PALM Expo Magazine - November-December 2025

EXPO PROMOTION MAGAZINE

SOUND.COM AND HARMAN REDEFINE CONCERT AUDIO FOR ENRIQUE IGLESIAS’ MUMBAI COMEBACK OTHER STORIES PP SOUND & LIGHTS ENGINEERS THE AKON EXPERIENCE

SNL PRO DELIVERS THE ULTIMATE

STAGE EXPERIENCE

MEGA SOUND POWERS THE 70TH

YAMAHA'S VISION FOR INDIA SONOTONE'S FOUR DECADE PRO AUDIO JOURNEY

FILMFARE AWARDS

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YAMAHA INTRODUCES THE NEXT GENERATION OF THE ICONIC UR SERIES Yamaha has unveiled the latest evolution of the long-running Steinberg UR series now unified under the Yamaha name with the launch of the new UR-MK3 and URX-C models.

The UR-MK3 is a compact, beginner-friendly audio package that includes Cubase AI, Steinberg Plus, and MixKey for easy recording, editing, and streaming. It features a high-quality UR mic preamp with 24-bit/192 kHz recording, intuitive controls, and a portable design. From capturing vocals and instruments to enhancing tracks and streaming performances, it covers every step of the creative process.

The URX-C is an easy, all-in-one recording and streaming interface designed for beginners. Powered by Yamaha’s DSP and dspMixFx, it offers simple effect and volume control, making high-quality results achievable from day one. It delivers professional 32-bit/192 kHz audio with D-PRE mic preamps, and features dual headphone outputs, independent volume controls, and Stream Deck integration. With smooth workflow and flexible mixing, it lets users capture, produce, and share content effortlessly ideal for novice and intermediate creators alike.

CATEGORY

PRODUCTS

24

Akon’s India Tour lit up New Delhi and Mumbai with PP Sounds delivering Meyer Sound Panther arrays, thunderous LFC subs, and world-class DiGiCo & Shure systems

Features 18 Cover Story: Stage Sound Tech

Warren D’Souza, Founder of SOUND.COM breaks down the tech and planning behind Enrique’s India return, executed by his team

40 Yamaha’s Vision for India:

PALM Expo Magazine speaks to Yamaha Music’s International and Indian leadership team to understand the company’s plans and growth and vision

24 Technical Reinforcement: Music Concert

From concept to concert, PP Sound & Lights drove Akon’s spectacular performances with expertise and innovation

44 Sonotone Audio’s Four Decade Pro Audio Journey

30 Live Sound Reinforcement: Awards

PALM Expo Magazine in discussion with Karan Nagpal, Director of Sonotone Audio, speaks on the company’s market responsiveness, in India’s booming pro and retail audio landscape

Mega Sound India, does a full-scale system deployment for Bollywood’s biggest night at the 70th edition of the Filmfare Awards

36 Stage Tech & Effects: Music Concert

Inside the engineering and artistry behind SNL Pro’s deployment of premium audio, pyro, and trussing for Travis Scott’s Delhi show

54 Live Sound Reinforcement: Music Festival

Powered by JBL Professional and executed by SOUND.COM, Bollywood Music Project becomes a stunning production with world-class sound design

Interview

58 PALM Conference Series: Live Sound Engineering

62 Interview: FOH Engineer

Carlos Sallaberry, Kiran Tauro, Lee Stevens, and Pieter Van Hoogdalem from Adamson Systems Engineering shared insights on the company’s latest launches and its engineer-first design philosophy at PALM Expo 2025

Brad Divens, the FOH Engineer for Enrique Iglesias, speaks to PALM Expo Magazine about mixing for the show and the latest edition of fixingtogetmixin

CONTENTS November-December 2025 - PALM Expo 2026

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CONTENTS News 08 Stage Sound:

Alphatec Brings MC2’s Amplification To India; Kazmi Sound Expands with Martin Audio; AS Sound & Balanced Boxes Upgrades with Amate Audio; Asian Sound Powers Up with Beta3; POPE Professional Launches V-Series; N-labs Announces DNA Amplifier Expansion; Nx Audio Launches New Speakers in Indra Series; Pink Noise Professionals Powers New Sonic Era Across India; Reynold’s Invests in DiGiCo 852 & 112; A Khan & Company Enhances Sound with Martin Audio; Mahesh Sound Upgrades with Yamaha

62

Brad Divens conducts his trademark fixingtogetmixin workshop with Event Tech Academy and HARMAN for novice and experienced engineers, a day after mixing for Enrique Iglesias’ landmark India tour

28 Audio Music Production:

Neumann Launches VIS; Universal Audio Introduces VOLT 876 USB Recording Studio Interface

32 Audio Install:

Bose Professional Launches Luna Pendant Loudspeaker; d&b Audiotechnik Presents New CCLI Compact Cardioid Line Array; Elvish Pub Bishnu Inn Chooses BA; Nx Audio Powers Skypadel Sundowner

Columns 52 Brightspark:

42 Appointments:

Daniel Sennheiser to Assume Role of Chairman for Sennheiser Group; Shure Appoints Ekta Shetty to Drive Growth; N-LABS Appoints Pooja Joshi as Head of Marketing

Viraf Pocha returns with trademark wit elucidating on the intersection of natural talent and AI

60 Stage Sound & Tech:

46 Lighting:

grandMA3 Takes Centre Stage on Yo Yo Honey Singh’s Tour; Avolites Shapes Light Craft; Leksa Lights Shine on Ram Bhagwan’s Tallest Statue; Ayrton Presents EagleStrike LT; SSL Media Rolls with Robe Investments

Job Burton returns for the final edition of his column, reminiscing on the way tech has evolved in the live sound industry

64 Unequal Music:

66 Industry:

HARMAN Showcases SPAT Revolution; Lewminadio Techversity Announces Flagship Programs; Comcon Technologies Marks 40 Years Of Excellence; Circle Pro Audio Launches Circleflex; POPE Professional Joins Ravenna Partner Community

See how chart-topping hits meet meticulous production and the talent behind the console for India’s latest pop bangers

74 DJ: Beyerdynamic Launches New DJ Headphones

58

Adamson’s international leadership leads an eventful discussion in PALM Expo 2025 about the company’s engineer first ethos

November-December 2025 - PALM Expo 2026

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Sound & Stage News ALPHATEC BRINGS MC²’S WORLD-CLASS AMPLIFICATION TO INDIA Alphatec Audio Video Pvt. Ltd., one of the trusted leaders in professional audio-visual distribution, announced its exclusive partnership with UK-based amplifier pioneers MC², bringing their world-renowned professional amplifiers to the Indian market. MC²’s story begins in 1993 with founders Terry Clarke, acclaimed for his work with Klark Teknik, and Ian McCarthy, an experienced manufacturer in the hi-fi and retail audio space.

Motivated by the lack of reliable, high-fidelity amplifiers in the early 90s, they combined their expertise, giving the brand its name from their initials, MC².

Their vision produced legendary amplifiers such as the MC1250, still in use in studios and live venues after more than 30 years.

MC²’s legacy is defined by relentless innovation and a refusal to rely on “bought-in” modules.

Each product, engineered and manufactured in Honiton, Devon, UK, embodies the brand’s philosophy: to deliver sonic excellence, robust power delivery, and unmatched reliability

Alphatec's recent partnership with MC2 poises them to make strides in India's pro audio landscape with spectacular performance.

across touring, fixed installation, and recording studio applications.

The 2007 merger with XTA expanded this philosophy into digital audio management, pairing MC²’s amplifiers with XTA’s breakthrough DSP technology. Today, the duo remains independently owned with founders Terry Clarke and John Austin

at the helm, ensuring continuity of vision and quality. Richard Fleming, representing MC² and XTA, shared his excitement about the partnership: “Alphatec’s extensive coverage and detailed knowledge of the Indian market is unrivalled. Their aim is to elevate the audio industry in India by supplying professionals, businesses,

and enthusiasts with the tools they need to create exceptional sound experiences. We are excited to be part of that mission and look forward to working closely with Alphatec in this vibrant and exciting market.”

Devasis Barkataki, Founder and Managing Director of Alphatec, added: “We are proud to bring another renowned global brand to the Indian market. MC² has an excellent international reputation for manufacturing premium amplification technology, which is used for a host of installed and touring applications on every scale. We look forward to sharing the advantages of these cutting-edge, innovative, and robust technologies with our clients, and anticipate very strong interest from the Indian market.”

With India’s rapid growth and a market ready for superior solutions, MC² and Alphatec are poised to lead, offering audio professionals unprecedented performance, robust support, and the tools to create remarkable soundscapes.

KAZMI SOUND EXPANDS WITH A MARTIN AUDIO WPL SYSTEM Kazmi Sound, in Lucknow, has strengthened its reputation as one of Lucknow’s leading professional sound rental companies with a powerful new Martin Audio WPL System, through Vardhaman Megatech (VMT) The system features the WPL, a 2 × 12" bi-amp threeway line array known for its precision coverage and signature Martin Audio tonality. Complemented by the SXH218 dual 18" Hybrid Horn/ Reflex subwoofers, the setup delivers deep, commanding bass that enhances the energy and presence of every live performance. Together, they form a touring-grade solution designed to handle large outdoor gatherings and high-end corporate events alike.

Driving the system are iKON iK42 amplifiers, four-channel 20,000W

Class D powerhouses that provide clean, efficient power with DSP and Dante integration for complete system control. This advanced combination ensures consistent perfor-

mance and effortless scalability. With this investment, Kazmi Sound can now deliver pristine, concert-level sound reinforcement across Uttar Pradesh showcasing both technical

With the purchase of the Martin Audio WPL system, Kazmi Sound has strengthened their ability to offer customers notch performance

November-December 2025 - PALM Expo 2026

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excellence and a deep commitment to sound quality that defines the Martin Audio legacy.

“The Martin Audio WPL system has transformed our sound delivery.

Its power and accuracy have helped us deliver exceptional performances across Uttar Pradesh. This investment strengthens our ability to serve clients with global-quality audio at every show.” - Raju Kazmi, Founder and Director, Kazmi Sound.

“Kazmi Sound’s decision to integrate the Martin Audio WPL and SXH218 system powered by iKON amplifiers reflects a bold approach to sound reinforcement. The result is smooth, controlled output that enhances every production they deliver.” - Anurag Khanna, National Sales Manager - North India, VMT Enterprise.

Sound & Stage News AS SOUND AND BALANCED BOXES UPGRADE TO AMATE AUDIO XA211 LINE ARRAY SYSTEMS Two leading AV rental companies in Pune, AS Sound and Balanced Boxes, have recently upgraded their inventories with the Amate Audio XA211 line array system, distributed by Eminent AV, Amate Audio’s official distributor in India. This markes a significant step forward in event audio capabilities across Maharashtra.

AS Sound, a long-standing name in high-performance sound solutions, was an early adopter of Amate Audio’s Xcellence Series, previously using the X210 active line array system. The company has now transitioned to the XA211, a next-generation dual 10-inch active line array module designed for improved clarity, extended throw and higher output. The XA211 system delivers a total amplifier power of 3000W, with 2500W dedicated to the low-frequency driver and 500W to the high-frequency driver. It supports an active and passive combination for flexible deployment and incorporates advanced DSP, FIR filtering and Class D

amplification. Remote DSP control software is available for both Windows and macOS platforms.

AS Sound’s updated inventory includes twelve XA211 and XA211P modules forming the main PA, supported by X102FD point-source speakers for front fill. Low-end reinforcement is provided by dual 18-inch subwoofers rated at 4800W, ensuring deep Amate Audio's XA211 dual 10-inch active line array modules with matching 18-inch suband punchy bass for large woofers deployed by AS Sound and Balanced Boxes for high-SPL, DSP-controlled performance across large-scale events venues.

Balanced Boxes, another response. This investment enables throw coverage and robust reliability prominent rental provider in Pune, Balanced Boxes to deliver consistent, for demanding live environments. has also adopted the XA211 system to high-fidelity audio across a wide range These upgrades position AS Sound enhance sound delivery for concerts, of applications. and Balanced Boxes at the forefront corporate events and large-scale proThe Amate Audio XA211 combines of professional audio rental services ductions. Their inventory comprises dual 10-inch neodymium woofers in Maharashtra, equipping them to eight XA211 and XA211P modules for with a 1.4-inch HF compression driver meet the growing requirements of the main PA, paired with dual 18-inch and integrated DSP control, offering high-profile events with advanced subwoofers delivering 4800W for precise sound reproduction, longtechnology and expert deployment. high SPL output and extended bass

ASIAN SOUND POWERS UP WITH BETA3 WAVELINE PREMIUM SYSTEM In a significant development for Rajasthan’s professional audio landscape, Asian Sound, the renowned rental company led by industry figure Om Prakash Choudhary, has expanded its inventory with a major purchase of the Beta3 Waveline Premium Active Line Array Series. The company has acquired 16 units of the Dual 12-inch Active Line Array SLA212P along with 12 units of the Dual 18-inch Active Subwoofer, marking one of the most substantial upgrades in the region’s sound rental sector.

This strategic investment reflects a clear understanding of the increasing demand for high-fidelity sound in today’s event ecosystem. With cultural festivals, wedding productions, destination events and concerts becoming more sophisticated, the need for dependable, powerful and scalable audio

solutions has grown rapidly. The SLA212P, equipped with dual 12-inch drivers, onboard Class-D amplification and advanced DSP, delivers exceptional clarity, projection and coverage suitable for large-format applications. When paired with the deep, controlled power of the active dual 18-inch subwoofers, the system provides a comAsian Sound's team with the newly acquired Beta3 Waveline Premium Active Line Array plete sonic package capasystem, featuring SLA212P line array units and dual 18-inch active subwoofers ble of handling high-pressure live environments with ease. improved profitability for the rental smooth transaction and timely For Asian Sound, widely recognised operation. This upgrade places Asian delivery. The purchase positions for its consistency and commitment Sound at the forefront of the regional Asian Sound to handle larger to premium output, the Waveline market, enabling the company to events and meet growing techseries brings both technical exceltake on larger, more ambitious events nical requirements in Rajasthan lence and business efficiency. Its with confidence and deliver sound and neighbouring states. The active architecture reduces external quality that meets modern expectaadoption of advanced systems amplifier dependencies, streamlines tions. such as the Beta3 Waveline series setup time and enhances operationAnjani Audio Solution, a Beta3 reflects a broader trend in the al reliability—benefits that directly dealer based in Bikaner, facilitated regional rental market towards translate into stronger performance the procurement of the new system higher performance standards during high-stakes events and for Asian Sound. Their role ensured a and reliability.

November-December 2025 - PALM Expo 2026

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Sound & Stage News POPE PROFESSIONAL INTRODUCES V-SERIES LINE ARRAY FAMILY POPE Professional introduced the V-Series, a complete family of powered line array loudspeakers designed to deliver uncompromising performance across every scale of sound reinforcement, from intimate venues to arena-sized productions. Combining cutting-edge transducer engineering with intelligent DSP and full AES67 Audio-over-IP networking, the V-Series sets a new benchmark for flexibility, scalability and future-ready connectivity.

AES67 interoperability ensures seamless integration with leading AoIP platforms such as Dante, RAVENNA, Q-LAN and Livewire. This guarantees high-quality, low-latency audio exchange over standard networks, empowering sound professionals with maximum control and reliability in both touring and fixed installations.

The POPE Professional V-Series offers a comprehensive range of solutions, scaling effortlessly from small venues to large concert arenas. At the entry point, the V-28 stands out as the

the V-12 introduces a three-way design with a 12-inch woofer, four midrange drivers and dual compression drivers, achieving an impressive 135 dB peak SPL with precise pattern control. At the top of the range, the V-212 serves as the flagship model for large-scale concerts and festivals. With dual 12-inch woofers and advanced waveguide engineering, it delivers unrivalled clarity, impact and consistency for the most challenging live sound scenarios.

most compact model in the line-up, delivering remarkable clarity through dual 8-inch neodymium woofers and dual 1-inch compression drivers.

Equipped with POPE’s B-2 amplifier module, AES67 networking and a weather-resistant design, the V-28 is perfectly suited for small to medium indoor and outdoor applications.

For enhanced output and coverage, the V-10 introduces a 10-inch LF driver paired with POPE’s Directivity Correction Horn (DCH), ensuring stable high-frequency performance.

Its robust rigging system supports up to 16 cabinets, making it an ideal choice for professional touring and permanent installations. Moving up the range, the V-210 is purpose-built for theatres, auditoriums and houses of worship. Combining DCH with Waveguide Physical Driver (WPD) technology, it delivers smooth coverage and thermal stability during extended events.

The V-112 offers a lightweight yet high-power solution, featuring POPE’s Line Source Former Technology Horn for exceptional coherence and projection in both portable and installed sound applications. For demanding touring environments,

POPE Professional's V-Series amplifiers are designed to deliver uncompromising performance

N-LABS ANNOUNCES EXPANSION DNA AMPLIFIER LINE WITH DNA25 AND DNA36 N-Labs has expanded its renowned DNA amplification lineup with two new compact models, DNA25 and DNA36. These models are engineered for both Installation and Live Sound applications where lower power is required without compromise on advanced

These amplifiers deliver the same performance and processing power found in high-output touring systems but packaged for auditoriums, worship spaces, retail, hospitality, rental companies, classrooms, and compact PA systems. The DNA series is

NX AUDIO LAUNCHES NEW NEODYMIUM SPEAKERS IN POPULAR INDRA SERIES Named after Indra, the Vedic god features a 12-inch driver with a 3-inch of lightning, thunder and storms, voice coil rated at 500W RMS. The the INDRA Series from Nx Audio has INDRA-104ND is a 10-inch driver with been a part of the company’s portfolio a 3-inch voice coil rated at 400W RMS. for eight years. In November 2025, Neodymium magnets provide simNx Audio introduced three ilar power to ferrite magnets new neodymium-based at a lower weight, making mid-bass drivers to the these models suitable range: INDRA-126ND, for portable cabinet INDRA-125ND and designs. The launch INDRA-104ND. adds further The INoptions to DRA-126ND the INDRA is a 12-inch Series, which driver with a is widely used 3.5-inch voice coil for its tonal conrated at 600W sistency and Nx Audio’s INDRA Series has now been RMS, while the expanded with new neodymium mid-bass reliability. drivers as part of their 2025 revamp INDRA-125ND

November-December 2025 - PALM Expo 2026

N-Labs DNA25 and DNA36 – Compact amplifiers engineered for installation and live sound, featuring Dante/AES67 compatibility, onboard DSP with FIR/IIR filters

features and reliability. Despite their compact size, the DNA25 and DNA36 come loaded with professional-grade capabilities including: Universal power supply for seamless global operation, Dante and AES67 compatibility, onboard DSP with FIR and IIR filters, real-time RTA analysis, internal noise generators for system measurement, remote configuration and system monitoring.

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backed by N-Labs’ unwavering commitment to long-term reliability, supported by a 5-year worldwide all-defect warranty for complete customer assurances.

With the DNA25 and DNA36, N-Labs continues pushing the boundaries of Made-in-India professional audio engineering by offering intelligent, robust, and scalable amplifiers for the global market.

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Sound & Stage News PINK NOISE PROFESSIONALS POWERS NEW SONIC ERA ACROSS INDIA India’s pro audio landscape is

Modern Stage Service’s commitment

entering a transformative phase, and

to technology and delivering excep-

Pink Noise Professionals doesn’t plan

tional sound experiences across India.

to miss out. Delivering cutting-edge

Their vision is on the same ground

Eastern Acoustic Works (EAW) solu-

as Pink Noise’s vision for the pro

tions to leading names in the indus-

audio landscape, as affirmed by

try, is one of the company’s strategies

Vikram Yadav, “It gives us great pride

for establishing their presence in the

to welcome Modern Stage Service to

industry.

the EAW family. Their dedication to

Khanna Sounds, a trusted name

excellence and their deep under-

in live sound, has embraced the

standing of quality sound make them

future with the EAW NTX Series. Their

an ideal partner!”

integration into the Eastern Acoustic Works (EAW) family, facilitated by Pink Noise Professionals, is more than

Khanna Sounds upgrades with EAW NTX210L Line Arrays, SBX218 & SBX118 Subwoofers, and NTX Flybar

Innovation has made a bold entrance into India’s pro audio scene as Paravision AVS becomes the first

a system upgrade; it’s a commitment

company in the country to deploy

to delivering world-class sound.

the EAW Adaptive AC6, delivered by

Under the leadership of Mayank

Pink Noise Professionals. This mile-

Khanna, the company has earned a

stone signals a new era of precision

reputation for precision and passion.

audio for Indian venues.

Their investment in EAW’s NTX Series

Unlike traditional loudspeakers,

reflects a progressive approach in an

the Adaptive AC6 uses advanced

evolving audio landscape. Globally

beam steering and real-time room

trusted for engineering excellence,

adaptation to deliver unmatched

EAW delivers power, clarity and inno-

coverage accuracy. For Everton Fer-

vation for professionals who demand

nandes and Shannon Fernandes, this

the best.

investment reflects a commitment to

The new system features EAW NTX210L Line Arrays, designed for pristine sound, high output and

Modern Stage Service raises the bar with EAW RSX212L Line Arrays, RSX218 Subwoofers, and RSX12M Monitors

future-ready solutions and uncompromised sound quality.

