PALM Expo Magazine - September-October 2024

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PALM EXPO MAGAZINE

EDITOR-IN-CHIEF

Anil Shiv Raj Chopra achopra@palmexpo.in

EDITOR

Smita Rai smita.rai@hyve.group Mob: +91 92893 68200

CONTENT MANAGER

Shanaya Sequeira shanaya.sequeira@hyve.group Mob: +91 98920 75712

Ritika Pandey ritika.pandey@hyve.group Mob: +91 96164 96912

ADVERTISEMENT SALES MANAGER

Vartika Singh vartika.singh@hyve.group Mob: +91 84485 80755

GRAPHIC DESIGNERS

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Moiz Lokhandwala moiz.abbas@hyve.group Mob: +91 98204 31229

WEB DEVELOPER

Fauziya Aansari fauziya.ansari@hyve.group Mob: +91 88797 44991

DISTRIBUTION

Komal Jadhav komal.jadhav@hyve.group Mob: +91 93113 78566

CONTENT PRODUCTION & RESPONSE OFFICE

Hyve India Private Limited (CIN no. U92490DL2004PTC124343) 7, Workafella, AK Estate, Off Veer Savarkar Flyover, Next to Radisson Blu Hotel, SV Road, Goregaon (West), Mumbai – 400062. Maharashtra, India.

Cover Story: Studio Monitoring

In this exclusive feature, PALM Expo Magazine team dives deep into the leading choice for nearfield studio monitoring, Genelec. Learn how and why Genelec is the industry standard for unmatched precision in studio monitoring.

Audio Install: Hospitality & Entertainment Venue

SoundTube Entertainment integrates sleek, high-performance speakers at Amoeba Bowling & Sports Bar to enhance the venue’s modernised aesthetic.

PALM Conference Series: The Awesome Sound Engineer

In this engaging conference held by Sreejesh Nair, at PALM Expo Conference 2024, he shared insightful technical knowledge and real-world applications, delivering a mix of humour and profound lessons from his extensive career.

Company Focus: CSC Audio

This exclusive feature showcases the journey of CSC Audio, founded by Lalit Chopra and Daniel René Danzer. The team talks about blending German engineering with Indian manufacturing, establishing CSC as a leading name in the pro audio industry.

Focus: Indian Music Industry

In this exclusive conversation with PALMExpoMagazine, members of the 2024 IRAA Jury reflect on the Indian music industry’s transformation, highlighting the rise of independent artists, technological advancements, and the industry’s evolving blend of tradition and innovation.

N-Labs: Revolutionising India’s Pro-Audio Landscape

In this exclusive conversation with Hemal Bhatt, the magazine talks about why N-Labs is a brand to watch out for.

Conference

Series: PALM AES Panel

In this session, industry experts dive into Advanced Recording Techniques and Immersive Audio Production at the PALM Expo 2024

Lighting Install: Convention Centre

Canara Lighting takes on an ambitious lighting project at the Rudraksha International Cooperation and Convention Centre (RICCC)

Audio Install: Restaurant & Bar

d&b audiotechnik sets a new standard in nightlife sound quality by integrating ‘s cutting-edge audio system for Revolution Bar in Pune.

11 Questions: Marcus Graser

In a conversation with PALM Expo Magazine, Marcus Graser, CEO of Claypaky, discusses emerging markets in India, client management tactics, growth strategy and more.

Stage & Sound:

Ashoka AVL Solutions Upgrades its Inventory With Adamson and Lab Gruppen Amplifiers; The BA Delta Series Sound System Elevated A Wedding At Kanj Avtar Resort, Rajasthan; NJSM Partners with SOUND.COM to Expand Audio Services; MegaSound India Acquires L-Acoustics’ K1 Systems; Nx Audio and Blue Bass release RX5004 amplifiers and XB18800 and XB18-200 respectively; Electrocraft Introduces CODA Audio’s Advanced Sound Systems in India; SuperWaves Expands Audio Arsenal With Martin Audio; PP Sound Light Acquires Second DiGiCo Quantum 338; “Hear it First” on EAW with Pink Noise Professionals

Audio & Music Production:

Genelec Unveils its Latest UNIO Personal Reference Monitoring Solution at IBC 2024; Sennheiser Introduces the MD 421 Kompakt Microphone; Hi-Tech Audio & Image Hosted the KLANG Technologies Experience Training; AUDAC Launches AUDAC VEXO208

Audio Install:

Insportz Arena’s Audio Revolution With Beta 3; WORK PRO’s Audio Solutions Installed By Pink Noise Professionals at PF Chang’s; Yazu at The Dome Elevates Audio Experience with Martin Audio

Lighting:

PLS Instruments Expands its Lighting Product Range By Partnering With Compulite Lighting Controllers; VMT Hosts Ayrton Days; Claypaky Debuts New Poducts at PLASA 2024; Avolite Announces Update to Titan Remote

Industry News:

Mumbai Music Institute Pvt Ltd (MMI) Hosted a Successful Sound Engineering Masterclass; TWAUDiO’s Conducts Comprehensive Training for Sound Engineers; Comcon Concludes a Successful 2024 With Strong Participation in InfoComm and Broadcast India; L-Acoustics Unveils HYRISS Systems for Immersive Sound; Sennheiser Invests in Show Code; InvestIndustrial Acquires RCF Group

Appointments:

L-Acoustics Expands EMEA Sales Team By Appointing Chris Mead as Head of Sales; LEA Professional Appoints Jon Han as Business Development Manager for the APAC region; Adamson Systems Engineering Appoints Lee Stevens as APAC Sales Director; Nick Engel Joins RØDE as Senior Director of Engineering

Unequal Music

Indie Music Scene in India: Keeping an eye on the rise of independent artists, this feature looks at the growth of indie music across the Indian Music landscape.

Bright Spark

Screens: In this column, Viraf Pocha, highlights the rise of screens in our daily lives, featuring his trademark observational wit.

Guest Column

In this column, Aditya Mehta from Sudeep Audio weighs in on artificial intelligence and its role in the music industry.

