Pro AVL MEA November-December 2019

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION November–December 2019

ROUNDTABLE: WOMEN IN AUDIO OUT OF THE BOX RECORDINGS FILLING THE VOID GITEX, PL+S ME, IBC and AES reviewed

COMPLEX SIMPLICITY AV-over-IP at Rivers Church’s newest campus

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CONTENTS

Volume 16 Issue Six November–December 2019

NEWS NEWS QSC combines portfolio with Attero Tech, Maestra Group’s partnership

6

ROUNDTABLE Exploring the role of women in audio

18

EDUCATION Stage Audio Works commits to industry education

24

DISTRIBUTION RCF and AVenger assemble, VV & Sons named dBTech distributor 26 APPOINTMENTS Bose Professional and Exterity expand Middle East teams

28

NEW PRODUCTS The industry’s most comprehensive product news

31

FEATURES OUT OF THE BOX Immersive AMBEO Cube recordings at the ROHM

68

COVER: RIVERS CHURCH Bringing a flexible workflow to Rivers Church

70

FILLING THE VOID An Incubus system has found a home at Barasti in Dubai

72

HEADING INTO THE OASIS How UA has helped GTR Studio stay ahead

74

BUSINESS LETTER FROM AMERICA Dan Daley explores gaming events

76

LETTER FROM EUROPE Phil Ward reviews the potential impact of a fragmented EU 76

Editor’s note It’s been a busy few months as we get back into the winter trade show season. From the behemoth’s that are IBC in Amsterdam and the AES/NAB Show in New York, to the regional shows in Dubai such as GITEX (which itself dwarfs the likes of IBC in overall size) and Prolight + Sound Middle East, the team has been busy traversing the continents to ensure that those who don’t get the chance to attend, don’t miss out on anything important. You can find show reports from all these exhibitions in the business section of this edition. Having struggled to generate serious momentum since starting up at the DWTC several years ago, it was interesting to hear that the PL+S ME show organisers are considering an expansion into Saudi Arabia in the near future. While in many ways this should come as no surprise, with Saudi Arabia being a hotbed of AV activity at the moment due to Vision 2030, it’s a courageous move to start another new show in a brand-new territory. Perhaps this is another reason the organisers have decided to shift the Dubai exhibition to January. There will be no PL+S ME in 2020 as the next edition takes place in January 2021 to make way for Expo 2020 next October. It will be interesting to see what effect this will have.

The standout of this edition is undoubtedly our roundtable event held in Dubai in partnership with Shure MEA. The event brought together several prominent women working in AV in the Middle East and Africa, and a full rundown of the event and topics covered can be found on p.18. We’ll be looking to host similar events again in the future centred around some of the industry’s most poignant and topical trends, so I encourage you all to get in touch with me about the industry issues you struggle with most on a daily basis.

INTERVIEW: Wild & Marr’s Gary Furman looks into the distributor’s past and future 78 COMPANY PROFILE Venuetech’s path towards a full solutions offering

80

SHOW REVIEW IBC represents broadcast’s frenetic pace of change

82

SHOW REVIEW Some see GITEX as the most fruitful trade show in MEA

86

SHOW REVIEW PL+S ME’s fourth edition was billed as the ‘biggest yet’

88

SHOW REVIEW Running alongside NAB, AES New York inspires and educates

90

Email: sluckhurst@proavl-mea.com

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TECHNOLOGY Part three of our Audio Precision series on audio measurement

92

ANALYSIS Mike Blackman discusses ISE’s move to Barcelona

94

inside

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@ProAVLMEAMagazine November–December 2019 PRO AVL MEA 3

NEWS

QSC combines portfolio with Attero Tech WORLD: QSC has announced the acquisition of Attero Tech, a move that will combine the growing portfolio of Q-Sys audio, video and control (AV&C) products with Attero Tech’s range of networked AV endpoints and I/O peripherals.

Attero Tech’s engineering staff will also be joining the QSC team.

‘This acquisition is a natural next step for our organisations given our long relationship, highly compatible portfolios and the exceptional shared values and company cooperation that have developed over the last several years,’ said Jatan Shah, chief operating and technology officer at QSC. ‘Both QSC and Attero Tech were early adopters of network audio transport

technology, including CobraNet, Dante and AES67. In addition, when QSC expanded the control capabilities of the Q-Sys Ecosystem in 2017, it allowed Attero Tech to become the first manufacturer partner to independently develop Q-Sys Control integration plug-ins, and has since developed 20 plug-ins

for their portfolio of I/O devices.’

‘A primary guiding principal of our Q-Sys product development strategy has been a protocol agnostic, software-based approach utilising the best hardware available, combined with innovation at the software and application layer. This approach allowed us to deliver a

MultiDyne announces its acquisition of Census Digital WORLD: MultiDyne Fiber Optic Solutions seized the opportunity of the opening day of IBC to announce its acquisition of Census Digital, a company specialising in signal processing, distribution, conversion and monitoring gear. MultiDyne has taken over Census Digital’s existing fibre transport solutions, which includes an array of rackmount and openGear modular solutions that work with MultiDyne’s fibre-optic product line.

‘MultiDyne and Census Digital are known worldwide as problemsolvers in their areas of specialty: fibre transport and signal monitoring,’ said Frank Jachetta, CEO of MultiDyne. ‘There is no question that the two areas are complementary for broadcasters and content producers working across a variety of live production

environments, and Census Digital’s audio innovations add substantial power to our value proposition. This acquisition empowers us to innovate and deliver more complete solutions to our customers that leverage the strongest technical capacities of both companies.’

Bob McAlpine, president of Black Pearl Management Group and a special advisor to MultiDyne, aided the acquisition and consulted with the companies during this process. ‘Census

6 PRO AVL MEA November–December 2019

highly robust, innovative products within the AV industry. We are excited and confident for the future of our combined organisation.’

Joe Pham, president and CEO of QSC, concluded: ‘This is such an exciting time for QSC and I am thrilled to welcome the Attero Tech team to the QSC family. We look forward to executing an integration strategy that prioritises the needs of our customers, incorporating Attero Tech into QSC sales, support, service, marketing and training for our channel, while always striving to ensure and maintain a positive experience for our customers.’ www.atterotech.com www.qsc.com

Maestra Group makes five-star partnership MIDDLE EAST: Maestra Group has opened a new base in Bahrain and, in addition, has announced a new partnership with Ritz-Carlton Bahrain for the debut of the luxury resort’s new venue, The Arena. Maestra will watch over all the technical aspects of The Arena which includes a full setup and capacity for large banquet receptions and global conferences alongside Ritz-Carlton’s services, hotel and resort facilities.

‘We are extremely excited about this new venture and to be involved in such a high-profile and incredibly well-designed event space,’ said Thomas Clements, managing partner at Maestra. ‘For Maestra Group, this is a logical expansion of our work in Dubai,

MultiDyne CEO, Frank Jachetta

Digital has developed a strong reputation as an innovator over the past 10 years, and we recognised common synergies with MultiDyne from a product development and business perspective.’

Both MultiDyne and Census Digital engineers will be working together on product development initiatives and integration of existing product lines, which will be overseen by Jachetta.

‘While we anticipate new product lines that merge our combined

standards-based, powerful, flexible and scalable AV&C platform unlike anything on the market,’ commented TJ Adams, VP of systems product strategy and development at QSC. ‘Adding the Attero Tech peripherals to the greater Q-Sys Ecosystem will expand existing options for integration endpoints today, and enlist this new engineering talent pool to accelerate the pace of future software innovation and native endpoints for the platform.’

Rus Sundholm, president of Attero Tech, added: ‘Attero Tech has grown to become the premier provider of innovative, cost-effective audio networking I/O endpoints and AV connectivity solutions. Our catalogue of products has a reputation as

and it will also be the first step in some strategic expansion plans for Maestra Group in the Middle East.’

Bernard de Villèle, general manager of the Ritz-Carlton, added: ‘As Bahrain becomes a global destination for premiere conferences and events in the region, it’s our pleasure to partner with Maestra and unveil a new conference facility complemented with our signature Ritz-Carlton brand service we’re known for globally. With modern interiors and high-tech capabilities, The Arena stands to be one of the soughtafter venues in the region and a perfect addition to the resort’s existing portfolio.’ www.maestra-group.com www.ritzcarlton.com

strengths, we see many oppor tunities to build transpor t capability into existing Census Digital products, notably the C-SERIES of embedded audio monitors and openGear audio conversion and distribution modules,’ Jachetta commented.

‘Known for its engineering prowess, Census Digital brings exceptional value and synergy to our market-leading, fibreoptic systems. This is the right acquisition at the right time as we continue to diversify and expand.’ www.censusdigital.com www.multidyne.com

Maestra Bahrain is launched to oversee The Arena

NEWS

Audio-Technica becomes official MotoGP partner

Tripleplay opens ME HQ in Dubai UAE: Digital Signage, IPTV and video streaming solutions developer, Tripleplay, is expanding its Middle East operations with a new regional of fice in Dubai Internet City.

With purpose-built demonstration facilities, the new headquar ters will be the centre of business for Tripleplay in the Middle East and will house its regional sales and technical ser vices depar tments.

It will cover operations in UAE, Oman, Saudi Arabia, Jordan, Egypt and Qatar.

‘It is an exciting point for Tripleplay in the Middle East, particularly with the increasing number of staff and the move into a new office; it is now the perfect time for us to grow our business and support our partners and clients further,’ commented Amer Alzaiem, regional director for Tripleplay in the Middle East. ‘I very much look forward to settling in with the team and continuing to grow the global business Tripleplay has become over the last few years.’

WORLD: In celebration of its 70th anniversary, Italian manufacturer RCF flew nearly 500 distributors, dealers and customers to the Venice Arsenal, the hub of Italian shipbuilding in the 16th century, for A Night in Laguna.

The celebrations saw guests arriving at the venue via a

45-minute boat journey, before being treated to cocktails and a buffet, courtesy of two-Michelin starred chef Massimiliano (Max) Alajmo, along with a special 70th birthday cake. Guests were then invited next door, where RCF Group CEO Arturo Vicari was introduced to applause. He emphasised the fact that what RCF had really been selling this past 70 years, as much as transducers, was ‘emotion’ – a fact backed up by a short company video.

This was followed by the surprise announcement that guests would be celebrating the landmark in the company of Andrea Bocelli, taking the form of an hour-long concert of

www.tripleplay.tv

WORLD: Dorna Sport has appointed Audio-Technica as the official microphone services solution provider for MotoGP. Dorna Sport is the commercial rights holder of the MotoGP Grand Prix motorcycle racing championship and its media content and production team has been looking at ways to enhance the quality of its audio delivery, auditioning Audio-Technica solutions at the end of the 2018 season.

The tests proved successful for the Japanese manufacturer and resulted in the purchase of 265 Audio-Technica microphones, headsets and monitoring solutions. This includes 53 track feed microphones, 76 interview and ENG camera microphones, and System 10 2.4GHz wireless microphone solutions for 16 roving ENG cameras. The new 3000 Series handheld wireless systems and Engineered Sound 925 goosenecks with Dante endpoints were supplied for the pre- and post-race press conferences, while 30 BPHS1 headsets were used at the commentary positions.

MotoGP teams rely on 72 M60x monitor headphones and E50 in-ear monitors for their live audio feeds.

BP28 and BP28L large-diaphragm shotgun microphones have also been employed. ‘We immediately noticed a major step change in track audio acquisition quality when the Audio-Technica shotguns were installed,’ said Daniel Laviña, media technical director at Dorna Sports. ‘With their exceptionally wide frequency response and high SPL threshold, they seem ideally suited to the sound of the race, and we can now have quality audio

continuity between one camera position and the next.’

Audio-Technica’s head of engineering, Kazuhiro Onizuka, is excited by the close R&D opportunities that working with Dorna Sport will present.

‘Working with Dorna at the actual live MotoGP races around the world is a great extension to our research laboratory, and further demonstrates Audio-Technica’s commitment to sports audio broadcasting,’ he said.

violinist Anastasiya Petrishak and another regular of Andrea Bocelli’s ensemble, Italian singer Laria Della Bidia.

Reinforcing Bocelli’s performance were solutions from the manufacturer’s loudspeaker portfolio, including a central cluster of 10 elements of active HDL 26-A cabinets in a compact, curved line array configuration, with single TT 2-A satellite speakers out wide giving the image of full separation.

A straight line of seven TT 10-A enclosures, electronically curved using RCF’s proprietary RDNet, provided front-fills, while a large complement of 13 SUB 9006-ASs in a straight line was also fully

optimised thanks to the curve created in RDNet. Mixing Andre Bocelli’s vocals and the soloists on a DiGiCo SD7 was Andrea Taglia, the artist’s long-term FOH engineer, who also received a separate orchestra mix from a second SD7, created by another long-term collaborator, Francesco La Camera.

The set of popular classics ended to a crescendo of applause, which brought the ensemble back for two encores, firstly for Sartori’s Con te partirò and finally a moving version of Nessun Dorma starring Bocelli and Petrishak.

RCF celebrates 70 years in style

RCF founder Arturo Vicari

light opera and populist classics, with an accompanying orchestra boosted by Cuban soprano Maria Aleida, Ukrainian principal

Protec Dubai opts for Robe UAE: The Protec Group’s Dubai branch has recently added a range of Robe moving lights – including BMFLs, Pointes, MegaPointes, Spikies and RoboSpot systems – to its existing portfolio.

The investment was spearheaded

by Protec’s head of lighting, Aaron Russ, to cater to its roster of projects, from intimate shows to large stadium events and festivals.

The first batch of 96 Pointes was sourced to replace a competitor beam light product, together with

48 Spikies on the same order. The next purchase included 24 BMFL XF Washes with the barn door module. Also delivered by Robe Middle East with this second batch of luminaires were another 24 Pointes and 12 MegaPointes.

‘I love these fixtures, they work really well, especially outdoors in adverse weather conditions. In fact, I’ve never had to send a Robe fixture back to be repaired – they are really tough and, believe me, we’ve beaten them up enough

8 PRO AVL MEA November–December 2019

L–R: Protec’s Aaron Russ with Robe’s Elie Battah

www.audio-technica.com

www.rcf.it

times in terms of harsh operating environments,’ said Russ.

Two RoboSpot base stations with two BMFL Blade luminaires and separate motion cameras to be used as remote-controlled followspots were also acquired, which have since been deployed for both the opening and closing ceremonies of the President’s Cup Football in the Hazza bin Zayed Stadium. www.robe.cz

NEWS

Videlio Middle East acquired by Broadcast Solutions MIDDLE EAST: Broadcast Solutions has announced the completion of its acquisition of Videlio Middle East FZ LCC, the Dubai-based subsidiary of Videlio Group. Led by Munzer Rushdi, Broadcast Solutions’ operations in the Middle East will now be combined with those of Videlio Middle East under the name Broadcast Solutions FZ LLC. ‘Our goal is to expand our activities in the Middle East and beyond into Africa,’ explained Stefan Breder, CEO of Broadcast Solutions GmbH. ‘This acquisition dramatically increases our ability to service regional broadcasters and propose fixed installations and facilities in addition to our OB vans and mobile platforms.’

L–R: Laurent Mairet, Stefan Breder, Munzer Rushdi and Nicolas Hans

Videlio Middle East was set up five years ago and now boasts a team of 12 professionals based out of Dubai Media City. It services UAE- and GCC-based broadcasters, and provides Command and Control (C2) systems to corporate and enterprise clients such as

OpenLab invests in Absen Acclaim series UAE: Absen’s Acclaim A27 series LED videowall system was recently invested in by Huawei OpenLab, and subsequently installed at its showroom in Dubai to aid in demonstrating the company’s

manager, Alina Yuan. ‘This is our first LED screen in Huawei’s overseas offices.’

One of 12 OpenLab centres around the world, OpenLab Dubai covers approximately 500m2 and

Marquis Broadcast and Broadcast Solutions at IBC

ADCO, Total, Dassault Systems, Dubai Petroleum and Emirates NBD. ‘We are excited to join Broadcast Solutions,’ explained Laurent Mairet, managing partner of Broadcast Solutions FZ LLC. ‘We gain additional resources and skills to better service our existing

and future clients. Broadcast Solutions’ expertise in live production was a natural fit to our news, postproduction and archive practice.’

Additionally, the German systems integrator has been appointed by Marquis Broadcast

www.marquisbroadcast.com www.videlio.com

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is located within Dubai Internet City. The showroom is a place where Huawei’s customers can get hands-on experience with the latest innovations developed by Huawei and its partners.

‘Due to the tight schedule, our team and the client have worked hard and late,’ Yuan added.

‘It took only two days and our team was involved in the whole process to ensure a high-quality installation.’

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advanced smart city solutions.

Huawei opted for a seamless LED display of 1.5mm pixel pitch, capable of receiving real-time information data. OpenLab specifically chose the A2715 as it was able to deliver HD resolution and a high level of brightness and contrast which was suitable for control rooms and public, retail and corporative environments.

‘Huawei and Absen have been in cooperation in a lot of projects, especially in the area of smart cities,’ said Absen’s sales

as an Elite Reseller of its range of archive, workflow and business transformation tools in the Middle East as part of a strategic plan to grow its business in the region.

‘We needed a business partner who’s well respected in the Middle East, with the resources and capability to deploy and support our products and solutions,’ commented Marquis Broadcast managing director, Paul Glasgow.

‘Broadcast Solutions is seen as an innovator in infrastructure and workflow transformation and already has a great deal of experience deploying our systems.’

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November–December 2019 PRO AVL MEA 9

NEWS

IUT draws on AV to advance learning UZBEKISTAN: A major audio installation has been carried out at the INHA University of Tashkent (IUT) in Uzbekistan

by Polymedia-Uzbekistan, the local representative for Russian systems integrator Polymedia. The project has seen a Dante network interface with an Extron GVE platform installed for campuswide AV system management and monitoring via touchscreens.

Polymedia-Uzbekistan was selected to deliver a high-specification, fully networked AV solution that included modern multimedia tools to facilitate distance learning. A key part of the project, Yamaha sound reinforcement systems have been installed in 12 lecture rooms and laboratories.

Founded in 2014 and opened last year, IUT is a collaboration

INHA University

between the INHA University of Korea and the government of Uzbekistan with the intention of being the ‘most innovative and technically developed educational institution in central Asia’.

Yamaha sound reinforcement systems have been installed in 12 lecture rooms and laboratories

A multi-zone system has been designed by Polymedia-Uzbekistan to ensure the clearest sound for every student in each room, in addition to having the ability to combine into a single, bidirectional environment. Supplied and installed

by Uzbek installer ShowPro, Yamaha VXC8 ceiling speakers and VXS8 surface-mount speakers are used throughout, with multichannel XMV series Dante model power amplifiers. These can operate simultaneously in both high and low impedance, allowing connectivity of both speaker types without affecting the number of available output channels or the audio quality. In each space, a Yamaha MRX7-D matrix processor is used to manage the audio system, using its on-board parametric EQ, dynamic

feedback suppression, Dan Dugan automixing, matrix mixer, speaker processing and delay to deliver optimum sound.

The most visible of the facilities is the university’s Room 303 lecture theatre, and the control room that overlooks it. This multipurpose space is used to host a wide range of events and features a Yamaha QL5 digital mixing console – with MY4-AEC Acoustic Echo Canceller and MY8-LAKE Lake Processing cards – in addition to a Rio1608-D I/O rack in the control room with the MRX7-D. Another Rio1608-D is provided on the stage for local I/O, while six pairs of VXC8W ceiling speakers are installed above the auditorium and powered by an XMV8280-D multichannel amplifier.

Lectures and smaller events can be managed by the MRX7-D’s Dan Dugan automixing and relayed via the VXC8Ws, while bigger events are mixed on the QL5 console to installed line arrays, which can be reinforced by the Yamaha ceiling speakers.

The 12 smaller lecture rooms and laboratories vary in size and layout; however, each system features an MRX7-D processor, an XMV8280-D power amplifier, a DCP4V4S controller, DCH8 digital controller hub, a pair of VXS8W surfacemount speakers and between two and 12 VXC8W ceiling speakers.

Audio inputs in each room come from a lectern microphone, two wireless microphones, an aux input for extra local sources and the Extron system, for remotely streamed content from INHA University of Korea.

The system designs were assisted by the manufacturer’s Commercial Installation Solutions Speaker Calculator (CISSCA) software, which helped ShowPro to create optimal Yamaha speaker systems. ‘The brief was to provide the learning spaces with audio systems that would take into account the different designs and acoustic characteristics of each room, deliver a uniform soundfield and ensure that every student experiences equally high-quality audio,’ explained Ilshat Kallimulin, ShowPro’s main project engineer who designed and implemented the system.

Muzaffar Djalalov, acting rector of INHA University in Tashkent, added: ‘The system is very easy to use via the DCP wall panels and Extron touchscreens. The sound for any type of presentation is excellent, while the Dan Dugan automixing makes a big difference in only needing to have a sound engineer on duty for bigger events in the main lecture hall.’ www.inha.uz www.yamaha.com

Egyptian National Media Authority upgrades master control EGYPT: Egyptian National Media Authority (ENMA) has upgraded its master control and playout platform with the help of Imagine Communications. The installation is said to deliver operational resilience that integrates with the broadcaster’s existing infrastructure. It will also take steps towards a software-centric, IP-based broadcast architecture.

‘Our master control room and satellite rooms are missioncritical parts of our operation,’ said Rafaat Younes, chief director of the studio projects department at Egyptian National Media Authority. ‘As ENMA is the national broadcaster, it was crucial that we invested in our facility to bring it up to date with the latest robust and reliable

technologies, as staying on air is paramount.’

The installation from Imagine Communications includes the Platinum IP3 router with integrated Platinum SX Pro multiviewers.

The Platinum IP3 will change uncompressed video-over-IP that will let the multiviewers take advantage of multiplexed IP streams to monitor stacks. This installation also

included the Nexio+ AMP Advanced Media Platform which changed digital content from ingest to playout as well as signal processing

and conversion using Selenio MCP and Selenio 6800+ modules. www.imaginecommunications.com

Nicosia Municipality Theatre re-opens CYPRUS: The Nicosia Municipality Theatre was recently re-opened after a roof collapse in 2008 and lay derelict until 2017 when renovation work started. Officially opened in June 2019 by President Nicos Anastaiades, the theatre now has a seating capacity of 1,000, making it the largest in Cyprus.

V Hypersound & Light was assigned with the implementation of the theatre lighting, sound system, a music and announcement

system, ring intercom system, stage engineering, acoustic shell, orchestra lift, stage managers desk system and a CCTV system for the stage.

A range of ARX products, such as the Pro-DI Active direct box and the MSX-48 microphone splitter, were installed by V Hypersound & Light. In addition, an EN 54 public address, BGM and voice alarm system from LDA Audio Tech was deployed, which includes the

10 PRO AVL MEA November–December 2019

NEO PA/VA EN 54-16 system, the MPS-8Z, the RCD-21R twochannel player and EN 54-24 anti-vandalism projectors.

V Hypersound & Light also specified products from brands such as Chauvet Professional, Renkus-Heinz and Ashly Audio as part of the project. www.arx.com.au www.hypersound.com.cy

The Nicosia Municipality Theatre

www.lda-audiotech.com

NEWS

CT projects a Palace in Motion NAPA brings audio in house with KYAF PAKISTAN: Pakistan’s National Academy of Performing Arts (NAPA) has been outfitted with a new audio system from Harman Professional.

Located in Karachi, NAPA is a renowned cultural institution that offers comprehensive courses and workshops in theatre and the performing arts. The academy hired KYAF Corporation to install new digital audio systems capable of ensuring ‘premium sound’ for

VRX932LA line array elements, PRX818XLF subwoofers and EON 612 portable speakers. Power comes from Crown XTi Series amplifiers, while for inputs, KYAF supplied a range of AKG microphones, including WMS420 wireless, D5 vocal, P4 instrument, HM1000 hanging stage mics and a Drum Set Session 1 mic set. A Soundcraft Si Impact digital mixing console was also provided for

theatre productions held there, which can include drama, music and live performances.

‘At NAPA, we host a wide range of world-class performances throughout the year by artists from around the globe,’ said Ashad Mehmood, NAPA engineer.

‘We required a high-end audio system that delivers impeccable sound without the aid of a rental company. KYAF suggested a comprehensive Harman audio solution to meet our diverse requirements and we have been very impressed with the results.’

The system installed at NAPA is based around a JBL Professional speaker system, which includes

control, while dbx processors were called upon to ‘further refine the sound’.

‘NAPA trains its students in a studio-like environment to develop their understanding of theatre culture,’ explained KYAF owner, Ahmed Bawaney. ‘NAPA also hosts performances by international troupes throughout the year and every audio component chosen was based on performance guidelines. After rigorous sound testing across various brands, we selected Harman audio solutions because of their excellent sound quality and coverage.’

CT provided the AVIT systems for the Palace in Motion show UAE: Visitors to Abu Dhabi can now learn more about UAE’s values and traditions when visiting the cultural landmark of the Qasr Al Watan. Within the presidential palace compound, a daily light and sound show called the Palace in Motion projects past, present and future visions of the nation onto the façade of the building. For this show, Creative Technology (CT) was hired to provide technical design, installation and integration for the AVIT systems.

Damian Rowe, CT’s director of special projects, explained: ‘CT was given an original design for the Palace in Motion show which

we expanded on to produce a working solution that fit our clients brief. The equipment was specified by the consultant during the early design stages.

It was CT’s responsibility to confirm the design meets the technical specifications and provide changes to scope as required to validate the system.’

The design and installation consisted of 52 31K Panasonic projectors alongside six disguise 4x4 Pro Media Servers. The audio portion included a full d&b audiotechnik loudspeaker system, while the integrated lighting setup

consists of 36 GSM and 100 Philips fixtures controlled from a grandMA3 control surface. Managed within two primary control rooms, a Riedel Artist 32 matrix with smart panels enabled the venue’s production communications using a distributed Bolero solution. ‘We were asked to design the PA systems and lighting systems to be fully removable,’ added Rowe. ‘With this in mind, CT provided an integrated design approach to allow full flexibility within the design, while still maintaining the system integrity.’

Andy Reardon, managing director of CT Middle East, commented: ‘We are incredibly proud to have been part of this project and what our team has achieved. Damian Rowe and the systems integration team have been committed to this project for 12 months and have done a fantastic job of bringing the client’s vision to life. The Palace in Motion show looks incredible, and I would highly recommend everyone to go and see it.’ www.ctme.co www.qasralwatan.ae

www.harman.com

Strand LEDs deliver 85% energy reduction to JMC JORDAN: Dubai-based Broadcast & Studio Solutions (BSS) has upgraded the studios of TV productions facility Jordan Media City (JMC) with new LED lighting systems from Strand. The new system has reportedly reduced JMC’s lighting energy costs by 85%. BSS was asked to specify a completely new lighting system to replace JMC’s tungsten-source lamps with class-leading, energyefficient LED fixtures, having recently updated JMC’s two 600m2 studios to HD technology.

‘Low-power LED lighting fixtures were an impor tant factor for the client, as electricity prices have increased rapidly in the last few years,’ explained BSS project manager, Laith Fraihat.

‘The high luminance of the Strand fixtures is superior to competitors’ products,’ he said.

‘As expected from Strand, the high TLCI index means that pictures produced in the studio are of superior quality, matching the real image.’

The installed fixtures included Strand’s 400F and 200F broadcast-grade LED Fresnels and 300S and 150S LED

But energy costs were not JMC’s only concern. The lighting had to offer high TLCI colour rendering to ensure consistent high standards of picture quality

12 PRO AVL MEA November–December 2019

in line with the studios’ HD upgrade. Fraihat specified a total of 130 LED fixtures from Strand’s broadcast lighting range.

slimline studio softlight panels – all 5,600K colour temperature models. In addition to their power consumption and high TLCI qualities, Fraihat also cited other benefits of the Strand range, including the selectable fan-cooling modes of the LED Fresnels, and the silent operation and real-time intensity display of the LED softlight panels.

‘We have state-of-the-art studios, and we have waited a long time for the development of high-quality LED lighting,’ stated JMC’s CEO, Radi Alkhas. ‘And we have chosen a high-quality company to do the job for us.’ www.bss-me.com www.signify.com

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NEWS

Sheikh Jaber Al-Ahmad Cultural Centre employs FreeSpeak II KUWAIT: Supplied by NMK Electronics, Clear-Com’s FreeSpeak II intercom solutions has been purchased by Sheikh Jaber Al-Ahmad Cultural Centre, a multidisciplinary public space in Kuwait whose leaders aim to educate, entertain and inspire the local population with its range of music, theatre, film, workshops and spoken word performances. The five-channel, full-duplex FreeSpeak II wireless intercom solution has been added

to the centre’s inventory to support large-scale productions where technical staff members required untethered communications. The system was first tested by the centre earlier in the year and found to be ‘reliable and easy to set up’.

The venue has a vision of assisting in exploring Kuwait’s past, cultivating its present and imagining potential futures whilst functioning as a culture powerhouse and productive space for the region.

The FreeSpeak II system supports in-house theatre, concerts and live events/performances by connecting up to 25 headsets at once.

Khalid Al Sayed Omar, head of event production at the centre, commented on the purchase:

‘The outcome is great. I have a permanent installation in the national theatre with one FreeSpeak master station. The second unit serves as a floating system rack mounted for other venues. For the way we function, this solution is perfect.’ www.clearcom.com www.jacc-kw.com www.nmkelectronics.com

Full Vari-Lite rig illuminates Capital Christian Saudi Cup Final celebrations Ministries International goes live

SAUDI ARABIA: The Maestro Group called upon lighting fixtures from Vari-Lite to light the King Cup Final in Riyadh. The highlight of the Saudi soccer season, the final was held at Riyadh’s King Fahd International Stadium and included three separate shows – five minutes of pre-match entertainment, a 17-minute half-time show and post-show entertainment including an hourlong set by Saudi popstar, Rabeh Sager. Lighting designer Koert Vermeulen’s creation used 350 Vari-Lite fixtures, including 100 new VL10 BeamWash and 100 fixtures from the LED-based VLZ range.

Koert Vermeulen, of Belgiumbased consultancy ACTLD, is

no stranger to the challenges of designing on a stadium scale, and the variety of demands it makes of a lighting rig. Using six different Vari-Lite models, he created a dynamic and flexible show lighting environment for both live audience and television cameras, encompassing the pitch and performance area, the audience seating and the stadium structure.

‘We are collaborating with the artistic director, Haitham Dghaili,’ Vermeulen explained. ‘It’s his vision we interpret. We deliver what is possible and then maybe add a few sparkles of our own on top.’

Called on for its effects capabilities, the VL10 BeamWash was positioned around the

14 PRO AVL MEA November–December 2019

outermost audience perimeter to serve as beam lights and illuminate the stadium roof structures and canopy. ‘The VL10 was a big surprise – a real contender among the other fixtures on the market,’ noted Vermeulen.

A total of 30 VLZ Washes provided a low backlight wash for the audience and effects during the presentation ceremonies, while 70 VLZ Spots were positioned around the stadium in groups of six and eight to cover the pitch area. Delivering beam looks from high on the stadium’s supporting columns were 50 of the searchlight-style VL6000 Beams, while 50 VL800 BeamLines added to the audience wash. Vermeulen also placed 50 VL4000 Spot fixtures on the stadium floor, making use of the internal shutter system to avoid interfering with the on-pitch projections.

‘This was the first time in a long time that I had a full Vari-Lite rig, and they delivered – even above my expectations,’ concluded Vermeulen. ‘I have experienced now, first-hand, that Vari-Lite is back with some quality products.’ www.signify.com

ZAMBIA: Making a positive impact has always been a goal for president and Capital Christian Ministries International’s (CCMI) senior pastor, Bishop George Mbulo, another of which consists of helping vulnerable children in Zambia. In order to support them with the right tools and financial resources, CCMI live streams its services with the use of a Matrox Monarch HD encoder.

budget for these types of projects, and [the fact that it is] easy to use is an understatement.’

For services and events, the CCMI media and technical team uses cameras that are connected to a video switcher, which sends feeds to Monarch HD via HDMI. Some venues such as the Mulugushi Conference Centre have a highbandwidth internet connection; however, other sites need a

‘Using the Monarch HD to do live streaming from these remote sites, we’re able to take a message that, two or three years ago, would have been trapped inside a building,’ said Randall Rike, director of technical and media USA at CCMI. ‘With live streaming, we’re literally worldwide and anyone with the internet can get on and see it.’

Rike added: ‘When I saw this tiny box, it resolved everything and, moreover, I was blown away. I knew that many ministries were live streaming, and I knew that CCMI needed to get involved sooner rather than later. Seeing Monarch HD made me realise this was now a very real possibility. I personally purchased Monarch HD for CCMI. The price point was well within my

subscription to a local Zambian phone company in order to have enough internet bandwidth. For these sites, the team bought a reloadable, pre-paid SIM card while the phone company provided 3G/4G capable routers, which connect to the venue’s Ethernet.

When there is enough internet bandwidth, the team connects the HDMI video source to Monarch HD, which is then set up to stream 3Mbps video to Facebook at 720p and 30fps. However, if there isn’t enough, the Monarch HD streams 1Mbps video at 360p and 30fps, which allows CCMI to send live streams no matter what quality the internet connection is. www.capitalchristianministries.org www.matrox.com

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NEWS

Brio brings Majestic Sound to the Egyptian desert

NMK kicks off rental season at HRC UAE: NMK Electronics has kicked off the new rental and events season in style with its familiar annual industry bash at Dubai’s Hard Rock Café (HRC). Held on 4 September, the event enticed around 250 professionals to network and find out more about NMK’s plans for the upcoming season.

‘This event is organised to bring together the AV rental community and to extend our support to our partners, while also providing a networking opportunity for the industry in a casual setting,’ explained NMK’s business development manager, Dino Drimakis. ‘Additionally, with the dawning of Expo 2020, it is crucial for us to mark our presence in the industry and to let our partners know that we are here to meet their needs and to facilitate all the events that they undertake.’

It also served as a showcase of the distributor’s many brands, with products on display and representatives from Shure, Bose, Epson, Avid, Terbly, Clear-Com, Neutrik, Roland, Furman, Luminex, Astera, Ayrton, Mersive and Denon DJ. NMK event partners, EventAgrate and Even2, enhanced the night by showcasing their integrative solutions and truss, respectively. Alongside this, attendees were treated to live music performances from local rock/pop bands Boxtones and DJ Brooklyn, alongside live demonstrations, entertainment and games.

The event drew high praise from those in attendance. ‘I could not have asked for a better partner that is professional and, most importantly, adapts to the everchanging market requirements while keeping the highest of standards,’ commented Chant Utukian, senior sales manager at Shure MEA. ‘This event has

EGYPT: Mark Butler from Majestic Sound Productions recently called on a Calrec Brio36 console for audio mixing as part of a live Discovery Channel event in Egypt aiming to showcase one of the biggest archaeological finds in 15 years. The event included the opening of a sarcophagus as part of a live TV broadcast to 100 countries.

Throughout the production, Butler relied heavily on the Brio, which stood up to the harsh desert environment. ‘Being in the middle of the desert made for a lot of

attracted a lot of people from the industry and is another great initiative from NMK. Our busy schedules rarely afford us such opportunities to interact with friends and colleagues outside of office hours. Industry nights like these give everybody the chance to meet in a more casual environment, connect and get to know each other personally, which I think is healthy.’

‘This type of social gathering for industry professionals is very unique in the region and the NMK team executed this with true passion for the industry and the attendees,’ added Ansgar Liem, territorial account manager for live sound and pro audio, Middle East, Avid. ‘The mix between high-level technical conversations and entertainment is in perfect balance. I observed many interesting conversations about varying topics for the rental and production market that gave us a good insight into local business requirements.’

Avid displayed an S6L-24D-192 live sound mixing console at the event, offering 192 dedicated input channels and 96 discreet output busses. This was connected to an Apple laptop running the latest version of Pro Tools 2019.5, where it played

16 PRO AVL MEA November–December 2019

back 64 channels at 96kHz via a single Cat-5 cable, using the AVB compatibility of the S6L as well as the Apple laptop which has native Core Audio support for AVB. ‘On top of this,’ furthered Liem, ‘NMK displayed the Luminex network switches that we will soon support with our S6L Live Sound Mixing range for more complex, AVB-based networking setups.’

‘Bose has been focusing on the rental market for the past couple of years with the launch of ShowMatch systems,’ stated Nittin Dargan, regional manager at Bose Professional. ‘HRC Dubai was one of the first global marquee projects for ShowMatch.

We are now working closely with our distributor NMK to grow this segment here in UAE.’ ‘This event is an excellent opportunity to display what Epson does best and showcase solutions that can open possible doors for the rental and events markets,’ concluded Abdulnassir Ali, sales manager, visual instruments and professional display at Epson Middle East. ‘We look forward to a lot of growth and business in the future.’ www.nmkelectronics.com

set up our RF system. We were not allowed to bring in any antennas or source the RF gear from outside the country, which proved to be the biggest challenge of the shoot. We were using a lot of mismatched RF gear to connect the talent to multiple receivers.’

Fortunately, Butler was familiar with Calrec consoles such as the Apollo and Artemis but admits to never having worked with a Brio before now. ‘The learning curve was pretty easy and soon I was navigating as though I work on it all the time,’ noted Butler. ‘There is

Mark Butler from Majestic Sound in the Egyptian desert

Butler with the Brio36 console

logistical issues and problems,’ explained Butler. ‘We dealt with sandstorms, rain, high winds and even poisonous cobras and desert vipers, but the Calrec Brio offered the perfect amount of ruggedness to get the job done.’

While Butler was mainly situated in the production truck with the Brio during the live portion of the event, he also explored the tombs during the pre-taped segments and while planning out the production. ‘We climbed down 10m ladders and then had to crawl through tunnels and climb over sarcophaguses,’ he recalled. ‘In one tomb, we had to make our way through a 12m-long tunnel, all the while trying to avoid stepping on 3,000-year-old skeletons and artefacts, in order to

so much power in such a compact package, and I loved being able to “draw” EQ on the screen. Before the Brio, smaller trucks wouldn’t necessarily have the budget or the space for a larger Calrec, so the Brio really fills a missing piece in the mobile audio puzzle.’

‘This is literally one of the most intense productions we’ve ever seen, and we’re glad that Calrec was part of such a historic event,’ added Helen Carr, regional sales manager, Calrec. ‘Mark was mixing on a Brio in incredibly inhospitable conditions, so this is a great example of how portable, lightweight, powerful and rugged the Brio console truly is.’ www.calrec.com

NEWS

Signature sound at the new Analog Room UAE: Having been at the fore of UAE’s electronic music community since its inception seven years ago, Analog Room has had several homes. That has now come full circle with the advent of the Dubai-based collective taking control of its very own venue. Located in the space to the rear of the Ibis Hotel on Sheikh Zayed Road, the Analog Room team has taken the dilapidated site previously called Casa Latina and transformed it into a 150-capacity, multipurpose venue and creative hub that will, when fully operational, be programmed six days a week.

Speaking with Analog Room founder Mehdi Ansari, he confirmed his reasons for the move towards his own venue. ‘This new location definitely gives us more authority in terms of programming and production,’ he explained. ‘Now, we can have our own sound system installed, tuned and maintained the way we need. We also have the luxury of having other days to bring more artists from the region.’

Choosing to side step the option to bring in a host of external promoters all providing similar strains of music, Analog Room has opted to provide events that cater for a wide

provided them with plans of the room and they made some suggestions.

We took those suggestions into consideration, and our own experience played a factor too. After much consideration, we arrived at our current setup and every week we are improving the sound and EQ configurations for the different types of music that we programme on a weekly basis.’

Ansari was also straightforward in his reason for maintaining the relationship he has built up over several years with Meyer Sound.

‘We always liked to use Meyer Sound as it is super capable and

spectrum of music, including jazz and live music, via its well-received Supper Club.

At the very core of the new venue’s sound system is Analog Room’s tried-and-tested Meyer Sound rig, comprising four Meyer Sound UPQ-2P cabinets and a pair of Meyer Sound 700HP subwoofers, complemented by two Nexo PS15 tops. Inside the DJ booth are a pair of Nexo PS15 bass extenders and a single Nexo LS1000 for monitoring. One striking aspect at Analog Room is that all

of the sound system components bar the subs are suspended high above the dancefloor on chains. This creates a visible array of speakers and gives a focused and immersive musical experience ‘seldom found in Dubai’ to those beneath on the dancefloor.

Fellow founding member and artist booker for Analog Room, Siamak Amidi, also gave insight on how the sound system was designed. ‘We’ve been communicating with engineers at Meyer Sound headquarters; we

has not much character by default,’ he offered. ‘You can tune the system for live, DJ, jazz, techno and everything can sound good.

Definitely, at the moment, we are in the period of getting to know the room and experiencing more with the positioning of the subwoofers to get the most coverage and cleanest sound. We are finding the frequencies that we need to get rid of and boost the ones we need more of. This is not magic but physics and it will take some time to get to Analog Room’s signature sound.’ www.facebook.com/analogroomdxb

Four Meyer Sound UPQ-2P cabinets provide main reinforcement

1/2 PAGE

November–December 2019 PRO AVL MEA 17

BUSINESS: ROUNDTABLE

Women in audio

A roundtable exploring the role of women in audio demonstrated that they can not only survive but thrive once those opportunities unlock. Ledetta Asfa-Wossen reports

The Panel ADEOLA AKINYEMI, Showgear SHERIN DSOUZA, PRG/Delta Sound RANA EID, db Studios ESTELLE GALLOWAY, NYU Abu Dhabi MARIA KYVERNITIS, MEI JENN LIANG-CHABOUD, Shure ALICE MACALUSO, Freelance HANAN MAHMOUD, MBC Group MINAL PAPALKAR, Panacor SANA ROMANOS, Fida Zalloum STACEY THOMAS, PRG/Delta Sound

18 PRO AVL MEA November–December 2019

www.shure.com

BUSINESS: ROUNDTABLE WITH A GLOBAL AV MARKET ESTIMATED TO EXCEED $325 billion by 2024 (AVIXA) comes increased job opportunities and richer career options. But, according to the Women’s Audio Mission (WAM), less than 5% of people helping to create sound, music and media in our lives are women.

