The VTX A8 & A12 Line Arrays and VTX B28 Subwoofer
Designed for seamless sound and uncompromising performance, the VTX A8, A12, and B28 feature innovative 2-point rigging, next-generation waveguide technology, and proprietary Differential Drive ™ woofers delivering exceptional power and clarity for the most demanding shows worldwide.
TRANSMITTER
( H a n dheld / B o d yp ack )
C ha nn el s : 200 cha nn el s
B a n d w id t h : 50 MH z
C ha nn el S p ace : 250 KH z
F r e qu e n c y st abili ty : 0 005 %
FM M a x f r e qu e n c y adj ustm e nt :
45 KH z
RF output : HIGH 10 m W / LOW 5 m W
P ow e r S upp l y : 2 *AA ba tt e r ie s
O p e r a t i n g F r e qu e n c y : 470 - 786 MH z
C ha nn el s : 2 * 100 cha nn el s
B a n d w id t h : 50 MH z
C ha nn el S p ace : 250 KH z
ACR / IR SYNC & s ca n t ech no l o g y
B a tt e ry di sp la y on LCD
S / N R a t i o : > 105 d B
T H D D i stort i on : < 0 5 %
F r e qu e n c y r e spons e : 20 H z – 18 KH z
T ru e di v e rs i ty , di st a n ce : 80100 m e t e rs a pprox
Advertorial:
Mega Sound raises the bar for live sound with flawless execution at Lollapalooza India 2025 across two iconic stages, enthralling audiences
In this exclusive conversation with PALM Expo Magazine, Warren D’Souza, Director, SOUND.COM, elucidates upon logistical challenges, strategic planning, and evolving infrastructure shaping the future of live touring in India
Leading studios and independent professionals across Mumbai are embracing Genelec monitors for their precision, consistency, and trusted calibration
Professional Focus: Technical Producer
In an exclusive conversation with PALMExpoMagazine, BookMyShow Live’s Technical Producer Shipra Venkatesh unpacks how a powerhouse team delivered world class production at scale for Coldplay’s landmark multi-city India tour
J Davis Prosound & Lighting, in collaboration with Graflex Inc., delivers international-standard audio, lighting, and rigging solutions for Bryan Adams, &ME and Prateek Kuhad’s tours in India
Brock Adamson, Founder & CEO Adamson Systems Engineering reflects on 40 years of innovation and growing presence in India
Stage Sound News:
Chowdiah Memorial Hall Upgrades Sound with Yamaha Rivage PM3; N-Labs to Launch New Innovations at PALM Expo 2025; Powered by Martin Audio WPL Sonu Nigam Enthralls IIT Indore; POPE Professional Launches TT Series Line Array System; Narain Audio Introduces Lavoce Italiana at PALM Expo 2025; EAW Introduces NT206L Compact Active Line Array
Audio Install News:
Beta3 Audio Sets Tones At Ivoryy Fusion Bar; Eminent AV Enhances Audio Experience For NCUI Auditorium; Luft Outfitted with Customised Pro Audio System by Generation AV; Hyderabad’s Beer Cartel Opens with Martin Audio Blackline; VMT Deploys State-Of-Art Sound Solutions Across Key Venues; Pink Noise and Auxo Technologies Set Up 5.1 Studio at Amity University
Industry News:
Sennheiser Launches Spectera in Mumbai; Shure Unveils Axient Digital PSM In-Ear Monitoring System in India; Smart Monkeys, Inc. Expands Global Reach Through Partnership with MSS World in India; ProMusicals Appointed Exclusive National Distributor for Icon Pro Audio in India; Rishabh Incorporated Appointed as Neutrik Distributor in India
Audio Music Production News:
Redefining Audio Interfaces With MOTU; Solid State Logic Launches Alpha 8 Studio Expander
Lighting News:
Ayrton Launches Stradale Profile; Obsidian Introduces NXW Control Wing for Onyx Systems; Obsidian Takes Control Of 600 Fixtures for Star-Studded Bollywood Night; Claypaky Unveils Tambora Family Raising Standards in Effect Lighting
Appointment News:
Namit Saxena Appointed GM at Pink Noise Professionals and Erthpot
Ansata enables a full Dolby Atmos upgrade at Chamundesware Studio, supplying and integrating advanced AVID and RME systems House of Worship
St. Joseph Church, undergoes a major audio upgrade, with Zacs and Phils delivering comprehensive solutions enhancing experiences for parishioners
Viraf Pocha reflects on the buzz around PALM Expo 2025, offering practical advice for professionals to navigate the exhibition with focus and a mindset that blends business with creativity Stage, Sound
Jon Burton unpacks the nuanced relationship between gain structure and fader placement, arguing that mixing at unity offers the most effective control for achieving a balanced live sound
In this edition of Unequal Music, PALM Expo Magazine team highlights the rise of independent music labels and genre-defying work by producers, and sound engineers across the country
Rajesh Khade makes a compelling case for recognising the systems engineer not as a luxury, but as a vital force behind flawless live sound
It is my pleasure, on behalf of Informa Markets in India, to welcome you to the 23rd edition of PALM Expo, the country’s definitive exhibition platform for pro audio, audiovisual, and lighting technologies, taking place from May 29 to 31, 2025, at the Bombay Exhibition Centre, Mumbai.
Conceived to serve the fast-evolving needs of India’s professional audio industry, PALM Expo has grown into the leading business and networking destination for over 25,000 professionals shaping the future of event and entertainment technology across the country. With its mantra of being ‘professional to the core,’ PALM has consistently offered an immersive environment for technology discovery, dialogue, and deal-making.
This landmark edition brings together over 1,000 global brands across five expansive exhibition halls, covering 40,000 sqm of show floor. Showcasing the latest in sound reinforcement, lighting design, broadcast AV, recording technologies, and integrated systems, it reflects the pulse of a rapidly evolving industry. As India’s purchasing power grows and the event, hospitality, and AV integration sectors continue to expand, PALM remains the premier platform for global brands to launch innovations, build strategic partnerships, and reinforce distribution networks.
PALM’s vibrant features amplify its influence — from the high-impact Live Arena by HARMAN, Qube Demos, and Line Array showcases to hands-on rigging workshops, Certified AV Specialist courses, and an expansive conference summit. The event also celebrates the best in the business through the prestigious PALM Sound & Light Awards, honouring innovation, talent, and creativity.
In parallel, the AV-ICN Expo reinforces PALM’s vital role in the AV ecosystem by bringing together systems integrators, consultants, and enterprise buyers exploring cutting-edge solutions for corporate, education, retail, and venue applications.
This year’s edition holds special significance as we celebrate a new chapter — Hyve India Group’s India operations and exhibition brands are now part of Informa Markets, reinforcing our commitment to delivering world-class industry platforms in India.
As we commemorate over two decades of PALM’s transformational impact, I extend my sincere gratitude to our exhibitors, partners, speakers, sponsors, media, and the thriving professional community whose passion and participation make this event a powerful catalyst for industry growth.
Here’s wishing that the current edition of PALM Expo along with the AV-ICN Expo strikes all the right chords for you.
Warm Regards
Yogesh Mudras
It gives me immense pleasure to welcome you all to the 2025 edition of PALM AV-ICN Expo – India’s leading and globally recognised exhibition for professional audio, AV, and lighting technology.
This year, we are proud to introduce an enhanced layout that reflects the evolving needs of our industry. The Pro Audio showcase expands across Hall 6 – a brand new, pillarless hall dedicated to top-of-the-line audio brands – along with Hall 2, which will also host leading pro audio solutions. Hall 3 houses the latest in Pro AV, digital display, projection, and conferencing equipment, while Hall 4, also a pillarless hall, becomes the new home of the Lighting Expo, providing an uninterrupted visual and spatial experience for exhibitors and visitors alike.
We’re thrilled to welcome over 25 new exhibitors this year – brands that have chosen PALM AV-ICN 2025 to unveil breakthrough products and cutting-edge technologies. This reaffirms our commitment to being the definitive business platform that drives innovation, inspires collaboration, and expands markets.
The show continues to be packed with powerful features like, PALM + AV-ICN Conference with industry leaders delivering valuable insights along with 5th edition of Certified AV Specialist (CAVS) Course, a benchmark in AV education for India – both in Hall 3, the Harman Live Arena in the Bay Area outside Hall 2, delivering real-time sound experiences - 3 Demo Qubes, located at Ground 4 opposite Hall 4, giving visitors live sound and large scale touring experience, the Lighting Design Showcase and Rigging & Trussing Workshop in Hall 4, driving awareness in safety and creative design. Not to forget the prestigious Sound & Light Awards and AV Excellence Awards
PALM AV-ICN has always stood as the most trusted platform for over 25,000 professionals across system integration, rental, design, installation, and distribution. With every edition, our focus remains the same – Delivering Business, and grow the industry together.
Thank you for your unwavering support. Here’s to a dynamic 2025 edition!
See you at the show – let’s make it extraordinary.
Wishing you all a successful expo and a year full of growth
Ramesh Chetwani
new cardioid way. Next level. Scaled down.
When we do what has to be done. Single-channel operation, broadband directivity for all. The CCL, compact cardioid line array. A big idea, right sized.
Experience more at ansata.net/cl-series
Indian market on par with global developed market.
It’s been 25 years of orchestrating progress in pro audio, live sound, studio sound, install sound, sound design, PA sound and entertainment lighting. The impact of technology shift to flat speakers and immersive sound and LED has been in tandem with an explosion in demand and consumption. Consequently distribution and retail has ramped up. Simultaneously the quality paradigm has leapfrogged. Yes I need to re-emphasise that the quality paradigm hasn’t inched up its leap frogged. The affordability factor of the Indian market is dramatic. The most expensive product is used in India quite freely across various levels of application. The rupee is not weak. Importing is free. Banking is transparent. All the rules favour an open market. Buyers and consumers are intelligent.
I strongly advise all major brands globally in evolution of the market dynamics in treating the Indian market on par with the global developed market. I declare that the knowledge quotient of the Indian market is higher than Europe and the US. Thus all product acceptability in India is critical to the product success globally.
PALM Expo provides the premier platform for pro audio technology. Major brands must directly interact with the market and professionals and their brand identity must be direct.
In 25 years PALM has matured to fruition in harbouring professional talent resource in quantity and quality such that no other market offers.
Now the script and screenplay is full of action: Indian manufacturing based on Indian design and innovation is starting. My keynote has been that Indian design, production, quality, must be International and exported.
PALM will welcome a huge gathering to a great exhibitor profile in three halls. Two audio and one lighting. Ramesh has put together a very well produced expo. Kudos to the entire team.
Once again our conference boasts of the intelligentsia in the industry and meaningful sessions to guide the industry on a path to progress. Smita has curated a very good PALM conference and kudos to the content team.
The HARMAN Live Arena and the multiple Qubes, demo the latest live sound and entertainment lighting.
I am greatly pleased in the transition of the show to Informa Markets which brings promise of greater strength to PALM to go global. Cheers!
Anil Chopra
Your PALM Expo guide replete with show highlights and must read features
May marks the arrival of PALM Expo Season, with the 23rd edition generating immense excitement and activity behind the scenes. The expo has evolved into a dynamic platform where national and international brands converge to share technology, knowledge, and skills. Two decades of collective effort have contributed to its grand success, with the AV-ICN Expo running concurrently to further amplify the event’s impact.
This Show Guide issue contains comprehensive information on exhibitors, conferences, trainings, workshops, and demos, helping you navigate the three-day PALM Expo with ease.
The Exhibitors list on page 96 is your guide to exploring the expo floors, helping you locate and connect with your favorite brands and discover new ones.
The PALM Conference in Hall 3, features esteemed speakers sharing expertise to take your business to the next level. You don’t want to miss out on an important knowledge session (page 76)! Gratitude to our speakers for their valuable contributions.
The HARMAN Live Arena will showcase cutting-edge pro audio and lighting technology through live demos and performances by renowned artists. HARMAN will highlight its immersive audio expertise, including JBL and FLUX synergy, and introduce MiRA, a new analyzer software (page 84).
The Aerons, POPE, and N-Labs’ Demo Qubes at PALM Expo showcases latest speaker technology, allowing rental companies to experience and invest in cutting-edge event tech.
The PALM Lighting Design Showcase 2025 will feature advanced equipment and dynamic visuals (page 90). EESA will promote safety and best practices through awareness campaigns and workshops at the PALM EESA Rigging & Trussing Workshop (page 86).
This issue is packed with industry insights from professionals who are exhibitors, visitors, and conference speakers at this show. We spotlight the thriving live events industry in India, featuring the infallible Warren D’Souza, who shares insights on the live touring scene, and Shipra Venkatesh, who discusses delivering world-class production for Coldplay’s India tour. We also have 11 Questions with Brock Adamson of Adamson Systems Engineering, Mega Sound’s flawless execution at Lollapalooza India 2025, and Ansata’s Dolby Atmos upgrade at Chamundesware Studio. Expert advice from Viraf Pocha reflects on the buzz around PALM while Jon Burton provides crucial insight on live sound mixing.
Hope you have a fantastic time at PALM Expo 2025! Enjoy the show and happy reading!!
Smita Rai
Chowdiah Memorial Hall is a cultural centre located in Malleswaram, Bangalore.
The hall is prestigious cultural centre that has been a hub for artistic expression and entertainment for decades. This iconic auditorium, shaped like a gigantic seven-stringed violin, is a testament to the city's rich
cultural heritage. Built as a tribute to the legendary violinist Tirumakudalu Chowdiah, the hall is administered by the Academy of Music, an independent registered body founded in 1961.
Chowdiah Memorial Hall hosts a wide range of events, from classical concerts to theatre productions, dance performances, and fashion
shows. The hall's unique design and excellent acoustics make it an ideal venue for both performers and audiences. Over the years, the hall has played host to numerous renowned artists and has been a platform for many budding talents.
Recently, the hall's management decided to upgrade its sound system to provide an even better experience for its audiences. After careful consideration and consultation with sound engineers and experts, they decided to invest in the cutting-edge Yamaha Rivage PM3 Mixing Console
The Yamaha Rivage PM3 has exceeded their expectations, providing exceptional sound quality, flexibility, and ease of use. The console's compact design, with 36 faders, fits perfectly in the hall's sound control room, which has limited space. The preamps are of high quality, and the mix engine delivers impressive depth and punch.
One of the key features that im-
N-Labs is introducing two new professional audio products at the PALM Expo 2025 Show, the QLA54 active line array module and the DNA Series of digital network amplifiers. Proudly designed and manufactured in India, these systems are aimed to meet the demands of touring professionals, rental companies, and fixed installation environments.
The QLA54 will be a 3/4 Way Active Line Array Module, developed to deliver exceptional output, clarity, and precision for live sound reinforcement and high-end installations. It is housed in an 18mm Russian birch plywood enclosure with a triplelayer Sandtex coating. It features dual 12" Neodymium LF drivers, a 10" Neodymium Super Mid driver, and dual 1.5” titani-
um high-frequency drivers, working together in harmony to produce up to 151 dB SPL per cabinet.
Powering the module will be a Class D Hybrid 4-channel amplifier, paired with an onboard DSP system featuring Auto IIR, FIR filters, and a 32-band EQ. System configuration is streamlined through TCP/IP and USB
connectivity, ensuring flexible control in both touring and installed settings. Thermal performance is optimised using HYPEX thermal management technology. Deployment is made efficient with a 6-pin smart rigging system, designed to allow up to 32 cabinets to be flown or stacked with ease, making the QLA54 a truly scalable solution for a wide range of applications.
is a Class D Hybrid 4-Channel amplifier paired with an onboard DSP System
Also set to be unveiled is the DNA Series, a line of Digital Network Amplifiers designed to support modern networked audio workflows. Featuring output power ratings up to 5250W and Class H+ architecture, these amplifiers are designed for applications that demand both high power and precise system control.
The DNA Series amplifiers will support Dante and MILAN AVB protocols for digital audio network-
pressed the hall's management is the console's ability to integrate seamlessly with third-party plugins, such as Eventide and Bricasti. This has enabled them to enhance their sound capabilities without the need for external outboards.
The Yamaha Rivage PM3's user interface is highly intuitive, making it easy for engineers to adapt, regardless of their background or experience. The iPad extension software, which allows for the connection of two iPads, has simplified their workflow and enhanced their overall sound experience. The hall's management is delighted with their decision to invest in the Yamaha Rivage PM3 Mixing Console. The console's exceptional performance, flexibility, and ease of use have elevated the sound experience for their audiences.
ing, allowing seamless integration with existing AoIP ecosystems. An integrated touchscreen interface will provide direct access to settings, real-time signal monitoring, and DSP adjustments.
The onboard DSP will include smart limiting and network failover support, features aimed to ensure system stability across both mobile and fixed installation environments.
With a strong emphasis on power handling, advanced signal processing, network integration, and deployment flexibility, the new systems mark a major technological advancement for N-Labs.
Engineered in India and built to meet global standards, the QLA54 and DNA Series represent N-Labs’ commitment to delivering worldclass audio solutions. These launches underscore India’s rising presence on the international pro audio stage, offering powerful, flexible, and future-ready systems for professionals worldwide.
Fluxus 2025 at IIT Indore was a night of musical brilliance headlined by the iconic Sonu Nigam. With the energy of thousands of students lighting up the open-air venue, the event became a memorable chapter in the institute’s cultural history. From soulful melodies to powerful anthems, Sonu Nigam's voice echoed through the crowd, creating a collective experience of joy, nostalgia, and celebration.
To match the stature of the event, a premium audio setup was essential. Enter Martin Audio’s WPL Line Array System, known for its clarity, power, and precision. Supporting it were the deep, resonant tones of the SXH218 Hybrid Subwoofers and the exceptional output of iKON
iK42 Amplifiers, delivering a total of 20,000W of Class D efficiency. The synergy between these components ensured the system could handle every vocal detail and instrumental burst with unmatched fidelity.
Expertly deployed by Hardia Sound the system exceeded expectations. It offered consistent coverage across the venue, with punchy lows and crystal-clear highs, even in a challenging outdoor setup. The engineering team ensured every listener had the same immersive experience, no matter where they stood.
Dinesh Nathulal Hardia, Director, Hardia Sound & Lights Pvt. Ltd.,
The POPE Professional TT Series Line Array systems are redefining what’s possible in live sound, offering a comprehensive range of solutions for small venues, mid-size events, and large-scale productions. Featuring advanced acoustic engineering, high-output transducers, and robust networking capabilities, the TT Series is purpose-built for professionals seeking consistency, power, and clarity.
Developed with the support of DFM Audio, Germany, and their engineering team, the TT Series integrates high-end DSP with FIR/IIR filtering, digital signal transportation, and networking capabilities. SoundNet networking is standard across the range, along with digital signal input via AESOP. Optional modules include the SN-2 for AES67
and the SN-4 for Dante compatibility.
At the entry level, the TT-28 is a compact, two-way powered system loaded with dual 8” Neodymium woofers and a 1” compression driver. It delivers a frequency response of 80 Hz – 20 kHz, with smooth phase alignment and integrated FIR/IIR filtering, making it ideal for smaller venues or front-fill applications.
The TT-10 and TT-210 models both feature a 10” Neodymium transducer paired with a 1.4” throat compression driver, enhanced by POPE’s proprietary Directivity Correction
Horn (DCH) and Waveguide Physical Driver (WPD) technologies. These innovations offer enhanced sensitivity, precise directivity, and increased output. Their bass reflex enclosures incorporate symmetrical heat-dispersion tubes for reliable performance in demanding conditions.
Each includes 12” woofers, four 6.5” Neodymium midrange drivers, and dual 36 mm exit throat compression drivers arranged with Line Source Former Horn technology. This setup delivers a ribbon-like wavefront, with consistent 90°horizontal pattern control and peak SPLs of up to 138 dB.
Completing the series is the TT-112, a two-way system that combines a 12” woofer with a single 36 mm exit throat
“Our latest audio system upgrade has been a game-changer for our business. It has allowed us to confidently handle high-profile events like Fluxus 2025 and deliver exceptional sound experiences. The response from clients has been overwhelmingly positive, which helps us build stronger relationships and reinforces our reputation for quality in the rental industry.”
Palkesh Hardia, System Engineer, Hardia Sound & Lights Pvt. Ltd. “We are proud to work with partners who demand excellence and consistently deliver it. Hardia Sound & Lights has always led from the front, and their execution at Fluxus 2025 was outstanding. It reinforces the strength of our collaboration and our commitment to empowering professionals with world-class solutions.”
Neodymium compression driver. Despite its compact size, it shares the same horn technology and durable construction as its larger counterparts.
All TT Series models are housed in 15 mm, 9-ply birchfaced plywood enclosures with a 5-degree trapezoidal design and finished in environmentally friendly SoundFlex coating. Each system incorporates POPE’s fast, secure rigging hardware, engineered to meet a 1:9 safety factor. Integrated POPE Professional Class-D amplifiers power every model, ensuring energy-efficient performance and high headroom output across applications.
Whether flown, stacked, or permanently installed, the POPE Professional TT Series offers refined, scalable solutions for modern professional audio systems, delivering future-proof connectivity and sound engineered for excellence.
Lavoce Italiana is a dynamic company specialised in LF and HF transducer design and production for the pro audio market and today is the preferred speaker component partner to many of the world’s most recognised professional audio brands.
