted ceiling. It is also made of solid concrete, with a floating wall existing on one side. Simply put, the acoustics in the room were very poor and would present a challenge.”

In addition to architecturally preserving the room with a minimalist design, Watson was required to precisely position audio in the space. The quest led him to Renkus-Heinz.

“Renkus-Heinz is a great audio solution for any space because of its quality but, when you have a lot of challenges in an install, the products they make really show their strengths,” added Watson. “With RenkusHeinz we’re now looking at a room that looks aesthetically balanced and has sound characteristics that are performance-worthy.

No need for pendants or ceiling speakers, just perfect sound with two steerable arrays.”

Systems integrator MNGD incorporated two Renkus-Heinz IC8-R-II digitally steerable line array systems on a floating wall at the front of the room. As par t of the Iconyx series, the IC8-R-IIs incorporate the US brand’s digitally programmable technology that aims audio precisely on the audience ears and away from the room’s peculiarities. Up to four steerable beams can be individually shaped and aimed from a single IC8-R-II column hosting eight 4-inch coaxial transducers. In addition, the compact footprint and incorporation of Dante audio-over-IP ensured that speaker placement did not impact upon the room’s historically impor tant architecture.

“We really like to talk about the audio capabilities of Renkus-Heinz,” stated MNGD project manager, Lucas Catanese.

“But we also know there are installations where architects want to maintain a cer tain look and feel. This location, obviously, had a ver y impor tant reason to do that, but Renkus-Heinz allowed us to integrate a system while balancing the needs of the heritage space.”

Following the installation of the Mills Room, the university has made the Renkus-Heinz IC8 a standard for future audio upgrades, having already installed it in a theatre and an operations centre where ANU previously had challenges with audio. www.aldertech.com.au www.renkus-heinz.com

Crescendo AV peaks with audio and lighting solutions for Saga: Cuisines of India INDIA

Crescendo AV has equipped restaurateur Vishal Anand’s Saga: Cuisines of India with Harman Professional audio and lighting solutions including JBL Professional loudspeakers, Crown amplifiers, BSS signal processors, AKG microphones and Mar tin Professional lighting fixtures.

The 200-capacity venue, headlined by twice-Michelin-starred chef Atul Kochhar, features a 15.5m ceiling, one of the world’s tallest bar displays and a stage for live per formances that can accommodate anything from a DJ to a six-piece band.

“Saga was a really unique install in ever y sense,” said Vineet Wadhwani, managing par tner, Crescendo AV. “It was definitely exciting to be a par t of the journey from concept to installation. The 15.5m ceiling height and being located in the midst of corporate offices, an upcoming hospital and a residential complex all posed challenges in terms of the acoustics and overall audio setup, but we were able to achieve the desired result using a combination of appropriate soundproofing, acoustic treatment and setting the right dispersion angles for the speakers.”

JBL VTX A8 loudspeakers and B18 subwoofers provide main sound reinforcement for the stage, while JBL AC18/95 compact loudspeakers and ASB6118 high-powered subwoofers provide additional sound reinforcement, with PRX812 floor monitors for performers onstage. In outdoor areas, JBL Control 29AV-1 indoor/outdoor monitors and Control 85M mushroom landscape speakers have been deployed.

To power the system and provide flexible signal routing and control capabilities, Crescendo AV equipped Saga with Crown and BSS networked audio solutions. Crown I-Tech 4X3500HDS, XTi 6002 and XTi 2002 amplifiers featuring HiQnet System Architect software for remote network control of levels and signal processing power the system, with BSS BLU-100 signal processors providing high-bandwidth digital audio networking, and EC-8BV Ethernet controllers for staff operation. Crescendo AV also provided Saga with WMS40 wireless vocal microphone sets and AKG D5S dynamic microphones for live performances.

To provide versatile illumination for intimate dining, live performances and highenergy DJ nights, Crescendo AV equipped

Saga with a range of Martin lighting solutions including Rush MH 5 Profile, MH 11 Beam moving head, Rush PAR 2 RGBW Zoom and Rush PAR 2 CT Zoom fixtures installed throughout the restaurant and Martin DMX 5.3 splitters providing data connectivity over long cable runs. A Martin JEM compact hazer and JEM C-Plus haze fluid have also been provided.

“Crescendo AV has done outstanding work in executing the complete installation,” said Anand. “They have done an exceptional job commissioning audio and lighting for Saga and allowed me to present an unforgettable experience to my guests.” pro.harman.com

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Auckland observatory sees stars with Harman upgrade NEW ZEALAND

Auckland’s Stardome Observatory and Planetarium has upgraded its cinema and live performance venue with a Harman Professional networked surround sound system supplied by distributor JPRO and installed by AV integration company Avid Automation.

The Stardome’s observatory opened to the public in 1967, while the planetarium – the largest in New Zealand – launched in 1997.

The venue features a panoramic theatre with a full-dome concave screen, laser projectors and IMAX angled seating for 360° viewing. Doubling as a cinema and live performance venue, the Stardome needed a versatile sound system that would be easy for staff and volunteers to operate on a wide range of events.

“The primary use of the system is to provide an immersive 5.1 cinema experience, but the theatre also doubles as a live performance venue for small bands and events – everything from strings to electronica,” said Darian Sundar, director of Avid Automation. “So, in addition to offering an accurate cinematic experience, the system needed to be capable of handling larger SPL to accommodate live performances.”

A range of JBL AE Series loudspeakers comprise the theatre’s surround sound system. JBL AM7215/95 high-power

two-way loudspeakers provide the left and right channels, with a single AM7215/26 loudspeaker with a 120° x 60° rotatable waveguide for the centre channel. For the surround channels, JBL AC18/95 compact two-way loudspeakers were chosen as their enclosure design allows for installation close

to the ceiling. Additionally, three JBL VTX B18 18-inch subwoofers provide a bass foundation.

“The AE Series speakers are specifically manufactured for theatrical sound design and performing arts facilities, so we knew that they would suit the scope of this project perfectly,” said Paul Edlin, sales director, JPRO.

“The cardioid sub-array configuration is simply magic and an integral part of the design,” added Sundar. “It allows the performance volume of the bass to be focused in the room without spilling into the foyer and office areas.”

Two Crown DriveCore CDi 4|1200BL power amplifiers power the system, with pre-loaded JBL speaker tunings that allow the amplifiers and speakers to work together. The amplifiers interface with a BSS BLU-806 signal processor via Dante, providing signal routing and control including the ability to interface with the venue’s fire evacuation system.

A Soundcraft Si Performer digital mixer has also been installed, with a Dante interface card allowing signals to be output to the BSS and Crown backend, while a Soundcraft Mini Stagebox 16 provides additional inputs onstage for larger performances. Avid Automation collaborated with Stardome organisers to design an intuitive, easy-tooperate user interface. “A system of this nature is a significant investment,” concluded Sundar. “The venue is open to the public with performances six days a week, requiring the system to work day-in and day-out. Localised support, reliability and versatility were key in our decision-making.”

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Aux Media Group’s XR stage relies on Brompton Technology SINGAPORE

The country’s largest extended reality (XR) stage, Aux Media Group’s Aux Immersive Studio, is using Brompton Technology’s Tessera processing and Brompton HDR to merge physical and virtual events.

Powered by Aux Media Group’s partnership with UK-based creative technology company disguise, together with Yamaha and Panasonic, the content development agency’s new studio is a collaboration between worldleading brands and technologies “to create experiences that allow our creatives to tell

staff and external audiences have come to appreciate our XR solutions.”

The Aux Immersive Studio setup comprises a 12m x 3.5m LED wall of Roe Diamond 2.6mm panels, and a 6m x 6m floor of Roe BM4 LED tiles, driven by two 4K Tessera SX40 LED processors and three Tessera XD 10G data distribution units. The Roe Diamond panels have been calibrated using Brompton’s Hydra measurement system to enable Dynamic Calibration and make full use of Brompton HDR.

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Source Four LED Series 3 & Desire Fresnel Inside the Aux Immersive studio their stories in a way never done before,” in the words of Aux Media Group CEO, Choong Chyi Kei. “In 2020, amidst the worldwide pandemic, many industry players pivoted to virtual and hybrid events, with many using green screen technology that requires extensive postproduction and guesswork,” he continued. “We decided to take the opportunity to forge ahead on the new path of virtual productions using extended reality technology from start to finish. Marrying this with our experience in event production, we are proud to be able to spearhead this development by introducing extended reality technology to virtual and hybrid productions and learning from the rest of our global partners.”

The team draws on Brompton Tessera processing, Roe Visual LED panels, disguise media servers, and stYpe and Mo-Sys trackers, plus solutions such as Yamaha Rivage consoles and TriCaster TC2 for livestream conferences, awards shows and concerts.

“We saw a strong need to change and integrate the use of extended reality to bridge the gap in communication and increase productivity all at the same time,” explained Choong. “Companies that look to improve their ways of engaging with their internal

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“By being able to utilise a full spectrum of Dynamic Calibration features and Brompton HDR technology, we are able to push the limits of how close we can produce virtual sets that feel so real that the whole experience almost becomes tangible,” explained Choong.

Aux Immersive Studio has now hosted projects ranging from music videos, live concerts and a cross-border collaboration between jazz artists Jeremy Monteiro and Laura Fygi. The studio has also accommodated large corporate conferences, annual general meetings and awards shows.

Looking to the future, the team believes that the studio’s cutting-edge technology will help minimise the need for physical sets when it comes to filmmaking. “Recreating our clients’ stories is a key focus of our company across all sectors. We have already started talks with one of the global key streaming service providers to produce content right here in our studio,” said Choong. “With the new Tessera 3.1 HFR+ feature, we have the ability to work with high frame rate content like eSports, film and broadcast. With the current hype in eSport gaming, this will be invaluable for us to be able to host such events and make full use of our high-speed cameras for filming purposes.” www.bromptontech.com

Unparalleled brightness, eight-color mixing with deep red, built in wireless DMX/RDM, & NFC. All of this technology and more in Source Four LED Series 3 and Desire Fresnel.

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NEWS: PROJECTS

Surf’s up with EAW AUSTRALIA

Pro Audio Video Technology (PAVT) has designed and installed an EAW audio system for Salty’s restaurant and bar at Bondi Beach, owned by the Millett Group hospitality and tourism group. Owner and operator Christian Millett wanted to pay tribute to the region’s sur f culture and was looking to create a relaxed and fun environment with a serious PA system.

PAVT has installed EAW systems at other Millet Group-owned venues around the region for the past 10 years. “I have always been impressed with the quality and durability of EAW’s equipment,” said Millett. “Our venues operate seven days a week, year-round, and our EAW gear has always stood up to the test.

With our new venue, Salty’s, we did not consider any other option. For us, having a restaurant and bar with amazing sound quality and enter tainment was going to control for individual zones was also be our point of dif ference and we knew impor tant. Levels can be adjusted by we had that with EAW.” management staf f via a smar tphone Versatility was key for the system app. design; Salty’s is open for lunch daily, The PAVT teamOUTPUT divided the deep bar OPTIMIZED HIGH-CURRENT, LOW IMPEDANCE HEADPHONE so the venue needed to have a system area into four separate zones, with ULTRA-STABLE CLOCKING ENSURING CONVERSION covered for BGM that would allow clients toACCURATE, carr y the DETAILED main zone/DJ/dancefloor on conversations. Additionally, with DJs by a flown system of six EAW MK8196 A NO COMPROMISE DAC OF UNPARALLELED SONIC CLARITY playing music seven days a week, the passive two-way loudspeakers and two throughout the day PROTECTION EAW SBK250 subs. The bar area itself AUTOvolume INPUT changes DETECTION AND OUTPUT and also from set-to-set, so setting up has been installed with a row of EAW

VFR89 passive, two-way loudspeakers, and the entrance is covered by six VFR89 and four SB120 speakers. An annex area to the side has a pair of VFR89 speakers.

“EAW has a very solid distributor in Australia with PAVT,” continued Millett.

“PAVT has had the EAW line for many years and this instills confidence that should any parts be required down the road, there will be continuity of supply. Dave Coxon has been excellent, as usual, in helping us with the commissioning and tuning.

Since getting it dialled in during setup, the system has been per fect. Salty’s looks and sounds great.” www.eaw.com

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TVU One provides real-time footage of Shenzhou-12 spacecraft launch CHINA

TVU One mobile transmitters from the cloud and IP-based live video solutions specialist have been used by the countr y’s state-run press agency, Xinhua News Agency, to provide real-time footage of the launch of the Shenzhou-12 spacecraft from the Jiuquan Satellite Launch Center (JSLC) in nor th-western China.

Mounted to a Long March 2F carrier rocket, Shenzhou-12 transpor ted the first three astronauts to the Chinese Space Station (CSS), scheduled to be fully operational next year. Only Xinhua and state-owned broadcaster China Central Television (CCTV) were authorised to be onsite to cover the launch. Beyond security restrictions, Xinhua faced strict requirements for operating live video equipment. Some live camera feeds using the RTMP streaming protocol were shared from sur veillance cameras at the launch site. The footage was transmitted to the Beijing headquar ters of Xinhua through the router function of TVU One. TVU’s technical team worked with Xinhua’s live broadcast team to create a customised RTMP streaming video transmitting and

decoding solution, so the footage could be received and decoded by the TVU Ser ver in Beijing.

While Xinhua had access to the launch site with its own equipment, there were numerous technical issues. Network signal coverage at the JSLC, located in a remote desert area in Gansu Province, is not very reliable. Xinhua chose TVU One because its aggregation of multiple data connections delivers a reliable and stable transmission solution. There was also the issue running cables at the launch site, a large, hazardous area. TVU One’s wireless transmitters avoided wired connectivity, allowing the agency to place cameras in various locations across the site. Xinhua also used the TVU Anywhere mobile app from locations around the site, which provided a panoramic shot less than 150m from the launch tower.

TVU One was also used by CCTV last December to broadcast live coverage of the landing of China’s Chang’e 5, which returned from the moon with lunar soil samples. The live broadcast took place at the Siziwang Banner landing area in Inner Mongolia.

“TVU continues to be a technology partner of several government agencies, contributing pool feeds of space launches and other activities for media outlets when onsite attendance is limited,” said Paul Shen, CEO, TVU Networks. “We have had a cooperative

relationship with Xinhua for many years, and we appreciate their trust in our ability to find affordable and reliable solutions for their coverage of the historic Shenzhou-12 launch.” www.tvunetworks.com

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Six60 plays Eden Park with Robe and Brompton NEW ZEALAND

JCU’s Cairns campus site

Videopro equips James Cook’s JCU Ideas Lab

Six60 has become the first band to play at Auckland’s Eden Park stadium, appearing before 50,000 fans with a lighting design by Ben Dalgleish from Human Person using over 200 Robe moving lights. The show was the culmination of the band’s tour which began in January, and there were just five weeks from the show being confirmed to the gates opening at New Zealand’s biggest sports stadium. Video production and equipment supplier, Big Picture, also provided a video system package for the tour and inaugural concert, which included Brompton Technology’s Tessera LED processing.

effects. Twenty-four MegaPointes on the front truss were used for audience lighting and aerial beam FX. A grandMA2 system was used for lighting control with Dalgleish programming and operating alongside programmer Jade Fraser. Video ran on a d3 system, operated by Evan Dilworth. Notch designer Ryan Sheppard worked remotely from Canada, dialling in looks last minute as the set list was updated. Human Person also designed video content for the tour together with the band, with Valentine incorporating UV mapping into the show.

The video package included 215m2 of Roe MC7 LED panels in Tait touring

Dalgleish and his partner in Human Person, visual designer Ian Valentine, filled the venue with light sources including the Robe fixtures supplied by rental company Spot-light Systems. The lighting plot included 97 Robe BMFLs, a mix of Spots and Blades, placed over the trusses above stage, with a row of 36 across the stage deck. Eight BMFL Blades were rigged on the two delay towers running on a remote tracking followspot system.

Joining the BMFLs on the rig were 28 Tarrantulas, five of which were positioned along each of six finger trusses located above the performance area in upstage/ downstage orientation. Each finger truss was also rigged with two MegaPointes.

These fingers were all on an automation system and moved throughout the show into different positions. Another four Tarrantulas per side were used for lowlevel side lighting. Seventy-five LEDBeam 100s were deployed on five automated lighting pods that moved throughout the show, helping to create fluid kinetic

frames, Brompton 4K Tessera SX40 LED processing with Tessera XD 10G data distribution units, a Sony HD PPU camera system and disguise servers to run the content. “The short lead time could have been a problem, but we were able to mitigate most of the potential issues thanks to the ease of use of Brompton’s processing and Tessera software features,” added Paul Carppe, general manager – NZ at Big Picture. “Utilising the Tessera XD units enabled us to easily distribute data across the 27.6m-wide screen with a simple fibre link back to the SX40 units at control.

“We used a large portion of our outdoor LED stock to create the giant 600m2 screen for this feat of a show. Following the success of the Six60’s Saturdays tour, there was no question about which LED processing to use for the Eden Park concert. Brompton Technology was our first and only choice.”

AUSTRALIA

Videopro has collaborated with Harman Professional Solutions to supply James Cook University’s new JCU Ideas Lab with a networked AV solution at its Cairns campus to allow industr y exper ts to interact with students.

Established in 1970, James Cook University (JCU) has campuses in Cairns, Townsville, Singapore and Brisbane, as well as research and learning sites in Mackay, Mount Isa, Rockhampton and Thursday Island. The new $30 million JCU Ideas Lab was designed to create a place for researchers, entrepreneurs and students to share ideas. The facility houses an atrium, meeting rooms, electronics labs, workshops and teaching spaces to create, prototype, test, develop and scale technologies, products and business concepts, including a Narrowband Internet of Things laborator y (NB-IoT).

“The client visualised an interactive learning space where students, lecturers and industr y exper ts could come together,” said Scott Maunsell, Videopro.

“The design called for a centralised AV distribution and control system, which was most appropriate due to the many smaller spaces in the facility. To bring the client’s vision to life, we selected Harman AV equipment. JCU are a longterm AMX par tner so AMX solutions were the natural fit for the complex video and control requirements. JBL pendant speakers worked ideally for the open ceiling architecture making Harman our first choice for the JCU Ideas Lab.” AMX Acendo Vibe conferencing soundbars featuring JBL speakers and microphones have been installed in the meeting rooms, with AMX Metreau Ethernet keypads providing control in the meeting rooms, ideation spaces, labs and classroom student collaboration pods. Videopro

also installed AMX Modero G5 tabletop touch panels to provide an intuitive user inter face for more complex meeting rooms, labs and the atrium videowall and audio system.

Balancing the challenges of locating bulky AV equipment in the architecturally designed teaching spaces with providing ser vicability for the JCU AV team, two AMX Enova DGX Digital Media Switchers located in the second-floor comms room manage all video to and from AMX 4K DXLink transmitters and receivers located at sources and displays throughout the facility. AMX 4K DXLink wallplate transmitters provide connectivity for guest devices, while AMX NetLinx NX Series integrated controllers are the backbone of the solution, integrating the building’s AV technologies into a single system. A mix of JBL speakers including Control 60 Series pendants powered by JBL Commercial Series amplifiers and C2PS powered models have been installed throughout the JCU Ideas Lab. “During my time at JCU, I have been involved with 20 new building projects,” said Gar y Gulliford, manager videoconferencing and audiovisual ser vices at James Cook University. “The JCU Ideas Lab was one of the most rewarding projects so far. Ever yone was fantastic to deal with – par ticularly our project manager Rachel Argent, Scott Maunsell and Ben Thompson from Videopro. The last six months of the building construction were done under lockdown and ever ybody involved did a phenomenal job while adhering to the strict social distancing rules. The AMX and JBL solutions are right at home in a building of this quality.”

www.bromptontech.com www.robe.cz

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EV hits the high notes on the roof of Indochina

The Vietnamese distributor of Electro-Voice and Dynacord has supplied and installed a PA system for a cultural attraction on Vietnam’s highest mountain wide bandwidth, vertical and horizontal directivity control, the compact cabinets fulfil the venue’s criteria for maximum flexibility. Low-frequency enhancement is provided by eight X12i-128 subwoofers, while the entire system is driven by just four IPX20:4 power amplifiers. Installed at the very top of the peak to support national ceremonies, six EVF 12-inch two-way models provide nearfield and medium-throw coverage.

Powered by a pair of Dynacord L3600FD (2x1,800W) amplifiers, the EVF models are equipped with 90° x 60° rotatable waveguides.

With the installation taking place at the top of the highest peak in the region, accessibility of

COMBINING ELECTRO-VOICE LOUDSPEAKERS and Dynacord power amplifiers, Truong Thinh Sound – Light Equipment JSC has installed a sound reinforcement solution for enhancing the traditional dance, live music and religious performances being staged at the Fansipan Peak tourist attraction. Located 3,143m above sea level at the top of Vietnam’s tallest mountain, the complex stretching across the peak features traditional Buddhist temples, the world’s longest three-line cable car system, a funicular railway and viewing platforms taking in vistas across the surrounding Hoàng Liên mountain range and Hoàng Liên National Park.

Capable of delivering wide, even coverage across the outdoor areas for the music that

the site and transport of the equipment provided obvious challenges. “Even in extreme weather conditions and at a height of more than 3,100m, we are very pleased with the Electro-Voice and Dynacord professional audio systems operating on Fansipan,” commented Phan Tat Thang, VP of Fansipan Sa Pa. “Furthermore, without the valuable assistance from the enthusiastic and experienced team of Truong Thinh Sound – Light Equipment JSC, the project would have not been completed to such a high standard.” www.dynacord.com www.electrovoice.com

accompanies a full annual programme, the EV X1 full-range loudspeaker components are very much at home close to the “The Roof of Indochina” peak. In addition to audio quality, the system was specified for withstanding the full range of elements including –8°C temperatures, 100% humidity, heavy rain, wind, fog, hail and snow. To withstand the adverse effects of the peak’s weather, the team at Truong Thinh recommended weatherised fibreglass versions of all the EV loudspeakers to ensure IP55-rated direct-exposure protection.

A total of 20 X1i 12-inch line array modules can be deployed on mobile trussing anywhere around the complex, and the array size can be varied according to the application. Providing

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Leader of the pack

The nature-inspired Garden Ballroom is designed to host wedding banquets and corporate events Image courtesy of Parkroyal Collection

The Parkroyal Collection Marina Bay has undergone a major AV upgrade during Singapore’s circuit breaker. Richard Lawn checks in – virtually, of course

Concept Systems Technologies’ project manager, CK Lim

Concept Systems Technologies’ project and sales director, Gerald Fong

AS THE COVID-19 PANDEMIC LINGERS STUBBORNLY ON, tourism continues to be one of the sectors hardest hit in APAC. With Singaporean hotels forced to close their doors to guests, one in four have been transformed at the request of the government into facilities for so-called stay-home notices (SHN). Here, expats were required to quarantine within the guest rooms for 14 days. However, over at the Parkroyal Collection Marina Bay, it was business as usual for Concept Systems Technologies (CST) as the systems integrator worked around the circuit breaker measures to upgrade the audiovisual and lighting system within the public areas.

Previously known as the Marina Mandarin Singapore, the Parkroyal Collection Marina Bay is a significant landmark on the waterfront cityscape with its impressive architecture. New owner the Pan Pacific Hotels Group, which acquired the property in 2019, ordered a complete renovation of the existing building as the group expands its hospitality ventures to new, key markets.

Singaporean hotels fully appreciate that enhanced AV technology often makes all the difference when wooing a corporate client or a wedding party to their ballroom. To maintain that competitive edge, some follow the pack while others seek to differentiate themselves by providing unique features.

Although CST has previously undertaken works for the existing hotel in addition to the new owners, the company was nevertheless required to submit a tender bid for the proposed works. Having branched out into other verticals including houses of worship and education over the years, CST’s growing list of glowing hotel references can be attributed to its detailed, futureproofed designs and ease-of-use functionality. The fusion of dazzling LED walls, lighting effects and audio intelligibility that CST consistently delivers ensures that its trademark signature remains in high demand among aspirational five-star properties.

With the tender bid approved, CST project manager CK Lim and his team was approved to go onsite over three protracted phases throughout the ongoing pandemic.

With a mission to provide a holistic hospitality experience with impeccable service to guests, quality sound featured as a high priority when selecting a suitable system for the new pillar-free Garden Ballroom. Designed to host wedding banquets and corporate dining events, the 767m2 nature-inspired venue on level one can be divided and partitioned into three separate rooms for smaller, corporate seminars. Acoustic and AV consultant CCW Associates was tasked with the technical specifications of the Garden Ballroom. As is the norm, an essential requirement was that all speakers needed to be concealed at their installation points within the elegant interior.

CST project and sales director Gerald Fong explains that the system previously installed in the space had limited sound power and coverage ability. “A stereo pair of point source enclosures and 6.5-inch ceiling speakers had been distributed across the 4.2m-high ballroom,” he says. “Unfortunately, the technical limitations of the system prevented the team from being able to push the levels to their desire.”

As an L-Acoustics certified provider Fong, together with his colleague Jimmy Lim, proposed the low-profile design of the French manufacturer’s Syva system on account of its exceptional coverage capability. CCW was invited to a demonstration at the company’s Ubi showroom and left suitably impressed. The L-R stereo design would be augmented by a distributed network of L-Acoustics 5XT ultra-compact coaxials on account of their high output-to-size ratio. Crucially, Soundvision modelling confirmed that the combination would achieve both power and even dispersion while providing discretion.

Offering a full 140° horizontal coverage across the 36m-wide ballroom, the pair of L-Acoustics Syva cabinets are neatly concealed within doorframes behind fabric on either side of the Garden Ballroom stage. Low-frequency extension is provided by a pair of Syva Low enclosures embedded in the ceiling area close to the stage.

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FEATURES: INSTALLATION

Image courtesy of Parkroyal Collection

Each divisible section of the ballroom is served by six compact 5XT speakers, with CST using its expertise to conceal the cabinets within the ceiling architecture. Fixed into position pointing downwards, the evenly dispersed 5XT coaxials provide full-range clarity with 110° dispersion. Providing a clear low-end response down to 27Hz, six additional Syva Subs are hidden in the rear and side ceiling area. Rackmounted in a rear ELV room, two L-Acoustics LA4X and three L-Acoustics LA2Xi amplified controllers power the 5XTs and subwoofers, respectively, over 4Ω of impedance.

Fong reflects on the success of a concert-grade sound system that guests can enjoy as an integral part of the luxurious Parkroyal Collection Marina Bay experience. “The Syva system looks, sounds and feels comfortable for guests who come here to celebrate some of life’s most momentous occasions,” he says. The system is equally appreciated by event organisers.

“We have had events companies coming to this venue for setup and, when they recognise and hear the L-Acoustics Syva installed, they will promptly request to use the system for the event. I believe they are pleasantly surprised by a system that

is well-hidden in the beautiful interior design, delivering pristine sound for their clients and guests.”

Room dividing and combining DSP settings have been accurately programmed within the SymNet software of a 12-input, 8-output Symetrix NX 12x8 processor. Despite having only been appointed as the Singaporean distributor for Symetrix in 2018, CST has been specifying the US brand for its projects for many years. “The SymNet software is easy to programme in addition to being versatile, scalable, flexible and straightforward,” explains CST programmer, Sofyan.

“As with most of our hotel projects, the Symetrix processors are programmed as standalone systems without networking requirements. In addition, the wall panels are straightforward to install and easy to navigate for users.”

Each divisible ballroom is equipped with customised AV wall panels incorporating audio, HDMI, USB and VGA inputs and speakON connectors in the rear room in addition to the front and side sections of the stage. Belden 8760 two-core shielded cabling routes the microphone and line signals to AVP audio patch panels, while Canare coaxial cables have

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Concept Systems installed AOTO LED displays in the Atrium Ballroom

Concealed within door frames, L-Acoustics Syva columns provide horizontal coverage been installed for composite video signals and 24DV-2U patch panels are equipped for BNC video signals.

The uncertainty of hotel bookings brought about by the pandemic led to inevitable budget cuts for the project. However, the main visual output of the Garden Ballroom was spared.