The system includes the EAW AC6

seamless coverage, powered by

Adaptive Column Loudspeaker,

advanced DSP. Complementing these

paired with SBX218 Subwoofers

are SBX218 and SBX118 Subwoofers,

for clean vocal definition and deep,

delivering clean, controlled low-fre-

controlled low-end impact. Ideal

quency energy for impactful perfor-

for corporate spaces, performance

mances. Whether for intimate indoor

venues and houses of worship, this

events or large outdoor concerts, this

configuration combines clarity, pow-

combination ensures Khanna Sounds

er and reliability.

can deliver immersive audio with

Yadav complimented the team’s

confidence. Completing the setup is

choice of investment as well, stating:

the NTX Flybar, providing flexible and

“Welcoming Paravision AVS to the

secure rigging for any production

EAW Adaptive family is truly special.

environment.

Vikram Yadav, Founder and Director of Pink Noise Professionals

Paravision AVS has become the first adopter of EAW Adaptive AC6, delivered by Pink Noise Professionals

Everton and Shannon have always demonstrated exceptional clarity in their vision for sound. Their choice

added, “We’re delighted to welcome

ogy, support and long-term growth.

Khanna Sounds to the EAW family.

At the heart of this partnership lies

Working with Mayank Khanna has

a shared commitment to pushing

Line Arrays for clear, wide cover-

been a pleasure, his passion for

boundaries and creating unforgetta-

age, RSX218 Subwoofers for deep,

sound and commitment to excel-

ble sound experiences.

powerful bass, and RSX12M Monitors

landmark deliveries reaffirm one

quality and reliability.

The new setup includes RSX212L

to lead India’s entry into Adaptive technology reflects their courage and commitment to excellence.”

For Pink Noise Professionals, these

lence truly stand out. This partnership

Modern Stage Service, one of

to ensure artists hear themselves with

truth: India’s pro audio industry is

is about more than systems; it’s about

India’s leading event production

precision. Designed for easy deploy-

soaring, and Pink Noise stands at the

creating audio experiences that leave

companies, has also strengthened its

ment and consistent performance,

forefront, driving innovation, shaping

a lasting impact. We look forward to

audio capabilities by adding the EAW

the RSX Series provides better con-

trends, and setting new benchmarks

seeing Khanna Sounds reach new

RSX Series to its inventory, with sup-

trol, higher output and dependable

heights with the EAW NTX Series.”

port from Pink Noise Professionals.

operation during long events.

for growth.

For more technical details, specs, and full quotes from Vikram Yadav, Founder & Director of Pink Noise Professionals, head to PALM Expo Magazine’s official website!

Known for delivering large-scale con-

Pink Noise Professionals credited

joins a growing network of audio

certs, corporate events and outdoor

Varinder Wadhwa, Sahil Wadhwa,

professionals across India who trust

festivals nationwide, the team sought

Kartik Wadhwa and Dilip Yadav for

Pink Noise Professionals for technol-

a system that offers superior sound

choosing EAW. This upgrade reflects

With this upgrade, Khanna Sounds

November-December 2025 - PALM Expo 2026

14

Distributor for India:

Sound & Stage News REYNOLDS INVESTS IN DIGICO QUANTUM 852 & 112 SETTING NEW BENCHMARK IN SOUTH INDIA India’s live entertainment industry has entered a defining era. India is no longer asking, “Can we?”—it’s proving, “We already can.”

Southern India is setting global benchmarks in live production with shows like Ed Sheeran’s Mathematics Tour, Lollapalooza India, Echoes of Earth, Sunburn Arena, NH7 Weekender, and AR Rahman Live. Riding this momentum, Bengaluru-based Reynolds Sound & Lighting Services has become the first in South India to acquire DiGiCo Quantum 852 and Quantum 112 digital mixing consoles, reinforcing its reputation for pioneering technological excellence.

The landmark deployment is empowered and technically supported

by Hi-Tech Audio & Image LLP, New Delhi, the Exclusive India Partner & Distributor for DiGiCo. Felix Remedios, Managing Director, Reynolds Sound & Lighting Services Pvt. Ltd., said, “This purchase is not about

(L-R) Rajan Gupta, Felix Remedios, Nirdosh Aggarwal and Selwyn Remedios

acquiring gear—it is about expanding possibilities. The DiGiCo Quantum 852 is built for the world’s most expressive, complex, and technically demanding productions. Introducing it to South India signals that our artists, our engineers, and our audiences deserve global-grade sonic precision.

At Reynolds, we believe in leading with intention, not fashion—and this investment marks a defining moment in India’s journey toward international touring standards.”

India’s growing demand for failsafe, future-ready consoles peaked during “ONE WORLD ONE FAMILY” 2025—a Guinness World Record concert uniting 450 musicians from 40+ countries. Reynolds and Hi-Tech deployed DiGiCo Quantum systems: Quantum 852 handled 220+ FOH channels, Quantum 112 anchored production, and Quantum 5 powered monitors and broadcast.

The deployment demanded flawless engine redundancy, Optocore stability,

clocking accuracy, signal integrity, and seamless coordination between FOH, monitors, and broadcast—all executed under international scrutiny. Rajan Gupta — CEO & Founder, Hi-Tech Audio & Image LLP. Relates that: “Our partnership with DiGiCo has always been rooted in capability-building, not transactional supply. Reynolds’ Quantum deployment—especially during the Guinness World Record production—is a reminder of what India can achieve when talent and technology converge.

Their decision to invest ahead of the curve sets a new standard for the country. This milestone proves India is not simply matching global touring expectations—we are preparing to become a destination the world respects and celebrates. Quantum technology doesn’t just enhance sound; it enables India to perform on the world stage.”

Read the full news on PALM Expo Magazine's official website!

A KHAN & COMPANY ENHANCES SOUND SETUP WITH MARTIN AUDIO WPL IN KOLKATA The Martin Audio WPL line array system marks a new chapter of sonic excellence for A Khan & Company, Light & Sound.

Designed to deliver unmatched clarity and control, the system includes WPL line array modules, SXH218 subwoofers, and iKON iK42 amplifiers. Together, they create a high-performance

ecosystem that delivers powerful, balanced sound across any venue. From soaring vocals to deep, impactful bass, every frequency is reproduced with precision, making it ideal for both touring and premium event applications.

With the SXH218 subs providing tight, thunderous low-end and the iKON iK42 amplifiers ensuring optimised power distribution and DSP

control, the system performs flawlessly even under the most demanding conditions. Engineered to meet international touring standards, the setup reflects Martin Audio’s signature balance of warmth and definition. For A Khan & Company, this investment redefines what is possible in regional event production — combining cutting-edge technology with consistency, scalability, and world-class performance.

A Khan & Company’s partnership with Martin Audio has further solidified their position as a top-tier sound company in East India. By integrating world-class technology with local expertise, they have built a benchmark for premium sound and lighting execution. Every installation and event reflects their core philosophy — to deliver sound that moves people, connects audiences, and amplifies experiences. Through innovation, integrity, and passion, A Khan & Company continues leading the evolution of professional live sound across the

A Khan & Company continues to change professional live sound across the region, with their recent investment in Martin Audio

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region.

“Bringing the Martin Audio WPL system into our inventory has been one of our most rewarding decisions. The sound feels alive — clear, powerful, and beautifully balanced. Our clients instantly notice the refinement.

With the WPL and SXH218 subs, we can deliver consistent, impactful sound at any scale. It’s more than an upgrade — it’s a transformation in how we create and share sound.” Raju Khan, Director, A Khan & Company – Light & Sound.

“The in-house team adapted quickly during deployment and tuning. They love how straightforward the WPL setup is and are now navigating the system software with ease — it has made their workflow smoother and more efficient.” - Sai Perm, Pre-Design & Sales Engineer, VMT Enterprise, Martin Audio’s official distributors in India.

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COVER STORY: STAGE SOUND TECH

SOUND.COM Sets the Stage for ENRIQUE IGLESIAS’ Landmark Mumbai Concert

Enrique Iglesias returned to India after 12 years for a spectacular concert at Mumbai’s MMRDA Grounds, drawing an anticipated crowd of 30,000. To deliver flawless audio for an event of this scale, SOUND.COM, globally renowned for precision and world-class productions for international acts in India, was the natural choice. PALM Expo Magazine had the opportunity to have an exclusive conversation with Warren D’Souza, Founder of SOUND.COM and one of the most respected voices in live sound, to explore the planning, challenges, and innovations behind this landmark event.

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Preliminary Steps, Acoustic Mapping & System Design True to the SOUND.COM ethos, rigorous preparation and planning began months prior to D Day. “We knew we were doing the show three months in advance, and that’s when our collaboration with HARMAN began,” shares Warren. “Even at the preliminary stage, we had a fair idea of the venue layout, which helped us estimate the number of cabinets required. From there, we worked on the design and finalized the box count well ahead of time.”

This meticulous approach set the tone for a production that was as seamless as it was spectacular. Every element— from staging and trussing by Meta Staging to the backline, musical instruments by GearHouse and the control systems package by SOUND. COM —was planned with precision. The result? A show that exemplified how early coordination and

Enrique’s show was no exception.

Building on the collaborative groundwork with Brad Divens and Eddie, this next phase was about translating that philosophy of “doing it right the first time” into a physical design. Even though Warren and his team were on familiar turf at MMRDA, layouts evolve—and this time, the challenge was a two-day event instead of one. The design adapted accordingly, ensuring that every acoustic detail aligned with the rider and the evolving venue plan.

"We started with AutoCAD and then migrated everything into Vectorworks. Once the data was in Vectorworks, we imported it into JBL’s Venue Synthesis software for predictions.

Initially, we had a coarse prediction, but once we got into Venue Synthesis, the design became more calculated. HARMAN also sent us recommendations which we adapted to create an India-specific design," Warren explained.

Equipment Selection and System Deployment What truly set this production apart were the venue’s

“

We were data-driven, and over time, Indian productions have understood the need for precision on the ground and the need to be accurate. People were my biggest backup. Honestly, the biggest challenge wasn’t technical, it was the weather.

Two mains, two outers, six delays, and one VIP, powered over 170 JBL loudspeakers and 60 subs in end-fire arrays, ensuring uniform coverage and consistent low-frequency impact across the venue

expansive dimensions—and the sound system designed to conquer them. At the heart of it all was a JBL professional audio rig, engineered for consistency and power across a sprawling layout.

In total, the configuration comprised of two mains, two outers, six delays, and one VIP stack—adding up to an impressive 11 PA stacks. Each stack averaged 16 loudspeakers, resulting in a massive deployment of over 170 JBL loudspeakers.

Subwoofers were strategically deployed in the mains, delays, and VIP zones, all in an end-fired configuration, ensuring uniform low-frequency coverage and delivering the same sonic footprint to every listener, regardless of their position in the venue.

Warren cites the rider as a deciding factor in the selection of the JBL speaker system. “We went with JBL VTX A12 for mains, VTX A8 for fills, and B28 subwoofers, all applied in the delays and VIP zones. We used JBL Venue Synthesis v1.3 for system design due to its high accuracy in acoustic prediction, leveraging its multi-point array tools for design and Smaart for on-site validation,” he specified.

The FOH had a Yamaha PM10 console with all the Neve outboard and some RME gear. At monitor world, there was an S6L console with Waves plugins. All RF was Shure. All loudspeaker systems, on stage and FOH, were JBL, with amplifiers from Crown, all part of the HARMAN family.

SOUND.COM deployed several reference points and measurement techniques to ensure accurate coverage across horizontal and vertical planes,

technical foresight can elevate live experiences.

When discussions began with Brad Divens, Enrique’s FOH engineer, and the artist’s team, Warren emphasised a guiding principle: do it right the first time. This philosophy became the foundation for a smooth, hitch-free execution. (Read the full interview with Brad on page no. 62).

On the subject of adjustments, Warren was unequivocal: “None of that happened because there’s only one way of doing it right and a hundred ways of doing it wrong. You get the venue specs, design the show file, send it to them, and await a binary yes or no. If they reply with changes, it means you didn’t meet their expectations.”

The process was streamlined—just one Zoom call to explore possibilities, not dissect technology. That clarity confirmed they were on the right track from the start.

The only minor tweak involved alternate backline options. Eddie, the monitor engineer, was meticulous about details, insisting on 100% compliance with the rider—no compromise on console choice, processing, or specifications. SOUND.COM delivered on every requirement, matching the rider to the tee and ensuring the technical backbone was flawless.

SOUND.COM’s commitment to precision goes beyond compliance—it extends to how every show is acoustically mapped to the artist’s unique requirements. Factors such as stage size, projection angles, LED setup, audience layout, VIP zones, and overall venue dimensions are all part of the equation.

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using a combination of laser distros and range finders. Warren credits the design team and rigorous pre-planning for the results: “Honestly, the design team stuck so closely to the plan that we barely needed the measurement tools. The actual setup was 99% accurate to the design.” Citing a shift in industry standards, he adds, “We were data-driven, and over time, Indian productions have understood the need for precision on the ground and the need to be accurate.”

Modular scaffolding systems were chosen for the rigging along with trussing. The initial plan was to load the loudspeakers on the roof, but considering the challenges on site an executive call was taken to migrate the main PA onto scaffolding instead. The subwoofers were flown as well, which sat just behind the mains.

and monitoring.

Warren explained, “Networking was completely gigabit. We ran fibre to each networking node, not Cat6, except for sub-nodes. Everything else is fibre for high-speed networking. We only use Netgear AV Line network switches with SFP modules hosted on both a primary and secondary network. If we lose primary, we swap to secondary.” That level of planning and foresight paid off during the show.

Challenges and Contingencies All the planning in the world doesn’t guarantee a flawless day. For Warren and his team, the real test came when rain, mud, and heavy machinery threatened to derail timelines.

It was a combination of foresight and on-ground expertise that kept the show on track—proof that even the best-laid designs need resilience when nature throws curveballs.

"People were my biggest backup. Honestly, the biggest challenge wasn’t technical, it was the weather. We witnessed unseasonal rain on each of the seven days of prep on site. Even 15 minutes before showtime on Day Two it was pouring. Working in rain is arduous; a two-hour job becomes six hours.

Everything else can be circumvented, but weather is unpredictable."

SOUND.COM’s robust pre-production measures meant that on-site adjustments were minimal—a testament to meticulous planning. The only recalibration involved resizing the VIP section after a last-minute riser was added for physically challenged guests. For a production of this scale, that level of precision is remarkable and speaks volumes about Warren’s expertise and his uncompromising approach to preparation, which anticipates challenges before they arise.

And challenges were plenty. The venue posed significant logistical hurdles, being a first-time concert location for the season.

Infrastructure was incomplete, roads were dug up, access gates were blocked, and trucks carrying crew and gear had to navigate uneven, muddy paths. Adding to the complexity, the site was on government land, making permissions and coordination a delicate balancing act. Heavy rains compounded the situation, turning the ground into a quagmire and creating a volatile environment for setup and operations.

"A day before the show, they brought in landfill and steamrollers to stabilise the area, while we were rigging!" Warren exclaimed, "Heavy machinery and audio prep don’t gel well when you need silence. It wasn't ideal but we made it work for us."

As an additional fail-safe, SOUND.COM ran the entire network for the show on UPS. If there was a power failure and the team needed to reboot, audio would be online immediately. Without UPS, the network would have taken two and a half minutes to boot, a delay that could have been critical, especially when running Dante, since audio depends on the network being fully operational. By keeping all main nodes on UPS, the team avoided that risk entirely.

Gigabit Precision with Networked Integrity Elucidating IP-networked communications of the entire set-up, Warren stresses that the scope of the project left no room for compromise. “Without robust networking, the amps can’t even talk to you on the network. For a project like this with 170 boxes and over 60 subwoofers, you’re using at least 144 amplifiers. When you use that many amps, they have to take networking very seriously.”

Each amplifier was assigned a unique HiQnet address within Performance Manager, HARMAN’s proprietary control protocol for system configuration

Trussing Safety Measures SOUND.COM deployed only certified material, all structures were EN1092, which is the European standard for manufacturing steel and aluminium components. Warren explains, "We had the roof's structural analysis done by Runtemund Engineering, a German company, and PFTUV certifications for all rigging equipment."

SOUND.COM adhered to Form 11, the statutory certification for rigging safety. “We also have an independent structural engineer on site who does load calculations. After we design the load in the air, an independent structural audit company, IRA, checks and certifies safety. Only after they give production a clean chit, do we start erecting the structure.” This rigorous process ensures compliance and minimises risk, reflecting the team’s commitment to safety and precision in large-scale event setups.

A JBL Professional system, designed and optimised using Venue Synthesis, deployed across 11 PA stacks on modular scaffolding and powered by robust fibre networking with ingenious fail safes, set this production apart in SOUND.COM's portfolio

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Planning Beats the Odds with Seamless Execution Backed by such extensive preparation, it stands to reason the execution went off without a hitch. When Iglesias stepped onto the

Warren explains. “Everyone was vigilant because water finds its way through cracks—into faders, guitars, anything. Even with a roof truss, draft rain can fall onto consoles, mics, DI boxes. We improvised by using garbage bags to cover stage boxes, which served a dual purpose: protecting the gear and camouflaging it for a clean stage look.”

This attention to detail underscores how technical foresight and practical solutions can make the difference between a flawless performance and a show-stopping failure. And this came from experience, SOUND.COM and a global team working hand in hand. Nobody was told what to do, everyone knew their role.

“We had two members at every delay stand, briefed to take executive decisions if something failed, swap to backup line, changeover switch, because comms might not work in that noise. These gigs are about reputation management. With 11 stacks over 25,000 people, if something goes wrong, you can’t be flustered," Warren states confidently.

As an added redundancy, SOUND.COM deployed a marvellous feat of engineering. Warren broke down the concept simply, stating; "We ran fiber optics in the air, not on the ground. If floor cables failed, aerial backups took over.

When you talk redundancy, there’s no point running two cables side by side, if one is cut or interrupted, both go kaput. So, we planned smart."

Lessons Learned

Modular truss structures certified with PFTUV, Form 11 compliance, and independent structural audits ensured precision and reliability for this largescale setup

stage, the soundcheck was wrapped up in just six minutes. Enrique’s team also came armed with smart ideas, they conducted a console prep at the Grand Hyatt ballroom two days before the show. All radios and consoles were configured there, a decision that proved invaluable given the relentless rain on site. That foresight meant the final steps were simplified: the team simply opened the racks and kicked the system into gear, with no configuration required, as everything had been fine-tuned beforehand.

"That was a masterstroke, in hindsight, a brilliant decision. It came from Enrique’s team, and though we were busy, it worked in our favour because it rained nonstop that day. So everyone worked indoors, close to each other, no rain, no weather fight. At 9 PM, everything went straight to site—plug and play. The next day was much easier," Warren reflected. There were no nasty surprises or last moment patch-ups and the team could focus on protecting gear that was already calibrated and configured.

One of Enrique’s team’s key requests was the use of active antennas—and for good reason. With the antennas exposed to the elements, rain posed a serious risk. Enrique performs on a satellite stage, and if water compromised the antennas, his microphone could cut out mid-show—an unacceptable scenario for a live concert of this scale.

“There was a seamless relay of responsibilities between both teams,”

SOUND.COM didn’t just walk away satisfied that they pulled off one of the most difficult shows this season. True to their ever-evolving nature, they had learnings right away. “The first big learning we've had is: never consider weather seasonal. Environment has changed, we have to go into every show assuming it can rain, be windy, and hostile. So now, all our systems and processes will be built for weather. Whether it’s blazing sun or pelting rain, we’ll go prepared. That’s clearly established after this show. We need racks, systems, and processes so that when it rains, we’re not running riot trying to cover gear, we’ll have better contingencies,” Warren emphasised.

Another critical takeaway from this production was the need for streamlined communication, especially under adverse conditions. When bad weather strikes, strong comms become the lifeline of the operation. Countless things can go wrong during final execution—audience members might climb delay stacks for a better view, or turn cooling fans toward themselves, causing amplifiers to overheat.

In the chaos, it’s easy for someone to get tunnel vision, focusing only on their own cable run, while video or lighting teams might drag their lines across sound cables, assuming their department operates independently.

Clear, coordinated communication ensures that these potential hazards are mitigated before they escalate—proving that in live production, technology and teamwork go hand in hand.

Warren highlights the importance of leadership as well. Executive calls and split-second decisions backed by years of experience and an unmistakable intuition for this industry can’t be overlooked.

SOUND.COM’s philosophy of intense planning was the Hero of the event. (no pun intended). The discussion with Warren reaffirmed what our readers already know: it’s never just the gear, the venue, or the artist, that leave an audience walking away heady with exhilaration. It’s the passion, the hard work, the meticulous planning, and above all, the people behind the scenes who make it happen.

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INTEGRATED TECHNICAL REINFORCEMENT: MUSIC CONCERT

ENGINEERING THE AKON EXPERIENCE How PP Sound Lights Productions Powered Two Spectacular Nights of Akon’s high-energy performances in Delhi and Mumbai When global superstar Akon touched down in India for his long-anticipated multi-city tour in November 2025, excitement rippled through fan circles across the country.

The announcement had sparked a wave of nostalgia — a reminder of the beats that defined the early 2000s and the voice that dominated playlists for more than a decade — but nothing quite prepared audiences for the overwhelming energy that unfolded at each of the concert venues; especially in New Delhi and Mumbai.

Beneath the roar of the crowd, beneath the spectacle of lights and visuals, beneath the electrifying stage presence

N ADVERTORIAL

ights of Nostalgia

What began as a promise quickly transformed into a living, pulsing celebration of memory, connection, and music – with Akon’s performances in Delhi and Mumbai far transcending a standard concert experience. These turned out to be once-in-a-generation moments — the kind that fuse nostalgia with present-day euphoria. The concert venues in both cities erupted with thunderous emotion as fans screamed the chorus of Akon’s most popular chartbusters; in what turned out to be a unique melange where the past and present collided beautifully, where the glow of mobile phone flashlights swayed as one, and where fans across generations created a city-wide chorus that reverberated long after the final note faded.