With over 35 years of experience in LF and HF transducer design, Lavoce engineers use a rigorous design validation process based on Finite Element Modelling techniques (FEM and FEA) and optimisation tools such as Klippel R&D System and Distortion Analyser to validate the parameters, frequency response, motor design, suspensions and voice coil alignment, Scanning Vibrometer to define
and optimise the behaviour of mobile parts, and True Technologies LifeTest systems for long-term power han-
With 1ohm nominal impedance and 6” Edgewood CCA voice coil, Lavoce Italiana’s SAN216.00iP is designed for compatibility
dling and reliability testing. This, combined with their partnership with Narain Audio (the company behind Nx Audio, Proton and Blue Bass) in India, has led to a range of impressive models designed to meet the needs of India’s audio industry professionals. Due to the growing number of launches in recent years, PALM Expo 2025 in Mumbai will be the first time Lavoce will have its own booth at an exhibition in India (then to be followed by ProWave in Hyderabad and IDJ in Delhi later on in the year), separated from the Narain Audio booth. At this booth, you can also find the brand new Lavoce India catalogue for 2025, featuring new and old models alike in Neodymium and Ferrite, to
Eastern Acoustic Works (EAW) has introduced the NT206L, the first loudspeaker in its newly launched NT Series. The NT206L represents a significant step forward in compact, self-powered line array technology, catering to production companies, integrators and venues seeking professional-grade performance in a portable format.
The NT206L is notably lighter than most passive plastic enclosures in its class, and integrates two 6.5-inch low-frequency drivers with 2-inch voice coils and a 1.75inch high-frequency driver, supported by 1500 watts of onboard power. Its sound output reaches 139 dB, with
a frequency response from 65 Hz to 20 kHz.
The NT206L is the first EAW product to feature the newly patented waveguide system, employing the company’s proprietary Focusing technology to enhance high-frequency response. In addition, the unit
introduces EAW’s new Core Technology known as Adjustable Horizontal Directivity (AHD). This enables users to manually select from four horizontal dispersion patterns, adapting the speaker’s output to different environments and audience sizes without additional tools or software.
EAW’s NT206L is operated using conventional analogue inputs and controls removing the need for complex audio networking setups
Commenting on the launch, Geoff McKinnon, Senior Director of Engineering at Eastern Acoustic Works, said, “It's an inspiring time at EAW with the opening of our new headquarters in Franklin. Our expanded testing and development lab and
ensure you find the perfect fit for your application.
One of these, the SAN216.00iP, is a 2500W AES Power 21” Subwoofer in the Neodymium range. Lavoce Neodymium speakers are known for their high performance, competitive price and elegant designs that make them perfect for applications that require the best in optimised neo technology. With a 1ohm nominal impedance and 6” Edgewood CCA voice coil, the SAN216.00iP is designed for compatibility with IpalMod amplifier and software platform. Characterised by its very high motor strength, high-efficiency and high-power handling and exceptional excursion capability, the SAN216.00iP offers unprecedented acoustic performance and reliability.
new listening facilities are already yielding fantastic results as evidenced by the release of NT206L. We couldn't be happier with the outcome.”
For integration into venues where space and budget may be limited, the NT206L offers a compact footprint with features more commonly associated with higher-tier systems. Its lightweight design and fast deployment options allow for efficient workflows without compromising on acoustic quality.
With the NT206L, Eastern Acoustic Works brings a fresh approach to the active line array category, offering a product that combines practical engineering, premium components and modern technology into a single, compact loudspeaker solution.
Trimac Products Pvt.
Ltd. remains a key player in India’s professional audio sector, driving innovation and fostering international collaborations. At PALM Expo 2025, Trimac will demonstrate its continued leadership with a strong presence on the show floor, presenting solutions from dBTechnologies and RØDE that are making an impact on live sound, installations, and content creation in India.
Trimac will showcase dBTechnologies' VIO Series, including the VIO L212 line array, VIO L1610 3-way line array, VIO S218 dual-sub bass-reflex system, and VIO S118 horn-loaded sub, all designed for powerful, high-quality sound reinforcement with advanced features for touring and installations.
Alongside many popular products in its long history within the industry, the company’s VIO Series touring technology was introduced in 2016 with the VIO L210 line array module. This groundbreaking success paved the way for the development of subsequent line array systems, including the VIO L208, the large-format VIO L212, and most recently, the VIO L1610. These systems have garnered international acclaim and prestigious endorsements within the realms of music and high-profile entertainment projects. The VIO series has since become the flagship of the entire dBTechnologies product portfolio, inspiring the creation of additional lines such as the expansive range of VIO X loudspeakers, as well as the professional monitor line VIO W and the VIO C series.
For Trimac, this partnership with dBTechnologies is not only distribution, it’s about strategic alignment.
“Trimac's journey with
dBTechnologies began with a simple yet ambitious vision: to revolutionise the audio industry by incorporating the latest technological advancements into dB products. As Trimac sought to scale its business and enhance its product offerings, dBTechnologies' expertise in creating tailored solutions for the audio sector proved to be a perfect match. Trimac’s ongoing partnership with dBTechnologies reflects a commitment to delivering excellence in audio technology.
Led by Ramal Kant, Manager of Sales Projects and Broadcast, the Trimac team ensures that sound professionals—from live event engineers to project and installation engineers—receive the best in performance, precision, and innovation,” reflects Pankaj Kumar, COO of Trimac Products Pvt. Ltd.
“India represents a key market for dBTechnologies, one that continues to show remarkable potential and growth. We are proud to be featured on riders for some of the biggest Indian artists, a testament to the recog-
nition of our products as symbols of top-tier quality. The VIO series stands as the pinnacle of dBTechnologies'
offerings. We are fortunate to have Trimac as our official distribution partner in India. The entire Trimac team is doing an outstanding job, demonstrating exceptional passion and expertise in the field. Their deep knowledge and dedication have made a significant impact, with top-level sound engineers across the country consistently impressed by the quality and reliability of the VIO systems,” elaborates Manuele Poli, APAC Head of Sales for dBTechnologies.
As a company, dBTechnologies and Trimac are fully committed to fostering growth in India and looking forward to expanding its presence, continuing to contribute to the success of the Indian audio market with technology, exceptional service, and an unwavering commitment to excellence.
Trimac will showcase the latest innovations from RØDE, including the Wireless GO (Gen 3), Wireless Micro, and the RØDE Caster Video, ideal for creators and livestreams.
Designed with JTS newest generation wireless technology, the R-4 is a 4 channel system in a 19” one U case. It provides more compatible channels within limited bandwidth.
Since its entry into the Indian pro audio scene in 2003 with the MT1201 amplifier under the Proton by Nx Audio label, Nx Audio has steadily expanded its footprint. At PALM Expo 2025, the company returns with a robust showcase, highlighting its evolution from a single amplifier line to a diverse portfolio spanning amplification, wireless systems, mixing consoles and loudspeakers.
The MT Series, now comprising seven models, remains a core focus. This series includes legacy Class H models like the MT701, MT1601 and MT1801, alongside newer Class D variants such as the MT2201 and MT2601. The latest addition, the MT2801, rounds off the line as the highest-powered unit to date. Across all models, Nx Audio maintains a consistent design ethos, a philosophy that has earned the series a “99%
and streamlined system architecture.
Nx Audio also showcases its DJ Series, with 2-channel models such as the DJ501 and DJ801, and 4-channel variants including the DJ804 and DJ1104. These amplifiers are tailored for mid and high-frequency drivers in multi-way speaker systems. Meanwhile, both the CA and CX amplifier lines have been upgraded, first launched in 2013 and 2015 respectively, they now feature a new Bass Boost function introduced in 2024 and 2025.
In the high-efficiency power segment, Nx Audio introduces the DGN Series, with the DGN9.2K also making its debut this year. Capable of delivering 4600W + 4600W RMS at 4 Ohms, the unit features an exceptionally high damping factor (>5000) and uses Gallium Nitride (GaN) MOSFETs, a departure from
reliability” reputation in both touring and install applications.
Complementing this is the RX Series, originally launched in 2008 and now reinforced with four 4-channel Class H models. While the RX3004, RX4004 and RX5004 made their appearance in 2024, the brand-new RX2004 is set to debut for the first time ever at PALM Expo 2025. These amplifiers have been designed for high efficiency use in touring environments, offering rugged reliability
traditional silicon-based designs. The result is a lighter, cooler, and more power-efficient amplifier that remains competitively priced.
Nx Audio’s expanding range of analogue mixing consoles is also on display. The Symphony Series, comes with built-in soundcards, OTG playback, USB recording and Bluetooth connectivity. Building on this, the Harmony Series caters to more demanding applications, extending up to the Harmony32.4, a 32-chan-
nel mixer with 30 mono XLR inputs and two stereo lines. The Melody Series presents a compact and budget-friendly option for simpler live or studio setups.
On the wireless front, Nx Audio continues to develop its PRO Series with multiple system options. The UHF200 offers digital 16-bit ID and surface-mount componentry for improved signal stability. For larger performance environments, the UHF400
90 selectable frequencies, provides a scalable solution for mid-sized events. In loudspeakers, the Indra Series, especially the Indra-154 model, remains a mainstay for users seeking high SPL and low distortion. Nx Audio has also expanded into the Rudra Series, PD Series, and the versatile Nitro Series, which offers both ferrite and neodymium magnet options to suit different weight and budget requirements.
provides a 4-channel handheld configuration with a cardioid capsule, and internal noise-absorbing features to mitigate switch and handling noise. The URX60, supporting up to 24 simultaneous channels with over
With this expansive showcase at PALM Expo 2025, Nx Audio reaffirms its position as a homegrown pro audio brand that continues to innovate with consistency.
Mumbai, India – Lollapalooza India 2025 proved to be a groundbreaking edition of the global music festival, not only for the stellar artist line-up but also for the scale and precision of technical production. Leading that charge was Mega Sound, India’s trusted name in pro audio, delivering flawless sound for two of the festival’s most dynamic stages: Corona Sunsets Stage (Main Stage 1) and Nexa Stage (Stage 3)
With more than 70,000 attendees and a line-up featuring Green Day, Shawn Mendes, Nothing But Thieves, Cory Wong, Wave to Earth, Jonita Gandhi, Hanumankind, and many more. Mega Sound stepped up with a system design and deployment that matched international standards, reinforcing its reputation as a leader in large-format live audio production.
The India debut of Green Day and Shawn Mendes was one of the most anticipated moments of the festival. Mega Sound delivered a robust and immersive sonic experience with exceptional clarity, consistency, and coverage. System Design featuring 232 L-Acoustics enclosures covered both the Main stage - Corona sunsets and Nexa stage with the massive audience zone with seamless uniformity.
Mega Sound implemented a three-layer signal transport infrastructure (AVB Primary, AVB Secondary, and Analog fallback) to ensure zero signal dropouts. This mission-critical setup ensured audio was uninterrupted throughout the show.
The L-Acoustics P1 System Processor helped to add intelligence to the system by dynami-
only enhanced the performers' experience but also underscored Mega Sound’s commitment to introducing world-class technology to the Indian market.
The success of this large-scale deployment was no accident. A month-long planning phase involved everything from multi-artist coordination, inventory allocation, festival patch list, and RF coordination, to advanced Soundvision and on-site deployment. During the festival, real-time adjustments were minimal — a clear result of excellent pre-production work.
PA Setup (Total: 232 Boxes):
• 48x L-Acoustics K1
• 24x K1-SB
• 64x K2
• 72x KS28
• 16x KARA
cally compensating for temperature and humidity shifts, which are common in outdoor venues. This led to precise tonal balance throughout long sets — something that international engineers noted and appreciated.
Feedback from the touring engineers was overwhelmingly positive. “It’s always a bit nerve-wracking running a debut show in a new country,” said James, System Engineer for Shawn Mendes. “But Mega Sound made it all smooth. The rig sounded phenomenal, and the staff was incredibly professional. One of the best festival setups I’ve seen in a while.”
Making history, Mega Sound rolled out Shure’s Axient Digital PSM (Personal Monitoring System) — the first-ever deployment in India of this advanced IEM solution. Known for its rock-solid RF performance and low-latency audio quality, Axient PSMs offered artists crystal-clear monitoring on the main stage.
This milestone in Indian festival audio not
• 8x ARCS II
Stage Monitoring Package:
• 12x A15
• 12x KS21
• 8x X15 HiQ
• 8x X12
System Control & Processing:
• 4x L-Acoustics P1
• M1/P1 for tuning & alignment
• Rational Acoustics Smaart Suite 9
Signal Transport:
• 40x LS10 (AVB redundancy) 8x Luminex Gigacore-10
• 6x Luminex Gigacore-12
Amplification:
• 20x LARAK II AVB
• 78x LA12X
• 6x LA4X
Console Line-Up:
• DiGiCo Quantum 5, Quantum 338, SD10
• 6x SD-Rack 32-bit
• Avid S6L 24C + 2x Stage48
RF System:
• 16x Shure Axient Digital PSM IEM
• 24x Shure Axient Digital
• 12x Sennheiser 6000
• 24x Sennheiser 2000 Series IEM
Audio Director: Siddhartha Chauhan
Corona
On the Corona Sunsets Stage were Sanjay K (Systems/ Front of house), Harshal Pilare (FOH A1/PA tech), Vishrut V Joshi (Monitor Engineer), Ritom Routh (Monitor A1/RF Coordinator), Pratiksha Yadav (Patch & Stage head), Devender Jethi and Lokesh Salvi (Stage Techs).
Nexa Stage
The Nexa Stage team included Ranjit Rathore (Systems/ Front-of-House), Noel Raj (FOH A1/PA tech), Rajeesh Kumawat (Monitor Engineer), Swapnil Elpas (Monitor A1/ RF coordinator), Shubham Bhardwaj (Patch & Stage head), Virender Singh Solanki and Mukul Sindhu (Stage Techs).
Mega Sound’s execution at Lollapalooza India 2025 wasn’t just a technical win — it was a statement of capability, precision, and adaptability in a world-class environment. “It was a career milestone for many of us,” said Siddhartha Chauhan. “To support the debut of iconic artists like Green Day and Shawn Mendes in India — and have their teams applaud the effort — that’s what we work for.”
Mega Sound expresses gratitude to BookMyShow, Hi-Tech Audio & Image and Sun Infonet Private Limited for their support, trust, and technology partnerships. With more international tours and large-format festivals on the horizon, Mega Sound remains India’s trusted name in professional live sound.
Contact Us:
Headquarters: F-26, Opp. Payorite, M.I.A. Extension, Madri, Udaipur, Rajasthan 313001
Nikhil Pareek – (Head Business Development) Phone: 072299 37333 Website: https://themsipl.com
Ivoryy Fusion Bar, located in the vibrant heart of Connaught Place, Delhi, is a stylish destination known for its fusion cuisine, cocktails, and curated music experience. To enhance the overall guest experience and meet the demands of live DJs and events, the bar upgraded its sound system with a premium pro audio solution from Beta3 Audio. The objective was to deliver a premium audio experience matching the venue’s upscale ambience and dynamic music needs.
The audio design featured Premium Xi Series wood-finish speakers as the main front-ofhouse system. These speakers were chosen for their high fidelity and aesthetic appeal, seamlessly blending into the bar’s sophisti-
cated interiors while delivering crystal-clear sound across the main seating and bar area.
For low-end punch and depth, EJ218 dual 18" subwoofers were installed in key locations, ensuring tight, impactful bass ideal for dance music and live sets. On-stage, VX12a active monitors provide precise, feedback-free monitoring for DJs and performers.
To ensure full venue coverage, Beta3 N Series full-range speakers were used in ambient and peripheral areas, offering consistent sound pressure levels throughout. The entire system is powered by Beta3’s DT Series Class D amplifiers, known for efficiency, clean output, and onboard DSP for detailed tuning.
The result is a venue-wide audio upgrade that supports both high-energy
events and relaxed dining. Management praised the system’s clarity, design compatibility, and performance.
“The system has transformed our vibe. It sounds amazing and fits perfectly with our interiors,” – Ivoryy Fusion Bar Team
This installation showcases Beta3 Audio’s ability to deliver stylish, high-performance sound systems tailored for the hospitality industry.
In a significant audio-visual upgrade, the NCUI Auditorium in Delhi has been equipped with a state-ofthe-art sound system by Eminent AV, marking a new standard for government-operated performance spaces. Designed to accommodate a wide range of events including conferences, cultural programmes, and live performances, the new system has been developed with precision and efficiency to meet the client’s expectations for high-end sound technology.
Eminent AV was entrusted with the complete design, installation, and commissioning of the audio system at the auditorium. To meet the client’s expectations, Eminent AV proposed the use of Amate Audio products, manufactured in Spain, citing their reliability, performance, and budget-conscious design.
One of the main challenges faced during the execution of the project was the complexity of routing wiring through the completed auditorium structure. Since construction of the venue had already been finalised, installing new wiring infrastructure was difficult. Despite the difficulty, the Em-
inent AV team successfully completed the integration within the deadline.
Amate Audio was selected for its distinctive Active + Passive technology, which allows a single active unit to power a corresponding passive unit. This configuration not only reduces hardware requirements but also makes the system financially and technically efficient.
The installed system features a robust setup tailored to the auditorium’s size and acoustic needs:
• Main FOH: 4 × 2 × Nitid N208 Active + 2 x N208P Passive Line
Array units
• Front Fill: 2 × Nitid S26P units
• Delay Speakers: 2 × Nitid S26P units
• Subwoofers: 4 × Nitid S18WP units
• Amplifiers: 2 × HD4000 units, 1 × HD1200 unit
• Digital Signal Processor (DSP): 1 × LMS206 unit
Speaker placement, system configuration, and coverage design were tailored to the auditorium's structure, which features a balcony layout. The seating capacity is approximately 600,
with a hall size of 92 feet in length and 78 feet in width. This spatial consideration played a key role in the audio design, with the system tailored to ensure uniform coverage across all audience areas.
With the older system causing frequent issues, the upgrade has significantly transformed the user experience.
The project was delivered in collaboration with Delhi-based vendor Dignity Multitechno Solutions
Eminent AV took the lead in system design and played a vital role in executing the integration alongside their partner. The installation also marks a notable milestone as the first Line Array System installed in a government segment auditorium in India, making it a benchmark site for the Amate Audio brand.
Post-installation, the feedback from the client has been positive, particularly highlighting the improved clarity and loudness of the system. The project stands as a strong reference point for similar public-sector upgrades and reflects the potential of high-quality professional audio systems in institutional settings.
Luft – The Air, a high-concept venue in Mumbai, is the brainchild of celebrity Chef Himanil Khosla and his partner Aabhas from Atoll Hospitality LLP. Designed as a space to unwind and celebrate at a leisurely pace above the city’s bustle, the venue required a flexible, high-performance audio system to suit a variety of events
ranging from corporate functions and brand launches to club nights and private gatherings.
For Generation AV the vision was to accommodate multiple simultaneous events, each with independent audio zones, while maintaining high SPL levels and clarity across all areas.
The site required extensive soundproofing and acoustic treatment which was addressed by Acoustic
Consultant Prashant Nair of KKS, who ensured effective treatment with minimal intervention, within budget.
Three primary zones were identified: the DJ area, the sundowner balcony, and the private dining areas. Each was fitted with an independent audio system that could function separately or be digitally combined, with sources including DJs, streamers, and television feeds. The Optimal Audio Cuboid series was chosen after a successful audition, with the founders noting the clarity and natural tone even at high output levels. The main system, built around Cuboid 15 and Cuboid 12 loudspeakers, delivers up to 138dB SPL, while auxiliary zones achieve up to 130dB SPL using Cuboid 10 units. All systems are managed through NST Audio processors, one VMX88 and two VR2 units, offering 96kHz processing and a dynamic range of 119dB (A-weighted).
Low-frequency reinforcement in the main DJ area is handled by two dual 18” HH Audio TNA2800S G2
A new club and lounge has opened its doors in Telangana, Hyderabad, with its patrons enjoying an audio system built around Martin Audio BlacklineX loudspeakers.
The Beer Cartel is a premier venue designed to deliver a seamless fusion of gourmet dining, craft beverages and high-energy music.
The venue is also a hotspot for live entertainment and events, frequent-
ly hosting renowned DJs, and has already established itself as one of Hyderabad’s most sought-after nightlife destinations.
To achieve this, the owners sought an audio system that could deliver both power and precision from the get-go. The system needed to provide an immersive experience for casual evenings while scaling up effortlessly for high-energy nights.
The client envisaged a set-up that would support live performances, DJ sets and background music, and knew this would require a versatile yet robust PA, capable of delivering impactful low frequencies and crystal clear mids and highs across the entire space.
The Martin Audio Blackline X15 was therefore chosen to fulfil these requirements, partnered with Blackline X218 subwoofers. Selected for its superior vocal clarity and balanced dispersion, seven of the X15s were deployed, reinforced with three X218 subwoofers, which deliver the type of powerful, tight bass response necessary to generate an immersive club atmosphere.
The sound system designer / consultant was Palagani Dushyant Reddy from White Noise, who has much previous experience with Martin Audio systems. “Delivering great sound in a venue like the Beer Cartel requires more than just power, it requires control, precision and the
subwoofers, complemented by two single 18” TNA1800S subs Amplification across the venue is provided by eight HH Audio M1500D amplifiers. DJ monitoring is facilitated with a pair of HH Audio TRE 1201 units, and control is managed via an HH Audio Q16FX console
Installation, testing, and commissioning were completed swiftly, with Generation AV supporting KKS through to the system’s launch. Two months into operation, Luft has become a popular nightlife destination. DJ Goku, the venue’s principal music curator, noted, “The system seems to deliver whatever I am able to throw at it, it seems to have endless power, all this while sounding crystal clear.”