CCW and the hotel management team were given a tour of the Orchard Hotel grand ballroom, where CST had engineered two spectacular LED screens in 2019. Having been impressed by the screen’s flexibility of orientation in either portrait or landscape mode, the tour party insisted on its inclusion.

Drawing the main focus of attention onto the front stage, a 9.6m x 3.36m LED screen is offset by two 3.36m x 1.92m AOTO LED screens to the left and right in ballrooms A and C. The 2.5mm pixel pitch of the central LED wall comprises of 122 U2.5 M2.5C 480mm x 480mm tiles fixed to brackets, while the lateral LED walls each consist of 28 tiles. 4K resolution imagery is processed by an ATLVC-HS/3 LED control system, which is managed from a PC loaded with Blue Peacock software. Three Datavideo PTC-140 PTZ cameras serve as the main inputs into a Kramer VS-88UHDA 8x8 digital matrix switcher. When partitioned, Epson LCD projectors and LAV motorised screens can be utilised in the left and right sections for smaller-scale presentations and events.

Wireless Apple iPad touchscreens are used to manage AV and lighting parameters programmed into the Crestron AV3 processor in the rear ELV room. Each ballroom is equipped with Crestron C2N-CBD eight-button control keypads for individual control when divided, and a Furman CN-3600 power sequencer has been added to provide ease of powering up (and down) the AV system.

Phase one works on level one included the fitting out of two function rooms adjacent to the Garden Ballroom. Keeping with the garden theme, Clover 4/5 and 6/7 are divisible, but when combined have been designed to accommodate 171 and 124 seated guests, respectively. VGA and HDMI sources can be sent to floor boxes for outputting to Epson EB-L1070U 7,000-lumen LCD projectors on customised lifts for displaying on 2.44m x 2.44m motorised screens. Powered by a single Powersoft Ottocanali 1204 eight-channel amplifier, a network of Apart CMRQ108 5.25-inch ceiling speakers provide audio playback and clear speech from Shure SLX wireless handheld and head-worn transmitters. Simplified room combining and dividing DSP presets stored in a Symetrix Solus NX 4x4 processor can be recalled via Crestron control.

Phase two of the project was played out from October 2020 on levels four and five. The main focus of activity took part in the Atrium Ballroom, which can host up to 300 guests and comes

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FEATURES: INSTALLATION with a private foyer with commanding views of the indoor atrium.

The 346m2 venue on level five can host bilateral events with the Garden Ballroom four levels below thanks to the provision of a 100m AV and control tie line.

Like its bigger brother, the Atrium Ballroom is defined by a unique, but slightly lower, 4m ceiling height that has been cropped down to 2.5m and could not house regular loudspeaker outputs. Having conducted works in the same hotel prior to the current contract, CST had unwittingly futureproofed the current Pan Pacific Hotel Group’s investment. Both the Yamaha M7CL digital live console and the pre-existing Electro-Voice Evid 8.2C speaker system were passed for continued use. “The EV 8-inch ceiling speakers had to be reorientated horizontally and disguised from view in overhead black panels,” explains Fong.

Lighting in the form of 14 Martin Rush MH 5 moving heads had only been installed by CST in 2018.

Set up as a smaller replica of the Garden Ballroom, the main AOTO 6.24m x 1.92m 4K LED wall comprises 52 tiles. “Owing to a limited stage depth of 1.5m, we had to customise the LED wall so that it can be controlled from a dedicated wall panel to move forwards or backwards electronically on tracked rails,” explains Lim. “The solution allows the hotel to conceal or reveal the mini Image courtesy of Parkroyal Collection

The foyer area of the Garden Ballroom

The project played out over several levels of the hotel Image courtesy of Parkroyal Collection

stage depending on whether the function is hosting a presenter onstage or playing a video.”

Three Datavideo PTC-140 PTZ cameras serve as the main inputs into a Kramer VS-88UHDA 8x8 digital matrix switcher.

Wall-mounted on the left and right walls to mirror the level one venue, added visual outputs have been installed in the form of Samsung 98-inch HD displays. Added audio, HDMI and VGA input connectivity has been built in with custom AV wallmounted panels discreetly integrated into the front and the rear of the stage.

Full AV and lighting control is managed from eight-button control keypads and iPad touchscreens connected to a programmed Crestron AV3 room processor. Kramer TP-752T

L-Acoustics systems were selected for the divisible Garden Ballroom

Each divisible ballroom section is discreetly served by six L-Acoustics 5XT coaxials

761 DSP unit provides paging and BGM control. The Apart components creating the BGM solution include a PCR 3000 MKIII mixer for hosting wireless microphones and other inputs and Revamp eight-channel amplifiers for outputting the various signals to a network of Mask 6T cabinets and CM30 ceiling speakers.

Having commenced and concluded the AV upgrade works between a circuit breaker programme and phase two restrictions almost 12 months later, CST endured its fair share of Covid-19 obstacles onsite. “The works on their own were relatively straightforward,” stresses Lim. “But timeline changes, manpower issues and Covid regulations constantly affected our efforts. There were occasions when an

Soundvision modelling highlights ideal locations for the Syva Subs and Lows in ballroom ceiling

transmitters and TP-752R receivers were added to ensure no degradation of signals.

Standalone BGM systems have been integrated into the Peach Blossoms restaurant, gym and St Gregory spa area on level five, in addition to the Peppermint restaurant on level four. In both restaurants, Symetrix Solus NX 8x8 eight-zone mixer distribution amplifiers receive inputs including Apart PCR 3000 MKIII audio players. Apart Revamp 4120T eight-channel amplifiers output 100V line signals to a network of Apart CM60 5.25-inch ceiling speakers. Both the Atrium Lounge on level four and the gym rely on Symetrix Zone Mix 761 DSP units for paging and BGM control for up to six zones equipped with Apart CMRQ108 wall-flush and Mask 6T 8-inch speakers. Used by fitness instructors, the two gym studios distinguish themselves with higher output Bose FreeSpace3 surface-mount satellite speakers and Powersoft Mezzo 322 amplifiers.

The final act of the upgrade for CST was staged in the pool area in May 2021, where another Symetrix Zone Mix

outbreak would be detected onsite, leading to an immediate stopping of works, which was naturally frustrating.”

Hotel projects may be the norm for CST, but the integrator’s success in supplying eye-catching AOTO LED screens has led to a growing demand for these among hospitality groups. “During our time onsite at Parkroyal, we also supplied and installed LED displays into the neighbouring Ritz Carlton,” continues Lim. Indeed, when it comes to hotel AV upgrades, an AOTO LED screen is commonly the only technology on display. The responsibility to differentiate a property lies with the interior designer, whose vision for the end result dictates the work of the systems integrator. Keeping out of the limelight, like the bulk of the technology the company discreetly installs, Lion State hospitality specialist CST seems to be able to check out any time it likes but is never allowed to fully leave. www.concept-systems.com.sg www.panpacific.co/marinabay

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FEATURES: HOSPITALITY

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Safe bet for Venetian Macau

One of Macau’s top hotels has opened a sleek Japanese restaurant and ramen bar with AV systems to match. Caroline Moss checks in with the Venetian Macau BACK IN 2019, ANTICIPATING BOOM TIMES AHEAD, THE Venetian Macau was planning to overhaul its F&B outlets, raising the opulence levels even higher at the Las Vegas Sands-owned resort. Renowned Japanese chef, Hiroshi Kagata, was brought in to create Hiro, a high-end, modern Japanese fusion restaurant catering to a young, discerning clientele, serving teppanyaki cuisine in an elegant environment featuring a main room, VIP rooms and a sake bar. Hiro Ramen, meanwhile, was aimed at clients in a hurry to hit the casino. Both needed AV systems to deliver BGM which, as the evening progressed, would raise the tempo during cocktail hour and segue into DJ sets alongside vibrant video content. The hotel commissioned local Macau AV contractor Electrasia to supply, design, install and programme most of the AV systems, and Electrasia in turn brought in Hong Kong-based AV design house, the Den. The main room at Hiro features high ceilings and reflective surfaces including a glass façade, steel teppanyaki hobs and granite floor and wall finishes. To overcome these challenges, a main mono system of five Quest Engineering HPI111 10-inch, twoway speakers has been mounted horizontally above the kitchen with asymmetric horns rotated to 90° x 50°. The directivity of the HPI waveguides projects clear HF and intelligibility to every table, especially in low level and subtle BGM mode, avoiding reflections on the walls. A sixth HPI111 is set vertically on a pillar near the entrance directed towards the sake bar; this has its own signal, giving the bar a stereo soundfield. A private seating booth and sofa area, as well as the waiting area and each of the VIP teppanyaki rooms, are covered by smaller HPI8i 8-inch two-way speakers, suspended vertically at a high level and focused on the target zones, using the speaker’s asymmetric beams of 90° x 50°. Five HPI12S super-compact 12-inch subwoofers are located above the natural wood ceiling of the restaurant and aimed downwards. The 12-inch version was chosen to provide the bass reinforcement required for a cocktail lounge without overloading the room with sub-low frequencies which would increase noise levels.

FrenchFlair AS-3 compact 3-inch cylindrical speakers with AS-S10 subwoofers provide BGM in the main VIP room and can also

Five Quest HPI111 speakers are horizontally mounted above Hiro’s open kitchen relay audio from a TV integrated into the furniture on a motorised lift. FrenchFlair AS-3s have also been installed in a corridor leading to the restrooms, with Quest QTC2080i ceiling speakers installed in the cubicles.

While Hiro is part of the Venetian Macau F&B public mall area and open to the public, Hiro Ramen faces the casino area and is designed for casino clients needing a quick refuel. Their attention will be captured by a 4.5m x 3m LED videowall floated from the ceiling, displaying content promoting the restaurant. A solution was needed to provide clarity at a distance of more than 100m, which would require bright LEDs but would also work at up to 10m away for those on nearby slot machines, and up to 5m for incoming visitors. The Den drew on its experience in LED design, selecting a pitch of p4.81 to provide clear resolution and high brightness LED pixels for far distance viewing and a granular view without overpowering brightness when close up. “To ensure the nearfield screen quality can be maintained at such a low pitch, we used an extremely flat type of video LED panel to ensure a perfect performance even at extreme side angles,” explains the Den’s senior AV adviser, Nicolas Kirsch. “At the time

A Quest HPI8i in the Hiro waiting area of design several uncertainties remained, such as the method of mounting the screen, the type of structure and maintenance access. To prepare for possible changes the DLW Magic Series from Digital Light Windows was identified as the best solution, as this series is the Swiss army knife of LED walls: suitable for both touring and installation, with front and rear maintenance and a wide array of pitches and customisation possibilities. Its

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FEATURES: HOSPITALITY

A DLW Magic Series LED videowall attracts casino clients to Hiro Ramen touring-grade mechanical locking system ensures a perfectly flat alignment and makes system setup and alignment extremely fast; an important aspect as we were only given a single day for the installation of the giant LED videowall.”

Hiro Ramen has a modern take on a ubiquitous feature of Japanese ramen shops: the vending machine, which allows orders to be placed, paid for and relayed to the kitchen automatically. An LG 98-inch LCD TV is mounted vertically with a ZaagTech IR multipoint touchframe allowing clients to interact with graphic animations, browse the ramen menu, place orders and pay via mobile phone apps such as Apple Pay, Ali Pay or WeChat Pay. The interactive multimedia feature content was designed and produced by Japanese design agency Teamlab, which also provided the LED wall content. The animation

soundtrack is played out via Quest HPI5 ultra-compact speakers installed within the wall. Orders are sent to the kitchen and queuing numbers displayed on a 55-inch display near the shop entrance, while clients who want to order at the table are presented with an iPad e-menu. Two BrightSign media players provide backup content for the two screens in case streaming from the Venetian video network is lost.

The sound system installed in the ceiling at Hiro Ramen comprises seven Quest HPI8i full-range long-throw speakers and two HPI12S compact subs, all aimed at the tables and waiting area below. The HPI8i was chosen for its directivity, which can cut through the nearby casino noise without overpowering the ambient acoustics nor bleeding onto the casino floor. A set of Xilica Rio input panels behind the

service counter can connect to an iPod or microphones, while wall panel controls allow staff to adjust levels.

All amps and processing for the entire installation – a combination of Quest Engineering QX4280 four-channel and Quest Engineering Q1K digital amps and Xilica Neutrino matrixes – are integrated into a single 16U rack hidden inside a service cupboard. All room controls are provided by Xilica Mini Series wall panels and a master panel based on Xilica XTouch 80 and iPad control. From the single Xilica Neutrino 16x16 matrix, Dante lines have been run to three different Rio input panels located around the venue, receiving local signals including those from the TV in the VIP room, or to connect external sources such as DJ equipment and microphones. Such a small control rack is possible because of the Quest Q1K’s power capacity, which can drive up to 500W/8Ω per channel, or as a 70V line, 1,000W amp in bridge mode. Additionally, the Xilica Neutrino, a high-power DSP offering a range of functions, has the capacity to drive an entire system. “We pushed the system to the limits of its capabilities and the number of control and input panels that it can support,” says Kirsch.

All cabling is from the CAE S2CEB range of high-quality, flexible FHP speaker cable and AudioLan6 Cat6 network cable. Extron video switchers, a Novastar LED wall controller and Cisco Ethernet switch complete the picture.

Following a two-month kitchen preparation and rehearsal period during which all tuning and GUI programming was carried out, the new Japanese F&B outlets opened on 1 February 2020 and prepared to impress visitors to the hotel. Just weeks later, a by-now familiar tale unfolded as Covid hit Macau and closed the casinos. Some reopening has since been allowed and, when the territory is able to return to full capacity, it’s a safe bet that the Venetian Macau’s new star attractions will lure visitors keen to sample Chef Kagata’s Hiro cuisine and gamblers eager for a quick ramen before hitting the tables. www.electrasia.com www.thedenstudio.biz

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FEATURES: ENTERTAINMENT

Good on the dancefloor

Nightclubs across China are continuing a long tradition of installing Martin Audio systems to deliver the latest sounds to a nation of dance music fans. Caroline Moss discovers the latest on the Chinese club scene EVER SINCE THEN-MD DAVID BISSETT-POWELL PLANTED a flag for Martin Audio in China in the 1990s, predicting the massive boom in entertainment that was waiting to happen, Martin Audio and its partner, Sino Huifeng, have been installing bars and clubs across the entire country. A further boost has been the rapid spread of EDM across China, and in 2018 the UK manufacturer further strengthened its presence in the region with the appointment of Dave McKinney as APAC sales manager under the banner of his new company, Generation AV. According to recent Chinese surveys, the audio element is slowly taking a bigger slice of the total investment in club sound and light systems. It has become a major trend to move outdoor electronic events indoors and, with the pandemic creating restrictions of movement outside China, the desire for homegrown entertainment has never been higher.

One of the latest Martin Audio installations is at the Supermiami club in the ancient capital city of Xi’an. This is the latest brand for the Xinhuapeng Group entertainment company based in Xi’an, which has worked with Sino Huifeng in the past to create entertainment projects in Shijiazhuang, Baotou, Yinchuan, Datong, Xi’an and other cities. Supermiami, the latest of these, has been installed with an MLA/MLX loudspeaker array in its 7,000m2 main room.

Spatial architectural design specialist Cheng Jiheng teamed up with a Dutch stage art team to create an exclusive concept for Supermiami, with stage structure, image transmission, lighting, effects and sound all enveloping clubbers in an immersive multimedia AV experience. Sino Huifeng’s engineering team set out to create a sonic experience for the open, column-free interior, which emphasises the 18m-wide dancefloor and 360° space for partying, plus a VIP deck area known as the Sky Box, a cantilevered structure open on both sides, giving guests the sense of an enlarged space.

Luo Chunrong, engineering director of Sino Huifeng, has designed an MLA/MLX system using proprietary Display intelligent software technology, balancing LF with the high end so that all types of dance music can be presented to optimum effect.

Martin Audio MLA/MLX array in the main room at Supermiami

The main Martin Audio WPC dancefloor system at Atlantis The MLA hanging array system comprises 12 MLA (Multi-cellular Loudspeaker Array) cabinets and a pair of MLX subwoofers, while Martin Audio Wavefront W3P speakers provide the external fills. The bass arc of the MLX subs is matched to the delay settings of MLA. While ensuring high-frequency extension, the design also highlights the impact of low frequency to distribute a powerful energy right across the site.

“Sino Huifeng have once again showed their expertise in the Chinese nightclub market and we’re delighted that Martin Audio systems have taken pride of place at this landmark venue,” comments McKinney.

Across China, Sino Huifeng has helped create another spatial EDM experience, this time for the multi-million-dollar Legend of the Atlantis club in Datong, jointly produced by China Datong Atlantis Investment Group and the domestic First-Line Entertainment Management Group. The club gets its name from the legend of Atlantis, which came about during a movement of the earth’s plates, causing a highly developed civilisation to sink into the Atlantic Ocean. Clubbers get their EDM fix in a 2,000m2, 15m-high party space – safely above sea level – via a Martin Audio WPC (Wavefront Precision Compact) line array system. Sino Huifeng has used dual 10-inch passive WPC multi-cell line array speakers for the main dancefloor system, with Blackline3 FX15 high-energy coaxial speakers used for fullrange fill, and a further pair for DJ monitoring. Blackline3 B218 subwoofers provide the main low-frequency energy. This dynamic sound system is complemented by eight sets of robotic arms mounted with lighting effects which pulse through the space to create an immersive experience for clubbers.

There have also been another seven prestigious installs across China in recent months, all comprising optimised line arrays and products from across the Martin Audio portfolio, including a new One Third club in Nanning, two further Miami clubs in Nanning and Shijiazhuang, the Beast Club in Haikou, Modern Club in Guangzhou, as well as bbR Carnival in Huangshi City and Dr Oscar Night Club in Shaoxing.

“Sino Huifeng have shown their dedication and expertise in the night club sector with these landmark installs,” says McKinney. “Optimised line arrays from Martin Audio’s MLA and Wavefront Precision series alongside our legendary subwoofers are delivering stunning audio and impact for clubbers throughout China, and we look forward to further installs in the near future.” www.martin-audio.com

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FEATURES: ENTERTAINMENT

The 1,200-seat Shiki Aki auditorium

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Shiki Haru opened with an original production, The Bridge

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The newly rebuilt theatres form part of the Waters Takeshiba complex

Japan’s Shiki Theatre Company not only finished rebuilding two theatres during the pandemic but is now staging international productions of Frozen and Phantom of the Opera.

Caroline Moss pays a virtual visit SHIKI IS ONE OF THE BEST-KNOWN THEATRE COMPANIES in Japan. Since it was set up almost 70 years ago, the company has gone on to stage almost 3,000 performances to an audience of over three million in a typical year, employing more than 700 actors and staff. Shiki operates seven theatres for its exclusive use, and in recent years its programming has branched out from straight plays towards Western and Japanese musicals.

The Shiki Theatre Company was founded in 1953 on France’s Bastille Day – 14 July – by a group of university students aspiring to bring about a revolution in the theatrical world. They wished to decentralise the epicentre of culture from the Tokyo metropolitan area and make it more accessible to all of Japan by opening theatres in multiple cities. The company presents a wide variety of shows including plays, original musicals and international productions from New York City’s Broadway and London’s West End, as well as all Disney shows transferring to Japan. Each venue requires technology that is adaptable and can accommodate changes between types of shows, as well as between productions and rehearsals.

In 2017, two of the theatres, JR-East Performing Art Center’s Shiki Theatre Haru and Aki – spring and autumn, respectively – were closed due to the redevelopment of Tokyo’s Takeshiba district, with a plan to entirely rebuild and reopen in 2020 as JR-East Shiki Theatre (Haru) and JR-East Shiki Theatre (Aki). Haru had had a record-breaking run with 6,327 performances of The Lion King to an audience of 6.88 million, while Aki had staged 91 productions more than 5,670 times for 4.02 million people. During the redevelopment, both theatres were demolished and reconstructed from the ground up in exactly the same locations as before, and now form part of the Waters Takeshiba waterfront multiplex development.

Due to the impact of Covid-19, the opening night of Phantom of the Opera at the new, 1,200-seat Aki theatre was postponed from July to October 2020. Meanwhile, the slightly larger, 1,500-capacity Haru opened in January 2021 with original Shiki

The auditorium of Shiki Haru can seat an audience of 1,500 production, The Bridge, before it was finally able to go ahead with Disney’s Frozen in June.

Since Shiki stages so many productions, the company purchases and operates all its equipment rather than renting.

Three members of the company are responsible for selecting, designing, installing and tuning the systems before handing over to the show operators. Every effort is made to keep up with the latest technology, and this often involves visits

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FEATURES: ENTERTAINMENT

The balcony delay system at Haru consists of Meyer Sound Ultra X42s to overseas factories to select new technology, providing feedback to manufacturers on product development.

In some cases, overseas designers are responsible for everything from equipment selection to tuning, with Shiki installing the equipment based on data received. Both new theatres have been installed with Meyer Sound systems provided by local distributor Artwiz, with a planned Constellation setup for Haru postponed due to travel restrictions. Currently, Haru is running an installed L-R system consisting of 13 Meyer Sound Leopard compact line array speakers and two 900-LFC low-frequency control elements per side. Six more 900-LFCs are flown as a centre hang along with four UPQ-D2s. Down fill is provided by one Lina, front fill by six Ultra X22-XPs and orchestra side fill by two MM4XPs. Delay systems include under balcony delays of six UPJunior-XPs and seven Ultra X22-XPs, a balcony delay system of four Ultra X42s and two Ultra X22s for mezzanine delay. Foldback monitors include UPJ-1Ps, UPM-2Ps, MM4s and E6s, with MM4XPs, UPJuniors and E6s for special effects (SE). Processing for the entire system is handled

by D-Mitri DAI-24, D-Mitri DAO-24, D-Mitri DCP-72, D-Mitri DGPIO, Galaxy 816, MPS-488HP and MPS-482HP units with Stagetec Nexus I/O devices, and DiGiCo’s theatre-specific SD7T Quantum at FOH. During tech rehearsals, a DiGiCo EX-007 in the centre of the auditorium was used to make adjustments remotely, but during the show it is placed next to the main console and used by a sub-operator, mainly to balance the orchestra.

The Meyer Sound Constellation system will be tuned early next year, to include UP-4slim, Ashby-5C and 8C, UP4XP and UMS-1XPSM elements running on the D-Mitri platform.

A Sennheiser EM 6000 digital radio mic receiver with SK 6212 digital mini bodypacks and MKE 1 miniature lavalier mics are used on the cast.

Over at Aki, Phantom of the Opera – set to be a long-running production – started on 24 October 2020. When rehearsals started in September, Arthur Masella, who as associate director of international productions has overseen versions of the Andrew Lloyd Webber show for three decades, worked across time zones from his home in New York together with music director Kristen Blodgette, also in New York, and UK-based choreographer, Patricia Merrin.

The show opened with an L-R Meyer Sound system consisting of four CQ-1s, four UPQ-1Ps, two UPJuniors and four UPA-2Ps, with two 500HP subs, two 900-LFC orchestral subs, six UP4XPs for front fill, six UP4slim for under balcony delay and four for mezzanine delay and a further UP4slims for orchestra and mezzanine seats. Monitoring is being provided by a combination of Meyer Sound UPJ-1P, UPJunior, UP4XP and CQ-1 speakers, with Apogee SAT-3, Bose S1-Pro and Turbosound TQ-308 models on SE, the latter for moving the voice of the phantom around. Wireless mics on this production are Sennheiser EM 3732-II and SK 5212-II systems with MKE 2 subminiature lavaliers.

The main mixer is a Yamaha CSR-10, which mainly controls the wireless microphones, with a CSR-10S for the orchestra and SE. These are controlled by a Yamaha DSP-RX-EX DSP engine on a console network. Three Yamaha RPIO 622 I/O

racks are also being used. The recording and playback system is a Tascam DA-6400 with Dante input.

Both newly renovated theatres have also been provided with Clear-Com’s Encore Analog Partyline. The configuration for each location consists of a four-channel MS-704 main station and KB-702, KB-701, RS-702 or RS-701 remote stations, depending on where they are used. The full-duplex platform allows production staff on the same channel to carry out bidirectional communication, and systems can scale over standard mic cable or IP interfaces.

Japan has been one of the few places worldwide to continue producing theatre on a large scale fairly consistently throughout the pandemic, due in part to its extensive test-and-trace practices from the onset. However, it is estimated that around half of annual performances have been lost.

“Although the situation has recovered, the company is still dealing with the severe situation, such as rules for maximum audience numbers,” explains Kaname Morishita, one of three sound preparation specialists from the Shiki technical department. “We have taken all kinds of infection control measures in the auditorium and lobby of course, but also in the dressing rooms and orchestra pit. Visits to Japan by overseas creative staff for Frozen were also affected by Covid-19, with travel restrictions, headcount limits and a two-week quarantine period after entry. There were a number of challenges we had to face while exploring every possible means, including working remotely via the internet.”

Despite all the restrictions in place, both new theatres have managed to reach completion, open their doors and start staging long-planned international productions during a global pandemic. In doing so, it’s no exaggeration to say that the Shiki Theatre Company, which was built with the aspiration of bringing about a revolution in the theatrical world, has achieved its goal. www.artwiz.jp www.meyersound.com www.shiki.jp

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FEATURES: EDUCATION

Top of the class Nanjing No 1 Middle School vice headmaster, Li Min

Sennheiser TCC2 mic systems in the ceiling of

one of the

Sennheiser’s TeamConnect Ceiling 2 microphone is being put to good use in lecture halls at Nanjing No 1 Middle School, where it’s improving interactive teaching for staff and pupils alike. Frank Shao goes back to school LOCATED IN ​​JIANGBEI NEW AREA, NANJING NO 1 MIDDLE School Jiangbei Campus is a key project in the cross-river development of high schools in Nanjing. The 100-yearold school, which covers an area of ​​nearly 25 acres, has recently installed Sennheiser TeamConnect Ceiling 2 (TCC2) microphone systems into three lecture halls at the high school, helping to raise the quality of teaching and promote the concept of interactive learning.

Nanjing No 1 Middle School is committed to exploring advanced teaching modes, creating an interactive environment to stimulate lively exchanges and discussions between the teachers and students. The colliding and blending of different views help to stimulate both parties in the educational equation as interactive teaching helps students in pursuit of self-development, encouraging and cultivating initiative and independent thinking.

“We needed a hardware and software solution in the lecture hall to create an audio and video environment that is fully compatible with interactive teaching, so that teachers and students can devote themselves to classroom communication on an equal footing, and they can hear and be heard clearly in every corner of the classroom,” comments Nanjing No 1 Middle School vice headmaster, Li Min. “The Jiangbei campus is positioned as a modern campus for the future. The newly completed lecture hall is mainly used for presenting academic papers as well as for classes, lectures and filming courses for teaching purposes, so we particularly needed it to provide a good teacher–student interaction.”

The systems integrator for the project was Nanjing Pione Hi-Tech Co. “The sound reinforcement system of a traditional lecture hall has always been widely

criticised because a lot of time is wasted in passing the microphones around to different people,” explains sales manager, Zeng Yiru. “This also affects the rhythm of teaching, and the sound is sometimes unintelligible and inaudible. In response to this, we recommended Sennheiser’s TCC2 ceiling microphones as a solution.

The traditional way of teaching has been changed and replaced by a new interactive teaching mode, and ceiling mics are undoubtedly the best audio solution for interactive teaching scenarios. TCC2’s value to this new teaching mode cannot be measured by cost alone. This solution is meaningful not only for onsite and remote teaching, but also for collaborative office setups and audio and video conferencing.”

The school has an open mind when it comes to using sophisticated professional equipment to build a smart campus and improve teaching quality. After listening to a TCC2 demonstration system setup in Nanjing Pione’s internal meeting room, as well as comparing it with other products and getting to know more about the system, the school decided it was the one for them. Nanjing Pione also invited representatives from PCI-China’s Shanghai office – Sennheiser’s partner for the business communications market – to participate in system design, installation and commissioning of the lecture halls. At first, TCC2 systems were only installed into the lecture hall in the Mingde Building. The school declared itself so satisfied with the sound that the decision was taken to install the same solution into two more lecture halls.