These were shows built on emotion, memory and shared joy; but fuelled by precise engineering, rigorous preparation, and flawless technical execution. And behind the scenes, PP Sound Lights Productions orchestrated an operation of immense scale

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of Akon himself, lay the immense technical engine that turned the concerts into genuinely world-class experiences.

And at the heart of that engine stood PP Sound Lights Productions – one of India’s leading and most trusted event equipment and technical services provider.

and sophistication. Entrusted with delivering the entire technical reinforcement for both shows — including audio, lighting, LED display, trussing, staging, wireless systems and backline — the company rose to the challenge with a level of mastery that reflected years of experience and an unwavering commitment to excellence.

“For us, the real story of the Akon India Tour is as much about the spectacle on stage as it is about the meticulously engineered foundation that brought the entire experience together,” reflects Prasad Parkar, Founder-Director of PP Sound Lights Productions. “What our team at PP Sound Lights Production delivered in New Delhi and Mum-

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evenly, withstand wind variations, and support an ambitious lighting design without compromise. Every segment of the structure — from the main roof span to secondary trusses, delay structures, and ground-supported frames — was meticulously planned to guarantee both safety and performance integrity.

Two Cities, Two Palettes, One Unforgettable Visual Extravaganza A defining aspect of the visual environment was the LED architecture. At both concerts, PP commissioned a

Stages in New Delhi and Mumbai featured stereo hangs of 13 Meyer Sound Panther modules per side, an end-fire gradient of 18 1100-LFC subwoofers delivered precise low-frequency, delay towers with Panther and 2100-LFC units ensured tonal consistency and DiGiCo Quantum 338 consoles and Shure Axient Digital systems completed a world-class setup for Akon’s India Tour

Prasad Parkar, Founder-Director of PP Sound Lights Productions

bai was more than technical execution. It was a demonstration of discipline, understanding and craftsmanship. It showcased what is possible when a top-tier production house combines premium gear with a highly skilled team and a passion for delivering excellence without compromise.

In an era where international artists increasingly look to India as a preferred touring destination, these concerts stand as a reminder that the country’s live production capabilities are not just catching up with global expectations — they are meeting and surpassing them!”

high-brightness 3.9 mm pixel-pitch outdoor LED wall as the central visual canvas positioned directly behind the performance area. This was complemented by two auxiliary 2.6 mm pixel-pitch LED screens flanking the main display, creating a panoramic effect that beautifully framed the stage. To ensure that the massive audiences in each city had clear lines of sight, the team deployed strategically positioned iMag screens further into the audience areas. These displays eliminated the common issue of distant spectators feeling disconnected from the live performance, instead ensuring that every facial expression, every movement and every dramatic lighting cue reached all corners of the venue with immaculate clarity.

The lighting for both shows, though distinct in design, was equally immersive. In New Delhi, the visual palette was crafted through an extensive deployment of fixtures from Martin Professional. More than a hundred luminaires shaped the performance space, bathing the stage in a blend of atmospheric washes, razor-sharp beams, intricate aerial sweeps and dynamic transitional cues. Mumbai, on the other hand, embraced the distinctive character of Claypaky, with a hundred-plus fixtures — featuring a mix of iconic beams, profiles and hybrid units — creating a look that was bold, crisp and full of visual drama. While the Delhi lighting embraced warmth and expansiveness, Mumbai leaned towards punchy contrasts and crystalline beam architecture. And despite the difference in fixture families, both cities shared one unifying control philosophy, driven through the grandMA3 full-size consoles which offered lighting control teams the capacity to operate with perfect synchronisation, weaving through complex timecoded sequences and live busked cues with finesse.

Planning for Perfection The process began long before the first truck rolled into either venue; with team PP working closely with the organisers to internalise the artistic vision of the show. This involved understanding how Akon moves on stage, how he interacts with audiences, the emotional transitions between songs, the dynamics of supporting acts, and the essential arc of the performance. With this creative blueprint in hand, the team conducted extensive venue surveys in both New Delhi and Mumbai.

Although separated by geography and atmosphere, the venues shared strikingly similar physical characteristics, especially in terms of layout, audience distribution, throw distances, and the long, rectangular footprint typical of large-format open-air concert grounds. This alignment allowed the PP engineering team to design a technically cohesive reinforcement strategy that could be executed consistently across both cities.

A Sonic Fiesta And then came the sound — the element that could make or break a concert of this scale.

But for PP Sound Lights Production – this was akin to playing on home turf. Backed by a reputation for sculpting immersive soundscapes for every event that they work on, team PP drew on not just their reputation but also their unmatched work ethic and unparalleled technical prowess to deliver a sound reinforcement architecture that could easily rival international touring standards. And at the heart of the system sat the Meyer Sound Panther line array — a contemporary giant renowned for its exceptional power-to-weight ratio, immaculate tonal accuracy, and stunning long-throw capabilities.

The performance stages in New Delhi and Mumbai were adorned with stereo hangs of thirteen Panther modules per side, creating a main PA that

A Solid Foundation Once the architectural parameters were settled, the focus turned to the stage environment itself. Both concerts featured an expansive performance stage framed by a robust trussing infrastructure, engineered with absolute precision to support the lighting, LED, audio and scenic elements of the show. The overhead truss grid was carefully plotted to distribute load

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November-December 2025 - PALM Expo 2026

was both powerful and remarkably controlled. These were complemented by three Panther modules per side deployed as outfill systems, ensuring consistent coverage across the lateral audience zones. Four additional Panther units were positioned across the stage lip to deliver pristine frontfill coverage, tying the entire sonic image together.

The low-frequency experience was sculpted through eighteen 1100-LFC subwoofers arranged in an end-fire gradient configuration – an approach allowed the engineering team at PP Sound Lights Production to achieve tremendous forward low-frequency energy while dramatically reducing rearward spill onto the stage — a key requirement for vocal clarity during high-energy performances.

As both venues spanned impressive longitudinal lengths to accommodate the throngs of crowds that gathered to watch Akon perform; team PP erected delay towers that each featured six Panther modules coupled with three 2100-LFC subwoofers, creating a supportive layer of tonally consistent reinforcement that extended effortlessly across the full depth of the audience area. The result was a listening experience that was astonishingly coherent, regardless of whether one stood at the barricade or beyond the half-way line.

Control of the entire audio environment rested with three units of the globally acclaimed DiGiCo Quantum 338 digital mixing console – two serving FOH and monitor positions and the third retained as a full redundant backup.

Integrated through Optocore fibre networking, the consoles offered ultrafast routing, immaculate signal transport integrity, and the dynamic processing capabilities required for a show of Akon’s scale.

Onstage, the artists relied on an incredibly solid and reliable RF Infrastructure that spotlighted Shure’s Axient Digital wireless system with KSM8 capsules for vocal transmission – chosen for their precision, reliability and resistance to interference. Multiple channels of Sennheiser IEM systems ensured

seamless monitoring for performers and musicians, while a carefully curated backline provided every instrument, amplifier, and peripheral essential to the artists’ technical riders.

Raising the Bar for Live Concert Production in India “Across both New Delhi and Mumbai; all the technical elements fused into one coherent, powerful whole. The staging felt refined and secure. The visual presentation was captivating. The lighting carried emotion. The LED displays brought intimacy. And the sound — rich, clean, powerful and perfectly balanced — carried Akon’s voice and music across thousands of hearts with breathtaking accuracy. The audience felt the impact not only of the performance, but of an impeccably engineered environment that elevated the concert into a truly global-standard experience. And all of this was possible thanks to the vision, expertise and dedication of the incredibly talented team at PP Sound Lights Productions!” exclaimed a senior member of the artist management team responsible for bringing the entire Akon India Tour together.

Akon may have been the star on stage, but the engineering brilliance behind the scenes ensured that every beat landed, every cue fired, and every moment became unforgettable. Thanks to PP Sound Lights Productions, the Akon India Tour did not just entertain audiences — it elevated the benchmark for live concert production in India.

Address: PP Sound Lights Productions Pvt Ltd, C-204, 2nd Floor, Pramukh Plaza, Cardinal Gracious Road, Chakala, Andheri (E), Mumbai 400 099 Warehouse : D.C Silk Mills, Pvt. Ltd. Chunavala Estata, Kondvita Road, Andheri East, Mumbai 400059.

Contact Details: +91 8879984118, 7045924117

SOUND & STAGE NEWS RELIABILITY MEETS ARTISTRY: MAHESH SOUND’S JOURNEY WITH YAMAHA RIVAGE PM3 Mahesh Sound, one of Ahmedabad’s most respected names in professional audio, has strengthened its touring setup with the addition of the Yamaha Rivage PM3 Digital Mixing System. Known for delivering high-quality sound at large-scale events, the team wanted a system that offered exceptional audio performance, reliability, and ease of opera-

tion, all within a compact footprint.

As Mahesh Sound continued to manage large-scale concerts and touring events across Gujarat, the team needed a mixing solution that could combine top-tier sound quality with efficiency and portability. Their existing setup required extensive space and time for logistics, making it less practical for frequent touring. They were in search of a system that delivered flagship-level

performance, reliability, and flexibility — but in a compact format that could adapt quickly to dynamic event environments.

After careful evaluation, Yamaha’s Rivage PM3 emerged as the perfect choice. “We invested in the Rivage PM Series because of its high-quality sound, advanced effects, and reliability,” said Mahesh, owner and Mixing Engineer at Mahesh Sound.

“The compact footprint of the PM3 was ideal for our events, giving us the same power and flexibility we’ve experienced with higher Rivage models like the PM10 and PM5, but in a more accessible form factor. It delivers the same headroom, clarity, and performance that Yamaha is known for.”

The configuration includes 1x Yamaha CS-R3 control surface, 1x DSP-RX mix engine, 1x HY144DSRC audio interface card, and 2x Rio3224-D2 I/O racks. At the core of the system, the Yamaha DSP-RX engine powers 144 inputs, 72 mix outputs, and 36 matrix buses, supported by premium plug-ins from

Mahesh Sound engineers in action with the Yamaha Rivage PM3 — delivering flagship audio performance in a compact, touring-friendly setup

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Rupert Neve Designs and Bricasti. Signal flow between the stage and console is managed through Dante networking, ensuring seamless connectivity and minimal latency throughout the setup. Both the DSP-RX and Yamaha Rio3224-D2 units feature redundant power supplies, ensuring unmatched reliability for demanding touring environments.

With the Yamaha Rivage PM3, Mahesh Sound now delivers consistent, studio-grade sound across every venue, from corporate shows to largescale music festivals. The system’s compact form factor and seamless Dante connectivity have streamlined setup time, reduced transport complexity, and improved overall workflow efficiency. Yamaha has empowered Mahesh Sound to achieve the perfect balance of performance, portability, and reliability, a true trifecta for today’s touring professionals.

3-WAY FULL-RANGE ADAPTIVE ARRAY MODULE

ADAPTIVE PERFORMANCE DYNO SYMMETRY OF SOURCES CONCENTRIC SUMMATION ARRAY (CSA) PHASE ALIGNED LF FOCUSING

Adaptive systems have the unique ability to assess and then perfectly match the three dimensional performance requirements of any venue.

Audio & Music Production News IMMERSIVE MIXING, REINVENTED: MEET NEUMANN VIS Neumann has announced VIS (Virtual Immersive Studio), a spatial audio positioning controller designed for Apple Vision Pro. The application enables direct integration with Logic Pro, allowing audio professionals to manage immersive mixes in a three-dimensional augmented reality environment.

Unlike traditional 2D interfac-

es, VIS provides a visual representation of audio objects in AR, enabling users to position sources using hand gestures. This approach supports natural interaction for spatial workflows, including object placement and automation.

VIS appears as a device within Logic Pro on macOS. Once paired, Logic Pro can be displayed on a virtual screen inside Apple Vision Pro, which

users can resize and position within their workspace. Apple Vision Pro’s low-latency pass-through ensures compatibility with physical studio equipment while working in a virtual mixing space.

The system supports both loudspeaker and headphone monitoring.

For headphone-based workflows, Neumann includes RIME, a proprietary plug-in for spatial audio playback up to 7.1.4.

RIME uses Apple Vision Pro’s head tracking to deliver accurate spatial monitoring, enabling immersive production in studios or mobile setups.

VIS is built on AMBEO technologies, incorporating advanced virtual acoustics algorithms for spatial realism.

This foundation aims to make immersive audio workflows more intuitive and accessible for professionals in music production and Neumann VIS brings immersive audio mixing into augmented reality — control Logic post-production.

Pro in 3D space with Apple Vision Pro Key features include

a 3D visual interface for spatial mixing on Apple Vision Pro, gesture-based audio object positioning, full Logic Pro integration, visual overview of all audio objects, three degrees of freedom head tracking, and support for loudspeaker and headphone monitoring via RIME. “VIS is not just an app, it’s a new way of thinking about sound,” says Neumann CEO Yasmine Riechers. “It brings immersive audio to life, making it tangible and intuitive.

For nearly a century, Neumann has redefined what’s possible in audio, and our pioneering spirit drives us to shape the future. With VIS, Neumann stands at the forefront of audio innovation, turning visionary ideas into new industry benchmarks.”

Explore the full news on PALM Expo Magazine’s official website — including in-depth quotes from the product team, detailed specifications, and a complete feature breakdown.

UNIVERSAL AUDIO INTRODUCES VOLT 876 USB RECORDING STUDIO INTERFACE Universal Audio Inc. (UA), one of the world’s leaders in audio production tools, has announced the Volt 876 USB Recording Studio, a 24-in / 28-out rackmount USB audio interface for Mac and Windows with eight Vintage preamps and classic 1176-style compressors on every

channel. Delivering next-generation 32-bit / 192 kHz audio quality, Volt 876 is designed for serious music producers and bands who want legendary UA analog sound, a curated suite of UAD plug-ins, and powerful integration with UA's groundbreaking LUNA Digital Audio Workstation.

“Volt 876 is all about giving musicians and producers a classic UA analog studio sound, with more power to create together,” says Bill Putnam Jr., CEO of Universal Audio. "Beyond its fast, push-button tone shaping, it offers a level of digital integration with UAD plug-ins and LUNA that we

Universal Audio Volt 876 USB Recording Studio Interface delivers next-generation 32-bit / 192 kHz audio quality

believe is the fastest path to creating great-sounding music."

Built by the same team behind the award-winning Apollo interfaces, Volt 876 is a complete recording system with powerful hardware-software integration, including instant session recall, AI-powered tools in UA’s LUNA DAW, software remote control, and the premium UAD Producer Suite plug-in bundle — giving musicians and creators everything they need to capture and shape music with authentic analog tone.

To feature your Audio & Music Production stories in PALM Expo Magazine, contact: Shanaya Sequeira - shanaya.sequeira@informa.com or Ritika Pandey - ritika.pandey@informa.com November-December 2025 - PALM Expo 2026

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WZ-572/J,Ground Floor, Naraina New Delhi - 110028

info@eminentav.in

99990 11548

www.eminentav.in

LIVE SOUND REINFORCEMENT: AWARDS NIGHT

Mega Sound India Powers the 70th Filmfare Awards Precision, Collaboration, and Sonic Brilliance Behind Bollywood’s Biggest Night

MSIPL'S L-Acoustics K1 arrays positioned for perfect coverage across EKA Arena’s massive floor plan

When the stars descended on EKA Arena, Ahmedabad,

W

ith multi-artist acts, open aired venues with complex audience seating and more the acoustic challenges were galore, and MSIPL came through on each front.

for the 70th Filmfare Awards 2025, the spotlight wasn’t solely on the silver screen icons but also on the flawless soundscape that elevated every moment

Taming the Arena

of India’s most celebrated film awards. Behind the

EKA Arena’s open architecture elevated balconies, and reflective surfaces demanded strategic audio design. MSIPL countered this with four delay towers, covering a 180-degree arc of the balcony area, ensuring consistent SPL and intelligibility from the front row to the farthest seat, critical for an event where dialogue and live music shared equal billing. Setup began three days before show day, with two days for rigging and tuning, followed by rehearsals and technical run-throughs. The grand finale unfolded on October 11, 2025.

System Design and Deployment MSIPL implemented a three-layer signal flow: AVB as primary and secondary signal, with an analog backup running through Dante. At Front of House (FOH), dual DiGiCo Quantum 338 consoles were depoyed in mirror mode, guaranteeing seamless failover and uninterrupted performance throughout the show.

The RF Mainframe consisting 24 Shure Axient systems and 24 Sennheiser 6000 & 2000 series units delivered wireless performance across every zone. Distributed zoned antenna coverage ensured zero dropouts. For recording and broadcast, MSIPL deployed a Yamaha CL5 console in the PCR, complemented by RIO racks on a Dante network. L-Acoustics X12 and Genelec reference monitors were used for monitoring.

FOH and Monitoring: Reliable Precision in Demanding Conditions

scenes, the official Audio Production Partner, Mega Sound India Pvt. Ltd. (MSIPL) ensured that the sound deployment resulted in a booming success!

Crew Spotlight: The Minds Behind the Mix

A lean yet elite team of eight audio professionals executed this mammoth task: • Audio Director: Siddhartha Chauhan • System Engineer & Project Head: Sanjay K • FOH Engineer: Ranjit Rathore • System Tech: Harshal Pilare • Broadcast Tech: Devendra Jethi • Stage Head & RF Engineer: Shubham Bhardwaj • Stage Techs: Mukul Sindhu & Samarth Bhatnagar

Each act had its own layout and mix setup, refined during

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rehearsals for maximum consistency.

Most performances relied on headset and podium microphones, supported by a redundant playback system. Monitoring was managed from FOH, with flown side fills, IEM systems, and front wedges covering a 30-metre-wide stage, ensuring performers enjoyed consistent sound coverage wherever they moved.

Dynamic Adjustments and Special Treatments Celebrity dance acts brought their own challenges, with playback tracks ranging from studio-grade to less polished versions.

MSIPL’s engineers applied surgical EQ & Dy-

namics tweaks and processing while a pre-mixed headset and lapel microphones streamlined live adjustments, allowing only minor corrections during the show. Special attention was reserved for acts featuring wireless microphones in audience zones or performances away from the main stage.

Integrating Audio Without Compromising Aesthetics

Tech Spotlight: Innovations That Set MSIPL Apart

• Triple-layer fallback system for uninterrupted audio • Mirrored FOH consoles for seamless redundancy • Distributed RF zones for flawless wireless coverage • Flown subwoofers and zero ground speakers, preserving stage aesthetics

Filmfare is renowned for its stunning stage visuals and massive LED installations, making audio integration a delicate balancing act. MSIPL worked hand-in-hand with set designers and structural engineers from the outset, ensuring every speaker complemented the visual theme. To achieve this, a 16-meter cantilever structure was used to fly the main arrays and subwoofers at the ideal trim height, above set elements, preserving sightlines while maintaining sonic coverage. Despite rigging challenges posed by towering LED walls and complex trussing and detailed planning.

The stage’s cinematic look influenced every decision. With a 32-meter mother truss spanning the set, MSIPL deployed front fills, flown arrays above the crown structure to cover centre audience zones, guaranteeing uniform sound for the audience.

The night’s success was amplified by tight coordination with lighting, video, and staging vendors. Through constant communication and synchronised timelines, MSIPL ensured audio integration aligned perfectly with the visual narrative. Special thanks went to Straightline Worldwide, whose production management enabled seamless teamwork across departments.

Dual DiGiCo Quantum 338 consoles were deployed in mirror mode for seamless redundancy at FOH and Triple-layer signal flow, AVB primary, AVB secondary, and Dante analog backup, guaranteed uninterrupted audio

Tech Specs at a Glance

• Main PA: 40 × L-Acoustics K1 08 × K1-SB 12 × K2 24 × KS28 18 × KARA 08 × ARCS II • Consoles: FOH: Dual DiGiCo Quantum 338 (Mirror Mode) Broadcast: Yamaha CL5 + RIO racks • RF Systems: 24 × Shure Axient 24 × Sennheiser 6000 & 2000 • Monitoring: L-Acoustics X12, Genelec Reference Monitors

The Verdict Applause All Around Organisers, artists, and production teams lauded MSIPL for clarity, balance, and consistency across the venue. The collaborative spirit was palpable, with every department contributing to a show that was as smooth technically as it was dazzling creatively.

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Audio Install News BOSE PROFESSIONAL LAUNCHES LATEST INSTALL INNOVATION LUNA PENDANT LOUDSPEAKER Bose Professional, independent developer of world-class audio experiences designed to transform any space, has announced the global availability of the DesignMax Luna DML88P pendant loudspeaker system.

Luna delivers room-filling, high-fidelity audio from a sleek, modern design, and is aptly suited for open-ceiling environments such as retail stores, restaurants, breweries, fitness studios, and similar design-conscious spaces.

“DesignMax Luna represents a bold leap forward in pendant loudspeaker technology,” said John Maier, CEO of Bose Professional. “We’ve reimagined what’s possible in architectural audio, delivering a product that meets the highest standards of sonic performance and visual elegance. Luna is a testament to our commitment to techni-

cal leadership and addressing our customers’ evolving needs.”

At the heart of Luna is Bose Professional’s proprietary Ring Array configuration, which combines eight precisely positioned 2-inch mid-high drivers and an integrated 8-inch woofer to create a smooth, articulate listening experience that fills the coverage area without hot spots or dead zones. This innovative design

achieves clarity and balance down to 40 Hz, eliminating the need for external subwoofers even in open-ceiling spaces. With a maximum SPL of 111 dB and consistent 140°coverage, Luna delivers powerful, immersive sound that requires fewer speakers to cover large areas—preserving both aesthetics and budget.