This installation underscores the potential of integrated, high-output systems in contemporary hospitality spaces, tailored for versatility and durability.
right tuning,” he believes. “The new system has created an immersive audio environment that makes a real difference in how people experience music.”
Owners of the venue are Ashwanth Reddy K and Khaleel NMD Describing the role of the sound, Khaleel said, “A great club experience isn’t just about great music, it’s about how the music is experienced. The new sound system has enabled clear sound movement through our venue, delivering incredible depth and clarity, no matter where you stand. It creates a perfect balance between power and precision.” His partner, Mr. Reddy agreed. “Sound is a crucial element in defining the atmosphere, the system delivers a rich, immersive experience that enhances every performance and keeps our guests engaged throughout the night.”
All products were delivered by Vardhaman Megatech (VMT), Martin Audio’s official distributors in India.
Vardhaman Megatech (VMT) and its associated integrators, continue to make a notable mark in India's professional audio landscape. This series of installations across Assam, Tamil Nadu, Maharashtra, and Madhya Pradesh highlights the commitment to technical excellence and the strategic deployment of audio infrastructure to meet evolving institutional demands.
Kanaklata Bhawan, Gohpur, Assam
Kanaklata Bhawan, a multipurpose community hall in Gohpur, Assam, required a scalable and adaptable audio solution to support its diverse events including conferences, school functions, and performances.
A suite of British Acoustics and OSL products were implemented to meet these demands. The BA PW 615, a passive 15” speaker, was deployed to provide articulate and balanced coverage. Supplementing this were BA XP 12H powered 2-way speakers for adaptable usage in varied room configurations. The BA 2XM amplifier distributed power efficiently and reliably, while the Studio Mix32.4 console managed complex routing with its 32-channel capacity. To finetune the acoustic environment, the PW Six processor was used for tonal calibration. Wireless systems included the OSL Q500, ensuring consistent RF performance for spoken word applications.
“Designing an audio system that seamlessly adapts to different events was our priority, and this installation delivers just that, ensuring an enhanced experience for attendees. The system is intuitive and reliable, making event execution effortless. This upgrade positions Kanaklata Bhawan as a top venue for high-quality events,” said Ashwini Saikia, System Integrator, Allied Consulting Services
Beyond The Stories (BTS), a restrobar in Coimbatore, needed an audio solution that could transition fluidly between calm daytime ambience and dynamic nighttime entertainment. The installation was designed for versatility, balancing background music during café hours and enabling impactful sound for live events and DJ sets.
The main loudspeakers chosen were the BA Aura Source 312X. Sub-bass was handled by the BA PW 628S and PW 618S, while mid-high clarity was achieved using the BA PW 612 and PW 610 passive speakers For added flexibility, the BA Octa 82H powered 2-way speakers were used in selected areas.
The system’s processing relied on the BA PW Six digital processor,
which enabled real-time tuning and system control. Power was provided through the BA 2 XM and BA 2 XL amplifiers, while the Delta Drive 28X handled signal routing and speaker management. The Live Mix 8.2Fx facilitated input handling for multiple sources.
System Integrator Satish Kumar from Audio World Coimbatore elaborated, “The installation was carefully designed to provide both precision and adaptability. Every element chosen to ensure balanced coverage and consistent performance, resulting in an audio experience that enhances without overpowering.”
The Office of the Deputy Commissioner of Police (DCP), Mumbai, required a professional-grade audio
setup for its conference hall, a venue used for critical briefings, administrative meetings, and strategic sessions. The installation had to offer uniform sound coverage, user-friendly operation, and reliable long-term performance.
The main loudspeakers, BA XP 508 passive units, delivered full-range clarity, powered by the BA TK 3000 amplifier. Signal routing was managed by the Studiomix 20.4 DFX mixing desk, equipped with onboard effects. The BA PW 6 processor handled digital signal distribution and fine-tuning.
Speech reinforcement utilised the OS 18 gooseneck microphone with OS 42B base. Wireless functionality was enabled by the OS B4R HH system, and the Q500 in-ear monitoring system was installed for private listening and minimal interference.
“The new system has completely transformed the way we conduct meetings and briefings. The sound quality is excellent, ensuring that communication remains clear and effective. This upgrade has brought in a level of professionalism and efficiency that greatly benefits our operations,” said Jaykumar, Joint Commissioner of Police, CP Office.
Jeff Mandot, Director, VMT,
(Continued on page 30)
Pink Noise Professionals in collaboration with Auxo Technologies Pvt. Ltd., has installed a high-end 5.1 Surround Sound Studio at Amity University, Noida. This project marks a significant step forward in creating future-ready audio education spaces that combine immersive learning with real-world professional tools. This advanced facility has been designed to meet the growing needs of aspiring sound engineers and music producers. Combining world-class equipment and expert integration, the studio offers students hands-on experience with industry-standard tools used in professional environments.
Installed Equipment Includes:
• Icon Pro Audio Controller (V1-M –1 Piece, V1-X – 2 Pieces):
A modular DAW control system that enhances workflow efficiency and tactile control for audio production.
• Apogee Symphony I/O Mk II 32x32 SE:
A flagship audio interface known for its pristine conversion and modular I/O flexibility, ideal for high-end recording environments.
• Avantone BV-1 MKII Microphone: A premium multi-pattern tube condenser mic offering vintage tone, perfect for vocals, acoustic
instruments, and room capture.
• Heritage Audio BritStrip Channel Strip:
Combines a classic British-style mic preamp, EQ, and compressor in one unit, delivering warmth and punch.
• Heritage Audio LANG PEQ-2
added, “This project demonstrates the growing demand for professional-grade audio systems in administrative spaces. It’s a proud moment to see our solutions supporting such critical environments, where clear and reliable communication directly impacts public service.”
Eurasia, Indore, Madhya Pradesh
Eurasia, Indore, a modern dining space known for its attention to aesthetic and sensory detail, selected British Acoustics for a sound system that could shift between laid-back background music and vibrant live entertainment.
The loudspeaker layout included Alpha Source 415 WR for larger zones and Alpha Source 412
WR, 410 WR, and 408 WR for more intimate settings. Bass was reinforced using the Alpha Club Sub and Alpha Sub 428 S units
For signal management and zone control, the Delta Drive 48X was used, enabling dynamic operational
modes. Amplification came via the BA 2 XM, 2 XL, and 2 XS, delivering tailored power distribution.
“Eurasia was meant to be more than just a place to dine, it’s a space where every detail matters. The audio system brings that vision to life, creat-
Program Equalizer:
A modern recreation of a rare vintage EQ known for its smooth curves and musical tone-shaping capabilities.
• Beyerdynamic TG Drum Set PRO Microphone Kit:
A complete professional drum mic set providing reliable performance for live and studio drum recording. This installation reflects Amity University’s forward-thinking approach to audio education, combining high-end technology with practical learning environments. The partnership between Pink Noise Professionals and Auxo Technologies Pvt. Ltd. brought together technical expertise, premium audio gear, and a shared vision of elevating educational infrastructure. The result is a studio that not only supports 5.1 surround sound workflows but also equips students with the tools and confidence to step into professional recording, mixing, and post-production roles.
Across these varied applications, VMT has demonstrated their capacity to deliver tailored sound solutions that meet professional demands while maintaining architectural and acoustic sensitivity. (Continued from page 28)
ing a mood that flows effortlessly from one moment to the next. It’s one of the most defining elements of the atmosphere we’ve built,” said Ayush Gupta, Director, Eurasia, Indore.
“This was about creating emotion through sound. Every zone demanded its own touch, and we were able to build a system that feels dynamic yet cohesive.
The venue’s vibe is amplified, not altered, and that’s the mark of a successful install,” said Vinayak Luthra, System Integrator, Audiocratz Sound & Light Solutions
Concert Tours are a burgeoning business in India, a fast-moving, high-stakes world where precision, people, and perseverance decide who thrives. At its forefront stands Warren D’Souza, Director of SOUND.COM, a name synonymous with largescale live event success. As one of the pioneers who helped shape the modern touring landscape in India, D’Souza’s experience runs deep. PALM Expo Magazine team sat down with him to unpack the realities of touring in India, from logistical to human factors that make or break a show, and to understand the hard-earned philosophies behind his long-running success.
WSOUND.COM’s execution of the Yo Yo Honey Singh tour reflected a touring philosophy built on teamwork, synergy, and streamlined rig design
hen asked about his core philosophy on delivering across multiple events during a tour, D'Souza makes it clear that touring, especially in India, is still a relatively new concept. It is staple to the US or European markets, due to the infrastructure available.
He goes on to draw a stark comparison between the state of touring in India and more developed markets. "The US market is designed for efficiency. Each state is as big as a country, and everything is designed to facilitate large-scale events, be it the size of the stadiums, the audience capacity, or the parking facilities," D'Souza explains. However, when it comes to India, the situation is far more challenging, in that we don’t
have the infrastructure that they are working with. "We don’t have good venues, except a few and far between, we don’t have good roads, and we don’t have good rigging & safety standards," D'Souza highlights. He explains that in India, a typical show setup involves hurdles that do not exist in more developed touring markets.
D'Souza emphasises that logistical challenges account for about 80% of the difficulties, leaving the acoustic challenges to make up only 20%. The limitations of the infrastructure in India often lead to significant delays and complications. "Most of the venues lack the infrastructure; they are flat ground with no toilets. Portable toilets are set up, as well as VIP decks, bars, barricading and stages are built from ground up," he says. In contrast, international shows often benefit from infrastructure already in place, such as roofed rigging systems and steel ground support along with plant machinery to rig it.
D'Souza enlightens us about the concept of "leapfrogging," which is central to touring logistics in India. It’s complex nature is attributed the fact that each stop of the tour unfolds simultaneously across multiple locations, while one is dismantling, another is running, and a third is being set up. In this scenario, the logistics team must manage an incredibly tight schedule and constantly coordinate between cities. "If I go from one city to another, I need to ensure that while city B is being dismantled, I can still set up in city C and keep things running smoothly," D'Souza explains.
While infrastructure may be lacking, D'Souza is quick to highlight how the advent of technology, particularly advanced mobile phones and GPS, has improved the touring process in India specifically. "Trucking quality has improved a little, but what has really helped is the Digital India. The government’s push for innovations like UPI. Apps of aggregators for flights, hotels and online ticketing, quick delivery and shipment tracking have made logistics much easier," he acknowledges.
D'Souza points out that the success of a tour is not just about the equipment or even the skill of the sound engineers. "Success in touring does not
“ India's changing in such a way that there will come a time where artists will not be able to come to India and do a show only in Mumbai and call it a day.
come from owning kit only," he asserts. "It comes from the backend team, your logistics management, tour accounting, your prep crew, and your ability to manage the immense pressure of multiple, high-stakes events." Managing a successful tour requires a well-coordinated team spread across multiple locations. "When you’re doing a Diljit Dosanjh show on Friday in Chandigarh, then Hyderabad on a Saturday for an Arijit Singh show and then a leapfrogged Diljit Dosanjh show in Kolkata on a Sunday is simply mind boggling for rental house who hasn’t done this body of work in the past.
Moreover, D'Souza emphasises that a strong, well-equipped team is essential for handling these large-scale operations. "A company has to have width and depth in both gear and the ability to manage logistics. If you are moving 700 loudspeakers across three cities in one weekend, that literally means 23 trucks are on the road. You require bandwidth to manage that," he says. He also notes that while managing multiple events, SOUND.COM is also responsible for shows like Ed Sheeran’s Mathematics Tour of Bhutan and India along with NJSM Pro a part of the SOUND. COM family another hallmark tour in India.
According to D'Souza, the reason why artists and organisers book SOUND. COM for major events boils down to three key factors: Aspiration, Trust, and Fear. "They book you for Aspiration, because they want to work with the best; trust, because they know you will deliver; and fear, because they worry somebody else might mess up," he states confidently.
In the high-pressure world of touring, strategic decision-making is crucial. According to D'Souza, "We carefully select our projects, weighing factors such as financial viability and artist profile and the stability of the promoters.” D'Souza emphasises that this discernment is a key aspect of SOUND.COM’s business strategy, built on loyalty to clients.
He elaborates, "Touring may appear glamorous on social media, but behind the scenes, it's a complex juggling act involving logistical coordination, compliance with local regulations, and adherence to sound level laws." He attributes the company's success to meticulous planning and execution, noting, "Our reputation for delivering high-quality events is what attracts major tours to partner with us."
D’Souza’s philosophy is rooted in the idea of tonal consistency across all shows. For him, it's not just about the equipment or the sound system; it’s about ensuring that every show, no matter the location, provides a consistent auditory experience.
The artist's vision is crucial in shaping the sound of a show, and D’Souza stresses that understanding that vision is the first step. The driving force behind the sound design could either be the artist or the engineer. Sometimes it’s a collaborative effort, but other times, the responsibility lies solely with one or the other. For example, when working with Diljit Dosanjh, the brief might be to create a nightclub-like atmosphere/sound, whereas with Honey Singh, the focus could be on a heavy sub-bass experience. This level of detail underscores the importance of tailoring sound to the specific needs of each
artist and/or his FOH Engineer, rather than just relying on generic solutions.
D'Souza highlights operational efficiency as a crucial factor in ensuring the profitability of a sound rental business. A key aspect of his strategy involves meticulously managing tour logistics, encompassing transportation costs, crew productivity, and technical considerations.
D’Souza emphasises that his scuess on the Diljit Dosanjh tour stems from his ability to know his team and predict the cleint’s needs
He illustrates the importance of logistical planning with an example: "When utilising a 20-ton vehicle, we can maximise capacity, resulting in a transportation cost of ₹1,20,000 for a trip from Mumbai to Delhi. However, opting for a 12-ton vehicle would require two trucks due to payload issues, doubling the diesel cost and subsequently increasing the total transportation cost to ₹2,40,000."
D'Souza emphasises that the sound rental industry is characterized by numerous logistical complexities, including vehicle capacity, crew efficiency, and equipment payload. By focusing on these minute details, Sound.com achieves operational efficiency, thereby maintaining cost-effectiveness and profitability in an increasingly competitive market. This attention to detail on hidden costs has enabled the company to sustain its growth and success.
D’Souza’s approach is a result of years of on-the-job experience. He started his career by working with some of India’s biggest artists, such as A.R. Rahman, learning the intricacies of production along the way. Over time, he moved on to manage tours for other top artists like Arijit Singh, Diljit Dosanjh, Honey Singh, Harris Jayaraj and others, continuously refining his understanding of what it takes to create successful tours.
“India's changing in such a way that there will come a time where artists will not be able to come to India and do a show only in Mumbai and call it a day,” he points out. D’Souza sees the emerging trend where global artists now need to perform in multiple cities across India, just like Ed Sheeran, who made his rounds across the country. This shift is not only in terms of geography but also in terms of the opportunities that India offers in terms of social media exposure.
Social media has become a powerful force reshaping the touring business in India, and D’Souza highlights just how much it matters. He explains that artists today recognise the immense value of the Indian audience, not just in terms of ticket sales, but in the digital boost they can gain. "Two major artists do one song together and then a collaborative post on Instagram, 30% of their fans will start following each other overnight," he says, underlining the vast impact a performance here can have on an artist’s visibility and reach. With India’s strong digital presence, touring in the country offers artists the chance to gain hundreds of thousands of new followers, which sometimes outweighs immediate financial returns. D’Souza points out that a well-established artist might even drop their performance fee, if they see the potential for long-term exposure and brand growth among Indian fans.
For D’Souza, success in the sound rental and touring business is not just about the technical aspects of sound but also about strategic thinking. Strategy involves understanding the market needs, competitive pricing and packaged services offerings of competition. While some rental companies had newer equipment, they lack the necessary experience. Others that have the experience may lack the latest gear. D’Souza, on the other hand, over time garnered both experience and the necessary gear, making him the clear choice in the eyes of the production management.
When it comes to preparing for large-scale tours, D'Souza is clear about his approach. "Preparation is very different, right? Everyone has clearly assigned roles, everything is demarcated very well," he points out. This includes everything from the team prepping the upskilling of the crew members responsible for setting up and ensuring the smooth execution of events. "It's working like a well-oiled machine, less talking and focus on the actual job in hand" he asserts. This level of organisation ensures that there is no room for error, allowing the team to focus solely on delivering a flawless experience.
The entertainment industry, especially in India, has changed signifi -
D’Souza points to rising touring demands in India, crediting acts like Ed Sheeran and Diljit Dosanjh for proving that full-scale tours are not just possible, but thriving, across the country
cantly over the years, and D’Souza understands that staying ahe ad of the curve requires constant innovation and adaptation. In the past, owning equipment was the key to success. Today, however, there is much more to it: the ability to think strategically, educating your staff, manage logistics effectively, and tailor the sound experience to the specific needs of the artist and the audience. In India, the market is still evolving , and many players are still learning the ropes of the industry. D’Souza believes that it’s important to have a broader vision, to see beyond the hori zon, and to ensure you have the scale and the crew to handle the complex ities of modern touring.
“You must have the mindset, the scalability and the crew. You need the ability to see beyond the horizon,” he explains, outlining the qualities that sound rental companies need to succeed in India.
D’Souza reflects on the evolution of the sound rental business, contrasting the older generation’s focus solely on delivering good sound with his own broader, more strategic approach. "People have not evolved in every aspect of what they're doing," he asserts, emphasising that this lack of adaptability has caused many businesses in India to experience peaks and troughs.
However, D’Souza is clear in his belief that SOUND.COM is on upward trajectory an assertion made out of a deep understanding of the industry’s dynamics. He is not simply focusing on acoustics; he is looking at the bigger picture, investment patterns, customer relationships, and future projections.
The key to D’Souza’s success lies in his ability to think beyond the immediate needs of a show. “I’m processing the numbers and thinking of how I’m making my investments,” he reveals. He is acutely aware of the flow of money in live entertainment, citing his insights of companies like BookMyShow and District by Zomato and how they are raising funds each year for live events.
One of the core elements of his success is the commitment to fostering growth within his company. “If you start working in this business like this, you start creating an environment of growth,” D’Souza says. He insists that, in his company, there’s no room for infighting or office politics. The focus is solely on the work at hand. This business philosophy not only ensures productivity but fosters an environment where the team can thrive and deliver excellent results.
D’Souza’s insights extend to the technical aspects of his company’s operations. He stresses that India’s sound rental market is fragmented, with too many small players offering limited gear for smaller shows. As a result, when larger-scale projects come into play, only a few companies can meet the demand. He explains, "95% of the vendors are set up to do shows with a optimum coverage of 250 feet in a Greenfield event." However, when tasked with a show that requires over 350 feet, as D’Souza has often been, the option narrows significantly to barely 5% of the key players. For events requiring massive sound systems, only a handful of vendors in India are equipped to handle such a scale. This challenge, however, presents a key opportunity for major companies and, emphasizing the importance of scalability and the ability to provide top-notch systems for large-scale shows.
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Touring may appear glamorous on social media, but behind the scenes, it's a complex juggling act involving logistical coordination, compliance with local regulations, and adherence to sound level laws. D'Souza attributes the company's success to meticulous planning and execution, noting, "Our reputation for delivering high-quality events is what attracts major tours to partner with us."
Looking ahead, D’Souza predicts a major shift in India’s sound rental market, where large companies that can scale will grow exponentially. “Big companies will become super big, and mid-size and small companies will not really evolve that much in scale whilst they can maintain gear quality,” he says. Although India’s live entertainment scene has made strides, with 15 companies now able to handle major band setups in Mumbai compared to just a few five years ago, D’Souza notes that the country is still catching up to global standards. He foresees a future where massive international tours, like what Coldplay did and what Taylor Swift can do will set the benchmark, moving the focus away from smaller events.
D'Souza places great importance on the role of sound rental companies like SOUND.COM in the concert economy. "For us, being conduit between the artist and the audience, makes the sound company a very important stakeholder of the show he says.” He explains that when the result of a show is impactful, the ripple effect is immediate. "You start creating an environment of growth and focus." This focus on quality and consistency is key to SOUND.COM’s ongoing success. He states that, because of their commitment to quality, clients keep returning. "Why are they not talking to any other vendor for the next milestone tour/show? Because we are translating an emotion and not merely delivering a sound.”
When discussing the future of touring in India, D'Souza points to Coldplay's hugely successful concert in Mumbai as a turning point. "Because of the success of Coldplay, everybody wants to now come to India and do a tour," he asserts. “This success has pushed the industry forward, showing that international acts can indeed draw massive crowds and generate significant revenue." he states with conviction.
D'Souza’s optimism about the future of the touring business is clear: "Unbelievably good." He believes the market will only continue to expand, as both domestic and international artists see India as a prime location for large-scale tours. But while D'Souza expresses enthusiasm about the future of touring, he has a more reserved view of the current state of the pro audio industry in India. According to him, the market is still far from where it should be. "I don't think it's strong at all. I think everybody's living
in a fallacy, thinking that they have achieved a lot," he says. He adds, "We’ve not achieved that much, so there’s still a long way to go for the industry.
