Pro AVL Asia September–October 2025

Editor’s Letter

As I write this, I find myself reflecting on InfoComm Asia in Bangkok in late July even as we prepare for InfoComm India in early September, just as this issue comes out. And I’m struck by how far both shows have come, as well as the impact they’re having on APAC’s AV industry.

Powered by the efforts of AVIXA subsidiary InfoCommAsia Pte, both events are emerging as increasingly relevant and international tradeshows in their own right. It’s impressive to witness how swiftly the AV industry in the region has evolved. Not long ago, tradeshows in Asia were largely characterised by entrylevel products and standalone displays, with limited signs of integrated, real-world solutions and a predominantly local audience.

Today, the landscape is somewhat different. The technology on display now

rivals that seen at leading European or American shows – connected, advanced and boundary-pushing – while the audience is becoming truly pan-Asian.

AVIXA is undoubtedly playing a significant role in accelerating the AV market’s maturity across APAC. These events offer attendees a valuable platform to connect with regional peers, exchange ideas and experience cutting-edge technology firsthand. And while many will still travel to ISE or InfoComm US, there’s no denying the growing importance and convenience of having world-class tradeshows on your own doorstep. Sue, Chris and I will be at InfoComm India; we’re all looking forward to a show that’s once again set to break records in terms of exhibitors, visitors and industry events – hope to see some of you there! In the meantime, you can read about InfoComm Asia on page 68.

Richard Lawn General manager rlawn@proavl-asia.com

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

Sue Gould Advertising director sgould@proavl-asia.com

Chris Yardley Video editor cyardley@proavl-asia.com

Carolyn Valliere Sales associate cvalliere@proavl-asia.com

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

Simon Luckhurst Senior reporter sluckhurst@proavl-asia.com

Adrian Baker Production manager abaker@proavl-asia.com

Karen Wallace Editorial coordinator kwallace@proavl-asia.com

Marne Mittelmann Circulation manager circulation@proavl-asia.com

Bea Meikle News editor bmeikle@proavl-asia.com

Sue Su Guangzhou manager ssu@proavl-asia.com

AVI-SPL joins 26North portfolio WORLD

AVI-SPL has announced that 26North Partners (26North) has acquired a controlling stake in the company from Marlin Equity Partners (Marlin) and other selling shareholders.

Serving over 86% of Fortune 100 companies, AVI-SPL has more than 4,400 employees across over 70 offices worldwide and has completed in excess of 120,000 projects in approximately 100 countries. 26North said that AVI-SPL’s ability to deliver scalable solutions that are easy to use and have a measurable impact closely align with its investment philosophy.

Sennheiser

“AVI-SPL exemplifies the kind of business we seek out at 26North – resilient, essential and built for long-term growth,” explained

Mark Weinberg, head of private equity at 26North. “It operates in an expanding market, holds a leadership position and serves a diversified, blue-chip customer base.”

John Zettel, AVI-SPL CEO, remarked: “We’re thrilled to partner with 26North. Their long-term vision and operational expertise make them an ideal partner as we continue to scale globally and deliver transformative solutions to our customers.”

The move marks 26North’s third investment by its private equity platform and is the strategy’s first transaction in the technology, media and telecommunications sector. The

Sennheiser has appointed Midwich as its sole distributor for business communication solutions in Indonesia. Both parties officially announced the agreement during a joint event at The Westin Jakarta, which brought together over 100 systems integrators, AV consultants and technology partners from across the region.

The Jakarta event served as a platform to reinforce the brand’s commitment to the local market and showcase its latest products for corporate and higher education environments. Attendees benefitted from live product demonstrations, including the EW-DX digital wireless microphone system, TeamConnect Ceiling Medium and all-in-one TeamConnect Bar.

Also featured were networking sessions and presentations by alliance brands, including Crestron, Lumens, Maxhub, Netgear and Xilica, offering attendees a comprehensive overview of how solutions from Sennheiser and its alliance partners can be deployed in real-world environments.

“We saw a fantastic response from the AV community and the excitement around the solutions we showcased confirms the strong demand for premium, integrated communication technologies in both corporate and education markets,” commented Eugene Yan, regional manager SEA at Midwich APAC. “We look forward to working closely with Sennheiser to make their high-quality solutions more accessible to customers across Indonesia.”

Alex Lim, sales director, business communication at Sennheiser SEA, said:

“We are delighted to partner with Midwich to deepen our presence in Indonesia. Their strong channel relationships and technical expertise make them a natural fit for our business communication portfolio. The turnout and enthusiasm at the Jakarta event reaffirmed our belief in the potential of this market and we look forward to growing together with our partners and customers.”

www.midwich.com.sg www.sennheiser.com

firm will support AVI-SPL through its Alpha Creation Team (ACT), which aims to deliver sustainable value, enhance operations and tap into a network of relationships across industries to foster partnerships and drive growth.

“AVI-SPL is at the forefront of redefining how organisations connect digital and physical spaces,” said 26North MD Tyler Sipprelle. “We’re excited to support AVI-SPL as it continues to scale organically and through strategic acquisitions to better serve customers around the world.”

Marlin MD Alex Beregovsky concluded: “AVI-SPL’s transformation over the past five years has been remarkable. We are proud of what we have been able to accomplish together and are enthusiastic to continue our partnership with the team, together with 26North, to support AVI-SPL’s next chapter of growth.”

www.26n.com

www.avispl.com

Christie Digital Systems has confirmed the sale of its Pandoras Box product line to a newly formed team led by Daniel Schäfer, one of the original founders of coolux – the company that developed Pandoras Box before its acquisition by Christie in 2015. The agreement will see the media server platform return to the hands of those closely tied to its inception. The sale reflects Christie’s intention to focus on its core markets.

Joining Schäfer in the acquisition is AV consultant Daniel Kaminski and longtime Pandoras Box power user Andre Maier. Together, the trio brings more than five

users, customers, consultants and in technical operations. We’re eager to explore and expand its capabilities, providing the best real-time rendering engine and control system on the market for our customers.”

Christie president and COO Michael Phipps expressed his confidence in the transition, stating: “Pandoras Box users worldwide will benefit greatly from these three individuals’ ingenuity and expertise in software and hardware design and operations. I’m pleased with our strategic decision to sell the product line to this dedicated team.”

decades of combined experience with the platform in various capacities, from product development to show operation, and has pledged to further expand its capabilities.

“Our passion for Pandoras Box runs deep – more than 50 years combined,” commented Schäfer. “As a team, we bring knowledge and experience as end

The sale includes the full Pandoras Box portfolio, including media servers, software, accessories, Widget Designer and AirScan. Pandoras Box customers can continue to reach Christie’s customer service for ongoing support during the transition.

www.christiedigital.com

L–R: Eugene Yan of Midwich APAC with Sennheiser SEA’s Alex Lim

L–R: Andre Maier, Daniel Kaminski and Daniel Schäfer

AVI-SPL’s John Zettel

HH expands in Thailand

Thai distributor ProPlugin celebrated its regional partners, including dealers and systems integrators, with a thank you event at the Graph Hotel Bangkok. HH Audio served as a key partner, with the manufacturer’s Prince Series incorporated as the main PA system onstage for use during all brand demos, which included speech, recorded music, live music, videos and DJ sets.

Over 150 guests from across Thailand and neighbouring Laos attended, hailing from a wide range of market segments, including live sound, rental, retail and AV installation. The day kicked off with product updates from the Focusrite Group and a live music production show, followed by presentations on Universal Audio and IK Multimedia. Later, the distributor’s product specialists gave updates showcasing new technologies and tools.

As HH is one of the newest additions to the distributor’s portfolio, the Bangkok event offered the opportunity to showcase

the brand’s solutions to the local market. A key highlight was the HH Talk & Experience session presented by the company’s brand director Ian Wright, offering insights into the manufacturer’s audio solutions. This was followed by a performance in the

Digigram acquires Wavely

The Digigram Group has announced its acquisition of Wavely, a Lille-based company specialising in AI-enhanced acoustic surveillance solutions. The French group said that the move confirms its buildup strategy focused on critical audio – all applications where sound, noise and vibration carry high operational stakes. The amount of the transaction has not been disclosed. Wavely was founded in 2017 by Nicolas Côté, Alexis Vlandas and Marion Gautier. The company has built its acoustic surveillance expertise to develop solutions that combine audio signal processing and AI. Designed to detect and localise anomalies, events or faults in complex industrial environments, Wavely solutions support industrial maintenance and safety applications as well as acoustic surveillance operations for household names in France and abroad.

“Integrating the Digigram Group is a thrilling opportunity for Wavely, that not only confirms the relevance of our innovative AI-enhanced solutions but also boosts our market presence,” remarked Côté. “Digigram’s contribution is a valuable leverage to support both our technical and commercial developments. This operation also reflects a shared culture of engineering excellence and offers new growth opportunities for both teams.”

The purchase expands the Digigram Group’s headcount to nearly 80 employees worldwide with offices in France, USA, Singapore and Hong Kong. Through the acquisition, Wavely teams, brands, trademarks and premises remain unchanged.

The French group believes that the deal will enable it to accelerate its development and provide additional solutions to reinforce its critical audio strategy. From now on,

evening by Universal Audio endorsers and celebrated guitarists, Noth from Getsunova and Jack Thammarat. The show saw both artists perform a guitar battle onstage, powered through a Prince Series sound system comprising LA10D line arrays for

tops, complemented by S18 and S28 subwoofers.

“In addition to demonstrating some of the new Aptur, MP and CL series products, we had the opportunity to use our new Prince Series line array as the main system for the event,” said Wright. “Everyone was impressed by the system’s performance throughout the day as we put it through its paces. This was affectively the official release of HH in Thailand and I thank ProPlugin for having us there.”

Sairung Warunthanthip, head of B2B sales at ProPlugin, added: “We are truly grateful for the incredible turnout from our partners across Thailand and Laos. The presence of so many passionate professionals from every segment – alongside the unwavering support from our global brand partners – was key to making this event such a success.”

www.hhaudio.com www.proplugin.com

Wavely teams will lean on a new platform for their logistics, manufacturing, marketing and commercial operations with the aim of accelerating their development and market reach.

Jérémie Weber, president of the Digigram Group, concluded: “This acquisition marks a significant milestone in our strategic growth,

strengthening our capabilities and expanding our reach with solutions that address the smart analysis of critical signals. Together, we will deliver even greater value to our customers, partners and stakeholders.”

www.digigram.com www.wavely.fr/en

OnAir Solutions purchases Sonifex Australia

With the aim of increasing its product distribution and systems integration services, OnAir Solutions has acquired the Australian operations of Sonifex. Through the merger, the former will use the Sonifex Australia trading name for exclusive distribution of Sonifex products and relocate to the company’s Sydney office situated in Hornsby. “I’ve known the Sonifex team for a long time and this was a perfect fit to grow both businesses,” said OnAir Solutions managing director Paul Dengate. “We have a complementary product range and I am excited to bring on new vendors Nautel, Orban and Tieline, as well as existing shared brands like Sonifex and Inovonics.” The acquisition sees Karen Olliver take on the position of general manager for the

OnAir Solutions Group. She reassured that, following the purchase, it will be business as usual for clients and suppliers of both companies: “We’ll still be offering the exceptional level of service and support that they’ve come to expect from us while working with a larger group of brands and products.”

Marcus Brooke, chief executive officer of Sonifex, concluded: “We have worked closely with OnAir Solutions for more than a decade with their projects for ABC and other large broadcasters. I cannot think of a better company to purchase our Australian business operations.”

www.onair.au

www.sonifex.com.au

L–R: Karen Olliver of Sonifex Australia, OnAir

Paul Dengate and Marcus Brooke of Sonifex UK

• Handheld/Desktop Modes: Versatile and Cost-Effective for Multi-Purpose Use

• 16mm Large Diaphragm: Precise Sound Pickup with High Quality

• Adjustable Pitch Angle: Flexible Adaptation for All Needs

• Ultra-Wide Infrared Signal Coverage: Stable Transmission with No Blind Spots

• 14.4-Hour Battery Life During Speaking: Optimized for All-Day Meetings

Scan for more Contact us at mkt@taiden.com

Hall Technologies buys Atlona

Hall Technologies has announced that it has completed the purchase of substantially all the assets of Atlona, the US manufacturer of AV distribution, AVoIP, collaboration and control solutions. The acquisition will see Atlona officially become a division of the AV signal management, collaboration and visualisation solutions provider based in Missouri.

Both companies believe that the agreement will result in a more comprehensive product portfolio, by offering technologies from both brands, as well as enhanced service and support for customers, and expanded global reach. Furthermore, both parties

Vega Singapore unveils Innovation Zone

Vega Singapore has launched its newly renovated Innovation Zone at Ubi Techpark, which serves as an engineering and training area designed to support its team, clients and partners in learning, collaboration and innovation. The company said that the move aligns with its ongoing commitment to enhancing operations and delivering quality service. The facility aims to provide a practical space for training, knowledge sharing, equipment testing and operational meetings. Innovation Zone has been renovated to ensure that it effectively supports internal training programmes, promotes collaboration among team members and maintains high standards of quality during equipment testing.

Vega Singapore is already planning in-house training sessions for engineers and project managers, focusing on enhancing technical skills and professional development. The team is also working to implement certification programmes to ensure employees stay updated with the latest industry standards.

“This space reflects our dedication to fostering collaboration, improving technical expertise and delivering exceptional service to our clients,” said Alvin Long, Singapore sales director of Vega. “It’s not just a facility but a place where learning and innovation come together to drive quality and success.”

www.vega-global.com

reaffirmed their commitment to quality, reliability and partnership looking ahead.

“The acquisition of Atlona is a bold and strategic step that strengthens our position as a global leader in the pro AV industry,” commented Ken Eagle, CEO, Hall Technologies. “Atlona’s reputation for innovation, engineering excellence and global reach perfectly complements Hall Technologies’ customer-first philosophy and technical expertise. Together, we’re building a powerhouse that will deliver even more value, flexibility and forwardthinking solutions to our partners and customers around the world.”

Through the agreement, Atlona has welcomed Victor Baut to the team,

with the aim of strengthening Hall Technologies’ presence and partnerships in key markets. “The acquisition of Atlona marks a pivotal moment for Hall Technologies and the AV industry at large,” stated Baut. “By bringing together two trusted and innovative brands, we’re not just expanding our portfolio – we’re creating a more powerful, unified force in pro AV. This move allows us to better serve our partners with deeper expertise, broader solutions and a renewed commitment to driving technology forward.”

www.atlona.com www.halltechav.com

Ken Eagle of Hall Technologies

Q-SYS opens Bangalore experience centre

Offering customers a space to gain firsthand experience with the brand’s solutions, the Q-SYS India Experience Center has opened in the Bagmane Solarium City tech park in Brookfield, Bangalore. The 25,000m2 facility will showcase a variety of products across various real-world applications, enabling consultants, systems integrators and customers to co-create and test solutions.

“The inauguration of the Q-SYS India Experience Center marks a defining moment in our journey of uniting

PreSonus goes on the road in China

PreSonus has wrapped up a month-long series of in-person product sharing events across four major Chinese cities. Branded the “PreSonus Product Sharing Session”, the roadshow offered audio professionals hands-on access to the company’s complete product portfolio.

The initiative combined technical presentations, live demonstrations and immersive listening experiences beginning in Beijing, before moving onto Shanghai and later Shenzhen and Guangzhou. The series was designed to deepen local engagement and foster knowledge exchange within the country’s growing community of audio engineers, creators and AV professionals.

Attendees were introduced to a comprehensive lineup of PreSonus solutions, with each session encouraging direct interaction with the equipment through guided walkthroughs, critical listening tests and practical operation.

“Every explanation, every audition and every hands-on moment was a genuine collision between sound and creation,” said PreSonus APAC director of sales, Kamal Mahtani. “This series brought PreSonus closer to audio professionals across China, reinforcing our commitment to supporting creators through technology.”

www.presonus.com

innovation and immersion,” stated Rajesh Mittal, vice president and managing director, India and SAARC, QSC. “This space isn’t just about showcasing technology, it’s about empowering our partners and customers to shape the future of connected AV experiences, right here in the heart of India.”

The centre also includes a training facility that will feature practical training sessions led by technical experts from the company. This dedicated space has been designed to enable trainees to further deepen their understanding of the Q-SYS full stack AV platform with the training curriculum

www.qsys.com

SEAMLESS INTEGRATION

integrating your DiGiCo SD or Quantum Range console with any KLANG processor, offering immersive in-ear mixing.

• Deeply integrated workflow, enabling seamless KLANG integration on the fly.

• Standalone functionality - no additional control computer required.

• Lower Levels. Better Mixes. Less Fatigue.

INDIA CHINA

KV2 Audio kicks off open days

Indonesia’s capital recently played host to the first in a new global series of open-day events from KV2 Audio, inviting industry professionals and audio enthusiasts to critically experience the Czech manufacturer’s loudspeaker technology. Organised in collaboration with local distributor Goshen Swara Indonesia, the Jakarta event welcomed guests to the Goshen PIK Elang Laut Ballroom in

North Jakarta for a day of live product demonstrations, comparative listening and informal technical discussion. The full KV2 portfolio was presented, including compact models such as the ESD25 and ESD Cube, alongside higher output systems like the ES1.0, SL412 and VHD4.21 subwoofer.

A keynote address from Goshen Swara’s sales director Franky Cahyadi opened the day, emphasising the importance of critical

listening and the subjective nature of audio quality. He was followed by a virtual message from KV2 sales and marketing director Sascha Khelifa, who reinforced the company’s commitment to high-performance, transparent sound reproduction.

Technical support director and product specialist Leo Tanzil led the demonstrations and discussion, encouraging attendees to move freely within the venue to find their

own optimal listening positions. A/B testing sessions compared KV2 systems with other loudspeaker brands, while guests were also invited to play their own music to evaluate performance in a familiar context.

John Christopher of Belajar Sound was impressed by the ESD25: “For its size, the output and clarity really showcase the impressive detail that KV2 delivers. I hope we see these products more widely across Indonesia.”

Sebastian from the Indonesian Reformed Evangelical Church singled out the ESR215 as a highlight: “The sound is incredibly natural, very wide and super pleasant. Even without a sub, the low end is rich and full.”

Wrapping up with an open session and further product demos, the event offered a rare opportunity for personal evaluation of KV2’s point source-based approach. “Events like these are essential,” commented KV2 CEO George Krampera Jr. “They give people the opportunity to truly hear the difference, which simply can’t be communicated through brochures or websites.”

www.kv2audio.com

Audac hosts APAC Round Table in Bangkok Netgear launches professional services division

Audac recently hosted is annual APAC Round Table 2025 event at the Landmark Hotel in Bangkok, which was attended by 27 participants from across the manufacturer’s regional distribution network. The aim for the two-day affair was to align the group on the brand’s latest corporate and sales strategies, as well as share market insights and strengthen partnerships. An important initiative that was discussed was the launching of Audac Connect, which will host local training sessions across key cities in APAC. In addition to the presentations on sales and marketing strategies, the event featured the Audac APAC Awards Ceremony, which acknowledged the work of the company’s local partners. The awards saw AV Essentials in India winning both the Most Outstanding Marketing Award and the Fastest Growing Distributor Award, while Showtec Thailand was recognised with the Most Impressive Case Study Award for its

M Social Hotel project in Phuket. Following the ceremony, the event concluded with an engaging cooking workshop. According to feedback, participants came away feeling supported by the increased dialogue and new strategies they can incorporate into their mutual business going forward. “The APAC Round Table gave us clarity on the direction we can take with Audac in our region,” remarked Mridul Jain of AV Essentials India. “The open exchange of knowledge was incredibly valuable – it felt more like a partnership than a supplier meeting.”

MengWai Lim, Audac’s APAC sales manager, concluded: “This round table wasn’t just about sharing updates – it was about building a stronger APAC community. The energy and ideas that came out of Bangkok show how committed our partners are to growth and innovation.”

www.audac.eu

Netgear has expanded its offering for business customers with the launch of a new professional services division, aimed initially at the AV and broadcast sectors. The move marks a significant step in the company’s ambition to go beyond product delivery and provide

Initially focused on commercial AV and broadcast customers, the new services are designed to support critical installations and live event deployments where there is no room for error. The offering draws on Netgear’s nearly 30 years of experience and has been

technical services to its professional clientele.

“The key goal of Netgear’s professional services is to simplify both AV-over-IP and IT rollouts while making the fundamental shift to outcome-driven engagements that go well beyond product delivery,” said Massimo Mazzeo Ocello, VP of global systems engineering, customer support and services. “The idea of professional services is well-established in the IT industry, but we’ve seen the demand for the same kind of support for AV and broadcast implementations skyrocket in recent years and felt the time was right to start there.”

shaped by feedback from more than 450 broadcast and AV manufacturing partners.

According to the company, the professional services programme is aimed at ensuring reliable installations, accelerating time to value and reducing deployment risk. It positions Netgear as a long-term partner rather than transactional vendor. Further service offerings are expected in the future, including advanced design and planning, training and certification programmes, and premium support tiers.

www.netgear.com

THAILAND

Tathastu Sound upgrades with Yamaha

Ahmedabad-based Tathastu Sound has enhanced its pro audio stock with a Yamaha PM7 console, coupled with an RPIO622 Silk Rack. The rental company hopes that the purchase will solidify its position in the rental market, bolstering its capabilities for various events such as corporate shows, live touring concerts, festivals and house of worship events. The acquisition was made possible through Vibration Sound Design, a Yamaha authorised partner. According to Tathastu Sound’s Nikhil Patel, the decision to invest in the PM7 console was driven by its ease of use, reliability and user-friendly interface. “The console’s redundant fibre connections offer high-speed connectivity and reliability for large-scale setups, allowing us to manage long-distance audio transmissions with confidence,” he said. “The RPIO622 Silk Rack’s ‘Silk’ feature has been

particularly well-received, enabling the team to tailor the sonic character to suit different

production needs. This flexibility has proven invaluable in delivering smooth, high-quality

mixes that meet the demands of diverse events.”

According to the team, the PM7 console’s integrated Dante networking capability has helped simplify connections with other mixers and devices, providing low-latency, high-quality audio transmission and easy interoperability in complex audio environments. Patel reports that this feature has been a game-changer, allowing users to streamline their workflow and focus on delivering enhanced sound.

“We’re honoured to add the Yamaha PM7 console to our rental stock,” concluded Patel.

“With its high input and output bus counts, reliability and Yamaha sonic character, this console is the perfect fit for our needs. The ease of use and flexibility of the PM7 will undoubtedly enhance our ability to deliver exceptional sound for our clients.”

www.yamaha.com/2/proaudio

Audinate purchases Iris

WORLD

Audinate Group has entered into an agreement to purchase US manufacturer Iris Studio, which specialises in AI-powered, cloudbased camera control technology. Through the acquisition, Audinate hopes to strengthen its video platform capabilities while also bolstering its broader vision

for interoperable control and management across the AV device ecosystem.

The US company provides a control-first video production platform that has been designed to enable users to manage cameras remotely. The Iris platform is currently enabled on a wide range of PTZ cameras on the market, with the company having partnered with 14 different camera manufacturers, such as Lumens, PTZOptics, Marshall, BirdDog, Telycam and AIDA. Beyond cameras, the Iris software has been engineered to be applicable to a variety of AV products, including encoders, decoders and vision mixers.

Audinate believes that the combination of Iris’s video production platform with the capabilities of Dante Studio will bring greater value to Dante customers across a range of

markets, including corporate, entertainment, sports, government, HOW, broadcast and education.

“The addition of Iris to the Dante ecosystem is a major step forward for the Dante platform,” commented Aidan Williams, co-founder and CEO, Audinate. “Combining Iris’s broad

applicability and cutting-edge remote production capabilities with powerful cloud-based management software like Dante Director will provide significant value for customers managing the millions of Dante-enabled devices in the field today.”

Following transaction completion, Iris employees will join Audinate and both teams will work in collaboration to continue to expand the capabilities of the Iris platform and to integrate its functionality with Dante products.

“At Iris, we set out to rethink AV device control – intelligent, intuitive and accessible from anywhere,” said Noah Johnson, CEO, Iris. “Partnering with Audinate gives us the scale, reach and deep AV expertise to accelerate our roadmap and bring our vision to the next level.”

www.audinate.com

our robust, sporty and long-distance-proven multimedia infrastructure solutions come into play.

 Robust, transversely watertight and aramid-reinforced custom-designed cable solutions for outdoor use

 Wide range of cable and connection technology products for fully networked installation concepts

 Classified cable bulkware in line with the EU Construction Products Regulation (CPR)

 Connection-ready media/network/fiber optic systems for robust mobile and installation applications

Transversely watertight, halogen-free, UV- and microbe-resistant Salt and fresh water resistant outer jacket

A B2B shop with over 25,000 products is available 24/7. When the

SOMMER CABLE based in Straubenhardt/Germany was founded in 1999 and is now one of the leading suppliers of professional high-quality cable and connection technology with a focus on the audio, video, broadcast, studio and media technology sectors. The product range including the in-house brands HICON, CARDINAL DVM and SYSBOXX covers cable bulkware, connectors, connection cables, individually adaptable distribution systems and electronics.

Professional Studio

Event Technology

BULK CABLE · CONNECTORS CATALOG FOR FREE · ORDER NOW!

IJS invests in the Q852

Brisbane-based technical production company IJS recently welcomed DiGiCo’s latest digital mixing console, the Quantum 852, into its audio fleet. Established over three decades ago, IJS provides audio, lighting, staging and backline for concerts, festivals and corporate events. “It’s important that our consoles are rider-friendly, reliable and remain current with market trends,” explained IJS general manager, Jay van Lieshout. “DiGiCo consoles are highly sought after, thanks in part to the workflow advantages of the DiGiCo ecosystem. In short, engineers love them, so it just makes sense for us to stock them in our hire inventory.”

Over the past decade, IJS has compiled a large inventory of DiGiCo consoles including three Quantum 338, two SD11i and an SD10. “IJS has been updating and scaling up its audio inventory in recent years,” van Lieshout continued. “As part of this, it made sense to have a large-format, high-input-count console such as the 852 in our growing fleet. Now equipped with the Quantum 852, we are well-positioned to build on its legacy while ensuring adaptability to evolving production demands.”

www.digico.biz

www.ijs.com.au

Dirk Ulrich acquires Manley Labs Xilica

Manley Laboratories has announced its acquisition by serial entrepreneur Dirk Ulrich in an all-cash transaction that includes all operating assets of the company. The California-based manufacturer of professional analogue tube audio equipment will continue to operate from its existing headquarters, with co-founder and longtime president EveAnna Manley stepping aside from active duties but remaining involved in the transition process.

Ulrich is best known as the founder of Brainworx and Plugin Alliance, and a key shareholder in the Native Instruments Group, which also includes iZotope. A certified Gold Record producer and inventor of the patented TMT (Tolerance Modeling Technology) system, Ulrich’s return to running a professional audio company marks a new phase for Manley Labs, with a focus on preserving its analogue legacy while expanding its technological scope.

“Manley gear is part of the foundation of so many top studios around the world, and the reputation EveAnna and her team have built over decades is truly remarkable. I was a fan and user long before this acquisition,”

said Ulrich. “We intend to protect the Manley heritage while evolving with the needs of the next generation of music creators and audio professionals.”

According to Ulrich, operations at Manley will remain uninterrupted, with the existing

team continuing to design and manufacture the company’s product portfolio in-house. Partnerships, including the longstanding collaboration with Universal Audio on UAD plugins, are unaffected by the change in ownership. The company will maintain production of its flagship products including the VOXBOX, Variable Mu compressor, Massive Passive EQ and Reference Series microphones, alongside new analogue and digital tools currently in development.

Founded in the late 1980s, Manley Labs has built a strong reputation among studio professionals and hi-fi users for the sonic quality and reliability of its hand-built gear.

According to Ulrich, the goal is to support long-term growth while staying true to the company’s established values and customer base.

www.manley.com

Acoustic & Lighting spotlights Claypaky

The distinctive cultural venue 72-13 was transformed to provide a visually rich backdrop for the event, offering the perfect platform to showcase Claypaky’s lighting solutions.

A highlight of the open day was the presentation of the Arolla Aqua IP66-rated profile fixture built for indoor and outdoor use, as well as the 550W Sharpy X Frame light. Also showcased were the Tambora Linear and Tambora Flash hybrid strobe/wash fixtures, designed for large-scale, creative lighting, as well as the compact Mini-B Aqua. The event concluded with a networking session at the Skybar 峰, where attendees shared feedback and exchanged insights on the day’s presentations and demonstrations.

Xilica has announced a new regional strategy for Australia and New Zealand to coincide with the debut of its AI-driven platform, RoomHub.

“ANZ is a key region in Asia Pacific and we’re confident that our refreshed go-tomarket strategy will bring us closer to our customers,” said Xilica CEO James Knight. “With a dedicated local sales presence, strong distribution and the debut of

RoomHub, we’re excited to reconnect with customers and deliver exceptional projects.”

To lead its renewed push into the ANZ market, the collaboration audio specialist has appointed AV industry veteran Jim Seretis as regional market development manager. Seretis brings extensive experience from previous roles at Biamp and Audio Products Group and will work closely with integrators and consultants across key verticals including education, corporate and government.

Marking the first instalment of the event since 2019, the Claypaky Open Day recently took place at the 72-13 performing arts venue in Singapore. Organised by local distributor Acoustic & Lighting System, the event brought together approximately 100 industry professionals, including LDs, technical executives, consultants, event companies and specialists to explore the manufacturer’s lighting technology.

The Italian company was represented by sales director Alberico D’Amato alongside Pankil Ahuja, area manager for Southeast Asia, who presented the brand’s latest products, including the Volero Twins, Ultimo Hybrid and Skylos fixtures.

Acoustic & Lighting System general manager Eugene Yeo noted his gratitude for organising the open day following a six-year hiatus: “It is important to show our presence and introduce all new Claypaky fixtures to the market. Overall, we are happy with the turnout and received positive enquiries from the day, solidifying our position as one of the key distributors in Singapore.”

www.acousticnlightinggroup.com www.claypaky.it/en

In support of the new strategy, Xilica has also named Audio Brands Australia and Pacific AV as exclusive distributors for the region. Audio Brands, led by Don McConnell, will represent Xilica in Australia, while Pacific AV, headed by Marcel Reinen, will oversee the New Zealand market. Both companies are known for their strong technical support and customer relationships.

www.xilica.com

SUCCESS BEGINS WITH A

A LEGENDARY BRAND REINVENTS ITSELF

Those who experience the outstanding sound quality and reliability of our network solutions for the first time have the same reaction: WOW!

Now, STAGETEC is extending this effect to many more product areas – with uncompromising quality, future-proof design, and a focus on the big picture. Always with one goal: providing solutions for all of your audio and video media requirements. So your audience has just one reaction to your production: WOW!

INTELLIGENCE IN EVERY APPLICATION

LTA takes on LD Systems

Expanding its sales network in Southeast Asia, the Adam Hall Group has welcomed Loud Technologies Asia as its exclusive distributor for the LD Systems brand in Singapore. Through the alliance, the German manufacturer aims to further expand the presence of its pro audio brand in the region and tap into new market potential.

business development manager of the Adam Hall Group. “With Loud Technologies Asia, we have gained an experienced partner who understands this market and has an excellent customer and service network. We look forward to working closely together to establish LD Systems’ audio solutions in the region in the long term.”

Based in Singapore, LTA is an established distribution partner with extensive regional market experience specialising in audio, lighting, video and control solutions for professional applications. In addition to taking on LD Systems, the company will also offer the other brands of the group in Singapore on request. The regional clientele includes AV integrators and rental companies as well as retailers and public institutions.

“Singapore is a demanding market for professional AV technology, but one that is also very innovative,” explained Alessio Foti, global

Kheng Ying Koay, senior sales manager at LTA, commented: “We are delighted to partner with the Adam Hall Group and offer our customers stable, reliable support – not just in Singapore, but also regionally. With the strong product portfolio and the excellent brand reputation, our customers can count on reliable availability and first-class after-sales service – both decisive criteria when making a purchase.”

www.adamhall.com

www.ld-systems.com www.loudtechnologiesasia.com

Harman partners with MadisonAV

Harman Professional Solutions has made changes to its distribution agreement in Australia. Through the move, MadisonAV will serve as the exclusive distributor for the company’s complete audio and video portfolio across the region, while Show Technology will continue to provide the Martin Professional lighting portfolio.

“The Harman Professional portfolio is evolving in a way that R&D investments in new hardware and software platforms are reshaping the portfolio and our business,” said Amar Subash, VP and GM, Harman Professional APAC. “As we look to the future there are great benefits in consolidating distribution as it will allow us to leverage the full potential of the investments made to the portfolio and I’m pleased that MadisonAV will carry us forward.”

MadisonAV is investing in a national Harman Experience Centre which will serve as both a training resource and

1 Sound with JS Audio Solutions

Marking its debut into the markets, 1 Sound has entered into a distribution agreement with JS Audio Solutions for Australia, New Zealand and the Oceania region. According to both parties, the partnership is built on shared core values and will see the distributor leverage its 20 years of experience to broaden the manufacturer’s presence in the locales. JS Audio Solutions MD and senior systems engineer Juan Soothill said that the US manufacturer aligned with the company’s

foundational principles of customer experience, industry expertise and excellence. “When we choose a partner, it’s paramount that they share our passion for these cornerstones,” he confirmed. “We’re thrilled to introduce their exceptional range of customisable loudspeakers to the Australasian and Oceania markets. These speakers are truly in a class of their own, destined to be an absolute standout thanks to their amazing signature sound quality and bespoke customisable designs.”

demonstration hub showcasing the brand’s audio systems and featuring a FLUX:: immersive audio space. The centre aims to support resellers, installers, consultants and end users with hands-on learning, system comparisons and application-based sessions that span music, performance, AV integration and broadcast.

Ken Kyle, CEO of MadisonAV, commented: “We’ll provide consistent access to the full Harman Professional portfolio, backed by expert technical support, local stock, a national repair centre and responsive customer service. Our investment and recruitment of a specialised retail team will complement our well-established capabilities, ensuring that whether you’re fitting out a venue or supplying a portable PA system, you’ll get the same trusted experience and support from MadisonAV.”

www.madisonav.com.au pro.harman.com

Lou Mannarino, founder and designer of 1 Sound, remarked: “We are excited for this partnership with JS Audio Solutions. We believe in Juan and his team’s dedication to delivering service and support to their market. Together, we hope to create a successful introduction of 1 Sound’s offerings to the region.”

www.1-sound.com www.jsaudiosolutions.com

Crest Audio has launched a partnership with V-Series International, expanding its presence in the Malaysian market. The alliance will see V-Series representing Crest’s recently relaunched DSP, installation loudspeakers and line array systems, complementing the brand’s longstanding amplifier range.

“V-Series is already a very well-recognised and respected force in the Malaysian AV industry,” said Akshay Vaidya, managing director, Asia Pacific at Crest Audio. “The profile, scope and variety of their projects makes them an ideal partner to showcase the full range of the recently revamped Crest Audio offering. We are thrilled to be working with Mr Stone Foo and the V-Series team to

bring our products to Malaysia’s discerning audio market.”

“We are honoured to be appointed as the official distributor of Crest Audio in Malaysia,” said V-Series International CEO Stone Foo. “Crest Audio’s reputation for innovation, reliability and powerful performance aligns perfectly with our commitment to delivering high-quality AV and systems integration services. Backed by our nationwide support network and rich experience, we are confident in driving greater adoption and elevating the professional audio experience for our partners and clients across the country.”

www.peaveycommercialaudio.com/crest-audio www.v-series.net

OCEANIA MALAYSIA

L–R: V-Series International’s Stone Fu with Akshay Vaidya and Joy Athanasius of Peavey Electronics and V-Series International’s Sin Yee

L–R: LTA’s Colin Quek, Alessio Foti of Adam Hall and LTA’s Kheng Ying Koay

Juan Soothill of JS Audio Solutions

GTX 10 i

INSTALL TWO-WAY LINE ARRAY MODULES

GTX 10i

Versatile 110° X 15° Coverage

GTX 10Pi

Narrow 70° X 15° Focus

GTX 10Wi

Wide 110° X 30° Coverage

Meyer Sound appoints VIE TEC

With Nepal’s music, live event and performance industries continuing to expand, Meyer Sound has announced that VIE TEC has become its official distributor in the country with the aim of increasing access to the manufacturer’s loudspeaker products and support.