Sheltered from Dubai’s oppressive humidity, impassioned members of the industry wiped the mist off their glasses and gathered at the Shure MEA HQ to discuss experiences, opportunities and challenges.

Offering a West African perspective, Showgear’s COO Adeola Akinyemi highlighted the demand for pro audio and some of the pinch points from a geographical position.

‘The market in Nigeria is growing fast. And it’s growing because of the kind of community that we have – the biggest consumers of pro audio in Nigeria are churches. We have roughly 100,000 churches so there’s a huge market but, unfortunately, not one university in Nigeria offers audio engineering as a course and people have to train outside to serve it,’ explains Akinyemi.

‘A few companies, like us, are offering training to get people into the field. It’s still a male-dominated area – for every one female audio engineer you might have 150 male engineers – but there are women who are breaking into it.

We just need to get together, offer more encouragement and get them trained.’

Hopeful about the evolving role of women in AV, Akinyemi noted some initiatives that have already gained traction in harnessing audio engineering talent. ‘There’s now a group called Audio Girl Africa, aimed at women between the ages of 18 and 25 that trains those interested in audio engineering. We support the initiative at Showgear and some programmes include flexible all-night training. In fact, they’re always looking for teachers and companies who can offer their expertise,’ says Akinyemi.

‘The opportunity for women is there because it’s such a large market and I think the playing field is actually relatively level. Nigeria also has a huge film industry, so there’s a large demand for engineers in that area. You’ll get the odd comment that you can’t lift this or do that, but I see women challenging that norm with their ability and passion which is shifting the status quo,’ she adds.

‘We have women working in live sound, broadcast, production and more in retail and wholesale. In my city,

www.shure.com

‘ Starting out in live is

hard for everyone. It’s not an easy job and it’s demanding mentally and physically’

I might be maybe one of 10 women running a business, but we know that women are powerful with great attention to detail, so it’s just a matter of time before that trickles further into the audio market.’

A mixed room of talent, including engineers to film sound designers, integrators, broadcasters and business owners,

illustrated the breadth of roles available to women in audio that go well beyond marketing and HR – even when there is no industry present to start with.

Triumph in Beirut Rana Eid, a film sound designer based in Lebanon, decided to establish db Studios from the ground up but first she had to build an industry. ‘When I was at university in Beirut, there weren’t really any films being produced or any sound designers. I always wanted to create sound. I tried live but I preferred working in a quieter studio environment,’ she says.

‘I went to Paris to study sound design and returned to Beirut. I couldn’t work with some of the production companies in Lebanon as they had a very different way of working so I set up a studio in Beirut with three partners and now we are nine. They all work as freelancers because I refuse to be rigid. When they want to leave, they will leave. We share the decision-making process because when you’re horizontal you are more elastic and you grow faster. In Beirut, we didn’t

November–December 2019 PRO AVL MEA 19

BUSINESS: ROUNDTABLE have mixing auditoriums to finish the films, so we had to keep travelling out to do it. Two years ago, we decided to get a business loan and invest in our own mixing facility and, over the last year and a half, we’ve put out 22 films.’

When you’re working in the MEA region, you can’t afford to be stuck in your ways, notes Eid. ‘For me, working in this industry has always been a necessity and a passion, not a job. We’re still the only film sound design company in Beirut but we’re growing, and we have lots of freelancers working with us now so we’re building a business, and a community.’

Eid is not the only one who has blazed her own trail. Live sound engineer Sana Romanos, who worked for one of the largest rental companies in the region, Fida Zalloum, now works as a Beirut-based freelancer and has been a monitor engineer for a number of shows, including the Roskilde Festival.

‘ Interestingly, if women

are touring, they’re either A2s or monitors. I rarely see a woman in a FOH position and I don’t really know why that is’

‘Starting out in live is hard for everyone. It’s not an easy job and it’s demanding mentally and physically. Being a woman starting out in Beirut was tricky to begin with because people were not used to that scenario and me being able to handle a mixer on my own, but being a woman can play to your advantage. I had a big spotlight on me and, if you prove yourself under that, you can grow a reputation for yourself very, very fast. So, for me, it was a plus,’ says Romanos.

‘As a sound engineer, you just want to do a good job, male or female. If you do it just as good as the guy next to you, your ability will be seen,’ elaborates Estelle Galloway, a South African sound engineer working at NYU Abu Dhabi.

‘It’s about asking what kind of engineer you are and doing a great job every time. If someone says “you can’t lift that”, I’ll just outlift them, as that’s the sort of person I am. It’s not so much a gender issue as it is character – and I like to prove them wrong.’

Hailing from San Francisco, Shure’s Jenn Liang-Chaboud, who manages artist and entertainment relations for the manufacturer, candidly described altering perceptions of women in the industry during her career.

‘I’ve moved through a few different roles. My first role involved working with software, keyboards, MIDI and timecode and I don’t think anyone cared at all. Working in live is a little different though, in the way you get reacted to and reminded of the physical aspect. San Francisco is easier in many respects as it’s rooted in tech. I’m also walking in the door with a Shure logo on my shirt so there’s some expectation that I belong there, which I wouldn’t say is

Minal Papalkar, Panacor

necessarily true when I freelance. A lot of what I do is about fixing problems. So, if your installation has an issue or your production has problems, I’m coming in to fix something and, depending on the team for that and the engineer, it’s often about striking a balance.’

However, Liang-Chaboud is keen to stress that once you reach a certain level, like any job in any industry, women are assumed their rightful place.

‘I will say that, depending on the level of production, if you are hired and you are working on that show, it’s assumed that you should be there and I don’t see much pushback.

If you’re walking into a major award show as a woman, you have your credentials. I wouldn’t say that was true eight years ago. The first ever major sports broadcast I attended on behalf of Shure, someone asked whose wife I was. I think each market really differs though. I see a lot more women in recording, less women in live and more women in broadcast versus touring. Interestingly, if women are touring, they’re either A2s or monitors. I rarely see a woman in a FOH position and I don’t really know why that is. I’d love to know why. There’s a demand for women A2s to work with female talent.’

Knowledge is power In addition, Liang-Chaboud alludes that the convergence of AV and IT will help level the playing field even further as education in the face of a technology shift becomes the great equaliser.

‘With the amount of tech changes we’ve had lately from analogue to digital, you now have a set of people that are wondering if you’ve risen to the occasion and updated your learning. Before all this, audio hadn’t really changed a whole lot from a tech standpoint and now the pace of change is so

Sherin Dsouza, PRG/Delta Sound

20 PRO AVL MEA November–December 2019

Rana Eid, db Studios

Alice Macaluso, Freelance

Stacey Thomas, PRG/Delta Sound

www.shure.com

BUSINESS: ROUNDTABLE quick, especially with IT. Suddenly, there’s a whole new batch of talent that has a completely different level of qualification that’s necessary for what technology is right now. And I think that’s giving everyone an opportunity to step up.’

One resounding theme was the lack of awareness of audio being a viable career path, with many wishing they’d known about the professional options sooner.

‘I wish I’d known earlier that an audio career was a thing.

My Dad was keen on me doing business or business engineering as he thought I wouldn’t find a job otherwise, but I knew I loved music. I don’t really know how I would have got the exposure to the role I do now as I didn’t go to concerts and pro audio wasn’t an area any of my family worked in.

For me, a job in sound meant you’re either a performer or a music teacher. It’s when I was researching colleges to become a music educator that I came across a music

‘ Suddenly, there’s a whole

new batch of talent that has a completely different level of qualification that’s necessary for what technology is right now.

And I think that’s giving everyone an opportunity to step up ’

engineering degree in Miami. I thought, this says “music” and it says “engineering” – I can do this. It was the stupidest rationale as I had no awareness. I just thought, I can get away with this and still be involved in music, but it turned out great,’ comments Liang-Chaboud.

Dubai-based broadcast sound engineer, Hanan Mahmoud of MBC Group, shared how a work experience stint opened her eyes to the plethora of jobs available to her in broadcast.

After studying mass communications, she started working at a radio station as a production assistant. ‘It was only there that I realised there were no women around and no female sound engineers, but I didn’t understand why. I moved to a TV station and loved it and started working as a sound engineer, and now I work mainly on the news side.’

The power of working groups such as Women in Live and WAM was also highlighted as well as the potential need for one in the Middle East. Despite some challenges, all attendees were resolute in the fact that being a woman in audio didn’t present them with obstacles, with around a quarter saying it was an advantage.

‘I started my career at 22, so I’ve been in the industry for 18 years. I’ve been a site engineer and AV systems designer and

Hanan Mahmoud, MBC Group

www.shure.com

Maria Kyvernitis, MEI

The late-morning session took a more detailed look at nurturing talent through education. Topics included certification and alternative routes into the industry, as well as the importance of audio training platforms such as the Shure Audio Institute (SAI).

‘I’ve been working with the SAI for a while and one of the things that I’m thankful for is how much free education Shure puts out there because they want people to have the expertise and the technology. We see a lot of people come to our wireless seminars because frequency coordination is frequency coordination and, ultimately, we just want your show

to work. We had an engineer seminar recently with lots of live sound people and it’s hard to get people in from all over.

There are so few women in the industry, so many of those sessions will have only men in the room. How do we improve our outreach and foster more talent? I think we also need to ask people how they want to consume an audio education.

Should it be more about online videos and YouTube training?

Do people even need to be certified to coordinate a show?

Those are all questions we’re asking as a manufacturer,’ elaborates Liang-Chaboud.

With the scarcity of specialist audio courses available in the MEA region, practical experience almost becomes king, argues Galloway.

‘At 12, I knew what I wanted to do the minute I saw my first console. When I was looking to study in South Africa, there weren’t really any audio schools there and this was 2010. I was looking overseas and thinking I had to go to the US to study sound. With the curriculum in South Africa, you start making your creative decisions at 15 and technical is not even a subject, but music is. Some schools allow kids to work on a stage production but not all communities have that type of school or the funding. I took music and worked on school productions and got exposure to the industry at a grassroots level. I think that’s the first problem we need to tackle as an industry, cultivating that interest at schools – with theatre, music and culture shows and exposing young people to the technical side. Then from there, start looking at degrees because it means nothing without experience.

It’s also about instilling them with a work ethic. I worked for free for a year because I thought this is the only way I’m really going to learn.’

Another hurdle for some, states Galloway, is that education is expensive. She mentions a case at a technical production and crewing company where they’d send young people from

Sana Romanos, Fida Zalloum

Jenn Liang-Chaboud, Shure

then moved over to sales and marketing and I’ve never felt a gender issue,’ recalls Indian-born Minal Papalkar, a pre-sales engineer at AV integration company Panacor in Dubai.

‘Unless you presume leadership and take the reins, you won’t be successful no matter who you are. The key is to become comfortable with the requirements of the job.

You have to gain that technical knowledge and master the vocabulary of the industry you work in.’

Education matters

Adeola Akinyemi, Showgear

Estelle Galloway, NYU Abu Dhabi

November–December 2019 PRO AVL MEA 21

BUSINESS: ROUNDTABLE rural areas to their clients as ‘box pushers’ to experience the industry from an entry level. ‘From then, we’d take them under our wing and send them to a Shure or Dante workshop and they’d gain the support of senior engineers but it all costs money.’

Events technology company PRG/Delta Sound is already doing this type of outreach. ‘Locally here in Dubai, we team up with the SAE Institute and get interns in as working freelancers during the summer and they get first-hand production experience,’ adds marketing coordinator, Stacey Thomas.

Maria Kyvernitis, who owns and manages Dubai-based backline rental company MEI, suggested that when it comes to the UAE, the responsibility to develop audio talent lay with companies. ‘The UAE has matured a lot over the last 30 years but it’s still a young country. I’m sure awareness of audio as a career will grow as the country does but, in many ways, it starts with us. We’re currently trialling a programme at schools to get young people interested in music and professional equipment as we have a student rental division that hires out pro audio to students and schools.’

Despite work still needing to be done, some attendees said that, in many ways, it’s getting easier to expose young people to a career in audio as the cost point is much lower. ‘When I was a kid, you couldn’t easily acquire music software or a console and computers were expensive. So, if it wasn’t in your school, you didn’t see it. Now, there’s a plethora of free software, if you buy an Apple device you have Garage band on it – all that stuff just didn’t exist back then,’ adds Liang-Chaboud.

Q& www.shure.com

issues sound professionals encounter daily and making sure that our equipment was reliable and always ready for the show.

I then moved from the vice president of quality to vice president of operations, where I managed procurement, supply chain and manufacturing, as well as quality. This was another essential experience as I was able to work with passionate people all around the world dedicated to making great products that solved problems for our customers.

In 2006, I went to lead global marketing and sales, where I managed three business units in the Americas, EMEA and APAC. All this experience helped me learn more about the overall company operations, the global business structure and what we need to do to meet the evolving needs of customers. Having diverse experience within different par ts of the company has given me an appreciation that not all CEOs are lucky enough to have.

Q&A with Shure CEO, Christine Schyvinck

You come from a mechanical engineering background. What should the industry do to harness more talent? At what age should that start?

Women play an impor tant role in the future of technology and it’s never too early to star t thinking about that career path. I think you have to reach girls when they are in junior or middle school. They need to star t thinking about classes in school and organisations they want to join. There are now so many schools and community organisations providing oppor tunities for young kids to get involved with STEM but, if that awareness doesn’t hit them early, they won’t sign up or they might be intimidated. As an industr y, we should always be looking at ways we can be more involved in getting kids interested in our fields.

You’ve said that diversity has a positive impact on the bottom line for AV companies. Can you elaborate on that?

McKinsey did a study a few years back called Diversity Matters. The facts are there – companies that have more diversity on their teams per form better financially. And I’ve seen that change at Shure having been here for so long. We used to make products for the customers and

22 PRO AVL MEA November–December 2019

Shure has more software engineers than ever before. Does the convergence of AV and IT mean more opportunity?

Christine Schyvinck conventions we knew in the US, and then we’d export those products to other parts of the world. We now have associates working in more than 30 countries. This gives us a much better handle on local market needs and how to grow in those regions.

Diversity in industry backgrounds, from the tech sector, musicians and audio engineers, is also important. We embrace all diversity because it helps us understand our diverse set of customers.

You’ve been at Shure for 30 years.

How do you stay fresh in the game?

I firmly believe it’s important to experience new things in an organisation. Starting off my career as a quality control engineer, I was exposed to learning about the types of

More and more business is being conducted vir tually, so having the right audio conferencing equipment – and suppor t – is essential. We understand that the growing number of devices, end points and locations created by AV conferencing creates another huge responsibility for IT depar tments, so we are actively engaged with customers to provide solutions that make those connections feel effor tless. Software management is an impor tant area and we are continually providing solutions and upgrades to our software management tools. As we grow in this area, we’re looking to add more talented software engineers to the team.

Lastly, what makes a good CEO? Being a strong business leader means listening. I work with so many talented people that help keep me informed of current business conditions and upcoming trends. I’ve found that having trust in your leadership and listening is the best way for ward.

www.shure.com

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EDUCATION Sennheiser Stage Audio Works commits releases homepage to industry education for Pro Talk Series

WORLD: The Pro Talk Series is a set of videos created by Sennheiser, where you can learn about the stories of engineers, producers and professionals within the field of music production and live sound.

Since its release, the company has decided to put all its videos into one site, alongside articles with key points from the interviews. The ProTalk Series received a NAMM TEC award for Outstanding Technical Achievement in 2018 and has recently been nominated for the 2020 TEC award.

‘The Pro Talk Series is something we at Sennheiser are very passionate about. Our intention is to bring audio enthusiasts closer to the magic behind the curtain, so to speak,’ said James Capparelle, marketing communications manager, professional audio and producer of the Pro Talk Series. ‘The collection of these outstanding portraits and the expertise of the audio professionals interviewed is a unique and valuable resource of information.’

www.sennheiser.com/protalkseries

James Capparelle (left) demoes the AMBEO Smart Headset to Norwegian recording engineer, Morten Lindberg

SOUTH AFRICA: Johannesburgbased distributor Stage Audio Works (SAW) has announced its commitment to industry training as a major priority of the company. As a result, SAW has planned a number of dedicated workshops for a variety of the brands it represents, covering the major industry disciplines.

The first element in the new initiative was a live mixing workshop taking place at the Mosaiek TeatroRoodeport in September. The workshop combined equipment from Sennheiser, Yamaha and d&b audiotechnik to provide a comprehensive workshop covering the entire signal chain. In addition, presentations from freelance engineer Oliver Voges and d&b audiotechnik’s Janko Ramuscak offered a brand-neutral approach to various techniques and methods.

‘This was a unique opportunity for sound engineers to participate in a practical workshop in a live environment and learn how to overcome specific audio challenges in a hands-on manner, while being mentored by some of the leading minds in the global audio industry,’ stated Shaun Xavier, marketing

Klang creates new educational programme WORLD: Klang:technologies has developed a new education programme that includes in-depth product training alongside userfriendly binaural academic theory seminars, with tailored, interactive content aimed at various market sectors. It also includes contributions from expert guest speakers and is aimed at teaching sound engineers how to provide an immersive sound experience that mirrors normal aural activity.

‘We try to make our training events educational, not just linear product presentations,’

explained Klang’s head of sales, Phil Kamp. ‘The opening section of the session doesn’t mention our system, it’s about the psychology of hearing, how our hearing works, how our brain deals with audio signals and, ultimately, how to provide an immersive and natural in-ear mix. Many of our attendees are seasoned audio pros who are very educated but haven’t necessarily drilled down to the theory about how our hearing works.’

The seminars also explore Klang’s design ethos and explain

24 PRO AVL MEA November–December 2019

why certain features are included, and how the R&D team analyses a range of pro audio equipment and instruments to tackle the biggest challenges for musicians and engineers. ‘Each training session is tailored according to who’s attending,’ confirmed Kamp. ‘This means we can look at the appropriate ways the system can be used, be it a rock ‘n’ roll environment or a house of worship, and make it an interactive experience for the delegate.’ www.klang.com

manager at Stage Audio Works.

‘With the combined knowledge of the companies and individuals involved, this workshop is the most comprehensive live mixing workshop South Africa has ever seen.’

Following the workshop, SAW hosted an open day at its Johannesburg office on 18 September, dedicated to dBTechnologies’ VIO Series concert system. ‘The VIO series has been increasing in popularity among local staging firms due to the value it has been shown to deliver,’ added Xavier. ‘Due to this, we felt it was important to host this session to

ensure that everyone can get the best out of these systems and hear exactly why they have become such a common site on gigs in the region.’

As part of the education focus, the company is holding sessions to assist users at all stages of their career. This has seen a workshop covering an introduction to the d&b audiotechnik workflow hosted specifically for students at The Academy of Sound Engineering, as well as the launch of Tech Tuesdays, a free monthly workshop for house of worship technicians.

SOUTH AFRICA: LDA Audio Tech representatives, Pedro Martos and Guillermo Burgos, recently travelled to South Africa to hold a set of two-day training sessions in Cape Town and Johannesburg together with local distributor Wild & Marr. The workshops covered the Neo and One500 voice alarm systems and was attended by local security integrators in both cities.

‘This type of training emphasises our commitment to ensure that our customers are not only informed of the latest products available from Wild & Marr, but are also able to install, program and commission these systems to the highest standards,’ commented Gary Furman, MD of Wild & Marr.

Day one of the workshops covered the features and

capabilities of the Neo and One500 EN54-16 PA/VA systems, with systems installers given hands-on experience of the new LDA One system, which is a single wall-mounted box, including batteries. Day two then delved into software training and applications for more advanced technicians and system programmers.

In addition to the training, Wild & Marr offered a lucky draw for those in attendance to win a pair of Shure SE215 Bluetooth earphones. Among the winners were Ruaan Goosen in Johannesburg, and Charles Murray and Leroy Miller in Cape Town.

www.stageaudioworks.com

LDA Audio Tech takes training to South Africa

www.lda-audiotech.com www.wildandmarr.co.za

NEWS: EDUCATION NEWS

GDMO goes wireless with Digital DWR demos L-ISA in South Africa6000 SOUTH AFRICA: An Digital L-ISA UAE: Sennheiser’s technology demo 6000 solution hasexperience been was recently presented

by DWR installed as par t of an upgrade Distribution at the hall Mosaïek to the conference at theTeatro in Fairlands, of Johannesburg, Government Dubai Media the home of The headquar Voice South Office’s (GDMO) ters Africa.

The event more than at the Dubai Worldsaw Trade Centre.

100 new participants from rental The system provides the companies and television studios necessar y wireless connectivity attend. and audio quality required of the ‘I think it’sevents awesome high-profile heldthat at the L-Acoustics investedaspect so much hall, while ahas significant into South Africa,’ saidGDMO’s Duncan of the install was the Riley of DWR. ‘We arenetworked one of their decision to leverage smaller markets, yet they treat us audio. no differently toenabled the larger ‘Doing so has usplayers.

Their passion isreduce contagious, to significantly the and it really does feel like a family. amount of cabling, simplify We received an overwhelming interconnectivity, maintenance response at the demoand from the and troubleshooting, entertainment streamline our industry technicaland I would like to explained thank everyone operations,’ Salemfor being there.’

Belyouha, director of media ser vices at the GDMO.

SA to have L-Acoustics. We shall inevitably have to go this route too, because it’s too clever not to.’

‘It’s exciting to see where we can go with this,’ commented Festival Sound’s Petru Palmer.

‘We are going to get to a point where we can only be limited by our imagination. Where we are currently faced with “The PA can’t hang there because there needs to be screens and lights” dilemma, it’s going to be turned around, the speakers are going to be hung there and your stuff can be around that.’

GDMO’s custom handheld mics

‘Looking at what ME 9004. online The GDMO alsothe system does and how ME it creates selected Sennheiser’s 104 a space capsule for eachwith channel, cardioid five SKyou 6000 think coming here thattoyou would bodypack transmitters provide know what to expect – but and it the best feedback rejection really blowsofyou outnoise. of the water,’ attenuation room added Alex van Dyk ‘Our experience withfrom the Solid Group. ‘It was impressive.

Sennheiser team has been The amount of commented definition and clarity fantastic,’ Belyouha. is what stands which ‘They suppor tedout us for longme, before youissued just don’t out RFQ of a stereo we any get formal mix.’long after the project was and completed.’ www.dwrdistribution.co.za www.l-acoustics.com www.sennheiser.com

NEW

L–R: Duncan Riley and Stuart Andrews

The Sennheiser setup the GDMO L-ISA technology wasat recently used for the first time in South Africa by Multi-Media for and the live edition of With Yamaha Sennheiser The Voice South The collaborating to Africa enable2019. integration demo, presented

by Tim McCall, between CL and QL series regional sales manager, Tony consoles and the Digitaland 6000 Szabo, head of in touring applications system earlier the year, the at L-Acoustics, along with Chris GDMO’s engineering team has Pugh, technical support at DWR gained the ability to control Distribution and Adriaan vanmic der several parameters of the Walt, audiooperating engineer menu at Multi-Media system’s and who specified L-ISA for also to monitor RF technology levels, gains The Voice, how objectand batter yexplored status of the wireless based mixing and immersive microphones, all through theaudio could benefit console itself.audiences.

6 million spectators A‘Over wireless solution was have enjoyed over preferred due2,000 to theperformances additional in L-ISA soit far, and however, we have sent flexibility offers; as out people information events heldtoatgather the venue typically from the to seeof if they result in audience large numbers mobile enjoyed being the production phones used, it and was noticed also a difference,’ said ‘The imperative that theSzabo. system feedbackthe hasGDMO’s been overwhelming, address concerns from people regarding RFcommenting inter ferencethat andthey felt closer to the performance, to noise. artists saying that they receive Four EM 6000 Dante receivers a greater response from form the backbone of a the system audience.’ that includes three SKM Without knowingmicrophones. what to expect, 6000 handheld those in attendance reported being Sennheiser customised these ‘greatly impressed’ by the L-ISA handhelds in the GDMO’s demonstration.

‘The demo was corporate colours and provided special, quite amazing and both a dynamic capsule inmakes the you rethink offered form of the audio,’ MD 9235 and Stuart also Andrews from Gearhouse South the pre-polarised condenser Africa. ‘Gearhouse were the first in microphone capsule, the

TAKING LINE3/4 ARRAY PAGE

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Thinking. Inside the box.

November–December September–October 2019 PRO AVL MEA 25 11

DISTRIBUTION RCF and AVenger assemble in the UAE and Oman

Cobalt and Plura join forces in MEA

UAE: Newly assembled AV distribution company, AVenger Electronics, successfully approached RCF to establish a distribution agreement to cover the UAE and Oman. The Dubaibased AVenger Electronics is led

by Anil Kumar and his team, which includes sales manager Joseph Ninel Rebero.

‘Since RCF had the entire range of professional audio products in its portfolio, catering

MEA: Cobalt Digital has signed a distribution agreement with Plura MEA covering sales and support for the Middle East and Africa.

The agreement covers Cobalt’s complete product line of video and audio conversion, processing and monitoring standalone modules

executive vice president of sales and marketing, Cobalt Digital.

‘Plura MEA is an ideal company to promote the Cobalt brand in the Middle East region, and we are pleased to work with them to expand our global footprint in this growing market.’

and card-based solutions for openGear frames. Based in Dubai, Plura MEA is a subsidiary of Plura Broadcast Inc, an international manufacturer of high-performance video monitors, sync and timing, and calibration solutions for professional media markets, but which also has offices in Germany, South Korea and the US. ‘This is a major step in the continued expansion of our efforts to provide Cobalt Digital product sales and support across the world,’ said Chris Shaw,

‘This is a tremendous addition to the Plura MEA portfolio of products, backed up with more than 30 years of market experience,’ said Hassan Salamah, business development manager, Plura MEA. ‘Our new alliance with Cobalt presents substantial opportunities for both companies to offer extensive and interconnected solutions to a wide spectrum of market segments.’

for the installation, touring, MI and evacuation segments, we considered them as our preferred choice for servicing the markets in the UAE and Oman,’ said Rebero. ‘This would range from small portable PA to large stadium installations. We knew it was well established in both the touring and MI market.’

Rebero is extremely familiar with the RCF brand from his time working at VV & Sons. At AVenger

Joseph Ninel Rebero and Anil Kumar with RCF sales manager Luca Ombrati (centre)

Electronics, he will lead the team charged with promoting RCF across the territories as brand manager.

‘Our mission will be to focus more on the integration market to bring RCF up to the next level in this segment,’ Rebero noted.

He added that AVenger Electronics will favour roadshows and seminars over trade show appearances for its marketing campaigns. ‘In this way, we can give more interaction and product awareness with industry professionals.’

Luca Ombrati, RCF sales manager for Europe and the Middle East, commented: ‘Having known Joseph Ninel Rebero for some time, when he informed me about the new company he was about to co-found with other experienced people in the industry – people who already had deep knowledge of RCF, its products and philosophy – their appointment was a no-brainer.

AVenger Electronics’ decision to keep RCF as the unique and exclusive audio brand in its portfolio, in view of its very broad product offering, further confirmed our impression that they were best suited to our needs.’ www.avengerproav.com www.rcf.it

VV & Sons named dBTech distributor for UAE, Qatar and Bahrain MIDDLE EAST: Italian loudspeaker manufacturer dBTechnologies has appointed VV & Sons as its sole distributor for the UAE, Qatar and Bahrain. The manufacturer joins a number of other pro audio and lighting brands in VV’s portfolio, including Nexo, Peavey, LSC, LDR, Australian Monitor, Speakercraft, Allen & Heath, Denon PRO, Crestron, Biamp, TOA, TAG, Quiklok, Mediamatrix, Crest Audio and Road Ready, among others.

‘We are really impressed with the high quality and market presence of dBTechnologies at a competitive price point,’ commented Vikesh Thamban, pro divisional manager for VV & Sons. ‘As a result of their wide range of products, dB can cater to all our business verticals – retail, rental and projects – and I am confident that VV & Sons and dBTechnologies together can create history in this region. We

L–R: dBTechnologies’ export sales manager, Gabriele Ferri, and VV & Sons’ pro division manager, Vikesh Thamban

26 PRO AVL MEA November–December 2019

are thankful for the opportunity to be their exclusive distributor.’

‘In the last few years, dBTechnologies widened its range of products, especially in the professional touring and fixed installation segments, with high-end products such as our VIO line array and sub series,’ added dBTechnologies’ export sales manager, Gabriele Ferri.

‘The next step is focusing on strengthening our presence and brand awareness in one of the most complex and exciting markets in the Middle East, where dBTechnologies’ potential can be fully exploited. Thanks to its solid sales network and extensive experience, I am convinced that VV & Sons is the perfect partner to reach such a goal.’ www.dbtechnologies.com www.pro.vvsons.com

www.cobaltdigital.com www.plurainc.com

Renkus-Heinz partners with Protech IVORY COAST: Protech Distribution has been named as Renkus-Heinz’s new exclusive distribution partner in Ivory Coast.

Based in Abidjan, known as the country’s economic capital city,

partnered with major architects such as PFO Africa, and designed and installed systems for key religious institutions. Protech is without question the right partner for us in Côte d’Ivoire.’

Protech has previously worked on numerous projects in the region, including designing a new audio system for Our Lady of Peace, the largest basilica in the world located in Yamoussoukro.

‘We’re delighted to partner with Protech,’ remarked Renkus-Heinz’s sales representative, Norbert Bau. ‘We’re very impressed with their accomplishments. They’ve worked on projects for Côte d’Ivoire’s national government,

‘Renkus-Heinz is a legendary loudspeaker company, and their products are high-quality solutions for a wide variety of projects,’ commented Protech Distributions’ Inza Bamba. ‘We are excited that we can now provide our customers with the finest digitally steerable arrays, point source loudspeakers and subwoofers for every application.’ www.protech-distribution.com www.renkus-heinz.com

EDUCATION

NEWS: DISTRIBUTION

Sonotone trains with Lab.gruppen A LEA Pro partners with Venuetech C d

MIDDLE EAST: LEA Professional has partnered with Venuetech for distribution in the Middle East region. The fledgling amplifier manufacturer, which officially launched at NAMM earlier in the year, is on the cusp of shipping its first products: the Connect Series of IoT-enabled amplifiers. The partnership covers Saudi Arabia, Egypt, UAE, Lebanon, Qatar, Jordan, Kuwait, Bahrain and Oman.

‘It is a very exciting step for Venuetech to be working with the most innovative amplifier supplier in the world,’ stated Venuetech audio specialist, Ismat Assafiri.

‘LEA provides a new standard in IoT audio amplification through networked communications with the connected product line, a flagship series that has already

LEA Pro’s Connect Series

got the industry buzzing. With our strong relationship and similarminded industry aspirations, we look forward to setting a new

Boujikian Bros to distribute JoeCo in Lebanon LEBANON: JoeCo is looking to expand its business in the Middle East with the appointment of Boujikian Bros as its newest distributor. The Beirut-based company will now represent the manufacturer in Lebanon, specifically targeting TV production houses and live event clients.

‘We already distribute a number of top pro audio brands in Lebanon, but we had a gap in our range for reliable multitrack players/recorders and audio interfaces,’ explained Gary Boujikian, general manager at Boujikian Bros. ‘We knew how JoeCo systems were being used in TV, concert and installed sound applications around the world and believed that it could bring added value to our existing offerings. Most of our clients are TV production houses and live event companies and they are all looking for a reliable and stable system for their multitrack recording.’

‘We have been searching for JoeCo partners in the Middle East for a while and Boujikian Bros’ name came up a number of times,’ added Graham Murray, business development at JoeCo. ‘Their experience and technical expertise make them a complementary fit with JoeCo’s philosophy of providing high-quality solutions for audio professionals.

‘Boujikian Bros are well known in the pro audio markets in the region, across a number of applications including studios for TV broadcast, live events and concerts, all of which are appropriate for JoeCo products,’ furthered Murray. ‘Working with Gary and his team gives us an opportunity to address these core market sectors and provides a wider and more direct exposure of JoeCo’s products in the region.’

www.boujikian.com www.joeco.co.uk

advance technology we Dante are practicalAVsystem designasand doing our Connect Series audiowith networking with the use of product range, world’s first LoadSmart to the verify loudspeaker IoT/cloud-enabled professional performance. amplifier products,’ added ‘With the PLM+ certification for WallScott Robbins, VP of sales at our worldwide distributors, LEA Professional.

‘We are very technicians and engineers, we can impressed with and ensure that ourVenuetech users experience their to support support and the commitment highest level of their customers fromour design service, continuing success in assistance the waycommented through to the touringall market,’ post-sales support.

[The company] Fathi. ‘I am very pleased to have has world-class infrastructure theaSonotone team visit here for and to provide logistics, thestaff training.’ marketing and technical support.

Karan Nagpal, managing director We lookingadded: forward‘We to mutual at are Sonotone, are success for LEA very thankful forProfessional, the hands-on Venuetech their customers training weand received with an inwho purchase LEA of products.’ depth knowledge the diverse

SIN hos Train work new Pro

by A

INDIA: The team from Indian pro for customers running Adamson audio distributor Sonotone recently loudspeaker systems on PLM+ visited the Swedish headquarters amplifiers. stage for professional audio is Training the future audio technology.’ wasofled

by Lab.gruppen’s of Lab.gruppen in Kungsbacka amplification the increasingly ‘Venuetech shares our passion Reza Fathi. He provided an into take part ininPLM+ Powered technologies employed.’ www.leaprofessional.com connected AVManagement world, especially the for exceptional customer service depth understanding of the Lake Loudspeaker systems www.venuetech.ae Middle that thisto and also shares ourplatform, vision to www.labgruppen.com Controller software training.East.

This We will believe allow Sonotone Dante-ProAudioAsia-ad-Aug19.qxp_Layout 15:08 Page 1www.sonotone.com the PLM+ Series with fulfil all warranty and service claims features 1of 21/08/2019

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www.prismsound.com L–R: JoeCo’s Graham Murray with Gary Boujikian and JoeCo founder, Joe Bull

40 PRO AVL ASIA September–October 2019

November–December 2019 PRO AVL MEA 27

and Han the Tha Th atte repr rent Prod The Blue and and amp up, S11 have

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W se en or ins ‘ we ed to au CE no m wh ed ca as T of tra fu

APPOINTMENTS Bose Professional expands team in Middle East MIDDLE EAST: Bose Professional has recently welcomed Gaurav Mehta to the team to watch over channel marketing for Bose Pro in the Middle East. He will be the marketing contact for all marcomrelated activities with distributors and partners across the gulf.

Mehta has previously worked with the Almoe Group and in the field of consumer marketing. He has experience in managing large-scale events as well as exhibitions, product launches, online marketing and press relations.

‘We are excited to have Gaurav on board who comes with vast experience in marketing,’ said Nittin Dargan, regional manager of Bose Professional.

‘He understands the marketing requirements very well and is equipped to strengthen our position in the region even further.’

Mehta added: ‘I’m very pleased to be a part of the industry-leading

Gaurav Mehta

pro audio team. I would like to leverage my regional marketing experience to enhance and drive more value for the business.’ www.pro.bose.com

QSC promotes TJ Adams WORLD: QSC has recently promoted TJ Adams to vice president of systems product strategy and development, where he will continue to watch over the strategy development and execution of product development for the Systems portfolio.

TJ Adams

‘Since TJ joined QSC over six years ago, he has played a pivotal role in the development of our overall product strategy

for leading solutions in our Systems portfolio,’ said Jatan Shah, chief operating and technology officer at QSC. ‘As we continue to grow our business, we are looking to scale our leadership team with individuals that can develop thought leadership, people leadership and teamwork while driving visible results.

We are confident TJ will continue to bring these qualities to our organisation as we focus on proliferating Q-Sys throughout the AV and IT industries.’

Adams added: ‘I am honoured to play a part in developing the most robust, softwarebased audio, video and control ecosystem in the industry, one which continues to innovate and change the way integrators and end users design and install systems. I look forward to progressing the Q-Sys vision through further software/ cloud-based innovation, while expanding our platform through complementary technology and IT industry partnerships.’ www.qsc.com

28 PRO AVL MEA November–December 2019

Exterity grows Middle East team MIDDLE EAST: Exterity has announced two new appointments for the Middle East as a result of continued business growth in the region. Zaher Ajeeb has been recruited as KSA sales manager, while Victor Hasan has been appointed regional sales manager – hospitality. This follows the promotion last year of Eleuterio Fernandes to vice president of sales EMEA and Walid Tabet to regional sales team leader. The two new members of staff will report to Tabet.

‘Exterity entered the Middle Eastern market over 10 years ago and our impact and success could not have been achieved without our hugely talented local team,’ said Colin Farquhar, CEO at Exterity. ‘They have an unrivalled wealth of experience and technical knowledge, which has fostered a real feeling of confidence and trust among our partners and customers. The strength of our local team and technology enables us to work with some of the most recognisable names in the Middle East. I am looking forward to working with our new team members as we continue to grow in this exciting region.’

Based in Riyadh, Ajeeb brings extensive local market and industry knowledge to the company and will support its expanding hospitality and corporate business across the Kingdom of Saudi Arabia. With a

Having been involved in large projects across MENA, he has extensive experience in IPTV, OTT, VoD and digital signage, and is described as an expert in the hospitality and telecom IPTV space.

In addition to these latest appointments, Exterity has also been building its technical team – which supports customers on the ground both pre- and post-sales – with the addition of

Zaher Ajeeb

degree in finance, he is described as a customer-focused sales professional, having gained 13 years of experience in both pro AV and retail sales. His particular expertise is in solution sales, with products ranging from CCTV, fire alarms and security, to audiovisual integrated solutions, telepresence, IPTV and digital signage systems.

Hasan brings 17 years of experience in video technology and market knowledge to his new position as regional sales manager for hospitality. He has previously worked in the UK with companies including BSksyB and Virgin Media and, over the past five years, has worked in the Middle East for CMT/MVI as sales and marketing director in a number of IPTV/OTT fields, including telecom, hospitality, broadcast and satellite industries.

Victor Hasan

Omar Abdel-Halim as solutions consultant based in Saudi Arabia and Shrinil Kudalkar as solutions analyst in the UAE. This expanding team, along with the larger sales team, prompted a recent move

by Exterity into larger premises within the same building at Dubai Internet City. www.exterity.com

Marcus Graser takes the reins as CEO at Claypaky

L–R: Claypaky CEO Marcus Graser with Pio Nahum WORLD: Claypaky recently announced the replacement of outgoing CEO Pio Nahum with the appointment of Marcus Graser.

Graser previously worked in several different roles with Osram, the mother company and the

sole shareholder of Claypaky. He led Osram when Claypaky was acquired, with entertainment being one of his main business focal points.

‘I am proud of having become the new CEO of Claypaky, and

to oversee the exciting progress we anticipate in the years to come,’ said Graser. ‘I feel, however, that this is the right time to express, on behalf of an entire Claypaky community, our sincere gratitude to Pio Nahum for his excellent contributions as well as pragmatic, visionary and passionate leadership that allowed the company to achieve important results.’

Nahum added: ‘I am glad to hand my responsibility over to Marcus; we have been working together since January and he has acquired a perfect understanding of our organisation, our market and our business. I am confident that Marcus will carry out his new assignment with the utmost professionalism, enhanced by the enthusiasm and innovative attitude that are part of his personality.’ www.claypaky.com

NEWS: APPOINTMENTS

Three new hires for N&M Dubai UAE: Three new AV specialists have joined the Middle East team at Neumann&Müller Event Technology.

Sven Schuster has come on board as a senior project manager, while Matangi Sumbél and Adrian Tudela have been appointed as technical project managers.

‘Since 1981, our valued clients have trusted us to help bring their events’ technology to life,’ said Jens Giessler, general manager of N&M Dubai and senior business partner of the group.

‘To enhance their experience and offer exceptional service and even faster request turnaround, we’ve expanded our Dubai team by appointing three AV specialists with a considerable 37 years of combined international experience.’

Schuster is a German video specialist who brings international AV experience to N&M Dubai having worked on some of the world’s most interesting events.

‘It’s not so much about the devices

L–R: Adrian Tudela, Sven Schuster and Matangi Sumbél

or technology we’re using – other companies can use them too – it’s about how to use that technology to make our clients happy,’ commented Schuster, on standing out in the event technology industry. ‘At N&M, we have set

ChyronHego announces CEO

Ariel Garcia WORLD: ChyronHego has recently announced the promotion of Ariel Garcia from president of broadcasting to CEO. Garcia’s new role will involve expanding the focus of product innovation driven by customer requirements.

Garcia joined ChyronHego as a board member after an investment from Vector Capital.

Before this, he was an operations partner as well as the head of value creation at Vector Capital.

He was also a senior principal at the Boston Consulting Group, where he watched over

the company’s technology, media and telecommunications practices.

‘I am thrilled to step in as CEO during this exciting stage for ChyronHego. Our sports intelligence and broadcasting products are top-notch, and our increasing focus and partnership with our customers will prove critical for future success,’ Garcia said. ‘ChyronHego has a rich history as a technology innovator. With an increasing focus on customer-centricity and investment in key ecosystem partnerships, we are determined to bring the best technology, services and value to our customers.’

