Pro AVL MEA March-April 2021

ProAVLMEA March–April 2021 MICA (P) 060/05/2020

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

SEALED WITH A KISS

Seeing out 2020 with one of the biggest concerts of the year

BELIEVE IN MUSIC REVIEW CHANGING OWNERSHIP FOR NMK

A NEW WAY FOR UAE NATIONAL DAY

www.proavl-mea.com

Singapore: MICA (P) 060/05/2020

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Contents Volume 18 Issue Two March–April 2021

Editor’s note

NEWS NEWS Sennheiser to focus on pro business, Venuetech consolidates operations

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DISTRIBUTION APEX appoints Audires BV, Peerless-AV extends Redington distribution 20 APPOINTMENTS Marc Schwarze named COO/MD of Qvest, James Oliver joins PK Sound 22 SPECIAL REPORT A brief insight into the changing lives of events workers

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SPECIAL REPORT Sennheiser anticipates resurgence in events following Breakout DXB 24

Email: sluckhurst@proavl-mea.com

FEATURES AMIR CUP Qvision at the Amir Cup Final 2020

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COVER: SEALED WITH A KISS Closing 2020 at Dubai’s Atlantis, The Palm

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This issue of Pro AVL MEA would typically include a healthy number of pages attributed to the first of the year’s big trade shows, namely NAMM and ISE. Of course, there were no physical exhibitions to speak of this time around, marking a full year of absence. ISE isn’t taking place until June 2021 and NAMM was forced to go digital with Believe In Music Week. Attempting to bring some of that Californian spirit into my increasingly stale home working environment, I immersed myself in the event and you can find the report on p42. Similarly, we will have to now wait until October for InfoComm Orlando. These latest developments are sadly making ISE’s June 2021 date look increasingly unviable. A decision regarding its fate will likely have been announced by the time you read this.

This issue is also the first chance we’ve had to explore the very impressive 49th UAE National Day celebrations in Abu Dhabi at the end of 2020 (pp36–37) and Kiss’ New Year’s concert at Atlantis, The Palm in Dubai (pp30–33), which ended up being one of the most involved and complicated live shows to take place in the Emirate all year round. It almost felt like the good old days there for a brief period.

Throughout the many conversations I’ve had with people over the last year, varying dramatically in their positivity, the start of widespread vaccine rollouts frequently became a focal point. That time is now here. We’re on the road to recovery, and the outlook can only get better from here on.

A MODERN CLASSIC Dubai’s Dhow & Anchor upgrades its audiovisual infrastructure 34 ND49 A revolving structure and light show was rolled out for UAE National Day

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SETTING UP FOR SUCCESS Broadcast infrastructure at Turkuvaz Media Centre

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BUSINESS LETTER FROM AMERICA Dan Daley discusses the US live events stimulus package

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LETTER FROM EUROPE Phil Ward on why the Rolling Stones are here to stay

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SHOW REVIEW Believe in Music Week – how did NAMM’s virtual offering fare?

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COMPANY PROFILE NMK Electronics heads into 2021 with new ownership

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COMPANY PROFILE DAS Audio looks back over its 50-year history

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TECHNOLOGY Brompton Technology discusses LED processing in live production 48 NEW PRODUCTS The industry’s most comprehensive product news

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ANALYSIS A new chapter for L-Acoustics in the Middle East and Africa

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inside 8

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Contacts PRODUCTION MANAGER Adrian Baker T: +44 1892 676280

GENERAL MANAGER Richard Lawn T: +44 1892 676280

ADVERTISING DIRECTOR Sue Gould T: +44 1892 676280

CONTRIBUTING EDITOR Caroline Moss T: +44 1892 676280

EDITORIAL COORDINATOR Karen Wallace T: +44 1892 676280

rlawn@proavl-mea.com

sgould@proavl-mea.com

cmoss@proavl-mea.com

kwallace@proavl-mea.com

abaker@proavl-mea.com

DIGITAL MEDIA MANAGER Nick Smith T: +44 1892 676280

VIDEO EDITOR Chris Yardley T: +44 1892 676280

SOCIAL MEDIA COORDINATOR

SALES ASSOCIATE Carolyn Valliere T: +1 562 746 1790

CIRCULATION Marne Mittelmann F: +65 6491 6588

cvalliere@proavl-mea.com

circulation@proavl-mea.com

nsmith@proavl-mea.com

cyardley@proavl-mea.com

Jessica Ubhi T: +44 1892 676280 jubhi@proavl-mea.com

COVER: Atlantis, The Palm PRINTER: Times Printers Singapore LICENCES: Singapore: MCI (P) 060/05/2020 All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

www.proavl-mea.com

@ProAVLCentral

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

@ProAVLMEAMagazine March–April 2021 PRO AVL MEA 3

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NEWS

Sennheiser announces plans to focus on pro business

WORLD

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

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

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

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

Co-CEOs Daniel and Andreas Sennheiser market with strong competitive pressure, both the soundbar business and wireless headphone market offer such growth potential.

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

A partnership for the consumer business will enable Sennheiser to place its focus and

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

The audio specialist plans to independently invest in sound competence as well as market presence and visibility, anticipating that this will allow continued growth at an above-average rate and further expansion in the global market. In particular, Sennheiser has identified significant opportunities in the business communications market that it intends to capture.

“With a strong partner at our side to invest in our consumer business, we will be even better equipped to play to our strengths and to continue to bring the benefit of these strengths to our customers,” said Daniel. His brother Andreas is also looking ahead to the future. “For over 75 years, Sennheiser has stood for excellent technology and unique audio experiences. In doing so, we always focus on the needs of our customers. And we will continue to do so in the future.”

InfoComm Orlando 2021 postponed until October WORLD

AVIXA has announced the postponement of the InfoComm show in Orlando to 23–29 October 2021 from its original dates in June.

“Since the early months of this global crisis, we have done our best to prioritise the long-term interests of our AVIXA members and InfoComm community across the pro AV industr y,” said AVIXA CEO, David Labuskes.

“We have not made this decision to postpone lightly and have relied on a great deal of feedback from the InfoComm show community, and we are grateful to you for engaging with us and suppor ting this decision.”

www.sennheiser.com

Venuetech consolidates operations under single umbrella

UAE

Dubai-based audiovisual distributor Venuetech has announced the opening of a new company headquarters in what it signals is “a new year and a new era for the company”. Described as a muchimproved location in Al Quoz, the new twofloor, 800m2 facility unifies all Venuetech departments and properties under one umbrella, allowing the company to host all of its operations from a single location.

While the idea for the move stems back to initial conversations in April 2020, planning for the new space began in August amidst the backdrop of a global pandemic and the UAE’s famously hot summers. It was ironically the perfect

time for an upgrade; however, several hurdles stood in the way – finding both the right location and a unit large enough to join the company’s existing two warehouse spaces, office, showroom and experience centres.

“That’s exactly what we had found in Al Quoz, but we needed to work fast to facilitate our inventory and warehousing,” explained Venuetech’s Ismat Assafiri. “Led by our in-house team with the help of our trusted contractors, Unique Innovation Technical Services LLC, construction began in August and, in just three months, the first part of our team had already made their permanent move to the space.”

In an attempt to properly showcase the distributor’s capabilities, the team is currently in the final stages of constructing a state-of-the-art experience centre, where clients and manufacturers can truly see their concepts brought to life. When day-today customers arrive, they are welcomed directly by the new showroom on the ground floor that offers an overview of all the product lines that Venuetech carries.

Located on the same floor, warehousing and service centres are available for customer needs and on-hand product transactions.

“We have created a truly seamless experience from logistics, finance, design to warehousing,” added Assafiri. “Clients and partners can see the magnitude of this operation unfold from when they enter until they leave. It has taken a lot of time and effort from our team, but we are very proud to open our doors to a new year and a new era for Venuetech, in the heart of one of the greatest cities in the world, as we continue to evolve with better times.”

In Januar y, AVIXA gathered feedback and industr y opinion about new dates for the show from key stakeholders, receiving “over whelming suppor t” for a postponement. “As excited as the community is about the show, and as hopeful and optimistic as we remain in combatting the pandemic, it is believed that the US will be fur ther along in the battle against the pandemic by October than in June,” said Labuskes. “We also understand the postponement leaves a gap in our traditional June schedule and we will continue to deliver on programming, education and oppor tunities that will bring our community together for engagement, business development and networking.”

InfoComm 2021 will take place at the Orange County Convention Center with the conference running from 23–29 October and exhibition from 27–29 October.

www.venuetech.ae Link to video: https://youtu.be/-78JZDZ3nf0

www.infocommshow.org

4 PRO AVL MEA March–April 2021

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NEWS

Pequod arrives in the Middle East MIDDLE EAST

Pequod Acoustics has officially arrived in the Middle East with the appointment of Alice Macaluso as area sales manager for the Middle East and Africa. Simultaneously, the manufacturer has shipped a Kona and Ovoid system to Dubai and is now offering demos to anyone locally interested in hearing its products as it starts to build awareness for its already eye-catching loudspeaker products across the region.

sales manager, Leonardo Dani. “In line with this aim, we have appointed Alice Macaluso as area sales manager for MEA, and sent a small demo system to the region to start catching the attention of the market. We have already had some results – potential installations and potential distributors that are thinking about what to do next after the pandemic. As with other brands, it will take a while for us to establish a local Middle East presence, but I believe we have made the right move at the right time.”

“At first, I was intrigued by the refined aesthetic of the speakers: they are undeniably unique and very elegant.

But listening to them really made the difference,” commented Macaluso. “While part of the industry is looking into smaller components and the use of DSP to correct acoustically poor performances, Pequod took a completely opposite direction. The shape of the speaker doesn’t just serve the beauty but it’s exactly the shape needed

Pequod’s MEA sales manager, Alice Macaluso “During this horrible pandemic period, all of us have had to deal with massive changes in the market and in the way we do business. With the tight restrictions applied to our industry, I had to decide quickly where to invest and how to maximise the results,” stated Pequod Acoustics chief

A pair of Kona speakers, two Ovoid subs and two Ostros were deployed for the demo

to get the best sound from the high-quality drivers selected.”

At the moment the system held in Dubai comprises a pair of Kona speakers, two Ovoid subs and two Ostro, amplified by three Powersoft T604 amplifiers and provided from Dubai-based Subsonic, which will serve as the Pequod dealer in Dubai by offering technical support for the demos and, later, also installation projects. A recent private performance in December 2020 saw this system configuration demoed locally by

popular Kazakh violinist Aliya from Artist Related Group.

“We have already hosted private demos for musicians interested in the system and professionals in the industry and, at the moment, we are working on several projects in the Middle East, from clubs, private yachts, sports buildings and villas,” furthered Macaluso. “If you’d like to demo the system, please contact me.” www.pequodacoustics.com

Studer acquired by Evertz Beyma restructures WORLD

Evertz Technologies Limited has announced that it has entered into an asset purchase agreement with Harman International to acquire the Studer brand, technology and related assets in a deal set to close in Q1 of this year.

“We’re pleased to welcome this iconic audio brand to our Evertz family of products and solutions that has been serving the broadcast market for more than 50 years,” said Brian Campbell, EVP business development, Evertz.

“We also welcome the many valued Studer customers who depend on Studer technology and reliability to deliver the best audio to their audience.”

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

WORLD

lines. “We saw an exciting opportunity to evolve these premium products with new products and feature development while having Studer continue to redefine how broadcast audio is produced,” continued Campbell.

Founded in Zurich in 1948, Studer has a long tradition of technology that has been deployed in recording and broadcast for more than 70 years. The brand joined the Harman stable in 1994, bringing it into the digital age. “We are very pleased that the stewardship of the iconic Studer brand will continue on under Evertz’s leadership,” said Brian Divine, president, Harman Professional Solutions. “The Harman team will be working very closely with Evertz over the coming weeks to assure a seamless transition for the customers.” www.evertz.com www.studer.ch

Transducer manufacturer Acustica Beyma has undergone an internal shareholding restructure. Together with Ana Masip, general manager Jose Vicente Farinós is now the majority shareholder of the company.

The Masip family has been majority owner of Acustica Beyma since the company was founded in 1969, and the exit of current president Jose Masip together with Lidia Masip from the Beyma shareholding is immediate. As an understudy to his father initially, Jose Masip has been working at Beyma for 35 years since 1986.

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

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

Having started his employment as financial director at Acustica Beyma in 1995, Farinós

Jose Vicente Farinós holds a degree in economics from the University of Valencia and a Master’s in Finance from CEF Madrid. Having become a minority shareholder of the company in 1997, he was then promoted to lead the company as general manager in 2003.

Beyma has confirmed that the shareholding restructuring will provide continuity to the trajectory and management carried out in recent years in addition to consolidating current global strategies. www.beyma.com

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NEWS

Industry vet Void rises to the occasion at Tel integrates Aviv’s Pop and Pope Vue Audiotechnik into brands

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

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

Vue Audiotechnik will join SE Audiotechnik and the high-fidelity product line, mivoc, under one roof, which the company believes will result in enhanced production capacities, larger R&D teams and more efficient logistics leading to greater competitiveness, a quicker time to market and an early extension of the product portfolio into installed applications, with the integration of the sales and marketing departments enabling enhanced communications and customer support. A new web domain has been created.

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

A Void Acoustics system has been installed at the Pop and Pope in Tel Aviv.

Pop and Pope is a multipurpose venue constructed as part of a prestigious new inner-city urban renewal project. Sitting at the heart of the high-end complex, it encompasses a restaurant, bar and event space. Naturally, the desire to provide a high-calibre environment for guests and diners includes the provision of state-of-theart audio. To achieve this, the complex’s real-estate developer, Hagag Group, worked closely with audio specialist Kahane Group to supply an aesthetically pleasing and highquality Void Acoustics installation.

Kahane Group has worked alongside Hagag Group on previous occasions, primarily on high-end domestic properties focused on installing innovative smart home solutions.

However, this is the first big audio project it has undertaken for Hagag in a commercial setting, and was a new and dynamic challenge for the teams. Pop and Pope occupies 2,200m2 of space across the 14th floor of Ha’arbaa Towers in the centre of Tel Aviv. With panoramic views across the city, it provides unparalleled high-class, sky-high hospitality for the residents and tourists of the city. The brief was to execute an audio installation reflecting the high-calibre nature of the venue.

The audio specification includes a distributed system, reportedly providing not only aesthetically pleasing fixtures but a high-power output with a non-fatiguing sonic signature. The Airten, Airmotion, Air 8 and Venu 215 loudspeakers all feature and are supported by Bias Q2 amplifiers.

EMEA sales manager for Void Acoustics, Josh Pearce, was delighted to support Kahane Group with the project. “The Kahane team are highly skilled and professional with great industry knowledge and experience. They have a wide network of contacts in the region and are very much the type of business partners we at Void like to work with.”

Airten and Airmotion cabinets provide primary audio distribution

Venu 215 subwoofers integrated discreetly into the columns Audio consultant Alon Laski manages all major projects for Kahane Group and enjoys an excellent working relationship with Void.

“The design aesthetics of Void’s products ooze luxury and ‘newness’, so made them the perfect products to install into Pop and Pope,” he explained. “The venue layout provided some challenges and we had to be careful to

position the fixtures to ensure smooth and even coverage of audio, particularly for the dance area.”

The events space offers an adaptable space for a plethora of events, including product launches, publicity events, weddings, birthdays and anniversaries and any other type of private event, so the audio installation needed to be multifunctional and adaptable. “We worked collaboratively with Alon and his team on the ground from the initial specification through to the installation to ensure the system was fit-for-purpose and could address all possible requirements,” furthered Pearce.

“The venue concept for Pop and Pope was born against the background of a global trend of opening entertainment and culinary centres at the heart of prestigious office towers in major cities around the world,” commented Pop and Pope CEO, Yossi Shema. “An integral part of creating an atmosphere is acoustics, sound quality and, of course, the music that is played. I am confident we have achieved all of this in all senses through the installation of a complete Void Acoustics system which contributes to the overall experience for our guests. We really couldn’t be more thrilled.”

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www.voidacoustics.com

www.vue-audiotechnik.com

Eclipse lights up Museum of the Future for ND49 UAE

eclipse helped its client People celebrate the 49th UAE National Day with a lighting display at Dubai’s Museum of the Future.

The technical events company deployed 49 Claypaky Mythos within the structure’s void as part of the temporary installation.

With the design concept and event production handled by People, the eclipse crew worked alongside iRIG to hang the fixtures within a 360° clockface design. As the site is currently still under construction, careful consideration and additional health and safety measures had to be implemented to ensure that all crew could work around the active site.

Lighting designer Tony Hall worked alongside the eclipse programmer as the light show ran live for six nights. “I was delighted to be able

Image courtesy of Jonathan Gonzales

to use the Claypaky Mythos 2 from eclipse for this project,” said Hall. “The outstanding output from these fixtures created a onehorse race as far as fixture selection went.

During programming, the enhanced output, even in saturated colours, proved a winning combination. The units proved to be extremely robust, with no failures onsite.”

The design of the rig allowed for various looks, ranging from tight beams all focused to the centre of the void and changing between the red, white and green colours of the UAE, to aerial effects as the fixtures tiled out towards the nearby Emirates Towers. www.claypaky.com www.eclipse.ae

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NEWS

Titan Tubes deployed for SA Idols SOUTH AFRICA

Astera Titan Tubes were called upon at the South African State Theatre in Pretoria recently for the 2020 edition of SA Idols.

With both the rounds and finale held inside the theatre’s 550-seat Drama Stage, the show’s lighting design was delivered by Joshua Cutts of Visual Frontier and technical production delivered by Dream Sets for SIC Entertainment.

The show would usually have shifted to the 3,000-capacity Carnival City Big Top Arena in Johannesburg for the finale; however, this time, due to Covid-19 restrictions, everything remained at the State Theatre. Cutts drew on some imaginative and original lighting techniques to keep all the broadcasts looking fresh and interesting. This included a selection of special visual treatments, some of which were based around utilising Astera Titan Tubes which Cutts deployed on three different shows.

Cutts has now specified Titan Tubes for several different projects, and muses that “I wish I had a warehouse full of them”. However, for the Idols series, he managed to make just a single set of eight Titan Tubes procured by Dream Sets go a very long way.

It’s been a challenging year for the entertainment industry worldwide and particularly in South Africa, so Cutts was delighted to be back working on Idols once again, a show that he has lit for the last 11 seasons. www.astera-led.com

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The tubes reportedly proved to be the perfect illuminated accessory for some of the dance numbers and worked well accompanying some of the choirs featured throughout the series, backing certain artists and songs. At times, they were attached to set flats to enhance the backdrop for the house band, as well as positioned on their Astera floor stands to provide a close-up side light for performers or dynamic fill lighting for set pieces.

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“They are just very flexible,” stated Cutts, adding that he’s brimming with ideas as to what to do with them next.

For the Dance Show, the Titan Tubes were integrated as another illuminated and kinetic element fusing with the dancers, either by being hand-held or having the choreography woven around them. “They are a bright, vibrant and easy-to-use wireless solution,” Cutts added. “They look great oncamera, the colours are cool, while the AsteraApp on your smartphone works brilliantly for both testing and standalone setups.”

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NEWS

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

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

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

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

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

of the founding fathers of the AV industry and contributed greatly to the company’s position as a world leader in its field. Fortissimo’s investment in our company is a major milestone and I am confident that under their guidance we can grow and become an even more significant player in the market. This year, we are celebrating 40 years since the founding of Kramer Electronics. The initial pillars upon which the company was built, with a focus on constant innovation, the pursuit of excellence and team spirit, remain the driving force of our business today. These values and our strategic direction will continue to drive the company’s future success.”

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Qvest Media delivers all-IP infrastructure for Asharq News SAUDI ARABIA

A new 24/7 multiplatform news service has gone online in Saudi Arabia with the aid of Qvest Media. Headquartered in Riyadh, Asharq News will provide the Arabic-speaking world with live news focused on the economy and finance and will be broadcast online, on social media, and via TV and radio channels. The channel’s new all-IP infrastructure is of a scope that is said to be unique in the MENA region to date and encompasses a hybrid architecture of virtualised on-premises systems and cloud applications to support content aggregation, production and distribution.

The newsroom The use of technology at Asharq News permits the broadcaster to engage in locationindependent collaboration, meaning it can more easily produce high-quality news and analyses live on the spot and with a global network of journalists.

“With Asharq News, we have launched one of the world’s most advanced live news platforms together with Qvest Media as our master systems integrator,” commented Omran Abdallah, CTO of Asharq News. “The wide range in collaboration and news research allows us to report live and on the pulse of the action quickly, which is crucial to our success.

We are very pleased about the outstanding and positive international response that we have received since our launch on 11 November 2020.”

third-party devices. By talking native protocols where possible, equipment from different manufacturers can be seamlessly “glued” together, giving recall and logic control possibilities system-wide.

VSM’s new Wallboxing functionality allows for moving devices across an API-controlled IP infrastructure and to maintain flow connectivity. In a large production facility, devices like stageboxes, monitors and teleprompters are likely to be moved around a lot, and Wallboxing ensures that existing IP links are re-established when a device is connected to a switchport at the new location.

With an end-to-end all-IP infrastructure, Asharq News benefits from adaptability and scalability of its production platform. The 100GBit/s-capable media infrastructure designed and implemented by Qvest Media supports the SMPTE ST 2110, NMOS IS-04 and IS-05 standards and reportedly offers sufficient bandwidth for a UHD/4K upgrade of the production infrastructure in the future. The audio-over-IP implementation supports IEEE, IETF and AES67. Since the network consists of customary IT components, it forms the basis for both the redundant broadcast network design and the seamlessly integrated corporate IT network.

“I am very pleased that Asharq News successfully managed to go on air despite the aggravated pandemic conditions,” said Ahmad Hadi Al Kayal, general manager and CSO of Qvest Media Dubai. “We owe this mostly to the close and trusting cooperation between Asharq News and our well-coordinated team as well as our streamlined project delivery.”

The integrator coordinated more than 25 manufacturers to form a seamless live news

workflow. A central component is the multicloud management platform qibb which, as a cloud application management layer, is used to orchestrate and monitor the cloud applications relevant for news production: the newsroom system Avid iNEWS, the production platform Avid MediaCentral | Cloud UX, the social media aggregation and research of x.news and Burli NewsHub. This allows incoming news feeds to be curated and routed to the responsible journalists efficiently.

The overall control of the infrastructure is carried out by the use of Lawo’s VSM Virtual Studio Manager Broadcast Control System. Asharq’s VSM system, serving as the overall IP production layer, controls the video backbone and manages the audio IP streams. A total of 34 hardware panels and several software GUIs are in place as a user/system interface providing standardised workflow. VSM integrates with the broadcast equipment, including video routers, video switchers, audio routers, audio consoles, multiviewers, intercoms, modular equipment and a range special

The Master Control Room Aside from the media infrastructure, the broadcaster also sets new benchmarks in studio design, with videowalls and floor displays totalling an area of more than 300m2. The LED walls can be divided into several segments and have a movable, motorised ceiling suspension that allows them to be moved silently in on-air mode.

In addition to the design and installation of these systems, Qvest Media also integrated the necessary technology for the visualisation of graphic and video material, which is used for the interactive display of programmeaccompanying content on the LED walls. www.qvestmedia.com

10 PRO AVL MEA March–April 2021

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Multi

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NEWS

Lawo is the right choice for Multichoice’s Studio 6 rebuild SOUTH AFRICA

Africa’s largest satellite television provider, Multichoice, has completed an infrastructure rebuild of Studio 6 located in Randburg, Johannesburg. The studio is mostly used by Multichoice’s content brand SuperSport, which specialises in live sports production across 40 linear channels. Lawo partner Inala Broadcast integrated a vm_dmv-based Lawo V__matrix multiviewer solution and a mc²36 audio console combined with an A__stage64 stagebox and a Nova73 router.

In addition to the studio production audio workflows, the system interfaces into IP-based commentary booths to enable adding multiple languages into the IP audio backend. SuperSport’s overall infrastructure is controlled by a VSM virtual studio manager system which also controls 16 galleries used for turnaround operations of smaller events.

edge infrastructure that provides SuperSport’s unrivaled operations with even more flexibility.”

SuperSport’s large Studio 1 was also equipped with a Lawo infrastructure recently, while its international control room migrated to V__matrixbased vm_dmv multiviewers in Spring 2020. www.inalabroadcast.co.za www.lawo.com

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Multichoice Studio 6 in Randburg “The migration of broadcast signal reticulation from traditional baseband to IP brings us new options in the way things are done, which required us to redefine the way we all – Multichoice technical team, Inala Broadcast, SuperSport Operations and Lawo – install, configure and commission an audio system of this size and nature,” explained an engineer from Multichoice.

Anthony Teunen, Lawo’s system engineer, who configured the new Studio 6 setup and supervised the handover, called Studio 6’s new audio infrastructure “an innovative small console-large router scenario”.

Studio 6’s newly configured infrastructure is mainly used for incoming sports feeds, like football, rugby and cricket, with all footage being transmitted to the presenters in charge of producing pre-match, half-time and post-match analyses.

The configuration for the Multichoice studio in Randburg was handled remotely from Theunen’s office in Belgium. For health and safety reasons during the pandemic, hardly anybody was allowed onsite and even remote configuration operations were temporarily put on hold.

“We are very grateful to our South African systems integration partner, Inala Broadcast, for their hard work and innovative solutions,” commented Ralf Schimmel, Lawo sales director Africa and radio partners. “This partnership has resulted in a cutting-

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NEWS

DiGiGrid flows throughout Johannesburg’s Abbey Road Institute SOUTH AFRICA

Having first opened its doors in February 2020, the Abbey Road Institute in Johannesburg – based at Mastermax Studios in Midrand – teaches a professional one-year Advanced Programme in Music Production and Sound Engineering. Drawing on the expertise that is the hallmark of Abbey Road Studios, a high standard of theoretical teaching is allied with wellsupported “hands-on” experience, guided by leading industry professionals. Students have access to the latest state-of-the-art equipment, including the presence of a number of DiGiGrid products as standard at each DAW across the classroom/lab and production suites.

The institute’s managing director, Johan van der Colff, is a notewor thy industr y professional with an impressive list of credits. As well as running Mastermax Studios, he also heads up the international postproduction facilities network Post|City, while his talents as an engineer have been recognised with a SAMA (South African Music Award) for his work on Sahara’s album, Loliwe.

“I was first introduced to DiGiGrid products by a friend at Waves,” recalled van der Colff. “I was doing a lot of large channel count multitrack recording that required MADI connectivity, and I star ted

using the DiGiGrid MGO and MGB products as the inter face for the events I was recording.”

That was seven years ago and, since that time, van der Colff has fur ther explored the range of products available.

This led him to the decision to invest in DiGiGrid for the benefit of the local and international clients that record at Mastermax. By the time the Abbey Road Institute was brought into the facility, DiGiGrid was ver y much at the hear t of the operation.

“We wanted to place the Abbey Road Institute’s educational programme directly alongside our commercial operation, believing that the only real way to learn this craft is with hands-on, on-the-job, apprentice-style training,” explained van der Colff. “The system allowed us to be very creative with the way we think about routing and in-class participation – since the whole classroom is on the SoundGrid network, students can easily share what they’re working on with

In the classroom at the Abbey Road Institute

the class by just assigning the classroom D interface to the students’ computer core audio. It also allows us to demonstrate to the students the future benefits of networked audio. We can sit in the classroom and access any device, in any room in the whole studio complex, be able to listen to what’s happening in other suites and do collaborative recording between different rooms. One more very important determinant was that the students have dedicated workstations in the classroom that they use for assignments, so we needed high-quality I/O devices for each one.”

In the classroom, DiGiGrid M units are used for each student workstation, with a D at the lecturer’s station connected to the room speakers. In Studio A, an IOS and a DLI bridges Avid 192 I/O interfaces, while a D is situated in the control room for local I/O and room monitor outputs. The production suites, set up with a home-studio vibe in mind, are equipped with D interfaces and are used by students in terms one and two to learn how to manage resources and extract the best from smaller setups.

Another IOS is deployed in the mix suite, feeding into an SSL SIX – the suite is set up as an analogue/digital hybrid to maximise creative flexibility. Because all the rooms are on the facility-wide DiGiGrid network, all rooms and workstations can access each other’s I/O and servers if not utilised. There is also a plan to introduce some IOX and IOC units for portable use anywhere in the facility where more I/O capability might be required.

Within a month of opening, the coronavirus pandemic had resulted in a hard lockdown in South Africa, forcing van der Colff and his team to get creative.

“We certainly had to adapt fast,” he said.

“While the theoretical side could be taught over Zoom, the fact that we were using the DiGiGrid M inter faces made it easy for us to give the students their in-class workstations to take home.” www.abbeyroadinstitute.co.za www.digigrid.net

Fruition Events rings in the New Year with Eurotruss UAE

A large Eurotruss AR-30 mega roof was installed by Fruition Events as part of the festivities being held in Downtown Dubai for UAE National Day and New Year’s Eve. The truss was supplied by Procom Middle East, which worked with Fruition Events and the Eurotruss team to ensure a safe event, despite short lead times.

Warren Barlow, owner and director at Fruition Events, stated his reason for selecting Eurotruss. “Choosing a roof structure that offers flexibility, good trim

heights and impressive load capabilities can be a daunting task, but the AR-30 roof from Eurotruss does just that, and it looks great too. Working alongside the Eurotruss engineers and the team at Procom also ensured that the challenges we set were effectively managed in terms of design on difficult terrain, integration with our existing platform systems and short lead time.”

The AR-30 has the highest load-bearing capacity of all the roofs in the Eurotruss

Roof Programme. An eight tower AR-30 truss spanning 24m x 15m was erected for the festivities in Downtown Dubai. “The end result was a fully integrated roof that delivered a month-long series of events in front of the world’s tallest tower, the Burj Khalifa,” Barlow added. “Our client and those visiting the events were delighted with the results and a testament to the hard work from all those involved.” www.procom-me.com

12 PRO AVL MEA March–April 2021

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DeltaQ brings events to life at Fairgreen International School UAE

Newly installed Bose DeltaQ loudspeakers have improved sound quality for events hosted

by Dubai-based Fairgreen International School.

A DeltaQ system was recently installed by Gulf Business Machines (GBM) Middle East into the 10,000-student school’s auditorium which, in addition to school events, is rented out externally and therefore required a solution capable of offering good speech intelligibility for presentations and full-range audio reinforcement for concerts. The new solution was devised by GBM in tandem with the Bose Professional technical team. The main hangs are formed from DeltaQ SM20 and SM10

cabinets and SM118 subwoofers. GBM was successful in securing the Fairgreen project following extensive discussions backed up with presentations and Bose Modeler reports detailing the predicted audio distribution.

“DeltaQ technology and the Modeler reports were instrumental in closing this deal,” recalled the GBM project manager.

Left-right hangs comprising three Bose ShowMatch DeltaQ SM20 loudspeakers and a single SM10 sit below Bose SM118 single 18-inch subwoofers. Three ArenaMatch RMU208 loudspeakers provide foldback onstage, while power is from four Bose

The main hangs are formed from DeltaQ SM20 and SM10 cabinets and SM118 subs

channels) amplifier. A ControlSpace ESP880 provides system processing which can be user adjusted via a ControlSpace CC-64 Control Centre panel.

“This was a project that required a lot of meetings, presentations and Modeler report revisions in order to help the client understand the right solution for his space and give them the best solution that works hand-in-hand with the design,” furthered the project manager.

“It was a complete team effort between Bose and GBM. The client is very satisfied and they have plans to rent out the space.”

“The Bose AV system in our performance hall is top notch,” added Graeme Scott, Fairgreen International School director. “The sound is excellent and balanced throughout the space, helping to truly enhance our exciting school events. We are very happy with how this system delivers.” www.bose.ae

PowerMatch PM8500s (500W x eight channels) and one PowerMatch PM4500 (50W x four

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AVE turns to Electro-Voice for Mawimbi Restaurant

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An Electro-Voice audio system has been installed at Mawimbi Seafood Restaurant in Nairobi as part of an upgrade project by Audiovisual Engineering (AVE) to fix existing audio issues the venue was experiencing.

Mawimbi Seafood Restaurant is a gourmet, fine-dining restaurant offering a contemporary fusion of international and Kenyan cuisines alongside local live music.

“We were initially contacted by the restaurant to provide a set of Pioneer CD players and a mixer,” recalled AVE technical director, Omar Abdalla. “I enquired about the rest of the audio setup but these works were already being handled by another company.

Then coronavirus started and everything in Kenya stopped – all restaurants, clubs and

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rental companies were closed. We were on full lockdown. Around mid-October, we were contacted again by Mawimbi. They had been experiencing issues with the other new equipment they had installed and they wanted us to go check it out. It was a basic

BGM system and was being used for DJ parties.”

The venue is split into three distinct areas: the restaurant, swimming pool and terrace.

AVE has installed four Electro-Voice EVC-1122-95PIB outdoor loudspeakers and

EVC-1181SPIB subwoofers for the swimming pool area, six EVC1082-00Bs and two EVID-S12.1B subs to extend coverage across the terrace area, and EVID-S4.2T and EVID-S12.1B subs for the main restaurant area. An Ashly Audio Protea NE 24.24M handles processing and Ashly amplifiers run the speakers.