“The format of the three lecture halls are the same, so the system design and configuration are also exactly the same,” explains Wang Lengshuang, technical director

PCI S

Wang Lengshuang, technical director of PCI’s Shanghai office of PCI-China Shanghai office. “We designed networked solutions based on the Sennheiser TCC2 ceiling microphone arrays within a QSC Q-Sys ecosystem, with one of the TCC2s handling the pickup of the entire front podium area, and another two responsible for the seating area.

Microphone and speaker status are monitored, processed, transmitted and controlled by a Q-Sys Core 110f system via Dante protocol. Each of the three lecture halls has been installed with three TCC2s and 14 QSC AC-C6T ceiling speakers to evenly cover every corner of the halls and facilitate interaction.”

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Adds Li: “With TCC2, no matter where I speak, it can be clearly picked up and conveyed to everyone without any harshness or noise pollution. I think this is not only down to the well-made hardware but also the software, which optimises the whole effect.”

This includes the automatic tracking of voices, which not only allows the teachers to move freely around the classroom as they speak, but also conveys students’ questions and answers clearly to everyone in the classroom. TCC2’s new TruVoicelift function uses an advanced frequency shift algorithm, which can automatically target the speaker, adding a few extra dB of gain while blocking noise in other areas to improve the clarity of speech and allowing the audience to hear better. Additionally, different areas of a room can be set as priority zones where audio is predominantly picked up, prioritising the speaker over any others that are talking in the room. This can be useful for covering the podium area in a classroom environment. Five exclusive zones can also be set so the microphone will ignore the sound in these areas, such as air conditioning or ventilation equipment.

Nanjing Pione is honoured to have solved the difficulties that were plaguing the Nanjing No 1 Middle Jiangbei Campus in interactive teaching situations, and the company believes that the clarity of sound that is now present in the halls will directly

CRYSTAL CLEAR COMMUNICATION IN CHALLENGING ACOUSTIC ENVIRONMENTS

PCI Shanghai’s Wang Lengshunang and Zeng Yiru, sales manager of Nanjing Pione Good planning was key to the project.

“In the early stages, we made detailed designs and simulations for the location and quantity of microphones and speakers, and then fur ther adjusted them according to actual application requirements,” continues Wang. “We star ted to design a system of four TCC2s to be installed from front to back of the hall. After covering the entire hall, the school realised that when it came to the actual installation, the TCC2 radio area was larger than expected, and that three of them per lecture hall would meet their needs. And because each speaker has a separate channel, we can make parameter adjustments according to their characteristics within the room and add an algorithm to carr y out auto-mixing based on the pickup zones and speaker coverage.”

affect the quality of teaching. The teachers’ hands are freed up as they don’t need to hold a microphone, or even wear a lavalier, and teaching assistants don’t need to run back and forth to pass the microphone as before. Students have a 360° listening experience in class, and the sound can be heard clearly, from the first to the last row and in every corner of the room.

The last word goes to schoolmaster Li, evidently a satisfied customer: “The sound in the entire space is good; the teachers and students can speak in a relaxed and natural fashion, and it sounds clear and accurate,” he reports. “This undoubtedly makes up for some of the shortcomings in our past lecture halls and makes the teaching process go more smoothly.”

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BUSINESS: SHOW REVIEW

InfoComm China 2021 L–R: Tico’s Aaron Lu, Yue Feng. Biamp’s Harley Tao and Tico’s Ma Cong

Pro AVL Asia’s Frank Shao reports from the show floor

The show had more traffic than last year AS BEIJING INFOCOMM CHINA 2021 WENT AHEAD AT THE Beijing National Convention Centre in July, 37,189 unique visitors – mainly domestic – turned up to see what the 400+ exhibitors had on show. The physical event ran alongside InfoComm China 2021 GoVIRTUAL featuring 65 product showcases and 12 webinars, and the NIXT summit, with 46 livestreamed forums and conferences attracting 5,644 physical participants.

On the show floor, EZpro displayed 19 distributed brands, including Allen & Heath, Attero Tech, Audinate, AudioTechnica, EAW, Extron, ezCloud, Furman, High End Systems, IPS, Jabra, Modulo Pi, NEC Netrix, Pan Acoustics, Powersoft, Symetrix, Tectonic, Visionary Solutions and WolfVision. The company also launched the EZpro SoftAVC and standardised smart conference solutions. Head of Tencent Ethereal Audio Lab (TEA-Lab) and EZpro’s vice president, Kane Zhang, held an interactive meeting between Beijing, Shenzhen and Hong Kong to demonstrate the advantages of cloud conferences.

“Visitors can experience audio solutions from Audio-Technica and Symetrix for high-end conference rooms through interactive experiences,” said Li Huan, manager of the AVoIP marketing department. “They thought the clarity of the sound was very high, especially in such a noisy environment.”

Tico was showing the new generation of Biamp TesiraFORTÉ X series DSP processors, creating a meeting room solution with Biamp’s beam-forming microphones, AMP PoE amplifiers, compact USB and Bluetooth modules and speakers. Also

on display in the fixed installation area were Panasonic’s auto tracking system, Renkus-Heinz and CAH speakers and Audinate’s DDM platform. As a channel partner for Tencent, Tico was showing its cloud-based videoconferencing solutions, with a dedicated space for Hungarian brand, Lightware.

Eatrend Audiovisual showed four major brands: Audiofocus, Audix, Ecler and HH. Products on display included Audiofocus’ ARES 12-inch line array; Audix’s MB5050 chorus microphone, M60 desktop microphone and M3 pendant microphone; and Ecler’s WiSpeak wireless speaker system. “Compared with last year, the number of visitors has increased significantly,” commented deputy general manager, Hu Bin. “More and more customers want to see an overall solution rather than individual products.”

PCI divided its booth into two for solutions and new products.

The former included conferencing, theme park, digital airport and smart navigation solutions, while products on display included QSC Core Nano and Core 8 Flex processing, the Sennheiser TCC2 ceiling microphone, Kramer’s VIA GO2 wireless performance technology and FBT’s JMaxX, Myra, Horizon, Infinito and Shadow systems. PCI also brought Logitech’s CC 4000E ultra-wide-angle conference video camera to the booth. “The pandemic has had a huge impact on the entire industry, but it has also brought unexpected opportunities,” said marketing manager, Hu Jingdong. “For example, many theme parks have had plenty of time to update their systems and solutions.”

Audio-Technica was exhibiting its Dante, wireless, digital conference and infrared conference microphone series.

“Many visitors are particularly eager to learn about our newly launched ES Series microphones and conference discussion system,” said Wang Yi. “The integration of IT and AV might have impacted the low-end AV market a lot, but Audio-Technica has a complete product line to meet the needs of different scenarios.”

Genelec was showing its Smart IP network audio solution for AV system integration. The company has created a collaborative IP solution together with Shure microphones, as well as a six-channel system built by Genelec for musician Wang Lu. “In the AV integration market, Genelec is a new brand,” said Qu Lu, director of marketing operations. “This is our second year of participating at InfoComm China. However, many visitors think that our speakers are unique in terms of

L–R: EZpro’s Jiang Na, Wu Weisong and Li Huan sound and appearance and are surprised that a system can create an immersive experience with only one network cable.”

Sennheiser’s business communications department was participating independently for the first time. The 66m2 booth featured the TCC2 ceiling microphone, Evolution Wireless Digital (EW-D) microphone series, Speechline digital wireless microphone, ADN conference system and ew G4 300 wireless system. “We’ve used a 5G network onsite, combining EW-D and TCC2 to create a remote meeting experience system with Sennheiser Beijing’s headquarters,” said Chen Ziqian, Sennheiser technical product manager.

The release of version 2.0 of the NAVIOT smart management platform was the highlight of Pacific Budee’s booth, alongside the Extron, Lectrosonics, PreSonus, Void and EV brands. “As a traditional AV service provider, Budee has been embracing IT and implementing IT solutions into the AV field in recent years,” said Budee’s vice president, Shi Dafei.

PCI’s Hu Jingdong

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BUSINESS: SHOW REVIEW Harman didn’t appear in its own right this year and was instead represented by partners Hongzhe Intelligent and ACE. In addition to the Harman brands, Hongzhe Intelligent exhibited its own Linelink brand, while ACE was showing Sennheiser’s ADN/ADN-W wired and wireless digital conference systems as well as iMAG, AtlasIED and CREATELED alongside JBL, Crown, dbx and BSS. EAD was showcasing Xilica, Alcons and Quint. “After InfoComm China, we will do a series of roadshows,” said marketing manager, Deng Yonggang. “The pandemic is now relatively well controlled in China, so the show is a good opportunity to meet customers face to face.”

Yamaha’s booth was divided into three areas, one for the Adecia ceiling mic solution, one for CIS (Commercial Installed Sound) and a new area for the UC conferencing and communications series. Seminars on the booth were livestreamed on social media.

Taiden showcased its newly developed hybrid conference system, an intelligent meeting minutes system and the fourthgeneration paperless multimedia conferencing system, as well as a range of smart teaching products.

Steven Cai from Audinate

L–R: Feng Hanying, Qu Lu and Jack Wu on the Genelec stand Bose displayed the new member of its DesignMax pendant loudspeaker family, including the DM3P and DM5P, the DM6PE outdoor loudspeakers and the DM10P-SUB subwoofers. A Bose Work integrated meeting room combined Bose speakers, amplifiers and DSP with Sennheiser TCC2 ceiling microphones.

Muse Technology participated in InfoComm China for the first time, promoting French brand Amadeus and its Holophonix systems and the Norwegian TTA Stagetracker II tracking system by building an immersive system. “In the post-pandemic era, the immersive sound system has a big marketplace and prospects,” said general manager, Luo Jun. Audinate was highlighting the Dante Domain Manager management platform as well as the AVIO adapter. The Audinate Summit 2021 took place on the first day at the Beichen Intercontinental Hotel, with senior vice president of engineering, Chris Ware, sharing Audinate’s view of development and technical support. “The Dante AV video solution is the focus of Hall E,” said Steven Cai, marketing director, APAC. “Many visitors are looking to this solution for audio and video synchronisation.”

MYC China was showing four major brands, including the Spectra212 conver tible line array loudspeaker and

VIDA series from Kling & Freitag and Cadac’s CDC digital consoles. Another British brand, Studiomaster, highlighted DigiLive’s latest digital console and Z series analogue console and there were also speakers from Outline on display. Domestic brand iBO was launching a column speaker and a horizontally adjustable linear array speaker system, as well as showing microphones and an audio matrix for conferencing projects. Nexo distributor Top Plot demonstrated the P+ and ID point source speaker series as well as the French manufacturer’s line arrays.

“We’ve brought visual and image processing technologies to the show, including a 4K projection presented by the Christie D4K40-RGB pure laser projector, and a Chinese live per formance,” said Sheng Xiaoqiang, senior technical ser vice manager of Christie China Commercial Division.

Christie also issued authorisation cer tificates to Chinese resellers at the booth to strengthen par tnerships.

With the presence of technology giants such as Huawei, Tencent, Dingtalk Meeting and Intel on the show floor, and other exhibitors focusing on videoconferencing, the presence of audio appeared diminished; d&b audiotechnik was one company that decided not to take stand space this year. However, attendance was up 20% over 2020’s edition last September – approaching 2019’s 40,866 level – a sign that China is getting back to business as usual.

2021 Dates:

21–23 July

2022 Dates:

13–15 July

Venue:

Beijing National Convention Center

Total exhibitors:

400

Attendance:

37,189

Contact:

www.infocomm-china.com

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WS-400 Series Wireless Microphone System TOA wireless microphone system, the ideal choice for professional audio, broadcast, theatre, schools and conference room applications. The TOA WS-400 series promises a powerful set of features combined with exceptional performance and cost efficiency. Available in Dual channel and Single channel models. What’s more the handheld microphone and beltpack provides up to 10 hours continuous usage with the use of only 1 x AA battery.

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BUSINESS: COMMENT

A letter from America

Wall Street won, didn’t they? Dan Daley on how the music industry is being swallowed up by private equity firms A DECADE OR SO AGO, I COULD NO LONGER RESIST pointing out, in a business column much like this one, in another publication, that the music industr y, including its production infrastructure, was being increasingly gobbled up by the financial industr y. It was clear even then that Spotify, which had launched in 2006, was an IPO play waiting to happen (it did so in 2018). By then, Warner Music Group had already been acquired by a consor tium of private equity firms led by Bain Capital, and another firm, Tailwind Capital, helped Concord Records – itself a repositor y of plenty of outside funding – take over Fantasy Records. The pieces of the record industr y, shattered by the disruptions first of downloads and then of streaming, were being collected, on the cheap, by deep-pocketed financial firms. It was not unlike the way Russian oligarchs picked up the pieces of the old Soviet Union’s industrial base for a few kopeks on the ruble a decade earlier.

The transaction I focused on at the time, though, was Guy Hands’ purchase of EMI, which took place in 2007.

It included the storied label’s catalogue of masters plus whatever copyrights accompanied them. But it was its iconic studio complex, Abbey Road, the flagship for what

was still a somewhat global studio empire, that concerned me. Hands was a character – he once played Lady Macbeth in a high school production – but he seemed to have a sharp eye for value, making head of Eurobond trading at Goldman Sachs before he was 30. What would become of the Beatles’ temple under his greeneyeshade gaze? (I’m still surprised – and relieved – that we have not yet seen Abbey Road, The Ride, at Disney or Universal.)

Alas, at least for Mr Hands, the EMI deal proved to be a bridge too far. A combination of the label’s huge debt load and the onset of the global recession in 2007, plus the fact that CD sales were in a tailspin and streaming hadn’t yet found its footing, forced a takeover by EMI lender Citibank. But before all that happened, my commentar y on how the financial folks were about to render music as so much tranched collateral touched Hands’ buttons, and he wrote me, with typical British restraint, a nicely worded screw-you note, with the admonition that it please not be printed. I honoured that, but did reply in print in 2011, which got me a bit of a cheap laugh, though made more valuable by being the last laugh.

Fast-forward to today and one might think Mr Hands had written the current playbook for music. Billions of pounds and dollars are being spent acquiring the song catalogues of everyone from Bob Dylan to Neil Young. Iconic studios like House of Blues, Muscle Shoals Sound, Ocean Way Nashville, Power Station and Capricorn Studios have been bought up, mostly by well-endowed universities that have turned them into prestigious labs for their production classes, or tech companies that wear them as badges of authenticity. As I write this, a 10% share taken by a UK holding company has valued French-owned Vivendi (namely Universal Music Group) at £35 billion, which has also sold bits of itself to an American chequebook company and China-based Tencent.

The future of the music business will be determined in boardrooms in the City and on Wall Street, with input from Silicon Valley. What I feared would come to pass a decade ago indeed has, and we might just go ahead and start thinking about what Abbey Road, The Ride, might eventually look like. (We’ll likely stand on a Long And Winding line to get on.) Guy Hands wasn’t wrong, he was just a bit too early.

A letter from Europe Phil Ward reflects on how MI and music technology retail has fallen foul to the digital realm THE MUSIC SHOP OWNER WITH GRANITE SIDEBURNS SAT down beside me, exhaled wearily and summed up his problems. “Bloody computers”, he said. Not “the internet”, or “online retail”; just “computers” in general, as if they had been chipping away at his business since 1969.

He was from Yorkshire – the modest spa town of Ilkley, to be exact. His was – and had been for 40 years – the only musical instrument shop for miles around. If you wanted a plectrum or a synthesiser or a squeeze box, this was your destination. Now, he sat next to me at the annual open day of John Hornby Skewes, one of the UK’s biggest MI distributors with headquarters close to the major city of Leeds, also in Yorkshire. My friend had not come far. In fact, he’d made little progress since The Beatles split up.

He wasn’t being prescient, either. He wasn’t speaking as home computing with online access was emerging as a strange phenomenon promising new horizons in retail. This was about seven years ago. He gave the impression, in fact, of having fought a rear-guard action against the phenomenon for all this time, heroically staving off the digital barbarians at the gate. Patronisingly, I felt sorry for him and suggested the hybrid notion of “clicks and mortar”, of supplementing

his real premises with a website – selling local charm using global dynamics. I might as well have spoken in Swahili.

He wasn’t wrong, though. MI and music technology retail has been through all the contortions of the high street since Amazon took over, even though you might think hands-on access to specific products would be a non-negotiable requirement here. The digital barbarians have breached the gate and stolen the portcullis, none more digital than Thomann, a German giga-shop that exists everywhere and nowhere and is the benchmark by which all European retail is measured inside and beyond this industry.

The World Wide Web has no respect for physical boundaries, least of all national borders, and this is felt especially keenly in Europe. The EU actively tries to restrict cross-border trading, much to Thomann’s chagrin, because internet mechanisms are so iconoclastic. Not even the dream of a single market is quite ready to wake up to the reality of unheeded transcontinental competition. But as for buying in Hampshire rather than Yorkshire… a no-brainer, if that’s where your strings vibrate.

Meanwhile, the good old days are packaged into tourist attractions. London’s Denmark Street is where the

American myth of Tin Pan Alley became applied to the UK’s songwriting and publishing hub, where Elton John once made the tea in a publisher’s office and where the Kinks or the Rolling Stones would walk through one door to buy guitars and take a few short steps through another to use them on the recording of a hit single. It’s now in the process of turning into a high-tech immersive media display centre, not unlike the domed Fremont Street in Vegas, complete with a new studio, per formance stages and heritage-prodding rentable spaces like Malcom McClaren’s former office, now called the Anarchy Suite. It’s run by a developer called Outernet London.

I don’t know if there’s still a music shop in Ilkley. I hope there is. But it won’t be anything like GuitarGuitar in Glasgow, Europe’s first physical retail space to be supported by Japanese music technology giant Roland.

Thanks to lockdown, instrument sales are said to be up 50% on 2019 and here’s another space promising “interactive and immersive experiences”. You used to get that in Ilkley by interacting with the brass doorknob and being immersed in cobwebs. But that’s not what we mean, nowadays.

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The excellence of Made in Italy

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BUSINESS: COMPANY PROFILE

Rock & roll royalty

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Martin Audio founder Dave Martin at the R&D bench

Caroline Moss looks back over the 50 years since Martin Audio’s visionary founder brought the brand into existence, ushering in half a century of talent and dedication SEVERAL NOTABLE BRITISH BRANDS HAVE SHAPED THE international touring scene by the sheer passion and drive of their founders, but Martin Audio surely leads the way.

The company’s history spans the early days of touring as it pioneered groundbreaking developments in entertainment and installation technology by way of rock & roll greatness, innovative product design, tragedy, endurance and reinvention. The latest chapter in Martin Audio’s history opened in 2019 with its acquisition by the Focusrite Group, joining stablemates Focusrite, Focusrite Pro, Novation, Ampify, ADAM Audio, new baby sibling, Optimal Audio and legendary synth brand, Sequential.

Pink Floyd’s 1973 Earls Court appearance – with a 7,000W 215 system

Dave Martin proudly displays a gold disc for his services to Sade’s 1988 tour

To understand what has made Martin Audio such a revered and enduring brand, you must go back to its debut in 1971 and the seemingly simple aim of Australian sound engineer Dave Martin: to enable bands to play to larger audiences and be properly heard. But back then, that wasn’t so easy to fulfil. Just six years earlier, in 1965, the Beatles had largely stopped playing live due to poor sound quality and inability for the music to be heard over the crowd noise.

Horn-loaded two-way systems were beginning to make an appearance though, and American bands were touring with systems based around RCA Shearer horns and Altec Lansing components. Due to the prohibitive cost of shipping these back to the US, bands would often sell them off to UK rental companies. Enter Martin, who was working at one such company, IES. But the boxes were heavy, and he started work on something a little more transportable, coming up with the 215 bass horn prototype which was used with Vitavox horn flares and JBL 2482 compression drivers for the midrange and high frequencies.

In 1973 Pink Floyd used a large version of this system for an Earls Court concert, comprising ground-stacked speakers on the stage and four flown stacks to project to the back.

This was one of the first major instances of what became the Martin Audio ethos: to get the best-quality sound to as much of the audience as possible. But the 215 was cumbersome and heavy, so the ever-enterprising Martin

sawed it in half to develop the 115. Following a shootout at the Roundhouse in Camden, North London, systems based on the 115 bass horn were installed in all the Rank nightclub chain’s major venues around London and at the Roundhouse itself. Meanwhile, an early stage monitor consisting of the 15-inch JBL E140/JBL 2301 pepper pot or potato masher acoustic lens with JBL 2420 compression driver embodied Martin’s compact, high-power approach.

By 1975, Martin Audio had moved from its original premises in central London’s Covent Garden to Euston’s Stanhope Street, next door to fellow touring pioneer, mixing console manufacturer Midas. This association supplied many British tours throughout the 1970s and into the 1980s as together, the companies developed the Martin/ Midas dedicated system, comprising a four-way Martin Audio speaker system, Midas console with system crossovers and Midas power amp, flightcased and ready to go.

Next came a key product in the company’s history: the legendary “Philishave” MH212 midrange horn. Dave Martin had discovered that two-inch compression drivers couldn’t provide sufficient power, warmth and impact through the critical lower midrange region, and designed this dual 12-inch horn-loaded cabinet to solve the problem. This came to define the brand’s sound, running from 250Hz to 1.5kHz, with an HF2M high-frequency horn added for 1.5kHz upwards.

“It was the compression, the force and the impact of the sound, not just the loudness,” remembers Cooper Cannady of North Carolina’s RMB audio production house, a longterm Martin Audio client. “I’ve never heard vocals, a guitar or drums sound like that. At 150 feet you could feel the snare drum slap you in the face and feel it on your skin.”

The MH212’s first major tour was Supertramp’s Breakfast in America, deploying what went on to be a popular combination in the US: 48 dual 15-inch bass bins, 36 Philishaves and 48 Emilar horns and drivers. The system, together with Midas amps, BSS MCS200 crossovers, Klark Teknik DN27 graphic EQs and custom Midas consoles, was purchased by the band for the tour and subsequently bought by a conglomerate of technicians and roadies who formed Delicate Productions, a long-term associate of Martin Audio.

And Dave Martin himself was presented with a gold disc for his services to the Supertramp tour.

Back in the UK, Keith Davis bought his first Martin Audio system for PASE hire in Yorkshire in 1979 before setting

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BUSINESS: COMPANY PROFILE

Capital Sound’s original Martin-Midas PA system in 1978

Dire Straits’ mighty setup at Turin’s Juventus Stadium in 1980

up Capital Entertainment which went on to become leading UK rental company, Capital Sound. By now, the brand was finding its way onto the riders of leading tours, and bass boxes including the B215 and the S Bin were also added to the lineup.

Notable clients and tours throughout the 1980s included French rental company Regiscene, the 1984 Glastonbury festival, The Who’s ML Executive rental company and Concert Sound, founded by Tim Boyle following the acquisition of an MkI modular system by Welsh band Man,

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EMl Productions’ F2 rig at 1994’s Torhout-Werchter festival in Belgium – one of the biggest, loudest PAs on the planet which went on tour with Dire Straits in 1985. By now, most major tours, with acts from Abba to Yes, were using Martin systems. Custom work during this period also included drum fills for ELP’s Carl Palmer and The Who’s Keith Moon.

As systems started to be flown, Martin Audio trialled its F1 system, quickly superseded by the F2 which combined a one-box system with the modular approach of the array.

The first major tour for F2 was with Capital Sound for Sade’s 1988 Stronger Than Pride tour with Roger Lindsay at FOH. Ironically, Lindsay hadn’t been a fan of Martin Audio until this point. “We went to a Sade rehearsal at Brixton Academy and Dave Martin was there with the F2 prototypes,” he recalls. “I remember joking at the time that Dave couldn’t have built it, because it sounded too good!” Good enough for Martin to be presented with another gold disc.

Chinese distributors visit Martin Audio’s premises in the 1990s The fledgling Capital Sound also invested in a big F2 system for a Simple Minds tour, while, in 1994, EML Productions used an F2 rig at the Torhout-Werchter festival in Belgium: one of the biggest and loudest systems ever assembled on the planet. The following year, the F2 went on tour with Capital Sound for Take That.

By now, Martin Audio had moved its factory and offices out of London to High Wycombe. In 1990, Dave Martin sold the business to TGI (Tannoy Goodman Industries), with David Bissett-Powell as the new managing director and Martin

himself remaining as engineering director in a part-time role, until his tragic and unsolved disappearance in 1992.

Bill Webb, whose first stint at Martin Audio had produced the smaller, portable CX system in the 1980s, rejoined the company as director of engineering, coming up with the successor to F2, the Wavefront series. He also ushered the company into the installation market – a core sector for the company ever since – with the EM series.

By 1996, Webb had come up with a complete touring system with rigging hardware, racks and DSP – the W8 series, featuring the popular W8C compact cabinet with accompanying W8CS subwoofer. This was followed by the Wavefront Theatre series and a three-way cinema system. In the same year, Martin Audio moved to much bigger premises at its current address in Halifax Road, High Wycombe.

The late 1990s saw Martin launch its Blackline series of multipurpose loudspeakers for mobile and installation applications. With some original models still going strong today, the series is now in its third iteration, and led to the AQ installation speakers which drew on the same technology.

By the end of the last millennium, Martin Audio had also begun to build a strong presence in APAC. This was largely down to MD David Bissett-Powell’s enthusiasm for China, and his foresight that the fledgling entertainment and nightlife market was poised for strong growth. The brand has enjoyed continuing success with long-term Chinese distributor, Sino Huifeng Audio Group, which has recently been joined by Guangzhou Guidance AV Technology to open up new vertical

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BUSINESS: COMPANY PROFILE markets, largely at the initiative of pro audio veteran Dave McKinney and his Singapore-based Generation AV. Back to the turn of the new millennium, and a seismic move was afoot as line array technology swept the industry. Martin Audio released its first system – the W8L – in 2002, with the system evolving into the W8 Longbow. Capital and RG Jones were two early UK adopters, the former taking the system out on tours with Kylie Minogue and Take That, and the latter using it at the Glastonbury festival for the first time in 2008, where it continued on the main Pyramid Stage until 2014 when it was replaced with MLA. Longbow went on to spawn other products such as the W8LC compact and W8LM mini.

Another milestone for Martin Audio was its association with London’s Ministry of Sound superclub, beginning in 2005 with the installation in two rooms of Blackline+ and W8 Longbow systems. Five years later The Box, a custom-designed, sixstack system, was installed at Ministry, and in 2016 CDD speakers were added as part of this room’s upgrade to a Dolby Atmos system.

In 2003, David Bissett-Powell staged a management buyout from the TC Group, which had inherited the business with its previous acquisition of the TGI Group. Then, in 2007, the company was sold to Loud Technologies, ushering in key staff changes as sales director Rob Lingfield left the company and was replaced by Simon Bull, while Bissett-Powell also left, and Anthony Taylor – who had been joint MD – took over the role.

Martin Audio celebrated four decades in business in 2011 with the launch of MLA, its three-way, all horn-loaded design, continuing and reinforcing Dave Martin’s ethos of delivering the best possible sonic experience to everyone in the audience. Designed by director of R&D Jason Baird and acoustic engineer Ambrose Thompson, this turned the usual design concept around, so the performers’ engineers could now define the audience coverage and make the system behave in the appropriate fashion rather than the other way around. This was accomplished by its three-way horn-loaded design, as well as the Display 2.3 goal-based software which is behind all of Martin Audio’s optimised systems, including the Hard Avoid feature to direct sound away from where it’s not required. A year later, MLA Compact was introduced, a smaller system used in its own right for medium-to-large venues, as well as being an augmentation for bigger systems and also suitable for install. The MLA Mini two-way box joined the lineup in 2014.