Studio Headphones

Sennheiser HD 490; Sony MDR-M1; Adam H220; Beyerdynamic DT 770 PRO X Limited Edition; AKG K702; Philips Fidelio X2HR

Yazu, The Dome offers enhanced audio experiences with Martin Audio and British Audio Systems

Rudraksha International Cooperation and Convention Centre illuminated by Canara Lighting

Sound & Stage

ASHOKA AVL SOLUTIONS EXPANDS INVENTORY WITH ADAMSON E15 LINE ARRAY AND E219 SUBWOOFERS

Ashoka AVL Solutions Pvt Ltd, one of the premier audio, video, and lighting rental companies based in Kochi, Kerala, has recently made an upgrade to their

inventory with the addition of Adamson E15 and E219 systems. This new acquisition includes 18 Adamson E15 Large Format Line Array speakers, 12 units of Adamson E219 Subwoofers,

AVL Solutions’ new updated inventory featuring Adamson E15 and

and 12 units of Lab Gruppen PLM 20K44 amplifiers, further enhancing their capability to deliver high-quality sound for a variety of events.

The Adamson E15 is a cutting-edge, three-way true line source enclosure, designed with proprietary transducer and waveguide technologies. These features reduce the system’s weight and footprint while maintaining exceptional audio performance. The E15 is noted for its versatility, making it suitable for applications ranging from corporate events to large-scale concerts.

Complementing the E15 are the Adamson E219 Subwoofers, engineered to strengthen the low-frequency output of the E-Series. Each subwoofer is equipped with two lightweight, long-excursion 19” SD19 Kevlar® Neodymium drivers, leveraging Adamson’s Advanced Cone Architecture and Symmetrical Drive Technology to deliver powerful, precise bass response.

Arun Ashok, Director of Ashoka

AVL Solutions, highlighted his decision to choose the Adamson E15 system due to its exceptional sound quality, consistent coverage, and compact, lightweight design. He believes that this system will greatly enhance their ability to cater to a wide range of events.

Karan Nagpal , from Stagemix , the authorized distributor for Adamson systems in India, echoed this sentiment. He noted that the E15 is highly regarded among rental and touring companies, as well as for permanent installations, due to its high performance and reliability, making it a valuable addition to any sound system.

These upgrades underscore Ashoka AVL Solutions’ commitment to providing top-notch audio solutions and reinforces their position as a leader in the industry.

BA DELTA SERIES ELEVATES WEDDING CELEBRATIONS AT KANJ AVTAR RESORT

A recent wedding at Kanj Avtar Resort in Rajasthan was transformed into extraordinary heights, thanks to the superior audio performance of the BA Delta Series sound system. The event featured a captivating performance by Afsana Khan and left a lasting impression on all attendees, thanks to the impressive setup provided by BA.

The sound system, featuring Delta 950 LA speakers, 928 subs, and Delta 930 LA tops, delivered an exceptional auditory experience. The Delta 930 LA tops, known for their twin 10-inch high-power compact line array design, ensured that every note and lyric was delivered with crystal clarity. Meanwhile, the Delta 925 subwoofers provided deep, resonant bass that enhanced

the emotional impact of the performances and kept guests dancing throughout the night.

The BA Delta Series setup created an incredibly immersive atmosphere.

The Delta 950 LA speakers and 928 subs were instrumental in enveloping guests in rich sound, while the Delta 930 LA tops ensured that the audio coverage was consistent

perience were BA’s cutting-edge amplifiers and processors. The 2004 and 2XL amplifiers provided reliable and efficient power to the system, while the Delta 48 processor enabled precise control and quick adjustments, adapting seamlessly to the event’s dynamic atmosphere.

and clear. The powerful Delta 925 subwoofers added a dynamic lowend that resonated throughout the venue, enhancing the overall energy of the celebration.

Further enhancing the audio ex-

Anuj Saini, Director of Star Event & Entertainment, praised the BA audio system for its role in elevating the event’s audio experience. He noted, “The clarity and depth provided by the Delta 930 LA and Delta 925 speakers were exceptional, enhancing the overall atmosphere and ensuring every guest enjoyed the performance. This system has truly supported our business by delivering top-notch

sound quality that meets our high standards.”

The technical features of the BA audio system played a crucial role in the wedding event’s success.

According to Mr. Rohit , a System Engineer, “The Delta 930 LA’s high power and compact design enabled versatile placement throughout the venue, while the Delta 925 subwoofers delivered deep, resonant bass. The 2004 and 2XL amplifiers provided reliable power, and the Delta 48 processor ensured precise control and optimization of audio performance across the space.”

The success of this wedding event highlights the outstanding capabilities of the BA Delta Series, showcasing its ability to transform any space into a vibrant celebration with superior sound quality.

Ashoka

E219 systems

EXPANDING HORIZONS: NJSM JOINS FORCES WITH SOUND.COM

Mumbai-based sound rental company NJSM (NJ’s Sound Machine) has officially partnered with SOUND.COM , one of the leading providers of professional audio services. This strategic collaboration aims to enhance both companies’ capabilities, broadening their service and product offerings to better serve their clients.

The partnership is intended to combine the strengths of both organizations, reinforcing their presence and expertise in the

sound industry. NJSM, known for its sound rental services, will now work alongside SOUND.COM to offer a wider range of solutions to their clientele.

Nixon Johny , Founder and Proprietor of NJSM, commented on the partnership, saying, “Partnering with SOUND.COM was a natural choice for ensuring a sustainable and prosperous future for both our team and our clients. SOUND.COM aligns perfectly with our values and commitment to delivering

exceptional sound and customer support.”

Warren D’souza , Founder and Managing Director of SOUND.COM, shared similar sentiments, noting, “NJSM shares the same culture and values that drive us at SOUND. COM. We are excited to welcome their outstanding team, who I am confident will seamlessly integrate into our organization.”

Elaborating on the nature of the partnership between SOUND.COM and NJSM, D’Souza emphasized

Sound & Stage

the strategic goals of expanding inventory, increasing market share, and building brand equity.

He noted that, this collaboration enabled shared resources and expertise, improved management, workload sharing, increased capital, and new opportunities due to better networking. “By combining our strengths, we can deliver enhanced services and solutions to our clients,” he said.

The alliance broadens customer offerings, including audio rentals, trussing, backline, streaming, and broadcast services, alongside growth potential in product distribution. “Our individual strengths are well-known to our customers, but what’s more interesting is the added strengths this coalition can provide in the future,” D’Souza highlighted.

Emphasizing that the partnership is poised to have a significant impact on the market, Dsouza said, “The partnership was established to drive growth and expansion, boost profitability, and provide added value to meet customer needs. Additionally, it offers customers a wider range of pricing options.”