“The problem the venue was experiencing was not the fault of the previous equipment, but rather the person who designed it not understanding what the client was looking for,” explained Abdalla. “After listening to what the client was trying to achieve, we proposed the Electro-Voice solution.” www.ave-africa.com

14 PRO AVL MEA March–April 2021

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R&S claims world first with Camlica consolidation TURKEY

Rohde & Schwarz has announced a world first that sees the transmission of 100 FM radio channels consolidated within the new landmark Camlica Tower in Istanbul. The project owners, broadcast transmission service provider Kule Verici Tesisleri Isletim Ve Teknolojileri AS, selected Rohde & Schwarz as its technology partner after many other companies claimed the transmission challenge was impossible to achieve. The project saw 100 R&S THR9 high-power FM radio transmitters installed within the iconic tower, a feat that also serves to enhance the landscape’s aesthetic appeal since they replace more than 30 legacy street-level transmitter towers.

“We selected the THR9 transmitters because of their operational reliability and efficiency.

Energy costs are substantially reduced because of the 75% efficiency that these transmitters achieve and, importantly, this leads to reduced carbon emissions into the environment,” explained the management

of client PTT KULE Inc. “Rohde & Schwarz’s design team has saved space thanks to the THR9’s small footprint and day-to-day operation is simplified because of the modular configuration and flexible operation concept.

The system is almost maintenance free thanks to its liquid cooling system, while better frequency occupation and clean spectral density allows us to cover the entire city with lower output power.”

Transmitting all 100 radio channels in the same infrastructure enables Kule Verici Tesisleri Isletim Ve Teknolojileri AS to provide consistent high-quality broadcast services as standard to all its customers.

The manufacturer will provide ongoing post-sales technical and operational support to the project, helping to ensure that the high professional standards are maintained throughout the operational life of the tower. www.rohde-schwarz.com

DRIVING HUMAN AUDIO EXPERIENCE

Audio pioneer Rupert Neve passes away

11/02/21 12:13

WORLD

Rupert Neve Designs has regretfully announced that its founder, Ruper t Neve, has passed away in Wimberley, Texas, at the age of 94 from nonCovid-related pneumonia and hear t failure. Neve is known throughout the industr y for founding several historic companies and creating some of histor y’s most enduring and sought-after analogue audio equipment. He received countless accolades including a Lifetime Achievement Technical Grammy Award in 1997, Studio Sound Magazine’s Audio Person of the Centur y Award in 1999, an Audio Engineering Society Fellowship Award in 2006 and 16 TEC (Technical Excellence and Creativity) Awards with

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

“I’ve known and worked with Ruper t for nearly 30 years,” said Josh Thomas, Ruper t Neve Designs’ co-founder and general manager. “When Ruper t, his wife Evelyn and I sat at his kitchen table and founded Ruper t Neve Designs 16 years ago, he had two goals. The first was to set a new standard in the quality of recorded sound, drawing upon his unparalleled depth of experience to create high-end solutions for the modern recording engineer, musician, and listener alike. The second was to pass on his philosophies,

techniques and methodologies to a new generation of designers to carr y his life’s work and passion into the future.

“It was always assumed that the company would outlive him on this ear th, and for 16 years he poured his energies into creating a team that would become the caretakers of the theories, practices and ideologies that truly constitute a Ruper t Neve design. All of us at the company are exceedingly grateful for the years of careful instruction and mentoring with which he has blessed us, and we will continue to preser ve his legacy in everything we do moving forward.” www.rupertneve.com

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NEWS

PL+S Middle East to return in 2022 UAE

New dates have now been announced for the next edition of Prolight + Sound Middle East. Originally scheduled to take place in January 2021, the fifth edition of the exhibition will now take place in September 2022. Organiser Messe Frankfurt Middle East decided 2022 was the preferred year for the show’s return, as the world economy recovers from a pandemic-affected 2020 and 2021.

Senior show manager Dishan Isaac said the 2022 edition will take place with all the popular highlights returning, spearheaded by the Events, Technology & Entertainment Forum – a three-day conference bringing together government stakeholders and industry experts to discuss trends and strategies in developing iconic attractions and live events.

“The Sample Music Festival – a purposebuilt stage for DJs, music producers and audio gurus to test their skills with the latest turntables, controllers, mixers and samplers – will also return,” Isaac commented. “Our workshops series will be back as well, such as the Dante training workshop by Audinate, where AV professionals can gather more in-depth knowledge about key design concepts and common technologies deployed in typical medium-sized Dante networks.

“This in addition to the exhibition itself, where some 200 premium brands from

Thomsun demos CS7 in the UAE UAE

in the midst of a major growth period.” Isaac also said that Prolight + Sound Middle East will continue to engage the industry in 2021 through its AV & Integrated Experiences Webinar series, along with other digital activities intended to keep professionals up to date on the latest trends in a postpandemic world.

Thomsun has made an Adamson CS7 available for demos in the UAE. Suited for live concert, conference and install applications, the system is the first CS7 setup to arrive in the region. For potential customers interested in hearing it for the first time, Thomsun will visit and provide an exclusive demo first-hand.

Thomsun’s demo system features eight CS7 cabinets paired with four CS118 subwoofers.

CS-Series rack solutions, including the CS Gateway, CS Power Distribution System and CS Network Distribution System, can also be further explored and tested.

“The CS-series is an intelligent loudspeaker system which provides on-board amplification and DSP integrated with Milan-ready AVB connectivity. Furthermore, your existing S-Series can be upgraded to the CS-Series by replacing the back module,” commented technical manager, Ragesh C. “The feedback has been great for those that have already demoed the system. Plus, globally, we have had only positive feedback on this digital system. If you’d like to hear it for yourself, please get in contact.”

www.prolightsoundme.com

www.thomsunmusic.com

Inside the Sample Music Festival area across the globe will be on show, presenting the very best in the business for a wide range of visitors, from rental companies, distributors, installers and systems integrators, to venues, end users, project owners and government associations,” he furthered. “There will be much to look forward to when the industry gathers again for three days in Dubai, at a time when the live events and entertainment market will be

An 8K experience at Mall of Dilmunia

BAHRAIN

Four Square Media has installed what is reportedly the Middle East’s largest 8K LED ceiling screen at the Mall of Dilmunia in Bahrain. The solution, which was designed and integrated by Four Square Media, delivers a continuous, immersive, 360° 3D experience and is driven by a Navori QL digital signage network launched in alignment with the mall’s April 2020 opening. In addition to the large ceiling LED screen, the solution entertains shoppers with 8K content around the mall’s outdoor façade, entrances,

elevators, aquarium and entertainment areas, including an ice rink.

The core QL software integrates Navori’s Insane Performance Rendering (IPR) software to power all 8K content, including the 9m x 60m LED ceiling display. The IPR software can power and frame-accurately synchronise a full 8K wall, or up to four 4K screens (or 16 HD screens) from a single media player.

According to Jaideep Narindra, founder and CEO at Four Square Media, Mall of Dilmunia’s size and layout, and emphasis on

enhancing the shopper’s visual experience, required extensive customisation to ensure a successful network deployment. “The majority of the displays were built with massive LEDs and resolutions to maximise impact, with each screen displaying 8K content to ensure the best image quality content playback,” said Narindra. “They also wanted a way to manage and monitor all advertising campaigns in a structured way, with proof-of-play reporting and fairplay algorithms for advertiser validation.

Navori Labs offered an outstanding level

of support, offering quick and diligent technical support to meet all performance requirements. Their expertise helped us deliver a demanding digital out-of-home network solution with relative ease, given the advanced 8K content and targeted advertising applications.”

The QL software applications serve to generate revenue and maximise audience exposure across all screens, while also providing insight into ad campaign successes. Ad insertions are often based on end user input, with meta tags redirecting ads to specific screens. This allows network operators to meet targets around a number of impressions and specify the number of advertisements that will play in sequence. Navori’s monitoring and analytics platform also generates detailed reports to measure successes and validate performance with network operators and advertisers.

The network also includes 60 Navori QL Players, with the ability to target different zones or play the same content across many or all screens. When the same content plays out on more than one screen, each player’s clock is synchronised with the core QL server down to 1/20th of a second. Four Square Media used the same application to synchronise audio from the digital signage content to the mall’s public address system as needed. www.navori.com

16 PRO AVL MEA March–April 2021

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SPEECHLINE DIGITAL WIRELESS

IT-optimized wireless microphone system for speech and lecture Now with the new Multi Channel Receiver

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NEWS

P

Creative Technology supports UCL Qatar graduations

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QATAR

In what is increasingly becoming a tried-andtested solution, Creative Technology (CT) Middle East recently supported a live virtual graduation and legacy event for UCL Qatar (University College London in Qatar) on behalf of WMP Creative. CT supplied a full virtual solution, content management, communications system and simultaneous translation, which was controlled from its Middle East headquarters in partnership with WMP Creative in Qatar.

and the environment were real, enabling them to feel as though they were attending a live show.

A Riedel system was also integrated into the video conferencing platform to enable the client, crew and remote staff to communicate from anywhere in the world, with CT supplying a Riedel Artist 64 matrix frame that controlled six DSP 2312 desktop panels and six Bolero wireless beltpacks. These units were used by the CT crew and clients within the virtual studio setup.

The Habima Theatre Image courtesy of Yossi Zwecker

Israel goes on Red alert with Robe ISRAEL

CT’s solution enabled five different graduating classes and the academic staff to appear in six separate frames to ensure each class was easily identified throughout the ceremony.

The equipment used for the virtual event was identical to a normal live show, minus the physical stage that would usually consist of the audio, video and lighting elements.

WMP Creative designed the stage and CT built the virtual environment, modelling the 3D object of the stage to help produce the content, which was created using 3D software and Notch to provide a fully customisable virtual environment which saw various elements appear as augmented reality.

A key part of the solution was exporting the Notch content into CT’s disguise gx 2c solution. This integration enabled the use of the disguise camera system to build a sequence of different views and simulate the director’s cuts for the different cues in the show.

The camera system integration gave the audience the perspective that the stage elements

A Barco E2 screen management system and media servers were deployed and programmed as they would be in a normal live event setup from the direction of WMP, creatives and the show caller. The CT team implemented the “live” aspects of the show via video conferencing and were able to encode real-time confidence monitors to return the live feedback to participants so they could watch the show as it happened. Along with a video return feed, the team could also communicate with the show participants to give them cues. This approach allowed the team to integrate participants into the event from anywhere in the world.

The success of this solution was visible in the flexibility of the changes applicable in the design and in the real-time generative content that can be triggered and changed based on the client’s request. The graduation was streamed live onto the university’s YouTube channel and recorded so it could be played back via video on demand.

Over 150 theatrical venues, concert halls, music clubs and sport arenas across Israel were lit up in red recently in a “Red Alert evening of action”. The event was designed to highlight culture and the arts and the immense amount of enjoyment, entertainment and value that it brings to all.

The spontaneous event – which began as an organic movement – was organised by multidisciplinary artist, musician and lighting designer Nadav Barnea, together with lighting designer Baruch Shpigelman. It energised and united engineers, technicians, designers and directors working in every discipline in the sector – lighting, sound, video, staging, rigging, visual, scenic, cameras and broadcast.

Delighted to participate was another leading Israeli lighting designer, Eran Klein of Cochavi&Klein, who worked closely with business partner Eli Cochavi to light up one of the two main sites in central Tel Aviv with an all-Robe lighting rig featuring Spiiders, BMFL Spots and LEDWash 1200 fixtures.

The lights were supplied by Danor Theatre and Studio Systems, whose Erez Hadar also enthusiastically participated in the event.

These fixtures were used to illuminate the Cameri Theatre and the Tel Aviv Performing Arts Centre, all standing adjacent to one another in Sderot Sha’ul HaMelech square.

The BMFL Spots were used for gobo projections together with animation effects and other textural overlays. The fixtures were all positioned on flightcases and other objects in the square, where they had an unhindered beam-path to illuminate the buildings, all of which glowed in red. The

other major Red Alert site in central Tel Aviv was the Habima Theatre, which was lit with 12 Robe MegaPointes, and the Culture Palace which was also turned red for the evening. Other notables included the Jerusalem Theatre, Teddy Stadium and the Israeli Museum of Art, also in Jerusalem.

During the pandemic, the lighting of buildings, monuments and landmarks in red has become synonymous with support for live events and the per forming arts which have been particularly hard hit since shutting down in March 2020. In many parts of the world, Israel included, companies and professionals in the sector have had no roadmap or timescale for restarting and have received no financial assistance to stay afloat.

“Our expectations grew higher each time the list of places lit in red expanded,” commented Barnea. “We saw places we didn’t even know were joining in posting red pictures and tagging the event on social media. It was incredible. We knew that the media has the power to really spread the word and, apart from a few interviews to radio shows, we did not expect it to explode as it did.” Almost every national newspaper, news channel and web portal commented and talked about the action with several front-page features and lead stories. Approximately 150 different buildings were lit red, with 1,500–2,000 people involved in the event in total. www.robe.cz

www.ctme.co

Interfacio launches inTeams WORLD

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

“It is clear that the pandemic has created an uncertainty in everybody’s mind and reenergising is required,” explained director of business development, Isabelle Wear. “inTeams reflects and offers complementary services

focusing on personal development, coaching, mentoring and team building.”

The inTeams programme incorporates three elements: a focus on team performance (Perform), individual leadership and management coaching (Elevate) and personal career focusing (Align). Talking specifically about the Align programme, Wear continued: “While much of our focus is about helping companies build their teams and find and

secure new talent, we understand that sadly, in some cases, businesses are currently being forced to consider downsizing and this means that good people are being let go. Align is designed to support these individuals and can be commissioned by businesses as part of a redundancy support package being provided to those individuals.”

Wear can be contacted via the Interfacio website for more information. “We believe

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

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Pro Sales Broadcast upgrades playout system SOUTH AFRICA

TBN Africa has completed a system upgrade and expansion at its Johannesburg studios that has seen PlayBox Neo AirBox ser vers integrated by the manufacturer’s local par tner, Pro Sales Broadcast. TBN Africa is par t of Trinity Broadcast Network, the largest religious television network in the world.

TBN Africa produces a variety of programmes which are integrated with selected content from around the world.

Its playout system is based on AirBox ser vers which allow it to preschedule in advance of transmission while retaining the ability to override with live content whenever required. Upgrading to the manufacturer’s latest-generation AirBox Neo-20 is said to make the workflow more ef ficient, also introducing full suppor t for HD and the potential to playout in UHD. The expanded PlayBox Neo system at TBN Africa includes a new fully redundant

Abu Dhabi Media calls on Dejero UAE

Abu Dhabi Media has deployed a range of Dejero equipment in order to enhance its live news repor ting.

This has included Dejero EnGo 260 mobile transmitters, WayPoint receivers and CuePoint low-latency return video ser vers, following a 2020 tender that was won by local systems integrator and Dejero par tner, Ideal Systems.

The Dejero technology has repor tedly been central to Abu Dhabi Media’s successful live coverage of a number of events since it was rolled out. The use of EnGo 260 transmitters, WayPoint receivers and CuePoint return ser vers allowed the national broadcaster to capture highquality, flawless coverage of a fireworks display, something that is notoriously complex to accomplish with low latency but was achieved using the Hybrid Encoding Technology built into the Dejero kit.

“We are delighted to have been awarded the contract for the overall newsroom upgrade at Abu Dhabi Media,” said Ayman Alkhatib of Ideal Systems. “Switching the broadcaster’s live news repor ting technology to Dejero

playout channel comprising two AirBox Neo-20 ser vers. “A special requirement for this project was the need to configure the playout ser vers to conver t SCTE 104 inser tion cues to the SCTE 35 protocol,” explained Pro Sales Broadcast managing director, Jonathan Sack. “This was handled as a software process and integrated closely with the PlayBox Neo platform.”

“Customer continuity is always a healthy sign that we have the right solutions to suppor t our user base,” fur thered PlayBox Neo CEO, Pavlin Rahnev. “TBN has proved a highly professional par tner over the years and we are pleased to be assisting both its established and expanding operations.” www.playboxneo.com www.prosales.co.za www.tbn.org

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Dejero’s EnGo 260 transmitter represents a significant win in the region. During testing, the EnGo outclassed other products in terms of picture quality and per formance.

Abu Dhabi Media also uses CuePoint extensively for confidence monitoring and plans to leverage the technology for teleprompting in the future. Full 5G coverage is coming in the UAE and Abu Dhabi Media is ready to roll this out with Dejero.”

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March–April 2021 PRO AVL MEA 19

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25/02/2021 17:28

NEWS: DISTRIBUTION

APEX appoints Audires BV as EMEA sales representative EMEA

APEX has appointed Audires BV as its new sales agent for Europe, the Middle East and Africa. The partnership between the two Belgium-based companies will reportedly “ensure world-class support” for APEX’s newly launched CloudPower series of installation amplifiers.

“Strengthening our distribution partnerships is a key element of our growth plans for 2021 and beyond,” commented APEX managing director, Paul Van Hees.

“The response to CloudPower from the market has been exceptionally enthusiastic.

Working with Audires, we will make sure

that the quality of the product is matched by excellent pre- and after-sales support.”

“At Audires, we are focused on representing the best brands in the industry and helping them form strong, lasting partnerships,” added Audires founder and owner, Alain Boone. “We are working closely with APEX to secure the right connections to build on the success of CloudPower in the EMEA region, and to prepare the ground for further exciting products in the R&D pipeline.” www.apex-audio.be

L–R: Alain Boone from Audires BV and APEX’s Paul Van Hees

Cinegy AŞ partners with Aviteng

TURKEY

Cinegy AŞ, the Istanbul office for German manufacturer Cinegy GmbH, has announced a new business partnership with systems

integrator Aviteng, which has undertaken a number of successful projects involving the manufacturer’s products in the past.

By forming new business relationships with local partners, Cinegy AŞ hopes to be able to provide a better quality of service by responding to its customers’ ever-changing workflow and transformation needs faster.

“Globally, digital storage prices have dropped significantly in the last few years.

At the same time, while the processing power of IT hardware increased, it remained more affordable. As a result, while most systems require dedicated storage or dedicated ser ver hardware, Commercial-Off-The-Shelf solutions have enabled us to build our systems with more capacity, greater flexibility and much lower cost using standard IT equipment based on Intel CPUs with Windows or Linux operating systems,” commented Yücel Bakkal from Aviteng on the new par tnership. “Considering the small

number of staff trained in Broadcast IT in our countr y, Cinegy’s open structure IT equipment and software allows IT teams to adapt quickly and with ease. It also speeds up the deployment process in terms of operation. We are ver y hopeful that we will execute a number of digital archive projects with Cinegy systems in the coming days.”

Murat Küçüksaraç from Cinegy AŞ added: “Despite the ongoing Covid-19 outbreak, at Cinegy AŞ we continue to offer our ser vices to our customers without interruption, as well as developing our projects and business par tner structure.

We are delighted to strengthen our existing business par tner structure by working with Aviteng going for wards.” www.cinegy.com

Peerless-AV extends Redington distribution GCC

Peerless-AV has signed a new agreement with Redington Gulf FZE for distribution of Peerless-AV products throughout the GCC. The decision follows a successful relationship with Redington in Saudi Arabia and extends it out to the wider GCC region. Redington Gulf will now offer marketing and sales support on all Peerless-AV products, including wall, floor, ceiling, videowall and LED mounts, trolleys and stands, Modular Series and kiosks. Meanwhile, American manufacturer ClearOne has partnered with Redington for the distribution of its audio conferencing, visual collaboration and AV networking solutions throughout the Middle East.

L–R: Jeetendra Berry from Redington Gulf with Peerless-AV’s Justin Joy “We started working with Redington in Saudi Arabia during 2019 and this partnership has seen huge success,” commented Keith Dutch, managing director – EMEA, Peerless-AV. “The Middle East is a major market for us with big projects and considerable sales potential for

the future. This new agreement with Redington Gulf will help us meet increasing customer demand for our products across GCC regions.”

“As a regional player in the Middle East with in-country presence across the GCC, we are well positioned to offer distribution, sales and marketing support to bring Peerless-AV

products to more countries in the region,” remarked Jeetendra Berry, president, IT Volume Middle East, Redington Gulf. “The category of display solutions is an emerging business for us and we hope to see success in other markets, just like we did in Saudi Arabia with Peerless-AV.”

Regarding the new relationship with ClearOne, Berry stated that: “We are excited to represent ClearOne for distribution across the Middle East. The current changes in the environment have resulted in an increased demand for unified communication solutions and a brand such as ClearOne will definitely help businesses across the region collaborate better with its wide range of solutions. Redington will provide these solutions through its network of systems integrators and IT resellers who are keen on offering these solutions to businesses in the region.”

ClearOne chair and CEO, Zee Hakimoglu, added: “Our partnerships around the globe provide a strong network of organisations teamed with ClearOne to make AV professionals successful. Redington’s highly respected reputation as a go-to IT resource for their robust reseller channels is built upon a strong foundation of customer focus that creates a winning solution for everyone.” www.clearone.com www.peerless-av.com

20 PRO AVL MEA March–April 2021

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25/02/2021 18:55

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25.01.2021 14:34:25 26/02/2021 14:34

NEWS: APPOINTMENTS

Marc Schwarze named COO James Oliver joins PK Sound and MD of the Qvest Group WORLD

WORLD

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

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

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

TIG expands Crestron UC division EMEA

EMEA sales agency Technological Innovations Group (TIG) has announced an expansion of its Crestron Unified Communications division with the appointment of Craig Chester as UC solutions architect.

“The solutions architect position at TIG for Crestron is my dream job,” commented Chester. “The appointment gives me the chance to do what I love, to work with a fantastic team and with the brilliant range of solutions from Crestron. The need for simple, scalable UC to enable remote working has never been greater than now, as we all battle the coronavirus pandemic. Together, TIG, Crestron and our partners can deliver the best, most innovative UC solutions to help

Craig Chester enterprises overcome today’s challenges and prepare for the future.”

PK Sound has announced James Oliver as chief strategy officer. Reporting to founder and CEO Jeremy Bridge, Oliver will be responsible for the development, communication, execution and sustainment of strategic corporate initiatives. In addition to his role on PK Sound’s senior management team, Oliver has also joined the company’s ownership group.

He moves to PK following a seven-year tenure with Adamson Systems Engineering.

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

As chief strategy officer, Oliver is tasked with charting the strategic direction for business development, marketing and communications. He will assist the management team in the formulation of overall corporate objectives and advise on all matters related to the PK Sound brand.

www.pksound.ca

Natasha Dickson to lead TVU Networks sales EMEA

TVU Networks has expanded its EMEA sales teams with the addition of Natasha Dickson, who will lead sales effor ts in the southern and eastern par t of the African continent. Dickson brings more than 16 years’ experience in the broadcast and telecommunications industries to the position.

Dickson star ted her broadcast career in monitoring and compliance for the South African Broadcasting Corporation (SABC) and leading record labels in South Africa. She later joined the SABC as par t of the DTT project task team for digital migration under way in South Africa.

“I am excited to welcome Natasha to TVU,” said Paul Shen, CEO of TVU Networks. “The breadth of media and broadcast experience she brings to the

Natasha Dickson region will be invaluable in ser ving the needs of our existing customers.”

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www.tig.eu

L-Acoustics creates dedicated team MIDDLE EAST

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

Mead is tasked with building sales growth across the region, through forging relationships with current and future partners, identifying and developing new business opportunities and growing brand awareness. He is a recognised industry professional with over 15 years of experience in the UK and the Middle East. He began his career designing and implementing

Chris Mead

Rahul Samuel

AV solutions for end users and most recently provided technical support and developed sales in the Middle East region for Meyer Sound.

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

throughout the Middle East and his native India. He is an award-winning live sound engineer with over 15 years’ experience as an acoustic consultant, FOH/monitor and systems engineer, systems designer

and educator. He has contributed to the production of some of India’s most spectacular live performances, and latterly representing Meyer Sound, providing technical support in the region.

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

22 PRO AVL MEA March–April 2021

PAME Pg4-29 News.indd 22

25/02/2021 17:29

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Digigram announces new management team WORLD

French manufacturer Digigram has announced a new management team, with three senior executives becoming directors. Previously the company’s CFO, Florence Marchal has been appointed as director of finance, human resources and legal affairs. Nancy Diaz Curiel has assumed the role of director of sales, marketing and communications. Based in Singapore since 2010, she has overseen Asian and Pacific operations, including product distribution.

Remaining in Singapore, her new role will include the supervision of teams and projects worldwide.

Xavier Allanic, the manufacturer’s current VP sales EMEA and Americas, has become director of operations where he will oversee the company’s general operations and supervise R&D projects, as well as customer support and manufacturing.

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

Florence Marchal

Nancy Diaz Curiel

Xavier Allanic

Previous years have seen the company towards unfolding our vision and perspective expanding its product range through the for the coming years,” Weber commented. “As I development and release of professional audio have worked in the past with each of them, I am convinced that Florence, Nancy and Xavier’s bond IP solutions, addressing new markets and user needs, and focusing recent efforts on the as a team will flawlessly turn the company’s ai161288565451_AUDAC-MFA-series-190x135mm-with-award-logos.pdf remote broadcasting segment. The company projects into success stories.”

roadmap for the near future supports an ambition for Digigram to strengthen its position as a key player and expand its structure to become a reference in the audio industry.

1 9/02/2021 16:47:35

www.digigram.com

New promotions and hires at Ross WORLD

Jared Schatz has been promoted by Ross Video to the role of senior vice president of vertical markets and solutions, while Mark Gardner has joined the Canadian manufacturer in the role of regional sales director – EMEA North. Schatz has worked for the video solutions manufacturer for 15 years in a variety of sales and sales leadership positions, most recently as VP of sales for North America, while Gardner brings a wealth of experience in the broadcast industry to his position, having held R&D/engineering, product management and sales management/director roles with a

Jared Shatz number of brands, including Vistek, ProBel, Snell, SAM and Grass Valley.

In his previous position, Schatz helped steer the company to significant growth in the core North American broadcast market, as well as overseeing its expansion in other sectors, most notably sports, corporate, legislature and worship production. “Ross is continuing to invest in different markets which, although similar in terms of the toolset used, are very diverse when we consider their

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“Our industry has experienced anCY enormous amount of upheaval and CMY change over the last five years,” Gardner commented. “Throughout K that period, Ross has consistently grown and built up an enviable profile in the region. I can’t think of any other company in our sector that has doubled its regional turnover in three years and grown its team by one-third. It’s clear that the company is walking a very positive path and I’ve been hugely impressed with the ambition, expertise and warmth of everyone I’ve met. I’m very much looking forward to sharing our partnership approach and our latest innovations with an increasing number of customers in the region.

It’s going to be another significant year of new solution launches, and I’m raring to get started.”

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March–April 2021 PRO AVL MEA 23

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01/03/2021 09:15

NEWS: SPECIAL REPORT

Unexpected turns

Poppy Ballon

Stephanie Buller

Jai Harpalani

What do you do when a lifelong career vanishes in front of your eyes?

For those in the events industry, now is not a time to sit idly by 2020 HAS SEEN A NUMBER OF PEOPLE’S personal and professional lives change dramatically. With events almost completely cancelled, few industries have been shut down to the extent that technical production has. It’s caused some to take a drastic approach, and instead try their hand at something new during the downtime. But what has the experience of trading backstage passes with bike pumps been like?

Stephanie Buller I have worked in the events industry for more than 20 years and absolutely love it. If you cut through me like a stick of rock, you’d find the word events from top to bottom! At the beginning of 2020 things were looking great. As a freelancer, I was booked solid for 11 months. Then February struck. Contracts were postponed, events cancelled and flights stopped. Even though I thought this would only be for a matter of months, I made a choice to not sit back and wait.

However, I fell at the first hurdle. The world of events had been taken away from me and I had to work out what I was passionate about. I think it’s really important to bear this in mind.

For the 1 million-plus employees in this industry, we didn’t opt for a career change, a global catastrophe changed our world. So how to work out my passion? I reached out to friends, read books, contacted careers services, spoke to recruiters, went to résumé writing services, completed surveys and quizzes, you name it, I

tried it and the end result was … I’m passionate about events!

I still haven’t found another passion and I’m sure I’m not the only one who has struggled with this. Ultimately, I re-wrote my CV in terms of transferable skills and was successful in securing a full-time role in the pharmaceutical industry as a project manager. Am I a committed, hardworking, loyal employee? Yes. Am I passionate about the role? No. Do I miss thousands of people all asking me questions at once, planning until the small hours, 24-hour days, finding solutions on the spot to fix things that can make or break an event, laughing with the client, smiling at the sheer pleasure and delight of guests? I absolutely do. I’ll be glad when we can bring back events, our old world and see all event employees thrive again in this crazy, wonderful, enthralling business we love and are so passionate about.

Poppy Ballon I’ve lived in Dubai for eight years and have worked in a number of roles, including as a stage manager, in production and as an artist liaison.

With events work completely drying up last year, I set up an online business using network marketing that I can run from anywhere in the world. I can work it around my production career, when it comes back, and during this time it helps give me focus and provide some structure for my days. Being a stage manager there are many skills that I can take into other aspects of my life. I’m used to working hard and putting in the

Jai Harpalani

to do something fun and keep ourselves busy.

I like to share information and educate people about things that are relevant and presenting a quiz show was always a childhood dream.

The fact that it was well received from the very beginning convinced me that I needed to pursue it further. Over the next six months, it became a revenue-generating model, and we were getting enough gigs to stay busy.

I was also involved with Creactive Camp, a two-month-long online summer camp for kids aged between eight and 16, and have been hosting weekly quiz nights at the Century Village in Garhoud, Dubai. This ran with sponsors on board providing prizes.

2020 was a hard year in general with dear ones losing jobs, losing lives, losing a sense of security and living in constant fear, but seeing the success with Brainstorm has definitely been a highlight. One other thing I miss dearly is travelling. The job required us to be all over the UAE and every venue brought its own set of challenges. To understand and come up with solutions is something that really excites me. I definitely miss that. When the time comes, I’m eager to return to my old job. Soundkraft is not just a company I work for, they are my family.

Prior to the pandemic I was the associate head of sales at Soundkraft Electronics, an event production and audiovisual rental company based in Dubai. Everything that was scheduled quickly got cancelled. Because of this I created Brainstorm, a quiz and trivia company that started off in May last year as a result of trying

Over the course of coming weeks, our weekly online newsletter will provide a selection of first-hand insights into how lives in the region and across various sectors of our industry have been taken in unexpected directions. Sign up for the Pro AVL MEA weekly newsletter at www.proavl-central.com/subscribe/mea.

hours. The hardest challenge is staying positive that events will come back soon enough and the uncertainty of what this year will hold for us all.

There certainly were been some bad moments in 2020, losing many loved ones, and it has also been hard not having the daily connection with people, not being able to hug friends and just generally being so careful to not get sick.

But there have also been positives. I’ve learnt a lot more about myself, that I can cope and survive anything, as well as spent time learning new skills (social media marketing/personal development) and refreshing old ones (first aid/H&S courses/budgets and training).

But I dearly miss the excitement of putting on a smooth-running show, sorting out solutions to any problems that arise and being with people. Even when my new business is really successful, I would still work in events as it’s something I’m passionate about. But it will give me the opportunity to not have to do every job that comes my way. I love my job, and this last year has really shown me how much I would miss it if it wasn’t there. I would never take it for granted again.

24 PRO AVL MEA March–April 2021

PAME Pg4-29 News.indd 24

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26/02/2021 14:36

NEWS: SPECIAL REPORT

Sennheiser anticipates resurgence in live events following Breakout DXB

A successful Breakout DXB hints at a positive future for live events in the Middle East FOLLOWING ITS SUCCESSFUL INVOLVEMENT in this year’s Breakout DXB festival alongside what is described as commendable actions by the UAE and other Middle East governments, the Sennheiser Middle East team is confident of an uptick in live events in 2021.

In line with its #DontStopTheMusic initiative, the German microphone manufacturer’s Middle East team extended its support, expertise and equipment to Breakout DXB, the two-day live music festival held at the Rove Downtown in Dubai in the last quarter of 2020.

The brainchild of the Dan Bolton Creative Management Agency and Lobito Brigante, the event featured an impressive roster of local talent, including Dubai-based R&B artist, Layla Kardan; Saudi hip-hop star, Big Hass; and Emirati artist, Hamdan Al Abri. Events production company 3DB provided the AV equipment for the show, which included 32 channels of wireless mics from the Sennheiser 300 and 500 series as well as 12 channels of in-ear monitors (IEMs).

The wireless nature of the system ensured all performers could conveniently follow the safety precautions that the organisers had meticulously crafted and implemented.

Special consideration was taken to ensure social distancing could be maintained throughout the festival. Key to keeping artists safe was ensuring that if they touched any equipment, they could rest assured that it was thoroughly sterilised. Microphone sanitisation was conducted through a UV sanitation process, which 3DB expects will become standard practice at future events. To this end, the company has recently invested in two complete UVR sanitisation systems meaning the 360° sanitisation of a rack can be carried out in under five minutes.

“It was a good learning curve from our point of view – we had two sterilisation systems (A and B)

A socially distanced session at Breakout DXB and now going forward, every live event needs to have a sterilisation kit,” said 3DB managing director, Eddie Mulrainy. “We used a ULV Fogging machine which contained sanitisation solution to sanitise everything in between. We are very aware that if we have one outbreak at an event, then everything will have to stop.”