For D'Souza, the consistency of sound quality across multiple performances is paramount. He recalls a specific incident during the Ed Sheeran tour, where he invested into a significant quantity of d&b Loudspeakers as tonal homogeneity was paramount for the tour production, we practically replicated the same Mains rig and variable outers and delay rigs in all cities. Tour class gear only stands in top-tier productions, any compromises here get exposed on tours.
D'Souza places strong emphasis on the human side of his business, from staff operations to client relationships. "Today, every metric counts. Where are you geo-positioned? Who's your crew? How are they geo-positioned? What do they say about your brand/company?" he explains. His holistic approach blends marketing, human resources, and team psychology. Leadership, he believes, is about managing people, not just resources. "In our company, 90% of the staff are aligned to our vision, so everybody's successful," he shares, highlighting his focus on building a collaborative culture to work and learn in unison
For D'Souza, adaptability is key to success. The ability to pivot when necessary, especially in times of crisis, has been a crucial part of his journey. He recalls the challenges of the Covid-19 pandemic, during which his company had to make significant adjustments. "By August of 2020, we started recalling staff and were paying people subsidised salaries," he remembers. Despite the setbacks, he ensured his team was not lost to international competitors, even though the industry as a whole was struggling. "We never lost anybody to Middle East based companies whilst others literally saw an Exodus," he proudly asserts.
Looking ahead, D'Souza is ready to face new challenges with the same strategic foresight that has guided him so far. He stresses the importance of understanding the multiple layers of business. "You’re challenged at many levels, at a multi-dimensional level," he says, acknowledging the constant evolution of the industry. "As good as an attack we possess, we also have to create a defence," he concludes.
D'Souza's approach to the touring business is rooted in a longterm vision, built on the foundation of quality, consistency, and forward-thinking strategy. As he continues to navigate the evolving market, his emphasis on systems, metrics, and the human element of business ensures that SOUND.COM remains a leader in the field. The road ahead may be filled with new challenges, but D'Souza’s phi losophy remains clear: success comes not from running fast in the short term, but from playing the long game with discipline, strategy, and relentless pursuit of excellence.
䌀漀洀攀 琀漀 䤀匀䔀 ㈀ ㈀㔀 愀渀搀
ProMusicals, one of the leading distributors of professional audio and music production gear in India, is now the Exclusive National Distributor for Icon Pro Audio, the internationally recognized brand known for its cutting-edge audio interfaces, MIDI controllers, and studio equipment.
This strategic partnership brings Icon Pro Audio’s innovative and high-performance products to musicians, producers, and content creators across India through ProMusicals’ extensive distribution network.
The collaboration marks a significant expansion of Icon
Pro Audio’s presence in India and reinforces ProMusicals’ commitment to delivering world-class gear and reliable service to India’s growing music and audio production community.
Icon Pro Audio’s product range will now be available through ProMusicals’ website and authorised dealers across the country.
Smart Monkeys, Inc., the team behind the award-winning ISAAC platform, has recently announced a new strategic partnership with Modern Stage Service (Projects) (MSS World), one of India’s premier providers of lighting and stagecraft solutions. As part of this collaboration, MSS World will act as the exclusive distributor of the ISAAC platform throughout India, one of the fastest-growing markets in the AV sector. With seamless integration capabilities and a focus on reliable, efficient operations, ISAAC continues to lead the way in AV system control and automation. Modern Stage Service (Projects)
is a respected name in India’s AV landscape, known for delivering innovative solutions backed by decades of experience and technical excellence.
“We’re incredibly excited to welcome Modern Stage Service (Projects) as our exclusive partner in India,” said Stephan Villet, CEO of Smart Monkeys, Inc. “Their deep-rooted expertise and understanding of the regional market make them an ideal partner to help us expand ISAAC’s reach.”
MSS World has been consistently embracing innovation, driving progress in AV and stage technology. This partnership represents a significant step forward for both companies as they collaborate to introduce ISAAC’s capabilities to new clients across India.
“We’re proud to team up with Smart Monkeys to bring ISAAC to the Indian market,” said Pratik Wadhwa, CEO of MSS World. “This partnership reflects our ongoing commitment to delivering forward-thinking, worldclass solutions to our clients, and we’re excited about the possibilities
ISAAC brings.”
This alliance marks a major milestone in Smart Monkeys’ global expansion efforts, bringing ISAAC’s advanced control solutions to India with the added strength of MSS World’s trusted local support.
Rishabh Incorporated, part of the Kiran Sales Corporation Group, has been appointed as a distributor for Neutrik products in India. The company has a longstanding history with Neutrik, having sold its connectors for over 25 years and previously operated as one of the distributors during the presence of Neutrik India. The appointment comes after Rishabh Incorporated’s performance as the exclusive distributor for REAN, a Neutrik Group brand, over the past year. The company’s success in promoting and distributing REAN
products led to further discussions with Neutrik, resulting in the expanded partnership, finalised during ISE Barcelona.
This move aims to strengthen Neutrik’s reach across the Indian market, which is viewed as requiring multiple distributors to ensure effective coverage due to its
geographic and sectoral diversity.
Rishabh Incorporated plans to focus on the audio segment, including the installation, professional sound, and rental markets. It is also expanding its customised cabling solutions using Eurocable and Neutrik connectors, targeting users of reputed brands and offering these solutions
at competitive prices.
To support customers, Rishabh Incorporated is implementing measures to address challenges such as product availability and timely delivery. The company intends to maintain sufficient inventory to ensure prompt supply and immediate replacement when required, particularly for live sound applications where delays can impact operations. The distribution partnership is positioned to improve the accessibility and reliability of Neutrik products across under-served regions in India.
Audio
Event
Shure, one of the global leaders in audio technology, proudly announced the launch of its ground-breaking Axient Digital PSM Advanced Digital In-Ear Monitoring System recently during a three-city tour across Mumbai, Bangalore, and Delhi. The PALM Expo Magazine team covered this landmark industry development, an essential and
rental owners to witness the future of digital wireless monitoring solutions.
Shure’s new Digital In-Ear Monitoring System (IEM) has been meticulously designed and developed to exceed the demands and needs of today’s touring and live production landscapes. Shure’s new Axient Digital PSM ensures the highest levels of RF performance, audio quality, scalability, flexibility, and low latency.
this ecosystem marks a significant upgrade, integrating advanced IEM systems. It offers exceptional audio quality and ultra-low latency of under 2.9ms, thanks to a next-generation digital radio and advanced headphone amplifier design. One of its standout features is Spatial Diversity, a Shure innovation that uses dual transmit antennas on the same frequency to enhance RF stability and
unmissable moment for the pro audio community. The event was held in partnership with Sun Infonet, one of India’s leading professional sound solution providers. This event brought together monitor engineers and
With its forward-looking design, Axient Digital PSM represents a longterm investment for tours, venues, and other applications.
Axient Digital has been a touring standard for over a decade, trusted
simplify zone coverage in stadiums, studios, and indoor venues. With four selectable transmission modes, the system offers unmatched flexibility for different production needs while ensuring efficient spectrum use. Integrated with Shure’s ShowLink, Wireless Workbench, and the AD600 Spectrum Manager, it provides real-time remote control, scanning, and monitoring, putting total command in the hands of audio engineers.
“We’re excited to be here. With Shure celebrating 100 years, and our partner Sun Group marking their 40th anniversary, and 25 years for Sun Infonet, it felt like the perfect time to showcase our latest innovation. The new digital in-ear monitoring system has already seen success in the US and Europe and even made an
unofficial debut last month at Lollapalooza in Mumbai. Now, we’re proud to officially bring it to India. It’s a natural addition to our portfolio alongside Axient Digital, already a world-leading system. This really completes the family.”Antony Lovell, Director of Sales MESEA, Shure.
“In my role leading strategic market development globally, I’ve spent a lot of time understanding the evolving needs of customers, especially around spectrum regulation and product design. We fed all of that learning into systems like Axient Digital and now into this new digital in-ear monitor. Honestly, one of the most common questions I’ve been asked over the past six to eight years is, ‘When is Shure going digital with IEMs?’ That moment is finally here. It’s been a long time coming, and it’s personally rewarding to be in India, meeting our friends and customers as we introduce this major step forward,” — Tuomo Tolonen, Senior Director, Strategic Market Development, Shure
“As Shure celebrates 100 years globally and Sun Infonet completes 25 years, this moment marks a significant milestone for both companies. We’ve witnessed the evolution of audio technology together, and this latest launch—Shure’s first foray into digital monitoring systems—is a truly unique step forward. When I met the team in Barcelona, I emphasised the need to bring this innovation to India, not just as a product, but as a conversation. There are many questions from engineers and rental companies around frequency spectrum and system clarity, and it was important to us that we lead with education. Our aim has always been to deliver honest, future-ready solutions to the market, not just competitive pricing”. — Neeraj Chandra, Director, Sun Infonet.
To mark a new chapter in professional audio, Sennheiser launched the Spectera in an event “Unleashing the Future of Audio” at JW Marriott Juhu, Mumbai. A key highlight of the event was Spectera, the world’s first wideband, bidirectional digital wireless ecosystem. The gathering brought together leading audio professionals and enthusiasts for a first-hand look at Sennheiser’s most advanced and transformative wireless system, signaling a breakthrough in how live sound, broadcast, and stage productions are managed.
Built over a decade of research and innovation in Wireless Multichannel Audio Systems (WMAS), Spectera integrates microphones, in-ear monitors (IEMs), and control data into a unified, wideband channel. Supporting up to 64 bidirectional audio links within one bandwidth of either 6 or 8 MHz, Spectera reduces system complexity, minimizes interference, and allows real-time control with unprecedented spectrum efficiency.
culmination of years of technological innovation and spectrum policy leadership in WMAS. It directly addresses the core challenges faced by today’s wireless multichannel audio system users, delivering ease of use, robust reliability, and scalable flexibility. By reducing hardware dependency,
streamline RF planning for complex, multi-layered productions.
An in-depth product presentation on Spectera at the event covered its key features, components, ecosystem, and benefits. This was followed by a Q&A session where sound engineers and rental companies
simple software-based controls and simplifying frequency coordination, Spectera introduces a new era of wireless freedom.”
Sennheiser also showcased LinkDesk, a powerful desktop application that serves as the centralised user interface for Spectera. Together, Spectera and LinkDesk deliver an intuitive workflow.
clarified their doubts on the product, its capabilities, different use cases, and scenarios.
as Warren D'Souza, Manish Mavani, Tanay Gajjar, Vikrant Jain, Ashish Saksena, and Lee Braganza, moderated by Samir Kripalani. The conversation explored the evolution of sound technology. Panellists discussed challenges faced by the AV industry and how innovation has been key to progress. Andreas also elaborated upon the decade-long journey behind the development of Spectera and its role in shaping the future of audio. The discussion also touched upon rising customer expectations and the growing demand for immersive, high-quality audio experiences. The consensus was on the need for staying abreast of new technologies to ensure the right equipment for dynamic environments.
Dr. Andreas Sennheiser, Co-CEO of the company, introduced Spectera and said, “Spectera represents the
Andreas shared plans to integrate Spectera into Sennheiser’s SoundBase RF planning tool, enabling professionals to coordinate both narrowband and wideband systems from a unified platform, a move expected to
The hands-on session elaborated on how Spectera simplifies a bi-directional wideband wireless system optimised for polite spectrum usage, remarkable ease of use, and real-time control. The visitors learned how this technology can simplify and improve their production workflows and wireless management.
The event also featured a dynamic panel discussion that brought together Andreas Sennheiser, along with leading industry voices such
The evening concluded with a networking dinner where Sennheiser’s India leadership team, audio technology enthusiasts, and industry professionals made valuable connections. The conversations underscored a shared belief, Spectera isn’t just solving today’s wireless challenges; it’s shaping the future of audio with elegance, precision, and purpose.
As music production in India continues to grow in sophistication, professional studios are increasingly turning to monitoring solutions that can deliver unmatched accuracy, reliability, and flexibility. GENELEC, one of the global leaders in studio monitoring, remains at the heart of this evolution. Across Mumbai, several renowned studios are reaffirming their commitment to Genelec, citing the brand's technological finesse and trusted audio integrity.
A2 Studios, tucked away in Andheri West, recently upgraded its monitoring environment with the support of Sound Team Transitioning from a stereo setup built around ADAM monitors, A2 now operates a Dolby Atmos configuration that includes Genelec 1237As for LCR channels, 8340A’s for surrounds, 8330A’s for overheads, and a 7380A subwoofer
Ikram Lochoor Chief Audio Engineer at A2 Studios speaks to the PALM Expo Magazine team about the influence that Genelec has on the studio’s workflow.
"Genelec speakers have helped us maintain consistency and accuracy in our monitoring environment. The sound is clean and detailed, which is important when we are working across different genres and formats. Having a neutral reference point allows our engineers and producers to make informed decisions during mixing and mastering. Overall, it improves the quality of our output and gives us more confidence in the final result."
Lochoor elaborates upon the specific models that A2 Studios utilises, to ensure optimal performance based on specific acoustic requirements. "We use different Genelec models across rooms depending on the type of work being done. The 1237A serves as our main monitoring pair in the larger mixing room, especially when precision and full-range clarity are needed. For smaller edit or pre-production rooms, we use the 8340A and 8330A monitors. Despite their compact size, they offer reliable response and translate well across different systems. Each setup has been chosen based on the acoustic needs and function of the room."
Genelec's compatibility with modern workflows and varied production demands offers A2 Studios a significant advantage. "Our team works on a mix of commercial, independent, film mix and immersive projects, so flexibility and reliability are important. Genelec speakers are easy to calibrate using the GLM (Genelec Loudspeaker Manager) software, which is useful when working in different acoustic spaces. They allow us to maintain a consistent monitoring standard across rooms. This definitely helps in speeding up the workflow and ensures better translation of the mix across playback systems."
Commenting on the role of Sound Team, Luchoor says: "Sound Team is closely involved in all technical decisions. Before making any purchase, we usually test the product in our actual workflow and environment. Our team’s background in audio engineering, post-production, and live sound helps in evaluating what’s practical, not just what looks good on paper. Their understanding of the tools and how to use them well contributes directly to the success of the projects we handle."
One of A2 Studio’s recent projects includes work on the feature films Dwidha and Deeva, as well as a couple of standalone singles. Led by Lochoor the studio was responsible for recording, mixing, and mastering the background score and songs for these titles, ensuring a consistent and professional audio finish across formats.
Genelec’s adaptability and performance make it equally effective for expansive studio environments, as reflected in Bombay Live Studios Prathamesh Dudhane, owner of the four-room facility spread across Khar and Juhu in Mumbai, shares how Genelec monitoring has become central to their operations.
"When it comes to professional sound studios, few elements are as vital as accurate monitoring. Studio monitors are not just tools, they are the very lens through which sound is perceived, shaped, and perfected. In my journey through audio engineering and studio design, I’ve come to realize that a great mix starts with great monitoring. It’s the most non-negotiable part of any professional studio setup."
At the Juhu branch, Studio A houses a pair of Genelec 8351B coaxial threeway monitors with a 7370A subwoofer, forming the core of its mixing and mastering setup. Studio B is equipped with 8330A monitors and a 7350A subwoofer, catering to production work, jam sessions, and mixing.
The Khar branch features Studio A with 8340A monitors paired with a 7370A subwoofer, tailored for recording, mixing, and mastering. Studio B, a more compact recording space, uses the 8330A’s. Dudhane explains the rationale behind his selection:
"Each space is uniquely designed, yet they all share one common ele-
“Genelec speakers have helped us maintain consistency and accuracy in our monitoring environment. The sound is clean and detailed, which is important when we are working across different genres and formats”
Bombay Live Studios uses Genelec studio monitors citing their meticulous calibration technology
ment - a meticulously calibrated monitoring environment built around the legendary Genelec speakers. Genelec has set the global standard for precision and reliability in studio monitoring. Their speakers are not only incredibly accurate, translating mixes effortlessly across all playback systems, but also deeply inspiring to work on. The detail, depth, and honesty they provide have transformed how we listen and work across all our rooms."
The studio environments were calibrated with Sound Team, who worked closely with Dudhane to optimise each room’s acoustics and ensure consistency across the board.
"Every studio space comes with its own set of acoustic challenges. That is why I have handpicked the perfect monitor sizes for every room with the help of the people at Sound Team. Their deep understanding of room acoustics and Genelec's cutting-edge calibration technology allowed us to tailor the monitoring setup in each room based on its unique dimensions and sonic profile. From selecting the right Genelec models to precisely calibrating them using GLM, Sound Team made sure our monitoring was spot-on, ensuring consistency, accuracy, and creative confidence across all four rooms."
Dudhane concludes with high regard for the technical support provided: "In any professional studio, monitoring isn’t just about hearing sound it’s about trusting what you hear. And thanks to Genelec and the support of Sound Team, I can confidently say that every decision made at Bombay Live Studios is backed by clarity, precision, and an unwavering dedication to quality. Huge shoutout to Sound Team for their expert guidance and support in helping me build studios that truly live up to the standards of modern music production. Their knowledge, service, and attention to detail have made a lasting impact on our studios.”
While Genelec continues to be an essential for high-end studios, its impact extends just as powerfully into the personal workspaces of individual creators, empowering professionals with the same uncompromising accuracy, detail, and confidence that teams rely on in larger facilities.
Raxit Tewari, songwriter and producer, relies on precision and sonic honesty when crafting his music, and at the heart of his studio setup is a stereo pair of Genelec 8351B monitors
“Genelec co-axials are some of the most revealing speakers I’ve had a
chance to listen to,” Tiwari shares with the team. “In a nicely treated room, like the one at mine, with a little help from GLM, it’s a monitoring system that I can enjoy listening to music on, as much I can trust that it will translate well to other speaker systems.”
The 8351B’s are the sole monitoring system in his studio, and for Tewari, they cover the full spectrum of tasks. Their neutral and transparent character provides the accuracy required for detailed work across various stages of pro-
duction. He adds, “8351’s have a very easy and non-fatiguing character. That helps a lot when you’re working long hours. Because of the coaxial nature of it, you can monitor softer and still get a lot of detail into the productions. That helps keeping your ears and your neighbours to live in peace and harmony.”
Even without a subwoofer, Tewari finds the low-end response of the 8351Bs more than adequate. “In my situation at least, they give me enough detail in the sub region to really trust them there. 8351’s have this quality of laying bare the mix in front of you. This really helps with quick decision making and developing trust in those moves, which is essential when you’re constantly working on tight deadlines.”
Alongside the performance of the monitors themselves, Tewari credits Sound Team for their role in helping him choose and integrate the right gear into his studio environment. “Sound Team’s folks are my go-to team to get pro gear from,” he says. “They are super helpful in choosing the right tools and have a lot of expertise in making sure it’s working in a fashion that makes practical sense in the setup. Everything I’ve got from them; I’ve thoroughly enjoyed and can be sure are going to be a part of my chain and setup for a long time to come.”
With a mix of honesty and humour, he adds, “There’s still so many good things in their arsenal, I’m sure they’ll be responsible for me being left with no retirement funds for a long time to come. As long as the ears are happy, I guess."
From full-scale Atmos setups in post-production hubs to finely tuned stereo environments in songwriter studios, Genelec continues to set the benchmark for monitoring excellence across Mumbai’s audio scene. Whether it's the transparency that shapes a mix, the calibration that ensures consistency, or the support from partners like Sound Team that ties it all together, Genelec's presence is felt not just in the gear, but in the confidence it inspires in every decision. In an industry where precision is everything and deadlines never sleep, Genelec delivers trust.
a standard network. This makes the 16A suitable for large-scale and distributed systems, particularly in installations where audio networking is essential.
The 16A also marks a first in its class as the world’s first Thunderbolt 4 interface with USB support, supporting ultra-low-latency performance across
Steinberg Nuendo, Apple Logic Pro, and the Dolby Atmos Renderer. While onboard Atmos rendering and monitor control are not included, the 16A can be expanded through additional MOTU AVB interfaces, allowing users to scale their systems to fit their production requirements.
For signal processing and monitor-
MOTU has unveiled two new additions to its portfolio of professional audio interfaces, the MOTU 16A and the redesigned MOTU 828, each bringing specific strengths to different studio workflows. Designed with precision, these interfaces are equipped to meet the evolving needs of professionals in the industry.
MOTU 16A is designed with immersive audio in mind supporting 7.1.4 Dolby
The MOTU 16A is designed for hybrid studios where analogue summing, modular synthesis, and advanced networked audio are routine components. At its hardware level, the 16A features 16 balanced TRS analogue inputs and 16 TRS outputs, offering extensive flexibility for routing and accommodating outboard gear.
At the core of the unit lies the ESS Sabre32 Ultra DAC technology, delivering a dynamic range of 123 dB. This specification enables accurate and clean audio reproduction across complex session work, from high-fidelity monitoring to intricate multi-channel routing.
Among the 16A’s notable capabilities is its AVB Ethernet connectivity, which allows it to interface with other AVB-compatible devices over
Mac and PC platforms. MOTU reports that the interface can achieve roundtrip latency as low as 1.4 ms at 96 kHz with a 32-sample buffer.
Designed with immersive audio in mind, the 16A supports a 7.1.4 Dolby Atmos speaker configuration
configuration
ing, the 16A integrates CueMix Pro, a 48-input digital mixer that includes modelled analogue EQ, compression, and reverb. The mixer offers zero-latency monitoring, supporting demanding production workflows without requiring external DSP
accommodate both modern home and professional studios. It supports 28 inputs and 32 outputs, combining a diverse selection of I/O options in a single, compact unit.