‘Ariel’s ability to successfully drive growth and change make him the ideal fit to lead ChyronHego’s next era. His deep expertise in applying strategy and operational improvement to boost company performance is a tremendous asset,’ said Johan Apel, chairman of the board at ChyronHego. ‘We welcome Ariel as the head of our senior executive management team as we continue to advance our operations and bolster the ChyronHego brand globally.’ www.chyronhego.com

high standards, not only in terms of quality but also in terms of creativity. We really understand how to deliver on our clients’ needs.’

Sumbél is a German audio specialist who started off as an

apprentice at N&M before being appointed as a technical project manager in July. ‘I’ve known since I was five years old that I wanted to work with audio,’ commented Sumbél. ‘We do need more qualified people in this business,

especially those with a keen understanding of the complex health and safety aspect. One of the things that drew me to N&M was the respectful way it treats both its employees and clients, as well as its pioneering and safe approach to making extraordinary events happen.’

Tudela started off his career as an in-house theatre technician in Spain 15 years ago, before joining local crews doing outdoor live events and touring. He joins N&M as a technical project manager.

After qualifying as an event technology professional in 2009, he went straight into corporate events and worked for major clients who organised events like the FIFA Club World Cup 2018 and the 2019 AFC Asian Cup, both in the UAE. ‘I’m really excited to work on many more incredible events in the future,’ remarked Tudela. www.neumannmueller.com

New appointments at Lab.gruppen and Lake

Tomas Lilja WORLD: Music Tribe brands Lab.gruppen and Lake have made a trio of senior appointments. Tomas Lilja will serve as brand leader for both, Håkan Alfredsson is their new product category leader and Anders Jutebrant Ivarsson is R&D manager.

Lilja previously served as brand leader for Lab.gruppen and Lake from 2000–2009. ‘Lab.gruppen and Lake have never left my heart.

When I had the opportunity to meet the Swedish team again and also experience the powerful framework of Music Tribe, it was absolutely impossible for me to resist this opportunity,’ he said. ‘I can clearly see how the market has changed both in its applications but also from a technology point of view, which opens so many

opportunities for the brand and the wonderful people behind it. The time has come for the brand to extend its offerings in the market.

Helping customers in various market segments is our passion.’

Meanwhile, Alfredsson’s new role as product category leader for both brands will see him in constant communication with clients and across all departments. He will be involved in the development of new products, putting to use his 35 years of industry experience within the rental and installation sectors. ‘I see great products and even greater potential,’ he stated.

‘However, nothing is so good it can’t be better. I am enthusiastic about joining Lab.gruppen and Music Tribe on this journey.’

Anders Jutebrant Ivarsson

Finally, Ivarsson is described as a business-oriented R&D manager. He possesses more than 12 years of experience in product development and portfolio management. He also has extensive experience of managing the implementation of agile development methodologies.

‘Lab.gruppen is a fantastic company with a high reputation, exciting products and highly competent team members,’ Ivarsson commented. ‘I’m excited to join this great team and to be a part of leading the way to new innovative and successful products.’ www.labgruppen.com

Håkan Alfredsson

www.lakeprocessing.com

November–December 2019 PRO AVL MEA 29

Your Performance.

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NEWPRODUCTS

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

Allen & Heath bridges the gap with Avantis

Based on the company’s XCVI FPGA engine, Allen & Heath has revealed its 96kHz digital mixer with the launch of Avantis BRIDGING THE gap between the SQ and dLive formats, the standalone 64-channel mixer comes with a 42 configurable bus configuration with extensive I/O options and a dPack software upgrade package providing access to optional dLive processing.

Encased in a lightweight, yet strengthened, alloy shell and tubular frame, the Avantis control surface focuses on two Full HD touchscreens and their corresponding rotary controls. With Continuity UI, engineers can manage a seamless flow between the physical controls and the onscreen software, such as gains and pans on the rotaries, then at the touch of a soft key switch to EQ or dynamics across the whole strip.

The console also provides a configurable

FastGrab tab on the right-hand side of each screen, offering an alternative route for accessing the control of aux sends, EQ, compressor and FX on a selected channel or spot channel.

Operating within the UK manufacturer’s Everything I/O ecosystem, Avantis can also be connected to a wider range of audio expander hardware. Avantis can be paired with the existing 48-in/16-out GX4816 audio expander, while it is also compatible with other hardware such as the ME series of personal mixers and IP remote controllers.

For local I/O, Avantis is equipped with 12 XLR analogue inputs, 12 XLR analogue outputs plus AES (stereo in, two stereo out) connections. Expanding the scope for system integration, FOH/monitor splits

and multitrack recording, two additional I/O ports can be used for inserting any of the full range of current dLive option cards including Dante (64 x 64 and 128 x 128), Waves, gigaACE and MADI. The console is pre-loaded with processing tools including compressors, EQs and 12-slot RackExtra FX units.

Upgrading to dPack expands Avantis further with additional dLive processing including the Dyn8 dynamics engine (up to 16 instances), DEEP Compressors and the Dual-Stage Valve preamp. Designed for future-proofing investment, dPack purchasers will automatically receive all future DEEP and FX updates at no extra charge.

Absen N Plus Active Audio B70TC/Ray-On and Ray-On+ ADB Stagelight Hathor Gate AKG K361 and K371 Alcons Audio LR18/120 Allen & Heath Avantis Amate Audio Nítid LMS206 and N6P/Active+ Antelope Audio Synergy Core/Opto-2A Aten KE6910/KE6912 Atlona AT-RON-448/AT-OME-PS62 Attero Tech Axiom ML1, USB1 and AXP2O Audinate Dante Controller 4.2.3 with Dante Updater Audio-Technica AT8699 and AT8699R/ATUC-IR Audiocenter WM-DSP series Audix/QSC Control plug-in for DN4 and DN43 Ayrton Perseo-S B-Tech AV Mounts BT7550/System X VESA 400 Barco XT series/UDM/E2 Gen 2 Calibre 4K QuadVision Canon XEED 4K6021Z/LV-WU360/LV-WX370 CEDAR Audio DNS 8D Chauvet Ovation E-910FC IP Christie CP2309-RGB/CP4450-RGB/Vive Audio LA3i Chroma-Q Space Force onebytwo Clear-Com FreeSpeak Edge/FreeSpeak II IPT transceiver Coda Audio N-APS/N-SUB Crestron HD-RX-4K-510-C-E and HD-RX-4K-410-C-E Digital Projection Satellite MLS DirectOut Prodigy.MC update/globcon v1.0 disguise r16 DPA Microphones 2028 Vocal Microphone Dynacord Sonicue Dynaudio OW-6/OW-8/Core 47/Core Sub Elation Proteus Smarty Hybrid Epson EB-L30000UNL/EB-L1070UNL/ELPLX01 Eventide Instant Phaser Mk II/Instant Flanger Mk II Extron DTP2 T 202 FB/DTP2 T 203/DTP2 T 204 Focusrite Scarlett 3rd Generation FOR-A HVS-1200/MELite GDS Prodigy/Work Lights/Reality Series Genelec The Ones 8351B, 8361A and W371A IK Multimedia iLoud MTM Ikegami HQLM-3125X/HQLM-1720WR/HLM-2460W Klotz AIS dx10/KCPM connectors for KIK range Kramer RC-306/RC-308/RC-206/RC-208 Lab.gruppen CA series/CRC-V series Lawo AES67 Stream Monitor/Power Core Max Lectrosonics X firmware for Duet IEM/IFB system Linear Acoustic LA-5300 Lynx Technik HDR Evie+ Magewell Pro Convert AIO RX/Pro Convert HDMI TX Modulo Pi Modulo Player v5.2 Neutrik opticalCON Dragonfly NUGEN Audio MasterCheck v1.7.0.1/VisLM update QSC Q-Sys Control plug-ins RCF HDL 50-A 4K/HDL 36-AS/NX 10-A II RME ADI-2 DAC update Ross Video Tria+ UHD/pro-xi/Piero/SmartShell version 5 RTW ISA Immersive Sound Analyzer Schoeps CMC 1 sE Electronics V7 MC2 Shure VPH Solid State Logic Native V6.3/HC Bridge SRC/Live V4.9 Sommer Cable RJ45CFXL-P1/P8 Sony CBK-FS7BK/LA-EB1/HDCE-TX30/HDCE-RX30 Sound Devices MixPre-3 II/MixPre-6 II/MixPre-10 II Stage Tec Aurus and Crescendo v4.8.1 Taiden HCS-8668/HCS-5390 TASCAM Series 8p Dyna/TH-06 Tasker TP01/TP02/TP40/TP11/TP10/TP30/TP20 TSL Products IP Control Buddy/AIB-4 UNiKA SPT-3rt Vari-Lite VLZ Profile/VL6500 Void Acoustics Venu V2 Vue Audio e-351 Nano/es-269V Wheatstone Strata 32/Remote LXE Williams AV Annotation Pro Yamaha Stagepas 1K/YAI-1/ESB-1080

58 38 66 39 36 31 34 42 64 60 46 52 40 36 50 66 59 56 62 58 44 67 60 66 50 36 44 58 42 56 40 54 34 66 59 52 47 50 62 66 32 32 58 44 46 36 54 54 42 64 60 56 62 50 53 35 54 65 43 40 40 40 52 48 62 44 56 46 38 48 48 48 67 34 32 43 64 48

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DANTE NA2-IO-DPRO

1/4 PAGE

The NA2-IO-DPRO is a 2IN, 2OUT breakout box designed to

connect legacy audio equipment with the Dante® network.

It features high-quality microphone preamps and 2 Dante®

ports for either redundant setup or daisy chaining. Audio parameters are adjusted by the DPRO Controller app.

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November–December 2019 PRO AVL MEA 31

PRODUCTS

The Ones multiply GENELEC IS aiming to bring precision listening to a much wider range of room sizes, listening distances and SPL requirements.

The manufacturer has added to its The Ones series of point source monitors with the 8351B and 8361A coaxial three-way along with the W371A Adaptive Woofer System. The series as a whole is now able to deliver neutral reference monitoring for applications requiring ultra-nearfield to mastering, as well as main monitor applications.

The 8361A has been built with an ‘extremely’ high dynamic range and Genelec states that it offers ‘unrivalled directivity and imaging’.

As the largest member of The Ones family, it reportedly delivers a shortterm SPL of 118dB with peak levels that reach even higher. The 8361A is said to provide a monitoring experience at distances of up to 5m, making it well suited to smalland medium-sized rooms.

Inside the 8361A are a pair of new Acoustically Concealed Woofers that have been designed to generate a high SPL output with

Genelec describes the W371A Adaptive Woofer System as a ‘truly unique concept’. It has been developed to complement the 8341, 8351 and 8361 members of The Ones, providing a higher level of control over directivity and the effects of room acoustics. The W371A allows users to switch between nearfield and main monitors without image-shifting.

At 1.1m tall, the W371A features dual high-performance low distortion. A new MDC coaxial midrange and tweeter drivers, meanwhile, reportedly ensure smooth directivity, low distortion, high SPL and extended frequency response up to 40kHz. As with the other enclosures in The Ones range, the 8361A’s casing is built for minimum diffraction, to eliminate colouration, while its front baffle acts as a directivity control waveguide. Class-D amplification is accompanied by advanced DSP processing,

woofers – one forward facing, the other aimed towards the rear. It gives the ability to tailor system performance to the room over the critical lowest four octaves. By augmenting the dual woofers of The Ones coaxial models with a W371A unit, users can yield four woofers per channel. These channels are combined to reduce destructive cancellation and standing wave artefacts thanks to a range of tools, including crossover frequencies, polar response and directivity. www.genelec.com

including delay equalisation and 20 precision EQs developed for room compensation.

The 8351B also shares much of the design philosophy and technology as its siblings, although it draws heavily from the electronic design of the 8341A and the driver technology of the 8361A. The 8351B has been created to improve on the 8341A with an increased SPL, additional room compensation EQs, equalised delay and enhanced HF response.

Vue goes outdoors

Compact monitoring

DESIGNED FOR applications from entertainment to outdoor and museum installations, the two-way e-351 coax 3.5-inch Nano loudspeaker system from Vue Audio claims to produce the same output levels of other systems twice its size.

It features ‘very low distortion and a flat response which provide ultra-high-end audiophile quality with professional sound pressure output’, according to the manufacturer. The 3.5-inch coaxial cone transducer combines a neodymium magnetic circuit with high-temperature voice coils and physical optimisation of the magnet assembly for heat dissipation of the aluminium enclosure. A beryllium 25mm compression tweeter is coaxially mounted through the pole piece of the driver with a neodymium magnetic assembly for a reported low distortion and high-frequency response.

The passive crossover is attached to the specialised DSP in the VUEDrive V242 Systems Engine which is said to maximise response accuracy while creating maximum power and transducer protection. The die-cast aluminium enclosure creates rigidity for resonancefree operation. The aluminium baffle features an integrated

BUILDING ON the company’s iLoud Micro Monitors, IK Multimedia has unveiled its iLoud MTM, a compact reference monitor with an ultraflat frequency response and a linear phase response which, according to the manufacturer, are features in this price segment that are only available in a handful of products. The monitor uses a midrangetweeter-midrange symmetrical design, with a pair of 3.5-inch high-performance woofers and one 1-inch high-definition tweeter. e-351 Nano high-frequency waveguide and low diffraction so that the full high-frequency clarity of the beryllium dome HF driver is not compromised. Thanks to the aluminium enclosure, the system can reportedly withstand corrosion and moisture damage for outdoor projects with extreme or harsh weather conditions.

The es-269V subwoofer, meanwhile, has been modelled on Vue’s es-269 ACM subwoofer cabinet. The V version offers 2,000W of internal amplification, while the built-in VueDrive Systems Engine sends 1,000W to the internal dual 6x9-inch transducers and provides two

32 PRO AVL MEA November–December 2019

500W output channels, or zones, for adding up to four e-351 or two e-352 passive models.

Output channels can also be used to drive a second es-269 passive subwoofer. The es-269V features full network control via SystemVue software, along with analogue and Dante audio inputs. The inclusion of Vue’s Active Compliance Management technology means that the two 6x9-inch drivers are placed in a unique arrangement that is said to leverage the benefits of both band-pass and vented alignments. www.vueaudio.com

iLoud MTM comprises 100W RMS power, 103dB SPL maximum sound pressure and a 40Hz to 24kHz frequency response. Users are able to create mixes that will translate across multiple playback systems, with no ear fatigue.

The monitor is described as delivering the accuracy and bass response of larger monitors when listening at close distances, making it ideal for nearfield work. Using audiophile-grade, high-resolution algorithms and AD converters to manage crossovers, filtering, time alignment, equalisation, dynamics control and autocalibration, iLoud MTM also manages the off-axis response to minimise the effects of room reverberation. iLoud MTM also debuts IK’s new patent-pending Physical Response Linearization system that uses a precise model of the enclosure’s design, construction and materials, combined with electro-mechanical measurements of the real units, to correct the system’s per formance in real time. www.ikmultimedia.com

PRODUCTS

Nítid expands and contracts

Venu refurbishment VOID ACOUSTICS has completed an aesthetic overhaul of its Venu range of installation loudspeakers.

The new Venu V2 models feature a high-end finish that aligns with the manufacturer’s fibreglass range.

Each system in the Venu V2 range includes a speakON socket for a fast and simple set up, while

maintained in both horizontal and vertical mounting positions, while also reportedly achieving wider horizontal nearfield coverage and improved farfield projection.

The Venu V2 low-frequency enclosures (Venu 112 V2, Venu 212 V2, Venu 115 V2, Venu 215 V2 and Venu 210i)

a larger Phoenix connector allows the use of wider cables to improve sound quality. Passive, two-way Venu V2 mid/high loudspeakers are available in five sizes, with low-frequency drivers that range from 6.5 inches to 15 inches.

An asymmetric, rotatable, high-frequency horn has been introduced in each version, except the Venu 6 V2, to allow the correct dispersion to be

include new features, such as rugged high-excursion transducers, a recessed rear connector panel that allows the enclosure to be placed against a rear wall and more durable grilles and fittings.

Black and white are the standard colour options available, although any custom RAL colour option can be requested.

LMS206 WITH THE launch of the LMS206 loudspeaker management processor, Amate Audio is extending the configuration of the Nítid active loudspeaker series for use with passive audio systems.

Incorporating a 64-bit DSP architecture, the first series of its next-generation loudspeaker management reportedly ensures continuous, uninterrupted operation.

The dual-input, six-output, singleunit height rackmount device is fully configurable, for which inputs are assignable to any output.

The outputs are equipped with two crossovers, together with selectable filtering and independent compressor/limiter settings.

In addition to 10 EQs with PEQ implementation and 1Hz frequency resolution, there are delay lines of up to 2s/680m, switchable polarity and up to 80 password-protected, user-configurable memory presets.

The addition of 20 pre-installed configuration presets promotes quick system set up capabilities for the same active loudspeaker series, providing control configurations for various combinations of Nítid and key passive loudspeaker models.

In addition, the Barcelona-based manufacturer has added the most compact system to date

N6P in its Nítid series. Incorporating a 6-inch neodymium woofer with carbon fibre cone and a 1-inch titanium diaphragm neodymium tweeter configuration, the Nítid N6P is a 200W-rated (continuous musical programme mode) loudspeaker. Housed in a 370mm x 220mm x 226mm multilayer birch plywood cabinet and coated in black polyurea, the 5.9kg model integrates double speakON NL4MP connectors into its design for the input and link. Operating within a frequency response of

64Hz to 20kHz (–10dB), the discreet enclosure is capable of producing a maximum SPL of 115dB (continuous). The internal electronics include a passive crossover for added HF driver protection, while recommended presets are available for the DSP206, DSP608 and TPD. In other news, the X212AF line array and accompanying X218WF sub have been upgraded with Active+. The integrated power and control platform comprises three integrated component technologies: advanced third-generation Class-D power and multichannel DSP system control; full touchscreen GUI; and new DSP Studio remote-control software. Active+ introduces enhanced control parameters, including advanced FIR/IIR filtering, and a series of system presets that reportedly enable near instantaneous system management for the most common cabinet configurations in the most common application environments.

This includes hardwiring of gain, limiting, crossover parameters and alignment delays that no longer need be addressed by system engineers.

Dynaudio heads outdoors DYNAUDIO HAS announced its first outdoor speaker models: the OW-6, with a 28mm soft-dome tweeter and a 6.5-inch woofer; and the OW-8, with a 28mm tweeter and an 8-inch woofer. For applications where multiple speakers are needed to create a consistent sound level across a larger area, the speakers can be connected to a regular amplifier as a pair of passive 8Ω speakers or daisychained on a single 70V/100V system by using the selector on the rear. They are both rated IP65 and can reportedly operate in temperatures from –33°C to 40°C. The manufacturer has also added two new models to the Core reference series. Operating within a frequency range of 44Hz to 27kHz (±3dB), the Core 47 is a compact monitor housing a 7-inch woofer,

OW-8 a dedicated 4-inch midrange driver and 28mm Esotar Pro tweeter.

While the LF and MF sections are powered by dual Pascal Class-D 500W amplifiers, the tweeter is served by a dedicated 150W module. The Core Sub is a powered

34 PRO AVL MEA November–December 2019

www.voidacoustics.com

www.amateaudio.com

subwoofer integrating four 9-inch long-throw woofers with dual 500W Pascal Class-D amplifiers.

Filling the gap between the Core 7 and Core 59 models, the dedicated midrange driver of the Core 47 provides detailed reproduction in the critical vocal frequency range. Hand made in Denmark, both the Core 47 and Core Sub are equipped with digital inputs (AES3) that support signals up to 24-bit/192kHz together with an internal DSP for operation at similar levels when using analogue inputs. Designed to be positioned horizontally or vertically, the Core monitors come with four indentations on each side and a set of special pads to fit them. An optional bracket extends installation options for the 15.1kg three-way design.

woofer); P4-C65 in-ceiling speaker (28mm soft-dome tweeter, 6.5-inch MSP woofer); P4-DVC65 in-ceiling speaker (two 28mm soft-dome tweeters, 6.5-inch MSP woofer);

Core 47 Finally, Dynaudio has unveiled new additions to its Custom Installation lineup. The Performance range features rectangular in-wall speakers that have a shallow depth and are secured by tightening the special doglegs that grip the drywall. The round in-ceiling models can be fitted into the frame and twisted to lock into place. The series comprises the P4-W65 in-wall speaker (28mm soft-dome tweeter, 6.5-inch MSP woofer); P4-W80 in-wall speaker (28mm soft-dome tweeter, 8-inch MSP

Performance Series in-ceiling speaker P4-C80 in-ceiling speaker (28mm soft-dome tweeter, 8-inch MSP woofer); and P4-LCR50 in-wall L-C-R speaker (28mm soft-dome tweeter, two 5-inch woofers). www.dynaudio.com

PRODUCTS

RCF extends power to 4K THE ITALIAN manufacturer has added to its HDL composite range with the HDL 50-A 4K, an active three-way line array module redesigned from the original HDL 50-A. It is charged with 8,000W peak power and comes with two 12-inch woofers, four symmetrical 6.5-inch midrange and two 2-inch drivers. The module can enhance the SPL up to 143dB. FiRPHASE and RDNet 3.1 networked management are also included. The housing is constructed from lightweight plywood and polypropylene and the unit weighs 56kg. Current HDL 50-A owners can upgrade the system to 4K by replacing the on-board amp.

Staying with the HDL range, the HDL 36-AS is described by RCF as the ideal flyable bass complement for the HDL 28-A array system.

It features one 4-inch voice coil and a 15-inch neodymium woofer to handle 135dB SPL max from 40–140Hz. The built-in 3,200W Class-D amplifier delivers playback clarity up to 135dB SPL max. It is also compatible with RDNet remote monitoring and control.

Following a complete firmware redesign reportedly with improved sound, enhanced precision and 0° phase response, RCF has upgraded its TT 5-A II, TT 2-A II, TT1-A II, TT 051-A II and TT 051-A II models.

RDNet network connection now embeds all the TT+ speakers and allows FiRPHASE technology.

Older models can be upgraded by installing the optional RDNet board and running a firmware upgrade from the RDNet software.

HDL 50-A 4K and mini-jack on Input B, as well as two pairs of XLR for output. Also featured is a DIM (mute) button, reducing the sound by –20dB, a

mono switch and a central generous machined main volume control. The MC-1 is passive and requires no external power.

NX 10-A II

www.rcf.it

HDL 36-AS Following customer requests for a companion 10-inch system for the NX series, RCF has reworked the NX 10-A platform to develop the NX 10-A II. Powered by internal twoway 1,400W Class-D amplification, it comes in a solid aluminium structure, which is said to stabilise the amplifier and assist with heat dissipation. The DSP has limiters and protection, as well as FiRPHASE filters to boost coherent distribution without phase distortion. The NX 10-A II is loaded with a 10-inch woofer with a 2.5-inch voice coil and 1.75-inch compression driver, with 1-inch voice coil assembly.

RCF has also introduced the MC-1 Monitor Controller, designed to manage two pairs of stereo monitors. The controller features two stereo inputs on combo connectors (TRS+XLR) on Input A and TRS jack

3/4 PAGE

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PRODUCTS

Coda gains a sibling

LR18 family grows

THE N-APS is described

by Coda Audio as the supercharged smaller sibling of the APS system and includes new patented technologies in an even smaller box.

Whereas the APS arrayable point source was intended for small- and mediumsized venues, the N-APS has been designed for smaller venues and corporate events and is said to provide an unobtrusive solution with a high power-toweight ratio.

The N-APS Instafit Magnetic Coupler sums the energy from all transducers to per form as a single source, without any phase destruction. The N-APS is phaselinear, which means there is no need to apply destructive processing when combining different elements in complex systems. Available in 60°, 90°, 120° or asymmetrical horizontal coverage, the N-APS also includes a Ring Diaphragm Curved wave driver to reduce distortion and allow more than one N-APS to work together as a single cabinet. Four aluminium shorting rings reportedly reduce induction variation, minimise

ALCONS HAS used its pro-ribbon technology for mid/high frequencies to create the LR18/120 threeway compact/mid-sized line source sound system and reportedly achieve 90% less distortion. This is said to enable the LR18/120 to provide an intuitive linear response, optimal intelligibility and non-compressed identical tonal balance at any SPL. Additional benefits include a 120° wide dispersion high sound quality and high dynamic SPL capabilities.

The cylindrical wavefront for the 7-inch pro-ribbon transducer and the symmetrical component configuration reportedly produce a coherent pattern control in the vertical and horizontal planes.

The pro-ribbon’s power handling is 1,500W and the RMS-to-peak power handling ratio is 1:15.

A horn-loaded 6.5-inch midrange transducer is coaxially mounted behind the HF driver, while the LF section consists of two reflexloaded 8-inch woofers with a 3-inch neodymium voice coil. System drive comes from two channels of the Sentinel amplified loudspeaker controller with LR18-specific drive processing and feedback for each array configuration. Presets include Alcons’ VHIR processing

with phase-matching with any Alcons system. Signal Integrity Sensing pre-wiring is said to ensure dynamic cable/connector compensation between the LR18/120 and the manufacturer’s ALC to provide ‘a 1:1, undistorted natural sound reproduction, regardless of cable length and amplifier impedance load’.

THE ACTIVE WM-DSP series is the latest addition to Audiocenter’s product lineup and comes integrated with BrainCore technology which optimally analyses and processes the input signal, DSP module, Class-D

amplifier and loudspeaker to achieve ‘smooth transitions between the LF and HF, excellent frequency response and audio reproduction, even at high levels of SPL’, according to the manufacturer. A customised pro driver from Beyma is said to provide a clean and clear sound, while three different presets are available via a switch on the back panel: flat, vocal and drum. The angle is adjustable from 30° to 45° in 5° increments.

The waveguide offers a coverage

angle of 60° (20° up/40° down) x 60° to provide a symmetrical soundfield coverage for largeand medium-sized live events.

The moulded heat sink and streamlined design is said to improve cooling and increase the reliability of the system.

Two models are available: the WM210-DSP dual 10-inch active monitor speaker and the WM212-DSP dual 12-inch active monitor speaker. The series has been specially designed for touring systems and fixed installations such as clubs, auditoriums, theatres and HOWs.

The Energy Star Certified design of the CA Series has been developed to conserve energy and reduce the cost of ownership. The amplifiers offer a flexible power scheme with automatic power on/off functionality that detects whether there is an input signal, reducing consumption when there is no signal present. They are convection cooled, eliminating fan noise for silent operation.

Brackets are included for sur face mounting and various rack-mounting configurations. Each amplifier can fit a half 19-inch rack or full-rack enclosure. The amplifiers can accommodate a range of applications, such as a

single 8Ω speaker per channel, dual 8Ω speakers or a 4Ω load per channel, as well as a line of 70V or 100V high-impedance speakers with transformer tappings, subwoofer and satellite set in 8Ω mode, or two-channel models driving two zones.

The CA amplifiers can also be used with Lab.gruppen’s new CRC-V series of wall controllers for volume control. The CRC-V controllers are equipped with a single knob for volume control with integrated illumination so they can be seen in the dark, and an RJ45 connector for use with any Cat-5 or Cat-6 cables in a single-gang/EU wall enclosure format.

intermodulation distortion and reduce thermal compression.

To complement the release of the N-APS, Coda has added the N-SUB, a compact 15-inch, high-output subwoofer weighing 28kg. It has a high power handling of 1,500W, a maximum SPL of 139dB (peak) and reaches lows of 30Hz. The sub comes with system integration with Linus DSP amplifiers and integrated one-pin rigging compatible with the N-APS for flyable or ground-stacked bass arrays. The N-SUB is equipped with a long-excursion, 15-inch ultra-low distortion driver and a 4-inch voice coil to reportedly ensure ultra linear excursion at a consistent magnetic force.

Both products benefit from the manufacturer’s Dynamic Airflow Cooling technology. Aluminium vents are optimised to increase thermal capacity. The technology is also said to improve heat dissipation, increasing the power handling and the maximum sound pressure of the system. www.codaaudio.com

Energy stars LAB.GRUPPEN’S NEW CA Series amplifiers, which have been Energy Star certified, have been designed to provide ‘cost-effective’ amplification for sound setups serving as PA or BGM systems in commercial installations, such as hotels, restaurants and retail outlets.

The series comprises the CA2401, CA2402, CA1201, CA1202, CA601 and CA602. The CA2401 and CA2402 are 240W versions with one and two channels, respectively.

The CA1201 provides one channel and the CA1202 two channels at 120W and the CA601 and CA602 offer 60W of power over one or two channels, respectively.

The CRC-V series

The CA series

36 PRO AVL MEA November–December 2019

Audiocenter gets active

www.alconsaudio.com

www.audiocenter.net

www.labgruppen.com

YAMAHA MUSIC GULF FZE Jebel Ali Free Zone Dubai U.A.E. Tel : +971 4 8011500 http://mea.yamaha.com www.yamahaproaudio.com http://nexo-sa.com

PRODUCTS

A first for

A Ray of sound BASED ON Active Audio’s experience in the field of directivity control in loudspeaker arrays, the Ray-On B70TC sound bar has been developed to focus on the directivity control of loudspeaker alignments in the horizontal plane.

pollution in adjacent areas, such as residential areas close to stations, screens within a museum and conference spaces in open-plan offices. The B70TC operates in

B70TC

More specifically, the B70TC has been designed for the sound reinforcement of longilineal spaces such as corridors, shopping centres, railway platforms, underground platforms and meeting rooms, and reportedly provides excellent intelligibility in reverberant and noisy spaces. It also allows users to limit the noise

8Ω and 70V/100V mode and is compliant with EN 54-24. The operating angle is 500Hz to 2kHz (at –6dB) with a longitudinal plan of 40° and transverse plan of 180°. The maximum SPL is 97dB at 2m and the bandwidth at –10dB is 120Hz to 18kHz. The dimensions are 706mm x 128mm x 117mm (HxWxD).

The manufacturer is also redesigning products in its Ray-On and Ray-On+ (Dante-enabled) series. Measuring 10cm taller

The Ray-On series than their predecessors, the R60 becomes the R70, the R100 becomes the R110 and the R200 becomes the R210.

Measuring 10cm smaller than

their forerunners, the R80+ becomes the R70+, the R120+ becomes the R110+ and the R230+ becomes the R210+. The electro-acoustic elements of the speakers have stayed the same but the connections and ease of installation have been improved.

Active Audio also reports that it will be easier to transform a passive Ray-On into an active Ray-On+ thanks to the fact that they are now the same size. Suitable for indoor or outdoor use, compliant with EN 54-24 standards and the availability of a wide choice of connectivity (8Ω/70V line/ amplified) reportedly makes Ray-On column loudspeakers suitable for houses of worship, conference rooms, airports, railway stations, shopping centres and recreational parks. www.activeaudio.fr

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38 PRO AVL MEA November–December 2019

Series 8p Dyna TASCAM’S SERIES 8p Dyna eight-channel mic preamplifier and analogue compressor is the Japanese manufacturer’s first standalone microphone preamp and AD expansion system. It is designed for use both in the studio and onstage.

Housed in a 1U rack-mount casing, the Series 8p Dyna has dual S/MUX optical ports that make it suited for use as an expansion unit for S/MUXequipped audio interfaces, including TASCAM Series 102i or 208i devices, or it can be used as a standalone front-end expander. It offers eight TASCAM High Definition Instrumentation Architecture preamps, with a noise level of –127dBu, THD at 0.0007%,

PRODUCTS

TASCAM Allen & Heath expands its appeal FOLLOWING THE launch of the Dante-enabled I/O boxes, Allen & Heath has expanded its ‘Everything I/O’ ecosystem with the addition of two new remote audio expanders. Designed to be a high-channel-count remote expander, the 96kHz GX4816 is a central hub for all stage I/O that connects via a single cable dynamic of 116dB and link to SQrange and dLive systems. crosstalk at 119dB. Each Incorporating 48 dLive mic channel also a singlepreamps and includes 16 XLR outputs control compressor in a 4U analogue chassis, the GX4816 with true bypass for managing is equipped with two DX ports hot further input signals and or creating for expansion bridgea smooth audio input. bypass connection to an ME True personal is available on aInper input basis. mixing system. addition, the A pair is of ainstrument/ DX012 1U output expander microphone combo on the that feeds IEMs andinputs amplifier front panel allowDX012, users toDX168 plug racks.

A second in mics, guitars an array of or DX164-W canand be cascaded other balanced to theinstruments. unit, while a Six redundant mic/line inputs canmade be found connection can be to on the rear. Each microphone input compatible hardware.

The current has individually switched +48V array of I/O options includes the phantom power for useand withAB168 48kHz AR2412, AR84 condenser audio racksmics. for QuDual andS/MUX SQ digital optical outputs can also berack, mixers, the modular DX32 located on the rear, enabling the portable DX168, the wall-use as a front-end expander for dLive mount DX164-W for SQ and S/MUX orand ADAT-equipped audio systems the Dante-enabled

AKG is on the move

HARMAN BRAND AKG has recently GX4816 released the K361 and K371 professional studio headphones.

The headphones feature a foldable, compact design which is said to allow users to create professional content, whether in the studio or on the move.

The K361 and K371 are the first of AKG’s professional headphones to have an oval DX012 earcup shape to reportedly provide a comfortable fit and better frequency response by aligning with the geometry of the human head. The earcups also have a 90° swivel to allow single-ear monitoring.

The manufacturer is hopeful that the adjustable headbands configured for access to multiple paired with slow retention foam control pages or zones. Once pads will provide a perfect fit for complete, the configuration is users. Both headphones feature uploaded to the core of the an over-ear, closed-back design to system, the MixRack, ready for XL monitoring Any headphones with give users sound isolation in loud deployment. device running an bass response’ environments. the‘enhanced Custom Control app can log to reach smooth, lows The two models are equipped into the the system with deep a given user needed producing in with 50mm drivers and pure profile, for at which pointmusic the correct genres such as is EDM, hip hop, oxygen-free copper voice coils that user inter face downloaded metal and R&B. This allows for are said to achieve clear sound and displayed. and acoustic precision for users. both kiosk applications and www.tascam.com The K361 uses an extended 15Hz BYOD use. to 28kHz frequency range, while

DT168 and DT164-W. Larger systems can also be facilitated by the DX Hub expander.

In other news, the manufacturer TH-06 has released Custom Control, interfaces.

Using the two app S/MUX a cross-platform control for outputs at the same time, dLive systems.

Users canall design eight Series 8pfaces Dynatailored channels multiple inter to can be sent at upand to 96kHz different levels device types. (four channels at 176.4kHz Access to all levels, mutesorand 192kHz). sends is provided, together with The Japanese manufacturer has preset recall, source selection also developed Tabs the TH-06 Bass and metering. can be

Finally, V1.4 firmware for the SQ series has been unveiled. Three new audio tools – Multiband Compressors, Dynamic EQ and De-Esser – allow SQ users to have up to eight instances that can be inserted on any input channel, group or mix. V1.4 also introduces an offline mode for SQ’s MixPad app, which is now being released for PC and Mac. Offline mode allows engineers to create show files without the need for an SQ, manage shows and scenes offline, and send and receive shows over a wired or wireless network. www.allen-heath.com

Custom Control K361

the K371 sports titanium-coated diaphragms ranging from 5Hz to 40kHz. The K371 headphones are also in tune with AKG’s Reference Response curve, an acoustic target that outlines widespread hearing and listening preferences. www.akg.com

CAPTURE, STREAM, PAN, TILT AND ZOOM SDI, HDMI or HDBaseT

1/2 PAGE

The most cost effective PTZ camera in the world PTC-140 by Datavideo Starting at $1.249,-

www.datavideo.com November–December September–October 2019 PRO AVL MEA 39 41

PRODUCTS

Small is beautiful for Schoeps SCHOEPS HAS introduced the CMC 1 compact microphone amplifier to its Colette series of modular, smalldiaphragm condenser microphones.

Measuring 39mm in length, the CMC 1 is equipped with a standard XLR-3M output for connecting all other Colette system components, including the MK capsules and active accessories such as filters and RC extension tubes.

Designed for boom and concert stage applications, the German manufacturer cites its technical performance to be on par with the top of the range CMC 6 model.

When combined with an MK 4 capsule, the CMC 1 is capable of operation up to 135dB SPL and consumes very little current (2mA with P48 powering) in the process.

The output impedance is said to be constant across the frequency range, while the Schoeps RFI Shield provides reliable suppression of radio-frequency interference when

used in wireless applications.

Accessories are available, including the Cinela E-OSIX-CMC1 shock mount and Cosi-CMC1U miniature basket-type windscreen in addition to the Rycote INV-6 and WS-9 windshields.

Vocal reproduction on a budget THE 2028 Vocal Microphone has been developed by DPA Microphones to capture all kinds of vocals for a wide range of applications, such as live stage performances, broadcast and other pro AV situations.

It is designed to replicate the sound quality of the flagship 4018 VL handheld mic at a lower price point.

Three versions are available: a wired XLR variant with handle, and two wireless mic configurations that are each compatible with some of the most widely used wireless microphone systems, including the SL1 adapter, compatible with Shure, Sony and Lectrosonics, and the SE2 adapter, which is compatible with Sennheiser.

When used in live sound applications, the 2028 reportedly requires very little to no EQ to

faithfully reproduce vocals. This transparency, DPA states, allows engineers to shape the sound experience rather than spending their time covering up issues caused by artefacts.

In addition, the 2028 includes a new fixed-position capsule, with a specially designed shock-mount and pop filter. A supercardioid polar pattern and uniform of f-axis response repor tedly gives the microphone a high gain before feedback, which makes it easier to handle bleed from

KSM9 cartridge options. External phantom power is required.

‘Our customers asked us to bring the flexibility of interchangeable wireless capsules into a wired microphone product, making it simple to switch between different polar patterns or from dynamic to condenser,’ said Stuart Moots, associate director for pro audio sales. ‘Capsules such as the KSM8 have proven popular in this market thanks to its near-zero proximity

effect. The long handle of the new VPH now brings the KSM8 capsule into a form factor that is suited to broadcast production.’

The VPH has a handle long enough to accommodate network broadcast flags and is ideal for sideline and locker room use when getting the mic to the player

Audio-Technica keeps a low profile AUDIO-TECHNICA HAS launched two low-profile microphone desk stands, the AT8699 and AT8699R, featuring a three-pin XLRF input and XLRM output.

They are designed to be used with gooseneck microphones with an XLRM connector. The AT8699R is equipped with a user-programmable control switch with three settings: touch on/off, momentary on (touch to talk) and momentary off (touch to mute). The AT8699R includes an LED mic-status indicator, and users can control the LED using a connected ATUC or ES925/XLR gooseneck mic.

The manufacturer has also announced the expansion of its conferencing and discussion solutions. The ATUC-IR Hybrid Infrared Discussion System provides 24-bit/48kHz uncompressed digital audio which is said to provide natural-sounding

www.dpamicrophones.com

www.schoeps.de

Shure goes live ENGINEERED FOR on-camera interviews and live reporting, Shure’s VPH is a long microphone handle that features an RPW interchangeable cartridge interface and XLR connectivity to broadcast mixers and recorders. Users can choose from different polar patterns, including cardioid, supercardioid, hypercardioid and omnidirectional PG58, SM58, SM86, SM87A, Beta 58A, Beta 87A, Beta 87C, VP68, KSM8 and

instruments in close proximity.

The outer grille and the inner pop filter can be detached and rinsed to combat wear and tear on the road.

V7’s new equation or coach is essential.

It’s also designed for news reporters in the field, at breaking news events or on the red carpet at awards shows. www.shure.com

The ATUC-IRDU discussion unit can be used with three gooseneck condenser microphones: the ATUC-M43H hypercardioid condenser gooseneck, ATUC-M58H hypercardioid condenser gooseneck and ATUC-M32L line cardioid condenser gooseneck.

Lastly, the ceiling-mount ATUC-IRA IR transmitter/receiver unit has been designed for reception and transmission of the IRDU signals.

The AT8699R and AT8699 voice reproduction and features a 12-band feedback suppressor.

The ATUC-IRCU control offers three conference modes and override settings. The unit can record WAV and MP3 files to USB devices. The ATUC-IRCUDAN version includes all the features of the ATUC-IRCU plus a Dante output with redundancy.

40 PRO AVL MEA November–December 2019

SE ELECTRONICS has built upon its wired V7 and wireless V7 MC1 microphones with the addition of the V7 MC2. Whereas the V7 MC1 mic is compatible with Shure wireless microphone systems, the new V7 MC2 is built to work with Sennheiser’s wireless platforms.

www.audio-technica.com

The V7 MC2 is a wireless version of the standard V7 with the same custom-built aluminium voice coil, metal construction, integrated capsule suspension and supercardioid pickup pattern. It can be paired with all compatible Sennheiser handheld transmitters.

The V Pack Case joins the manufacturer’s V Pack Series lineup of mic and accessory bundles for drum kits. The V Pack Case, however, is an empty case on its own for users who already own V Series microphones for drums. www.seelectronics.com

Front and rear panels of the ATUC-IRCU

IN CONFERENCING AUDIO, RELIABILITY SPEAKS VOLUMES.

Introducing Shure Microflex® Complete Wireless (MXCW). It’s everything systems integrators and rental agents demand in a wireless conferencing system. Wireless—so it sets up in a snap. Flexible—it performs reliably in virtually any size room or seating configuration. Best of all, MXCW is engineered to detect and avoid interference so words are not dropped—but heard exactly the way they were intended.

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PRODUCTS

Core strength from Antelope ANTELOPE AUDIO has announced the release of its signal processing platform, Synergy Core, via ‘hot-rodded revamps’ of its Discrete 4 and Discrete 8 audio inter faces.