“We decided to bring Meyer Sound to Nepal because there’s a growing need for world-class audio that delivers clarity and consistency – whether in a concert, club or

performance space,” said Saloni Sethia, managing director of VIE TEC. “As more international artists perform here and our

local event scene continues to grow, we felt it was time to introduce a brand trusted by the world’s top venues and professionals.

Meyer Sound is not just about volume – it’s about precision, reliability and delivering an experience that matches global standards. At our core, we’ve always aimed to make the best global products accessible in Nepal and to elevate the overall audio experience for both audiences and professionals alike.”

www.meyersound.com www.vietec.co

Optocore and RAC join forces GLP and MDR team up

MDR Lighting has been appointed as the official distributor for GLP in New Zealand. The former is a wholly New Zealand-owned company and boasts a strong presence in the entertainment and production industry garnered over the last 20 years.

The decision was spurred by MDR’s close working relationship with the manufacturer’s Australian distributor, Showtools, with MDR’s managing director Brodie Noon stating it was a “natural progression for us to add GLP to our portfolio”.

Søren Storm, GLP sales director for the Asia Pacific region, initially made the approach. “MDR Sound and Lighting is a very well-established lighting distributor in New Zealand with a great reputation for giving their clients and products the best

service,” he said. “I have also known Brodie personally for many years and have always had a tremendous business relationship.” Storm also cited the distributor’s strength not only among integrators and resellers in the installation sector, but that it also has a direct line to all major production houses in the country.

Noon commented: “We will market the brand through our existing channels of EDMs and media, plus direct demonstrations to production houses – as we do with all our brands. The MDR team are particularly excited to be about to land the first shipment of the incredible new JDC Burst 1 into New Zealand.”

www.glp.de www.mdrlighting.co.nz

Officially formalising a longstanding reseller relationship between the two companies, Rightway Audio Consultants (RAC) has been appointed as the distributor for Optocore in China, Hong Kong and Macau. Based in Hong Kong, RAC has already begun conducting Optocore demonstrations and training sessions for customers and partners.

The company is no stranger to the German manufacturer’s fibre network technologies, having deployed them on large-scale projects such as the Tianjin Grand Theatre in 2018 and 2019. “It was a mutual decision to deepen cooperation, which aligns with the long-term mutual benefits sought by both parties,” stated marketing director, Nan Hu. “This will create broader synergies in the future.”

According to RAC’s product director, Eric Liew, the formalised partnership aligns with the existing technology ecosystem the distributor has

built around long-term brands such as DiGiCo, L-Acoustics, L-ISA Immersive, KLANG and Fourier Audio: “We hope that with this new partnership, our users and customers will naturally accept Optocore as part of their ecosystem, which will help us establish a more solid user base in China.” Looking ahead, RAC intends to explore opportunities with Optocore’s sister company BroaMan, particularly in the broadcast sector where it has longstanding relationships with broadcasters such as CCTV, Hunan TV and Guangdong TV. Liew described the move as a step towards “promoting and building the brand in a more independent and robust way”, adding that RAC expects to see wider adoption of Optocore beyond traditional theatre and festival applications.

www.optocore.com www.racpro.net

Funktion-One’s distributor for the GCC, Em-Tec, has partnered with Audio & Beyond to deliver the brand’s systems to the Indian market. Through the agreement, the Dubai-based distributor will handle all systems design, project oversight and management, while Audio & Beyond, an experienced AV solutions provider in the region, will leverage its strong local presence to deliver the brand’s systems.

The move aims to formalise the company’s presence in India and lay the foundation for growth, with a goal of establishing showcase Funktion-One venues across the country. With bases in Hyderabad and Delhi, Audio & Beyond offers local insight and reach, and its skilled technicians will work closely with Em-Tec to gain hands-on experience with the audio manufacturer’s products.

“We’re thrilled to take this next step and strengthen our connection with the Indian

market,” said Andy Williams, owner of Em-Tec. “There’s a huge appetite for world-class

sound and, with the support of Audio & Beyond, we’re now in a strong position to deliver the Funktion-One experience across the country.”

Funktion-One’s director of sales, Andrew Low, commented: “We’re really excited that Em-Tec’s experience and expertise with Funktion-One systems is being brought to India as our official distribution partner. We have no doubt that their passion for exceptional sound combined with Audio & Beyond’s local presence and high service standards will make this a successful partnership.”

www.audioandbeyond.in www.emtecav.com www.funktion-one.com

NEW ZEALAND

INDIA

CHINA

L–R: Em-Tec’s Armand Bulder, Audio & Beyond’s Rishabh Jain, Andy Williams of Em-Tec and Karan Bajaj of Audio & Beyond’s parent company, EMIL

L–R: MDR’s Brodie Noon and Aaron Shirriffs

Attention seekers scan here:

The console that deserves ALL THE ATTENTION

Representing a dramatic leap forward in power and connectivity within a remarkably compact format, Quantum 338 Pulse follows the Quantum 7 in defining the future of audio mixing. Boasting a wealth of new design features and enhancements to create ultimate flexibility of use plus the speed of operation that only Quantum can deliver, Quantum 338 Pulse is based on seventh generation FPGAs with an entirely new system architecture.

Main Features:

• 156 Input Channels

• 72 Aux / Sub-Group Busses

• LR/LCR/LCRS/5.1 Master Buss

• 24 x 24 Full Processing Matrix

• 330 Dynamic Equalizers

• 48/96 kHz Sample Rate

Audac appoints Andrew Loadman

Audac has recruited Andrew Loadman to bolster its growing international sales team. Serving as business development director, he will drive the manufacturer’s ambitious growth plans across key global markets.

•

•

•

•

With a strong background in international sales, project management and technical leadership, Loadman is renowned for his strategic mindset and results-driven approach. Charged with identifying new opportunities, building strong relationships and expanding Audac’s footprint across various markets, Loadman is tasked with targeting growth potential and strengthening key partnerships that will support the Belgian brand’s long-term international ambitions.

“With Andrew onboard, we’re reinforcing our commitment to sustainable international growth

and enhanced partner support,” commented Audac CEO, Tom Van de Sande. “His expertise aligns perfectly with our mission to deliver innovative audio solutions that truly make a difference.”

www.audac.eu

support team

Joe Yeung Ka Chun has joined NEXO as engineering support manager for Asia. In this position, he will provide services including systems design and installation support, as well as training and technical assistance to systems integrators, installers and event production companies.

Yeung Ka Chun boasts nearly two decades of experience in the professional audio industry including senior audio technician at the MGM Macau. Throughout his career, he has served as a sound engineer for numerous high-profile events and venues across mainland China, Hong Kong and Macau.

“I am excited by the challenge of joining NEXO and becoming part of a highly specialised engineering support team and I look forward to strengthening the relationships

Powersoft promotes Jagger

EMEIA

Powersoft has promoted Varun Jagger to the newly created position of regional manager – distribution for Europe, the Middle East, India and Africa. Jagger, who joined the Italian manufacturer in 2018, previously served as sales manager for the EMEIA region. In his new role, he takes on a broader strategic remit of overseeing Powersoft’s distribution network across the territory and directly managing area sales managers Cosimo Cecchi and Simone Scaramuzza.

“Over the mid- to long-term, I aim to streamline the distribution network to leverage us for growth across verticals and markets –preparing the sales team for better growth in the region and supporting our distributors and partners to translate Powersoft’s global vision at a local level,” said Jagger.

between NEXO and our partners in Asia,” said Yeung Ka Chun. NEXO’s engineering support director, François Deffarges, commented: “Joe’s solid experience in sound engineering and project management makes him an ideal fit for the role and we are thrilled to welcome him to the team.”

www.nexo-sa.com

Eddie Tan joins HH

HH Audio has welcomed Eddie Tan as divisional sales and tech support manager for the APAC and MEA regions. Reporting to Ian Wright, brand director at HH, Tan will be responsible for the overall growth of the company within the locales and will also provide HH partners with technical support as well as product and systems training.

“I am looking forward to working closely with Eddie on the development of the HH business in this region,” remarked Wright. “He will offer a new level of service, technical support and product training to our customers. Eddie’s understanding of each market sector will be invaluable to the company.”

Tan brings a wealth of knowledge and experience to the role, both in the professional audio and live sound and commercial audio markets. Prior to joining HH, he worked at QSC in the position of field sales manager for Malaysia, Singapore and Indonesia, and most recently as regional sales manager for Malaysia and Vietnam.

“Eddie has extensive technical qualifications, which boost the standard of the HH team as the brand continues to expand into a larger range of system solutions,” commented James Laney, HH’s CEO. “Eddie’s input to future product development will also be invaluable to the company.”

www.hhaudio.com

Neutrik welcomes new CEO

Lukas von Arx has been appointed as the new chief executive officer of the Neutrik Group, bringing a wealth of international experience and leadership expertise in the cable and connectivity industry to the new role. Effective immediately, von Arx has officially assumed leadership of the globally active company headquartered in Liechtenstein.

“I’m inspired by Neutrik’s spirit of innovation and its outstanding product quality,” commented von Arx. “The company holds tremendous potential in both established and emerging markets. I look forward to shaping its future together with the team.”

Following a commercial apprenticeship at Studer Draht- und Kabelwerke AG, von Arx completed a degree in Business Informatics, a masters in accounting

and finance and a PhD in economics and finance. His career has included roles at Ernst & Young, LEONI and, most recently, BizLink.

At LEONI, he oversaw the establishment of a new production facility in India and later led the company’s Canadian operations, among other responsibilities. He joined BizLink in 2022 as president and managing director of BizLink elocab in Canada and took over global responsibility in 2023 for the tailor-made business unit, overseeing nine sites and approximately 1,000 employees. With von Arx at the helm, the Neutrik Group hopes to gain a forward-looking executive who combines international expertise with strategic foresight and a passion for innovation.

www.neutrikgroup.com

Walpot

Production Resource Group (PRG) has promoted Bob Walpot to the position of president for APAC and EMEA, bringing a decade of experience within the organisation and a people-focused leadership style. The company describes the leadership change as part of a broader commitment to aligning global capabilities with deep regional knowledge.

Since joining the company 10 years ago, Walpot has held several key positions, most recently serving as MD for Belgium, the Netherlands and France. His new appointment is intended to strengthen PRG’s global reach while reinforcing the importance of local expertise. “What sets PRG apart are the people who make a difference –onsite, in planning and alongside our clients. That’s the strength we’ll keep building on,” commented Walpot.

www.prg.com

Revolutionising live production comms

Clear-Com’s latest FreeSpeak Icon, together with the recent updates to the Arcadia Central Station, deliver a more streamlined and integrated solution for professional communications

In live production, communication isn’t optional. Whether you’re managing a keynote in a packed ballroom or calling cues at a multistage festival, teams rely on instant, reliable communication to keep the show running. As productions get more complex, the tools behind the scenes need to keep up.

Clear-Com’s FreeSpeak Icon beltpack and the latest updates to the Arcadia Central Station offer a streamlined solution. They’re built for production teams who need solid wireless and wired comms across different types of venues and show sizes, without overcomplicating the setup.

FreeSpeak Icon is a ready-to-use wireless system and the latest addition to Clear-Com’s widely adopted FreeSpeak family. FreeSpeak Icon connects directly to an Arcadia Central Station, EHX Frame or FreeSpeak Edge base, and it’s ideal for crews seeking high-quality comms with easy deployment. The beltpack is intuitive and easy to operate, making it accessible even in fast-paced environments, and its rugged design ensures it can withstand the demands of the toughest live event workflows, all while delivering reliable, performance-ready communication when it matters most.

control room operations with high-resolution colour displays, Bluetooth connectivity and native IP support, making it easier to manage hybrid workflows.

What sets Clear-Com’s systems apart is how they balance ease of use with room to grow. Once deployed, they can be scaled up with more beltpacks or transceivers if your needs change.

FreeSpeak Icon also improves how users can set up and organise their crews. With more detailed role and channel settings, it’s easier to keep communication tight and focused. You can assign specific beltpacks or panels to certain teams like lighting, video or stagehands, so each group stays in sync without cluttering up the whole comms

Clear-Com designed FreeSpeak Icon and Arcadia Central Station to both work well in real-world live production. These tools aren’t just for broadcasters or massive touring acts. They’re built for everyday users, and people who need their comms to be dependable, quick to deploy and easy to scale.

The industry expects more from smaller crews in tighter timelines. Intercom systems have to keep up without adding complexity. FreeSpeak Icon and Arcadia Central Station are built to meet that reality. They deliver reliable, high-quality comms in a format that’s flexible and practical.

IP workflows are now common across AV environments. With that shift, production teams are looking for intercom platforms that work across traditional and IP gear. Arcadia’s ability to support both makes it a smart long-term choice for companies who want future-ready systems but can’t overhaul everything at once.

For crews juggling tight schedules, changing venues and mixed teams, these tools offer a clear benefit. They cut down on setup time, reduce errors and help everyone stay aligned, whether they’re calling cues, solving tech issues

The system supports multiple RF bands, including 1.9GHz, 2.4GHz and 5GHz. This gives users more flexibility to work around crowded RF environments, which are common in live events. FreeSpeak Icon delivers low-latency, high-audioquality communication with solid signal range, even in venues where bandwidth is tight or unpredictable. The new 9-key beltpack offers a compact, intuitive control layout, giving users fast access to key channels in high-pressure environments. The V-Series IrisX panel enhances

houses of worship, corporate AV crews and smaller production companies who may work across multiple event types in the same week. Arcadia Central Station brings together wired and wireless Clear-Com systems into a single 1U device. With the latest software update, Arcadia is now more powerful and adaptable than ever.

The new update expands Arcadia’s capacity to support large teams spread across stage, backstage, front-of-house and control rooms, so that they can all work from the same platform. You don’t need extra base stations to scale up, and you don’t need to redesign the comms plan when your production grows. It’s all managed from one device.

On the technical side, Arcadia now offers better integration with IP-based systems. The update strengthens its support for AES67 and Dante-compatible gear. That matters for AV teams working with hybrid systems, where both analogue and IP devices are in play. Arcadia can act as a bridge between them, so you don’t need extra hardware or workaround routing to make everything talk to each other. The control interface is browser-based and straightforward. This makes it faster to configure before a show and easier to adjust on the fly if something changes midproduction. If you move between venues or rotate staff frequently, the setup won’t slow you down.

FreeSpeak Icon and Arcadia Central Station are helping live production teams focus on the job, not the gear. That’s what matters most when the lights go up. The feedback from early adopters of FreeSpeak Icon has been consistent: fewer points of failure, smoother transitions between events and clearer communication across all departments. Additionally, for teams used to troubleshooting outdated or mismatched gear, the move to a unified, IP-native system like Arcadia can be a major upgrade. With FreeSpeak Icon offering a fast, reliable entry point and Arcadia providing the scalability to grow, Clear-Com is giving production crews a more stable foundation to build on, show after show.

Arcadia with FreeSpeak and HelixNet Beltpacks

SUB 9000 A New Definition of Bass. Simplified Tuning. Unrivaled Depth.

Unleash the pristine power of low-frequency reproduction with RCF SUB high-performance active subwoofers. Deliver up to 142 dB SPL with up to 8000 Watts Class-D amplifiers and high-excursion Precision Transducers®. Experience effortless system control via RDNet® and groundbreaking contactless configuration with the RDTap® app for easy setup, all wrapped up in a tour-ready subwoofer ideal for audio professionals who expect the very best.

Engineered for rigorous music performance, the SUB Series features a weatherproof plywood cabinet with a durable polyurea finish. A magnetic rain cover for the connection panel is included in the box, with rugged powerCON TRUE1 TOP AC Connector.

Hit the ACE!

The new Advanced Crossover Engine unlocks your system’s true potential with factory-tuned presets for perfect sub-top pairing. Simply connect your satellite speakers to the SUB, select the preset from RDTap, tap the back panel with the smartphone and you are ready to go. ACE is engineered to precisely align time, frequency and phase over a broader range than typical crossovers, delivering impressive impact and precision.

rcf.it

#ExperienceRCF

A full suite of solutions

IN THE WORLD OF PROFESSIONAL AV

installations, delivering outstanding audio is only part of the equation. A successful project depends equally on the ease of design, efficiency of setup, user-friendliness and longterm manageability. That’s where K-array’s comprehensive suite of software shines, streamlining every phase of an install from design to configuration and everyday use. Whether you’re a system designer, installer, integrator or end user, K-array has built a set of intuitive, interconnected tools that enhance not only the performance of its systems, but the overall project workflow. K-array delivers cutting-edge installation products and its software brings out the best in every space, from hotels, restaurants and luxury residences, to theme parks, corporate offices and houses of worship.

Designing with K-Framework 3

At the heart of the suite is K-Framework 3, the cornerstone for system designers. It lets them simulate the acoustics of a space in 3D, ensuring the right K-array loudspeakers are selected, correctly positioned and matched with the right amplifiers.

K-Framework 3 performs precise SPL mapping, frequency response analysis, reverberation time calculations and STI (Speech Transmission Index) predictions, all within a single environment. For installations requiring pinpoint directivity, it supports Electronic Beam Steering, available in select K-array products, enabling better intelligibility and coverage in acoustically challenging spaces. More than a design tool, it’s a way to reduce installation risks, meet client expectations more confidently and streamline communication between designer and integrator.

Installation and tuning

Moving from blueprint to build, K-Framework 3 continues to play a vital role. It connects directly

to K-array amplifiers over the network, identifying connected devices and loading the correct presets based on the project file. The Network page makes discovering and linking devices quick and painless. You can tune the system, making real-time adjustments, to ensure the system performs exactly as modelled.

Where installers don’t need all the features of K-Framework, K-array’s integrated Web App offers a powerful interface to control amplifiers from any browser. It handles everything from preset management and routing to multi-zone control, EQ, scheduling and even playback from built-in media players. No special software, just open a browser and go.

Meanwhile, the K-Connect app adds further convenience by helping installers and technicians instantly locate and identify K-array devices on the network, saving time and eliminating setup guesswork.

Day-to-day use

Once the installation is live, day-to-day control needs to be simple and seamless, especially as most end users aren’t audio professionals. K-Control is a smartphone and tablet app designed for intuitive, user-friendly control of the entire audio system.

It’s ideal for managing volume levels, source selection and zone control, all via a custom-built

interface tailored to the specific installation. It puts the power of pro audio directly into the hands of the user.

For advanced control, K-array systems integrate natively with major third-party platforms. Whether you’re working with Crestron, Crestron Home, Control4, Q-SYS or other systems, dedicated plugins and open APIs (HTTP REST and OSC) ensure seamless integration.

Remote monitoring and support

Remote management is also essential to ensure reliable operation. K-array’s K-Cloud provides secure, real-time access to devices from anywhere, allowing installers and integrators to make adjustments, monitor performance and intervene, without an onsite visit.

Whether you’re servicing a hospitality venue or maintaining a network of retail outlets, K-Cloud offers the assurance of control even when you’re offsite.

Diagnostics and long-term support

For system administrators and technical support teams, K-Monitor provides a robust diagnostic and troubleshooting environment. It checks both software and hardware, performs system

diagnosis, and lets you push firmware and OS updates. This level of insight ensures long-term reliability and reduces downtime.

A software ecosystem built for integration

What sets K-array’s software suite apart is its ecosystem mindset. Each tool is purposebuilt for a particular stage of the project or a different kind of user, yet they all interconnect seamlessly. From the designer using K-Framework 3, to the installer configuring zones via the Web App, to the venue manager adjusting levels with K-Control, everyone works from a common platform.

And for those new to K-array, the K-Academy offers in-depth tutorials, videos and documentation to bring you up to speed –whether you’re specifying your first system or fine-tuning your fiftieth.

K-array’s software is a professional toolkit that supports every stage of an installation. By combining advanced acoustic modelling, flexible setup tools, seamless control integration and remote management, it allows AV professionals to deliver exceptional sound with confidence and clarity.

To learn more or to access training, visit k-array.com and explore how K-array’s software suite can elevate your next installation.

Unlocking the power of installations with K-array’s software suite

The New Reference For Close Miking Instruments

The Miniature Clip Microphone system (MCM) delivers true Neumann sound on stage for wired and wireless operation. Flexible mounting options, fully modular, ultra durable.

TAKE YOUR LIVE EXPERIENCE TO A NEW LEVEL.

Mooring the mind

When

he’s not overseeing global demand marketing strategy for Focusrite Group’s Audio Reproduction brands, Jamie Gomez finds calm and clarity on the UK’s inland waterways. For the past four years, his canal boat has been both home and sanctuary

What’s your role at Focusrite Group?

I’m the global demand marketing manager for the Audio Reproduction division. That includes overseeing strategic campaigns, managing our global events presence and collaborating across Martin Audio, Optimal Audio, Linea Research, TiMax and Outboard. It’s a role that keeps me on my toes. One day might be focused on lead generation strategy, the next on preparing for an event or supporting a partner with a channel activity. I get to work with some of the most knowledgeable and passionate people in the business, which is a huge privilege. And seeing our technology being used in real-world applications – whether it’s a packed arena, theatre or boutique venue – is what makes it so rewarding.

How long have you been living on a canal boat?

Just over four years now. It started as a bit of an experiment –a short-term lease to see how I got on – and I quickly ended up falling completely in love with the lifestyle. It’s not always easy, especially in winter, but it’s completely changed the way I live. I’m more present, more conscious of time and space, and a lot more connected to the environment around me.

What first drew you to life on the water?

I wanted something slower, quieter and more mindful. I’d always been curious about alternative living, and the idea of living simply but meaningfully really appealed. Being on the water gives you this constant connection to nature, even when you’re still technically in a city. I remember my very first cruise – the engine kicked in and I had this immediate mix of exhilaration and mild panic. There were definitely a few comedy moments with ropes and locks, but that sense of discovery was addictive. It felt like an adventure from day one.

Do you move around or stay put in one place?

I’m a continuous cruiser, which means I move every couple of weeks. I don’t have a permanent mooring, so I’m always exploring new stretches of the canal network. That sense of movement is part of the appeal – some weeks I’m moored in a lively urban area, and other times I’m completely surrounded by green, peaceful countryside. It’s a bit like travelling without ever leaving home. You learn to adapt, to make the most of whatever’s around you and to find comfort in change.

Any memorable mishaps or lessons learned?

Quite a few! One that stands out was trying to move the boat through a frozen canal – I’d underestimated just how solid a thin layer of ice could be. The boat made this awful grinding sound, like it was chewing through concrete. It was beautiful in a way, but also completely impractical. I take winter a lot more seriously now –you learn to pay attention to things like battery health, weather

forecasts and water levels in a way you never would in a normal house. So, for all that this can be a stress-reducing and relaxing lifestyle, it definitely does have its moments!

Is there a particular spot that feels like a sanctuary?

Definitely. Little Venice in London is somewhere I try to visit every summer. It’s remarkably quiet given how central it is, and there’s something calming about the reflections on the water and the way the light filters through the trees. I’ll usually take a bit of time off while I’m there, just to read, reset and enjoy the atmosphere. It’s become an important annual tradition, and a reminder of why I chose this way of living.

Has the lifestyle changed your relationship with time?

Massively. Everything on the boat takes longer – from filling your water tank to charging your batteries. But that’s not a bad thing. You become more conscious of how you use your time, and more appreciative of the moments when you’re not rushing. I’ve found it makes me more focused during work hours and more relaxed outside of them. It’s a balancing act, but it’s taught me that slowing down often leads to better results.

Why do you think it’s important to disconnect?

Because if you don’t, the pace of modern life will just carry you along whether you want it to or not. Especially in our industry, where the lines between personal and professional can blur so easily. Living on a boat forces a slower rhythm – you’re literally moving at four miles an hour. It’s a daily reminder that rest isn’t optional. Making space to switch off allows you to think more clearly, connect more deeply and ultimately perform better – in work, in life, in everything.

Jamie Gomez

Jamie Gomez

Powersoft goes sky high

The vibrant Sky Bar rooftop venue in Ba Ria Vung Tau has implemented Powersoft T Series amplifiers to drive its high-fidelity sound system. Located on the top floor of the Premier Pearl Hotel, Sky Bar offers panoramic views of the Vung Tau ocean and city, offering visitors a picturesque setting for live events and high-energy entertainment.

Seeking a powerful audio setup that could withstand harsh coastal conditions, the

venue engaged Hoang Phu Sound, a partner of Powersoft’s local distributor Universal Procurement Systems Vietnam (UPSV), to install and consult on the project.

UPSV ultimately chose the Italian manufacturer’s amplifiers to power Bose Professional speakers, with Powersoft’s 8,000W, 4-channel T904A and two 6,000W, 4-channel T604A amplifier platforms installed.

“The T Series offered a compact size with

powerful performance, which was perfect for Sky Bar,” noted Nguyen Luong Niem, technical manager, UPSV.

To provide easy access for maintenance and monitoring, the T Series units were installed in the central equipment rack near the bar area. These are accompanied by Bose AMU208 full-range speakers and Bose MB210WR subwoofers (Bridge Mode in Powersoft T604A). The system tuning and

adjustments were done via the ArmoníaPlus System Design software.

Nguyen said that before using Powersoft, the team faced issues with inefficient energy usage and heat dissipation in large sound systems, especially in high-demand environments. “After switching to the T Series, these issues were resolved with the help of Powersoft’s Smart Rails Management technology, which recycles reactive energy and reduces heat dissipation while also improving energy efficiency.”

The project posed various technical challenges, including tight installation deadlines and limited equipment space, as well as demanding acoustic expectations, which all played into the system design.

“This sound system required high volume, powerful bass and clear mid-highs due to the involvement of DJs,” added Nguyen. “Powersoft’s T Series offered the perfect solution thanks to its compact size and robust power output.”

With Sky Bar being located on the coast, some of the key issues included the strong winds and corrosive effects from sea salt which risked degrading equipment. According to the team, the T Series platform proved to be the ideal solution, delivering reliable performance.

“T Series delivered not only power but also reliability and ease of integration,” concluded Nguyen. “The end user is extremely happy with how the system has transformed the Sky Bar experience, making it more engaging and enjoyable for guests.”

www.powersoft.com

Two-Fold chooses Void for Jakarta venue

South Jakarta’s Two-Fold entertainment outlet has installed a Void Acoustics system following a visit to Bangkok by owners Vincent and Sharifa, who were impressed by the brand’s audio systems they encountered in the city’s clubs and sky lounges.

The competitive nature of Jakarta’s central business district means venues have to differentiate. Two-Fold’s investment also includes a full-length LED wall behind the DJ area and a large inventory of moving heads and static LEDs controlled from a Real Madrid Avolites (RMA) lighting console. Hosting a varied mix of music throughout the week, there is often a queue waiting to enter the 120-capacity venue.

Following a successful demonstration, audio consultant and technical manager for distributor PT Electro Audio Engineering, Williesatya, applied his expertise to the project with assistance from an audio dealer. “Having pre-cabled the facility, the installation of the loudspeakers and terminations to the racks was completed within the demanding deadline,” he revealed.

A Void Acoustics Nexus loudspeaker system is floor-mounted in front of the DJ

transducers and a 1.5-inch compression driver, each loaded by an isometric conical horn, the red fibreglass enclosures provide a visual and aural balance. Three further Air 8 streamlined loudspeakers have been wall-mounted as delays, while a pair of Venu 112 subwoofers are discreetly installed beneath sofas further away from the main system.

DJs are provided with a Pioneer RM12 DJ mixer and a pair of Void ArcM 12 coaxial speakers augmented by Venu 112 V2 subwoofers for monitoring. The music sources are routed to a Yamaha TF1 digital mixer and output to Void Bias Q1.5 (Venu 112), Bias Q1+ (Air 8), Bias Q2+ (Air Motion) and Bias Q5 (main subs) amplifiers via two NST Audio ID48X matrix processors. Processing parameters including stored presets were applied by Williesatya using the manufacturer’s Bias Control software. An adjacent 20-capacity VIP room is outfitted with a twin-deck Pioneer XDJ-RX3 integrated DJ system, with a Yamaha self-powered DZR12 monitor. Networked to the main room, bidirectional audio can also be transmitted via Dante. DJ and live music sources are routed to a Yamaha TF-RACK digital mixer and output to an ID48X matrix processor and a Bias Q2+ amplifier powering the pair of Void Venu 10

Lightware brings Xross Theater to life

JAPAN

Japan’s Koishikawa Xross Digital Museum leverages high-resolution displays and AV integration to transport visitors into hyperrealistic, 360º environments. The immersive theatre at Toppan Koishikawa – a global provider of integrated solutions – was made possible through a collaboration between For-A, MTC Japan and Lightware.

The space features a visual solution comprising a 16K Crystal LED screen, along with a Leyard ceiling LED display and an LED floor screen. This setup posed complex technical demands, with Toppan requiring a system that could support HDMI 2.0 distribution across a 64x64 matrix, providing 4K 60P RGB 4:4:4 video quality. However, the partners quickly discovered that there were no domestic manufacturers that offered a 64x64 HDMI matrix that supported 18Gbps with non-blocking and met RGB 4:4:4 specifications.

According to Junji Matsuoka of MTC Japan, the project’s AV integration partner, this limitation provided a significant challenge. “We knew we needed a high-capacity, reliable solution that could handle the 18Gbps data stream efficiently and Lightware’s MX2-48X48-HDMI20-A-R was the only matrix switcher capable of meeting these requirements,” he said.

The team said it opted for the MX2-48X48HDMI20-A-R matrix switcher for its ability to manage an uninterrupted, high-bandwidth signal flow without compromising quality. Lightware’s

equipment had been previously used by MTC Japan and, based on this positive experience, MTC was confident that the MX2-48X48-HDMI20A-R would be the ideal choice to support Xross Theater’s ambitious specifications.

“The high-level video distribution capability of the MX2 was a game-changer,” Matsuoka added. “In addition to offering a 64x64 HDMI 2.0 matrix, the MX2’s seamless integration with control systems through Lightware’s LW2 protocol simplified what could have been an intricate setup.”

At the heart of Xross Theater’s AV system is a PC server developed by Toppan that outputs eight signals, all routed through Lightware’s matrix to the videowall processor. On the output side, the MX2-48X48-HDMI20-A-R distributes signals to the RGBlink X8 processor with 24 inputs, which handle the 16K projections on the Crystal LED screen.

As with any complex installation, the Xross Theater project presented several integration challenges, with the biggest being coordinating

all the moving parts and ensuring seamless integration. “Lightware’s MX2, with its non-blocking switching and reliable 18Gbps performance, played a key role in overcoming these hurdles,” explained Yu Nakamura from Toppan. “It gave us confidence that the video distribution would be executed, which was crucial for the immersive environment we wanted to create.”

www.lightware.com

Image courtesy of Toppan

K-array powers projects across China

CHINA

K-array has reported a significant increase in the use of its audio products across a wide range of projects and installations in China, including shopping malls, restaurants, schools and corporate environments. The Italian manufacturer attributed the popularity of K-array products to their ability to solve common integration challenges in the region.

Local integrator HKBN JOS (Shanghai) Company turned to the brand’s KY102 loudspeakers for a recent project at Yintai in77 shopping mall, with the KY102’s beam steering technology providing audio accuracy in the challenging open-air public space. A skybridge between mall buildings covered with LED advertising screens on three sides now utilises K-array sound, while minimising noise pollution to nearby apartments. The team also selected the units for their small form factor to ensure minimal disruption to the building’s appearance.

Global technology provider HUAWEI selected Tornado KT2C ceiling loudspeakers for its flagship stores across China. Jason Zhao, general manager at K-array China, described the benefits of this solution, stating: “These loudspeakers blend effortlessly into the spatial design, delivering enveloping soundscapes whilst

being perfectly integrated with the ceiling fixtures.”

The high-end restaurant Song in Guangzhou leverages the manufacturer’s Vyper-KV52 II passive loudspeakers to craft a memorable experience for diners. The units were selected for their unobtrusive design, as well as sound clarity and focused audio coverage

to ensure patrons’ conversations are not overwhelmed. Additionally, ultra-mini LyzardKZ14 I loudspeakers are employed in each private dining room, selected for their small form factor to ensure minimal disruption to the aesthetic of the space.

K-array’s systems have also proved popular in educational settings, such as

the renovation of Pingtan Primary School’s auditorium. Python-KP102 I loudspeakers, measuring 1m x 8m (LxW), were rigged to the walls, reducing the need for a costly suspended installation and maximising space. “With their high-power output and wide dynamic range, these loudspeakers can cater to a diverse range of activities,” said Zhao.

Lastly, the brand’s systems are also being deployed for corporate settings in the region, including Fujian steel manufacturing company, Sanbao Group, which has utilised various loudspeakers from across the K-array portfolio in its conference and reception rooms. Wallmounted brackets were implemented to simplify the integration of the loudspeakers into the workspace, while providing sound and speech reinforcement for important meetings.

“It is clear that K-array’s audio solutions are a preferred choice for integrators across China,” Zhao concluded. “The superior quality, scalability and ease of use of the K-array product ecosystem meet the complex needs of both integrators and end users alike.”

www.k-array.com

Funktion-One’s Projection system design software introduces a fast, wave based low frequency model. This breakthrough technology fully predicts the complex wave behaviour of bass arrays, including the effects of the physical presence of enclosures on directivity and wave propagation.

gets down to business

The newly opened Fox LiveHouse music and business bar in Wuchuan City has implemented a NEXO sound system, designed and installed by the manufacturer’s Chinese distributor Hertz Audio. Named after the animal that symbolises spirit, wisdom and mystery in Chinese culture, Fox LiveHouse caters for a business crowd in the evenings with boutique cigar collections, custom whiskey lounges and private areas for gatherings.

The venue features a spacious interior layout with soft lighting and a comfortable

aesthetic, providing a laid-back atmosphere for work colleagues or friends. At 10.30pm, the relaxed mood shifts to a high-energy atmosphere, with live music performances and DJ sets powered by a NEXO system.

Four GEO S12-ST line array speakers have been installed in left and right flown clusters. The units were chosen by the Hertz Audio team for their ability to articulate a range of musical styles from folk to rock and rap. According to the team, the S12’s Hyperboloid Reflective Wavesource (HRW) allows coupled cabinets to radiate

DAS Audio ignites

Shenzhen’s Spring Cocoon

Chinese indie rock and pop band LifeJourney recently took to the stage at the Shenzhen Bay Sports Center, backed by a DAS Audio sound system deployed by Hangzhou Dasi Stage Art Technology. The concert was part of the group’s The LifeJourney Concert Tour and welcomed over 9,000 fans eager to enjoy the band’s greatest hits.

Nicknamed “Spring Cocoon” Gymnasium due to its distinctive roof shape, the multipurpose Shenzhen Bay Sports Center was originally designed for sports competitions but can also be used for major cultural events such as large-scale concerts. Hosting the LifeJourney show at the venue posed several significant technical challenges. Acoustically, the venue features

as coherent wavefronts, yielding precise pattern control in vertical or horizontal arrays.

“Music is central to the visitor experience at Fox LiveHouse and the GEO S12 sound system gives us the power and flexibility we need to ensure that guests always have

a metal roof structure that can generate reflections and echoes that are difficult to control in a musical context. In addition, due to its proximity to residential zones and open spaces like Shenzhen Bay Park, the event required special care with sound projection beyond the venue due to potential noise restrictions. Due to the scale of the concert, a system with high sound pressure capability and even coverage was required, as well as clear speech and music intelligibility. Lastly, being part of a tour, the system also had to be technically efficient and compatible with tight setup schedules in a multifunctional venue with a packed calendar of events.

Taking these considerations into account, Hangzhou Dasi Stage Art Technology deployed a solution built primarily around the ARA series, supported by AERO series units for near-stage reinforcement. The main system consisted of 18 LARA cabinets per side to provide coverage across the FOH area. An additional 12 SARA units were deployed per side for balanced sound dispersion in the wider areas of the venue, while 12 AERO-12A front fill systems provided near-field coverage for the first rows.

A hybrid approach was used for lowfrequency reinforcement, with 16 SARA-SUB systems flown and 16 LARA-SUB systems stacked on the ground. To decrease sound spillage into the urban areas surrounding the gymnasium, the cardioid technology of both the LARA and SARA systems was leveraged, with the aim of reducing sound projection towards the rear of the stage and outside the venue.

Hangzhou Dasi Stage Art Technology highlighted DAS Audio’s cardioid technology as a key advantage for the project and said that overall, the system worked without issues, providing a powerful and easy to set up solution for the challenging venue.

www.dasaudio.com

a great time,” commented Hertz Group founder and managing director Mr Adong. “Fox LiveHouse is another successful NEXO installation for Hertz Audio in China.”

www.hertz-group.com

www.nexo-sa.com

Harman powers CHÀO

Harman Professional solutions from JBL, BSS and FLUX:: are powering a landmark immersive sound deployment in Ho Chi Minh City’s new cultural performance, CHÀO

Created by Ba Sao Investment and technical partner Ba Sao Audio, the production is being hailed as the first large-scale spatial audio implementation for live theatre in the Asia Pacific region.