Like the 16A, the updated 828 features ESS Sabre32 Ultra DACs, with a dynamic range of 125 dB. This also allows the unit to maintain ultra-low latency, which is critical for real-time tracking and virtual instrument performance.
A full-colour, high-resolution LCD screen provides real-time metering and hardware control, streamlining workflow by giving engineers immediate visual feedback. Additionally, the interface is controllable via CueMix 5 software, which supports wireless operation from macOS, Windows, or iOS devices.
Together, the MOTU 16A and the updated 828 reflect the growing demand for interfaces. While the 16A caters specifically to Dolby Atmos and AVB-connected studio setups, the 828 offers a broad range
through its 16 analogue outputs. It is compatible with a range of professional software including AVID Pro Tools (Studio and Ultimate editions),
hardware.
The MOTU 828 represents a contemporary evolution of a classic interface, updated with features that
Solid State Logic (SSL) has officially launched the ALPHA 8, an 8-in/8-out professional-grade AD/DA converter and 18-in/18-out USB audio interface designed to expand and enhance any studio setup. Housed in a compact 1RU chassis, ALPHA 8 delivers high-performance 32-bit/192
kHz conversion with ultra-low noise, unmeasurable crosstalk, and SSL’s signature sound quality.
ALPHA 8 offers full compatibility with the recently released SSL 18 interface, while also providing standalone functionality via ADAT and S/ PDIF. Its flexible analogue and digital
I/O, including word clock, makes it ideal for hybrid workflows involving outboard gear, synthesisers, 500-series modules, and more.
“The ALPHA 8 features a comprehensive selection of analogue and digital I/O, enabling our users to make the most of their existing setups, while delivering no-compromise SSL sound and
of features aimed at producers, engineers, and musicians working within more compact or hybrid environments.
quality,” said Andy Jackson, Senior Product Manager, Studio at SSL. Key features include 8 balanced line-level inputs and outputs, ADAT and S/PDIF connectivity, USB-C interface, and adjustable operating levels from +9 to +24 dBu. It also supports CV outputs for electronic music producers and comes bundled with the SSL Production Pack, including Harrison Mixbus 10 and extended trials of SSL, Slate Digital, and Harrison Audio plug-ins
Bridging in-room and personal headphone monitoring
Our UNIO TM Ecosystem gives the ability to optimise, align and seamlessly navigate your monitoring options, for the exibility to work anywhere, anytime – from stereo to immersive.
Now, with the introduction of Personal Reference Monitoring – our pioneering new active monitoring headphone solution –UNIO offers the very highest level of headphone accuracy.
genelec.com/unio
When Coldplay returned to India for a historic multi-city run, the scale was epic, but so were the stakes. Tasked with transforming sacred cricket grounds into world-class concert venues, Shipra Venkatesh, Technical Producer at BookMyShow Live, led the charge with surgical precision, creative agility and a deep respect for both turf and tech. In this exclusive interview with PALM Expo Magazine, she walks us through the logistical ballet behind one of India’s most complex and high-profile live productions to date.
1. From a production standpoint, what were the unique challenges of executing Coldplay’s touring setup in an Indian venue?
The first unique challenge was the fact that we were in cricket stadiums. As you know, cricket is religion here and the pitch is the shrine. Much of the stage, consoles and delay towers were built on grass. And so, it was all of our top priority to protect the turf and pitch. It became an integral part of our planning at every level. We tried to optimise the production schedule to the best of our ability to reduce the number of hours the grass would be covered. We only covered the pitch and built on it one evening before show day!
I’m happy to say all our efforts paid off. India and England were able to play a match at the Narendra Modi Stadium only weeks after the Ahmedabad shows!
Further, with these stadiums comes the unique challenge of never having hosted so many people in the field of play. Ensuring safe and comfortable ingress and egress of attendees and creating enough access points, became a priority for the team at BookMyShow Live.
Transform performances from everyday to epic with Axient® Digital PSM.
Unparalleled transmission quality and flexibility, check. Complex productions that push creative boundaries, check.
Up to 28 channels in a single 6 MHz band, check. Simpler, quicker setup that frees up more time for mixing, check.
Axient Digital PSM checks all the boxes, setting the new standard for wireless, in-ear monitoring. Built on Shure’s extraordinary legacy, it delivers a balanced, clear mix in any venue, any time.
2.Could you elaborate a bit on the power aspect of the Show? How did you execute it?
The last show in India of a comparable scale was U2’s Joshua Tree Tour. Back in 2019, U2 brought down literally everything, including megawatt generator containers!
This time around, it was very different. The whole show was locally powered with 8 x 500 kVA Aggreko generators for audio, lighting, video, rigging, and utilities. All the generators ran in sync with a robust load bank system. The power distribution was also very detailed, with lengthy cable runs and close to 30 power distribution units. All generators were supplied by Brite Technology, and all power distribution was handled by Third Wave Power
The Coldplay crew was very meticulous and detailed in their planning, ensuring all tech disciplines had their own PDUs, everyone had the right connectors, and that all the cables followed a very specific path. The understage area is a village of its own, and there could not be huge cables cutting across just anywhere.
It was challenging and a lot of fun at the same time, and now I’m looking forward to more copper cables and less aluminium in India.
3.Considering the 3rd show in Mumbai was on Jan 21st and the first show in Ahmedabad on Jan 25th, how did you manage the quick turnaround?
By a lot of planning and then some more!
The load-out of Mumbai and the load-in to Ahmedabad was thought out to the T. We left no stone unturned, from identifying the fastest routes, to no-entry timings, to even the size of truck that would be most efficient. Even the order of the trucks entering and leaving the venue was planned, as was which equipment gets packed up and leaves first.
It also helped a lot to have the same teams do both sets of shows, as everyone already had their learnings from Mumbai to implement in Ahmedabad. All fixtures, motors, cables, etc. were labelled to go to their exact place in Ahmedabad. While the Mumbai shows were on, we had separate teams in Ahmedabad setting it all up and getting as much done as possible to ensure a smooth and seamless load-in and build of the stage tech.
All of it was really an exercise in efficiency and I am so happy to say, everyone came through.
4.What was the scale of the rigging operation, and how was it planned and executed to meet the production requirements?
All the rigging material, accessories, and hardware for the shows were sourced locally within India. The scale was substantial, close to 130 hoists were deployed, there were 22 x 2 ton hoists; 16 were for the tour video screens and the rest for audio.
To ensure smooth operations, particularly given the complexity of multiple departments working simultaneously, the team provided around 30 hoist controllers. This decision was critical, as each technical discipline be it lighting, audio, or video, needed its own dedicated set of controllers to avoid bottlenecks and maintain an efficient build timeline.
Over 100 emails and countless hours of planning were exchanged between teams to make sure all elements were in place well ahead of production load-in. Team SNL Pro played a pivotal role in delivering the rigging on time. Additionally, strategic investments were made to bring in and introduce new rigging hardware, such as STAC chains, into the Indian market, a move that not only supported this production but also raised the bar for future large-scale events in the country.
5.What was the scale and configuration of the PA system used, and how closely did it follow the band’s global touring spec? How did you manage systems integration between Coldplay’s touring audio gear and the local infrastructure?
The tour requires or travels with the d&b GSL Main PA rig with flying SL subs. So, there are no deviations there. Locally, we supplied the D&B SL subs and all the delay & 270 hangs which were L’Acoustics. The tour also travels with their own FOH drive rack which takes care of all systems. It integrates both the main & delay hangs. The drive racks distribute audio signals & control data to the amplifiers. However, it all needs to be networked as per the IP addresses assigned. The Coldplay team had supplied us with detailed documents with signal distribution for the amps: the IP address for each amp & the audio signal routing was clearly specified. This is how they ensure familiarity, standardisation and consistency on every show.
6.What preparation did the local audio team do?
The preparation included checking every box for physical damage or any other issues and this included drivers & flying hardware. They checked and prepared all amps and networked them as per received documentation with appropriate IP address. Speaker cables were prepared in bundles & labelled as per hang. The cables were also packed & transported as per each array with appropriate numbers & colour codes. This ensured a very quick turnaround time on site. The same process was repeated for the Ahmedabad show.
7.Were there any format bridging or clocking challenges? Was there any audio-over-IP networking involved (Dante, AVB, MADI-over-fibre)? If so, how was the network structured and monitored?
The band control package included a Prodigy MP which handled all signal distribution - this was the front end for EQ of all the hangs. All systems were routed through the MP which acted as the sole clock for the entire show.
There was no audio over IP Madi/ Dante or AVB used for the whole system. They preferred AES as the main input to the Amps & Analog backups to the Amps.
8. What tools and processes were used for system design, alignment, and tuning?
System design was carried out using Soundvision for the L-Acoustics system, and ArrayCalc for the d&b audiotechnik system SMAART software was used for time alignment, while the Prodigy.MP (by DirectOut Technologies) processor handled EQ and delay times.
9. Could you enlighten us on the lighting aspect of the production?
One of the most satisfying outcomes of the Coldplay shows was the introduction of a large number of Robe fixtures into the Indian market. India has never before seen this scale of Robe inventory.
When we proposed Robe Fortes and MegaPointes to the Coldplay lighting team, they were very happy to have more powerful fixtures than originally specified. This was the confirmation SSL Media Tech needed to make the big move. The introduction of hundreds of Robe Fortes and MegaPointes and a sizeable number of Robe Spiiders and RoboSpot systems in the country is of great significance. Around four days before the Ahmedabad shows, the goal of achieving a 360-degree lighting setup for the Narendra Modi Stadium was introduced. Given how iconic the shows were shaping up to be, this was something both the Coldplay crew and our team were keen to realise. With a lightning-fast turnaround, Team SSL was able to make it happen.
A total of 350 fixtures were deployed, a combination of Raytheons and W600 washes . With the outer stadium diameter close to 1 kilometre, the team used fibre optic cabling, multiple DMX nodes, and dist ribution panels to ensure consistent, delay-free communication across th e entire stadium.
10 . Which local rental and technical teams did you collaborate with, and how did you ensure they met Coldplay’s production
standards?
• Audio (L’Acoustics) – SNL Pro
• Audio (d&b) - SOUND.COM
• Lighting – SSL Media LED – SSL Media
• Rigging Equipment – SNL Pro
• Rigging Support – Omniterra
• Generators – Brite Technologies
• Power Distribution – Third Wave Services
• SFX & Pyro – SNL Pro
• Stage Scaffolding – Videas Event Production
• Ground Production – Production Crew (Mumbai), Team Limelight (Ahmedabad)
• Overall Logistics – Buhariwala Logistics
I think the most important decision we made was to not experiment when it came to suppliers. We worked with only the best in the business and those who already have experience working with global artists.
Every crew member spent hours in their respective warehouses prepping gear. Not a piece of equipment came on site that wasn’t already checked and labelled.
Apart from meeting Coldplay’s production standards, this whole project made me realise how far we have come as a country to be able to smoothly host such massive shows. From seeing where this industry was 15 years ago to where it is today, the growth is remarkable and commendable. And we have our entire community to thank for this.
We should all pat ourselves on the back.
Special Thanks:
Siddhesh Susvikar, Lighting Crew Chief, SSL Media
Vishal Giradkar, Audio Crew Chief, SNL Pro Zeus Unwalla, Head of Production, BookMyShow Live
Chamundesware Studio adopts
Dolby ATMOS in strategic partnership with Ansata Chamundesware Studio, a name synonymous with legacy and longevity in Indian cinema, has entered a new era with a transformative upgrade to Dolby Atmos mixing capabilities. The studio, based in Bengaluru, has modernised its infrastructure with a complete immersive audio overhaul by implementing a partnership with Ansata, one of India’s leading solutions providers in professional audio.
Founded in 1969, Chamundesware Studio has been a cornerstone of South Indian cinema. Originally operating as Pakshiraja Studio in Coimbatore for over three decades, the studio’s relocation to Bengaluru marked a significant step in its evolution. With its history of pioneering technology, from Mitchell cameras and RCA gear to BNC projectors, the studio has consistently stayed ahead of the curve.
Its debut Kannada film, Subhadra Kalyana (1971), set the tone for decades of regional cinematic contributions. Over the years, the studio adapted from film reels to digital editing, from stereo to surround, and now, Dolby Atmos.
For Chamundesware, the transition to Dolby Atmos needed precision, performance, and reliability. Ansata, with its long-standing expertise and reputation in high-end audio integration, became the natural partner for this journey.
The studio opted for a comprehensive AVID and RME-based setup, designed and installed by Ansata’s technical team.
This configuration provides seamless integration, high track counts, sample-accurate sync, and immersive mixing capabilities. The combination of AVID’s Pro Tools environment and RME’s MADI-based routing offered
the studio the flexibility and stability required for Dolby Atmos workflows.
The integration of RME's technology was particularly vital. Support for MADI allowed smooth connectivity between Atmos rendering and monitoring components, enabling complex setups without technical bottlenecks.
The Dolby Atmos configuration includes:
• AVID MTRX II
• Pro Tools Ultimate
• HDX
• AVID S1 (x3) with AVID Dock
• Pro Tools | Sync X
• RME M-32 Pro II
• RME Digiface AES
• RME HDSPe MADI FX
Despite having a solid Dolby Surround setup, Chamundesware recognised the growing demand for immersive audio. The shift towards Dolby Atmos, across films, web series, and music albums, highlighted the need for native Atmos capabilities. This transition was not only about embracing better sound but also about meeting evolving industry standards and complex production workflows.
A native Dolby Atmos system would allow the studio to handle projects without needing post-release conversions from 5.1 or 7.1 formats, offering both technical accuracy and creative flexibility.
The transition was smooth and precisely managed. The main mix room, originally built in 2012 for high-end surround projects, already had a solid acoustic foundation. This made the Dolby Atmos upgrade relatively straightforward.
Ansata's involvement ensured that the installation and commissioning met every Dolby specification. Acoustic and design standards were adhered to throughout the process, ensuring technical compliance and optimal performance.
Even before the new system went live, inquiries started coming in. Once operational, the shift was immediate. Projects previously planned in 7.1 were upgraded to Dolby Atmos. New clients began approaching the studio with
“The engineers from Ansata did a splendid job in installing and commissioning the equipment in record time.”
RAJMANI, Director of Chamundesware Studios
Installing the Avid system at Chamundesware Studio was smoother than expected. The infrastructure was well-prepared, the team was clear on their workflow, and everything aligned from day one. Big thanks to Pardhu from Infotech for leading the integration onsite. It’s always a pleasure to work with people who care about doing things right.
MANAS KARKARE, Application Specialist, Ansata
Atmos as the baseline requirement.
Producers and engineers alike praised the mix room for its outstanding clarity, excellent sound quality, and efficient workflow. Within just a few weeks of the system being activated, the studio saw a notable increase in demand, accompanied by glowing reviews from visitors.
Chamundesware’s upgrade is more than just a technical update, it’s a continuation of a vision built over five decades.
Rajmani reflected on the studio’s transformation with a message for the wider community, “Dolby Atmos is a beacon in the sea. Everyone will benefit from adopting this technology.”
He underlined the belief that sound should not be constrained. Atmos, he said, gives audio the room to breathe and connect with listeners on a deeper level.
With this significant investment in immersive audio, Chamundesware reaffirms its commitment to quality and innovation. From its early days with film labs and processing to today’s state-of-the-art Atmos mix room, the studio continues to uphold its foundational principles: adaptability, excellence, and creative fidelity.
The upgrade was not only about meeting current demands but instead a proactive move to position Chamundesware as a leader for the next generation of filmmakers and audio professionals.
Throughout the project, Ansata’s role extended far beyond product supply. Their technical team guided the process from consultation to execution, ensuring the studio faced no operational delays or workflow challenges. By supplying and configuring systems from AVID and RME, backed by Dolby , Ansata enabled Chamundesware to deliver high-quality content at global standards.
For studios exploring immersive upgrades, Chamundesware’s journey with Ansata is a testament to the impact of strategic partnerships and forward-thinking infrastructure.
First consecrated in 1931, St. Joseph Church in Kuriachira, has long stood as a spiritual and architectural landmark in Thrissur, Kerala. Following a sweeping renovation that honoured its historic legacy while rejuvenating its structure, the parish leadership sought to elevate not just the church’s physical presence, but also its auditory experience. To realise this vision, the church partnered with Zacs and Phils entrusting them with the task of designing and implementing a complete audio solution.
The brief was clear: each word of prayer, should reach each of the worshippers with precision and grace. The solution had to be one that would meet modern acoustic standards while preserving the aesthetic sanctity of the space. The project was as technically demanding as it was spiritually significant.
The church’s circular architectural design immediately presented challenges. Such a layout tends to scatter sound, making it difficult to ensure focused coverage and clarity. Compounding this were the high ceilings, which introduced long reverberation times that could obscure speech. While the ceiling had received some acoustic treatment, the granite flooring and largely untreated walls remained highly reflective, further complicating matters. Ensuring even sound distribution and intelligibility across such a reverberant, reflective environment, particularly for a congregation of over 2,500, required a carefully engineered approach. Zacs and Phils began by conducting comprehensive acoustic simulations and 3D modelling. These preparatory steps allowed the team to understand how sound would interact with the church’s geometry and materials before any installation work began. Every decision, down to speaker placement
and signal routing, was grounded in data and acoustic evidence, reflecting the team’s deep experience in ecclesiastical sound design.
For the main loudspeaker system, six Tannoy VLS 30 column arrays were selected and precisely placed to cover the full arc of the congregation. The VLS series, known for its Asymmetrical FAST Technology, provides tight vertical dispersion and controlled horizontal spread, essential in minimising reflections and maintaining clarity in reverberant environments. To address the needs of the front rows without introducing unwanted energy into the dome, four Behringer 8” speakers were deployed as front fills, delivering low-volume, high-intelligibility sound while remaining visually discreet.
Low-frequency reinforcement was achieved through the integration of four subwoofers, carefully calibrated to enrich the musical experience without overpowering the liturgical ambience. These subs added warmth and fullness to both speech and music, ensuring a well-balanced audio presence throughout the sanctuary.
The system’s digital backbone was provided by a Symetrix Jupiter 8 DSP, which handled equalisation, delay alignment, and
Zacs and
zoning. This processor allowed fine-tuning of the system to the acoustic profile of the church, to smooth out reflections and align speaker output for natural, intelligible sound. Powering the Tannoy arrays were Lab.gruppen amplifiers, selected for their dynamic headroom, energy efficiency, and reliable onboard DSP capabilities, making them a suitable choice for a mission-critical installation.
A variety of microphones from Audio-Technica were employed to meet
different functional needs. 2000 Series wireless microphones were used by priests and celebrants, offering mobility and clarity. For the ambo and lectern, Engineered Series gooseneck microphones ensured articulate speech delivery, while the choir was supported with Midnight Blues wired microphones, chosen for their tonal accuracy and robust performance.
Monitoring was also carefully addressed. Four Behringer B112D monitors were placed strategically, two for the choir and two in the altar and bema areas, to assist celebrants and lectors in hearing their own output without interfering with the congregation’s experience. Central system control was managed via a Behringer X32 Compact digital mixer. Renowned for its reliability and ease of use, the X32 Compact allowed seamless control of all mix elements, effects, and routing. Its presence in the church reflects its global reputation as one of the most popular digital mixers in houses of worship.
Much of the audio infrastructure remains hidden, thanks to Zacs and Phils’ commitment to preserving the visual integrity of the space. Cable routing was executed silently and invisibly, and the integration of speakers and gear was handled with an architect’s eye. Speaker output was finely calibrated to the room’s acoustic behaviour, and the entire system was designed to feel like an organic part of the church rather than an external addition.
The result is a space where worshippers experience exceptional speech clarity and musical richness from every seat, with no dead zones or disruptive echoes. The system performs reliably even during high-attendance events, delivering feedback-free audio regardless of how full the church is.
The project’s success has been warmly acknowledged by those involved. In the words of the parish: “Fr. Vadakoot Thomas, Convenor Paul Alukka, and the Parish Committee placed their trust in Zacs and Phils to elevate the worship experience.”
Through their detailed and disciplined approach, Zacs and Phils have ensured that worshippers are engaged in the service without any hindrance.
In an era where heritage spaces are increasingly embracing modern technology, this project stands as a strong example of how tradition and innovation can coexist, not in conflict, but in harmony.
Ayrton has launched its new Stradale Profile, the most compact, lightweight and versatile luminaire in the Ultimate range. Following in Rivale’s footsteps with a 15% reduction in visual footprint, Stradale Profile’s design embodies the principle of perfect uniformity. Through meticulous engineering and extreme miniaturization, every detail is optimised to streamline the structure, refine effect modules and minimise component size.
The new format has led to the development of an all-new, high efficiency 330W LED module, precisely calibrated at 6500K, delivering a luminous output of 20,000lm.
Engineered for indoor and outdoor use Stradale Profile’s lightweight construction plays a key role in setting apart in the series. Tipping the scales at just 23.5kg it sets an unprecedented benchmark for its category.
To unlock new creative possibilities, Stradale Profile features infinite continuous rotation as standard on both pan and tilt axes. Equipped with a 140mm front lens, its proprietary 13-lens optical system delivers a remarkable 13:1 zoom ratio, with a versatile range spanning from four degrees to 52 degrees.