Using FPGA capabilities combined with industr ystandard DSP, the platform is

wave selector and the addition of a Vari-Speed Rate knob.

Orion Studio Synergy Core, meanwhile, offers both Thunderbolt 3 and USB 2.0 connections to the DAW host computer and low-latency drivers for both Mac and Windows.

Included are six ARM-based DSP

The Prodigy.MC has been updated

Third-party integration DIRECTOUT’S PRODIGY.MC modular audio converter has been updated. While Prodigy.MC can be managed natively via globcon, a fully implemented JSON-API has been included to allow users to integrate with third-party, remotecontrol software. Further protocols will be added in the future.

Additional features also include an LTC reader and BLDSTM Generator, which can be monitored and controlled using globcon to provide tools for a variety of applications. BLDS is available as a virtual source in Matrix and provides monitoring of connections with automatic fail-over switching.

The internal LTC reader displays incoming linear timecode on its built-in 5-inch touchscreen or via the globcon control software.

globcon v1 Staying with globcon, version 1.0 has been released following the completion of a successful beta testing programme. Snapshot Management adds the ability to store and recall individual snapshots for each single device, and to connect these to Global Snapshots for simultaneously changing different settings and parameters in all controlled

Discrete 4 Synergy Core products. Mute buttons can now be directly activated from the software or externally triggered by the Trigger Manager, which supports keyboard, MIDI and OSC commands.

DirectOut has also launched a new Ravenna/AES67 OEM module for integration into third-party devices. Compliant with SMPTE ST2110-30/31, the module provides 128 x 128 channels in up to 32 network streams.

Offering ultra-low latency and a 44.1–192kHz sample rate, it supports all ST 2022-7 classes in a compact, mini-PCI form factor.

It has built-in PTP Grandmaster capability and also provides mDNS and SAP stream announcement.

Upmixing from stereo to 5.1-channel audio is provided by the UPMAX ISC algorithm.

The LA-5300 can also decode incoming AC-4 streams for confidence monitoring, bitstream analysis and for audience

support SMPTE ST 2110-30 and -31 workflows, the LA-5300’s SDI I/O includes two separate 3G SDI inputs with de-embedding and re-embedding for up to eight audio pairs and optional quadlink 3G SDI for 4K workflows.

measurement using the optional Nielsen and Verance watermark encoders. Dolby AC-4 encoding plus Dolby Digital and Dolby Digital Plus transcoding to AC-4 are standard, as are four AES3 inputs/outputs.

Featuring 16 channels of bidirectional AES67 I/O to

Dual Ethernet ports are included for both AES67 and networked remote control via the platformand browser-agnostic web-based user inter face. As a further option, 64 channels of MADI I/O are also available.

LA-5300 control via the Dolby Real-Time Loudness leveller when encoding to AC-4. As ATSC 3.0 adoption grows, support for its additional features such as immersive and object-based audio, interactive consumer control, personalised audio and presentations will be added via software updates.

42 PRO AVL MEA November–December 2019

processors and two proprietary FPGA chips. The 32 channel strips are each able to host up to eight effects slots, potentially allowing for 256 effects in a given session.

The manufacturer has also released the Goliath HD | Gen 3 audio interface which works with any DAW, connecting to Mac and Windows computers with 192kHz audio over Thunderbolt, USB 3.0,

Discrete 8 Synergy Core

www.directout.eu

Linear Acoustic prepares for ATSC 3.0 INTEGRATING UPMIXING, watermarking, coding and monitoring, Linear Acoustic has developed its latest broadcast audio processor. Easing the transition to ATSC 3.0 audio, the LA-5300 provides loudness

said to free up a computer’s CPU while processing FX with low latency. Discrete 4 Synergy Core offers four console-grade, discreet mic preamps, plus a total of 14 inputs and 16 outputs. Discrete 8 Synergy Core also features dual DSP chips and an FPGA processor along with eight console-grade, discreet mic preamps. Its connectivity count totals 26

www.telosalliance.com

inputs and 30 outputs. The AD/DA conversion delivers 130dB of dynamic range. It also features a user-friendly footswitch jack which is said to speed up workflow. Both audio inter faces include a librar y of 36 real-time FPGA FX. Three new effects have been added to coincide with the release of Discrete 4 and Discrete 8 Synergy Core. The Opto-2A is said to capture all the nuances of an electrooptical compressor from the 1960s; Space Flanger produces phases, sweeps and swooshes; and Vari-Speed Tremolo repor tedly provides a fresh and modern take on vintage tremolos with a five-position

Goliath HD | Gen 3

HDX and MADI. The interface includes Antelope’s HDX Compensation Delay technology that is said to ensure any analogue or digital input entering Pro Tools arrives as a fully sample-accurate signal source.

The Thunderbolt driver delivers 64 channels of simultaneous playback and recording at up to sub-millisecond latency. I/O includes 16 Accusonic mic preamps, two analogue inserts and four instrument inputs.

There are 16 analogue inputs via two D-Sub 25 connectors (with 124dB DNR) and 32 analogue outputs over four D-Sub 25 connectors (with 129dB DNR). www.antelopeaudio.com

PRODUCTS

RTW prepares for the Olympics THE COLOGNE-BASED innovator has developed an immersive audio licence, ISA Immersive Sound Analyzer, for its TouchMonitor TM7 and TM9 audio meters as par t of a

technical setup that replicates the audio side of the 2020 Olympics broadcast. The new licence enables audio metering of several variants of the Dolby Atmos immersive audio format.

As well as offering all relevant metering instruments, users will be able to monitor various

loudness measures, including Integrated, Momentar y and Shor t-Term loudness across

PACKING 64 channels of IP audio into a 40-inch frame, Wheatstone’s Strata 32 audio console has been designed to suit ‘most’ television applications, being equally at home in the news room, in a remote van or a sports venue. Integrating with all the major production automation systems, the desk features dedicated faders for eight subgroups and two masters along with 32 physical faders that can be layered for 64 channels, while offering an IP audio mix engine and optional stagebox.

Powered by Wheatstone’s AES67-compatible WheatNet-IP audio network, Strata 32 provides access to all resources in the network through a touchscreen interface with menus for adjusting

EQ and dynamics, setting talkback, configuring mix-minus feeds and bus matrices, muting mic groups and managing sources and destinations.

Per-channel OLEDs display all relevant editing and operating functions at a glance.

With all I/O managed through the WheatNet-IP audio network, the Strata 32 is a compact board with no limitations with fixed connection points on the console chassis itself.

Unrestricted routing means being able to have all faders available to dial up whatever source is needed; according to the manufacturer, the days of having to block out channels based on input type are a thing of the past, as is having to repurpose inputs because of physical chassis limitations.

The Wheatstone Gibraltar IP Mix Engine handles digital signal processing and provides advanced specialty features, such as a new automixer with four separate automix groups and onscreen weight control. The optional 4U StageBox One is for extending console I/O, providing 32 mic/line inputs, 16 analogue line outputs, and eight AES3 inputs and eight AES3 outputs, as well as 12 logic ports and dual Ethernet ports. StageBox One works with all WheatNet-IP audio networked consoles.

In addition to the new Strata console, the American manufacturer has created a multi-touch virtual

console that mirrors the LXE reprogrammable control surface. Remote LXE mirrors the LXE hardware surface as a fully functional and studio-ready user interface, complete with like-forlike buttons and knobs, as well as navigation and menuing options.

Working in conjunction with the LXE hardware surface, the virtual console provides complementary production functions for separate

Wheatstone introduces Strata 32

LivePremierTM series

an entire Dolby Atmos stream.

Audio engineers in broadcast and postproduction will also be able to monitor 5.1.2, 5.1.4, 7.1.2 or 7.1.4. Two surround sound analysers are combined, which allows for monitoring both the main bed (5.1 or 7.1), as well as the upper bed (2.0 or 4.0), in a single, easy-to-read view. www.rtw.com

operators using an LXE board in the same location or in another location over an IP connection. Real-time fader tracking and live synchronisation of buttons and controls between the virtual surface and the physical LXE board offer an independent, yet shared, user experience for multiple operators. www.wheatstone.com

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11/10/2019 17:20:10 November–December 2019 PRO AVL MEA 43

PRODUCTS

Crestron adds to DM Lite range CRESTRON HAS expanded its DM Lite endpoint product family with the addition of the HD-RX-4K510-C-E and HD-RX-4K-410-C-E receivers, which help to pair a DM Lite receiver with an MPC3 media presentation controller. Both receivers provide auto-switching, amplified audio outputs for speakers and network connectivity for remote management and set up. Engravable buttons and dials on the MPC3 can be configured via the integrated .AV Framework software, while system monitoring and management are enabled using any web browser via the XiO Cloud IoT-based provisioning system.

Featuring three DM Lite inputs, dual HDMI input connections, an HDMI output, two audio outputs, a display control and RS-232 connectivity,

the HD-RX-4K-510-C-E accepts multiple transmitter inputs and includes an amplifier, scaler and .AV Framework technology.

table connection. As part of the Crestron Flex M-Series of MX models, Mercury X can also run native software, including Microsoft

HD-RX-4K-510-C-E The HD-RX-4K-410-C-E receiver incorporates dual DM Lite inputs.

Designed for meeting and collaboration room spaces, Mercury X is the latest table-top solution using a one-cable-to-

Teams and Zoom Rooms and BYOD on the same device. Combining a clean, simple user interface with a full suite of conferencing and collaboration features, users can access information on the home

CEDAR adds Dante IN DEVELOPMENT for more than two years, CEDAR has unveiled its DNS 8D eight-channel dialogue noise suppressor that reportedly marries the best of the manufacturer’s DNS 8 Live and DNS 2 products but provides better control, both from the front panel and from any web browser that can access its remote-control software.

Additional features include near-

zero latency, a four-pin 12VDC input and universal mains power. It has been designed for all live situations, including broadcast, theatres, conference venues and HOWs. Along with the Dante interface and AES3 audio connections (DB25 using the AES59 pin-out), fail-safe AES3 audio bypass is implemented in the form of hardware relays and Dante’s redundant mode of

hours, even without batteries or external power.

The manufacturer has also announced firmware version 2.00 for Scorpio, its 32-channel, 36-track portable mixer/recorder, which includes Dugan Automixing, support for additional third-party USB control surfaces via the MCU protocol and the ability to email CSV and PDF sound reports from the companion app SD-Remote.

Dugan Automixing automatically balances levels of microphones and

44 PRO AVL MEA November–December 2019

NME-100 built-in LAN interface. Released with Appspace integration and designed to run continuously, the NME-100 supports 1080p/60 video and features an HDMI output supporting HDCP 2.2. Other features include an audio output connector, a microSD card slot and USB ports for interfacing with touch-capable displays. www.crestron.com

Klotz stays balanced operation is supported. Web-based remote control for laptops and tablets is available, along with an AES3 breakout cable offering a DB25 connector at one end and four XLR (female) plus four XLR (male) at the other, allowing users to connect the DNS 8D using the traditional XLR format. www.cedaraudio.com

Sound Devices improves MixPre hardware THE MIXPRE-3 II, MixPre-6 II and MixPre-10 II are successors to Sound Devices’ MixPre Series and have been developed with improved hardware, 32-bit float recording, patented ultra-wide dynamic range AD conversion, full internal timecode generation and recording up to 192kHz in all models.

Enhancements to the original recorders also include the ability to set tracks to auto-copy to a USB drive for easy file transfer and users can also adjust limiter parameters.

The new models feature discreet, custom-designed, Class-A Kashmir microphone preamplifiers with a low noise floor of –130dBV. They also now include a full featured internal timecode generator and are reportedly accurate to better than 0.2ppm (0.5 frames per 24 hours). According to the manufacturer, when the unit is off, the MixPre II Series will maintain accurate timecode for up to four

page and call screens including room schedule, status and availability.

The Network Media Endpoint (NME-100) device delivers consistent enterprise-wide communications via digital signage and media playback. Combined with in-room signage solutions including AirMedia 2.0 presentation systems and the Mercury table-top meeting and collaboration systems, the comprehensive solution can add live and interactive content to a full range of spaces using the Appspace software. The NME-100 is a plug-and-play device benefitting from cloud management by adopting the XiO Cloud and connects to the network via the

KLOTZ AIS has developed its dx10 passive DI box to balance signals so that they can be transmitted over long distances without hiss or background noise before they are fed into a mixer for further processing.

According to the manufacturer, the transformer is by far the most important component in the box. It has a 6+6:1 transformer ratio and a mu-metal shield for better RF isolation.

The company’s KIK range is now available with KCPM (Klotz Connector Plug Metal) connectors. The extra-slim die-cast housing is 14mm in diameter, with grooves and recessed grip for ease of handling. An internal strain relief element is also included, along with high-precision milled contacts to reportedly ensure stability and breakproof durability.

The Mini Link series has also received an upgrade with a pro

attenuates unused microphones.

On Scorpio, up to 16 channels can be automixed at a time, and two separate groups can be mixed simultaneously. The Icon Platform M+, the Icon Platform X+, Icon Platform B+, Behringer X-Touch and Mackie MCU Pro are now compatible with Scorpio. SuperSlot support for the Sennheiser EK-6042 wireless receiver has also been added.

Titanium walnut www.sounddevices.com

dx10

line of products that feature robust jack plugs made of metal, 24 carat goldplated contacts for loss-free transmission, metal XLR connectors with silver-plated contacts, a PVC outer jacket and a Y-split.

Finally, the cable manufacturer has unveiled a new product in its Titanium series. Titanium walnut comes with laserengraved connector sleeves crafted from walnut wood with a matt silk finish and gold contacts. The design is patentprotected and comes with a lifetime guarantee. www.klotz-ais.com

PRODUCTS

Taiden goes paperless

HCS-5390

THE HCS-8668 Series paperless multimedia congress system is the latest generation of congress systems from Taiden. Integrated on an ultra-thin panel is a 14-inch

touchscreen with buttons for voting, language channel selection, video source selection, turning the mic on/off and identifying an IC card. The HD TFT LCD touchpanel reportedly improves document reading, HD video watching, interactive meeting management and meeting services. It can support Dante protocol, connect to peripheral digital devices and has an eight-megapixel camera equipped with a flashlight and video conversation function. This system includes a dual connection backup via optical fibre with a Cat-5 cable

Attero Tech makes a family between the Congress Main Unit and the Congress Extension Main Unit. It is compatible with the Taiden HCS-4100/50 digital congress system.

In other news, Taiden has extended its wireless conferencing portfolio by releasing the HCS-5390 Series compact digital infrared wireless conference system which is integrated by combining the transceiver and the control unit.

Its wireless transmission of audio signals means that no holes need to be created, making it suitable for historical buildings or multipurpose rooms. It has an IR coverage area radius of more than 8m and boasts a strong immunity to RF interference from mobile phones and RF devices. www.taiden.com

HCS-8668

Kramer keypads KRAMER HAS released new ‘RC’ compact control keypads.

They each can fit into standard 1-gang wall junction boxes and are designed for use as a user interface keypad within Kramer Control systems. K-Config can also be used to access built-in I/O interfaces that enable the keypads to also be used as standalone room controllers.

The RC-306 and RC-308 are six- and eight-button keypads, respectively. They can each be connected to a single LAN

cable carrying both PoE and communication and can be used for controlling complex multimedia systems, as well as other room facilities such as screens, lighting and shades. In addition, multiple RC-306 and RC-308 keypads can be linked together, either side by side or at a distance, using a single K-NET cable to carry both power and communications.

Meanwhile, the RC-206 and RC-208 are also six- and eightbutton control keypads with the same functionality of the 306

RC-308

46 PRO AVL MEA November–December 2019

and 308 devices, minus the PoE connectivity.

In other news, Kramer has launched the Tavor powered speakers comprising on-wall, ceiling tile and subwoofer options for compact huddle spaces to executive boardrooms. The Tavor 5-O (5.25-inch) and Tavor 6-O (6.5-inch) are powered, two-way speakers designed for indoor wall mounting.

They accept a line-level stereo input and output a speaker signal to the passive speaker. The Tavor 5-O integrates a two-channel amp

THE NEW Axiom product family from Attero Tech consists of the ML1, USB1 and AXP2O. The ML1 provides a mic/line interface and a balanced XLR combo input with 10–50dB of gain adjustment on the interface to accommodate wide microphone sensitivities in a single gang US Decora-style form factor.

The ¼-inch input on the combo input accepts a full-scale line input up to +20dBu. A separate 3.5mm stereo line-level input features 20dB of gain adjustment on the interface. Audio from both mic and 3.5mm line inputs can be output separately or mono-summed via selector switches configured at the time of installation.

The USB1 allows audio input from a PC, and can be mounted in-wall, in a table pocket or as part of a lectern surface. The USB1 accepts 16-bit USB audio at 44.1K or 48K sample rates. Audio volume and muting are remotely controllable via RS-232.

The AXP2O is used as the expander solution to interface the analogue audio outputs of up to two Axiom devices to the inputs of a business music system mixer,

DSP or amplifier. In addition, the AXP2O provides DC power to the UTP-connected Axiom products.

Two new additions have also been added to Attero Tech’s Axon line of networked AVC products. The first is the A4Mio, a 1⁄3-rack space audio interface with four studio-grade microphone preamps, adjustable in 1dB increments. Full 48V phantom power is provided to optimally accommodate any microphone.

In line-level mode, the inputs will accept up to +24dBu audio signal levels. Four balanced outputs provide up to +24dBu output levels and have a switchable output pad to provide mic level outputs as well. Similar to the A4Mio is the A8Mio, a ½-rack space audio interface providing analogue connectivity for eight inputs and eight outputs with AES67 audio networking. Both products feature dual Ethernet ports. The devices come with a Q-Sys Designer plug-in for use with all QSC Core platform DSP products. They are also compatible with all Dante devices which enable AES67 mode. www.atterotech.com

Tavor 5-O capable of delivering 30W RMS and 80W continuous power; for the Tavor 6-O these figures are 50W RMS and 140W continuous.

The Tavor 8-T is a powered ceiling tile speaker featuring a 40W built-in, Class-D amplifier with three inputs with individual volume control, an 8-inch Kevlar woofer, four 1-inch pivoting titanium tweeters, almost 180° of sound dispersion, a magnet-held grille and second-level crossover. It is a two-way speaker with 40W RMS and 110W continuous power.

The Tavor 8-Sub, meanwhile, is a powered subwoofer that can be

mounted on the wall, the floor or next to the wall in a way that hides the control panel. It has an 8-inch aluminium woofer with rubber surround and a frequency response of 30–600Hz at –10dB. The built-in amplifier provides 50W RMS and 140W continuous power. Inputs include one line-level stereo input on RCA connectors, one LFE input on an RCA connector and two highlevel inputs on binding posts for bypassing the internal amplifier. It has 110–120V AC and 220–240V AC selectable power settings. www.kramerav.com

PRODUCTS PRODUCTS FEATURES: INSTALLATION

Razor-sharp Extron makesquality a switch

bespoke desks clear possible and weand compensate for as some of as these cable losses wanted to damping ensure that the interpretation maximise of subwoofer drivers.’ was fully into the solution,’ Page.in Theintegrated X Series amplifiers are mostlyadds installed Elaborating on handling the camera setup, Page the control room the high-power areas, COMBINING CONTRAST ratio, and continues: ‘We wereoutdoor looking fordurability a flexible such as theHAS bar and terrace, whileofthe EXTRON added to its DTP range affordability, the APSthe Series of 3LCD laser camera system that could integrate with the Quattrocanalis serve other areas where products in AV switching environments. projectors from Christie Shure sound system output 6,500 automated less is needed –and thedelivers arcade, restaurant, Firstpower off are three transmitters.

ISO and aFBfive-year mixed camera views based on what virtual bowling andTkids zone.

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Theupintegration Once learnt about their with in the we control room.

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The install also included a yearspath agothen for paper-based the real input and theythat canuses turn litigation, it up and listen to with scratch‑ and installed in the main equipment room only motor. patented dedicated roomoffers inside the courtroom challenge was to‘The repurpose the‘Using courtroom it on one the monitors,’ says Morris.

Dante, Corning Gorillacontrol Glass and optical light pass design litigation, while separated a glass wall,data housing for paperless electronic access to AC orbyUSB power, and the changes the the excitation lightof the hearing a broad language booths withIt aisShure/DIS maintaining aesthetics varietytranslation of AV connections. spot round spot to a IR solution for the audience. It had to roomshape designfrom and amaking it functional.

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FHD553-X reliability of the courtroom phosphor wheel,’ explained Opus1200C 2, whois has been deploying paperless create digital that part of the The NBP over a ashielded CATx cable to aisDTP‑ a furniture‑ Jim Hall, platform,’ senior product manager, Christie. mountable trial technology into traditional eCourts Page. enabled product.

Itadds is compatible Cable Cubby enclosurecourtrooms panels do not have was radionofrequency ‘Featuring flexible input/output an whichThe forhas the seven years, stranger to Omnix tasked with the AVoptions, integration. with all was DTP Systems products and alast Network Button Panel functionality, so noor unauthorised users can on-board 16Wsenior speaker andand omnidirectional this type of project itslid. tests.

Abdul design engineering can beRiyaz, configured to send video and integrated directly into the It To maintain access system –hearing adding room, an extra layer of design and operation, the aesthetics of the it worked manager at whisper-quiet Omnix,plus explains how thethe APScombines embedded audio, bidirectional AVthe control, connectivity and security.’

Series provides razor-sharp image closely with architects Perkins+Will. collaboration came about.

2quality came uppower, RS‑232 and IR signals, to ‘Opus an HDBaseT‑ and works with all Extron Pro Bespoke The FHD553-X flatand panel has beendesigned designed whether a presentation, or then furniture for the courtroom with the it’s entire design concept.

We were enabled display.

The DTP2 Tdataset 203 Series control systems HCwas 400also to replace the FHD552-X and handmade features an video.’ and prototyped in London and in given the concept and functional is a three‑input switcher with an requirement Series products.

Features include ultra-narrow bezel flat panelvolume with full HD Abuon/off, Dhabi. input documents to review and propose the integrated DTP2 transmitter for sending display switching, resolution, high pixel density an wanted a contemporary detailed solution, along with ancontrol itemised billcontrol‘The DisplayPort, HDMI, audio and andADGM a flip‑up button panel withandMiddle screen.

The panel Eastern feel toLED thebacklit hearing room rather than of ourautomatically understanding. Opus 210 customisable, upquantities to 100m. and It can soft‑touch buttons can berooms installed either the traditional you in see around provided great insight the functional switch between video into sources and is that are backlit for wooden operation in low‑light The bowling area landscape mode the world inspiredportrait by the or English legal system. and operational alongand with compatible withrequirement all DTP receivers environments. and comes with a floorplan, three-year With such large and complicated Working witha marble, glass and unique lighting technologies and vendors. Our design team labour warranty.

Pulse opted to design aand custom interface features made it parts challenging on control various levels,’ then checked the requirement, contacted decadethat after using the Symetrix Controla Server provides elaborates Page. Nearly vendors and finalised the offer for approval the launch Christie The interior design requirements posed some complete control of all of theof various zones from to the ADGM. After a couple of pre-award strain on the physical installation of the AVfor a smartphone orMicroTiles, tablet.

‘You the can manufacturer choose, meetings with the ADGM IT team and has launched example in the bowling areas, toMicroTiles change the LED. The smaller, brighter, level of the sound effects, or the outside zone, powerful moresubwhere you’ve gotmore control of eachand different DTP2 T 203 flexible LED version zone, as well as volume control, anddelivers control of P3 colour space, inputs complies HDR-10 and all of the different suchwith as the TV, the DJ DTP‑enabled products. The DTP2 T 204 Mirage 304K switcher The is surrounded by individual is for broadcast or suitable the live band playing outsets, on thecorporation terrace,’ says is a restaurant four‑input for sending booths, each reinforced with its own TW venues, museums, retail, stadiums, arenas Morris. ‘All of these features are only possible HDMI and control up to 100m. It Audio speaker higher It includes low- and The Mirage 30,000-lumen, because theeducation. whole system runs off aDante routes HDMI304K videoisatadata rates up 3DLP, and profile, QuickMount system 4K projector combining a compact becauseADA-compliant of the super matrix on the Symetrix ittowas really easy to with connect these AVform rooms 18Gbps, along HDR, Deep so displays can be created in any shape and factor, light processing Radius devices.’ together.

We cooperated with embedded the hotel’s IT and Color up to weight, 12 bit, powerful 3D and size, including 90°a inside/outside corners user-friendly features such asAllbuilt-in warping Needless to say, project of this scale and department gaveformats. us a separate VLAN for HD losslesswho audio three and both concave convex curves. ‘There and nearfield communication complexity was not and without its challenges.

AV inblending, Wavehouse, whichvideo is alsoresolutions accessible over transmitters support monitoring andatan at-a-glance were some long days on this project, because of the network and achieved apreview latency of just up Wi-Fi to 4K/60 4:4:4 chroma sampling Inside the ADGM hearing room www.christiedigital.com screen.

Based onHDCP the industry’s only 4K, the sheer scale of the venue and the speed with 0.5ms.’ and comply with 2.2.

1200C true projection and too, such thebuilt. positioning of from the which everything had as to be We went Morris also credits the amplifiers Opus 2, we capable gave recommendations andNBP equipment The120Hz DTP2 R 211our is a Powersoft twisted system featuring Christie’s TruLife electronics, ceiling microphones due totosome large lighting an empty nightclub venue this intricate multiwith some useful features that aid started the implementation phase.’ pairproviding HDMI receiver that supports the Mirage 204K has built forthere’s Video distribution wasbeen aand critical element of the fixtures overinthe area. ‘We had area space justmain 12 weeks,’ thealso head of to audio the Wavehouse installation.

‘First off transmission of HDMI multichannel omnidirectional deployment andRS‑232 canavailable install due to theas various information do a lot ‘Getting of virtualallaudio enhancements to getfor recalls. of the various contractors the power he says.

‘This enables, for audio, assharing,’ well bidirectional be mounted operated anyto within processing that needs to expected levelsupport of performance andon had thethe cabling and the in place and time example, oneand amplifier beinable and IRcourtroom signals, up to to 100m over adrivetoa be orientation. made available to every delegate/counsel as some challenges sourcing pre-defined size was really challenging. subwoofer, but then on The another channel it can shielded CATx cable. stereo output The Series ofspeaker. flat panels ‘There also over 100 speakers here, per their needs and role. monitors.

However, with the in in-house have aSecure lower powered Using theorpowerDMPdesktop is selectable between de‑embedded 64 Plusare has been developed government, ‘It was not a analogue straightforward so weofhad to show theand contractors every single programmers support from sharing calculator fromfor Powersoft, you can easily team pass‑through audio.video corporate or military environments, or the matrix as sources for Featuring point and exactly where of the any cables vendors, were ablechannels toeach overcome physical see howswitching, power available across sixwe DSP input Next ismuch the TLP Prois 525C, aavailable 5‑inch other that top distribution onlyrequire around eight and had with AEC needed go to identify which room they’d installation challenges,’ comments Riyaz. amplifier andare distribute it TouchLink to the various in atohalf‑rack space, theAV final Cablefacilities Cubby Series/2 Prochannels security at allavailable times.

The first to be made on more than 70 pulled the DMP cables just keep checking According to Page, theand new digital ADGM as required.’ product is the 64from, Plus series touchpanel with a flip‑up touchscreen two are the SUHD551-L displays. counsel and judge had theirof compact the entire process.

Weprocessors were here every dayand for design holds amatrix number of benefits both in Themodels Italian Armonía+ platform digital built into Every anmanufacturer’s all‑metal cable access and SUHD651-L include own localused source monitor andfirst then twoduringwhichoutside about month.’ theahearing and could was also by and Pulse for the time comea of with flexibleroom mix matrix, a improve enclosure.

It has a high‑resolution, OPS slot, UHD resolution and Once interface again, theand cooperation between additional monitors centrally efficiency by over 33%.

Riyaz is also the configuration and for tuning of the distributed system.

USB litigation audio 6x4 analogue 800x480 capacitive touchscreen built USB playback.

‘Customer Pulse Middle East, Solutions and sources choose from the WyreStorm confident thatAT more regions the UAE will be ‘This wasto really useful because it allowed us connectivity.

The models caninLeisure be requirements forspeaker a solution, its contractors has resulted in the flawless AVoIP decentralised the NHD 400 powered keen to PoE+ upgrade their government buildings. to position each on a layout drawing,’ by and provide 32x16 professional secure display execution of another multi-faceted audio system. series was a‘As perfect fit recommended

by Dante ‘As an integrator, are already to see says Morris. we were going around and connectivity forwe popular Dantestarting without RF arethough going largely ‘I think needs we arecoming all quite proud of what we judicial have Opus 2.

Even it wasthe ourdelays first largesimilar up for most of our tuning the system, changing and microphone arrays and other Dante unmet,’ said Jimjust Hall, achieved Wavehouse,’ concludes Morris. scale distribution as opposed customers.’ the EQ,AVoIP we could clickproject on a speaker and devices, whilehere the at V models include senior product manager, to our the traditional matrix thanks adjust settings for thatsolution, component very to up to eight VoIP lines for collaboration Christie.

‘This www.omnix.ae www.atlantisthepalm.com/things-to-do/wavehouse our long expertise in really digitalimpressed signage and intuitively.

We’veseries been withIPTV theapplications. includes compliance with www.opus2.com www.powersoft-audio.com technologies, we were prepared an differences between the old versiontoofadapt Armonía MicroTiles LED current requirements.

DTP2 RTAA 211 www.perkinswill.com www.pulse-me.com AVoIP very quickly,’ adds Riyaz. and thesolution new Armonía+.’ www.extron.com

1/2 PAGE vert 1/2 PAGE vert

May–June 2019 PRO AVL MEA 51 November–December July–August 2019 PRO AVL MEA 47 59 September–October 73

PRODUCTS

Yamaha gets a Stagepas YAMAHA HAS announced its next-generation Stagepas, an all-in-one portable PA system for easier transportation. The Stagepas 1K comes with 170° coverage, slimline appearance and modified 1.5-inch drivers which all include high-end neodymium magnets.

All 10 of the 1.5-inch drivers work together with a 12-inch subwoofer.

The subwoofer features Yamaha’s Twisted Flare Point technology which reportedly reduces wind noise in the bass-reflex port. The back of the subwoofer uses a digital mixer with three mono mic/line channels, two of which contain high-Z connectivity for direct inputs as well as stereo inputs which support playback from Bluetooth devices.

The mixer is equipped with professional sound engineering tools which include a 1-Knob EQ which can process multi-bands, high-quality SPX digital reverb and a mode feature that adjusts to optimise compression to match different applications. Each function can be set using a rotary control to make EQ and compression easier to handle for users. Two Stagepas 1Ks can be connected in stereo or in mono if a greater coverage area is needed.

In other news, the YAI-1 and the YAI-1 XL are the newest additions to Yamaha’s Unified Communications

portfolio. The YAI-1 can select up to eight Executive Elite wireless microphones, while the YAI-1 XL can select up to 16. Both systems include VXL 1-16 PoE speaker arrays, two preconfigured digital signal processors, a network switch, a Dante AVIOUSB adapter and cabling.

The YAI-1 XL system comprises two eight-channel Revolabs Executive Elite wireless microphone systems, four VXL1-16 PoE speaker arrays, a preconfigured digital signal processor, a 10-port PoE switch, Dante AVIO USB adapter and cabling. The boardroom bundle includes 14 gooseneck wireless microphones and two wearable microphones, while the conference bundle includes 14 directional tabletop wireless microphones and two wearable microphones.

Additionally, Yamaha has expanded its Unified Communications portfolio with the ESB-1080 Enterprise Sound Bar for conference rooms and lobby areas. It includes two built-in subwoofers and a bass-reflex port that works together with the two dome tweeters and woofers to reportedly deliver a clear and dynamic sound. Connectivity options include HDMI, Bluetooth, optical and analogue audio which works with any monitor, mobile or PC device.

Stagepas 1K

www.yamahaproaudio.com

UNiKA heads onstage UNIKA IS looking to fill a gap in the market for costeffective and portable phase testers with its SPT-3rt. Forming part of the manufacturer’s Stage Series, the SPT-3rt includes transmitter and receiver units.

The transmitter unit has a builtin mechanism that can generate oscillating sound waves.

Operators can use its XLR socket to transmit oscillating signals to the speaker system. The receiver is then used close to the speaker to check if the phase of the speaker is correct.

If the speaker is already hung, users can connect an external dynamic microphone and add a boom arm to bring the unit closer to the speaker. The SPT-3rt can also detect the polarity of the wires using the XLR socket on the transmitter and receiver.

Thanks to their built-in neodymium magnets, the transmitter and receiver can also be joined together for ease of portability. In addition, the lightweight aluminium extrusion housing means the product weighs 0.45kg. www.unikapro.com

An RJ45 module to make life easier SOMMER CABLE has developed a GHMT-certified, one size fits all, Cat-6a RJ45 module. The RJ45CFXL-P1/P8 is designed to make installers’ lives easier with

tool-free assembly, while offering full support for PoE+ applications.

It features an IDC-female connector with keystone clip-in capability with a short depth design. The module was

48 PRO AVL MEA November–December 2019

put through the GHMT verification programme to ensure it met the highest standards of quality. While it can be used with almost any Cat cable, the manufacturer claims that

The IP Control Buddy

IP control made simple THE IP Control Buddy has been released by TSL as a control system that can be used either integrated or standalone. The compact system can control any GPI/O-, IP-, RS-422- or RS-232enabled device, regardless of where it is located, and can perform both simple and complex functions. It is also suitable for flyaway kits, small production tasks or one-button applications.

The system can be powered with PoE or an external power supply. In addition, the IP Control Buddy can also be used with other devices such as Ensemble Designs’ ultracompact BrightEye NXT routers to manage sources and signal paths when there is limited space. The panel’s ‘programmer-free’ web

browser-based configuration tools also make it simpler to configure the IP Control Buddy for more specific control and monitoring applications.

The manufacturer has also added to its Anywhere Interface Boxes (AIBs) with the AIB-4. The series has been designed for AV, radio, industrial and TV broadcasting market segments, and reportedly allows users to bridge systems and achieve optimal functionality without performing any programming. The AIBs offer up to 16 GPI/Os and multiple device control paths, with the AIB-4 also providing Ethernet, two-way DTMF and a dial-up modem. www.tslproducts.com

Tasker makes a connection TASKER HAS increased its range of accessories by adding new metal connectors and panel adaptors with

connector with a female socket on the front and a soldering spoon that makes the junction

standard ‘D’ shape and gold-plated contacts. The TP01, TP02 and TP40 are for transmission data.

The TP01 allows users to connect a USB Type B to a Type A, while the TP02 is for connection from Type A to Type B. The TP40 is a panel adapter for the LAN Cat-6A cable for RJ45 connections.

For video transmission, the TP11 is a soldering BNC

operation easier. The TP10 is a BNC adapter with a BNC connector on both sides, while the TP30 is a panel adapter from HDMI Type A to an HDMI Type B. Finally, for audio, the TP20 is a soldering TCA connector with a female socket and is available in red, black, yellow and white. www.tasker.it

it is further enhanced when paired with the CPR-certified SC-Mercator Cat.7/Cat.7a network cable. www.sommercable.com

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www.digico.biz DiGiCo UK Ltd. Unit 10 Silverglade Business Park, Leatherhead Road Chessington, Surrey KT9 2QL. Tel: +44 (0) 1372 845600

PRODUCTS

FreeSpeak gains an Edge FREESPEAK EDGE is the latest entry to Clear-Com’s FreeSpeak digital wireless intercom family.

It has been designed from scratch, based on user feedback received from its predecessor, FreeSpeak II, and is described by the manufacturer as its ‘most advanced wireless intercom system’, suited for use in the ‘most complex live performance environments’.

FreeSpeak Edge provides new control and customisation options, with ‘advanced frequency coordination capabilities and an intuitive design for transceivers and beltpacks’. A 5GHz chipset

includes an exclusive radio stack development, optimised for intercom use. FreeSpeak Edge also makes use of AES67 connections between the transceivers and the host intercom frame for increased flexibility in deployment.

The manufacturer’s FreeSpeak II wireless intercom system has received a new member. The FreeSpeak II IPT transceiver uses AES67 transport, low-latency signal distribution, high radio performance and high audio bandwidth, all of which are said to enable FreeSpeak II wireless beltpacks to be deployed across a

USB-C comes to Scarlett series THE THIRD generation of Focusrite’s Scarlett range of USB audio interfaces has arrived, bringing with it upgraded microphone preamps, a new and interactive Quick Start tool and USB-C connectivity. Apart from the addition of the new USB Type-C port, the external layout of the device remains unchanged.

The FreeSpeak II system user’s LAN. The IPT connects to an AES67-compatible IP router and to Clear-Com’s Eclipse HX system via the E-IPA card.

Clear-Com has also developed the LQ Series IP interfaces which allow users to move and distribute audio and communications signals, SIP and Network Control

Events (GPIO) to and from one or more communication points depending on user configuration.

The audio-over-IP interfaces can reportedly be used to network geographically dispersed audio and communications devices of any brand or technology type over secure LAN, WAN or public internet.

Eclipse HX, meanwhile, will now support SMPTE 2110-30 and AES67 interoperability and is said to mark the completion of the Eclipse HX system growth. IP toolset within Eclipse provides a range of benefits, including LAN/WAN/internet-based panel deployment; IP-based control mechanisms include HCI and Logic-Maestro; the ability to inter face and leverage thirdparty devices; LQ, SIP and Agent-IC integration; and AES67 support for wireless and wired interconnects. www.clearcom.com

Audix takes control

including Ableton Live, Pro Tools and First Focusrite Creative Pack.

Additionally, Brainworx has created a DAW emulation of Focusrite’s ISA 110 equaliser and ISA 130 dynamic modules, popularised in the 1980s and 1990s. The British interface manufacturer is giving away the bx_console Focusrite VST/AU/AAX plug-in for Mac and PC free to

The DN4 interface can be integrated with the Q-Sys Ecosystem MICROPHONE MANUFACTURER Audix Corporation has released a new control plug-in that allows

users to integrate the Audix DN4 and DN43 Dante | AES67 microphone inter faces with the

Q-Sys Ecosystem from QSC. Other features include eight microphone gain presets, a lowor high-pass filter, LED functions and the ability to monitor connection status from a Q-Sys user control inter face. Each of the four channels on the Audix inter faces can be controlled independently, while audio from the inter faces will enter the Q-Sys Ecosystem natively (via AES67 or Q-Sys Softwarebased Dante licence, available in early 2020). The plug-in is available to download through Asset Manager, a web-based repositor y accessible via Q-Sys Designer Software v7.1 or higher. www.audixusa.com

NUGEN updates MasterCheck The Scarlett series comprises six different models, each with a variety of inputs and outputs – Solo, 2i2, 4i4, 8i6, 18i8 or the rackmountable 18i20. These inputs have been improved to offer more headroom, while the units also feature additional line-level inputs for flexible recording setups and balanced TRS outputs to eliminate speaker hum. According to the manufacturer, 24-bit/192kHz converters promise clarity of recording, while the upgraded mic preamps can reproduce the Air effect of Focusrite’s original ISA mic preamp, giving vocals and acoustic music a ‘brighter and more spacious’ sound.

As with the previous generation models, the new units will ship with a range of software tools

owners of its Clarett and Red interfaces.

In other news, RedNet Control 2.4 has been released, a free software update that adds Dante Domain Manager (DDM) and AES67/AES70 compatibility. RedNet Control 2.4 recognises the four distinct levels of system access granted within DDM: Site Administrator, Domain Administrator, Operator and Guest.

Also new is AES3 Kill Switch control for RedNet D16 and RedNet D16R and AES67 compatibility for RedNet X2P and RedNet AM2 Ultimo X interfaces. RedNet Control 2.4 can now run as a background application if needed, so MIDI control continues to function when the software window is closed. www.focusriteplc.com

50 PRO AVL MEA November–December 2019

NUGEN AUDIO has recently announced the latest update of MasterCheck – a music streaming plug-in – and added MP3 and SoundCloud support.

The plug-in can optimise mixes for delivery services and reveal any issues ahead of time to allow users to audition and deliver masters for playout systems. V1.7.0.1 now includes an Opus preset for SoundCloud which allows users to upload, promote and share audio. The manufacturer decided to include a SoundCloud preset so that its content creators can reportedly use MasterCheck with the same ease and convenience as using Apple Music, Spotify, Tidal and YouTube. MP3 was also included in the update as the result of customer requests.

In addition, NUGEN has revealed the newest updates to its VisLM loudness metering software which include a Flag feature that builds on the Alert functionality found in previous versions of the plug-in. This will allow users to navigate through True Peak and short-term/momentary loudness alerts, as well as manual flags for other points of interest. The latest maximum loudness range (LRA 18) for its Netflix preset has been added which the manufacturer believes will benefit forward-thinking productions supplying content to the SVOD platform. Additional loudness logging and time-code functions allow for analysis and proof of compliance.

MasterCheck v1.7.0.1

www.nugenaudio.com

HDL 50-A 4K THE MOST POWERFUL HDL ARRAY EVER

HDL 50-A 4K

ACTIVE THREE-WAY LINE ARRAY MODULE The HDL 50-A 4K is the most powerful HDL line array module RCF has ever made. With an internal amplifier pushing 8000 Watt peak power under the hood, the good news is that we have made this amplifier module available as an upgrade kit for current HDL 50-A owners!

Networked Management

143

dB Max SPL

8000 4

W Power

on-board Amplifiers

2

x 12” Neodymium Woofers

2

x 6” Neodymium Midrange

2

x 3” Titanium Compression Driver

FiRPHASE Technology

www.rcf.it

PRODUCTS

Digitising a classic Over 40 years after the release of the Instant Flanger hardware in 1975, Eventide has unveiled its Instant Flanger Mk II plug-in.