Described as a reimagining of Vietnamese heritage through music, visuals and storytelling, CHÀO blends traditional

us to create a powerful and engaging experience for audiences,” said Ba Sao Audio technical director Vũ Hữu Thắng. “Working with Harman’s integrated solutions allowed us to meet the technical demands of the production while supporting its creative goals.”

The loudspeaker system comprises 20 JBL AC18/95 units supported by four STX818S subwoofers for low-end extension. Crown CDi DriveCore 4|600 and MA9000i amplifiers handle power

instrumentation with modern technology to offer a deeply immersive audience experience. The performance features an original orchestral suite performed on 30 traditional Vietnamese instruments, a synchronised lighting display and a 150m² LED wall.

From a technical standpoint, CHÀO posed a unique challenge. Audience and performers share the same acoustic environment – an ambitious design choice that demanded precise spatial control to avoid feedback and maintain instrument clarity.

To meet these challenges, Ba Sao Audio specified a 20.4-channel JBL loudspeaker setup anchored by FLUX:: SPAT Revolution, which delivers real-time spatial positioning and live control of audio sources across the venue. “This collaboration has enabled

and system control, while audio capture is facilitated by a complement of 49 AKG microphones including the C214, C519M, C411PP and C451B. Mixing is handled on a Soundcraft Vi2000 console with a 64-channel Dante stagebox, while processing and routing are managed via BSS Soundweb BLU-806 and BLU-BOB2 units.

“This project exemplifies how our endto-end solutions can elevate cultural storytelling,” commented Amar Subash, VP and GM for Harman Professional Solutions APAC. “ CHÀO is a model for how immersive technologies can preserve and amplify tradition in a way that’s both modern and moving.”

pro.harman.com

CHINA

CHINA

VIETNAM

Ideal Systems for NIN9 Studios

JBL immerses at Lightroom Ulsan

An immersive multimedia exhibition hall titled Lightroom Ulsan Baekyangsa recently opened in the heart of the South Korean industrial city Ulsan, featuring a comprehensive Harman Professional sound system. Designed to reshape how visitors experience art, sound and space, the venue offers exhibitions where digital artistry is brought to life across towering screens and amplified by multidimensional

Lightroom Ulsan was driven by the vision of Baekyangsa Temple, an institution with more than 1,000 years of history in the Jogye Order. The goal for the venue’s integration team was to create an environment that immersed the audience both visually and acoustically. As high-resolution projection alone wasn’t enough, they sought sound that was precise, powerful and evenly distributed throughout a highly reflective space, partnering with Kinoton Korea

To overcome acoustic challenges caused by the venue’s high ceilings and open architectural layout, the team installed sound-absorbing panels across all four walls and finished them with fabric materials. This approach effectively minimised reverb and ensured acoustic consistency across the

The audio system features six JBL VTX A6 loudspeakers for coverage, complemented

by 12 of the manufacturer’s VTX F15 loudspeakers for point source clarity. Six JBL VTX B15G subwoofers were added for immersive low-end presence, while

six Crown I-Tech 4X3500HD amplifiers, complete with built-in DSP, offer control over the system. The integration team cited system reliability as one of the biggest

advantages to deploying a JBL and Crown solution.

A key feature of the project was the use of JBL’s Venue Synthesis software from the earliest stages. The Kinoton Korea team reported that using Venue Synthesis instead of Computer-Aided Design (CAD) during speaker placement significantly accelerated planning and improved collaboration with the architectural team, while also helping them prepare tuning data early, reducing overall setup time.

“The immersive visuals surrounding all four walls were stunning and I was impressed by the high-quality sound that elevated the entire experience,” commented Jay Ko from Lightroom Ulsan Baekyangsa. “It felt like I had truly stepped into Hockney’s world, filled with vibrant colours and light.”

“The installation at Lightroom Ulsan showcases how Harman’s integrated technologies can power immersive art spaces that engage all the senses,” said Amar Subash, VP and GM, Harman Professional Solutions, APAC. “We commend Kinoton Korea and the Lightroom Ulsan team for their meticulous design and execution, and we’re proud to be part of this transformative cultural project.”

pro.harman.com

Media Vision and Vision One team up in BKK

THAILAND

The Forum multipurpose venue which has opened at One Bangkok is rapidly gaining acceptance among tour operators, concert promoters and exhibition organisers in addition to private hires. Media Vision was commissioned to design and install the Forum’s fixed audio and lighting designs and was awarded a contract for an AVL fitout including training, support and servicing.

Owned by Thai Beverage business magnate Charoen Sirivadhanabhakdi, One Bangkok Forum functions as a convention centre and seminar hall seating up to 4,876 people, with five levels above ground and four below occupying 34,500m2. “Bangkok is welcoming more international visitors than ever and, with it, an increasing demand for entertainment including live concerts,” explained Media Vision MD and founder, Thanaruch “Joe” Hongskule. “Fortunately, we were involved with the project from the outset and, on our insistence, flexibility of use has been a key design element.”

The PA system can be reconfigured for different uses. Following simulations, the calculated weight of the audio and lighting rigging points became a concern. “We gained invaluable experience with the L-Acoustics K2 service contract at the 2,500-capacity venue within the BITEC,”

continued Hongskule. “For this reason, we opted for an L-Acoustics K2 system together with hanging subwoofers.

Detailed plans and designs were submitted to the architect and engineering contractor to ensure the venue operates well within international safety compliances.”

Soundvision software was used to conduct the simulations and analysis that formed the basis for the

main loudspeaker system design. Media Vision was supported by Vision One, which worked closely with the L-Acoustics application team on both the system’s initial design and its optimisation. “For such multipurpose setups, the fixed K2 configuration is highly versatile and excels in applications including speech and music,” explained Vision One’s Akarat “Pete” Thitipattakul.

The fixed hangs feature 24 K2 and 16 KS28 cabinets with low-frequency

extension provided by X15 HiQ cabinets. Complemented by fixed A15 Focus and Wide side fills, the A10 Focus front fills and groundstacked subwoofers are portable for different event scenarios. LA-RAKs are installed with 16 LA12X and two LA4X amplified controllers, while four LS10 network bridges provide system control and monitoring over AVB or Milan. Eight X15 HiQ wedges handle stage monitoring and the inventory also includes ACME lighting fixtures and a grandMA3 lighting console.

With 30 years in business and a staff of more than 170, further investments are being made for Media Vision’s continued growth. “With our inventory, we can cater for events requiring different setups,” said Hongskule. “Our relationship with Vision One continues to strengthen, and they fully understand our demanding requirements.”

www.mediavision1994.com www.visionone.co.th

Coda for KOCA

INDIA

The latest addition to Gurgaon’s culinary landscape, KOCA – Kitchen of Celebratory Arts – has installed a Coda Audio sound system to deliver background music and power DJ sets. The fine-dining establishment is the first restaurant venture of Indian cricket legend Yuvraj Singh and is characterised by chic contemporary interiors complemented by an elegant yet high-energy experience.

As a high-quality sound system was an essential requirement for the KOCA team, they engaged local supplier Alphatec and integrator VMS Delhi, led by technical lead Sandeep Duggal, to provide a solution. Key considerations for the system were that it provide powerful but smooth audio as well as be aesthetically pleasing to not comprise KOCA’s décor.

Taking these requirements into consideration, Alphatec supplied a combination of Coda Audio units for the venue’s interior areas, including OPS8i 8-inch point source and G308Pro 8-inch loudspeakers. These are supported in the lower frequencies by G15 and G18 multipurpose sub extensions and the system is driven by LINUS 6.4i amplification.

Alphatec’s founding and managing director, Devasis Barkataki, said that the Coda system overcame the aesthetic and sonic challenges posed by the restaurant’s low ceiling. “It delivers warm, clear, powerful sound, whilst effortlessly blending into the space without intruding on guests’

conversations, creating an immersive audio experience,” he explained. “The project teams orchestrated a sonic experience as rich and layered as the menu itself, exemplifying just how high-quality audio can redefine the dining and nightlife experience.”

Coda Audio’s Paul Ward added: “We’re very proud indeed to see Coda loudspeakers selected for this exciting and prestigious new hotspot. The compact size, form, power and versatility of our point source ranges enables them to meet a wide range of requirements in both professional and commercial audio settings, nowhere better illustrated than at KOCA, where Alphatec and VMS delivered an excellent solution.”

www.codaaudio.com

L–R: Koonlanan Hongsakul, Thanaruch “Joe” Hongskule and Kanyakorn Aroonroch

LIBRA 8S

Pendant Passive Subwoofer

An 8’’ pendant subwoofer designed to deliver deep, articulate bass with clarity and control. With an extended frequency range from 42 Hz, it enhances both background and foreground music environments with remarkable low-end presence.

Housed in a sleek, cylindrical reflex enclosure, the Libra 8S features a down-firing custom high-excursion driver that disperses a warm, natural sound across a wide area. Crafted from premium Baltic birch plywood, this subwoofer is available in elegant black or white finishes. For projects demanding a tailored aesthetic, it can be customized in a variety of colors and fine wood textures to complement any interior space.

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

Examples of possible customizations according to availability

ROE provides a backdrop for Illume

AUSTRALIA

ROE Visual panels have served as the backdrop for Australian performing arts company Bangarra Dance Theatre’s Illume show, the organisation’s first theatre-based production to feature an LED wall. The LED setup leveraged the manufacturer’s Carbon CB5 units, supplied by Novatech Creative Event Technology.

Serving as Bangarra’s first collaboration with First Nations visual artist Darrell Sibosado, Illume created a multidimensional narrative rooted in Indigenous cultural storytelling. It explored the awe of light and how it serves as a bridge between the physical and spiritual worlds, while also addressing the pressing issue of light pollution in the context of the climate emergency.

The production’s creative team opted for the Carbon LED wall as a medium for their artistic expression, enabling them to achieve visual effects to enhance storytelling. The show featured a lighting design by Damien Cooper, while video design was courtesy of Craig Wilkinson.

The LED screen was implemented to capture each detail of the production,

based on the creative team’s wish to blend dance choreography and visual art, as provided by First Nations stories. The overall effect resulted in various distinct layers, which aimed to add visual depth as onstage elements merged with the digital backdrop.

Axiom upgrades Kuang Tien General Hospital

TAIWAN

With the desire to enhance audio coverage and clarity for events, Kuang Tien General Hospital has implemented an Axiom audio setup for its Xiangshang Campus’s International Conference Hall. Facilitated by the manufacturer’s local partner Seapower, the audio upgrade at the Taichung hall aims to elevate the listening experience for a wide range of events. The International Conference Hall was designed as a tiered auditorium and serves as a multifunctional space, hosting corporate

meetings, academic symposia and cultural performances. Through the upgrade, the venue now features a main sound system comprising four AX12C column array speakers, supported by two SW210P subwoofers. This configuration aims to deliver uniform sound, enhancing speech intelligibility and musical impact across the space.

To accommodate high-profile events and VIP attendees, four Axiom ED80P 8-inch 2-way point source loudspeakers have been installed beneath the stage. These units are tailored for close-range,

“Partnering with Bangarra underscores our commitment to supporting the arts, particularly where innovation is concerned,” stated Leko Novakovic, managing director of Novatech.

“This is Bangarra’s first production using the possibilities of LED technology and the results have been outstanding.”

Production manager Cat Studley praised the visual setup: “The LED screen could cover everything we needed artistically, bringing even more ideas to life. It was the best way to go.”

Frances Rings, director and choreographer of Illume, added: “The screen gave an otherworldly glow and helped create a world that was timeless. I loved that it was very futuristic and allowed us to explore a totally new way of telling our stories at Bangarra.” ROE Visual’s chief strategy officer, Grace Kuo, remarked: “Novatech’s dedication to creating extraordinary experiences is evident in every detail of Illume. Their team’s passion for innovation, combined with a genuinely collaborative and employee-friendly culture, makes them a great partner for ROE Visual. We’re thrilled to explore even more ambitious projects together, pushing the boundaries of what’s possible in live performance.”

www.ncet.co

www.roevisual.com

high-fidelity applications, with the aim of offering a more detailed listening experience.

An additional monitoring system of four ED80P units has been implemented above the stage

to make sure that performers and speakers can hear themselves clearly.

www.axiomproaudio.com

Image courtesy of Daniel Boud

Martin Audio deployed for Arena Matsuri

JAPAN

The Expo Arena Matsuri outdoor venue at the Osaka Expo has been outfitted with Martin Audio sound systems, provided by Audiobrains and System Engineering. Serving as the largest outdoor hub at the Osaka site, the outdoor location has the capacity for approximately 16,000 people and is hosting a variety of events, including international music shows, Yosakoi festivals and traditional Bon Odori dance performances.

System Engineering was responsible for designing and installing the setup.

Mr Goto, a member of the company’s sales team, said they had heard Martin Audio during various listening sessions, building trust with the brand. “For this expo, we needed to place importance on cost in addition to sound quality and performance, so we chose Martin Audio as our candidate because of its cost benefits,” he explained. “The acoustic simulation was also provided to us very quickly for when we proposed the system to the Expo Association.” WPL-PU units from the Wavefront Precision line array (WPL) series serve as the main PA system for the vast arena space. These are complemented in the lower frequencies by 20 SXH218 subwoofers installed under the stage, with WPS-B-MAR cabinets deployed onstage for in fill. Side fills are covered by WPS-B-MAR units combined with SXCF118 cabinets installed on the wings of the stage. Monitoring is courtesy of XE300 loudspeakers and FP8 boxes for the FOH monitor. All speakers are powered by the iK42 DSP-equipped amplifier.

According to Mr Kawachi of System Engineering, the original sound design was based on the premise that the structure would be temporary; however, as the arena will be used for a variety of events, the system needed to be able to operate without trouble for six months. “We had to adjust the drawings and work hard to create a system that balanced the temporary and permanent aspects,” he noted.

As the installation is outdoors, a key challenge was trying to prevent the loudspeakers from shaking. “The venue is close to the sea and can face strong winds of up to 10m per second,” noted System Engineering’s Mr Hashimoto who managed the construction of the setup. “In the end, by making good use of the flying metal fittings and the speaker handles, we were able to create a sturdy anti-sway system that would not budge even in strong winds.”

Hashimoto cited the positive aspects of using the Martin Audio system: “In terms of functionality, the

ability to finely adjust the directivity is a big plus –the sound really disappears from the area where the attenuation is set. Even though it is such a largescale system, there were no major problems and, after the opening ceremony, we received feedback that the sound was great. We are honoured to have Martin Audio selected for such an international exhibition and will provide full support until the end of the event.”

www.audiobrains.com www.martin-audio.com

- one-click install and activation - manage a fleet of engines with ease online - one annual payment for non stop access - perfect for a rider steal the show introducing transform.suite ‘25. 70+ plugins. 10 world-class brands. exclusively for transform.engine. available now.

bring the studio to live!

$699 for 12 months. key features

d&b elevates events at Christ University

Bangalore’s Christ University has upgraded the sonic capabilities in its 2,000-seat auditorium with the integration of a d&b audiotechnik sound system, provided by Ansata. The installation was

carried out by Reynold’s Sound & Lighting Services, with the aim of enhancing sound for a range of events, from speeches and musical performances to intimate theatrical productions.

Both parties worked closely during the project, with Ansata playing a pivotal role in the systems design, calibration and commissioning. The process included early acoustic simulations and meticulous tuning within the hall to ensure that every nuance of the space was sonically taken care of. Following installation, the Ansata team provided extensive training and ongoing support for the university’s AV staff.

At the heart of the system are 22 XSL line array loudspeakers suspended in an L-C-R configuration with eight per side and six in the centre. The low end is catered for by eight XSL-SUBs and two SL-SUBs. Front fill is courtesy of nine 44S units, while two Vi10P loudspeakers act as image fills, preserving spatial coherence for side seating.

Additionally, four CCL8 point source speakers and two CCL-SUBs have been installed as stage side fills, providing additional coverage

for performers, while 12 M4 monitors deliver onstage monitoring for performances and speeches.

The backbone of the control system is the Avid S6L 24D mixing console, which the team selected for its design, integration capabilities and reliability in high-pressure live environments. The sound starts at the source and is then captured through DPA microphones.

Ansata director Leslie Lean commented: “We extend our sincere thanks to Reynold’s Sound & Lighting Services whose dedication to precision and detail played a vital role in delivering exceptional sound and a flawless overall finish. We are truly pleased to see the customer immensely satisfied with the outcome.”

www.ansata.net

www.dbaudio.com

One Raffles Quay gets an AV makeover

One Raffles Quay has implemented an AV infrastructure comprising Planar videowalls, complemented by JBL and Electro-Voice speaker systems, an IP-based AV distribution system from Kramer and Netgear managed switches.

Spectrum Audio Visual was tasked with providing a solution that not only enhanced the visitor experience but also provided reliable support for corporate events and digital communications. Furthermore, the building management team emphasised that the technology must provide reliability, while being scalable for future expansion.

With a prominent building such as One Raffles Quay, a premier business address in Singapore welcoming lots of visitors each day, the installation inevitably faced significant challenges. These included an aggressive 23-day timeline from design through to commission, as well as the installation having to take place within a live pedestrian environment with high foot traffic requiring careful coordination. Weather also posed project restraints, with semi-outdoor exposure areas demanding rugged equipment capable of handling Singapore’s tropical conditions. Furthermore, there were different integration

requirements for diverse content types including signage, presentations and livestreaming and it was imperative that the solution provide enterprise-grade network performance with zero tolerance for downtime.

Working alongside AV consultant Arup and content provider Cfire, Spectrum Audio Visual engineered a solution which was implemented across multiple zones throughout the Garden Plaza and adjoining areas.

Two large-format Planar P2.5mm LED videowalls make up the digital signage solution, with sound for both events and ambient audio courtesy of JBL and Electro-Voice speaker systems. An IP-based AV distribution system using Kramer encoders and decoders was also implemented, while Netgear managed switches serve as the backbone for control systems, content management and livestreaming capabilities through integrated PTZ cameras.

Following installation, it has been reported that the system has achieved optimum reliability, including in weather-exposed environments, while management has been dramatically simplified through easy-to-operate iPad-based controls. Content delivery across multiple display zones has reportedly improved,

with simplified switching between signage, presentations and livestreaming capabilities.

Furthermore, the system supports diverse use cases ranging from daily digital signage to major corporate events and live broadcasts and enables programming for different times of day, special events or tenant requirements.

Tricia Lim, senior project engineer for the installation, commented: “The AV enhancement project at One Raffles Quay

exemplifies a forward-thinking approach to placemaking, seamlessly blending cutting-edge technology and innovative design to elevate everyday experiences. We commend the entire project team for their professionalism, responsiveness and unwavering commitment to excellence.”

www.netgear.com www.spectrum.com.sg

TV9 Samoa recently underwent a technical modernisation project which included the installation of an AEQ XPEAK intercom system in its facilities in Apia, located on the island of Upolu. Together with Radio 2AP, TV9 forms the core of public broadcasting in Samoa. Founded in 1947, the state corporation provides coverage to the entire archipelago, with fully digitised broadcasts that deliver diverse programming ranging from local, national and international news programmes to cultural content. The complete installation and configuration of the system was carried out by MiseOPoint, AEQ’s local partner. The AEQ XPEAK system was chosen to ensure consistent signal, even in the broadcaster’s remote location and has been implemented in several key areas of the broadcaster’s HQ, such as technical

controls, the newsroom and the engine room, using rackable panels, desktop devices and beltpacks.

The deployment of the new intercom system also includes AEQ XPEAK-IF units, designed to function as interfaces with

the rest of TV9’s systems operating over Dante AoIP technology. This integration centralises the interconnection of signals –both incoming and outgoing – to and from the IFBs, programme or N-1 signals, as well as loudspeakers, links and monitoring systems.

Radio 2AP’s main production studio features a multifunctional design that allows the realisation of both traditional radio programmes and television productions. This was made possible with the implementation of a VisualRadio system, integrated with the AEQ CAPITOL mixing console and connected to the XPEAK system through IF units installed in the same building.

www.aeq.eu

SAMOA SINGAPORE

Sound, sculpted for your space.

Infinite possibilities with steerable sound.

A Tokyo coffeehouse, situated in the neighbourhood of Shimokitazawa, has installed Genelec’s Smart IP loudspeaker series to enhance the sonic experience for patrons. Et – The Cultural Coffeehouse was designed to be a creative gathering space, placing an emphasis on high-quality architectural elements and materials, combined with music to create an ambience for visitors.

Et was developed by the Sceniius division of Nitto Kogyo, with general manager Hayato Kimura being a longtime Shimokitazawa resident. With a background as a musician and composer, Kimura is a regular user of Genelec, but wasn’t aware that they could be used in a retail environment until audio engineer and manager of a nearby recording studio and café Tetsushi Mase specified them for Et.

“The appeal of Genelec loudspeakers is that they bring studio-grade clarity and precision to commercial environments,” Mase explained. “Smart IP is efficient and highly scalable and

delivers audio, power and control over a single LAN cable.”

The coffeehouse’s sound design covers three distinct zones. The first-floor features four 4435A Smart IP in-ceiling speakers, while another 4435A is placed on the spiral staircase

to create a musical link between levels. On the second floor, three 4436A pendant-style Smart IP models are suspended from the ceiling.

A highlight of the installation is that the Smart IP system enables individual zoning, allowing different audio content – or a

continuous musical theme – to be played across the three areas.

To round out the system, a 7050C studio subwoofer is installed on each floor, providing low-frequency extension. Although the Smart IP series operates via networked audio, the analogue-only subwoofers were successfully integrated thanks to Mase’s system design. “With a little ingenuity, we were able to make it work perfectly,” he said.

Et’s playlist spans both digital and analogue sources, with music (including Kimura’s own original compositions) streamed via an iPad or played from vinyl on a connected record player. “When you listen to records on Genelec loudspeakers, the sound has a true physical presence and you can really feel the sound image of the record,” he concluded. “By installing Genelec speakers, Et has become a unique space.”

www.genelec.com

Genelec brings fresh sound to Tokyo safety for Perth police

with the harsh reverberation of the

There are around 100 microphones

resolution CCTV footage, delivering a crucial tool for investigations, officer

“In high-pressure environments like police stations, reliable audio isn’t just a convenience – it’s essential. By deploying Tesira, the Perth facility

can be heard clearly and preserved

Unity Cain.

The Aureus Series - the Gold Standard in one-touch digital mixing.

Marking 60 years of innovation, crafted by some of our most experienced engineers, the flagship Aureus 28 delivers 28 inputs, 14 outputs, a 1 0" multi-touch display, nine motorized faders, and Wi-Fi tablet control with per-BUS password security

The Aureus Mini, ideal for intimate installations and live performances, home studios and freelancers, packs 20 inputs, 12 outputs, 6 BUS, 2 mains, and 8 DCAs into a compact and sleek package.

Both models feature, onboard FX, powerful routing, and rugged portability - so wherever you mix, Aureus puts gold-standard control at your fingertips.

For more information: https://peaveycommercialaudio.com/peavey/

Lawo futureproofs broadcasting

One of South Korea’s top homeshopping broadcasters has upgraded to a Lawo IP infrastructure with the aim of futureproofing its broadcast operations. Home & Shopping was facing issues posed by increasing production demands and wanted to ensure long-term operational flexibility, leading it to initiate a complete renewal of its technical infrastructure.

The project was carried out by Lawo’s South Korean partner and systems integrator, Dong Yang Digital (DYD). The transition to IP was driven by the need to replace the existing SDI-based system, which had reached its limitations in terms of scalability, interoperability and integration with modern workflows.

“Our goal was to implement an IP-based environment that not only supports current production requirements but is also adaptable for future developments such as remote production, cloud workflows and additional channels and formats,” explained Myoung Ho Seo, senior engineer, DYD.

Home & Shopping chose a hybrid configuration that supports both IP and SDI, allowing the broadcaster to continue regular operations while gradually adopting new IP workflows. Lawo’s HOME platform manages the installation’s IP backbone.

At the core of the audio infrastructure is an mc²56 MkIII audio production console, powered by an A__UHD Core engine. This system offers support for SMPTE

ST 2110-30/-31 and AES67 audio-overIP standards, while the console provides up to 1,024 DSP channels and supports multiformat I/O and control protocols.

The manufacturer’s crystal console combined with a Power Core mixing engine has been integrated for backup operation. This system offers 96 DSP channels, ST 2110 and AES67 compatibility and redundant network and power options. The consoles interface with an A__stage64 unit, which provides high-density, low-latency analogue and digital I/O, including mic preamps and native AES67 connectivity. Together, these components aim to deliver a transparent, flexible and reliable signal path throughout the broadcast chain.

As Home & Shopping’s live programming can run up to 20 hours per day, the system was designed with a fully redundant architecture to provide uninterrupted operation even in the event of a failure.

“Lawo’s proposal for a triple-redundant setup – including redundant cores, networks and control paths – aligned perfectly with our requirements for live production,” noted Heekwang Yoo, broadcast engineer, Home & Shopping. “We were also impressed with how easily the new system integrates into our hybrid SDI/IP environment. The adoption of Lawo technology has been a key milestone in our efforts to build a modern and highly stable broadcast environment.”

www.lawo.com

Christie has a roaring success

CHINA

The Chaoyang Paleontological Museum, situated in Liaoning Province, has upgraded with 22 Christie DWU880-GS 1DLP laser projectors. The installation was part of a major revitalisation project spearheaded by the Chaoyang municipal government and includes an all-new prehistoric experience.

The museum is located in the heart of the Jehol Biota – a region known for some of the most significant fossil discoveries of the 20th century. The facility’s new experience has been designed to showcase fossil heritage by transforming the storytelling of prehistoric life into a spectacle of light and motion.

Christie’s local partner Jianye Display was responsible for the projection design and systems integration of the projectors spanning six themed zones. “The exceptional image quality and rock-solid reliability of the GS Series enabled us to craft an immersive and aweinspiring experience that enthrals visitors of all ages,” noted Ju Li, project manager, Jianye Display.

When visitors walk into the museum entrance hall, they are greeted by visuals showcasing the ancient world of the Jehol Biota, projected onto a 22m curved screen. The imagery is delivered through four DWU880-GS laser projectors suspended from above.

At the Waterfall Projection experience zone, water-themed projections flow across expansive screens and floors. Visitors walking through the

movement – an illusion created by a blend of visual rendering and responsive interaction, using four DWU880-GS units.

The Magic Brush interactive zone features a 32-inch touchscreen paired with a DWU880-GS projector, allowing people to colour dinosaurs and instantly see their creations brought to life on a 6.4m-wide wall.

Six further Christie units have been installed

to create panoramic scenes of dinosaurs in motion, displaying lifelike behaviours amid lush prehistoric landscapes. Adjacent to this is the Translucent Gauze projection zone, where light and shadow play across floating screens, with a ceiling-mounted DWU880-GS projector incorporated to bring the spectacle to life.

Lastly, the Glowing Dragon Walk experience zone enables guests to stroll alongside animated

projection featuring movement-triggered visuals made possible with five DWU880-GS projectors.

“We’re honoured to contribute to such a meaningful initiative,” commented April Qin, senior sales director for China, Christie. “It’s rewarding to see our technology contributing to a project that connects people with the wonders of natural history.”

ACT-848 / ACT-747

UHF Digital / Analog Wideband Wireless System

72 MHz wide bandwidth allows more interference-free operation. Industry’s only full-color VFD display for bright, clear viewing in day/night.

7 preset groups with 224 pre-saved channels.

Optional Dante digital network interface. New transmitters can be powered by two AA alkaline or a Li-ion battery and conveniently recharged via type-C.

Teamwork gets the job done

Richard Lawn visits a Jakarta school where

WHEN AV CONSULTANCY SINERGI ACOUSTICS PUT

together an array of reputable suppliers and an established systems integrator at the Jakarta International School (JIS), the joint effort exemplified the art of seamless teamwork. Established in 1951, JIS now has the largest international primary and secondary schools in Indonesia. Renamed the Jakarta Intercultural School in 2014, over 2,500 predominantly expatriate students from more than 70 nations aged between three and 18 follow an American curriculum. Of the three campuses, two are dedicated to elementary students in Pattimura and Pondok Indah, while a third larger campus in Cilandak, south Jakarta, draws junior high and high school students.

In addition to 184 classrooms, three cafeterias, three tennis courts, six gymnasiums, three swimming pools, 18 science laboratories, design technology facilities and four libraries, the modern air-conditioned facilities include four fully equipped theatres which are renovated and updated regularly to enhance teaching practices and the student experience. Having upgraded the multipurpose theatre at the Pondok Indah campus, Sinergi Acoustics’ AVL and acoustic consultant Sam Kevin was requested to apply his expertise to the multipurpose theatre at Pattimura. Kevin proposed a hybrid acoustic solution for the intimate space. “As a performance and multipurpose hall, the acoustics need to cater for events that deliver sound naturally without amplification from the stage to the rear of the room,” he says. “The secondary system includes loudspeakers for choirs and theatrical performances, and this also demanded a clean appearance. To achieve that goal, the loudspeakers would need to be fixed on the ceiling. Furthermore, a dual-purpose stage lip was required to conceal any equipment and ensure no one falls offstage.”

Working closely with systems integrator ESCO Indonesia, Promedia Innovative Solution (PIS) supplied, commissioned and supervised the Meyer Sound self-powered loudspeaker installation,

fulfilling Sinergi’s audio design. Both companies had previously worked with Sinergi at the Pondok Indah campus. A main FOH system of dual Ultra-X40 point source speakers configured in stereo mode is mounted on the ceiling, delivering smooth response across the frequency range and directional control down to 400Hz. The compact 25kg enclosures incorporate a 3-channel Class-D amplifier, two 8-inch concentric cone drivers married to a 110° x 50° rotatable waveguide and a 3-inch high-frequency compression driver.

The acoustic design was inadvertently enhanced by the school’s insistence on adding an acrylic membrane over the ceiling of the audience area to diffuse the lighting. “This proved to be an effective way of absorbing lower-frequency emissions,” continues Kevin. “To cater for both amplified and non-amplified performances, we also added perforated panels with different type of holes.” Suspended between the two Ultra-X40 cabinets, dual Meyer Sound 900 LFC (low-frequency control) elements extend the system down to 35Hz. Simulations in Meyer Sound’s MAPP Online software confirmed the need for front, balcony and under-balcony fills. Two ceiling-fixed dual 5-inch Ultra-X20 enclosures – a more compact relative of the Ultra-X40 – cover the upper balcony. The under-balcony seats demanded a wider dispersion, provided by ceiling-mounted dual Ultra-X23 cabinets integrating 110° x 110° horns. Dual UP-4slim cabinets provide front fill reinforcement concealed in the stage lip.

An Allen & Heath SQ-5 FOH console connected to two DX168 I/O onstage racks is installed in the sealed upper balcony control room. Paging, conferencing and speaker processing is handled by an Allen & Heath AHM-16 digital matrix, with audio control accessible at Symetrix ARC-2e wall-mounted interfaces connected to a Symetrix Jupiter 4 processor. An extensive inventory of Shure microphones includes MX202 Microflex overhead models for the choir together with SLX-D wireless headsets and SM58 handheld transmitters, boosted by UA874WB/UA844+SWB combined

ESCO installed a 44.44m2 Unilumin P2.5 LED screen at the rear of the stage. The elementary school rivals a major TV network in terms of its broadcasting setup. For multimedia applications, a Sony ILME-FX6 cinema camera and two wall-mounted Sony SRG-X400 PTZ cameras operated from an RM-IP10 controller in the operations room facilitate Zoom conferencing. Video switching operations are handled by a Blackmagic Design Atem Television Studio video mixer connected to an Extron DXP 84 HD 8-in/4-out matrix switcher. Supplied by PT Lelco and fixed to two lighting bars, a combination of Robe Robin Forte moving followspots, 10 300W Fresnels, 14 moving PAR LEDs and 12 G310 moving heads manufactured by Color Imagination are operated from an MA Lighting grandMA onPC command wing XT lighting controller.

“Familiarity with reliable international brands played a factor in the selection of the technology,” explains Kevin. “Working with familiar partners such as ESCO, PT Lelco and PIS is a bonus, as they all know one another and work as a cohesive team. The school realises this and their head of projects, Dwidjanto, has expressed his gratitude for the successful upgrade. JIS has a state-of-the-art multipurpose theatre that will play a role in developing student skills for many years.”

www.lelcogroup.com

www.promediasolution.com

www.sinergiacoustic.com

Meyer Sound 900 LFC units handle the lower frequencies

Sinergi Acoustics’ Sam Kevin

An acrylic membrane installed for the lighting absorbs low-frequency emissions

I‘M AN ARTIST

OLA MELZIG

PRODUCTION MANAGER

M&M PRODUCTION MANAGEMENT

I just love the new generation of the Artist user interfaces. The SmartPanel‘s intuitive workflow and its very visual layout are simply fantastic.

I can customize it in any way I need, which is absolutely crucial for the big live events I typically work on.“

ARTIST INTERCOM

Professional and reliable live communications. Seamless integration of Riedel‘s SmartPanel and Bolero wireless intercom. Easily scaling from 16 to 1024 ports with flexible licensing.

Photo by Ralph Larmann

Grand designs

Richard Lawn visits a new audio installation at Gran Seoul which spans the vertical sector between corporate, retail and hospitality

AV INSTALLATIONS COMMONLY BREAK DOWN INTO categories including hospitality, corporate, transportation and healthcare, although these subdivisions neatly avoid some of the more eclectic niches that lie on the edge. An example of this is a growing number of high-end semi-corporate and retail spaces where systems integrators are providing a touch of bespoke audio craftsmanship.

“Sama Sound is increasingly being commissioned to design and install highly specialised, customised audio solutions for high-end retail and office spaces,” explains the company’s project manager and coordinator, Joo Lee, from the 7th floor of Gran Seoul. This highrise building in the South Korean capital’s CBD is owned by one of the country’s largest asset management companies, which leases out units as office space.

Mirroring a growing number of similar projects, the works conducted by Sama Sound at Gran Seoul demanded detailed attention and analysis to determine the optimum number and type of speaker enclosures that were ultimately installed. To cater for this kind of work, Sama Sound is familiarising itself with an increasing number of craft speaker brands, including OJAS from New York, NNNN from Norway and Lamar Audio from Germany. The complexity involved with the assembly and installation of the speaker systems ultimately took the South Korean engineers many months of careful study.

The tone is set in the lobby of Gran Seoul, which was initially upgraded before Lunar New Year 2025. From that relatively simple base, Sama Sound then got to work on the 7th-floor listening room and lounge in March. Fully glazed, with marble flooring, the 10m-high lower-level lobby suffers from extensive reverberation, so adding any form of speaker system would excite the resonances.

Genelec’s scalable open IP networking technology platform, provides loudspeaker configuration, supervision and calibration via a PC at individual, room, zone and system levels.

As any acoustic treatment had to be minimal in this architectdesigned space, the Sama Sound design simply added two Genelec Smart IP 4436A pendant speakers to one corner section. Combining Power over Ethernet Plus (PoE+) audio and management via a single Cat6e cable, the 5.25-inch, 2-way speaker supports uncompressed low-latency audio within a frequency range of 58Hz–39kHz. Smart IP,

The listening room resembles a classy Tokyo bar with limited seating that can be booked in advance. Designed by Brooklyn-based sound guru Devon Turnbull – aka OJAS – the audio system is based on his “HiFi Listening Room Dream No 1” concept. Over the years, Turnbull has become renowned for creating handmade, high-fidelity home audio equipment that is committed to conveying the naturalistic quality of music. The high-performance, handmade sound system comprises monolithic loudspeakers, including a 180kg SuperSub

capable of producing low frequencies down to 25Hz, a turntable and a series of amplifiers.

Paying homage to an artistic audiophile culture, the seats are typically reserved for meditation, the site-specific acoustic setting creating a transformative environment in which participants can absorb and reflect. Described by Turnbull as a “shrine to music”, a varied, curated programme of recorded tracks is presented each week, ranging from unreleased music to all-time favourites across a range of mediums including vinyl and uncompressed digital streaming. The adjacent Yisun Café lounge was designed as a common area for relaxation away from the office spaces, although it can be

The 400kg Lamar speaker system is suspended above the lounge

The OJAS music system in the private bar

The welcoming LED wall in the Gran Seoul lobby

transformed into a party area. Here, Sama Sound was tasked to install a highly customised Lamar Audio speaker system providing 360° dispersion. Fixed to the low ceiling above a captivating piece of art at the heart of the room, the 400kg loudspeaker captures the attention of those entering. Though a masterpiece in its own right, the interior designer did not want it to compete with the artwork it hovers over.