With this partnership, both NJSM and SOUND.COM are set to strengthen their market presence, providing enhanced sound services to meet the growing demands of the industry.

The NJSM + SOUND.COM team; from l-r: Kalpesh Ajra, Nixon Johny, Sudarshan Shetty, Warren D’souza, Sancheth Suvarna and Sachit Subramanian

Sound & Stage

MEGA SOUND’S REVOLUTIONARY STEP: ACQUIRING THE L-ACOUSTICS K1 SOUND SYSTEM

Mega Sound India Pvt Ltd (MSIPL) has recently achieved a significant milestone by acquiring the prestigious L-Acoustics K1 sound system, a decision that aligns with the company’s vision of offering world-class audio experiences. This move positions MSIPL as India’s first L-Acoustics K1-KX Standard Company, marking a significant leap forward for the organization and the entire Indian audio industry.

A Vision for the Future of Audio

At the heart of this acquisition is Mega Sound’s drive to stay ahead in the competitive world of audio production. As a company committed to delivering top-notch sonic experiences, the decision to invest in the L-Acoustics K1 system reflects their ambition. Siddharth Chauhan Founder & MD of MSIPL says, “The decision to acquire the L-Acoustics K1 system was motivated by our ambition to offer the best sonic experience. We’ve become India’s first L-Acoustics KX Standard Company. This acquisition was also influenced by the growing concert culture in India, where both audiences and artists are demanding superior sound quality at events.”

Mr. Chauhan says, “We are optimising our operations to better serve our clients. With our headquarters strategically located in Udaipur and additional warehouses in Delhi and Ahmedabad, we have enhanced our logistics capabilities. This expansion enables us to efficiently and cost-effectively deliver to every corner of India, offering quicker delivery times and more competitive solutions.”

The K1 system is recognized globally for its cutting-edge technology, which allows it to provide power combined with precise sonic clarity. “The K1 represents the pinnacle of audio

technology, allowing us to deliver a sonic experience like no other,” MSIPL notes. This advanced system empowers Mega Sound to take on larger, more complex events, not just in India but on an international level as well.

MegaSound’s recently expanded inventory is now replete with a comprehensive range of L-Acoustics systems, including 48 K1 boxes, 24 K1 SB systems, and 24 K2 boxes. Additionally, the company acquired 32 Kara systems, 56 KS28 subwoofers, and 16 A15 systems. The inventory also includes 16 ARCS II systems, X15 HIQ monitoring systems, and 18 LA RACK II AVBs. To power and manage these systems, MegaSound has incorporated 60 LA12X amplified controllers and 4 P1 processors. In total, this acquisition exceeds 200 boxes of L-Acoustics, significantly boosting their audio capabilities.

Unmatched Power and Clarity

The K1 sound system is revered for its unique combination of power, clarity, and long-distance sound coverage. Its ability to deliver consistent and flawless audio across vast spaces, such as Large Arenas & stadiums and festival venues, is one of its standout features. “The K1 ensures that every

person in the audience, from the front row to the very back, experiences the same impeccable sound quality,” explains the Mega Sound team. “With the KX Standard Kit, we are fully equipped to fly all Amp Racks and Subwoofers, and we have adapter frames for K2 down to K1, Kara down to K2, etc. All LA Amp racks come with redundant AVB switches, controlled by P1 processors for seamless performance,” the team explains. Its modular design allows for maximum flexibility, adapting seamlessly to different venues while maintaining operational efficiency. The K1’s advanced rigging system enables quicker setup, a crucial factor for live events where time is of the essence.

The K1 in Action: Upcoming Projects

MSIPL is already planning to utilize the K1 system for an array of largescale concerts, festivals, and high-end events where sound quality is paramount. This system is particularly suitable for premium clients, including international artists with high sound standards. “We’re targeting clients and events where audio performance is crucial,” Mega Sound reveals. The K1’s adaptability and rider-friendly reputation make it a top choice for

major headliner artists, enabling the company to meet their expectations effortlessly.

Benefits for Clients and Audiences

For clients, the K1 system offers a transformative upgrade in sound quality. Whether it’s a concert, corporate function, or a festival, the K1 ensures that the audience experiences crystal-clear sound throughout the venue. “This creates an experience for the audience without causing ear fatigue, which is now a major concern for auditory health,” the team highlights.

From a technical standpoint, the system enables MSIPL to meet international standards, positioning them as a go-to provider for both local and international events. This ensures clients can offer their audiences an unforgettable auditory experience.

Specialised Training for Optimal Performance

To ensure maximum proficiency with the K1 system, Mega

(Continued on page 10)

L to R: Nirdosh Aggarwal, Rajan Gupta, Siddharth Chauhan, Peter Owen, Tim Volker, Chris Mead, Jacob Barfoed, Shaurya Gupta

Sound & Stage

POWER AND PRECISION: NX AUDIO’S RX5004 AMPLIFIER AND BLUE BASS’S ADVANCED LF WOOFERS FOR PROFESSIONAL AUDIO

The world of professional audio continues to evolve as Nx Audio and Blue Bass have introduced technologies aimed at meeting the practical demands of sound reinforcement.

Nx Audio’s latest release, the RX5004 amplifier, and Blue Bass’s XB181800 and XB18-2000 low-frequency (LF) woofers, offer groundbreaking solutions that push the boundaries of audio performance and reliability.

Nx Audio RX5004: Designed for Versatility and Reliability

The RX Series by Nx Audio, known for its reliable performance in tough conditions, has been enhanced with the introduction of the RX5004. This model builds on the foundation set by previous models, such as the RX3000 and RX4000, which are designed to operate effectively even in areas with inconsistent electrical conditions, including low voltage and unstable frequencies.

The RX5004 amplifier delivers 1500W RMS per channel at 4 Ohms, adding to the existing RX04 Series models, which include the RX3004 (800W RMS per channel) and RX4004 (1100W RMS per channel). These amplifiers feature a Class H circuit design, offering stable perfor mance in challenging environments. Pure copper transformers with silicon steel-sheet cores reduce electromagnetic loss and help control temperature rise during extended use. Additionally, the RX5004 is equipped with switchable high and low pass filters on each channel, allowing for optimized output whether using subwoofers or fullrange speakers.