Luna was specifically engineered to address installation issues commonly

Luna has Bose Professional’s proprietary Ring Array configuration, combining 8 precisely positioned 2-inch mid-drivers and an integrated 8 inch woofer

found in challenging open-ceiling spaces and adapt to constraints while remaining perfectly balanced. Luna supports both single- and two-point suspension, with a streamlined profile and concealed wiring that provides a clean look from every angle.

“Luna is more than another pendant loudspeaker—it sets a new standard for performance in a unique, self-contained solution,” added Shawn Watts, Vice President of Product at Bose Professional. “Luna delivers space-filling, crystal-clear sound and deep bass from a single pendant form factor. Designed to replace the traditional pendant-and-subwoofer setup, Luna is easy to spec, easy to hang, and made to blend in visually letting the sound take centre stage. We’re proud to bring this groundbreaking product to our global customers.”

D&B AUDIOTECHNIK PRESENTS NEW CCLI COMPACT CARDIOID LINE ARRAY At the upcoming Inter Bee show ation, and it also offers features that that replace the CCL handles with a dedicated install-focused design in Japan, d&b audiotechnik plans to cater to the needs of the installation flushed side grills, and an optional with advanced d&b technology to introduce the CCLi, a compact cardimarket: an unobtrusive design with a Phoenix Euroblock connector panel provide superior acoustical perforoid line array designed specifically for new front grille integrated with less with sealed cable gland. mance for a wide range of installainstalled applications in offering the visible rigging elements, side panels “The new CCLi system combines tion projects, ensuring that every same technology and acoustical word and note is delivered with properties of the CCL, which great precision and power,“ launched in January 2025. says Santiago Alcalá, product The CCLi offers broadband dimanager loudspeakers, d&b rectivity control (down to 60 Hz) audiotechnik. with low-frequency cardioid beMarcus Bäumler, Head of havior to help focus acoustic enProduct Management loudergy onto the intended audience speakers at d&b audiotechareas. This reduces unwanted nik, adds, “With our newly low-frequency reflections from introduced B12 and Bi12, not the side and rear walls, minimisonly does the CL-Series gain ing reverberation in acoustically two acoustically matching challenging spaces. subwoofers for ground-supCCLi is also designed to deliver ported applications, but extended high-frequency headthese multi-purpose cardioid room and minimised distortion subwoofers will also strengthto help ensure greater perceived en the entire loudspeaker intelligibility. In terms of efficienportfolio. Both the CCLi and the cy and scalability, the CCLi offers B12/Bi12 subwoofers will start d&b audiotechnik will present the new CCLi compact cardioid line array and matching single-channel amplifier opershipping in Q1 2026.” subwoofers at the Inter Bee show in Japan

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Audio Install News NX AUDIO POWERS SKYPADEL SUNDOWNER SkyPadel Sundowner at Hotel Sahara Star blends padel and pickleball with music, cocktails and an audio setup by Team Narain. The hallmark of this destination is its luxurious outdoor seating, offering patrons a refreshing poolside escape. To complement the same, Team Narain designed the system accordingly. The audio system uses Nx Audio amplifiers and processors and Linare, a line of speakers and line arrays made by Narain for Lavoce Italiana drivers, to bring the venue to life.

SkyPadel Sundowner features the Proton by Nx Audio MT2601, a Class D amplifier delivering 4000W + 4000W RMS at 4 Ohms with a damping factor above 1200. It uses linear transformers for dynamic range at high power levels, protection circuitry, RF/ EMI rejection and a toroidal transformer-based power supply for accurate bass control.

Paired with this is the Proton RX5004, a four-channel amplifier providing 1500W RMS per channel at 4 Ohms. It employs

a Class H circuit design with copper transformers and silicon steel cores to minimise electromagnetic loss and manage temperature during extended use.

The system also includes the Nx Audio DX-480 digital speaker management unit, operating at a 96kHz sampling frequency with 32-bit AD/ DA converters. It offers four analogue inputs, eight analogue outputs and two AES/EBU inputs, with a dynamic range above 100dB (20Hz–20kHz) and distortion below 0.02% at 1kHz, +18dBm. For loudspeakers, the installation uses Lavoce Italiana components integrated into Linare systems by Narain Audio. Line arrays covering the pool, bar, dance floor and seating areas are Linare LN-210 models, each with two 10-inch Lavoce drivers rated at 750W programme power, 3-inch copper voice coils, aluminium frames and cooling systems. They support bi-amp or passive operation and include passive crossovers and standard rigging hardware.

Subwoofers are Linare SB-221 units, each housing a 21-inch Lavoce driver with a 4.5-inch voice coil and 4000W

LN-210 and SB-221 speakers with Lavoce drivers installed at SkyPadel Sundowner, delivering coverage across padel courts, pickleball courts and outdoor seating

programme power. The design incorporates an aluminium basket, FEM-optimised motor and suspension, enhanced cooling, double silicon spider and triple-roll surround.

Covering the padel and pickleball courts and outdoor seating are FR-12

While the outdoor audio is powered by Lavoce-driven Linare speakers for vibrant, open-air sound, indoor zones feature Linare FR-12 speakers for balanced clarity and punch

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speakers, each using 12-inch Lavoce woofers with 2.5-inch copper voice coils rated at 500W AES programme power.

The setup also included the Nx Audio Melody8, an eight-channel live mixer, paired with the UHF58 dual handheld microphone, a frequency-variable upgrade to the UHF200.

Monitoring was handled by the Nx Audio HAWK-12DSP, a 450W RMS speaker in a rugged cabinet.

Additional equipment comprised two waterproof high-resolution screens, waterproof lighting fixtures including moving heads and addressable LED strips, and a 25W laser.

About the install, Rishi Kohli, the mind behind SkyPadel Sundowner at Sahara Star, had this to say: “I loved the look of the red line arrays from the start as it perfectly suited the vibe!

I trusted the audio and visual decisions to Manoj and his team, and they really did justice to balancing the audio in such an open space, the DJ at our launch party, DJ Claudia, said it was the best sound system she’s ever played at – and she’s not the only one to say that to us.”

Audio Install News ELVISH PUB BISHNU INN CHOOSES BA AS THEIR SOUND PARTNER Elvish Pub - Bishnu Inn is the latest addition to the prestigious Royal Bishnu hospitality group in Berhampore, West Bengal, created to bring a refined sense of energy and sophistication to the city’s social landscape. It stands as a beacon of modern hospitality, a space where comfort meets creativity, and every night becomes an occasion to celebrate sound, taste, and togetherness.

The installation at Elvish Pub was envisioned to create a sound experience that matches the venue’s modern design and lively character. The management wanted a system that could seamlessly adapt to different moods, delivering warmth and clarity during dining hours and high-impact performance during live sessions and DJ nights. The integration experts at Electro Acoustic Infotech Pvt. Ltd. designed a full BA system tailored to the venue’s architecture and acoustic profile. Through meticulous planning, modeling, and tuning, every corner of the pub was optimised for balanced coverage and consistent tonal response, ensuring guests enjoy the same immersive sound across all zones.

At the heart of the system are Delta 915-40 LA line array modules, providing exceptional near-field clarity and vocal precision. Supporting the low-end foundation, Alpha Sub 428 S twin 18" and Alpha Sub 418 S single 18" subwoofers deliver deep, controlled bass that enhances the energy of the space without overpowering it. Aura Blu 308 X coaxial speakers ensure smooth fill coverage and tonal uniformity throughout.

The system is managed by the Delta Drive 48, a 4-in-8-out loudspeaker

Driven by Delta Drive 48 and powered by 2XL, 2XM, 2XS amps, Electro Acoustic Infotech and VMT blend clarity, punch, and precision at Elvish Pub

processor that ensures precise time alignment and crossover management. Power delivery comes from 2XL, 2XM, and 2XS Class H amplifiers, providing reliable, high-headroom output. The result is a soundscape that feels natural yet powerful — a

seamless union of technology, design, and hospitality that defines Elvish Pub’s identity.

“Elvish Pub stands as a great example of how technology and creativity can blend seamlessly. The sound system complements the

venue’s ambience beautifully, creating an energy that enhances every guest’s experience. It’s installations like these that highlight BA’s growing presence in India’s high-end hospitality segment.” - Jeff Mandot, Director, VMT.

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STAGE TECH & EFFECTS: MUSIC CONCERT SNL Pro deployed L‑Acoustics K Series for Travis Scott’s Delhi show with main hangs of 12 K1 and 6 K2 per side, mirrored in outfills. 270° hangs featured 12 K1 and 10 K2 per side for full venue coverage

SNL Pro Creates THE ULTIMATE STAGE EXPERIENCE AUDIO, PYRO & TRUSSING FOR TRAVIS SCOTT, DELHI SHOW When Travis Scott brought his high-energy performance to New

System Configuration and Deployment

Delhi's Jawaharlal Nehru Stadium, over two nights on October 18th

The project presented unique technical hurdles from the outset. The stage design featured a prominent performance ramp positioned directly in front of a massive LED screen, with the main PA system strategically integrated into this complex architecture. The challenge was clear: deliver Travis Scott's signature high-volume, bass-heavy sound while navigating these physical constraints.

The SNL Pro team rose to the occasion, deploying a comprehensive L-Acoustics inventory totalling 312 units across multiple configurations. The system architecture included 104 K1 line array elements, 76 K2 units, 96 KS28 subwoofers, and 36 Kara speakers, creating a multi-zone coverage solution that ensured consistent audio quality throughout the venue.

and 19th, the venue transformed into a sonic powerhouse, delivering an uncompromising audio experience through a L-Acoustics sound system meticulously engineered by SNL Pro, Mumbai, who were responsible for the complete audio design and sound system visualisation for this large-scale event. In addition to audio, SNL Pro also managed the trussing infrastructure and pyro effects, ensuring a seamless integration of sound, structure, and display.

PALM Expo Magazine brings you an inside look at how this audiovisual spectacle was brought to life.

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commitment to excellence and our capability to deliver international-standard productions that set new benchmarks for the Indian live entertainment industry."

Spectacular Visual Effects Integration Beyond audio excellence, the production featured an extensive special effects package that elevated the sensory experience, executed to perfection once again by SNL Pro. The pyrotechnics and flame effects were seamlessly integrated into the performance, with 42 flame machines strategically positioned across scaffold structures, laser trusses, and performance ramps.

“

Delivering a worldclass audio experience for 60,000 attendees across two nights, while working within the constraints of such an intricate stage design, truly showcased our technical expertise and collaborative spirit.

MANISH MAVANI, Director , SNL Pro

Top: SNL Pro delivered powerful audio for 60,000 fans with PA stacks from 18 positions and a robust truss framework built for ambitious effect Bottom: An acoustic simulation of the venue on L-Acoustics' Soundvision software that helped execute this project

The comprehensive flame and CO₂ effects inventory included 10 flame machines mounted on the top scaffold, 10 flame machines installed on the laser truss, and 22 flame systems built directly into the performance ramps (12 on Ramp A and 10 on Ramp B). Additionally, 3 large-format flame heads were placed on delay towers for dramatic vertical effects, while 32 RECOjet CO₂ jets were distributed throughout the stage area for wide, high-impact bursts. Over the two-show run, the production consumed more than 1,000 litres of flame fluid.

Pyrotechnic elements added another layer of spectacle, with 12 dedicated positions integrated into the ramps firing 515 cues per show including comets, mines, and crossettes. The effects selection prioritised low debris and minimal fallout due to the proximity to both artist and audience, while extensive pre-show testing of local products ensured consistent ignition and safe burn characteristics under Indian humidity and wind conditions.

The main hangs utilised 12 K1 units paired with 6 K2 speakers per side, while identical configurations served as outfills to extend coverage. The critical 270-degree hangs employed 12 K1 and 10 K2 units per side, ensuring comprehensive audience coverage despite the venue's challenging geometry.

Subwoofer deployment proved particularly sophisticated, with KS28 units configured in cardioid end-fire arrays across the mains and outfills (8 units per side across 4 rigs). An additional 64 ground-stacked KS28 subwoofers (with 4 subs per stack) were arranged in cardioid patterns with precise 3.5-meter separation, creating the low-frequency foundation essential for Travis Scott's music.

Front-fill coverage came from 36 Kara speakers ground-stacked atop the subwoofer arrays across 18 positions, while delay systems featuring 8 K1 and 8 K2 units per side across 4 rigs ensured temporal alignment throughout the venue.

Despite the complexities, SNL Pro successfully delivered an impactful audio experience for an audience of 60,000 attendees, effectively managing the high volume and significant low-frequency energy characteristic of Travis Scott's music.

"We are incredibly proud of our team's exceptional ability to navigate and overcome the complex logistical and technical challenges that this production presented," says Manish Mavani, Director – Sound & Light Professionals (SNL Pro). "Delivering a world-class audio experience for 60,000 attendees across two nights, while working within the constraints of such an intricate stage design, truly showcased our technical expertise and collaborative spirit.

The successful integration of our comprehensive L-Acoustics system with the venue's unique architecture and the seamless coordination with the spectacular visual effects demonstrates what can be achieved when meticulous planning meets flawless execution. This project stands as a testament to our

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Safety and Technical Excellence The production's success stemmed from meticulous planning and execution across all technical disciplines. FireOne firing systems provided precise control over pyrotechnic cues, while comprehensive safety protocols ensured flawless execution. All effects were a mix of timecoded operation and manual firing through isolated signal paths.

Strictly crew managed all front-of-stage safety operations, continuously monitoring fallout zones and handling crowd-side fire response protocols.

The SNL Pro crew maintained oversight of backstage safety throughout the production. Fire marshals and extinguishers were strategically deployed at every flame and pyro point across the venue. Multiple layers of testing, material vetting, and real-time crew supervision guaranteed safe execution despite the intensity of effects on stage, demonstrating the industry's commitment to both spectacular entertainment and uncompromising safety standards.

(Continued on page 45)

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Yamaha’s Vision for India Exclusive Interview on Industry Trends, India’s Growth and the Road Ahead

In an exclusive conversation with PALM Expo Magazine, senior leaders from Yamaha Music India shared their vision for shaping the future of the AV industry. From investing in experience centre in Bangalore to championing IP-based and cloud-driven solutions, Yamaha is positioning itself at the forefront of connected audio and video technologies. The discussion explored key themes such as Yamaha’s objectives at InfoComm India, emerging trends in AV, product innovations, and the role of training initiatives like Audioversity in bridging the skills gap. Offering a comprehensive view of Yamaha’s roadmap for India and beyond were Taketoshi Yamamoto (Managing Director), Yuji Miyazaki (General Manager), Anthony Paul Cox (Deputy Unit & Branch Head), and Harisha G.N (Deputy General Manager), along with Pallav Jerath, (Manager, Product Marketing, Audio Division).

1. Yamaha has invested in an experience centre in Bangalore. What kind of return on investment were you expecting, and what have you seen so far from this centre in India?

3. Are you noticing any shifts or trends in the AV industry, anything that consumers are demanding more of?

Taketoshi Yamamoto: Absolutely. Everything is moving toward AV over IP, along with cloud-based services. These technologies will define the future of AV. Features like streaming content, remote control, and remote operations are becoming essential.

Shigenobu Namikawa: AI-assisted solutions will also play a role in simplifying processes and improving efficiency. Essentially, IP-based and cloud-driven AV systems are the future. Yamaha's aim is to also be at the forefront of the industry when AI begins streamlining workflows more.

Taketoshi Yamamoto: Yes, we’ve made significant investments in our experience centre in Bangalore. This centre is designed to provide demos, training, and hands-on sessions for our integrated systems.

Anthony Paul Cox: The response has been very encouraging. For example, we regularly welcome many customers for training and one-on-one sessions.

It’s great to witness consistent engagement and connectivity through these facilities.

2. Regarding your recent participation at InfoComm, what were your expectations from the show, and what are you hoping to achieve by exhibiting here?

4.

Pallav Jerath: InfoComm is one of the most relevant exhibitions for our business because it focuses on AV integration, which is a core part of our portfolio. Our main objective in participating is to showcase solutions related to connected sound, audio and video over IP, which we believe will become the industry standard next five to six years. We’ve been working on these technologies and want to bring these solutions to the market. Globally, Yamaha participates in InfoComm and other industry exhibitions to position ourselves as a solutions provider. Our goals include generating more leads, networking with consultants and system integrators, and preparing for future business opportunities.

November-December 2025 - PALM Expo 2026

Can you talk about the products you’re debuting at the show?

Yuji Miyazaki: We are showcasing several of our existing solutions, including ceiling and tabletop microphones, which we update regularly, every six months to a year, with new features based on evolving technology and market needs. Today, we’re excited to highlight something truly transformative: Yamaha’s Voice Lift technology, available through the ADECIA conferencing system. Unlike traditional PA setups, Voice Lift uses the RM-CG Ceiling Array Microphone with advanced beamforming and multi-beam tracking, combined with DSP and distributed ceiling speakers, to subtly amplify voices at a natural level. This ensures every participant in a large meeting room or lecture hall can hear clearly without handheld mics or raised voices. It’s a game-changer for hybrid workspaces, improving clarity, inclusivity, and engagement. And we’re not stopping there, our next-generation wireless technologies will be announced in the coming months, alongside incremental

40

upgrades across our portfolio to enhance functionality and user experience.

es this by offering entry-level courses alongside advanced topics, helping professionals upskill and newcomers enter the industry confidently.

Harisha G.N: Many people are unaware of AV as a career path. Unlike IT, which has clear entry routes, AV remains niche. Our mission is to change that by providing structured learning that starts with the basics and builds toward complex technologies. This is essential for growing the talent pool and supporting future business.

5. Could you share some details about the ProVisionaire platform?

Shigenobu Namikawa: ProVisionaire is Yamaha’s comprehensive software suite for designing, configuring, and managing AV systems. What makes it intuitive is its visual, drag-and-drop interface and automated workflows that replace complex logic programming. Instead of writing code or manually configuring signal paths, users can simply select devices, arrange them on a virtual canvas, and let the software handle routing and DSP settings. By integrating with Voice Lift technology and other Yamaha solutions, ProVisionaire delivers a true one-step approach, simplifying design, speeding up deployment, and ensuring consistent performance across corporate, education, and large-scale conferencing environments.

Yuji Miyazaki: The platform delivers three core functions, system design, configuration, and control, through applications like ProVisionaire Design, ProVisionaire Control PLUS, and ProVisionaire Plan. ProVisionaire Plan, in particular, is a web-based tool that automates the design of ADECIA conferencing systems, including Voice Lift technology, by selecting and positioning devices based on room dimensions and layout. This integration creates a true one-step solution for large-scale conferencing environments.

8. Could you share some insights into Yamaha’s R&D process? Developing such a large portfolio of products must involve significant research.

Harisha G.N: We employ an extremely rigorous R&D process, dedicating several years of development time per product. Each offering undergoes stringent checks, technological, product-level, and component-level.

During this time, if new technologies emerge, we incorporate them into the product design. We have a global R&D team spread across Japan, the UK, the US, and some members in our factories in Indonesia. They collaborate closely, combining market feedback with internal research to develop solutions that meet current and future demands. It’s a lengthy process, but it ensures that our products are robust, innovative, and aligned with market needs.

6. Have there been any upgrades to the ADECIA system? And how is hybrid conferencing evolving post-COVID?

9. Are there any future plans or upcoming products you can share with us?

Harisha G.N: We’ve introduced significant upgrades to Yamaha’s ADECIA conferencing solution, now in Version 3.0, to meet the growing demand for hybrid conferencing. Post-COVID, organisations require robust audio and video systems that integrate seamlessly with platforms like Microsoft Teams, Zoom, and other UC applications. Hybrid setups often involve larger rooms and complex layouts, so we’ve enhanced Voice Lift technology to deliver natural speech reinforcement even in expansive spaces, ideal for corporate boardrooms, lecture halls, and even medical facilities.

Anthony Paul Cox: One of Yamaha’s core strengths is product longevity.

Instead of replacing hardware, we add new features via firmware updates, ensuring a high return on investment for customers. Version 3.0 introduces advanced wireless microphone support, AI-driven noise reduction, and automatic Voice Lift configuration through ProVisionaire Plan, making deployment faster and simpler. Combined with RM-CG ceiling array microphones, RM-CR processors, and VXC Dante/PoE ceiling speakers, ADECIA delivers clear, consistent audio for modern hybrid environments. Our goal remains the same: to keep evolving with market needs while maintaining reliability and scalability across Yamaha and NEXO offerings.

Harisha GN: While we can’t reveal everything, we can say that speakers are a major focus area for us. We plan to expand our speaker business and introduce new technologies, such as our recently launched Nexo Alpha+ series speaker system that doesn’t require hanging, just stack and use. This is designed for quick deployment without compromising coverage or clarity, making it ideal for live events and touring. Alongside Yamaha’s offerings, we will continue to strengthen our NEXO portfolio, which remains a benchmark for premium sound reinforcement. On the backend, Yamaha’s forte has always been signal processing and system control, and we will keep innovating in this space.

Yuji Miyazaki: Our philosophy is simple: develop solutions, not just products. Whether it’s the music sector, pro audio, or AV integration, Yamaha delivers complete ecosystems rather than standalone devices.

Anthony Paul Cox: We never look at products in isolation. We ask: how does it fit into the solution? And we’re not afraid to collaborate with other brands to deliver integrated systems. For example, our partnership with Roland addressed a key challenge, linking audio and video seamlessly. Roland had strong video solutions, and we had audio expertise. Neither of us had the complete answer individually, but together we created a solution where both products work perfectly in sync. It’s a simple philosophy: identify the problem, find the right partner, and solve it. That’s how the Roland collaboration started, integrating audio and video for specific applications. By combining strengths, we delivered a seamless experience.