According to Lee, installing the assembled loudspeaker components in advance demanded a detailed survey. The installation was commissioned late in the day, meaning that the artwork could not be temporarily moved and needed to be fully protected. The Sama Sound engineers erected a scaffold around and on top of it before installing a lifting hoist into the 2.9m-high ceiling, whose weight threshold had to be approved by a building surveyor. “For aesthetic reasons, the interior designer would not allow us to open the ceiling area above,” explains Lee. “Accordingly, two customised steel plates were installed in the ceiling and on top of the speaker system and a hoist connected to the overhead ceiling beam.”

In addition to Lee, the Sama Sound team consisted of a tuning engineer, site manager, CAD designer and several subcontractors who built the ceiling suspension mechanism and routed the data, loudspeaker and power cabling between the private bar and lounge. The multiple drivers and transducers are driven by Powersoft T304 (midhighs) and T904 (lows) amplifiers. “No crossover was readily available, and each individual component of the speaker system needed to be controlled,” says Lee. “To deduce the crossover points for each individual speaker, there were multiple discussions and emails between us and Lamar Audio. Once assembled, the tuning of the speaker took much longer than expected.”

Positioned at opposite ends of the 35m x 10m lounge, two floor-standing NNNN Devor 16 infrabass and subwoofer systems comprising two 21-inch drivers power the low frequencies down to 16Hz (±3dB). The horn-loaded 600mm-deep design provides high sensitivity and its cardioid dispersion pattern directs the sound pressure away from the lounge’s many reflective surfaces and towards the listeners.

“You’re not working with mass-produced pro audio brands, so the customised solutions usually suffer from unpredictable delivery times,” asserts Lee. “It was a highly complicated install and, as a retro fitout, the units had to be assembled onsite post-completion. But as sophisticated as the design is, ease-of-use control was vital as no audio technicians are here onsite. To deal with this, iPad control has been created for all three rooms and, as service contractors, Sama Sound can keep a close eye on any degradation.”

As the director of Sama Sound’s strategic business team, Lee fraternises with high-end clients and interior designers to help bring their concepts into the real world. “Compared to studios, venues and other applications, these highly customised installations in high-end interior spaces are the most challenging of all,” he assesses. “The clients have a budget and demand bespoke speaker brands that we are less than familiar with. The amount of planning and preparation that is invested into a project such as this is staggering. Our job is to not only make it look as requested, without harming the interior design, but to make it sound excellent.”

www.genelec.com   www.lamar-audio.com

www.ojas.nyc   www.samasound.co.kr

Three powerful multi-cabinet PA systems. Designed to meet the needs of live, portable sound and installed leisure.

Clarity meets

One of the Genelec Smart IP pendant speakers in the main lobby

An NNNN Devor 16 subwoofer in the lounge

Home sweet home

Caroline Moss visits a bold new retail space in Mumbai designed to inspire interior designers and home décor enthusiasts

INDIA’S INTERIOR DESIGN LANDSCAPE HAS BEEN elevated by the opening of Nilaya Anthology, developed by home décor multinational Asian Paints, aimed at redefining luxury retail.

Housed in a 9,300m2 former mill redesigned by architect Rooshad Shroff, Nilaya Anthology merges Indian craftsmanship and heritage with global design, ranging from Japanese textiles and Ghanaian woven baskets to iconic Western furniture.

Creative director Pavitra Rajaram envisioned a non-linear, experiential journey that begins at the Orangery, a double-height, plant-filled entrance opening up into a central gallery known as Heart, leading into smaller, intimate spaces showcasing glassware, ceramics and textiles from more than 30 different brands. A ramp leads to an upper level – Mind – featuring lighting, bathrooms and surfaces as well as renowned fashion and interior designer Sabyasachi Mukherjee’s Art Foundation which offers underprivileged fine artists a space to create and a mentorship programme.

The opening of a new bricks-and-mortar retail concept is in response to the founders’ belief that consumers are turning to real-life experiences following the pandemic. The showroom will host exhibitions, talks and other art- and design-based events as well as displaying products, finishes and design ideas to clients. Accordingly, an AV system was required that could provide flexibility and superior sound and visual quality. Having worked with Munro Acoustics in the past, Shroff drafted the company in to handle AV design, while Innovative Systems and Solutions (ISSPL) won the tender to supply and install the extensive and sophisticated technological infrastructure.

The building was just a shell when work began as the architect planned the layout and figured out how all the spaces would work together. “Asian Paints wanted to showcase not just a single space but ideas and concepts which would keep on evolving,” explains Munro Acoustics’ Utkarsh Naidu. “They have tied up with multiple brands to present their products and needed this to be backed up by AV technology. It’s more than just a retail store; it serves as a cultural hub and immersive experience for design enthusiasts, architects and professionals. The space is designed to showcase both creative concepts and products, with

audio and visual elements playing a crucial role in enhancing the experience.”

“This project presented significant challenges, particularly in ensuring precise placement of every element to preserve the visual harmony of the space,” recalls ISSPL CTO, Bhavin Sureliya. “The aesthetic value demanded exceptional attention to detail, leaving little margin for error in the installation process. Finalising the drawings and layout was a meticulous and time-consuming endeavour, largely due to the intricate coordination required between the architect, our internal team and the wider project stakeholders. Each contributor had distinct design intentions, technical input and spatial considerations that needed to be reconciled. Aligning these perspectives involved iterative reviews, cross-disciplinary discussions and multiple rounds of refinement to ensure clarity, functionality and cohesion.”

Different areas required distinct audio sources such as ambient music and video sound, necessitating careful placement of ceiling and landscape speakers. While most of the audio systems are mainly for BGM, larger events including live musical performances can also be staged in several of the spaces. Each area has been provided with a visual display for showing product information and videos.

Munro designed a system that utilises audio-over-Ethernet in conjunction with both PoE-enabled and conventional speakers, consistently maintaining the audio-over-Ethernet protocol across the setup to ensure seamless connectivity across all areas. Due to the emphasis on maintaining the showroom’s sleek aesthetics, the speakers had to be as unobtrusive as possible, and Munro drew on some unconventional solutions, including MSE Audio Rockustics Omniplanter 8.0 speakers – 610mm diameter “pots” which accommodate live plants while providing omnidirectional audio coverage; Gallo Acoustics pendant and surface-mount speakers housed in stylish metal spheres, of which there are around 120 installed across the premises; and a brand that Munro has used for previous museum projects, SoundTube.

“High-quality, reliable audio was essential for this project to create an immersive and engaging experience as the venue serves as a

cultural and creative hub where clear, consistent and aesthetically integrated sound was necessary to complement the environment,” continues Naidu. “SoundTube products offered versatile installation options with a mix of ceiling, landscape and PoE-enabled speakers, efficient audio-over-Ethernet connectivity for streamlined distribution and also integrated seamlessly with the space’s aesthetics.”

Gallo Droplet A’Diva SE pendant speakers are suspended

L–R: ISSPL’s Arvind Raut and Bhavin Sureliya with Munro Acoustics’ Utkarsh Naidu

The Orangery entrance leads into the Heart gallery space

Multiple types of system have been deployed, ranging from basic loudspeaker and projector setups in the smaller shophouses to line array systems for events in the Heart gallery and the Orangery. Eight Rockustics Omniplanter 8.0 speakers have been concealed among the planters and foliage of the Orangery, powered by Powersoft Mezzo 324 AD amplifiers. Overhead, eight full-range

Gallo Droplet A’Diva SE pendant speakers are suspended from metal beams traversing the indoor garden. A pair of LD Systems MAUI 44 G2 active column speakers by Porsche Design Studio have been supplied for portable setups, together with a Klark Teknik DW 20T stereo audio transmitter and a DW 20R receiver for streaming. Shure SLXD24/B58 and SLXD14/153T wireless handheld and headworn microphone systems and antenna also cater for live events in the Orangery, while visuals are provided by a Christie Captiva DWU500S ultra-short-throw projector, an Elite TE120HW2 motorised screen and an Atlona AT-Wave-101 wireless presentation platform. Audinate AVIO 2-channel input and output adapters provide Dante connections to the projector and the LD Systems MAUI 44 G2 speakers.

In the Heart gallery, a permanently installed PA system consisting of four-per-side DAS Audio Event-28A-230 compact line array modules and one DAS Event-218A subwoofer per side combine with a Mackie DL16S 16-channel digital wireless mixer for larger events, together with Shure SLXD24/B58 wireless handheld and headworn microphone systems and antenna. An 8m x 3.4m Unilumin LED screen with multiviewer and control processor adorns the back wall between the speakers, an Atlona AT-Wave-101 wireless presentation platform is on hand and peripheral equipment includes a Q-SYS QIO-ML2x2 and QIO-L4o network expanders and Audinate AVIO 2-channel input and output adapters for Dante connectivity.

Set out in a library format, the material lab displays a multitude of interior innovations and finishes including fabric, stone, natural fibres and manmade surfaces. A Christie Captiva DWU500S ultra-short-throw laser projector and Elite TE120HW2 motorised 120-inch screen are on hand for presentations, with audio output from six LD Systems Curv 500 D SAT

speakers powered by an LD Systems Curv 500 amplifier. Other equipment installed here includes a Mackie DL16S 16-channel digital wireless mixer, a Shure SLXD24/B58 wireless handheld microphone system, an Audac NWP320 network input panel, a Q-SYS QIO-ML2x2 network audio expander and an Audinate Dante AVIO 2-channel output adapter.

Smaller shophouses line the perimeter of the building displaying more than 30 brands, and this is where most of the discreet SoundTube loudspeakers have been deployed: 94 CM42-EZs-II in-ceiling speakers, two SM31-EZ surface-mount speakers, 31 IPD-Hub 2 DSP amplifiers with Dante connectivity, IPD-Hub 2 extender boxes and RVC remote controllers. There are also 17 QSC AC-C4T-nb 4-inch ceiling speakers, nine Q-SYS NL-C4 network PoE speakers, 19 Gallo Micro SE and 10 Gallo A’Diva SE speakers throughout the shops, powered by Powersoft Mezzo Dante network amplifiers. Powersoft WMP Decora configurable volume controller and source selectors have also been provided. Visual technology throughout the shophouses include 16 Waves System VP320 4K video players

with HTML motion graphics performance and a range of LG UHD screens.

Two galleries have been set aside for different kinds of events. To provide optimum flexibility, the event space is installed with LD Systems Curv 500 D SAT speakers powered by a Curv 500 amplifier with a Mackie DL16S 16-channel digital wireless mixer, Shure SLXD24/B58 wireless handheld and headworn microphone systems, an Audac NWP320 network input panel, a Q-SYS QIOML2x2 network audio expander and Audinate Dante AVIO 2-channel input and output adapters. A Christie Captiva DWU500S ultrashort-throw projector, an Elite TE120HW2 motorised screen and an Atlona AT-Wave-101 wireless presentation platform provide the visuals.

A late addition to the project was the Sabyasachi gallery on the upper level, which required a standalone system, consisting of 17 Gallo A’Diva SE, 14 Gallo Micro SE pendant speakers powered by nine Powersoft Mezzo 604 AD amplifiers, two SoundTube IPD4-CM52-BGM-II and three SoundTube CM52-BGM-II speakers. A Q-SYS Core 8 Flex Q-SYS network and analogue I/O handles processing.

AV transport across the entire installation runs on Dante, with QSC’s Q-SYS platform providing centralised audio, video and control processing. A QSC Core 610 and TSC-101-G3 10-inch touchscreen controller has been installed in the Heart gallery space, together with Netgear switches. Four more control racks across the premises house further network switches connected via fibre to the main server room. “My main objective was to keep everything centralised and running on AVoIP over a 25Gb network rather than the required 10Gb, providing more bandwidth for future expansion,” says Naidu.

“It’s a futureproofed design so that if they want to upgrade in the future, the backbone is there,” adds Sureliya.   Due to the dusty conditions during construction, all Q-SYS programming and network configuration was carried out by two members of ISSPL’s programming staff at its Mumbai premises, Darshana Chavan and Pratibha Shete. From the Munro Acoustics team, consultant Vignyan Beera and the company’s in-housee architect Vaishnavi Jadhav designed the building’s acoustics, with Jadhav coordinating closely with Rooshad Shroff’s team, and Utkarsh Naidu, Kapil Thirwani and Johan Pais working on the AV design.

The sheer scale and beauty of Nilaya Anthology is apparent from the moment you step into the cool greenery of the garden entrance through to the thoughtfully created spaces beyond. Less visible is the plethora of AV equipment working away unobtrusively behind the scenes while contributing hugely to the success of this ambitious project.

www.galloacoustics.com www.isspl.in www.munro.co.uk www.nilayanthology.com www.powersoft.com

www.soundtube.mseaudio.com

A DAS Audio line array system is permanently installed in Heart for larger events

Discreet SoundTube loudspeakers are well-concealed in the shophouses from metal beams

MSE Audio Rockustics Omniplanter 8.0 speakers are concealed among the Orangery’s foliage

Back to the future

Richard Lawn visits the Malaysian National Theatre in Kuala Lumpur, which is currently undergoing phased upgrades

SINCE ITS OPENING IN SEPTEMBER 1999, THE Malaysian National Theatre at the Istana Budaya complex has become an iconic component of the capital’s skyline. Resembling a traditional moon kite in flight, the exterior was designed to resemble the arrangement of betel leaves used during Malay ceremonies. With the ornate roof now undergoing structural repairs until late 2026, the Ministry of Tourism, Arts and Culture (MOTAC) is approving a series of technical upgrades. Interconnecting all the FOH and BOH rooms, the communications system was the first to be renewed.

Installed by Imasistem (M) in 2006, the original Electro-Voice line array speaker system, Midas Heritage 3000 console, multitrack recorder and digital matrix intercom system remain in situ in good working order. Having originally sourced and specified the pro audio and lighting systems for the theatre, contractor Sri Ganggamaya (M) provided an excellent ROI for the MOTAC, while the theatre’s technicians can be credited for maintaining and servicing the theatre’s infrastructure.

A Dynacord Pro Matrix 4000 PA processer is still used for BGM and voice announcements, the evacuation system overriding both when triggered. Consisting of a DPM4000 digital manager, DCS420 audio monitor, DPP4004 power supply and DPC4520 paging station, the original digital audio matrix provides four inputs and outputs. Sources including a Pioneer Matrix CMX-3000 professional dual CD player are output to the pre-existing Bose Professional Panaray speakers in the foyer and entrance halls.

The Apogee Sound DA-600 and DA-800C 2-channel amplifiers that occupied 26 rack spaces serving the BOH loudspeakers across 20 zones that were installed in 1999 have been decommissioned. These have been replaced by five Blaze Audio PowerZone 3004D 4-channel DSP amps supplied by Mahajak Trio and installed by Kenari AVL.

“Their ease-of-use and futureproof features, in addition to their Dante networking capabilities, ensured their specification here,” explains Mahajak Trio technical sales manager, Ronnie Chee. “These are the first Blaze Audio amplifiers to be installed in a Malaysian theatre. Allowing FIR filters to be reconfigured, three existing Bose 502C systems controllers connect to the PowerZone amplifiers in the analogue domain.”

Loudspeaker parameters including crossover, limiter, delay and EQ can be configured within the PowerZone amp’s DSP software. “With Wi-Fi compatibility, the user interface is one of the easiest on the market to control,” adds Chee. “The IPaddressable Wi-Fi does not require cabling or its own router as each unit has a built-in IP address. With a Wi-Fi passcode, the 3004D amplifiers connect to the existing wireless routers over the IP network. This provides a full-matrix DSP system management of the existing Bose speakers via the PowerZone Control app.”

For 20 years, theatre personnel communicated using RTS beltpacks and headsets via two SSA-324 system interfaces in the control room rack. Talent in the 28 dressing rooms and the in-house theatre personnel were interconnected by a distributed network of SM KP32 key panels together with 16 wireless 4-channel party lines and 60 beltpacks. Incorporating a volume dial and a push-to-talk microphone,

the installation of each built-in key panel bypassed the requirement for a backstage PA system. Connected over standard video coaxial cable to each output, the two original daisy-chained Telex Cronus 32x32 intercoms on the same rack remain operational.

A 1U RTS Odin digital intercom supplied by Mahajak Trio and installed by Acousticon has transformed the BOH communications. “The upgrade required a value engineering solution, so we could not simply change the whole system,” explains Chee. “The addition of an Odin 16 mainframe may be simple, but it proved to be very cost-effective as the legacy key panels and other components can continue to operate until the next budget is approved.”

Connecting directly into the existing infrastructure, Chee compares Odin to a telephone line as no crimping of existing cabling was required. “It’s a plug-and-play upgrade, because Odin connects to the existing Cronus infrastructure via an RJ45 connection,” he explains. “Once connected, the software programming was configured to connect all the inputs to the existing key panels over the Omneo IP network via a network switch.”

Being backwards compatible, Odin can either operate with the Cronus legacy matrix or with newer models. “IP is the future, as all comms can now sit on the network,” adds Istana Budaya senior technical manager, Munir Afifi Mohamad. “Like the Electro-Voice loudspeakers and Dynacord amplifiers that have been in situ for almost 20 years, the RTS communications have been working flawlessly. Additionally, the consistent technical support that we have received from Mahajak Trio has been another critical factor, so we retain utmost confidence in these brands.”

Combining value with best-in-class engineered technologies remains a balancing act for any venue owner. However, trusted relationships also play a critical role when making an AV investment – one that cannot be added to an accountant’s spreadsheet.

www.blaze-audio.com www.mahajaktrio.com www.rtsintercoms.com

L–R: Ronnie Chee and Yi An Yap (Mahajak Trio) with Munir Afifi Mohamed (Istana Budaya)

Odin enters the rack as Cronus is phased out

The Blaze Audio PowerZone amplifiers can be managed on a smartphone over Wi-Fi

For booth space, contact:

NEW TECHNOLOGIES

Speaking easy

An upgraded venue in Mumbai boasts one of the first Optimal Audio installations in India. Caroline Moss reports from Permit & Co

IN 1949, LIQUOR WAS BANNED IN THE CITY THEN known as Bombay. To circumvent this drastic measure, it wasn’t long before “Aunty Bars” started popping up: hostelries run from the living room of enterprising housewives, where alcohol was served alongside homemade snacks. By 1972, the law was loosened up as permits to drink alcohol on licensed premises became available, and the permit room was born.

Permit & Co seeks to recreate those heady times. Located in a 150-year-old former cotton mill in Lower Parel, the venue is owned and operated by Aditya Vijay Hegde. Serving food and cocktails inspired by Bombay’s rich and nostalgic heritage, it’s prohibition with a modern twist.

“We’ve moved from the colonial era to retro 1970s,” explains Hegde with a nod to Gymkhana 91, the previous outlet he ran for eight years on the premises. This called for a new sound system. “We wanted to be a high-energy bar but, at the same time, for people to be able to converse clearly,” he continues. “In India, many people still feel that good music is loud. I was looking for different options, and for what would work. We also put on live performances, so it would need to handle that as well as DJ sets and background music.”

Audio Technik India, which had installed the original system at Gymkhana 91, was called in to suggest an upgrade, organising an Optimal Audio demo. “Even though the volume is pretty high, the

sound only goes where we want it, because Audio Technik tuned the system well,” continues Hegde. “The precise placement of the speakers is what makes it work. Once again, Audio Technik provided a great service, listening to any changes we wanted. They will also provide ongoing maintenance if we need it.”

The carefully focused system comprises two Optimal Audio Cuboid 15 and two Cuboid 12 passive 2-way speakers, powered by an LEA Professional CS1504 high-power, 4-channel smart amplifier with low frequencies handled by an HH Audio TNA-2800SA active subwoofer. DJ and band monitoring is via an HH Audio TRE-1001 active speaker with onboard DSP, speaker management is via an HH Audio SP26 2-in/6-out digital system and an HH Electronics Q16FX 16-channel analogue mixer handles live performances.

Precise speaker placement and tuning were vital in this heritage building, as its beautiful colonial-era windows and Burmese teak ceilings precluded the installation of any acoustic treatment. “The issue with heritage buildings is you can’t really touch the interiors,” explains Prashant Govindan, director of Generation AV, which represents Optimal Audio and HH Audio in India and worked closely with Audio Technik to carry out a product demonstration and find the best solution for the client. “You visit the premises with a conservation architect who gives guidelines, which are especially important in this part of Mumbai, with its colonial

CSF COMMON HF/LF MAGNET COAXIALS

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

CSF061.70K

CSF082.00K

CSF102.50K

CSF122.50K

CSF153.00K

Permit & Co owner Aditya Vijay Hegde

architecture. Aditya was keen to keep it that way; he brought it back to its original glory, and he needed a sound system that complemented the ambience he wanted to create.”

With Hegde expressing a preference for what he termed a “British” sound, Optimal Audio was deemed a good choice. “It comes from the Martin Audio lineage after all, and retains the ethos of the brand,” continues Govindan. “We created presets on the LEA CS1504 amplifier to give the sweet sound Aditya was looking for and reduced the complexity of the signal chain. The Optimal Audio Cuboid speakers allow you to focus on the audience without the sound bouncing off the walls – a design challenge we overcame because there are so many reverberant surfaces.” Flexibility is enhanced by the Cuboid’s rotatable high-frequency horns providing 80° x 50° (HxV) coverage.

The 4-channel amplifiers can be easily scaled up if needed.

The heritage building with Burmese teak ceilings precluded acoustic treatment

The system is based around Optimal Audio’s Cuboid range

Unlimited ambitions

visits an international school in Bangkok that’s

tension grid, the 350-seat theatre is ideal for students who prefer to participate backstage, learning about the technical aspects of theatre production.

Following a referral from Rangsit University, Sonos Libra was asked to submit a loudspeaker design for the theatre. “NIST wanted to install internationally recognised brands that would elevate the quality of their performances,” explains Sonos Libra chief Alfonso Martín. “We proposed a technological solution that could be easily used by the teachers and, in time, the students. A black box is, by definition, a multipurpose space and the audio design had to provide maximum flexibility.”

With the initial proposal stipulating networked audio be routed to the existing lower-level theatre, Martín proposed an Allen & Heath AHM-64 processing matrix, providing the flexibility that NIST demanded. Capable of scaling up to 64 zones, with 96 controllers and hundreds of system I/Os, the 64x64 processing matrix will serve the school’s future expansion requirements. With flexible routing and configurable processing on all 64 outputs, the processor is equipped with 12 mic/line inputs and 12 relayprotected line outputs. Future audio networking card options include MADI, Waves and S-Link but, for now, Dante is the preferred route. A three-year gestation period between the initial audio design being tendered in 2021 and the actual installation meant new technologies being proposed and inevitable tweaks being made, including the addition of Dante networking. “For their current requirements, with its signal distribution of 128 channels running

back and forth, the AHM-64 has ample inputs and outputs,” continues Martín. “However, NIST fully comprehended the benefits of networking, linking this theatre with other rooms when hosting a performance that warranted a larger audience.”

An Allen & Heath SQ-5 digital console offers granular mixing control according to Martín. Loaded with theatre presets for managing any of the productions being staged, students simply need to plug the microphones in. Interfacing with external inputs, signals are routed via Klotz cabling to the AHM-64 from the SQ-5. The room provides four inputs for any audio source, allowing productions to move around, with external sources patched straight into the system for interfacing, and mode outputs utilised for future expansion. Customised control software in the AHM ecosystem

allows configuration from 7- and 10-inch touchscreens or a tablet or smartphone app.

To save setup times, an original portable loudspeaker design was upgraded to permanently rigged main and delay systems. Sonos Libra proposed a lightweight Adamson self-powered loudspeaker system with full accessories. Suspended from the 10.5m-high ceiling, four CS10p enclosures and four CS119 subwoofers satisfy the varied audio productions staged by NIST.

Incorporating onboard DSP and amplification, the dual 10-inch CS10p loudspeakers can daisy-chain networked audio between multiple sources. Loaded with a rotatable 100° x 50° (HxV) waveguide, the 2-way speakers operate within a frequency range of 60Hz–18kHz (±3dB). As the largest subwoofer in the CS-Series, the CS119 companion 19-inch subwoofers can extend low frequencies down to 30Hz (±3dB).

“The school may want to update the interface and the daily custom control operations or some of the presets, but they can now perform these operations themselves,” explains Martín. “We want to engage with end users, including students, so they can better understand the technologies. In the four months since the venue opened, the theatre has staged multiple productions and we have not been called back to site.”

Having commissioned the system, Martín was aware that NIST was concerned about product warranties and servicing contracts. “Once a project has been successfully delivered, you must show your true credentials with after-sales support and service,” he says. “As a distribution company, you are the main interface between the factory and the end user or buyer. To enjoy a long-term relationship, not only do you need to maintain servicing, firmware updates and upgrades for the products, you are also obliged to assist the technical team using them daily, including the teachers and students.”

Future productions can now expand and develop within the audio infrastructure integrated into the fabric of NIST, unlocking limitless potential for the music and arts departments.

www.adamson.ai

www.allen-heath.com

www.nist.ac.th

www.sonoslibra.com

An Allen & Heath SQ-5 digital console is used for audio mixing

L–R: Sonos Libra’s Nattapoom Pumipuntu and Alfonso Martín

The theatre is equipped with fixed Adamson CS10p enclosures

Raising the bar

An upmarket Jakarta watering hole is attracting clientele with a distinctive Void system that sets it apart from its sister venue next door. Richard Lawn visits H Bar

NEIGHBOURING ONE ANOTHER IN SOUTH

JAKARTA’S

Sudirman central business district (SCBD) and jointly owned by Holy Wings Group, H Club and H Bar are drawing diverse guests through their respective doors, with audio playing a significant role in differentiating between them.

Hosting a mix of local and international DJs spinning an eclectic range of music every night, H Club emits a pulsating energy with extended low frequencies. The high-energy atmosphere is complemented by a plush interior design including ambient lighting and comfortable seating areas around the dancefloor. Next door to this standalone landmark, the classy but low-key H Bar is drawing an altogether different crowd. PT Electro Audio Engineering’s audio consultant and technical manager Williesatya was commissioned to design and install an audio system that would provide H Bar with the right vibe.

“The owners demanded premium background and foreground audio quality, but with much softer SPLs,” he says. “It’s a comfortable, social bar, with no stage for hosting events. Even the DJ zone with its Pioneer decks and mixer appears somewhat understated in front of the main bar.”

The 17m x 16m venue fuses Arabic and Gothic architecture, with vertical pillars rising to the top of the 12m-high ceiling on each side. Within the central area, leather sofas contrast with seating booths dotted around the perimeter. Backlit shelves extending above a mezzanine-level balcony to the apex of the space illuminate liquor bottles for the main bar as athletic members of staff shin up and down ladders to retrieve them. Williesatya based his loudspeaker design around a distributed system of Void Acoustics enclosures. Highly distinguishable by their flame-red fibreglass housing, four Airten V3 loudspeakers serve the central area of H Bar. Emitting 80° x 80° coverage, the dual 10-inch models are capable of driving down to 60Hz (±3dB).

With a crossover set at 80Hz, the low frequencies are extended by four freestanding Venu 118 V2 18-inch subwoofers in addition to six Venu 115 V2 enclosures that are discreetly installed within the rising columns on either side of the venue. By contrast, the surrounding booths receive their musical ambience from dedicated Indigo 6 Pro speakers. To ensure audio consistency throughout, compact Cyclone 4 4-inch models have been installed into the lobby area and the cloakrooms. Finally, the mezzanine level above the bar is equipped with a further two wall-mounted Indigo 6 Pro speakers together with two freestanding Venu 112 V2 subwoofers.

The red Airten V3 speakers blend in well with the room’s burgundy fabrics, including the curtains and sofas. These elements also help to reduce the acoustic reverberation across the stone façade of the venue. “The simplified design philosophy centred on speaker coverage and attaining an even dispersion,” explains Williesatya. “Reverb emitting from the high ceiling can be problematic if you extend the SPLs but, when there are plenty of guests in the venue, it’s not a problem.”

The Void enclosures stand out in a venue that fuses Arabic and Gothic architecture

in analogue. Offering individual compressors, a high pass filter, eight bands of parametric EQ and up to 1.3s of delay, the VMX88 mixes the eight analogue inputs before transmitting them to any output channel over Dante.

A rack at the rear of the room houses four Bias Q1+, a single Bias Q2+ and three Q3 4-channel amplifiers driving the Indigo, Airten V3 and subwoofers, respectively. With processing provided by the inherent Bias Control software, Williesatya has stored ease-of-use presets to change the musical ambience according to H Bar’s varied clientele. Input sources including the DJ mixer, a small live performance area and the BGM are routed to a Yamaha TF Rack digital mixer before being output to an NST Audio matrix. Multichannel distribution to all the loudspeaker outputs from the amplifiers has been created by adding two VMO16 and single VMX88 matrix mixers from NST Audio into the signal chain. The 16 inputs from each VMO16 are routed to a 16x16 matrix mixer over Dante, and the inputs have been routed to the loudspeaker outputs

“The addition of the NST Audio matrix was necessary to avoid daisy-chaining the signal distribution to the loudspeakers,” continues Williesatya. “Each channel that is output to the amplifiers is mixed and transmitted from the NST Audio matrix processors in advance. In total, it took the installation team a full week to route the conduits and cabling, fix the loudspeakers including some customised bracketing and fully programme the software before commissioning.” A quieter entertainment experience than its neighbour can offer, perhaps, but the audio quality and detail ensure that guests consistently return, combining with the distinctive architecture and interior design to put H Bar into a category of its own.

www.voidacoustics.com

L–R: H Bar’s manager Sulisto Pratmono with PT Electro Audio Engineering’s Williesatya

The centre of the room is served by four Airten 10 V3 loudspeakers

Bridging in-room and personal headphone monitoring

Our UNIO TM Ecosystem gives the ability to optimise, align and seamlessly navigate your monitoring options, for the exibility to work anywhere, anytime – from stereo to immersive.

Now, with the introduction of Personal Reference Monitoring – our pioneering new active monitoring headphone solution –UNIO offers the very highest level of headphone accuracy.

genelec.com/unio

A sonic sanctuary

Caroline Moss visits Chordfather, a studio complex offering flexible creative possibilities to the music-makers of Mumbai

NESTLED IN A GREEN, SERENE CORNER OF MUMBAI, Chordfather stands as a beacon for audio professionals and artists seeking a world-class space to create, collaborate and craft music. Founded by acclaimed producer Sunny M R, whose Bollywood credits include films such as Brahmastra, Barfi, Yeh Jawaani Hai Deewani and Rocky Aur Rani Kii Prem Kahaani, Chordfather is a passion project built on legacy, technology and community. Sunny, a long-time fan of Francis Ford Coppola’s mafia saga, launched Chordfather Productions in 2015: a 7.1 surround studio in his apartment building. The idea to open a bigger facility occurred to him in 2021 and the search for new premises began. “When I decided I want a Dolby-certified Atmos setup, I also knew I needed a bigger space,” he explains. “We wanted somewhere that artists

could walk into with a song and walk out of with a finished masterpiece.”

Once suitable premises had been found, Chordfather Productions has steadily evolved into a multi-studio production house offering end-to-end services, from music composition and production to engineering and recording. A permanent in-house team of 16 musicians, composers and engineers can, between them, handle the gamut of recording projects, from film scores and OTT shows to indie tracks and advertising jingles.

Back in 2007, Sennheiser/Neumann had sent Sunny some Klein + Hummel KH 310 speakers to try. “They had recently integrated Klein + Hummel into the company and were redoing some designs,” he recalls. “I was blown away by these speakers.” Many years later, on deciding to add an Atmos mix room to Chordfather, he decided to stay with what he knew, choosing

to install an immersive Neumann monitoring solution and approaching Hrishikesh Pingle, business head of audio recording at Sennheiser India, to plan and execute the speaker setup. Sunny and his wife Jenny designed the space and acoustic architecture layout, working with Karan Grover of Dolby India and his team to calculate the 7.1.4 configuration. The Neumann KH 310 monitors that make up the system are a redesign of the K&H originals. Eleven of these comprise the L-C-R, surround and overhead channels, with dual KH 810 subwoofers handling the low frequencies. Once the system had been installed, Bhasker Pal from Dolby India came in to tune and calibrate the speakers. Not only has the addition of a Dolby Atmos mix studio raised the stakes for Chordfather, it has also laid the foundation for a deeper collaboration, establishing the facility as a Neumann studio monitor experience centre.

Neumann KH 120 speakers in a small production room

Some of the studios are named after Sunny’s rescue dogs; this one is Mango

Sunny in the Neumann KH 310 Dolby Atmos mix studio

While Chordfather Productions continues to serve clients from the film and advertising worlds, Chordfather Records – launched in May 2024 – was born out of a personal vision of Sunny’s to create a sanctuary where indie artists would feel at home, collaborate freely and grow without creative restrictions. “I’ve worked for most of my career making music for Bollywood and Tollywood [Telugu] films, but I’ve shifted my focus to non-film music, concentrating on building a strong team of music producers and songwriters,” he says. To this end he’s setting up what he terms “songwriting session exchanges”, inviting collaborators from around the world to work at Chordfather with local artists. An initial example of this saw Dutch record producer Martin Garrix collaborating with Indian producer and musician Arijit Singh to record sessions featuring multiple instruments at Chordfather Records.

Featuring eight specialised rooms named after the couple’s rescue dogs, Chordfather Records provides a selection of recording, composition and production facilities to suit all budgets and projects. Between them, the studios offer over 90 microphones, 86 mic preamps and 132 recording channels with Merging Anubis for monitor control. A collection of synthesisers includes a Roland 808 drum machine, a Yamaha DX7 plus equipment from Juno, Moog and a wide selection of Dave Smith Instruments gear. Three of the eight studio are Dolby Atmos Music-enabled, and all eight are installed with a combination of Neumann KH 310, KH 150 and KH 120 and Sonodyne SM 3300, SM 3200 and SM200 monitors to ensure continuity between sessions in the different rooms. Neumann’s MA 1 automatic monitor alignment software has been used to align all the speakers. A variety of microphones from AEA (ribbon mics), Neumann (including an M49V large-diaphragm tube mic) Manley Labs, Chandler and sE Electronics is available, along with microphone preamps from Manley Labs, LaChapell Audio, API, SSL and others that Sunny has collected over the years. Mastering equipment includes WesAudio digitally controlled analogue tools, Manley Labs units

be used, variously, as a music production and songwriting studio, a live band rehearsal room, a dance studio and a recording facility

Indian manufacturer’s CEO Anindya Mukherjee who configured the speaker’s tonality to suit the acoustics of the multipurpose room. All the studios are networked using Merging Horus audio-over-IP AD/DA converters, allowing recording to be carried out over LAN in any area of the complex, even the two kitchens and recreation spaces. Cameras and screens in all rooms assist communication in different parts of the facility. Fresh air ventilation in every room enhances functionality and comfort, while the verdant nature outside interjects into several spaces where the building has been designed to wrap around trees deemed too valuable to remove. Sunny’s approach blends old-school analogue warmth with modern digital flexibility: “I track with analogue gear but operate completely in the box,” he says. “It’s about using the best of both worlds. Just like The Godfather is about family, Chordfather Records is about community. It’s a space where cutting-edge tech meets a lounge-like warmth designed to make artists feel at ease.” This partly stems from having his previous studio setup at home. “I’m used to working in the same room with the musicians and vocalists performing together, recording a live session,” he says, adding that he trains his team to work in this way as well as individual tracklaying. “It’s not like we don’t have separate rooms for tracklaying, I just find it more personal to work in the same room. When the studio was in my home I got used to working like that.”

As part of his mission to keep studio culture alive in an era of home setups, Sunny is integrating workshops and mentorship programmes into Chordfather Records, equipping emerging artists with the skills needed to thrive in an ever-evolving industry. By building a sustainable ecosystem supported by in-house work, tie-ups with labels and commercial projects, he aims to prove that premium recording spaces still have a vital role to play. “We’re not just about the tech,” he asserts. “Music is about emotion, connection and storytelling. Everything we’ve built here – from the gear to the people – is to support that vision.”

Custom white Sonodyne 3300 monitors take pride of place in the large studio

Studio dream team

Sue Su visits SSGY, a new Beijing studio born from a long-term creative partnership and

VETERAN CHINESE MUSIC PRODUCER, COMPOSER and guitarist Wang Chao and recording and live sound engineer Jin Ying have long collaborated on many projects. When they set out to build an incubation hub for musicians, the accomplished pair aimed to establish a benchmark by creating a recording studio that would draw on their combined strengths in production and engineering. Their goal was to offer artists a professional recording workflow and at the same time enhance the quality of their existing work.