Blue Bass XB18-1800 and XB18-2000: Built for Performance

Blue Bass has introduced two new 18-inch low-frequency woofers, the

XB18-1800 and XB18-2000, aimed at enhancing the performance of professional audio systems. Both models incorporate a M-Roll Cone design, which promotes balanced linear movement of the cone, ensuring accurate sound reproduction.

The woofers also utilize Inside/ Outside Sandwich Voice Coil technology, which improves heat dissipation during extended use. The XB18-1800 includes a Demodulation Ring to stabilize magnetic fields, reducing distortion at higher outputs, while the XB18-2000 features a Dual Position Suspension Damper to maintain voice coil alignment, resulting in

improved cone movement control.

Additionally, both models are equipped with a Direct Air Ventilation Magnet Motor, which supports airflow for better temperature regulation, ensuring consistent performance during prolonged use.

A New Standard for Audio Professionals

Both the Nx Audio RX5004 amplifier and Blue Bass’s XB18-1800 and XB18-2000 woofers are designed to meet the practical needs of audio professionals working in a variety of environments. Their focus on reliability, performance, and heat management ensures they are capable of handling demanding sound reinforcement tasks, whether in rural regions or larger-scale venues.

Sound’s team will undergo rigorous training directly from L-Acoustics experts. “The 4-day training covers every aspect of the K1 system, from setup and calibration to real-time troubleshooting,” the company shared. This hands-on training will equip Mega Sound’s engineers to optimize the K1’s performance in various environments, ensuring consistent sound quality throughout events.

The K1 system will redefine how Mega Sound approaches sound design for large, complex events. Its technology allows for greater control and precision, enabling the team to create customized soundscapes tailored to each event. “The K1 offers us new creative possibilities,”

says MSIPL. The system’s advanced features mean the company can offer clients more dynamic and innovative sound solutions, pushing the boundaries of live sound production.

A Technological Journey

The acquisition of the K1 system is just one step in Mega Sound’s ongoing pursuit of excellence. The company is constantly exploring new technologies that complement the K1, focusing on improving both audio quality and operational efficiency. “We’re particularly interested in systems and technologies that enhance both audio quality and operational efficiency,” MSIPL reveals, hinting at future additions to their tech arsenal.

Staying at the Forefront of Pro

Audio Innovation

Looking ahead, Mega Sound’s

strategy for staying ahead in the pro audio industry is rooted in continuous investment in cutting-edge technology and a commitment to skill development. “By constantly evolving and improving, we can ensure that we offer our clients cutting-edge solutions and maintain our competitive edge in the fast-moving pro audio landscape,” says the company.

Mega Sound’s acquisition of the L-Acoustics K1 sound system is a transformative step that not only solidifies their leadership position in the Indian audio industry but also sets the stage for even more ambitious projects in the future. With this powerful system in their arsenal, the company is ready to elevate the sound experience at events both in India and globally, setting new standards for audio excellence.

Hi Tech Audio & Image Delivers L-Acoustics K1 System to MSIPL

Hi Tech Audio & Image, the exclusive distributor of L-Acoustics in India, has achieved a major milestone with the delivery of the flagship K1 system to MSIPL at their Okhla office, marks the company’s commitment to advancing pro-audio standards in India.

The delivery event was attended by L-Acoustics’ top management, underscoring the importance of this achievement. Bringing the K1 to India involved months of planning and a dedicated effort by Hi Tech Audio & Image, reflecting their passion for providing cutting-edge audio solutions to the Indian rental market.

The RX5004 launched by NX Audio offering cutting-edge pro audio solutions

Blue Bass’s newly launched XB18-1800 and XB18-2000 subwoofers

MEGA SOUND’S REVOLUTIONARY STEP... (Continued from page 08)

ELECTROCRAFT INVESTS IN CODA AUDIO

In a landmark moment for India’s live events industry, Electrocraft , one of the leading names in the live sound industry, made an investment in CODA Audio’s advanced sound systems for the first time. This marks the debut of CODA Audio’s technology in the Indian market.

Among the newly acquired items from CODA Audio, Electrocraft now holds 32 tops and 32 subs for the main PA. This includes line source array cabinets and small, compact stage in-fills, referred to as Hop sevens. CODA Audio’s unmatched combination of size and power sets it apart from other brands in this range, making it an ideal choice for Electrocraft. Training for the system was conducted by two engineers from the UK over two days, and ongoing support is provided by Alphatec, CODA’s distributor in India.

Under the expertise of Electrocraft, known for its four-decade-long legacy of curating live sound events, the CODA Audio systems were used in the recent Navratri celebration held in Mumbai, where they performed flawlessly.

attracting massive crowds. This year, attendees experienced a spectacular sound experience thanks to the seamless implementation of CODA Audio’s precision-engineered systems. CODA Audio, a Germany-based company with a global reputation for delivering cutting-edge sound clarity, was the perfect partner for enhancing the environment of the concert. CODA Audio’s performance

The nine-day festival, held in Kandivali, is a pinnacle of festive celebrations in Mumbai,

to bring CODA Audio to the forefront of live music in India, especially at such a highly celebrated event like Navratri. CODA’s advanced waveguide technology offers remarkable clarity and tonal balance, providing the perfect acoustic setting for live performances. We’re confident it will make this year’s Navratri concert an unforgettable experience.”

at the Singapore leg of Ed Sheeran’s Mathematics tour was one of the reasons why Electrocraft looked into acquiring CODA Audio products, to boost their inventory.

Roger Drego, Managing Director of Electrocraft, expressed his excitement

about introducing CODA Audio in such a grand setting. “We wanted to try something new this year, and CODA’s compact size and international reputation for delivering impeccable sound quality made it a compelling option. We’re excited to see how it performs in the Indian market—especially on such a big stage. It’s a bold step for us, but we believe that CODA Audio will elevate the entire auditory experience for both the performers and the audience.”

Devasis Barkataki, Founder and Managing Director of Alphatec, CODA’s former partner brand in India, also praised the success of the collaboration, noting, “We’re excited

With a reputation built on delivering world-class sound systems for live events, Electrocraft’s acquisition of CODA Audio has set new benchmarks in India’s live music scene. Known for its extensive portfolio of elite clientele and its expertise in deploying sophisticated line array systems, Electrocraft has expanded its horizons by embracing CODA’s cutting-edge technology. The powerful yet compact systems used during the Navratri celebration ensured every beat was felt and heard with precision, making the event not just a visual spectacle but an auditory masterpiece.