Shigenobu Namikawa: We also want to improve workflows. Previously, you needed one person to control audio and another for video. Now, with ProVisionaire, one person can manage both. We’ve even extended this integration to MI products—for example, controlling a Yamaha piano remotely through ProVisionaire in a hotel lobby. Staff can manage the piano via an app, syncing music across the venue and linking it to the entire sound system. It’s not just about playing—it’s about connectivity and ease of operation. These integrations make life easier for hospitality, corporate, and entertainment sectors.

7. Yamaha has also been actively engaging with the Audioversity program, which is quite unique. Very few companies offer such comprehensive training initiatives. Could you share how these programs are helping the industry and whether you’re seeing positive results?

Harisha G.N: The Audioversity initiative is critical because the pro-AV industry is vast, yet skilled professionals remain scarce. To bridge this gap, we need to train newcomers so they can enter the market as system integrators, rental companies, or consultants—these professionals will drive the industry forward. Similar to AVIXA’s efforts, our goal is to make training so robust that participants are prepared for real-world challenges from day one.

Shigenobu Namikawa: The response has been excellent, India has also seen a significant number of registrations, making it one of Audioversity's key markets.

We plan to expand further by adding more courses and interactive features.

Anthony Paul Cox: Audioversity is a truly global endeavour, not limited to one region. Content is developed collaboratively by teams in Japan, Europe, and the Americas, ensuring relevance across markets. We offer two learning formats—online courses and offline practical training, with multilingual support, including translations into Hindi and plans for other regional languages.

This accessibility sets Audioversity apart.

Harisha G.N: Offline training happens at our experience centres, such as Bangalore, where customers attend weekly hands-on sessions. We also conduct roadshows and workshops in major cities, bringing Yamaha solutions directly to professionals for live demonstrations. This practical exposure complements the online modules.

Pallav Jerath: There’s a significant skills gap, especially in education and mid-level AV roles. Advanced concepts like AV over IP and AI-driven solutions are impossible to master without strong fundamentals. Audioversity address-

10. Finally, what are Yamaha’s future plans for India?

Harish GN: India is a key focus market for Yamaha. Our priority is to expand Audioversity and enhance industry knowledge. To achieve this, we need to be closer to customers—not just with people but with facilities. Experience centres play a big role in this strategy, and we plan to add more across India.

We also have a big target: to grow the business four times. That’s ambitious, but we’re confident because that’s Yamaha, big goals backed by the work to achieve them. Over the next decade, we will continue investing in India, both in people and infrastructure. We’ve had several global VIP visits recently, which underscores India’s importance.

Anthony Paul Cox: India is not just people-powered; it’s financially powered. The factory expansion is a clear sign of Yamaha’s commitment to this market. We aim to strengthen our presence and deliver solutions tailored to India’s unique requirements.

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Appointment News DANIEL SENNHEISER TO ASSUME ROLE OF CHAIRMAN FOR SENNHEISER GROUP Effective January 1, 2026, Daniel Sennheiser will become Chairman of the Board of Directors, while his brother Dr. Andreas Sennheiser will continue as CEO, overseeing the operational business of the family-owned company.

In his new role, Daniel Sennheiser will focus on the strategic direction of the Sennheiser Group. "By joining the Board of Directors, I will concentrate more on the long-term development of the company and on continuously strengthening key

customer relationships. I will continue to work closely with my brother Andreas in his role as CEO and with the existing Executive Management Board," says Co-CEO, Daniel Sennheiser.

Andreas Sennheiser will continue to lead the company as CEO and, together with the Executive Management Board, manage the operational business.

Daniel and Andreas Sennheiser will continue to pursue their shared goal of driving sustainable and independent growth for the Sennheiser Group and building the future of

After 12 years of successful joint leadership as Co-CEO, Daniel Sennheiser moves to the Board of Directors

audio. "I look forward to this next chapter of our family business, which has successfully evolved over three generations. Progress means shaping change positively – both for me in my new role and for Sennheiser as a company," explains Daniel Sennheiser.

Daniel Sennheiser succeeds Andreas Dornbracht, who has served as Chairman of the Board for the past four years, and who shall remain on the board.

Read the full news on PALM Expo Magazine's official website!

SHURE APPOINTS EKTA SHETTY TO DRIVE GROWTH Shure has announced the appointment of Ekta Shetty as Senior Sales Director for Africa, Middle East, India, Southeast Asia, and Pacific. Based in Shure’s Dubai office, Shetty shall lead the Sales Management, Market Development, Channel Marketing, and Customer Experience teams across Dubai, India, Singapore, and Australia. In this role, she’ll be responsible for driving growth, strengthening Shure‘s distribution and channel partnerships, and advancing Shure’s go-to-market and marketing initiatives across these key regions.

Shetty brings more than 15 years of international leadership experience in the AV and Unified Communications

industries. She previously served at Barco, where she successfully led Sales and Marketing across the Middle East, Africa, and Asia Pacific.

During her tenure, she streamlined operations, optimised channel programs, and enhanced regional performance – achieving consistent business growth and operational excellence.

Shetty‘s appointment further emboldens Shure‘s commitment to strengthening their presence and accelerating growth in these important markets, building on their continued success across Africa, the Middle East, India, Southeast Asia, and the Pacific while further expanding new

opportunities in the Collaboration and Conferencing sector.

“I am proud to welcome Ekta to Shure”, said José Rivas, Vice President and Chief Sales Officer. “With her strong sales and marketing expertise, extensive experience, and deep network within the AV and UCC industries, we are confident that Ekta will make a significant contribution to our growth and play an instrumental role in shaping our future plans for the region.”

Reflecting on her role, Shetty shared: “Joining Shure feels like embarking on a new adventure with a close-knit team ready to create meaningful impact and lasting

Ekta Shetty, Senior Sales Director, Shure

success across the Africa, Middle East, India, Southeast Asia, and Pacific markets. I am delighted to be part of Shure's vibrant community, where collaboration turns ideas into reality and challenges into opportunities.”

N-LABS APPOINTS POOJA JOSHI AS HEAD OF MARKETING N-Labs has announced the appointment of Pooja Joshi as their new Head of Marketing for its professional audio and installation business segments. With over 18 years of diversified experience in market research, strategic planning, education consulting, and professional training, she brings a powerful blend of analytical insight and people-focused

leadership to the brand. Throughout her career, she has successfully led national-scale programs, trained more than 15,000 professionals, and worked closely with institutions, partners, and leadership teams to drive performance and measurable business outcomes. Her background in market analysis and academic strategy enables a deep understanding of evolving customer needs

November-December 2025 - PALM Expo 2026

across global markets. As Head of Marketing, she will spearhead brand strategy, global communication, market intelligence, and business expansion while supporting N-Labs’ vision of delivering world-class sound solutions built on innovation and engineering. Her appointment reinforces N-Labs’ commitment to accelerating its global growth journey with strong leadership and enhanced

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Pooja Joshi, Head of Marketing, N-Labs

customer engagement, positioning India as a serious player in the global pro-audio landscape.

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Building Audio Excellence: Sonotone's Four-Decade Journey in India's Pro-Audio Market For decades, Sonotone Audio has been a cornerstone of India’s pro-audio industry, blending global partnerships with local expertise.

Known for its partner-first approach, robust aftersales support, and market responsiveness, Sonotone delivers solutions that meet the diverse needs of rental, retail, and installed AV segments. At PALM Expo 2025, the company showcased high-SPL drivers and Dante-enabled systems, reaffirming its commitment to acquiring innovative technologies.

In this interview, Karan Nagpal, Director at At the helm of Sonotone Audio Systems, Karan Nagpal Director talks strategy, growth, and next-gen audio

Sonotone, shares insights on strategies, partnerships, and the evolving audio landscape in India.

1. Sonotone has been in the audio industry for decades. What strategies have helped Sonotone maintain its leadership in a competitive market?

Together these associations supply complementary tech (mixing + monitoring + large-format loudspeakers), strengthen our market positioning across rental and installation segments, and reinforce our brand identity as a one-stop supplier of professional, production-grade solutions.

Sonotone’s longevity rests on three consistent strategies: (1) partner-first product curation — we bring global, proven technologies to Indian customers rather than pushing untested novelties; (2) after-sales & local engineering support — fast service, spare parts availability, and application support build trust with rental houses and integrators; and (3) market responsiveness — we continuously monitor pro-audio trends in all three sectors, Retail, Rental and Installed AV and adapt our portfolio and inventory mix quickly. Together these create repeat business, strong trade relationships, and a reputation for dependable delivery.

3. How do you decide which international partnerships to pursue? How do you curate your brand portfolio to meet India’s evolving pro-audio demands?

We evaluate partners on four criteria: product performance & reliability, serviceability and spare-parts availability, price-to-value fit for Indian customers, and roadmap alignment (innovating in networked audio, DSP, rigging safety, etc.). Portfolio curation is demand-led: we balance rental-grade inventory (durable, high-SPL systems), installed solutions (fixed-install loudspeakers, conferencing systems) and workflow tools (consoles, Dante/AVB networking).

We also pilot new brands selectively with key rental partners and integrators before committing to large stock purchases.

2. Sonotone has maintained long-standing partnerships with global brands like Mackie and P Audio. How have these associations shaped your product portfolio and contributed to Sonotone’s position in the professional audio industry? What do these brands represent for Sonotone in terms of technology, market positioning, and brand identity?

4. How do relatively newer inclusions like UNiKA and Marani to your brand portfolio, complement your existing lineup?

Long-term partnerships let Sonotone offer a coherent portfolio that covers consoles, monitors, loudspeakers and system components across price/performance.

• Mackie brings accessible, battle-tested consoles and monitoring solutions — ideal for touring, houses of worship and mid-market installs.

For Sonotone it represents reliable mixing platforms and entry-to-pro workflows.

• P.Audio provides high-performance components as well as transducers.

For Sonotone these brands anchor our presence in large events and festival supply.

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Newer brands are chosen to fill technical or market gaps. UNiKA’s Dante-centric designs and modular line arrays add modern networked flexibility and compact touring options that complement blue-chip large-format systems. Marani strengthens our mid-to-high-end offerings where we need tighter price/performance or regional manufacturing synergies. In short, these additions broaden choice: they let rental houses and integrators pick the right tool for a job—whether it’s lightweight touring, installed AV, or Dante-networked systems—without compromising Sonotone’s overall reliability promise.

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long-term reliability, QoS and vendor-managed infrastructure are priorities.

Festivals and touring rigs typically adopt Dante today due to its ecosystem and ease-of-use, but AVB will gain ground in stadiums and permanent installs where network-managed audio and strict timing control deliver clear benefits.

5. How do you see the Indian pro-audio market evolving compared to global trends? And what one technology will most define India’s rental market by 2035?

India is following global trends—greater adoption of networked audio, immersive audio formats, and compact, high-output systems—while also showing distinct local dynamics: rapid growth in mid-sized live events and experiential activations, and heavy demand for reliable rental gear that can withstand rough logistics and climate stresses.

9. India’s Pro AV and audio market is projected to hit USD 17.3B by 2031.

Which segment - live entertainment, corporate, or education, - do you think will grow fastest, and how are you aligning your brands / inventory?

6. At PALM Expo 2025, Sonotone showcased P.Audio’s large-format drivers. Are high-SPL systems becoming standard for rentals?

We expect corporate & institutional installs to show the fastest proportional growth as organisations invest in hybrid-work AV, auditoriums, and campus-wide AV infrastructure. Live entertainment will continue growing strongly in absolute terms, driven by festivals and experiential events. To align, Sonotone is: (a) increasing inventory of Dante/AVBready installed speakers and DSP-enabled consoles for corporate/education projects, (b) maintaining and expanding rental-grade, high-SPL stock for live entertainment and festivals, and (c) strengthening service and training programs so integrators can deploy networked systems confidently.

High-SPL systems are increasingly common for medium-to-large festival and stadium work, but “standard” depends on the rental segment. For big outdoor events and large touring packages, yes—high-SPL, power-dense systems are essential. For corporate, houses of worship, and many smaller venues, demand is moving toward compact, highly efficient line arrays that balance SPL with intelligibility and transport efficiency.

7. Sonotone also introduced UNiKA’s Dante-based NBB series in India.

How fast is networked audio adoption growing, and which segments lead this trend?

10. Finally, what has been your biggest challenge in leading Sonotone Audio Systems, and how did you overcome it?

Networked audio adoption in India is accelerating—adoption curves are steepest in corporate AV (boardrooms, auditoriums), higher-education campuses, and modern houses of worship that prioritise scalability and remote management. The market is also adopting Dante and AoIP for signal distribution, monitor mixes, and FOH-backline integration because it simplifies multitrack workflows and reduces bulky analog snake runs.

The biggest challenge has been balancing inventory readiness with capital efficiency—keeping enough high-demand stock and spares while avoiding overcommitment to products that may be overtaken by new tech. We addressed this by diversifying supplier relationships, building stronger forecasting with key partners, investing in modular systems that serve multiple market segments, and improving reverse-logistics for faster turnaround of repaired units. Equally important was investing in local technical training so our customers could maximize uptime—service reliability has been the key differentiator.

8. Where do you see AVB-ready systems gaining traction first, stadiums, festivals, or corporate installs?

AVB’s deterministic timing and managed-network advantages make it attractive for corporate installs and large fixed systems (stadiums, arenas) where

SNL PRO CREATES...

(Continued from page 38)

Trussing Infrastructure

SNL Pro deployed an extensive inventory of premium trussing components to create the robust framework necessary for the production's ambitious design. The primary structure utilised 40 units of 3-meter silver truss sections (510 x 610mm) complemented by 20 units of 1-meter sections, all secured with 300 spigots, 600 bullets, and 600 R-pins for maximum structural integrity. Additional support came from 90 units of 3-meter black truss (400mm), 48 units of 2-meter sections, and 16 specialised 6-way junction pieces, creating a versatile framework capable of accommodating the production's complex rigging requirements.

The lifting and rigging system incorporated 75 Chain Master 1000kg motors with 24-meter capacity, supported by comprehensive power distribution through custom SNL motor controllers and extensive cabling infrastructure. Safety remained paramount throughout the installation, with German-standard safety harnesses, mountaineering ropes, and color-coded rigging hardware ensuring secure operations. The deployment of 110 soft slings, 50 round sling belts, and various shackles provided the flexibility needed to accommodate the intricate audio, lighting, and effects rigging that defined this landmark production.

This landmark production demonstrates the Indian live entertainment industry's capacity to deliver world-class technical solutions for major international artists. The successful integration of complex audio system design with spectacular visual effects and premium trussing infrastructure, all while maintaining the highest safety standards, sets a new benchmark for large-scale concert production in the region.

The Travis Scott Delhi concert represent more than just successful shows— it showcases the technical expertise and production capabilities that position India as a premier destination for major international touring acts. SNL Pro's flawless execution of this complex production demonstrates that top-notch Indian rental companies can deliver world-class standards that rival any international market, establishing the foundation for India's emergence as a key player in the global live entertainment circuit.

The structural backbone of the show was also provided by SNL Pro's comprehensive trussing solution, engineered to support the complex rigging requirements of this massive two-night spectacle. The trussing infrastructure required meticulous planning over an 11-day period from October 10th to 21st, with the actual deployment spanned the show dates from October 18th to 19th.

Beyond audio excellence, the production featured an extensive special effects package that elevated the sensory experience, dramatic vertical flames and 32 RECOjet CO2 bursts amplified the energy

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November-December 2025 - PALM Expo 2026

Lighting News GRANDMA3 TAKES CENTER STAGE ON YO YO HONEY SINGH’S SPECTACULAR A MILLIONAIRE TOUR Lighting designers Bala Subramanya (aka Vinod) and Guru Somayaji of 369 Design Lab turned to the grandMA3 lighting control system for the recent “MILLIONAIRE INDIA TOUR” by Indian rap sensation Yo Yo Honey Singh, a high-energy spectacle that rocked ten major Indian cities and left audiences spellbound.

To match Yo Yo Honey Singh’s energetic performances, 369 Design Lab crafted a technically robust and visually stunning lighting design — powered by the versatility, power, and ease of the grandMA3 system.

Vinod, a grandMA user since 2014, and Guru, since 2018, shared that the decision to specify grandMA3 was both technical and creative. “The grandMA3 platform gives us the flexibility and workflow we need for a demanding touring schedule,” said Guru. “With multiple venue variations and limited programming time, we needed a system that was MVR-friendly and seamlessly integrated with Vectorworks and grandMA3 checked every

box.”

The 369 Design Lab team, now fully transitioned to grandMA3 running software version 2.3, worked with SSL Lights from Mumbai, who supplied four grandMA3 fullsize consoles and two grandMA3 processing units L, alongside 350+ lighting fixtures. The team also deployed a grandMA3 onPC 2Port Node to control Xylo wristbands for audience interactivity.

Vinod shared that the Image credit: Bling Ping Motion Pictures; Hi-Tech Audio & Image’s hands-on training and support helped lighting pros embrace grandMA3 paving the way for 369 Design design journey began Lab’s confident switch to the platform with sketches on pen and paper, a process that helps them visualise freely laser systems, powered by Pangolin 86 systems. before moving into software like Beyond, were triggered via Art-Net The success of grandMA3 on Vectorworks. Once approved, the through grandMA3, ensuring precise tours like this is also a result studio finalised the 3D design and synchronization with lighting and of the continued efforts of previsualization using grandMA3’s effects.

Hi-Tech Audio & Image Pvt. inbuilt 3D viewer, Capture, and later The team designed three versions Ltd., the exclusive distributor in Depence R4 for detailed lighting and of the production- a grand indoor India for MA Lighting. Through laser simulations. setup for NESCO, Mumbai; a 360-deregular trainings, demos, and On tour, Vinod and Guru shared gree format for Indira Gandhi Indoor dedicated support, the team operating duties at FOH, supported Stadium, New Delhi; and an outdoor at Hi-Tech Audio & Image has

by Albin Biju, who managed lasers version adapted for various venues, (Continued on page 48) and key lighting for the camera. The using Giant Truss DDR 85 and DDR

AVOLITES HELPS SHAPE LIGHT CRAFT Light Craft, a Mumbai, India-based rental company and major production lighting supplier to the film and broadcast industry, has invested heavily in Avolites control, especially for its moving light systems. “Light Craft’s working style is and always has been about finding swift and smart solutions for DoP’s, gaffers and directors, and Avolites products help us achieve that goal.”

Rohan Tambe, Project Manager, Light Craft. He explained that the straightforward logic and usability of the Avolites’ Titan software and programming architecture makes it perfect for high pressure situations

in the world of commercials, films and television.

Avolites has been a long-term control choice for Light Craft thanks to its power, flexibility, and stability, all of which help make their lighting crews. What was historically a cumbersome, time-consuming operation involving lots of people and heavy kit is now – using moving Light Craft's team with the newly acquired Avolites inventory lights and DMX control. popular include the Key Frame Shape Popular Avolites Titan features Generator, a potent effects engine that Light Craft finds invaluable and

November-December 2025 - PALM Expo 2026

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(Continued on page 48)

Lighting News LEKSA LIGHTS SHINE ON THE TALLEST STATUE OF RAM BHAGAVAN The unveiling of the 77feet bronze statue of Prabhu Shri Ram at Shree Samsthana Gokarna Partagali Jeevottama Math marks a landmark moment in India’s cultural and spiritual heritage. Celebrating 550 years of the Math’s legacy, this historic occasion was illuminated by Leksa Lighting, which executed the complete engineering, design, manufac-

turing and installation of the lighting system for both the statues and the convention centre. Illuminating a structure of this scale required technical expertise, precision and thoughtful design. Leksa installed over 100 high performance projector luminaires, positioned strategically to enhance the statue’s contours, bronze finish and towering presence. Each luminaire placement was meticulously planned to ensure

uniform brightness, long-term durability and a breathtaking visual experience from multiple viewing angles. A state-of-the-art DMX based control system enables the statue to shift between warm devotional themes and vibrant festive scenes.

Leksa’s RGBW projector luminaires provide high brightness and refined optical performance, supporting programmable lighting effects for religious events, cultural programs

Leksa Lighting’s precision-engineered RGBW luminaires and DMX control system illuminate the 77-ft bronze statue of Prabhu Shri Ram

and public gatherings. Moving head fixtures further elevate the ambience with dynamic motion and beam control. Beyond the statue, Leksa delivered a full exterior lighting package covering the temple façade, landscaped gardens, pathways, public areas and the convention centre. Inside the auditorium, a comprehensive stage lighting system including spotlights, wash lights, ambient fixtures and drapery systems was installed to support spiritual talks, cultural performances and multipurpose events. All luminaires were designed and manufactured at Leksa’s advanced Moodbidri facility, reinforcing its “Make in India” commitment. Over the years, Leksa Lighting has built a strong and diverse client bank comprising architects, lighting consultants, government departments, heritage committees, corporate developers, temples and hospitality groups across India and overseas- trusted for reliability, engineering depth and timely project execution. This project stands as a proud achievement for Mangalore and reflects Leksa Lighting’s growing role in illuminating iconic national landmarks- celebrating heritage, elevating devotion and redefining architectural lighting, one monument at a time.

GRANDMA3 TAKES CENTER STAGE ON... (Continued from page 46)

AVOLITES HELPS SHAPE LIGHT CRAFT... (Continued from page 46)

helped many lighting designers and rental partners confidently embrace the grandMA3 platform and its creative possibilities.