MLA contributed to grow in APAC territories, notably Japan, where a new regional hub was established in 2013 with Yusuke Karato, director of Martin Audio distributors Audiobrains, fronting the operation. Under the new structure, Martin Audio Japan would act as main distributor and Audiobrains would take on a dealership role. Almost immediately, one of the country’s leading PA companies, MSI

The Martin Audio team share Dave Martin’s drive and ethos

Martin Audio has enjoyed a long relationship with London’s Ministry of Sound

First permanent MLA installation at Sydney’s Marquee club

MLA debuts on the Pyramid Stage at Glastonbury in 2014

MLA Compact at the One Third Club in Hangzhou, China

Japan, purchased a large number of MLA systems for its inventory, an investment that paid off when the system was adopted for the Rock in Japan Festival. By the end of 2013, MSI was providing MLA systems for more than five Japanese tours at the same time. Meanwhile, in Oceania, Martin Audio’s long-serving partner Technical Audio Group (TAG) oversaw the first permanent installation of MLA at the Marquee nightclub in Sydney.

The CDD install range was introduced in 2015, becoming the most successful and flexible installation range for the brand to date, offering boxes from a 5-inch through to a 15-inch version, all using the same coaxial differential dispersion technology. Weatherised and marine versions have followed, as has the CDD Live, which integrates the drive unit in a tour-grade enclosure complete with electronics and Dante networking.

Another management buyout in 2018 led by MD Dom Harter and supported by private equity resulted in new investment, resulting in a spate of product releases. First up was BlacklineX, a total redesign and reengineering of Blackline, making it more affordable and accessible.

Then, just over a year later in December 2019, it was announced that Martin Audio had been acquired by Focusrite, with Dom Harter continuing as MD. “The acquisition of Martin Audio was a strong demonstration of our strategic aim to expand into new markets,” explains Focusrite Group CEO, Tim Carroll.

“Martin Audio is also an established brand that instantly added value. More importantly though, they are culturally aligned and have a clear part to play in our unfolding narrative. The Martin Audio family shares our hunger to innovate and our passion as music and sound enthusiasts. That we’re just a stone’s throw away from them, physically, will only further help unite us in achieving our common goal.”

That common goal has been somewhat thwarted by the events that unfolded just a few months after the acquisition, certainly as far as live entertainment is concerned. Martin Audio is at the forefront of the #WeMakeEvents initiative aimed at highlighting the plight of the pandemic-ravaged live industry. At the same time, the company is well-placed to focus on other areas of sound reinforcement. “Martin Audio is absolutely committed to the live sound sector; it is our heritage,” says marketing director, James King. “Obviously, that part of the industry has been devastated during the pandemic and we have focused sales in the interim period on installation. Meanwhile, we’ve maintained close relationships with all of our rental partners, offering advice and support throughout the pandemic. We can’t wait for the return of live events and our roadmap of future product is already taking that into account. We have a positive outlook on the future given the world is slowly returning to some sort of normality.”

If Dave Martin could see the company he started half a century ago, and his passion and drive being shared by a team of talented, loyal staff, he’d consider that his initial, simple aim – to enable bands to play to larger audiences and be properly heard – well and truly accomplished. Summing up, Dom Harter says: “Martin Audio is a truly special company comprising energetic and passionate staff, innovative product and a wonderful customer base. I’m sure Dave would feel very proud and it’s a complete honour to continue his legacy.” www.martin-audio.com

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BUSINESS: COMPANY PROFILE

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Father to son L–R: Father and son Ronald and Gary Goh

E&E

Reaching a 70-year milestone seems to have put an extra spring in the step of the Goh family. Richard Lawn reports on seven decades of Electronics & Engineering MANY SUCCESSFUL BUSINESSES ARE FOUNDED BY entrepreneurs who have built their own companies from scratch.

However, continued growth cannot be guaranteed once the founder opts to retire and transfer responsibility to the next generation. For businesses choosing to honour a family tradition rather than serve its own needs, there is often trouble ahead.

But the longest-established systems integrator and distributor in Southeast Asia, Electronics & Engineering Pte (E&E), is more than flourishing under the third generation of the Goh family.

Nestled on a small block of pre-war houses along Outram Road, E&E began a journey of discovery by sticking to the principles instated by its founder, Mr Goh Kiok Chuan. E&E has played a firm role in installing cutting-edge AV systems into landmarks – not only in the Lion State but as far and wide as Beijing and India. In parallel with Singapore itself, the company has forged its identity and heritage on a foundation of ingenuity and hard work.

Having initially established a photographic studio in the southern Malaysian town of Benut in the 1940s, Mr Goh’s passion for cinema served as the catalyst for E&E’s creation.

Renting a 16mm movie and setting up benches and a bedsheet screen on a vacant lot near his shop, he could charge 20 cents per entry. Several years would pass before Mr Goh started a new company with two friends in radio and cinema. In 1951, Electronics & Engineering came of age importing portable radios, radio parts and WISI antennas from Germany. Although the radio business didn’t perform to expectations, Mr Goh started his own projection equipment company once his two partners had sold their stakes in the business.

In 1963, his eldest son Ronald Goh entered the frame. “I was literally born into the business,” recalls Ronald. “My father founded the principles of E&E, taught us to work smart, to think things through and be righteous.” When Ronald was accepted into Raffles Institution, a premier school for his secondary education, his dad insisted he should go to a technical school

55 years after graduation, Ronald designed and donated an audio system to Queenstown Secondary School as it had better prospects. Singapore was developing, shifting its focus towards engineering, and this would better equip him to assist in the family business.

Making the switch to Queenstown Secondary Technical School, Ronald then spent another three years at Singapore Polytechnic to gain his technical education. A passion for audio was in his DNA and he would often tinker with audio equipment after

school. Despite the sparks that sometimes blew into his face, he learnt quickly and was repairing and aligning Bell & Howell and RCA projectors and amplifiers at a young age.

In its formative years, E&E specialised in refurbishing cinema projection equipment, becoming a main supplier to local cinemas. However, it was during the 1960s, when new Dolby sound systems were being developed for the cinema together

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BUSINESS: COMPANY PROFILE with more complex public address systems, that E&E matured.

Repairing amplifiers and loudspeakers paid young Ronald a humble wage, but it was his passion for setting up the sound system for his school’s annual concerts that motivated him.

A striking attribute – one that has never deserted him – is his supreme confidence in designing and installing sound systems.

No project has ever been too difficult or too large for him to take on. Setting up the pro sound division of the company upon joining, there was just one brand that interested him at that time: Altec Lansing.

As the 1970s progressed, E&E did not shy from bigger projects, including the installation of a sound system for Singapore’s National Theatre. Awarded the S$780,000 tender to install a system at Singapore’s new National Stadium, a 21-year-old E&E came of age in 1972. The stadium system was

An Altec Lansing PA system was installed in the original National Stadium in 1973

E&E installed AV technologies at the Singapore National Stadium and Sports Hub

Ronald Goh and the E&E team scale Mount Kota Kinabalu to celebrate the company’s 55th anniversary

designed by Boston-based acoustic consultants BB&N, and Ronald learned humbly from the engineer in charge, Dr Jacek Figwer. “Not only did we have to correctly install the whole Altec Lansing loudspeaker system, but we also had to learn everything about large-scale project management,” he remembers. Critical acclaim was rewarded with high-profile projects including the Golden Million nightclubs. Singapore’s rising star began to attract more opportunities overseas including a growing number of hotel chains such as Southeast Asia’s Shangri La. No peak was too high for Ronald during his formative years. A lot of his spare time was consumed studying electroacoustics including a paper by Richard Newman on sound systems. When E&E was commissioned to install a Richard Newman (BB&N) loudspeaker design at the Sultan’s Auditorium in Kuala Lumpur, Ronald was undaunted by the sultan’s appearance. “The architect was not happy with the size of the old Altec multicellular horns, but I stuck to my laurels. During the demonstration, the sultan listened for 10 minutes before silently leaving the room.

I was relieved when the architect declared that the sultan was happy with the fidelity and intelligibility. This approval gave us a lot more leverage in Malaysia and allowed us to make decisions without having to refer to the consultant.”

One of Ronald’s biggest achievements came in September 1984 when the New York Philharmonic Orchestra performed a concert at the National Stadium. “We were commissioned by CitiBank to provide and design the sound system for this once-ina-lifetime, one-night performance,” recalls Ronald. “In the days leading up to the concert, most purists and critics insisted that the National Stadium was a poor selection of venue owing to its size and reverberation, and therefore the sound reproduction would not be good. Under the circumstances, I was interviewed on TV, and I had to assure the public that the sound system we were providing for the concert was as good as it could be.”

Calm on the outside, the added pressure nevertheless tortured Ronald with sleepless nights. In his drive for perfection, he revisited his design and included five delay systems. “That evening came and the Altec Lansing system sounded so natural and clear from the front seats all the way to the back of the stadium galleries. The next day, I received the ultimate compliment anybody can give to a sound reinforcement

the respect of his colleagues, customers, consultants and principals. With the same work ethic in his DNA, Gary’s limitless ambition twinned with an academic knowledge is taking E&E into new market sectors including prosumer and e-sports. “I was exposed to audio at a very young age, which was possibly intentional,” acknowledges Gary with a smile. “My father has always been a light to the pro audio community here in Singapore and I was fortunate enough to be mentored by him.

He works incredibly hard like my grandfather did and that is why we have accomplished so much. Therefore, returning to the family business following my studies was a natural thing rather than an obligation.”

E&E’s rollcall of success in systems integration is undoubted, but a great deal of turnover and profit also comes from its distribution model which includes Harman Professional, Neutrik and Shure. Gary and Ronald insist that both entities operate independently as two distinct businesses that carry equal importance. “We want both businesses to succeed, so it is important to strike some sort of balance,” explains Gary. “The great relationships we maintain with our partners and suppliers cannot be taken for granted. This was demonstrated when E&E and Harman Pro parted company in 2011, and E&E had to transition seven brands at once.”

The major disruption that followed, however, turned into one of Gary’s most rewarding and accomplished periods. “Our customers reassured us that they did business with E&E and not the brands that we represent. I think we proved to ourselves and the market that E&E exists not because of the products we sell, but rather the solutions we can provide.”

Following the acquisition of Harman Professional by Samsung, relationships were renewed in 2018. “There is no point taking on a brand for a project,” comments Gary. “Distribution was never about box moving or using products for your own installations.

We have always provided servicing, system design and other expertise for our customers and dealers. Ultimately, we value the customer as the most important person and strive to deliver to the best of our abilities, distinguishing ourselves based on our credibility and customer satisfaction. We place equal emphasis on providing all clients, whether a reseller or end user, with the same level of service.”

E&E staff outside the branch office in Jakarta, Indonesia system from Violet Oon, a reviewer for the Sunday Times: ‘It was a combination of informality, of drama, of pizzazz and of professionalism. I am no technician, but the music must have been amplified. The wonder of it was that we did not notice it – an indication of a perfect marriage of art and artifice.”

Sadly, following an earlier accident, Mr Goh Senior passed away in 1992. “During those final three years, my father was beginning to pass more knowledge to me and had it recorded in a file,” explains Ronald. “The file includes important dates and milestones including a Chinese slogan that translates to ‘always be wary of people around you’ and ‘don’t have harmful thoughts in your mind’. My dad taught me too as a businessman to pay all your invoices, that a handshake is a commitment and to honour all your commitments. I have taught my son, Gary, to do the same.”

Having graduated from the Royal Melbourne Institute of Technology in 2003, Gary Goh has worked tirelessly to earn

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BUSINESS: COMPANY PROFILE Since 2000, E&E has regularly upgraded the audio systems at leading Singaporean performing arts venue, University Cultural Centre (UCC). Repeat business is seemingly earned and never taken for granted, or perhaps – according to the venue’s then head of production, K Shyam – E&E realises more than others that the show must go on. “There is more to E&E than just providing natural-sounding audio and precisely reproduced tones from an L-C-R solution,” he comments. “We encountered a fault with one of our amplifiers a few years ago, so naturally I called E&E as I expected them to solve the problem. What I didn’t expect was to see Gary walking into the hall 30 minutes later with a replacement amplifier, which he installed. That’s service.”

While the high retention of skilled long-term employees creates a happy workplace, Ronald acknowledges that many of his brightest have gone on to become headline acts in their own right. “I take pride that they’ve built their careers after E&E, but I also take pride in the fact that we gave the right start to so much of this talent. For our staff to get it right first time, we emphasise meticulous workmanship and an attention to detail. Training for all our 150 staff is vital and we have always invested heavily in our personnel, including scholarships. The better you equip your staff, the better they can perform and get it right the first time.

They accept the demands we place on them for the benefit and satisfaction of our clients.”

Seventy years on and the original shophouse continues to serve as the main office and operational nerve centre. “This

From Beijing to Bali, E&E has designed and installed the audio systems in many of APAC’s Hard Rock Cafes

In the late 1990s, a number of upcoming venues including Kallang Theatre, Victoria Theatre and Concert Hall, the National University Cultural Centre and smaller educational theatres called upon E&E to install sound systems. When the Esplanade – Theatres on the Bay project was announced in 1999, E&E assumed responsibility to install the Concert Hall, Lyric Theatre and studios at the prestigious venue. E&E’s recently appointed COO Joe Fong recalls the project fondly: “To get the sound right, the project enticed many professionals from around the world.

Technically, the Esplanade was very difficult to perfect, but ultimately it was really rewarding and took E&E to the next level.”

The Esplanade and the Formula One circuit surrounding Marina Bay are notable E&E landmarks. The company continued its journey around the waterfront to the Marina Bay Sands integrated resort, where it was tasked to deliver the MATV/AV systems and site-wide BGM systems under the iconic three-tower structure in addition to the main sound and communications systems of the two Sands theatres. To take on the enormous two-year project, which was delayed by 18 months owing to the unstable marina clay foundations, E&E assembled a specialised team of over 70 technicians, engineers and project managers. Today, Gary experiences nostalgia on passing the landmark: “It was a hugely demanding project and our team worked tirelessly to meet deadlines, yet we all felt a sense of excitement working on this once-in-a-lifetime project. More than a decade later, I still feel enormously proud of the achievements we accomplished there.”

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Image courtesy of Marina Bay Sands

Marina Bay Sands was a colossal engineering project for E&E is where my dad started and it will always be the root of our business,” explains Ronald. “This is the neighbourhood in which I was born, and the continued sense of belonging remains important to me.” Having invested heavily in personnel in recent years, the company has duly expanded from its Singaporean nerve centre. In 2016, a traditional dragon dance ceremony marked a new chapter for E&E’s engineering workshop division Eng Kong Engineering Works with a purpose-built 2,766m2 warehouse and logistics centre in Tuas. A year later in 2017, a 380m2 service centre opened its doors just five minutes’ walk from the shophouse headquarters. Equipped with the latest bench test equipment, portable field audio analysers, processors and spectrum analysers, the authorised repair centre incorporates a double-walled speaker-testing chamber, re-coning section and conference room for team meetings. The previous service centre was converted into the ENEXC experience centre for special functions, meetings, demonstrations and promotions.

E&E’s motto of “Getting it Right the First Time” served the company well in the 1990s as it was awarded an increasing number of regional contracts, including the Hard Rock Cafe chain throughout Greater China in Beijing, Guangzhou, Hong Kong, Kowloon, Shanghai and Shenzhen. Having taken on Harman Professional in 1993, high-profile contracts were perfect for a new generation of JBL loudspeakers including the Control and Eon series. The rapid rise in Singaporean church congregations has been a blessing to E&E, with a glowing reference list of over 160 Singaporean churches including St Andrews Cathedral, Wesley Methodist, Faith Community Baptist Church and Trinity.

The Changi T4 project highlighted E&E’s video expertise

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Ronald Goh (centre) wins at the APEA 2017 awards

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BUSINESS: COMPANY PROFILE As the decade rolled on, the projects didn’t diminish in importance. Forty years on from the original National Stadium Altec Lansing fit-out, E&E equipped the main stadium with a sophisticated EAW QX system in addition to audio systems throughout the Singapore Sports Hub. Gary likes to reflect on the company’s achievements at Changi Airport’s terminal four (T4). “E&E is always associated with pro audio, but the T4 project served as a declaration of our video expertise. T4 was a hard-won project with intense competition, following many interviews and proofs of concept. E&E has become synonymous with greatsounding audio that so many forget our huge commitment to video. I always make a point of flying out of T4 just to see the LED walls we installed.”

While Ronald acknowledges that he spent a lot of time and energy convincing clients to install audio systems as mono, stereo or L-C-R configurations, Gary is more open to compromise. “The form-over-function battle will continue until the end of time; therefore, a compromise must always be made wherever a system is intruding into an architect’s design.

However, I much prefer to work with designers who listen and accept a blend of form and function. The technology has evolved sufficiently and there is a wider choice available such as smaller, networked, powerful columns and discreet ceiling fixtures.”

Gary has spent the last decade since E&E’s 60th anniversary as deputy managing director, continuing to strengthen commitment to customers and pushing new boundaries by expanding the portfolio with product innovation and engineering.

As the company celebrates its 70th anniversary, it has shifted into a new phase of growth, with Ronald assuming the role of chairman of the E&E group of companies and Gary as CEO.

The new service centre was officially opened in 2017

Chairman Ronald Goh surrounded by the E&E team “This transition has been years in the making,” reflects Ronald.

“Gary’s leadership has been instrumental in both evolving and driving E&E’s growth strategy over the last decade, and I am confident that his knowledge, experience and dedication will carry E&E into the future, securing its success in the years to come.”

Over the years, E&E has accumulated numerous industry awards, with several cabinets at 285 Outram Road filled with trophies and

plaques from Asia Pacific Enterprise, Friends of Heritage and SmallMedium Enterprises (SME) 500 Award in addition to accolades recognising countless sales accomplishments. However, Ronald’s most cherished acknowledgement followed a school reunion.

Academic institutions rarely receive a return visit from students to repay the debt of gratitude for having provided knowledge and skills to set them up for life. However, having graduated 55 years earlier, Ronald got to balance the books and give something back to Queenstown Secondary School. Following an audio consultation, he designed and donated a full-range loudspeaker system for the large multipurpose school hall, meriting a ceremony in his honour.

“I was so happy that my small gesture brought so much joy to so many people,” he says. “This is in line with one of my philosophies in life whereby it is better to seek joy in giving rather than in receiving.”

The father-to-son heritage instilled in the highly respected business that Ronald has steadily built since 1963 does not daunt Gary: “E&E is built on the values that have shaped us for the past 70 years, and these same values will continue to guide us for the years to come. Our success would not have been possible without our clients, partners and immensely dedicated team. I am grateful for the friendships and partnerships that we’ve built and maintained, and look forward to guiding my team on the next lap of our journey with the same level of passion and commitment that has taken us this far.”

E&E’s success has drawn many imitators and competitors to the fore. However, the company’s patent-pending passion, dynamism, professionalism and ingenuity is seemingly impossible to duplicate. www.enepl.com.sg

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BUSINESS: TECHNOLOGY

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Stage whispers

Phil Ward listens out for a post-pandemic world of safer sound levels

HEAR’s Survival Guide for Music Hearing Health MY DAD USED TO ENJOY THIS PHILOSOPHICAL TEASER: IF A tree falls in a deserted forest and no one is around to hear it, does it make a sound? Never mind how the tree fell; it just did, OK? It’s meant to challenge our perceptions of reality, but the answer I never got the chance to give him was, quite simply: no. And the reason has a lot to do with why the amalgamated industries of music and sound should stop, look and listen to the audiologists.

Sensaphonics founder, Dr Michael Santucci

Sensaphonics’ 3DME Custom Tour IEMs

We can prove that isolated events are creating sound waves, by using remote microphones and measuring equipment. But sound waves don’t become a “sound” until they enter the auditory system of a sentient creature, where they are converted into the electro-chemical stimuli that brains of one kind or another recognise as sound. So: nothing with a central nervous system in the area; no sound. The ghosts in my dad’s forest are truly grateful and live in peace.

It’s this bit about wave-to-nerve impulse that really matters when it comes to ear protection. According to a helpful chart produced by US-based organisation Hearing Education & Awareness for Rockers (HEAR), pain begins at 125dB: a level of air pressure that’s smashing up the china shop of your inner ear like a raging bull. Get to 180dB for any length of time, which is about what a space shuttle does close up, and human hearing tissue starts to disintegrate. If a symphony can peak at 130dB, you get the picture.

There are many industries, like construction, that have to tackle noise. That’s why hard hats are often accompanied by ear defenders. But in our industry, noise is disguised as music. It’s not a pesky side product of what we’re doing; it is what we’re doing. So, there is a natural resistance to smothering it. If we are going to use things that are the sonic equivalent of visors, they’d better be cool prescription sunglasses rather than blindfolds.

Since we’ve been locked up, with stages silent and theatres dark, dust has settled. To recalibrate our thresholds, microphone giant Shure and Illinois neighbour Sensaphonics have jointly launched a campaign to guide the industry towards a “new normal”, one more attentive to hearing health. “When athletes come back after time off, they have to condition their bodies back into playing shape,” says Dr Michael Santucci, audiologist and founder of Sensaphonics. “We now have a unique opportunity to use our technology and techniques to monitor at safer levels; to include hearing in our expanded health consciousness.”

Sensaphonics is a major supplier of custom parts for Shure’s IEM earpieces, as well as making non-signal earplugs. This is the time, the campaign says, to raise awareness of SPL damage – especially as people notice the impact made by levels we got used to. “Hearing conservation is important to everyone in the audio industry,” adds Nick Wood, senior director, wireless products at Shure. “We want to help ensure that all performers who use our equipment are able to use it for a long, long time.”

IEMIT

Kathy Peck from HEAR with The Who’s Pete Townshend So does Kathy Peck, executive director and co-founder of HEAR. “We had in-ear monitors for quite a while,” she points out, “but when the audiologists began to get involved, they chose a different pathway to designing the products. For example, in 2015 Future Sonics introduced a new armaturefree voice coil infrastructure in the Spectrum G10, while Sensaphonics switched to balanced drivers developed with the hearing industry and using embedded binaural mics to add ambience for a more natural experience. All those years of handing out thousands of earplugs at NAMM finally paid off!”

Bass player Peck can rightly be proud of her achievement in raising awareness of the issues over many years and linking audiology practice to the pro audio industry. She co-founded HEAR as a non-profit organisation as far back as 1988 in San Francisco, with the support of founding donor Pete Townshend of The Who, the Les Paul Foundation, the Bill Graham Foundation, the TEC Foundation and others, with a

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ACS’

BUSINESS: TECHNOLOGY special emphasis on the youth market through educational outreach.

“Originally, I was able to get funding for audiology education in science classes, but never in music classes,” she recounts.

“I really had to hustle to get onto that curriculum, and the resistance is still frustrating to this day. But the industry is right behind us now. I guess when Ozzy Osbourne gets on board, everyone can, right?”

Whereas IEMs help by controlling signal exposure, a simpler protection exists in the custom ear defender, wearable by musician, engineer and crew member alike. In Norway, manufacturer Minuendo markets a passive, acousto-mechanical model with an adjustable lever for variable attenuation. “It’s the classic membrane with an acoustic filter next to it, but we’ve achieved a flat frequency response by tensioning the membrane while mechanically controlling the filter between 7dB and 25dB,” explains Tom Trones, chief product officer and co-founder at Minuendo. “It’s a unique solution.”

With aural health on the agenda, the Norwegian government has subsidised the work on Minuendo’s “lossless” plugs carried out at the Fraunhöfer-like SINTEF research centre in Trondheim, further highlighting the need for protection over profit. “You probably wouldn’t use them as a mastering engineer,” admits Trones, “but at FOH you could establish your mix and then wear them throughout the gig, knowing all of your references. You can protect your ears without compromising on sound quality, and the stepless adjustments of the lever allow you get it just right for yourself.

“It also avoids the ‘finger-wagging’ nature of noise legislation: we give the decision process back to the user – and they look cool! This breakthrough has to win hearts and minds, and that’s our approach. We’ve done everything we can to make the threshold into using them as easy to cross as possible,

IEMITO’s Mike Dias

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environment. “We developed our vented Ambient Series two years ago,” Heale continues. “Many products vent by drilling through the mould which, apart from exposing the ears to more level, also kills low frequencies and sounds thin. So we introduced a set of filters that act as a bass trap, while also mitigating against the occlusion effect – the feeling of sticking fingers in your ears. It protects the hearing but also enables much better communication on- and offstage.”

In general though, ACS supports the move towards silent stages, wherein the monitoring is more similar to that in a recording studio. “It’s a new culture, and there is a stigma attached to earplugs,” admits Heale. “We need to understand that attenuating hearing protection is far more sophisticated than the word ‘earplug’ implies, and we’re working hard to change attitudes within the industry. You can have a product that protects your hearing and enables you to engage fully with the music.”

Minuendo’s acousto-mechanical IEM like getting into a good habit without being coerced. Creating awareness is good, but it has to be a positive story.”

Many hearts and minds cling fondly to the myths of rock and roll, and even after lockdown there is an enduring romance attached to going “kerrang” in confined spaces. There is also a very real sense of displacement caused by earpieces if not deployed with the right attention to detail – or attenuation to detail, you might say, if you were trying to be clever.

At IEM manufacturer and hearing protection specialist Advanced Communication Solutions (ACS), director Jono Heale is acutely aware of the trade-off between moving air and minding your ears.

“You can’t eliminate the noise hazard at a concert,” he points out. “You need to move a certain amount of air for it to work – around the mid-90s dB, so that through bone induction you can feel the bass. Fortunately, bass frequencies aren’t normally a threat to the sensory hair cells in the cochlea. Damage tends to result from mid-frequencies around 2–4kHz, the resonant frequencies of the ear canal and consonant sounds of the human voice to which we are more sensitive. But the PA system has to project those frequencies too, and the damage threshold is 30 minutes at 97dB or 15 minutes at 100dB.” This is why ACS has developed several techniques to attenuate music without ruining the experience, including the use of highfidelity sound pressure filters and soft, medical-grade silicon for the custom-moulded earpieces that flex with jaw movement. ACS also assiduously identifies the precise role of each individual user, establishing their bespoke earpieces – defenders or IEMs – as fit for purpose.

A big question at the moment is whether, and how much, to allow some ambient sound through the moulds to maintain some acoustic connection between the user and the

Tom Trones of Minuendo Another myth is that custom earmoulds are always superior to universal ones, according to Mike Dias, executive director of the In-Ear Monitor International Trade Organization (IEMITO) and vice president of sales, Earthworks. “You’re eliminating –25dB of ambient noise either way, regardless of the materials used for the moulds,” he states. “The real choices are as follows: you can do nothing, you can choose defenders or you can choose IEMs. No combination of those three choices works – like wearing only one IEM.” Defenders are perfectly acceptable, says Dias, but it’s IEMs that provide the most benefits: reduced vocal fatigue; laserprecision mixes; the elimination of random room anomalies; easier and quicker soundchecks; and way more controlled accuracy for the FOH engineer. “A quiet stage means the musicians are performing at their peak,” he continues, “plus the engineers have a lot more subtlety to work with, and all of this contributes to the greater enjoyment of the audience – what else matters?”

However, it doesn’t automatically follow that musicians and engineers will keep it down, warns Dias, even with the best IEMs and no wedges or side fills. Perhaps even Spinal Tap devotees will now notice what was actually happening back then, when things went up to 11. “Our physiology has literally been recalibrated over the last 18 months,” Dias reflects. “Whatever your role in and around the arena, sustained exposure to high SPL is simply way more dangerous than it appears.”

This could mean the end of backline as we know it, as the stage clears and audiences return to concerts demanding a more comfortable ride. It may even, eventually, improve ticket sales. Which raises an interesting question: if a guitar amp howls in an empty stadium… www.hearingprotection.co.uk www.hearnet.com www.inearmonitor.org www.minuendo.com www.sensaphonics.com

ACS’ Ambient Series

www.shure.com

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25/04/2021 12:13:13 27/08/2021 12:30

NEWPRODUCTS

INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING A–ZCONTENTS

Evolution Wireless Digital

Sennheiser simplifies wireless With the development of Evolution Wireless Digital (EW-D), Sennheiser has created a simplified wireless UHF and 1G8 microphone setup that adopts an app-based workflow THE EVOLUTION Wireless Digital app provides all the planning to guide the user through the setup and tutorial videos presented by Benny Franke are an ideal start. “We talked with dozens of bands prior to the development of Evolution Wireless Digital,” explained product manager, Oliver Schmitz. “Many band members are in fact multitasking and do not want to become experts at RF. They just want something that works right away, so all they have to do is switch on and go.”