The 2024 Navratri Concert, featuring CODA Audio, will be remembered as a prominent addition to Electrocraft’s repertoire of successful live-events.

Stay tuned for the full story in the next issue of PALM Expo

Electrocraft acquires new inventory from CODA Audio bolstering their place in the live-events industry

Sound & Stage

SUPERWAVES EXPANDS AUDIO ARSENAL WITH MARTIN AUDIO

SuperWaves, one of the leading players in the audio, visual, and special effects industry since 2005, has recently made a major investment in expanding its audio capabilities. The company has added over 200 Wavefront Precision Array elements from Martin Audio to its equipment lineup, reinforcing its reputation for delivering top-tier sound experiences at a variety of events.

This upgrade includes a wide range of Martin Audio systems, such as 48 WPL (Wavefront Precision Longbow) tops, 16 WPC (Wavefront Precision Compact) tops, 18 SXH218 subwoofers, 18 SXHF218 flying subwoofers, and 30 iK42 Dante amplifiers. These additions are tailored to support events ranging from large-scale concerts to smaller, more intimate gatherings, allowing SuperWaves to offer exceptional sound quality across different types of venues.

Gurvinder Singh Saini, Director of SuperWaves, highlighted the significance of the investment: “Acquiring

the Martin Audio systems, including 48 WPL tops, 16 WPC tops, 18 SXH, and 18 SXHF subs, unlocks new possibilities and a whole new set of clients for SuperWaves. This investment elevates our audio capabilities, allowing us to deliver exceptional sound experiences and set new benchmarks in the industry.”

The new systems have strengthened SuperWaves’ existing inventory, which already includes 22 W8LM line array modules, 12 WS218X subwoofers, and 16 WPM (Wavefront Precision Mini) line arrays. These elements ensure that SuperWaves is equipped to cater to a wide range of audio needs, whether for large venues, outdoor events, or smaller spaces.

Lionel Correia, Senior Systems Engineer at SuperWaves, remarked on the technical advancements: “This upgrade showcases our commitment to technical excellence and innovation at SuperWaves. With enhanced sound capabilities, we’re not just meeting industry standards—we’re

setting new ones. This investment empowers us to deliver flawless audio experiences that resonate with our clients.”

VMT Distribution played a key role in facilitating this major acquisition, which reflects SuperWaves’ dedication to maintaining industry-leading standards in audio technology. Kekul Sheth, Head of Sales at VMT Distribution, expressed his enthusiasm for the partnership: “SuperWaves’ choice to invest in high-end audio systems through VMT Distribution reflects our dedication to offering industry-leading products. We are thrilled to support their

journey in achieving superior sound quality and unlocking new market opportunities.”

With this expanded arsenal of advanced audio equipment, SuperWaves is poised to continue offering high-quality sound experiences, solidifying its standing as a trusted partner in the event and audio industry.

PP SOUND LIGHT PRODUCTIONS ACQUIRES 2ND DIGICO QUANTUM 338 AND FIRST MEYER

SOUND PANTHER IN WESTERN INDIA

Mumbai-based PP Sound Light Productions, renowned for its extensive range of audio equipment, has made significant strides in the live entertainment industry with its latest acquisitions: a second DiGiCo Quantum 338 digital mixing console and Western India’s first Meyer Sound PANTHER line array system. This investment marks a pivotal moment in the company’s evolution from

modest beginnings nearly a decade ago to becoming a leading player in the sector.

The recent additions to PP Sound Light Productions’ inventory underscore their commitment to staying at the forefront of audio technology. The company had previously set a benchmark with the introduction of the first DiGiCo Quantum 338 console to India in 2022. Now, with a second

unit added, the company is poised to enhance its mixing capabilities further. Prasad Parkar, Director of PP Sound Light Productions, reflects on the impact of this acquisition: “The Quantum 338 has been a game-changer for us. Its ergonomic design, intuitive interface, and remarkable features like Mustard and Nodal processing, Spice Rack, and True-Solo have revolutionized our audio production capabilities. The console’s support for DMI Cards and Dante ensures complete networked control, making it indispensable for complex events.”

In addition to the Quantum 338 consoles, PP Sound Light Productions has invested in Meyer Sound’s PANTHER line array system, which includes 24 PANTHER line array modules and 18 2100-LFC Low-Frequency Control subwoofers. This system represents the pinnacle of audio technology in Western India, where the company is now recognized as a pioneer in offering

such advanced equipment. Prasad Parkar highlights the reasons behind this investment: “The PANTHER system’s exceptional power, precision, and minimal distortion make it ideal for large-scale events. The integration of PANTHER modules with 2100-LFC subwoofers provides unparalleled low-frequency fidelity and scalability, essential for delivering high-quality sound across diverse event formats.”

The impact of these technological upgrades has been evident in recent high-profile events. Prasad Parkar notes, “The Meyer Sound system was deployed for the Ed Sheeran Mathematics tour concert in Mumbai, and the feedback was overwhelmingly positive. Since then, we’ve used the system for multiple successful concerts and festivals, including tours by Amit Trivedi and Aditya Gadhvi, and the Royal Stag Boombox 2.0 tour. Our clients and partners, including prominent engineers and artists, have been impressed with

SuperWaves inventory replete with Martin Audio’s Wavefront Precision Elements and Subwoofers

Prasad Parkar With The DiGiCo Quantum 338 and Meyer Sound Panther Systems

‘HEAR IT FIRST’ ON EAW WITH PINK NOISE PROFESSIONALS

Introducing EAW’s ANYA system for the first time in INDIA

With many frequent exciting launches to expand the pro audio market in India, Pink Noise Professionals, one of the official distributors of EAW, recently hosted the first live demonstration of Anya System at Sofitel Mumbai, India on 4th September 2024.

The ‘Hear It First’ event, brought by Pink Noise Professionals was a resounding

engineers played their own tracks to experience the incredible performance of the Anya System. The team also presented live performance from the Malang band, followed by an exciting DJ set that kept the party going. The feedback received from the guests, as claimed by the Pink Noise team, was overwhelmingly positive, with many impressed by the system’s capabilities.