Rajan Gupta, CEO-Founder of Hi-Tech Audio & Image, remarked, “We’re proud to see India’s leading lighting designers embracing the grandMA3 ecosystem—a true sign of the live entertainment industry’s technical and creative evolution. At Hi-Tech Audio &

inside Titan software that assists with rapid programming across multiple fixtures. Referring directly to the increased portability of the D7 and recent smaller ‘briefcase’ sized D3 series of products, Tambe commented, “These consoles look cool and enable us to work fast and react quickly, which is at the essence of lighting on any set or project.” As a company, Light Craft has a slew of talented technicians and programmers who have been using the Avolites control

Image, our mission is to empower the community with knowledge, support, and world-class solutions.

With cutting-edge technology and proper training, designers can push boundaries and redefine what’s possible on stage.”

For more details and quotes from Hi-Tech’s management, head to PALM Expo Magazine official website.

November-December 2025 - PALM Expo 2026

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for some years and are familiar with the architecture, as well as very excited to see the brand growing and becoming more prominent once again. IES, their official distributor, offers training programmes and initiatives for Avolites users on which Light Craft has capitalised and now has their own trainers to guide new programmers joining the team.

Read the full story on PALM Expo Magazine’s official website!

Lighting News AYRTON PRESENTS EAGLESTRIKE LT Ayrton has launched its new, ultra-powerful followspot, EagleStrike LT, designed for maximum output, speed and precision in stadiums, arenas, major events and other extraordinary venues. Originating from a bespoke request for a signature luminaire, EagleStrike LT is a fast, weatherproof followspot distinguished by phenomenal power, unmatched precision at extraordinary throw distances and genuinely expressive graphic performance.

The first LED-source followspot in Ayrton’s range, EagleStrike LT is engineered for intensive outdoor use across long distances where precision is paramount. An optional camera transforms EagleStrike LT into a fully automated tracking spotlight.

To create an uncompromising and unmatched extreme-luminaire, Ayrton has developed an over-

The first LED-source followspot in Ayrton’s range, EagleStrike LT is engineered for intensive outdoor use across long distances where precision is paramount

sized 270mm front lens capable of delivering an ultra-intense 2.9°beam; its 13-lens optical system with 15:1 zoom ratio gives working range of 2.9°to 43° , with dedicated gobo reducers able to narrow the beam to 0.9°or 2.5° Equipped with a brand-new high-efficiency 1,200W LED module, EagleStrike LT outputs a luminous flux of 55,000 lumens at a colour temperature of 6500K. It easily achieves a record-breaking light output of over 100,000 lux at 10m, and 6250 lux over 40m.

EagleStrike LT introduces an entirely new ultra-fast CMY flag-based colour mixing system, capable of matching the speed of Ayrton’s ‘Ultimate’ series luminaires. A progressive CTO offers subtle tuning from 2900K to 6500K. The colour section includes six complementary colour filters, two

CRI enhancement filters, one minus green, one gobo correction and one multi-colour filter. More than a followspot, EagleStrike LT also offers a range of optical tools for sculpting the light: precision full-framing across 100% of the file and +/- 90°rotation, two overlaying rotating gobo wheels,

each with seven gobos, a 15-blade iris diaphragm, a single-colour effects wheel and two frost filters, as well as two combinable rotating image-multiplier prisms: a 4-facet linear and a 5-facet circular. Continuous rotation on the pan axis expands EagleStrike LT’s creative potential and facilitates use in automatic followspot mode.

A next-generation oversized cooling system ensures high efficiency.

EagleStrike LT’s minimalist design integrates all waterproofing features while maintaining full access to internal components. Its remarkable versatility rests on the experience and excellence of Ayrton’s R&D team, who have perfectly balanced this Series 9 IP65 fixture.

Read the full news, complete with tech specs on PALM Expo Magazine’s website.

SSL MEDIA ROLLS WITH MORE ROBE INVESTMENTS Mumbai-based SSL Media Technology & Solutions, headed

by CEO Ulhas Sahasrabuddhe, and one of India’s largest event and entertainment technology production providers, has made major investments in Robe moving lights over the years. The list includes Robe iFORTE LTX FS (follow spot) fixtures – eight fixtures together and the eight RoboSpot BaseStations, which are the first RoboSpot systems in India.

The equipment was delivered

by Robe’s Indian distributor IES (Integrated Entertainment Solutions) headed by founder & owner Rasesh Parekh.

SSL currently holds the largest stock of Robe in India, with over 200 fixtures from the most recent Robe ranges, plus some of the classic ColorSpot and ColorWash 575 series fixtures, circa 2003 . In the last year alone, SSL has expanded its Robe stock of FORTES – they now have 87 – and MegaPointes, of which they now have 80. The Spiider count has been boosted as well, with the purchase of another 24 of

these popular LED wash beams.

Sahasrabuddhe underlines that it is essential, when dealing with this level of artist, to be able to provide the premium brands their production teams are demanding.

“We studied riders extensively,” he explained, “and this has been a factor driving us towards Robe right from the start.” He adds that SSL has arguably one of the largest fleets – over 1000 – of moving lights in the country, branded and unbranded combined.

Project Manager Siddhesh Susvirkar shared that FORTES fixtures are not only used for shows and music

performances but are also popular for lighting conferences, trade booths, and expo areas. Designers value their brightness, gobos, and overall light quality. He added that FORTES and iFORTES often appear on riders alongside RoboSpots, and when sub-hired, SSL always provides its own trained crew rather than offering dry hire.

The very first gig in India for SSL’s new RoboSpot was a massive show in Chennai by Indian movie and singing superstar Anirudh. Lighting was designed by Bala Subramanya (Vinod) and Guru Somayaji of Bangalore-based creative studio, 369

Photo Credit: Louise Stickland. Delivered by IES, SSL Media’s Robe inventory includes a range of advanced Robe Lighting solutions, also featuring India’s first RoboSpot Base Stations.

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Design Lab. The SSL team did their own RoboSpot training after receiving the fixtures, which was organised by IES, after which their now trained crew are teaching a selection of their own operators.

Co-ordinating the RoboSpots for SSL is Sahi Jabdhav, also a lighting designer, and he was one of those originally trained

by IES. He highlights how at a gig or concert, utilising RoboSpots will save on structures and will enable the prompters to have less seat kills, which is always a plus!

“Robe have not over-engineered this project. They have been clever and kept it straightforward and easy to learn, especially for those who are already adept in the art of follow spotting.” He confirms that a lot of the LDs and lighting operators also like the system, as they can work in closer proximity to the RoboSpot operators.

Read the full news on PALM Expo Magazine's official website!

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Natural Talent

by Viraf Pocha

I

s magic real?

It happens in front of our eyes. We see it. So it must be real. Balls disappear. Cards reappear. Lady steps into a box and a Puma Exits. (Ok ok. That happens in real life too).

We all know it’s not real. We all know something somewhere is moving secretly.

But what? How? Do we really need to know?

Isn’t it better to ignore the mechanics, and just enjoy the results?

Enlarge that idea to cover the entire the universe. Man is constantly seeking to peer, probe, study, all in an effort to understand how the world works.

To harness that knowledge and make it work to serve mankind.

We can enter into an endless debate on how a tiny group of men benefit from using universal knowledge to control all of mankind.

We got mobile phones and airplanes that made the world into one big village. But we also got weapons to destroy that village with ruthless efficiency.

Chances are nobody reading this article has the ability or resources to make even a hair breath of a difference on that scale. So let’s head back into a context where all of us function.

What are we doing here?

Creating magic!

Using light and shadow.

Explosive sound and silence.

Frantic visuals or borderless blankness.

That’s our Tesla, our iPhone, our tools to make life better for the people around us.

We visualise and then give it form. Painters use pigment and canvas. Musicians use notes. Is it pretentious to call ourselves artists?

Cause we have a massive range of tools to help us create magic.

At its very core magic

can only exist in one dimension. One angle, one perspective one point of view. If that alters even a bit – the artifice dissolves and we left exposed with a pathetic view.

On stage it is our job to get every detail right. In harmony, In sequence to a rhythm. So it’s fair to call it visual storytelling. Wait! Isn’t that what films do? Yes, to a point. The only thing missing in a film experience is the element of presence.

The magic of the moment.

Every time you see a film, it is always exactly the same. Every time you see something live – there will always be a difference. Even in the best rehearsed show. Audience feedback and presence will always tinge a performance. It could be the room, the mood, the temperature, something that feeds back to the performer and his response.

Our job is to feed that moment.

Polish it. Shine just a little bit brighter, edgier.

Right now the tool of the moment is Artificial Intelligence.

All of us are watching that magical world unfold. Some with wonder, some with fear, some with trepidation. I am looking at it with jaded eyes. Why? Cause Artificial Intelligence is nothing but the sum total of our past experiences so far. At least to date.

Who knows about tomorrow?

Every artist is influenced by what has gone before. He ‘borrows’ from something somewhere. From there springs inspiration. How far you leap

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from your influences is up to you. It may not be instantly recognized, but it is plagiarism of some sort.

That gap between your influences to your final product is bridged by your innate talent. A genius will make it sublime. Someone else could end up with a faded copy.

Both will then be added to the heap of data that Artificial Intelligence will trawl through to produce its next result. To date the data is secular. In that is cannot differentiate the great from the mundane. Yes the number of ‘hits’ could skew the data a bit. But that number is not a real indication of art and mastery.

Just how popular it is. If you listen to popular music today – you know how suspicious that can get.

As far as I know Artificial Intelligence has yet not been built into too much of our control equipment.

We have intelligent lights, or a digital board that can be programed to do a huge number of tasks faithfully. And can be synchronized or triggered to a precision that no human can pull off in the tension of a live show.

Special effects have sometimes taken over a performance. Click tracks that trigger lighting cues and sound changes have harnessed musicians in. To the point where many wonder what the point of playing live is.

Initially there were backing tracks, then some performers claimed that their on stage dance routines were so complicated that there was no way they could sing. So that section of the show was a playback earlier recorded.

It was safe.

Sadly safety is not a friend of magic. Magic carries an element of risk. Both performer and audience exult in the moment it all goes amazingly well.

Yes it could go wrong. But to my mind – how quickly the artist recovers in full view of the audience is the true magic.

If you were following Taylor Swift’s incredible Stage shows last year there are so many instances where something or someone broke free from the routine and created a magic

52

moment that everyone remembers, and may even define the concert experience.

If you know a performer’s music and are seeing it for the umpteenth time, you have a reference to compare it to can spot a slip up, a bum note, a missed cue. To my mind that actually enhances a show, if for nothing else just to alert the other performers to shake of complacency, get full attention and recover. That in and of itself is the magic of a live show.

How can Artificial Intelligence fit into that space?

Sure it’s a great tool to conjure up visuals and routines. But I still feel you need oodles of Natural talent, live presence and the touch of human to stand out from the crowd of the Artificial.

Contrary ideas exist. Abba‘s Hologram show is an example.

There are stories of music tracks being produced by machines.

Cover art, sleeve notes, marketing and distribution strategies. All created by some kid’s computer in a basement. I guess we will need to co-exist in that world.

I mean isn’t it time Kenny G is silenced in elevators? See there are advantages.

Here’s to all you naturally talented people. Embrace AI, but use it to make your work different. If you use it to replace your talent – that complacency could spell doom.

To end let’s all remember. From earliest times it’s recognised that all great innovation, success and progress has always been fuelled by some human who has looked upon the past with fresh eyes.

LIVE SOUND REINFORCEMENT: MUSIC FESTIVAL Asia’s largest Bollywood music festival, Bollywood Music Project returned in 2025 with a two-stage, multigenre showcase that demanded both cutting-edge system design and seasoned on-ground execution. As co-power partner, JBL Professional Solutions placed its flagship JBL VTX ecosystem front and centre, while SOUND.COM, under the leadership of Warren D’Souza, managed rental, deployment and show control to keep two packed days running seamlessly.

Together, they delivered a blueprint for scalable fidelity in India’s festival circuit.

PALM Expo Magazine spoke to both teams to uncover how this ambitious project came to life.

Bollywood Music Project 2025: Precision, Power and Partnership from JBL and SOUND.COM featured JBL VTX A12 line arrays paired with A12W wide-dispersion elements for uniform coverage. The system was supported by JBL VTX A8 modules for front-fill clarity and VTX B28 subwoofers to deliver deep, musical low-frequency energy. The system design was optimised using JBL Venue Synthesis, ensuring predictive modelling translated into precise on-ground coverage, tonal balance and headroom. The A12/ A12W/A8/B28 combination offered remarkable genre agility, moving seamlessly from high-octane pop sets to vocal-forward acoustic performances, providing articulation, breadth and flexibility across styles.

Looking ahead, JBL Professional remains focused on future innovation, investing in spatial audio capabilities, energy-efficient amplification and intelligent system workflows to drive immersive, sustainable festival sound that is louder, cleaner and emotionally engaging.

JBL PROFESSIONAL: Co-Powering with a Clear Vision JBL Professional’s role at BMP was anchored in its wider mission to elevate live entertainment in India through exceptional sound. The brand positioned the festival as a real world proving ground for the JBL VTX family, enabling engineers and artists to experience the system’s performance, reliability, and consistency under festival conditions.

Bollywood Music Project 2025 exemplified JBL Professional’s strategic engagement with the pro-audio and live events community, creating a platform where rental partners, engineers and performers could experience next-generation line-array solutions first-hand. At the heart of the sound design was a robust technology backbone, as the main PA

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FOH, Fills & Monitors For front-of-house and monitoring, SOUND.COM deployed a proven rig built around JBL’s VTX ecosystem. The core setup featured VTX A8 modules for nearfield reinforcement and B28 subwoofers for low-frequency foundation, complemented by VTX A6 elements as flown side fills and front fills where required. Artist-driven adjustments were handled seamlessly, including a late request for side fills covered with JBL VRX cabinets, while stage monitoring relied on JBL VRX 915 wedges to keep performers confident and changeovers efficient.

Cable Management & Delays Even terrain and experienced cable managers minimised joint stress and failure points, critical during wet conditions. BMP required two delay stacks, judiciously sited to maintain intelligibility without overcomplicating the deployment.

Crew & Changeovers An audio crew of approximately 18 technicians supported by six backline specialists managed rapid patching and stage flips. Morning of show calibration ensured predictable starting conditions; from there, communication and a clear chain of command kept transitions tight and on schedule.

SOUND.COM’s broader methodology includes unconventional solutions when geometry shifts late in the process, e.g., deploying 120°“wides” on delay towers to recover coverage in widened audience zones, supported by rapid logistics. That mindset, solve coverage first, then move boxes, remains central to how the team approaches complex festival topologies.

Co-powered by JBL Professional, BMP exemplified their investment in the pro audio industry, creating a platform for rental partners, engineers and performers to experience innovative solutions

SOUND.COM: Designing for Consistency, Executing for Speed Where JBL Professional defined the platform, SOUND.COM ensured the plan lived on the ground. The rental team approached BMP with an operational philosophy built on venue familiarity, disciplined workflows, and a readiness to adapt.

Variables like last minute artist changes, and power issues were addressed through a tight calibration window and clear crew roles. Prior experience at the same venue helped the team anticipate traffic flows, stage orientations, and weather contingencies, keeping production moving despite external headwinds.

SOUND.COM implemented a single, scalable deployment approach across both days. The venue’s predictable geometry allowed them to “roll out the plan” without remapping between acts. Crowd density fluctuations were handled at the mix position rather than by re rigging, maintaining sonic coherence from bass heavy sets to balanced, vocal centric performances.

How Collaboration Delivered Crystal-Clear Sound at BMP 2025 The success of Bollywood Music Project 2025 was rooted in clearly defined roles and a shared approach to system design. JBL Professional provided the platform, delivering design expertise, system capability and predictive tools, while SOUND.COM handled the performance aspects, including rigging, calibration, show control and artist support. Both teams worked from repeatable templates that could scale up or down without compromising musicality or headroom. This synergy ensured audience-first outcomes, with uniform coverage, articulate midrange and musical low frequencies, giving listeners a consistent, high-quality experience regardless of the act or their position within the venue.

The Takeaway BMP 2025 demonstrated how a powered technology platform (JBL PROFESSIONAL) and experienced execution partner (SOUND.COM) can turn a demanding, two stage festival into a coherent sonic experience. Predictive design, practical rigging, and crew discipline kept the show musical and resilient, even when weather and schedules refused to cooperate. It’s a model for how India’s largest live events can deliver both scale and nuance, today and as immersive, sustainable audio takes centre stage in the years ahead.

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PALM EXPO CONFERENCE SERIES: LIVE SOUND ENGINEERING The Voice: Adamson’s Design Philosophy Lee Stevens underscores the company’s core principle of engineering excellence, a philosophy that has driven its progress for over four decades. This ethos originates from Founder, Brock Adamson, whose passion has always been to replicate the human voice with absolute clarity and transparency, a challenge that remains the ultimate benchmark for any loudspeaker manufacturer. Human speech spans a wide frequency range, with male voices typically between 100 Hz and 8 kHz, female voices from 200 Hz to 8 kHz, and children’s voices around 250 Hz to 8 kHz. Accurate reproduction of these frequencies forms the foundation of Adamson’s design philosophy, as Stevens explains: “If you can replicate the voice perfectly, the rest becomes much easier.”

At the recent PALM Expo Conference

High Output, Low Footprint: Touring Efficiency Redefined

PALM Expo Magazine team on the discussion

2025, Adamson Systems Engineering commanded attention with a session showcasing their engineer-first approach, commitment to indigenous manufacturing, and innovative product philosophy. Below is an exclusive excerpt brought to you by the by an expert panel comprising Carlos

The VGT is a dual 13-inch system delivering full-range coverage from 50 Hz to 20 kHz, with a 90°horizontal dispersion and a 6 dB vertical taper. Despite its compact form factor of just 84 kg, it achieves an impressive 151 dB SPL and is fully powered for ease of deployment. Carlos Sallaberry explains: “The design incorporates a multi-mode cardioid configuration, with two 13-inch drivers at the front and two 10-inch drivers at the rear, powered by a purpose-built five-channel, 12 kW amplifier.

Integrated DSP and AI-based control allow users to switch between cardioid and omni patterns via software.”

This adaptability was driven by market feedback, as Stevens notes: touring engineers need systems that can handle acoustically challenging arenas or outdoor venues, and some artists prefer low-end warmth on

Sallaberry (Head of Education & Applications, APAC), Kiran Tauro (Applications Engineer, EMEA), Lee Stevens (Sales Director, APAC) and Pieter Van Hoogdalem (Business Development Strategist).

Read on to discover insights from this discussion.

Adamson’s Engineer-First Approach to Next-Gen Touring Systems An excerpt from “The Reference is the Voice” Session at PALM Conference 2025

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stage, making omni mode essential. Future updates will introduce additional patterns such as hyper-cardioid, all software-driven for seamless refinement.

The VGT’s engineering delivers efficiency and reliability at scale: horizontal dispersion in omni mode is wide and even, while cardioid mode significantly reduces rear output; the amplifier is custom-built in-house for maximum efficiency; each box features 1,024 FIR taps for precise optimisation; and power consumption is remarkably low—at full output of 151 dB, the VGT draws only 3.6 amps per box on a 12 kW amplifier. This translates into real-world savings, as 18 VGTs can run on a single three-phase 32A supply, reducing truck space and costs—critical in today’s touring economy. Rack space is minimal too: while 18 E15s typically require two racks, the same number of VGTs needs just 4RU for networking and power, with full redundancy built in.

additional latency. “Competing systems often introduce latency as soon as optimisation is enabled. Our advanced DSP architecture ensures zero added latency beyond the initial system processing,” Stevens confirms.

This algorithm addresses real-world challenges such as low-mid buildup in line arrays and high-frequency loss at the far end of a venue. “If these issues don’t exist, you can choose any frequency range outside the standard 100 Hz–20 kHz window. This flexibility allows engineers to tailor optimisation precisely to the venue,” says Kiran Tauro. The results are measurable: pre-optimisation, system response can vary by as much as 9 dB in the lowmid range, while post-optimisation reduces this variance to around 6 dB—a significant improvement.

Subwoofer Control and Real-World Flexibility Adamson’s Subwoofer Calculator further enhances system flexibility, offering two major configuration options—Omni and Ellipsoidal. “The ellipsoidal option provides a much wider coverage pattern. Engineers can preview results before pushing data to the boxes, thanks to onboard DSP. Multiple optimisation trials and designs can be tested to determine the best configuration for the venue. Once deployed, you can switch modes live and hear the difference instantly,” explains Stevens.

This adaptability allows engineers to manage challenges such as reducing noise spill to neighbouring areas or tailoring low-frequency response for specific acts. “You can also select the opening angle of the subwoofer array—wide or narrow—based on venue requirements. Additionally, you can define the maximum on-axis SPL loss you are willing to accept. These options simplify subwoofer spacing and delay calculations, as the software handles all the complex maths for you,” adds Tauro.

Software at the Heart of Adamson’s VG Series Adamson’s global rollout of the VGT reflects a meticulous development process. “When we announced the VGT over a year ago, we worked closely with key partners during prototyping and testing, including CLA Global, DV2 (France), and PA Shop (Canada),” says Pieter van Hoogdalem. “We presented the system to front-of-house engineers, conducted demos, gathered feedback, and made refinements before market release. Today, the VGT is touring globally with acts like Imagine Dragons and Linkin Park, and rigs have been deployed across Europe, North America, Japan, China, and now India.”