“Jin and I have been working together for nearly 20 years,” says Wang. “When we built this recording studio and started running it, we each approached it from our own perspective: he as a recording

engineer and I as a producer. Jin focuses more on the technical aspects of audio while I concentrate on the emotion the music is aiming to convey. This kind of collaboration is still rare in Chinese recording studios. Often, recording engineers don’t fully understand what producers or musicians need, which can lead to many issues.”

The resulting collaboration between Wang and Jin is SSGY Studio, located in a four-storey building in Beijing’s Guancheng Villa district. As the pair strive to achieve a clean sound and high-quality audio when recording, they spent a significant amount of time refining the acoustic design and selecting the right equipment.

SSGY houses two production facilities: the Dolby Atmos Musiccertified Studio A and the smaller Studio B. Studio A features a

30m2 control room at the basement level and an 80m2 live room with an 8m-high ceiling on the level below, suitable for recording electronic bands and large orchestras. Studio B is mainly used for vocals and solo instruments, comprising an 18m2 control room on the ground floor and an 18m2 single-track live room in the basement. An additional 18m2 room for musical arrangements sits on the top floor of the building.

When it came to selecting the mixing console – one of the most critical pieces of equipment in any studio – Jin and Wang looked at all the major brands on the market. Upon learning that legendary British console manufacturer Harrison had been acquired by SSL and had launched its first new product, the 32Classic which

L–R: SSGY Studio’s Wang Chao and Jin Ying

Studio A’s PMC 7.1.4 installation is certified for Dolby Atmos Music

The Harrison 32Classic is the first in China

comes equipped with Atmos monitoring and Dante converters, they visited local distributor DMT’s Beijing Experience Centre to test it thoroughly, ultimately choosing to purchase the first Harrison 32Classic console in China.

“The studio is built around analogue gear, so we needed a console that was both stable and rich in analogue character,” explains Jin. “Since being acquired by SSL, Harrison’s 32Classic has adopted some new design features such as more modern preamps that align with today’s clean and transparent audio aesthetics. However, its EQ section still retains the same design used 40 years ago.”

“Harrison has always been a classic analogue brand – artists including Michael Jackson have used it,” adds Wang. “We’ve used the console to mix live recordings of various bands and the sound was full of character and texture. All the bands loved it.”

The console’s inbuilt immersive monitoring control also supports the studio’s Dolby Atmos music production requirements. “I’ve been making film music for years, much of it in the Dolby Atmos format,” continues Wang. “Now, even electric vehicles are starting to feature Dolby Atmos playback. Domestic platforms like Tencent Music and NetEase Cloud Music also support it. Although not many Chinese bands are currently recording in this format, we are hopeful that the ones we work with can experience it. Since these

bands will eventually release their music internationally, Dolby Atmos will be an important consideration for some markets. As China’s music production moves closer to international standards, we want to offer both the tools and the technology to support that.”

Due to a preference for the “British sound” and their high standards for audio quality and reproduction, the duo opted to install PMC monitoring in both control rooms. In Studio A, the 7.1.4 Dolby Atmos system consists of seven PMC ci140 on-wall speakers for the L-C-R and surround channels, four PMC ci45s for the overheads and two PMC ci140sub subwoofers for the low frequencies, plus a pair of PMC 8-2 XBDs for stereo monitoring, while Studio B has a simple PMC6 stereo setup.

The control room is equipped with classic microphone preamps, compressors and EQs from Rupert Neve, Chandler, Pultec, SSL, Bettermaker and Lexicon. An Antelope 10M serves as the master clock with an Antelope HDX interface as the slave. Microphones include vintage models from Telefunken, Neumann, Shure, AKG and Sennheiser.

Despite the rich selection of analogue gear, the studio operates a modern digital workflow. Two Prism Sound Dream ADA-128 modular converters handle AD/DA conversion for the Avid Pro Tools Ultimate system. Each unit can hold up to 20 expansion cards and offers a wide range of interfaces including analogue, AES, MADI and Dante, forming a bridge that connects all the equipment throughout the facility.

“After several years of upgrades, the latest version of Prism Sound’s Dream ADA-128 is nearly perfect,” declares Jin. “The resolution and scalability are excellent. We’ve filled almost all its slots, including 80 analogue and 128 AES I/Os along with MADI and Dante. Its flexibility means we don’t need external routing or patchbays, which minimises signal loss.”

Studio B features an Audient ASP 4816 small-format analogue console and a pair of PMC6 monitors. Additional outboard gear includes a TC Clarity M audio meter and Ferrman BWL2 limiter. All rooms are connected via Dante for seamless file sharing and multiple cameras are installed for real-time monitoring.

The studio’s acoustic design draws on the duo’s shared experience as producers and engineers. The floors are built on a suspended structure, and soundlocks between rooms further improve isolation. The main control room includes a window above the front wall to introduce natural light. A large number of sound absorption panels are installed in control room A to keep the acoustics relatively dry, while the main live room has retained a more reflective quality emanating from some of the wooden surfaces throughout the space. Since the original HVAC system didn’t meet the necessary requirements, it was heavily modified at a great cost, but Wang declares himself pleased with the results. “We even filmed a band rehearsal with just a mobile phone, and the audio detail was very clean and clear,” he attests.

Wang and Jin’s first project in the new studio was to mix the theme song for The Legend of the Condor Heroes – The Greatest Hero feature film, directed by Hong Kong filmmaker, Tsui Hark. NetEase Cloud Music has also partnered with SSGY to launch the Band New Force initiative, offering original bands the chance of receiving professional production, touring support and other resources to help nurture and grow China’s original music scene.

www.dmtpro.com www.harrisonaudio.com www.pmc-speakers.com www.ssgystudio.com

Our active monitors and subs take monitoring to the next level. They deliver forensic detail that allows you to work faster, without fatigue and with complete confidence, knowing that your finished mix will translate technically and emotionally anywhere.

Every element has been created for the highest possible resolution with the lowest possible colouration, so they are packed with innovation such as sophisticated DSP & Class-D amps, and our latest ATL™ bassloading and Laminair™ air flow technologies. With digital connectivity and configuration via PMC’s Soundalign™ interface, these scalable solutions have the option of active subs to create one of PMC’s XBD systems for extended bass and dynamics.

Use our monitors and you’ll know why we are the absolute reference that deliver results.

Hear more – make contact sales@pmc-speakers.com www.pmc-speakers.com @pmcspeakers_pro

Studio B is a smaller stereo setup

The 80m2 live room can accommodate an orchestra

A letter from America

Hooray for Hollywood? Maybe not, according to Dan Daley

HOORAY FOR HOLLYWOOD. THAT WAS THE THEME song for the city, the industry and the cultural phenomenon that was cinema for the better part of a century, ever since East Coast US filmmakers left their beginnings in New Jersey and New York for sunnier climes (and away from Thomas Edison’s motion picture patents litigation) in the 1920s.

But it hasn’t been all sun and fun lately in Tinseltown. Movies and TV series have been shifting their productions from California to, well, just about everywhere else, now that US cities and states and other countries have figured out that tax and spending rebates are the way to lure those multimillion-dollar projects to their backyards. Last year was the worst on record (Covid notwithstanding) for film production in what was putatively the cinema capital of the world – none of the top 10-grossing live action films were made in Hollywood, nor was a single Oscar Best Picture nominee, the first time that has happened since 1971. This year is looking to be even worse.

Celluloid dreams aside, Hollywood has always been about the money, and some of the rebates offered can pay back as much as 30–40% of a project’s below-the-line costs. For instance, Apple’s Severance series got back a reported

US$39m from New York’s rebate programme. The trend has had the expected effect on filmmaking’s trades: audio, camera, set design, editing and the hundreds of supporting roles that crawl by during the credits are suffering from less work to go around.

If this sounds familiar, it’s worth recalling what happened to music production starting about three decades ago. After a few years of scoffing at the potential for Tascam Portastudios and open-reel 8-track decks to affect the commercial recording studios of that era of $1m signing bonuses for one-hit wonders, those technical behemoths began to watch as the technology stripped them of their moats, allowing music production to take place on a very high level in a much broader array of spaces. Changes in music culture – rap’s ascendance meant a Roland 808 and an Akai MPC were on a par with an SSL 4000 in some important ways – accelerated the process.

Technology like three-lens iPhone cameras hasn’t yet caused filmmaking to move into the spare bedroom, but it has created an economic and crafts diaspora that is irrevocably changing the movie business, and California’s late and relatively paltry new tax incentives won’t be enough to reverse that slide.

A letter from Europe

The music studios of the 1990s are mostly gone now. The ones that remain have pursued other strategies, including selling themselves to colleges and universities, as Ocean Way and Power Station have, to become both classrooms for academic production courses and lures for 19-year-olds innocent enough to believe they’ll get a four-year degree worth the $200,000 they’ll spend on tuition. Others became motherships for itinerant producers, engineers and mixers who use some of the space as their own studios adjacent to available tracking spaces. Others have gone the museum route, like Nashville’s RCA Studio B or Stax in Memphis. Yet others keep their doors open but have found alternative revenue sources as backdrops for – closing the circle here –film and TV productions. Music production has even managed to get a bit of the tax-credit largesse – Tennessee, Louisiana, Georgia and three other US states offer tax-rebate schemes to music productions, though just fractions of what films can get. Hollywood is on a precipice, in part of its own making and in part due to technology and garden-variety capitalism. Streaming might help – Apple’s F1: The Movie went to theatres first, taking the classic Hollywood route. But movies, and the magical place they used to come from, will have to get used to a new reality, just like music did.

Phil Ward remembers two iconic figures whose genius has left an indelible mark on the world of music recording

RECORD PRODUCTION IS AS IDIOSYNCRATIC AS painting. You can recognise a Picasso a mile off, a Rothko a bit closer and an Elizabethan miniature by standing right next to it. True, some productions are subtle and do not necessarily have the producer’s signature flowing through the soundwaves. But this is not the case with two of pop music’s most influential and troubled auteurs, both of whom have occupied media scrutiny in Europe over the last few weeks. They have both, incidentally, crossed my path – either directly or indirectly – in what you might say is my line of duty.

One day in the mid-1990s, when I was editing a magazine in London, my boss came up to me and said there was a gentleman in reception who had arrived unannounced. I was busy and this was a nuisance. But then he said: “It’s Emile Ford.” Firstly, I thought it was another of those industry namesakes, like Bob Charlton or Gary Cooper, but it quickly became apparent that this was the Emile Ford, as in Emile Ford and the Checkmates, who had a UK number one hit with What Do You Want to Make Those Eyes at Me For? Clearly, this was not going to be a normal Thursday afternoon.

Adjusting to the surrealism of the situation, I realised that this guy had, firstly, made a small name for himself as a sound engineer when the hits dried up and, secondly and more importantly, had co-produced that huge number one with none other than Joe Meek. Meek, of course, was the British Phil Spector: unmistakable sonic textures, independently funded, always challenging the modus operandi of the recording establishment, completely off his rocker.

Ford was attempting to use this legacy to promote a new signal processor he had developed, some sort of compressor. He will have been inspired, no doubt, by the example of Ted Fletcher, one-time session singer in Meek’s home studio and genuine audio pioneer: his brand of dynamic signal processors, actually called Joemeek, initiated the idea of classic-sound-in-a-box and was doing really well. Many fondly remember his later contribution: TFPro P8, affectionately known as “Edward the Compressor”. I cannot recall, despite this association, that anything came of Ford’s gizmo, but reading a new book called Love and Fury: The Extraordinary Life, Death and Legacy of Joe Meek by Darryl W Bullock (Omnibus Press) confirms why

some, like Fletcher and Ford, would want to attempt to keep alive something of the audio brushstrokes of this proper genius, and also why others, let’s be honest, would be glad they never met him in person. When the all-too-premature end came in 1967, a firearm was used.

Beyond Telstar, many other hits ring with his colourful treatments, as distinguishable as the soaring harmonies of Brian Wilson, who died recently aged 82. Personally, I never thought he’d reach such an age, so much damage done in the compression of his ideas. For this is the elephant in the creative room, in so many cases. Something about these pursuits bends reality around a lamppost and, when I tried to interview Wilson before the historic Smile concert at London’s Royal Festival Hall, all I got out of him was that his favourite Beatles song was Norwegian Wood. Otherwise, he was all but heartbreakingly mute.

But whether your canvas is a recording studio or, well, a canvas, the crucial thing is that you leave behind a record, an imprint of yourself. If your voice and vision are clear enough, they will be identifiable long after we’ve fired our last bullets and burned all our Norwegian Woods. Wouldn’t that be nice.

RETHINK YOUR INFRASTRUCTURE

Join us at IBC #8.B90

HOME with a View.

Lawo’s HOME Apps processing platform empowers broadcasters to create efficient, dynamic media facilities with maximized infrastructure utilization. Paired with Lawo’s .edge SDI-to-IP gateway, the new HOME Intelligent Multiviewer minimizes bandwidth and CPU usage by intelligently selecting optimal downsized video proxies for layouts.

Agile and intelligent Multiviewer DETAILS HERE.

Lawo HOME Apps Server-based Processing Platform for On-Prem and Cloud Production.

Hyper-density SDI/IP conversion and edge processing

InfoComm Asia 2025

A hike in international attendees and high value buyers contributed to InfoComm Asia’s growing success, and the clement weather was an added bonus. Bea Meikle reports from the QSNCC

THE RAINS MERCIFULLY HELD OFF DURING THE FIFTH edition of InfoComm Asia at Bangkok’s Queen Sirikit National Convention Centre (QSNCC) as the show revealed definite signs of maturity. International attendees made up 40% of the total – a growth of 5% over 2024 – with several manufacturers hosting worldwide product debuts: a measure of how seriously the industry is taking InfoComm Asia. Across three halls of the exquisite venue, over 170 exhibitors including 59 newcomers were showcasing their latest AV technologies, reinforcing the exhibition’s position as an Asian hub for innovation and influence. Representatives from 53 countries attended, with InfoComm Asia reporting a notable uplift in qualified buyers and decision-makers, targeting them with tailored business activities including organising curated show floor tours for 98 hosted buyers invited by the organiser.

From the show floor

Marthesh Nagendra, Netgear:

“The entire Netgear APAC team has been at the show this year. We have noticed a good influx of crowd at the QSNCC, with a great mix of partners, resellers, consultants and customers from across Southeast Asia, including lots from Singapore as well as Australia, Korea and Greater China. The Indian turnout has massively improved; I haven’t seen so many Indian partners showing interest in InfoComm Asia as I have this year, and it feels as if there are 10 times more Japanese customers here than in 2024. Overall, it’s been a really great show for us.”

Welcoming attendees with a keynote speech, AVIXA CEO David Labuskes said: “At a show like InfoComm Asia, we are not just showing the future – we are creating it. I believe that our industry’s business model is connecting people to people through the use of technology, and this exhibition really showcases that.”

Attracting systems integrators, consultants, manufacturers and distributors, the show recorded a significant increase in visitors from APAC including Singapore, China, Malaysia, Indonesia, Vietnam, the Philippines, Laos and Myanmar, as well as Australia and Japan. There was also a surprisingly strong Indian presence given that the subcontinent will host its own InfoComm show just six weeks later.

However, despite the international momentum, overall attendance had dropped by around 10% from last year’s recordbreaking 8,817 to 7,919. Some exhibitors were partly attributing this to several manufacturers opting out of exhibiting at the

Stacy Chiang, BXB:

“Being at InfoComm Asia is helping us to learn more about trends here in Thailand. A number of people have shown interest in our wireless microphone system, which gives us a good indication that wireless systems are popular in the Asian market. This year there seems to be more targeted visitors; we’ve been speaking with lots of people who already have projects happening in the region. Most of the visitors at the BXB booth have been from Asia as well as some attendees from Europe and America, and the majority of people we’ve met have been systems integrators.”

QSNCC, instead hosting offsite demo spaces, while others split their presence between the show floor and external locations, possibly leading to a diluted attendance.

Nevertheless, most exhibitors were reporting a high visitor quality, while proof that the show is being taken seriously could be seen in the latest innovations, particularly AI-integrated solutions. Some had scheduled major product introductions including Martin Audio which hosted the global launch of its BlacklineQ Series, a redesign of its classic product line, while Audac showcased the new addition to its VEXO range, the VEXO 206 high-output 2.5-way loudspeaker.

Off the show floor, the InfoComm Asia Summit programme featured 58 speakers across 56 sessions, attracting 1,834 attendees. June Ko, executive director of InfoComm Asia, highlighted AI as a key focus, while the panel at the Reimagining Boundaries: The Future of Business & Technology in 2030 session shared insights into the development of AI, how technology has changed the workplace post-pandemic and predictions for the AV industry.

New this year were dedicated demo rooms taken by brands including Harman, Neat and Cisco, while the Tech Tours provided access to a virtual production studio and an immersive nightclub, showcasing AV technology in real-world applications. Welcoming the online community, the new AVIXA Xchange Live hub provided face-to-face sessions for groups including the AVIXA Woman’s Council and Rising Professionals, while the interactive Lunch & Learn: AI in AV workshop aimed to educate the use of advanced AI tools in creative processes.

2025 Dates: 23 – 25 July

2026 Dates: 15 – 17 July

Venue: Queen Sirikit National Convention Centre (QSNCC)

Total exhibitors: 170

Attendance: 7,919

Contact: www.infocomm-asia.com

Alice Lee, Soundking:

“Due to economic changes around the world, Soundking is shifting its focus more to the Asian markets. On our first time here in Bangkok, we have found a lot of opportunities for the region – we have met many new customers with large projects, not just from Thailand, but also places like Malaysia, Indonesia and Vietnam. The show isn’t that big in terms of size, but the quality of customers is very high. It has been a great exhibition for us and we look forward to coming back next year.”

From the show floor

Kritsana Marongsit, Yamaha:

“As InfoComm Asia is such a well-known exhibition in the region and Yamaha is a major manufacturer in the industry, it is important for us to be at the show; we don’t want to lose the valuable opportunity to meet with customers here. We have brought out a big team of employees from across Thailand, Singapore, Malaysia, Indonesia, the Philippines and Vietnam, as well as staff members from the Yamaha Corporation Japan. This is our first time here and the atmosphere has been great; we have been able to catch up with many regular users as well as new faces from Southeast Asia.”

Ian Wright, HH Audio:

Hui Ming Tan, Bose Professional:

“Bose Professional is exhibiting a lot of new products at InfoComm Asia, including some specifically for the Asian market. The show seems to be attracting a wider crowd; we’ve met many customers from around the world, particularly Australia and India. I’ve also seen an increase in manufacturers exhibiting and InfoComm has organised more events and activities around the show. We’ve been coming here for the last five years, and I expect that next year will be even more fantastic – I’ve heard there may be an additional hall just for audio, which is exciting as there should be some allowance for audio playback.”

Michelle Yeo, Acoustic & Lighting System:

“This has been a great chance to catch up and network with friends and customers. Acoustic & Lighting is a symbol of Southeast Asia because, while we are headquartered in Malaysia, we have offices in Singapore, Indonesia, Thailand, Vietnam and Cambodia, and InfoComm Asia resembles our network and connection to the local market. This year has been quite a surprise, I’ve always thought that the show is more focused towards end users, but over the three days we’ve seen an increase in the number of live users such as rental companies.”

“As our first time here it’s been highly beneficial to connect with our distributors from APAC and India, as well as systems integrators, and show our solutions to the local industry. Timing is very important for us, and now that our product range has developed to be more focused on commercial audio installations, this is the perfect time for HH Audio to have a presence at InfoComm Asia. Also, we are here with our new Thai partner ProPlugin, as well as Eddie Tan, who both know the regional industry well and have been connecting us with local contacts.”

Jinfu Chen, Powersoft:

Anand Hariharan, Cisco:

“We have two key themes at the Cisco booth: AI and AVoIP, because we have a lot of peripherals that are powered by AI and are connected using AVoIP. There is such a range of tech innovation on display here. If you’re in the AV industry, you can’t afford to miss this show. InfoComm Asia showcases industry innovations that matter to us today as well as providing insight into what’s to come in the future. For a customer or consultant, being here allows you to discover what these solutions will enable in the future. This is invaluable for making the right investment decisions.”

“InfoComm Asia is the way for all the systems integrators, distributors and manufacturers in this segment to connect with each other. This year has been interesting; we have met a lot more consultants and quality end users, as well as systems integrators and retail partners that are interested in our brand, which is beneficial for us. We’ve seen a lot more people from not only Southeast Asia but also India, Japan, South Korea, Hong Kong and China, so I believe there is the potential for this exhibition to grow further and have more to offer for people in this part of the world.”

Tower Cardioid Column Series

The Towers are the only active cardioid column with 20 dB of rear-cancellation.

With outstanding sonic clarity and extended low bandwidth, they deliver a wide dispersion pattern of 120º.

The objectivity of interoperability

Simon Luckhurst discusses interoperability, its impact on system design and a shift towards software-based solutions with Audinate CMO Joshua Rush

ONCE A BUZZWORD THROWN AROUND IN SPEC sheets and product launches, interoperability has quietly matured into a cornerstone of modern AV system design. But as the industry’s shift to IP-based infrastructure accelerates, so too does the complexity, and necessity, of getting interoperability right.

It’s something often treated as a checkbox, a basic assurance that one product can connect to another. But in the context of today’s networked AV systems, that definition no longer holds. For integrators and consultants to OEMs and live sound professionals, the question is no longer whether systems can talk to one another, but how easily, securely and economically they do so.

“Connectivity is the base level – getting bits and bytes from point A to point B – but that’s not the full picture,” explains Rush. “Interoperability is about solving real problems for the people designing and using these systems. Can you discover devices easily? Can you route and control them without bespoke programming? Can you monitor performance and integrate them into your wider software platform? That’s become the current bar.”

Rush points to discoverability as one of the clearest examples of this shifting trend. The ability for devices to appear automatically on the network might sound like a small feature, but for installers on tight turnarounds, it provides significant

advantages. “Time is money for integrators,” he says. “Anything that gets you out the door faster improves your margin. Discoverability, routing and monitoring – these are all things that make a system easier to build and maintain. Being able to drop devices onto a network and have them appear ready to configure is not only convenient but essential to delivering jobs quickly and moving onto the next one.”

While the hardware side of AV isn’t going anywhere, much of the intelligence and functionality is shifting into ones and zeroes. Usability becomes more important as processing migrates into the software domain. Many traditional DSP and mixing console companies are introducing virtualised versions, often running on standard servers. “We’re seeing a major shift towards software-defined AV,” Rush continues. “And that makes APIs and SDKs absolutely central. If you want your signal routing and control to integrate with the wider systems, APIs are the bridge that makes it happen.”

He’s equally candid about where the industry still falls short. Despite the movement towards openness, not all claims of interoperability are created equal. “There are companies who talk about interoperability, but what they offer is often more of a curated walled garden. They integrate with a handful of devices to fill in gaps where they don’t make a product, but that’s not an open ecosystem. The interoperability is selective rather than systemic.” Even open standards aren’t immune. “There’s a perception that adopting a standard automatically guarantees interoperability,” Rush adds. “But in reality, the way those standards are implemented can vary, and those differences can lead to integration issues. You’ll often see plug fests and certifications happening behind the scenes to prove that devices truly work together. Real interoperability is much more than a science experiment; it doesn’t just come from ticking a box.”

Nowhere is that more apparent than in infrastructure design. For many years, the received wisdom was that AV should live on its own dedicated network, air-gapped from other networked services. It’s a model that persists in some quarters, but Rush says the tide is turning fast. “From the very beginning, we designed Dante to run on standard IT switches. We knew most users wouldn’t rip out their existing network just to support AV. Especially in spaces with established IT departments like higher education, corporate or hospitality, everything has to work together. AV needs to run on the same infrastructure as everything else.”

That approach is no longer theoretical. “I was recently on a university campus with 500 networked classrooms, all running AV over the main IT infrastructure,” he recalls. “No dedicated switches, just proper design. The AV and IT teams are completely integrated, and the system scales because it uses the tools and protocols that IT already supports.”

For clients who do start with a separate AV network, they often end up migrating. “We’ve worked with customers who began with standalone AV systems before eventually realising they needed to merge it all back into their core network. The air-gapped approach has other drawbacks. It limits access to cloud services – another major upcoming trend – as well as firmware upgrades, which makes management harder and increases support costs.”

Joshua Rush on the Audinate booth at InfoComm 2025

The driving force for implementing Dante Director at EIKON Studios was its API integration

Asked what integrators should look for to avoid obsolescence –often a customer’s main concern at the outset of a large technology investment – Rush offers three key pillars. “First, breadth of ecosystem. Every job is different and you want maximum choice across brands and device types. Second, API access, so you can layer on your own control or integrate with existing systems. And third, cloud-based management, which is where the entire industry is heading. If you can manage AV from anywhere, push firmware updates and receive alerts, that all creates a much better experience for the user and less hassle for the integrator.”

Remote management, predictive maintenance and cloud services are no longer just trends, they’re quickly becoming the expectation. “To do cloud management well, your AV system needs to talk to the public internet in a secure, controlled way,” Rush notes. “So you can’t just air-gap it off in a corner on a separate switch anymore. Those days are fading.”

In this new world of cloud-based control, security plays an equally important role, particularly in corporate networks and high-profile government deployments. Rush is quick to challenge the idea that interoperability and security are at odds. “When we first introduced Dante, we deliberately made everything plug-and-play. It had to be

simple, or people wouldn’t make the initial leap from analogue to networked AV. But we also recognised that certain markets –government, healthcare and financial, for example – would demand high security. So, we layered on tools like Dante Domain Manager and Dante Director to bring in user permissions, access control and eventually full media stream encryption. It’s about having the right toolkits for the application. You can run an open, accessible system for some installations, or lock it down tightly when the application demands it.”

Conversely, the same applies to less traditionally “secure” environments like houses of worship, where volunteer operators need ease of use but limited control. “You want systems that are intuitive but not vulnerable – usable, but with safeguards against accidental rerouting or shutdowns.”

As Rush sees it, the shift to networked AV is now more structural than technical. It demands that AV and IT are one, or at least are working closely together, that systems are designed for integration rather than isolation and that manufacturers adopt a networkedfirst architecture. “We’ve been working closely with a number of our larger manufacturers to help make that happen,” he says. “They’ve got products across the entire AV stack – audio, video and control – that need to talk to each other, but they also recognise the importance of supporting the broader ecosystem of devices, so by building their platform on Dante they can accomplish both.”

Circling back to the initial question of interoperability, Rush highlights the often-overlooked importance of economics to the equation. “Interoperability without economics isn’t interoperability at all. If it’s not affordable, it’s not a real solution for users,” he argues. This doesn’t just mean the price of the products, but costs in a broader sense, in programming time, cabling and infrastructure requirements and support costs. “Programming costs time, and a dedicated switch costs money. Most people in this industry aren’t building proof-of-concept demos, they’re running businesses. What makes Dante effective is that it works, and it works – and scales –without blowing the budget.”

www.audinate.com

CONNECTING WHAT’S NEXT

The Dante Director interface

A century of sound

From a Chicago mail-order outfit to a global audio giant, Shure’ s 100-year journey is one of constant evolution

THERE ARE FEW CONSTANTS IN THE WORLD OF AUDIO. Formats change, technologies fade and the tastes of audiences evolve faster than the mediums that carry them. As a result, company lifespans are typically measured in years, at best in decades – almost never in centuries. It’s a privileged group that global microphone manufacturer Shure now finds itself among.

One hundred years ago in a single-room Chicago office, Sidney N Shure began assembling radio kits by hand, unaware that his name would one day be etched onto stages, studios and soundboards worldwide. The company bearing his name today is a long way from those humble roots, having evolved in tandem with the audio industry. Its century-long story is one of reinvention, resilience and, most importantly, trust.

“Reaching 100 years is rare. I had to look it up – less than half a percent of US companies make it this far,” notes Christine Schyvinck, Shure’s president and CEO. “But it’s not the age itself that defines us. It’s all the challenges we’ve faced, the changes we’ve embraced and the values we’ve carried through it all.”

From its earliest days, Shure has been at the leading edge of audio innovation. Shifting from radio parts supply to microphone manufacturing in the early 1930s with the introduction of the Model 44 condenser, Shure became one of a small handful of US microphone companies. Another early breakthrough came with the introduction of the Model 55 Unidyne microphone in 1939. Unique at the time, the single-element mic offered directional audio capture in a compact format. Instantly recognisable, it quickly became a fixture on stages and broadcast sets, earning the nickname “the Elvis mic” and helping to define how microphones looked, sounded and functioned for years after.

As the decades progressed, Shure continued to shape the industry. The Vagabond 88 hit the market in 1953 as the world’s first handheld wireless microphone system for performers. Then, in the 1960s, the infamous SM58 became a global standard for live vocal performance, while the SM57 – favoured by everyone

the form of the SM7 voiceover microphone – a product that now resides in the majority of podcasting studios throughout the world. One of the company’s defining traits in those early days was a reputation for durability, which the SM58 in particular exemplified with its rugged design, reliable performance and bulletproof construction. The phrase “you could hammer a nail with it” might be a cliché but, in the case of the SM58, it was not so far from the truth.

Durability, however, is no longer the primary reason customers favour Shure products in the 21st century, explains Schyvinck, who herself has been with the company for more than three decades. “What makes Shure special is how we’ve always listened,” she says. “We don’t just ask customers what they want – we go into their environments, observe how they work and then try to solve problems they might not even know they have. This leads to us making products that people trust.”

Today, Shure operates in more than 100 countries and serves an increasingly diversified user base, from musicians and broadcasters to content creators, IT professionals and enterprise clients. Maintaining a coherent identity across such a broad and complex organisation is no small task, but Schyvinck believes that the company’s culture is what holds it all together.

“I’m most proud that the Shure culture – our passion, our values and our care for the end user – has been successfully transplanted around the world,” she says. “Whether you’re in our office in Chicago or in Dubai or Singapore, you get the sense you’re among people who share the same mission.”

That global consistency is no accident. Shure began exporting as early as the 1930s, and by the time Schyvinck joined the company in the late 1980s, its revenue was already evenly split between the US and international markets. “That was unheard of for a company of our size back then,” she says. “It came from Sidney and Rose Shure themselves – they were very ahead of their time in their global outlook and inclusive approach to business.”

Schyvinck herself has seen Shure through many transitions, including some of its most difficult. One of the most dramatic came in the early 1980s, when the global phonograph cartridge market, then a key revenue stream, vanished virtually overnight. “It was a pretty devastating period,” she recalls. “But the company took a step back, refocused and moved into a new growth phase. That ability to pivot, to respond to external forces and come back stronger, has been one of our defining traits.” Through the 1990s and early 2000s, Shure continued to evolve alongside the industry. The launch of the UHF and SLX

Shure’s current president and CEO, Christine Schyvinck

wireless systems strengthened its live performance credentials. Then, in 2003, it entered the high-end studio market with the KSM condenser range. And in 2016, the Axient Digital Wireless System set a new standard for large-scale wireless audio, introducing features like quadversity, real-time interference avoidance and integrated control.

The global team has weathered numerous market shifts, from the rise of wireless technology to the digitisation of sound, and most recently the global upheaval caused by the pandemic. Yet each time, it has emerged more resilient.

“When we saw conferencing and enterprise AV growing around 2016, we initially thought, ‘this isn’t really for us’ – it felt like a different world,” she says. “But then the pandemic happened. Everyone suddenly needed to work in those spaces. It accelerated everything and probably gave us a 5- to 7-year jump in how we think about flexible working and audio needs.

“Had we still been only a pro audio company in 2020, when every venue shut down, it would have been devastating,” she continues. “But we had diversified into conferencing and corporate solutions, which kept us strong. Reinvention is part of our DNA.”

In the post-pandemic years, it has been the enterprise market offering the greatest opportunity. Solutions like the Microflex Advance series, Stem Ecosystem and IntelliMix Room have become cornerstones of Shure’s corporate AV portfolio, serving everything from boardrooms to hybrid classrooms.

“Fundamentally, the need is the same whether it’s a live show or a meeting – clear, reliable audio,” she explains. “If the audio isn’t clean, communication breaks down – especially now with AI transcription tools relying on crystal-clear input. Good audio has become mission-critical for organisations, and our legacy in sound naturally gave us an edge.”

Shure’s global presence has also grown significantly with Schyvinck at the helm. In APAC and the Middle East, local offices and hybrid distribution models have allowed the brand to respond more closely to market-specific demands, combining local expertise with global resources. “You can’t serve these

markets properly from Chicago,” she notes. “Which is why we’ve built up regional hubs in places like Shanghai, Dubai and Mumbai. These aren’t just sales offices – they are our eyes and ears in the field. You need to understand each region’s unique dynamics. What works in Japan may not work in India.”

The company’s renewed regional focus came in part as a response to the counterfeiting challenges that accompanied the global popularity of the SM58. Initial efforts to combat fakes revealed a deeper opportunity to improve service and engagement. With support from regional leaders Alan Chang, Antony Lovell and Eric Ong, Shure’s presence in APAC and the Middle East has grown considerably, bringing with it a closer connection to end users and integrators.

Internally, Shure has also formalised a commitment to its people with the launch of IDEA in 2021. The acronym stands for Inclusion, Diversity, Equity and Access. “It’s not a new idea for us,” notes Schyvinck. “This is a continuation of what Mr and Mrs Shure believed in. Inclusion is part of our foundation, and we’re building structures that help everyone grow. When

you have diverse teams who feel empowered to contribute, you generate better ideas. That’s essential for staying competitive, especially in an industry moving as fast as ours.”

Even as Shure celebrates a century of achievement, Schyvinck remains focused on the future, where the company sees the convergence of AV and IT, the impact of AI and new emerging use cases for audio as being key areas for future investment. “I think about innovation every day. What’s going to be the next

Shure Radio Company’s original home in downtown Chicago

The orginal advert promoting the new SM7 unidirectional mic

game-changer?” Schyvinck asks. “For example, what happens when people start having meetings in self-driving cars? What kind of audio environment and technology will that require? We must be thinking about these things now, so we’re ready to address them when they arrive.”

Having begun her career in Shure’s manufacturing operations before rising to CEO in 2016, Schyvinck’s journey with the company has been deeply personal. But does the weight of Shure’s heritage ever feel like a burden? “How can it not?” she replies. “But I have a fantastic team, and that makes everything easier. We’re very deliberate about who we bring into the company, how we onboard them and how we maintain our culture. We know that we’re custodians of something that is much bigger than ourselves.

certainly not the same place it was when I started 36 years ago. Some things we keep constant, other things we constantly change. Understanding that I think is how we’ve made it to a century,” she smiles. “The constant is that we make products that people trust. That trust isn’t built overnight. It comes from listening, from empathy and from not cutting corners. As long as we keep doing that, then I feel very good about our future.”

www.shure.com

COMPANY MILESTONES

1925 – Company founded

Sidney N Shure founds the Shure Radio Company in Chicago, selling radio parts via mail order

1931 – First microphones introduced

Shure begins manufacturing microphones, starting with the Model 33N two-button carbon mic

1939 – Introduction of the Unidyne microphone

The Model 55 Unidyne becomes the first single-element unidirectional mic, setting a new standard in microphone design and performance

1941 – Military partnership begins

Shure becomes a key supplier of microphones and headsets to the US military during World War II, establishing a reputation for ruggedness and precision

1951 – Model 55S “Elvis Mic” popularised

The 55S gains fame through high-profile use by artists like Elvis Presley and becomes a visual icon of 20thcentury music

1959 – First wireless microphone system

Shure introduces one of the first wireless mic systems for performers, the Vagabond, enabling greater stage freedom

1965 – SM series launch: SM57 and SM58 debut

These industry-standard dynamic microphones become ubiquitous in live sound and studio recording – and remain top sellers decades later

1981 – First phono cartridge for DJs

Shure releases the M44-7, a phono cartridge designed specifically for turntablism, becoming a fixture in DJ culture

1990s – Expansion into wireless systems

Shure’s UHF and SLX series expand the company’s footprint in live performance and professional AV markets

2003 – Launch of the KSM studio microphone line

Shure enters the high-end studio market with premium condenser microphones

2015 – Introduction of Microflex Advance

Targeting the corporate AV market, this line of ceiling and table array microphones supports networked audio and scalable integration

2018 – Acquisition of Stem Audio

Shure expands its conferencing portfolio to address hybrid meeting and education environments

2020 – ADX series and ShowLink remote control

The Axient Digital platform with real-time wireless mic management becomes a go-to for demanding live broadcasts and productions

2022 – MV7+ podcast microphone released

With USB and XLR connectivity, the MV7 becomes a favourite for creators, podcasters and hybrid workers

2025 – 100-year anniversary

Shure celebrates a century of sound innovation with limited edition releases, retrospectives and a continued push into future-forward technologies including AI, spatial audio and sustainable design

Director of sales for Southeast Asia, Eric Ong

Shure MEA’s Yassine Mannai and Antony Lovell celebrating the anniversary at this year’s ISE

Model 33N

Shure’s 1950s’ logo

SM58

SM57

Q

answer:

Martin Audio has expanded its 25-year-old Blackline Series, with both fullrange 2-way point source systems and column speakers featuring Differential Dispersion horns

COMPRISING FOUR passive 2-way point source loudspeakers, two column speakers and three passive subwoofers, the BlacklineQ Series from Martin Audio is described as “a comprehensive reimagining” of the company’s Blackline Series of loudspeakers. The series is designed to be equally at home in portable or install applications, such as portable sound reinforcement for live sound, theatre, DJs and corporate events, as well as permanent installation in clubs, hospitality venues, conference rooms and houses of worship.