Vikram

Yadav, Director of Opera-

success, opening doors for the brand to bring more exposure to the products and solutions in India. Moreover, the team also introduced Durgesh Sound at the event as the first buyer of the Anya System in the country.

A distinguished guest list was invited including renowned sound engineers, music producers, and live sound experts.

James Bamlett, Sales Director – APAC, EAW also graced the event with his presence. The highlight of the evening was when the attending sound

tions and Finance, Pink Noise Professionals, at the event stated, “I think it is changing the way users hang their line arrays and is truly adoptable. I believe that the industry is truly supporting us with the expansion and will continue to do the same in the coming years.”

At the event, many industry experts and professionals came together celebrating the achievement of Pink Noise Professionals and EAW. The event was made interactive with the presence of Malang band that tried to keep the audience engaged throughout the event. The audience felt

PP SOUND LIGHT PRODUCTIONS ACQUIRES...

the system’s performance, leading to new opportunities and partnerships.”

The investments in the DiGiCo Quantum 338 and Meyer Sound PANTHER systems have significantly bolstered PP Sound Light Productions’ reputation as a leading provider

overjoyed with the sound systems’ exceptional impact within the hall.

Anya, a 3-way full-range adaptive array module, is a high-power sound reinforcement system that adapts all performance parameters electronically, allowing it to be used in virtually any application. It is an extremely powerful and immensely scalable sound system, making it suitable for anything from small venues to the largest stadiums.

event, where he provided indepth insights into the technical specifications and features of the Anya System, further enriching the event’s content and appeal.

Vijay Sinha, Director of Marketing and Sales, Pink Noise Professionals, commented, “The sincerity and the honest approach that we portray every time to our customers is what

The live demonstration included the audience to experience the sound from various corners of the hall and how Anya systems customise the coverage, providing the ability to change the coverage pattern on the fly. Moreover, Mr. Bamlett explained to the audience how the sound system is easy to deploy as it hangs in a straight line, reducing the workload and time consumption of sound engineers at the time of deployment.

Additionally, a video featuring renowned Sound Engineer, Robert Scovill was also showcased at the

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of world-class audio solutions. Prasad Parkar concludes, “Our strategic investments in these technologies have opened doors to new possibilities and elevated our service offerings. As we prepare for an upcoming season filled with high-profile events and

large-scale productions, we are excited to continue delivering exceptional audio experiences to our clients. The feedback and support we’ve received have been incredibly encouraging, and we are ready for the busy season ahead.”

makes us stand out and relevant in the market. We have tried to make our mark purely through technical transparency that we offer to our customers.”

Gaurav Soni, Director, Durgesh Sound, remarked, “We have been EAW users since a long time, but chose Anya systems specifically as our sound system because of its technical excellence that it offers. Moreover, the confidence, support, and understanding of Pink Noise team made me trust the systems’ performance.”

With these advancements, PP Sound Light Productions continues to set new standards in the live sound and event production industry, ensuring top-tier audio experiences for audiences across India.

Malang band tunes up the stage with Anya system demonstrating the systems’ performance

L to R: Vijay Sinha, Shailesh Awasthi, Heena Golani, Vikram Yadav, James Bamlett, Gaurav Soni

GENELEC : A LEGACY IN STUDIO MONITORING EXCELLENCE

In the world of professional audio, studio monitors serve as the ultimate reference for recording, mixing, and mastering sound. Unlike most consumer speakers, studio monitors are designed to deliver a flat and neutral response, allowing audio engineers to hear every detail in a mix, whether good or bad. Among the various types of studio monitors, nearfield monitors have become widely adopted for their ability to provide precise sound at short distances. Positioned closer to the listener, these compact monitors deliver more ‘direct’ sound, minimizing room reflections and ensuring that the audio you hear is a truer representation of the source material. For our Studio Recording special for the months of September and October, PALM Expo Magazine brings you the one name that consistently rises to the top amongst Studio Monitors in the industry: Genelec

Since its founding in 1978, this Finnish company has been a trailblazer in the field of professional audio, setting the bar for precision, durability, and technological innovation. From its early analogue monitoring systems to its modern DSP-driven Smart Active Monitoring (SAM) technology, Genelec has shaped the way audio professionals approach studio sound.

THE IMPORTANCE OF NEARFIELD MONITORING

As studio sizes have reduced over the years, nearfield monitors have become more critical for audio professionals because they deliver an uncoloured and detailed sound which is focused directly on the listener. This makes them invaluable in smaller studio environments, and particularly those with more challenging acoustics, which can adversely affect the listening experience.

The goal of any professional studio monitor is to ensure that the sound heard in the studio will translate accurately to different playback systems, whether it’s in a car, on home speakers, or through headphones. Genelec’s monitors have long been revered for their precision in this area, and their nearfield monitors, in particular, have become the gold standard for studios around the world.

GENELEC’S INNOVATION THROUGH THE DECADES

Genelec’s commitment to accuracy, innovation, and adaptability has solidified its position as a leader in studio monitoring. From the company’s very first S30 model to the sophisticated SAM series, Genelec has consistently delivered cutting-edge technology that meets the needs of modern studios. With both two-way and threeway models in a wide range of sizes, complemented by a family of subwoofers, Genelec’s nearfield monitors are a benchmark for anyone serious about achieving the highest sound fidelity. Their ability to blend form and function, along with features like auto-calibration and durable construction, ensures they remain a top choice in professional audio environments.

Whether you’re mixing, mastering, or producing, Genelec offers a solution that’s reliable, adaptable, and precise, helping you hear the truth in every track. Genelec’s evolution of products across four decades is layered and inspirational, and here we’ll guide you through some of the key models that have helped keep Genelec at the forefront of innovation over the years.

SUSTAINABILITY: A CORE VALUE AT GENELEC

Sustainability is woven into the fabric of Genelec’s ethos, and it

has been an integral part of their operations since the company was founded in 1978. As Siamak Naghian, Genelec’s Managing Director, pointed out in an earlier interview with PALM Expo Magazine, “The founders of the company grew up and lived in the countryside, surrounded by nature. Their principle was simple: nature can live without us, but we can’t live without nature.” and this belief has guided the company’s approach to product design and manufacturing. Genelec monitors are built to last, with many early models still in use decades after they were first released. This long product life reduces waste and ensures that users get the most out of their investment. Naghian eloquently states, “Every Genelec design process focuses on sustainability as one of the key starting points and requirements.” This dedication to quality, reliability, and environmental consciousness has kept the company at the forefront of sound monitoring technology for over four decades.