The Smart Assist intelligent setup automatically creates reliable wireless connections and allows users to name the channels. Bluetooth Low Energy allows for remote access to the system to ensure convenient syncing with the receiver. EW-D transmitters have an input dynamic range of 134dB, eliminating the need for a sensitivity setting to be added.

The receiver has been set to a gain value covering most applications, which can be easily changed.

Addressing crowded RF environments, the EW-D app scans the environment

to find open frequencies, making more room in a given frequency window. With a bandwidth of 56MHz and up to 90 channels per band, the app can set the wireless links at 600kHz intervals without any frequency calculation. EW-D has a low latency of 1.9ms and a transmitter battery life of up to 12 hours with the BA 70 rechargeable battery pack.

As a digital system, EW-D does not use a compander, but can be expanded to accommodate larger multichannel setups with a range of pro accessories, including antennas, antenna splitters, boosters and charging sets. EW-D handheld transmitters couple with any Sennheiser or Neumann wireless capsule, including the Neumann KK 205, KK 204, Sennheiser MM 435, MM 445 and Digital 9000 capsules. EW-D is available with a choice of handheld, instrument, lavalier, head mic, combo and base sets.

Sennheiser has also added new features to its MobileConnect Wi-Fi streaming solution. Standalone Mode allows higher education institutions to

quickly integrate MobileConnect into their existing Wi-Fi network for assistive listening support. This plug-and-play mode is described by the manufacturer as especially attractive for smaller systems and first installations, yet the solution is still fully scalable, with each MobileConnect station providing two audio streams for up to 100 users.

Finally, a new update for the free MobileConnect Manager caters to large and software-controlled MobileConnect setups. Version 1.3.0 will reportedly make workflows for large networks more convenient with a new Manager dashboard and API inter face. The MobileConnect Manager dashboard now gives ample system information at a glance, such as status messages for troubleshooting purposes, information about software updates, statistics for active MobileConnect Stations and streaming channels as well as the possibility to download a log of system status messages.

AJA PAK Dock Pro 97 Allen & Heath AHM-64 update 89 Amadeus Holophonix v1.7 93 AMX DXLink 4K60 97 Analog Way Picturall Mark II series 98 API 527A 86 Ashly Audio AWT+ 80 Astera AX2 PixelBar 100 Atlona AT-OME-SW21-TX-WPC 96 Audac ARES5A/ASP20/IMEO2 81 86 Audinate DEP for ADI’s SHARC audio DSPs Audio Precision APx500 v6.1 92 Audix A10/A10X 80 Avid HDX Hybrid Engine & ProTools update 92 Barco ClickShare Present 97 87 Barix Exstreamer M400 Biamp Zoom Rooms certification 90 Bose ControlSpace Designer 5.9.1 92 Calrec Brio Duet/Brio Medley 85 Celestion CDX1-1412 85 Chauvet Professional Rêve E-3 101 Clear-Com FreeSpeak Edge Base Station 88 CODA Audio HOPS12i 82 d&b audiotechnik D40 79 DirectOut EXBOX.RAV update 86 disguise rx II 90 EAW NTX Series/SBX Series 81 Elation KL PAR FC 100 Electro-Voice PREVIEW 93 ETC Network Station Power Supply 101 Extron Quantum Ultra expansion cards 89 Glensound Vittoria 87 Grass Valley Playout Xpress 100 ic audio PRO 150-200/T plus-EN54 82 Klotz AIS Titanium StarQuad series 91 Kramer KIT-401/DSP-62-AEC 96 Lavoce CSF082.00K/CAN123.00T 82 LynTec Android app 93 LYNX Technik greenMachine Callisto+ 97 Martin Professional VDO Atomic Bold 101 Merging Technologies Music Mission 94 80 MIPRO MI-58 Series Modulo Pi Modulo Kinetic V4 98 NDI/Vizrt NDI version 5/Vizrt Live Production 100 Neutrik NPS-30W/REAN 88 Panasonic ET-D3QW200/PT-RDQ10 98 Peavey LN1263 84 Pequod Acoustics Polyphemus/Cerberus 12.1 84 Powersoft T902/T904 80 Precision Devices PD.24603BR/PD.2155-1N 85 Proel WX series (WX10A/WX8A) 84 QSC Q-SYS NS Series Gen 2 89 82 RCF Compact M 04/HD 12-A MK5 RME Fireface UCX II 85 Robe T2 Profile/iPointe65/iSpiider 101 Roland V-160HD/V-1HD+ Remote iPad app 96 Ross Video Interstellar/Vision[Ai]ry Ft 99 Sennheiser Evolution Wireless Digital 79 Shure ADX5D/SLX-D update 88 Solid State Logic UC1/LMC+ 94 Tascam V1.1.0 firmware for VS-R264 and VS-R265 90 Tasker TSK1026 Zero Loss 92 TOA EM-362 80 TVU Networks TVU Anywhere update 94 Waves SoundGrid update/Waves V12.7 93 WORK PRO Audio ENTAR Series 85 Yamaha Unified Communications ESB-1090 90 94 Zylia Concert Hall added to Oculus App Lab

www.sennheiser.com

d&b goes mobile DESIGNED AS a mobile version of the 40D installation amplifier without compromising on performance or power, d&b audiotechnik has introduced the D40. The German audio technology and solutions company testifies that the four-channel Class-D amplifier features reduced size and weight, advanced voltage management and increased system performance, while significantly reducing power consumption for improved environmental friendliness.

The amplifier’s user interface consists of a 4.3-inch (480x272 pixel) colour touchscreen and a digital rotary encoder, providing information about the device configuration and enhanced status monitoring. Operating within a dynamic range of 116dB (unweighted), the

D40 drives high-voltage d&b loudspeakers while providing management and protection capabilities. Capable of reaching 180V peak,

the D40 delivers full performance from d&b KSL System loudspeakers and the V-Series and Y-Series.

A comprehensive DSP suite includes loudspeaker configurations and user-definable setups, equalisation and delay functions.

Further benefits include the inclusion of advanced voltage management to drive systems demanding less input power as a whole. In addition, the D40 includes enhanced energy-saving features, power efficiency and an Automatic Wake-up for environmentally sustainable Green Building requirements. As part of the d&b family, the D40 benefits from the full range of d&b technology software solutions, including ArrayCalc, ArrayProcessing, NoizCalc and the R1 Remote control software that unite within the d&b Workflow. www.dbaudio.com

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PRODUCTS

Powersoft adds to T Series

THE T902 and T904 have been introduced

by Powersoft to extend the applications of the T Series and include larger-scale sound applications. Building on the legacy of the K Series, the T Series was launched in 2019 and provides daisy-chained Ethernet connectivity, Dante audio networking, power sharing, improved DSP with advanced EQ groups and FIR filtering.

The T902 is a two-channel amplifier specified to deliver 4,000W at 2Ω, 3,200W at 4Ω or 1,800W at 8Ω, and its high rail voltage and peak current on the outputs make it suitable for driving large 4Ω subwoofers (like dual 18-inch) or two- and three-way line sources.

Thanks to the T902’s onboard DSP featuring Raised Cosine, IRR and FIR filters, and precision delay, the T902 can be

used for powering and controlling complex cardioid subwoofer arrangements and threeway line sources.

The other new addition to the T Series family is the four-channel T904, which can deliver 1,800W at 2Ω, 2,000W at 4Ω or 1,600W at 8Ω. This new amplifier platform is designed to power biamped systems like stage monitors, two-way point source speakers and two-way line sources, as well as smaller subwoofers.

Much like the rest of the T Series family, the T902 and T904 feature onboard DSP, in-built Dante inputs and live impedance monitoring, as well as Powersoft’s Active DampingControl for cable resistance compensation. www.powersoft.com

MIPRO unveils digital stereo IEM system MIPRO HAS released its MI-58 digital stereo IEM system operating in the ISM 5.8GHz spectrum. Due to the wider bandwidth property, the system features a wide 20Hz – 23kHz frequency response, improved S/N ratio and extremely low audio latency. The MI-58 introduces clear and 24-bit digital audio which is reportedly superior to the UHF system. However, the MI-58 has a more affordable price and has been designed as a cost-effective personal monitor system. According to the manufacturer, the newly added engineer mode and networking interfaces will be a benefit to monitor engineers.

The Dante interface is supplied for the MI-58TD transmitter, which has been specifically designed for professional usage.

The MI-58 Series consists of the MI-58R stereo bodypack receiver, the MI-58T stereo halfrack transmitter, the MI-58TD stereo half-rack transmitter and two optional stereo earphones, featuring balanced full-range sound reproduction and isolation from ambient noise.

Created for entry-level and professional audio users, the system comes equipped with an easyto-read volume indicator, so the input volume status can be identified by red (peak), green (ok) and yellow (low) colour LEDs and then adjusted.

Additionally, the MI-58R has the stereo/mono/ mixed output modes and four EQ settings to

further customise the sound, while a 3.5mm TRS jack provides L-R 100mW @ 16Ω output for earphones. For extended battery life and elimination of disposable batteries, the MI-58R is compatible with the ICR 18500 lithium-ion rechargeable battery.

The front panel of the MI-58T transmitter is equipped with a graphic OLED screen with menu-based navigation, a rotary knob, an ACT sync button and an audio input set button. One 3.5mm and one 6.3mm earphone monitoring connectors and individual volume controls are both provided for any earphone. The rear panel is equipped with two XLR and 6.3mm input combo jacks and two 6.3mm phone jack loop outputs, as well as the ACT-BUS networking interface, optional Dante interface, TNC RF output connectors and 12V DC power supply.

The MI-58T delivers <25mW output power (the maximum value depends on the telecom regulations of different countries) with an on/ off switch, presets several interference-free channels and can ACT sync to the receiver.

Thanks to the stereo input combo jack featuring a high dynamic range characteristic, it can sustain the maximum output from any mixer.

Feedback from the Imam TOA ELECTRONICS Pte Ltd has specifically designed and developed the EM-362 neck-worn microphone for Imams leading prayer sessions in mosques and other applications where constant body movement is unavoidable.

Regular tie-clip versions can pick up unnecessar y noise from rubbing shir ts, while head-worn microphones can create discomfor t due to prolonged wearing and

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The cardioid, electret condenser microphone has a rated sensitivity of –35dB (±3dB) and operates within a frequency response of 60Hz – 20kHz. Providing sufficient distance from the amplifier, a 7m cable comes as standard, although a selection switch on the adapter promotes dual AAA batter y or phantom power operation. The on/off switch near the microphone allows users to switch off the microphone after use, avoiding noise pickup when not in use. www.toa.com.sg

are prone to slipping off during excessive movement. Ensuring the optimum audio pickup while eliminating unnecessar y noise from body contact standing or in prayer, the EM-362 is worn around the neck and suspended in front of the speaker’s mouth. A flexible shaft allows the user to adjust the microphone positioning and distance between the microphone and mouth.

EA

Audix takes the A10 to market AUDIX IS now shipping the A10 and A10X earphones. The US manufacturer has designed the A10 earphones to deliver studio-quality performance for live sound monitoring and critical listening. The A10 features a dynamic, low-mass moving coil assembly and titanium alloy diaphragm with a frequency response of 10 octaves and accurate phase coherence due to its point source design. The A10X earphones

A10

NTX S

are designed for an immersive listening experience. At the core of the earphone is a dynamic low-mass moving coil assembly and composite beryllium diaphragm.

Both models feature lightweight, injectionmoulded shells which are internally textured and ported for acoustic control and accuracy throughout the frequency range. Silicone ear tips are included for secure attachment, comfort and sound isolation. Gold-plated MMCX connectors provide 360° rotation for ease of placement, while silverplated, oxygen-free copper cable is equipped with a reinforced wire wrap near the connector to make sure that the earphones remain in place.

www.mipro.com.tw

A10X

www.audixusa.com

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Ashly Audio adds a Plus

Audac fits in where needed

ASHLY AUDIO HAS extended its AW Series OnWall speaker series with a Plus model that includes a higher power transformer for added flexibility in larger spaces.

Dust and water-resistant, all IP54-rated speakers exist within an Ashly Audio solutions ecosystem that includes Protēa and AquaControl DSP. Varying in size from 2.75- to 8-inch models and designed for varying distributed fullrange to limited coverage BGM and paging applications, the AW line consists of the 2.1P, 3.2P, 5.2T and 8.2T wall-mounted speakers. Reducing the off-axis deviation in SPLs to <9dB, Directivity Optimised

CONSISTING OF active and passive units linked to each other, Audac has developed the ARES5A two-way active loudspeaker. In addition to a 5.25-inch woofer and 0.5-inch HF tweeter, the ABS enclosure incorporates an integrated amplifier delivering dual 40W RMS power. Capable of delivering a maximum SPL of 105dB, the active speaker includes a stereo amplifier module,

Crossover is integrated into the 5- and 8-inch AW designs to provide a wider sweet spot and an accurate midrange.

The new Plus model, or AWT+, offers a power upgrade to make the speakers more accessible for larger rooms such as retail spaces or sports bars with high ambient levels. The AW-5.2T+ is now available at 30W, 15W, 7.5W and 3.75W at 70V and at 60W, 30W, 15W and 7.5W at 100V. The AW-8.2T+ is available at 60W, 30W, 15W and 7.5W at 70V and at 60W, 30W and 15W at 100V. www.ashly.com

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panel connections, permitting expansion of the system through remote input modules.

The Sound Projection (SP) series has been extended with the development of the ASP20 spherical loudspeaker. Primarily designed for factory halls or large retail spaces with open ceilings, the ASP20 uses an 8-inch driver and a 70V/100V line transformer with 20W, 10W and 5W

NTX Series INTENDED TO streamline setup by delivering maximum results in minimal time, EAW has unveiled the NTX Series line array, a dual 10-inch articulated array which offers a built-in 1,600W two-channel amplifier and PFC power supply. The NTX210L cabinet operates in the 55Hz – 18kHz range with a max SPL of 140dB and a 90° horizontal and 12° vertical nominal beamwidth. The manufacturer has also announced the SBX Series of companion subwoofers to be paired with the NTX line array.

The NTX210L houses patented OptiLogic technology capable of automatic array selfdetection via onboard infrared sensors and accelerometers, resulting in “near instant” optimisation, including air loss compensation.

The NTX Series also features integrated Dante networking (with loop-thru), including analogue redundancy capability, allowing the analogue input to be set to automatically enable if the Dante signal is lost. The user-friendly solution is said to be ideal for performing arts centres, theatres, corporate events, houses of worship, or even medium and large outdoor festivals.

The SBX Series, meanwhile, comprises highoutput 18-inch models in two configurations: the SBX118 which is capable of outputting up to 2,500W and the SBX218 which doubles this to 5,000W. Both operate in the 25–120Hz frequency range with respective max SPLs of 135dB and 141dB, and both feature 18-inch

neodymium woofers with 4-inch voice coils. As well as serving as suitable complements to the NTX210L array, the SBX models can also be used to support other EAW systems, such as Anna ADAPTive and RSX Series lines.

Designed for both production and installation, the SBX Series is equipped with a threaded pole mount and rugged handles. Integrated runners on the top and sides lock the subs together to resist movement. Ground stacking of the NTX210L loudspeakers can be accomplished with two sets of flybar locating pins, providing safe operation at any splay angle. Both the NXT array and SBX subs work with EAW’s Resolution 2 software, which is capable of complete system optimisation from anywhere in the venue, as well as room design and prediction. www.eaw.com

also delivering the input signal to the tappings. Weighing 2.95kg, the ABS-sealed passive unit. Unbalanced audio sources enclosure is resistant to moisture and UV can be connected through a 3.5mm light with an IP56-rating. Operating within an jack connector, while balanced sources 80Hz – 18kHz (±3dB) frequency range, the can be connected to the terminal block ASP20 can be mounted safely to a ceiling input connection allowing long signal courtesy of a 3.5m connection cable with a runs without interference. In addition steel core. to the two-band tone control, The manufacturer has also a volume potentiometer released its IMEO2 Soundbar, adjusts loudness levels designed for classrooms, and the auto-standby presentation rooms mode reduces power or meeting rooms consumption when where it can be no input signal is used and installed detected. in combination Providing with screens, flexibility, a smartboards or specially designed projectors. The bracket system acoustics originate allows close to from a three-way wall installation of speaker construction, the speakers, while a composed of two 1.5-inch recessed bracket structure high-frequency drivers, two provides a cosmetic outlook 2-inch mid-frequency drivers ASP20 of the system. Weighing 3.5kg and a low-frequency section and measuring 150mm x with two 2.5-inch low-frequency 240mm x 146mm (WxHxD), the ARES5A drivers with an RMS rating. The power can be mounted both horizontally and handling reaches an overall level of vertically with an inclination up to 45° on 60W RMS. The Class-D amplifier with both sides, enabling users to position integrated WaveSelect DSP processing and the loudspeaker in the right direction. transmission line configuration for the lowThe bracket consists of two 45° edges frequency drivers is said to offer a crystalto promote installation in corners or clear sound reproduction and low-frequency ceilings, while the optional MBK455 response. Selectable DSP presets offer angled mounting bracket allows for an optimisation for presentations, music extra inclination of 90° if required. A playback or videos. remote input connection implemented www.audac.eu through an RJ45 connector allows wall

SBX Series

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PRODUCTS

CODA Audio launches HOPS12i ic audio heads outdoors CODA AUDIO has announced the expansion of its HOPS (high-output point source) range with the addition of the new HOPS12i. A high-output, three-way point source, the HOPS12i incorporates 12-inch neodymium cone drivers with 4-inch voice coils adapted from those found in CODA Audio’s flagship line array, AiRAY. As well as the manufacturer’s latest DAC (Dynamic Airflow Cooling) technology, it features exchangeable and rotatable waveguides that provide various options for adjusting directivity but, unlike other loudspeakers that only steer high frequencies, the HOPS12i waveguides control all the way down to 300Hz. The means that the broadband energy is focused exactly where required, while keeping it away from walls and other reflective sur faces.

90° x 60° and 60° x 40° waveguides are available, and both are rotatable, giving four directivity options. The low end of the HOPS12i means that in many applications, subs might not be required. As a result, the HOPS12i is said to offer systems designers even more choice towards achieving optimal solutions across the ver y broadest range of applications. As with the entire HOPS range, the HOPS12i comes with a variety of accessories and mounting options.

GERMAN MANUFACTURER ic audio has added four new speakers to its line-up. Engineered for outdoor applications with 54-24 certification, the PRO 150-200/T plus-EN54 has been designed for a large range of venues, such as airports, mega-stores and stadiums.

The 150W powered professional speaker is equipped with a two-way bass-reflex system, consisting of an 8-inch woofer and a highperformance HF driver with crossover at 2.5kHz. The speaker offers three different 100V power tappings; 70V and low impedance operation is also possible. The DL-SE 06-100/T-EN54 is a splash-proof version of the SE-Series designed for installation in bathrooms and pool areas. The IP54-rated 6W speaker is equipped with a 100mm fullrange loudspeaker and a 100V transformer with three power adjustments. The DL-SE

The HOPS12i can be customised in a wide range of colours and weatherproofing options are also available for demanding environments. The latest versions of CODA’s proprietary amplifier control software (Linus Control V2.2) and prediction software (System Optimiser) both contain new datasets incorporating the HOPS12i. www.codaaudio.com

Lavoce bring bespoke performance ITALIAN TRANSDUCER manufacturer Lavoce has unveiled the first products in its newly announced Common Magnet Coaxials category, which launches with a ferrite magnet 8-inch model, and neodymium 12-inch and 13.5-inch options. All three are with or without an aluminium 60° x 40° horn.

CSF082.00K

coaxials respectively. Both offer 350W AES power handling, 3-inch copper voice coils for the LF and 3-inch Edgewound CCA voice coils for the HF. They include a composite titanium/polyimide diaphragm with double demodulating rings for low distortion. Both models have a specified frequency range from 45Hz – 20kHz with an 80° nominal coverage, making them ideal for compact point source systems or stage wedge monitors.

Lastly, the CAN123.00TH and CAN143.00TH have the addition of a proprietary aluminium horn which has been developed by the manufacturer’s R&D team to deliver a linear bandwidth dispersion with true 60° x 40° directivity, while not protruding above the front of the speaker. This makes them a good choice for more directivity-specific point source or stage wedge applications.

PRO 150-200/T plus-EN54 also delivers a clear and balanced sound for voice alarm and background music.

The DA-D 20-130/T-EN54 20W design speaker has a concave shape and is equipped with a 130mm full-range speaker and a 100V transformer with three power adjustments. Thanks to a high-quality midrange resonator, the speaker offers a sound characteristic that matches other twoway systems.

The DL-H 20-100/T plus-EN54 is a 20W speaker equipped with a 100mm twoway bass-reflex system and a wide and homogeneous dispersion. The IP65-rated DL-H has a 100V transformer with four power adjustments which can be adjusted by a rotary switch on the top of the sphere. Lowimpedance operation is also possible.

DL-SE 06-100/T-EN54

www.ic-audio.com

THE COMPACT M 04 from RCF is a multipurpose, two-way, full-range coaxial speaker system, suitable for a wide range of applications. It has 60W AES power handling, 113dB maximum SPL and a 90Hz – 20kHz frequency range. The speaker comes with

The HD 12-A MK5 active speaker boosts performance with a high-power 12-inch woofer and a 1.4-inch HF driver, a 1,400W two-channel Class-D amplifier, and FiRPHASE and Bass Motion Control processing. With 130dB max SPL, vocals are described as natural, the sound is clear at long distances and SPL power is stable at very high levels. The lightweight polypropylene cabinet with internal reinforcement reportedly offers maximum strength, and the speaker also includes a steel pole mount, threaded inserts for rigging and rubber handgrips. Also joining the lineup is the HD 10-A MK5 with a 10-inch woofer and a 1-inch HF driver, an 800W two-channel Class-D amplifier, FiRPHASE and Bass Motion Control processing and 128dB max SPL. Both units feature a 90° x 60° wide-dispersion constant directivity horn.

Beyond expectations

www.rcf.it

Compact M 04 The CSF082.00K is a ferrite 8-inch coaxial with 200W AES power handling, 96dB sensitivity, a 2-inch Edgewound CCA voice coil for the LF and 1.4-inch CCA voice coil for the HF. It has a one-piece polyimide diaphragm and surround together with double demodulating rings to reduce distortion. Its frequency range spans from 75Hz – 20kHz with a 100° nominal coverage, making it a suitable solution for compact point source and ceiling speaker applications.

The CAN123.00T and CAN143.00T are high-spec 12-inch and 13.5-inch neodymium

www.lavocespeakers.com

CAN123.00TH

a 120° x 120° constant directivity coverage angle, a 4-inch coaxial woofer and a 1-inch voice coil neodymium dome tweeter. The M 04 features high sensitivity, thanks to the use of oversized magnets, and a hi-fi sound quality, with a smooth and wide frequency response.

The SPL level of low-distortion audio in the M 04 is said to go far beyond expectations of such a compact solution. According to the manufacturer, the compact design with accurate finishing makes the M 04 suitable for almost any environment, even with architectural constraints.

An included wall-mount bracket allows the use of the M 04 on wall or ceiling installations.

HD 12-A MK5

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Wireless Intercom

www.riedel.net

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PRODUCTS

Peavey introduces column array Pequod promotes Polyphemus total radiant surface equivalent to a 32-inch diaphragm. Compared to a traditional subwoofer made of wood, the Cerberus system does not present harmful structural vibrations, as well as having very high resistance to atmospheric agents. The system can be used for creating full-range systems with high acoustic impact, and can be combined with Shockwave, Polyphemus and Kona products.

The Borea Sub 13.1 is a long-excursion acoustic suspension system in an ovoidal axisymmetric closed structure, developed to provide extreme sensitivity, dynamics and emission power. It is constructed from an incredibly rigid and light structure of durable

DESIGNED FOR small-scale live music per formances, the LN1263 column array is said to of fer a clean design in a low-profile package. The unit has no visible cables in mono operation, making it suitable for applications where speakers should be heard and not seen.

The column array uses 1,200W of potential maximum power, enabled by 12 2.75-inch custom drivers in the mid-high column and a custom 12-inch driver for the subwoofer, delivering 127dB maximum SPL and a frequency response of 35Hz – 20kHz. The satellite speaker features rugged aluminium housing and a quick attachment design, and the subwoofer is built from multiply birch, making it both durable and lightweight. Each satellite features a speaker stand and a twist-lock speaker cable connection, which allows the speaker to be positioned remotely for applications where stereo configuration or additional coverage is desired. The column array unit weighs 4.5kg less than its nearest competitor and has been designed with the solo acoustic guitarist in mind. The onboard sixchannel mixer features four combo inputs, each with the option of selecting a guitar input. Each channel also of fers a compressor as well as mute and line indicators.

Central to the LN1263’s ease of use and operation is the modern DSP, as well as an onboard LCD screen and remote control via Bluetooth using a custom iOS application for control.

“Simple” mode in the app simplifies features like compression for novice users, while “Professional” mode allows complete control for more advanced sound tweaks. There are plenty of settings, including seven onboard EQ presets and eight onboard ef fects, along with an independent sub-level control. Two additional media channels feature stereo ¼-inch inputs and streaming audio Bluetooth in, which can handle a separate device other than the one controlling the array.

Stage monitoring

WX10A

POLYPHEMUS IS a high-performance, passively amplified, full-horn, three-way system, designed to integrate the dedicated transducers with composite horns for elevated sensitivity, dynamics, definition and durability.

By providing wide-angle coverage of a highly controlled soundfield, it has “the ability to reach sound levels at the limits of human tolerance with no perceptible distortion”.

Assembled, the system forms a triptych of large horns in frontal development. The HF and midrange horns are brought together in a single group to create spherical emission waves, integration between high and medium frequency and wide, symmetrical and uniform acoustic coverage. The LF driver is protected by a water-resistant cone. Due to its elevated sensitivity, the system requires limited amplification power. It can be driven passively through a dedicated inner crossover. A Full Fat Audio FFA 6000 (with external DSP) is the recommended amplifier partner for this solution.

The Cerberus system is a bass-reflex subwoofer consisting of three 18-inch longexcursion woofers housed in three ovoid volume structures connected and fused to form a light and rigid monolithic structure. The total power of the system is over 10,000W with a high sensitivity (102dB/W/1m) and a

provides a high output that results in an unexpected SPL for such a small loudspeaker.

The analogue processing provides a detailed response, particularly in the vocal range, and a resistance to feedback.

Two EQ presets are available so that the

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Cerberus 12.1 composite materials. The scratch-resistant glossy surfaces are said to deliver resistance to atmospheric agents. Borea Sub 13.1 uses a single high-quality, high-excursion transducer, 12 inches in diameter.

Zephyrus is a compact product designed around a 5-inch coaxial high-performance speaker. It has a 5-inch mid-woofer with a horn-loaded and coaxial driver capable of high resolution at high frequency. The body is constructed from a composite material, light yet resistant, and capable of withstanding shock and atmospheric agents. They system is also suitable for creating satellite and subwoofer systems that maintain high quality with low encumbrance. Zephyrus speakers can be used for sonorising small rooms or areas in clubs, creating equal diffusion of high-quality sound in an open area or connecting to a studio system or a PC workstation. www.pequodacoustics.com

speaker can be used not only for stage monitoring but also as a main sound system if necessary.

The WX monitors are available in two models. The ultra compact WX8A can reportedly provide high-quality monitoring in very small spaces and is suitable for speech, vocals and acoustic instruments.

The WX10A, with a higher SPL and a full-range response, has been developed for vocals, guitar, horns and electronic instruments or as a monitor for DJs. www.proel.com

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PROEL HAS launched its WX series stage monitors that can reportedly fit into stages of any size. The transducers’ coaxial design is said to provide an optimal HF and LF alignment and a controlled directivity from any position, but it also helps to minimise the size of the monitor.