Features include three modes – shallow, deep and wide – and the manual control allows adjustment of the ‘comb’ effect by turning the big knob. The oscillator drives the flanging at Instant Phaser Mk II EVENTIDE HAS released a new phaser effects plug-in that has been crafted from the original Instant Phaser analogue hardware it created in 1972. The new Instant Phaser Mk II claims to deliver the original sonic character while retaining the same look and feel.

‘A true recreation of the Instant Phaser had to satisfy not only our ears but also the ears of studio owners and the pro audio community who still own and use the original hardware,’ commented managing director, Anthony Agnello. ‘A strict digital simulation of an analogue component is precise, whereas components in the real world are not. We discovered that the imprecision of the values of the analogue components are key to the Instant Phaser’s sonic

Instant Flanger Mk II character. The challenge was to write code that captured that imprecision.’

Controls include a manual mode, allowing for precise automation of the phasing effect, an oscillator that modulates the phasing at a user-defined rate and an Envelope Follower that allows the input signal to drive the phase effect. The plug-in can also accept input from a sidechain source, while Remote mode maps the phasing control

to a modulation wheel for tactile manipulation.

The Instant Phaser Mk II provides a pair of de-correlated outputs offering three different sonic characteristics – shallow, deep and wide – for creating a stereo image. These effects can be used to turn flatsounding mono guitars into stereo leads or make a single-channel synthesiser fill out the soundscape of the mix. It is available in AU, VST and AAX Native formats.

a user-determined rate, while the Envelope Follower drives the

Audinate has announced the release of a Dante Virtual Soundcard for installation in virtual Windows environments using Type-1 hypervisors. The

endpoint for networked audio.

It provides a standard WDM or ASIO audio inter face that allows any installed audio software to send and receive up to 64

Dante Controller Updater American manufacturer explains that this update is especially important for customers such as broadcasters, educators and corporate users that want to deploy Dante networked audio throughout data centres, studios, server clusters and campuses.

The Dante Virtual Soundcard turns any computer into a Dante

52 PRO AVL MEA November–December 2019

channels of lossless audio over a standard 1Gbps network to any Dante-enabled AV endpoints, including other instances of a Dante Virtual Soundcard. It inter faces directly with audio software running on virtual machines, allowing distribution of media playback and centralised recording.

www.eventideaudio.com

Eventide’s H9000

SSL replaces

Dante updates made easier DANTE CONTROLLER 4.2.3 with Dante Updater is described

by Audinate as a new feature that makes it easy to update firmware in Dante devices.

Users will be able to bring critical updates to customers by making them available directly in Dante Controller with oneclick installation. Dante Updater discovers and associates updates with connected devices so that users no longer have to hunt for product-specific installers and can deploy updates to an entire system at once.

Audinate has also collaborated with NXP Semiconductors to introduce a reference design kit for the NXP i.MX 8M Mini QuadLite SoC and provide Dante audio-overIP to OEMs as on-chip software.

The kit will be validated by Audinate for Dante performance, and lets OEMs design for Dante ‘with confidence’. The i.MX 8M Mini QuadLite processor offers four Cortex-A53 cores, one Cortex-M4 core with flexible memory options and a variety of high-speed connectivity interfaces, and is described as ideal for AV-over-IP applications.

flanging based on the source signal’s amplitude. The Remote setting maps the flanging control to a keyboard controller’s mod wheel for tactile manipulation and the Depth setting allows users to set the intensity of the effect: 100% adds the dr y signal to the delayed signal; –100% adds the phase-inver ted dr y signal to the delayed signal. A Side Chain triggers the Envelope Follower from a separate source in the mix for inter-track mingling.

The company has also announced a significant software update for its flagship H9000 and H9000R multi-effects processors. The v1.1 software adds popular vintage effects and a new surround tool, as well as suppor t for the most popular DAWs.

Finally, the manufacturer has announced version 1.1 of Dante Domain Manager to bring new installation options, improved email alerts and notifications, support for SMPTE 2110 devices and secure access to LDAP and SMTP servers. Version 1.1 will be delivered as a complete ISO package to help users install and set up Dante Domain Manager to suit their needs and applications.

The ISO package may be used in virtual environments such as VMWare ESXi, Oracle VirtualBox and Microsoft Hyper-V, or it may be installed directly onto a ‘bare metal’ server with no additional software required. New GPS clock synchronisation enables Dante connectivity between facilities over long distances. Improvements to email notifications and alerts mean that integrators and managers can stay on top of changes to their systems from wherever they are. Support for LDAPs and SMTPs reportedly brings greater security and confidence to network managers by encrypting communication to those servers. www.audinate.com

SOLID STATE Logic’s new Native 6.3 release introduces the X-EQ 2 plug-in as par t of the SSL Native studio plug-ins series, allowing the authorisation of SSL Native licences on computers instead of a physical iLok dongle.

This means that all SSL Native 6.3 plug-ins can now be authorised to a computer.

X-EQ 2 replaces the existing X-EQ plug-in, bringing a redesigned graphical inter face, re-written algorithms and other new features, such as SSL’s anti-cramping DSP, the ability to create up to 24 EQ bands with a choice between 17 classic and modern filter shapes and EQ types, M/S processing modes, Band Solo and extra analysis tools including Phase and Step response plots, and significant DSP optimisation to keep the computer’s CPU load low.

In other news, SSL has added to its catalogue of Dante-based IP network I/O solutions with the HC Bridge SRC. This has been built to

PRODUCTS PRODUCTS FEATURES: INSTALLATION

Biamp itsendpoint Reverb plug-in goes for Q-Sys connects gets to the conferencing bigger sound gear

end of last year. It was redesigned with a completely redone interior and new tech infrastructure as well.’

While stunning to look at and a major attraction for the restaurant, the JapaneseTHE LATEST batch of Q-Sys Control battery level and transmitter audio level, inspired décorprovide would create number plug-insinterior from QSC native acontrol with the ability to mute/unmute microphone, ofintegration headachesfor forsome Procom the road, of down the most popular add low-cut filter, change sound profile and ultimately meaning a ‘less more’ solution BIAMP HAS introduced its is TesiraConnect new devices. poll graph types, customisation options meeting room endpoints.

The drag-and-drop pair was the necessary approach. room expander, a five-port and a new way to experience moderator integrated plug-ins have AVB beenconnection designed box to A Mersive Solstice enables the connectivity Audio reinforcement throughout the entire designed to for simplify Biamp conference room application. save time AV integrators, programmers and configuration for generation 2.0 and 3.0 venue therefore comes from just a handful setups by providing power media over a The IC6Solstice is the next of Biamp’s desono and consultants, and areand available through Mersive Podphase devices, giving users ofthe Artec wall-mounted cabinets from Spanish speakerfrom family. is a medium-format, inQ-Sys Designer Asset Manager portal control theItsame UCI as their in-room manufacturer DAS Designer Audio, paired with three ceiling, constant-voltage loudspeaker designed within the Q-Sys Software.

AV controls. strategically placed subwoofers. A single to deliver full-range music in larger common Artec-506 6-inch cabinet covers the hidden areas, including airports, warehouses, sake bar, while six CL-8-T ceiling speakers casinos and factories. The Tesira platform support BGM in the much-quieter private dining is now said to offer an end-to-end solution Infused sake is the speciality drink served area. A further five Artec-508 8-inch enclosures for both conferencing and sight and sound at ONI TesiraConnect deployed throughout the main dining and bar reinforcement (SSR) applications. For SSR, fewIC6 options forto sub placement.

‘The venue area the speaker setup. the is said provide high intelligibility ‘Wecomplete also worked with other pro audio shares three 15-inch Artec-S15 subs, which The lack ofon space and unforgiving of single cable between Biamp AVB DSPs, USB with wide uniform coverage and design companies the project, such asnature Harman might seem little strange,’ admits Schroeder. the room’s aesthetics presented Procom with extenders, PoE+ and Adly. microphones. features sucha as blind mount and a removable AIMED AIMED AT AT seasoned seasoned recording recording are are brighter, brighter, more more diffused diffused and and use use Professional andamplifiers Shure,’ adds ‘We didn’tgrille. haveItany spaceainsix-position, the middle where If more thanEventide five connections aresetup, required, features engineers, engineers, Eventide has has released released aa higher highermagnetic bit bit resolution. resolution.

In addition to the loudspeaker wecan wanted to the put them originally, so had to multiple expanders canresponsible beaadaisy-chained.

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Recreating Recreating classic classicfor the Users Users can control control the structure structure of of Audio Technology was sit down with the designer andneeded. basically design Acting aof connection point for the exact number ofthe speakers collection collection ofcentral reverb reverb algorithms, algorithms, the the the the the reverb reverb by by fine-tuning fine-tuning the controls, controls, entire as sound system.

This included furniture pieces and counter pieces for Sound the all Biamp in a conference room, including SixViewSonic months after acquiring Cambridge A LFD control plug-in The Audix Dante/AES67 microphone SP2016 SP2016 is isdevices aaof pro pro audio rack-mount, rack-mount, including Predelay, Predelay, Decay, Decay, Position Position and and provides deployment a audio Soundcraft Vi1 48-channel subs to goan in.’EQ TesiraConnect measures 14.7cm xreverb 14.7cmDiffusion. x Management, Biamp is integrating full remote-control functionality interface plug-in allows for theanconfiguration multi-effects multi-effects processor processor with with three three reverb Diffusion.

While While an EQ section section allows allows forCambridge mixing console, equipped with RS2409SP The high result islarge-format the first marble-encased 2.8cm and weighs 800g.

It can be mounted sound-masking devices intodisplays, SageVue ViewSonic’s such of the Audix Dante/AES67 types types available available in in two two versions: versions: Vintage Vintage for simpler simpler high and and low low filtering filtering of ofitsthe the Cat-5/MADI card, alongside amicrophone CSB 32/8+8for subwoofer Pro monitoring AVL MEA has beneath astagebox table, ina and ais or that behind browser-based andencountered management power on/off, source/channel interface within Q-Sys environment. and and Modern.

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Schroeder.

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Back inside the main the system, MX153 earset headworn mics, a Tonkon. one unit to feed three simultaneously. management console. solution that creates a collaboration 1520 Power Controller. wireless system plug-in enables instruments instruments appear appear bigger bigger and and brighter. brighter. large, reflective roomareas has an extremely UA844+SWB-E antenna distribution system, ‘There’s enough end in three of the In brief, Biamp low hastime expanded the spaces experience presenters and liveand www.eventideaudio.com configuration and monitoring of the www.eventideaudio.com The The Modern Modernbetween versions versions of of the the algorithms algorithms long reverberation ofall 11s.

With the in UA874WB active directional antennas zones from thatbeam-tracking single itunit,’ says Schroeder. which its Parlé microphones audiences.

Crowd Mics transforms every Sennheiser system, including RF signal, cathedral now open, is the Fohhn Linea UA860SWB passive omnidirectional antennas. www.qsc.com ‘This could minimise the amount of can bemeant deployed by adding fordirect smartphone and tablet intocomplement a personal the Additional loudspeakers Focus beamwe steering that support facilitates subs needed and with were ableand to push the other Devio tocoverage its TCM-X ceiling TTM-X tablemicrophone and in interactive Fohhn systems the form of JBL’s CBT sound precision, resulting two closer towards the bar to maximise the top Parlé microphones and the aTCM-1 response system via a100LA-1-WH free 50LA-1-WH and CBT column in clear speech intelligibility with 0.6 low-frequency output the DJ.’ pendant.

Finally,forTesira has alsoIndex) iOS Android app, by Crown CDi 4|300 lineor arrays, powered average STI (Speech Transmission Powerbeen for the DAS comes from updated to version 3.11 to eliminating needas SRX812P active bassamplifiers, the as well measurement, for cabinets 95% intelligibility of PA500, PA1500, PA4000for and two PA2700 include support Dante Domain to passcabinets handheld reflex and LSR305/230 monitors. sentences spoken. amplifiers, while processing and zoning via a Manager; new blocks forisLogic mics around theAudio provide passage 256 bidirectional Finally, the latest Live V4.9 DESIGNED DESIGNED FOR FOR use usefor in inTechnology’s film film and and music music microphone microphone signals to to be be integrated integrated at atconsole The scope of work wasn’t ‘Thesignals vast flexibility oflogic Fohhn’s Linea Focus Symetrix Jupiter 8 awith wall-mounted controllers Pulse, Logic andreleased Logic room.

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The HC SRC enables by the British delivering commentary commentary and and interviews, interviews, Schoeps Schoeps Available Available as as 1-to-2 1-to-2 L/R L/Rmanufacturer, and andAn 1-to-3 1-to-3 L/C/R L/C/R main asbridge the systems challenges we faced at Cathedral ofAudio thea DSP23 dedicated processing for the for TesiraLUX EDID. the interface, anuser audio connection between devices versions host ofperforms feature updates and has has created created Mono Mono Upmix Upmix Plugin Plugin that that versions from from the the ‘Plugin ‘Plugin Alliance’, Alliance’, its its per formance integrator also designed and installed Nativity,’ concludes Adly.

In thewhen backmonophonic of the control room, running at different ratesCrown orititin use enhancements.

These include the there extracts extracts diffused diffused audio audiosample and and distributes distributes use is issubs. warranted warranted when monophonic room room sound solutions from Shure, JBL, desono twoManager sets of patch panelsting thatand link with www.biamp.com different clock domains on Dante new Patch for impor to to two two or or three three channels. channels.

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(48kHz 96kHz), AES67of ST 2110-30The expor ting patches, talkback groups, the the timbre timbreand and and spatial spatial quality quality ofor aahall. mono mono The range range of of setups setups with with suspensions suspensions www.fohhn.com auditorium and a multi-purpose ‘One thing that the owners requested was networks.

The two bridged network speed enhancements scene recalls signal, signal, another another benefit benefit of of the the plug-in plug-in and and windscreens windscreens for for Double Double MS MSfor 5.1 5.1 the flexibility move theexpanded DJ booth around be physically or vir tually andtechnology routing to page navigation, plus several is isconnections spatial spatial depth. depth.can Developed Developed by

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by Antelope Audio. Designed with an AES/EBU, and TOSLINK connectors, ‘Wewell had do a lot of onsite calibration easy-to-use inter face, Amári has two as astobidirectional computer connectivity andthe testing but Gen. we’re1really happy with the high-powered headphone outputs on via USB 3.1 connector. outcome. a great amountDAC of level, Amári alsoThere’s uses eight CS43198 chips XLR combo connectors with userbeing pushed –and fourthe persystem channelcan – tohandle offer improved sound selectable output resistance, which quite well.

We’ve already in quality.

It supports sample had rates700+ of uppeople to works as headphone membrane weight here on (PCM) a single before the system 384kHz andnight operates at and the same compensation. Both stereo headphone performedand brilliantly.’ resolution speed as the two AK5578 ADC outputs feature a volume control chips that top a dynamic range of 128dB. capped at 20dBu, with digital trim and selectable output impedance from –4.6Ω www.dasaudio.com www.onidubai.com www.antelopeaudio.com to 85.3Ω.

X-EQ 2 The private dining area serve as delays www.procom-me.com Fohhn DLI-230 speakers

Singles and doubles served

by Schoeps X-EQ plug-in

1/2 PAGE 1/2PAGE PAGE 1/2 vert vert vert

Reference-grade conversion

September–October 2019 PRO AVL MEA 47 November–December March–April March–April2019 2019PRO PROAVL AVLMEA MEA 53 43 43 July–August May–June 2019 2019 PRO PRO AVL AVL MEA MEA 65 65

PRODUCTS

Lectrosonics stays secure LECTROSONICS HAS introduced ‘X’ firmware for its Duet IEM/IFB system which adds AES 256-bit CTR encryption. Since analogue IFB and IEM systems cannot be encrypted, the new feature creates a data-secure version of the Duet for corporate, sports and government applications. The True Random Number Generator used for key generation passes all NIST SP 800-22 statistical tests for randomness.

Four encryption key policies are available. The universal key policy is said to provide the most convenient option and is the default setting on Duet-X transmitters and receivers. A unique key is not generated for each situation, but the basic encryption prevents someone with a scanner and digital demodulator from decoding the audio. The shared key policy is useful when multiple transmitters and receivers all need to be connected, but require more security than the universal type, for instance in sports coverage. The standard key policy involves creating a unique

Added DAC remote support key in the M2T-X that is then shared with its receiver packs but cannot be shared transmitter-to-transmitter or receiver-to-transmitter. This makes it possible to control the use of key material sufficiently so that no key material is ever reused, making differential attacks impossible. The volatile key policy is available for the highest level of security and the key is never stored anywhere except RAM. The ‘X’ firmware with encryption is an ‘either/or’ firmware load for the Duet M2T and M2R units.

This way, the units cannot be

booted up into a non-encrypted mode once they have this firmware version. Only by re-loading standard, non-encrypted firmware into the units can they be used in a non-encrypted fashion.

Two M2R features that are no longer available in the ‘X’ version are analogue IFB compatibility and Flexlist. Wireless Designer software, now natively available for Mac or PC, is used to manage the firmware updating process for the Duet system. www.lectrosonics.com

RME’S ADI-2 DAC combined DAC and headphone amplifier has received a firmware update. FPGA 26 DSP 30 increases the DAC’s remote support. This allows users to control the ADI-2 DAC from afar using a programmable remote.

This extended remote suppor t covers more than just the 11 buttons on RME’s remote as users now have access to 31 remap actions and commands, directly, with no need to remap the ADI-2 DAC unit. The infrared code list also includes bass ±, treble ± and balance left/right control. In addition, as some remotes struggle when power on and off share the same code, the

ADI-2 DAC can now be switched off by both the original On code as well as an additional Off code.

The FPGA 26 DSP 30 firmware update also provides new features such as level meter colour selection, a level meter displaying pre-FX, post-FX or both levels simultaneously, enhanced AutoDark functionality, extended output switching between all three outputs, mute by pushing the volume knob and a details screen that lists all currently active DSP functions for an over view of the unit’s audio state. www.rme-audio.de

Driving sound DESIGNED WITH time-saving features, the Sonicue sound system software from Dynacord addresses the entire sound system. It supports Dynacord TGX and IPX series amplifiers, as well as all amplifier models fitted with the RCM-28 Omneo network and DSP module.

can be pinned either temporarily or permanently. With practical features such as a zoomable, multi-layer workspace, Sonicue is available for Windows. Future releases will support OSX, Android, Linux and iOS.

System designs can be produced from scratch or based on imported files from loudspeaker prediction applications. Users can overview or make adjustments while monitoring parameters from the sub menu bar without the need to close menus, while frequently used functions

www.dynacord.com

Lawo develops AES67 Stream Monitor LAWO HAS created the ‘world’s first AES67 stream monitor’, a new piece of software that runs on Windows and allows broadcasters using the AES67 AoIP standard to monitor the state of their programme streams. The Lawo AES67 Stream Monitor provides information for up to 16 userdefinable audio streams, each of which can contain multiple audio channels. The main display shows audio levels and alarm indications for all monitored streams. By selecting an individual stream display, users can dig further to find more detailed stream information.

AES67 Stream Monitor gives broadcasters the ability to audition AES67 streams on-demand using the PC sound card and to monitor two Ethernet NICs simultaneously for true ST2022-7 compatibility.

Its Stream Health Monitor function tracks jitter, dropped

AES67 Stream Monitor packets and data errors, while LUFS metering provides detailed tracking of loudness units over time. The system also has alarms for silence-sensing, under-level or over-level alerts, with userdefinable thresholds, and offers SDP interrogation of all monitored streams, with information that can be copied to the clipboard for documenting or for use with other

54 PRO AVL MEA November–December 2019

applications. The Per-stream Status Window gives a view of audio level content and errors over time, as well as a file-based error report.

Running on standard Windows 10 PCs, AES67 Stream Monitor is also VMWare compatible for deployment on virtual machines.

In other news, Lawo has released Power Core Max, an AES67 mixing engine that supports up

to four independent Lawo mixing surfaces. It has 96 available DSP channels and, according to the manufacturer, the capacity to handle hundreds of analogue, digital and AES67 audio signals.

Users can choose from a number of licence packages tailored to a variety of operational needs and price points. Features include support of up to 96 fader channels distributed among up to four physical Ruby consoles or VisTool virtual mixers; a 1920 x 1920 internal routing matrix; 80 userdefinable summing busses; 128 dual-redundant MADI channels and

Power Core Max

128 AES67/Ravenna channels; eight expansion slots; and dualredundant front-panel SFP ports for AoIP. Broadcasters have a choice of optical or copper network connections, without the cost of external media converters. Power Core Max also provides ST2022-7 Seamless Protection Switching for dual-redundant AoIP network connections and ST2110-30 compliance for interoperability of audio and video equipment in combined radio/TV broadcast plants. www.lawo.com

TEAMCONNECT CEILING 2

Raise your meetings to a higher level

Explore TeamConnect Ceiling 2, Sennheiser‘s new ceiling microphone for mid-sized to larger conference rooms. It doesn‘t matter how meeting rooms are used or how meetings are designed. Thanks to the auto-adjusting, patented beamforming technology, it adapts to the respective conditions on-site, without reconfiguration. Focus on what is really important - your messages. sennheiser.com/tcc2

PRODUCTS

Stage Tec boosts Waves integration SOFTWARE RELEASE 4.8.1 for Stage Tec’s Aurus and Crescendo consoles has been unveiled. Waves integration is now possible in all Aurus and Crescendo systems, while in both consoles remote control of the Waves multiracks is via snapshot automation.

The multirack snapshots can be assigned to the console snapshots at will, even multiple times.

The Stage Tec auto mixer can be extended to up to eight groups with the new release. Since version 4.3, the auto mixer has been integrated into the console design of Aurus and Crescendo platinum and can be used in all input channels. Eight auto mixers can work simultaneously, independent of each other, for example for eight parallel rounds of talks. The De-Esser was previously available as a channel module in each input channel; now, it is also available in the channel libraries. Aurus requires a new control cassette for this feature.

Stage Tec’s Crescendo console The Nexus audio network has also been updated to communicate with remote single or multiple base devices based on IP. Bidirectional AES67 streams are now set up in which audio and control data are transmitted together. The feature is implemented via the Nexus XFIP or RIF67 inter faces, both of which are equipped with the DirectOut AES67.IO module. With an XFIP or RIF67 inter face, a network with

Improving workflow

Augmented Reality workflows DISGUISE HAS announced the release of r16. Enhancements include a complete design overhaul to improve the execution and usability of the Cue List, more flexibility to work with external control systems and a multi-edit function to streamline workflows when working with groups of objects. The manufacturer reports that a total of 181 bug fixes and 121 improvements have been made.

Further updates include higherquality content playback, including end-to-end 10-bit colour depth support for disguise’s latest flagship servers, the vx 4 and gx 2c, as well as support for wider colour gamuts such as Rec. 2020, plus a full HDR pipeline.

The release also includes longrequested support for image sequence playback allowing users to play TIFF, TGA and DPX file sequences

up to eight Nexus base devices is possible.

The upgrade also means that Nexus networks are independent of proprietary cabling and enable remote production and wide area networking through IP-based connectivity.

In brief, the Berlin-based manufacturer has added scene automation to release 1.6 of its IP-based Avatus console.

Barco stays indoors THERE ARE four products that make up Barco’s XT series of 27-inch tiles, all with a 16:9 aspect ratio to create native Full HD or UHD screens. This is said to allow users to display video in the most common formats in full, without distortion or unused canvas. With pixel pitch ranging from 0.95–1.91mm and optimal viewing distances spanning from 1.8–3.8m, all the LEDs are designed for indoor wall mounting with access for maintenance provided at the front. The products are powered

costs. The UDM is a compact, lightweight and rugged 22K laser projector with a wide colour spectrum. It incorporates Barco Pulse’s proprietary Single Step Processing technology, so that warping, scaling and 4K UHD processing are reportedly done in one step. Other features include a 90° ultra-short-throw lens, a motorised rental frame and a fibre card solution for 4K distribution over long distances.

In addition, Barco has added to its E2 family with the E2 Gen 2.

It comes with 16 4K60p inputs

www.stagetec.com

in either 8 or 10 bit. Support for the new NotchLC codec has also been added, which reportedly achieves visually lossless quality without sacrificing performance.

Projection workflows have also been overhauled. A single calibration workflow has been introduced, along with Mapping Matter integration which allows users to set up projectors in Mapping Matter and quickly import them into disguise, including projector data such as position, name, resolution and lumens. r16 also debuts new workflows for Augmented Reality including support for a variety of camera tracking systems, which can be fed into the 3D stage as tracked objects and attached to virtual cameras. The manufacturer reports that this is the first step to releasing the full xR feature set, which will come in future releases.

One of four products in the XT series by the manufacturer’s Infinipix processing platform that reportedly provides constant image quality and grey scale levels for all ambient lighting conditions and includes dual data redundancy.

Weighing almost half as much as its predecessor, the UDX, Barco’s latest projector is said to reduce installation time, along with shipping and labour

and ships with the company’s second-generation single cable 4K60p video interface cards.

With a linkable chassis, the E2 Gen 2 can reportedly expand beyond the capabilities of a single box to support large canvases without the need for additional processing or matrix routing. www.barco.com

www.disguise.one

Modulo Player updated MODULO PI has released v5.2 of its Modulo Player hardware and software system which is designed to combine the functionality of a media server with a live mixer.

Following the update, Modulo Player, compatible with Mac and PC, now possesses show control capabilities. In addition to the existing library of video projectors, mixers and matrices that it could control, Modulo Player v5.2 adds more than 40 further devices,

including NDI PTZ cameras, and a series of USB phidgets, such as controllers, sensors, motors, GPIO and RFID tags. The phidgets expand Modulo Player’s automation capabilities, allowing users to create tasks that will trigger automatically depending on the phidgets’ variables such as temperature, humidity, lux levels or distance.

The release also includes a new version of Modulo Player’s

56 PRO AVL MEA November–December 2019

embedded live mixer, providing full integration of Elgato’s Stream Deck and Stream Deck XL control pads. An editor integrated within Modulo Player’s remote software and mixer application enables the customisation of Stream Deck’s LCD keys. All parameters entered in the editor appear in real time on the Stream Deck pads. www.modulo-pi.com

PRODUCTS

Ikegami adds monitoring solutions DESIGNED FOR critical image evaluation in broadcast production control environments, Ikegami has created the HQLM-3125X 4K-UHD master-grade monitor. Employing double-LCD-layer technology to achieve a 1,000,000:1 contrast ratio with true black reproduction, the 31-inch monitor integrates a layer of light-modulating cells for pixel-by-pixel control of backlight intensity, reducing light leakage and black floating. Fully compliant with BT.2020 wide colour gamut, the monitor incorporates singlechannel 12G-SDI x 2, 3G-SDI x 5, 3G/HD-SDI and HDMI inputs as standard features. Promoting 4096 x 2160 pixel 10-bit resolution, the HQLM-3125X offers a 178° (horizontal/vertical) viewing angle for critical image evaluation. The monitor can either be controlled from the front panel or remotely via Ethernet and RS-485 connection.

Within the same series, the HQLM-1720WR is a compact UHD HDR monitor that affords itself towards a wide range of broadcast applications. Equipped with two 12G-SDI input channels for connections to cameras and switchers, the 16.5-inch monitor also incorporates 3G-SDI, HD-SDI and HDMI inputs as standard.

Employing a 3840 x 2160 pixel

UHD LCD panel using an LED backlight, the HQLM-1720WR can reproduce high-resolution 4K and 2K images.

The 24-inch HLM-2460W incorporates a 10:9 Full HD 1920 x 1200 pixel 400 cd, 10-bit resolution LCD panel. Multi-format SDI, 3G-SDI, HDMI, Ethernet and VBS inputs are provided, while operating features include 2x and 4x zoom, dual-picture split, dotby-dot display, timecode display, and under-monitor and in-monitor channel identification display.

Test signal generation, waveform monitor and vectorscope facilities with adjustable image and test signal mixing are also provided.

components. This projection head has been developed to be quiet, lightweight and consume little power. The head and the light source are linked by fibre-optic cables that run up to 100m. This provides integrators with more installation options that might be available with a traditional projector, particularly in smaller spaces.

Satellite MLS is developed with WUXGA, native 4K and 8K resolutions, and incorporates

Integrating a similar feature set to the HLM-2460W, the HLM-1760WR is a 17-inch version.

Optimised for compact mobile production vehicles, the HLM-960WR multi-format LCD monitor comes with a 9-inch Full HD 1920 x 1080 pixel 8-bit resolution LCD panel. Providing narrow frontto-back dimensions in either AC or DC operation and low power consumption, the monitor incorporates a USB connector on the front panel for setup file storage and recall in addition to control-menu navigation via a plug-in pointing device.

detection, including a live feed to a mobile device. Other features include a fanless design for less noisy operation and a refresh rate of 1.92kHz across all products.

The permanent indoor solution is particularly suited for house of worship venues, along with

The aluminium die-cast cabinet can be arranged in a horizontal or vertical orientation and features a magnetic module design with smart remote monitoring and diagnostic with live per formance and failure

retail, corporate, transportation and casino applications. All video displays come with a front and rear IP40/IP21 rating and a brightness level of 800 nits.

XEED 4K6021Z its dual Display Port, the projector can be linked to a vast range of video sources and computers and is able to cover the sRGB colour space. This projector also comes with 40,000 hours of maintenancefree operation.

58 PRO AVL MEA November–December 2019

www.absen.com

www.ikegami.com

Digital Projection’s MultiView technology. With its modular design, the manufacturer states

Longer life span projection

IN RESPONSE to the success of Canon’s XEED 4K5020Z, the company has expanded its 4K solutions and released the XEED 4K6021Z, a 4K laser projector claiming to be a more economical and low-maintenance design. The projector is suitable for a variety of applications, such as museums, higher educational facilities and medical institutions with the flexibility to be installed in difficult places.

The XEED 4K6021Z projector produces 6,000 lumens of colour brightness and a 4K resolution image (4096 x 2160) reportedly free from the ‘lattice effect’. With

ABSEN HAS launched the N Plus series, featuring three new, lighter, flat panel design videowalls at 3.2mm, 4mm and 5.14mm. All panels weigh 10kg and claim to allow for easy configuration with cabinets that support three, four or five modules.

HQLM-3125X

Satellite projection DIGITAL PROJECTION has created its Satellite Modular Laser System (MLS) to cater towards a wide variety of projection applications, from single projector installs to beaming content for complex, multichannel applications.

The manufacturer has separated the light source from its associated power and thermal management systems, allowing for a small, compact projection head that only contains the necessary optical and video processing

Lightweight indoor displays

The lens is compatible with several of Canon’s lenses, including the new RS-SL07RST 4K standard zoom lens and includes a 1.76x zoom and a ±73% vertical lens shift.

In addition to this, Canon has also released three new projector models: the LV-WU360, LV-WX370 and LV-X350. Weighing under 3.3kg, these projectors are all portable and can be relocated when needed. Each projector includes a micro lens that helps to boost the brightness to between 3,500 and 3,700 lumens and reduce the appearance of gridlines.

that there can be one-to-many or many-to-one relationships between the light sources

and the projection heads. In a one-to-many relationship, a 10,000-lumen light source feeds multiple projection heads, equally splitting the luminance of each image through the life of the system. A many-to-one relationship, on the other hand, sees several 10,000-lumen Satellite MLS light modules combined to feed a single, ultracompact projection head. www.digitalprojection.com

LV-WU360 The models have a projecting range of 30–300 inches and have several features that reportedly make image set up easier. The projectors claim to have 20,000 hours of lamp life and can produce a range of resolutions from WUXGA at

1920 x 1200, WXGA at 1280 x 800 and XGA at 1024 x 768. They have local area network, two USB and two HDMI ports where content can be projected from a laptop or a memory stick. www.global.canon

PRODUCTS

Epson Tool-less rotation brightens up EPSON HAS released its brightest 3LCD projector to date, the 30,000-lumen EB-L30000UNL. It boasts a maintenance-free laser light source, which reportedly provides 20,000 hours of operation. The EB-L30000UNL supports screen sizes of up to 1,000 inches with a WUXGA resolution and 4K enhancement technology, as well as a 2,500,000:1 contrast. It is a body-

B-TECH AV MOUNTS has launched its BT7550 Rotational Flip Mount that can be freely rotated from landscape to portrait while mounted or locked at a preferred angle using the built-in angle guide before mounting. Additional features include a negative tilt of 4.5°, while the BT7550 can be mounted directly to the wall or attached to other mounts in the B-Tech range.

The BT7550 also mounts directly to System X solutions and to poles using System 2 collars. With an

integrated cable management system, the mount is suitable for interactive touchscreens and for screen sizes ranging from 37–65 inches.

The mounting solutions manufacturer has also announced a series of updates to both the standard and popout variations of its System X VESA 400 interface arms with micro-adjustment. Improvements include increased height and depth adjustments using thumbwheels

with directional guides to assist with the micro-adjustment, a more compact design allowing for a closer to the wall installation and improved lateral movement of the screen once mounted. Screen size compatibility has been expanded and the interface arms now feature two rows of interface holes for a more user-friendly attachment to screens.

BT7550

www.btechavmounts.com

EB-L30000UNL only system that provides a choice of 4K optional lenses designed for a variety of applications.

Its compact design and 360° installation potential simplifies installation to suit the needs of different environments.

Also new is the EB-L1070UNL, a compact projector with a brightness of 7,000 lumens.

As with the EB-L30000UNL, it features 4K enhancement technology and interchangeable lenses.

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Speaking of lenses, Epson has additionally released the ELPLX01 ultra-short-throw lens with a zero lens offset. It is reportedly able to project images parallel to the lens position. It is designed to be discreet with a quieter fan noise.

PATE N

ELPLX01

· As a standalone solution or integrated in digital matrix intercom systems · Up to 100 Beltpacks, 100 Antennas · 12 Partylines and unlimited point-to-point connections · Advanced DECT with seamless handover · Simple registration via OTA (Over The Air) and NFC (Near Field Communication) · Integrated web server for easy setup · Daisy chain or redundant ring antenna network · Redundant antenna power · Up to 300m CAT5 cable between Antennas · External 4-Wire and GPIO Interface box www.riedel.net

www.epson.com

November–December 2019 PRO AVL MEA 59

PRODUCTS

RealLaser technology for the small screen

CP2309-RGB CHRISTIE HAS added a new projector to its CineLife Series.

The Christie CP2309-RGB projector features RealLaser illumination technology and Multi-Laser Pack Devices. With improved wavelength diversity, the CP2309-RGB projector can be used for any cinematic exhibition, including the use of 3D applications. It delivers over 8,500 lumens with a 2,000:1 contrast ratio and a 95% Rec. 2020 colour space without the need to filter or use colour correction.

The CP2309-RGB claims to have an all-in-one compact design.

There are no internal chillers in this projector and pedestals are not needed for installation. The model can be used with any lenses and accessories from Christie’s CP2308, CP2208 and Solaria One platform.

In other news, Christie has also released the CP4450-RGB projector, a large-formatted projector that comes with a dual-laser optical system and is built with high-speed CineLife+ electronics capable of 4K 120Hz HFR playback.

Also debuting recently is the Christie Vive Audio LA3i loudspeaker, a coaxial, articulated, two-way, passive ribbon driver line array in a single sealed enclosure. The speaker includes 12 3.5-inch ribbon drivers with

CP4450-RGB Kapton diaphragm and neodymium magnets, and eight 5.25-inch paper/Kevlar composite mid-bass cone drivers. It has a frequency range of 90Hz to 20kHz and a maximum SPL of 127dB continuous.

The system coverage is 100° horizontal and 40° vertical, while the power handling is 800W continuous and the rated impedance is 4Ω.

Magewell expands IP workflows CONVERTING LIVE NDI streams into high-quality SDI or HDMI outputs for connection to baseband devices such as monitors and projectors, Magewell’s Pro Convert AIO RX hardware-based NDI decoder simplifies the use of NewTek’s mediaover-IP technology in applications such as digital signage and videowalls. It lets end-users output any NDI stream to baseband presentation or distribution equipment such as displays, projectors and routers. It can also be used to integrate legacy equipment such as switchers into NDI-enabled production workflows, or simply paired with an NDI encoder to enable long-distance transport of audio, video and power (PoE) over a single IP network cable.

Designed with image magnification in mind, the Pro Convert AIO RX also features DHCP-based automatic network configuration, while a browserbased inter face provides access to status monitoring and advanced features such as FPGA-based up/down/ cross-conversion. Two on-device buttons also enable users

Pro Convert AIO RX

Pro Convert HDMI TX to select source content and match the output format to their target display without requiring a computer: one for choosing between all NDI streams

available on the network and a second for picking a preset output resolution and frame rate.

In related news, the new Pro Convert HDMI TX and Pro Convert SDI TX dedicated NDI encoders are said to deliver user-friendly conversion capabilities of the company’s Pro Convert Plus models in streamlined, encoding-only configurations.

The Pro Convert TX devices include many of the Pro Convert family’s features, including PoE support, programme and preview tally lights, NDIbased PTZ camera control and a standard ¼-inch-20 thread for camera mounting. They also include automatic input format detection and network configuration and a browser-based inter face that provides access to status monitoring and advanced conversion settings such as FPGA-based video processing.

The Pro Convert HDMI TX supports inputs up to 2048 x 1200 via its HDMI 1.4 inter face, while the Pro Convert SDI TX handles sources up to 1080p60 over 3G-SDI. www.magewell.com

www.christiedigital.com

Atlona expands Rondo family THE RONDO family of HDMI distribution amplifiers has a new member. The Rondo 448 (AT-RON-448) has been developed to address the challenge of managing an imbalance of inputs and outputs for 4K/UHD/HDR sources and displays. It provides a 1x8 architecture to move highresolution video content from a central location to eight endpoints.

Like its 1x2 and 1x4 siblings (Rondo 442 and Rondo 444), the Rondo 448 offers EDID management features to reportedly ensure compatibility between source and sink devices, and front panel LED indicators for power and signal status to simplify set up and troubleshooting. Users can cascade up to eight units together.

It is said to be compatible with all video resolutions, audio formats and colour space formats in the HDMI 2.0b specification and can pass metadata for HDR content. It is also compliant with HDCP 2.2.

Atlona has also added to its Omega family of products with the OME-PS62, a 6x2 matrix presentation switcher featuring

Building on the manufacturer’s HDVS-300 system for software video conferencing, the OME-MS42 is said to combine the benefits of auto-switching for USB-C, HDMI and DisplayPor t, plus integrated display control and USB extension. It includes

AT-RON-448 three HDMI inputs and two HDBaseT inputs alongside a USB-C AV input for direct, BYOD-friendly interfacing with mobile devices and laptops. The USB-C interface can also be used for data connectivity to the OME-PS62’s integrated USB 2.0 hub, as well as charging the connected device. The switcher features HDBaseT and HDMI outputs, along with 4K/60 4:4:4 capability for all inputs and the HDMI output, plus USB extension

AT-OME-PS62

60 PRO AVL MEA November–December 2019

over HDBaseT. High-quality 4K downscaling and upscaling on the unit’s HDMI output are said to preserve colour and spatial detail when converting content between 4K and 1080p.

The OME-MS42, meanwhile, is a 4x2 matrix switcher for 4K/UHD presentation and video conferencing applications and is also available as the OME-MS42-KIT with a companion OME-EX-RX HDBaseT receiver.

control, Ethernet and USB over distances up to 100m.

Finally, the Zero UI Meeting Space uses Atlona’s OmniStream encoder grouping strategy to automatically switch between sources in the meeting space or classroom. When a new signal

AT-OME-MS42 USB 2.0 and USB-C inter faces for extension to three host computers, plus two peripheral devices such as a camera, microphone, speakerphone or keyboard and mouse. The OME-MS42 is compliant with HDCP 2.2 and features HDBaseT extension for video up to 4K/60 4:2:0, plus embedded audio,

is picked up, the system will transition to the corresponding encoder and switch off routing from the previous encoder. The system reportedly allows several contributors to collaborate on a single presentation, increasing BYOD capability. www.atlona.com

THE NEW AUTOMATED FOLLOWSPOT SYSTEM FOR THEATRES AND TV STUDIOS

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PRODUCTS

High-performance switching CALIBRE’S 4K QuadVision HDMI 4K scaler–switcher with multiviewer and matrix output modes has been designed for a broad range of applications and provides a solution for

environments that need the ability to manage multiple images, but for which a fully featured scaler–switcher may not be cost-ef fective.

With suppor t for 4K at 60 4:4:4 video and an HDMI bandwidth of 600MHz, the 4K QuadVision is compliant with

HDCP1.X/2.2. It provides four HDMI 2.0 input por ts and two HDMI output por ts, together with a balanced stereo output.

Its multiviewer output is characterised by its flexibility,

with options including four screens of equal size, three smaller screens with a master screen, two screens side by side or a single screen with picture-in-picture.

As well as providing front panel control, the 4K QuadVision provides an RJ45

por t for IP/remote control via a browser which allows a broader range of management functionality. An RS-232 por t is also featured. The 4K QuadVision weighs 3.4kg

and has a compact design measuring 438mm x 49mm x 276mm, making it suitable for deployment in more confined spaces. It is housed in a black aluminium chassis and consumes 27.5W of power. www.calibreuk.com

Redefining simplicity NEUTRIK HAS added to its opticalCON family of products with the opticalCON Dragonfly Fiber Optic Camera Connector Series. Reportedly providing reliable connectivity that is easier to maintain than common hybrid camera signal transmission systems, Dragonfly is based on Neutrik’s patented XB2 technology. The fusion splice, high-per formance lens transmits

UHD 4K and 8K signals with very low loss as the signal sur face of the XB2 lens is 322 times larger than the physical contact sur faces. This is said to result

Sony builds up its camcorders SONY HAS optimised its PXW-FS7 and PXW-FS7 II XDCAM camcorders for news gathering with the new CBK-FS7BK ENG-style buildup kit and the LA-EB1 adapter that connects a B4 lens and an E mount.