Genelec has also incorporated environmentally friendly practices into its manufacturing processes, using sustainable materials and minimizing the environmental impact of production.

THE PHILOSOPHY OF GOOD DESIGN

In an interview with PALM Expo Magazine, Genelec’s late Founder Ilpo Martikainen states his approach to designing studio monitors was always grounded in the belief that “the monitor shall tell the truth about the signal being reproduced.” For him, the key to a good monitor was its ability to faithfully replicate the electrical signal in an acoustic form, ensuring that what the listener hears is as accurate as possible.

Aerial view of Genelec’s state of the art factory nestled by Porovesi Lake, in Finland

Ilpo Martikainen, late Founder of Genelec, with the iconic S30 speaker, a product that revolutionized the professional audio industry with its threeway design

But Martikainen’s philosophy didn’t stop at sound quality. He also believed that monitors should be highly reliable and serviceable over a long period of time. “The reliability and serviceability issues are relatively straightforward engineering issues,” he explained, but achieving accurate sound reproduction was far more complicated. This belief in long-term durability and precision extended to every Genelec product, aligning with the company’s environmental goals by promoting sustainability through long-lasting designs.

Raag Sethi the Founder of Compass Box Studio feels that Genelec embodies superior design, quoting to PALM Expo magazine at the IRAA Awards, “So, what I think Genelec does really well, is accuracy. Genelec does a good job of making sure there is accurate representation of audio so that it is translated in multiple mediums. Which is great for an engineer. The impact of high-quality audio is very important in our line of work, Genelec is one of the world’s premier brands when it comes to high-end audio. So, it’s great to have Genelec as one of the main sponsors of the IRAA Awards as well.”

WHAT MAKES GENELEC MONITORS STAND OUT?

Active Technology

Since day one, Genelec has pioneered the use of active monitoring technology. In combination with active crossovers, each transducer is driven by its own integral power amplifier stage, for completely optimized audio performance. This also permits the inclusion of sophisticated protection circuitry and rear panel room response controls – providing a bulletproof monitoring solution that can adapt to any room.

Minimum Diffraction Enclosure (MDE) and Directivity Control Waveguide (DCW)

Genelec’s modern nearfield monitors are designed with the distinctive curves of the MDE to minimize sound reflections and diffraction. This, along with the DCW, ensures that sound is evenly distributed, creating a clear and accurate soundstage both on and off axis. The marriage of these two design philosophies has remained consistent throughout Genelec’s product line for 20 years.

Auto-Calibration and GLM Software

One of the defining features of Genelec’s SAM series is the tight integration between internal DSP and GLM (Genelec Loudspeaker Manager) software. GLM’s AutoCal calibration algorithm automatically adjusts the monitors’ performance to suit the room’s acoustic properties, ensuring that Genelec monitors deliver truthful sound, even in more difficult room conditions.

Durability and Reliability

Genelec monitors are known for their rugged construction, which ensures long-lasting performance even in demanding professional environments. Their drivers and amplifiers are built to last, making them a reliable choice for audio professionals.

Protyay Chakraborty the Chief Sound Mixer, Compass Box Studio recalls his early experiences with Genelec monitors. “One of my first pro-studio experiences was with Genelec monitors, and I was blown away by their detail, transparency, and frequency coverage. I’ve been in many studios where Genelec is the standard. For a mix engineer, high-quality equipment with the highest possible accuracy is critical, and Genelec consistently excels at this.”

Chakraborty admires Genelec’s range of products, noting that no matter what size or range you choose, you’re guaranteed a high-quality experience. This versatility makes the brand a trusted choice for engineers looking for reliable performance in both small and large studios.

Sreejesh Nair the Solutions Specialist, Avid Technology reflects on how Genelec provides assurance in his work: “One of the best features of Genelec is its accent response. With most speakers, there’s an adjustment period where you need to get used to the sound. With Genelec, that curve is smooth and short, so you can get used to them quickly. As an engineer, the most important thing is the translation part, mixing to a point where the speakers become invisible.”

Nair emphasizes the “organic” quality of the sound produced by Genelec monitors, saying, “High Quality audio equipment is a necessity, in the sense

that, when you do your work, even though most people listen to 80%, how the next 20% performs is what matters. The next 20% stands the test of time. There are things that can be straight-forward and sterile, and there are things that are organic. Something as high-end as Genelec gives you the feeling that you are mixing something organic. And as long as something is organic, it will stand the test of time and have a better shelf-life. That is what Genelec offers you.”

EARLY MODELS: LAYING THE GROUNDWORK FOR PRECISION

Genelec’s early nearfield studio monitors were instrumental in defining their reputation for sound clarity and accuracy. These models marked the beginning of a legacy that would influence the audio industry for decades.

S30

Genelec’s first studio monitor, the S30 set the bar for sound accuracy during the late 1970s. This model was revolutionary for its time, providing sound engineers with tools that offered a previously unmatched level of detail in the sound spectrum and the ability to be optimised for the room’s acoustics.

1022

Often known as the ‘Darth Vader’ model due to its distinctive aesthetics, the three-way 1022 model pointed the way to Genelec’s future use of contoured enclosure designs. Delivering clarity both on and off axis, the 1022 provided true reference quality even at high SPLs.

1035

In the era of large commercial

Affectionately dubbed the Darth Vader model, the 1022 paved the way for Genelec’s future revolutionary industrial designs

Servicing a legacy Genelec S30 monitor, one of the early models that set the standard for studio recording

studio spaces, the 1035 further cemented Genelec’s presence by delivering high-SPL main monitor performance, with truthful accuracy. Designed for flush mounting in big control rooms, the 1035 combined power with precision.

THE 1031: A TRUE ICON

Among Genelec’s growing line-up of models, inevitably some monitors paved the way for innovation faster than others. No conversation about Genelec can omit the legendary 1031 nearfield monitor, which was released in 1991. This model quickly became a favourite among top studios and audio engineers, thanks to its compact size and neutral, unbiased frequency response. The 1031 was designed to tell the truth, no matter what, and this commitment to transparency made it an indispensable tool for mixing and mastering.