The ultra-compact enclosures, with integrated handle and pole socket, have been designed with a very low profile and a minimal footprint onstage. The cabinets are finished with tough polyurethane paint. The lightweight 500W Class-D amplifier module with SMPS

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Celestion creates a new rising star

WITH THE unveiling of the PD.24603BR and PD.2155-1N sub-bass drivers, Precision Devices has unveiled the first models of a new pro audio transducer series. The flagship 24-inch and 21-inch models are the first to be revealed in the series with further 18-inch, 21-inch and 24-inch models in development.

Tuned primarily for use in bass-reflex enclosures from 150–220l, the PD.24603BR incorporates a 6.08-inch high-power copper voice coil. Featuring a vented cast aluminium chassis design for improved thermal control, the 1,800W (AES)-rated model operates within a 20–200Hz frequency response and can register a sensitivity (1W/1m) of 98dB. A vented neodymium motor system together with a voice coil gap combine to reduce the power compression and the optimised compliance

CELESTION HAS developed the CDX1-1412 high-frequency compression driver.

Featuring a 1-inch throat exit and neodymium magnet, the unit’s compact 60mm width makes it ideal for small twoway cabinet designs and other portable applications. With a recommended crossover frequency of 2kHz, the CDX1-1412 features 35W (AES standard) output power rating and 107dB sensitivity across a 1.5–20kHz frequency band. Designed and developed at the UK company’s headquarters, the CDX1-1412

suspension system provides optimal linearity and ultra-mechanical control.

The 21-inch PD.2155-1N is a low-distortion and dynamic sub-bass driver with a vented cast aluminium chassis that offers improved thermal control. Optimised for hybrid horn-loaded cabinet designs, the transducer produces 98dB sensitivity (1W/1m) over its working band down to 30Hz. Capable of handling 1,500W (AES) power, the PD.2155-1N features a vented neodymium magnet assembly and voice coil gap for reduced power compression. Other engineered features include a double silicone spider configuration and 5.5-inch inside/outside copper voice coil. www.precision-devices.com

features a 1.4-inch diameter edge wound copper clad aluminium voice coil.

Capable of delivering a 107dB sensitivity per formance, the unit features a single piece Polyimide film diaphragm and surround and is fabricated using a rigid engineering thermoplastic with a standard 2xM5 bolt fitting. Acoustic foam is utilised to minimise internal air cavity resonances, dampening unwanted reflections from the inside of the cover. www.celestion.com

Brio shrinks and gains power

PD.24603BR and PD.2155-1N

Entertainment meets architectural WORK PRO Audio has launched a new range of two-way professional loudspeakers that are aimed at the installation and live sound markets. The ENTAR Series combines the words ENTertainment and ARchitectural.

Both passive and active speakers are included, in a variety of different sizes. All models are manufactured from high-density plywood and their construction and shape makes them ideally suited to light PA duties.

They are also useful as stage monitors or for front-, side- or rear-fill.

There are four models offering a choice of 8-inch, 10-inch, 12-inch or 15-inch woofers. Power outputs range from 400–600W. The series also includes three active models equipped with Class-D amplifiers and either 10-inch, 12-inch or 15-inch woofers. Each of the loudspeakers has a controllable DSP that includes EQ presets,

location presets (pole, monitor, bracket), selectable HPF filter, shelving EQs, limiter and front LED mode (on, off, limiter). Active models also include a volume knob and line/mic and link/mix switches. All loudspeakers in the ENTAR Series are finished in black and have black steel grilles for a modern look.

AS PART of its 25th anniversary celebrations, RME has launched the Fireface UCX II, the successor to its Fireface UCX. Featuring 40 I/O channels as well as a variety of applications, the Fireface UCX II is said to mark a new standard in the field of professional audio interface solutions with a compact half-rack size. The interface also boasts up to 20 recording and 20 playback channels, SteadyClock FS, high-performance microphone inputs, built-in parametric EQ, USB direct recording plus full standalone functionality.

The Fireface UCX II houses two mic/ line preamps in XLR combo configuration on the front panel, along with two digitally controlled line/instrument inputs, followed by a headphone jack, various control buttons, a display and the main volume knob. At the rear is a set of 10 analogue balanced line inputs and outputs, MIDI I/O, ADAT I/O, AES/EBU and SPDIF I/O, USB 2.0 as well as a switchable word clock I/O. Thanks to the digital DURec (Direct USB Recording) functionality, any input or output

OFFERING GREATER channel counts and expanded connectivity as standard, Calrec has developed enhanced versions of the Brio console with the launch of the Duet and Medley packages.

baseline Brio console with an increased input channel count from 64 to 96 channels, handling more surround and immersive mixing in addition to slim trims where space is at a premium. The Brio

Designed as a plug-and-play broadcast console with no DSP sharing, Brio slots into any broadcast workflow by making its facilities available all the time. Fully loaded with dynamics and delay on every path and expandable for future growth, Brio’s feature set includes a large internal router, multiple monitor outputs and built-in I/O. With Brio Duet, Brio’s base specification has been upgraded for existing Brio customers. The Brio 36 Duet becomes the

Medley package adds a Dante or MADI expansion card and a Br.IO I/O box with 24 mic/line inputs, 16 analogue outputs and eight AES I/Os. The UK manufacturer has also announced the launch of a free educational training module for mixing live broadcasts in Dolby Atmos using the Calrec Brio console.

www.equipson.es

www.calrec.com

RME updates Fireface UCX of the Fireface UCX II can be recorded directly to a USB storage device. DURec uses the integrated DSP which provides standalone operation without the need for a computer. The fields of potential applications include standalone field recordings, live and rehearsal recordings, or playback of live recordings for vir tual

soundchecks. The Fireface UCX II also comes with the TotalMix FX DSP mixer offering routing and monitoring options, as well as the DIGICheck analyser allowing it to measure and analyse the digital data feed in both directions. www.rme-usa.com

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PRODUCTS

DirectOut adds NMOS to EXBOX.RAV interface

DIRECTOUT TECHNOLOGIES has further expanded the capabilities of its Ravenna/ MADI converter EXBOX.RAV by adding NMOS IS-04 and IS-05 support. NMOS (Networked Media Open Specifications) is a suite of specifications for stream discovery and connection management developed and maintained by the AMWA, filling a gap left open by the AES67 and SMPTE ST 2110 standards. IS-04 handles device discovery and registration to support automation in setting up networked systems, while IS-05 covers the connection management between devices to allow creation and removal of flows between senders and receivers on the network.

“We are seeing a lot of AES67 and ST 2110 projects coming up with requests and requirements for NMOS,” commented Claudio Becker-Foss, CTO and CEO of DirectOut. “NMOS is a public

specification, which fits well with the open approach of Ravenna. Based on modern network protocols, it eases the device integration into network management and orchestration software. Being NMOS-ready makes EXBOX.RAV even more attractive as a compact and cost-effective interface for IP infrastructures.”

Other features include FastSRC for sample rate conversion when dealing with different clock domains and EARS (Enhanced Automatic Redundancy Switching) designed by DirectOut to improve reliability of digital multichannel audio systems. Network redundancy is also granted by compliance with ST 2022-7.

NMOS has also been added to the Ravenna modules offered for the PRODIGY Series and to DirectOut’s OEM board RAV2. www.directout.eu

API introduces updated 527A SINCE ITS debut over 12 years ago, the API 527 has continued to gain popularity with mixing engineers across the world. Designed with flexibility in mind, the 527 of fered fast compression and a punchy tone coupled with API’s analogue warmth. Now, the manufacturer has released an updated version of the original 527 called the 527A. Retaining the circuit structure and sound of the original, the 527A is said to provide improved LED monitoring of gain reduction and a hard bypass option.

The 527A will take its place alongside the family of VCAbased compressors, including the 225L compressor and 529, 2500 and 2500+ stereo bus compressors.

Features common to the family include “feed for ward” (new) and “feed-back” (old) gain reduction methods selectable on the front panel, which are said to provide a choice of the “old way” or the “new way” of compression. The “old way” or feedback method is what most of the classic compressors used for the gain control circuit. The “new way” gain reduction

is more typical of the newer VCA-type compressors that rely on RMS detectors for the gain control voltage.

There is a soft/ hard knee switch for an “over-easy” type compression which repor tedly results in a ver y natural, uncompressed sound or a typical sharp knee type that lends itself to a much more severe limiting ef fect. The patented Thrust function can be switched in and out via the front panel as well, applying a filter before the RMS detector circuit that preser ves that punchy bottom end.

Two or more 527As can be linked together via a DC link, allowing multiple units to be combined for stereo and multichannel applications. The output level remains fairly constant regardless of the threshold or ratio control, much like the “more/less” ceiling control on the old 525 compressor. This allows for live adjustments without any noticeable gain changes in the programme level. The 527A also makes use of the 2510 and 2520 discreet op-amps.

PTZ camera specialist Bolin Technology is now shipping its new D-series of HD and 4K resolution PTZ cameras featuring Dante AV. With Dante AV, Bolin has combined 4K60 video, smooth PTZ movement, low latency and easy interoperability for integration over standard 1Gbps networks. Bolin is also introducing a Dante AV decoder, enabling many AV devices to work with a Dante AV network. As a leading networking and connectivity solutions provider for pro AV and telephony, Patton Electronics is now shipping its FPX6000 series of Dante AV-enabled encoders and decoders. The integration of Dante AV connects network gateways to non-networked AV products such as cameras, monitors and video editing stations. www.analog.com

Dante AV is now available as part of new solutions from Bolin Technology and Patton Electronics. Capable of video connectivity over

standard 1Gbps networks, the new products are the first commercial offerings in the Dante AV video-over-IP networking platform.

www.audinate.com www.bolintechnology.com www.patton.com

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Audinate announces first Dante AV adopters A COLLABORATION between Dante AV networking developer Audinate and Analog Devices, Inc (ADI) has resulted in the Dante Embedded Platform (DEP) for ADI’s SHARC audio DSPs. Manufacturers using ADI’s premium SHARC DSPs can now benefit from Dante audio-over-IP as single on-chip software.

By adding DEP to a compact, audio featurerich and multi-core application processor such as the SHARC ADSP-SC5xx, manufacturers can deliver Dante connectivity with low latency and audio processing. With Dante audio networking already onboard, DEP promotes interoperability with other Dante-enabled products. The ADSP-SC5xx offers an ARM Cortex core, up to two high-performance SHARC audio DSPs with high on-chip RAM and audio connectivity peripherals. Additionally, the SHARC DSPs provide an ecosystem of audio processing algorithms enabled by ADI’s Sigma Studio graphical programming environment.

Having partnered with Audinate to deliver the first Dante AV-enabled video-over-IP cameras,

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images can be seen easily, even during daylight hours.

BARIX HAS unveiled the Exstreamer M400, The panel Exstreamer to others simultaneously to featuresM400 rugged aluminium the first model in a new generation of the speed up configuration. extrusion housing andmulti-unit is easy to install company’s Exstreamer IP audio decoder family.to its The Exstreamer M400 also which features stereo, thanks flexible mounting options, The hardware is said to offer end usersinclude and adjustable line-level, analogue brackets onaudio each output side. with RCA-type systems integrators a modern, extensible connections can decode in MP3, Up and to four strips can be and suspended fromstreams a easy-to-deploy decoder platform supporting therig point AAC-HE, PCM, Opus and Ogg Vorbis single usingFLAC, the end brackets. latest technology standards. as well as the supporting In additionformats, to its IP65 rating, F6 StripSIP IP and secure Powered by Barix’s Linux-based IPAM 400 SIP inthat peer-to-peer and server modes. Other includes panels are convection cooled audio module, the Exstreamer M400 has relative to earlier Exstreamer to optimise new heatfeatures dissipation for even colour significantly higher processing power than IPV6 support, internal audio file distribution.models It also include has a dedicated compact power supply for enhanced stability over extended use.

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control options include DMX, Art-Net and sACN. It can also be controlled manually using the included encoders and OLED display, reportedly providing instant control of intensity, colour temperature, green shift and other withofexternally playback and previous Exstreamer models and a more settings. The storage integration Elation’s triggered E-Fly programmable, software-driven architecture Singlewire wireless DMXsupport system for is said to allowSoftware’s for even InformaCast Syn-Apps emergency notification platforms for easier expansion, rapid prototypingmore and flexibilityand of use. customisation. It comes with an increased withits automatic registration.

To complement growing endpoint line of special The sister Exstreamer M400 will initially target buffer size and advanced buffer management effects machines, company Magmatic technology for networking performance audio, background music, has unveiled aIPnew lineincluding of fluid called SIP/VoIP integration and emergency disruptions. Expanded support for IT security Atmosity. Thepaging, universal fluid has been standards includes HTTPS, plus secure, notifications. support for Barix’s specially formulated for useDirect in Magmatic’s IC Paging haze and Simple encrypted SIP (voice-over-IP) communications Magma and Thermatic and fogPaging solutions, using TLS and SRTP. scheduled for release later in the year, will machines, Polar snow machines, Rocket cryogenicallow simulation effects and other Exstreamer M400s to be easily added as The installation of multiple Exstreamer COM400 2 specialty effects products. units is simplified by the devices’ System endpoints.

The device will also be expanded with robust functionality for radio broadcasters Configuration Tool. Accessible through a web www.elationlighting.com browser, the dashboard enables installers in future firmware updates, such as AES67 support for high-quality audio transport between to efficiently configure up to hundreds of Exstreamer M400 devices at once. It can be facilities and interoperability with Dante-based devices. used to assign devices to grouped zones and specify up to five prioritised source streams www.barix.com for each unit. Settings can be copied from one

Flooding the stage with light

Vittoria securely bridges the network

of control possibilities, such as DMX, RDM, Art-Net, sACN and wireless DMX. It has a slim design at 12cm high and comes with tilt angle adjustment, beam control and flexible hanging and stacking options.

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GLENSOUND HAS launched a new network bridge featuring two redundant Dante interfaces. The Vittoria enables audio to be routed between two networks running asynchronously, or at different sample rates, while keeping those networks totally

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With all the characteristics of its sibling, the EclCyclorama 050 is a 170W linear soft CYC and floodlight with RGB + warm white separate. Initially designed by the UK support sampling rates of between 44.1kHz colour mixing. developer for a specific technical installation and 192kHz on both interfaces. within a large legislative debating chamber, The bridge unit can run at different www.prolights.it the Vittoria network audio bridge commands clock rates on each network. This allows a high level of in-built security with a firewall the output of a Dante sound network in between two Dante AoIP networks. For the a stadium operating at one clock rate to one-to-one connection with the routing for connect with an OB vehicle running on Dante each network fully isolated, network one at another rate or working in the AES67 AoIP cannot see network two. interoperability format.

Now available as an off-the-shelf www.glensound.com commercial product, Vittoria has 32 EclCyclorama 050

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AS THE first fixture in Ayrton’s new series of LT (Long Throw) products dedicated to long-range applications, the Karif-LT is an ultra-compact 300W LED beamspot. Equipped with a 168mm frontal lens offering a zoom ratio of 17:1 and a 2.8–47° zoom range, the narrowness is a distinguishable feature of this LED. The high-efficiency, low-etendue, compact LED module delivers an intense beam which, calibrated at 8,500K, can reportedly generate metallic white light and deep, vivid colours. Karif-LT has an overall output of 13,000 lumens at a colour temperature of 7,500K and a centre-beam luminous intensity of 3.5 million candelas.

Other features include a CMY colour mixing system, a multi-position CTO wheel with seven different colour correction filters, a wheel of 13 complementary colours for infinite pastel hues and saturated colours, nine interchangeable rotating HD glass gobos and a wheel with 39 fixed gobos. Karif-LT also has a glass monochrome multi-position, bidirectional effects wheel and a prism effects system comprising four combinable rotating prisms for creating complex effects. Standard features also include light and heavy frost filters, a dynamic animation effect with speed and fade adjustment and an electronic dimmer for perfect fades.

Karif-LT

Domino

Capable of delivering 51,000 lumens from a 1,000W LED source, Domino combines the output and optics of Huracán-X in an IP65-rated body for outdoor applications. Equipped with a

liquid-cooling sy submersible fan enclosure, the fi 178mm frontal uses 13 lenses

Daniel drives and supports your customers. He understands sales, distribution and your solutions.

Behind every great business is a Daniel.

channels of audio inputs and outputs on each network up to 96kHz (or 16 channels at 176.4kHz or 192kHz), with fully redundant power supplies and word clock in and out. There are high-quality sample rate converters between the networks and they EclCyclorama 100

Daniel understands industry technologies and their application. He cultivates strong relationships to develop your business.

Interfacio connects professionals with world-leading pro AVL brands.

China Sales Manager

Touring, recording and installed sound.

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

September–October 2021 PRO AVL ASIA 87

PAA CLASSIFIED Video advert

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PRODUCTS

Clear-Com takes a leading Edge DEVELOPED AS an IP base station that supports the full range of FreeSpeak digital wireless intercom solutions including 1.9GHz, 2.4GHz and 5GHz, in addition to third-party Dante devices, Clear-Com has launched the

E two-way radio systems with an intelligent GPIO interface.

The CC-28 is a lightweight, single-ear headset with an over-the-head design and a flexible gooseneck microphone. It has been designed for comfort and ease of use and features enhanced audio quality with a frequency response up to 14kHz and a four-pin XLR connector. The headset’s dynamic microphone can be muted by moving the microphone boom – rotating it up will mute the microphone while rotating down in front of the mouth will un-mute the microphone.

The CC-28 is the functional replacement of the CC-26k lightweight headset.

In brief, Clear-Com’s new Station-IC Virtual Desktop Client is now available for the LQ Series of IP interface devices as well as the manufacturer’s Eclipse digital intercom matrix.

systems, as well as support for FreeSpeak 1.9GHz IP transceivers via AES67 connections, previously only available through Eclipse Digital Matrix systems with an E-IPA card. The next-generation IP base station supports up to

FreeSpeak Edge Base Station FreeSpeak Edge Base Station. Featuring two full-colour, high-resolution touchscreen displays with four rotary encoders, the single 1U device allows four talk and listen channels, enabling the station operator to communicate with the wireless beltpacks.

The FreeSpeak Edge Base Station provides a standalone solution for FreeSpeak Edge 5GHz

16 beltpacks and six IP transceivers (10 E1 transceivers), with the flexibility to mix and match bands in addition to up to eight ports of IP interoperability with third-party Dante connections. With a mixture of IP, two-wire and four-wire audio ports, the FreeSpeak Edge Base Station can integrate a variety of systems, including Clear-Com Encore partyline and

CC-28

Neutrik adds Gigabit PoE injector EXTENDING THE capabilities of its Dante audio network interfacing modules, Neutrik has introduced the NPS-30W Gigabit Power over Ethernet power supply, addressing the need for PoE injectors that can operate in the harshest stage and field applications. The NPS-30W behaves as a passive power supply, delivering constant uninterrupted power, with no requirement for power negotiation with connected devices. It partners the NA2-IO-DPRO and NA2-IO-DLINE I/O interface devices that enable connectivity of legacy analogue and digital audio equipment within Dante audio networks.

With a 30W PoE budget, up to four of these I/O Dante interface devices can be daisychained off of a single NPS-30W. This is said to make the NPS-30W suitable for applications such as ambient miking. In common with the NA2-IO-DPRO and NA2-IO-DLINE, the NPS-30W features a compact, ultra-rugged form factor and removable rubber safety casing, and is equipped with lockable power connector and Ethernet ports. Optional mounting brackets

or a rack panel allow all three devices to be mounted on the underside of tables, in floor boxes, outboard racks or on a truss.

The rear panel power input and network data input port, along with the front panel PoE/ data output network port, feature Neutrik powerCON TRUE1 TOP and etherCON chassis

connectors to reportedly ensure fully robust, professional standard connectivity. The NPS-30W is an optimal companion for any PoE application, as well as Neutrik’s own networking products.

The manufacturer has also announced the global launch of its REAN brand of audio, video

SHURE HAS unveiled its dual-channel ADX5D portable wireless slot receiver. Designed to enhance the Axient Digital ecosystem of wireless audio solutions, the ADX5D has been created to translate Axient Digital into a portable option. It is suitable for sports/events broadcasting, electronic news gathering (ENG), film/episodic television and electronic field

production (EFP). The receiver supports a wide dynamic range, AES256 encryption and 2ms latency from the mic transducer to the analogue output. It can slot inside and connect directly to the audio inputs of a professional broadcast camera, enabling streamlined connectivity of the two devices. The portability is also said to provide convenience and flexibility, especially

for film and TV sound mixers who often have discrete powering, audio-routing and/or RFdistributing gear in their portable recording bags.

The ADX5D incorporates ShowLink, which is unique to Axient Digital, and allows for real-time control of all transmitter parameters, interference detection and avoidance. Suitable for remote, hybrid or on-location sound environments, ShowLink makes it easier to use backup frequencies and provide remote control directly to the linked transmitters. Compatibility with Wireless Workbench supports control and configuration, optimal spectrum management and frequency coordination.

Shure has also announced the addition of free software networking capabilities for its SLX-D. Shure’s Wireless Workbench 6 software and ShurePlus Channels iOS app are now compatible with SLX-D. The software solutions offer the necessary RF management that professionals rely on for critical oversight and control of Shure wireless systems.

NPS-30W and NA2-IO-DPRO

Spectral efficiency

ADX5D

www.clearcom.com

and data connectors. The portfolio incorporates a full range of “standard” professional XLR, ¼-inch Jack, XLR/Jack combo, Ethernet, Power Connector, 3.5mm, Phono, DIN and Dual Banana plug solutions, and the new Z Series of IP65-rated XLR and RJ45 Ethernet connectors.

These are specified for outdoor applications, resistant to water and dirt, and optimised for use in lighting and digital signage applications.

Finally, Neutrik has issued an update of its FOC Controller app for its NA2-IO-DPRO I/O Dante interface device, which enables connectivity of legacy analogue and nonnetworked digital audio equipment within Dante audio networks. V2.0 introduces a new device discovery mechanism that improves the response speed of the software and enhances the user experience by separating online and offline devices. DPRO Controller V2.0 should be used in combination with the latest (v9.14) firmware and the website download bundles of the updated controller and firmware. www.neutrik.co.uk

MXA710 Finally, Shure’s MXA710 linear array microphone is now certified for Microsoft Teams and joins the manufacturer’s increasing portfolio of conferencing solutions that are already certified for Microsoft Teams that give installers and end users even more options for their environments. www.shure.com

88 PRO AVL ASIA September–October 2021

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Expansion on the cards THE LATEST product updates to be issued by Extron include new Quantum Ultra expansion cards to simplify the design, integration and operation of large videowalls, together with a new compact but high-performance control processor and new 4K.60 video switchers.

image synchronisation and eliminating video tearing. Integrating Quantum Ultra processors configured with Quantum Expansion cards provides flexible system design for large videowalls without the need for front-end switching or distribution amplifiers.

serial port with hardware and software handshaking, advanced security standards and Gigabit Ethernet, which ensures compatibility with multiple TouchLink Pro touchpanels, Network Button Panels and IPL EXP expansion interfaces using a standard network infrastructure.

Lastly, the recently announced DSC 401 and DSC 401 A high-performance scalers have now been made available. They support data rates up to 18Gbps and incorporate the manufacturer’s Vector 4K scaling engine. Both models support 4K/60 signals on a single HDMI connection, while additional features include onscreen menus, internal test patterns and status LEDs.

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The Quantum Ultra expansion cards link up to five Quantum Ultra frames together, extending the high-speed HyperLane bus between processors. Once configured, the processors operate as a single system with a shared bus. This makes each input source available to all video outputs. Those outputs are also genlocked across all frames, maintaining

Alongside the Ultra expansion cards is the release of Extron’s new IPCP Pro S1 xi compact control processor, which has been designed for decentralised control in smalland medium-sized applications. The device is said to offer greater processing power and twice the memory of the manufacturer’s IP Link Pro series. Ethernet monitoring and

A&H reaches new spaces ALLEN & HEATH has announced several new additions to its installation portfolio.

The AHM-64 audio matrix processor can now benefit from hardware-based echo cancellation via the AEC processing expansion module, providing 12 channels of AEC with a 150ms adaptive FIR filter, non-linear processing for residual echo and background noise reduction, plus AGC (Automatic Gain Control) for the far-end signal. Said to offer multiple benefits over cloud-based echo cancellation, including the ability to handle multimicrophone setups and dedicated Sound Reinforcement outputs, the AEC module offers “a step up in audio quality” for teleconferencing and videoconferencing applications in meeting rooms and conference centres.

Three new Dante interfaces have been added to Allen & Heath’s Everything I/O range of audio expanders: the DT20 with two mic/line inputs on combi connectors; the DT02 with two line outputs on XLR; and the DT22 with 2x2 I/O on Phoenix connectors. The compact form factor, in conjunction with rugged aluminium casing,

is said to make the interfaces suitable for the rigours of portable AV hire, while surface-mount and rack-mount kits enable integration into more permanent installs.

www.extron.com

DSC 401 and DSC 401A

QSC announces NS Series Gen 2 PRE-CONFIGURED TO meet the requirements of the Q-SYS audio, video and control platform, QSC has introduced Q-SYS NS Series Gen 2 enterprise-grade, Netgear-manufactured AV network switches.

Designed as a plug-and-play solution for faster and more reliable standalone AV networks, the AV network switches provide real-time transport of Q-LAN, AES67 and Dante audio streams in addition to Q-LAN video streaming and distribution.

Excluding the uplink and SFP ports, each Q-SYS NS Series Gen 2 network switch features standard PoE on each of its ports to provide combined Q-SYS device power, data and control. In addition, two NS Series Gen 2 models support PoE++ for use with Q-SYS devices, eliminating the need for PoE injectors and external power supplies while simplifying cabling infrastructures.

Providing multicast data management between multiple switches, the NS Series offers intelligent features that automatically manage multicast traffic on the network with integrated Netgear IGMP Plus. Additionally, an optional built-in DHCP server is pre-configured, enabling automated connectivity for independently administered AV systems.

QSC has also announced new Meeting Room Solutions following a collaboration with Zoom Video Communications and Q-SYS Ecosystem partner Sennheiser. The solutions centre around the Q-SYS Core 8 Flex processor and also includes the QSC SPA Series two- and four-channel power amplifiers and the QSC AcousticDesign Series AD-C4T ceiling loudspeaker. QSC and Sennheiser have also partnered to include the Sennheiser TeamConnect Ceiling 2 (TCC2) microphone, which integrates with Q-SYS via a control plugin. www.qsc.com

Finally, the CC-7 (7-inch) and CC-10 (10-inch) touchpanels complement the existing range of remote-control options for AHM-64, dLive and Avantis mixers.

PoE powered and pre-configured to run the Allen & Heath Custom Control app in kiosk mode, they offer an alternative to BYOD in houses of worship, corporate and educational facilities. Multiple user interfaces can be designed by the installer or systems integrator, uploaded to the mixing system and instantly deployed to all connected Custom Control devices. www.allen-heath.com

Q-SYS NS Series Gen 2

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PRODUCTS

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Biamp Zooms in ZOOM VIDEO Communications has certified two Biamp conference room audio bundles for customers to operate a complete audio solution in medium and large Zoom Rooms.

CREA of bal offerin of its series cable XLR F (TI-MM (TI-TR Neutr conta 8mm four w extra StarQ

microphones, which track and mix conversations from around the room.

The US manufacturer claims that this results in an audio experience

Remote conferencing from Yamaha The new cer tified bundles offer the advantages of a complete Biamp solution. Installers benefit from simple system deployment and configuration resulting from the integration of each component, automated EQ, minimal cable requirements with no terminations and without the need to set up the network. Significant time savings on Zoom Rooms projects are made possible with a room deployment tool that bypasses the requirement to configure the Tesira software platform.

Parlé microphones use beamtracking technology to create dynamic vir tual

that makes remote par ticipants feel physically present in the room.

Two bundles are available for medium and large Zoom Rooms, both of which include a TesiraFORTÉ VT4 processor, TesiraCONNECT expander, Tesira EX-UBT USB extender and an appropriate quantity of Parlé ceiling microphones together with Desono C-IC6 loudspeakers for the room size. They also incorporate Biamp’s PoE-powered amplifiers incorporating Burst Mode technology together with mounting accessories and category cabling. www.biamp.com

Real-time rendering AS IT continues to strive towards real-time content rendering, disguise has unveiled the new rx II hardware release, reportedly the fastest and most powerful professional GPU on the market. The company states that the new rendering node unlocks 40% more graphics processing power than its rx predecessor, enabling users to more reliably render larger and higher-quality scenes in real-time engines such as Unreal Engine, on any display canvas and across any industry application.