“Social distancing, mask wearing, sanitisation – things like these are all challenging to what we would normally associate with a festival and they can lead to the environment feeling a bit stale and clinical at first, because we’re not used to having to do these things,” added Bolton. “But we tried to minimise that feeling as much as possible and made sure everyone was safe and enjoying themselves at the same time. Putting on an event right in the middle of a global pandemic was not the easiest but we did it and showed people that it can be done. There are so many restrictions and so many things that people are used to seeing or doing at events that are different now or simply can no longer happen. This was definitely a nice first step. I feel that we pushed

the boundaries and I hope that we have helped in some way to get things going again.”

Sennheiser’s WSM manager helped to ensure that all frequencies were allocated and mapped correctly. Despite the show being held in Downtown Dubai – an area with especially high levels of noise and traffic which can potentially bleed into the RF spectrum – there reportedly wasn’t a single RF conflict through the three days of the event. “Given the high calibre of artists, there were high expectations of the equipment for the event,” commented Ryan Burr, head of technical sales and application engineering, Professional Audio at Sennheiser Middle East. “As a long-term Sennheiser partner, 3DB was well aware that our wireless microphones and IEMs could deliver on every requirement. We also extended our expertise through the setup and testing stages. Many of these artists hadn’t performed live in several months and this diligence helped ensure everything went off without a hitch.”

Crew health and safety specialist Gallowglass has been working closely with 3DB to ensure the live events it works on go off without a hitch. “It was fantastic to see an event such as this go ahead in what has been such a challenging period for the whole industry,” said Steve Kearney of Gallowglass. “It was a superb weekend and the organisers, suppliers and artists deserve a great deal of credit for that.

We hope this is just the start of the industry getting back to where it needs to be. Our team always strives to be helpful, offering an extra pair of hands and ensuring that everything and everybody felt that they were in a safe and measured environment. The backup and reassurance that Gallowglass provided meant that pretty much every possible scenario had been thought about and planned for.”

Following the success of this event, Sennheiser expects a positive outlook for the live events industry in the Middle East in the coming year. “There’s no doubt that the market has experienced unprecedented challenges through 2020. But as Breakout DXB has effectively demonstrated, careful planning, coordination with key government and healthcare authorities, and the utilisation of world-class equipment can provide the formula for the industry to make a comeback,” concluded Burr. “We will continue to focus on our live events business as event production companies find new and creative ways to conduct engaging live events. Given our global presence and involvement in events across a large number of geographies, we’re keen to share best practices as this will be key to ensuring not only the quality, but as importantly the safety, of events in the new normal.” www.3db-dxb.com www.gallowglass.com www.sennheiser.com

26 PRO AVL MEA March–April 2021

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26/02/2021 10:53

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26/02/2021 14:37

FEATURES: LIVE

Amir Cup Final 2020 concludes with a vision

Qvision handled all technical aspects of the ceremony, which also served as the stadium’s World Cup inauguration

The lighting system was controlled by dual grandMA3s QATAR VISION COMPANY (QVISION) WAS CALLED INTO action recently for the Amir Cup Final 2020 Ceremony, the biggest football cup competition in Qatar, which also served as the inauguration ceremony of Ahmad Bin Ali Stadium, the fourth FIFA World Cup stadium to open. Qvision developed, produced and managed the inauguration and final, which took place during Qatar National Day. Earlier in 2020, it was announced the stadium would host seven matches during the FIFA World Cup Qatar 2022 up to and including the Round of 16 stages. Because of strict health and safety protocols implemented, the 40,000-capacity Ahmad Bin Ali Stadium was only allowed to reach approximately 50% capacity when it hosted the final. Tickets were limited to one per person and were linked to the holder’s Qatar ID. Following discussions between the Qatar Football Association (QFA) and the Ministry of Public Health (MOPH), any fan who attended the match had to return either a positive Covid-19 antibodies test or a negative Covid-19 test prior to being allowed access to the stadium. Social distancing measures were also implemented within the vicinity of the stadium, including the fan zone and on public transport.

The opening ceremony concept and creative treatment was realised by Qatari artistic director and producer Sharif

Hashisho, who is also the managing director of Qvision.

Hashisho is widely known for his previous work as a director of ceremonies for the 15th Asian Games and director for the 17th Gulf Cup, as well as the artistic director and producer of the IAAF World Athletics Championship in 2019.

Both the opening ceremony concept and creative treatment for the inauguration ceremony of the Ahmad Bin Ali Stadium were inspired from Arabic poetry. The opening ceremony showcased a poetic riddle presented through a dialogue between two famous Qatari poets.

Based on the concept and creative designs made by Hashisho, Qvision fulfilled all the technical requirements for the show to make it a truly spectacular event for both the stadium and TV audience. A variety of visual content and 3D projection mapping was created for the show and deployed by QVision – it was considered an essential tool to bring the answer of the riddle as close as possible to the audience.

QVision covered the field of play in a special screen measuring 120m x 65m (WxD). The screen was used to showcase the 3D field of play mapping content. Projections themselves were delivered by 20 Christie Roadie Boxer 2K 30,000-lumen projectors supplied by French company VLS Event Technology. Five positions were selected on the top

tier of the audience grandstand, with four projectors stacked at each of the five locations. A modular server was used to control all the projectors through 400m of fibre-optic cabling.

Show content was created at Maxi10sity in Hungary.

A total of 50 Claypaky Scenius Unico and 40 Sharpy Plus moving head lighting fixtures were used to illuminate the show as well as to create several beams and patterns throughout. Twenty Claypaky Hepikos were used to illuminate the VIP tribune and His Highness in the Amir Seating area.

A further 40 A.leda B-EYE K20 CC moving head wash lights were used to illuminate the internal roof of the stadium and four Robert Juliat CYRANO followspots were used to illuminate the presenters of the show as well as the singer.

The entire lighting system was controlled by dual MA Lighting grandMA3 consoles connected through an MA network switch. Mohammad Assaf and Mark Anton were the lighting designers.

Qvision opted to make use of the existing yet brand-new audio system installed at the stadium for primary audio reinforcement, deploying several clusters of Meyer Sound speakers to further enhance audio intelligibility in the main VIP seating area. This included 16 Meyer Sound M2D compact curvilinear array loudspeakers, 12 UPM-1P ultracompact wide-coverage loudspeakers, 12 UPJ-1P compact VariO loudspeakers and eight M2D sub-compact curvilinear array loudspeakers. The entire audio system was controlled

by DiGiCo SD8 consoles with Abel Lamboson serving as sound engineer.

The show included a four-minute fireworks display provided

by Pirotècnia Igual divided into two segments, the first in the pre-show and the second at the finale of the match during the Coronation Ceremony. Qvision also provided additional special effects, including 13 music-synchronised flame machines, 70 SPARKULAR EFX units, eight CO2 Confetti machines and 20 CO2 Jet machines.

“Any decision to hold an event during the Covid-19 pandemic, no matter how large or small, should rely on a risk-based approach,” said a Qvision representative. “We have succeeded in making this event an absolutely safe one for all the workers involved, as well as the audience attending the ceremony and the football match. A massive risk assessment approach was designed to cover all the risk areas and issues that might arise and have truly succeeded in delivering this exceptional event.” www.malighting.com

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FEATURES: LIVE

2020 sealed with a Kiss

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All images courtesy of Landmarks Live

Kiss celebrated 2020 in style at Dubai’s Atlantis, The Palm in what turned out to be one of the biggest concerts of the year OVER 12 YEARS HAVE PASSED SINCE ATLANTIS, THE Palm hosted a Kylie Minogue concert officially opening the iconic hotel climaxing with a huge pyrotechnic display. It was almost a symbolic finale that the good times were over as the 2008 financial crisis that followed stunted the economy of Dubai for several years afterwards. Since then, increasingly elaborate live events were abruptly halted in March 2020 as the global pandemic rapidly spread throughout the globe. Nine months of stagnation followed before the very same venue ambitiously pulled off the biggest concert of 2020 on New Year’s Eve. In doing so, it has provided the live sound community around the world a much-needed belief that 2021 will see a resumption of major events.

Legendary US rock band Kiss were performing a concert in California as part of their Farewell Tour in March 2020 before the pandemic stopped them in their tracks. Little could they imagine at that point that they would be performing their biggest concert to date before the end of the year in a country they had never visited, let alone performed in. Kiss would see off 2020 in style, playing live to guests staying at the resort from the comfort of their own room box suites. Guitarist Paul Stanley donned his trademark eightinch platform boots for the concert, performing alongside Peter Criss (drums), Ace Frehley (lead guitar) and Gene Simmons (bass) on a specially built 25m-high stage located on the Royal Beach.

Conceptualised over a six-month period, the first hybrid event of its kind in Dubai took on vertigo-inducing logistics for livestreaming to a huge worldwide audience. Promoted as the season premiere for the Landmarks Live in Concert series, the performance was filmed with more than 50 4K cameras offering 360° views that would capture the largest production in the history of Kiss. It was made possible by a man who knows no limitations in realising ambitions. “I’ve become the go-to guy for hosting utterly ridiculous shows,” laughs City Drive Studios creator, director and executive producer, Daniel E Catullo. “In terms of production scale, it turned out to be the biggest concert

of 2020, anywhere in the world with a little over 1,000 people working over an eight-week period at the height of it.”

Prior to the pandemic, City Drive Studios was making a critical impression with the Landmarks Live in Concert series featuring Foo Fighters, Kings of Leon and Alicia Keys playing live in iconic locations such as the Acropolis, Palazzo Vecchio, Grand Central Terminal, Graceland and Statue of Liberty. Standing backstage at a Kiss concert in Oakland on 6 March 2020, Catullo watched in awe as the severity of Covid-19 started to shut down his world. “Back then, the mass cancellations were like watching dominoes falling,” recalls Catullo. “I spent weeks trying to work out how to create live streaming events at a time when living room concerts were being broadcast and Elton John was performing out on his driveway.

These little shows were fun, but I was desperately trying to find a way to create a big production again.”

Unfortunately, the production schedule of an ambitious second season of Landmarks Live in Concert in China and Brazil was cancelled. Having then investigated and set up 10 Landmarks Live shows in Australia, a full-scale lockdown ceased his ambitions down under. “At that point, I became a research junkie spending the summer working night and day to try to figure out if it was possible to perform large-scale concerts. The overriding concern was keeping crews safe, so I consulted with doctors from the Mayo Clinic, Johns Hopkins and New York’s Columbia Presbyterian.”

Following the cancellation of the End of the Road Tour back in March 2020, Catullo was approached by the Kiss management about staging a one-off show in the future. The compass pointed eastwards. “Following the disappointment of the Australian lockdown, a friend of mine suggested that I look at Dubai. I watched a video promoting the Emirate as being open for business and was so impressed that I caught a flight to Dubai in early September to see if we could create the series there. Although Kiss had never performed a show in Dubai, their manager Doc

Hair r

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Bass player Gene Simmons

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s

FEATURES: LIVE McGhee was looking at setting up a New Year’s Eve concert and he decided to fly with me.”

Working very closely with the Kiss touring production team led by set designer and tour manager Robert Long, Catullo opted for a safety-first approach. “With the knowledge I’d gained from my research, I met with the American hospital management in Dubai and they helped me write a book on establishing a Covid testing setup. Personally, this was an immensely proud achievement.”

Satisfied that safety could be maintained for all personnel, Catullo soon realised that Dubai was one of the few places in the world where it would be possible to host an immense production. “The initial idea was to do a smaller show without an audience – it just ended up growing!”

Having opted for Dubai, a suitable Landmark venue had to be located that could accommodate the biggest Kiss show in their 47

Atlantis, The Palm was transformed into a huge concert venue

Inspecting the immense Kiss stage pre-show

Hair raising – lead guitarist Ace Frehley feels the pyro heat

The Covid testing area at Atlantis, The Palm

years of playing live. “Doc and myself originally wanted to stage the show at the 830m-high Burj Khalifa. The owners Emaar were really cooperative, but we could not convince them to allow Kiss to perform at midnight because they were hosting their own massive fireworks display. We had to look at alternatives and that took us to Jumeirah Beach in front of the Burj al Arab hotel.

Despite being really excited about staging the concert there, I think the scale overwhelmed them. When we marked out the stage in the sand, they realised it would be too intrusive for their guests. So, we met the Atlantis people and not only did they understand the concept, they rolled the red carpet out and bent over backwards to make it happen.”

Heralding a return-to-work for almost 400 local production crew members for the first time in nine months, Landmarks Live decided to employ local suppliers for the production. “I wasn’t sure what I’d find before I came to Dubai, but I was pleasantly surprised,” Catullo admits. “To meet a community of experienced events professionals was reassuring – the show would not have been possible without them. Of the 1,000 staff who were employed onsite over an eight-week period, over 400 of them were from Dubai.” Following on from the meetings held in September, All Events Services (AES) was tasked to design and erect a 76m x 25m (WxH) stage using over 100,000m of scaffolding, while Done Events handled operations and infrastructure.

Production events company PRG was contracted to deliver the full audio, lighting, rigging and video package. “PRG are a global company that we run into all the time, so it made perfect sense to employ them because of the size of their footprint in the GCC

region. I knew there would be a lot of gear in Dubai because the city hosts big shows. Not only could PRG supply the 2–3mm LED wall but they had a huge inventory of sound, lights and camera gear. The only limitation we encountered was our desire to film in 4K, as no one in the UAE had more than 30 4K cameras in stock. I realised that it would be too risky to use six different local vendors to try to piece a 4K system together that had never worked before. Ultimately, we employed a company in Belgium and NEP in Singapore.”

Not only would the audience be socially distanced for the concert, the same Covid-19 restrictions had to be applied for the UAE and US working crews. “We basically set up a mobile command hospital in the parking lot at Atlantis staffed by an army of doctors, nurses and volunteers where everyone coming onsite had to be tested daily,” Catullo describes. “Testing took approximately 10 minutes. Biometric contact tracing wristbands would then be issued for each crew member together with coloured pods and, of course, everyone was required to wear a mask. It was an enormous undertaking, but we only recorded nine positive Covid tests out of a 1,000+ people, and eight of those people were vendors who were intercepted and never got into our bubble.”

In his desire to provide a statement that big shows will return, Catullo acknowledges the extraordinary support he received in the UAE. If we hadn’t received a sponsorship from the Dubai American hospital, the Covid testing part of this operation would have cost US$1 million. With the help of the Dubai American hospital, we were able to demonstrate how big shows can be done. It involved a lot of extra work but, by day three, we got used to entering the

Kiss appeared larger than life to their streamed audience

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FEATURES: LIVE tent for a test and getting a wristband. We also had to get used to working apart from one other with plastic shields in between us in the offices. It was so much more complex than a normal show, but it was worth it as we got hundreds of people back to work for the entire month of December who had largely been idle for nine months.”

Retraining the crews was a potential problem, given the normal team interaction. “We lucked out with the Kiss production manager, Robert Long, and the PRG team. For this show, all the crew had to maintain some distancing and wear a mask in the heat while loading in cases and climbing scaffolds. However, they really stepped it up. No one complained as they were on a mission to get the job done in a limited time frame. We could not have had a better crew – seeing them operate resembled synchronised

The 25m-high stage viewed from back of house at sea level

Kiss flew in equipment including a Shure Axient wireless system

Drummer Peter Criss

swimming. At the height of the setup, there were 521 employees onsite on one day. It should have been chaotic putting on a ridiculous show with these Covid procedures, but each crew member kept to the schedule and there were no injuries.”

With the New Year’s Eve countdown clock ticking ever louder in the ears of the PRG team, the AES crew managed to complete their tasks prior to Christmas Day. Following brief festivities, the main production punctually loaded in the equipment on 27 December with military precision. The FOH audio production area was positioned next to monitor world, while the lighting production crew was located 60m away opposite the swimming pool.

At this stage of the pre-production, a producer who had flown in with the band tested positive for Covid-19. “He had contracted the virus a month or two earlier and although he wasn’t contagious, he still tested positive,” Catullo shudders. “Mercifully, it turned out to be a quasi-false positive, but that was probably the worst day of my life. There was a 48-hour period where we believed that there had been direct exposure with the band and cancellation looked a certainty as the investors knew the losses would increase if we continued to go ahead with the show. Therefore, I had to assign personal guarantees with them to keep the show on. I honestly thought the whole thing was going to go down because of one positive test right at the point that we had finally finished building this monster stage. We decided to segregate the band on a floor of the hotel and connected other hotel rooms to create their own lounge. I have dealt with every bit of craziness on shows imaginable, but this was utterly insane.”

PRG was ready for the challenge as PRG project manager, Theo Van As, confirmed. “It’s all about pre-production. We planned everything meticulously over Zoom, telephone calls and emails so nothing could be left to chance. The 12-hour difference on Zoom didn’t pose a problem and it became a very effective means in which to accommodate the entire team and communicate on one call.” Prior to going onsite, PRG managed to assemble a 58-member crew from local resources, together with one technician who flew in from the UK. “This was not a normal concert setup as the resort hotel was fully operational,” adds

Van As. “For example, truck movement was restricted between 06.00 until 09.30 in the morning and again in the evening from 19.00 until 22.00.”

Despite the immense size of the stage, limited working space was evident from the outset. “The stage actually seemed to shrink during load-in when the entire local and international production crews were present at the same time,” furthers Van As. “With the protocols in place, it was a delicate balancing act constantly working around various production teams all day. Additionally, the immense stage ensured that there was little space remaining to manoeuvre, with a relatively small loading dock and the incoming tide which would come within 6m of the backstage. We were constantly moving equipment around onstage to simply facilitate space for loading and creating various spaces for other people to perform their tasks.”

PRG’s video team led by Riaan Gomes flew the back LED wall with over 330m2 of ROE Visual CB5 and the side screens with 335m2 of ROE Visual MC-7, which were automated to reveal the band. “While the video load-in time had been reduced down to just a handful of days, the seven-man team was well prepared for installing the huge ROE LED backwall,” assesses visual head of department, Matthew Holmes. “Despite its size, it was essentially no different to any other wall going up. However, the IMAG screens were installed on an automated track spanning across the entire stage and wings. From our experience of operating events in and around the Atlantis hotel, we were very aware of every precaution we had to take relating to wind. We also had to take the added precaution of monitoring the weight load, and we had to erect the screen to ensure that it was consistent across the 32 load cells throughout the build. This allowed us to confidently focus on the rest of the setup.”

PRG supplied the screen management system for the event, including dual Barco E2 image processors and disguise GX2 media servers interfaced with the tour servers. In addition, a Blackmagic ATEM 2 M/E camera system was also installed to manage the camera input from the stage and the broadcast feed. “The integration with the touring and the broadcast stream

was complex but, with clear dialogue between all parties, any challenges were quickly overcome,” explains Holmes. “Looking back at this event, I really appreciate how efficiently and quickly all the departments worked together to accommodate requests from other departments and to ensure smooth operations in such a confined space. It was a pleasure to work with easy-going professionals such as Kiss tour server operator Colby Geneau and tour video director Gerald McReynolds.”

The lighting team led by Martin Smit installed over 760 fixtures across the venue, including the stage, swimming pool and hotel.

The inventory combined Robe’s BMFL Blades, GLP’s JDC1 and X4, Claypaky’s Mythos, SGM’s P-5 and Six Pack, Vari-Lite’s VL Washes and PRG’s Icon Edge and GroundControl long-throw follow spots.

“For a traditional concert, you normally don’t have the additional scope of having to light up a hotel and surrounding gardens as well as placing fixtures in the swimming pool,” muses Van As. The team was then briefed that they would only have three days to load in the whole concept, including the architectural lighting.

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FEATURES: LIVE “In addition to the 96 SGM P-5 fixtures that were placed on every tower of the hotel roof, we had to install lighting that would light up the peaks of the towers.”

Having conducted numerous site visits in advance, Van As was aware of the challenges. “To install all the architectural lighting on the rooftop, we had to access the different levels by climbing the staircases throughout the hotel from the 13th and 22nd levels, before taking another three flights of stairs up and a further two sets of fire ladders to get to the very top. We designed a pulley system to pull up the lights to the top of the towers. The cable lengths on the Atlantis rooftop were lengthy so we had to add eight buffer boxes to distribute and boost the DMX signal. I quite enjoy a challenge but managing to complete the whole rooftop in one 16-hour day with little daylight was quite an achievement. However, once we were up, we were rewarded by the view and you could actually take your mask off for a moment and breathe!”

“The architectural lighting package included 60 SGM Six Pack lighting fixtures to provide some glow up from the bottom of the hotel along with Q-7s to create a soft, widespread look for close range and a crossfire to illuminate the top sections of the whole Atlantis arch,” explains lighting team leader, Martin Smit. “Finally, we added 24 Vari-Lite VL3500 washes to uplift the building.”

The stage lighting included a creative concert package and the floor package was extensive. “This added more for the viewing audience watching over the livestream in addition to those sat on the balconies, but it was literally bigger than whatever they would normally have installed on the roof,” adds Smit. “Icon Edges were exposed to GLP JDC1s. Two grandMA2 full-size control surfaces were used, plus backups such as a full-size Demo Waltz. Initially, stage and architectural lighting were created as separate systems with two control surfaces. During the first rehearsal night, we opted to have everything controlled by one central point. As such, we had to merge all the architectural designs into the main show files for the concert programming that would combine and run off a timecode.”

Matt Oliver oversaw the audio team that was tasked with creating an unconventional distributed system design around the venue to ensure full coverage of the guest area, including the hotel balconies. As such, a huge inventory of L-Acoustics K1, K1-SB, K2, Kara and Kiva cabinets was successfully deployed. “It was always going to be a pretty strange configuration as we were catering for two audiences – a live, socially distanced audience around the pool but also on their balconies,” explains Matthew. “The brief required us to have as little PA in camera shot as possible, so we ended up hanging the main arrays out as wide as they could

The show end is signalled by Paul Stanley smashing his guitar go in the last bay about 30m from the centre of the stage. Being positioned that far out on the wings worked very well because of how the seating for the event was laid out.”

The main L-R arrays combined L-Acoustics K1 and K2 enclosures augmented by flown K1-SBs and another 24 ground-stacked SB28 double 18-inch subwoofers configured in cardioid mode. “The six towers mirrored in a V-shape around the pool area comprised of K2 and Kara cabinets. Finally, as we could not place speakers on the hotel balconies for the audience members there, we deployed Kiva arrays as ground stacks firing up towards the rooms.”

Cantullo was nervous of audio reflections reverberating off the hotel structure. “The sound could have been a nightmare with reflections coming back off the hotel. But, when I was listening to the performance from the TV truck, backstage area, hotel and pool area, it was intelligible and clear across the entire listening area.”

In total, 60 LA8 amplifiers were racked in 20 mobile racks and connected via P1 processors. “There was so much stuff going

on the stage, we decided to not adopt a conventional PA wing position and ended up dividing amp world into left and right under the stage,” furthers Oliver. “We also supplied a DiGiCo SD12 console for the house PA and DJ afterwards, together with some emergency microphones for routing through the XTA console matrix.”

A Luminex network was preferred for audio distribution with L-Acoustics P1 AVB processors providing loudspeaker control and monitoring within the LA Network Manager 3 software, while the Lake LM44 distributed the signal via Dante protocol. “This was the first concert that I had used the P1 to its full potential since March 2020,” adds Oliver. “As the FOH location was onstage, we depended on the integrated M1 software to ensure the optimal tuning of the PA. In my opinion, the M1 software packages include some of the best elements from Smaart tuning capture so it makes the user functionality of the software very easy. You set your locations as to where you physically want to take your measurements from and arm the relative positions.

M1 then starts to record the sweeps and the systems algorithms provide you options for the best possible delay and phase times depending on the system requirements. As with all large networks, we had to ensure a rock solid and fully redundant system was in place, which was accomplished by using a single mode fibre loop consisting of 1.5km of duo fibre and eight Luminex 14Rs.” The band arrived with a touring package that included a pair of DiGiCo SD7 front of house and monitor consoles, a Shure Axient digital wireless microphone system and wedge monitors. PRG provided racks and stacks as well as a rehearsal package for Kiss’ arrival three days before the concert. As the concert was taking place on an active resort, the cable runs needed to be extensive. “If we needed to route 500m of cable, it would end up being three times longer for each facet of the production, ensuring it was clean for the guests staying at the Atlantis,” explains Van As. “We did not want to intrude on the property too much and all the cabling was protected under a ramp in the gardens away from the walkways.”

Three months of meticulous planning and onsite execution led up to the opening chords played by guitarists Paul Stanley and Ace Frehley. Van As remarks that the team had learnt a lot from the experience. “Although I had no doubt that the concert would be a resounding success, I appreciate more than ever how our Dubai team can deliver the most complex events at a world-class standard.

The Kiss production team genuinely thanked us for stepping up and having their backs time and time again, to help them see the show through. It was a great compliment to finish off on.”

As the curtain came down following the final encore, a $1 million fireworks show, created by German special effects experts FFP and fuelled by 1,900l of pyro fluid, illuminated The Palm. “Despite being shellshocked and being exposed to the heat of the fireworks, the load out actually went surprisingly quick as I guess everyone just wanted to get out of there,” adds Van As. Having gained some of their original fitness levels to complete most of the marathon, adrenalin carried those aching limbs across the finishing line.

Unfortunately for the crew, the warm beach tantalisingly remained out of bounds as they headed to quarantine on Yas Island for their next assignment.

A seven-week setup before the two-hour performance was followed by a three-week tear down. “I have to give credit to Atlantis as we completely uprooted the hotel so that we could transform it into a massive stadium show,” comments Catullo.

“We turned the venue back over to Atlantis 21 days after the concert. During that time, there were still 70 people a day working onsite, tearing that stage down, putting the beach back and replanting the 70 palm trees.” Having accomplished his own Mission Impossible production, Catullo will be returning to Dubai to host ten Landmarks Live concerts. “Dubai has that can-do attitude. If, for example, I wanted to host a live show in an active volcano with a UFO landing in it for the band entrance, they would ask when they can start to build the UFO. They love a challenge in Dubai – the attitude is to find the solution and make it happen.” www.aes.ae www.atlantis.com/ar/dubai www.citydrivestudios.com www.doneevents.com www.ffp-fx.net www.kiss2020goodbye.com www.landmarkslive.com www.prg.com

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FEATURES: HOSPITALITY

A modern classic

An updated audiovisual infrastructure at Dubai’s Dhow & Anchor has aided its modern transformation THERE IS NO SHORTAGE OF VENUES IN DUBAI WHERE patrons can kick back and relax while enjoying the latest sports fixtures. So the need to distinguish itself from other establishments in the city is vital for Dubai’s award-winning Dhow & Anchor, particularly in current times. Located in the lobby of the Jumeirah Beach Hotel, the venue is an awardwining gastropub popular with British expats for its selection of traditional pub food, live music performances and sports coverage. Following a recent refit, the D&A interior, however,

Visionary’s PacketAV Series is responsible for tying the audio and video infrastructures together

QSC AcousticDesign cabinets provide the audio reinforcement

resembles anything but a traditional British pub. The venue’s old red leather décor has been entirely replaced with a new and more modern aesthetic. To match this transformation, a new audiovisual setup has also been integrated to bring both the live music and sporting action closer to fans.

First opened in 1997, the restaurant features a tranquil outdoor terrace with impressive views of the Burj Al Arab – one of the world’s tallest, most renowned luxury hotels – while inside, patrons get a portal to the outside world via the panoramic floor-to-ceiling windows. The establishment temporarily closed to undergo an extensive refurbishment recently, which included the complete audio and video integration carried out by SONIDO Technology. “The owner of Dhow & Anchor wanted to redesign the space with new technology that would transform the venue. D&A wanted to create a unique restaurant and bar experience with modern, trendy aesthetics,” recalls SONIDO Technology owner, Gareth Armstrong. “Before the redesign and retrofit, the venue was very dated. Although the restaurant was a popular venue for expats in the UAE and guests of the Jumeirah Beach Hotel, the client wanted to create a contemporary atmosphere.”

The Jumeirah Beach Hotel, a contemporary five-star property, is known for its world-class service, signature dining experiences and unique entertainment. The redesign of D&A had to fit the theme of the hotel’s ambience perfectly. “D&A’s vision for the space was to create a unique entertainment venue with video displays featuring live sporting events and audio capabilities for live DJs and bands. Meanwhile, the restaurant wanted to provide a quality dining experience for restaurant-goers,” explains Armstrong. “We had to design an open-concept space with audio and video integration that was easy to use, flexible, reliable and cost-effective. It was important that the staff could seamlessly manage audio zones and video sources and control each video display wirelessly via an iPad.” Armstrong needed to implement a solution that complemented the restaurant’s sleek design and aesthetics while meeting the technological performance

requirements, and looked to Visionary for a system capable of tying the audio and video infrastructures together. “We selected Visionary’s PacketAV Series because it integrates seamlessly with other solutions for a plug-and-play installation,” notes Armstrong. “The new system features a full upgrade, including Dante-enabled indoor audio from QSC, marine-grade outdoor speakers from Martin Audio, video displays from LG and an outdoor LED display. We paired Visionary’s PacketAV Matrix Series alongside QSC’s Q-Sys control system for a complete, easy-to-use audio and video routing solution.

“The PacketAV Matrix Series incorporated the product features we needed, such as flexibility and ease of use, while remaining within our client’s budget,” furthers Armstrong. SONIDO utilised three PacketAV Series encoders and seven PacketAV Series decoders to manage the audio and video transmission across numerous video displays and audio zones.

The QSC package includes a Q-Sys Core 110f DSP for routing the analogue and AES67 audio signals, paired with Attero Tech wall-mounted Dante/AES67 devices for the live acoustic and DJ performances and AcousticDesign S4T, S6T and S112SW cabinets for audio distribution. The loudspeaker system is powered by a combination of QSC CXD4.3, CXD4.5, CX-Q4K8 and CX-Q8K8 amplifiers.

The PacketAV encoders and decoders pair with a Q-Sys control system that allowed SONIDO to create a flexible, scalable, cinema-quality solution for IP networks – a far cry from its previous AV setup. “D&A required a versatile solution based on changing entertainment events – everything from live sporting broadcasts to DJ sets to band performances – within the restaurant,” concludes the SONIDO owner. “We were able to meet their needs to create an edgy, unique venue experience.”

Following the refit, D&A has become the perfect place for kicking back and catching the match or for expats to enjoy a slice of home comforts. www.vsicam.com

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FEATURES: INSTALLATION

A different way for National Day

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The UAE pulled out all the stops for the 49th National Day with the creation of a huge kinetic structure combined with an impressive audiovisual display THE NATIONAL DAY CELEBRATION IS ONE OF THE MAIN fixtures on the UAE calendar. The annual show is typically held on 2 December in a packed stadium at Zayed Sports City but, last year, due to the disruptions imposed by Covid-19, the usual extravaganza was reworked in favour of something new.

Being that 2020 has been the year of all things digital and virtual, what better way to celebrate the occasion than with an impressive audiovisual spectacle livestreamed online and broadcast to the nation.

For many countries, this would mean hosting a star-studded live show or perhaps a glitzy fireworks display. Of course, Dubai’s ND49 celebrations had all of that but went one step further with the creation of a completely unique experience out in the mangroves of Abu Dhabi’s Jubail Island.

Titled Seeds of the Union, the official 49th National Day celebrations were marked with the construction of a giant kinetic sculpture in recognition of the seeds of hope planted by the UAE’s forefathers 49 years ago. A combination of vivid projections, rousing music, fireworks and human performances made for a dynamic show that paid tribute to the country’s origins and celebrated how far it has come by transporting viewers through history. The giant, 15m rotating cube that appears to be floating on the water was the centrepiece of the artistic performance and around it was an elliptical walkway that allowed for cast performances as an extension to the sculpture. In addition to the broadcast and livestream, a small, socially distanced audience watched the show live from a grandstand on the beach.

The show was the creative vision of artistic director and designer Es Devlin and produced by LarMac PROJECTS, both well known for their work on a number of prominent productions.

Several aspects were quite unique, not least the lengths gone to in preparing the site with extensive groundworks; the result of a collaboration between LarMac and the National Marine Dredging Company (NMDC).

Working with a team of local contractors including Al Laith, which monitored the tides daily, NMDC built a temporary bund and foundations to allow crane access to get the cube installation underway, before constructing a larger bund to

SKYMAGIC delivered a 300-strong drone show to accompany the action create a temporary lake around the performance area to protect the sculpture.

With initial meetings conducted in August, Wonder Works, which oversaw the technical design element, created and delivered the cube structure together with Stage One in just under two months.

This process was managed remotely from the UK by Wonder Works technical designers and engineers working alongside LarMac. “Not having seen the site until we arrived in the UAE was difficult, especially with the ground works required,” said Jo MacKay, co-director at LarMac. “There have been thousands of hours on Zoom from every department to get to a place where we could build and deliver.” Once on the ground, and with just a month until rehearsals, LarMac was faced with the enormous task of managing the event build.

Barco UDX-4K32 projectors deployed around the ring fired visuals onto the cube as it rotated, tracked by media servers through positional data and camera-based IR to allow for image alignment and blending. Lighting was from a selection of Claypaky Scenius Unicos, Robe BMFL Blades, SGM P-5s and Q-7s, and GLP impression X4s. A 300-strong drone show

Audit

delivered by SKYMAGIC accompanied the on-the-ground display, together with pyrotechnics from Groupe F and special effects provided by Matrix.

The construction of the cube was no small feat, and the impressive visual element of the project was on show for all to behold. However, this has become par for the course for National Day celebrations. “It’s always about big visuals,” explains Scott Willsallen from Auditoria Systems, which was enlisted to provide the sound design. “This year was a bit different in that the cube structure was the star of the show. Even without any projection, the cube was still a really beautiful, iconic piece of architecture.