Both the full-range, 2-way point source systems and column speakers feature Differential Dispersion horns which Martin says enables wider, more consistent coverage with less energy directed to the ceiling. A cloth-backed, screw-tight steel grille provides both protection and access to the drivers, while the larger speakers feature ergonomic handles finished in recycled ABS plastic. The technology focuses the energy in the top of the waveguide into a tighter horizontal pattern

for improved projection into the far-field. At the bottom, the opening angle widens out to cover the front of the audience. In addition, a slight downward angle has been incorporated into the waveguide design to direct more of the high-frequency content down into the audience and not upwards into the surrounding walls and ceiling. The result is reportedly less energy lost into the reverberant field.

Each of the Q8, Q10, Q12 and Q15 speakers can be deployed in horizontal or vertical format with comprehensive mounting options. The 8-inch Q8, 10-inch Q10 and 12-inch Q12 all feature a 1-inch HF exit, with a 1.4-inch HF exit for the Q15. The range also marks Martin Audio’s debut in column speaker design with the 2-way passive Q44 and Q26 offering options for both portable and fixed use. Both are finished with hard-wearing black or white paint and complemented by comprehensive mounting options. The 4x4-inch Q44 has a 1-inch HF exit, a peak SPL of 119dB and 100–120° x 40° (HxV) dispersion, while the dual 6.5-inch Q26 also has a 1-inch HF

exit but comes with 125dB peak SPL and 100–120° x 40° (HxV) dispersion.

Finally, BlacklineQ includes a suite of subwoofers, comprising the Q210 dual 10-inch, Q118 single 18-inch and Q218 dual 18-inch, which extend low-frequency performance across the series. The enclosures feature slot ports for efficiency in design while reducing noise turbulence, and each includes an M20 1.4-inch pole-mount fitting for integration with all loudspeakers in the series. In addition, the link out socket is positioned at the top of the cabinet, providing a convenient and discreet solution for connecting the cable for a BlacklineQ loudspeaker on a pole. Finished in hard-wearing black paint as standard, the Q210 is also available in white to match the white BlacklineQ column loudspeakers.

BlacklineQ is supported by iKON, VIA and sister brand Linea Research amplifiers; DX4.0, DX0.5 and DX0.6 controllers; and Display 3 prediction software.

www.martin-audio.com

Q15 horn

Alcons provides power and precision

ALCONS AUDIO has released two loudspeaker models aimed at different segments of the professional audio market. The GR20 is a compact point source system designed for high SPL applications, while the MR5 is a reference monitor intended for critical listening.

Created for high-output portable or installed applications, the GR20 is a 2-way, full-range system featuring Alcons’ proprietary RBN602 6-inch pro-ribbon HF driver, paired with two 10-inch neodymium woofers that incorporate the company’s Active Coil technology. The driver

arrangement is vertically symmetrical to support consistent projection and phase coherency. The system offers a peak SPL of up to 135dB and a frequency response of 54Hz–20kHz (±3dB).

The loudspeaker’s rotatable waveguide supports either 80° x 50° or 50° x 80° dispersion, enabling flexible placement in both vertical and horizontal orientations. Designed for use with Alcons’ ALC amplified loudspeaker controllers, the GR20 benefits from integrated VHIR processing and Signal Integrity Sensing, which compensates for cable and connector losses and maintains system damping.

The MR5, by contrast, is a compact reference monitor for studio and postproduction use, built

around the RBN202 2-inch pro-ribbon HF driver and a single 5-inch woofer. It is intended for applications requiring accurate, low-distortion monitoring over extended listening periods. The system’s frequency response is rated at 45Hz–20kHz (±3dB) and it offers a nominal peak SPL of 117dB.

The MR5’s 120° x 40° dispersion is achieved through a patented HempHorn waveguide, providing wide imaging suitable for immersive and multichannel audio systems. A ScoopVent design improves low-frequency extension and transient behaviour. Like the GR20, the MR5 is designed to be driven by Alcons’ ALC controllers, which supply DSP, amplification and centralised power.

www.alconsaudio.com

A professional Forum

WITH A 2.5-way loudspeaker design, Audac’s VEXO206 is the latest addition to the Belgium speaker specialist’s range of performance loudspeakers. Incorporating dual 6.5-inch coaxial low-frequency drivers and a 1-inch compression driver, the VEXO206 delivers 250W AES continuous power handling and a maximum SPL of 119dB. Audac says its extended frequency response from 69Hz–20kHz (±3dB) ensures

articulate vocal projection and immersive music playback in any setting. Suitable for use in a range of applications, its 15mm polyurea-coated plywood enclosure includes a custom U-bracket for both vertical and horizontal mounting, while its 90° x 110° coverage pattern ensures wide and even sound dispersion.

www.audac.eu

DESIGNED FOR DJs and making its debut at Ibiza’s legendary

in

the ESD312 delivers 3-way versatility while utilising just one amplifier channel. To enhance with a dedicated vertical mounting

BOSE PROFESSIONAL’S

Forum

loudspeakers are compact, full-range, point source coaxial loudspeakers available in 8- and 12-inch models. Designed for easy install in a range of commercial environments, both models feature a high-excursion coaxial driver and Beamwidth Matching Waveguide technology for consistent 110° x 60° coverage, while rotatable cabinets with square grilles adapt to flexible installation requirements. The units’ fully tuned passive crossovers mean no additional processing is required, they are

IP43-rated for indoor and protected outdoor environments, and both come with a variety of mounting options include U-bracket, surfacemount pan-and-tilt bracket, suspension rail and optional eyebolt suspension. The Forum FC108 is an 8-inch loudspeaker and has a frequency range of 53Hz–20kHz and 122dB max peak SPL. The 12-inch Forum FC112 features a frequency range of 48Hz–20kHz and 132dB max peak SPL.

www.boseprofessional.com

Climate protection

CREST AUDIO has added two coaxial enclosures to the IP56 ClimateGuard weatherresistant series. They range has been designed to protect from dust and particle ingression with the speakers reportedly capable of withstanding intense heat and extreme sun exposure, as well as driving rain and water jets.

The CG105CX is a 2-way coaxial passive speaker delivering 150W of continuous power with 600W peak. Providing both biamped and passive modes, the CG105CX uses a Beyma 5CX200Fe 5-inch coaxial woofer with 1-inch voice coil compression driver to deliver a frequency response of 96Hz–18kHz and a nominal radiation pattern of 70° conical.

The CG108CX is a 2-way coaxial passive speaker delivering 300W of continuous power with 1,200W peak. Providing both biamped and passive modes, the CG108CX uses a Beyma 8CX300Fe 8-inch coaxial woofer with a

1.75-inch voice coil compression driver to deliver a frequency response of 75Hz–18kHz and a nominal radiation pattern of 70° conical.

www.peaveycommercialaudio.com

Amnesia nightclub

All packaged up

DESIGNED AS a scalable package for large venues and open-air events, the Linear 5 MK2 High Power System from Germany’s HK Audio combines key components from the company’s Linear 5 MK2 series. At the heart of the system is the Linear 5 MK2 308 LTA mid/high unit, a horn-loaded, long-throw active speaker designed for wide dispersion and deep coverage. When combined in clusters or stacks, users can benefit from preset-based configuration and horizontal coverage.

HK Audio has paired this with the Linear 5 MK2 118 Sub HPA, a subwoofer with an 18-inch woofer and bass-reflex design. Fully networked with HK Audio’s free DSP control software, the package allows full remote management, user-created presets, component grouping and firmware updates, while the system’s DSP Out functionality allows non-networked loudspeakers to be integrated and managed within the same setup. The system also features cardioid filter presets for directional bass control and upcoming Milan audio networking compatibility. Marking an evolution of its POLAR column speaker system, the POLAR MK2 series is

a portable and compact column PA solution. Available in two versions, the POLAR 10 MK2 caters to up to around 200 people as a stereo setup, while the POLAR 12 MK2 can cater to up to 250 people. Meanwhile, both can be expanded with additional subwoofers from HK Audio’s SONAR series. The lowresonance column of both models contains

six 3-inch neodymium midrange drivers and a 1-inch tweeter with a constant directivity horn. Both also achieve 120° dispersion, with an accompanying subwoofer that delivers dry, precise bass without any artificial filters. Available in black or white, they sport ergonomic handles and an optional rolling board for mobile use. An integrated mixer offers two mic/line

Double up on Dragons and Dolomites

CAPABLE OF being used as a point source speaker or as part of a line array, the Dragon-KX12 MKI is described by K-array as a “radical reinterpretation of a coaxial point source speaker”. Featuring a 12-inch woofer and a 1.7-inch compression driver, the MKI version has a compact, stainless-steel chassis and 40° x 60° (VxH) coverage that can be rotated to optimise sound dispersion. When used in an array, the speaker leverages EBS (Electronic Beam Steering) controlled emission for more precise, electronically adjustable coverage. It has a max SPL of 133dB (peak) and is 800W power rated. Meanwhile, the Dolomite-KRD202P is a portable line array system composed of four modular KDL102 units measuring 1m, with each module housing 16 2-inch woofers, two

10-inch subwoofers and two 10-inch passive radiators. Each is crafted from stainless steel and wrapped in acoustically transparent fabric and is designed to adapt to a range of

applications including clubbing, live events and hospitality. Each unit boasts a solid iron base for stability, removable handles and protective caps for outdoor-rated performance. The complete bundle comprises four KD2L102P modules and a KA104LIVE amplifier.

The manufacturer has also announced that through a software update, it has adopted the Network Device Interface (NDI) protocol across its full line of Kommander amplifiers. The integration reportedly makes K-array the first professional audio brand to natively embed the NDI protocol directly into its amplifiers. It marks a significant advancement in AVoIP integration, as no external gateways, licences or additional hardware are required.

www.k-array.com

channels with gain control, a high-impedance instrument input (Hi-Z) and an aux/Bluetooth channel, as well as switchable phantom power to enable the use of condenser microphones. They feature three selectable sound modes, while five user presets allow users to customise their sound to any room and application. The POLAR MK2 series also boasts a master EQ, system delay and limiter and can also be paired wirelessly, without the need for additional cables or mixing consoles. Finally, an integrated USB-C charging port keeps smartphones, tablets or wireless microphone systems powered during

In brief, the manufacturer has released DSP Control version 4.1. The focus is on the new Milan integration for the Linear 5 MK2 series, which further expands HK Audio’s Milancertified loudspeaker portfolio. Linear 5 MK2 loudspeakers will now indicate Milan operation by inverting the preset LED. In addition, the fan control has been further developed for optimised, quieter operation.

Getting active – and passive – in sound reinforcement

THE SR Series is a line of eight compact loudspeakers and subwoofers from Theory Professional, specifically created for sound reinforcement applications. Designed to be installed discreetly and in tighter locations, the loudspeakers include ergonomic handles, multiple fly points, industry-standard mount points and pole cups. All eight are available in black and white, and in passive or active versions depending on the installation requirements. Optional upgrades include custom paint matching and weatherising on passive versions.

The first four SR Series loudspeakers are the SR-46.2, a quad 6-inch, 2-way multi-use loudspeaker with a tall profile providing 120° conical coverage; the SR-28.2, a dual 8-inch, 2-way multi-use loudspeaker with an 80° x 60° elliptical horn; the SR-112.2, a single 12-inch, 2-way multi-use loudspeaker with an 80° x 60° elliptical horn; and the SR-212.2 full-range multi-use loudspeaker with a built-in subwoofer featuring dual 12-inch and dual 8-inch loudspeakers.

The first four SR Series subwoofers include the SR-212LF compact bass-reflex subwoofer with dual 12-inch 1,400W woofers; the SR-215LF manifold bass-reflex subwoofer with dual 15-inch 3,600W woofers; the SR-218LF manifold bassreflex subwoofer with dual 18-inch 3,600W woofers; and the SR-221LF manifold bass-reflex subwoofer with dual 21-inch 3,600W woofers. In other news, the manufacturer has partnered with Powersoft, leveraging Powersoft’s patented Class-D amplification topologies, SmartRail energy-management power supplies, Power Factor Correction and advanced DSP architecture to launch four loudspeaker controller models. Designed to integrate Theory Professional systems into large and complex installations, the PLC Series features proprietary Theory loudspeaker presets, native Dante and AES67 AoIP networking, three configurable 1Gb network ports with one PoE, an easy swap USB key amplifier restore and are fully maritime compliant.

Comprised of two 8-channel and two 4-channel models, the Theory PLC loudspeaker

controller models include the PLC-4K8 featuring eight channels x 500W per channel; the PLC-8K8 with eight channels x 1,000W per channel; the PLC-9K4 with four channels x

2,250W per channel; and the PLC-16K4 with four channels x 4,000W per channel.

SR Series

Fulcrum Acoustic unveils first non-coaxial speaker line

BASED AROUND its Passive Cardioid Technology, Fulcrum Acoustic has unveiled the CC Series, a line of constant curvature subcardioid array loudspeakers designed to deliver clarity, directional control and rapid deployment across a range of professional applications.

The system comprises two full-range loudspeakers, the CC215 and CC230, offering 100° horizontal coverage with 15° and 30° vertical dispersion, respectively. A matching CCS118 subwoofer rounds out the system. Together, they provide scalable

performance in a compact form factor, optimised for versatility in venues requiring consistent coverage and high intelligibility.

The manufacturer’s Passive Cardioid Technology is said to effectively reduce low-frequency energy behind the enclosure without the need for additional DSP, drivers or amplifier channels. This enables system designers to maintain clarity and minimise rear spill in reflective or noise-sensitive environments.

The system also introduces the Medusa Waveformer, a new waveguide that allows

F-BOXing clever

SUITABLE FOR both interior and exterior use, the F-BOX Speaker Series from TOA Electronics Europe is a range of three speakers for commercial and safety-critical applications. Available in black or white, the F-BOX sports a flat, minimalist design and a clean, architectural enclosure that TOA says has been created to blend into modern environments. The product line includes a 3.5-inch single transducer model, 5- and 8-inch 2-way models, and an 8-inch subwoofer for extended low-frequency response. All models are designed for surface mounting on walls or ceilings, and include a temporary

docking mechanism, allowing installers to pre-position the speaker before wiring. An integrated angle adjustment system ensures precise sound alignment. Each speaker is also compatible with both low-impedance (8Ω) and high-impedance (100V/70V) systems, making the F-BOX Series ideal for scalable and hybrid installations. For outdoor or safetycritical applications, a weather-protected IP65-rated version is available, certified according to EN 54-24, allowing for use in voice evacuation systems.

www.toa.eu

all loudspeakers in the array to behave as a single, unified source. The result is reportedly a smooth response and tonal consistency across the entire coverage zone, whether deployed in small clusters or larger arrays.

Designed with the practicalities of realworld use in mind, the CC Series features lightweight construction, fixed angles and a variety of rigging options to support fast, reliable installation.

www.fulcrum-acoustic.com

Portable PA with more bite

COMBINING AN amplified subwoofer and a satellite speaker, the Raptor series is a line of audio systems from Spain’s Work Pro designed to provide highly portable sound reinforcement at smaller events. The Raptor 8 consists of a dual 8-inch subwoofer and a passive satellite, while the Raptor 10 features a dual 10-inch subwoofer and an active satellite. Both have a dual 5-inch satellite speaker plus tweeter mounted on a speaker stand coming from the subwoofer for ease of transport and quick setup, and both incorporate DSP-enabled amplifiers that allow advanced signal processing and feature configurable pre-equalised settings.

The Raptor 10 has a power-rating of 1,000W for the subwoofer and 400W for the satellite, while the Raptor 8 has a total power rating of 700W. In addition, the Raptor 8’s quick connection system means the speaker stand includes the satellite audio connection to enable ultra-fast installation without the need for additional cables.

www.workpro.es

Single driver boosts performance

AN UPGRADED version of the company’s CDX14-3030, the 1.4-inch ferrite magnet CDX14-3035 HF compression driver from Celestion is a single-piece titanium diaphragm driver that matches the performance of the company’s CDX14-3045. It features a power handling capability of 120W (nominal) and 240W (continuous), enhanced sensitivity of 108dB and a lower crossover point of 800Hz (12dB/oct). The CDX14-3035 also has a 3-inch diameter edgewound copper clad aluminium voice coil and features an enhanced surround shape for greater linearity with a high temperature polymer clamp ring that contributes to lower distortion. Engineered to be a drop-in replacement for 12-inch mid/bass applications, the Truvox 1225 mid-bass loudspeaker is a 12-inch driver that expands the company’s Truvox line. With a continuous power handling of 600W and a

rated sensitivity of 96dB, the Truvox 1225 cone is reinforced with fibreglass to increase its durability and a triple-roll surround ensures performance stability. Its 2.5-inch voice coil is made of copper clad aluminium with a polyimide former material and the ferrite magnet assembly was designed using Celestion’s in-house Finite Element Analysis (FEA) software. This enables engineers to create a computational model of the speaker’s behaviour in order to fine-tune its design. Described as ideal for 2- and 3-way sound reinforcement systems for DIY builders or as a drop-in replacement/ upgrade to rejuvenate overworked PA setups, the Truvox 1225 has a frequency response of 50Hz–4kHz and 8W impedance, and features front and rear mounting gaskets for maximum flexibility of installation.

www.celestion.com

A NEW HIGH IN THE LOW END

Designed and built in the UK, Ten Squared (Ten2) is a range of premium, low frequency loudspeakers. Engineered without compromise, they deliver consistently superior levels of performance in the most demanding professional sound reinforcement applications. All the time. Every time. 18, 21 and 24-inch models available.

Discover Ten Key Features that add up to a new standard in LF driver performance

Dynaudio rolls out Core update

DYNAUDIO HAS released firmware version 1.1 for its Core reference monitor series, promising a more refined low-frequency response and improved consistency across setups. The update brings a gentle lift in the bass region, specifically enhancing output around the port tuning and baffle step. The result, says the Danish manufacturer, is greater depth and definition in the low end, helping engineers make more confident decisions in critical listening environments. Firmware 1.1 is available now

for the Core 7, Core 47, Core 59 and Core Sub, and ensures better level matching with the recently launched Core 5 and Core Sub Compact. Dynaudio recommends all units

in a multi-speaker configuration be updated for optimal system alignment. To reflect changes in input sensitivity introduced with the update, the company is also offering

RENKUS-HEINZ HAS introduced the ICLX-48S, a high-performance column subwoofer that integrates seamlessly with the full IC Live X range of modular steerable arrays. It has been designed to match the form factor of the existing ICLX modules, allowing integrators to fly or wall-mount the sub alongside ICLX arrays in a single, cohesive column using standard hardware. The subwoofer is equipped with Renkus-Heinz transducers and a proprietary amplifier, and delivers low-frequency extension and musicality.

The manufacturer has also released the latest version of its control software, RHAON III. Described as the brain behind the entire Renkus-Heinz product ecosystem, RHAON III is built to deliver next-generation performance, scalability, usability and modularity. It integrates the manufacturer’s signature OmniBeam algorithm, while its “Snap to Audience” feature reportedly generates custom-tailored sound in seconds.

www.renkus-heinz.com

www.dynaudio.com

Full control with X-NET integration

BUILDING ON the legacy of the LAs118A, the LAs118A Plus is the latest evolution of NEXT-proaudio’s active front-loaded subwoofer series. At the heart of the LAs118A Plus is a network-capable Class-D amplifier module, which features onboard 96kHz DSP managed via the X-NET control platform to deliver real-time control and monitoring across multiple units in complex environments. Through the X-NET interface, users can adjust EQ, level, phase and delay, and create unlimited control groups, all with automatic network discovery and signal redundancy between AES or Dante inputs.

It also houses an 18-inch neodymium B&C long-excursion woofer, engineered for tight low-end response and consistent output under demanding conditions. When combined with the DSP architecture and FIR filtering, NEXT-proaudio says the result is precision low-frequency reproduction

Getting down whatever the weather

ITALIAN SPEAKER specialist RCF has unveiled a brace of cabinets designed for outdoor use with the S 19 WP and S 29 WP high-power weatherproof subwoofers. Finished with a black, heavy-duty polyurea coating and protected by a powder-coated metal grille, both speakers feature an acoustically transparent, water-repellent fabric discreetly embedded within the grille assembly and IP67 Amphenol Ecomate power connectors. The S 19 WP has a 19-inch hyper-vented neodymium woofer with a 4-inch voice coil and a bass-reflex design that RCF says delivers an efficient acoustic response down to 30Hz. It can handle up to 1,500W and 139dB max SPL.

Meanwhile, the S 29 WP uses a dual 19-inch cone subwoofer and delivers power handling up to 3,000W and 143dB max SPL, while its bass-reflex design ensures an efficient

with optimal phase alignment and tonal accuracy. The LAs118A Plus can be flown alongside LA210x or SP12 loudspeakers or used in independent subwoofer clusters.

www.nextaudiogroup.com

acoustic response down to 25Hz. Both units have an M20 pole-mount adapter on top of the cabinet, with handles on both sides. The enclosure can be ground-stacked and is cardioid-arrayable for improved rear rejection.

The Italian manufacturer has also released a firmware update for the SUB 9019-AS and SUB 9029-AS. The upgrade includes full RDTap support which enables contactless programming via RDTap, a dedicated app developed for iOS and Android that allows for extensive subwoofer configuration, both as single units or as part of a grounded system (up to three SUBs). In addition, each sub has an ACE (Advanced Crossover Engine) preset bank – the new firmware fully unlocks these presets for optimal, phase-aligned matching subwoofers and one or multiple top speakers.

www.rcf.it

Calrec releases Argo v1.4 software

Clear-Com expands Arcadia

ARCADIA VERSION 4 is the latest addition to Clear-Com’s flagship intercom platform, delivering expanded capacity, enhanced flexibility and streamlined connectivity for a wide range of professional AV applications. Arcadia’s latest firmware is said to bring even more value by introducing support for the V-Series IrisX panels. This allows users to deploy up to 32 panels with essential features via I.V. Ports, making advanced

CALREC’S V1.4 Argo software introduces a number of upgrades, including enhanced routing strip functionality that allows users to see every fader’s routing simultaneously on the touchscreen. The update also enables users to switch rows of physical controls to other strip modes such as EQ, Dyn or Pan, and enables Argo Q to support two sets of custom wild panels per section.

A new Tiles feature allows users to customise their up-stand meter layouts to add thumbnails, and Argo now supports a streamlined new workflow for Mix Minus that allows users to select any bus to send

to a channel’s mix minus output rather than just the auto-minus. It also adds the ability to select a different output when the fader is closed to when it’s open and allows users to “interrogate” the console to access routing information of busses being used for a path’s main output. The update also supports DAW control of MIDI on the Argo platform and makes improvements to NMOS Control, status updates and monitoring, and interfacing with Calrec Connect.

www.calrec.com

keypanel workflows accessible without requiring a full matrix frame. For users requiring advanced configuration, Arcadia also now introduces a flexible port

A truly portable Disguise

AVAILABLE IN a software-only format for the first time, X1 is a portable version of the Disguise Designer that requires no proprietary media servers and can run directly on a creator’s own laptop or hardware. Developed for professionals delivering small- to medium-sized live events such as concerts, theatre productions and corporate brand experiences, X1 gives users access to the same Designer tools used on large productions in a portable format to previsualise, sequence and control headline shows wherever they are.

With Disguise’s RenderStream protocol, show visuals can be imported into Designer from any real-time graphics tool, including Notch, Unreal Engine, TouchDesigner and Unity. X1 also includes a ready-to-use and ever-expanding content pack, featuring high-impact Notch and TouchDesigner effects that are created in-house by Disguise’s Creative Services team. Each look can be rendered as a high-

allocation model, allowing HelixNet and I.V. Ports to be dynamically adjusted depending on system needs. This shift gives users the ability to optimise their setup with up

to 32 I.V. connections, maximising system resources without adding hardware.

www.clearcom.com

RME enhances driver options

RME HAS announced updates to its macOS USB 3 interface lineup to provide compatibility for Apple Silicon devices. These updates include advanced driver support, firmware improvements and a simplified user experience. The manufacturer now offers three driver options for macOS with Apple Silicon and USB 3 interfaces, including the Fireface UFX III, MADIface XT II, Digiface Dante and Digiface

Ravenna: DriverKit architecture (Apple’s modern and recommended approach); Kernel Extension driver (a legacy option that currently is still functional); and Class Compliant (CC) mode (Apple’s built-in audio driver, now controlled by RME’s settings dialogue and TotalMix FX).

These latest developments make CC mode a practical fallback option for systems experiencing audio issues, while retaining the familiar RME

interface functionality. TotalMix FX became fully operational in CC mode, providing users with the flexibility and control they expect from RME interfaces. However, CC mode remains limited in features, like fixed safety offsets and no playback data visualisation in DigiCheck NG, and higher latency than RME’s own drivers. Additionally, Digiface Dante and Digiface AVB now use Apple’s native network driver for their

quality video ready for seamless playback and looping, and X1 also enables users to preview content on a 3D replica of their stage or environment. In addition, the Designer timeline enables users to schedule and edit all the visuals needed to run their show or experience live. For robust uninterrupted playback in critical live environments, users can also rely on Disguise’s critical redundancy features, with built-in 1:1 failover for added security. Each X1 licence instance enables one 4K DCI video output. This is issued to a Codemeter USB licence key to be attached to the node used for video playback. Disguise says it means users can easily take it on tour to use with a laptop. Meanwhile, if users do need more powerful hardware for a larger show, they can easily transfer show files from X1 to a Disguise server, and the same works in

internal network port, eliminating the need for third-party software and streamlining installation. Switching to CC mode for Digiface Dante and Digiface Ravenna is described as quick and easy, performed through the Mac Firmware Update Tool by selecting or deselecting the newly added CC mode option.

The latest firmware updates address key USB 3 issues and enhance stability during intensive audio, MIDI and network usage. Improved driver deinstallation further ensures a clean system environment, preventing conflicts between legacy and modern drivers.

www.rme-audio.com

Argo S

Passes for precise planning

HOME 4.0 is an update to Lawo’s scalable HOME platform the not only introduces a number of architectural enhancements, but more streamlined and transparent licensing with the introduction of HOME Passes. With native support for SMPTE ST 2110, AES67, NMOS IS-04/05, IEEE 802.1x, RADIUS and more, HOME serves as the central control layer for modern IP-based workflows. Built on cloud-native microservices, it allows users to connect, configure and control all HOME-native devices from Lawo and its ecosystem partners. Aiming to enable more precise planning and cost control, Lawo’s HOME Passes replace

all previous HOME Core licences. One HOME Pass is required per actively managed device or HOME App in the platform’s inventory, which Lawo says is beneficial in dynamic infrastructures where system size may fluctuate, resulting in the need for fewer physical devices and lowering licensing costs. As infrastructures grow, additional devices can be licensed easily and on demand. HOME Passes are available both as permanent licences and via Lawo’s FLEX subscription model using credits.

The 4.0 update also makes the HOME software available at no cost, allowing users to deploy HOME in smaller or temporary environments without any initial licensing investment. To further streamline onboarding, all newly purchased Lawo devices and HOME Apps based on HOME 4.0 or higher now include the required HOME Passes, simplifying setup and ensuring immediate compatibility within a HOME-managed IP infrastructure. Lawo has also put an upgrade path in place for existing users who wish to transition to the new version.

www.lawo.com

Studio to stage in two clicks

SPATIAL AUDIO specialist TiMax has expanded the audio capabilities of its TiMax SoundHub spatial audio platform with Scaling Surfaces, a tool that allows users to rescale a spatial show file from a studio playback environment to any auditorium with just two mouse clicks.

Scaling Surfaces enables users to rescale an entire show for a new venue by simply changing the Scaling Surface size, shape and height. TiMax says that when an object is attached to a Scaling Surface and that surface is moved, all spatial positioning and movement automation for that object, across the entire show file,

The secret ingredient

OPTIMAL AUDIO has announced the latest upgrade to WebApp, described as “the secret sauce” of its commercial audio ecosystem for small to medium-sized venues. WebApp 1.5 delivers sync speed improvements for smooth and fast operation for both systems integrators and venue staff.

Within Auto naming, WebApp will now make suggestions for the names of sources, inputs and outputs where previously a user would manually add the names. This added intelligence enables “field entries” to be named quickly and intuitively, based on options from both a library of preset names and from the zone name, routing and speaker preset. In addition, the Talk 8 digital paging station can now be integrated into a venue’s daily routines. Audio files and announcements stored in the 8-zone digital

Audinate extends configuration options

THE DANTE Device Link from Audinate is described as a new technology for manufacturers that extends device configuration options. It is an extensible connector so that parameters such as gain, equaliser settings, phantom power enablement and fault detection can be managed through Dante Director. This allows manufacturers to broaden options for device configuration, as well as meeting objectives for cloud-based management tools. As the Dante Device Link ecosystem matures, this will enable scene-based system configurations, allowing Dante rooms to be swapped between presets; configuration templates, allowing routing and AV settings to be replicated throughout common room configurations; and recovery or replacement of AV system configurations.

By utilising Dante Device Link, manufacturers can take advantage of Audinate’s investment in cloud-based AV device management. For manufacturers who may not want to build bespoke and isolated management tools, this

offers a convenient way to adopt a cloud-based strategy. For manufacturers who have already built cloud toolsets, Audinate’s cloud service features from Dante Director are easily integrated using an available API.

Manufacturers such as Audio-Technica US, Elytone, Focusrite, SoundTube, Stewart Audio, Studio Technologies and Yamaha have signed on as early adopters of this technology. Select devices from these manufacturers will be the first to support advanced control features.

Audinate has also announced that Dante Media Encryption is now supported in the latest firmware releases for the Dante Embedded Platform (DEP) and Brooklyn 3 modules. The update brings AES256 audio encryption to a wide range of Dante-enabled products, delivering secure audio transport with zero added latency.

Meanwhile, Dante Director now manages encrypted media flows with a built-in Key Management System (KMS) that securely generates, distributes and rotates keys, ensuring they’re shared only between devices actively

paging station can now be assigned to a routine, such as a school bell or a marketing message in a retail store. This routine can either be triggered manually from WebApp or assigned to a time-ofday routine for automatic playout. Similarly, when using a ZonePad 4 in single zone mode, the Zone buttons 1–4 can be assigned as routines for instant message replay, along with other routine parameter changes like source and volume. The update also brings built-in presets for Optimal Audio’s latest hardware arrival, the Sub 18. As with all updates to WebApp, the companion offline tool, WebApp Desktop Demo, has also been updated so users can get familiar with all functionality of WebApp without the ned to be connected to a system.

www.optimal-audio.co.uk

moves with it. With eight drag handles and direct manipulation controls, users can resize, reshape and reposition spatial surfaces in a similar way as an image in a photo editor. Users can also distribute content without knowing the absolute scale of the playback environment or system, which provides increased flexibility. They can also utilise more than one Scaling Surface in a file – for example to cover a stage and separate auditorium area, where the two Scaling Surfaces needed to be resized separately.

www.timaxspatial.com

participating in a media flow, and reducing risk through automatic, regular rotation. Administrators gain fine-grained control over how encryption is enforced, with flexible channel-level policies that support both secure and legacy devices. This allows organisations to strengthen their security posture over time without disrupting existing deployments. It’s especially valuable in environments with heightened compliance needs – such as financial institutions, public sector networks and university IT systems – where

encrypted and unencrypted devices often need to operate together within the same system.

In Dante Controller, users can view real-time encryption status for each device in a Directormanaged site, with clear indicators for supported endpoints giving teams the clarity they need to confidently manage secure AV systems.

In brief, Dante Via v1.4 and Dante Controller v4.16 are now available.

www.getdante.com

Dante Device Link

HOME Passes

“Every single recording I've ever done, some aspect of the drums has gone through a Neve. It’s been a huge part of my sound.”

ASH SOAN | ICONIC UK DRUMMER | SNOW PATROL

Datavideo updates the VoiceTRX100

DATAVIDEO HAS announced a firmware update for its VoiceTRX100 automated voice tracking system. Version 1.0.1 brings a suite of features that are said to streamline deployment, improve interoperability and give integrators deeper control across diverse AV environments. Included in the update are DVIP command support for loading and querying profiles remotely; sticky microphone selection in the Actions page; full factory reset via web UI for a quick reinitialisation during site changes; profile deletion directly from the management interface; expanded AI tracking controls including framing, figure size and speed parameters; and integrated tracking on/off switch within the camera UI.

Other benefits include a manual focus adjustment with narrow depth of field camera presets, an updated PTZ navigation using directional buttons in WebUI; profile import/ export for duplicating setups across multiple locations; and a built-in NDI router for more efficient signal flow over IP networks. There is a metric/imperial system toggle for Shure MXA XYZ compatibility, resizable zones in the Shure MXA UI, support for Shure MXA901 XYZ zone mapping and a streamlined zone creator UI for Sennheiser Team Connect mic arrays showing elevation.

www.datavideo.com

Up and running at speed

AIMING TO make it easier and faster to specify and integrate EAW systems, the UXA4807D is an addition to EAW’s UXA Installation Series of amplifiers and features onboard processing called Greyboxes. Preloaded with all settings needed to support EAW loudspeakers, Greyboxes can be assigned to each output from a pull-down menu, enabling users to adapt EQ, limiter/ compressor and delay settings to fine-tune the installation. Multiple input signal formats

come as standard with Dante, analogue and SPDIF signals available in the UXA4807D’s input matrix mixer. To eliminate tampering, there are no front panel controls and amplifier control is accomplished using a web browser connected to the amplifier’s integrated Wi-Fi access point or hardwired TCP/IP connection. For larger systems, multiple UXA amplifiers can be monitored and controlled with EAW’s Resolution 2 software.

www.eaw.com

Getting amped for mobile use

WITH THE integration of its amplification and processing technology into selected LD Systems ADA amplifiers, the Adam Hall Group has announced a strategic partnership with Italian sound specialist Powersoft. The partnership starts with the introduction of Powersoft’s Class-D topology, advanced DSP and network control into the ADA series of 4-channel DSP touring amplifiers with Dante integration. Designed for professional touring and installation applications, the LD Systems ADA series comprises the ADA 8 K4 and ADA 12 K4 models. Adam Hall says the leveraging of Powersoft’s advanced technologies enables the ADA series to offer adaptive voltage management with Powersoft’s Power Factor Correction for universal mains operation, as well as low idle

simplifies configuration.

www.ld-systems.com www.powersoft.com

THE COMTECH D Series from US audio specialist Crown is a flexible line of powersharing amplifiers boasting Dante I/O, built-in DSP, Lo-Z/Hi-Z switching and an accessible web configuration interface. Available in 2-, 4and 8-channel configurations, each model can deliver amplification of 125W per channel when all channels are driven equally; however, power sharing enables individual output channels to scale up or down in power, distributing the total output power of the amplifier to meet the needs

of its attached speakers for additional flexibility. Built-in DSP allows outputs to be tuned for every application and provides the ability to create custom speaker tunings. ComTech D amplifiers also include a suite of monitoring tools including a source priority mixer, input pilot tone monitoring and output load monitoring to help maintain line integrity. The GPO provides a dedicated contact closure to monitor these tools as well as amplifier health and power status. Meanwhile, a WebUI enables setup without additional software and is accessible via any web browser. The 2- and 4-channel models are 1U, ½-rack width devices, while the 8-channel model requires 1U of space.

www.crownaudio.com

OPTIMISED FOR mobile and installed applications, d&b audiotechnik has expanded its amplifier portfolio with the D25 and 25D. Boasting the same feature set as d&b’s more powerful D90, D40 and 40D amplifiers, both deliver full Milan networking to provide more streamlined configuration and enhanced interoperability for users, as well as driving wider industry adoption. Meanwhile, support for the full suite of d&b software solutions delivers features like ArrayCalc, ArrayProcessing, NoizCalc, R1 remote control and d&b HeadroomCalc. Designed for smaller applications, the units provide the optimal output voltage for mid-sized sound reinforcement requirements and provide a fully integrated d&b system when combined

with d&b loudspeakers. They both feature a 4.3-inch colour touchscreen for intuitive device configuration and real-time status monitoring, are housed in a compact 2U form factor and support up to 16 input channels, including eight Milan input channels, four analogue inputs and four

DESIGNED TO embody Adamson’s “vision for smart amplification, where power and control unite into a single intelligent system hub”, the XG Integration Amplifier line from Adamson is available in 1U and 2U models and in 4- and 8-channel configurations. Delivering up to 16kW of Class-D amplification in its 2U form factor, it combines native Milan-AVB for audio and control over a single cable. XG amplifiers also feature integrated DSP, comprehensive GPIO, interactive touch displays, open-source control protocols and integrated protection and monitoring. Crucially, the company says it enables endto-end Adamson system interoperability

AES3 channels with corresponding link outputs. The installation-focused 25D version also includes dedicated Euroblock connectors for GPIO and a fault contact, providing eight GPI and four GPO pins for additional control functionality. In other news, the manufacturer has also released Create.Control standalone software designed to enhance the creative use of the d&b Soundscape ecosystem. Available as a free download, Create.Control introduces a dedicated interface for object-based mixing, supporting offline pre-production and live show environments. Create.Control enables sound designers, engineers and creatives to plan and manage Soundscape projects independently of the main R1 control software, allowing systems engineers to maintain control of core configurations while allowing visiting engineers to access and manipulate creative content.