At the heart of this evolution lies software intelligence. Stevens explains: “At the heart of everything we do is software. Our flagship platform, ArrayIntelligence, is a comprehensive design, simulation, and control tool. It enables system design, acoustic modelling, and real-time monitoring—all from a single interface.” The workflow is intuitive, allowing engineers to design systems in Blueprint, configure routing, control gain, delay, EQ, and grouping, and monitor every component in real time. ArrayIntelligence provides two-way communication with every box, tracking AVB streams, drivers, and network health, while delivering instant feedback on issues such as network drops or power anomalies. The interface flows naturally from left to right for ease of navigation. Evolving from Shooter to Blueprint and now ArrayIntelligence, the platform incorporates market feedback at every stage. It offers SPL and time-based simulations, inclinometer calibration, and advanced diagnostics, giving engineers complete confidence and control.

The Benchmark: Consistency Across the Venue Adamson’s predictive accuracy is based on Y-weighting, which focuses on vocal intelligibility across a multiband spectrum rather than single-frequency maps. “Single-frequency maps may look impressive at 8 kHz, but shift slightly and the results can deteriorate. Predicting across a wider spectrum delivers a more reliable outcome,” Lee explains. The goal is a 6 dB front-to-back variance in Y-weighted response—anything beyond that is considered suboptimal. Engineers can also view A-weighting, C-weighting, or flat weighting via drop-down menus, ensuring flexibility for different applications.

“For us, India is a very important market, and we shall continue investing here,” says Hoogdalem. Post-COVID, the company has witnessed rapid growth in the region, driven by its flagship line array systems—products that Hoogdalem describes as “a technological package at the forefront of live sound technology today.” Adamson’s commitment to quality begins at its Canadian headquarters, where every component is manufactured in-house.

“We outsource nothing,” Hoogdalem emphasises. “This independence allows us to experiment during the R&D phase with materials and composites, giving us complete control and shielding us from supply chain disruptions.”

A high-speed assembly line further ensures precision and consistency, reinforcing Adamson’s reputation for engineering-driven innovation.

Optimisation Without Compromise Adamson’s advanced DSP architecture underpins its approach to precision tuning and optimisation. “Allowing full access to all of them would be impractical, so we limit this to around 25 per box—which is still substantial. For an array of 10 boxes, that gives you 250 FIR filters to work with,” explains Stevens.

One of the most powerful tools introduced in Adamson’s powered systems, including the CS and VG families, is Array Optimisation. “Some other manufacturers offer similar solutions, but our approach is unique because of the level of control we provide. With 1,024 FIR filters per box, we can achieve extremely fine adjustments that few others in the market can match,” Lee adds.

Optimisation can be applied across the full broadband spectrum or constrained to specific frequencies causing issues in the room—for example, targeting 2 kHz upwards to correct high-frequency loss. The best part? No

To view the full conference session, visit the link – https://www.youtube.com/watch?v=IHTswPU7tRI

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FUN OF THE OLD

By Jon Burton

A

s a lecturer, I enjoy coming up with ways to assess my students’ newly acquired skills. For a practical module, students were asked to design and build a simple display stand—like those seen at many trade shows—to showcase two products, using sound, lighting, a camera, and video. We formed two teams, each responsible for displaying one item. They had 30 minutes to prepare, then had to assemble the stand and be ready to demonstrate the item 90 minutes later.

I thought it was quite a good task, sounds easy but there are a few pitfalls that might, and did, trip up the students. What looks good when you set it up initially can be spoiled when people gather round. The camera doing close-ups of the demo is no good if people are standing in front of it.

The students all understood and engaged with the task, which is always a mixture of satisfaction and relief. What was interesting was how they interacted with the objects. Obviously, we didn’t have two brand new products straight from R&D to present; we only had objects occupying space in the cluttered corner of our office near my desk.

I wanted to find two similar objects to keep the tasks balanced, so two audio devices were selected. They were both effects units, primarily echo units. One, however, generated considerably more enthusiasm than the other.

There was some unwarranted disappointment when team A was given a twenty-year-old Line 6 DL4 Delay Modelling pedal. This was a bit unfair. This metallic-green pedal has been my go-to for ping-pong delay sound for many years. It has some excellent features, including a range of convincing delay emulations, especially the bucket-brigade emulations. It models the effect of changing the delay so the pitch shifts as you increase or decrease the settings. It has

produced fantastic swooping sounds at some of the best shows I have mixed. It features an accurate tap tempo and a quirky reverse echo that I have never used. It also comes with an annoying 12-volt AC power supply that always seems to go missing.

However, it was not the stylish metallic green brick of a pedal that caught the students’ eyes. It was the flight-cased box containing a unit I bought in my early twenties, sold in my mid-twenties, and then bought back again soon after. This was the more intriguing Roland RE301 Space Echo.

First, I probably need to explain why I bought, sold, and then bought again. That, I fear, is down to the stupidity of youth and the belief that something will be better than what you already have and works really well. I had fallen in love with echo early on, and the Roland Space Echo was pretty much the best around at that time. However, in 1985, I went to the launch of the Yamaha SPX90 digital multi-effects unit and was convinced by the amazing effects

November-December 2025 - PALM Expo 2026

it promised. It produced incredible sounds, great reverbs, and pitch changes, but it was always just a bit rubbish at delay. The SPX was also poor at unity gain—you never got as much signal out as you put in, and as a guitarist, it never quite worked the way I wanted. So, I had to buy back the Space Echo I had sold to raise money for it.

Fast forward 40 years, and half my students are staring into the flight case at my less-than-pristine RE301 space echo.

So, what would this younger generation make of these two objects? A couple of students were tasked with researching enough information to give a short presentation; the rest set about lighting, filming, and connecting the units to sound sources and loudspeaker systems.

As this was an assessment, they were only allowed a limited number of questions to help with their tasks.

Each team had three golden tickets that they could give up for a question and some advice. Then they were on their own.

60

Team Line 6 went straight online, found a manual and started exploring the unit’s controls.

Being presented with a unit that has rotaries marked ‘tweak’ and ‘tweeze’ is probably quite a challenge, but they seemed to manage.

The Space Echo team has just started disassembling it.

The lid came off, and a row of heads merely stared at the workings inside. It is, of course, a tape-based mechanical device. You turn it on, and bits start to move. Beneath a plastic cover, you can see the tape loop twisting inside as it passes the record, multiple playback, and erase head on its endless journey. I prevented them from removing the plastic tape cover by giving a few words of caution, thus avoiding the tape from spilling all over the floor.

Yes, it is old. Yes, it is a little fragile. No, the tape hasn’t been changed since before any of you were born.

By the time of the demonstration, the team was won over by the simple delays, the rich chorus, and the low-quality spring reverb of the RE301. They didn’t fully understand how it worked, despite Roland providing a basic operational guide inside the lid for all the features. However, they all enjoyed experimenting with the sounds it could produce.

Team Line 6 cheered up when we set the unit to reverse delay and made their vocals sound like a pseudo backward style, but this wasn’t as much fun. Where was the movement? The motors? The tactile controls?

By the end of the session, both groups had learnt a little about demonstrating but much more about the fun of old technology.

Something they only knew as a plugin was introduced to them, and they discovered the same joy I felt when I first learnt to get the most out of a fantastic unit that has now been going strong for over 60 years. Long live technology!

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INTERVIEW: FOH ENGINEER Fresh off the electrifying success of Enrique Iglesias’ second India tour, legendary FOH engineer Brad Divens wasted no time before diving back into action. Teaming up with EventTech Academy and JBL Professional, he hosted an exclusive workshop for frontof-house engineers as part of his acclaimed fixintogetmixin series. PALM Expo Magazine spoke to Divens about mixing magic on tour, his experience working with Enrique in India once again, and the philosophy that drives his approach to live sound. Read on for an inside look at the art and attitude behind the mix!

L to R: Brad Divens, Warren D'Souza (Founder & Director SOUND.COM) and Manjunath Kambalimath (Director - Retail Sale, HARMAN)

Beyond the Console with BRAD DIVENS Interview with the legendary FOH Engineer on Enrique’s latest India Tour 1. You’ve been mixing for Enrique for a while and have even done one show in India before. What felt unique about this show?

4. What was your experience working with JBL for this show? Did they perform as expected?

The challenge this time was the much larger outdoor venue. There were 3 sets of stereo delay towers. Ensuring the transition between the main hang and the delays so that everyone gets the same experience was what made it different. We had to be aware of coverage and everything to ensure consistency across the audience.

They sounded great. Warren D’Souza and the SOUND.COM team had everything dialled in perfectly. Warren designed the system and made it very easy for me to mix the show. All the attention to detail was there, so I could push my left-right fader up, make a few tweaks, and away we went. That’s a big deal when you’re going into a festival situation with a new venue and weather challenges, you rely on the people setting it up to make sure it’s done properly, and Warren did a fantastic job.

2. Talk to us a little bit about your go-to gear setup for mixing and why it’s your go-to gear.

5. Were there any memorable moments during the show, something positive or unique about the sound deployment?

With Enrique, the go-to gear starts with the console, a Yamaha Rivage PM10, PM7 or PM5. They’re all similar, and I can use any of them. Another piece of go-to gear for him would have to be the Rupert Neve Shelford Channel, which is a channel strip I use on his vocal. It’s an external hardware device that allows me to adjust instantly without searching through menus.

I also use other outboard gear because I like the sound, Empirical Labs Distressors and SSL compression. I prefer the JBL VTX A12 for the PA system.

The coverage was excellent. There was plenty of volume and headroom, and we never ran out of PA. One positive thing was that it poured rain, but then it stopped, so we could have the show.

3. You’ve mixed for a very diverse portfolio of artists. How do you manage to stay true to their unique sounds?

6. Technology is moving forward in leaps and bounds, with AI on the horizon in almost every industry. You’ve advised against over-reliance on these tools in the past. What’s your advice now for engineers, since AI is much more prominent than it was three or four years ago?

It’s a matter of listening to the record and getting a feel for how the band sounds, what their record sounds like, and then comparing that to what they’re doing live. Live sound is often a little different from studio sound.

You want to capture the essence of the band and portray it to the audience.

I never go into a gig thinking, “I’ll mix Disturbed like I mixed Cyndi Lauper,” because they’re completely different sounds. The approach is the same in how I put it together, but the sounds I’m given make it different.

To me, AI doesn’t have a place in the audio world, at least not for mixing, because no amount of AI can replace the human ear. Mixing is all about listening to the music and putting it together. Is AI going to put the emotion and passion in the mix? Is it going to create dynamics? I don’t know how you replicate that. Maybe it can be learned, but music has already gotten to the point where the human element is almost removed because of the way people record now. Everything must be perfect; locked to the grid, perfect

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10. This workshop has already gained global momentum, but could you tell us how the idea for fixintogetmixin came about?

It was several years ago. I was out on tour and thought, “I’ve got all this time during the afternoon, what can I do to kill the boredom but still make use of my time?” I thought it would be cool to have people come in, sit around the console at front of house during the afternoon, and I could run a virtual soundcheck, explain what I do, and talk about music and how to put it together.

But then I realised that would be difficult because of the logistics of the day. I might not have the time, and it wouldn’t be consistent every day. One day, I was in Northridge at HARMAN because we had just switched from one PA to JBL, it happened to be the VTX V25-II we were going to take out since the A12 wasn’t available for Sound Image to buy.

I was sitting in Greg Jones’ office, thinking about this idea, and at some point, I said to myself, “Just throw the idea out there, now’s the right time. See what he says.” I did, and he loved it. From there, it went straight into the Experience Centre and discussed how we could make it a reality.

The first couple of classes we did in Divens' 'fixingtogetmixin' workshop held in partnership with Event Tech Academy & HARMAN garnered a Northridge didn’t have great attendance, maybe huge audience comprising of veteran and novice engineers looking to up their game ten people at each one, but it didn’t matter because I tempo, no pitch variance. Everything’s just too perfect. We as humans are far was passionate about delivering what I thought was an incredibly cool way from perfect, so why should the music we create be perfect? to talk about what I do. It was enjoyable. There could have been one person there, and I would have still had a good time.

7. What’s your take on using the latest firmware or experimental features during high-profile gigs? Do you try experimenting with new things, or 11. Are you noticing any specific knowledge gaps when teaching these do you stick to tried-and-trusted setups? classes or workshops? Any recurring patterns?

I do experiment because you’re always evolving. There’s always new technology and new products coming out, and you think, “I’d like to try that piece of gear.”

I haven’t given that many workshops yet, but we’re hoping that changes.

I don’t necessarily feel like I do anything special, but obviously, I do because people like what I do. I find that the things I talk about might not be things engineers think about when they’re mixing. For example, look at the crowd and see how they’re reacting to your mix. Is there a way you can make the crowd react based on something you do with the mix? Absolutely. But I don’t think people realise that. I think they assume I just dial everything in, set the levels, and that’s it, then maybe watch guitar solos, vocals, and delay cues.

But there are so many things I think about during a mix that aren’t related to hands-on-the-desk. Watch the band. Watch the artist on stage, the main guy. Watch the crowd. Step away from the console every now and then and listen to your mix as a fan, not as the engineer. That’s tough. That’s really hard to do.

8. Anything specific that has caught your eye recently, something new launched in the last two or three years? It could be a plugin or hardware.

Plugin-wise, I really like the Sonnox Dynamic EQ. There’s also the Soothe plugin that works on an S6—that’s really good. On the Rivage I like all of the Rupert Neve plugins as well as the Eventide Harmonizer. As far as hardware goes, I’m a big fan of STAM Audio, API, Rupert Neve, Empirical Labs, and SSL. These are all products people use to make records, so why not use them live?

9. Your workshop fixintogetmixin emphasises process over gear. How do you make that message resonate with people who are rigid about the gear they use?

12. The main event was hosted by JBL in association with Event Academy.

Do you have more such collaborations planned? How has the experience been so far?

The whole premise behind fixintogetmixin is that the workshop isn’t based on gear at all. I highlight a couple of plugins just to show what you can do outside of the desk, but the point is that you should be able to use whatever desk is put in front of you. Will it be great? Maybe not, but it will be as good as you can make it. You’ll have a show, and everyone will have a good time.

You should be able to get the best representation of the band possible with the gear you’re given. That’s the premise, it’s not about the gear, it’s about the process. Today I might be on a console with a couple of plugins, and that’s why I designed the course the way I did, to make it not about the gear.

The experience has been great, and we’ll see after today if there’s going to be more to come. There very well might be.

13. Finally, what mindset shift would you like engineers to adopt to reach global standards?

I’d like them to listen to what they’re mixing, how they’re putting it together, and understand that volume is not a substitute for a good mix. No matter how loud you make it, the mix has to be good first.

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November-December 2025 - PALM Expo 2026

INDIA’S LATEST POP BALLADS In this edition of Unequal Music, we tune into the sonic pulse of India’s ever-evolving music scene, where mainstream meets meticulous production, we spotlight the talent behind the console for the country’s latest high-energy pop banger and meditative ballads. Let’s dive in!

Bijuria by Sonu Nigam and Asees Kaur Beginning with the mainstream music, Bollywood is known for a revolving bevy of chartbusters that have the audiences tapping their feet, and Bijuria from the comedy blockbuster Sunny Sanskari Ki Tulsi Kumari is no exception.

The infectious pop song has have captivated audiences, amassing over 51 million views and counting, naturally we move to view the talent behind the console behind this massive hit.

At the heart of Bijuria’s polished sound lies the expertise of Eric Pillai, one of India’s most celebrated mixing and mastering engineers. Founder of Future Sound of Bombay, Pillai has been a cornerstone of Bollywood’s audio landscape for nearly three decades. He has worked with top composers like Pritam, Vishal–Shekhar, Mithoon, and Anirudh, and has mixed iconic tracks such as Aashiqui 2, Barfi, Ek Villain, and Shershaah. His work on Aashiqui 2 earned him the IIRA Award for Best Film Music Album. Pillai’s signature style

Eric Pillai, mastering engineer for Bijuria

is unmistakable. His mix ensures that the tabla and dholak textures, recorded by Raju Sardar, Sanjiv Sen, Sharafat, and Arou, sit alongside the electronic layers crafted by Tanishk Bagchi. Supporting him in the mix was Michael Edwin Pillai, a seasoned Assistant Mix Engineer whose credits include M.S. Dhoni: The Untold Story, Stree, Parmanu, and Satyameva Jayate.

The choral sections of Bijuria were brought to life at two of Mumbai’s premier recording facilities, Input One and Studio 504. At Input One, Sameer Dharap engineered the sessions with a focus on capturing the intricate layering of the ensemble vocals in a meticulously treated acoustic environment. Meanwhile, Rahul M Sharma helmed the recordings at Studio 504, known for its warm, detailed vocal imaging.

The vocal interplay between Sonu Nigam and Asees Kaur is a standout, Nigam’s seasoned, emotive delivery anchors the track, while Kaur’s spirited vocals add a fresh, youthful contrast.

lush arrangements and pristine production. Sung by Arijit Singh, composed by Salim–Sulaiman, and penned by Shraddha Pandit, the track is a standout in the Bhoomi series. Sukoon exemplifies Bhoomi’s ethos of blending acoustic instrumentation with cinematic textures and a deeply emotive vocal performance. The sonic clarity of Sukoon is largely credited to Aftab Khan, who handled the mixing and mastering at Headroom Studios, Mumbai. Aftab, son of veteran engineer Aslam Khan, has carved a niche for himself in the Indian music industry with his nuanced approach to sound. His journey began under the mentorship of Salim–Sulaiman, and he has since worked on numerous film scores and independent projects.

Recorded and mixed at Headroom Studios in Mumbai, Sukoon benefits immensely from the facility’s cutting-edge infrastructure.

Co-founded by veteran engineer Aslam Khan and his son Aftab Khan, the studio was equipped with Pro Tools Ultimate, an AVID MTRX Studio interface, and a Dolby Atmos Renderer. Its transition to a 7.1.4 Dolby Atmos setup, featured Monkey Banana Gibbon 8 monitors and Gibbon 10 subwoofers. This immersive environment allowed engineers to sculpt mixes with exceptional spatial depth and clarity, qualities that are evident in Sukoon.

Supporting Aftab were Tejus Srivastava and Vatsal Chevli, as assistant mixing engineers. From the live drums recorded by Aslam Khan and Benvin Fernandes at Headroom, to the acoustic instruments tracked at Blue Productions, Mumbai. Aftab Khan, along with Benvin Fernandes and Aslam Khan, won the IRAA Award for Recording, Mixing, and Mastering in the Instrumental Music (Non-Classical) category in 2023.

Arijit Singh’s vocals were recorded

Sukoon by Arijit Singh Next we listen to a song that’s part of the sixth season of Bhoomi 2025. Sukoon is a meditative ballad that lives up to its name, delivering a sense of inner peace through its

Aftab Khan, mastering engineer for Sukoon

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by Sukanto Singha, known for his precision in capturing nuanced performances. The choir sections, recorded by Biju James and Karthik Manickavasakam at Mystic Hues Record Inn in Chennai, bring a spiritual depth to the track, with support from assistant engineer Abin Ponnachan. Meanwhile, the instrumental layers, piano, guitars, and bass, were tracked

by Raj Pandit and Tejus Srivastava, who also co-produced and arranged the song.

A long-time collaborator with Salim–Sulaiman, Raj Pandit brings a unique blend of musicality and technical insight, shaped by years of mentorship and hands-on experience.

Alongside Anshuman Sharma, a self-taught producer known for his digital innovation, the duo crafted Sukoon’s sonic identity, balancing emotional resonance with contemporary production finesse.

With over 2.3 million views and counting, Sukoon was launched and distributed under the Merchant Records banner. The Salim–Sulaiman duo continues to champion the iterative, evolving philosophy behind the Bhoomi project, and the engineers working on Sukoon, clearly got the memo.

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@informa.com

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DISCOVER

Industry News BEYOND STEREO: HARMAN SHOWCASES SPAT REVOLUTION On November 19, HARMAN Professional hosted an exclusive workshop in Mumbai to introduce audio professionals, artists, and engineers to FLUX:: SPAT Revolution, an advanced immersive audio platform.

The session showcased how immersive audio is redefining live entertainment and music production. Over three days, HARMAN deployed SPAT Revolution to create a fully immersive environment, demonstrating that premium sound experiences are not limited to large outdoor stages. The goal was to show that immersive setups can be achieved in diverse spaces.

Elisha Gladson Yeshwanth, opened the workshop by explaining that SPAT Revolution is part of FLUX::’s suite of tools, which also includes MiRA, a multichannel immersive Elisha Gladson Yeshwanth opens the workshop with a detailed view at SPAT analyzer designed to visualise audio Revolution's technical principles system behavior both dimensionally paired with environmental soundround you, just like an image extendand spectrally. “Immersive audio”, scapes in projects such as Fly Over ing beyond your peripheral vision.”

Yeshwanth said, “is more than a Chicago, adding depth and spaciousTo demonstrate these principles, buzzword”. ness through simulated acoustic HARMAN created an immersive setup “What makes audio truly immersive environments. Finally, Sonic Artistry with video-mapped projection and is the technology transforming how represents the creative process bespeakers placed around the space. concerts and music evolve,” they exhind these experiences, how they are Using SPAT Revolution, engineers viplained. “It creates a deeper conneccrafted, which is where FLUX:: SPAT sualized speaker positions, moved aution with the audience.”

Revolution empowers creators to dio objects in real time and designed Unlike traditional stereo setups, for shape immersive soundscapes with dynamic soundscapes through the immersive deployments speakers are flexibility and precision. intuitive interface. placed strategically around a venue “Our brain is programmed to look to create a three-dimensional sound How Performing Artists Exfor the source of the sound and then field. SPAT Revolution, developed in perience SPAT Revolution in follow up with hearing,” Yeshwanth collaboration with IRCAM, a leading Immersive Sound explained, citing an example where a audio research institute from France, baby’s cry made attendees instincFor Swaroopa Anantha, popularly allows users to build virtual rooms, tively turn around. He compared known as Tablanari, FLUX:: SPAT position speakers and place audio elaudio immersion to visual immersion: Revolution isn’t just software, it’s ements dynamically using an intuitive “To feel immersed, sound must suran instrument. “I think of SPAT as drag-and-drop interface.