However, the projection content was smaller than in past years, so lends itself a bit more heavily on the sound design content to create that sense of being immersed in the show.”

To meet these goals, Willsallen designed a 300-strong L-Acoustics L-ISA loudspeaker system, supplied by PRGdeltasound together with the visual and projection equipment elements, consisting of various parts to deliver specific elements of the show. The system received 96 MADI inputs from a DiGiCo SD7 console consisting of pre-mixed stems and mono objects fed from a Merging Technologies Ovation replay system, while the loudspeaker arrangement consisted of 34 outputs and a separate sub-bass output. For the performance, Auditoria’s Richard Sharratt handled FOH, while Simon Sayer and Edoardo Michalori took care of replay. Remote support was also provided from Justin Arthur, Luis Miranda and Steve Logan.

The L-ISA arrays were deployed in four arrangements. In front of the cube were two arrays of three L-Acoustics K2s to handle the main body of music, reduced from an original arrangement of five to provide a better audience aesthetic of the cube. Eight arrays of six K2 and one array of 18 SB28 subwoofers (stacked three wide by six high) provided aural panorama, while two arrays of nine Kara and 11 Syva cabinets mounted beside and behind the audience together with 11 X8s suspended overhead from the top of the lighting and projection masts provided immersive reinforcement for the audience area. Each of the sources had a separate output from the L-ISA processor. In addition to the L-ISA system, 180 L-Acoustics 5XT loudspeakers (one for each guest)

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FEATURES: INSTALLATION

Visuals depicting the country’s history were projected onto the cube

L-Acoustics K2s placed within the ring walkway provided the main reinforcement

The revolving block appeared to be floating above the water

Auditoria’s audio control setup for the permanent show were deployed in a distributed mono arrangement to deliver the dialogue and narration. This technique allowed Auditoria to maintain the power and instrumentation in the music, while also providing the necessary speech intelligibility.

“It was immediately obvious that an environment like this wanted an immersive soundtrack and an immersive system to support the creative intent,” Willsallen recalls. “The location that we ended up with was out in the mangroves some distance from the city; we were very much in nature. Furthermore, the audience is sitting there for quite a while before the show starts, and it’s only 45 minutes from beginning to end and so the environment lends itself really well to some fun sound design content in the pre-show.”

Of course, all of these additional creative options introduce the need for restraint, cautions Willsallen. “Even in a system like this with 36 output channels, the mix still has to be delicate, and the show still has to be interesting for the viewer rather than an onslaught. It’s very easy to throw sounds around and it might seem a little bit fun, but it needs to add to the creative intent.”

The showcase was an entirely new way for Emiratis to celebrate National Day and appears to have struck a chord.

Originally proposed as a one-day-only affair, the exhibit was considered such as a success that a scaled-back version of the original 45-minute concept, called The Seed, was immediately commissioned and ran until the end of January. Several elements of the original construction were removed. The L-ISA loudspeaker system was similarly scaled back, and Auditoria’s immersive sound design reworked into a preset piece that could be executed nightly.

“We took the original files and edited them down so that it was the kind of show that they wanted and remixed it onto a new sound system,” says Willsallen. “It went from being 30-something down to 20 channels. A lot of the kit was struck and then reinstalled with the new design. The grandstand arrangement was removed and was turned into a beach club-type atmosphere. It ended up being a very different type of show with a very laid-back affair where you show up and there’s some background music playing, but still all very immersive.”

While the equipment list for ND49 is beyond impressive, the show was much more about creativity and the monumental cooperation between the vast number of companies involved than it was about the deployment of a tonne of equipment. With conversations first starting in August, the entire ambitious project had to be realised in just two months. “The first meeting was in August with Es Devlin and the team from LarMac, just after the job had been awarded.

We knew what the set piece was – the iconic cube with the different faces – but that was kind of it, we didn’t have a location. That was in August and we needed to start rehearsing in November – not a lot of time; it all happened pretty fast.”

Thankfully, many of those involved have frequently worked together on past projects. “LarMac’s executive producer was Nick Levitt, who I’ve worked with over the years. We’d all worked on previous National Days before and in different kinds of ways under different companies. Having familiar people in familiar

roles, meant we could speed up quite quickly,” Willsallen furthers. “The logistics on the whole project and particularly the construction side was just incredible. I don’t even understand how they achieved what they did. Because everything was confirmed so late, we were left in a situation with very little time and were very much mixing right until the last minute.”

Typically engaged in hundreds of high-profile events throughout the year, it was the first time that the Auditoria team had been onsite since February 2020. “It was great. And everyone that was on the gig was super pumped about being on a project again. We were back interacting with those people that you normally spend loads of time with. In 2020, I didn’t see any of them for eight or nine months, it was a really long time.

“Thanks to Andy Jackson and his team from PRGdeltasound for supplying, installing and maintaining the system for us,” furthers Willsallen. “Thanks to Toby Chester and Martin Dineley for their efforts in managing the PRG audio team, and a huge thanks to Es Devlin and her design team, as well as Jo MacKay and the whole team at LarMac for involving us in this project.”

The result was a truly remarkable show of hope and optimism pulled off by a team of over 500 creative professionals.

“Being part of such a great project during these Covid times lifted the spirits for many of the people involved,” concluded MacKay. “Everyone felt a great sense of achievement to be delivering any show in such difficult circumstances, never mind a show that truly reimagined National Day celebrations forever.”

“Our ambition is that the sculpture will form a legacy on a new site, sowing the first seed in the lead up to the celebrations of the UAE 50th National Day,” added Devlin. www.auditoria.systems www.larmaclive.com www.wonder.co.uk

Following National Day, the grandstand was removed and a stripped back show ran until the end of January 2021

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FEATURES: BROADCAST

Setting up for future success

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Following our previous article on the new show lighting setup at Turkuvaz, Pro AVL MEA returns to take a look at its broadcast infrastructure PRO AVL MEA TOOK READERS INSIDE THE GIGANTIC NEW Turkuvaz Media Group (TMG) studio complex in Istanbul in our November–December 2020 issue, but what followed was just one part of a much bigger story. Having explored the SSP lighting infrastructure installed by Dinakord Elektronic, it’s now time to dig into the broadcast infrastructure underpinning Turkuvaz’s new operations.

By combining its distributed television studios at a single location, TMG was looking to future-proof its 4K capabilities as well as deploy new scalable systems for expansion, as rapid recent growth has caused it to over-saturate existing capacity. The new centre means it can continue to grow at pace, maintaining its position as a leading private media group in Turkey in addition to deploying a new IP-based workflow.

TMG should be well provisioned for the foreseeable future with 300,000m2 of closed space in the new Istanbul building.

Several companies have played a role in the overall project.

Systems integration services for the broadcast audio infrastructure have been supplied by Radikal Elektronik Ltd Sti, while the broadcast lighting infrastructure inside the studios has been integrated by ASF. Orsatek Bilisim also played a role in the project through the provision of an expanded 4K Cinegy playout and editing solution, while Teratek implemented a TSL TallyMan control system. AVITENG also selected a range of AJA video products to future-proof broadcast workflows.

With 160,000m2 of production space, the Turkuvaz Media Center is Turkey’s biggest media campus. The company operates nine TV and four radio channels. In total, there are 17 studios currently in operation: 12 12m-high studios measuring from 200–1,500m² and five 6m-high studios between 100– 350m² available to shoot variable projects. TMC also houses 10 studio control rooms, six producing in 4K and four in HD. The rigging, hoist and lighting systems for these 17 studios are equipped with products from Italian manufacturer Desisti with integration performed by ASF. ASF’s team of engineers designed the rigging and lighting systems having visited a number of existing prestigious studios and assessing them against TMG’s current needs and expectations. Ultimately, Desisti luminaires were chosen to handle programme production both inside and outside of the TMC studios. In total, there are more than 1,200 Super LED Fresnels over various sizes supported by more than 1,000 soft panels from the Desisti Soft Panel Series. These are

An ASF engineer installs Desisti Super LED Fresnels in the largest TMG studio operated by an existing 11 lighting consoles already owned by the broadcaster and reinforced by an additional three MA Lighting grandMA3 compacts located in remote and dedicated regions for each independent studio. A total of 511 Desisti self-climb hoists and 55 scenery hoists have also been integrated with control provided from AED automation control systems. ASF was able to install these fixtures within a tight six-month timeframe despite a number of obstacles thrown up by the ongoing pandemic.

TMG’s new IP-based infrastructure includes several networked Lawo mc² mixing consoles and crystal radio consoles linked via a sophisticated central routing system, as well as a Lawo V__matrix video processing system equipped with C100 software-defined processing blades. In addition to renovating the broadcast studios, a new OB van equipped with Lawo IP networking was rolled out in November 2020.

The newly modernised studio control rooms have been customised according to their individual tasks: news, 4K video postproduction, HD sports programming and a shared HD SCR, integrated by an IP infrastructure built upon Lawo systems. This allows for flexible IP workflows, including remote production capabilities. The Lawo equipment installed by Radikal during the

upgrade includes eight new 48-position mc²56 mixing consoles fitted with the Dual-Fader option to provide 80 faders in total, giving Turkuvaz operators direct surface access to large numbers of audio channels. Audio connectivity comes by way of DALLIS stageboxes, while a central routing matrix with 8,192x8,192 mono crosspoints was built using a Nova73 HD Router.

In addition to an mc²36 console providing “all-in-one” functionality, the broadcast audio setup includes six radio studios with Lawo crystal mixing consoles and companion Compact Engines. The media centre’s video and audio processing is handled by eight V__pro8 video processing units and Lawo’s V__matrix software-defined IP core routing, processing and multiviewing platform, fitted with two C100 processing blades to perform SDI IP encapsulation and de-encapsulation. The networking fabric of the new Turkuvaz facilities connects the DALLIS units to the Nova73 central router via MADI, with Ravenna linking router and console cores.

AES67/ST 2110 networking with video devices between console cores and router has also been implemented.

On the video side, the broadcaster’s existing use of Cinegy solutions has been expanded in order to increase playout and

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FEATURES: BROADCAST

A Lawo mc256 inside one of TMG’s 4K studio control rooms editing capabilities for selected channels.

Integration, training and support for this element of the project was supplied by local Cinegy partner, Orsatek Bilisim. The 17 studios are being controlled by six Program Control Rooms (PCR) with 4K infrastructure and four PCRs with HD infrastructure. There are also nine Master Control Rooms with 4K infrastructure and equipment. Cinegy software is used at every stage in the production workflow, capture, archive, monitoring, editing and playout. TMG currently owns Cinegy Archive with redundancy, 55 Cinegy Air PRO bundles, several Cinegy Converts with 24 agents in total, 45 Cinegy Captures and 380 Cinegy Desktops for editing.

Systems integrator Teratek’s work was another key part in the project, implementing a TSL TallyMan control system in each of the 10 studios to control routing of Riedel MediorNet and Grass Valley Sirius equipment, as well as controlling logo generator, keyer and bypass switch equipment by combining control of equipment from multiple manufacturers into a single platform. The system also manages and distributes tally across the entire TMG facility.

Furthermore, the broadcaster has also invested in TSL’s FlashBoard technical display system, as well as PAM-IP and MPA1 Solo audio monitors, which integrate with the TallyMan system to display more detailed device information. FlashBoard is used to distribute studio planning information, on-air lighting and employee-related information around the building.

The PAM-IP solution was chosen based on its future-proof capabilities, being used initially in baseband positions to be upgraded in the field when the transition to ST 2110 takes place. The units will monitor audio quality and loudness of on-air feeds, using the preset-based monitoring feature to switch between different monitor feeds. The MPA1 Solo audio monitors are designed for use where fast audio quality control is needed. TMG will use the SDI and

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Professional Audio Video & Broadcast Solutions

More than 550 Desisti hoists allow the luminaires to be raised and lowered Dante variants across the studio control rooms to monitor audio mixer outputs and technical monitoring of the feeds.

A selection of AJA Corvid and KONA devices have been installed by AVITENG, including 47 Corvid 44 12G BNCs, 10 Corvid 22s, 10 KONA IPs and 23 KONA LHi cards in order to provide interconnectivity between production servers and workstations with broadcast production and automation equipment for both baseband and IP workflows for TMG’s ATV News channel. ATV’s news, ingest, playout and MAM automations are built on Cinegy production workflow software, with video and audio I/O powered by Corvid and KONA. For live broadcast graphics, the AJA devices are also used as the hardware I/O solutions in conjunction with Ross Video XPression real-time graphics software. To streamline the acquisition of remote video and audio feeds captured via teleconferencing tools such as Microsoft Teams and Zoom, AJA openGear cards power HDMI-toSDI conversion to integrate remote signals into live production workflows. ATV uses 15 OG-ROIHDMI region of interest scan converters and five OG-HA5-4K HDMI 2.0 to 3G-SDI converters to transfer up to 4K/UltraHD incoming content from HDMI to 3G-SDI. “We are very impressed with our new IP infrastructure,” comments Mustafa Yavuz, assistant technical manager of Turkuvaz. “It enables us to apply radical new workflows inside the studios, as well as the capability for remote production. Desire for this new option had already been on the rise but, with the pandemic affecting operations, remote production has proven to be the best solution for maintaining up-to-date and reliable broadcast production.” asfavl.com www.orsatek.tv

Commercial Audio Visual Equipment Broadcast & Production Equipment Equipment for Live Events

P.O. Box 6419 Dubai, U.A.E Tel: +971 4 2693359 | info@thomsun.ae www.thomsunmusic.com  thomsunmusicofficial  thomsunmusic  thomsunmusicme  thomsunmusic

www.radikaltr.com

One of the smaller 6m-high studios

www.teratek.com.tr

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BUSINESS: COMMENT

A letter from America

As the US receives a stimulus package for the live events industry, Dan Daley considers the first question we need to ask

THE US LIVE EVENTS INDUSTRY GOT A CHRISTMAS present at the end of last year: out of the US$900 billion stimulus package passed by Congress to address the financial effects of the ongoing coronavirus pandemic, $15 billion was earmarked as “dedicated funding for live venues, independent movie theatres and cultural institutions”.

It’s a lot of money, but not as much as was lost during the Plague Year. Pollstar’s year-end report, released in December, indicated industry-wide revenue losses of $9.7 billion in 2020, a year that had been projected to instead see a record-setting $12.2 billion profit. The loss was further estimated at more than three times that when ancillary revenue from sources like hotels, merchandise, transportation, sponsorships and other economic activity tied to live events was factored in.

The damage is massive and real, but the $15 billion is also worthy of those adjectives. The challenges, though, will be how to disburse it equitably and fairly, and how to do so before some other very real and existential dangers to the live music business take hold.

Look at how the funds from the first Covid-stimulus response last March were distributed: each American got $1,200 – whether they needed it or not. What that meant in reality was those who needed help the most were underfunded and those who could ride out the economic storm just put it in the

bank. Meanwhile, the same legislation gifted an estimated $257.95 billion to corporations and billionaires in the form of tax breaks and other considerations.

The latest round of stimulus help does try to address some of those inequities. For instance, during the first 14 days of the programme, initial grants of up to $10 million will be awarded only to those venues with 90% revenue losses. That will be followed by businesses with at least 70% revenue losses during the next two weeks. After the first month, other eligible businesses can receive grants.

But what of the largest entities in an entertainment business that’s been steadily consolidating? Does Live Nation – which asserted 95% losses in Q3 2019 year-on-year – qualify?

According to the way the legislation is written, yes – despite Live Nation having on hand total cash and cash equivalents of $2.6 billion.

Admittedly, Live Nation has been generous with its Crew Nation initiative to help touring and venue workers, but the company is still working from a position of strength, one that will certainly help it to further acquire new venue and festival properties when this is over.

Already picking over the bones of music venues are a number of private-equity and venture-capital efforts. Foremost amongst that pack is Marc Geiger, the former mega-agent behind

Lollapalooza who is seeking minimum 51% stakes in clubs and venues around the US, using a $75 million initial round of capital. His stated long game is to “create a network effect”, he told The NY Times, that will bolster their collective bottom lines after Covid. Geiger contends his initiative, called SaveLive, isn’t a property-flip play. But the combination of equity capital and Wall Street/City types who have moved into music’s spaces this century might suggest a different outcome. Spotify, Tencent, Apple and Amazon dominate music and NASDAQ, and equitybacked ventures like Hipgnosis and Kobalt Capital are spending billions of dollars on music publishing catalogues.

As musicians and their technical crews remain largely sidelined by the pandemic, the ultimate irony is that there is a lot of money to be made in the music business now, and legislation promises to pump in even more. But where it goes and who benefits are murky questions. The publishing money is chasing time-tested copyrights, and even with barely two months on the road last year, Elton John’s chart-topping “Farewell Yellow Brick Road Tour” still earned $87 million, while Celine Dion scooped up $71 million and U2 grossed $52 million. The rich will get richer, but how everyone else manages to get hold of some of the lifelines now being tossed blindly into a roiling economic sea is a far dodgier question. It is, however, the first one we need to ask.

A letter from Europe The Rolling Stones will not fade away anytime soon, reports Phil Ward THE ROLLING STONES ARE SHOWING NO SIGNS OF WHAT physicists call negative velocity. They keep popping up, sometimes in the most unexpected places. For example, they were the first band to perform together, in separate houses, on Zoom during lockdown, their notoriously loose synchronisation actually improved by latency. A few years ago, they even headlined Glastonbury, a fitting occasion for two reasons: firstly, they are named after a song by Muddy Waters; and, secondly, they sounded on this particular night very much like a dilapidated tractor pulling stranded sheep out of a quagmire.

Now they’re going to be the subject of a new touring exhibition about their life and work, opening at the Groninger Museum in the Netherlands – where the band actually played in 1999 – and then making its way around the world.

The reason it’s of special interest is because, just like the Pink Floyd exhibition at the Victoria & Albert Museum in London a couple of years ago, it concludes with a newly mixed immersive audio experience featuring concert footage and an audiovisual system that promises to “take fans deep into the Rolling Stones world with a more immersive

experience than was possible, even at the concert itself”, according to previews.

Quite how it can be more “immersive” than actually being there certainly challenges expectations – do you get to swig Jack Daniels with Keef? – especially as the concert footage in question is taken from yet another ground-breaking appearance to flout convention: the 2016 gig in Havana, Cuba. This was the highlight of a full tour of Latin America, with catering supplied by Pablo Escobar. Just kidding. At least here Mick Jagger’s ersatz Southern drawl was a little closer to its natural habitat, unlike Dartford.

It is in fact part of a documentary about the tour to be screened within the exhibition, and it’s a big deal not only for the Dolby Atmos platform – which provides the cinematic surround sound created at Capital Studios in LA – but also for one of the UK loudspeaker brands that truly matches the Stones note-for-note in the status of Great British Exports.

This is the Professional Monitor Company (PMC), a real RollsRoyce in this field, and with much more attractive drivers.

As well as PMC monitors being used in the mixing of the soundtrack into Dolby Atmos, a completely new range is being

debuted for the exhibition and a custom model developed to deliver the Stones’ music into this context. Dubbed Custom Install (ci), the range provides 23 channels of Atmos soundtrack and introduces the ci140-XBD, the BST sub and ci65 overheads. They join five huge screens and amplification cranked up to over 20,000W to place you right there, sucking on a Montecristo No 2 and rubbing shoulders with Naomi Campbell and Richard Gere in the VIP section, just a few days after Barack Obama’s epoch-ending presidential footfall on the island and a few months before old Fidel finally went to that great gig in the sky.

As if that wasn’t enough, the Stones are also opening a boutique – on Carnaby Street in London’s Soho district which, for the past 50 years, has been about as hip as Ripley’s Believe It Or Not family fun franchise. It’s a fine installation – with speakers, this time, by PMC’s countrymen Bowers & Wilkins – but really? Rock and roll has changed the world, and the symbolic arrival of Obama and Jagger at the end of Castro’s last speech is one example. But the world has also changed rock and roll – and wants to serve it up as windowdressing. I can’t get no satisfaction, I’m afraid, from that.

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BUSINESS: SHOW REVIEW

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Believe in Music Week

Herb Trawick and Joe Lamond in the Believe TV studio

NAMM tries its hand at the virtual exhibition format with Believe in Music Week, reports Simon Luckhurst IN A NORMAL YEAR, MANY OF US WOULD HAVE BEEN heading to the California sunshine at the end of January for the first industry gathering of the year: The NAMM Show. Last year’s event was one of the last tradeshows to go ahead as usual and a reminder of what now seems like a different era, with the freedom to travel and meet up. Instead, from 18–23 January, I travelled to California in spirit from the comfort of my laptop.

Believe in Music Week spanned five days in replacement of the physical exhibition and promised a global online gathering.

Education, training, product launches and networking – all the standard aspects of a NAMM tradeshow – in healthy doses.

Recent months have shown the virtual tradeshow concept to be somewhat of a minefield for exhibition organisers.

Nevertheless, the National Association of Music Merchants has had more time than most to adjust its online programming having made the early and wise decision to move proceedings

online, and president Joe Lamond was confident in the run-up that NAMM could deliver truly unique content. “In recognising the profound impact of Covid-19 on both companies and individual professionals, we knew that we had to look to a larger vision, and that vision led us to Believe in Music Week. The NAMM team set out to bring this vision to life with our platform vendor, Swapcard, to create and encapsulate those valuable networking opportunities, education and training, and brand experiences found at The NAMM Show. Our goal is to look to the future success of our members and the industry and help propel everyone into 2021 with new products, professional training and the fun, networking comradery of the Hilton bar through our main station, Believe TV.” While there were a number of prominent pro audio exhibitors missing from the schedule, with 1,227 participating companies in total, most of the major players in the pro audio sector

More than 2,000 people tuned in for the Believe in Music global livestream

were present. For exhibitors, several different packages were available to maximise visibility, while a range of other homepage and communications sponsorship options were also present. As a digital event, the organisers staked importance in the value of lead acquisition for exhibitors and created a set of tools and informative guides to aid this process.

AI matchmatching technology was implemented to drive networking connections and suggest tailored content as users engaged more with the platform throughout the week.

In addition to the exhibition elements, NAMM was presenting a healthy programme of more than 160 educational training sessions delivered both live and available to watch on demand once the week was over.

This included regular NAMM favourites such as TEC Tracks, where members took part in big-picture sessions and highprofile topics in recording, live sound and music business, and the AES (Audio Engineering Society), which presented

As with all things online, it wasn’t always plain sailing

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BUSINESS: SHOW REVIEW educational sessions on key topics for audio professionals, including streaming live performances, next steps for the live event industry, mastering mixes and careers in professional audio. A3E, Advanced Audio + Applications Exchange, also returned with a series on how nextgeneration content creation is reshaping the entertainment industry.

So that was what was promised, but how did it all go down for virtual attendees? Hosting 1,200+ participating brands in virtual booths that allowed manufacturers to collate all their company, product and seminar information in a single place, the central element to Believe in Music Week was the marketplace, which is where the AI matching tools came into play. “In a way, the technology we used can be thought of as saving a few steps of walking around the Anaheim convention centre looking for the latest, coolest products,” said Lamond. “The user profile will get things started and, as the user interfaces more and more with the platform, it

The platform revealed who was attending the same events and facilitated networking

Electro-Voice invited attendees to take a virtual tour of its headquarters

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Behind the scenes in the Believe TV control room will ‘learn’ more about their preferences and recommend new and interesting products and companies that they might not have ever thought of or run into on the show floor.”

Unfortunately, my experience was fairly solitary and I found most of the information I required by actively seeking it out rather than having the platform suggest it. Of course, my perspective is somewhat skewed compared to that of a manufacturer; however, many of the exhibitors I spoke to shared experiences of low traffic and low interaction, particularly among the smaller exhibitors.

Described by some as being like the UK’s Marmite – “you either love it or you hate it” – my experiences of the Swapcard platform were largely positive. Creating a new profile and starting the process of building a schedule in the week running up to the show was straightforward enough. But it wasn’t immediately clear what my next steps should be upon the show starting. I wasn’t alone.

“I must say I found it very difficult and confusing to find the right pages and parts of the programme, and so I ended up often leaving the pages open overnight to save time searching for them again the next morning,” shares EVE Audio’s Kerstin Mischke. “Plus, I understand that it’s NAMM and it takes place on US time, but that means all the events take place when it’s nighttime for me.”

This is one of the major challenges faced by all virtual tradeshows: time allocation. At a traditional show, from the time the doors open in the morning until they close in the afternoon, you are focused on one job, and you make time to find out about companies that you would otherwise never have been able to discover. A virtual exhibition opens up the attendee list to the world but doesn’t demand the same dedication as a proper in-person event; it’s easy to check in and check out.

In this regard, the timing of NAMM’s programming was less than ideal from an Asian and even European perspective. Many of the more interesting sessions started well into the night in my time zone, meaning I had to create extra time in the evening to participate.

Product launches were organised into a dedicated listings page alongside the marketplace which could be easily broken down by type or application. Given the vast range of NAMM exhibitors – everything from music instruments to large-scale sound reinforcement systems is covered – it was important that NAMM got this element right. And it did. So, it was a little disappointing that rather than using this space to its full

Yamaha and Nexo made full use of the virtual booth functionality potential, many companies offered only rudimentary product information before pushing viewers to their own manufacturer websites. There was often very little interactivity beyond sending a representative a message.

The “Gear TV” channel of the NAMM Product Preview therefore became all the more valuable for sussing out the latest new launches and offering a more in-depth look.

These pages were filled with multimedia content from manufacturers; however, the content covered a broad spectrum of both pro audio and musical instrument releases, not all of which will have applied to all viewers and could be quite time-consuming to sort through. An update was made to the Swapcard platform during the middle of the week that allowed exhibitors to choose the order of the products presented on their brand experience pages. This was a nice touch and showed that the organisers were listening to feedback and looking to implement changes quickly.

One of the main events of any recent NAMM has been an unveiling by DiGiCo that would typically see hundreds of engineers gathered around the booth awaiting their first glimpse of a new product. DiGiCo focused on smaller-scale products this time around with the launch of the Klang Immersive Personal Mixer. The launch may not have garnered the typical crowds but, nonetheless, the DiGiCo team felt that they had received a good online response.

While the product offerings were vast, genuinely new launches were substantially fewer than at a normal show. Electro-Voice led the pack by debuting the Evolve 50M column loudspeaker systems and ELX200 series loudspeakers. Avid launched its new Pro Tools Carbon interface and Avid Play music distributors service, which allows creators to publish their Atmos mixes to Amazon Music and Tidal. Other notable highlights included Apogee showcasing the new Symphony ECS Channel Strip plug-in; Roland launching the Verselab MV-1 Song Production Studio; Meyer Sound unveiling the Leopard-M80 loudspeaker,

a new narrow coverage variant that delivers 80° horizontal coverage in contrast to the original 110°; Adam Hall unveiling the Palmer Monicon XL Active Studio Monitor; and LD Systems debuting its MAUI 44 G2.

Shure chose to highlight its recently released SLX-D digital wireless system, which promises 24-bit digital audio with RF performance and a simple setup, while Focusrite Pro used the occasion to educate customers on its RedNet R1 desktop remote processor and Universal Audio focused its attention on the Apollo Heritage Editions interfaces. MXL highlighted its new Revelation Mini FET microphone, KRK its range of Studio subwoofers and Solid State Logic its SSL 500-Series Modules and XL Desk. Sony was also present but under the guise of 360 Reality Audio, its new music experience making use of Sony’s spatial sound technologies. Harman Professional showcased a number of products from the JBL Professional and Martin brands, including the JBL IRX115S powered subwoofer for IRX Series portable PAs, the dual 18-inch VTX B28, an expansion of the Martin ELP LED ellipsoidal fixture family with IP65 variants and the Martin MAC Aura PXL. Some of the larger sound reinforcement manufacturers such as L-Acoustics, d&b audiotecknik, Meyer Sound and Yamaha Pro Audio/Nexo placed less emphasis on new products in favour of hosting educational sessions on their respective technologies, with many sessions garnering a greater number of viewers than an in-person seminar might hope to attract.

The interactive chat for attendees was a nice element of these sessions.

Whether their experience at Believe in Music Week was a positive one or not, one thing remained consistent for all exhibitors – a desire to attend NAMM in person in 2022. That fate may not be up to the organisers and, even if the show is able to return to its roots in 2022, it’s likely that there will continue to be a healthy dose of accompanying online content to satisfy absentees.

“We had a very small presence,” summarised Mischke at the end of the week. “In the end, we had two requests: one was for a cooperation, so that may turn into a relationship, and the other was regarding some features of a product in our range. I wouldn’t call it busy.”

“I actually did receive quite a few requests but none of them were useful: for example, Chinese companies sourcing new contacts and salespeople trying to sell masks,” added DirectOut’s Christian Müller. “For us, the event was considered as an online platform to represent our company, just being present and flying our flag. That was what I expected so it was not a waste of time for us.”

After a year of pandemic-inflicted tradeshow cancellations, it’s become clear that virtual exhibitions are a means to an end rather than the preferred format, and this is in no way the organiser’s fault. In terms of numbers, Believe in Music Week should be considered a big success, with NAMM reporting that 93,226 people from 187 different countries took part in the week. That’s not too far shy of typical attendance for the in-person exhibition. What’s more, 983 special sessions and events were held, as well as 611 hours of livestreamed and programmed content, and nearly 200 education, training and professional development sessions and new product introductions, all of which continued to be accessible throughout February.

“Since we extended Believe through to the end of February and we’re having thousands of people a day still on the platform, it’s still a little too soon to tell the real impact,” Lamond said at the close of the week, “but I can tell you that with limited expectations, having never done anything like it before, the member response has been terrific.”

NAMM did a good job with its first-ever fully online event but there’s no doubt that regular attendees miss NAMM’s unique atmosphere. “Believe in Music Week is a brilliant use of technology that brings forward programmes and products to individuals who might not ordinarily have the opportunity to attend the show,” said Harman’s David Glaubke. “While we wish we could have all been together in Anaheim, we are pleased that NAMM was committed to delivering the best possible experience.”

Like many, I’ll also be wishing for a return to the Californian sun in January 2022. www.namm.org

March–April 2021 PRO AVL MEA 43

PAME Pg42-43 NAMM Believe.indd 43

26/02/2021 12:05

BUSINESS: COMPANY PROFILE

NMK Electronics

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2020 was a busy year for NMK Electronics, with the company founder stepping down, new ownership with Midwich and a new management structure. Simon Luckhurst finds out more IN DUBAI, EVERYTHING CHANGES. AS ONE OF THE older audiovisual distribution companies serving the GCC, NMK Electronics has witnessed a great deal of that change throughout its 33-year history, but nothing quite like what 2020 presented. Companies frequently come and go, spotting a market opportunity but failing to back that up with a solid core business. Nothing ever remains the same, and the pace is unforgiving. Companies like NMK are one of the reasons the newcomers often don’t last long.

Very few have managed to step outside of the chaos and build firm foundations of their own. Established by Nicolas M Kyvernitis in his name back in September 1987, NMK Electronics has been a pioneer on the ground and evolved greatly over the years. Having become involved in the hi-fi market in the 1980s following a career change, Kyvernitis was one of the few people to have identified a budding professional audio market in Dubai and quickly seized the opportunity by setting up business in neighbouring Sharjah.

With the exception of his wife Christina, who has also played a central role in supporting the business throughout its lifetime and as operations manager, the early days were very much a one-man show, with the founder singlehandedly driving rentals, installations and sales across the Emirate.

As the country’s thirst for live music exploded and the market started to mature in the years that followed, a wave of large technical production companies arrived on the scene. Setting up a new market free zone in 2010, NMK’s Dubai-based operations quickly matured to follow suit as the company expanded into neighbouring territories such as Bahrain, Kuwait, Oman and Saudi Arabia, and focused less on the rental market in favour of distribution, fuelled by an increasing number of brands seeking a more consolidated regional distribution model. As local operations further developed, the distributor set up a dedicated office in Qatar under the name of Edge Electronics at the beginning of 2018, led by business development manager, Dino Drimakis.

“The goal of our office in Qatar was to copy/paste what NMK was doing in Dubai. Replicated with a smaller micro-team but providing a fully fledged operation with regards to service, aftersales support, commercial support, order, logistics – everything in-house,” explains Drimakis.

L–R:

L–R: Nicolas and Christina Kyvernitis Joining NMK in 2014, Drimakis was initially tasked with diversifying NMK’s portfolio away from pure audio brands – which over the years has included everything in the AV realm – and into a more solutions-centric approach. It’s a path that has paid dividends and today the company is proud to boast 50 employees and an enviable portfolio of more than 25 leading AV brands covering various sectors, including the likes of Allen & Heath, Ampetronic, Avid, Ayrton, Bose, Cloud, Clear-Com, Epson, Luminex, Shure and Williams Sound, among others.

But beyond great brands, NMK is most proud of what has so far been achieved with several aspects of the business, not least customer service and its role in developing the education market locally. “I’d like to praise ourselves for helping to develop the education market in the region and allowing engineers to upgrade their skillsets, as well as being a consistent and continuous company that cares first

and foremost for our clients, and having a customer-centric approach towards the business,” says Drimakis. “We also feel it’s important to be a very honest and trustworthy partner, not getting into other businesses or competing with our clients in terms of installs or rentals, but instead always being there to provide value-added support to our partners.”