The rx II enhances disguise’s existing cluster rendering solution, which has been

engineered to split the processing power of highly detailed or large-scale, real-time scenes across multiple rx render nodes. By splitting up content processing power, each individual machine is only given what its GPU can control. Each render node operates as part of

YAMAHA UNIFIED Communications has announced a new model to its Enterprise Sound Bar line-up. The ESB-1090 solves common challenges and limitations in sound output to reportedly create a rich, premium audio experience for remote conferencing, classrooms, and hotel guest rooms, lobbies or meeting rooms. The ESB-1090 features three modes, allowing users to opt between Conference, Education and Hotel. Users can swap between Conference Mode for remote conference purposes, Education Mode for classroom settings and Hotel Mode for lobby or room playback with the included remote. It can also be configured for Ethernet operation.

a bigger cluster, allowing for a unified image that’s the product of multiple machines. The rx II is the company’s new dedicated rendering node.

The rx II currently sits together with disguise’s vx as a hardware bundle.

The sound bar includes two subwoofers, two midrange speakers and two tweeters.

It connects to any sound source – display, PC or mobile device – via HDMI, Bluetooth or even optical cable and analogue audio.

There is also an operation restriction preset to prevent unwanted tampering or changes.

Like the ESB-1080, the ESB-1090’s slim design reportedly blends into any environment and offers installation versatility. Users can either wall mount the unit or place it flat on a table or school AV cart. www.uc.yamaha.com

Connecting the two hardware units is the manufacturer’s proprietary RenderStream protocol, available through the latest r18 software release.

The rx II further enhances real-time rendering via 10-bit HDR processing for highest-quality output. Users can scale their production while using any render engine, create photorealistic backgrounds and assets and leave it to rx II to deliver graphics to the screen with minimal latency. www.disguise.one

Tascam updates its streamer/recorders

VS-R264 and VS-R265

A V1.1.0 firmware update has been released for the VS-R264 Full HD streamer/recorder and the VS-R265 4K/UHD streamer/recorder. The new version, with its suppor t for three simultaneous RTMP streams, enables users to stream their programmes/ per formances to three dif ferent streaming platforms all at the same time, such as YouTube, Facebook and Dacast. Fur thermore, this update also facilitates simultaneous backup

distribution (Main and Backup) to the ser ver of the same streaming ser vice.

Support for a total of eight simultaneous streams has also been added. This includes three RTMP/RTMPS (RTMPS is a variation of RTMP that has an added layer of security), one RTSP (Real Time Streaming Protocol), one HLS (HTTP Live Streaming), two RTP/UDP Unicast and one RTP/UDP Multicast. www.tascam.com

90 PRO AVL ASIA September–October 2021

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TI-MF

PRODUCTS

Klotz expands Titanium StarQuad series CREATED FOR interference-free transmission of balanced line audio signals, Klotz AIS is now offering three StarQuad audio cables as part of its Titanium StarQuad microphone (TI-M) series. The new Titanium StarQuad analogue cables are available in the plug combinations XLR Female to TRS (TI-MFS), XLR Male to TRS (TI-MMS) and as a pure TRS line audio cable (TI-TRS). Providing a loss-free plugin connection, Neutrik metal connectors with gold-plated contacts come as standard. Measuring almost 8mm in diameter, the outer jacket comprises four wires arranged in a star shape with an extra large cross-section (4 x 0.34mm²).

StarQuad cabling achieves proven symmetrical properties and damping values resulting in dynamic

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sound with fast response, detailed fidelity and undistorted transient reproduction.

In the new D7 coaxial cable series, both the cable material and the RCA connectors are manufactured with 75Ω characteristic impedance. The flexible stranded wire is wrapped in PE insulation, then next is the braided shield (coverage >85%) and finally the robust PVC outer jacket with a diameter of less than 6mm. The D7-SPDIF is not only suitable for coaxial SPDIF signals but also for analogue composite video signals and has been designed as a flexible yet robust patch cable in shorter lengths.

The D9 coaxial digital cable series is equipped with high-quality Damar&Hagen

BNCslim connectors and is suited for the transmission of WordClock, AESid and MADI coaxial signals. The stranded wire is embedded in a PE insulation, while the dense high screen braided shield achieves a coverage of 95%. The soft PVC outer jacket is said to make the D9 cable flexible and therefore suited for rackinternal cabling and patches. Both the D7 and D9 series are available in cable lengths between 30cm and 10m.

The cable manufacturer has also updated its H1A33NP (audio and power) and H1T88RX (2x Cat and power) and increased the splice length to 50cm, which makes it easier to reach connections that are far away from each other with the splice. From a length of 30m, a professional strain relief from REMKE at the splice reportedly protects against high tensile forces and extends the service life of the cable.

Grouped alongside the LX-5X series with XLR 5 p. connectors, Klotz AIS has extended the PRO DMX cable series with the addition of XLR 3 p. connectors (LX-3X). The digital cables are characterised by an exact impedance of 110Ω.

The LX2 is a flexible touring DMX cable made from the high-end OT2000 digital cable.

The LX3 incorporates the OT206Y doubleshielded supreme digital cable with black jacket and the LX4 is distinguished by D7-SPDIF a blue jacket. For the LX5 series, Klotz AIS uses an OT206PB cable with a blue PUR jacket, while the LX6 comes with complete five-way pin assignment. With AL/PET foil and an additional copper-braided shield, the double-shielded DC422CY cable provides interference-free data transmission over very long distances. The PRO DMX cables are equipped with transparent shrink sleeves on both sides and are available with both XLR 3 p. and XLR 5 p. connectors by Klotz AIS or Neutrik. www.klotz-ais.com

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PAA Pg70-71 Dolby Atmos HE.indd 71 PRO AVL ASIA_

PAA Pg78-101 Products .indd 91

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September–October 2021 PRO AVL ASIA 91

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PRODUCTS

Zero loss cables AS THE physical features of audio become more important, Tasker has lent its cabling expertise to develop long-distance installation microphone cables with zero dB losses at all analogue frequencies.

The TSK1026 Zero Loss has a diameter of 6mm, a nominal section of 2x0.25mm², an active carbon screen and full copper spiral shielding, while the TSK1028 Zero Loss has a diameter of 6.3mm, a nominal section of 2x0.35mm², an active carbon

screen and high coverage tinned copper braid shielding. Active carbon screen technology has existed for many years and Tasker uses it for many unbalanced cables for instruments, such as its C285 for live applications and the TSK1032 for recording studios. However, the Italian manufacturer has come up with the idea of using this material and wrapping it directly under the shielding of microphone cables to obtain zero dB losses.

AP detects rub and buzz WITH THE release of the v6.1 update, Audio Precision has added new measurement results, options and test signals to establish APx500 audio measurement software as “the best solution for production testing of loudspeakers, headphone drivers and microphones”.

For speaker driver developers, APx software now offers the broadest set of methodologies available in the detection of rub and buzz defects. Rub and buzz commonly refers to possible manufacturing defects that make undesirable noises during speaker operation. In addition to air leaks, the most common defect categories are rubrelated noises when the speaker cone is offcentre and mechanically rubs when it moves to create sound, and buzz defects when loose particulate matter such as chipped magnet material or glue become trapped in the gap between the speaker’s voice coil and the cone.

Rub and buzz defects are not necessarily detectable by traditional audio measurements. Several different rub and buzz detection methodologies have been developed using high-pass tracking filters,

Rub and buzz examples distortion-oriented methods that focus only on high-order harmonics and techniques applying human hearing-based algorithms to the distortion signal. No single method has achieved uniform adoption in the industry.

Previously available in APx software, the v6.1 update uses high-pass tracking filters to remove the fundamental signal and

Avid continues to add value AS PART of the Pro Tools | Ultimate 2021.6 software release, Avid’s Hybrid Engine has been made available for HDX Systems.

Combining added power for HDX Systems with on-demand access to near zero latency recording, the Hybrid Engine splits processing between native and HDX DSP mix engines.

This allows users to take advantage of their host computer’s mixing and processing power, while providing access to HDX’s DSP for supplementing computing power and recording through AAX DSP plugins with virtually no latency. As a result, sessions can operate with

Both Zero Loss cables are fully filled with cotton to avoid any loop effects and fully customisable with different types of sheaths:

a low CPU load, optimised voice usage and reduced system delay.

With the Hybrid Engine, a single HDX card can handle 2,048 voices at all sample rates, providing plenty of headroom for all the plugins, virtual instruments, surround mixes and other elements. When tracks are put into DSP mode, the entire signal chain and AAX DSP-compatible plugins are processed directly on the HDX card while the host computer plays back the rest of the mix.

detect defects as excursions in the residual waveform’s crest factor or peak ratio.

SoneTrac is a Bose-developed improvement to rub and buzz that filters the residual signal and ratios it to the RMS of the total signal to reduce the noisiness of the measurement result. A High-Order Harmonic Distortion (HOHD) uses the Total Harmonic

LSZH for fixed public installation, PE or PUR for outdoor installations, and with or without metallic armour for underground installations, even in the presence of rodents. www.tasker.it

Distortion (THD) ratio but only of harmonics above the 10th, 10–35, 20–200, etc. that account for frequency masking effects. Rub and buzz loudness applies a psycho-acoustic loudness model to the residual signal to calculate the perceived level of the rub and buzz based on well-established models of the human perception of sound.

To support the addition of the HOHD and rub and buzz loudness measurements, AP has introduced the Fast Sweep signal with v6.1. Fast Sweep is an extremely fast-stepped frequency sweep with no input or output ranging between steps and continuous transition between steps to minimise transient effects. In addition, v6.1 allows an instant switch between IEC and IEEE THD calculation modes for harmonic distortion results, addressing common measurement artefacts that occur when testing loudspeakers. All acquired waveform, impulse response or cross-correlation results can be saved to .wav files as a sequence step in automated measurement sequences. www.ap.com

Bose takes control BOSE PROFESSIONAL has unveiled an update to its ControlSpace Designer and ControlSpace Remote software.

ControlSpace Designer 5.9.1 includes numerous improvements to the design

www.avid.com

and operation of Bose Professional sound systems, including suppor t for AES67 and Dante Domain Manager on all Dante-enabled hardware to improve interoperability and ease of management in enterprise networks.

Also included are enhancements to the system commissioning experience and updated compatibility with third-par ty devices.

Updated firmware to support these improvements is included with the software release. ControlSpace Designer 5.9.1 includes EQ support for newly introduced DesignMax pendant and AMM multipurpose loudspeakers.

In addition, the ControlSpace Remote 2.10 update provides wired or wireless control of networked Bose Professional system components.

ControlSpace Remote builder software is used by the system designer to create custom control panels that are sent to the ControlSpace Remote app for operation by end users. Using control panel templates from within Bose ControlSpace builder, designers are able to quickly create unique inter faces for control of Bose networked pro audio systems running on iOS and Android devices. pro.bose.com

Pro Tools | Ultimate 2021.6

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Amadeus advances Holophonix with v1.7 AMADEUS HAS released a software update for the company’s Holophonix immersive spatial sound processor. The v1.7 software update features a redesigned web-remote user interface and includes a host of new features that promote faster workflows when working on immersive creative projects.

Graphic performance and large preset loads are up to eight times faster than previously. Free to all current Holophonix users, the v1.7 software is included with all new hardware systems.

Previously restricted to linear speaker arrays with regular spacing between the transducers, Wave Field Synthesis now supports non-linear speaker arrays,

including 2D surround setups. The algorithm can now control circular, rectangular or curved-shaped loudspeaker layouts with non-uniform spacing.

The built-in reverberation engine now features a new Room Size parameter for finely tuning the reverb effects and a per-speaker EQ has also been included with seven PEQ and high- and lowpass filters. Further v1.7 features include options bar displays of different functions by selected view, higher order ambisonics and stream sources together with a transformation tool for better positioning control for objects in 2D and 3D.

WAVES AUDIO has announced new updates for all Waves SoundGrid applications: the eMotion LV1 live mixer and the SuperRack plugin chainer for live sound processing, and the SoundGrid Studio and StudioRack applications for lowlatency recording and mixing in the studio. The new updates add integrated monitoring sync between SoundGrid Studio and two DAWs, REAPER and Bitwig Studio; support for the Waves MyMon personal monitor mixing app in SoundGrid Studio; graphic interface resizing options for all apps, including eMotion LV1 and SuperRack; and other new features and improvements.

SoundGrid Studio’s new automatic monitoring sync streamlines the workflow of REAPER and Bitwig Studio users when recording and monitoring in low latency through SoundGrid Studio. As a result of this new integration, REAPER and Bitwig Studio users can now automatically switch SoundGrid Studio’s I/O

hassle-free channel routing and switching, which until now had to be done manually.

Also new in Waves SoundGrid Studio is support for the Waves MyMon personal monitor mixing app, which gives musicians direct control of their monitor mixes during the recording process, via any mobile device.

New resizing/rescaling options added to the eMotion LV1 live mixer and the SuperRack live plugin rack allow users to customise the interfaces for their specific monitor setup.

SuperRack’s user interface can now be automatically resized, and a new Display AutoScaling mode has been added to eMotion LV1 for better support of high-res screens.

In other news, Waves V12.7 introduces a new User Preset System to streamline the process of saving, loading and organising custom-made plugin presets, as well as sharing them between different systems or other users. In addition, the Waves SSL

routing and toggle StudioRack’s Input/Playback modes directly from their DAW, saving time on routing and configuration. This new synergy between Waves’ studio applications and both DAWs streamlines REAPER and Bitwig Studio’s workflows for channel routing and auto-configurations throughout the recording process. The automated DAW sync reportedly keeps a recording session flowing with fast,

plugins and Waves Tune Real-Time now feature new high-resolution HiDPI GUIs, providing a crisper interface. The latest features join the new Waves Preset Browser and the ability to resize plugin windows introduced in V12. The V12.7 update is free for all users with V12 licences.

www.holophonix.xyz

EV previews speaker placement PREVIEW IS a new platform-independent software tool designed as an efficient way to configure Electro-Voice line arrays for maximum coverage. The software provides 3D visualisations of coverage, SPL and frequency response, as well as precise mechanical load calculations to help specifiers, designers and audio engineers quickly calculate the ideal configurations and positioning of line arrays.

It then recommends mechanically valid combinations of loudspeakers and rigging hardware.

immediate visualisation of the coverage density. The flexible auto dB range option maps the predicted SPL range across the full available colour range, maximising the visual detail simultaneously in all displays.

Virtual microphone positioning allows users to predict frequency response anywhere in the venue.

The spectrogram display presents a vertical frequency response plot for each loudspeaker at the point at which its main geometric axis reaches the audience area.

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The software offers a 3D environment in which objects may be placed and manipulated anywhere, with the user having complete control over rotation, scaling and translation, as well as the ability to “see through” any surface that is viewed straight on.

A set of practical tools help the user achieve the optimal acoustical representation. Quick Map delivers

the designer assess how evenly the venue is covered in both level and frequency.

The software also simplifies the creation of subwoofer arrays and also includes a detailed report generation function and project file database. This database allows users to import existing designs and to store new project files, drawings and templates.

www.waves.com

LynTec updates Android app LYNTEC HAS updated its Android app to include more features and capabilities that allow users to remotely control and monitor LynTec networkable Remote Power Controller (RPC) and RPCR electrical panels without the need for an additional licence or fees. With the new app, facility managers and operators can control AC power control for AV systems, audio sound system sequencing, commercial lighting, DMX lighting, intelligent lighting, energy management systems and home automation.

“As we’ve continued to add new functionality to the GUI and expand our line-up of AVL power control solutions, we’ve had a surge of customers requesting the same app features for their Android devices as we’ve built into our more recent Apple app,” commented Mark Bishop, LynTec president. “This upgrade delivers on our continuous commitment to serve our customers and answer their needs with robust, flexible solutions that allow them to control their AVL assets at the system, zone and circuit level, with or without thirdparty controllers.”

www.electrovoice.com www.lyntec.com

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PRODUCTS

Anubis embarks on a Music Mission FOLLOWING AN intensive period of beta testing with leading international musicians, engineers and producers, Merging Technologies has released the Music Mission for Anubis. The Music Mission can be downloaded by existing users free of charge. Music Mission transforms the manufacturer’s desktop Anubis device into a low-latency recording mixer and Ethernet audio interface.

When switching on the Anubis, choosing the Mission is a press of the touchscreen, loading either the typical monitor controller or, if selecting the Music Mission, an up to 48-input/24-output, low-latency mixer with multiple effects. The size of the mixer depends on the number of AoIP devices on a user’s network; however, instead of a complex matrix to manage these I/O sources and destinations, newly developed PEER and UNITE features add the additional channels to the mixer with a simple screen tap. Routing can be managed from the Anubis touchscreen without the need to be a network technician.

Music Mission embeds multiple mixers which allows the creation of 1–5 different mixes for a performer’s cues or programmes. Different input sources or a mix balance can be routed to any outputs thanks to the flexible bus routing.

Additionally, there are 18 snapshots to save and fully recall previous settings, with the possibility to customise mixer layouts depending on use

in the studio or live onstage. All this can be achieved without having a DAW connected.

The Music Mission is designed to provide an engineer and several musicians with separate, controllable cue mixes. The Anubis delivers a main mix, five cue mixes and three further stereo pre‑fade sends, for a total of nine different balances, each of which can draw

on all available inputs. Each mix can feed a single stereo output pair, and the first is also duplicated so that you can have that mix going to two speaker sets, or to one speaker set and one headphone output. Cues can be used when recording, overdubbing, playing live or for independent programme distribution.

New to the platform are the PEER and UNITE features. UNITE is an automatic AoIP Stream patching feature included in the Merging drivers that allows a user to quickly connect I/O streams between the Anubis and a DAW without the need for any AoIP knowledge or additional applications. The Music Mission is expandable to 48 inputs channels and 24 outputs within the Anubis mixer, when adding AoIP interfaces to a setup. With the Anubis PEERING feature, users can expand their Anubis I/Os in operation with interconnected standalone devices, without the need of any computer to set it up. www.merging.com

TVU Networks adds subject tracking TVU NETWORKS has announced its TVU Anywhere solution has integrated support for Center Stage, a new iPad Pro (M1 Chip models) feature that automates subject tracking and reportedly eliminates the need for a camera operator in many situations.

The integration of Center Stage frees the reporter or anchor using TVU Anywhere from the constraints of holding a fixed position, using AI to automatically recognise the

subject and tracking them as they move. As additional subjects enter the shot, such as an interviewee, the camera will automatically zoom out to capture the additional subject and then zoom back in again once the interview is complete. Center Stage is fully integrated with TVU Anywhere via API, so no external controls are required.

TVU Anywhere is a downloadable app that turns a smartphone or tablet into a production

SSL unveils UC1 controller FOLLOWING THE success of the UF8 advanced DAW controller, Solid State Logic has launched the next level in hardware plugin control with the UC1. It combines studio-quality encoders, switches and feedback LEDs with an authentic moving coil Bus Compressor gain reduction meter for a true console “centre section” experience. With knob per-function control of the SSL Native Channel Strip 2 and Bus Compressor 2 plugins, the UC1 provides a continual onboard display of which plugin is currently in use, and a value readout of the control currently engaged.

Adding power to a DAW mix experience, the new SSL 360° Plug-in Mixer application allows users to create

their ver y own vir tual SSL console to work in unison with the UC1 hardware.

The controller has also been designed to provide instant access to current and future SSL designed Channel Strip and Bus Compressor plugins within a single window environment.

The manufacturer has also announced its refreshed eCommerce platform with the launch of a new take on the 4000 series console classic compressor. The LMC+ is an enhanced version of the classic SSL Listen Mic Compressor with a range of new creative tools for ar tists, producers and engineers.

camera. It has a wide range of capabilities such as dual-camera support, facial skin smoothing, remote pan-zoom and other camera settings that enable home, remote or field-based professionals to deliver high-quality content using their mobile devices. www.tvunetworks.com

Zylia Concert Hall added to Oculus App Lab

www.solidstatelogic.com

UC1

THE ZYLIA Concert Hall application on Oculus App Lab has been developed to allow listeners to move freely and navigate within virtual, 3D spaces. With navigable audio, detected changes in intensity, direction, height and timbre correspond to the position of the ears as in real life.

The Oculus headset allows the listeners to walk through the live-recorded 3D sound scene of the concert hall and stand next to any performing artist, represented in the VR environment by static musicians. The 6DoF Navigable Audio solution combines multiple Zylia ZM-1S, 3rd order Ambisonics microphone

arrays and software plugins for DAWs and game engines. The captured live 3D sound scene can be implemented into various immersive AV productions. The Zylia 6DoF Higher Order Ambisonics Renderer software allows playback of the synchronised recordings for listening from any position in the space. The Renderer can be used independently from the 6DoF hardware to create navigable 3D assets for various audio productions. The software package also includes the Zylia 6DoF Recorder and Ambisonics Converter components. www.zylia.co

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Atlona shares USB data in AV workflows THE LATEST entr y in the Omega Series of AV integration solutions has been released by Atlona in the form of the AT-OME-SW21-TX-WPC wall plate switcher and HDBaseT transmitter. As a successor to the AT-HDVS-210U-TX-WP, the new device combines HDMI and USB-C switching with extension of both AV and USB data in a US one-gang, wall plate form factor. The OME-SW21-TX-WPC transports video, audio, display control signals and USB data via HDBaseT over distances up to 100m when paired with Atlona’s AT-OME-EX-RX receiver or AT-OME-SR21 switcher. The transmitter supports video sources up to 4K/UHD at 60Hz with 4:2:0 chroma subsampling

and is HDCP 2.2 compliant for delivery of protected content.

The OME-SW21-TX-WPC’s USB-C input supports both AV and data, enabling singlecable connectivity for Mac, Chromebook and Windows PCs in addition to smartphones and tablets with AV-capable USB-C ports.

Separate USB 2.0 interfaces and a builtin USB hub support an additional host system and a peripheral device, such as a speakerphone or microphone. The USB type B host interface can also be paired with the HDMI input for synchronous switching of video and data. In addition to discreet interfacing on walls, in furniture or in floor boxes, the OME-SW21-TX-WPC also includes

Long-reach HDBaseT THE KIT-401 is a high-per formance autoswitcher/scaler kit for 4K HDMI and VGA over long-reach HDBaseT. The kit includes the KIT-401T wall plate transmitter/ switcher and the KIT-400R receiver/scaler.

The KIT-401T transmitter converts the userselected input signal into the transmitted HDBaseT signal. The KIT-400R receiver receives the HDBaseT signal, converts it to HDMI and up- or down-scales the picture to match the resolution of the HDMI monitor.

The KIT-401 extends video signals to up to 40m over Cat copper cables at up to 4K@60Hz (4:2:0) 24bpp video resolution and provides even further reach for lower HD video resolutions.

Kramer has also added the DSP-62-AEC to its XSPerience family of DSP products.

The DSP-62-AEC is a 6x2 audio matrix switcher that includes multichannel DSP, AEC (Acoustic Echo Cancellation), HDMI de-embedding and class-compliant USB audio inter face. The user-friendly graphic

inter face is said to make configuring every detail of an audio system intuitive and easy.

The WP-EN6 is a 2-gang (US) wall plate video encoder that provides streaming of 4K@60Hz (4:2:0), HDCP 2.2, HDMI video, IR, RS-232 and USB signals over an IP network in unicast (one-to-one) or multicast (many-to-many) configurations. It is a fully

producer displays, streaming software and recorders.

www.atlona.com

DSP-62-AEC

www.kramerelectronics.com

an external video recorder, saving and recalling eight preset memories, adjusting the output video and making system settings.

The Jupiter-X Editor is now available for free for macOS and Windows and provides a user-friendly graphical interface that reportedly makes it easier to harness the creative potential of these instruments. It serves as a standalone graphical editor and

Jupiter-X editor

V-160HD The V-1HD+ Remote iPad app has been launched for remotely controlling the Roland V-1HD+ HD video switcher. The app lets V-1HD+ owners control features from their own iPad touchscreen, such as switching video and mixing audio, specifying the video effect assigned to each video bus, changing audio volume levels, adjusting the degree of effects applied, triggering

and projectors on or off without the need for an external control system or user intervention.

standard and compliant JPEG 2000 codec which enables compatibility with other software and hardware encoders. The WP-EN6 auto-senses the extension line PoE status and accepts power from a remote PoE provider such as a PoE matrix, with optional mains powering from connected power adapter (not included).

Finally, the VW-4 is a four-output videowall driver designed to quickly and easily configure and manage videowalls. One VW-4 device can be used to create any wall configuration with up to four displays, for example a 2x2, 4x1, 1x4, 2x1 or 3x1 videowall. Users can connect additional devices to create walls of any size and configuration of up to 64 displays; configure a single or multiple device setup using the VW-4 app via Ethernet or RS-232; or quickly configure a basic setup using the local dip switches.

KIT-401

Roland adds to V-series line-up THE V-160HD streaming video switcher is the latest addition to Roland’s V-series portfolio of multichannel HD video switching products and the first with built-in streaming capabilities. It allows users to connect with live audiences in Full HD with HDMI and SDI I/O and simultaneously stream to any popular web platform via USB-C. The V-160HD also features an eight-layer video effects engine, a 40-channel digital audio mixer and integrated PTZ camera control, plus nextgeneration cue management and live show automation tools. Eight HDMI sources and eight SDI sources can be mixed in Full HD, even with mismatched frame rates and colour spaces. Built-in scalers are provided on four of the HDMI inputs for interfacing with computers, tablets, smartphones, gaming consoles and legacy 4:3 devices. And seven total outputs – three HDMI, three SDI and one USB-C – are available to feed program displays, auxiliary monitors, multiview

automated features that enable touchfree operation. Automatic input selection switches between inputs when sources are connected or removed, while automatic display control turns compatible monitors

V-1HD+ Remote iPad app librarian for managing scenes and individual tones in one place. The editor comes equipped with a Scene Builder for designing complex

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layers and performance setups, and a Part Editor that features the parameter section available for the ZEN-Core engine and Model Expansions.

Finally, the GO:MIXER PRO-X is the latest member of the GO:MIXER family of audio mixers for smartphones and tablets. Compared with the previous GO:MIXER PRO model, GO:MIXER PRO-X offers expanded support for Android and iOS mobile devices, a guitar/bass input pad switch and the ability to use a headset mic or the inline mic on smartphone earbuds as a sound source. www.roland.com

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AJA unveils PAK Dock Pro WITH NO external power supply required, AJA Video Systems’ PAK Dock Pro media reader is a compact, plug-and-play device which streamlines the transfer of Apple ProRes and Avid DNx files from AJA Ki Pro Ultra 12G digital video recorders to desktop and laptop computers on macOS and Windows operating systems. PAK Dock Pro supports the latest USB 3.2 Gen 1 standard via the USB-C connection, reportedly ensuring broad compatibility and fast transfer speeds.

Designed to simplify media transfers in broadcast, production, post and pro AV environments, PAK Dock Pro allows professionals to quickly and easily ingest files recorded to AJA PAK solid state drives to a desktop or laptop computer. Users remove the PAK media drive from the Ki Pro Ultra

12G, insert it into the PAK Dock Pro and plug the media reader into their computer via USB-C for near-instant editing, highlights creation, archiving and more. PAK Dock Pro is compatible with all AJA PAK drives including the PAK 2000, PAK 1000, PAK 512 and PAK 256, and PAK drives used in legacy Ki Pro Ultra and Ki Pro Quad products.

The manufacturer has also released MiniConfig v2.26.2, a free software update that adds new features for select AJA 12G-SDI, 4K/UltraHD and other Mini-Converter models, including Region of Interest scan converters.