“SPAT handles the complexity via an intuitive UI. You can visualise everything in a graphical format, making it easy for artists to focus on creativity rather than math,” Yeshwanth added.

The workshop spotlighted the FLUX:: immersive core values Localisation, Envelopment, and Sonic Artistry, principles that define the future of audio experiences. Localisation ensures precise spatial alignment, linking sound to visual or emotional cues for unmatched realism. Envelopment elevates perception by creating a sound Tablanari and Pandit Ravi Chandra, perform with the SPAT Revolution software in full field that draws listeners in, effect, enthralling attendees, and giving the artists' perspective on SPAT'S efficacy much like panoramic visuals

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another important instrument in my repertoire,” she said during the HARMAN workshop discussion.

Swaroopa described her first experience with SPAT Revolution as a creative shift. “You’re no longer just creating a track, you’re creating sounds within a space,” she said, likening the process to choreography. “There’s something that holds anchor, something that moves, something you can place in different parts of the physical space. You’re creating a drama that unfolds as the track plays,” she explained.

One of the most exciting aspects for Swaroopa was accessibility. “I could do all of this at home—no massive setup, no treated room. Just regular headphones,” she shared.

SPAT Revolution’s adaptability means producers can design immersive mixes anywhere and later map them to any speaker configuration.

Her advice to musicians: “Explore this. Don’t be intimidated, you don’t need to be an engineer. Just spend time with it,” she advised. “It has expanded my mind as an artist and composer. This isn’t the future, it’s the present.”

As the session wrapped up, Swaroopa invited sitar maestro Pandit Ravi Chandra to join her on stage for a collaborative performance, demonstrating how SPAT can seamlessly integrate into any genre, from traditional to experimental, while giving audiences a truly immersive experience.

An Audio Engineer’s Perspective on Immersive Audio and FLUX:: SPAT Revolution “As audio engineers, we’re always asking for more speakers and often hear pushback around ‘why so many?’ Thanks to HARMAN Professional and FLUX:: SPAT Revolution, we now have a solid reason,” said MT Aditya Srinivasan with a smile.

He noted that SPAT Revolution can achieve latencies under 5 milliseconds (imperceptible to the human ear), compared to 10–30 seconds in some immersive formats. “That’s a game-changer, especially for live performances” he said.

One of the main strengths of FLUX:: SPAT Revolution is the

Discover the Voices that Shape India's Pro Audio & Lighting Industry Three Exclusive Columns. Endless Insights.

Only in PALM Expo Magazine!

UNEQUAL MUSIC

STAGE SOUND TECH

The Talent Behind India's Biggest Hits:

Engineering the Perfect Live Experience:

Discover the masterminds behind India's chart-toppers.

We spotlight the mixing engineers, mastering experts, recording wizards, and labels crafting the sounds that get India grooving.

Dive deep into the technology, systems engineering, and sound design that power unforgettable live stage events. From cutting-edge audio systems to innovative engineering solutions, we explore the technical mastery and design expertise that makes every stage sound extraordinary.

BRIGHTSPARK Illuminating India's Lighting Revolution: Lighting design legend Viraf Pocha brings 20+ years of expertise and razor-sharp wit to dissect India's evolving lighting and stage landscape. With trademark humour and incisive analysis, he delivers insights that inform, provoke, and challenge industry conventions.

Visit PALM Expo Magazine website and never miss the insights that matter. www.palmtechnology.in

Industry News fact that it is entirely protocol-agnostic. Immersive protocols are the backbone of modern spatial audio systems, covering metadata exchange (ADM-OSC), audio transport (AoIP support of e.g. Dante, Ravenna, AVB), and format standards (e.g.

Dolby Atmos, Eclipsa Audio). They make immersive audio practical, flexible, and globally interoperable. SPAT Revolution provides this flexibility and allows engineers to add reverbs and effects without cluttering the mix and prepare immersive designs at home for deployment in any venue. Most importantly, this allows SPAT Revolution to scale effortlessly, whether for small conferences, musical theatre productions, or large concert setups, making it the most versatile solution for immersive audio.

Exclusive: Behind the Console with MT Aditya Srinivasan Standing behind the console, MT

MT Aditya Srinivasan presents SPAT Revolution's host of benefits for sound engineers

Aditya Srinivasan walked the PALM Expo Magazine team through the live setup.

“The standard console runs playback in sync with SPAT Revolution.

The indicators show when audio

is popping up, yellow lights signal active levels as beats trigger sources,” he explained, pointing to sections that highlighted pre-automated track movements while objects in the room were being moved dynamically.

“We were mixing live and automating simultaneously.”

He recalled using SPAT Revolution earlier in the year at PALM Expo 2025 during HARMAN’s Live Arena feature but said this time the experience felt even more transformative. “The ability to do live immersive audio without worrying about latency, while keeping everything easily configurable and scalable, is incredible. Whether it’s a small room with four speakers or a large venue with 400 speakers, I can take the same mix and adapt it,” he said.

For Srinivasan, SPAT Revolution’s accessibility is its biggest strength.

“It’s easy to configure, integrate with existing projects, and user-friendly.

That flexibility changes how we design and perceive live audio,” he emphasised. With HARMAN Professional’s support, the team is already planning to implement SPAT Revolution for the upcoming tours in January and February 2026.

LEWMINADIO TECHVERSITY ANNOUNCES FLAGSHIP PROGRAMS TO REDEFINE PRO-AUDIO EDUCATION Lewminadio Techversity, the education arm of Lewminadio Technologies LLP, is set to transform the future of pro-audio learning with two upcoming flagship programs, Mastering Fundamentals of Sound (MFS) and the Audio Design & Deployment Programme (ADDP). With its vision to bridge the skill gap in the audio industry, Lewminadio has already built a reputation for delivering high-quality, hands-on training through its specialised workshops, including the highly successful M&O and RITA sessions.

Lewminadio Techversity was established with a simple but powerful belief: sound is not just technology; it’s an art that demands precision and passion. The initiative focuses on equipping learners with a blend of theory, practice, and industry exposure that enables them to grow into confident professionals. Every program at Techversity is designed around immersive learning — giving participants the opportunity to work with industry-standard equipment, explore real-world scenarios, and learn directly from seasoned experts. This learner-first approach has

already been proven through earlier workshops such as M&O (focused on measurement and optimization) and the RITA Workshop (a training series that gave participants fresh perspectives on system measurement and optimization). Both workshops were widely appreciated for their depth, clarity, and practical value, laying the foundation for Techversity’s growing reputation in professional training.

Mastering Fundamentals of Sound (MFS): The MFS Program is a comprehensive diploma course tailored for beginners and aspiring professionals. It introduces participants to the science of sound, psychoacoustics, system basics, and practical exposure to microphones, speakers, and signal flow. With structured modules, expert-led workshops, and real-world assignments, the course ensures that learners not only understand the theory but also develop confidence in applying it. Who it’s for: Students, beginners, and entry-level professionals keen to start their journey in the audio industry.

Audio Design & Deployment Programme (ADDP): The ADDP Program is designed for Pre-Sales, Design, and

November-December 2025 - PALM Expo 2026

Lewminadio Techversity brings sound to life through hands-on training, empowering learners to master fundamentals and deploy advanced audio systems while redefining pro-audio education with practical exposure and cutting-edge technology

Execution teams who want to gain mastery over the entire audio signal chain. This course covers everything from microphones, mixing consoles, amplifiers, and loudspeakers to advanced modules in simulation software and audio transport protocols.

Participants will walk away with the skills needed to design and deploy reliable audio systems for projects ranging from boardrooms to large auditoriums. Who it’s for: Audio professionals, AV integrators, and organizations aiming to strengthen their team’s technical expertise.

The success of M&O and RITA

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workshops provided the foundation for Lewminadio Techversity’s larger vision — to create structured, in-depth programs that go beyond short-term training and prepare learners for long-term careers. Both the MFS and ADDP courses embody this vision, offering learners a chance to build confidence, refine their skills, and stay ahead in a rapidly growing industry. With these programs, Lewminadio Techversity continues to strengthen its commitment to shaping the next generation of audio professionals in India and beyond.

“CEO INSIGHTS: 11 QUESTIONS WITH THE BEST AND TOP MINDS IN PRO AUDIO & LIGHTING” HEAR FROM THE LEADERS SHAPING THE INDUSTRY'S FUTURE

Alexander Pietschmann

Andreas Sennheiser

Christine Schyvinck

CEO, Adam Hall Group

CEO, Sennheiser

CEO, Shure

Greg Beebe

Marcus Graser

Siamäk Naghian

Executive Vice President, Professional Audio, Sennheiser

CEO, Claypaky

CEO, Genelec

Contact - Smita Rai: smita.rai@informa.com

| Shanaya Sequeira: shanaya.sequeira@informa.com

www.palmtechnology.in

Industry News COMCON TECHNOLOGIES MARKS 40 YEARS OF EXCELLENCE Comcon Technologies Ltd is one of the most distinguished names in Test & Measurement, Professional Audio-Video, Broadcast, and Connectivity solutions in India. For over four decades, the company has empowered clients nationwide with a wide gamut of cutting-edge innovations from the world’s leading manufacturers; backed by robust system integration, bespoke technical services, and exceptional in-house engineering expertise.

As the official distribution partner in India for globally acclaimed brands such as Neutrik, Lawo, Sonifex, Optocore, Multidyne, Audio Precision, GRAS Acoustics, Teledyne Lecroy, and more, Comcon has been instrumental in driving the adoption and success of these technologies across broadcast, professional AV, live sound, telecommunications, and defence sectors.

Forging Stronger Global Partnerships Meinberg, one of the global leader in high-precision synchronization, delivers PTP clocks, NTP servers, and satellite receivers for mission-critical applications. Through its partnership with Comcon, Meinberg brings 55 years of expertise to India, ad-

At the recently concluded Broadcast India 2025 show in particular, the Comcon booth was abuzz with excitement as it hosted an impressive lineup of advanced solutions, including: India’s first showcase of Lawo’s mc²56 Audio Production Console – a large-format, high-capacity system built for uncompromising performance across sports production, large venue audio, and rental AV. The mc² series of consoles from Lawo stand as a global benchmark in audio production – trusted for sports broadcasting, large-scale venues, and by leading artists worldwide. The mc²56 supports staggering networking power with up to 8,192 × 8,192 cross-points and up to 1,024 DSP channels, while fully embracing IP-native infrastructures by supporting SMPTE ST 2110, AES67, RAVENNA and Dante protocols. Its compact design

dressing timing needs across broadcast, live events, pro AV, data centres, and defence. Indian users can now deploy globally benchmarked precision-timing systems with confidence.

Meanwhile, through partnership with Comcon as its official distributor, Ferrofish will continue to revolutionise professional and broadcast audio converters with its versatile, high-performance products serving live sound, music production, broadcast, and government applications.

Pioneering the Canare Certified SMPTE Lab In another major milestone, Comcon launched India’s first Canare Certified SMPTE Assembly Facility, a pioneering initiative that empowers customers with locally available, high-quality SMPTE assemblies and repair services. The certification was awarded following rigorous training and evaluation by the Canare Japan engineering team, validating Comcon’s precision engineering capabilities and quality assurance standards.

Comcon showcased its leadership at India’s top trade events — PALM Expo, InfoComm India, and Broadcast India 2025 — reinforcing its role as a trusted link between global innovation and Indian expertise. The company highlighted strong partnerships with leading brands like Neutrik, Lawo, and Multidyne, celebrating decades of trust, commitment, and collaborative synergy.

Gaurav Aggarwal, Director, Comcon

preserves Lawo-grade mic-preamps and I/O (including 16 Mic/Line inputs, MADI SFP, AES3 I/O and GPI/O) while bringing advanced features like LiveView thumbnail previews and multi-user IP workflows into liveevent and broadcast-AV realms.

Neutrik’s Fiber Optic and IP Audio Range – featuring ruggedised, dust-resistant fibre assemblies for high-availability applications.

Neutrik’s opticalCON and FIBERFOX fibre-optic solutions are engineered for extreme durability — featuring spring-loaded push–pull locking, aramid yarn cable retention and sealed dust-protected connectors designed

A glimpse of India’s first Canare Certified SMPTE Assembly Facility established by Comcon

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for high-demand environments.

Paired with Neutrik’s award-winning speakON and etherCON ranges, the fibre and IP audio lineup ensures clean, rugged connectivity from stage, to studio, to mobile rental setups.

Multidyne’s Video and Fiber Transport Solutions – offering an extensive selection of converters and multiplexers, engineered for broadcast and pro AV excellence. Multidyne delivers modular fibre-transport platforms such as the VB Series (12G/3G/HD-SDI, HDMI 2.0, Ethernet, timecode and intercom over one cable) that are purpose-built for OB trucks, fly-packs and fixed installs.

Their converter, extender and signal-remapper systems (for example the SilverBack or FieldFiber ranges) enable seamless, low-latency transmission of audio, video and data across challenging live-event or broadcast environments — an ideal fit for Comcon’s rental AV, live event and broadcast clients.

The Broadcast India show also presented a platform to shine the spotlight on Aggarwal's thought-leadership.

Sharing his wealth of knowledge on mastering the transition to essential fiber signal distribution at the show, Aggarwal delivered an insightful presentation on the growing need for fiber optic solutions in broadcast production and contribution chain. During the technical seminar, he offered practical strategies to overcome bandwidth limitations and future-proof broadcast infrastructures – methodically outlining the immediate advantages and deployment methods for integrating high-speed, reliable (Continued on page 72)

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Industry News CIRCLE PRO AUDIO LAUNCHES CIRCLEFLEX: INDIA’S NEW PROFESSIONAL AUDIO CABLE RANGE Circle Pro Audio has introduced CircleFlex, a new cable brand developed

performance standards.

According to Circle Pro, the cables

The product portfolio includes mul-

CircleFlex positions itself as a solu-

are engineered to withstand the

tion for audio professionals seeking

in India for professional audio and

ticore speaker cables for high-power

rigours of professional use, offering

dependable connectivity. The brand

live sound applications. The launch

audio transmission, CAT6A shielded

durability for frequent setup and

is targeted at sound engineers, musi-

aims to address the growing demand

cables for networked audio systems,

transport. Features such as rug-

cians, rental companies, and system

for reliable connectivity solutions in

and a range of microphone and

ged outer sheathing, flexibility for

integrators who require products that

touring, studio, and event production

combine robust construction with

environments. CircleFlex cables are

verified performance.

designed for use across a wide range

With this launch, Circle Pro aims to

of professional settings, including con-

establish CircleFlex as a globally com-

certs, broadcast installations, houses

petitive offering while maintaining

of worship, and recording studios. The

its manufacturing base in India. The

company states that all products are

company highlights its commitment

manufactured in India and undergo

instrument cables. Custom assemblies

handling, and shielding for noise

to quality assurance and certification

comprehensive in-house testing. Each

are also available to accommodate

rejection are intended to ensure con-

as key factors in delivering cables that

cable is CE-compliant and carries full

specific requirements such as unique

sistent signal integrity in demanding

meet the expectations of modern

certifications to meet international

lengths and connector configurations.

environments.

audio workflows.

POPE PROFESSIONAL JOINS RAVENNA PARTNER COMMUNITY Lawo, developer of the RAVENNA audio-over-IP technology, welcomes Indian pro AV and Audio company POPE Professional Acoustics Ltd as the latest partner to the thriving RAVENNA community.

POPE Professional, a key player in India’s pro audio industry, is known for its innovative range of audio solutions including loudspeakers, subwoofers, line arrays, amplifiers and digital signal processors. The company also offers comprehensive manufacturing, audio system design, installation and support, and has contributed to numerous high-profile projects across the country.

G. Parthasarathi, Managing Direc-

tor of POPE Professional Acoustics Ltd, joined the RAVENNA community. “We are delighted to join the RAVENNA community. By adopting RAVENNA into our product portfolio, we can deliver state-of-the-art audioover-IP solutions to our customers, giving them the benefits of an open, standards-based technology that guarantees reliability, flexibility, and world-class performance.”

COMCON TECHNOLOGIES MARKS 40 YEARS... fibre technology across diverse workflows. In tow, he also highlighted the availability of mature, deployment-ready fibre solutions that are easy to manage, efficient, and scalable – stressing the urgent need for widespread fibre adoption to meet

Andreas Hildebrand, RAVENNA Evangelist at Lawo, is in full agreement. “We’re thrilled to welcome POPE Professional on board, who will be the first member of the community to join from India,” he notes. “The POPE Professional team is committed to technical excellence and works hard to stay continuously updated with the latest advancements in audio technology – a fact

that is proven by their decision to adopt RAVENNA into their products – offering their customers access to what remains the most powerful and advanced audio-over-IP technology on the market today.

“With their wide range of reliable, high-performance audio solutions, POPE Professional brings over 20 new RAVENNA-enabled products to the table,” continues Hildebrand.

“These include amplifiers, processors and active loudspeakers. We are pleased to see such a strong presence for RAVENNA in India and are very much looking forward to POPE’s participation in the RAVENNA community.”

(Continued from page 70)

that have fuelled our success and celebrate the new alliances that hold the promise of great prospects. Our focus, however, remains on enabling India’s technology community with access to the best global solutions and the engi-

the rapidly evolving demands of next-generation broadcast systems.

A Legacy Reinforced by Vision “In celebration of our 40th anniversary, we honour the lasting partnerships and collaborations

neering depth to support them,” concludes Gaurav Aggarwal.

Read the full news on PALM Expo Magazine's official website!

To feature your Audio Install stories in PALM Expo Magazine, contact: Shanaya Sequeira - shanaya.sequeira@informa.com or Ritika Pandey - ritika.pandey@informa.com November-December 2025 - PALM Expo 2026

72

www.palmexpo.in

Pro DJ Sound BEYERDYNAMIC LAUNCHES DJ 300 PRO HEADPHONE beyerdynamic has introduced a new DJ headphone, available in two versions. While the DJ 300 PRO X embodies a clean, focused aesthetic, the stylish CLUB edition stands out with a bold, distinctive design. Both models can be used as on-ear and over-ear headphones, giving DJs full freedom when producing and performing. The ear cups of both versions can also be customized with unique designs via the beyerdynamic online configurator. The DJ 300 PRO X and DJ 300 PRO X CLUB will make their public debut at the Amsterdam Dance Event (ADE).

These new headphones represent flexibility. Thanks to their unique 2-in-1 system. Users simply swap the included ear pads for either configuration. Instead of switching between different headphones for different tasks, DJs and music creators can use the DJ 300 PRO X and DJ 300

beyerdynamic DJ 300 PRO X and DJ 300 PRO X CLUB share the same foundation but differ in their design language

PRO X CLUB for their entire workflow.

Inside, a dynamic 45-mm driver delivers rich bass, clear highs, and powerful sound that remains clean and controlled even at high volumes.

The cable can be connected on either side and securely locked with a bayonet mechanism. Because it can

also be detached directly from the ear cup, handling noise and structure-borne vibrations are effectively minimised.

Thanks to the angled cable plug, which provides a strain-free connection, users can focus entirely on their performance, even during the most

energetic sets.

Both DJ headphones are crafted from beyerdynamic’s signature high-quality materials, making them durable companions on the road. In line with the company’s sustainability philosophy, the ear pads, headband, and cable are replaceable and available as spare parts.

“The DJ scene is as diverse as the music that gets us dancing.

That’s why our latest DJ headphones come in two versions – one sleek and one striking,” explains Kevin Nietsch, Product Manager at beyerdynamic.

“We’re particularly proud of our unique 2-in-1 system, which makes the headphones a truly versatile tool. And for those who want to go one step further, our customisable ear cups offer the chance to make a personal statement.”

Read the full news on PALM Expo Magazine's official website!

Promotion Index Name

Page No.

Name

Page No.

4 Square Corporation, Bengaluru

51

Hi-Tech Audio & Image, New Delhi

39

Ahuja Radios, New Delhi

53

LBT Electronics Pvt. Ltd, New Delhi

47

ATI Pro, Delhi

76

Leksa Lighting Technologies Pvt. Ltd. Mangalore

49

A-Plus (Sound Solutions), New Delhi

21

Narain Audio & Lighting LLP, Mumbai

PLS - Delhi Light & Music Centre, Delhi

15

N-Labs, Gujarat

Beta Three Audio Pvt. Ltd., New Delhi

17

PALM Expo 2025, Mumbai

Circle Pave, Mumbai

07

Pink Noise Professionals, Noida

27

Circle Pro Audio, Mumbai

03

POPE Professional Acoustics Limited, Tamilnadu

09

CKS Acoustics India Private Limited (SHAH Audio), Gujarat

61

Sennheiser Electronics India Pvt. Ltd, Gurugram

IBC

Comcon, New Delhi

23, 35 & 59

33 & 37 05, 31 & 55 43, 56, 67, 69 & 73

Sonotone / Stagemix, Mumbai

13, 57 & 71

Eminent Audiovisual, New Delhi

29

Trimac Products Private Limited, Delhi

19

Genelec Oy, Finland

65

Vardhaman Megatech (VMT), Mumbai

01, 11, 75 & BC

HARMAN International (India) Pvt Ltd., Mumbai

IFC

Yamaha Music India Pvt. Ltd., Gurugram, Haryana

November-December 2025 - PALM Expo 2026

74

02

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