The software removes the need to share system interfaces, simplifying collaboration by offering compatibility with personal devices and software setups. Features include project creation, sound object management, animation, snapshots, transitions and a configurable patch panel. Create.Control integrates with the existing d&b workflow, complementing tools such as ArrayCalc, En-Scene and En-Space, and aligning with recent developments including scalable I/O options for the DS100 and DS100M, and redundancy packages.

www.dbaudio.com

for a larger portion of Adamson’s product offering.

www.adamson.ai

Levelling up the Ecosystem

AIMING TO support a range of meeting spaces with specialist conferencing equipment, Shure has announced a brace of products to further develop its Microflex Ecosystem. Firstly, Shure has made the touchpanel from its IntelliMix room kit available as a standalone base kit. The company says the IntelliMix Foundation System

high-resolution touchpanel provides intuitive meeting control. Paired with Microflex Ecosystem solutions, it can be configured using Shure Designer software and managed from anywhere via ShureCloud.

enables AV professionals to mix and match its portfolio of Microflex microphones and loudspeakers, as well as complementary third-party camera and control products. Designed to deliver audio and video coverage for small to large meeting rooms, the IntelliMix Foundation System is certified for Microsoft Teams. It features built-in IntelliMix Room DSP that is optimised for Shure products, and its

Shure has also announced the introduction of the Microflex MXN-6 networked pendant loudspeaker. Combined with Microflex Advance array microphones and IntelliMix DSP, the PoE-powered MXN-6 fits in a Shure-networked conferencing audio system with no need for an additional amplifier. Optimised for voice standards-based security protocols

and protecting data, including 802.1X authentication and AES audio encryption. With the Designer 6 system configuration software, users can design and deploy every device within the Microflex Ecosystem signal chain and remotely manage device status through ShureCloud.

www.shure.com

Total recall with SSL Oracle

DESCRIBING THE launch as fulfilling a “decades-long dream”, Solid State Logic has unveiled its latest innovation in professional audio console technology with Oracle, a futurefocused analogue console that promises to redefine hybrid studio workflows. Blending SSL’s sonic character with instant and complete recall, Oracle introduces the manufacturer’s new ActiveAnalogue technology to the market.

Designed to meet the needs of modern producers, engineers and studio owners, Oracle combines the tactile experience and warmth of a large-format analogue console with the flexibility and speed of digital control. Available in 24 or 48

switchable E/G Series 4-band parametric EQ, integrated processing from THE BUS+ and SSL’s dynamic EQ, and an architecture that accommodates tracking, overdubbing and mix workflows. The desk also supports advanced DAW control through SSL 360 integration and dynamic automation, while immersive-ready monitoring options and assignable fader paths increase its versatility for modern production environments. All analogue circuitry is housed in one or two 13U racks, allowing for remote or under-console installation. The accompanying O-Control app enables offline session preparation and console configuration.

mono channel configurations, Oracle delivers up to 112 inputs at mixdown, packed into a footprint similar to the manufacturer’s AWS series. At the heart of Oracle is ActiveAnalogue, a system that provides full analogue signal paths with digitally controlled recall and reset across every routing, gain and processing parameter. The system enables rapid session changeovers and workflow adjustments, removing the longstanding challenge of manual recall in analogue environments.

Feature highlights include SSL’s next-generation PureDrive mic preamps with “Drive” control,

Oracle’s sonic profile is described as “reflecting SSL’s legacy while expanding its tonal palette”. It brings together design elements from the classic E, G and J/K series with the latest developments in SuperAnalogue and driven circuit topologies.

The manufacturer has also released the System T Flypack TCA, a fully fledged, broadcastgrade, 256-path audio console in a compact package, along with a fully native ST 2110 card into its System T ecosystem.

www.solidstatelogic.com

Oracle

IntelliMix Foundation System

The master of patch Tasker extends CPR-approved products

PatchMaster series, Klotz AIS has released what it believes to be the world’s first dualshielded patch cable with ultra-compact, maintenance-free connectors for studio-grade signal transmission. The space-saving and maintenance-free ¼-inch jack plug is made from impact-resistant zinc die-cast. A specially developed extrusion machine is used in the connector’s production.

protection. Despite this complex structure, the PatchMaster cable is described as extremely flexible and easy to route thanks to its round shape. The inner conductor is made of 99.9% oxygen-free copper (OFC), and the cable boasts an ultra-low capacitance of just 8.0pF per 10cm.

www.klotz-ais.com

NEUTRIK HAS introduced its essential Data Cable series of HDMI and USB-C cable sets. The range includes both “passive” and “active” cable sets to provide connectivity over a range of distances up to several metres long. Two high-speed Cat3 cable set variants feature 48Gbps data transfer rates, providing for uncompressed HDMI 2.1b feature support for 8K/60Hz and 4K/120Hz UHD resolutions and fast refresh rates, and supporting up to 10K resolution with DSC for commercial AV and wider industrial applications.

The “passive” HDMI 2.1b cable sets are suitable for transmission lengths of 0.9–5m, while the “active” variants employ the latest AEC (Active Electrical Cable) technology and deliver the same specifications over cable runs of up to 12m. The new AEC plug-andplay technology incorporates “active” signal

WITH ITS soft-touch HTPE outer jacket and high-purity copper core, Sommer Cable’s SC-Binary 225 cable is attempting to prove that rugged doesn’t necessarily have to mean rigid. Said to be more than just a feel-good product, the AES/EBU and DMX cable has been engineered for use in demanding environments while also offering superior handling and flexibility.

Designed for use in both temporary and permanent installations, from stage setups and broadcast studios to lighting systems, the SC-Binary 225 brings a combination of durability and environmental awareness. The halogen-free, UV-resistant HTPE jacket is not only biologically

cable assembly, and provides cost and energy consumption advantages in achieving lossless high speed data rates over medium cable lengths that previously required more cost-intensive, higher energy-consuming active fibre-optic cables (AOC) technology.

The cable sets employ three different USB specifications. The USB-C 10G AEC offers data connectivity up to 10Gbps and 60W power delivery between devices over long distances, with cable lengths ranging from 1.5–5m. The USB-IF certified USB-C 40G transmits up to 40Gbps and 240W power supply between devices with a 0.8m cable length. The USB-IF certified USB-C 480M charging cables complete the lineup, offering 480Mbps low data transfer and 240W high

come with braided shielding to avoid signal interferences and include the TSK1112 CPR Cca 2x1mm², TSK1113 CPR Cca 2x1.5mm², TSK1115 CPR Cca and two other models up to

Four digital multipair cables have also been released, starting with the TSK902 CPR Cca 2x2x0.22mm². The TSK904 CPR Cca, TSK908 CPR Cca and TSK912 CPR Cca respectively have four, eight and 12 pairs. In addition, there are three digital audio models with integrated power line: the C283 CPR Cca 3x1.5mm² with one DMX and power, the C284 CPR Cca with double DMX and power and the C290 CPR Cca 3x2.5mm² with double DMX and power. Finally, the company has strengthened its broadcast range with the TSK1078 CPR Cca, TSK1079 CPR Cca and TSK1080 CPR Cca for 12G-SDI video signals at 4K resolution for distances of 60m, 80m and 100m respectively. They are also available with CPR B2ca homologation.

ranging from 0.5–3m.

www.neutrikgroup.com

featuring an aluminium-coated fleece paired with dense copper braiding delivers protection from electromagnetic interference across long distances. The inner conductors, meanwhile, use 99.99% oxygen-free copper (6N OFC), resulting in high bending resistance and an extended operational lifespan.

Available in bulk or as a preassembled connection cable, the SC-Binary 225 can be paired with HICON XLR connectors housed in a conductive metal shell. An optional version featuring an integrated Relyos chip offers smart inventory tracking capabilities.

www.sommercable.com

USB-C 40G

At the CORE of music

DPA MICROPHONES has upgraded its DPA 4099 instrument microphone with the 4099 CORE+, which claims to deliver a wider dynamic range, enhanced sonic transparency and advanced distortion-reduction technology. Aiming to retain the signature character of the 4099, the 4099 CORE+ has 10dB of added dynamic range and a higher clipping point than its predecessor.

In addition to the CORE+ upgrade, the company has also redesigned the 4099’s mounting system. DPA’s Gooseneck Mount (G-MOUNT) integrates a 2-step locking mechanism that allows for mic placement with one hand and improves vibration isolation and stability, and is backwards compatible with many existing DPA clips. Select clips, such as those for cello, piano and microphone stands,

Royer’s R-12 brings premium ribbon performance to new price points

BUILT FOR studio and stage alike, the R-12 active ribbon microphone from Royer Labs combines the brand’s well-known sonic character with practical enhancements such as onboard bass-cut and pad switches at an accessible price point, opening up pro ribbon audio capture to a broader user base.

Biamp eliminates mic hassles

ADDRESSING THE friction of traditional audio reinforcement in presentation environments, Biamp has launched Parlé Presenter Lift. Using ceiling-mounted Parlé Beamtracking microphones and enhanced signal processing in Tesira DSPs, the solution

captures and amplifies presenters’ voices from above, eliminating the need for handheld, overear or lavalier microphones. Designed for use in classrooms, lecture theatres and multipurpose spaces, the system allows presenters to move freely without compromising intelligibility. The accompanying Presentation Designer tool simplifies system configuration and optimises microphone placement across large rooms. On the software side, Biamp has expanded its cloud-based Workplace platform with four new features that support every stage of the AV lifecycle, from initial system design to deployment and troubleshooting. Location View offers visual monitoring of AV assets via interactive maps of buildings and campuses, while Workplace Designer brings cloud-based room configuration tools to any browser, complete with reusable templates. For remote diagnostics, Workplace Command allows technicians to access and control Tesira DSP functions offsite, and the new Workplace Tools mobile app delivers on-the-spot NFC-based system insights, including when devices are powered down. The company has also expanded Workplace compatibility, with Impera control processors and Apprimo touch interfaces joining the 50+ supported products across the platform. Headlining a series of conferencing updates is the Vidi Content Cam 250, a 4K whiteboard camera purpose-built for Microsoft Teams

Rooms. Supporting both wall and ceiling mounts, with coverage for whiteboards up to 3.6m wide, the camera uses translucent layering and automatic keystone correction to

ensure handwritten notes and diagrams are clearly legible to remote participants, even when someone is standing in front of the board.

The manufacturer has also introduced People Gallery Tiles and Room View for its Vidi 280 and Parlé VBC 2800 conferencing bar. Powered by AI, these features individually frame in-room participants as separate video tiles, giving each contributor an equal presence onscreen. Speaker tracking ensures the active talker remains highlighted, while Room View adds a full-room perspective for added context. Lastly, the EasyConnect MPX 250 further enhances bring-your-own-meeting (BYOM) spaces, enabling content sharing and dualdisplay video calls via a single USB-C cable. The MPX 250 supports up to 16 connected devices and integrates with Biamp Workplace for remote management. An optional extension kit simplifies cable routing and supports flexible layouts from huddle rooms to boardrooms.

www.biamp.com

The R-12 features the same 2.5-micron aluminium ribbon element found in Royer’s R-121, offering a natural, nuanced sound and the ability to handle SPLs up to 160dB. What is said to set the R-12 apart, however, is its active onboard electronics and transformer design, delivering condenser-like output levels ideal for use with vocals, acoustic instruments and quieter sources – regardless of preamp or interface.

The R-12 features the company’s proprietary onboard phantompowered electronics circuitry mated to a beefed-up transformer, which combine to deliver condenser microphone output levels suited for recording vocals, acoustic instruments and other quieter sound sources.

The R-12’s active electronics are also said to place “a perfect load” on the ribbon element at all times, enabling the microphone to deliver full sonic potential regardless of the preamplifier or DAW it’s plugged into. By engaging the R-12’s switchable –15dB pad, the mic’s output level drops to that of Royer’s non-powered R-10 ribbon mic, which is preferable for louder instruments like drums and high-volume electric guitars where more headroom is needed.

The R-12 is also outfitted with a switchable high-pass filter tuned to reduce low-end proximity buildup and rumble, making it a good choice for capturing vocal performances, close-miking instruments and loudspeaker cabinets.

Internally, the R-12 includes a shock-mounted transducer and triple-layer windscreen system to protect the ribbon from plosives, handling noise and sudden air blasts. The design ensures longterm durability while preserving sonic integrity in both live and studio environments.

www.royerlabs.com

Going solo

CATERING TO solo creators, Sennheiser has launched a lightweight and ultra-portable 1-channel version of its Profile Wireless 2.4GHz all-in-one microphone solution. Sennheiser says the 1-channel version covers typical usage scenarios of solo creators, while allowing for later expansion of the system by including the same 2-channel receiver as the Profile Wireless 2-channel system. With an operating time of up to seven hours and 16GB of memory for up to 30 hours of internal recording, the mic requires no app for setup and can be used on cameras, smartphones and computers. It can also be combined with a lavalier microphone or used as a wireless boom. The Profile Wireless 1-channel mic system comes in a pouch that includes

and magnetic mount, a 2-channel receiver, two USB cables, USB-C and Lightning adapters, a camera cable and a shoe mount adapter. Sennheiser says it has also addressed user requests with a 32-bit float firmware update for all Profile Wireless systems. For 32-bit float recording, Profile Wireless combines the audio signals of the two A/D converters inside the Profile Wireless mics to create a single 32-bit float audio stream. Creators who prefer 24-bit recording still have the option to deactivate 32-bit float recording and turn on the Safety Channel Mode. This will output a –6dB version of the audio in addition to the original sound level to help protect against clipping.

Vidi Content Cam 250

Riding on a wave

WILLIAMS AV has launched the Digi-Wave T410, a handheld microphone transceiver t h at delivers secure, full-duplex wireless communication, without the need for a fixed sound system. Engineered for tours, interpretation, training sessions and mobile presentations, the T410 is reportedly the first portable solution to combine the power of 2-way audio with the simplicity of a familiar microphone form factor. It provides clear, natural communication in any environment, with

Seeing in red

FOCUSRITE HAS released the RedNet TNX, a flexible Dante interface that delivers high channel counts, ultra-low latency and audio workflows to any PC or Mac with an available Thunderbolt connection. It enables users to pass audio via Dante to and from a computer without having to install a PCIe card. Designed to handle large recording sessions and postproduction work including Dolby Atmos and other immersive formats, the RedNet TNX’s combination of ultra-low round-trip latency, easy setup and scalable flexibility makes it suitable for recording studios, schools, venues and broadcast facilities.

The interface offers 128x128 channels of lowlatency, 24-bit/192kHz audio, with the optional Dante Ready payable upgrade expanding the RedNet TNX to 256x256 channels at

no speakers, amplifiers or installation required. This is the third addition to the manufacturer’s Digi-Wave product line. Full-duplex 2-way audio enables users to speak and listen simultaneously without relying on a venue’s sound system, making it suitable for multilingual interpretation, dynamic training and interactive group communication in any setting. The unit includes the full feature set of Digi-Wave’s Advanced Communication Mode (ACM) and Advanced

24-bit/96kHz. Its single-cable connectivity makes it particularly valuable for high-channelcount workflows involving multiple users.

three user access levels: Super Lock (prevents changes during handoffs), Basic Lock (shortcut access for experienced users) and Unlocked (full administrative control). The transceiver is fully compatible with all Digi-Wave 400 Series receivers and transceivers and supports both scheduled events and impromptu communication with consistent,

www.williamsav.com

desktop or laptop systems into live rigs with minimal setup. The RedNet TNX also integrates with RedNet Control, allowing unified control and monitoring of all RedNet devices via a single application.

Its built-in network interface supports both audio and control data through one rear-panel Ethernet connection, while a second RJ45 port enables switched or redundant modes for added flexibility and resilience in mission-critical environments.

For broadcasters, the RedNet TNX offers support for Dante Domain Manager and the latest AoIP standards, including AES67, as well as compliance for SMPTE ST 2110 (DDM required).

www.focusrite.com

Pliant Technologies mans the Crew V Series gets in the Zone

PLIANT TECHNOLOGIES has unveiled a series of product updates to its CrewCom wireless intercom range, debuting a Dante/ AES67 interface, a compact multi-bay battery charger and an in-ear headset aimed at professional users.

The PBT-6BAY-01 is a 6-bay battery charger tailored for the CrewCom lithium-polymer battery. Built for environments with high turnover and tight timelines, the charger enables users to power up to six batteries simultaneously, from empty to full in 2.5

Headlining the announcements is the CXD-32CF digital audio network interface, a 32x32 I/O device supporting Dante and AES67 at 48kHz. Designed to enhance routing and expansion capabilities within CrewNet infrastructures, the ½-rack unit connects via etherCon copper and dual LC fibre, and can be powered either over CrewNet or with an external 48VDC power supply. With the forthcoming release of CrewWare 2.0 software, the CXD-32CF is intended to serve as a bridge between CrewCom and other widely used digital audio network environments. It’s aimed at broadcast, live production, rental, theatre and worship markets.

hours. Measuring 17.8cm x 7.6cm x 5cm, the compact unit allows multiple chargers to be deployed in space-constrained areas such as OB trucks and backstage racks. Completing the updates, Pliant has also released its PHS-IEHU in-ear universal fit miniature headset. Designed for comfort and adaptability, the headset includes silicone concha locks and earbuds for secure wear and supports either left or right ear orientation. It is also compatible with custom ear moulds from manufacturers such as Coda Room Audio and Sensaphonics.

www.plianttechnologies.com

EXPANDING ITS V Series 2- and 4-channel power amplifier family, Dynacord has created a fully featured zone audio platform with the launch of the V Series zone audio processor, call station, wall panel and web app. The company’s V Series Zone Audio platform is designed to be an out-of-the-box solution for small to mid-sized installations to manage background music, paging and messaging across a range of commercial installations.

The VZX-8 8-Zone Audio Processor is equipped with I/O capabilities, internal storage, provides eight zone outputs and facilitates up to 20 processed input sources, including eight balanced mic/line inputs with phantom power. Allowing full matrix flexibility without the complexity of an open-architecture DSP, the VZX-8 offers both standard and advanced DSP functionality including EQs, ducking, compression, Automatic Gain Control, Noise Gate, FX, room EQ and FIR-based speaker presets. Output zone levels can be managed with Ambient Noise Compensation (ANC) to adapt automatically to ambient conditions,

while individual delay lines and subwoofer time alignments can be configured for optimal performance in larger spaces. A virtual mixer with Automixer and FX also facilitates live mixing on any zone. Two accessory ports each support up to 500m of cable and allow the connection of up to 16 accessories to offer design flexibility in large buildings.

Designed for live paging, the VCS-8 8-Zone Call Station features a condenser microphone and can also act as a system controller, triggering stored messages, muting zones and performing user-defined functions via nine programmable buttons. Meanwhile, user operation is facilitated via Dynacord’s VWP Wall Panel Controller. Featuring a colour TFT display and a push encoder for quick and easy operation, the VWP provides level, zone and source input level control as well as source selection of BGM, Zone Mix and Virtual Mixer sources. Configuration and labelling are managed via the VZX Web App.

www.dynacord.com

Visiting engineers can easily patch into a Dante network, student laptops can be hot-swapped and FOH or playback engineers can integrate

ComTech D Series

Compact Power Sharing Amplifiers with DSP and Dante ®

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

Audio-Technica team-ups pay dividends

AIMING TO streamline network configuration and control, Audio-Technica has unveiled a dedicated Q-SYS Certified plugin for its System 20 PRO digital wireless system. The development not only makes the System 20 PRO part of the Q-SYS ecosystem, but also provides it with remote monitoring and management through Q-SYS Reflect. AudioTechnica’s System 20 PRO is a self-managing, plug-and-play 2.4GHz system that is scalable to 20 channels. The company says the system overcomes challenges of conventional wireless microphones such as frequency coordination, complex intermodulation calculations and remote antenna cabling. The Q-SYS plugin can be used to set up and monitor channel parameters in the system, individually monitor each channel, control volume and AF levels, monitor RF levels, enable/disable transmitter mute and monitor battery level and charging status.

Offering more integration, the manufacturer has also announced its ATUC-50 conference

system which supports native integration with Ross Video’s Quorum software. Using Quorum with the ATUC-50 gives users access to streamlined live-meeting production by enabling automatic video switching based on microphone activity and speaker identification. The Quorum automation system controls switchers, cameras and graphics to make it easy for one operator to broadcast a meeting. Audio-Technica says the use of Quorum with the ATUC-50 reduces the need for manual switching during meetings and enables instant visual switching by linking microphone activation to the corresponding attendee. Manual, semi-automatic and full microphone modes are supported, and quick setup is offered in the Quorum system via the Microphone Systems configuration panel. Audio-Technica has also rolled out an enhanced ES954 ceiling microphone array Q-SYS plugin to include a toggle for the tabletop ES964 microphone.

www.audio-technica.com

Palmer expands Monicon range

PALMER HAS launched a new generation of its Monicon monitor controllers, delivering latency-free signal control for a variety of studio environments. The updated range consists of four models – the Monicon S, M, L and XL – each engineered to meet different monitoring requirements, from compact home workstations to professional studios.

it the suitable for minimalist desktop or media setups. Stepping up in size, the Monicon M adds XLR/TRS combo and 3.5mm jack I/O options, plus dim, mute and mono switches for greater flexibility in project studios.

The Monicon L offers a hybrid active/passive architecture with three stereo inputs – including Bluetooth streaming with independent

The fully analogue Monicon series is designed to provide musicians, producers and engineers with precise monitoring control without digital conversion. All models have been reimagined with modern aesthetics, robust construction and streamlined user interfaces that the company says results in fast, efficient operation. Each model is available in black or silver side panel finishes.

The ultra-compact Monicon S features passive volume control via RCA connections, a large rotary knob and a mono switch, making

Allen & Heath unveils six Qu mixers

BASED ON a unified platform, Allen & Heath’s six new Qu 38 inputs (32 mono/linkable, three stereo), 12 mixes, four matrices, six FX engines with dedicated stereo returns, plus SLink port for connection to the Everything I/O ecosystem of remote expanders. All models feature a 32x32 USB-C audio interface for DAW recording, 32-channel multitrack support via an SD card and simple stereo recording and playback through the USB-A port. The range comprises three frame sizes, each available with or without integrated Dante connectivity: the compact Qu-5 and Qu-5D offer 17 faders, 16 XLR inputs and 12 XLR outputs; the Qu-6 and Qu-6D expand that to 25 faders, 24 XLR inputs and 16 XLR outputs; and the larger Qu-7 and Qu-7D provide 33 faders, 32 XLR inputs and 20 XLR outputs. The three Dante variants include an integrated 16x16 48/96kHz Dante interface. The new generation expands the “walk up and mix” ethos with four custom fader

layers, more assignable SoftKeys and the option of flexible routing in addition to classic Qu 1:1 channel patching. The user interface has been refreshed with a focus on speed of navigation and ease of use, with key mixing functions either via the dedicated hands-on controls or the new touchscreen.

While the mixers retain the recognisable look and layout of the original Qu series, numerous hardware improvements have been developed. Updated mic preamps and high-performance 96kHz converters reportedly ensure pristine signal integrity from input to output. Every channel now includes a display and a chromatic meter for quick visual feedback, and the new touchscreen offers improved clarity and responsiveness.

All Qu mixers are DEEP Processing ready, with the upcoming V1.1 firmware offering a suite of optional add-ons from the dLive series. In addition, Qu now features the

volume – and two stereo outputs alongside a dedicated sub/mono output. It also includes a headphone out with its own volume control, LED status indicators, input/output selector and PFL function.

At the top of the range, the Monicon XL is aimed at larger studio environments with three monitor outputs, two independently controlled headphone outs, an LED VU meter and integrated talkback.

www.palmer-germany.com

Feedback and Gain Assistants from the CQ series to take the stress out of setup and speed up soundchecks.

Building on its V2 release, Allen & Heath has announced the latest release of its dLive firmware V2.1, featuring more powerful processing and RackUltra FX, expanded wireless integration and group-to-group routing. CompStortion is a DEEP emulation of the popular hardware compressor, while RackUltra FX card users can enjoy the addition of Rhythm Delay, a pattern-based delay engine that provides customisable repeat patterns and musical filtering.

V2.1 also expands the Actions system and means engineers can trigger an action from a scene recall or via a MIDI trigger; recall a bookmark via an action; apply relative changes to send and main levels; recall the channel processing library; and trigger actions on a dynamically selected channel or mix. dLive’s wireless integration also adds support for the Shure SLX-D wireless microphone system, and engineers can now utilise group-to-group routing to build complex processing chains and consolidate mix busses.

www.allen-heath.com

THE EX-100-IW-USBC from WyreStorm is a 100m USB 3.2 single-gang, in-wall HDBTUSB3 transmitter and receiver kit. Designed to extend USB connectivity up to 100m, the

unit has been engineered to support the latest USB 3.2 Gen 1 standard and offer rapid data transfer speeds of up to 5Gbps. Its 4-port design allows for simultaneous

Waves releases Cosmos V16

WAVES AUDIO has announced a V16 update to Cosmos Sample Finder, its AIpowered sample manager. Features include DAW Plugin and Sync so that Cosmos now functions as an insert plugin within DAWs (as well as a standalone app); sample auditioning which provides preview samples in context, adjusted to session BPM and key; auto-grouping of sonically identical audio files for streamlined management; cloud-based processing to reduce scanning duration; CPU optimisation with adjustable performance settings tailored to user preferences; and a refreshed user interface.

The Cosmos Sample Finder offers AI-powered sample categorisation, organising collections by instrument, key, BPM and tags. It supports multiple formats, including WAV, AIF, OGG and FLAC files, providing compatibility with various sample types. Users can choose between

connection of multiple devices. The transmitter can either be powered by the connected receiver or by the 2-pin connector on the rear of the transmitter for redundancy and ease of use. The inputs on the transmitter include one USB host (Type C), one DC in and one micro USB along with one RJ45 output, while the receiver provides one RJ45 and four USB 3.2 Type A inputs. Meanwhile, the MX-0403-H3-MST conference presentation switcher builds on the success of the MX-0402-MST by adding an HDBaseT 3.0 output for signal extension up to 100m. Designed to simplify and enhance the presentation experience, the 4x3 switcher integrates video, audio,

CP200 joins Bluesound’s touchpanel lineup

BLUESOUND PROFESSIONAL has announced the expansion of its range of wall-mount control panels with the launch of the CP200. Joining the CP100 and CP300 models, the CP200 is a compact, programmable 4-inch wall-mount full-colour control touchpanel with network connectivity including PoE power. It is fully customisable and allows any function of a Bluesound Professional product to be accessed using simple logic programming. The control interface may be fully personalised with

colours, images and logos, and the layout can be as simple or as sophisticated as desired depending on the application. The device can manage a single zone or multiple zones as needed. To avoid over-complex screens, users can create and navigate between multiple interface pages. The low-profile touchpanel comes with a mounting bracket, making it compatible with standard electrical back boxes

www.bluesoundprofessional.com

USB, control and Ethernet functionalities. With dual USB-C and dual HDMI inputs, automatic switching capabilities and advanced USB 3.2 ports, the MX-0403-H3-MST also supports dual video output via a single USB-C cable. Each input port supports cable lock connections, while the switcher offers multiple switching methods, including automatic switching, priority switching and independent USB and video switching. It also features an HDBT 3.0 output for extension to remote zones (up to 100m), enabling IP to RS-232 command routing at the display zone for controlling displays and other devices.

www.wyrestorm.com

using Cosmos as a standalone application or as a DAW-integrated plugin, adapting it to their preferred workflow. The tool also includes over 2,500 royalty-free samples.

Meanwhile, V16 is Waves’ latest plugin update. This version introduces usability enhancements that provide clearer visuals and improved control over a mix. To ensure consistent output levels and eliminate disruptive loudness jumps, V16 integrates Auto Makeup Gain into five compressors: the CLA-2A compressor/limiter, CLA-3A compressor/limiter, CLA-76 compressor/ limiter, Abbey Road RS124 compressor and V-Comp. V16 also introduces freeform corner-drag resizing across all Waves plugins, enabling users to customise plugin window sizes to suit their workspace preferences.

www.waves.com

FOCUSING ON theatre, live events, broadcast operations and event management, communication system specialist PunQtum has expanded its portfolio with the Q310 wall/ desktop panel. Equipped with a built-in loudspeaker, microphone and headset connectors, the Q310 is a 2-channel intercom outstation designed to integrate seamlessly into an existing PunQtum portfolio. Features such as daisy-chaining

devices via PoE, programmable buttons for paging announcements, microphone mute and individual volume controls allow users to tailor requirements to meet real-time demands. It is powered via a PoE switch or PunQtum’s own speaker station, and includes GPIO for eventdriven actions, such as cueing lights or making remote announcements.

www.punqtum.com

RDL controls the volume

THE D-NVC2 Dante Volume Control from RDL is a rotary control that provides volume control and muting on one or two Dante/AES67 network audio channels. One or two mono audio sources or one stereo audio source may be routed to the D-NVC2, then from the D-NVC2 to a network destination, typically a power amplifier. Audio level adjustment is performed digitally in the D-NVC2. The installer has the option of setting the unit to sum the left and right channels of a stereo source with the mono sum feeding both outputs. The level of each output channel may be adjusted separately or together. If two or more user adjustment controls are desired in the same zone, an RDL D-NMC1R may be used to remote control the D-NVC2, allowing adjustment by either unit. Network bandwidth typically supports up to four remote controls per zone.

Meanwhile, the D-TPSML1A features an XLR microphone or line input. The module provides IEC P24 phantom and accepts input signals from balanced linelevel sources or from both dynamic and condenser microphones. The input signal is buffered or amplified using a studio-quality preamplifier optimised for normal operating levels. For microphone sources, the rearpanel Gain switch is normally set by the

installer for Mic Low gain. If consistently low mic levels are expected, this switch may be set to the Mic High gain position. For linelevel sources, the Gain switch is set to Line. In either Mic gain position, the phantom voltage is used to set mic phantom On or Off. Phantom voltage is not applied when the input is set to Line.

rdlnet.com

Present and correct

DELIVERING NEAR-ZERO latency presentation experiences in corporate and educational settings, audiovisual specialist Kramer has announced the official launch of its MTX3-88-PR-PRO all-in-one matrix. Designed for sharing local and remote content to meet organisations’ diverse audio and visual needs, the MTX3-88-PR-PRO is a single-box, all-in-one system that forms part of Kramer’s broader Series 3 audiovisual signal management (AVSM) portfolio. It

HDBaseT 3.0 input or output ports, eight HDMI outputs and a H.264/265 streaming output.

Kramer says that its near-latency-free scaler-based clean switching (<1s) delivers clean and instantaneous content routing for uninterrupted transitions in presentations and remote displays. Meanwhile, the system’s multi-view and videowall capabilities allow content delivery from multiple sources on individual displays with custom layouts on-

aims to simplify BYOD connectivity with dual USB device groups that enable seamless connection of DP Alt Mode-capable USB-C devices as AV and USB host sources, supporting both local and extended USB host/device configurations. Connectivity options include eight USB-C, HDMI and aircasting inputs, along with two optional USB-C ports that support multi-stream transport. It also features eight interchangeable

Visionary brings a single connection

VISIONARY HAS debuted the XB5, a USB-C conferencing bridge that enables seamless BYOD (Bring Your Own Device) integration into AV-over-IP environments. The XB5 delivers video, audio, Ethernet and charging through one USB-C connection while integrating natively into Visionary’s 1GbE AV-over-IP ecosystem.

Designed for use in conference rooms, boardrooms, classrooms and other professional audiovisual settings, the XB5 allows users to connect their personal laptops directly to the room’s audiovisual system using a single USB-C cable. The XB5 provides bidirectional 4K60 4:4:4 video and high-quality audio, wired Ethernet access and up to 100W of charging power, without requiring any software installation or driver configuration. It supports industry-standard UVC and UAC

Uno or duo

WHEATSTONE HAS launched

Wheatstream Duo, a fully featured streaming appliance with the audio processing and metadata tools found in the company’s Wheatstream appliance, but for 1- or 2-channel applications. As a Linux

protocols for plug-and-play compatibility with Windows, macOS and ChromeOS devices.

For AV integrators, the XB5 eliminates the need for separate USB extenders, video switchers and audio interfaces by combining those functions into one compact device. The XB5 is compatible with Visionary’s 5-Series endpoints, allowing it to operate within a flexible, scalable AV-over-IP network using standard 1GbE switches. It provides support for AES67 and Dante audio, including embedding and de-embedding of AEC-

processed audio, making it easy to integrate with DSPs and networked audio systems. Additionally, the XB5 features PoE+ power and a fanless design, which simplifies installation and reduces points of failure.

The manufacturer has also expanded its 5 Series with three wallplate models that deliver “enhanced connectivity, seamless integration and robust performance” in a compact, in-wall form factor. The DuetE5-WP-C wallplate encoder combines USB-C and HDMI inputs into a 2-gang

the-fly or via configurable presets. For audio, Dante interfaces for mixing and processing by the integrated DSP provide clear sound distribution, with additional features including a multi-zone amplifier, built-in IP-based control capabilities and AV streaming and recording with enterprise-grade IT networking and security.

www.kramerav.com

appliance that eliminates the need for a Windows-based PC, Wheatstream Duo can be added to any analogue, digital or AoIP studio, including WheatNet IP and AES67compatible systems. Wheatstream Duo has an easy-to-navigate HTML 5 web browser

interface, is compatible with standard CDN and streaming platforms, and can adapt metadata input from most playback automation systems for one simple workflow from automation to content delivery. The unit accepts two input streams of analogue,

wallplate. It enables AV-over-IP encoding of both 4K60 4:4:4 video and USB sources from USB-C or HDMI-equipped devices, making it suitable for BYOD environments. Building on the functionality of the DuetE5-WP-C, the DuetE5-WP-C-BT model introduces integrated Bluetooth audio support, enabling users to wirelessly connect mobile devices and stream audio directly into the AV-over-IP network. Finally, the DuetD-5-WP has been designed for clean, in-wall installations. It features an HDMI output and two USB-C ports to deliver full USB-over-IP support, and allows users to receive high-quality video and interact with USB devices over IP, making it suitable for setups involving USB cameras, touchpanels and other HID peripherals in soft codec environments.

www.visionary-av.com

AES3, AES67 or native AoIP such as WheatNet IP, each capable of four output streams for a total of eight output streams. Meanwhile, the manufacturer has also released version 5.0 of Navigator software for its WheatNet IP audio network. With the latest release, WheatNet IP audio networks add new network I/O diagnostics, failover management and automatic system backup advancements, and extend logic status to third-party devices.

www.wheatstone.com

XB5

AJA VIDEO Systems has unveiled the DRM2-Plus, a high-capacity 3U frame that can house up to 24 Mini-Converters. Tailored to suit a range of pro AV, film/TV production, live production and broadcast environments, the DRM2-Plus is available in four different models that support active or passive cooling and offer single or redundant power supplies for up to 288W of power. Building on the design of the DRM2, the DRM2-Plus includes a hinged faceplate and individual carriers that allow users to access Mini-Converters for updates or to swap them in and out, without removing the frame from the rack.