The CBK-FS7BK kit has been designed to allow users to shoulder-mount their cameras for longer, making it suited for use in news, interviews, documentaries and reality television production.

It includes an extension unit with

a wireless audio receiver slot and has built-in network capability.

The buildup kit also possesses a viewfinder and a cheese plate, as well as an adjustable shoulder plate designed for optimal weight balance. Streaming and file transfers are made possible via wireless LAN or 4G/LTE connections. QoS performance streaming is provided thanks to the camcorder’s Dual Link

CBK-FS7BK

62 PRO AVL MEA November–December 2019

HDCE-RX30 connection for the multiplexing of two cellular networks. Facilitating the use of the E mount and B4 lens accessories, the LA-EB1 enables the FS7 and FS7 II to capture images with deep and shallow depths of field.

Two new IP extension adapters have been added to Sony’s lineup of Live Production solutions that transform the current HDC series of SDI system cameras into IP cameras with an SMPTE ST 2110 interface. The HDCE-TX30 enables direct remote production capability for any of the HDC-2500, HDC-3100 and HDC-3500 camera heads by offering instant SMPTE ST21101 IP Live Network connectivity. The HDCE-RX30

HVS-1200

FOR-A makes a switch DESIGNED FOR mobile production or events and built on the same feature set of the Hanabi HVS-100/110 and HVS-490 video switchers, the HVS-1200 has been launched by FOR-A. The latest switcher adds 10 12G-SDI inputs as standard together with MELite technology. FOR-A is offering one or two M/E switching in 4K (UHD) and HD mode, respectively, within the 3U chassis.

When used in HD mode, the HVS-1200 can draw on 40 inputs and 10 outputs together with two outputs for HDMI 2.0 Level B and two M/Es. In 4K (UHD) mode, the

switcher features 10 inputs and 10 outputs, including two outputs for HDMI 2.0 Level B, while mixed inputs of 12G-SDI and quad link 3G-SDI are supported. In HD mode, 40 inputs are available.

MELite is a newly patented FOR-A technology that expands the capabilities of aux transitions. With an aux bus, users can preview transitions before executing them and enjoy the control over aux output as for PGM or PST. One MELite (in 4K-UHD mode) or four MELite (in HD mode) are provided.

in low insensitivity against dust and dirt.

The fusion splice technology also allows the connector to be serviced in the field.

The unit reportedly offers high-performance/low-loss attributes and protects against vibration and extreme temperature fluctuations. The hybrid connection transmits both

power and data over a single connection, with low maintenance intervals. Dragonfly fits into standardised broadcast cutouts and offers a long life of 10,000 mating cycles thanks to its push/ pull mechanism, IP68 dust and waterproof rating in mated condition and its anti-kink boot design.

– a complementary solution to the HDCE-TX30 – offers native SMPTE ST21101 IP Live Network connectivity, allows users to route any camera head to any HDCU-2500, HDCU-3100 or HDCU-3500 CCU and provides SDI and IP mixed system configurations as well as 4K/HD, HDR/SDR mixed operation based in SDI. The MKS-R4020 and MKS-E1620 are two remote-control panels that strengthen the reliability of commands through Live Element Orchestrator. The MKS-R4020

monitor input, remote control panel assignment and multi-viewer layout, while the MKS-E1620 is a remote-control panel with 16 encoders that can adjust various parameters of live equipment, including a system camera’s HDR colour and contrast. The PWSK-4509 is an optional interface board that offers SMPTE ST 2110 support for the PWS-4500 4K/HD live production server. The addition of the interface board allows the server to seamlessly connect with an IP live production environment and enables it to receive and transmit multiple video and audio signals with 25GbE (SFP28) via an IP network.

Sony’s Venice full-frame digital motion picture camera has also been given new functionality with the version 5.0 firmware update.

It has received additional HFR capabilities and added workflow flexibility, allowing users to shoot at speeds of up to 90fps at 6K 2.39:1 and 72fps at 6K 17:9/1.85:1.

HDCE-TX30 is a remote-control panel that comes with 40 assignable LCD buttons that allow users to change configurations, including

www.for-a.com

www.neutrik.com

pro.sony.com

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PRODUCTS

BUSINESS: COMPANY PROFILE

Williams AV adds a comment Lynx Technik stays positive

I have been with Harman for four years now and was an How much of your R&D is based on innovation engineering manager for the old Martin team. I was responsible and creating unique patents, as opposed to for about 40 engineers then. After the reorganisation, I became responding to competitors? responsible for building up the structure around the setup of FORCoC SYSTEM wish Annotation FOLLOWING ON from the launch brightness levels and image the based designers on the old who Martin team, but then settingPro up can one work in it analyses the incoming HDR to add annotation 4Kglobal corporation a videostructure. in-line or loop-through of its Evie suite of HDR solutions image on a segmented composition.

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Aten extends IP

ATEN HAS released the KE6910 which work to provide resolutions lossless video compression and KE6912 DVI-D Dual Link of 2560 x 2048 at 50Hz and quality with minimal latency.

KVM-over-IP extenders that are made up of high-per formance, IP-based transmitters. Once connected to the computer and receiver, users are provided with console access from a separate location. Both models allow access to a computer system from a remote USB console over an intranet, allowing users to locate computers in an environment isolated from the workstation.

The two extenders feature a Martin MAC Allure at profile undergo rigorous testing prior to shipment KE6910 single DVI display eachfixtures end

provides dual power Both also suppor t a 2K x 2K Lastly, what are someThe of KE6910 the technology areas supplies. video resolution, widely used in Martin is currently looking into?

Both extenders can either be the air traffic control industr y. placed on a desk, mounted on a The KE6910 and KE6912 can wall or at the based rear ofonaproven rack due PS: differentiation be connected viaStrengthening an RJ45 porproduct t tois the space-saving 0U Some rackplatforms and technologies really a priority for us. or SFP slot. The transmitter and design. we are looking at include future light sources, receiver can areas be connected eitherclosermount canhigh be lumen used as pointfromother alternative to very density directly to each or vialight a sourcesThey to-point/point-to-multipoint/ technologies.

Cooling area; power densities can high-speed network, or over a is another multipoint-to-point or increase rapidly, cooling presentsextenders a bottleneck. copper- or fibre-based LAN. and traditional a KVM-over-IP So,uses we’rea assessing future integrated high-densityinto cooling technologies The KE6912 PoE matrixenergy system and alsothe other areas to improve andwhen powercombined efficiency. function, supplying power with thecompensation KE Matrix Management Colour calibration and temperature and through a PoE network switch. colour accuracy isSoftware. another focus.

This feature improving eliminates the need for a power adapter and is said to reduce powerwww.martin.com configuration costs. www.aten.com

1/4 PAGE 64 PRO AVL MEA November–December 2019

September–October 2019 PRO AVL ASIA 117

PRODUCTS

Ross supports HDR TRIA+ UHD is the latest addition to Ross Video’s Abekas Tria production server line and provides two symmetrical 4K UHD video channels that can be configured as two-play, two-record or one-play and one-record. The two independent video channels can also be configured as a single video+key channel. Tria+ UHD supports HDR by natively recording 10-bit XAVC-Intra Class 300/480 and offers a maximum of 120 hours of Class 300 4K UHD media storage capacity. Built-in media file import and export tools are a standard feature, along with 16-track embedded digital audio on every video I/O. There are also

Equalizer function, offering fourband EQ for every fader; OverDrive V19.1 has been updated to

support the Carbonite Ultra production switcher; XPression V9.5 has been added with the

OverDrive V19.1 launch of the new M8 hardware platform that includes both 2U and 4U HD-SDI engines; and the manufacturer’s Production

Automation Suite is now supported on vSphere 6.7. www.rossvideo.com

CONNECT WITH THE AUDIO AND LIVE EVENTS COMMUNITY ISE is the international showcase for audiovisual integration Tria+ UHD two 10-Gig Ethernet copper ports and two 10-Gig USB ports for highspeed, file-based workflows. pro-xi is the first product to emerge from the manufacturer’s acquisition of Portalis. According to the manufacturer, the pro-xi integrator revolutionises the way control rooms and command and control centres are designed, engineered and managed. It enables operators to simultaneously view and actively control multiple computer systems from one workstation, using one keyboard and one mouse.

Piero is a sports analysis tool acquired recently by Ross and uses image recognition or encoded camera heads to overlay tactical graphics on sports content. It is said to bring new angles to every game, on the screen and in the studio, with visually engaging and informative effects.

Ross has also unveiled a series of updates to its systems.

SmartShell version 5 contains a new motion control algorithm called MotionDirector which reportedly provides superior smoothness and more precise control. MotionDirector also includes greater flexibility and provides the ability to make manual camera adjustments and duration changes with the joystick panel while the dolly is moving.

In brief, Graphite V2.2 has added embedded-SDI channel pair configuration and the new Audio

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November–December 2019 PRO AVL MEA 65

PRODUCTS

Compact outdoor lighting AYRTON HAS released the Perseo-S, its first multifunction, compact, IP65rated fixture. The Perseo-S is the latest addition to Ayrton’s new range of profile, spot and wash fixtures. It can be controlled

by DMX-RDM, Art-Net or a wireless link using CRMX TiMo RDM from LumenRadio.

Developed for outdoor use, its moving-head skeleton, made from die-cast aluminium, is said to achieve full weather proofing, with a phase-change liquid cooling system, submersible fans and a water-resistant menu navigation system.

Featuring a 27,000-lumen output calibrated at 800K, Ayrton is hopeful that the Perseo-S can

Light in a box reach an optimal resolution to improve distortion at wide angles.

Perseo-S also offers a CMY colour mixing system, a CTO and a wheel made up of six colours that can create both saturated and pastel shades.

Due to the positioning of the four shutter blades, Ayrton claims an operator can frame any object, wherever the fixture is positioned.

Users can expect 18 glass gobos on two wheels with an effects section that features a 15-blade iris diaphragm, two frost filters (one soft edge, one hard edge) and two rotating prisms (one circular with five facets and one linear with four facets).

has given it a smar t and lowmaintenance design so that it can be adopted indoors.

A motorised zoom with autofocus is built into the Proteus Smar ty Hybrid. It has a beam angle range that differs between beam and spot modes with gobo projection focus from 1–18° in beam mode and 3–27° in spot mode. The manufacturer notes that no hotspot is visible while in spot mode. A frost filter for a PC lens-type concentrated wash is included, and the light is zoomable from 5–33°.

www.adbstagelight.com

Intelligent lighting THE PRODIGY lighting controller from GDS is described as a compact DMX and DALI hybrid with Art-Net. It is equipped with an on-board webserver and dedicated smartphone app and comes with scene scheduling, a built-in lighting desk and a remote device management suite. Scalable for small or large indoor venues,

pendant light has an adjustable suspension height and achieves a uniform ambient lighting with high visual comfort by using a wide optic. The Alundra recessed spot light and Alundra spot light both have a 90° angle on the horizontal plane and a 360° rotation around the vertical axis. The Alundra surface light and surface mini light

www.elationlighting.com

Chroma-Q enters the Space Force CHROMA-Q HAS entered the Space Force onebytwo into the market for those seeking a variable white LED soft light panel. Designed as a ‘modern replacement’ for traditional soft light sources, it would be well suited to TV studio, live broadcast, and film and photographic applications.

Space Force onebytwo features the manufacturer’s Space Force LED space/soft light technology.

The onebytwo part of its name derives from its 1:2 aspect ratio, which enables multiple units to be mounted side by side in either ratio, overhead or on a wall when a larger volume of light is needed.

The fixture is CCT variable between 2,800K and 6,000K and reportedly offers an output of up to 13,900 lumens. Quiet

and can provide 512 control channels and 512 DMX addresses across several universes if required by the user.

The Wily! for Hathor smar t lighting app is also compatible with the system to act as a remote control that can be used with an iPad or iPhone.

www.ayrton.eu

Smarty Hybrid gains IP65 rating THE NEW Proteus Smar ty Hybrid from Elation is an IP65rated version of its Smar ty Hybrid luminaire. It features the same feature set as the Smar ty Hybrid and uses the same Philips MSD Platinum 200 Flex 280W lamp, while adding sufficient dust, humidity and water protection that allow it to be exposed to the elements in outdoor use.

The Proteus Smar ty Hybrid has the flexibility to be used as a beam, spot or wash, making it suited to a wide range of applications. With an output of 11,000 lumens, Elation

ADB STAGELIGHT has launched the Hathor Gate system made for PC via USB connection.

It offers two DMX por ts and includes a backup mode along with many of Hathor’s previous functionalities.

The compact system weighs 112g and is said to be a small enough to fit in a pocket with a size of 65mm x 65mm x 40mm.

Hathor Gate works with the Behringer X-Touch and Korg Nano Control MIDI keyboards

operation is allowed thanks to convection cooling, while manual and remote-controllable LED frequencies of up to 96kHz allow for flicker-free operation when seen onscreen. Wired or optional LumenRadio CRMX and RDM

66 PRO AVL MEA November–December 2019

functionality are also available.

Optional accessories include a low-profile hanging offset bracket, a four-way bridle and several beam control components. www.chroma-q.com

The Prodigy lighting controller Prodigy contains four inputs for interfacing with fire alarm or paging systems and four outputs for third-party integration with blinds or projectors. Four isolated RJ45 ports are available should a cable fault occur and the input voltage is 48VDC (via PoE or PoE+).

GDS’ Work Lights are high-bay LED flood fixtures that are direct replacements for 200W and 400W discharge fixtures. Available in two sizes (150W and 300W), the lights can be controlled via DMX and have an input voltage of 100–240VAC. They have a frequency range of 47–63Hz and a colour temperature of 5,000K. Rated IP65, the fixtures provide a beam angle of 112° and are suited for an operating temperature of –30°C to 50°C. The Reality Series, meanwhile, consists of a wide variety of products, all available in large and small versions. The Alundra

The 150W Work Light are surface-mounted luminaires that incorporate a twist-and-clip system for quick installation.

Finally, the Alundra track light and track driver spot light are highefficiency luminaires with passive dissipation and come with a threecircuit global track adapter. www.gds.uk.com

PRODUCTS

Chauvet enjoys the summer DESIGNED WITH outdoor events in mind, Chauvet has introduced the Ovation E-910FC IP, an ERS Style fixture featuring the same RGBA-Lime LED colour mixing system as its non-IP cousin.

Along with rich colours and bright whites, the LED produces a flat, even field of light for gobo projections, especially when paired with the company’s IP-rated gobo rotator, the GR-1 IP. The Ovation E-910FC IP includes Chauvet’s standard beam-shaping shutter assembly and lenses, as well as colour temperature presets of 2,800K to 6,500K to match the output of a tungsten source. A virtual colour wheel can also be used for quick programming to match popular gel colours. Other features include ultra-smooth 16-bit dimming, 8-bit dimming curves to create smooth fades and adjustable Pulse Width

E-910FC IP Modulation to avoid flickering on most cameras. The LED also features Remote Device Management to provide flexibility for both outdoor and indoor applications. www.chauvetprofessional.com

Vari-Lite gets a new Profile THE VLZ Profile luminaire is part of Vari-Lite’s new generation of LED moving head fixtures and is said to use the latest white LED sources with 24,000-lumen output projecting through a 140mm front lens. The luminaire adopts a CMY+CTO colour system, teamed with a ‘shake and wheel spin’ control feature. Midair effects and projection are accomplished by the two gobo wheels, with seven interchangeable, fully rotating and indexing gobos and seven interchangeable fixed gobos. The additional rotatable animation wheel is said to enhance the projected effect.

VLZ Profile offers users a choice of four fan control modes: standard, studio, studio two and whisper. The multiple fan levels can match the output required by users and can be controlled remotely from a console. The product is equipped with an iris and four-blade framing system. This gives operators the ability to

control the beam softness and beam-shaping control, using three-way frost control.

Vari-Lite has also introduced the VL6500 wash light that shares the same format as the VL6000 beam but also includes the manufacturer’s Dichro fusion blades which offer diffusion with the variable beam width and are said to be

VL6500 reminiscent of the classic VL5.

The CYM+CTO system along with its fixed colour wheels work to provide variable colour mixing and saturation control. These features are said to deliver a power ful visual impact. The VL6500 offers operators the ability to create split colours, both in air and on the Dichro fusion blades.

VLZ Profile

www.vari-lite.com

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November–December 2019 PRO AVL MEA 67

FEATURES: RECORDING

Out of the box recording

A collaboration between Sennheiser and the Royal Opera House Muscat has given local Omani companies the knowledge and courage to try out their own immersive audio recordings, writes Simon Luckhurst THE TOPIC OF SPATIAL AUDIO HAS BEEN RISING IN PROFILE and significance for several years now, yet still so much is unknown for the vast majority of working audio professionals.

The theory is not necessarily that complicated, but the practical applications beyond either simple binaural-type configurations or, at the other end of the spectrum, large arrays at events to capture spatial audio for broadcast feeds, can often be somewhat confusing or generic. Curious about how such recording techniques could benefit the Royal Opera House Muscat (ROHM), Bruno De Silva, assistant head of sound and broadcast at the ROHM, enlisted the help of Sennheiser’s AMBEO team to conduct immersive recordings on the House of Musical Arts stage with a variety of local artists.

This saw the Sennheiser Middle East and AMBEO teams deploy the AMBEO Cube, a spatial array comprising nine Sennheiser MKH800 Twin microphones capable of producing a 9.1 surround output. The overall aim of the recording sessions was to educate and familiarise the Opera House’s staff and other invited attendees with the techniques to enable them to carry out their own immersive recordings for future productions.

‘We’d been talking to Bruno at the Opera House for several months and he was keen for us to collaborate together,’ explains Ryan Burr, Sennheiser Middle East’s head of technical sales

Bruno Silva, Johannes Kares and Ryan Burr discuss techniques

A temporary 9.1 postproduction studio was set up in an adjacent rehearsal room

and application engineering, professional audio systems. ‘We’d initially arranged to do a three-day seminar on microphones and techniques, followed by a day on wireless mics. However, Bruno expressed an interest in the AMBEO method of recording for loudspeakers. That’s something that’s never been done in the Middle East before and resulted in Johannes Kares, one of our Tonmeisters that works for our AMBEO team, coming over from

Switzerland and hosting a seminar on this method of recording, and, crucially, actually have recording sessions take place on the House of Musical Arts stage at the ROHM using these techniques.’

With attendance from local rental companies, broadcasters, AV consultants and audio engineers, the seminars kicked off on the first day with a presentation from Burr on microphone types, mic placement and RF considerations. ‘We set up a whole load of equipment, and I did a presentation together with equipment set up for A/B testing between our 3000 and 6000 series, allowing us to highlight the differences between the analogue and digital systems. Then we played around with using a whole load of different Sennheiser and Neumann mics, putting them on vocal and then instruments, just to see what they sounded like. We spent the whole first day doing that, providing tips, dos and don’ts, what to do with RF, what not to do with RF, as well as mic placement techniques.’

Following the initial session, which familiarised attendees with 3D audio theory and the special microphones and equipment utilised, the Sennheiser team dived into the details of 3D audio capture with the live bands. Kares set up close to 40 microphones on the stage – part of that being the AMBEO Cube. The cube is designed for recording in 9.1 for immersive audio and works by positioning microphones into five different locations in the shape of a square, which is then repeated and lifted up to create a square on top of a square, essentially forming a cube.

Johannes Kares gives an overview of recording with the AMBEO Cube

68 PRO AVL MEA November–December 2019

FEATURES: RECORDING ‘Imagine a 9.1 loudspeaker system with height,’ offers Burr. ‘It’s similar to that, although we put microphones in the position where you have speakers and we use a specific microphone – the MKH800 Twin – because it has dual capsules. By manipulating the phase between those capsules, we can focus the pickup in different directions and that can be done after the recording takes place, in the postproduction phase.’

Using the AMBEO Cube setup and various other Neumann and Sennheiser spot mics, two different bands were set up on stage and recorded. The first was a three-piece traditional Omani Arabic band consisting of violin, percussion and oud, while the second was a larger eight-piece Latin band.

‘On the front four microphones, the cube is recording the direct sound and, because we’re in a big theatre/auditorium, we then use the rear microphones to pick up the room and the ambiance and blend the two together. When we got into the postproduction phase, we had a 9.1 sound system set up in a rehearsal room in the opera house, so we could move the phase of the microphones to focus on different parts. As far as we’re aware, this is the first time a Middle East band has ever been recorded using this method,’ says Burr.

‘The AMBEO Cube method provides the opportunity for a more realistic recording by giving us the chance to capture the acoustic environment in a broader dimension,’ comments De Silva. ‘Regardless, because of how creative one can be afterwards in postproduction, I believe the AMBEO Cube is the future of audio recordings.’

The three days Sennheiser spent at the ROHM were considered a resounding success by all involved. Among the attendees was Philip Perry, business development and projects manager at HiTec Center. ‘Having used the Decca Tree, Hamasaki Square and surround Decca Tree [DPA] for classical recordings, I’ve found the resulting immersive experience is good but typically needs a very careful setup. The PLSG20_154x228_Pro AMBEO recording method does a great job of Avl MEA.pdf 1 15/10/2019 maintaining the space, localisation, depth and clarity of

Sennheisier’s Ryan Burr and Mig Cardamone (far left and far right) with the team from Oman’s Tunes the sources, and translates per fectly to a 5.1.4 immersive playback. For me, it is the most enjoyable immersive listening experience I have had.’

‘It was a privilege to host and be part of the first AMBEO Cube immersive audio recording ever done in the Middle East, especially as this included the recording of traditional Omani music,’ shares De Silva. ‘I would like to thank Sennheiser’s team for their support and commitment to working with us to create and promote this incredible and rewarding experience, as it also represents ROHM’s commitment to embracing innovation and promoting education within our industry.’

As the 12:29 PM old saying goes, ‘if you don’t ask, you don’t get’.

Had De Silva not approached the Sennheiser Middle East

team keen to find out more about AMBEO recordings, the ROHM would likely have no plans to conduct any serious recordings in the near future.

‘It’s very easy to read about recording techniques and understand them technically, but there is no substitute for a hands-on demo, listening session and technical discussion,’ he concludes. ‘It was a well-planned seminar, with carefully considered content, a great presenter and a nice venue. I would recommend this training to anyone in the industry with experience of recording and/or postproduction, and to colleagues with an interest in immersive audio production.’ www.rohmuscat.org.om www.sennheiser.com

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November–December 2019 PRO AVL MEA 69

FEATURES: WORSHIP

Complex simplicity

The opening of a new campus in Kyalami saw Rivers Church expand on its tried-and-tested AV-over-IP system design to bring maximum flexibility with minimal user expertise.

Simon Luckhurst takes the tour BEING ONE OF THE BIGGEST CHRISTIAN WORSHIP ministries in South Africa, Rivers Church is constantly growing and always on the lookout for new locations to expand into. As a result of this, Rivers recently opened a new campus in Kyalami, Johannesburg capable of accommodating up to 1,000 of its newest members. Built to mirror the experience that worshippers have at its flagship Sandton campus nearby, the new complex is sizable and is able to accommodate all of the church’s growing needs, with enough space to dedicate specific areas to each of the individual age groups the congregation makes up.

Formerly known as Theatre on the Track, the new Rivers location is an old theatre/conferencing venue – perfectly suited for the church’s upcoming needs but requiring a complete overhaul to turn into a functioning worship space. This meant outfitting each of the areas with sound reinforcement and presentation solutions, as well as complete AVL systems for both the main and overflow ‘theatres’. Having worked closely with the church at its other campuses in the past, local distributors Stage Audio Works (SAW) and DWR were brought on board to assist with the AV renovation.

‘We purchased the space in the middle of last year, but we officially took ownership in December. It was quite an old theatre built in the early 1990s and we had just two months to turn it into a church,’ recalls Andy Illgner, the audio HOD at Rivers Church. ‘Being a theatre already at least helped with the acoustics of the space and was a good starting point, but we had to have a look at what we could reuse and what we could keep. It turns out there wasn’t much we could reuse.

We ended up practically gutting everything.’

With three auditoriums at the main campus in Sandton, the decision was made to pull the sound system out of one of those to bring to Kyalami, and then upgrade the Sandton site.

As a result, the main Kyalami worship space now houses a Meyer Sound distributed speaker system. ‘We wanted to give the old system a try first because there was a lot of other stuff we had to allocate budget for,’ notes Illgner. ‘The system

70 PRO AVL MEA November–December 2019

works just fine, but we will look to bring in the same solution as in Sandton in the future for consistency.’

In addition to the main auditorium, Kyalami’s smaller auditorium now serves as a kids’ church, while the rest of the complex boasts six classrooms tailored to various children’s age groups. ‘Everything is tied together via a Dante network and everything runs through QSC’s Q-Sys integrated audio platform,’ Illgner elaborates. ‘It’s a fully networked campus.

Rivers’ audio HOD Andy Illgner and SAW’s technical director Nathan Ihlenfeldt

The backstage audio equipment rack

When we started using Q-Sys we realised the potential it has.

Instead of placing mixing consoles in every room, we decided to go fully digital so everything can be controlled by a tablet.’

While DWR was responsible for the theatre lighting system in the main auditorium, SAW was responsible for the rest of the AV integration throughout the complex. ‘We were quite specific in what we wanted,’ remembers Illgner, ‘and SAW had all of the products that we required and were great at supporting us.

We’d also worked closely before at some of our other sites.’

Having worked together in the past and already familiar with integrating the type of systems Rivers was looking

for, the biggest challenge for SAW was not so much the technical aspect, but the site management issues of concurrently renovating the complex while the project was being carried out. Having started at the beginning of January, the entire AV integration – all 110 Dante endpoints spread far and wide throughout the building – was completed by the end of that same month. ‘Thankfully we already knew that the technical “recipe” worked, it was just liaising with everyone efficiently to get the work completed in such a small space of time,’ explains SAW technical director, Nathan Ihlenfeldt.

FEATURES: WORSHIP The setup in the offshoot kids’ church rooms typically includes various configurations, depending on the size of the room, of Audac loudspeakers for audio playback, Sennheiser wireless mics with Dante AVIO audio network adapters for inputs and a wall-mounted tablet for control. A variety of Audac ceiling and wall-mounted cabinets also serve BGM requirements throughout the common, public spaces, such as the entrance foyer.

‘One of the biggest challenges here in terms of the Q-Sys programming was actually building the intercom over Q-Sys,’ shares Ihlenfeldt. ‘We hadn’t done that before at the other campuses. We have these Studio Technologies Model 370 Dante-enabled beltpacks and we had to design and deploy an intercom matrix from scratch. In Sandton, we have a Riedel matrix intercom, so we tried to replicate as much of that same functionality here. There are a lot of great things about a system of that nature, but it’s incredibly expensive and we didn’t really need all of that functionality. What we’ve designed, I think, is working really well. Plus the beltpacks are powered over Ethernet which really simplifies the cabling infrastructure.’

Central to this networked design thesis is the deployment of a large number of regular Windows-based tablets throughout the facility. From these positions, users can select public space BGM and announcements, house lighting and control – all integrated through Q-Sys. The technical level of volunteers at Rivers is typically quite high, and the team were happy to deploy a system favouring greater flexibility instead of focusing purely on simplicity.

‘Training our volunteers is something we’re very keen to promote in-house,’ explains Illgner. ‘But, at the same time, a system like this has massively reduced our volunteer overhead.

Traditionally, they would have had to be a lot more involved to keep everything running. Our technical team now consists of about 40 people and between us we are able to manage everything at all of the Rivers campuses.’

‘It’s also about logistics, and not needing to have someone available onsite at all times just to operate basic things,’ adds Ihlenfeldt. ‘With Q-Sys, even the cleaning staff can come in during the week when the tech team are not here and turn on what they need to do their job.’

‘Q-Sys is like having an extra staff member,’ jokes Illgner. Back in the main auditorium, mixing is handled by a Dante-enabled Yamaha QL5 console and is connected to a computer running Reaper for multi-track recording. A Meyer Sound Galileo handles audio processing, while Sennheiser ew 500 wireless mic and ew 300 IEM units support the pastor and presenters onstage. A

The video monitoring setup in the rear control room

gigabit Ethernet fibre ring has also been installed that feeds into seven racks and runs around the campus and auditorium.

‘We deployed a Layer 1 fibre network,’ explains Ihlenfeldt. ‘In our industry in South Africa, there aren’t many companies able to do this, so it makes sense when you deliver a project with modern infrastructure of this nature that you can do all of the optical work yourself.’

Onstage, SAW has deployed a 3.9mm pixel pitch LED wall developed in-house. ‘This is our Pixel Plus XCite series and it’s specifically designed for house of worship applications,’ comments Ihlenfeldt. ‘It has a number of features from an image quality perspective and great usability. Electronically, it features the newest generation Novastar control system that allows for a really deep grey scale at low brightness.’

Video is also a major part of the experience at Rivers. While this makes the quality of SAW’s LED videowall all the more important, it’s also led to a sizable setup of video equipment to pull off cheaply, reliably and effectively. ‘We are quite a visual church,’ highlights Illgner. ‘Even if the pastor is here in person, there’s a lot of different slides and presentations that aid the preaching.’

At the back of the auditorium is a control room housing the video equipment. The team uses a StreamDeck, a device

A Yamaha QL5 at FOH in the main auditorium

The layout at Rivers Kyalami

Combinations of Audac Ateo series cabinets provide audio coverage in all of the kids’ rooms

Audac HS208 two-way horn speakers cover the lobby

The video equipment rack

typically used by video gamers for recording and livestreaming, with a Blackmagic solution capable of recalling different presets and providing the necessary switching capabilities. Everything is filmed and streamed in Full HD. ‘The main infrastructure is all Blackmagic, which has become a church-wide standard now,’ notes Ihlenfeldt. ‘But we’re also using a Living as One live link system which is pretty cool. It’s specifically designed for the house of worship market, and their key technology enables reliable live links over unreliable connections. In the past, to do this kind of thing, especially with the quality requirements for a big screen, would require really expensive connectivity. It’s based on a Google Cloud backend and works really well. It adds some latency to achieve this, but no more than two minutes, which is perfectly fine for our use.’

The fast-moving integration project at Kyalami has been both typical and unique in equal measure. A vast array of complicated and flexible technology has been integrated in a way that allows the system to function simply but effectively for every-day and non-technical use. For the Rivers tech teams, it’s the best of both worlds and ticks all of the boxes.

‘You never quite know what the future holds but, from a technical perspective, I think we are well set up,’ concludes Illgner. ‘We will look at bringing the sound system here in line with our Sandton campus in the near future. Although the Q-Sys design is expansive, it’s also really quite simple from an audio processing perspective. There’s no limitations to what we can do here.’ www.rivers.church www.stageaudioworks.com

November–December 2019 PRO AVL MEA 71

PRODUCTS PRODUCTS PRODUCTS PRODUCTS FEATURES: INSTALLATION PRODUCTS HOSPITALITY

PRODUCTS FEATURES: INSTALLATION BUSINESS: COMPANY PROFILE

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With projectors. and to 120Hz processing. upgrade to the Crimson WU25 The manufacturer expanding operation.

Heritage Audio has announced ‘Vinkor’ pot core inductors, the shelving EQ, midrange EQ, low amanufacturer’s rugged 2U steel andcolours aluminium amplifier.

18-inch version and the X210 white and custom RAL are three distinct and aAES/ converter momentum built up in aof session.’ products and workflows.

Users filmmakers.

Products services areas.

‘The indoor area has multiple levels ofavailable attractions with a and use nine preset memories.

C (DSP audio controller), M (remote from iPad touchscreen Users are asked to select the homepage. and a choice ofmodels analogue, and alignment delays. that our industry is capable of.an listening www.exterity.com operation.

Heritage Audio announced hospitality middleware.

The 470–870MHz. Ahas total 16,000 ‘Vinkor’ pot core inductors, the in-room SmartTV. shelving EQ, midrange EQ, low to a rugged 2U steel and aluminium network hub, which allows patented phase-plug design critical band of via 2–10kHz. use with the system. the addition of Christie Mystique, Existing Christie MExterity Series and HD25 models without needing its D Series line-up with three the availability of its HA-73 EQX2 HA-73 EQX2’s preamp section shelving EQ, a variable high-pass chassis, the HA-73 EQX2 uses an www.samsung.com slimline double 10-inch cabinet. also available to order.

The seven for simplifying wiring.

ControlCenter As would be expected from installing a club-style system www.avid.com can share ideas and discuss can also be purchased within common atrium and the acoustics space were not very microphone station) and W uses (wall EtherNet. Multiple units can be system, whether the loudspeakers EBU and Dante or redundant Outfitted with RS-485 ports www.martin-audio.com the availability of its HA-73 EQX2 of thisHA-73 Reach platform now ingests frequencies aresingle available, which EQX2’s preamp section TVgateways are fully compatible shelving EQ, a variable high-pass chassis, the HA-73 EQX2 an of the manufacturer’s Wireless where the suppression of cavity new single-lamp models, multiple projector calibration Christie J Series customers can purchase new lenses. www.christiedigital.com www.apart-audio.com The Eventgain, Line output Array Systems Performance www.heritageaudio.net dual mic amp/equaliser equipped features trim, –20dB filter Simulator and EQ bypass. Housed in external power supply for low-noise CC-1 solely provides volume control, The NEC throw into abe gym environment, the main challenge three friendly,’ adds Mathur.

‘The outdoor section had challenges inDAS Adam Hall’s Asian distributors gather forfor the opening should be flown or network input connections instacked, copper www.adamhall.com/ExperienceUsLive pro.bose.com www.heritageaudio.net www.celestion.com www.dbtechnologies.com dual mic amp/equaliser equipped can selected in ground manual mode features gain, output trim, –20dB filter and bypass. Housed in external power supply for low-noise Manager software a frontresonances occurs at short much higher projector The audio setup in theEQstudio www.dasaudio.com www.renkus-heinz.com can bethe found on thevia website

The latest family attraction to opens its doors in Doha sparked a new in the first Void Incubus in the involved, UAE, discovers StuartPro Todd relationship between thesystem companies discovered AVL MEA

SA Series to unify A SAC of digital goodies from Korea Renkus-Heinz High-frequency dBTechnologies goes on tour Blackline gains compression X-factor DAS tool answers coverage questions Christie hits a purple patch Exterity Connectexpands with Avid partnership Heritage Audio extends Elite series

1/3 1/3 PAGE 1/3 PAGE PAGE

42 PRO May–June 2019 30 PROAVL AVLMEA MEA March–April 2019 76 September–October 2019 AVL MEA November–December 2019 72 36 AUDIO MEA November–December 2016 46 September–October March–April 2017 2017 34 PRO Januar y–Februar y 2019 54 2018 34 PRO PRO AVL AVL MEA MEA March–April Januar y–Februar y 2019

July–August 2019 PRO AVL MEA 75 37 January–February 2017 PRO AUDIO November–December 2018 PRO AVL MEA MEA 79

FEATURES: HOSPITALITY for some time, he was ideally placed to discuss the plans for the sound system upgrade. In spite of the wealth of choice on the market for large-scale installation speaker systems, Trowsdale was confident confident in the quality of the Incubus solution. ‘As it was the first first Incubus system in the Middle East, I’m not sure it was an obvious decision to make; however, its flexibility flexibility ticked all the boxes and we feel it’s the best dance stack available on the market currently.’

The new Incubus setup features L-R stacks mirrored on each side of the massive Barasti Beach live stage, each comprising a single Incubus Air Array cabinet sat atop a pair of Hyperfold upper bass speakers and a pair of 21-inch Incubus subs. A pair of pole-mounted Void Airten V2 dual 10-inch speakers fill fill in coverage directly in front of the stage. Power from the cabinets is from eight Void Bias Q5 four-channel amplifiers. amplifiers. A BSS Soundweb London BLU-160 provides processing in addition to the Void amplifiers’ amplifiers’ integrated DSP capabilities.

While the new Incubus cabinets take centre stage in the main room, the venue’s older Void loudspeakers, thanks to their build quality, continue to perform well and have been repurposed to serve additional areas of the beach bar. ‘There is absolutely nothing wrong with the old sound system and, with a bit of TLC, it will complement the new setup and continue to serve here for who knows how much longer,’ says Trowsdale. ‘But the plan is to

RealDXB technical director, Marc Trowsdale

The Incubus tops are making their Middle East debut

use the new system for all these new, bigger events. This is key for the venue as it will reduce production costs, as clients won’t need to hire in extra sound.’

With the Incubus system currently residing inside Barasti’s temporary summer tent situated on the venue’s upper deck, it’s due to be wheeled out to the beach area in the coming weeks, as the Dubai heat begins to die down. ‘The air-conditioned tent here is only temporary, and we look forward to moving the system to the outdoor beach imminently. Once there, the plan is to make the beach dance area sound amazing, so I hope the DJs have downloaded their music in WAV format,’ Trowsdale jokes.

As the newly warmed-up Incubus setup makes the move to the beach stage outside, the relatively new pool area will receive parts of the old main stage Void sound system in a distributed configuration, configuration, simultaneously solving another challenge to have plagued Trowsdale at Basrasti for some time – noise pollution. ‘It’s not just beach clubs – so many venues in Dubai have problems with noise levels,’ he explains.

‘A good, even distribution of sound that doesn’t need to be too loud is essential. Plus, this also means that, ultimately, the management has control of the volume rather than the artists.’

With the first first Incubus system to head to the Middle East ready and waiting for the ever-evolving beach space at the heart of the

The view from the stage Dubai Marina, this upcoming outdoor season promises to be an exciting one. The club certainly has no shortage of events planned to showcase its new vibe. www.barastibeach.com www.voidacoustics.com

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November–December 2019 PRO AVL MEA 73

FEATURES: RECORDING

Heading into the Oasis

Tucked away from the hustle and bustle of the city, GTR Studio’s modern setup is able to entice some big names out to this sleepy location, writes Pro AVL MEA AS PRO AVL MEA CLIMBS THE STAIRS OF A NEWLY BUILT apartment block in Dubai’s Silicon Oasis, it’s not entirely obvious what is to be found at the top. Yet, this path has been travelled by many a notable name since Salvo Riggi, owner of GTR Recording Studio, moved into his current residence just under a year ago.

The recording studio itself takes a decidedly modern approach to mixing and mastering. This means that the necessary equipment occupies such a small footprint that just a modestly sized room is plenty to accommodate everything. ‘We moved to this location around a year ago, which allowed us to create this fully soundproofed room,’ explains Riggi. ‘However, I’ve been working in Dubai for roughly eight years now and working in audio production for nearly 20 years.’

The allure of GTR Recording Studio has brought artists from far and wide out to Silicon Oasis, including the likes of 50 Cent, Akon, Panda Designer and Tony Yale, to name just a few. ‘They find me themselves,’ answers Riggi, with a slightly puzzled look on his face. ‘We take a lot of bookings for big artists from America, perhaps because it’s a lot cheaper to record over here, despite the quality still being really good.’

The centrepiece of Riggi’s GTR setup is his Apple iMac Pro which is loaded with the latest version of Apple’s Logic Pro DAW and paired with Universal Audio’s Apollo X16 Thunderbolt 3 audio interface – a recent purchase from local distributor MediaCast. A long-time fan of Universal Audio products, having been using an Apollo Twin as his main audio interface up until recently, Riggi credits his latest Apollo purchase with taking his productions to the next level.

His other main fallback piece of equipment is a bespoke Røde NT2 microphone that’s been retrofitted to house Telefunken U47 tubes and circuitry. ‘I know a guy here in Dubai that was able to remove all of the internal components and have them replaced with Telefunken components,’ explains Riggi. ‘Most of the people that come to my studio do so because of the sound that this mic produces. I own many mics and, honestly, nothing compares with the retrofit. I could have gone out and bought a Telekunken mic, but I like to modify my stuff to match my own tastes.’

Riggi’s do-it-yourself nature echoes throughout the rest of his equipment setup. While GTR stays mainly in the box, he

74 PRO AVL MEA November–December 2019

Riggi’s recording setup revolves around a Logic Pro workstation and Apollo X16 audio interface relies on the hardware from Universal Audio to offload heavy processing from the iMac. ‘Universal equipment is on another level,’ he says. ‘There are a few plug-ins that are my favourite and I rely on a lot for mixing. One of those is the UAD SPL Vitalizer Mk2-T. The extra clarity and warmth it’s able to produce when used on the master can totally transform a dull-sounding recording. Others are UAD’s Teletronix LA-2A leveller, Cambridge EQ and the SPL Twin Tube compressor, for saturation and harmonics. I love using that on vocals to add a nice, warm crunch. I am a big fan of the Studer A800 for groups and busses to really glue everything together with a nice analogue sound.’

Riggi also credits the fast turnaround time he has become accustomed to, typically in the order of a matter of days, in no small part due to the flexibility afforded by Universal Audio’s inside- and outside-the-box workflow.

‘I’m always buying stuff,’ says Riggi, pointing at the Apollo X16 unit taking pride of place at his workstation. ‘Before this one it was the previous model, and I always upgrade as soon as Universal Audio puts one out. Both models work really well together; the new one can easily be linked with the old one with a few button presses. This allows us to record more stuff by splitting the DSP resources between the two units. I already have a UA Octo here, so I have so much DSP, but it’s necessary because I use a lot of plug-ins.’