This certainly proved the right approach, with many of NMK’s partners and customers returning year after year to work with the team. “For most of our brands and also our vendors, these relationships are really embedded,” Drimakis adds. “We enjoy a very close relationship with our partners but it’s something that’s always been very organic. As a result, we’ve also enjoyed natural and healthy growth rather than big spikes and dips.”

This customer-centric mindset translated into a proactive reaction to the complete loss of business in April 2020 when coronavirus shut the country down. Unable to invite students to

44 PRO AVL MEA March–April 2021

PAME Pg44-45 Company Profile NMK.indd 44

26/02/2021 12:13

BUSINESS: COMPANY PROFILE in-person sessions at the NMK Academy, the distributor was one of the first to set up a digital equivalent, while Drimakis led the industry in a series of thoughtful “post-Covid” panel discussions on the future of our business. Nevertheless, despite the events of the recent months, NMK is making a bold decision to forge a new path in 2021. Having announced their retirement alongside news that Midwich had acquired a majority stake in the business at the end of 2020, Nicolas and Christina Kyvernitis are handing over control of NMK to the next generation.

The new management structure sees Drimakis take charge of the commercial aspects of the business, while Alex Kemanes will serve as managing director once Kyvernitis officially steps down. “I will take care of the vendors, communication and supporting clients with technical expertise, which I’ve kind of embedded in myself throughout all the years of being in the industry, building those relationships and those support systems,” says Drimakis. “Alex will take care of the management side as MD, involved in driving the backbone of the company, which is the finance, the operations, the development and the overall picture. There are other companies in the group that Mr Nicolas can now focus his attention on and he’s been able to hand NMK over to a company that has a great reputation in the market, great ethics and has a very good support arm towards the market as well.

As a company, they understand the value of people.”

“Both Dino and I feel that Midwich is sort of an extension of our arm, in the sense that we found in them just what we want in a partner,” adds Kemanes. “They’re very strong operationally, and as a corporation they have a strategic vision which matches Dino’s and mine. So it was a good marriage

L–R: Dino Drimakis and Ida Rosauro

L–R: Juan Munoz and Maleeha Riaz and, if you look at the likes of Earpro or Sidev, they have a great track record and have all grown off the back of those acquisitions. Clearly they know what they are doing.”

Top of the list in this respect following the acquisition are plans to replicate NMK’s past success in Qatar with the opening of a Saudi Arabian office in 2021. “Obviously with Midwich, we now also have other regional aspirations regarding other territories, to develop a very similar copy/paste approach,” notes Drimakis.

Rather than a kneejerk response to troubled times, the negotiations between NMK and Midwich were initially due to be finalised back in March 2020 before more pressing matters became the priority. When the lockdown hit, the company entered a period of self-development by working to fix and enhance its existing processes.

“Ironically, 2020 wasn’t necessarily a bad year for us,” the commercial director shares. “We’ve always tried our best to be that consistent company and, regardless of the Midwich ownership or the constraints of the pandemic, we still support our clientele and vendors as much as we can. There was no financial hindrance whatsoever and I believe that we took the ethical and correct approach of maintaining the company by not letting people go.”

“It’s also a lot about adaptability,” furthers the MD. “These past 12 months, you really needed to change and refocus your

business. The rental market was obviously down, so we had to shift the mindset of our rental guys into the fixed market and find bigger opportunities there. I think the takeaway from all of this is to be adaptable, to be able to adjust to the situation so that you stay strong to the vision. Our market will come back, that’s inevitable.”

Ever keen on a consistent approach, NMK’s continued success still lies in Kyvernitis’ original vision. “I think the DNA instilled in the company through Mr Nicolas’ 33 years has definitely been that of a push approach, a cook your own food approach. You can’t just sit around and wait for business to come along,” says Drimakis. “Most businesses will tell you that it’s the people that makes them. We’re lucky to have a very dynamic team of really responsible people, that are also caring about the company and its wellbeing. For us, it’s been as much about building a team over the years that is mature enough and adaptable enough to enhance the company and have an efficient mindset of developing it in the right manner.”

Despite new ownership, new management and perhaps even a few upcoming new surprises on the horizon, it’s still business as usual for NMK Electronics. Consistency in a world of rapid change can often be the key to success. www.nmkelectronics.com

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March–April 2021 PRO AVL MEA 45

PAME Pg44-45 Company Profile NMK.indd 45

26/02/2021 10:22

BUSINESS: COMPANY PROFILE

The D

Sound and dynamic

DAS supplied an extensive Aero 40A system into the Miami AmericanAirlines Arena

Richard Lawn takes a look back over the 50-year history of Spanish loudspeaker manufacturer, DAS Audio A 1978 marketing photo

Juan Alberola supplies an early DAS Audio system to a club

JUAN ALBEROLA’S CAREER WAS PREDESTINED AT BIRTH. THE son of an orchestral conductor, his passions for music and hi-fi compelled him to establish an audio installation business for nightclubs and bars. Back in 1971, as Spain transitioned from a dictatorship to a democracy, the country would remain outside the European Economic Community (EEC) for another 15 years, with demand for imported loudspeakers dampened by high import duties. Recognising the consequent domestic demand, a young Alberola took a leap of faith and founded Dynamic and Sound. Fifty years on, DAS Audio is stronger than ever.

In 2000, industrial engineer graduate from the Polytechnic University of Valencia, Javier Navarro, joined DAS Audio’s engineering team. Navarro has become an instrumental figure over two decades, taking on increased responsibility and currently assuming the joint role of CEO and head of engineering. “What makes DAS so unique is that it remains a family-owned company in control of its own destiny,” he reflects.

Valencia has played a significant role in shaping the company’s character. “We are blessed with a large community of working street musicians,” continues Navarro. “In every small village, you will hear a band with trumpets, saxophones, clarinets and drums.

Everyone at DAS loves music, and it shows.” The city is home to other notable manufacturers such as Musicson, Beyma, Ram Audio

and Equipson. “The founders of these companies were openminded and open to risk by putting their money on the table to start a company they passionately believed in. Juan was no exception.”

Global branding and export sales always took precedent over the domestic market for DAS. “Our founder was always passionate in exporting our speaker designs,” continues Navarro. “He would pack speakers into the car and drive to SIB in Rimini, SIEL in Paris and Musikmesse in Frankfurt with then-sales director, Jack Palacio.”

When Spain joined the EEC in 1986, DAS was poised to capitalise on its investments in tradeshow attendance.

In that same year, DAS Audio relocated to its current facilities in an industrial zone in Fuente del Jarro on the outskirts of Valencia.

Here, Alberola made a decision to manufacture transducers, compression drivers and other components in-house. A reliance on external suppliers was removed, resulting in added quality control and improved cost benefits that continue to enhance competitive pricing. “We are providing tools for end users that demand reliability, so we employ very strict protocols during each phase of manufacture and testing of our products,” Navarro says.

“We are focused on making systems that help them make their business profitable.”

Alberola continued to invest profits back into the facility. A large three-storey production area was added, where cinema systems,

46 PRO AVL MEA March–April 2021

PAME Pg46-47 Company Profile DAS.indd 46

26/02/2021 10:42

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BUSINESS: COMPANY PROFILE create technologically advanced products that will make the jobs of our customers easier. An active speaker system operating both the front and back of house areas of a theatre needs to be controlled using the same control and software platform. Nothing works in isolation anymore.” Product categories have been simplified and streamlined into solutions for three main categories: touring, mobile retail and installation.

In the 1990s, sharing Spanish as a common language would transform exports to the Americas. “We were distributed by Sennheiser in North America and had established a headquarters in California,” explains Navarro. “A year later, we relocated to Miami as most of our new opportunities to grow the US market were coming up from the east side of the country, and language was an important factor.”

This proved to be a masterstroke, as training seminars and demonstrations extended the distribution and dealer network.

“Miami is a Latin city and proved to be a great hub for our customers from Columbia, Venezuela, the Caribbean and central

The current pandemic has also meant a decline in sales. “We are still doing good business but it’s been important to take care of our employees. DAS has also focused on maximum flexibility by offering our customers financing, increasing product warranties to five years and ensuring that none of our sales partners run out of stock. We’ve also ramped up our online support with a selection of training videos and webinars. By maintaining a healthy financial status, we have been able to continue and will come back stronger.”

Company successes are often measured by increased sales, new subsidiaries or successful product launches. Navarro also takes pride in some landmark DAS installations, including two sports stadiums on home ground. “For me, the 20,000-seater AmericanAirlines Arena in Miami stands out: here, we installed 128 Aero 40 cabinets into the bowl with 16 UX-218 subs and 16 Aero 20s on the scoreboard. In Valencia, we have just installed a major system into the Mestalla football stadium. Such applications make me feel immensely proud.”

The DAS production line in 1980 plastic enclosures, electronics and amplifiers are produced. More recently, an adjacent space was converted and connected to the original site via an underground tunnel where, in addition to woodworking and warehousing, a theatre has been built for hosting events and training.

Two years before Navarro’s arrival at DAS, the DS-15A enclosure was launched to critical acclaim. The polypropylene single 15-inch design was a catalyst for future loudspeaker development at DAS. “The analogue electronics we created for the DS-15A cannot be compared to what we do digitally today,” explains Navarro. “We immediately saw the benefits of active speakers in terms of plug ‘n’ play performance, consistent audio quality and easy expansion. As a result, our core business is predominantly in active speakers.”

Over the past 20 years, active speaker development has evolved significantly. “In 2000, we developed the first wooden cabinets including three-way, point source systems that integrated software and Class-D power supplies using ICE power amplifiers. Despite operating on lower consumptions, these designs proved to be more reliable and powerful with greater efficiencies.”

The launch of the Aero 28, 38 and 48 systems in 2002 marked DAS’s initiation into line array development. Aero distinguished itself by offering price-performance benefits at a time when first-generation line arrays were greatly stretching budgets. Like the active speakers, Aero has continued to improve in terms of coverage, power, size and software applications.

Navarro has overseen the development of two key areas in R&D – electronics and software. “If we need to manufacture a prototype, it will be very similar to the final product because of the tools we are now using. Software is like a living organism and we have become much more reliant on software-based tools such as simulations. The way we design our waveguides and horns rely on accurate software predictions to maintain consistency throughout.” More recently, DAS has developed the DASaim and DAS control software tools.

At the heart of the powered speaker systems and DSP, DASnet provides remote monitoring control of up to 256 devices from a PC. “We’ve incorporated the latest version of DASnet for more than two years now, but software development is a never-ending process as you continually add new features and technologies.”

Navarro recalls the development of the Avant series prior to the 2013 launch. “The laws of loudspeaker physics cannot be changed as electro-acoustics still involves a coil moving inside a magnetic field with current. But this was the first time that we started working with DSPs to control parameters, including crossover points, dynamics and delays.”

DAS aims to consistently enhance the electronics within its powered enclosures. “Speakers may be more efficient and powerful, offering improved control with less distortion but, by adding a microcontroller with internal DSP remote control, the user can change or recall presets, while muting or delaying settings. We have gone deeper into the digital domain since the DS-15A was launched by developing switching power supplies, DSP processing including FIR filtering and remote monitoring universal mains and Class-D amplifiers.”

The company takes an increasingly systems-based approach to engineering. “Our engineering team has been transformed over the past 10 years, focusing on specific tasks with specialist skills rather than covering too many bases. Our design philosophy is to

A compressor driver being produced in 2000

Javier Navarro provides training for the new Aero 38 in Las Vegas in 2006

L–R: Javier Navarro and Juan Alberola celebrate the 25th anniversary of DAS Audio in America at NAMM 2020 America initially. The office in Miami celebrated its 25th anniversary last year, and we have continually invested in specialist personnel to service both Latin and North America. It has resulted in DAS being recognised as an established brand throughout the Americas, culminating in tremendous growth in recent years.”

Looking eastwards, Juan Luis Garcia established APAC headquarters in Singapore in 2007, a quest that Navarro admits was challenging. “Asia is a lot bigger with a more diversified set of cultures and languages. As a result of our presence, we have grown in countries including Vietnam, Indonesia, Thailand and New Zealand.” DAS recently opened a Chinese subsidiary in Shanghai with a local team fluent in several languages.

Over half a century, DAS has encountered obstacles including the 2009 global financial crisis that particularly ravaged Spain.

“The situation for the people and the economy back then was harsh, but fortunately we were largely shielded from the same impact,” explains Navarro. “Being predominantly an exporter, the effects of low sales in the domestic market did not affect us badly. DAS Audio has adapted to survive the hard times, while maintaining consistent growth.”

While many western companies have largely outsourced production, DAS continues to manufacture predominantly in Spain. “Our family-owned DNA and culture is reflected in the way we treat our customers, our partners and our employees.

It is important for us to be perceived as a thoughtful partner: honest, open and friendly. Doing business and having a respectful partnership should not be a trade-off. It is always flattering to hear a customer compliment you for growth they’ve enjoyed as a result of using our products.”

Now in the capable hands of Navarro, Alberola’s vision remains as focused today as it was when he produced his first hi-fi speakers. The company has survived and thrived over an eventful half-century, reinvesting engineering resources back into operations, and adhering to an open-minded engineering philosophy to create best-in-category loudspeaker systems based on price performance. As DAS Audio embarks on its next 50 years, Navarro demonstrates the same progressive, dynamic approach to audio as its founder, Juan Alberola. www.dasaudio.com

March–April 2021 PRO AVL MEA 47

PAME Pg46-47 Company Profile DAS.indd 47

26/02/2021 10:32

BUSINESS: TECHNOLOGY

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LED processing in virtual production On Air Studio, a partnership between AVE, Create Engage and Sydney Masonic Centre, was enhanced by Brompton Tessera processing

Advances in technology combined with enforced travel restrictions and social distancing on set have boosted the appeal of virtual production.

Brompton Technology’s technical project manager, Adam Callaway, discusses the use of LED processing as an alternative to green screen technology

VIRTUAL PRODUCTION IS GENERALLY USED TO DESCRIBE the process of using in-camera visual effects in real time. This brings what the director and camera operators see, either on set or in live monitors, much closer to the final edit, allowing filmmakers to shoot a scene which would not be possible on location or by using practical effects.

Virtual production could arguably be said to date back to the 1930s when projection screens were used behind static vehicles to create the impression of a location shoot with a moving backdrop. Many new techniques have been pioneered, using not just filmed footage but also CGI VFX, while the use of powerful game engines has allowed an entire environment and set to be created digitally and rendered in real time.

The VFX workflow of the last few decades has largely involved the use of green screens behind the filming of live action footage, with the final result not seen until weeks, months or even years of postproduction has been completed. With virtual production, a large amount of the VFX work is completed ahead of the shoot, leading to a much shorter postproduction process. Advanced game engine and graphics capabilities have opened up the prospect of modifying the background in real time as the camera is moved, to create much greater realism and perspective. This requires another key technology – camera tracking – which can accurately capture the exact position of the camera as it is moved or panned around the virtual set.

This technology can be combined with green screen, but it has really come of age with the advent of high-resolution LED displays. The innovative use of these displays on TV shows like The Mandalorian is a major reason that the world of film and television is taking such interest in this new workflow, choosing increasingly to use LED screens for virtual production.

The National Rugby League’s Dally M Awards was the world’s first live-to-air XR broadcast Successful virtual production with LED combines an array of different technologies working closely together in sync, with the complexity of the setup dictating how many of the technologies are needed. This is a scalable workflow, and it’s a myth that a blockbuster budget is needed for virtual production. A simple setup might just be an LED screen placed behind a set element: for example, a train carriage window to simulate countryside flashing by. If the camera position is fixed, camera tracking may not even be necessary.

However, the creation of an entire set which can be generated and manipulated in real time using graphics engines requires more elements. Companies such as disguise have developed comprehensive extended reality (XR) technologies that orchestrate LED, real-time content and camera tracking to power virtual production environments.

Having a reliable LED processor is key for a number of reasons.

The genlock functionality in the Brompton Tessera processor is useful for ensuring accurate timing and seamless switching between cameras. The OSCA (On Screen Colour Adjustment)

48 PRO AVL MEA March–April 2021

PAME Pg48-49 Technology Green screen.indd 48

26/02/2021 10:34

BUSINESS: TECHNOLOGY and ChromaTune features are also invaluable to change the colour balance and individual values. This is crucial in an XR environment, where the lighting and LED need to be emitting light of the exact same colour to effectively blend physical objects in front of the LED volume within the virtual realms of the content on the LED screen itself.

With the film industry perhaps the most demanding environment for LED screens, Brompton HDR (High Dynamic Range) is particularly interesting for on-set use. Compared to SDR it offers much larger contrast ratios and colour gamuts that more closely mimic what we see in the real world, and what cameras are capable of capturing. This ultimately provides a much more lifelike final image when the LED screen is being shot on camera, translating to an improvement in image quality and realism, and offering more flexibility in grading than if using a “flatter-looking” SDR screen.

Brompton’s Dynamic Calibration technique, which gives users a readout of a panel’s capable colour gamut and displays whether a given LED panel can hit the required colour targets on a pixel-by-pixel, frame-by-frame basis, is another huge benefit in this demanding environment. Accuracy is critical in virtual production workflows, as visual effects supervisors and cinematographers require the LED screens to faithfully reproduce the content that has been created. This comes into its own when working with HDR content which has been encoded with metadata that needs to be adhered to.

As travel restrictions and safe staffing levels have impacted film and TV production, virtual production has become increasingly appealing. The use of LED rather than green screens allows the possibility of shooting anywhere in the world, without having to leave the environment of a Covid-safe sound stage.

From Australia’s first full virtual production for an NRMA Insurance TV commercial to the world’s first live-to-air XR broadcast for the National Rugby League’s Dally M Awards, virtual production is quickly becoming an integral part of creative toolkits, with Brompton LED processing playing an important role

stage ever built. Two cameras ran simultaneously, allowing the team to swap between two simulated perspectives, while four cameras shot the live action on set. A giant soundstage wrapped in over 1,000 ROE LED panels displayed visuals at 32K resolution and 60fps, using a modified version of Unreal Engine. Brompton Tessera SX40 4K LED processors were used to run all LED screens throughout the month-long tournament.

Their ability to interlock with a specific frame rate is imperative for XR applications where the camera conveys the field of view required for the system and re-projects that field of view back onto the LED. In order for that illusion to work, the LED has to be in perfect sync with the cameras, and the Tessera SX40s played a key part in making that happen.

Riot Games’ LoL Worlds 2020 relied on mixed and extended reality in conveying realistic, immersive visual storytelling. Companies such as Audio Visual Events (AVE), Big Picture, Ikonix, Intraware, Last Pixel, Mediatec, Novatech, Spectre Studios, Technical Direction Company (TDC), ULA Group and Woohah Productions have all embraced virtual production, relying on Brompton processing in their pioneering use of this technology.

Esports is another area where the use of XR has been well received, allowing the fans to be closer to the action and more engaged with the broadcast. The players can also see much of what viewers at home see; something not possible with a traditional green screen. Video game developer Riot Games has been integrating XR technology into its broadcasts for a number of years. However, it revolutionised the use of XR in esports by fully integrating the technology into its League of Legends World Championship (Worlds 2020), using XR for every match at the world’s biggest esports event in Shanghai.

This saw the largest version of a mixed reality stage ever deployed, and the most technologically advanced mixed reality

NEP Live Event’s Big Picture studio When it comes to virtual production, timing is everything.

With companies frequently working to impossibly short time frames, choosing equipment that is both reliable and puts the customer in control is the number one priority. Brompton’s LED processing power and its ability to anticipate customers’ needs, combined with Tessera’s comprehensive feature set, makes the work of blending the “virtual” and “real” worlds, and delivering exceptional oncamera results, a smooth and hassle-free experience. www.bromptontech.com

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Untitled-1 4

26/02/2021 21:43

NEWPRODUCTS

INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING A–ZCONTENTS

Avolites unveils Diamond 9 flagship console

The new flagship from Avolites brings lighting, media and other visual aspects of a performance under control inside a single enclosure DESCRIBED BY the British manufacturer as the result of decades of innovation from the Avolites team, the Diamond 9 is available in two versions – the D9-330 and D9-215. The main front panel of the Diamond 9 has been machined from a single sheet of aluminium to create a distinctive look. Operationally, the D9-330 boasts 11 ultra-bright touchscreens, including three main workspace screens, three for media preview and specific screens for attribute control and softkey short cuts. The three main workspace screens provide adjustable brightness up to 1,000 nits and prioritise ensuring that data, visualisation and creative programming tools are easily accessible.

The three 4.3-inch preview screens have been developed to ensure that the main screens remain uncluttered for maximum information density. A macro/executer screen has been added for electronic labelling without occupying main screen space; a dedicated T-bar screen comes with a permanent Scene Master status; a dedicated level wheel screen gives users

instant live intensity data, no matter the selected attribute group; a vertical editor screen is located in the programming panel to simplify control of complex fixtures and media servers, and shows the main cue list status in a new display; and a softkey menu screen frees up workspace and unifies the layout of all the main screens.

The motorised, touch-sensitive Penny & Giles faders and optical high-resolution rotary encoders each have their own RGB bar graphs so levels can be monitored at a glance. Users can define fader and encoder level indicator colours to make it easier to group and quickly recognise controls. There’s also a return of the backlit integrated keyboard. Carefully selected Cherry MX low-profile keys with RGB illumination are said to provide optimal tactility with low fatigue for programming sessions.

On the right-hand side, users will find five encoder wheels, a T-bar for controlling scene masters and a new set of bespoke buttons carefully positioned so they’re

easy to find. The T-bar is said to deliver more refined control with even smoother manual fades and is paired with the manufacturer’s Scene Master functionality, which is complemented by a double-width Commit button and four further control buttons, plus a dedicated LCD screen for continuous status data. The dedicated master cue list control section comes with two motorised faders, eight control buttons and a double-width Go button.

However, Avolites is keen to point out that the key differentiators go far beyond the aesthetics. The console builds on the manufacturer’s Synergy feature set, released in October 2019, that allows integration between media server and lighting control. The D9 is said to bring this to users’ fingertips with an “intuitive design” and layouts ideal for media playback and control. The console also supports Avolites’ new logo, described as the first significant change since the company’s inception in 1976.

ADJ VS3IP 72 AEQ Atrium 61 Alcons Audio CRMS-SRIW/120 57 61 Allen & Heath SQ MADI card Arthur Holm Dynamic4 66 71 ATEN UC9040 StreamLIVE Pro 63 Attero Tech Axon D2i/Axon DBU 63 Audient iD4 and iD14 (MKII) Audix TM2 60 51 Avolites Diamond 9 71 Blackmagic Design Fairlight desktop console Bluesound Professional BSW150 57 70 CEDAR Audio Unwrap/Studio 9 for Mac 68 Celestion HornWizard/SpeakerMix Pro 70 Christie Secure Series II 72 City Theatrical Multiverse Studio 66 ClearOne BMA 360 67 Clockaudio Q-Sys incorporated into TIM-1000 68 CODA Audio System Optimiser v0.5 Crestron DM-NVX-E760 66 d&b audiotechnik En-snap 67 Danley BC215/SM90 57 Datavideo NVS-34 73 58 Earthworks Icon/Icon Pro EAW MKD1294/MKD1264 55 58 Electro-Voice RE20 in black 70 Epson EB-L200 series 60 Extron XTP II CP HD 8K I/O boards FaitalPRO 12HX500/8PR320/5PR160 54 69 Genelec GLM 4 52 High End Systems SolaFrame Studio 56 JBL Professional AE Series FIR tunings Just Add Power ST1 62 54 Kling & Freitag SWR additions/Spectra 212i Kramer PT−2UT/R−KIT/VS-211X 65 57 KV2 Audio D Series 65 Lawo A__UHD Core Phase II/mc²36 Listen Technologies Listen Everywhere private channels 68 62 Lynx Technik OTR 5444/OSW 1022 52 MA Lighting grandMA3 I/O Node and DIN-Rail Marshall Electronics CV730-NDI/CV630-NDI/ML-454 71 53 Martin Audio CDD series update 52 Martin Professional ERA 600 and 800 Profile 72 Modulo Pi Modulo Kinetic update 58 Neumann.Berlin MA 1 Neutrik Minea 64 Nexo P15/L18 56 54 Outline Vegas 4 Pioneer Professional Audio CM-510ST/CM-S54T 55 53 QSC AD-S5T/Room Solutions for Microsoft Teams 53 RCF CD240-K/LF18N408/RDNet 4.0 56 Renkus-Heinz Iconyx Compact 36/3-RN and 48/3-RN 64 Riedel RSP-1216HL/Bolero 2.2 60 Røde Vlogger Kits 61 Rohde & Schwarz BSCC2.0/Tx9evo Roland P-20HD 70 52 Rotolight Titan X1 60 Samson Concert 288x 58 Sennheiser MD 445 58 Shure MV5C/partnership with Huddly 66 Sommer Cable SC-MERCATOR CAT.6a highflex 61 SSL Fusion update 52 Strand Neo Compact 10 and PC Wing 62 Studio Technologies Model 5482 Dante Bridge 68 Symetrix Symetrix In Control/ARC-WEB 64 Tascam US-HR Series/BD-MP4K/VS-R v1.1 Tasker 12G-SDI 67 73 Telestream Lightspeed Live C4 67 Waves Abbey Road RS124/CLA Epic 67 Yamaha Y7 reverb/Rivage PM V4.7

www.avolites.com

S M PT E F I B ER T R AN S M I S S I O N W I T H

The DRAGONFLY series offers advanced lens technology for the Broadcast and AV markets to ensure robust, reliable connectivity that is easier to maintain than common hybrid camera signal transmission systems with the best of performance.

Suitable for indoor (studio) and outdoor (OB-Truck) camera links according to SMPTE standard.

Ruggedized and dirt protected hybrid connection system with 2 lensed single-mode ferrules and 4 copper pins.

Waterproof according to IP68 safety standard in mated condition.

Standard SMPTE Broadcast Cut-Outs to Simply Integrate with Existing Systems.

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PRODUCTS

Small but powerful

M

STRAND HAS unveiled a more compact version of its NEO lighting console – the NEO Compact 10. The 7-inch touchscreen is said to make it easy to program a complete light show, while the ability to add an external touch monitor “brings the full programming capabilities of the NEO software for more complex productions”. Thanks to the integrated 10-button numeric keypad and command line support, the NEO Compact 10 reportedly offers fast programming of its advanced effects

IN A d instal annou for its and m enviro The poten produ suppl UPM and 1 woode exten

capabilities. It comes with seven different on-board effects engines as well as userconfigurable buttons, faders and palettes that let users adapt NEO to the way they work.

Strand is also debuting the NEO Compact 10 PC Wing, a USB control surface accessory for Strand NEO PC that is based on the same hardware design as the Compact 10 console.

The 10-fader USB wing offers NEO PC users the same 10-button numeric keypad, as well as a touchscreen interface that allows users

Signal distribution made easier MA LIGHTING has released two tools for signal distribution said to make daily life easier for grandMA3 users. The grandMA3 I/O Node and grandMA3 I/O Node DIN-Rail can be used for receiving and sending external signals. They come in the same housing as a grandMA3 2/4 Port Node DIN-Rail and are also available as PoE versions. The displays show the status of all input and output signals. Once the units receive MIDI, timecode or DC Remote signals, these are available immediately throughout the grandMA3 lighting control system and can be used in any grandMA3 onPC or console. The same applies for transmitting MIDI or timecode signals.

Both units can be used to connect locally with external signals to integrate them into the MA-Net3 workflow. grandMA3 viz-key is described by MA Lighting as the easiest way to cross-connect between

any scale of grandMA3 lighting control system and compatible third-party visualisers. Users can connect the grandMA3 viz-key with the visualisation computer and it will enable all necessary parameters for visualisation. All compatible third-party manufacturers are MA-Net3 members on the network and can visualise all granted parameters instantly.

MARTIN HAS expanded its ERA product range with the ERA 600 and 800 Profiles, which join the ERA 300 Profile and three ERA Performance fixtures. Designed for applications needing an all-in-one moving head that is compact, lightweight and bright, the ERA 600 incorporates a 550W, 6,500K LED engine that produces 19,000 lumens and the ERA 800 comes with an 800W, 6,500K LED engine that produces 34,000 lumens. Both units are said to deliver sharp image projection with a flat field. Additional benefits include 1:8 zoom, electronic

dimming/strobe, CMY/CTO, iris for beam adjustment and dual rotating gobo wheels, plus an additional static wheel, loaded with gobos from the Martin MAC range.

The lighting manufacturer has also announced that its P3 System Controller software version 5.2.0 is now available as a free update for the entire family of Martin P3 System Controllers. The update comes with a range of new features and improvements that benefit newer products such as the MAC Aura PXL and VDO Atomic Dot, as well as long-time favourites such as VDO

A new ERA

High End Systems adds to SolaFrame series SOLAFRAME STUDIO is an automated luminaire which uses a 300W high CRI bright white engine to produce 10,000 lumens. The fixture’s convection-cooled engine repor tedly allows for completely fanless operation. Features include a high-quality 13-lens optic system with patented Lens Defogger, a 5.5–57° zoom, a CMY/CTO-Linear colour mixing system, a seven-position plus open replaceable colour wheel, a full-cur tain framing system for control of beam shaping, a 16-blade iris for tight beam ef fects, a light dif fusion with additional, optional heavy dif fusion, a seven-position plus open rotating gobo wheel and a linear

prism for controlled pattern replication across a stage.

NEO Compact 10

to quickly select palettes and groups. With the NEO Compact 10 PC Wing and a laptop running NEO PC, users can reportedly program upcoming shows from anywhere or run a live

grandMA3 viz-key also enables all non-granted parameters for visualisation.

The manufacturer has also unveiled grandMA3 software version 1.4. This release rolls out enhancements that reportedly improve the basic workflow, as well as new features that “enrich the overall lighting control experience”. Additionally, it introduces the

production with tactile buttons and faders from a laptop. www.strandlighting.com

new concepts of Recipes and MAgic (MA grid interpolation concept). The MAtricks have been expanded from a Selection Tool to a full three-dimensional manipulation tool for Phase, Speed, Fade, Delay and several Invert Value and Invert Encoder functionalities. The streamlined UI – known as Phaser Editor – is now available straight from the Encoder bar and hosts a step editor. The Programmer and Cue-Parts can host Recipes for pre-arranging events, changing ingredients and re-cooking single parts or the whole event. Along with an optimised 3D window, there are different selection modes to copy any selection straight into the grid view. The colour picker improvements for additive colour mixing also allow generic use of GDTF colour information to match colours of different fixture types.

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www.malighting.com

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Sceptron, VDO Fatron and Exterior PixLine.

Users can toggle individual fixtures between video control and DMX control and create an Art-Net to P3 Bridge using the PixelMap Input functionality to visualise lighting designs in real time. Other benefits include

receiving PixelMap input from a lighting desk for up to 128 universes, driving fixtures with a video feed from a media server or dynamically switching between the two. www.martin.com

Titanic return ROTOLIGHT DESCRIBES its Titan X1 as a pioneering LED that reinvents the 1x1 light.

Featuring SmartSoft, the manufacturer’s electronic diffusion technology, users can control diffusion, focus and spread without the need for gels. The LED builds on the Titan X2 and includes a high-speed sync RGB flash and built-in wireless connectivity (Bluetooth/wDMX). Users can access key features through the touchscreen display and reportedly save time with an easy-touse interface, quick-start icons and 50 customisable presets. The Titan X1 also includes Rotolight’s RGBWW pentachromic colour engine for “precise skin tones and vivid colour saturation”. With CRI and TLCI performance across the entire CCT

spectrum, the LED is also said to help save time in postproduction. www.rotolight.com

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www.highend.com

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Martin Audio reveals CDD update 10

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IN A drive to meet the growing needs of installation applications, Martin Audio has announced new additions and upgraded voicing for its CDD series, including both weatherised and marine editions to cater for all outdoor environments, including cruise ships.

The manufacturer is further maximising the potential of the CDD series by increasing production capacity, including improved supplier sources. In addition, the normal UPM Formi cabinet construction of the 12and 15-inch models has been changed to wooden enclosures. Product lines have been extended to include 70V/100V transformer

and weatherised variants of the 8- and 10-inch models, enabling daisy-chaining of loudspeakers for increased amplifier efficiency in larger installation projects.

New DSP settings have been added across the range to reflect current voicing. These are available to complement any amplifier solution, although new FIR-based presets for iKON amplifiers and DX4.0 controllers further enhance the audio performance qualities. New CDD voicing settings are available to download from the manufacturer’s website.

The CDD series

Back to basics for RCF PRIOR TO the development of the Art loudspeaker series in 1995, RCF was renowned for its transducer developments.

The Italian systems manufacturer continues to innovate and manufacture high-compression drivers and low-frequency woofers both for its own designs and as an OEM business. Two new designs have entered its catalogue.

The CD240-K is a high-performance 1.5-inch diaphragm compression driver with a 1-inch exit throat featuring a single-piece, lowcompression, radial phase plug.

CD240-K Ideal for array applications, the diaphragm and suspension are precision formed from Polymide for high stability also at high working temperatures. Measuring 91mm in diameter, the compact CD240-K is rated at 50W (continuous) program power handling and operates within a frequency range of 1.5–20kHz. Other features of the 0.93kg driver include an optimised geometry radial phase plug, aluminium voice coil and ceramic magnet assembly.