The added interior space and an optional DRM2-YC Y-cable accessory enable the doublestacking of 12 smaller AJA FiDO and/or D5 Series Mini-Converters with Mini-Con-X power

connectors to support up to 24 Mini-Converters in a single frame. The device’s versatile design also allows users to rackmount up to 12 midsize Mini-Converters with built-in Mini-Con-X power connectors, or six larger Mini-Converters featuring the DANTE-12GAM’s new enclosure design, which includes an LCD display and a Mini-XLR power connector. Users can combine a mix of Mini-Con-X- and Mini-XLR-powered Mini-Converters within the DRM2-Plus using AJA adapter accessories. The DRM2-Plus also introduces the ability to internally mount a third-party USB hub for communication to installed Mini-Converters. The DRM2-Plus and applicable accessories replace the previous DRM2 products.

www.aja.com

AdVantage Telestream

TELESTREAM HAS unveiled several improvements to its flagship Vantage platform. Qualify Action QC supports on-premise, hybrid and cloud deployments. It seamlessly integrates the capabilities of both Aurora and Vidchecker to enable the full range of quality, compliance and integrity capabilities as a single Vantage action. Vantage now automates time-based metadata and summary extracts, while a new integration between DIVA and Vantage streamlines archive and discovery processes. Integration between Vantage and next-generation, cloud-centric MAM solutions like iconik enables customers to bring the latest MAM functionality to their content repository. In terms of ingest, media processing and playout, advanced GRID processing allows users to split complex transcodes across Vantage nodes. Faster task completion is said to reduce time-to-delivery while simultaneously boosting operational capacity. Meanwhile, the latest Vantage Lightspeed Servers reportedly deliver up to a 30% performance boost in media processing over the previous generation.

Purpose-built for live production, the manufacturer’s Lightspeed Live Servers for Play support SDI (3G/12G) and ST 2110 (10/25G,

SR/LR), offering configurations of up to eight channels in HD and four channels in UHD in a 1U form factor. Feature highlights include playout of any format back-to-back, AMP protocol support for std control, customisable APIs for advanced integration and a 15–30TB SSD storage range.

The SPG9000 software-defined sync pulse and test signal generator has also been upgraded to include PTP capture for debugging difficult PTP configuration issues, while secondary reference allows users to add a precision secondary reference clock to guard against loss of satellite for PTP grandmaster applications.

The manufacturer’s Argus centralised video monitoring solution for video distribution networks now includes expedited troubleshooting with new Monitoring Groups and live video, audio and caption monitoring for faulty signals. Additionally, intoPIX has announced the integration of its JPEG XS technology into Telestream’s Prism waveform monitors. This collaboration is said to enhance real-time monitoring for ST 2110-22 IP workflows, enabling broadcasters and production studios to transition smoothly from SDI to IP.

www.telestream.com

Modulo Kinetic V7 streamlines workflow

MODULO PI has released Version 7 of its Modulo Kinetic media server platform, delivering a series of enhancements aimed at streamlining AV workflows and expanding creative possibilities for projection mapping, immersive experiences and multidisplay setups.

or detach panels and organise workspaces across multiple displays. The manufacturer states that this flexibility supports more efficient workflows in complex environments.

Version 7 also introduces integration with ISAAC, a web-based AV system monitoring platform, enabling seamless media ingestion

Modulo Kinetic is a scalable, all-in-one media server that combines a real-time timeline with a 3D engine, live mixer and show control tools. The latest update introduces a reworked 3D study environment with an expanded projector database that includes 3D models of projectors and lenses, including ultra-short-throw and lens shift options, to improve the accuracy of projection simulations.

A redesigned user interface enables modular window management, allowing users to dock

and schedule updates between the two systems, thereby simplifying content and device management.

Another addition in Version7 is the 3D autocalibration module. Designed for projection mapping and immersive installations, the module uses PoE cameras and test patterns to automatically align and correct geometry across overlapping projectors, significantly reducing setup time.

www.modulo-pi.com

Long-range control

BOASTING RESPECTIVE transmission distances of up to 300m and 10km, the CE980 and CE990 USB true 4K DisplayPort/ HDMI optical KVM extenders from ATEN International are the company’s first fibre-optic KVM extenders supporting true 4K video. Both models feature a 2-in-1 DisplayPort/HDMI combo connector to allow connections to either DisplayPort or HDMI displays at both the local and remote ends, enabling users to mix or match output types. Both support the extension of keyboard/ mouse control, RS-232, USB 2.0 data,

HDR10, and both stereo and embedded audio.

Supported audio formats include LPCM 7.1CH, Dolby TrueHD, Dolby Digital Plus and DTS-HD Master Audio. Whether used to control servers in a secure data centre, operate medical equipment or manage high-resolution content in broadcast or industrial applications, ATEN says the CE980 and CE990 provide stable, interference-free transmission with built-in EMI resistance, ensuring reliable and uninterrupted performance.

Switching to seamless scaling

EXTRON IS now shipping its latest compact 4K/60 seamless scaling switchers with built-in DTP3 signal extension. The DTP3 IN2004 Series of 4-input scalers consists of three models: the DTP3 IN2004 DI/DO (with HDMI and DTP3 inputs and outputs), the DTP3 IN2004 DO (with HDMI inputs and HDMI and DTP3 outputs) and the IN2004 (all HDMI inputs and outputs).

Combining video and audio processing, signal extension and networked control, the DTP3 IN2004 Series have been designed for boardrooms, collaboration spaces, lecture halls and other professional AV presentation venues. They feature Extron Vector 4K scaling technology which provides advanced video processing for the most demanding applications. Selectable scaled output rates range from 640x480 to 4K/60 at 4:4:4 colour sampling. They are HDCP 2.3-compliant and loaded with professional capabilities, such as logo image keying and display, auto-switching between inputs and selectable seamless

switching transitions. Audio DSP functions such as mixing, ducking and filtering are described as easily accessible to enhance sound quality. Other capabilities include built-in CEC commands and stereo audio embedding and de-embedding. For added flexibility, HDR, ultra-widescreen, high frame rate and 3D video signals are all supported in scaler bypass mode.

Transmission over Extron DTP3 reportedly ensures optimal signal integrity, regardless of the resolution. For professional-quality transitions between sources, the scalers offer a range of fade and cut switching effects. In addition, a custom graphic image, such as a company or school logo, can be inserted onto the video output. Selectable Fill and Follow modes are available to set the desired video aspect ratio. Fill mode provides full screen output, while Follow mode preserves the original signal’s aspect ratio.

www.extron.com

Roland simplifies AV control

ROLAND PROFESSIONAL is aiming to make navigating complex AV setups easier with the release of its VenuSet, a customisable iPad control app designed to offer a simplified interface for non-technical users. VenuSet gives operators access to key functions across a range of Roland video products, including switching, audio levels, scene recall and graphics.

Suited for systems integrators and event professionals alike, the app supports remote control of the company’s V-8HD, V-80HD, V-160HD, VR-6HD and VR-120HD products. Desktop versions for Windows and macOS are due later this year.

In addition to the iPad control app, Roland has also introduced deeper system integration for several of its existing hardware solutions. When paired with the VC-100UHD 4K scaler,

its V-160HD video switcher can now control Region of Interest (ROI) windows across the network, enabling producers to generate multiple shots from a single 4K source and reduce the number of physical cameras required. In addition to this, the P-20HD Instant Video Replayer now offers remote playback functionality over LAN and RS-232 when connected to compatible Roland switchers, opening up more advanced workflow options for live production and sports replay scenarios. Lastly, Roland has expanded its Graphics Presenter content library with over 40 new templates, including sports overlays, general event graphics and countdown timers –bringing the total number of pre-designed assets to more than 170.

www.proav.roland.com/global

TASCAM’S MP-800U DAB is a multi-format media player designed for commercial environments. With support for SD cards, USB drives and Bluetooth (via an optional AK-BT2 adapter), and featuring a USB D/A converter and a built-in DAB/FM tuner, the MP-800U DAB boasts a range of playback features. It plays WAV, MP3 and AAC formats from its front-panel SD and USB ports, and features USB DAC functionality for direct playback from USB-C devices like laptops and smartphones, while Bluetooth connectivity allows for wireless streaming.

The MP-800U DAB includes XLR and RCA outputs, plus dedicated RCA tuner outputs.

Extending its reach with 30x zoom

DESIGNED TO achieve the tightest framing over long distances, Lumens’ BC-602 box camera is equipped with a 30x lens, a high-sensitivity HD sensor that captures 1080 video at up to 60fps and flexible connectivity that makes it suitable for integration into HDMI workflows or installation on SDI or IP networks. The BC-602 encodes video to a variety of H.264/HEVC codec formats including SRT, RTSP, RTMPS and MPEG-TS, which Lumens says makes it suitable for use in broadcast and professional AV the camera’s support for VISCA, VISCA-IP and ONVIF control protocols and inclusion of Power over Ethernet give installers maximum versatility. Meanwhile, its triple stream functionality enables the camera to encode three individual channels of video at different bitrates. This provides users with the flexibility to stream live to the

monitor a low-resolution feed via a network video app.

Meanwhile, the manufacturer has also expanded its professional camera portfolio with the VC-TR61N, a 4K PTZ model featuring NDI HX3 and motion tracking capabilities over extended distances. Designed for larger venues such as conference halls, theatres

Bolin rolls with the times

PTZ CAMERA manufacturer Bolin Technology has announced that four of its outdoor PTZ cameras – the SD530NX, SD530H, EX1030NX and EX1030H – now offer a Roll Axis feature for enhanced creative flexibility and installation ease. Additionally, the SD530NX and EX1030NX also feature support for NDI HX3.

Traditionally, PTZ cameras offer pan, tilt and zoom functionality. With the addition of the Roll Axis feature, operators can now rotate the camera’s image block up to 15° left or right. This capability not only simplifies correcting for uneven mounting surfaces but reportedly opens the door to unconventional camera angles previously unachievable in

installed camera environments. The Roll Axis position can be easily controlled via Bolin’s KBD-1020N joystick controller, which enables smooth roll adjustments in real time.

In addition to the Roll Axis feature, both the SD530NX and EX1030NX are equipped with NDI’s Embedded Bridge functionality, allowing remote connections to studio facilities without the need for a dedicated PC. Now, operators can input NDI Bridge details directly into the camera, streamlining remote capture setups for everything from live events to hybrid productions.

and houses of worship, the VC-TR61N combines a 30x optical zoom with AI-driven tracking to follow presenters from more than 18m away.

With dual-camera architecture, the VC-TR61N pairs a robotic PTZ lens with a secondary panoramic sensor to deliver two simultaneous video streams. These can be output independently to production equipment or combined in-camera for picture-in-picture compositions, enabling multi-angle capture from a single device.

The inclusion of NDI HX3 allows for integration into IP-based workflows, offering low-latency streaming, remote configuration, PoE and full compatibility with both Lumens’ control panels and third-party software. Video output is supported via SDI, HDMI, USB and IP, giving integrators a range of options for connectivity and deployment.

Suitable for both upright and inverted mounting, the VC-TR61N is designed to offer versatility in installation. Its flexible control

Additional features include Auto Cue, Auto Ready and Pitch Control, while Ethernet-based remote control provides enhanced playback flexibility and system integration. It also features power-on play, incremental playback, fade in/out, direct track search and a panel lock function. Users can control the unit via a free mobile app or the optional RC-20 remote control. Fader start/ stop compatibility is provided via connectors on the rear panel, and a headphone output with independent level control allows for monitoring. With the release of firmware Version 2.2.0, the manufacturer has significantly expanded the functionality of its Sonicview 16 and 24 digital mixing consoles, introducing new control options, streamlined signal management and enhanced integration for live sound, broadcast and installed AV environments. At the heart of the 2.2.0 update is a redesigned routing matrix, giving users a clear graphical interface to manage input and output assignments across the console. This improvement is aimed at speeding up configuration and offering greater visibility during setup and operation.

www.tascam.eu

protocols, quad video outputs and support for multiple streaming formats ensure it can adapt to needs in a variety of professional settings.

www.mylumens.com

VC-TR61N

Blackmagic doubles up on space-saving products

BLACKMAGIC DESIGN has introduced a suite of products designed to help broadcasters who are pushed for space. Claiming to be the world’s smallest rack-mount 12G-SDI router, the Videohub Mini 12G is a family of compact Videohub 12G routers designed for customers working in limited spaces. Available in three models, the Videohub Mini 12G family includes a ⅓ -rack width 4x2 model, a ½-rack width 6x2 model and a ⅔ -rack width 8x4 model. In addition to adding extra inputs to SDI broadcast equipment, all models feature 12G-SDI connections that work in SD, HD and Ultra HD video standards and a clean switch that is selected on the video outputs rather than being locked into the inputs. Featuring dedicated buttons for outputs and inputs, the front panel also has emergency 12G-SDI video connections and a USB webcam video output.

The routers work with Videohub Master Control Pro and Videohub Smart Control Pro control panels and support Videohub Software Control for Mac, Windows and iPad. All models feature built-in SDI re-clocking on every 12G-SDI input to ensure optimal video quality and prevent SDI data errors, and control is flexible; Videohub routers can be remotely controlled, and there are two types of

Datapath adds Windows 11 compatibility across VSN

DATAPATH HAS announced full Windows 11 compatibility for its VSN Series videowall controllers and graphics products, offering customers more flexibility when specifying hardware for multi-source, multi-endpoint installations. Available at no additional cost, the update includes a new graphics driver optimised for improved performance and enhanced support for demanding applications such as 3D rendering and complex web displays

across sectors including aerospace, healthcare, robotics and manufacturing.

As well as benefitting from Windows 11’s embedded security features such as Secure Boot and TPM 2.0, Datapath users retain access to the company’s own Transport Layer Security encryption, providing extra protection for missioncritical control environments.

www.datapath.co.uk

DEVELOPED IN partnership with referees and other sports industry stakeholders, RefSuite is a managed technology suite from Riedel that combines hardware, software, cloud services and 24/7 remote operations. Tailored to professional sports workflows, RefSuite brings together RefCam, RefBox, RefComms, CoachComms and RefCloud into one coherent ecosystem. From head-mounted referee cameras and FIFA Quality-certified Video Assistant Referee (VAR) systems to Bolero S-based wireless comms and cloudbased media management, the company says RefSuite represents a move away from fragmented solutions to deliver a cohesive, future-ready platform that empowers officiating, coaching and broadcast teams alike. Deployable in a range of environments, RefSuite’s modular design adapts to each client’s requirements and scale. RefCam delivers stabilised, broadcast-grade referee POV video, while the RefBox VAR review system offers synchronous control of all video sources for instant analysis, playback and clip export. RefComms and CoachComms provide encrypted,

compatible hardware panels in the Videohub Master Control Pro and the Videohub Smart Control Pro.

Meanwhile, Blackmagic’s 2110 IP UpDownCross 12G is a rack-mounted standards converter designed to integrate SDI equipment into 2110 IP broadcast systems. It lets customers convert between any SD, HD or Ultra HD video

format via 12G-SDI, HDMI and SMPTE 2110 IP video connections, and has multi-rate 12G-SDI connections that work with video formats up to 2160p60, as well as Level A and B devices. It features one 12G-SDI input with a loop output that bypasses all processing, an HDMI 2.0 input, reference in, two 12G-SDI outputs and an HDMI 2.0 output. The 12G-SDI connections have built-in re-sync so all conversions match the reference input video timing signal and audio is automatically delayed and embedded back into the signal so it also stays synchronised. Meanwhile, its front panel LCD can be used for video and audio monitoring and also gives access to set the video standard. The USB port on the front panel works as an HD webcam, and the unit has a reference input for large broadcast systems.

www.blackmagicdesign.com

Barco controls the room

BARCO HAS announced the introduction of the NT-I series LED videowall platform. Available in 0.9mm, 1.2mm and 1.5mm pixel pitches, the platform offers high brightness, low power consumption and reduced heat output. It features flip-chip and common cathode technology for enhanced contrast and deep black levels. The range is TAA and BAA compliant and powered by the Infinipix Gen2 image processor, making it suitable for critical control room environments.

Barco has also introduced a redesigned wall mount for the UniSee II LCD videowall. The mount features a minimal visual footprint, tailored for corporate settings, while retaining the core benefits of the original UniSee mount.

www.barco.com

low-latency referee and team communication, while the RefCloud media cloud acts as a central hub for secure media storage, review and collaboration. The ecosystem can be extended with Riedel’s Easy5G Private 5G network, offering high-speed, secure data transmission for fullpitch RefCam video streaming or remote RefBox review workflows.

Riedel’s “Flex” licensing model enables users to tailor their production environments to meet their specific operational and financial needs, whether on-premises, remote or in the cloud. Users can choose from a range of hardware options and deployment models, benefitting from a cost structure that supports CapEx, OpEx or hybrid investment strategies.

Meanwhile, SimplyLive RiView is a video review package designed for officiating, coaching and analysis that is built on Riedel’s SimplyLive RefBox software. Expanding its live replay offerings, SimplyLive RiMotion R16 and R166 provide up to 16 HD or six UHD channels, with clip management, SSM support and flexible operator configurations, while SimplyLive Venue Gateway 1612 Advanced is a highdensity signal transport that introduces 16 bidirectional SDI channels, enhanced audio processing and support for HDR workflows. Riedel says this makes it ideal for large-scale productions requiring robust IP contribution capabilities.

Finally, SimplyLive Connect is a REST-based API designed to streamline integration and automation across the SimplyLive ecosystem. It enables third-party systems to monitor, control and configure SimplyLive products, as well as support modern deployment models across COTS hardware and public or private cloud infrastructures.

www.riedel.net

Life’s a game

RefSuite

Videohub Mini 12G

AIMING TO streamline the installation of flat-to-wall and corner dvLED videowalls, AV solutions specialist Peerless-AV has slimmed down for its Seamless Connect Universal range. Adopting a fundamentally different design process from previous models, the Seamless Connect Universal dvLED mounting system sits at the heart of the range. Compatible with most latching dvLED cabinets, it can scale to any size or configuration,

corner-wrapping displays, without any size limitation. With a minimal 40mm depth, it also delivers a discreet wall profile which PeerlessAV says makes it ideal for deployments that require ADA compliance.

Christie expands LED lineup

MARKING THE expansion of Christie’s direct-view LED portfolio, Christie Vivia is a range of LED videowall solutions available in a Surface-Mounted Device (SMD) variant. Featuring an ADA-compliant design with SNMP-based monitoring capabilities, Christie Vivia SMD is designed for a range of applications such as digital signage, auditoriums, operations centres and corporate environments. It is available in pixel pitches from 0.9–2.5mm, has a 10,000:1 contrast ratio and a 3,840Hz refresh rate.

Christie also offers the Lumia Series, a range of Chip-on-Board (COB)-based LED videowall solutions featuring optional touch interactivity and available in fine pixel pitches from 0.7–1.5mm. It too integrates with Christie’s videowall solutions and includes an IP2x rating and a protective front LED coating that the company says enhances durability and simplifies maintenance.

www.christiedigital.com

Meanwhile, 40mm of Z-Axis (depth) adjustment and a gear mechanism offering greater control of in/out adjustments mean integrators can overcome wall irregularities over

a bigger surface area, while the wall plate also includes a 13mm height adjustment to enable spacing corrections. Strength and total load capacity have also increased, with a quickconnect clamp now made of cast aluminium. The company says this means installers can skip rows of extrusion to minimise hardware and reduce installation time. A jacking screw also allows adjustment of up to 6mm for cabinetto-cabinet alignment. For applications where mounting directly to a wall is not an option, the Seamless Connect Universal range also includes a line of substructure categories, including floorto-wall, floor-to-ceiling, bolt down, mobile cart and freestanding, to support the total load of a dvLED videowall or all-in-one display.

www.peerless-av.com

Matrox Video updates Mura DVW

MURA DVW 1.1 is the latest release of Matrox’s IP-based distributed videowall appliance. Features include MuraControl Web, a fully browser-based videowall management tool which is now built in, enabling users to build, select and control layouts more easily and enhanced web source support so that customers can display dashboards directly on the videowall using only the DVW appliance without requiring any external media servers; and expanded IP decoding capability with improved support for H.264 and H.265 streams.

Meanwhile, the manufacturer has also announced that Pixotope has integrated its DSX LE5 network interface cards (NICs) to enable SMPTE ST 2110 support across its XR, VS/AR and CG graphics licences. The integration allows Pixotope customers to add support for the protocol to existing or new solutions, enabling broadcast CG, virtual studio and augmented reality workflows over an IP infrastructure.

MX2 matrix

Similarly, Matrox Video has deepened its relationship with intoPIX to drive the future of ST 2110 and IPMX workflows. The Matrox ConvertIP series, already leveraging intoPIX’s JPEG XS, now interfaces with intoPIX’s TitaniumShow and TitaniumViewer software apps, reinforcing the central role of JPEG XS in high-performance IP video workflows.

The manufacturer has also announced Unreal Engine plugin support for its DSX LE5, DSX LE6 and X.mio5 12G-SDI and ST 2110 network interface cards. The update enables OEMs and systems integrators to build high-resolution, broadcast-grade virtual production workflows using Unreal Engine 5.5.

With the release of the Matrox LUMA Pro A380 Octal, the manufacturer is aiming to make high-performance videowall deployments more efficient. The professional graphics card drives four 8K displays or up to eight 5K displays from a single slot. It has been designed to help OEMs, systems integrators, AV installers and

support 5K

LIGHTWARE HAS announced that the most recent firmware update for the MX2 matrix switcher has unlocked 5K resolution support, with no hardware modifications required. Said to represent a practical response to the growing number of AV environments demanding 21:9 ultrawide aspect ratios, the switchers can now support significantly more screen real estate and sharper visuals. The update –becoming Lightware’s first product line to offer 5K switching – also enables MX2 devices to handle 5120x2160 resolution via HDMI 2.0 (30Hz 4:4:4 or 60Hz 4:2:0) and DisplayPort 1.2 (30Hz 4:4:4). For existing customers, MX2 units already in the field are instantly compatible. The added resolution support is said to be especially beneficial for collaborative spaces where parallel

workflows, real-time monitoring and layered visuals are standard. This provides extra screen space without trading off signal quality or introducing delay.

Meanwhile, the manufacturer’s Cable-PopUp has been developed for managing cables in conference rooms and workspaces, particularly in environments where BYOD devices need to be connected temporarily. This built-in cable management tool reportedly provides an organised way to access connections when needed and hide them away when not in use, with an easy-to-use “Push to Open” mechanism. Caps labelled USB-C, HDMI and Ethernet are provided, along with an additional blank cap which can be customised.

www.lightware.com

system complexity.

Users can now drive more displays per system and free up PCIe slots for other essential components like capture cards, storage or networking. Traditional multi-display setups often rely on several quad-output cards, each consuming a full slot. The LUMA Pro A380 Octal offers a compact alternative that reportedly makes it easier to build systems using standard workstations.

Leveraging Intel Arc GPU media engines and Matrox Mura software libraries, the LUMA Pro A380 Octal delivers high-density IP stream decoding, supporting up to four 8K60, 16 4K60, 40 1080p60 or 64 1080p30 H.265/H.264 streams from a single card. The card also supports advanced HEVC 4:4:4 decoding, enabling

full-colour fidelity at low bitrates. According to the manufacturer, the high output density of LUMA Pro A380 Octal makes it especially well-suited for control rooms, digital signage networks and large-scale display walls where maximising display capabilities while minimising system footprint and PCIe slot usage are essential.

The LUMA Pro Series product line is further enhanced by the Mura C4K capture card, which supports up to four 4Kp60 sources from a singleslot card. When paired with the LUMA Pro Series, the Mura C4K enables integrators to capture and display HDCP-protected content across videowalls and operator workstations, offering a space-saving solution for high-performance AV installations.

www.matrox.com

Update delivers real-time integration

DESIGNED TO integrate seamlessly into the Martin P3 ecosystem, Martin has introduced a third-party 3D Visualizer Protocol into its P3 System Controller Software with its v6.2.0 update. Allowing lighting designers, programmers and systems technicians to integrate third-party 3D visualisation software with the Martin P3 System Controller, the P3 Visualizer Protocol enables real-time sharing of fixture data to replicate real-world fixtures, whether driven by a lighting console, videomapped through the P3 System Controller or both simultaneously. With connectivity over a single cable, the software’s plug-and-play

functionality simplifies setup and delivers immediate integration with compatible visualisation tools. Martin says that visualisation software provider Capture has already incorporated the open protocol into its Capture 2025 software.

The free update extends compatibility to the entire range of Martin’s P3 System Controllers, including the P3-050, P3-150, P3-175, P3-275 and P3-300. It is also available as free P3-PC System Controller software to provide access without any additional hardware investment.

www.martin.com

MA LIGHTING has announced that its grandMA3 Nodes portfolio is now presented in a new shape. The former portfolio with a variety of product options has been reduced to just five remaining models that fulfil the needs of all different applications. The technical specifications stay exactly the same. The grandMA3 2Port Node, grandMA3 4Port Node and grandMA3 8Port Node are coming directly with PoE and onPC parameters, while the grandMA3 I/O Node also includes the PoE option

by default. Finally, the grandMA3 4Port Node DIN-Rail remains as the “workhorse” in all fixed installations, particularly if users need a direct PCB connection or an easy-to-mount DIN-Rail housing.

The onPC 2Port Node 2k, onPC 4Port Node 4k, onPC 8Port

LightShark unveils the X-Series

SPAIN’S LIGHTSHARK has unveiled the X-Series, a line of DMX/RDM control devices designed for demanding lighting applications. The NODE 6X and NODE 12X offer six and 12 DMX universes respectively, with full support for RDM E1.20, Art-Net and sACN, and allow users to adjust the DMX refresh rate from 15–44Hz. Each port can be independently configured as an input or output, enabling bidirectional conversion between Ethernet and DMX, as well as flexible routing of DMX512 signals to Art-Net or sACN.

Both units offer Power over Ethernet (PoE, 802.3af, modes A and B) and a direct power input of 100–277 VAC, 50/60Hz via a TrueOne connector. For long-distance applications, the NODE 6X and 12X feature

fibre-optic connectivity via LC duplex connectors. The local user interface includes an LCD screen, rotary encoder and escape

Punching above its weight

ASTERA HAD added to its Quik series with the QuikPunch, which delivers high-quality light via its Fresnel lens. The luminaire features a 13–60° zoom with no stray light and 8,000 lux at 3m. It is optimised for fast setup and practical operation, and comes complete with a battery-driven PrepBox and ChargingPlate. Like its predecessor the QuikSpot, the QuikPunch adds OutputGain for deeper colour saturates.

Consuming just 75W and producing an output equivalent to a 200W LED PAR for stage and event use, the QuikPunch comes with 4.5 hours of runtime (at full intensity) and a sharper and easier-to-control optical footprint. It outputs an accurate zero-spill beam just like a theatrical PC fixture but it can also be the equivalent to a traditional 650W Fresnel luminaire.

The 60° beam angle makes it suitable for evenly illuminating large surfaces like cycs or set pieces. Unlike conventional Fresnels, the light can be accurately shaped and controlled

via a set of 8-way barndoors. Even at 45°, it reportedly produces a sharp and controlled beam. The barndoor benefits from the QuikPunch’s accurate Fresnel-based beam performance, even when the zoom is not in the flood position. The zoom is adjusted simply by turning the QuikTurn barrel of the fixture and stops at 30° indicating the centre of the zoom range.

The QuikPunch is designed to hold all existing Astera AX9 PowerPAR filters and front attachments. It works particularly well with the rotatable 17° x 46° elliptical filter which widens the beam coverage on both vertical and horizontal axes. The EdgeSoftener filter can be used when a frost effect is needed for producing a better in-camera wrap, or to slightly soften the cut in the background, emulating the softer, warmer retro look of classic tungsten Fresnels, without adding light spill.

www.astera-led.com

button with lock option, and can also be managed remotely via an integrated web server. Advanced network configuration is

supported, including customisable IP, subnet mask and gateway, with 10/100/1000 Base-TX and DHCP compatibility. Key features include internal DMX recorder with capacity for five scenes; trigger port with five GPI inputs for scene/preset activation; and HTP, LTP, Backup and Switch merge modes. LightShark has also introduced an RDM X splitter, as well as the RDM4, a compact 4-port DMX splitter built in the same chassis as the popular NODE 1, 2 and 4 devices. Finally, the NODE 1, 2 and 4 models have been updated with a reinforced chassis, clamp mount, a Kensington Lock, a revamped web configuration server and support for custom subnet masks.

www.lightshark.es

Chauvet expands its lighting toolkit

CHAUVET PROFESSIONAL continues to broaden its offering for high-end production and broadcast environments with the release of three new fixtures, the COLORado Solo Batten 4 and the Maverick Silens 1X and 2X Profile moving heads. Designed with professional users in mind, the latest additions are said to deliver precise, flicker-free output, flexible creative control and virtually silent operation, “even in the most acoustically sensitive venues”.

The COLORado Solo Batten 4 is a rugged IP65-rated linear fixture powered by 16 RGBWL LED engines. Equally suited to indoor studio sets or all-weather outdoor events, it offers uniform colour blending across the full length of the bar without distracting hotspots or “circle-in-a-square” beam artefacts.

Bar 4 remains flicker-free in camera-critical environments.

Alongside the Solo Bar, Chauvet’s Maverick Silens range has been designed from the ground up for silent operation. Both the 1X Profile and higher-output 2X Profile are convection-cooled, with no fans or motor noise, making them an ideal solution for TV studios, concert halls, theatres and any application where noise is unsuitable.

Users can access a full range of white temperatures from 2,800–8,000K, along with green adjustment and an emulated red-shift mode for incandescent-style dimming. Onboard control options include DMX, RDM, CRMX, Art-Net and sACN, with up to 259 channel personalities allowing for granular control over individual cells. Mechanical touches like sliding mounting brackets, alignment guide pins and a stowable glare shield improve handling and positioning onstage, while interchangeable filters – including Cyc, Stealth and Half Diffusion – further expand the creative possibilities. A choice of selectable PWM frequencies up to 25kHz ensure the Solo

The Maverick Silens 1X is driven by a 430W LED engine with a CRI of 97 and output reaching 6,000 lumens. It offers a 6–56° motorised zoom, full CMY+CTO colour mixing, an animation wheel, prism, iris, frost and both rotating and framing shutter systems – all controlled via DMX, Art-Net, CRMX or RDM protocols. With 16-bit dimming, selectable red shift and adjustable PWM up to 40kHz, it maintains smooth fades and crisp output under all conditions.

Building on this, the Maverick Silens 2X Profile steps up to a 760W LED source with a CRI of 94 and delivers over 12,000 lumens of output. The larger fixture features both rotating and static gobo wheels – with interchangeable gobos between them – plus enhanced beam control with a 5.5–57.9° zoom range, 15-leaf motorised iris, variable frost and a high-contrast framing shutter module with 60° rotation. It ships with four DMX mode options ranging from 32–42 channels. Both Silens models are housed in lightweight, flame-retardant polymer enclosures and ship with Omega brackets and gel frame accessories as standard.

www.chauvetprofessional.com

NODE 6X

Maverick Silens 2X Profile

Moving objects

Phil Ward tests the water for spatial audio’s deep dive into live touring

IT’S COME A LONG WAY ALREADY. NOT THAT LONG AGO, object-based audio was an obscure theory – something to do with wave field synthesis, hinted at in tradeshow demo rooms that needed strong aircon and even stronger coffee. It appeared there was a way of releasing audio from its stereo straitjacket, which, if true, was going to overturn that paradigm after 80-plus years. Nobody took much notice.

Then, two European manufacturers began to change the world. L-Acoustics in France and d&b audiotechnik in Germany came up with differing, but parallel, systems that promised to introduce exactly this type of innovation. And they did it from positions of authority: both makers of high-end loudspeakers for live and installed sound, they had taken over the tour riders long dominated by the rock-and-roll elite such as JBL, Martin Audio and Turbosound. This qualified them to call the shots, and call them they did: L-ISA Immersive Hyperreal Technology by L-Acoustics and Soundscape by d&b, each staked a claim for object-based audio not only to be the new norm for auditoriums around the world, but also to be a realistic possibility for transportation and rigging on a nightly basis.

Meanwhile, more regular practice is demonstrated in theatre, concert halls and opera houses.

Munster at the helm. Remember Astro Spatial Audio? That was Van Munster.

Moreover, there is real, touch-it-feel-it product from NEXO. The DME10 is a collaboration with sister company Steinberg and parent company Yamaha and, being a 2U rackmount unit, is perfectly tour-ready. Dante-equipped, it uses two elements of Yamaha’s Active Field Control (AFC): AFC Image for objectbased mixing and AFC Design Assistant for its configuration and simulation software.

If you then add Meyer Sound’s Spacemap Go – deliberately renamed with the “Go” suffix to promote its portability and versatility – and Adamson Systems Engineering’s FletcherMachine, you have three direct competitors for L-ISA and Soundscape, even before any announcements by Martin Audio or JBL.

This has proved to be the trickiest proposal. Essentially, spatial audio systems need more boxes to work, and this has led to accusations of disingenuous sales expansion, unnecessary and unwelcome freight and other criticisms. Even today, the FOH engineer on Robbie Williams’ current Britpop tour, Joe Harling, can confidently say “it’s not that kind of show” when faced with the suggestion of spatial audio, and it’s hard to argue: this sell-out cornucopia of nineties’ nostalgia looks and sounds perfectly fit-for-purpose. And it’s true: dip your litmus paper in the riders this year and the majority will register conventional stereo, L-C-R or even mono. The spatial audio tours are still outriders, test cases and proofof-concept statements like the dates strung together by Groove Armada, Robb Allen and the d&b Soundscape team back in 2023 –at the end of which, the takeaway quote from Mike Case, VP then artist relations for d&b audiotechnik, was: “We’re still at the beginning of [Soundscape’s] journey and have no idea how people may end up using it in the future.”

Where these venues can be analogous with cinema, the rapid progress of Dolby Atmos has blazed a trail and opened rights-holders’ ears to the creative possibilities of more focused sound – especially when the upgrade is site-specific and permanent. If it doesn’t spoil the view, it might just be worth it. The greatest number of live performance showcases for spatial audio right now are in the West End and on Broadway.

But that hasn’t stopped a significant number of manufacturers –particularly loudspeaker manufacturers – from entering the arena during the last year, in one way or another. To begin with, when Focusrite Group announced its acquisition of both TiMax and panLab – the former a high-end pioneer of spatial audio processing, the latter a nimble startup – it placed both systems alongside Martin Audio in the portfolio. If Multi-cellular Loudspeaker Array (MLA) was Martin Audio’s last word in granular control, the next must surely reflect this partnership. Similarly, Harman Pro’s ingestion of the SPAT Revolution “object and perceptual immersive mixing tool” by French pacemaker FLUX:: Immersive pitches this

Or EAW: renowned FOH engineer Robert Scovill has joined the Massachusetts-based mainstay with the express intention of making spatial audio part of EAW’s self-proclaimed “Era of Resurgence” following its acquisition by RCF. “They have to be in this game, no question,” he says, “but the core business will remain and will get stronger on the back of more choice and more engagement. It’s not a binary proposition: stereo or immersive. We need both, and they can coexist.”

A useful, but not exact, comparison can be made with the mixing console market of 20 years ago. Before DiGiCo, there were two missionaries converting the natives from analogue to digital: Yamaha and InnovaSon. After DiGiCo, they fell like dominoes: Soundcraft, Allen & Heath, Avid and, eventually, Midas. Once “Big” Mick Hughes was happy to use digital EQ for Metallica, the argument was over. Thanks to increased competition, the market had reached a critical mass. And, as director of product management – solutions at L-Acoustics, Scott Sugden, points out, “that happened even though audiences cannot hear the difference. With spatial audio, they can.”

“Did we really need it?” asks NEXO’s R&D engineer Didier Isambard regarding digital mixing. “Did it catch on? History shows that the successful engineers were the ones who embraced the new technology and adapted.”

So, yes, it’s come a long way. And it’s got a long way to go. But you get the feeling that it’s time to board the right train.

Groove Armada embraced d&b audiotechnik’s Soundscape spatial audio system in 2023

Johnny Marr at London’s EartH with L-ISA