Stradale Profile introduces an innovative ultra-fast CMY progressive gradient mixing system, ensuring seamless color transitions, brighter output and impeccable uniformity. A refined extended CTO system allows precise adjustment of color temperature from 2700K to 6500K, while a seven-position color wheel, equipped with specialized filters, expands the creative palette. For greater flexibility, Stradale Profile offers a fine-tuned color rendering index adjustment from 70 to 86.
Stradale Profile delivers an ultra-intense, tight beam for a luminaire of this category. A rapid 15-blade iris allows beam optimisation with an adjustable range from 15% to
100%. The framing system enables precise positioning of each shutter blade across 100% of the beam with a +/90-degree rotation, ensuring flawless framing in any orientation.
The image section includes 19 high-definition interchangeable glass gobos across two wheels — nine rotating and ten fixed, designed to elevate textural and aerial effects. Stradale Profile’s effects module features a monochromatic animation wheel and two combinable rotating prisms: a five-facet circular prism and a four-facet linear prism designed for striking 3D effects, and a new multi-color filter combined with a distortion gobo to create breathtaking visual effects. Additionally, Stradale Profile offers two frost filters: one soft diffusion to smooth edges without altering the beam angle and a heavier diffusion for true wash applications.
Stradale Profile effortlessly merges performance with finesse and power emboldening Ayrton’s reputation in the industry
Stradale Profile is a one-ofa-kind luminaire, seamlessly merging performance, creativity, finesse and power, an exceptional fixture with no equivalent on the market.
Obsidian Control Systems unveiled the NXW, a new addition to its ONYX lighting control platform. Presented as a compact yet fully featured PC control wing, the NXW is designed to meet the operational demands of freelancers, touring technicians, and permanent installations, offering professional-grade control capabilities in a portable format.
The NXW connects to any PC system via USB-C, effectively turning a computer into a high-performance lighting console without compromising on responsiveness or hardware quality. With a layout that mirrors larger NX consoles, the NXW offers an intuitive and familiar control surface for existing ONYX users.
“The NXW might be small in size, but it’s packed with features our users have been asking for,” says Koy Neminathan, Business Development Director at
Obsidian. “Whether you're working live on stage or pre-programming at home, this little powerhouse delivers. It’s responsive, flexible, and ready for anything.”
The NXW includes 10 motorised faders with RGB backlighting, offering
eter encoders, a dedicated programming keypad, and 10 multi-function buttons that can be customised to suit various user preferences or show requirements. These features allow for a high degree of control flexibility, supporting a wide range of program-
Built with portability in mind, the NXW is suitable for mobile applications and fixed installations
Connectivity options on the NXW are extensive. The device includes four integrated DMX/ RDM ports, enabling direct control of fixtures without the need for external nodes. A gigabit network port is also available for high-speed networked control environments. The unit comes standard with a 16-universe ONYX licence, which can be upgraded to 32, 64, or 128 universes via
the integrated USB licence port.
Its ergonomic layout ensures ease of use, even during extended programming sessions, and its plugand-play design allows immediate integration into ONYX PC systems with no additional setup required.
For users seeking scalability, the NXW can be expanded using the NXP motorised fader wing. It also functions effectively as a supplementary control surface for the NX1 console, enabling seamless expansion of control capacity for larger or more complex productions.
The NXW is intended for a broad spectrum of lighting professionals, from those operating in live concert environments to those managing lighting in theatres and broadcast studios. The unit’s compact size and comprehensive feature set make it a practical solution for professionals who require high performance in a smaller footprint.
The IIFA Awards 2025, one of the most highly anticipated events in Indian cinema, took place at the JECC Grounds, Jaipur, bringing together Bollywood’s biggest stars. Hosted by Karan Johar and Kartik Aaryan, the night featured breathtaking performance by musical legends like Sachin-Jigar, Shreya Ghoshal, alongside acts by Shah Rukh Khan, Kareena Kapoor, and many others. Produced by Wizcraft International Entertainment, the event was a seamless blend of glamour, technology, and entertainment. At the heart of the spectacular production was Obsidian Control Systems, featuring NX-4, NX-2, NX-P, and Netron EN12, ensuring unparalleled precision and control over the event’s lighting. The system’s advanced capabilities allowed for complex lighting transitions, instant adaptability, and synchronized effects, making every moment on stage a visual masterpiece. From intense solo spotlights
to vibrant group performances, the lighting setup amplified the grandeur of the event.
Designed for performance, the NX-4 and NX-2 enabled intuitive pro-
gramming and seamless operation, while the NX-P expansion ensured scalability for a massive production. The Netron EN12 played a critical role in maintaining network stability
Claypaky has expanded its portfolio of professional lighting solutions with the introduction of the Tambora Family, a versatile range of five hybrid effect fixtures designed to meet the evolving demands of the entertainment lighting industry. Engineered for robust performance the Tambora series offers an array of solutions for concerts, festivals, broadcast studios, and immersive installations, with each fixture housed in a weather-resistant IP66-rated enclosure.
The Tambora Family integrates Claypaky’s signature innovation into a suite of hybrid luminaires that offer a blend of strobe, wash, blinder, and
and efficiency, ensuring smooth execution throughout the night. The power, flexibility, and reliability of Obsidian's lighting system set a new standard in event production, making IIFA 2025 an unforgettable spectacle.
"Lighting plays a crucial role in storytelling, and Obsidian delivered flawlessly. Its intuitive controls made programming quick and efficient. The system’s speed and accuracy ensured smooth transitions. A must-have for professional lighting design." said Becket Tundatil, Lighting Designer, Fireflies
"Our role was to ensure the system was prepped, tested, and ready for a show of this scale. Obsidian’s architecture allowed us to build a flexible and reliable design framework. Knowing it would perform flawlessly on the IIFA stage gave the team confidence. It’s rewarding to see our backend work shine through," added Jatin Warang, Lighting Designer, VMT Retail
pixel-mapped effects. A key feature across the family is the Advanced Layer Management system, which allows for the combination of background colours, internal macros, and external video content.
The Tambora Flash leads the family as a powerful 3-in-1 fixture that merges strobe, wash, and blinder functions, designed for high-impact
line array configurations and creative rigging applications. The Tambora Stormy revisits the concept of the classic strobe, updated with segmented RGBW LEDs and full graphical control. Its flexibility makes it well-suited for rhythmic light shows. For designers seeking volumetric beam effects, the Tambora Rays provides 27 individually controllable
RGBWW LED cells, offering full pixel mapping and dramatic spatial visuals. Building on the Stormy concept, Tambora Stormy Linear introduces ultra-bright RGBW strobe lines with motion graphics precision. The linear format is ideal for music-synchronised sequences and immersive lighting environments. Rounding out the range is the Tambora Glare, an RGBA hybrid bar fixture that offers bold blinder effects and rich colour blending. Built for professionals who require reliability, creative control, and rugged construction, the Tambora Family represents Claypaky’s commitment to pushing the boundaries of effect lighting.
by Viraf Pocha
Exhibition. PALM Expo 2025. So much excitement. Everybody I meet from our industry is planning their lives around those three days.
Buyers, sellers, observers, people Looking for a niche to expand their offerings. So many unfamiliar faces all chasing the same thing.
To be bigger, better, stronger and make more money next season.
‘Dhandha Badhana Bhai’
Good luck all. In this environment, we can ALL be winners. India is growing. And as we are growing the whole country wants to be entertained. We do have our noses buried into our phones. Yes. But we are Desi baba’s. We thrive on a bit of chaos and confusion. We all want a slice of drama in our lives. But not too much please. We all have to go to work tomorrow.
All eyes on us to provide that bit of drama and entertainment. From weddings to musical evenings, on one-hand and private gatherings to friendly pub nights on the other.
Everywhere you look there’s a DJ and a few flashing lights.
Music to our peoples’ ears to provide that spot of fun.
I am here to remind you. It is our business. There are so many stories of people who have made a bit of money somewhere else and wander into this world looking for glamour and validation.
If you are in the business for a while, you know that already. On the other hand, there are so many young ones who join this world out of passion and energy. To that lot, I advise caution. Build a career for yourself. That means network and education. PALM is a great opportunity to do all of that.
How to make the best of your time at PALM? A few bits that may be useful.
I am stating the obvious perhaps but in the rush sometimes, it is worth remembering the basics.
Focus. PALM is like that ice cream store with many wonderful flavours. Each delightful. But if we have too many we will vomit.
Focus. PALM puts out so much
literature. If possible, set up meetings in advance. Walk in’s are welcome of course but you may not get the best attention. If you have made appointments, the host will be prepared for your meeting and will have your information on hand.
That said, do walk around first to see what the offerings are so you have context to your meetings.
‘Iska Ka Kitna?’ is a dangerous question. On one hand you save time ‘cause both buyer and seller know immediately if you’re in the ballpark. On the other hand, the seller immediately withdraws all service and relationship building in order to lower price.
The seller will also be reluctant to offer his lowest price first up. Sellers figure out a tantalising answer to keep prospective buyers hooked. Its
looking for you.
So often, we see uniformed hosts sitting bored behind a desk. Yes, I understand it is intimidating to see so many people. Think about using young friendly enthusiastic boys who’ve been briefed and can show the guests around your stall in an engaging way.
Another thing I have noticed is a huge number of very useful products are very plain looking. Within all the glitz, these vital pieces are often over looked. I urge sellers to make engaging posters. Too often I see that the poster designer has no clue on the product and perhaps our guys are not too eloquent in detailing the advantages of a product.
We are practiced and know the background. However, do run your
All the rules of business apply to us, my friends. Differentiate our services. Beat the competition by eliminating the competition. This is not jargon. Think about this before you enter the exhibition at PALM. Look for some combination of products and services that are unique to you.
an art.
The other feature that smacks me in the face is the number of unfamiliar faces around. At one time, everybody knew everybody in this niche profession. Gosh, how we have grown. Now nobody knows anybody. So many first timers around. A large number of first timers may just be there to look. It is all intimidating. But here’s your opportunity, sellers. To make a connection. Step out and meet everyone who passes your stall. Your kindness will resonate. Even if the buyer is only browsing today chances are he will be back seriously next season, and this time when he has money in his pockets, he will be
posters / flyers past someone who knows nothing about your product and see if he can pick up the vital features of what that box can do.
I am not surprised that only peripherals are sold during exhibitions. Like speakers and lights. Not so much control gear, especially to first timers who may see it as a waste of time.
An example, to this day, nobody sells DMX testers. They will but 10 lights more. That translates to how many person-hours looking for cable glitches. Not once have I seen DMX testers advertised as time savers. Obvious, it is. Then why is it not on a poster?
While we are in the business of entertainment and the arts – PALM is
exclusively Business.
I understand that. However, let us not forget we are in the Entertainment and Arts business.
Which means we cannot exist in isolation. We need each other as people and our equipment must work together. Sure light fixtures must work with lighting control systems. That is obvious. But we must look at linking lights to sound to special effects to Video I to create ONE entertainment package. Are we thinking like that?
In my view, there is a big disconnect between what goes on, on stage and the sound and lighting support we provide. To that end, there is a sameness to the sound and lights, with a big disconnect with the band instruments, style of music and the atmosphere of music. Though of course, most lighting fixtures are mostly similar. I’d urge you to look for ways to make a difference.
All the rules of business apply to us, my friends. Differentiate our services. Make our companies unique. That allows us to be branded. Known for delivering a specific kind of service that ONLY your company can provide.
Beat the competition by eliminating the competition. This is not jargon. Think about this before you enter the exhibition at PALM. Look for some combination of products and services that are unique to you.
Good luck everybody! Hope to see you there. In the aisles looking for something unique or at a conference / workshop waiting for something to inspire you to make the next season the one that catapults you to the top. As a service. As artists and as a business.
Iwas recently asked what some would call a naïve question: where I should set the faders on the desk when mixing?
This is quite complex to answer. I had to take some time to think before I started my lengthy reply, which, in turn, posed many questions I will share with you now.
For me, the most obvious answer is where they will be most effective. This practical answer comes with my role as a ‘balance engineer’. This description had previously been popular, especially in early recording, and I feel it captures the role of the Front-of-House engineer well. Why? Because we balance the outputs of various microphones and other audio sources to help reinforce the sound coming from the stage. To do that, we use the faders on the mixing desk. But do we?
Yes, in a way we do. The faders allow us to control the channel level from no signal, often marked as -∞ dB, through to 0, and beyond. The “0” mark on the fader (unity gain) means the signal passes through at its set level-neither boosted nor cut. Above that point, we are adding gain.
The faders on a mixing desk work most effectively when they are around the zero, or unity gain mark. Audio faders on mixing desks use a logarithmic (log) scale rather than a linear one. This design is crucial for both technical and perceptual reasons, allowing for precise control over audio levels in a way that aligns with how humans perceive changes in loudness.
Human hearing perceives loudness logarithmically, not linearly. A linear increase in electrical signal does not result in a linear increase in perceived loudness. Instead, it takes a much larger change in signal level at higher volumes for us to perceive the same increase in loudness as we would at lower volumes. The decibel (dB) scale, which is used to mark fader positions, is itself logarithmic. The fader calibrations (dB) refer to the electrical
By Jon Burton
signal voltage inside an analogue mixing console, and a 6dB increase is a doubling of the signal voltage. On a typical fader, the physical movement does not correspond to a linear change in output level. Instead, the first 50% of the fader’s travel might only account for 10–20% of the total signal level, depending on the exact log curve used.
This means that most of the fader’s travel at the bottom (near -∞ dB) allows for coarse, broad adjustments-small movements here result in large changes in level. As you move closer to the “unity gain” point (0 dB), the scale becomes much finer, allowing for precise, subtle adjustments.
The modern digital surface tends to mimic its analogue predecessors’ operational characteristics. The digital encoders that we see as faders and knobs on a digital desk can be linear or logarithmic
This design ensures that when mixing near unity (the 0 db mark), you can make small, accurate tweaks without drastically altering the mix balance-crucial for what we consider a well-balanced mix.
The log taper means more resolution for fine adjustments near unity, and more dramatic changes at the lower end. If you find yourself constantly working with faders that are far from unity, it likely means your gain staging needs adjustment.
So, is this where I am mixing?
Well, yes, if you want to mix a show with the faders. To do that, I recommend having the faders at the 0 dB mark, which is the optimal position for allowing the fine control needed to produce the nuanced changes we expect from a good engineer.
But what about my gains?
Well, this is where we start mixing the show. Most engineers set the
gain for the inputs by looking at a meter and listening, either through the system or on headphones. I do a lot of shows without sound checks, so I rely heavily on meters and my headphones. I set gains relying on how ‘loud’ the signal needs to be. Now, we are drifting away from what the meter is helpfully telling us, the signal level, where it sits in that vast area between too close to the noise floor, and clipping. Now, this is valuable information. Every piece of equipment has an inherent noise floor, either external or self-induced. At the other end, it has a point where the signal will cause clipping and an audible distortion, an unwanted, unpleasant noise, to be avoided!
However, with most modern equipment, the very low noise floor and high clipping point provide what we describe as a wide dynamic range. The need to set high levels, well above the noise floor, is less now than when I started in the industry. This allows me to set gains that are appropriate not for optimising the signal level but for the required mix. The net result is that when I start mixing the band, my faders sit at the 0dB unity gain point, where they are most effective. Is this good gain structure? Yes and no! It is not optimal for signal-to-noise ratio, but it is optimal for effectively controlling and balancing multiple audio sources, which is what I get paid to do.
Do the audience care about signal-to-noise ratio? Well, yes, if it impacts their listening experience. However, in the grand scheme of things, this is rarely an issue, and we have tools to mask or remove most issues. In my experience, a bit of extra hiss or hum is nothing compared to the havoc wreaked in my mix by those annoying circles of sound, cymbals, in my lead vocal microphone.
So far, I have been talking about the analogue domain, but most of us use digital consoles. The modern digital surface tends to mimic its analogue predecessors’ operational characteristics. The digital encoders that we see as faders and knobs on a digital desk can be linear or logarithmic depending on the code, most follow well established logarithmic curves. Some are better than others, and I have a real problem with some rotary encoders, but that is habit, muscle memory. The noise floor issue is in many ways less of a consideration with the digital desk, although clipping is considerably more unpleasant to hear! I mix the same way on most formats.
So, my recommendation? Treat your console as a tool to balance sounds and set it up as effectively as possible. This method may work for you; it may not. I do, however, like to see a nice, calm line of faders rather than a jagged one! Happy mixing/balancing!
19FT - 125XB 19FT - 115XB
18FT - 100SW 18FT - 100XB
15FT - 115XB 15FT - 100MB 15FT - 88MB
15FT - 76MB
12FT - 100MB
12FT - 88MB
12FT - 76MB
India’s live entertainment landscape has surged with largeformat concerts showcasing exacting technical execution. Behind the scenes of some prominent ones is, J Davis Prosound & Lighting. Jointly powered with Graflex Inc these high-profile events, supplied complete audio, lighting, rigging, and trussing solutions. In recent months, J Davis has delivered at Bryan Adams’, electronic music artist &ME’s (Keinemusik), and singer-songwriter Prateek Kuhad’s performances. Let’s have a look at how they accomplished these.
Each event was marked by substantial deployments of systems such as L-Acoustics, d&b audiotechnik, and GrandMA3, setting international benchmarks for touring production in India.
The Canadian rock icon Bryan Adams drew over 20,000 fans in Hyderabad, in a performance that was both sonically expansive and visually seamless. For the fourth time in India, Adams’ tour was supported by J Davis Prosound & Lighting, underscoring a long-standing production relationship.
“This marks the fourth Bryan Adams India tour supported by J Davis Pro Sound & Lighting,” said Vincent Samuel, Production Guarantor at Greenstone Entertainment. “Their consistent delivery of excellence makes them our ideal partner for such high-profile shows.”
The primary PA comprised fifteen L-Acoustics K2 elements flown per side, with six K2s per side for outfills and nine more per side used as delays. Eight Kara II units were deployed for front fill, while twenty-four SB28 subwoofers were ground-stacked for low-end coverage. A further sixteen K28 subs were flown to extend LF presence evenly. Stage sidefills included four Kara boxes with two SB28s. The system was powered by LA12X and LA8 amplifiers, controlled via L-Acoustics LA Network Manager Bryan Adams’ touring engineer mixed on an Avid S6L at front-of-house. All IEM and monitor rack gear travelled with the artist.
“It’s been an absolute honour to power Bryan Adams’ Hyderabad concert, our fourth show with the legend and our second in this vibrant city. We gave our best in delivering top-notch technical production services, and we’re truly glad this one will go down as one of the best in our books.”
The opening act was managed with a DiGiCo Quantum 338 FOH console and SD Rack. Monitoring consisted of ten stereo mixes on Sennheiser Digital 2000 IEMs, supported by Martin LE1200 floor monitors. Microphones included a blend of Audix, Shure, Sennheiser, and DPA, alongside Shure Axient Series wireless systems.
Lighting was equally robust, featuring fifty Lightsky Aurora BSWs, forty Pearl Wash units, twenty-eight Photon Strike M LED strobes, twenty-four LED 4-Lite blinders, four follow spots, four Antari haze machines, two DJ Power smoke machines, and six DJ Power DMX fans, all controlled via a GrandMA3 full size console.
The trussing featured a six-pillar roof measuring 24 metres wide by 18 metres deep, with a 10-metre trim height. Mid-trusses and sub-hang supports were incorporated for even fixture distribution. Anil Kumar, Managing Partner at Graflex Inc., led the rigging operations. “Executing a legend’s show for the fourth time is an honour. Our focus is simple: flawless trussing and rigging so the audience gets pure rock and roll energy,” he remarked.
The technical team was headed by Bharat Patil and Avijit Das on audio systems, with Nikunj as Audio Tech, Johnny on lights, and Anil Kumar on rigging.
“It’s been an absolute honour to power Bryan Adams’ Hyderabad concert, our fourth show with the legend and our second in this vibrant city. We gave our best in delivering top-notch technical production services, and we’re truly glad this one will go down as one of the best in our books,” said Santana Davis, Managing Director, J Davis Prosound & Lighting.
“Every element, from Roof Trussing, Audio & Lights, were well executed and at par with international touring standards. There were no changes made by the touring team so this is what any production head would look forward to,” noted Vincent Samuel.
“Everything’s great here, I can’t really ask for too much more. I always love coming back to India,” shared Ewan McRobb, Lighting Director for Bryan Adams. &ME
Electronic music collective Keinemusik’s member &ME performed in
Bangalore to a full-capacity crowd in a show defined by surgical precision in sound design. The sound system, supplied by J Davis Prosound & Lighting, was tailored for low-frequency control and consistent dispersion.
The FOH system consisted of twelve L-Acoustics K2 units flown per side, with eight Kara II units delivering front fills. Delay towers were outfitted with six V-DOSC cabinets per side. Twenty-four SB28 subs were ground-stacked to deliver ample bass impact.
On-stage monitoring for the artist included six Kara speakers and two SB28 subs, supplemented by twelve d&b audiotechnik V-Series boxes and six B22 subs for additional side coverage. The d&b system was powered by D40 and D80 amplifiers.
FOH operations were carried out on a DiGiCo Quantum 338 console. Amplification and tuning across the L-Acoustics systems were managed using LA12X and LA8 units via LA Network Manager. Key crew members included Bharat Patil (Audio Director & System Designer), Avijit Das (FOH Engineer), and Nikunj (System Tech).