Designed to provide accurate bass frequencies, the LF18N408 is an extended low-frequency 18-inch diameter woofer with a 4-inch voice coil offering high power handling with low distortion, low power compression and very high SPL output. The LF18N408 combines

LF18N408

a fibre-loaded cone assembly together with a large triple roll surround for added strength and control. The single spider system is specifically designed with a

heavy cloth to enhance control during large excursions. A fully optimised T-pole together with double aluminium demodulating rings reduce flux modulations that benefit harmonic and intermodulation distortions while improving the transient response. The dualforced, air-venting, magnetic structure system provides a very efficient voice coil ventilation to minimise power compression. Capable of producing a sensitivity rating of 97dB, the 3,000W-rated (continuous program) LF18N408 can extend the LF range to 25Hz (–10dB).

A new version of the RCF management software suite, RDNet, is now available for download. Version 4.0 updates include a complete measurement suite, cloud storage and a new interface design. RDNet Measure is a four-input, dual-channel FFT audio analyser that can measure magnitude, phase, RTA, coherence and impulse response. Functions included spans from a delay finder, a multiple signal generator and an integrated SPL meter/ logger with calibration tools. www.rcf.it

www.martin-audio.com

QSC expands AcousticDesign Series WITH THE introduction of the AD-S5T, QSC has extended the AcousticDesign Series of installed speakers. Designed for a variety of foreground and background sound reinforcement applications, the two-way, surface-mount loudspeaker comprises a 5.25-inch weather-treated woofer and 1-inch silk dome tweeter. Available in black (RAL9011) or white (RAL9010), the IP54rated ABS polymer enclosure can be aimed and installed at a variety of angles with no slippage courtesy of the integrated X-Mount

the Q-Sys native PTZ-IP conference cameras, which are in the process of testing and validation to attain certification for Teams, are said to be able to further simplify room deployments in high-value specialty rooms such as divisible spaces, training rooms, executive boardrooms and all-hands spaces. They are also accompanied by a comprehensive suite of QSC software for the Teams Rooms experience that aims collectively to simplify the integration process, enable full room control and Teams

AD-S5T system. Directivity Matched Transition (DMT) reportedly ensures a uniform frequency response between 60Hz – 20kHz (–10dB) over the 115° coverage area.

Advanced voicing filter sets using QSC Intrinsic Correction are available through the Q-Sys and CXD amplifier platform. The AcousticDesign Series includes a variety of surface-mount, pendant-mount, ceilingmount, columnar and SUB/SAT models that offer users consistent sonic characteristics.

QSC Room Solutions for Microsoft Teams has also been launched by the Californian AV manufacturer and comprises a singular package capable of delivering all AV elements of the room, including computer, audio, video and room control capabilities, certified for Teams. As a part of this offering, QSC has also announced new Microsoft Teams certified accessories for Q-Sys and a host of new Teams Rooms-related software innovations.

The new QSC Room Solutions are built around the manufacturer’s existing portfolio of Teams Rooms certified accessories, along with products from partners. Additionally,

Rooms call control onto a single device, as well as to unify the experience for the end user.

The upcoming v9.0 release of Q-Sys Designer software will include specific software components for Teams Rooms to allow for direct integration and collective control of Q-Sys and the room’s third-party devices, all from a singular Microsoft certified controller device, and has been optimised for the Logitech Tap controller. It will also add remote monitoring capabilities for QSC Room Solutions certified devices via cloud-based Q-Sys Reflect Enterprise Manager.

Other software innovations include sample room designs that adhere to Microsoft’s audio performance standards, a configuration wizard for simple room audio optimisation, a Q-Sys UCI for Teams Rooms to deliver the familiar aesthetic, commissioning tools for a Teams Rooms workflow and a Teams Rooms feature licence to enable the necessary Q-Sys user control interface deployment functionality and Q-Sys control engine. www.qsc.com

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FaitalPRO launches three new loudspeakers

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THE 12HX500 from FaitalPRO comes with a neodymium magnet assembly in a dual magnet and dual gap configuration which gives it “an incredible amount of magnetic energy making it extremely linear and efficient”. The incorporated demodulation ring provides crystal clear sound with very low distortion. Power is no longer an issue thanks to the 3-inch Copper Clad Aluminium Wire (CCAW) voice coils for both drivers and the double voice coil system can withstand elevated temperature levels. The woofer section is equipped with a custom geometry cone structure designed using selected high-performance materials to minimise high-frequency breakup. The lead wires, integrated in the spider, increase reliability at high excursions while maintaining the cone integrity for a balanced performance.

The built-in compression driver incorporates FEM-optimised, titanium dome and phase plug designs. The embedded aluminium horn provides optimal directivity and conical highfrequency dispersion with a 100° coverage angle.

HAVI Easte a new of ful Offer incre MKD (60° to pro broad appli 12-in voice voice coil H patte horn

K&F puts to sea KLING & FREITAG has announced that SWR options are now available for the Gravis, K&F Nomos and Sequenza series. This feature reportedly ensures that the products are sea-weather resistant. Special types of materials are used and the enclosures and crossovers are given special protection. This is said to make the SWR speakers the ideal choice for all sea weather locations, such as beach clubs, yachts or cruise ships.

12HX500 The 8PR320 is a high-power 8-inch neodymium woofer which combines a FEM-optimised magnet assembly, a 2.65-inch CCAW voice coil and a lightweight moving mass. The magnet assembly keeps temperatures under control, increasing the reliability and the longevity of the loudspeaker. It incorporates a stiff, weatherproof paper cone which provides low distortion, a smooth frequency response

includes the VariQ unit, to reportedly enable easy conversion from point to line source.

It has been designed for integration within architecturally demanding environments or it can be placed more prominently. Offered in black and white, the 212i is available in all colours within the RAL palette on request.

K&F has also released a new firmware version for its VIDA Systems available on

Spectra 212i

With the K&F Spectra 212i, the manufacturer has expanded its existing Spectra 212 line with a new installation model. Created specifically for wall and ceiling mounting, accessories allow the fixture to be aligned to all listening planes, either singly or in a cluster. As with all the models in the Spectra series, the 212i

the manufacturer’s website. Besides some minor fixes, it contains Aux-Out presets for VIDA to match the company’s self-powered subwoofers and “take per formance to an even higher level”. A new version of the VIDA App is also available. www.kling-freitag.com

and high-frequency breakup control. The 8PR320 is said to give great results in bassreflex enclosures, reaching low frequencies and maintaining linearity.

The 5PR160 is a neodymium 5-inch midrange speaker with a FEM-optimised magnet assembly equipped with an aluminium demodulation ring that provides low distortion and a good transient response. The large decompression hole in the t-yoke keeps the air noise at the lowest levels and improves voice coil ventilation. The 37mm CCAW voice coil on a

8PR320

5PR160 Kapton former ensures a lightweight moving mass and an extended frequency response. The stiff, weatherproof paper cone combined with the M-roll surround provide “exceptional control of the highfrequency breakup and reduce distortion significantly”. The 5PR160 works well in small, bass-reflex enclosures but can be easily integrated into a multitude of applications. www.faitalpro.com

Pioneer reduces its size LISTENING TO feedback from installers asking for smaller speakers that can be used in a wider variety of venues, Pioneer Professional Audio has released four new units: the 10-inch CM-510ST subwoofer and the 4-inch CM-S54T, 6-inch CM-S56T and 8-inch CM-S58T surface-mount loudspeakers. The models are available in black or white and have been designed for discreet installation in a variety of spaces where reliability is crucial. Features include transformer taps for users that need a professional and adaptable fixed installation solution.

provide flexible impedance options. Wide dispersion reportedly means that users can deploy fewer boxes – the CM-S54T disperses at 120° x 120°, the CM-S56T at 110° x 110° and the CM-S58T at 100° x 100°. The models are rated IP54 and include rigid notches inside the U bracket for users to adjust the direction of the sound. The directivity can be fixed by hand or, for extra security, with an Allen key or screwdriver. For any alternative deployment, the 60mm pitched holes on the rear of the speakers can be used to fit the units into challenging spaces.

The new speakers can be controlled by Powersoft’s ArmoníaPlus 2.0 software.

This tool reportedly enables users to assemble systems in simpler, more effective ways as it eliminates the need for an external matrix and reduces the number of cable runs in many applications.

A mobile app can be used to adjust the sound in different zones.

The CM-S54T, CM-S56T and CM-S58T include a 1-inch soft dome tweeter for short-throw, high-definition high frequencies. The bass-reflex port has been constructed with ribs to ensure that air flows without distortion, maximise low frequencies and eliminate any unwanted vibrations. Built-in transformer taps

The CM-510ST subwoofer filters out unwanted mid- and high-range frequencies and includes the manufacturer’s newly developed Vortex Bass Accelerator technology to deliver “pure, smooth bass with a quick response”. An impedance of 8Ω is said to give high and low impedance options. Users can deploy two subwoofers on one amp channel, dropping the impedance to 4Ω. The sub is packed into a 50l box that saves space and reportedly fits discreetly into any location. M8 holes mean the sub can be fixed to the floor, wall or ceiling in the location that best suits the installation and sound coverage. www.pioneerproaudio.com

The SWR speakers

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PRODUCTS

EAW develops a three-way height reduction HAVING DEVELOPED the MKD1200, Eastern Acoustic Works (EAW) has added a new three-way model to the MKD Series of full-range installation loudspeakers.

Offering enhanced LF response and increased output capabilities, the MKD1294 (90° x 45°; HxV) and MKD1264 (60° x 45°; HxV) designs are engineered to produce high fidelity while maintaining broadband pattern control in all scales of application. Both models incorporate dual 12-inch LF transducers with 3-inch vented voice coils together with coaxial 3.5-inch voice coil midrange and 1.75-inch voice coil HF compression drivers. Enhancing pattern coverage options, the large-format horn may be rotated.

Outline heads 4 Vegas DESIGNED FOR contemporary installations offering price performance features, Outline has unveiled its smallest passive enclosure to date within the Vegas series.

Like the larger models, the Vegas 4 is a point source model incorporating a unique single-driver design and new 4-inch transducer. Weighing 1.6kg and measuring 120mm x 120mm x 126mm, multiple Vegas 4s can be deployed where high-fidelity audio is required together with minimum visual footprint. Applications include delays

and surrounds in theatre, corporate AV, leisure, retail and houses of worship.

Providing axisymmetric 60° dispersion and operating within a frequency range of 110Hz – 18kHz (±10dB), the Italian manufacturer recommends deployment of the SUB 110 compact subwoofer for fullrange applications. Outline’s latest L3000 DSP-equipped miniature power amplifier can drive and process up to 16 Vegas 4s or eight Vegas 4s and two SUB 110s.

Providing flexibility of use, each Vegas 4 is

All models in the MKD Series employ EAW Core Technology. This includes Beamwidth Matched Crossovers for eliminating polar irregularities in the crossover region and Focusing that employs DSP to refine the impulse response in the time domain. The dual woofers in the enclosures are fixed into position using a slanted mounting technique that helps to reduce the overall cabinet height while improving time coherency. Operating within a frequency response ranging from 47Hz – 20kHz, the MKD1294 and MKD1264 cabinets are also capable of producing a maximum SPL of

shipped with a specially designed bracket for mounting on surfaces in addition to regular microphone stands.

Manufactured in Italy to an IP55 rating, each cabinet is available in black, white or any one of over 200 RAL colours to match an interior designer’s decor specification. Other models available in the Vegas point source series

145dB and 147dB, respectively. Audio input is via rear-panel terminal block connectors and operation can be made in either passive or biamped modes.

Housed in Baltic birch plywood and finished in a standard black or white, the US manufacturer has made optional custom colours and weather protection available. Integrated M10 mounting points and optional wall-mount or ceiling-mount hardware provide alternate installation options. www.eaw.com

include the 24 (dual 4-inch), 6.5, 10, 12 and 15 together with three coaxial cabinets (8CX, 12CX and 15CX). www.outline.it

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Iconyx gets longer, but no less compact RENKUS-HEINZ HAS extended the length of its Iconyx Compact series with two additional models, the Iconyx Compact 36/3-RN and the 48/3-RN. The ICC 36/3 is a 3m-long column array, while the ICC 48/3 measures 4m in length.

Both retain the series’ original compact footprint and architecturally friendly attributes. The new additions also complete the Compact Series, which was introduced to provide additional solutions for integrators in highly problematic acoustic spaces.

Both the ICC 36/3 and ICC 48/3, which offer 36 and 48 channels respectively, are constructed with fullrange, high-sensitivity treated paper cone drivers and feature an amplifier and DSP channel for each driver. The new products also offer full RHAON II beam-steering with the latest URGO beam algorithms, a movable acoustic centre, multiple beam opening angles and high-pass filtering of individual beams. The included wall-mount brackets aid mounting while staying nearly invisible behind the arrays.

Standard RN units have analogue and AES inputs.

Featuring a low profile suitable for a multitude of applications, the S Series Subwoofer line has been extended with the introduction of the SA28/SX28.

Designed to provide low-frequency response below 45Hz in conjunction with Renkus-Heinz’s full-range loudspeakers, the dual 8-inch model is available in both passive (SX28) and powered (SA28) versions. Multiple units can be arranged to create cardioid, endfire and steered low-frequency arrays.

Finished in black or white and housed in a painted plywood cabinet incorporating 16 M10 universal mounting points, the SX/SA28 can also be flown using M10 eyebolts. Recessed handles and a top-mounted pole adapter enhance por tability, while integrated rear cable channels promote discreet installations.

The SA1250 amplifier matches the power needs of the SA28. Controlled via a PC loaded with RHAON II, the SA1250 integrates DSP, including eight fully parametric EQ filters, high- and lowshelf and high- and low-pass filters, plus

JBL adds FIR tunings to AE Series JBL PROFESSIONAL has produced FIR tunings for its AE Series to optimise frequency response and phase response “to a finer degree of precision than traditionally possible with standard IIR, parameter-based filters”.

According to the manufacturer, the result is enhanced sonic quality, more consistent

coverage and improved arrayability. In addition, built-in LevelMax Limiter settings are said to protect speakers from damage due to overpowering. To cover the broad spectrum of AE Series models in their various configuration modes (passive and/or biamplified), the release contains 70 individual tuning files for use with Crown DCI-N and DCI-DA power amplifiers. In addition to new installations, these tunings can also be retrofitted into existing AE Series systems.

In other news, JBL has announced the release of EON ONE USB power cable, which is said to expand the versatility of EON ONE Compact battery-powered portable PAs by powering AKG WMS and DMS100 and DMS300 wireless systems and DigiTech and DOD guitar pedals directly from the sound system. The 1m cable features a USB-A terminal that connects to an EON ONE Compact PA and a 5.5mm power terminal that connects to external devices. Two versions are available: a 12V version powers AKG WMS wireless systems, while a 9V version powers AKG DMS100 and DMS300 wireless systems as well as DigiTech and DOD effects pedals.

The AM5212/64 from the AE Series

pro.harman.com

NEXO HAS unveiled the P15 two-way passive/active speaker, promising a combination of heritage and contemporary design 25 years after the launch of its PS15 15-inch point source cabinet.

The P15 completes the P+ Series which offers advantages of scalability, compatibility and performance to multiple market sectors. Designed for FOH and monitoring

neodymium magnet coaxial driver with a 3.5-inch voice coil. Frequency response is 57Hz – 20kHz. The P15 can be reconfigured from passive to active mode, while horn flanges are interchangeable from the standard 60° x 60° to 90° x 40° or an asymmetrical 50°–100° x 40°. Large handles mounted on each side hold a 35mm pole mount for connection of mounting accessories.

The companion sub is the new L18 compact, horn-loaded model with a highexcursion 18-inch woofer. Built around a custom-made 15mm bent plywood shell, the L18 weighs in at 50kg. It is scalable and can be used with the smaller P12 point source cabinet. The ability to fly one or two L18s above a P15 cabinet is said to offer a cost-effective alternative to a small line array configuration.

The L18 matches the output power of the NXAMP4x2mk2 controller amplifier, with processing algorithms optimising the match between the L18 maximum excursion with the NXAMP4x2mk2 output voltage capacity, producing dynamic sound without triggering the thermal limit of the driver. The NXAMP4x2mk2 also offers a dedicated minimum latency setup, compatible with the monitor setups on the P15.

The P15 and L18 are available in black and white structural paint finishes, and in Installation and Touring versions.

Nexo completes P+ Series

ICC 36/3-RN

ICC 48/3-RN

up to 358ms of delay. The SA28-RD1 and SA128-RD add Dante digital signal distribution capability, including AES67 compatibility and network redundancy. www.renkus-heinz.com

P15

SA28/SX28

applications, the P15 15-inch coaxial loudspeaker can be used with or without the new L18 subwoofer. Offering modular directivity that can be changed by the user, it features hallmarks of the P+ Series point source category, as seen in the P8, P10 and P12 models launched in the last 15 months.

The P15’s curvilinear enclosures of custom birch and poplar plywood reportedly result in robust, lightweight cabinets. Weighing 23kg and measuring 600mm x 483mm x 352mm, it delivers 139dB (passive) to 141dB (active) SPL from a purpose-designed, 15-inch

www.nexo-sa.com

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CRMS Series expands by slimming down ORIGINALLY DEVELOPED by Alcons Audio as a compact reference main/screen system or compact surround system in immersive sound-for-picture applications, the CRMS-SRIW/120 has been remodelled for use as a full-range audio system within installed audio applications. A new waveguide has allowed the Dutch innovator to minimise the cabinet depth to 100mm, allowing installation in typical 2x4 wall constructions while maintaining full projection control up to 20kHz. By using identical mid/high-frequency components for the CRMSC-SRIW/120, consistent voicing matching is realised between the screen and surround system, reportedly resulting in a wide and uniform sound stage throughout the entire listening area. The two-way, passive-filtered CRMSCSRIW/120 enclosure consists of the RBN202 pro-ribbon driver for the HF section and a vented 6.5-inch mid-bass for LF reproduction.

The HF section has a 500W peak power input enabling a 1:16 dynamic range with up to 90% less distortion from 1–20kHz. The 120° and 90° dispersions up to the highest frequencies offer a very wide and coherent direct-field coverage throughout the listening space, in addition to providing a consistent, reflected, diffuse-field response.

The LF section is tuned for a usable frequency response down to 53Hz, enabling

a smooth transition with additional LFE subwoofer systems. Signal Integrity Sensing (SIS) pre-wiring is said to ensure complete cable/connector compensation between the CRMSC-SRIW/120 and the ALC amplified loudspeaker controller. SIS significantly increases response accuracy, regardless of cable length and system impedance, courtesy of the dedicated drive engine and VHIR processing. Other features include a revolving RBN waveguide, optional cloth grille and Architect Colour Option in 180+ RAL colour schemes for in-wall or on-wall mounting.

Direct yet flexible for Danley DANLEY SOUND Labs has added the BC215 directional subwoofer and SM90 full-range utility loudspeaker to its growing portfolio.

Offering the same low-frequency directivity and horn design philosophy as its predecessors – the BC412, BC415 and BC218 – the BC215 also features multiple horn exit options, providing numerous other configurations. In stand-up configuration, the 1125mm x 1125mm x 600mm (HxWxD) dimensions of the 164kg enclosure allow it to fit below a standard 48-inch stage deck but, with a change of the horn exit, the cabinet can be laid down in horizontal mode. Stood up, the BC215 offers the most directivity and can be coupled in a pair or a quad configuration for maximum low-frequency directivity. Capable of handling 3,400W continuous and 13,600W peak power over 2Ω, the BC215 is capable of reproducing 33–180Hz output at 137dB and 143dB, respectively.

www.alconsaudio.com

KV2 launches D Series amps GLOBALLY RECOGNISED for its analogue engineering, KV2 has developed a range of D Series amplifiers featuring on-board control and diagnostics. Five new amplifiers – the ESR 3000D, ESR 2800D, ESP 2000D, SL3000D and VHD 3 – incorporate a range of topologies, including a Class-AB design for enhanced high-frequency response, a unique high-current switching topology on low frequencies and hand-wound toroidal transformers that ensure consistent power delivery.

In terms of control, the D Series amplifiers offer the option to set up gains, operate mutes, configure the limiters, or select filter, EQ and bridge modes depending on the

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model. Supporting the increasing need of monitored loudspeaker systems in public spaces, the diagnostics section provides information on the temperature of heatsinks, mains voltage, real-time health checking and the output levels relative to limiting. Made in the Czech Republic, the amplifiers may be set up individually or in groups using the new KV2 Control & Diagnostics software tool, including saving and recalling presets or show files. Configuration and monitoring are accessible either via the front panel or remotely via any Windows or macOS device.

“Finally, our users can now benefit from control without compromise as well as real-time monitoring and system diagnostics – elements that are vital when running large systems,” commented KV2 Audio founder, George Krampera Sr. “Our customers no longer have to rely on third-party solutions which inevitably affect the sound.

By embracing digital technology for control where it is suited, but maintaining the fastest, highest-quality analogue electronics for the audio path where it is needed, we have developed a revolutionary hybrid solution that offers user-friendly operation while maintaining the integrity of audiophile reproduction.”

www.kv2audio.com

SM90

BC215 As the latest addition to its SM Series of full-range loudspeakers, the SM90 incorporates 12-inch and one-inch coaxial drivers that adopt Synergy Horn technology to deliver a 90° conical coverage pattern.

Multiple mounting options are available from wall, ceiling or suspension mounting to pan/tilt via threaded inserts on the rear of the cabinet when using the Adaptive Technologies MM-060 bracket. Capable of delivering flat output from 63Hz – 24kHz (–3dB) within a frequency range of 40Hz – 30kHz (–10dB), the SM90 can deliver 120dB continuous and 126dB peak output while handling 300W (continuous) power. Other features include the built-in Sentinel high-frequency protection circuitry.

Housed in a Baltic birch enclosure and finished with a polyurea coating in black or white, the 25kg loudspeaker can also be shipped in a range of custom colours. www.danleysoundlabs.com

Bluesound simply lowers the tone BLUESOUND PROFESSIONAL has designed the networkable BSW150 active subwoofer for discreet placement within boardrooms or small commercial establishments.

Based on the BluOS platform, the BSW150 can be network paired with other Bluesound Professional speakers or streamers to form a complete system. Capable of playing and distributing content through its line input, the subwoofer can also access content by streaming the local network storage via wired Ethernet or Wi-Fi. A number of streaming services including SoundMachine, Custom Channels, QSIC and internet radio stations are available.

Operating within a frequency response of 22–150Hz (–10dB), the compact 8-inch subwoofer is finished in either black or white. An integrated 150W Class-D amplifier allows the subwoofer to operate in low power standby mode and incorporates DSP parameters including EQ and crossover.

Speaker control can be managed from any

computer, iOS/Android phone or tablets in addition to the Bluesound Professional CP100 wall-mount controller and other third-party control systems. Volume, crossover and phase control parameters can be managed directly in the BluOS Controller App, while security provisions prevent unauthorised control of the system. www.bluesoundprofessional.com

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Earthworks enters the USB space Back in black DESIGNED TO enhance the quality and experience of remote working, podcasting, gaming and home recording, Earthworks has released the Icon, a studio-quality USB microphone, and the Icon Pro, a broadcastquality XLR streaming

microphone. When the pandemic hit, the Earthworks production team quickly shifted focus to help isolated remote workers feel more connected.

The manufacturer partnered with TriadOrbit to design and build a custom desktop microphone stand that ships with the Icon mics. The integrated M2-R swivel ball joint can be disconnected and remounted on any studio mic stand or boom arm.

The Icon Pro looks and feels similar to the Icon USB microphone but it is hand-tuned with an extended frequency response and the capsule has a faster Rise Time Speed of 11.67ms. The extra speed is said to make the vocals even richer, fuller and more detailed. Because it is an XLR broadcast microphone requiring 48V of phantom power, it offers extended headroom and dynamics. The Icon Pro also ships with an integrated Triad-Orbit M2-R adaptor.

Icon Pro

www.earthworksaudio.com

WITH THE quality of home capture being one of the major audio challenges as a result of the pandemic, Shure is taking its professional expertise into the home with the MV5C home office microphones, the latest in

the MOTIV series of microphones that are intended to provide clearer audio in meetings.

The MV5C is a directional microphone that features the manufacturer’s Speech Enhancement Mode to enhance the user’s voice on audio or video calls. A fully adjustable desk mount stand lets the mic be positioned close to the user’s mouth.

Setup is achieved by plugging the mic into a computer USB port; however, there are also different audio modes provided for “set it and forget it” applications. It is compatible with Mac or Windows devices by using the supplied USB-A or USB-C cables.

“With nearly everything now operating from home – TV productions, education, health and wellness, and our everyday work – we quickly realised the need for improved audio in these settings,” said John Born, senior global product manager at Shure. “The MV5C provides drastically better sound from a brand that professionals have been trusting for decades to support their biggest moments onstage. In the simplest and most concise way, you can now have the confidence that your message, presentation or story is being heard loud and clear.”

ELECTRO-VOICE HAS added a new colour option for the classic RE20 broadcast microphone.

Now over 50 years old and considered to be an industry standard in commentary and broadcasting circles, the RE20 can now be obtained in a low-reflection dark

charcoal finish. Acoustically, electrically and mechanically identical to the original, the RE20Black provides an aesthetic alternative to the iconic original finish. Its Variable-D design allows musicians and announcers to work naturally around the mic at varying distances, while ensuring full, smooth audio quality.

NEUMANN.BERLIN HAS launched the MA 1, an integrated hard/software tool for acoustic calibration and room correction, tailor-made for Neumann studio monitors. Calibration algorithms, jointly developed with the Fraunhofer Institute for Integrated Circuits (IIS),

respective acoustic problem. Depending on user preferences, the target curve can be further adjusted manually to meet individual requirements.

The software guides the user step by step through the measurements and analyses the

reportedly ensure superior monitoring quality in any environment – from acoustically untreated bedroom studios to professional control rooms.

The system consists of an individually calibrated Neumann measurement microphone and the corresponding software for Mac and PC. It is an integrated system that allows accurate adjustments since all system-inherent parameters of the monitors are taken into account. In addition, the Automatic Monitor Alignment uses calibration algorithms that generate a room-adaptive target curve and make precise adjustments to correct the

respective listening environment. The resulting correction data is stored and processed directly in the DSP-controlled monitors. The user does not have to load a plug-in and deactivate it again for audio export. After the alignment, the familiar workflow remains completely unaffected. KH 80 DSP stereo pairs can be controlled directly by the software. All other nonDSP-equipped stereo pairs in the KH series can be aligned by connecting them to the analogue outputs of the KH 750 DSP subwoofer. Owners of KH 120, KH 310 and KH 420 monitors benefit not only from an extended bass response, but also from the room correction and the phase linearisation of the analogue speakers.

www.electrovoice.com

A new era of monitoring

Moving professional to the home

MV5C

www.shure.com

www.neumann.com

Sennheiser accepts the challenge THE LATEST vocal microphone from Sennheiser, the MD 445, has been designed for operation in challenging environments, such as loud stage settings.

The model is a large diaphragm dynamic microphone with tight super-cardioid polar pattern to provide isolation from other onstage sound sources together with a high level of feedback resistance.

According to the German manufacturer, the acoustics of the MD 445 have been tailored to modern stage setups with B stages and runways in front of the PA. At the core of

the acoustic design is a newly developed voice coil made of lightweight aluminiumcopper. It is said to offer a fast transient response and a very detailed, nuanced and transparent sound that is complemented by rich mid-range and bass. The sound is described as acoustically close, intimate and open, irrespective of how loud the instrument soundscape may be.

The dynamic range is 146dB(A) and the microphone can handle sound pressure levels of up to 163dB/1kHz. The unit is housed inside a rugged enclosure

meant for life on the road. It features a metal casing and has a shock-mounted capsule to protect it from structure-borne noise. A hum compensating coil protects the microphone against electromagnetic interference. The capsule is also available with an MM 445 microphone head for use with Sennheiser wireless transmitters. www.sennheiser.com

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A__UHD Core

ULTRA-HIGH DENSITY IP AUDIO ENGINE

NEXT-

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KEY FEATURES 1,024 Lawo-grade DSP Channels on 1RU (512 channels in 96 kHz mode) IP network processor based on open standards (ST2110-30/-31, AES67, RAVENNA) IP Easy – IP setup as simple as analog

Download the A__UHD brochure here.

Full redundancy: SPS stream redundancy (ST2022-7) with 8x 1/10GbE-capable* independent SFP network interfaces plus hardware redundancy via hot-spare redundancy unit DSP resources shareable amongst multiple consoles

* future release

Scalable DSP performance via licensing system Designed for mc² 56 and mc² 96 consoles Futureproof, software-defined hardware

www.lawo.com

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Taking video on the Røde THREE NEW additions to Røde Microphone’s portfolio to support mobile filmmaking have been announced – the Røde Vlogger Kits. The kits are said to

The concert goes on SAMSON’S NEW Concert 288x is a dualchannel UHF wireless microphone system that combines professional-grade audio with ease of use, making it suited to live performance, presentations, education and house of worship applications, or anywhere two wireless handled mics are required.

To facilitate simple setup, a one-touch scan function automatically selects the clearest operating frequency for the performance space, while IR sync wirelessly pairs the transmitter and receiver frequency. An RF Diversity design ensures wireless reception while tone-key and auto-mute prevent undesired noise and interference when a transmitter is off or out of range.

The CR288x fits two RF receivers into a single half-rack chassis. The receiver provides two balanced XLR outputs, one for each channel, and an unbalanced ¼-inch mixed output that

combines the signal from both channels into a single output jack. This is useful for when more microphones are needed and there are not enough inputs on a mixer. An included rackmount kit allows one or two CR288x receivers to be installed in a portable rack for gigs or in a permanent structure for large and small venues.

The Concert 288x Handheld features two CH88 handheld transmitters equipped with Samson’s Q8x dynamic microphone capsules, which offer a frequency response tailored to vocals and speech, and the supercardioid pickup pattern for when more gain before feedback is required as well as good off-axis rejection. Each can operate for up to eight hours on a pair of AA batteries.

US MANUFACTURER Audix is shipping the TM2 Integrated Acoustic Coupler for in-ear monitors (IEMs). Designed as measurement devices, the ear simulator couplers are used by IEM manufacturers during the R&D, final production and quality control stages. The TM2 incorporates the functionality of lab-type testing equipment into an integrated

compact package for live sound and studio engineers who want an effective way to test IEM per formance. Comprising precision-machined brass and aluminium components, the TM2 includes adapters to fit a wide range of IEMs, including custom moulds.

“We saw a need for a tool that didn’t really exist and, instead of waiting for

include everything needed to capture highquality video content from a smartphone in a variety of formats and comprise a Røde VideoMic tripod, phone grip, LED light and additional accessories.

The range caters to every type of smartphone. The option for iPhones includes a Røde VideoMic Me-L with a Lightning connector, while the option for Android devices features the new Røde VideoMic Me-C with a USB-C connector.

There is also a Universal Edition, which includes a Røde VideoMicro for use with smartphones that feature a 3.5mm input.

This can also be used with Lightning and USB-C equipped smartphones using a certified adaptor.

In addition to these compact microphones, each kit includes the new Røde Tripod 2, a three-position tripod with a gimbal head, the new Røde SmartGrip, an all-metal mount with rubberised grips for keeping smartphones stable and secure, and the new Røde MicroLED on-camera light, which slots onto the SmartGrip.

www.samsontech.com

Audix engineers an Integrated Acoustic Coupler for IEMs

Extra Extron

DESIGNED TO route video, audio, bidirectional control and Ethernet, the XTP II CrossPoint Series matrix series has been enhanced with the development of the CP HD 8K I/O boards. Accepting HDMI 2.1 data rates up to 40.1Gbps and enabling support of uncompressed 8K video with HDR, the HDCP 2.3-compliant boards provide input equalisation and output re-clocking in addition to connecting active HDMI cables.

The XTP II CP HD 8K I/O boards provide up to 50Gbps backplane of XTP II CrossPoint Series matrix switchers for accommodating a combination of resolutions, frame rates and colour bit depths within the HDMI 2.1 specification.

The Californian manufacturer has added a new wall plate transmitter in the form of the 4K/60 4:4:4 HDMI DTP2 T 201 D. Capable of supporting video resolutions up to 4K/60 at 4:4:4 colour sampling and HDCP 2.3 compliant, the one-gang model can transmit HDMI signals up to 100m over a shielded

Extron’s XTP systems CATx cable to other Extron DTP-enabled products. Supporting CEC pass-through and embedded HD lossless audio formats, the transmitter wall plate can be applied in point-to-point applications or with an Extron IN1800 Series presentation switcher or other DTP-enabled products.