GTR Recording Studio owner, Salvo Riggi

While Riggi draws most heavily from his collection of Universal Audio plug-ins, he is also a frequent user of Nugen Audio’s ISL 2 limiter and Monofilter for bass management.

However, while extolling the virtues of the Apollo X16 and the variety of plug-ins he calls on, Riggi is keen to stress that it’s not just the eye-catching pieces of equipment that deserve attention. ‘It’s not always about the gear through,’ he urges. ‘I mean Universal Audio is great and you can really hear it. But, if the room is not precise, it doesn’t matter. That’s why I had this space professionally treated by a company here in Dubai – Bash Sound Acoustics – when I moved in. Also cables, for example, are just as important. I always use the best cables that I can – Mogami Gold – because there’s no point having a US$4,000 sound card if you’re sending the signal through rubbish cables.’

Riggi also appreciates how simple MediaCast has made it for him to explore and ultimately purchase the latest equipment Universal Audio has to offer. ‘As soon as I hear about something new, I’ll go over to see MediaCast and probably buy it straight off,’ he concludes. ‘Over the years, they’ve become a family to me.’ www.gtrrecordingstudio.com www.mediacastsys.com

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BUSINESS: COMMENT

A letter from America

Pro audio benefits from turning games into events, but Dan Daley asks, what’s lost in the process? Certainly not money

AMERICANS HAVE A PENCHANT FOR invasions. Sometimes this works out well, as it did 75 years ago in Normandy, and sometimes less so (Baghdad 2003).

Regardless, however, any country that’s ever felt our military wrath also knows that losing to us isn’t such a bad deal, either. Just ask Germany, Japan, Vietnam and Grenada – the list goes on of places where we first drop bombs and then write cheques. (Try getting a Russian to do that.)

The next round of US-led invasions is underway but, at least for now, the Pentagon is not involved. When I visited the new Tottenham Hotspur stadium earlier this year, I couldn’t help but realise that this was no mere football stadium – it was a Football Stadium, as in NFL football, not someplace designed for that little round thing the rest of the world knocks around that we call soccer.

In fact, underneath the football pitch indeed is a Football Field, a regulation NFL gridiron for the advance forces of the National Football League, which have been landing on Britain’s

shores since 2007, first in Wembley and starting next year in Tottenham.

Major League Baseball (MLB) opened a new front in this invasion this year, with the export of the series between longtime rivals the New York Yankees and the Boston Red Sox at the London Stadium in July. But the reality is that the MLB teams were simply mimicking the NFL’s strategies, both in terms of the novelty of playing regular-season games overseas and also doing so with an Olympics-scaled media and AV infrastructure. And that’s the point: the NFL and its collegial sister leagues aren’t so much sharing new American sports with other countries as they are planting new ways of creating events in markets that don’t yet know they’re going to spend a ton of money on things they’ve barely heard of.

Let the games events begin Forget the games – what are coming are the events. Sorry, Events! For instance, the way that NFL teams used to pick and choose

players between seasons took place in smokefilled rooms adjacent to expense-account bars, with a press release at the end informing fans of the outcomes. Not anymore. The NFL Draft, which took place in Nashville last spring, drew 600,000 people – more than the entire population of the city – to a three-day street party with better sound and video than Bonaroo, the music festival 40 miles away.

That three-day event was simply the largest in a trend that’s seeing more of sports’ regular seasons peppered with ever-grander events, such as MLB’s three-day All-Star Game weekends and, of course, the NFL’s iconic Super Bowl. The trend is towards making even routine games into events.

Needless to say, this has been a windfall for the AV industry, for which the sports vertical is now No. 1 for many of the largest AV integrators, and a completely separate sales and marketing division for pro audio manufacturers, especially makers of PA systems. As the games become more like events, the media-technology infrastructure

around them – tour-level PAs and massive LED displays – inflates to support it, as do the price tags. Like a few countries before, the ones now being targeted by US sports leagues – in addition to the UK, the NFL and NBA are looking at China, Brazil, Australia and Mexico – should prepare for a bonanza, as huge PA systems, massive videowalls and dazzling lighting rigs transform what was once merely sport into a cascading series of bigger and bigger bashes. It will be a good time to be alive in the AV business.

However, just understand that our invasions tend to leave the invaded forever changed in other ways. Will the Americanisation of sports affect the authenticity of the games themselves? More importantly, will it transform the sports fans themselves, turning them from extensions of the players on the field, which has always been the true attraction of sports, to Roman citizens at the Coliseum, seeking an evermore-splendiferous spectacle?

It will, if you let it. Everything is a trade-off.

A letter from Europe

Phil Ward reviews the potential impact of a fragmented EU on touring and rental companies AS BRITAIN’S ATTEMPTS TO LEAVE THE EU continue, leading rental operators are tearing their hair out. It’s taken nearly 40 years to evolve a stable European trading community that has contributed, more than anything else apart from the internet, to a smooth-running pan-European tour schedule that encourages and enables expansion. It’s not just about the paperwork, the carnets and the tiresome stops at border controls; the whole future of many businesses will come into question as the infrastructure is turned back in time – like forcing everyone to give up their smartphones and go back to faxing. This is the consensus among British, French, German, Italian and Serbian rental companies who just want to get on with the job.

Unfortunately, ours is the kind of business that, unlike farming and fisheries, doesn’t mind a bit of centralisation and certainly does appreciate voting on matters of technological

standardisation. This makes it a naturally ‘remainer’ industry. Plus, a foreign plug has never bothered a savvy PA crew. They love the challenge. So, while a country like Norway consistently votes against too much EU meddling, its rental mainstays continue to roll around Scandinavia in and out of various consolidation deals with skis on. You’d never know there was an ideological line drawn in the snow. That’s partly because Norway has, twice, secured crucial membership of the European Economic Area (a sort of ‘fringe’ EU) with full access to the single market. They view it as an enormous benefit, while protecting their natural resources from Strasbourg rules, although it comes at the price of participating in European Parliamentary decisions. Why, they can even queue in the ‘EU passports’ line at European airports, as opposed to ‘Others’ – just as all EU citizens can move to Norway to work. And that’s exactly what Brexiteers

76 PRO AVL MEA November–December 2019

don’t like about the Norwegian model. Norway is relaxed about immigration and accepted it as part of their EEA deal, because the priority is to defend native produce from interfering regulation, not to keep out foreigners. This is what puts the UK in such a weak position, because free movement of labour is at the heart of pan-European thinking: it shares, with other bonding initiatives, like the European Broadcasting Union, the belief that conflict is best avoided if unifying principles are given the chance to breed. The EU is, ultimately, on a peacekeeping mission.

Touring as we understand it is practically the definition of free movement of labour.

I know scores of crew members who have resettled in countries other than the one they started out in, and not just because they missed the tour bus home. Often, they come to represent global manufacturers, who can be like the makers of Norwegian Fish Oil:

proud that theirs is the best and resistant to intercontinental forgeries.

I was recently in Montenegro, and a PA crew was erecting a stage in the middle of the main town square of Budva, a stunning coastal resort with aspirations of Monte Carlo-dom. It was a fine rig, too, with new d&b subs and a Yamaha CL5 at the FOH position where engineer Goran Djolevic was happy with proceedings. He told me that there are now three rental companies based in Montenegro, but the biggest and longest established in the region as a whole is Belgrade’s Skymusic, led by its charismatic founder Milenko Skaric.

Both Serbia and Montenegro are chasing full EU membership by 2025, but meanwhile are also part of the Central European Free Trade Agreement (CEFTA) along with Albania, North Macedonia, Moldova, Kosovo and Croatia. So, guess what? Only Croatia is in the EU. Lesson: get real. Get a deal.

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FEATURES: INTERVIEW

Gary Furman, Wild & Marr managing director The entire Johannesburg-based team at its office in Edenvale

As one of the oldest AV companies in South Africa, Wild & Marr (W&M) has seen it all.

Pro AVL MEA caught up with managing director Gary Furman to delve into the past and take a look at what the future has in store for the company How long have you worked at W&M?

How will the TOMS Sound & Music amalgamation affect W&M?

I first started back in 1997; however, I took a two-year break quite early on where I was actually in the UK, working for Tony Oates at Fuzion PLC. There was an ongoing joke where they used to say I had orange blood even though we represented Nexo, Camco and Symetrix, among other brands. All in all, I’ve been in the industry 22 years.

W&M founder Joe Copans was a very influential figure. How did your relationship with him begin?

I had applied for a position at W&M as I had just returned from a gap year in the US and Australia and employment prospects for a non-qualified worker were weak. Even though I had no previous knowledge of audio, Joe Copans gathered in our interview that I enjoyed music. I didn’t even know what a speakON connecter was when I first started working for him as an internal salesperson. But we did work closely together, even though I was based in Durban from 2004–2017. Being a part of the W&M board together for around eight years meant we did work very closely together.

Joe passed away in January 2019. Can you describe him for those that never got the chance to meet him?

Joe was a mentor to many, he was a leader and he was a visionary. W&M is 75 years old now and, if you look back to where the company came from, selling valves and components for radios and amplifiers, it was mainly through Joe’s vision that this professional audio company was born. What the company has evolved into, encompassing commercial and professional audio, video and also now control, that was all Joe’s vision. Now it’s up to us to take it further.

78 PRO AVL MEA November–December 2019

Gary Furman kicked off the Wild & Marr Impact Tour in 2018

Do you feel a heavy burden to preserve Joe’s legacy?

It’s certainly some very big boots to fill, though we have a great team to power us into the future. If we look at the company, people tend to join and then either leave very quickly, or they are with us for a very, very long time. Jeff Isaacs is one of the directors and has just celebrated 40 years at W&M. Darren Durbach has been with W&M longer than I have. Our financial director has also been with us nearly 25 years. Now, with the amalgamation with TOMS, my co-MD Rudy Moser, who has about 11 years of experience in the industry, comes from a very strong financial and operations background and he’s also looked after companies that are in the consumer audio and MI markets. So, the scope of experience we have in the company is impressive and highly capable.

TOMS runs several music stores in Johannesburg but, at the moment, it’s pretty much business as usual for both them and us – the synergies are mainly back of house. When we look at administration and financial, for example, these things will change as time goes by and we find different avenues of working together. At the moment, we still have very different strategies in certain areas, such as how we work with the retail industry.

Although we’ve made leaps and bounds over the last two years, the retail environment for W&M hasn’t been our strongest area.

My belief is that working closely with Rudy and with Darren as the MD of W&M Solutions, which is our BEE company, we will truly hit our stride in the various market segments we compete in. I don’t think there’s really a management team in the industry that has the level of industry knowledge and experience that we do. To complement the management team, we have some phenomenally bright and passionate technical, sales and marketing people whose commitment to delivering the best they can is inspirational to say the least.

How do you feel W&M differs from other AV companies in South Africa?

If you look at our competitors in the market, a lot of them are strong in specific areas, be it pro rental or staging, commercial or systems integration. We are one of the leaders in pro rental and staging, systems integration is a very strong area for us, be it corporate or broadcast, and we are the market leader in professional audio for cinema in South Africa. In voice alarm systems, commercial audio and sound masking, we are maybe not as strong but it’s still a big part of our business and something we are building. Essentially, the scope and breadth of our vertical market integration is phenomenal, although quite intimidating as we certainly don’t want to be the proverbial ‘jack of all trades and master of none’. While it’s of great benefit to us

FEATURES: PRODUCTS INTERVIEW

Palm-sized video production

to compete in all of these areas as it eases the pressure when end users. A really exciting aspect of this will be the training certain markets go quiet, we need to ensure that our people facility. With the rates of change in technology today, training is are highly capable in as many disciplines as they are able to be. imperative, not only for our customers but for our own people.

And, because we have these dedicated and committed people, I As an example, just this year we’ve had our own people in Dubai AN ENTRY-LEVEL, provides poweronsupply, believe we still have palm-sized scope to build and grow more.with That’s what Sony’s taking part in ‘train the trainer’ workshops the newimage Shure Staying cameras, camcorder and camera controls. excites us. that aims to bring Microflex Complete range ofoutput microphones, also we’ve sent range of IP-based PTZs has been Sonyconsoles has introduced Live professional video to users people to Hungary for trainingLastly, on Studer and people expanded with two new models, Element Orchestrator alongsideof in education, corporate Looking back, whatand sectors has in China training on the implementation and commissioning theW&M SRG-X400 and SRG-X120, traditionally been veryis strong in? new converter government environments LED screens, which is a newtwo part of SDI-IP our business.

Weboards, firmly which join the BRC-X400 and theand NXLK-IP50Y NXLK-IP51Y, leading a raft of new launches from provide users with a future-proof believe that training is critical that’s whyand we want the ability offering SMPTE 2110 Sony.ofThe HD HXR-MC88 promises One the oldest brands that we represent Inter-M. option. to hold training courses as often as support possible for in our new ST facility.

4Kisupgrade high pictureaudio quality but with immensely and Commerical has grown not the only We will be able to offer the standards training andwith thenHDR stepcompatibility, next door into Theit’s SRG-X400 and SRG-X120 the latter supporting 12G-SDI. straightforward operation is thatare brand that we now distributeand through channel.

Afterfor Inter-M, the centre and apply that training on aalso complete system.

After designed a variety Joe of Copans passed earlier this year, leaving Gary Furman in charge Orchestrator equipped the manufacturer’s Shure and with JBL were the next two big brands.

We talked about healthcare, all, the more comfortable youThe andLive yourElement customers are with your corporate, education, system management BIONZ X image processing Traditionally, South Africa is a turbulent market.

Joe being a visionary and, asengine. an example,house beforeofthe Harman product, the more likely thatprovides product overall will be specified and sold. worship and government of an IP-based production system Its 14.2 megapixel 1.0-type buyout and consolidation of a whole number of companies, applications.

On the otherHow hand,are things at the moment? andfor is compatible with both Sony stacked Exmor RS CMOS sensor What’s the timeframe the experience we were already representing JBL, Spirit by 4KSoundcraft, resolution dbx comes as standard centre? and third-party solutions. The is said to deliver impressive are tough. We have a currency that jumps from one side and Lexicon.

That shows the insight Joe had.

Then, with the which isThings on the BRC-X400, ideally solution enables resources to be background defocus effects of and the spectrum to another. I actually looked at a graph of the mergers and bokeh acquisitions within Harman,suited we inherited Crown studio for broadcast TV multiple locations, and sensitivity formain capturing We expect the construction shared itself toacross be finished shortly and amplification.

Our brandshighare Shureproduction and obviously as Harman well as live South event African Rand versus the US Dollar from January to June, be set up quality images with less noise, hopefully we’ll have systemsconfigurations installed and to operating by centrally early an infant’s scribble. The fluctuation in the rate Professional audio supported by a number of other products that and it looks like capture.

HXR-MC88 and operations to be centre monitored both in or bright conditions.

December. Our hope is to launch the experience with a of exchange makes it very hard to plan business long term. One allow usdark to offer complete room solutions.All three cameras incorporate across all equipment.

The HXR-MC88 features the 75th party. of our strengths, however, is that we hold aboth high inventory in our with the manufacturer’s 4K Exmor Similar to the BRC-X400, equipped NDIanniversary | HX capability Fast Hybrid Autostrongest Focus System What is your market currently? in the Johannesburg. we hold a little too much an optional licence.

RTM CMOS image sensor,warehouse while SRG-X400 Perhaps and SRG-X120 through pro.sony.com and comes with 12x optical If working you one thing, what stock, – and it’sHDMI something that we’ve done a built-in, high-resolution 4K lensbut I believe support SDI, and IP and are always Connection via a single IPwith cableJoe taught would it be? zoom, which beadoubled We don’t reallycan have particulartomarket that is our strongest; in being able to satisfy orders almost immediately. Being as accommodates wide-angle– shots 24x with this Clear Image however, year we’veZoom had awhile very big push into broadcast with isolated as we are in South Africa, holding sufficient stock is one up to 70°. maintaining full resolution using What Joe lived by was passion. You need to have a passion for Studer – something we couldn’t do withoutFor ouradded integrators in of our strengths. flexibility, the cameras Super Resolution Technology. what you do and a passion for the industry. It’s something Joe the broadcast industry.

We are looking atcan some potential beother ceiling mounted. They In addition, the 14.2 As of a long-term Mediatech exhibitor, why did you engendered in the people around him. When he first hired me, opportunities within themegapixel broadcast market.

One a ofhorizontal the things resolution boast choose CMOSfind sensor and Sony’s I didn’t know anything about the industry, but he saw I had a you’ll in a weak economyDigital like South Africa currently 1,000isor higher TV lines in full HD not to return this year?

Extender canisdouble this range up for passion and love for music. If you look at the industry, IT drives experiencing, that people are looking toproducts capture that fine are image details. The The40x simple reason is that we’re investing in our own experience to 48x, to satisfy everything now. People can probably make a lot more money ‘good enough’ and the the demand premium for brands tend to suffer.

SRG-X400 is In equipped with centre.

We feel that having our own space to showcase products in the IT business than they can in AV, but we do what we do wide-angle customers to telephoto shooting. broadcast, aren’t going to settle for ‘good enough’. zoom capability using Sony’s Clear and solutions is where we should spend our resources. We are because we love it, and that’s why we’re here.

Theperhaps XLR audio input So that’s whyterminal we still see potential in the broadcast Image Zoom technology, while market with Studerholder and other products that wecamera haslooking and microphone add broadcast to its the SRG-X120 a 12xat it as a place where the latest innovative technologies The SRG family www.wildandmarr.co.za and techniques can be experienced by either customers or their distribute and will distribute in the future.zoom. operability.

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1/2 PAGE • Wireless Microphone • Interpretation Application • Assistive Listening • Guided Tours www.beyerdynamic.com/unite

September–October 2019 PRO AVL MEA 53 November–December 2019 PRO AVL MEA 79

BUSINESS: COMPANY PROFILE

All things to all people

L–R: Elie Khairallah, Nour Assafiri and Ismat Assafiri

More than 700 units of SGM’s LT-200 pixel tubes were used for City Walk in Dubai

Televic conferencing equipment installed at the Imam Muhammad ibn Saud Islamic University in Riyadh, Saudi Arabia

Nour Assafiri’s group of companies has grown from humble beginnings in Lebanon to a 100-strong group set on offering a total AV solution, writes Simon Luckhurst DISTRIBUTION COMPANIES, OR IN FACT MOST COMPANIES based in Dubai, tend to rise and fall with the times. When business opportunities are flowing in, a wave of new startups appear in the market ready to fulfil the extra demand.

But, when that demand starts to dry up as the economic cycle comes full circle, the result is a glut of companies all pitching for the same things. Business can be brutal for those that aren’t prepared.

Founded in 2003, Venuetech is one of those early UAE audiovisual distributors that has been able to hold a firm grasp of the market through both the good times and the bad. Having established AMAC in Beirut in 1979 to handle audio, video and lighting distribution in Lebanon, founder Nour Assafiri branched out into the Dubai market via several other sister companies in the late 1990s, initially focusing purely on the video and lighting portions of the market in Dubai.

‘We were mainly working in video and lighting at the time through our sister company, Martin Middle East,’ says the Venuetech founder. ‘That made us aware that there was a need for audio companies locally. We’d been trusted to do many projects in the low-voltage sector and were always being asked if we could supply the audio equipment too. It became a logical decision to create another corporate business.

Furthermore, we were handling audio distribution at our AMAC

80 PRO AVL MEA November–December 2019

business in Lebanon and so we were already confident in our abilities and the group of engineers and designers we had in our team.’

Admitting the early days for Venuetech were somewhat of a lottery, the company’s distribution portfolio has shifted and evolved together with the market over the years. In 2009, Venuetech assumed responsibility for Electro-Voice in the UAE as a result of its ability to support both distribution and projects, including consultancy, design, supply and servicing.

Already offering L-Acoustics and Sennheiser in the region, Venuetech enjoyed a selection of high-profile brands hard to match for competing companies. ‘We actually had L-Acoustics for a bit, but we were never comfortable there. It’s important to find the right fit, and we had a good fit with E-V, so we moved there,’ explains Ismat Assafiri, Venuetech’s audio specialist.

‘Nowadays, Active Audio and APG are the main players we work with in that sector – they are both great-quality brands.’

Having been appointed just a year-and-a-half ago as the distributor for the French group’s brands, Venuetech has enjoyed quick success. ‘With our strong after-sales service, design and applications team, we have secured our position in the Middle East and, honestly, it’s been really great and a successful flow,’ adds Ismat. ‘For Active Audio, with the efforts of our team under the supervision and lead of Elie

Active Audio speakers at the Sheikh Zayed Grand Mosque in Abu Dhabi Khairallah, our genius technical director, we were able to win the Innavate worldwide house of worship award for our work on the Abu Dhabi grand mosque – amazing sound quality and amazing system design. Ever since, we’ve been working closely with Active and APG and people love their solutions.

We trust the brand and we have a very good partnership. The Active range is very interesting with things like the controllable, electronically steerable array systems; technology like that doesn’t exist anywhere else the way they make it. The same goes for APG, which makes compact line array systems that are unbelievable to listen to when you compare them to big systems.’

In the 18 months since, Venuetech has gone on to secure new relationships with two more high-profile brands – Riedel and, most recently, LEA Professional, a new venture by ex-Harman Professional CEO Blake Augsburger focused on ‘smart’ integration amplifiers. It was also recently recognised

by Altman Lighting as its worldwide distributor for 2018. Topclass brands such as these naturally mean that Venuetech has also been involved in a multitude of prestigious projects – the Grand Mosque with Active Audio, City Walk with SGM, the Ministry of Interior with Televic and Sennheiser, and Dubai Police, Africa Hall and the Dubai Opera House with Robert Juliat, to mention just a few.

‘We’ve done a lot of projects around the region and, of course, they’re all known brand names,’ notes Nour. ‘But that doesn’t negate the effort we’ve put in so far on the ground in terms of brand awareness, brand development and business development. It’s not really about having a big brand, but what you can do with your brand.’

BUSINESS: COMPANY PROFILE Despite 100 employees being spread out across several countries and a variety of sectors, 45 of which are based in Dubai alone, Venuetech and its sister companies operate very much as a family business. ‘We obviously are a family business at our heart – Nour is my father,’ explains the younger Assafiri.

‘I’d always wanted to support my Dad and what he’s done, and he wants us by his side as well. My brother, Abdul, runs the Lebanese branch as well as handling some operations in Dubai. My sister, Lina, is the head of all of our logistics and finance, and my brother-in-law, Bilal, is our sales manager. Of course, this has its challenges sometimes. You have to learn to separate business and personal lives. But we all get along great and we have very complementary synergies.’

‘It’s a very personal relationship with a family-orientated feel and where everybody’s equal,’ adds Nour. ‘We don’t look at each other and say “you’re this person that works here and I work here – I do my job and you do yours”. No, we have a very good communication process that has created a very tight knit group.

‘Speaking of family, we consider everyone we work with part of the larger family, especially the guys that have been with us for the longest time, such as Elie Khairallah. He’s been in the family since we started in Beirut and, without his efforts and knowledge and our trust in each other, we wouldn’t be where we are. From working with me in Lebanon to becoming our technical director at Venuetech in DXB, Elie has been there in the roughest times and the best times and that’s what we consider a true family relationship.’

Joining the company officially around two years ago, Ismat was aware Venuetech had already been engaged in several prominent, large-scale projects. ‘But business was slow when I joined,’ he admits. ‘We were getting projects daily but you’d never get direct call-backs or direct confirmation, it was always a process. Anyone working in Dubai knows that this area closely matches the overall business conditions, and business for some has been a struggle, ever since the financial crisis in 2009. Fortunately for us, with Lina leading

The Dubai team at this year’s GITEX Technology Week our finances and our strong structure, we were able to manage fairly undamaged. In a general sense, the tempo of the Dubai market has slowed a little but, for us, business has been pretty good, perhaps because of Expo 2020. We’ve definitely seen a notable increase within the last year due to the efforts of Bilal Assidi and his sales team.’

Like most companies in Dubai, Venuetech is playing its part in the upcoming Expo 2020, currently working on supplying several auditoriums and public spaces with its brands. ‘We’re even working with rental companies that have new tech products, liaising with them on the best solutions. There’s a lot going on and it’s definitely one of our main focuses right now.’

However, if Expo 2020 is the short-term focus for the time being, it hasn’t derailed the overall goal. ‘Our primary focus is to become the leader in AVL and control, supply and provision – setting what we do as the standard in the Middle East in general,’ explains Nour. ‘And, at the same time, we want to help teach companies in the Middle East, and help the region grow as a whole in terms of knowledge about the AVL world and the professional world in general. That’s what we’re aspiring to do on a daily basis.’

‘I think the future of our company is that whatever your needs are, you’ll find it here,’ furthers Ismat. ‘Whether it

be in pure distribution, support or education, we can help.

We’ve grown from a small team that came from such a tiny market in Lebanon, and looking at where Venuetech is today is honestly an achievement on its own.’

None of the Assafiris seem content to rest on their laurels, however. Leveraging the experience gained in the Middle East over the last decade, aspirations for Venuetech have grown to encompass the wider world. ‘We know our boundaries when it comes to territories, but we have been branching out in terms of the way we’ve been working with our partners. If they need our help, we look forward to supporting them with references and sharing information on our experiences in the Middle East. Everybody assumes that we get help from Europe, but often the conversation goes in the other direction. But, saying that, our main focus is the Middle East. That’s where we’re from and that’s where we’d like to be dominant.’

This becomes evident as the Venuetech founder lays out his current plans. ‘It’s been around four months since another sister company of ours opened in Saudi Arabia. We’ve also started expanding in Kuwait and now have two people working there. And we’re expanding into Egypt together with some digital creative partners. The main focus this past year has just been expanding in the region, particularly getting the Venuetech brands into KSA. With Vision 2030, that’s where the industry is heading at the moment. That’s where the biggest growth is taking place.

‘We’d also like to do more work in Africa. We’ve been involved with a couple of projects in Ghana, specifically, and we have another coming up in Libya we’re looking forward to. Africa can be a very different market to the ME, especially if you’re not living there. But we have a good idea of how things operate and we’ve seen a lot of inquiries from Africa. It’s not a specific focus for us right now, but we don’t mind working with anybody who’s looking for any of our products.’ www.venuetech.ae

B70 It’s time to talk about horizontal directivity control

Horizontal directivity control for targeting listening zones

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Design for longilineal spaces.

40° horizontal opening angle from 500Hz.

November–December 2019 PRO AVL MEA 81

BUSINESS: SHOW REVIEW

IBC 2019

Visitors from around the globe gathered at IBC 2019 to bear witness to the frenetic pace of change the industry is currently experiencing ‘IT’S NOT THE INTERNATIONAL BROADCAST CONVENTION anymore,’ reflected IBC exhibition committee chair, Roger Thornton, during the IBC press conference. ‘It’s the International whatever-you-do-with-media Convention.’ No one network or protocol dominated the landscape at IBC 2019, but developers and content providers once again came together in an attempt to enhance the viewer’s experience.

This year, the IBC experience as a whole was shortened as both the conference and exhibition were in alignment, running from Friday to Tuesday. Most exhibitors would argue that five days is a day too long, but the format does provide visitors with the opportunity to attend for a day or two or, indeed, for the whole experience. The sheer volume of information and thoughtprovoking discussions constituting those 2,430 minutes ensure its continued place at the head of the table within the broadcast and media calendar.

‘IBC feels different every year but, this year, it seems to have changed faster than ever,’ analysed IBC conference consulting editor, Rob Ambrose. ‘This year has been the year of new VOD platforms and the year of mergers and acquisitions in the industry, both among media companies and technology vendors.

That frenetic pace of change is really reflected in IBC this year, making it more important than ever to attend in order to catch up.’

In addition to 15 halls packed with exhibitors, products and solutions, IBC featured an array of extra-curricular activities within the Big Screen auditorium. This included a variety of panels, a keynote presentation with Hollywood star Andy Serkis and the opportunity to see Disney’s remake of The Lion King and Toy Story 4 with Dolby Vision and Dolby Atmos sound.

Among the many award ceremonies taking place at the show was the inaugural Rise Awards celebrating women in broadcast.

A technical glitch prior to the opening meant visitors registering for badges experienced waits of up to an hour-and-a-half to gain

DirectOut’s Luca Giaroli with the Prodigy.MP Canon Europe’s Przemek Siemion with the EOS C500 Mark II

Yorick Brunke promoted BroaMan’s Mux22 series

Yellowtec’s Kathrin Nimpsch with the iXm Podcaster

Wheatstone’s Jay Tyler presented the virtual LXE mixer

Clear-Com’s Bob Boster showed FreeSpeak Edge

Gary Rose of Pliant Technologies

Steve Haesevoets highlighted DPA’s 6066 subminiature headset

Sound Devices’ Joel Pare with the 833 portable compact mixer

IABM conferences were held in the Future Zone

82 PRO AVL MEA November–December 2019

Harman’s Mark Hosking with the Studer Glacier Series

W371

8 3 61

8351B

8 3 41

8331

Point Source Excellence - From Nearfield to Main Monitoring Genelec The Ones monitors are revered every day in thousands of studios around the globe for their perceptual qualities, technical brilliance and spectacular design.

Now introducing the new members of The Ones Family, 8351B and 8361, and the Adaptive Woofer System, W371: Unparalleled room-tailoring continued to the lowest octaves, for the most critical listeners and applications. You don’t know how great your room can sound before hearing it with natural direct sound, controlled reflections and pure neutral low frequency response.

THE ONES.

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T H E W O R L D ’ S F I N E S T U LT R A - N E A R F I E L D - M I D F I E L D M O N I T O R S .

W W W.G E N E L E C .C O M / T H E O N E S

BUSINESS: SHOW REVIEW

RTW’s Thomas Valter with the TM9

Ian Cookson promoted Calrec’s ImPulse Core

Lawo’s Boon Siong Tan with the A__digital64 and A__madi6

L–R: Deity Microphones’ Bob Meesterman and JinFu Chen

L–R: Nico Lewis and Sven Bindels with the RTS Odin platform entry. ‘The delays meant that the first morning was particularly quiet,’ reflected Steve Paulson of GatesAir. ‘The show has overall felt quieter, but the quality of visitors has been good.’ As in previous years, the Sony booth was the setting for the first major press conference where the PXW-Z750 and FX9 video cameras and a new generation of DWX digital UHF wireless microphone series were unveiled. Unlike last year’s discussion on remote production, there was no extra emphasis on the same subject this year.

‘The more you know about subjects, the more likely you are to get lost in the details and this is certainly true with technology,’ commented Sony Professional Europe’s Stuart Almond. ‘There’s constant talk about improvements and updates such as new features, improved speed and better graphics. With broadcast and media technology constantly being announced, launched and updated, it’s easy to lose track of the bigger picture. In recent years, there’s been a buzz about connected devices, but perhaps we should instead talk about what a connected society looks like.’

In addition to the IBC Big Screen, the IABM Future Trends Theatre and Content Everywhere Hub staged presentations and discussions within the Future Zone. Located outside

Sennheiser’s Rentato Pellegrini and Arif PK with the new AMBEO Sports Microphone Array

Xavier Allanic with Digigram remote broadcast solutions

L–R: Riedel’s Serkan Güner and Christian Bockskopf

L–R: Ross Video’s David Ross and Stuart Russell

84 PRO AVL MEA November–December 2019

L–R: Marina Prak and Jeannette Heesen on the ROE Visual booth

Hall 8, the Future Zone has become an integral part of IBC with presentations from researchers and academic bodies such as the BBC’s R&D developing ideas that may become the norm in years to come. NHK was showcasing its technologies at IBC on a theatre stage with a rolling programme of presentations, as it has done since 2008.

‘Next year’s Olympic Games in Tokyo will see NHK’s public Super Hi-Vision transmissions: the 8K, 22.2 channel audio system,’ countered IBC CEO, Mike Crimp, before explaining the difficulties modern broadcasters face. ‘What was once a broadcast business, dependent on achieving the best quality, now has to cater to an audience that expects to access virtually infinite amounts of content, wherever they are, whenever they want and on the device that is convenient at the time.’

With broadcast budgets running at unprecedentedly lower levels than ever before, broadcasters are simultaneously under mounting pressure to grow their audiences. ‘Producers are being charged to enhance the technical content quality on lower budgets,’ furthered Lawo’s Andreas Hilmer. ‘This scenario is driving growth in cross-platform media, requiring production systems to be sufficiently flexible and efficient for the supply of content, regardless of the delivery channel. The answer besides remote production is automated or technology-aided workflows and optimised utilisation of both human and technical resources.’

Lawo used the IBC show as a platform to unveil technologies that further strengthen its IP solutions portfolio, including new software modules for the V__matrix software-defined IP routing, processing and multiviewer platform. IP continues to dominate discussions among broadcast manufacturers. ‘As the availability of ST 2110 in the rapidly increasing number of real-world deployments shows tangible benefits, IP continues to be the most discussed topic,’ added Hilmer. ‘Furthermore, HDR and 4K, which we have already integrated into our IP products, are likely to become the accepted standards. In addition, immersive sound is set to become a hot topic again as the natural counterpart for 4K.’ Calrec revealed its IP products in the form of the H2-IP Gateway interface and the AoIP Modular I/O controller card.

Designed to operate with the ImPulse core processing and routing engine for use with Apollo and Artemis surfaces, both products are compatible with SMPTE 2110 and AES67. Devoid of a physical control surface, Calrec also highlighted its VP2 virtualised mixing system that operates with the Assist software.

Wheatstone demonstrated its new Strata 32 console alongside the Glass LXE virtual console. Solid State Logic highlighted its recent partnership with Sennheiser with the Ambeo for VR partnership programme, while launching a 300 series version

Joerg Rader with the Schoeps CMC 1

of System T for large-format live productions together with the SiX SuperAnalogue small-scale mixer. Now in production, Stage Tec presented its fully IP-based Avatus console with scene automation following the implementation of Release 1.6 for theatre and live applications.

Both Studer and Yamaha seemed unfazed with the winds of change blowing around. Studer promoted its Vista 5 BE console together with the Glacier series mixer operating with v1.2 software. Yamaha, meanwhile, showcased a wide

Lectrosonics’ Karl Winkler debuted D Squared

Sagar Shah beside the disguise booth

L–R: NewTek’s Scott Carroll and Matt Allard showcased NDI 4

BUSINESS: SHOW REVIEW selection of mixing consoles with Dante networking capabilities for live rooms, venues and postproduction suites, including the Rivage PM10 and PM7 surfaces, Nuage, CL1, QL1 and TF3. Avid returned to Hall 7 to demonstrate its postproduction platforms using Avid S6 and S3 consoles, Media Composer DVX ID and the web-based version of the MediaCentral platform.

Maestro | Powerwall and Maestro | Engine were also showcased to highlight the control and management of content in studio displays. In addition to showcasing a Fairlight EVO desk, Blackmagic Design launched the Atem Mini and showcased 8K postproduction workflows using Atem Constellation 8K on an enormous amount of real estate in Hall 7.

As the primary source for audio, the principles of audio technology have changed little over the past century. However, the way that microphone manufacturers interact with IBC’s audience portrays diverse methods of engagement. While Audio-Technica and Shure appealed to more traditional broadcasters showcasing a bespoke selection of wireless, boundary and shotgun models, Sennheiser exhibited audio for video models that certainly appealed to content creators from YouTubers and vloggers to film crews, studios, theatres and broadcasters. The recent partnership with Dear Reality for spatial-connect mixing demanded further attention, while Ambeo immersive audio, surround sound listening with Neumann monitoring and the latest XS wireless models all vied for attention.

The devil is often in the detail for cameramen who demand that audio technology deployed on the stars of film and TV should neither be seen nor felt. DPA promoted its 6000 series subminiature mics including the 6066 headset and 6060 lavalier, together with the 4097 Core supercardioid choir and 2028 vocal microphones.

Following on from its InfoComm launch, Lectrosonics revealed its D Squared wireless platform in Europe for the first time.

Noted for its sophisticated RF broadcast and film solutions, Wisycom showcased its MPR52-ENG dual-diversity receiver providing 790MHz bandwidth in the 470/1,260MHz range with multiband front-end filtering. Microtech Gefell showcased its M75 condensers and Schoeps revealed a new 36mm-long CMC 1 compact pre-amplifier for its MK capsules.

Digital wireless and audio-over-IP intercom developments could be found on the Clear-Com (FreeSpeak Edge), LaON (Genie), Pliant (CrewCom), Riedel (Bolero S) and RTS (Odin Omneo) booths. ‘IBC feels a little different for us, because we’ve launched a couple of major new product initiatives,’ commented Clear-Com’s Bob Boster. ‘I would say the show overall feels very similar to past years with the added exception that it’s easier to get around Amsterdam than it used to be because the Metro has really changed things.’

No fanfare or major launch this year perhaps, but Thomas Riedel thoroughly enjoys the coming together of innovative

Table-top ice hockey featured Matrox IP KVM extenders

DaVinci Resolve 16 on the Blackmagic Design booth

L–R: Paul Alexander and Clive Osborn promoted CEDAR’s DNS 8D Matt Anderson of AJA with the Ki Pro Go

L–R: Hyuk Jin Kwon and Miyoun Park from LaON Technologies

Ken Kimura with new additions to Genelec’s The Ones family

minds over the five days. ‘IBC is where the whole world of media and broadcast comes together,’ commented the Riedel Communications founder. Riedel was proudly highlighting the fact that its Wuppertal HQ now combines a Remote Operations Centre where its Managed Sports Services division connects the Video Assist Centre for the German Bundesliga refereeing communications during live games using Bolero S. ‘It’s the forum where you meet everyone involved in this industry together with the likes of Apple, LinkedIn, Facebook and YouTube who are now also involved.

When you add the world of esports, it becomes a really exciting merger.’

Genelec orientated its booth in Hall 8 towards the entrance where it erected a fully lined acoustic listening suite to better demonstrate the S360 monitors with the 7382 subwoofers, while showcasing the latest additions to The Ones in the form of the 8351B and 8361A coaxial three-way monitors and the W371A Adaptive Woofer System. With the establishment of esports, several booths in 2018 such as EVS and Grass Valley promoted live games to better demonstrate their technologies in such applications. This year, such attractions were missing, so it was left to the organiser to promote an esports showcase on the final day.

With SDI celebrating its 30th anniversary, 4K, 6K and 8K camera and monitor formats were previewed on many booths including ARRI, Canon, Ikegami, Panasonic and Sony. As in previous years, 5G was one of the major buzzwords going around IBC 2019. Highlighting advancements in this area in the Future Zone was b<>com. ‘There are not that many demos at the show for 5G, so a lot of people are coming to b<>com to discuss it,’ explained Ludovic Noblet. Rohde & Schwarz was one of the few exhibits displaying 5G-capable products in the form of its 5G broadcast solutions incorporating NR technology.

The converted car park – Hall 14 – has been an enigma for visitors and exhibitors to both IBC and ISE. Here, Exterity highlighted its extended product portfolio that enables the distribution of any content to any device and over any network – up to 4K. ‘We’re always here in Hall 14, but it tends to be quite a busy hall as it’s near the main entrance,’ commented Colin Farquhar. ‘The Content Everywhere seminars and workshops taking place close by help bring traffic towards us and we’ve found ourselves having a lot of interesting conversations.’

Developed as a UHD signal conversion problem-solver, Ross Video launched the Gator-Toolbox that adapts ‘any-to-any’ HD, UHD and HDR signals in an openGear card with an optional adaptive standards converter. Ross Video may not have

welcomed any new brands into its growing family this year, but its extensive booth included the Carbonite Ultra production switcher, Ultritouch smart touch control and monitoring panel, XPression Tessera, an Abekas Mira replay control panel and PivotCam-SE PTZ cameras. ‘Our customers have been providing us with positive comments, yet remarking on how things have changed even since NAB,’ added an energetic and evergreen David Ross.

Platforms such as the openGear modular frame system designed by Ross further support a diverse range of terminal equipment manufacturers. The open-architecture platform provides a selection of technologies from a wide range of products to meet the needs of broadcast, production and distribution facilities with a compatible openGear frame infrastructure.

Ross Video understands that there’s safety in numbers. With networking, audio and video formats continuing to develop, collaborative communities such as the SRT Alliance are also thriving. The Open Source video transport protocol and technology stack was developed to stream performance across unpredictable networks to provide the best live video quality over the worst networks. Audinate is also appealing to a larger catchment of developers with the advent of Dante AV and Dante AVIO adapters.

The IP video revolution involving the migration from traditional content and signal distribution technologies to IP networks continues to have a dramatic effect on broadcasting and media operations. ‘Across the exhibition, conference and feature areas, IBC 2019 has been a hive of networking, deal-making, product launches, learning and sharing of ideas,’ concluded Crimp. ‘We are delighted to see audience growth in our key target areas, particularly welcoming more young people, seniorlevel executives and overseas visitors.’

2019 Dates:

13 – 17 September

2020 Dates:

11 – 15 September

Venue:

RAI Amsterdam

Total exhibitors:

1,700

Total attendance:

56,390 (2018: 55,884)

Contact:

www.show.ibc.org

Video:

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BUSINESS: SHOW REVIEW

GITEX 2019

Extron’s Middle East team was out in force

5G VR gaming at the du booth

Exhibitors at this year’s show were hoping that their efforts would pay off

OCCUPYING NEARLY EVERY HALL OF THE DUBAI WORLD Trade Centre (DWTC) and now in its 39th edition, GITEX Technology Week is without a doubt one of the biggest exhibitions to be held in the Middle East region. But while it might have the benefit of scale on its side, the exhibition is also most definitely not aimed at the classic audiovisual market.

Despite this, there has been a small and loyal contingent of pro AV companies supporting GITEX for several years now.