On 9th November 2024, Prateek Kuhad took to the stage in Bangalore as part of his “Silhouettes” tour, delivering a performance marked by acoustic
thrilling audiences
delicacy and refined production. The technical backbone of the show was again provided by J Davis Prosound & Lighting, with rigging and trussing handled by Graflex Inc.
The audio system included 24 L-Acoustics K2 speakers for the main hang, with 6 Kara II downfills and eight Kara II front fills. The low-end was reinforced with 24 SB28 subs, and 12 V-DOSC speakers were deployed on delay towers.
An Avid S6L-32D console with an E6L-192 engine handled FOH mixing.
KRK Rokit 5 monitors served for nearfield reference. On-stage monitoring employed ten stereo mixes on Sennheiser Digital 2000 IEMs, supported by Martin LE1200 wedges. The mic lineup included Audix, Shure, Sennheiser, and DPA models.
The lighting inventory included 24 Lightsky Aurora BSWs, 24 Pearl Wash units, 16 Mini Lunar Beams, 36 LED moving zoom bars, 40 LED 4-Lite blinders, 12 LED 2-Lite blinders, three Antari haze machines, and three DMX-controlled fans. A GrandMA3 full size console served as the control desk.
Trussing comprised a six-pillar system measuring 60 by 60 feet, with a trim height of 30 feet. Mid-trusses and sub-hangs were integrated to facilitate lighting distribution and cable management.
“Working with J Davis is always fun. The guys are very good at their work— especially Johnny; I’ve teamed up with him many times,” said Rahul Joglekar, Lighting Director.
J Davis Prosound & Lighting and Graflex Inc. have demonstrated the capability to scale and adapt across genres. Their execution reflects a commitment to detail, collaboration, and technical discipline, hallmarks of world-class live production.
In a sonic landscape increasingly shaped by algorithms and corporatised playlists, India’s independent music scene stands as a defiant counter-current, raw, real, and gloriously diverse. The latest releases from artists like Jelo, Kayan, and the collaborative project MONSTER – PLAY ME! are fierce declarations of individuality, culture, and resilience. Released in the last 60 days, under the creative wings of forward-thinking labels such as Azadi Records, these artists are pushing boundaries.
Blending fierce lyricism with cultural grit, this North-Eastern Indian rap anthem was released under the trailblasing label Azadi Records. After his emotionally resonant release Faces last year, Mizoram-based rapper Jelo returns with renewed intensity on Lam Rawh Le (Mizo for “Let’s Move”). Teaming up with Lil Yella, the track is a blistering, bilingual rap anthem that fuses the earthy rhythm of Mizo street life with the electric undercurrent of American hiphop.
At its core, Lam Rawh Le is an anthem of propulsion, one that tells you to dance through the darkness, not just endure it.
The production is as global as its ethos: Mjr3rdmusic, BlastyBeatz, and Kiddie Joshi deliver beats that thump with purpose, while the finishing touches by Edil Shane, known for underground rap work from Shillong, including Set It Off, give the track its piercing, polished edge. Recorded at Rock of Ages Studio, this song stands tall as a modern cultural artefact, one that belongs on the global hiphop stage while staying rooted in Mizoram’s streets.
Kayan’s latest track, Hold Me Down, is an alt-pop/semi-classical fusion song. Co-written and performed by Kayan (Ambika Nayak), the song is brought to life through the collaborative efforts of emerging producer lil help and seasoned mixing and mastering engineer Prathamesh Dudhane
Dudhane, the founder of Bombay Live Studios in Mumbai, has established himself as a prominent figure in the Indian music industry. His portfolio includes work on notable projects such as the soundtracks for Gehraiyaan and Mirzapur. In Hold Me Down, his expertise ensures a seamless blend of alt-pop and semi-classical elements, delivering a polished and immersive listening experience.
The production quality of Hold Me Down reflects a meticulous attention to detail. Dudhane’s mixing and mastering techniques highlight the track’s intricate layers, allowing Kayan’s ethereal vocals to shine without overshadowing the nuanced instrumentation. This balance showcases the growing sophistication of India’s independent music scene, where technical excellence complements artistic expression.
Hold Me Down stands as a compelling example of how thoughtful production can elevate a song, making it resonate with listeners on multiple levels.
MONSTER– PLAY ME! EP
Released in February MONSTER
– PLAY ME! brings together RANJ, Clifr, Dappest and adL in a polished R&B/Hip-Hop release under Azadi Records. While the EP holds its own, what truly sets it apart is its production backbone.
The sonic direction, crafted by producer Daryl Andrade leans into moody R&B textures layered with synths, vocal chops and heavy basslines. His approach balances space and saturation, creating a tight, atmospheric backdrop that drives the EP’s narrative.
The mix and master were handled by Vivek Thomas, head faculty at VTP Sound Academy, ensuring clarity across a complex arrangement. Supporting the process was Sibin Wilson, whose underground engineering work continues to earn attention. The record was tracked across multiple studios, Astral Studio (Bangalore), Bay Owl Studio (Mumbai), and Adiel Massar Studio (Shillong), a workflow that adds regional depth without compromising consistency.
Rather than simply stacking verses and beats, MONSTER – PLAY ME! shows deliberate attention to sonic detail and spatial design, reinforcing Azadi Records’ commitment to
technically refined, artist-first releases.
What links these releases isn’t only genre-defying boldness it’s a sharp elevation in production standards across India’s independent scene. From the intricate layering of bilingual rap beats in Lam Rawh Le to the luminous, genre-blending mix of Hold Me Down, and the tightly engineered sonic landscape of MONSTER – PLAY ME!, each project showcases a growing technical maturity that’s hard to ignore.
Producers, engineers, and studios across cities like Shillong, Bangalore, and Mumbai are now central to the storytelling process, shaping sound with intention and finesse. The rise of independent engineers like Edil Shane, Prathamesh Dudhane, and Sibin Wilson underscores a shift: today’s indie releases are as much about the ear behind the console as the voice behind the mic.
For listeners, it’s a moment to pay attention. For the industry, it’s a reckoning.
All record labels, independent artists and channels are requested to share new projects with the PALM Expo Magazine team if they wish to get featured in the ‘Unequal Music’ column as the team explores the voice and talent of budding artists in this recurring feature. To share releases for this column, contact: Shanaya Sequeira shanaya.sequeira@hyve.group
“Systems Engineer?”
What do they even do?
Rig a few things?
Get everything on the network?
Click around in software to make it look fancy?
Tune the system and walk away?
It’s far more than that.
A systems engineer is not a technician. Not a glorified troubleshooter.
They are the architect of experience.
The bridge between chaos and clarity.
The silent force behind everything that makes a gig feel right even when the audience can’t name what’s working.
This is the truth:
A systems engineer is not just rigging, networking, or tuning.
They’re designing energy.
They’re decoding sound physics, room behaviour, and the psychology of a crowd all while navigating a variety of constraints.
From a conference hall to an open-air concert to a 360°arena, the system engineer is the one asking:
What’s the vibe? What’s the story? What’s the emotional arc?
And how do I translate all of that into an acoustic reality?
It starts with the artist.
Before any mic is lifted, before the first speaker is hungma good system engineer listens.
To the artist.
To their sound.
To what they don’t say.
Because understanding the artist’s intent is half the battle in choosing and designing the system.
Precision is the canvas.
A mismeasured venue means flawed predictions.
If your canvas is wrong, everything else falls apart.
The art lies in translating digital design into real-world execution knowing exactly where to tweak, how to adapt, and when to deviate from the model without compromising the vision.
Networking is another battlefield.
It’s not glamorous.
By Rajesh Khade
But if the infrastructure is shaky and the know-how is outdated, you’re building a masterpiece on a foundation of sand.
Then comes tuning and alignment a blend of objective data and subjective instinct.
It’s not just calibration.
It’s calibration with feeling.
And only a trained, present, holistic engineer can ride that balance with skill.
The real problem?
We live in an era of advanced technology with minimal understanding. Loudspeakers today offer granular control the old systems never dreamed of.
But with that power comes a thousand more ways to get it wrong.
And with rental companies investing in gear but not people we’re left with setups that are powerful on paper and chaotic in practice.
Distributors promise idiot-proof systems, and unrealistic translation of Prediction Softwares.
And operators with minimal training are thrown into complex
networks.
And when it fails?
No one knows who to blame because no one fully understood the system.
Enter the systems engineer.
Not loyal to a brand. Not bound to an ego.
Just one mission:
Deliver the best possible experience with the tools, constraints, and vision at hand.
They’re not a luxury.
They’re the difference between noise and narrative.
Between “it worked” and “it moved people.
Still think a Systems Engineer is a luxury?
Or are you ready to admit... it’s time we started treating them like a necessity?
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In this edition of PALM Expo Magazine’s “11 Questions” series, we sit down with Brock Adamson, the visionary founder and CEO of Adamson Systems Engineering, as the company marks its 40th year in pro audio. Adamson dives into what sets the company apart, and they are building deeper roots in markets like India. With honesty, insight, and a clear eye on the future, Brock reflects on four decades of pushing boundaries, and what’s still to come.
1. CAN YOU TELL US ABOUT YOUR JOURNEY INTO THE PRO AUDIO INDUSTRY? WHAT INSPIRED YOU TO BUILD A CAREER IN THIS SPACE AND LEAD ADAMSON SYSTEMS ENGINEERING?
I always loved what loudspeakers did when they moved air effortlessly filling a space with the sound of music. But it rose to another level listening in the same room with guitarists. Great players from Randy Bachman to Robert Cray, even Clarence Gatemouth Brown Early on, I experienced something very special watching and listening to Lenny Breau in my living room, sitting on a small chair, playing his guitar. I became a servant to the ones that made music and made it my life’s goal to bring that sound to life, to make it even better. It was live experiences that triggered me to keep looking, to push harder. The first was Neil Young and Crazy Horse at the Cow Palace in San Francisco, then hearing Jerry Doucette in my own first major system in the Pacific Coliseum. Then later still, I remember holding a mid driver in my hands just after Miles Davis made it vibrate only a few hours earlier. Dang!
2. ADAMSON CELEBRATED ITS 40TH ANNIVERSARY IN 2024, MARKING FOUR DECADES OF EXCELLENCE. WHAT DO YOU CONSIDER THE MOST SIGNIFICANT MILESTONES FOR THE COMPANY DURING THIS PERIOD?
Well, the state of pro audio at the beginning of our company is not that interesting today, given all the advances... sort of like a dusty
history book. The product now clearly speaks for itself, but along the way, there are a few points of interest.
A very special type of Kevlar process was discovered, and from it we created a unique mid device. That was a very significant step for me personally. These materials led to very good results with large woofers as well providing stiffness and stability, and transient response not possible with paper cones.
The co-linear waveguide assembly that came next was a true milestone. It gave us a remarkable improvement in far field coherence, and we took those developments into all the work with Linkin Park
Finite Element Analysis has changed the game in audio. Every one of our previous discoveries relating to drivers, enclosures and waveguides has since been fully explored and optimised with FEA and BEM simulation software. That work, plus further recent discoveries resulted in the current Vergence product.
Array optimisation software has had a tremendous impact on the implementation of arrays and then really came into its own with our powered line arrays. Our array optimisation algorithms are the best in class, with this tireless effort beautifully preparing the way for the outstanding work our immersive team has done with the Fletcher Machine
Networked audio, that would conform to a public IEEE standard was an important goal for me personally. This was pursued by our team for many years. We think this is a great contribution to the industry and we are very proud of it –something that will stand the test of time.
It is a big step to become an electronic manufacturer. It has been quite successful and very rewarding for our team. Powered array elements with increased channel count have given us complete control over arrays and more acoustical power than we thought possible. Without going into too much detail, we have Silicon Carbide (SiC) power devices, desaturation current limiting combined with on board computing (MCU) giving us the most advanced power modules in the world. All our network components, switches, gateways, endpoints, etc. benefitted from our investment in Fuji electronics manufacturing technology. We built an outstanding manufacturing capacity with really impressive speed and
repeatability for all our surface mount (SMT) applications. To complete the picture for power electronics, we have highly specialised equipment from Germany for automated selective soldering of the heavy “thru-hole” components found in amplifiers.
3. HOW DO YOU SEE THE GLOBAL PRO AUDIO INDUSTRY EVOLVING, ESPECIALLY IN THE WAKE OF TECHNOLOGICAL ADVANCEMENTS AND SHIFTING MARKET DEMANDS?
Technology convergence is a dominant force in all technologies, including pro audio. For example, signal processing first moved into amplifiers, followed by networking and then those technologies collectively moved into loudspeakers within the amplifiers. So now that entire piece of converged technology has become the powered, networked loudspeaker. Networking and interactive control surfaces will further integrate everything else – UI/UX will dominate. Adamson has taken a leading role in AVB networking with the Milan standardsbased network protocols which we think is key to the future of interconnectivity across all product types.
4. WHAT DO YOU BELIEVE SETS ADAMSON APART FROM OTHER AUDIO BRANDS IN TERMS OF TECHNOLOGY, INNOVATION, AND CUSTOMER-CENTRIC DESIGN?
We have focussed our attention on the physical loudspeaker, first on driver response, then waveguide technology and summation in the far field. We don’t try to fix loudspeaker limitations with signal processing; there is no substitute for correct physical summation. The benefit of that work can be heard in speech intelligibility and clarity, particularly in large venues and particularly in the far field. As well, we have advanced the physical handling of the product from the truck pack to getting it into the air.
5. WHAT KEY TRENDS ARE SHAPING THE LIVE SOUND MARKET TODAY, AND HOW IS ADAMSON ADAPTING TO ADDRESS THESE TRENDS?
We are not adapting to trends! We are setting the pace for others to follow. To be more clear, the state-of-the-art and the future of large scale performance systems is the networked, powered, adaptive line array. Now, I should also make it clear we have not stopped chasing down certain interesting future advancements, but I will not say more at this time!
6. YOU H AVE SEVERAL PARTNERSHIPS WITH INDIAN DISTRIBUTORS AND SOUND RENTAL COMPANIES, DOES THIS MEAN ADAMSON FINDS THIS MARKET PROFITABLE?
Yes, of course, there is a huge benefit for Adamson to be fully engaged in Indian markets. We will make speakers, and if you like the results, you will buy them, the very basis of commerce! Seriously, though, our distributors in India have aggressively pursued new opportunities and given the arrival of a major new product, we are excited to find the next steps.
We have identified India as a critical market for us. In the past few years, through our distributors Stagemix and key partners like SOUND. COM we have had some great successes which we have felt not only in the APAC region, but globally too. With the development and success of the Vergence Group of products around the world, pro audio in India has also embraced this world-class technology with early systems starting to arrive.
It should also be mentioned that Canada has a very open immigration policy and so we find that a great many people have come from India to work at Adamson, 20% of our staff, in fact. Software and hardware engineers, CNC machinists, including senior managers all come to our country from your country. You can be very proud of them, I assure you.
7. DOES ADAMSO N HAVE ANY PLANS FOR STRATEGIC PARTNERSHIPS OR COLLABORATIONS IN THE INDIAN AND ASIAN MARKETS TO ENHANCE ITS PRESENCE?
We will continue to build on key influential partnerships and
collaborations in the Indian market; this success in India is quite visible to users in other countries around the world. This has definitely helped Adamson not only in the Asian markets but as well as in global markets. We have many successful projects being regularly delivered throughout APAC influenced by people’s positive experiences in India.
8. WHAT ARE THE BIGGEST CHALLENGES YOU FORESEE IN EXPANDING ADAMSON’S FOOTPRINT IN INDIA AND THE BROADER ASIAN REGION?
We are feeling confident that the new products we are introducing are being well received. There are more new products on the way, and with our recent $7.5m investment in factory floor space and machinery, we are positioning ourselves to meet a greater demand with both speed and resilience. Specifically, we have greatly enhanced our new product development capacity in both electronics and plastics, with a strong focus on mold making. Bringing new products tailored to any newly discovered applications market requires speed and agility. I think this is what we need to deliver what is expected of us.
9. WITH MULTIPLE NEW LAUNCHES LIKE THE VERGENCE GROUP AND THE IS-SERIES PRODUCT LINE EXPANSION, HOW DO THESE ACHIEVEMENTS REFLECT ADAMSON’S LEGACY? HOW DO YOU ENVISION THE COMPANY’S NEXT CHAPTER?
Hmmm... I think you are getting tricky with these questions! If we have a “Legacy” to speak of, it would be that we have always been an innovator. We are not merely assemblers of products from parts based on clever supply chain management. We take a 1,000 Kg bar of solid steel and carve magnet cups from that very raw material. For example, we have created high performance mid-range transducers from raw material, precisely tailored to our requirements, along with so many other engineered components. These newest products strongly reflect that ethos.
The next chapter will reflect that fundamental value, but with accelerated purpose. The new capital investment will yield shorter new product development times and greater creative wiggle room. Loudspeaker systems are made of many widely varied molded parts. Die cast aluminum heat sinks and speaker baskets, molded Kevlar diaphragms and cones, molded plastic waveguides and horns; the list is nearly endless. Mastery of these processes, including mold development, makes for creative engineering and a better product.
10. WHAT CORE VALUES AND BUSINESS PHILOSOPHY HAVE GUIDED ADAMSON’S GROWTH AND SUCCESS OVER THE YEARS?
Don’t offshore! Master your materials and processes. Dig deep into the principles of your technology and never stop questioning the results.
11. HOW DO YOU FORESEE THE FUTURE OF LIVE SOUND EVOLVING OVER THE NEXT 5-10 YEARS?
AI and Machine Learning models will dominate the improvement of system deployment and the corresponding evolution of UI/UX. Users will collaborate with Artificial Neural Networks to ease use and improve results, delivering more accurate predictive results in new rooms with less time-consuming data entry.
But having said that, further refinements to driver and diaphragm technology can be surely expected, given the advancements in material science, simulation software and 3D printing.
As laid out in the foregoing discussion, we are in mid-stride, executing many plans and strategies that will impact APAC. But those steps alone would not deliver the results we all want to see if we don’t invest in a greater regional team. I am not a salesman (!) but I know our team strives for a better understanding of local and cultural communities to improve our knowledge and support across the region, and I know of the great interest in further training, education and support.
I have confidence in India as a nation, and in particular the people I know first-hand that have come to work here in Canada. The Adamson team all have confidence in our markets in India and APAC. Together, we will make our mark.
With an illustrious career spanning over 27 years, Namit Saxena joins Pink Noise Professionals and Erthpot as General Manager, bringing a legacy of innovation, leadership, and deep technical acumen to the forefront of the professional audio-visual and unified communications landscape.
Namit Saxena’s journey began with Ahuja Radios, where he laid a strong foundation in professional audio systems. Over the years, he expanded his expertise across a spectrum of cutting-edge technologies, taking on key roles at industry giants such as Godrej, HCL Infosystems, Polycom, Cisco, and Yamaha’s Unified Communications division. His ability to blend technical insight with
business development has consistently delivered transformative outcomes across sectors, including government, defence, PSUs, and large enterprise organisations.
A recognised specialist in video conferencing and collaboration solutions, Namit Saxena has successfully developed and promoted unified communication platforms across India. His tenure in the AV industry is marked by a hands-on approach to deploying integrated solutions, nurturing strategic partnerships, and driving customer-centric innovations.
Notable for his PAN India engagements, Namit Saxena has led numerous product training sessions, seminars, and market enablement programs, strengthened channel ecosystems, and educated users and partners alike. His proven track record in go-to-market strategy, partner
management, and pre-sales support positions him as a dynamic force in scaling business operations and expanding market footprints.
Namit Saxena brings not only experience but a forward-thinking vision that aligns with the brand’s mission of delivering world-class audio-visual solutions. His leadership is set to chart
a bold new course, reinforcing Pink Noise and Erthpot’s standing as innovators and leaders in India’s AV and communication technology domain.
In Namit Saxena, Pink Noise Professionals welcomes a strategic thinker, a seasoned technologist, and a trusted mentor, one whose impact will resonate well beyond boardrooms and into the future of AV integration in India.
As he steps into his Pink Noise and Erthpot role, Namit Saxena shares, “I’m excited to join a team that values innovation and excellence. I will focus on building stronger partnerships, driving tech-driven transformation, and enhancing customer experiences across India’s AV sectors. The journey ahead looks incredibly promising.”