Enabling content to be shared from computers, tablets or smartphones to a display, Extron has created the ShareLink Pro 1100 4K wired and wireless presentation system. Support for Windows 10 sharing via Miracast will soon be made available using an optional adapter without the need to download software.

can confirm the functionality of each per former’s IEMs before the show. www.audixusa.com

ShareLink Pro systems support simultaneous display of up to four devices, including an HDMIconnected device, and dynamically updates the display layout as new content is shared or removed. Wireless and wired sources with computer and video resolutions up to 4K are supported for connection to 4K displays, with the HDMI input supporting wired connections from any connected source. Extron GlobalViewer Enterprise (GVE) software allows multiple units to be managed across an enterprise or campus. Designed to display the entire screen for more fluid and easy collaboration sessions, the ShareLink Pro 1100 allows full-screen mirroring for all devices, including Mac/ Windows computers and Android/iOS tablets and smartphones. In addition, centralised management tools enable simultaneous configuration, firmware updates, management, monitoring and control of multiple units from one central location. www.extron.com

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one to come along, we just built it,” commented Audix director of US sales, Steve Young. Live monitor engineers and HOW technicians previously had no reliably consistent method to test the functionality of IEMs. With the TM2 and readily available measurement software including Rational Acoustic’s Smaar t or Studio Six Digital’s Audio Tools, engineers

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Allen & Heath extends SQ series HAVING FIRMLY established itself as a pro streaming and AV production system during 2020, the SQ range of consoles has been expanded with the addition of a new SQ MADI card. Joining the existing Dante, SLink and Waves option cards, the 64x64 channel MADI inter face is said

to unlock a host of new possibilities for integration with broadcast and recording systems, OB vans and third-par ty consoles for high-channel count feeds over coaxial cables. SQ MADI runs at either 48kHz or 96kHz, while two BNC inputs pair with two BNC outputs to allow for split or redundant

R&S continues 5G focus AS 5G technology continues to evolve, Rohde & Schwarz has introduced a new enhanced version of its Broadcast Server & Control Centre (BSCC). Building on the success of its processor, which has been used for proof-of-concept 5G Broadcast/Multicast trials in a number of regional markets, the enhanced

and protocols are implemented within the 5G Broadcast environment and include FLUTE (File Delivery over Unidirectional Transport Stream), DASH (Dynamic Adaptive Steaming over HTTP) and HLS (HTTP Live Streaming).

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BSCC2.0 device is able to deliver more mobile services, such as over-the-air updates and upgrades, venue casting, automotive services, e-learning, multimedia streaming on demand, public warning announcements, e-sports, e-agriculture, live casting and live commerce.

A cornerstone of 5G Broadcast is its ability to provide mobile users with access to super high-quality video content, and to this end the BSCC2.0 supports a wide range of streaming platforms. These new streaming services will become a reality as new algorithms

setups. A sync can be created from inputs or a separate BNC Wordclock dual function (in/out) for enabling the console to be operated as either master or slave in the system.

The SQ MADI card in the back of an SQ-6

www.allen-heath.com

AEQ opts for open-air architecture DESIGNED FOR on-air audio production in radio and television studios with intensive operational requirements and workflows, AEQ has engineered the Atrium digital audio mixer. Managing up to 96 motorised faders with up to eight pages for each fader, the control sur face operates independently from the Core or Audio Engine. Capable of managing up to 1,000 audio channels of local content or AoIP through one or more control sur faces, Atrium can operate up to six control sur faces from one Engine or Core over a LAN.

preconfigured, dynamically adapting their function when required.

Signal inputs and outputs together with control element processes can be distributed to other networked remote equipment via AoIP. Incorporating the latest X_CORE engine, Atrium is equipped with the capacity to develop redundancy at all levels in addition to the storage and instant recover y of snapshots, together with the convergence of physical and vir tual control elements plus automatic mixing and level adjustments. X_Core comes

rival solutions, including 3GPP Release 16 support, the integration of Transport Streams over IP (TsoIP) protocols and multi-service support.

On the transmitter side, R&S has introduced the Tx9evo. The Tx9 transmitters provide FeMBMS created on a software-based signal processing platform. This reportedly gives network operators flexibility and should prepare them for future signal processing requirements. www.rohde-schwarz.com

SSL adds new colour to Fusion LAUNCHED IN 2018 with five colours to help users add tonal character, weight and space to stereo stems, SSL has unveiled a sixth colour, already present in Fusion: a fullband LMC processor with wet/dry control.

By pushing and holding the HF Compressor button on Fusion’s front panel for 5s, users can unlock full band LMC mode. When in

audio spectrum. As the design of the HF Compressor section was based on the SSL Listen Mic Compressor circuit, it came as no surprise that this alternative mode sounded great. Two years on, it’s finally time to reveal this special audio treat to our Fusion family.”

The SSL Listen Mic Compressor – whose origins derive from the SSL 4000 series

LMC mode, the X-OVER knob turns into a Wet/Dry control, providing LMC processing with parallel control. This feature already exists in all Fusion units and no update is required.

“During the development of Fusion, we experimented and trailed many variants of the five analogue circuits,” explained Andy Jackson, studio product manager at SSL. “One variant of particular interest was an alternative mode for the HF Compressor section, making it operate across the full

consoles – was a “secret weapon” among producers and many say was the catalyst for the 1980s’ drum sound, which prominently features on tracks of the era. Originally designed to prevent overloading the return feed from a studio communications mic, the LMC’s fixed attack and release curves were soon discovered to be suitable on drums, and equally interesting on guitars, vocals and many other instruments.

For more complex productions and programming, multi-studio mode can be activated at the press of a key. By switching the control between studios, multi-control mode allows all or par t of the control functions to be managed in parallel or separately. Ease of operation is provided with touchscreens, encoders, indicators and keys that can be

with a redundant controller and power supplies for handling up to 1024x1024 audio channels. Audio input and output boards for microphones, headphones, analogue, digital AES/EBU and USB signals, multichannel AoIP Dante/ AES67/SMPTE ST2110-30, MADI links and AEQ high-speed 1,024-channel links can be modularly inser ted.

The control sur face and individual controls can be customised for operations. Classic workflows can be implemented so that each fader adopts A/B configuration, or each channel can have direct access for sending to predefined busses or two-way multiplex channels can be defined for mix-minus or N-1 channel allocations. Mixed or ver y special workflows can be configured with flexible programming of keys to act on the routing of the console. Each console operator belongs to a group of users with a list of activated permissions. www.aeq.eu

www.solidstatelogic.com

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PRODUCTS

In or out FUNCTIONING AS either an input or output, Just Add Power has introduced its 2GΩ/3G ST1 sound transceiver, an audioonly component that allows integrators to add a stereo audio source to any J+P system or extract stereo audio from an existing transmitter. The ST1 feeds stereo audio into a J+P system. Any audio source with an analogue audio out – a TV, Sonos amp, CD player, microphone and more – can be connected and played

Ax mix audio and video in new ways, such as providing clients with the ability to watch spor ting events while listening to radio commentar y, give a presentation by mixing PC video with microphone audio or even add an audio return channel. As with all models in the J+P lineup, the ST1 is said to integrate seamlessly with any generation of the company’s products.

on any receiver. As an audio output, the transceiver is repor tedly capable of playing any stereo audio content from any J+P device, while providing variable audio control. This allows users to send analogue audio from a display to the main rack without having to run an extra network cable.

By combining the transceiver with J+P transmitters and receivers in the same installation, installers have the ability to

www.justaddpower.com

Lynx Technik extends Series 5000 platform AS DEMAND for 4K content increases, broadcast and production facilities often have the requirements to implement 4K into their existing workflows, which may still use a legacy coax infrastructure. The OTR 5444 12G bidirectional quad SDI/fibre transceiver has been designed to address these requirements and preserve the full uncompressed quality of the content as it delivers uncompressed 4K signals over fibre between equipment in a broadcast facility or over long distances. The unit provides a bidirectional electrical-to-optical or opticalto-electrical conversion solution over four independent channels with support up to 12G-SDI. Up to eight modules can be supported in a standard Lynx 2U rack frame.

Optional fibre SFP sub-modules are available and are secured on the backplane allowing for card removal and hot-swapping without removing any of the modules’ rear I/O fibre connections.

The transceiver includes four bidirectional electrical interfaces, four 12G-SDI optical inputs and four 12G-SDI optical outputs.

The user can configure the card via the APPolo control software to set the signal

yellobrik switches to a new connection path when power fails. The optical switch will revert to its original connection path when power returns. The OSW 1022 can also be configured with the yelloGUI software. It can

OTR 5444

flow direction to either transmit or receive on the optical side, depending on the specific application.

The German manufacturer has also announced a new 2x2 optical switch for its yellobrik line of “throw down” bricks.

The OSW 1022 is designed to improve connectivity and security on fibre networks, serve as a fibre line emergency switch, provide restoration and reconfiguration over optical paths and route diversity as well as support to a wide range of other fibre-optic applications.

A This 2x2 optical switch selectively switches signals over optical fibres from one channel to another. It is data rate and formatindependent and provides connection paths between two fibre inputs and two fibre outputs (two pairs). The OSW 1022 can be configured in two modes: latching or nonlatching. In latching mode, it maintains its current optical connection path when power is weak or is lost. In non-latching mode, the

be used as a standalone device, individually mounted or used with the 19-inch yellobrik rack trays as part of a larger system. www.lynx-technik.com

New Dante options from Studio Technologies

Model 5482 WITH DANTE increasingly being adopted as the go-to method for interconnecting devices via Ethernet networks, Studio Technologies has released the Model 5482 Dante Bridge and also provided an update for its Model 5422 Dante Intercom Audio Engine. The Model 5482 provides a means of bridging up to 64 audio-over-Ethernet channels between LANs or Dante domains.

Each of the Model 5482’s independent interfaces offers three Gigabit Ethernet network ports, providing support for both switched and redundant Dante operation along with a separate management network connection. Each “side” of a Model 5482 can be independently configured to match the unique demands of an application. The unit allows up to 64 audio channels to pass in each direction with support for up to 24-bit

at 44.1kHz, 48kHz and 96kHz sampling rates. Sample-rate-conversion (SRC) capability ensures that audio signals with different sampling rates and timing references can be directly interconnected.

The device is compliant with the AES67 standard and supports Audinate’s Dante Domain Manager (DDM) software application.

Each of the unit’s Dante interfaces can function independently – for example, one of the network interfaces can be operated through DDM while the other remains open.

Each interface can be configured to support AES67 digital audio signals, allowing the Model 5482 to serve as a unique Dante-toAES67 bridge. The unit is housed in a rugged yet lightweight 1U enclosure with a front panel featuring LED indicator lights, a graphics display and push-button switches to observe and configure key operating parameters.

The latest update for the Model 5422 Dante Intercom Audio Engine offers several improvements, including Auto Mix functionality and three additional operating modes.

Two of the modes add Auto Mix capability for party-line intercom and summing bus (unity gain mixer) applications, while the third mode, Audio Switching, allows control of multiple Dante audio channels using high-frequency audio tones generated by a range of other Studio Technologies products.

Also improved is the ability to name Dante channels within the Model 5422, offering a superior experience when configurating the unit and establishing group, mode and channel names. Users can also more easily manage the Model 5422’s capabilities with an updated web page design and, finally, the level trim range for all Dante transmitter (output) channels has been increased to ±20dB, matching the capability of the Model 5422’s Dante receiver (input) channels. www.studio-tech.com

Model 5422

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PRODUCTS

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ATTERO TECH has unveiled additions to the Axon family of network audio interfaces and Axiom family of analogue audio I/O extenders, as well as a new purpose-built network amplifier. Like the rest of the Attero Tech by QSC portfolio, these new endpoints can integrate into the Q-Sys Ecosystem with Q-Sys extensions available in Q-Sys Designer Software.

The Axon D2i is a single-gang Dante/ AES67 network audio I/O wall plate for integration of analogue devices into network audio applications. It features two XLR+1⁄4-inch TRS combo inputs for on-ramp of microphones, instruments or mixer outputs in applications where conveniently located audio connectivity is a must. It also includes an Axiom por t for integration

corporate or hospitality applications. With the USB1, users can inter face a device’s USB audio with the room’s audio system.

It also offers BYOD suppor t, allowing users to connect their laptops and integrate the room’s audio into web conferencing applications.

The Axiom BT1 is a bidirectional Bluetooth audio wall plate that allows users to connect consumer-grade devices to a room’s audio system for music playback or Bluetooth conference call bridging, and has been designed for education, corporate or hospitality AV systems.

Finally, the Axon DTH1620 is a Dante/ AES67 network amplifier created to suppor t high-channel, low-power applications, such as theme park rides, attractions and immersive exhibits. It offers 20W to each of its 16 channels in a compact form factor. It suppor ts both traditional passive transducers and haptic transducers for specialised audio applications.

of Attero Tech by QSC Axiom wall plates (USB, Bluetooth or XLR) for additional I/O customisation.

The Axon DBU is a sur face-mount Dante/ AES67 network audio inter face offering bidirectional USB and stereo Bluetooth audio I/O for the Q-Sys Ecosystem. It allows users to connect their personal devices to integrate the room’s audio into their web conferencing applications (such as Microsoft Teams, Zoom and Google Meet) via USB or Bluetooth. Its compact form factor is said to maximise system design flexibility with capabilities to mount under a table or in a rack.

The Axiom AXPio audio expander includes two Flex I/O channels, allowing integrators to pair the AXPio with up to two Axiom wall plates (Axiom ML1, USB1, BT1) to integrate analogue audio devices into a room’s audio system, including QSC Business Music mixers and amplifiers. In addition, the AXPio provides RS-232 connectivity for control integration into Q-Sys. The Axiom USB1 provides bidirectional USB audio connectivity for education,

www.atterotech.com

Audient upgrades iD interfaces THE NEXT generation (mark II) of two iD audio interfaces – iD4 (MKII) and iD14 (MKII) – have been released by Audient. Making sure they are comparable with the iD44, both the iD4 (MKII) and iD14 (MKII) now provide 126dB of dynamic range on the DACs and 120dB on the ADCs, representing a step up in audio performance. As well as the improvements to the audio specs, new features have also been added. The iD14 (MKII) is completely bus powered via USB3.0 and benefits from the addition of dual headphone outputs, two extra line outputs and a USB-C connection, reportedly making collaboration, connectivity and portability that bit easier. Both models now sport a modern gun-metal finish.

The British console manufacturer has also launched Evo Control as the companion to its Evo 4 audio interface. The control

iD4 (MKII)

Evo Control

software provides control of hardware and an audio loop-back mixer and adds remote, computer control to the one-in/ two-out device. The control app is free to

download form the manufacturer’s website.

From setting and monitoring levels, muting microphones, to activating Smartgain, the Evo Control app allows users to access the

interface’s feature set directly from their laptop. The Evo 4’s audio loop-back feature is further enhanced with the addition of the audio loop-back mixer, which enables the loop-back functionality to be configured via its own dedicated mixer software. Opening a small mixer window on a computer, users can now take audio playback from the computer, balance the levels and capture it in their recording software, or send it straight to a streaming service.

In brief, Evo by Audient has launched the Evo Start Recording Bundle, which comprises the Evo 4 audio interface, the SR1 large diaphragm condenser mic plus shockmount and the SR2000 monitoring grade headphones. www.audient.com

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PRODUCTS

Tascam networks with musicians RSP-1216HL

Riedel adds SmartPanel to 1200 Series RIEDEL HAS introduced a new 1U SmartPanel in the 1200 Series of intelligent intercom and control interface panels for real-time audio, video, data and communications networks.

Equipped with a single speaker and 16 hybrid-lever keys, the compact RSP-1216HL features the same full-colour, high-resolution touchscreen as the 2U RSP-1232HL model.

A unique hybrid-lever key design combines both lever- and rotary-style key styles for controlling parameters with a single key. The fully IP-centric panel incorporates the same connectivity options as its bigger app-based counterpart, with support for AES3 and SMPTE 2110-30 (AES67) connections together with GPIO, analogue or AES67 four-wire, in addition to front and rear USB connectivity.

The manufacturer has also released an update to its Bolero wireless intercom system. With a new DECT Region Japan (JDECT) setting, Bolero 2.2 supports up to 100 antennas and 60 beltpacks (over six DECT bands) in a non-interfered environment.

Improved PHS detection reportedly helps to prevent interference from mobile phone signals which share a frequency spectrum with the JDECT band. The 2.2 release also features new RF monitoring capabilities that allow users to leverage both antennas and beltpacks to scan or monitor the radio spectrum used by DECT devices. Built into antennas, a radio scanner enables period measurement of time-slot usage and identification of DECT systems in the RF space, in turn serving as

WHETHER IT’S a welcome choice or not, desktop audio recording has been big business in recent months due to countries’ various lockdowns, and so the timing was perfect for the release of Tascam’s new US-HR lineup of high-resolution desktop

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or instrument capability per input. The US-2x2HR’s MIDI in and out terminals facilitate external MIDI devices for synchronisation and control. Equipped with four XLR mic inputs, four TRS line inputs and four outputs, the US-4x4HR is geared towards

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The US-HR series

audio interfaces. Designed for use in a multitude of applications, the series comprises three models – the US-1x2HR, US-2x2HR and US-4x4HR – which all feature 24-bit/192kHz resolution, ultra-low latency with a four-sample driver buffer, HDDA mic preamplifiers with +48V phantom power and a comprehensive software suite. In addition, the USB bus-powered devices include a loop-back function with stereo/mono switch support (Windows, Mac, iOS, iPad OS), support for OBS streaming software and a USB Type-C connection with an included USB C-A cable. The enclosure’s dye-cast aluminium honeycomb design includes an upward tilt angled to make the interfaces easier to operate. The software bundle

producers working on music productions. In addition to offering mic, line or instrument capability per input, the interface also includes two headphone outputs.

On the video side, Tascam’s new BD-MP4K Blu-ray, media and network player for 4K and UHD resolution is suited to commercial installations and touring applications requiring ultra-HD image quality with up to 7.1 surround sound. The 1U player accepts a range of media and file formats from discs (Blu-ray, DVD, CD), USB flash devices, SD cards or network shares on a NAS or remote server through Gigabit Ethernet. For integrated media systems, the BD-MP4K offers both RS-232C and IP network connectivity, providing two-way control between devices with status feedback.

Bolero 2.2 The software-defined architecture of the 1200 Series SmartPanels is said to ensure longevity in the dynamic broadcast, event production and pro AV environments. With a Control Panel App and Audio Monitoring App currently in development, the 1200 Series SmartPanels are ideal for applications where space is at a premium.

an additional capacity monitor while making it easier to diagnose radio issues and plan for system expansion. Up to five Bolero beltpacks in a network space can be set to periodically monitor the radio spectrum at their locations while still operating normally. www.riedel.net

Neutrik races to Milan with Minea FOLLOWING THE development of its first Milan audio modules in 2020, Neutrik has launched Minea which is the first Milan-certified audio module. The 2x2 stream design adopts a readyto-go solution that allows manufacturers to implement Milan into single loudspeakers, amplifiers, microphones, audio embedders and de-embedders in addition to multichannel mixing desks and multi-port conferencing systems. With the development of Milan audio modules, Neutrik is offering OEM customers time- and

BD-MP4K

cost-saving benefits for developing future audio network solutions built on the Milan protocol. www.neutrik.com

includes Steinberg’s Cubase LE/Cubasis LE 3, IK Multimedia’s SampleTank 4 SE and a free, three-month subscription to Auto-Tune Unlimited.

Ideally suited for guitar and vocal recording musicians, the US-1x2HR is a one-mic, two-in/two-out USB audio interface with XLR and 1⁄4-inch TRS inputs that can be switched between line or instrument connection.

Developed more for music production, podcasts and livestreaming, the US-2x2HR is a two-in/two-out MIDI and USB interface with two XLR/TRS combo inputs offering mic, line

A firmware update for Tascam’s VS-R series video streamers/recorders is also available for download, allowing the number of concurrent RTMP streams to be increased from one to three. As a result, up to three online video platforms can be streamed using the RTMP or RTMPS protocol. With multiple RTMP streams available, the VS-R264 and VS-R265 can send one stream to the main server URL and a second to a different URL for redundancy. www.tascam.com

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PRODUCTS

Lawo unveils next-gen Core engine and compact mc²36 to the compact mc²36 as well. Offering 256 processing channels at both 48kHz and 96kHz operation, DSP capacity has more than doubled. In addition, the I/O capacity has been increased to 864 channels, with local connections including three redundant IP network interfaces, 16 Lawo-grade mic/ line inputs, 16 line outputs, eight AES3 inputs and outputs, eight GPIO connections and an SFP MADI port. Powered by an A__UHD Core, the console natively

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A__UHD Core UNVEILED DURING an online launch, both the A__UHD Core Phase II audio engine and next generation mc²36 audio production console have been designed by Lawo to deliver maximum output using minimal space, weight and power requirements.

Delivering 1,024 channels of audio processing with a power consumption of 220W, the 1U A__UHD Core is the German manufacturer’s new console core for mc² consoles. Designed to operate within IP networks and manage networked devices at 48kHz and 96kHz, the A__UHD Core is a native IP device. As such, it is based fully on open standards such as ST2110-30/-31, AES67, Ravenna, Ember+ and NMOS. The software-defined hardware for the A__UHD Core’s feature set is defined purely by software to reportedly ensure future-proofed benefits. Users can tailor the capabilities of their A__UHD Core to fit individual needs and budgets, by changing features

and functionality based on permanent or temporary software licences. A “pooling” licence allows one A__UHD Core to divide its DSP power between multiple mixing surfaces, allowing either unit to power several smaller consoles with 256 channels each or one large console with 1,024 DSP channels.

Lawo’s phase two development of the A__UHD Core includes the IP Easy functionality to permit operation of network audio devices.

Features include dynamic resource allocation that allows any mc² surface to be allocated to any networked A__UHD Core, and complete network interface redundancy. Eight front-panel ports are split into four SFP network interfaces to provide dual, independent IP network connections.

ST2022-7 Class-C Seamless Protection Switching (SPS) with extended buffer size operates on WAN in addition to LAN, with each SFP interface receiving a total of 128 Tx and Rx streams providing 512 audio

An mc236 with 32 faders channels. A second A__UHD Core with a redundancy licence can be deployed locally as a 1+1 hot spare device mirroring the active device and taking over if needed, and the redundant power supply units are hotswappable.

The new mc²36 mixer doubles the DSP channel count of the original, introducing a compact 16-fader version to give the smallest mc² footprint to date. Following recent redesigns of the mc²96 and mc²56 consoles, the latest technology has been introduced

supports ST2110, AES67, Ravenna and Ember+. Other features include ButtonGlow, touch-sensitive rotary controls, colour TFT fader-strip displays, LiveView video thumbnails, 21.5-inch HD touchscreen controls, loudness control compliant with ITU 1770 (EBU/R128 or ATSC/A85) standard, remote desktop integration for recording systems and effects engines, and Waves plug-in integration. www.lawo.com

Switched, extended and tagged by Kramer DESIGNED FOR applications such as conference and meeting rooms that use a room camera and soundbar extension, the PT-2UT/R-KIT is an extended-reach Cat extender kit for USB 2.0, RS-232 and audio signals and two-way powering over twisted pair. A transmitter converts the USB input signal into a Cat signal and a receiver converts the transmitted Cat signal into a USB signal. The kit promotes extended-reach Cat signals and two-way power over twisted pair copper infrastructures. A local USB host is auto-connected to remote-connected USB devices using interrupt, bulk or isochronous USB 2.0 standard data transfer communication. A variety of USB peripheral devices can be extended, including cameras, touchscreens and audio devices, while fast USB charging of peripheral devices is achieved when the receiver is powered.

Kramer is shipping the VS-211X and VS-411X 2x1 and 4x1 automatic switchers for 4K HDR and HDMI video signal operations. Offering priority and last-connected switching options, it automatically switches according to the selected switching scheme based on active video signal detection. Suppor ting up to 32 channels of uncompressed stereo signals for surround-sound applications, the auto switcher can be overridden at the press of a button to manual mode. Plug-and-play operation

PT-2UT/R-KIT for HDMI source and display systems is promoted cour tesy of I-EDIDPro Kramer Intelligent EDID Processing, which incorporates Intelligent EDID handling, processing, locking and pass-through algorithms. The digital audio signal passing through to the HDMI output is de-embedded, conver ted to an analogue signal and transmitted to the stereo unbalanced analogue audio output.

Audio can be output to locally connected

VS-211X

speakers in parallel to speakers connected to the AV acceptor device.

Local buttons or remotely connected contact-closure buttons ensure flexible user input selection and switching control, while status LED indicators for HDMI por ts facilitate local maintenance and troubleshooting. The compact DigiTOOLS fanless enclosure promotes table mounting or three units in a 1U rack space with a recommended rack adapter.

The Corona Tag is a compact, wearable device designed to eliminate the need for site-wide shutdowns in case of a Covid-19 infection in workplaces, schools and public venues. Corona Tag monitors social distancing by tracking the distance and exposure time between tags using low-energy Bluetooth signals. It operates automatically when worn and stays active for months without any recharging requirements. No personal data such as names and locations visited is stored in the tags as the only information recorded is other tags’ physical Mac address and the time spent together in proximity. Retrieving the information from the tags can be done only by a certified administrator via a specially designated USB cable. As the device does not require external hardware, third-party technologies or communication signals, mobile phones or connections such as GPRS, Wi-Fi or GPS are not required. When someone tests positive for Covid-19, an approved company administrator uses the MAC address to access information about all the tags that have come into contact with that person over the last two weeks, so that only the people who are at risk of infection can be notified to take the correct precautions. Corona Tag can be attached to a lanyard and comes in multiple colour options, while customised logo additions are available to suit corporate branding and identities. www.kramerav.com

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PRODUCTS

Uniform gain across all frequencies

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THE CLEARONE BMA 360 has been designed to be a truly wideband, frequency invariant beamforming microphone array ceiling tile with uniform gain response across all frequency bands. With FiBeam technology, conference participants will experience

the need for per-beam processing in a DSP mixer. Built-in amplifiers, configurable as 4x 15W or 2x 30W, provide flexibility for driving loudspeakers. The BMA 360 also supports daisy-chaining of up to three ceiling tiles via P-Link for divisible rooms or larger conference

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“natural and full fidelity audio” across all beams and within a single beam. Deep sidelobe beamforming, DsBeam, provides maximum sidelobe depth, below –40dB, and is said to result in rejection of reverberation and noise in difficult spaces.

The BMA 360 is based on a new approach to beamforming that provides a new beam topology to reportedly achieve distortion-free, full 360° coverage of any room shape and any seating arrangement using ClearOne Audio Intelligence. Further advancements in adaptive steering provide coverage of each conference participant as well as support for camera tracking.

In addition to the advancements in beamforming technology, the 6G Acoustic Echo Cancellation (AEC) reportedly delivers unmatched per-beam full-duplex audio performance. On-board audio algorithms, such as noise reduction, filtering and Automatic Level Control, are said to eliminate

setups. Available in three ceiling grid sizes – 24 inches, 600mm and 625mm – the BMA 360 incorporates a VESA-standard hole pattern for pole mounting.

Convergence AV Network Manager software also now supports the BMA 360. According to the manufacturer, Convergence has been upgraded to increase its database connection pool to an unlimited number of ClearOne devices and users on a single network.

In other news, the US manufacturer has released its newest Conference Controller.

The 10-inch touchscreen has been designed for easy control of Converge Pro 2 audio DSP mixers as well as Collaborate Live video conferencing room systems from a single device. The Conference Controller functions can also be accessed from a personal mobile device, eliminating the need for touching shared surfaces by downloading the free mobile apps.

Crestron adds AVoIP bridging to DM NVX DESCRIBED BY Crestron as the first AVoIP bridging technology that enables tight integration for standards-based HDBaseT solutions or the expansion of an existing room system for broader distribution, the DM-NVX-E760 features support for Crestron DigitalMedia technology, including DM matrix switchers, all-in-one DMPS systems and DM Lite transmitters. Offering a single-wire solution for power, audio and video, it can be powered through a supplied power pack, PoE+, 802.3bt or UPoE. For customers that have invested in DigitalMedia or other HDBaseT solutions, the DM-NVX-E760 reportedly provides the ability to continue to leverage those investments while still taking advantage of everything AVoIP provides, such as room overflow capability and global source distribution.

The manufacturer has also announced that its 70 Series Scheduling Panels have been integrated with Microsoft Teams.

The partnership brings Teams meeting scheduling functionality to panel displays.

The Crestron Scheduling Panels provide in-office employees with the ability to manage and monitor room availability and capacity using enterprise tools and software that they’re already familiar with, such as Microsoft Exchange and the Teams Admin Center. Employees use Teams panels to view meeting room details, reserve a space, view upcoming reservations and identify the current availability of a room. Designed to be mounted outside the meeting room, the Crestron Scheduling Panel displays data from inside the room to the people approaching the room, avoiding issues before they arise. Network-based occupancy sensors provide data to notify employees when a room is at capacity or automatically release the space if no one shows up.

DESIGNED TO offer flexibility, independence and mobility in meeting experiences, the Arthur Holm Dynamic4 is a fully integrated meeting solution requiring only power and an internet connection. Composed of four high-resolution screens, four cameras, two integrated loudspeakers and array microphones, a CPU, USB power and HDMI inputs, Dynamic4 allows users to connect wirelessly or by cable and is ideal for conference calls.

for loading a platform such as Skype, Teams or Zoom.

Dynamic4 can either be integrated into a personal table or one ordered from the Spanish manufacturer with a customised finish to match the office interior. It can also be integrated into a flightcase for pop-up meetings. Four high-resolution monitors appear smoothly from inside the table interior in an upright, streamlined motion. The mechanism then groups the monitors in a practical square

www.crestron.com

Arthur Holm tables Dynamic4

Dynamic4 Capable of adapting to various table shapes with any number of users, flexibility is a key feature in transforming a room into a dynamic collaboration space. Screen movements can be stored within the unit, allowing users to return to their preferred settings. Switching between the four inputs is internally stored inside the unit and a built-in CPU allows connection to a server

or diamond shape, before rotating them to the ideal user position. The monitors are activated by push buttons, RS-422, GPI or the wireless AHlink App. Two motorised covers open downwards to allow the lifting platform elevation, which provides access to the complete tabletop multimedia system.

www.clearone.com

Sommer patching cable feels the flex THE LATEST cable release from German manufacturer Sommer is a flexible Cat-6a 10Gbit patch cable named the SCMERCATOR CAT.6a highflex. The new model has an external diameter of just 6mm and also boasts a very small bending radius of 20mm, making it ideally suited to bending its way through patch panels, data cabinets and touring racks. Despite this flexibility, Sommer promises that the cable remains sturdy due to its robust PVC jacket, plus S/FTP design with a braided shield and AL/PT foil screen around the 4x2xAWG26/7 wire pairs. The overall construction has been guaranteed to meet Cat-6a performance up to 500MHz. The standardised, ready-made C6AFU patch cable comes with ultra-compact

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25mm short RJ45 connectors and 50mm transparent shrinking tubes for individual labelling. The Neutrik NE8MX/NE8MX-B etherCON cable plug protection can be retrofitted anytime. www.sommercable.com

www.arthurholm.com

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PRODUCTS

12G-SDI standards from Tasker Q-Sys control options for Clockaudio’s TIM-1000

THE TSK1078 LSZH is a double-shielded coax with dimensions of 0.8/3.5/7mm for applications up to 59m. It is available with a PUR sheath and is resistant to flame, UV, oil, water, chemicals and atmospheric agents.

In addition to being halogen free, it can be installed in water up to 50m in depth and is suitable for cold and hot applications between –40°C and +80°C. Both versions can be equipped with an external metal armour braid

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The TSK1079 CPR Cca s1a-d0-a1 comes with CPR homologation for distances up to 72m.

Other 12G-SDI products include the TSK1091 series, which offers six different combinations of coaxial cables and DMX audio, with between one and four conductors, while the TSK1070 LSZH supplies 3x2.5mm² power. A LAN cable Cat-7 S/FTP is also available.

The T42 has a 26/7 AWG (0.8mm) stranded formation in OFC red copper, with dielectric gas-injected PE of 4.8mm and a double OFC tinned copper braid with a coverage of 89% and 86%, respectively. The sheath is available in PUR or soft PVC. The T42 PUR is suitable for installations on professional cable reels for broadcast but also for a drag chain, with efficiency tests performed at 500,000 cycles with a maximum speed of 3.3m/s and maximum acceleration of 4m/s². The T42 is able to work at the frequencies imposed by the latest SMPTE standards, such as 12G-SDI up to 60m.

Emulating a classic WAVES HAS started shipping the Abbey Road RS124 compressor, a digital replication of the infamous Abbey Road RS124, known for its “silky-smooth” compression, and the only RS124 software emulation to be approved by Abbey Road. The Waves Abbey Road plug-in features two distinct RS124 flavours modelled from the original hardware, Studio and Cutter.

Studio models RS124 serial no. 60070B – a favourite unit used for tracking at Abbey Road from the late 1950s into the 1960s, due to its faster attack and release times. This is the more aggressive sound of the RS124 and creates a “squashed” sound on transients.

Cutter is a modification with slower attack and release times. The slower RS124s were favoured for studio reduction mixes and in Abbey Road’s cutting rooms during the 1960s. The more relaxed attack made these units suitable and more forgiving for bus compression and mastering purposes.

Both models include the “Super Fuse” mode that matches release time to attack time, creating a compression character that sounds like it’s “fighting against itself”.

www.tasker.it

Abbey Road RS124 The CLA Epic plug-in has been designed with Grammy-award-winning mix engineer, Chris Lord-Alge. The plug-in features Lord-Alge’s four go-to delays (Slap, Throw, Tape, Crowd) and four go-to reverbs (Plate, Room, Hall, Space). These modules are each based on his favourite studio gear, which he uses in various combinations in every one of his mixes. Whether used on vocals, drums or other instruments, CLA Epic “opens the gate to more depth in mixes and productions”.

CLOCKAUDIO HAS announced the availability of a new QSC Q-Sys Ecosystem Control plug-in for its Trackable Intelligent Microphone (TIM-1000) which enables the dynamic features of the TIM-1000 to be controlled through the Q-Sys software-based audio, video and control ecosystem. This plug-in will be available through the Asset Manager portal within the Q-Sys Designer Software.