Yet when those AV companies have to make so much noise just to make themselves stand out against the multitude of disparate tech companies also vying for attendees’ attention, Pro AVL MEA was keen to find out whether their efforts were paying off. One of those was Taiden, occupying a large, dedicated booth in Za’abeel Hall 2. ‘We’re always trying to find new shows that allow us to increase our visibility,’ explained Ilyes O. ‘We used to do InfoComm MEA before it stopped, and we decided to shift to GITEX for the first time last year, in particular because many of our customers and distributors were asking us to be here. There are a lot of government institutions attending and we’re seeing a lot of demand for conferencing products because this sector is so complementary to others that would traditionally exhibit. The strong demand and valuable feedback from visitors last year really encouraged us to come back again.’

GITEX used to take place alongside the Middle East and Africa’s regional InfoComm exhibition. Those days have come and gone, but it turns out that the companies supporting GITEX typically aren’t doing so because they hope to meet an ‘InfoComm attendee’. The allure of GITEX is brand-new faces,

86 PRO AVL MEA November–December 2019

L–R: Sennheiser’s Arif PK and Ryan Burr

Justin Joy from Peerless-AV

from entirely different sectors for which AV is increasingly playing a part. And from comments that Pro AVL MEA heard on the show floor, these conversations can be far more valuable than one might imagine.

‘We first started getting involved with this show seven or eight years ago because of the InfoComm show,’ said Sennheiser’s Ryan Burr. ‘At InfoComm MEA, we saw footfall and a type of customer that we’d never seen before, because historically we’d

stuck to the pro AV or broadcast-type shows. And because we were so successful in gaining new touch points with customers at that first show, we decided to stick with it – always with our partner Venuetech, who has a far larger presence here than just us. Historically, the customers we meet here have been people we don’t normally have communication with, and we’re really able to discuss the way our products can help them in the different types of projects they’re working on. As long as we keep meeting customers like this, we’ll keep exhibiting.’

Saying that, Burr noted that while there were as many as 12 or 13 AV distribution companies that once exhibited at GITEX, this has now shrunk to just a handful. Arguably the most prominent one, though, is the Venuetech booth that Burr was inhabiting alongside follow brands Active Audio, Atlona, Arthur Holm, Aviom, Stealth Acoustics, Televic and, for the first time, Riedel.

‘We’ve grown substantially since we first started as a business, but we’re here to showcase that we offer one big solution, all related to the type of things that people come to GITEX for,’ explained Venuetech’s Ismat Assafiri. ‘We’re a very connected solutions provider and we’re one of the unique distributors that stands out in the whole GITEX theme of things. Some of the most important leads that we get are from shows like this.’

The other main AV distributor that has constantly supported GITEX (from long before the InfoComm MEA days) is Almoe, which was showcasing solutions from Epson, Microsoft and Samsung on its Digital Solutions booth. ‘It’s been a great show over the last 20 years,’ enthused Stivan Pinto. ‘Almoe’s participated year after year, not just to attract visitors and meet customers, but to showcase a wide range of technology that

BUSINESS: SHOW REVIEW can enhance our clients’ needs. The show is not only popular for IT products but for all kinds of AV solutions, something that has really been growing here. It’s proved to be really successful for the Almoe group of companies and all our brands under the umbrella.’

At the back of the Almoe booth, Peerless-AV’s Justin Joy echoed Pinto’s comments. ‘I think GITEX, over the last three or four years now, has become the go-to event for AV products in the region – yes, we had other events but they’ve slowly died off for various reasons. GITEX also has a good gamut of not only suppliers, but distributors and integration companies as well. It’s kind of a one-stop show to meet everyone once a year and that’s why it’s important for us to be here.’

While Shure MEA is no stranger to GITEX, having held a dedicated booth in Za’abeel Hall 2 for a number of years now, Shure’s José Rivas attended on behalf of the manufacturer for the very first time and was struck by how busy the exhibition was and the enthusiasm on the show floor. ‘We’ve been incredibly busy with leads from qualified people,’ he noted. ‘It’s been amazing for me to see how many new customers and new leads we’ve got at this show, and how connected those opportunities are with what we’re doing here from a collaboration solutions point of view. The main thing that’s impressed me with GITEX has been the diversity of the offering.’

While a couple of AV companies present at last year’s show had chosen not to return, clearly feeling that the effort and expense was not translating to worthwhile business, those that continue to support the show couldn’t be more vocal about the potential opportunities it offers. What’s interesting, though, is that the roots of every AV company’s GITEX participation stems back to the InfoComm MEA days. Pro AVL MEA wonders for how long GITEX will be considered a spin-off and how long it will be before manufacturers decide they must support the show, purely on the individual strengths our evolving market brings.

But one thing at least is clear: it seems that those that like GITEX, really do like and value the exhibition.

Jubilee Bao and Ilyes O on the Taiden booth

L–R: Ahmed Abdel Bin Wahab and Dipesh Makwana from Riedel’s Middle East office

L–R: Ismat Assafiri and Elie Khairallah from Venuetech with Active Audio’s Régis Cazin

There was plenty of tech to see at the Etisalat booth

2019 Dates:

6 – 10 October

2020 Dates:

27 September – 1 October

Venue:

Dubai World Trade Centre, UAE

Total exhibitors:

4,500+

Attendance:

100,000+

Contact:

www.gitex.com

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BUSINESS: SHOW REVIEW

Prolight + Sound ME 2019

PL+S ME may be compact, but the show continues to grow at a steady rate thanks to a few new faces

L–R: Ismat Assafiri, Eric Grandmougin of Active Audio, Gregory Dapsanse from APG and Elie Khairallah

The striking ROE Visual booth IN THE RUN-UP TO THE FOURTH ITERATION OF PROLIGHT + Sound Middle East, organisers were billing the show as the ‘biggest yet’, with 55 exhibitors, 180 brands, an extensive conference programme, free-to-attend workshops and a new Sample Music Festival area. Nevertheless, the exhibition footprint remained the same as previous years – just one hall of the DWTC – where, despite a few noticeable omissions, attendees saw a number of new faces as well as the more familiar ones.

The UAE has witnessed a number of new players and shifts of representation in the distribution market this year and Masterpiece was taking the opportunity to fly the flag as Harman’s newest distributor with a spacious island booth displaying a range of AKG microphones and Soundcraft’s Vi3000 console, as well as the VTX loudspeaker series from JBL. ‘This has been a great platform for us to introduce ourselves to the market and the change has been welcomed,’ said Alok Ghurde. ‘There are a lot of exciting things happening and we’ve seen a number of new customers, including people from the broadcast market and a number of cinema enquiries.’

Over by the entrance, SGTC Pro staff were kept busy on the FBT stand. ‘It comes in waves but, overall, I’ve been pleasantly surprised by how much traffic we’ve seen, especially from outside the UAE,’ stated Rohit Dhar, in front of a display of Horizon speakers and the Vertus CLA column range. Roberto Mataloni did have words of advice though: ‘For the show to evolve, it would be nice to see some more manufacturers exhibiting along with local distributors.’

If there was a competition for exhibition attendance, Venuetech was surely the gold medal winner. Barely having packed up its stand from GITEX the previous week, the local distributor headed to the JOY forum in Saudi Arabia. Back in Dubai, it created an impact with one of the largest booths on the PL+S ME floor, showcasing French loudspeaker brands Active Audio and APG, as well as Sennheiser, Elation and SGM, while simultaneously manning an equally large stand over in one of the Light Middle East halls. ‘We put a lot of effort into attending these shows, and I have to say it’s been excellent,’ attested Elie Khairallah.

‘Integrators want solutions rather than one specific product and, as we have a complete range, we’re doing very well.’

While Venuetech has been a regular sight at the show, Finnish loudspeaker manufacturer Aura Audio was exhibiting for the first time. ‘There is an expectation here and there are lots of construction projects happening,’ explained Mika Isotalo. ‘We’ve

88 PRO AVL MEA November–December 2019

Lavoce was back again but this time partnering with its new distributor GALA

Inside the Sample Music Festival area been looking at new markets, so it was a good opportunity to come here and introduce ourselves.’ That market potential was reiterated by Marina Prak from LED manufacturer ROE Visual.

‘Two years ago, we were here sharing a booth with ProvisionAVL, but we’re now seeing growing activity in the market, especially with Saudi opening up, and so we thought it would be a good time to come back with a dedicated booth,’ she said.

Distributor ProvisionAVL returned to the show for a third time and that consistent exposure was clearly paying dividends.

‘Customers are much more aware of us now and we’ve built up a great set of brands,’ explained Kevin Boujikian. ‘The big pull is often the SSL AWS console which we’ve got here on the booth as well as the Live 100, but there’s also been lots of interest in our Chauvet lighting range.’

Lighting manufacturer Robe is also a regular exhibitor and returned with a prominent booth at the front of the hall showcasing, among others, its T1 series of moving lights, MegaPointes and Spiiders. ‘I’ve seen lots of quality customers, even on the final day,’ confirmed Elie Battah, ‘and, on the first day, I had meetings non-stop.’

One of the elements that the organisers received plaudits for in 2018 was the quality of the seminar programme and speakers it delivered. In 2019, they had worked equally hard. Kieran Walsh from Audinate was once again presenting the Dante certification workshop, this year entitled Audio-Over-IP in a Busy Multi-facility Complex: Challenges and Solutions as Networks Evolve.

Harman was conducting lengthy workshops each day over in Hall 2 under the Harman University banner, the first of which, AV Design for Modern Meeting Spaces, was led by video

L–R: Roberto Mataloni of FBT with Rohit Sagar from distributor SGTC Pro

applications engineering manager Adam Findlay to a packed seminar area. ‘Last year, we sat down and analysed the feedback and a lot of the visitors asked us to do something more with education,’ explained Harman’s Stefan Wieland. ‘So, this year, Harman University has been running courses for free.

They’re product neutral and an opportunity for people to elevate their experience and skill level. It’s a great way for people to get more involved with education.’

With the show not taking place in 2020, it will be interesting to see how the organisers maintain the momentum for the event. While clearly still compact, it nevertheless appears to be delivering for a number of exhibitors and attendees alike.

Equally intriguing to follow will be the rumours on the floor that the organisers are considering launching a show in Saudi Arabia in 2020.

L–R: Robe’s Elie Battah with Edwin Cheeran from SLS

Stefan Wieland from Harman (centre) with Simon Daniels and Alok Ghurde from Masterpiece

L–R: Kevin Boujikian of ProvisionAVL with Ramon Oolthuis of Admiral Staging

2019 Dates:

15 – 17 October

2021 Dates:

24 – 26 January

Venue:

DWTC, Dubai

Total exhibitors:

55

Attendance:

3,020

Contact:

www.prolightsoundme.com

Your Partner for Harman Professional Solutions in the Middle East MAKEEN BUILDING - SAEED AHMAD SAEED GHOBASH, AIRPORT ROAD, P.O BOX: 34845, DUBAI, U.A.E. Phone: +971 4 294 3777 Email: info@masterpieceproav.com www. masterpieceproav.com The Exclusive Distributor for

Brands in the Middle East

BUSINESS: SHOW REVIEW

AES New York

For the third successive year, the Audio Engineering Society (AES) opened its doors alongside the NAB Show New York JOINING FORCES WITH THE NAB SHOW AT THE JACOB K Javits Center has in many ways resurrected the fortunes of a trade show that not so long ago was more attuned to looking back nostalgically. Having abandoned its phobia of current and developing technologies, the diverse platform continues to garner universal appeal.

Following on from last year’s theme of Connect, this year’s Inspire and Educate enveloped an enormous amount of informative and educational workshops, panels, papers, lectures, technical tours and technology under one glazed roof. Neighbouring the independent NAB New York show, badge holders for both shows were allowed mutual access, prompting curious excursions and, in doing so, ensuring greater appeal for exhibitors.

The AES Convention is truly never more at home than it is in New York City. Neighbouring Broadway’s world-class theatres, the West Side location entices more than just venue technicians and owners along to the show floor. There is always a healthy amount of studio, postproduction and broadcasting engineers in addition to international dealers benefiting from the educational seminars and crowded exhibition aisles.

Emerging technologies and the results of audio research continue to be highlighted in the Journal of the Audio Engineering Society. The continued integration of VR, immersive audio, networking and audio-over-IP were dominant themes on the AES show floor. Meanwhile, AV-over-IP and SMPTE 2011 played a familiar tune at NAB. While panels and workshops addressed live sound and project studio recording, the addition of game audio, podcasting and VR discussions continues to appear on the agenda. Their very inclusion adds new appeal – and student visitors – to a show that has long been steeped in traditional recording techniques offering less relevance in today’s commercial world. The dynamic

Meyer Sound’s Tim Boot promoted the Ultra-X40

Clear-Com’s Rom Rosenblum stepped up to the Edge

90 PRO AVL MEA November–December 2019

Allen & Heath’s Avantis debuted by Kevin Madden from American Music & Sound

L–R: Rune Jacobson and Kim Bang with the new Core 47 and Dynaudio Core subs

A panel held in the AES Live Performance area

Graham Kirk (right) presented API’s Larry Droppa with the AES Service to Industry Award

Audio-Technica’s Gary Boss celebrated the 25th anniversary of the 4050 studio condenser

nature of the audio business is now embracing changing trends in the next generation’s leisure time.

As in previous years, the staging of two shows posed a dilemma for several companies including Avid, Clear-Com, Lawo, Neutrik and Riedel. All five returned to exhibit at both shows concurrently. NAB NY may be a greatly scaled-down version of its Las Vegas big brother, but it manages to bring major brands such as Blackmagic Design, Panasonic and Ross Video to the show floor by allowing them to interact with East Coast broadcasters, dealers and production companies.

Promoting solutions for unified sports and live events, news and live production, graphics and signal processing and multi-viewer solutions, made an impact. ‘It’s a good exhibition not only to meet regional TV station broadcasters, but also colleges, universities and sports venue operators,’ commented Ross Video’s Nestor Amaya.

While the mc²96 and mc²56 mixing consoles greeted visitors entering its AES stand, Lawo tailored its mix towards broadcasters in NAB with IP video infrastructure technologies and the Ruby Radio console.

Riedel opted to promote an Artist intercom panel within the Audio over IP Pavilion at AES, while demonstrating the MediorNet Compact Pro, Bolero platform and more videocentric products at NAB. ‘We scaled things back a little this year, so we could set up the booths ourselves,’ pointed out Riedel’s Joe Commare. ‘It’s a high cost venue with drayage fees here at the Javits and you can wait around for many hours after the show.’ Clear-Com debuted its new 5GHz FreeSpeak Edge wireless platform at both shows, while RTS decided to

The Recording Stage added another educational dimension to the AES programme simply exhibit its ODIN and ROAMEO platforms together with the KP-5032/4016 key panels exclusively at NAB. Avid targeted both shows with different visitors in mind.

The company’s NAB booth beckoned broadcasters and postproduction engineers engaged in sports production and video editing with Maestro, MediaCentral, Media Composer and Avid Artist. The latest S1 Connect and S4 modular mixing systems appealed to postproduction editors, while Pro Tools, the S3, HD Native and Sibelius were demonstrated to audiophiles.

In addition, the Avid Partner section hosted technologies from Audionamix, Dolby, Nugen Audio, RTW, Shure and Sonnox.

On the lower levels of the Javits, traditional AES Convention panels, technical seminars, educational and historical presentations provided over 400 cumulative hours of information.

Adding to the buzz on the show floor itself, the heavily attended Mix with the Masters and Live Sound Expo at the rear of the exhibition hall attracted novices and veterans alike. This year, the addition of the Recording Stage and the John Lennon bus added new dimensions to the educational offerings.

As is customary, software pioneer Waves welcomed elite engineers to demonstrate its hardware and plug-ins including the latest SuperRack processing software alongside the eMotion LV1 Proton 16-channel live mixer and SoundGrid Axis Proton customised computer.

Consoles designed for recording, postproduction and broadcasting applications were in good supply. Following the preview of Mustard, DiGiCo revealed the first flavour in its Spice Rack processor collection for Quantum 7 with the Chilli 6 multiband compressor/expander alongside the SD7

BUSINESS: SHOW REVIEW ALL Access NAB

The NAB NY show floor included an esports content production studio

The NAB NY organisers decided to roll in the carpet

Datavideo’s Rob Read presented the portable MobileCast video switcher

console with the Quantum 7 engine and 4REA4 networking technology. Fellow Audiotonix brands were all present including Allen & Heath which debuted its eagerly awaited Avantis console. AES was a triumphant return for SSL promoting its Fusion (XLogic and Sigma), Studio (AWS 948 δelta), System T and Live L550 console technologies to a cross section of visitors from recording, postproduction, broadcasting and live sound backgrounds. Now under the distribution wing of Group One in North America, fanfares were sounded as the wraps were removed from the new Origin console. Calrec highlighted its Brio36 and Apollo consoles with the new Type R for radio products.

Celebrating its 50th anniversary in style, API stole the show this year on a large, centrally located booth. The 1608 II and 2448 consoles together with the newly released 2500 stereo bus compressor and 862 channel strip played supporting roles to the 2448 40-channel model bound for Georgia’s famous Capricorn Records, which is also celebrating its golden landmark. President Larry Droppa and his team revelled in the occasion with their many friends. Hosting a grand party at Sony Hall on the second night of the show, a teary-eyed Droppa accepted the technical Grammy awarded to API founder, the late Saul Walker, from his surviving daughters.

AMS Neve promoted its black Genesys digital control surface with a new processing plug-in alongside Sonotronics microphones and distinctive Augspurger monitors on the Pro Audio Distribution booth. Yamaha showcased its existing Rivage, CL and TF series of digital boards, all benefitting from enhanced control features and plug-ins following the release of v3.0 and v4.0 firmware updates.

Just as videographers demanded better audio, podcasters continue to seek expert advice as their listeners grow. In an attempt to entice such an audience, both Audio-Technica and Focusrite created podcasting setups on their booths, showcasing turnkey microphone/headphone bundles and the Scarlett USB audio interfaces, respectively.

Joseph D’Amico promoted JVC’s CAM GY-HC500 broadcast camcorder

L–R: Synthax’s Mathias von Heydekampf with Digigram’s Stephane Bert and Xavier Allanic

L–R: Another successful NAB NY for Wheatstone’s Phil Owens, Paul Picard and Jay Tyler

Avid’s Raymond Thompson presented Pro Tools 2019 and the new S1 Connect Ross Video’s Nestor Amaya highlighted Ultrix and S4 consoles

Genelec demonstrated the latest Ones monitors including the 8361, 8351 and 8341 models in a 3D Aura demonstration on its booth. ‘We’re also promoting our long-established GLM loudspeaker management software and the 7380s,’ commented Will Eggleston. ‘AES continues to be a largely regional show, but the organisers perform a wonderful job in drawing in a younger generation of audio users. Today’s technology allows us to use audio in so many new and exciting ways that were simply not possible before the dawn of the internet.’

Fellow Finnish company Amphion was in close attendance, as was Dynaudio, highlighting the Core 47 three-way system.

In close proximity to the lower-level seminar rooms, several manufacturers provided listening demonstration rooms for more critical listening evaluations. PMC hosted the Masters of Audio seminar programme in a Dolby Atmos 7.1.4 setup, consisting of an IB2S-XBD-A L-C-R system with result6 surround channels and overhead monitors augmented by BB7 subwoofers.

Having extensively promoted their respective Constellation and L-ISA immersive technologies in recent years, both L-Acoustics and Meyer Sound returned with stripped-back stereo demonstrations to showcase their A-10/A-15 and Ultra-X40 speaker systems. Sennheiser hosted spatial audio demonstrations of Ambeo 3D immersive audio using Neumann KU 100 monitors. On the show floor, Neumann showcased its U67, U87, U47 FET and M149 tube microphones, while Sennheiser focused on its MK4 and MK8 recording mics together with Dear Reality immersive 3D software.

If there was one product category in abundance, it was microphones. Schoeps displayed its ORTF-3D ambience outdoor plug-and-play solution in addition to the new 39mm diameter CMC 1 compact microphone amplifier. Like Neumann, Microtech Gefell showed the KEM 975 and MD 300 models together with the BM 180 and 190 stage microphones, UM930 twin condenser and INA-5R surround sound mic.

Twinplex was one of the main attractions on the Shure booth together with the established MXA, MXCW and Axient Digital

families and a selection of more entry-level microphones including the MV88+. Maintaining its small but powerful credentials, DPA promoted the d:screet Core 6060, 6061 subminiature microphones together with the recently launched 2028 vocal and 4097 choir mics. Lectrosonics continues to push the wireless boundaries following the launch of the D Squared platform, while showcasing its small, lightweight technologies for location recordists and production companies.

Earthworks had made the relatively short journey down from New Hampshire to exhibit a bespoke selection of live, studio and instrument microphones including the SV33 studio vocal mic. Wisycom, meanwhile, presented its v2.0 Manager software together with the MPR52-ENG dual-channel diversity receiver, which includes two diversity receivers with both analogue and digital outputs. Sanken introduced the CU-51 Chromatic dual capsule, while Telefunken Elektroakustic unveiled its Alchemy series of large diaphragm tube condensers at a parked VW campervan.

To many, this year’s AES exhibition was perhaps characterised by the freakish atmospheric bomb cyclone that deluged those departing the Javits at the close of the first day. Hopefully, most exhibitors leaving in the setting sun on day three were reassured that the organisers are continuing to breathe new life into audio by encouraging podcasters, gamers and streamers to learn more about sound.

The old school recording engineers and broadcasters are making way for the latest generation of audio users. In addition to providing white papers, highly technical workshops and discussions, the AES is providing a forum to better understand audio fundamentals.

L–R: Group One’s Jack Kelly, SSL’s Phil Wagner and Fadi Hayek together with Group One’s Bryan Bradley launched the Origin console Dan Hughley promoted Focusrite Pro’s podcasting

Genelec’s Will Eggleston with the 8351A monitor

Forrest Sussman at the helm of the Lawo mc²96 console

The Mix with the Masters sessions were hugely oversubscribed

2019 Dates:

16 – 18 October

2020 Dates:

21 – 23 October

Venue:

Jacob K Javits Center, New York

Total exhibitors:

237

Total attendance:

15,097

Contact:

www.aes.org

Video:

https://bit.ly/366BsNa https://bit.ly/362ZqZz November–December 2019 PRO AVL MEA 91

BUSINESS: TECHNOLOGY

Measurements for acoustic design

The AP HQ in Beaverton, USA, helps engineers worldwide design, validate, characterise and manufacture pro, consumer and industrial audio products

Joe Begin

In the third and final part of this loudspeaker measurement series, Joe Begin reviews test techniques used to help overcome a key measurement challenge MITIGATING THE INTERACTIONS OF A LOUDSPEAKER with its test environment can be a nuisance. One approach to approximating the free field response of a loudspeaker is the ground plane measurement technique. This technique takes advantage of the fact that the acoustic reflection from a loudspeaker placed directly on a hard, reflective surface is predictable.

Ground plane measurements In the sketch on the right showing a loudspeaker and microphone placed 1m above a reflective surface, the microphone is positioned on-axis, 2m away from the loudspeaker. For this geometry, the difference in path length for the reflected sound and the direct sound is about 894mm. At the speed of sound (343m/s at room temperature), this represents a time difference of 2.61ms.

Hence, if a sinusoidal signal is generated by the loudspeaker, two sine signals of the same frequency and essentially the same amplitude will arrive at the microphone, but the reflected sound will be delayed by 2.61ms. This time delay represents a phase shift. At some frequencies, the signals will be 180° out of phase, and they will completely cancel out. At frequencies two times higher, the signals will be exactly in phase, and their combined amplitude will be twice that of the direct sound, or 6dB higher in level. This causes a comb filter effect at the microphone position which, for this geometry, means the signals completely cancel out at multiples of 192Hz, and they amount to twice the amplitude of the direct sound at multiples of 384Hz. As the loudspeaker and measurement microphone are moved closer to the reflecting plane, the path length difference decreases, causing the notches of the comb filter to occur at higher frequencies. In the limiting case,

92 PRO AVL MEA November–December 2019

Sketch of a loudspeaker and microphone tested at 1m above a hard, reflective surface the loudspeaker and the microphone are placed directly on the ground plane, and the speaker is tilted such that the reference axis points directly at the microphone. For a standard ½-inch measurement microphone, the centre of the microphone’s diaphragm will be about 6.4mm above the ground plane when the microphone is directly on the surface. For a loudspeaker height of 40cm, the first notch in the comb filter would be at about 68kHz, resulting in a level response 6dB higher than the direct sound up to 20kHz. As the source height increases, the frequency of the first notch will decrease, limiting the upper-frequency range of ground plane measurements to a frequency below 20kHz. One way to mitigate this effect is to place the high-frequency driver

closer to the ground (ie to invert a loudspeaker system with the tweeter at the top of the baffle).

When the speaker and microphone are directly on the ground plane, from the perspective of the microphone it appears that there is a second identical loudspeaker located symmetrically with respect to the ground plane.

At frequencies below the first notch in the comb filter, the signals will be in phase and will have a combined level 6dB higher than the level of the direct sound. This can be used to advantage by placing the microphone at a distance two times the intended measurement distance. For example, a common specification is the frequency response measured on-axis at 1m distance due to a sinusoidal stimulus of 1W. Assuming

BUSINESS: R&D BUSINESS: R&D BUSINESS: R&D BUSINESS: TECHNOLOGY

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BUSINESS: R&D BUSINESS: R&D BUSINESS: TECHNOLOGY

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To teams resolve lobes smaller rooms.’

In bothconference the Added Mass and the Known Volume (or Sealed Box) could conferencing ‘The barrier toinbusiness for most isstill thebeing complexities sers can filter the the database for just that from the physical one,people whiletackle able to ofproducts of any scale. ‘We it candiffers be.’ quired,’ adds ‘This solution a launch like Moreno. this withdramatic complete elite signals can news programming software – Xilica Designer – Support forhe Audinate’s Dante technology, the sights on assist the broadcast sector in Asiaofand Australasia and ey enable users to deploy large numbers point source ical was a key part,’ continues.

Impedance measured by have applying a constant voltage versus directivity pattern at could high frequencies, where wavelengths Importantly,the Mrmeasurement Reid also believes that derives the mission-critical techniques, algorithm the additional can go down up.For They power amps and speech the design,’ continues.

‘Ihuman can do a design in is aand minute-andmdid theour various speaker or perform actions that any intuitively make.

Despite theheimmense amount ofwill planning and development performance, ecoustic homework oncross-talk it. projector We develops into a universal control platform for introduction programmable controls and is banking onofthe result6 to make an impact in thesound region.

Are you going to build on the P12 and release en the electronics development that has cabinets easily.

This for new ome with more attachments frequency the loudspeaker and measuring the voltage at the are short, aprofessionally small increment inAnything angular position may be nature of these spaces meansteam that therein isthe adeveloped potentially parameters from the measured changes impedancethe curve. and all kinds high-end audio equipment that that offers greater provides opportunities for of a-half.

I could run five designs using different manufacturers, ake itup acoverage much more nt system, which allows users towould opportunities example, if you find yourself immersed in a to jungle, you want that went into TwinPlex, it’scapacity safe toreinforcement say that the development niform entire audience wo years ago,’ heover adds, ‘but itcreates Solaro’s selectable multi-sampling rates for third-party products.

QR1 connects to setups a wide ‘We will be looking at China quite aggressively, and I would athe range point source speakers? range oftoNXAMPs, working on theease processing, design in have theIt’s entertainment using floors, we found innot the Compared electronic audio testing, measuring input terminals as well as the Thedown log-swept chirpour signal required. vibrant market.

‘People recognise that of use, time to we can leverage as we go up.current.

And going we have USB MK2 improved video quality and performance. different loudspeaker different screens and projectors se.’ t,utmonitor liveespecially feeds, route content to be hasn’t able toground turn around when you hear anof animal from the team tobrands, awalls halt now product has arrived on peech intelligibility. a film system robably wouldn’t sounded as to environment, enhanced usage continue spearhead range of control inter faces including the optional expect thewhat result6 toare open to a new market Xilica’s for us there,’ ele and protection in these controllers. and ceilings asapplication radiating eal pros who know they loudspeakers isalgorithms certainly but the are correct choice of isyou a stimulus forbrilliant, impedance measurements. the We offer for APx500 audio analysers start, and audio and videocomplicated, quality ofnew meetings essential phones have USB phones so there are aTypically, lot of places Network offers a newthat ofgood reliability by corner. and present those the client.

Iflevel we get theand job, that’s to handle the complexities ity and view performance data andsurfaces. back or toblending walk to to a waterfall hear in they the the market. caon, but it’s an added important audio cable this thin oran all four colours.

XTouch50 and XTouch80 programmable touch innovative DSP credentials.

In addition, says international sales director, Miles Roberts, adding .’

JC: Actually, our next product release is not a loudspeaker; ch them anything.

We can give them a audio analyser platform and testand setup can automate current isdo measured by sensing theVoIP voltage drop across a small that automates the entire making polar drivers of meeting effectiveness productivity, and complex they will we cantoemotionally go together.

USB phones, conferencing phones, automatically combining cellular connectivity from and ifmost don’t I’vethings only wasted 30 minutes.’ gn, MraSingleton is quick toaudio point And, importantly, to physically and ‘Doof Iwe have some that I still want withmultiple it?’share environments, where clear is process such good portfolio.’ controls.

Itofcan also be managed via Solaro’s design specification adds ato dragthat unlike its European andonly American competitors, PMC JD: I think point source is the waywith go for many parts we will take signal processing Full technical details the P12 can be onEthernet p.58 ofthere know how to hide it.

Why try give measurements and theWe flexibility toafound accommodate design sense resistor inwill series with thenew measurements, including definition ofhas test positions, pay a premium to getoffer them. can see real market out peripherals that do everything –loudspeaker. audio, video, data – we could mobile network carriers with on-demand satellite connectivity, This always been the key goalthis for autumn, TCD. Clients make CD can bring to new marketplace, ecture should beadesigned sotothat that the person next to you.

This delivers that, which isthe concludes Born.

‘Of course, there are still some wish list ex being the theatre market, and-drop design, with control via iOS, Android using the software GUI or indeed the GPIO card is in the process of obtaining China CCC Certification – a of the market.

You have to think about cost.

Small events will technology developed for the P12 and extend it to our other this issue. toover have from us and ifdoing ittimes breaks variations while ensuring audio engineers meet industry The Thiele-Small (T-S) parameters – resonance frequency controlling the and the data for tools that improve theirpro employees’ collaboration.’ cover the full spectrum of collaboration spaces.’ allowing broadcasters towith get high-quality video transmitted subjective choices but, tools like TCD, missing out onwith ain gs.

‘Because I features have been this eed sent whatever data bandwidth shave one that comes up many in turntable why weIthroughout think immersive sound has finally met its half-orange items. can already see great potential for more things several key itanalyser felt could and Xilica’s proprietary XTouch sur faces.

The ports. Additionally, Xilica’s XTouchApp can be used mandatory product certification system with the aim bigger of beforbrought point source and, manufacturers progress loudspeaker investing heavily indefinite software out ofalways aaspects then they have toif measurement ), thethat Totalisranges.

Q-factor (QTS) and Equivalent Volume of standards for loudspeaker performance.

(FWhile collection and analysing the results.

Any for the We’re future, Mrthe Reid can seeAir a challenging network contract doesn’t haveconditions. to be so painful. itcostume was me,’ he reflects. oitproblem whichever location or locations Moreno expresses concern over its in the market.’ this portfolio.’

All of the different S current Solaro family consists of FR1 and QR1 modular to connect iOS and Android devices with any thirdprotecting consumer security – for result6.

Not having a point source designs, we might even seeFitch a resurgence in development willofallow to get theparameters best he things that they are using you can ) – which are aCS-700 set electromechanical Compliance (Vtoo, www.revolabs.com irregularities in the otherwise omnidirectional response business case for the now.us ‘We’ve brought thatout to ofthat www.nexo-sa.com rplains it’s easy.

When you’re doing 32 As such, the system should be as e,7.1 at times being problematic for Born, ‘whether it’s the cable, Revolabs’ Phil Marechal and Michael demonstrating as I/O architecture processors, new XTouch50 and XTouch80 party controller such as AMX and Crestron.

CCC can reportedly create import restrictions but PMC www.proavl-asia.com/videos/trade-shows touring and live use.

It’s a question of cost vs efficiency. our loudspeaker products.

Julien has been a key player in hop and pick up the you need. the CS-700 at InfoComm 2017 www.ap.com define the ofthe a loudspeaker driver. www.yamahacommercialaudio.com pattern 125Hz are often likely due to inaccuracies in market for low-frequency these smallerperformance rooms where use cases are very www.thecinemadesigner.com www.dejero.com dered audio, most people wouldn’t ned tocontinents allow theat of various peripherals asconnection itbits is across town. www.shure.com www.holoplot.com eween feature set’. programmable touch controls addition to existing Mini Just as the Neutrino series was updated to claims to have the edge in the in country, having obtained the controls andfor theprevious Rio series of Dante I/O inter face devices. incorporate Dante networking, Mr Chow is keeping certification products. an eye on networking trends when it comes to other ‘China is working out for us quite well,’ continues Mr The rear panel of the QR1 protocols on the market. ‘Xilica has to remain openRoberts. ‘We are expecting some significant movement with minded if we are to maximise Solaro’s potential,’ he The design of the Solaro FR1 processor is based on the result6. We already have pretty large pre-orders from PMC’s international sales director Miles Roberts expects stresses. of theinfact that the new platform allows a Linux platform and utilises Xilica Designer universal DMT, our China and Hong Kong distributor, so we are just big things Mindful from result6 China Xilica to network with other manufacturers, the company configuration software. From the front, the 19-inch 1RU waiting for the CCC approval to come through to ship them.’ understands with other chassis simply incorporates a front panel OLED display demands fromthat hiscollaboration team. ‘We always strive manufacturers for accuracy and The big plans for Asia do not end there, with PMC also will be the key to future successes.

‘Collaboration with and rotary wheel. However, the full modularity of Solaro neutrality,’ he says.

‘That’s the goal with all of our products. using result6 to tap into education for radio and television similar-sized us to collectively compete becomes evident from the rear. Sixteen card slots can I suppose it iscompanies a little bit allows like high-resolution television.

The production technologies and classical recording. ‘We were in the gets market,’ hewith adds. accept either 2-channel audio input and output cards or detail better the more money that is spent. If you already doing installations at around eight conservatoireJudging by the increased acceptance of Neutrino 4-channel GPIO cards for either input or output. Providing listen to the result6 and putmarket them against the twotwos, they type, educational establishments,’ continues Mr Roberts. ‘I A Universal Media Controller the heart during the very past similar decade, poised take this enhanced flexibility, further cards can be inserted for other will sound in Solaro balanceiswhen youtoswitch between see result6 as the point where lies the at students canofstep into a Solaro.like ‘We’ve an increasing adoption of relatively young company to stage ofwill development.

I/O requirements including AES/EBU, USB audio and them, which is important, butthe thenext difference be that brand PMC.witnessed It is reachable and affordable as opposed low-cost universal controllers for any from any Xilica’s headquarters in theresolution, northern Toronto suburb of RS232/485. the twotwos will have more detail and be more to our other products.

The result6 will device give students that going to be put to market are much smaller than with a manufacturer,’ furthers Mr face Chow. installation Stouffville in many symbolises both cost Mr Chow the Operating at a sample rate of 48kHz, QR1 analytical. And they ways should, because they a lot and more.’ quality experience they will in ‘A thetypical real world.’ product of result6’s price.

Although the Solaro R&D cost is uses higher, integrates a digital active mixers, but, company he’shas created.

Therehorizons may notfor bePMC a sign to promote same input, output and DSP processing architecture The result6 broadened with It has been a long processor, and rocky road forspeakers, PMC and result6 the amount per speaker isn’t.’ projectors and lighting. haveittherefore developed this the industrious activities that in liethe within, but the is as the larger Named for have its ¼-rack dimensions, QR1 imminent and similar projects pipeline set door to once for Peter Thomas and hisWe team, was worth the wait and Although theFR1. result6 will not the exact same sound controller‘In sobusiness, that it could everything on open thePeter atmosphere friendly.

Ditto Solaro. is based on same Linux platform and incorporates a again and excite Thomas is and his team. struggle. youaccommodate allocate the R&D cost to each dynamics as the its predecessors, it will share the one common one single softwareout platform, together all the control dual that corePeter processor drive to provide I/O flexibility. product by working what the lifetimewith will be,’ explains trait Thomas – who startedmodular up the company www.xilica.com options.’ www.pmc-speakers.com Eight in card slots can either 2-channel input Peter Thomas. ‘With the twotwos, the numbers that are back 1991 with hisaccept partner Adrian Loader –audio always

BUSINESS: R&D

Three years of this development was spent ensuring that all the electronics worked perfectly, both separately and together

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Q& BUSINESS ANALYSIS: INTERVIEW

The trade show forms a vital part of the AV industry. We caught up with Integrated Systems Events MD Mike Blackman on its evolution and his plans to move ISE to Barcelona ISE has grown rapidly. How do you find the balance of creating such a specialised event that also meets everyone’s needs?

People come from all over to ISE. In terms of your audience, from which countries are you seeing the biggest attendance growth?

Mainly, we listen to our exhibitors and attendees. We carr y out detailed research after each show to find out what people liked, and what they didn’t like so much.

That feeds into the planning for the following year’s show.

I don’t really think of ISE as a specialised event – rather, it’s a broad-based show that caters to a wide range of different specialists. And that’s the nature of the industr y – a lot of our attendees specialise in a par ticular market sector but, in many cases, our exhibitors’ technologies cross into several ver ticals.

You’re right – at ISE 2019 we had visitors from 188 countries, with the USA, Russia and China all in the top 10. However, the picture doesn’t change much from year to year. If you look at where our first-time attendees come from, the pattern closely mirrors the overall attendee distribution.

How much of a focus will be on pro audio in 2020?

We will once again have our Audio and Live Events Technology Zone, mainly in Hall 7 but extending out into some of the adjacent halls. I think I’ve counted 220 companies there – and, on top of this, there will be audio companies in many of the other halls as well. The Audio Forum conference is taking place again on the Monday, and there is likely to be an audio element to many of our other conferences and free and paidfor professional development offerings.

What do you imagine the future of the trade show to look like?

We’re forecasting significant growth in our show over the next decade, which was the main reason for our move to Barcelona from 2021. It’s hard to know exactly what ISE – or any trade show – will look like in, say 2030, but we believe we are on a sound footing to lead and reflect the development of the industr y.

Are you witnessing any interesting trends in the type of companies that are looking to exhibit?

ISE has a solid focus on education. Is that something that will continue?

ISE is owned by AVIXA and CEDIA, two trade associations with a focus on professional development, so education and training have always been an impor tant par t of the show. Another priority for both associations is reaching out beyond the industr y, to other stakeholders within AV projects. Establishing and awarding professional qualifications plays a crucial par t in establishing the exper tise of the industr y as a whole, as well as demonstrating the competency of the individuals who work in it.

What educational elements will feature in the upcoming show?

We’ve got our largest-ever conference programme. All the conferences that we held in 2019 will be back in 2020, plus a couple of new ones: the Control Rooms Summit and the CEDIA Design & Build Conference. Like in 2019, many of the conferences will be held in the nearby Hotel Okura, which proved ver y popular with our attendees.

AVIXA is directly involved in its two What’s Next… conferences, covering enterprise and higher education, as well as running its 20-minute FlashTrack sessions on its stand. CEDIA also has a four-day programme of training sessions, beginning on the Monday with a masterclass on cybersecurity, as well as hosting free CEDIA Talks on its stand. And the Main Stage theatre will be back, this time in Hall 14, with a full programme of free thought leadership sessions during show hours.

94 PRO AVL MEA November–December 2019

ISE MD, Mike Blackman

What was behind the decision to move the event to Barcelona in 2021?

Purely and simply, we’re running out of space in the RAI. Even for ISE 2020, we had to tell our exhibitors that they couldn’t take a bigger stand than they had at ISE 2019. While the RAI has been a great par tner for us, and Amsterdam a great location for the show, we didn’t have any choice but to find somewhere else. The Fira de Barcelona was the outcome of an 18-month process, and it’s a great choice. It’s a modern, well-equipped venue with plenty of space for us to expand into – not just on the show floor, but also with plentiful side rooms for conferences, meetings and demos. And Barcelona came out top of our attendees’ preferred cities for hotels and restaurants.

Will the event space be expanding in 2020?

Although we don’t have much capacity to expand at the RAI, we have managed to increase the size of the extension to Hall 5, some of which will host companies in the Audio and Live Events Technology Zone. And we’ve found some space in Hall 14 for a new Innovation Zone, which is an area dedicated to new exhibitors with exciting new technologies.

These kinds of trends tend to be masked by the fact that we have more demand in many areas than we can accommodate within the relevant Technology Zone – so some companies have to be located in the ‘generic’ floor space instead. Again, that’s something that the move to Barcelona will address.

Lastly, what can attendees expect for ISE in 2020?

At this stage, we don’t know exactly what our exhibitors will be showing, but I know that cutting-edge solutions using immersive audio, AVoIP, cloud, 4K/8K technology, voice and gesture control and the latest display technologies will all be well represented. Our Opening Address will be given by Duncan Wardle, former head of innovation and creativity at Disney. He has some really interesting ideas about how all businesses can tap into their resources of imagination and creativity, and I’m looking forward to hearing what he has to say. We’re also planning another projection mapping spectacle, following the success of these show features in previous years. And we’re also working on an exciting event where we will say farewell and thank you to Amsterdam and the RAI and give attendees a flavour of what to expect in Barcelona in 2021. So, watch this space.

ISE 2020 will take place at the RAI Amsterdam on 11–14 February 2020. www.iseurope.org

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