29 MAY 2025 - 12:00 PM - 12:15 PM
Keynote Address
29 MAY 2025 - 12:15 PM - 1:00 PM
PALM EEMA Session - The Indian Event Industry market: Impetus from latest stage sound light and display technology. Immersive and experiential trends driving large scale events
29 MAY 2025 - 1:30 PM - 2:30 PM
Maximising Impact: Evaluating ROI and Essential Equipment for Small and Medium Events
Panellists: Sachit Subramanian (Moderator), Founder, CEO- Circle Pro Audio, Co-Founder- Circle PAVE; Arvind Singh , CEO & Founder, Giant Truss; Rajan Gupta , CEO & Founder, Hi-Tech Audio & Image LLP; Kalpesh Ajara , Sales Director, Sound.com; Siddharth Chauhan , Founder & Director, Mega Sound India
29 MAY 2025
Panel Discussion on Systems Engineering For Touring In India & Abroad: Session Partner EvenTech Academy
Panellists: Warren Dsouza (Moderator) , Founder Sound.com and EvenTech Academy; Neil Lean , Sales Support Engineer, India&Africa d&b audiotechnik; Dr. Rajesh Khade , System Engineer; Joyjeet Panday, Audio Engineer; Cijith Olikal , Live Sound Engineer
29
- 4:00 PM - 4:45 PM
Importance of Measurement & Optimisation
Speaker: Sudarshan Srinivasan , Director, LEWMINADIO
29 MAY 2025 - 5:00 PM - 6:00 PM
Sound Futures: Audio Engineering in India at the Crossroads of Technology, Education, and Innovation
Speaker: Vinay Prabhakar, Dean, True School of Music, Vijaybhoomi University
30 MAY 2025 - 11:00 AM – 11:50 AM
The Reference is the Voice
Panellists: Carlos Sallaberry, Head of Education & Applications, APAC, Adamson Systems Engineering; Kiran Tauro , Applications Engineer, EMEA, Adamson Systems Engineering; Pieter Van Hoogdalem , Business Development Strategist, Adamson Systems Engineering; Lee Stevens , Sales Director, APAC, Adamson Systems Engineering
30 MAY 2025 - 12:00 PM - 1:20 PM
Revolutionising Independent Music: The Impact of Technology on Creation and Production
Panellists: KJ Singh (Moderator) , Audio Engineer, Music Producer & Label Owner; Meghdeep Bose , Music Producer, Composer, Arranger and Singer; Sunny M.R. , Artiste, Composer, Music Producer, Concert Director; Mali , Pop Musician & Songwriter; Karan Kanchan , Artist & Creative Director
Shaping the Future of Music: Innovations in Immersive Sound
Panellists: PA Deepak (Moderator), Mix Engineer and Record Producer; Bjorn van Munster, Senior Business Development Manager, HARMAN; Vijay Dayal - Chief Sound Engineer, Yash Raj Films; Antal Sebok - Apogee Sales Manager, EMEAI; Riyasdeen Riyan - Creative Sound Designer and Audio Engineer; Ravisankar Nadiyam , Regional Sales Manager, Waves Audio
Panel Discussion on The Art & Science Of Monitor Mixing: Session Partner
Panellists: Supratik Das (Moderator), Live Sound Engineer; Hardik Keshan , Studio & Live Sound Engineer; Ashish Saksena , Live Sound Engineer and Owner and Chief of Purple Haze Studios; Piyush Joshi , Live Sound Engineer; Raghu Ramankutty, Live Sound Engineer; Anupam Roy, Live Sound Engineer
Panellists: Stan Alvares (Moderator), Audio Professional & Hon. Secretary, AES INDIA; Advait Nemlekar, Composer & Music Director; Alphons Joseph , Film Music Director, Professor of Music, FTII Pune; Mahesh Raghvan , Music Producer & Live Performer; Reena Gilbert , Singer, Composer, Music Producer, Sound Mix Engineer; Vijay Thomas Kurien , Media Professional, Audio & Music Production Educator
-
Intelligent Lighting Evolution: Trends, Technologies, and Best Practices
Speaker: Rasesh Parekh - Founder - Proprietor, Integrated Solutions
Speaker: Chris Lambrechts - Application Specialist Live Sound at Avid Technology; FOH Engineer and tech head for Massive Attack
30 MAY 2025 - 5:00 PM - 6:00 PM
Immersive Experiences for Everyone
Speaker: Andy Cooper - Audioversity Content Manager, Yamaha R&D, London
Lighting Fixtures as Aesthetic Accessories: Evolving Trends and Industry Perspectives 31 MAY 2025 - 12:30 PM - 1:30 PM
Beyond the Box: Pushing the Boundaries of Music Production with Next-Gen Workflows
Panellists: Viraf Pocha (Moderator), Director, Landmark Productions (P) Ltd; Deepak Sharma , Director, AMSP ENIOSRAM Asia Pacific Limited; Yash Gupta , Partner & Business Head, Professional Lighting, Hi-Tech Audio & Image LLP; Kekul Sheth , Head of Sales - VMT Distribution; Sohail Mansuri - Light Designer & Creative Director *This schedule is accurate at the time of going to
MAY 2025 - 1:30 PM - 2:20 PM
PALM EEMA Technology Session
(Opp Hall 4)
Step into Demo Qube, a state-of-the-art, soundproof acoustic space designed for high-decibel sound reinforcement system demonstrationstailored exclusively for stage sound solutions. As a highlight of PALM Expo, India’s premier stage sound and pro audio platform, Demo Qube is where you can explore the latest cutting-edge sound technology and make your next big investment.
Don't miss this immersive, high-impact experience at PALM Expo 2025
Mankaran Singh from Men at Work
An introduction to basic safety while installing trussing and erecting temporary structures safely by Mankaran Singh from Men at Work
Reviewing ground support systems (Box Trusses)
Simple checklists while building ground support systems (Box Trusses)
Correct usage of rigging hardware
Correctly identifying the various parts of a ground support system
• Importance of ballasts & guys wires
Avishkar Tendle from Natura
An introduction to load cells by Avishkar Tendle from Natura
How to read and understand Truss Load Tables
How do load cells work
Why use load cells
Sameer Sawant - Consulting Structure Engineer
• How to prevent eventualities in events by Sameer SawantConsulting Structure Engineer
• Reasons for insisting on stability certificates for temporary structures in events
• Case study of structural aspects for an event involving rigging
Adam Beaumont from Chainmaster GmbH
Electric chain hoists, safe and proper use - Electric chain hoists are strong and robust, which is an absolute must when we consider they are used to suspend heavy loads above people. These hoists can take a lot of abuse and still perform, but an accident resulting from incorrect use can be catastrophic!
Common mistakes when working with chain hoists
• Dos and Don’ts, and options we have to ensure safe and proper use of electric chain hoists
Rohan Oberoi from Momentum India
• Basics of Fire Chemistry
• Fire hazard management
• Basics of Electrical Safety
• Behaviour Based Safety and how it impacts more than 1 life
Participants at the expo will get a chance to try the leap of faith - a heart-stopping activity where one leaps off a 20-feet high platform to try and grab a target hung at a distance and free fall 15-feet before the specially-rigged safety system slows and arrests their fall right above terra firma. This will showcase loads exerted when taking a fall.
Work at height safety measures (recommended for trussing, lighting, sound & AV rigging companies & production managers) climbing & working on trusses (Duration: 20 minutes). Team Natura will demo some crucial truss-based safety protocols and best practices. The short demo will reinforce the need for correct systems and simple thumb rules involved in working at height/on truss towers.
*Agenda subject to change
sound light audiovisual
29-31
MAY 2025
BEC, MUMBAI
A spectacular new feature at PALM AVICN Expo 2025, the Lighting Design Showcase is a curated live experience that brings together the most advanced lighting equipment, control systems, and creative techniques. This immersive showcase is designed to captivate lighting designers, engineers, rental companies, and production professionals by demonstrating the power of visual storytelling through dynamic lighting.
In this year’s edition, the showcase will transform a dedicated space into a high-energy lighting spectacle, featuring synchronized effects, vibrant color palettes, and innovative programming. Visitors can expect to witness a fusion of art and technology that pushes the boundaries of what lighting design can achieve.
This experience is being conceptualized and executed by Star Dimensions India, one of the industry’s leading event technology specialists, selected by PALM Expo for their strong creative vision and technical command. With their expertise, the showcase will highlight the future of stage and event lighting, making it one of the most anticipated features at the expo.
Curated By
Visitors can look forward to multiple curated shows, each a fusion of creativity and precision, featuring:
• Next-gen DST Automation Systems that bring fluidity and synchronization to every movement.
• World-class lighting fixtures renowned for their intensity, versatility, and visual impact.
• Super bright, high-powered lasers that paint the air with vivid beams and rich colors.
• Mesh LED screens that blend seamlessly into scenic designs while delivering stunning visuals.
Whether you're a show designer, technical director, or event planner, this year’s PALM Lighting Design Showcase is a must-see experience - where imagination meets execution.
CATEGORIES FOR PALM SOUND AND LIGHT AWARDS 2025
• Outstanding Audio FOH Engineer Of The Year
• Outstanding Audio Monitor Mix Engineer Of The Year
• Outstanding Audio Systems Engineer Of The Year
• Outstanding Lighting Designer Of The Year
• Outstanding Sound Rental Company of the Year (National)
• Contribution to Live Sound Rental Industry
• OUTSTANDING LIGHTING RENTAL COMPANY OF THE YEAR
• OUTSTANDING VIDEO DISPLAY RENTAL COMPANY (REGIONAL)
• Outstanding Visual Content On Stage
• Outstanding Event Promoter Of The Year
• Outstanding Technical Production of Live Events
• System Design and Integration Award
• Indigenous Manufacturing Of Microphones
Jade Ballroom - Sahara Star, Vile Parle East, Mumbai, Maharashtra 400047
• Lighting Technology
• Audio Technology
• Immersive Sound Technology
• Best Distributor Award
• CORPORATE EXECUTIVE EXCELLENCE IN INDIAN PRO SOUND & LIGHT INDUSTRY
FRIDAY, 31ST MAY 2025
7:30 PM ONWARDS
40, Marol Co-Op Ind. Estate, Marol Sagbaug, M. Vasantji Road, Andheri (East), Mumbai - 400 059.
Reg. No: MS/MUM/157/2016/G.B.B.S.D.
Email : palaindia1@gmail.com
Website: palaindia.com, www.palaindia.in Contact 9702025174
ADMIN OFF: OFF. NO 2, 2ND FLOOR, THE WORKSPACE, 36 MAHAL INDUSTRIAL ESTATE, MAHAKALI CAVES ROAD, GUNDAVLI VILLAGE, ANDHERI (E), MUMBAI 400093,
Date: 06/05/2025
To, PALM AV-ICN Expo 2025
Subject: Supporting letter by Professional Audio & Lighting Association (PALA)
PALA-Professional Audio & Lighting Association representing the Sound, Lights, Events and AV Professionals in the 29 states and 9 union territories in India, is indeed glad to continue its valuable support to the PALM AV-ICN Expo 2025.
The Association is indeed proud to be associated with the PALM AV-ICN Expo 2025 being held since 2001.
The PALM AV-ICN Expo has been a great medium to nurture and grow professional audio knowledge and expertise through its multiple features including the PALM & AV Conferences sessions, Knowledge driven CAVS course, PALM Live Arena, Sound Revolution: Demo Qube, Harman Live Arena, Lighting Design Showcase, Rugging & Trussing Workshop, etc. It has been a catalyst in growing the investments in Live Sound and Pro Audio by creating a platform that attracts various technical people to the show, thus generating business for the trade and the Event & Entertainment industry.
PALA – Professional Audio & Lighting Association is pleased to endorse PALM Expo 2025, a platform that brings together the entire pro audio and lighting trade, rental and events industry together on one platform. It is the networking ground for the rental, event & entertainment, music, and sound engineering fraternity from across the country.
PALA affirms that our members will be visiting the Expo, showcasing their support towards the industry.
Yours Sincerely, PROFESSIONAL AUDIO & LIGHTING ASSOCIATION
Roger
Drego President
PROFESSIONAL AUDIO & LIGHTING ASSOCIATION
To The Organisers, Palm AV-ICN Expo 2025 Date: 03-05-2025
Subject: Letter of Support from Event Equipment Services Association – EESA Dear Team,
The Event Equipment Services Association (EESA) is pleased to extend its continued support to the Palm AV-ICN Expo 2025.
This collaboration is built on our shared commitment to technical excellence, safety, and professional development within the live event and entertainment production industry. The successful partnership forged in previous editions—especially through impactful initiatives like the Rigging and Trussing Workshop—has reinforced the value of working together to elevate industry standards.
We believe Palm Expo offers an unmatched platform for knowledge exchange and industry engagement, and we are confident that this year’s edition will once again set new benchmarks.
We eagerly look forward to another exciting and successful edition in 2025.
Thanking you, Yours sincerely, Event Equipment Services Association (EESA)
COMPANY NAME
A-PLUS - SOUND SOLUTION
4 SQUARES CORPORATION
HALL NO. BOOTH NO.
Hall 6 6A01
Hall 6 6G53
AHUJA RADIOS Hall 6 6L01
ANSATA COMPUTER SYSTEMS PRIVATE LIMITED Hall 6 6R01
APEXSOUND SOLUTIONS PVT LTD Hall 6 6D23
ASMEET INTERNATIONAL Hall 6 6M53
AUDIO STANDARD
AUDIO WIZARD
AUDIOPLUS
AUDIOTONE PROFESSIONAL
Hall 6 6R17
Hall 6 6C33
Hall 6 6L13
Hall 6 6A21
AVIENT TECHNOLOGIES PVT LTD Hall 6 6F47
AVIS VISIONTECH (P) LTD
Hall 6 6B33
BAASSFX Hall 6 6P13
BOSCH LTD Hall 6 6D33
CALIBRE SOUND SYSTEMS PVT LTD Hall 6 6D53
CAMBIUM RETAIL PVT LTD Hall 6 6I47
CAVITAK MARKETING PVT LTD Hall 6 6D47
CELTO ACOUSTIQUE LLP
Hall 6 6H23
CIRCLE PAVE GLOBAL SOLUTIONS LLP Hall 6 6P33
CLARION COMPUTERS PVT LTD Hall 6 6L39
CLASSIC (ANKIT ELECTRONICS) Hall 6 6B53
COMCON TECHNOLOGIES LTD Hall 6 6J47
DECIBEL PRO SYSTEMS Hall 6 6I39
DELHI LIGHT & MUSIC CENTER Hall 6 6O53
DEV ELECTRONICS Hall 6 6B13
DIGIMORE LLP Hall 6 6P39
DYNAMITE - MP TV CORPORATION Hall 6 6B39
ELECTRO CABLETRONICS Hall 6 6A45
ELECTRONICS MART INDIA LTD Hall 6 6H47
EMINENT AUDIO VISUAL PVT LTD Hall 6 6K33
ERTHPOT ELECTRONICS PVT LTD Hall 6 6J13
EXTREME ADVENTURE SPORTS Hall 6 6E53
FALCON CABLES Hall 6 6A01
FURTADOS MUSIC INDIA PVT LTD Hall 6 6H53
GENERATION AV (INDIA) PVT LTD Hall 6 6N33
GIRIRAJ SOUND SERVICES Hall 6 6O39
GM AUDIO TECHNICS Hall 6 6H33
HARMAN INTERNATIONAL INDIA PVT LTD Hall 6 6H01
HARNESS OVERSEAS PVT LTD Hall 6 6F33
HEINRICH CORPORATION INDIA PVT LTD Hall 6 6E47
HI-TECH AUDIO & IMAGE Hall 6 6N01
INTEGRATED ENTERTAINMENT SOLUTIONS Hall 6 6B01
JML AUDIO Hall 6 6B47
KOREX TEK LAB LLP Hall 6 6I33
KRISH MUSICALS Hall 6 6H39
KRISHNA ELECTRONICS
KRYSTAL CABLES INDIA PVT LTD
KUNZAR
LAB AUDIO
6 6A37
6 6L33
6 6A51
6 6D17
LBT ELECTRONICS PVT LTD Hall 6 6F13
LEWMINADIO
LLOYD LEE COMPANY
LUXURY PERSONIFIED LLP
6 6R47 & 6R37
6
COMPANY NAME HALL NO.
ADSLA ALL DELHI SOUND & LIGHT ASSOCIATION
AERONS INDIA EXIM PVT LTD
Hall 2 2A58
Hall 2 2F39 & 2F31
AES - AUDIO ENGINEERING SOCIETY Hall 2 2D21
AMAZE SOUND AUDIO PVT LTD Hall 2 2E19
ANQUETRONIX SERVICES
ARHUM ENTERPRISES
Hall 2 2F71
Hall 2 2A65
ARIHANT PRECISION ENGINEERING PVT LTD Hall 2 2B79
ARK SERVICE
AS ACOUSTIC
ATI PRO TECHNOLOGIES
AUDIO LOGIC
AUDIO SONIC
BE ACOUSTICS
BETA BHAGIRATH PALACE ELECTRONICS TRADERS ASSOCIATION
BHERAV DISTRIBUTOR
BIMM UNIVERSTIY
CHOICE ELECTRONICS
DANE ACOUSTICS
DISC BOY
ENERGY ELECTRONICS
Hall 2 2A79
Hall 2 2D65
Hall 2 2C01
Hall 2 2E 11
Hall 2 2A75
Hall 2 2C11
Hall 2 2C57
Hall 2 2F45
Hall 2 2D71
Hall 2 2C69
Hall 2 2B71
Hall 2 2D45
Hall 2 2A45
ENPING YIKE ELECTRONICS CO., LTD Hall 2 2E69
EUROLEC ENERGY
F N WOOD WORKS
GIRIJA SOUND SOLUTION
GOYAL PLYWOOD LLP
GREENFIELD TECHNOLOGIES
HARI INDUSTRIES
HIFI DECO INDIA PVT LTD
Hall 2 2C47
Hall 2 2F75
Hall 2 2F19
Hall 2 2C45
Hall 2 2D33
Hall 2 2C49
Hall 2 2E55
KLM POWER PVT LTD Hall 2 2A77
MAHAVIR ENTERPRISES
MANYA IMPEX
MAX EFFECT PROFESSIONAL SOUND SYSTEMS AND LIGHT
Hall 2 2F69
Hall 2 2E39
2 2D79
MD ELECTRONICS Hall 2 2D55
METRO PAPER Hall 2 2B25
MICROMAP ELECTRONIC SYSTEMS PVT LTD
2 2D29
MUSICIANS MALL Hall 2 2E71
NEXA INDIA
NK ELECTRONICS
N-LABS (HEMONA ELECTROACOUSTICS PVT LTD)
NUMARK AUDIO
2 2F23
2 2A39
2 2A01
2 2E49
NUMEN ELECTRIC COMPANY
ELECTRONICS
PRIME IMPEX
2 2B69
2 2B39
2 2A11 PRO KAB CABLE INDIA
COMPANY NAME
ACTIVE SFX ENTERPRISES
AUDIO LOGIC
AULAKH STAGE LIGHTING TRUSS
BIG DEEPER INDUSTRIES LLP
BULL TRUSS
CALCOM VISION LTD
CAPLUG INDUSTRIES
CHEMEX CHEMICALS
D9 LIGHTS - DEEPAK LIGHTS AND SOUND
DAVDAJIS PLUTO DISCO LIGHTS & SOUND
DEV LITES
DISNEY CRUISE LINE ENTERTAINMENT TECHNICAL
DIVINE FX
DYNO TRUSS
EESA EVENT EQUIPMENT SERVICES ASSOCIATION
ELITE ELECTRIC PROLIGHT PVT LTD
EON LIGHTING
EVENT STORE KOLKATA
EVERSHINE ELECTRONICS - BSM
GB LIGHTGEAR
GIANT TRUSS
GURU KRIPA ENTERPRISES
HI-LUX PRO LIGHTS
IBRA ENERGY INDIA PVT LTD
IMAX LIGHTING COMPANY
INNOVATIVE ELECTRONICS
INNOVATIVE LED TECHNOLOGY INDIA
JP MART
KADENCE PROFESSIONAL
KOHINOOR LIGHTS
HALL NO. BOOTH NO.
Hall 4 4D88
Hall 4 4D91
Hall 4 4C105
Hall 4 4C57
Hall 4 4C101
Hall 4 4B101
Hall 4 4D96
Hall 4 4D92
Hall 4 4B95
Hall 4 4E 65
Hall 4 4A49
Hall 4 4E101
Hall 4 4C65 & 4D65
Hall 4 4F79
Hall 4 4A105
Hall 4 4D27 & 4E27
Hall 4 4B87
Hall 4 4E95
Hall 4 4B01
Hall 4 4C01
Hall 4 4C49, 4D49 & 4E49
Hall 4 4A85
Hall 4 4C91
Hall 4 4A01 & 4A13
Hall 4 4D13
Hall 4 4A99
Hall 4 4A101
Hall 4 4C73
Hall 4 4D39, 4E39 & 4C39
Hall 4 4D101
KRISHNA LED LIGHTING SEMICONDUCTORS Hall 4 4F87
KRYSTAL CABLES INDIA PVT LTD Hall 4 4E57
LED ABBODE Hall 4 4C95
LEVONIX LIGHTING SOLUTION Hall 4 4D87
NATURAL LIGHT
Hall 4 4E73
NEO-NEON LIGHTING & DESIGNS PVT LTD Hall 4 4A95
NISUS ENERGY PVT LTD Hall 4 4B91
OSRAM LIGHTING PVT LTD Hall 4 4E13
PAPER & BOARD IMPEX
ELECTRICALS & ELECTRONICS
4 4A79 REVERIE
COMPANY NAME
ABSEN HOLDINGS COMPANY LTD
AET LED DISPLAYS INDIA
AIEA - ALL INDIA ELECTRONICS ASSOCIATION (FORMERLY KNOWN AS ALL INDIA RADIO & ELECTRONICS ASSOCIATION) (AV)
APNA LED
ARIHANT INFORMATICS
ASIRT ASSOCIATION OF SYSTEM INTEGRATORS AND RETAILERS IN TECHNOLOGY (AV)
3 3C33
3 3B03
3 3B17
3 3D65 & 3D66
3 3C19
3 3B13 ATENTI LED INDIA
3 3D49 AUDIO LOGIC
3 3D20 AV MASTER TECHNOLOGY CO
3 3C25
3 3C20 AV TODAY (AV)
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