The addition of the Q-Sys plug-in simplifies integration of the TIM-1000 into Q-Sys and enhances the setting controls for the TIM-1000, providing users with additional visual cues and performance options for the microphone. These cues can be customised to specific colours or can be programmed to let meeting attendees know when a mic is muted or in an alternate state. It can also be programmed to signal specific events, such as when a phone is ringing or to remind attendees that a meeting is coming to an end. Facilitation of the control programming

and interface for the new plug-in was done by control programming and software development experts, Control Concepts. www.clockaudio.com

Y7 reverb added for Rivage

YAMAHA HAS teamed up with Bricasti Design on the creation of a premium reverb for Rivage PM Series digital mixing consoles.

As a manufacturer of hand-crafted, hardware digital reverbs, Bricasti is best known for its M7 rackmount reverb unit. The new Y7 reverb, available as part of the V4.7 firmware, is said to bring the highest level of expressiveness to Rivage PM users.

“All Yamaha mixers are built on the philosophy of allowing engineers to capture the onstage sound accurately, without colouration,” explained Yamaha group manager, PA marketing and sales group, Motome Tanaka. “Plug-ins play a vital role in allowing engineers to take this transparent sound and apply their artistry to the mix. High-

quality reverb is one of the most important tools to achieve this and we are confident that the Y7 will become a key part of the creative expression for many sound engineers.”

Alongside the release of the Y7, the manufacturer has released firmware version 5.6 for its CL and QL digital mixers series, which introduces support for Neutrik’s NA2-IO-DPRO Dante interface, a small I/O solution that reportedly adds more flexibility in a network setup for line, mic and AES signals.

Additionally, support is now offered for NEXO’s NXAMP4x4MK2 and Yamaha’s PC Series controls, allowing for more flexible system construction. www.yamahaproaudio.com

www.waves.com

Soundscape snaps into place D&B AUDIOTECHNIK has partnered with Gareth Owen Sound on the launch of En-Snap, cue automation software that aids in the creation of immersive mixes in Soundscape.

The German manufacturer has been working with the renowned sound designer and his team to bring the En-Snap tool free of charge to registered Soundscape users.

En-Snap enables cue-based control within the d&b Soundscape environment. The software tool connects directly to the d&b DS100 Signal Engine and, with a single click, stores the parameter values of all 64 sound objects and any En-Space room emulation

setting as an En-Snap cue. User-specified transition time and recall safe functions in every cue reportedly ensure seamless user options for scenes and applications.

En-Snap sound cues can be manually operated as well as integrated into automated production workflows, by cue recall, via OSC and MIDI timecode for up to two DS100s simultaneously. The software is described as an important creative tool for projects of any size, from musical theatre to live concerts and corporate events. www.dbaudio.com

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Listen Everywhere gets confidential

No spider for Celestion’s work on the web SERVING AS a portal to the company’s powerful horn design software, Celestion has created a desktop and mobile app.

HornWizard introduces systems engineers to Celestion’s horn design capabilities such as testing a basic concept design or determining whether a particular horn specification can work in practice. In the app, users can verify designs, adjust them with different parameters and then view the results.

Created as a WPA (Web Progressive App), HornWizard can be applied on both desktop and mobile devices. Acting as a portal, input parameters are processed by the in-house software and the results are returned to the app interface. The UK manufacturer stresses that HornWizard is not a complete horn simulator but uses a simplified method to produce a close estimate of directivity and frequency response.

The SpeakerMix Pro plug-in is a digital speaker solution that captures and mixes Impulse Responses (IRs) and Dynamic Speaker Responses (DSRs) in the creation of realistic guitar speaker tones in a DAW. The self-contained, studio-grade DAW plug-in adds

The HornWizard app detail and realism to guitar and bass speaker tone. In addition to being an IR loader and convolution engine for hosting IRs, it mixes up to six channels of different IRs into a stereo or mono track and fixes IR sample rate and project mismatches. Additionally, as the host program for Celestion DSRs, SpeakerMix Pro is said to present a next-generation virtual speaker solution.

SpeakerMix Pro is available for VST-, AU- and AAX-compatible DAWs. www.celestion.com

Symetrix In Control FOLLOWING THE release of the T-5 glass touchscreen remote and the W Series IP, the addition of Lua Scripting in Symetrix Composer 8.0 software now completes the Symetrix In Control Solution. The high-resolution T-5 touchscreen provides access to custom SymVue control screens specifically created for a system in either a desktop or wall-mounted configuration.

Programming for a restaurant begins by adding a Symetrix T-5 touchscreen to a design file where an interface for the bar zone with selector and volume control can be created. A second screen can be created for the patio area, then they are linked together and exported to the T-5 as a SymVue screen. Custom Intelligent Modules for Symetrix Composer 8.0 can be created in Lua scripting for tasks ranging from muting a fire alarm system to changing

camera positions based on detected audio levels in a council chamber.

ARC-WEB is a virtual user interface that can be used to control presets for volume, mute and source selection on a smartphone, tablet or PC as a standalone primary control system or as an addition to other Symetrix control hardware. The webbased event scheduler is a free addition to the Control Server, allowing access to events and scheduled presets by time and day, providing a way to automate routing, source selection and volume for daily changes, special events or other automated configuration changes. The scheduler is accessible from the Control Server using any web browser on a connected smartphone, tablet or PC.

AS PART of a firmware upgrade to Listen Everywhere, Listen Technologies has launched a private channels feature so that venues can create confidential, password-protected audio channels on their networks. Listen Everywhere private channels have been designed for conference rooms, courtrooms and boardrooms where confidentiality may be necessary. In academic environments, administrators can create a private audio channel for closed classes or study groups. Venues can also use the private channels feature to offer members and guests access to premium content.

For example, they could offer VIP ticket holders at drive-in sporting or theatre events exclusive access to behind-the-scenes commentary.

Venue administrators, professors or IT personnel can select any or all channels on their networks to mark private, and generate passwords directly from their smartphones through the new administrator section of the mobile app. Passwords can be communicated to the intended recipients in any manner that meets a venue’s security protocol and needs, for example email, text, website or signage in the room. When listeners want to stream a channel that is designated as private, they are prompted for a password and must enter the correct

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password to hear the audio on their own iOS and Android devices.

Additional features include a new app administrator section on the mobile app that allows for password management by venue managers and administrators. This is compatible with iOS and Android devices. The private channels feature is also flexible so administrators can set up channels as public, private or any combination. www.listentech.com

CODA puts System Optimiser to the test CODA AUDIO has made available the latest public beta version of its proprietary prediction software, System Optimiser. The major beta v0.5 update provides integration with other 3D design software, including Trimble, SketchUp and Flux. Notable additions include XYZ support for free planes, a redesigned floorplan editor, multiple new features in microphones and an added screenshot export feature.

The System Optimiser provides an accurate simulation of several CODA Audio loudspeakers in any 3D Scene ranging in scale from a small gathering to a stadium production. According to the manufacturer, in creating proposals for clients, SPL Pressure mapping is presented in “incredible detail”.

In busy environments where workflow is tantamount to accuracy, bespoke tools are provided to fully enable the systems designer.

Computationally intensive operations have been optimised to deliver results in seconds, while

predictions are based on real-world, electroacoustic measurements using multifaceted multipole expansions. Providing further accuracy, an atmospheric model takes temperature, dewpoint, humidity and altitude into account.

Complex response functions are grouped using continuous phase techniques, reportedly resulting in authentic free-field predictions.

The layout tool can be used to place loudspeakers in a multitude of shapes and arrangements, while the template engine manages entities within the layout system.

Line array angles can be created using probes, which are a smart extension of measurement microphones and can be placed anywhere within the 3D scene. Link Groups define how line arrays are connected and allow electronic filters to be applied to correct for distance and splay angle. www.codaaudio.com

www.symetrix.co

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Regarded by the company as being the most advanced, flexible and cost-effective room calibration system on the market, Domino GLM 4 supports scalable systems from mono and stereo to more thanIP68-rated 80 channels liquid-cooling system of six of immersive reproduction. can switch submersible fans outside Users its weatherproof between monitor setupsiswithout having enclosure, the fixture fitted with a to use added DAW outputs furthersystem invest in 178mm frontal lens. Itsoroptical external uses 13hardware. lenses, producing a 10:1 zoom

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listening skills thereby allowing a monitoring system to easily expand from mono to complex immersive as needs evolve.

Other features include dedicated setup and control Karif-LTfunctions for immersive monitoring in addition to compatibility with an increasing number of audio monitoring standards in Capable of delivering 51,000 lumens international mastering, broadcast, OTT and from a 1,000W LED source, Domino supports and local film.

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ratio and a zoom range of 6–60°. The optics deliver a uniform flat beam with no hot-spot to reproduce high-definition images over the entire zoom range.

Domino comes with a subtractive CMY colour mixing system combined with a variable CTO and a wheel with six colours for pastel and saturated colours.

The framing section allows accurate positioning of each of its four shutter blades across a 100% sur face area, while the image section includes 14 interchangeable HD glass gobos on two wheels.

The effects section contains two dynamic effects wheels with continuous movement in both directions, a CMY multilayered wheel for creating multi-coloured effects, a standard monochromatic effects wheel, a 15-blade iris diaphragm, two frost filters, CRI and TM30 optimising Designed avoid switching filters, twotorotating prisms, between a dynamic “record” and “mix” users sparkle effect withmodes, speed GLM 4 and fade can benefit from and low-latency adjustment andfixed an electronic dimmer. performance without having to bypass anyTC The 52kg fixture is available in S and monitoring sitting on themetallic master versions –software the former delivers audio GLM 4 settings white bus. lightOnce at a calibrated, colour temperature of can also be stored monitor or at a 7,000K, while thewithin latterthe is calibrated subwoofer itself, thusof avoiding thewith possibility colour temperature 6,000K a CRI of accidental greater thanchanges.

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Interfacio connects professionals with world-leading pro AVL brands.

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Touring, recording and installed sound.

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

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CEDAR unwraps latest update CEDAR AUDIO has unveiled its Unwrap module for CEDAR Cambridge, a process that reportedly makes unusable audio clear and intelligible. The manufacturer has been investigating the problem of sample wrapping – a form of clipping distortion where, instead of being flattened at the maximum and minimum amplitudes of the audio format used, samples appear with the right shape but at the wrong amplitude. Although rare, this was being encountered on digital audio recordings made using devices ranging from small, handheld units such as interview recorders to the large, professional recorders used in the film and broadcast industries, and the consequence was a loud and aggressive form of distortion that could totally obliterate the wanted signal and render the audio completely useless. With Unwrap, CEDAR has developed an algorithm

to identify and correct sample wrapping distortion. If further problems exist, these can then be addressed using additional CEDAR processes, such as broadband noise reduction, crackle and hum removal.

In other news, the manufacturer has announced the availability of CEDAR Studio 9 for Mac, the latest version of its

audio processing and restoration suite for AAX Native, VST2, VST3 and AU formats, which is compatible with all Intel-based Macs. CEDAR Studio 9 for Mac is also compatible with all previous Mac operating systems from OS X 10.12 (Sierra) through to macOS 10.15 (Catalina). Among other algorithmic improvements, it includes a

new version of Retouch with its machinelearning Matching and AI-driven Repair capabilities. Four CEDAR Studio 9 packages are available: DNS, Restore, Retouch and Complete. CEDAR Studio 9 for Mac is AAX Native compatible on Pro Tools v11, v12 (32- and 64-bit), 2018, 2019, 2020 (64-bit only), as well as VST2, VST3 and AU. Retouch is also supplied as a standalone application. Customers who licensed CEDAR Studio 7 or CEDAR Studio 8 on or after 1 April 2018 are eligible for a free upgrade to CEDAR Studio 9.

In brief, for users running CEDAR Trinity Enhance on Macs, the company has launched CEDAR Trinity Enhance v1.1, which is compatible with macOS 11 Big Sur as well as OS X 10.12 (Sierra) through to macOS 10.15 (Catalina). www.cedaraudio.com

Epson heads to the classroom Christie combines security and performance CHRISTIE HAS announced the next generation of its Secure Series. The Secure Series II includes multi-source viewing without a processor and is available in five sizes, ranging from 55–98 inches. The hallmark of the Secure Series is non-RF video transmission, critical for facilities like government and military, as well as any application that requires onscreen content

EB-L200F THE EB-L200 laser projector series – featuring the EB-L200F, EB-L200W, and EB-L200X – have been unveiled by Epson as its first affordable laser light source lineup for schools and offices who are looking for an efficient projection solution for classrooms and meeting rooms. The models cater to a wide range of resolutions – from XGA, WXGA to Full HD – and use three separate liquid crystal panels to process each primary colour (red, green and blue) simultaneously. The colour beams are then recombined in a prism before being projected as a complete image, eliminating the “rainbow effect” commonly seen in single-chip processors.

Combined with a colour and white light output of up to 4,500 lumens and display

to be secure from external interference. The Secure Series II is ADA and TAA compliant and features an OPS slot, a smaller bezel and DICOM simulation mode for advanced greyscale reproduction and the analysis of x-rays and medical scans for training purposes. www.christiedigital.com

size of up to 500 inches, the EB-L200 units reportedly ensure that all participants in the classroom or meeting room can enjoy vibrant, natural-looking projections in greater detail, especially now that social distancing measures are being observed. Built-in Wi-Fi and Miracast support allow classroom or meeting participants to share content from any smart device, and users can benefit from the split screen feature, which allows content to be projected from up to four different displays in one screen. The projectors boast a longer life cycle of up to 20,000 maintenance-free hours compared to lamp projectors. www.epson.com

Roland gets in the game DESCRIBED AS an affordable solution for bringing professional relay capabilities to any live production environment, Roland has debuted the P-20HD Video Instant Replayer.

The device enables a single operator to cue up replays of action, either on a streaming feed or live event screens in the venue, making it ideal for school sports, coaches, trainers and e-sports. Recording directly to high-capacity SD cards, action can be replayed in forward, reverse or slow motion, stepped through frame by frame or frozen for detailed analysis. The production is continuously recorded in the background during replays, with no gaps in the action.

With the ability to function on its own, or the upstream or downstream of any Roland video

switcher, the P-20HD features a front panel comprising an array of dedicated hardware controls for a hands-on operation. Transport buttons include play, pause, forward, rewind, mark in and mark out. A jog/shuttle wheel with optical encoding provides precise control to scrub clips for replay and editing, while the T-bar directly adjusts playback speed. A Speed Range function offers fine control to aid with focusing in on tight action and contested plays.

In recording view, the P-20HD’s on-board colour LCD display screen shows the current video input, plus critical SD card information like recording duration, remaining storage

space and available time. In playback view, users can display cropped previews of all video clips for live replay or later compilation.

After the action is over, the media playlist builder aggregates clips into curated pro videos, letting users celebrate the best moments of a game on social media or distribute practice and training sessions to coaches and players for evaluation. The P-20HD natively records in the universal H.264 format. Users can connect two video sources via HDMI and switch/composite between them for replay capture. proav.roland.com

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Capture, stream, switch

Fairlight mixes multiple tracks

THE UC9040 StreamLIVE Pro from ATEN Technology, a more advanced version of its forerunner, the UC9020, allows users to capture, stream and switch between two Full HD video inputs over the internet and create multi-camera setups that reportedly take video production to the next level. It offers users an all-in-one, four-port HDMI AV mixer, containing direct streaming, direct recording and scene-based switching capabilities.

The UC9040 also uses the ATEN OnAir app to turn an iPad into a touch interface for controlling, preview monitoring, real-time editing and arranging multielements into programme mixing, helping to reduce the complexity of a user’s livestreaming setup, equipment and cabling. The app includes DVE (Digital Video Effects) and a built-in graphics editor to make a user’s iPad a personal video editing suite. Videos can be combined, cropped and scaled to make PnP, PbP or split layouts.

Transparent PNG images and backgrounds can be added from an iPad photo library, as well as title overlays with professional-looking effects.

The UC9040 integrates 1080p video capture, video recorder, video switch, streaming encoder, video converter, video splitter and audio mixer.

BLACKMAGIC DESIGN has unveiled its new Fairlight desktop console, a portable audio control surface featuring 12 touch-sensitive flying faders, built-in LCDs above each channel strip for pan and effects control, and full automation control. It also features an HDMI interface for connecting a monitor to view an expanded graphical interface with audio status and metering. The manufacturer describes the console as a complete audio mixing control surface for

It is reportedly compatible with every major platform and can livestream to two platforms at the same time, such as Facebook, YouTube, Vimeo, Livestream or any custom RTMP destination. The device is plug and play, so computers, monitors or complicated setups or software settings are not required. A built-in encoder and streaming server mean users only need to connect to their video sources and network.

graphics user interface with channel status and full audio level metering. The interface lets customers use their own HDMI monitor with Fairlight 2, 3, 4 or 5 bay studio consoles for direct visual feedback. It works by converting the console’s Ethernet data into HDMI and SDI, making it compatible with other computer displays or broadcast monitors.

In other news, DaVinci Resolve 17 comes with over 100 new features and 200 improvements. The colour

Fairlight desktop console

www.aten.com

Marshall adds 4K PTZ models TWO NDI 4K PTZ camera models have been added to Marshall Electronics’ lineup: the CV730-NDI and CV630-NDI. The CV730-NDI features 4K60 over simultaneous 12G-SDI, HDMI 2.0 and NDI | HX with up to 3840x2160p UHD resolution at 60fps.

The CV630-NDI features up to 3840x2160p UHD resolution at 30fps with 3G-SDI, HDMI and NDI | HX. Both models contain an extended 30x optical zoom range wrapped around a high-performing Sony broadcast sensor – the CV730 starts at a 65° angle-of-view and the CV630 starts at a 70° angle-of-view all the way out to 200mm, allowing operators to pull long shots closer with an extended zoom range. The cameras boast a flexible 340° horizontal pan range with 120° vertical tilt, giving them a wide range of movement when capturing high-quality UHD or HD video.

Meanwhile, the ML-454 Quad 4.5-inch rack monitor features four high-resolution screens in only two rack units. It supports a range of inputs including HDMI, 3G-SDI and composite. Both SDI and composite inputs have active loop through with independent tallies and controls on each screen. The

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DaVinci Resolve 17

CV730-NDI monitor also features front-panel access to functions, such as aspect ratio, marker and backlight level. The ML-454’s four 1280x800 pixel LCD screens are mounted in a tilting design that reportedly allows users to achieve the best viewing angle even at the top of a tall rack. Adjustable backlight accommodates indoor or outdoor applications. The monitor is ideal for a range of remote applications such as houses of worship or any other type of production that has a variety of sources. www.marshall-usa.com

mixing multiple tracks at once, automating a variety of parameters and plug-in settings, controlling channel functions, recording, monitoring and navigation.

Features include precision control knobs and illuminated buttons for quickly identifying channels. Customers can use the knobs and buttons to control channel parameters, EQ, dynamics and plug-ins.

The built-in HDMI output lets users connect a display, giving them the same interactive graphical feedback as larger consoles. The sculpted faders are described as smooth and are said to provide the perfect amount of resistance for making subtle adjustments. Individual LCDs display track information for each channel.

The Fairlight HDMI monitor interface has also been launched. It lets customers use any HDMI or SDI television or computer monitor with the large Fairlight studio consoles. For users who like to customise their large audio consoles and even design their own custom desks and studio furniture, this converter will reportedly allow them to use any display to get a real-time Fairlight

page features new HDR grading tools, redesigned primary controls and an AI-based magic mask. Editors get a metadata slate view with bin dividers, zoomed waveforms for audio trimming, smart reframing, a unified inspector and dozens of other time-saving tools. In addition, compositions created in Fusion can now be used as an effect, title or transition on the edit and cut pages.

Power Window drawing has been improved and features new split screen wipe options, an additional Sat vs Lum curve, improved scopes and support for 17-point 3D LUTs. Other features include an HDR grading palette which lets customers create new colour wheels with custom rolloff for specific tonal ranges; a mesh-based warping tool so that two colour parameters can be adjusted at once; a new transient analysis tool which automatically detects individual words, beats or sound effects; and new features for the cut page to help users finish projects even faster. www.blackmagicdesign.com

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XR events are brought to life MODULO PI has announced the addition of Extended Reality (XR) capabilities to the fully integrated media server solution, Modulo Kinetic. Upgraded with XR features, the new version will simplify the production of virtual and hybrid events and make them more accessible.

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Modulo Kinetic is a comprehensive media server solution successfully deployed in large immersive installations, in corporate events and live performances such as the Australian Gold Coast Commonwealth Games. With the advent of the Covid-19 crisis and current social distancing guidelines, the manufacturer developed new XR features in Modulo Kinetic to address the need for virtual and hybrid events. Since last summer, several XR corporate events were successfully produced working with a preview version of the new Modulo Kinetic upgrade.

New capabilities include an enhanced chroma keyer, improved embedded 3D engine and the support of camera tracking for the Panasonic AW-UE150, Stype and Vive systems. Based on these new capabilities, pro AV players will be able to produce virtual events featuring

encountered in physical events. Virtual events produced with Modulo Kinetic are compatible with LED screen configurations in addition to green screen setups for budget projects. The Modulo Kinetic platform embeds all necessary tools to produce real-time virtual sets. These include pre-visualisation tools for realtime 3D study, simulation and VR, a 3D environment and 3D engine for real-time generative content, an improved chroma keyer, powerful 2D real-time compositing tools, a timeline sequencer and a nodal editor to easily add interactivity in a show.

In addition, Modulo Kinetic includes a lowlatency live mixer for real-time production, and a UI Designer to create custom control panels compatible with PC, Mac, iOS and Android devices. www.modulo-pi.com

THE VISION Series of LED video panels has a new member. Designed for both inside and outside events, the VS3IP is ADJ’s highest-resolution, IP-rated LED video panel to date. It features a 150x150 matrix of three-in-one SMD1921 LEDs, delivering a pixel pitch of 3.84mm for a pixel density of 67,816 per m2. It delivers a maximum brightness of 4,500 NITS with a contrast ratio of 5000:1, making it suitable for use in daylight hours.

The VS3IP also offers 0–100% brightness adjustment allowing the output to be reduced when required, for example in smaller indoor applications or to ensure that video content doesn’t overpower lighting fixtures and onstage content when used as a backdrop.

The panel features protection of its front surface from liquid and particles rated to the IP65 standard. The rear panel has an IP54 rating and the unit is fitted with IP65rated locking sockets for power and data (RJ45). The input and thru connections for both are also fitted with rubber caps to provide added protection during transit

and also if a thru socket is not in use for a particular deployment.

A viewing angle of 160° x 140° (HxV) at 3m can be further enhanced using the optional angling feature. It allows the panels to be joined together at either a concave or convex angle of 3° or 6°. This means that curving LED video screens can be constructed to allow better viewing for audience members positioned to the side of a stage or to fit with the contours of a curved stage set or venue design.

Weighing 9kg, the panel is fitted with retractable corner protectors that fold out from the back to keep the corners safe from knocks during transportation, setup and teardown. The low-profile panel measures 576mm x 576mm x 76.8mm (HxWxD) and can run on any voltage between 100V and 240V (50–60Hz), making it suitable for international touring duties. It has a maximum power consumption of 210W per panel and an average operating power consumption of 84W per panel. www.adj.com

City Theatrical adds to its Multiverse CITY THEATRICAL’S Multiverse wireless DMX/RDM technology is now available for film and video projects with a new line of Multiverse Studio products, including the Multiverse Studio Receiver, Multiverse Studio Kit and Multiverse Studio Add On Kit. The Multiverse Studio Receiver contains a long-life lithium-ion polymer battery giving 20 hours of use, while its full four-button user interface with a backlit LED display reportedly makes setup easy and gives feedback on system performance. Each Multiverse Studio Receiver includes a DMX corded connector, which allows the external antenna to hang below the lighting fixture, giving improved data fidelity.

The 900MHz/2.4GHz (P/N 5904) version has two built-in radios, 2.4GHz (for worldwide use) and 900MHz (for use in the Americas only), which allows the user to select which single universe to receive and which radio band to use via the Multiverse SHoW ID. The 2.4GHz (P/N 5905) version can be used worldwide on the 2.4GHz band.

The Multiverse Studio Kit will help lighting technicians plan, set up and operate wireless

DMX/RDM onset – all with contactless charging. Each kit includes six Multiverse Studio Receivers, one Multiverse Transmitter with hanging bracket and clamp (for multiuniverse broadcasts), one Multiverse Node with hanging bracket and clamp (for singleuniverse broadcasts), one DMXcat MultiFunction Test Tool (to turn on and troubleshoot any lighting fixture onset), one RadioScan Spectrum Analyzer (for planning) and various accessories to keep equipment organised, mounted and charged.

The Multiverse Studio Add On Kit was developed to provide an easy way for film and video professionals to scale up wireless DMX projects. This kit features six Multiverse Studio Receivers in a contactless charging case. Individual chargers and USB cables are also

included to enable charging or powering individual units outside the case. www.citytheatrical.com

72 PRO AVL MEA March–April 2021

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TELES to its the m serve proce curren Telest applic eight data. eight concu Trans multip XAVCtime s files a

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PRODUCTS

Streaming to multiple destinations THE NVS-34 from Datavideo is an H.264 multi-platform video streaming server which offers two distinct bit rate options for streaming and recording simultaneously and supports vertical video streaming. The encoder accepts SDI and HDMI inputs, along with embedded or analogue RCA unbalanced audio. The recording file system supports NTFS, FAT32 or exFat for continuous recording without file size limitations.

Other features include H.264 livestreaming to dual destinations and

server is reportedly compatible with all major streaming platforms and RTMP(S), SRT and many other streaming protocols.

It has a multi-language web UI (English, traditional Chinese or simplified Chinese) and LED status indicators.

The Datavideo NVS-34 can record MP4 or TS files to an SD card and can be remotely controlled using a mobile device with a web browser. vertical video encoding for mobile platform social media streaming. Users can select

the audio output – embedded audio, external audio or mixed audio – and the

Lightspeed productions TELESTREAM HAS added a third model to its Lightspeed Live family. According to the manufacturer, the Lightspeed Live C4 server has up to 50% more encoding and processing power when compared to the current C3 server and is capable of running Telestream’s Live Capture and Live Stream applications simultaneously across up to eight SDI channels and IP inputs of live video data. Live Capture C4 supports capturing from eight concurrent SD/3G-HD SDI inputs or two concurrent 4K/UHD inputs, or from several Transport/RTMP IP inputs. It records in multiple video formats, including AVC-Intra and XAVC-Intra Class 100/300/480, at the same time simultaneously creating H.264/AVC proxy files and storing them to a large local media

om

www.datavideo.com

RAID or to external shared storage such as a NAS or SAN. Enhancements have also been made to the CaptionMaker authoring software and the Vantage media processing platform.

CaptionMaker and Vantage Timed Text Flip now support IMSC 1.1, the latest version of the SMPTE standard for subtitling and captioning.

IMSC is of particular importance in the preparation of IMF packages, and IMSC 1.1 is required for those who are producing content for the Japanese market, as well as global companies, such as Netflix. Vantage IMF Producer can now automate the creation of IMF packages from Adobe Premiere Pro. www.telestream.net

NDI|HX PTZ CAMERA

V

BRAND NEW PTC-140NDI BY DATAVIDEO

er

Our most affordable PTZ camera is the PTC-140. This camera is available in various different configurations, and NDI|HX is the latest.

NDI|HX is a royalty free standard enabling IP video and control over Ethernet. PTC-140NDI is compatible with all software that supports NDI|HX. PTC-140NDI is available now! For local representation, please visit our website.

$ 1,549.00 Excluding VAT/Duties/shipping

More information on www.datavideo.com March–April 2021 PRO AVL MEA 73

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BUSINESS: ANALYSIS

New chapter

Starting a new job, where the office is home and introductions to colleagues and clients happen onscreen, is one of many surreal aspects of business life in this strange new world.

Caroline Moss catches up with Chris Mead and Rahul Samuel, recently appointed by L-Acoustics

L–R: L-Acoustics’ Chris Mead and Rahul Samuel WHEN DUBAI-BASED MEAD AND SAMUEL JOINED L-Acoustics in late 2020 as sales manager for the Middle East, India and Africa and applications engineer for the Middle East and India, respectively, both had worked together for two years already with Meyer Sound in the region. Their established working relationship, together with a good knowledge of the local market, certainly made the transition easier. So has the fact that certain of their regions, including the UAE, Saudi Arabia and Qatar, have coped well during the pandemic.

“Medical resources are good, and the pandemic’s been dealt with in a strict and organised fashion, so hopefully recovery will be quicker here,” comments Mead. “India has been hit really hard and I believe recovery will be slower; this is also true of less developed countries in the region such as Egypt, Jordan and Lebanon. But it’s impossible to plan this year with any kind of accuracy.”

Events across the region have been scaled right back, though a few were able to go ahead in the UAE over Christmas and the New Year, including a Kiss concert at Atlantis, The Palm with an L-Acoustics system supplied by PRGdeltasound. L-Acoustics systems were also used for UAE National Day celebrations in Dubai, Sharjah and Abu Dhabi in December, with L-ISA immersive technology used on the latter.

The French manufacturer’s other key market is, of course, integration. “L-Acoustics have been excelling in this for the last few years, although their longer history is in the touring world,” Mead continues. “One of the key things for this part of the world is to build good relationships with consultants, integrators and end users. Integration projects tend to have many stakeholders so it’s important we are here to support them all. It really helps to be based here to meet and spend time with people. We’ve been able to do that within reason this past year, although it’s not the same as it was. Within the UAE we’ve been able to travel around and have face-toface meetings, although people aren’t doing it as much as they normally would, and we mostly haven’t been able to get out of the UAE to the rest of the region at all.”

“We are slowly opening up the possibility of meetings where required, and my job sometimes requires my presence onsite,” adds Samuel. “I can do a lot of testing remotely and we’ve developed as an applications team so we can support our customers.” He’s also made a successful transition to working with a new loudspeaker brand thanks to online training. “As I come from a touring background, I’ve worked on L-Acoustics systems before. Newer technology has come in since, so I’ve been doing training online.” This has had the added bonus of allowing Samuel to transfer the online training to others more easily. “However, at the end of a project, when a system needs to be handed over or a calibration needs to be done, I need to be onsite,” he says. “We have a very strict protocol for travel and we’re well prepared.”

Both agree there needs to be a greater reason for having a physical meeting than there would have been a year ago.

“Historically, sales managers in our industry have spent a lot of time travelling around the region meeting people,” says Mead. “It’s not the most time-efficient or cost-effective way to see people, even though a face-to-face meeting is the best. But things are adapting, especially with the use of video conferencing platforms, and it’ll be interesting to see how the market changes as we move forward.”

Video conferencing has overwhelmingly become the norm for interactions with India; Samuel has been unable to visit since last March as the country entered a lengthy and strict lockdown, only to see cases spike alarmingly once restrictions relaxed. “It’s been phone and Teams ever since,” he says. “India is a very different kind of economy to the Middle East: lots of people depend on daily wages and need to be out working.”

For now, installation projects are on hold and events cancelled, although Samuel reports a few new enquiries starting to trickle in, and the national vaccination programme is underway. “The hope is that things will get better; projects can take a year-and-a-half to realise. As for live sound, where L-Acoustics is a market leader in India, that’s completely on hold, with rental companies maintaining a skeleton crew, and

some of them doing virtual events. But bars are reopening, artists are starting to get booked and smaller events organised. India’s events calendar doesn’t pick up until later in the year, so hopefully by then we should see some of those large events come back.”

A similar events season, beginning in October, is also in the UAE’s favour. “As the vaccines are rolled out, by the end of the Northern Hemisphere summer when the season starts, I’m hoping life will be a bit more normal,” says Mead. “And when Expo goes ahead in October, which I believe it will, the region could potentially be incredibly busy.

There’ll be a lot of excitement from the public about getting back to live gigs, and Expo will have five stages running for 180 days, with at least one show a day. That’ll require a huge amount of support from our industry, not to mention all of the installation work going on in advance. So it should be a good end to the year.”

Construction for the Dubai Expo, originally scheduled to take place in 2020, has carried on, with workers given special permits to continue, even in the more serious lockdowns. This will include a permanent installation of L-ISA technology in the Al Wasl Dome.

When Expo finishes, the 2022 FIFA World Cup in Qatar will be looming on the horizon, and the pair are also looking towards development projects in Saudi Arabia.

“The Saudi market is growing phenomenally quickly with projects like Neom, Qiddiya and the Red Sea Project,” says Mead. “There’s a lot of potential there, and the market will be looking towards the latest technologies such as our immersive format, L-ISA, which will be very popular in that young and vibrant market.”

L-Acoustics has clearly taken the long view by hiring Mead and Samuel to reinforce its presence in MEA and India during these difficult times; a decision that looks set to pay dividends once business picks up across the regions they cover. www.l-acoustics.com

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K3

Full-Range. Compact. No Compromises.

Introducing K3: a versatile loudspeaker satisfying all your requirements for mid-size events and venues without any compromises.

Completing the K series line, K3 boasts an optimal mechanical design for reduced weight, Panflex™ variable directivity, laminar vents for a powerful, linear low-frequency response down to 42Hz, and class-leading SPL. Optimized for audiences of 1,000 to 10,000, K3 reduces the need for amplification and dedicated subwoofer, making it faster, more straightforward, sustainable, and economical to deploy. It’s ready for your next event. l-acoustics.com

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