Mini-Config v2.26.2 introduces Extended Display Identification Data emulation for all HA5-12G models, HA5-4K, HA5-Plus, ROI-DP, ROI-DVI and ROI-HDMI, enabling the connected source to continuously output the

PAK Dock Pro desired video format. The update extends pass-through support and compatibility with Dolby Digital Plus JOC for HA5-4K and all HA5-12G models. Mini-Config v2.26.2 also delivers p60 to p59.94 and p59.94 to p60 simple frame rate conversion for 12GM, HA5-12G, HA5-4K and HA5-Plus; loss of input management capabilities for the UDC and FS-Mini; and PsF support for 12GM, HA5-12G and Hi5-12G models.

Finally, AJA has introduced FS-HDR v4.1 for its real-time HDR/WCG converter and frame synchroniser. FS-HDR v4.1 features

increased frame buffer depth from 6–20 frames, updated v1.5 BBC HLG LUTs, new NBCU LUTs, expanded Closed Captioning support and a new ability to pass-through or translate critical ancillary data, even while performing a conversion. In addition, FS-HDR v4.1 increases the device’s frame buffer depth to support configurable delays of up to 20 frames. This free update is available to all FS-HDR users and does not require a hardware change. www.aja.com

Barco expands meeting portfolio ADAPTING TO the reality of hybrid workplaces, Barco has added to its ClickShare family with two new models of ClickShare Present, the manufacturer’s wireless presentation and collaboration solution. The entry-level C-5 is ideally suited for huddle spaces and small meeting rooms, offering the key functionalities of wireless 4K content sharing. The highend C-10 is described as the perfect companion for interactive collaboration in any meeting space, and adds enhanced video performance and a set of interactivity features, such as touch back support, moderation, blackboarding and annotation.

C-5 Users can share content wirelessly to the central room display in full HD from the ClickShare app, any laptop (PC or Mac) or mobile device. The solution comes with full

BYOD support on a 4K canvas. The C-5 and C-10 offer enhanced security features (ISO27001 certified) and a wide range of connectivity options. With the XMS Cloud Management Platform, users can enjoy remote management of units and clear analytics to drive the digital workplace.

Both units can be used on their own or in combination with an existing conference room.

The visual solutions manufacturer has also introduced the next generation of its UniSee LCD videowall with an improved colour performance under wide viewing angles and proprietary local dimming technology enhancing local contrast. The deployment and serviceability of the platform have also been improved to make it easier for users to get the wall up and running and keeping it operational with minimum interrupts. With the introduction of the Videowall Management Suite, resellers and managed service providers can monitor and manage the installation from a central location. www.barco.com

AMX fibre modules go the distance AMX HAS created a 4K60 4:4:4 distance transport switching solution in the form of four DXLink 4K60 fibre input/output boards, transmitters and receivers. Fully compatible with AMX Enova DGX 100 series enclosures, the new fibre modules accompany the previously released twisted pair boards and endpoints to provide added security and support over extended distances. The simple upgrade transforms existing systems into becoming the most secure with the highestquality technology without having to invest in an entirely new system architecture.

runs. Providing uncompromised image quality in critical applications including government operation centres and hospitals, the latest DGX 4K60 additions of fer 4K 4:4:4 video at 60fps over a single fibre-optic cable. The four DXLink modules are auto-configured and the settings can be applied using the Enova DGX web-based configuration tool. Field maintenance is simplified with hot-

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ixers th XER and d or Previously, high-security operations resorted to either reduced resolutions over a single fibre connection or full resolution over multiple fibre

swappable cards to repor tedly ensure zero downtime to other sectors of the installation. pro.harman.com

LYNX Technik unveils latest greenMachine MODULAR SIGNAL processing manufacturer LYNX Technik has released its latest greenMachine general-purpose hardware device, Callisto+. Callisto+ is 2x 3G capable and complements the existing greenMachine Titan hardware (4K capable) with the same feature set and performance. According to the German manufacturer, Callisto+ provides users with a more cost-effective and entrylevel signal processing solution when 4K is not necessary or required. greenMachine Callisto+ hardware (model: GM 6825) includes input/output cross-point switching and distribution, an audio cross-bar for embedding/de-embedding SDI audio to and from sources and destinations, with support for analogue, discreet or embedded AES and MADI audio. A Dolby E decoder and a full metadata management tool are also included. HDMI in/ outputs are provided and fibre interfaces for 3G

HD-SDI and Gigabit Ethernet LAN control are available with optional SFPs. The hardware also offers an integrated colour display and control panel for live image monitoring, audio meters and status indicators. Full remote control is also available using the greenGUI software.

The first signal processing configuration available for Callisto+ is GMC-2CUPXD, a broadcast-quality, two-channel 3G SDI up/down/ cross-converter, which can convert between SD, HD and 3G video formats. In addition to its conversion capabilities, the GMC-2CUPXD is considered fully featured in that it also includes a frame synchroniser, 3G scaler, de-interlacer with motion adaptive filtering, embedded metadata management, colour correction for gain, lift and gamma adjustment, as well as various video adjustment features. www.lynx-technik.com

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PRODUCTS

Analog Way develops Picturall range ANALOG WAY has announced the availability of its next-generation, Linuxbased media servers. Engineered around a newly developed hardware platform, the Picturall Mark II series delivers enhanced performances for large-scale events and installations from a single server unit.

Replacing the current Picturall media servers, the French image processing systems innovator has added four products to the Picturall series with the Pro Mark II, Quad Mark II, Quad Compact Mark II and Twin Compact Mark II. Designed for video playback in fixed installations, broadcast, video rentals and live events, the Picturall Mark II series can drive up to 16 4K@60Hz LED videowall controllers or video projectors from a single server unit and enough power

to play back media up to 16K@60Hz or uncompressed image sequences up to 8K@60Hz. The latest media servers incorporate high-grade hardware components to provide a robust platform and deliver optimised uptimes for any mission-critical applications. To achieve high faulttolerance capability, the Picturall Mark II media servers feature a redundant, hot-swappable power supply option. Up to six low-latency input cards can be inserted to capture up to 24 1080p@60Hz or six 4K@60Hz sources with a wide selection of input inter faces available to support one or more channels of 3G-SDI, HDMI 1.4 or HDMI 2.0. In addition to displaying HTML-based web content with full Java

script support, the media servers can also receive several network video streams and are compatible with NDI live video streaming.

Designed to offer consistent per formance and reliability for 24/7 applications, the Picturall Mark II media servers are

readily equipped with read-intensive professional drives, with several storage options available to store uncompressed video content. High network bandwidth with two standard 10Gb/s Ethernet connectors promotes faster transmission of media files and more networked video streams.

In addition to offering synchronised multichannel audio playback, the media servers also support real-time audio de-embedding and routing from HDMI or SDI sources, network streams and web sources. Equipped with several optional audio inter faces, the Mark II media servers are also compatible with a variety of third-party multichannel USB audio inter faces. All four products feature an Art-Net inter face and Ethernet control via a standard TCP/IP socket connection supported by all major third-party control systems. www.analogway.com

Panasonic creates immersive experiences TO HELP venues re-imagine attractions and welcome back audiences in person, Panasonic has designed the ET-D3QW200 short-throw lens in collaboration with Illuminarium, a fully immersive 360° entertainment centre. Created specifically for the PT-RQ50K 3-Chip DLP Solid Shine laser projector, the ET-D3QW200 lens is suitable for events that encourage full immersion into content and require crystal clear images. The short-throw lens (0.55–0.65:1) allows audiences to approach content without casting a shadow, providing full top-to-bottom screen coverage with zero offset, inviting audiences to fully take in the visuals, stimulate their senses and step into the action. The Active Focus Optimizer is said to keep the image pin-sharp, while the L-shaped design helps to reduce the amount of installation depth, making it suitable

ET-D3QW200

for small spaces.

The PT-RDQ10 Series 1-Chip DLP Solid Shine 4K laser projectors have been designed for live entertainment, exhibition and museum venues, and are said to bring a new level of realism to events, engaging returning audiences by immersing them in the centre of the action. Colours are described as natural and bright, with vivid, vibrant and richly detailed 4K resolution from Smooth Pixel Drive technology providing a close-up and immersive experience.

The PT-RDQ10 Series reportedly reduces logistic and installation hassles with new features and workflow improvements, including the Smart Projector Control application and Near Field Communication function. These features are said to make it easy to read and change basic setups just by holding a mobile device against the projector’s touchpoint, while the new Remote Preview function makes it possible to check the content signal remotely via multimedia control software or a web browser.

Panasonic’s pre-activated Geometry Manager Pro upgrade software reportedly streamlines even the most complex edge-blending and projection-mapping installations.

The projectors provide 20,000 hours of “virtually maintenance-free” 24/7 operation, thanks to an air-tight and dustresistant optical unit and cooling system.

The PT-RDQ10 Series is compatible with a wide range of the manufacturer’s 1-Chip DLP lens options. When paired with the optional ET-DLE020 ultra short-throw lens, additional versatility is possible, enabling images to be projected in extremely tight spaces and minimising on-screen shadows. Models range from 8,000 to 10,000 lumens and are available in compact and lightweight black or white cabinets.

PT-RDQ10

www.panasonic.com

was paid to the 3D scene viewer to offer users a smooth navigation and polished experience within the software.

Version 4 includes the support of Notch Block, 10-bit Apple ProRes and 10-bit GoPro Cineform, as well as support for the LUT format, allowing creative filters and real-time colour grading. With support for the WebSocket protocol, it is now possible to create custom web applications, and interact with shows created in Modulo Kinetic from a smartphone, a touchscreen or any other computing device.

Modulo Kinetic version 4 also includes a series of improvements to its embedded 3D engine, with new features significantly enhancing show study and simulation. The already existing internal database of video projectors has been updated to include more than 680 references, while projectors can be easily imported into Modulo Kinetic

Designer from a csv file. Their distribution in 3D scenes is also now much faster and easier thanks to a new clone and symmetry tool.

Lastly, detailed study documentation can be created directly inside Kinetic. Users are offered the ability to add measures or annotations to 3D scenes and export any view and information required: 3D view snapshots, lux and pixel density views with captions and a pdf list of video projectors with their information. In addition, Modulo Kinetic upgrades its rendering with the support of spotlight and point light shadows.

It is also possible to render camera, projector or mesh instances in a timeline layer with post-processing Reflection, Ambient Occlusion (SSAO), Depth of Field (DOF), Glow and advanced Antialiasing.

Modulo debuts Kinetic V4

BILLED AS its biggest release ever, Modulo Pi has released version 4 of Modulo Kinetic, a fully integrated media server solution with a revamped user interface, improved 3D engine and new capabilities dedicated to virtual productions.

Firstly, Modulo Kinetic Designer offers a revamped user interface with new icons, optimised views, toolbars, timelines and a nodal programming editor. Special attention

www.modulo-pi.com

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PRODUCTS

Ross goes Interstellar and decode four WebRTC streams, sending these out over SDI and then receiving and distributing one incoming SDI stream to the four contributors. The hardware can manage up to 16 audio channels per stream and supports the OPUS and H.264 codecs.

Interstellar is currently available in three editions: Interstellar Express (one remote

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WITH THE rise in demand for remote production, Ross has developed Interstellar, a complete remote production platform that reportedly enables content creators to blend their “traditional” working methods and onsite personnel with remote talent and contributors. Interstellar reportedly enables high-quality production values and combines the convenience of a web browser

interface and professional feature set with extremely low latency. A key element of Interstellar is the Interstellar Streaming Gateway, a 1U hardware solution that provides connectivity between SDI and WebRTC transports. Once configured, the Streaming Gateway is fully controlled by the Interstellar UI. Supporting 720i, 1080i and 1080p, the Streaming Gateway can receive

studio, five concurrent users, four streams); Interstellar Prime (two remote studios, 10 concurrent users, eight streams); and Interstellar Standard (five remote studios, 25 concurrent users, 32 streams).

Ross is also aiming to redefine camera motion systems with the launch of Vision[Ai]ry Ft, a facial tracking system that uses artificial intelligence (AI) to detect, locate and track

the position of faces within the video stream directly from the camera. It uses facial positions to drive the pan, tilt and zoom axes of the robotic camera system to maintain the desired framing of the face or faces in the image. This eliminates the need for a camera operator to manually adjust for the position of the subject in the image.

The AI algorithm can recognise a diverse set of race, gender and age data, and can accurately identify and locate faces as long as at least 50% is visible in the image. The user interface provides a live display of the video feed with detected faces and framing target clearly indicated, along with status info, tracking controls and framing template library.

In brief, Ross’ compact UHD-over-IP SDI/ HDMI converter, Newt, has been upgraded to version 4.0. It builds on the existing feature set by adding SSM, NMOS and diagnostics to help users keep their network running trouble-free.

ST 2110 networks can now also benefit from the new support for Precision Time Protocol (PTP) on Ross’ SRG-4500 master sync generator. The new PTP software upgrade option brings drop-down configuration support for ST2110 and AES67 profiles to build an IP or Hybrid SDI network. www.rossvideo.com

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September–October 2021 PRO AVL ASIA 99

PAA Pg78-101 Products .indd 99

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PRODUCTS

Grass Valley goes DIY GRASS VALLEY is bringing a DIY mentality to its latest playout solution in order to provide a low-cost entry point to the market.

Playout Xpress is a pre-commissioned system that allows customers to adapt to changing audience trends by defining their specific requirements. The solution offers up to four playout channels together with

an automation system that can cope with the complex demands of playout at a competitive entry point. The solution has been designed to be deployed by a customer in as little as one day.

“In today’s dynamically shifting media market, customers need to engage with global audiences that can no longer be

VIZRT GROUP has unveiled the next generation of the NDI software-defined IP video standard under the tag line “moves audio and video anywhere in the world, for free”. The latest version of the solution promises high-quality, low-latency video sharing with anyone else

in real time, to connect to any device, in any location, anywhere in the world and working with “almost any” video application. This means physical studios can connect to ones in the cloud, with remote video production effectively becoming local.

reached through one or two platforms,” stated Karl Mehring, senior commercial director, playout for Grass Valley. “Playout is crucial to enabling customers to spin services up and down quickly in the most cost-efficient way possible, and we are excited to launch Playout Xpress to further expand our offering.” www.grassvalley.com

Video from anywhere with NDI 5

Astera adds to AX series CREATED AS an extension of the AX range, Astera has released its AX2 PixelBar in two versions: a 1m fixture with 16 10W LEDs and a 50cm fixture with eight 10W LEDs. The units have been developed to meet demand for wall, backdrop or surface washing luminaires and are compatible with the AX and Titan ranges.

Utilising the manufacturer’s Titan LED light engine, the AX2 features a high CRI and TCLI and is said to produce a refined range of perfect colour temperatures from 1,750–20,000K. The digital calibration allows it to reproduce any colour or gel filter. The quick connect system for attaching two

or more units is designed to maintain a consistent pixel pitch between conjoined fixtures, and the feet can be loosened to assist in angling a row of AX2s uniformly along its entire length.

With the press of a button on one AX2, all the fixtures in a string of connected units will auto DMX address via their integrated IR modules. They communicate with each other and each fixture knows its position in a “flow set”. They can be controlled via the AsteraApp and inbuilt Lumen Radio wireless CRMX, in addition to a physical 5-pin XLR socket and powerCON in/out connectors for running a wired option, making it straightfor ward to daisy-chain several AX2s.

The AX2s can be rigged in flown trusses and used for individual pixel effects.

They can be used onstage to light up bands/ar tists from a footlights or side position, or for light cur tains, and are versatile flicker-free light sources for livestream setups and other recording and camera environments. Accessories include barn doors which can focus and control the light source as needed and act as a “glare shield” so users don’t see the LEDs – only the effect – on the wall. SuperClamps and a TrackHangar enable the attachment of safety bonds, while the FlyBar suspends up to 4m lengths of connected AX2 PixelBars.

New to NDI 5 as a free download within NDI tools is NDI Bridge, which forms a secure bridge between any NDI network regardless of location and opens a wealth of remote workflows for live video production. Also new to NDI Tools, NDI Remote allows anyone using a URL to contribute live audio and video from an internet-connected device, like a camera phone or a web browser, to another point anywhere in the world.

According to the manufacturer, NDI’s optimised codec and transport protocols provide unparalleled ease of use across existing networks. NDI Audio Direct allows for seamless integration of NDI audio into software-based audio workflows, be they across a local network, in the cloud or hybrid, removing the limitations of hardware audio mixers. Reliable UDP forms part of NDI’s mission to make video easier everywhere and reportedly makes WAN and Wi-Fi connections more resilient with less configuration required.

Together with the launch of NDI 5, Vizrt has also announced the next version of Live Production, which combines Viz Vectar Plus, Viz Engine, Viz Trio and Viz Mosart into a single, cloud-deployable solution. Vizrt Live Production is the first production system to fully exploit all the latest NDI 5 capabilities, including connectivity across both WAN and LAN networks, running onsite and in the cloud on the same sync, audio-over-IP integration with digital audio systems and the ability to bring in any camera with a browser as a source, from anywhere in the world.

In brief, NDI is now supported in Zoom Rooms. NDI for Zoom Rooms gives content creators an advanced set of creative, production options. Individual video streams, from either Meeting or Webinar, can be used by video producers to connect to other NDI devices, allowing them to create custom visual experiences. www.vizrt.com

Modern meets classic TAKING MODERN technology and pairing it with a classic design, Elation has created its KL PAR FC, a full-colour LED PAR light forming part of the manufacturer’s KL “Key Light” Series. It houses a 280W RGBMA LED engine with CCT adjustments possible from 2,400–8,500K for precise colour temperature control. The fullspectrum LED engine emits diffused saturates and soft-field pastels, including tunable white light. The unit boasts high CRI (92) and TLCI (95) values, meaning that, according to Elation, the colour recreation is extremely accurate both to the eye and to the camera. Output is up to 11,000 field lumens, equivalent to existing 750W tungsten PAR fixtures.

The KL PAR FC can adjust for light that shifts away from pure white towards green or magenta through a green–magenta shift adjustment and a virtual gel library. Capable of matching the white balance for camera, users can shift the colour temperature without the use of ±green gels and filters. Additionally, the LED refresh rate can adjust so there is no flickering when used with high-speed cameras.

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Features include a 7.5-inch colour frame and multiple included lens choices (11°, 22°, 30° and 52°) that are easy to replace in the field. Optional items include 7.5-inch barndoors, an extra-wide 90° lens and a 23° ovaliser lens. DMX controllable (six DMX modes, 1–17 channels) with full RDM support, the PAR offers manual control for standalone operation when desired for instant control of intensity, colour temperature, green shift and other important settings.

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100 PRO AVL ASIA September–October 2021

PAA Pg78-101 Products .indd 100

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ETC extends power supply

Martin adds to VDO Atomic family

ETC HAS designed its Network Station Power Supply (NSPS) to make it easier for users to add the stations and sensors necessar y to satisfy design briefs and energy codes for today’s architectural control systems. Par t of the manufacturer’s Unison Paradigm lighting control system, the Network Station Power Supply expands the reach of each

THE MARTIN by Harman VDO Atomic Bold creative LED lighting fixture provides a high lumen output, true tungsten emulation, smart interlocking mechanics and a compact footprint.

Combining an audience blinder, strobe light, creative LED pixel/ surface (beam and aura) and stage wash, the VDO Atomic Bold is said to equip lighting designers with an large palette of application possibilities.

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Paradigm processor by connecting to a Paradigm processor over a network connection. This allows Paradigm systems to take advantage of network infrastructure for long data runs, and then power system inputs like user stations and sensors with shor ter two-wire cabling.

The compact, DIN rail-mounted NSPS is described by ETC as easy to install wherever it’s needed. It suppor ts up to 63 devices, giving users the power and connectivity for today’s sensor-hungr y systems. A compact LCD screen on the unit and tactile button inter face repor tedly make it easy to configure the NSPS and bind replacement stations without needing separate configuration software or to physically be at the Paradigm processor. www.etcconnect.com

and a similar look as its sibling, the VDO Atomic Dot, but is much larger with a higher, full-colour LED lumen output.

Its octagonal-shaped design offers single light or large array configuration options. The unit features control via Martin’s proprietary P3 software and Art-Net, sACN and DMX protocols, allowing fixtures to be driven from a console, a video source or a mix of both. pro.harman.com

Robe expands its catalogue THE T2 Profile luminaire from Robe produces over 17,500 lumens via its 850W MultiSpectral LED (MSL) source. The fixture’s quietness is described as ideal for settings where silence is crucial. It can also be used as a long-throw partner used in conjunction with Robe’s smaller T1 series fixtures, as both feature MSL LED engines and produce an identical multi-spectral, colour-mixing consistency. The T2 Profile incorporates adjustable CCT from 2,700–8,000K, together

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self-calibration of the LED engine without using any external tools, and AirLOC (Less Optical Cleaning) reduces the levels of airborne particles across the optical elements.

The iPointe65 is a bright, high-performance, multifunctional luminaire modelled on Robe’s MegaPointe which works equally well as a beam, spot, effects and wash fixture. The IP65-rated model comes with NFC (NearField Communication) technology which enables access setup, diagnostics and other

performance-related features directly from a mobile device using the Robe Com app. The light source is a 310W lamp with a lifetime of up to 4,000 hours that has been specially developed for Robe by Osram. Providing 12,000 lumens – measured at the front lens – the source produces a razor-edged beam which is adjustable from a tight 1.8° column to a wide 42° spot. Both static and rotating glass gobos offer in-air effects and projected images with a sharp, high-contrast, flat field, while a dynamic effects engine has 12 varying beam and “flower” effects.

Modelled on Robe’s Spiider LED wash beam, the IP65-rated iSpiider is a bright, high-performance luminaire, retaining all the features of the indoor version. As with the iPointe65, onboard NFC technology enables remote access for diagnostic and performance features from a mobile device or smartphone via the Robe Com app. The iSpiider uses the same 18x 40W and 1x 60W LED sources as the original fixture, and the identical 12.5:1 zoom optical system is said to give the flexibility to go from a tight collimated 4° beam to a wide 50° wash.

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with DataSwatch for the quick selection of 237 authentic pre-programmed colours and tones, including the most frequently used whites.

Other features include a high CRI of 95+, Robe’s L3TM – Low Light Linearity – and 18-bit dimming. EMSTM stabilisation keeps the fixture steady whatever is happening around it, and the Cpulse flicker-free management can be used when working with cameras and vision systems. Robe Colour Calibration allows

Dreaming in colour THE OVATION Rêve E-3 from Chauvet is described as a next-generation ellipsoidal that ser ves as a variable white and a colour rendering unit. When creating whites with a 95+ CRI and high TM-30 RF, it repor tedly delivers a level of brightness equal to that of a 750–1,000W incandescent fixture. It also features a linear CCT adjustment with ±green to match other light sources in a rig, and colour temperature presets from 2,800–8,000K with high CRI and CQS. Brightness levels are described as even greater when the Rêve E-3 is creating realistic colours, ranging from soft pastels to bold

primaries, with its RGBAM LED engine.

According to the manufacturer, its “mint” colour LED has been shown to be more efficient at producing a much brighter output as well as higher-quality whites and colours.

Whether it’s used to create variable whites or colours, the Rêve E-3 has the output to repor tedly ensure even coverage from any hang point in installations of all sizes. Thanks to its precision optics, the fixture is said to deliver near flawless edge-to-edge focus to minimise any shift in focus between colours. It is vir tually silent, making it well-suited for applications where ultraquiet operation is valued. Selectable fan

speeds make it possible to eliminate even the faintest sounds completely, while the fixture’s adjustable PWM ensures flicker operation on-camera.

The yoke of the Rêve E-3 can be shor tened without being removed to provide a convenient solution for hanging from a low ceiling. The fixture’s integrated handle is said to make focusing faster and easier, and, as an added time saver, its Focus Mode can be accessed from a dedicated button. The Rêve E-3 works with all lens tubes used on existing Ovation features as well as lenses from some other manufacturers. www.chauvetprofessional.com

September–October 2021 PRO AVL ASIA 101

PAA Pg78-101 Products .indd 101

27/08/2021 11:40

BUSINESS: ANALYSIS

What’s the outlook for tradeshows?

Object Matrix co-founder, Nicholas Pearce

Nicholas Pearce, co-founder and chief revenue officer of object storage software provider Object Matrix, asks whether our industry still needs tradeshows SINCE THE OUTBREAK OF COVID, THE INDUSTRY HAS responded at an astonishing speed, putting measures in place to ensure business continuity, reconfiguring live production and implementing solutions to manage the media supply chain remotely. With that said, one particular area has stood out as an ongoing challenge for the industry – tradeshows.

There has been a huge amount of speculation around shows such as NAB, IBC and ISE over the last year or so.

There’s been much discussion about whether the shows will end up taking place, get moved back again, operate as hybrid events or go fully remote. But as we’ve discovered already, the pandemic won’t respect even the best-laid plans, and circumstances can change in an instant.

I’m not about to gaze into a crystal ball and try to predict whether these tradeshows are likely to proceed in a format that resembles business as usual. Reading back over the predictions from last summer clearly demonstrates that the impact of the pandemic is very difficult to pin down. Perhaps a more interesting question to ask is: after everything we’ve learnt over the last year, do we still need them?

Historically, these events were where most of the key sales in the industry took place but, while we wait to meet up again, sales activity has not stood still. Organisations have changed more than workflows and processes as a result of the pandemic, and there have also been fundamental shifts in the ways that businesses interact, together with overall sales psychology.

A McKinsey article recently claimed that “for B2B sales, digital is the wave of the future”. After assessing decision makers’ behaviour globally since the beginning of the pandemic, McKinsey research clearly points to digital dominance, with “more than three-quarters of buyers and sellers say they now prefer digital self-serve and remote human engagement”. So now that the digital sales approach is here to stay, will face-to-face interaction remain limited even after social distancing restrictions are lifted?

The show floor at a bygone IBC Many argue that tradeshows are not just about the end sales result, but rather they are a point of connection in the calendar for the industr y as a whole. During a recent panel arranged by [media industr y business network] DPP we discussed the pros and cons of tradeshows, and this is cer tainly a topic that the industr y must continue to explore. While the pros are that shows offer a fixed point in the calendar to network and share new product information, the cons cer tainly stack up. Tradeshows are notoriously expensive, and this can create a sor t of industr y class system that damages the adoption of innovative new technologies. The barrier to tradeshow entr y is extremely high, so smaller star t-ups often lose out on exposure to incumbents with the resources to shout louder. This often means that some of the most interesting developments in the industr y aren’t receiving the attention they deser ve until they are much more established.

Environmental impact is also becoming an increasingly urgent consideration. We need to count the environmental cost as well as the financial cost of the established tradeshow format. Thousands of people flying to the same location, building a mini city in an exhibition centre,

and dismantling it within the space of a few days is not sustainable in the long term.

Also, is it necessar y to transpor t all the technology – quite a lot of which will have been seen before – to the shows if one of the main purposes is networking? Is it possible to have tradeshows with less equipment on show, and therefore lower transpor tation costs and power usage? Can you ever truly demonstrate your products – par ticularly audio products – effectively in a tradeshow setting?

Then there is the individual impact on your team, whether you are exhibiting or attending; a rotating calendar of events doesn’t result in an ideal lifestyle.

With a culture of late-night drinking, unhealthy food and a lack of work–life balance, these events can take a toll on the team’s productivity. That being said, if the goal is networking, connecting and learning, then it’s wor th using this assessment of tradeshows as a star ting point for something new.

We are now in the unique position of designing our own industr y engagement brief. As we’ve seen this year and last, there are plenty of ways for organisations to connect digitally, share information and move the industr y for ward. Many of them are far more effective than the traditional tradeshow. If 2020 was a time for reflection on how the organisations interact, 2021 presents us with an oppor tunity to build new ways of working. People cer tainly have a need to connect in-person, but that doesn’t necessarily have to be en masse in a windowless convention centre.

As for 2022 the jur y is out, but we need to see how organisations plan to bring about meaningful change. As our DPP panel discussed, in-person events are muchneeded and much-missed, but they need to evolve quickly to be more sustainable and offer a fair event for the whole industr y. www.object-matrix.com

102 PRO AVL ASIA September–October 2021

PAA Pg102-103 Bus Analysis Future.indd 102

27/08/2021 11:21

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