The front-ported design of the 1031 featured the Directivity Control Waveguide (DCW), which ensured precise sound directionality and created a wide, uncoloured sweet spot for the listener. Additionally, the active crossover technology ensured that the sound from the woofer and the tweeter were perfectly aligned, resulting in a seamless audio experience.

Ilpo Martikainen described the 1031 as a fan favourite saying, “The 1031 is a favourite for both exemplary rapid product development and excellent performance, and so it became the mother of all modern two-way monitors, leading it to the TEC Hall of Fame.”

The 1031 was adopted by some of the world’s top studios, including Abbey Road Studios, Capitol Records, and Sony Music Studios. Renowned producers and engineers such as George Martin, who worked with The Beatles, and Chris Lord-Alge, one of the most celebrated mixing engineers, were vocal advocates for the 1031. It even earned multiple awards, including the TEC Award for Outstanding Technical Achievement, further solidifying its legendary status.

After almost fifteen years in production, the 1031 was eventually discontinued in 2005. But its influence is still felt in Genelec’s current product line, and its design philosophy has been carried forward in newer models.

TWO-WAY SYSTEMS: ESTABLISHING GENELEC’S INDUSTRY DOMINANCE

Two-way systems have been integral to Genelec’s success, offering a balance between size and performance that caters to studios with space constraints. These models became staples in professional settings.

1030

The 1031’s smaller sibling, the 1030 was an ultra-compact and reliable solution that became favoured among engineers who required accurate sound in smaller studio spaces. Its balanced frequency response and compact build made it a go-to monitor for nearfield applications.

1029

The small-but-mighty 1029 nearfield model was the very first Genelec design to use a die-cast aluminium enclosure. As well as providing a supremely rigid structure, the 1029’s thin-walled aluminium enclosure allowed a much

larger internal volume, helping it to deliver a huge sound that belied its compact size.

8030

The iconic 8000 series really put the curved MDE aluminium enclosure design on the map, and the 8030 has become ubiquitous in both home studios and professional facilities. Succeeding the 1029, the 8030 is still in production and continues to be one of Genelec’s most popular models.

THREE-WAY SYSTEMS: PUSHING THE LIMITS OF SOUND REPRODUCTION

Over the years, Genelec’s three-way systems have taken monitoring to a new level by incorporating a dedicated midrange driver. As a result, each of the three drivers has a narrower frequency range to handle, leading to even greater clarity and accuracy across the frequency spectrum, and making these models ideal for high-SPL critical listening environments.

1037

Launched in 1992, the 1037 was designed for mid-to-large control rooms and was equally at home being flushed mounted or used in free-standing mode. With both the MF and HF drivers being incorporated into the DCW, the 1037 was renowned for its wide sweet spot and ability to produce an accurate sonic reference, even at higher playback levels.

1036

Until 2015, the 1036 represented the pinnacle of Genelec’s main monitoring technology. Operating right down to 19 Hz and producing a staggering 131 dB of short-term SPL, the 1036 was designed for large control rooms with multiple listeners. It provided all the vibe and energy you could possibly want, with detail to match.

SMART ACTIVE MONITORING (SAM) SERIES: GENELEC’S MODERN MASTERPIECES

In 2006, Genelec introduced its groundbreaking Smart Active Monitoring (SAM) series, which redefined studio monitoring with its integration of advanced digital signal processing (DSP) and GLM calibration software. SAM models quickly and intelligently adapt to the room’s acoustics to produce mixes that translate consistently. SAM technology can now be found in the vast majority of Genelec’s professional monitoring solutions.

8240

As one of the first generation of SAM models, the compact two-way 8240 nearfield model took an important step in minimising the ability of the room’s acoustics to colour the listening experience. In conjunction with GLM software, the room’s acoustics could be analysed and the frequency response, playback level and distance delay of each 8240 monitor could be optimised accordingly.

8351

The 8351 was Genelec’s first three-way coaxial monitor and heralded the birth of The Ones family of point source SAM monitors. With amazing directivity and a wide, uncoloured sweet spot, the 8351 allows fatigue-free listening – even on long sessions.

The Genelec 1031, a legendary nearfield monitor that set a new standard for studio sound, known for its precision and reliability in professional audio environments

The SAM 8381, a revolutionary five-way point source monitor

8381

The newest SAM model, the 8381 is a five-way point source main monitor with huge headroom and high-resolution imaging. Designe d for high end music recording, mastering and audiophile listening, t he 8381 creates a free-standing full range monitoring solution with unr ivalled LF control.

The SAM series took Genelec’s already celebrated sound quality to the next level by providing a versatile tool set for modern studios . Whether it’s recording, mixing, or mastering, these monitors can adapt to any room and maintain their legendary sound quality. The inclusion of DSP in these monitors allows for fine-tuning and room optimization, ensuring that every detail in the audio is heard clearly.

Farhad Dadyburjor , the National Business Head, Studio Solutions at Alphatec , in a talk with PALM Expo Magazine shares his long-standing association with Genelec and how it has revolutionized his appr oach to sound: “I started using Genelec during the mixing of Kaminey, and I’ve never looked back. I was probably one of the first to adopt DSP monitors in the 8000 range, and the first coaxial monitors too. I t hink the way Genelec has integrated its software and hardware is the most re fined in the market.” Dadyburjor takes pride in being an early adopter of Genelec’s DSP monitors, praising the brand’s innovation and maturity in delivering world-class audio solutions. For him, Genelec has set a high ba r for other manufacturers in the industry.

As Naghian , pointed out, “The SAM family has brought DSP and auto-calibration into the mainstream, paving the way for new in novations like our UNIO platform .” This relentless pursuit of technological advancement has enabled Genelec to stay at the forefront of the industry, constantly raising the bar for studio monitoring.

UNIO: BRIDGING IN-ROOM AND PERSONAL HEADPHONE MONITORING

Looking to the future, Genelec has recognised that more and more audio professionals are seeking the freedom to work anywhere, anytime – and that often involves moving seamlessly between monitors and headphones. So, the new UNIO monitoring ecosystem addresses that need by using the 9320-reference controller as a hub to control SAM monitors and Genelec’s new 8550 reference headphones. Given that SAM technology already provides extremely accurate in-room loudspeaker monitoring, UNIO now provides additional headphone calibration features available within GLM Software – plus the power of Aural ID 2 binaural headphone monitoring technology – to bring users the most personal and truthful headphone monitoring experience ever.

GROWING PREFERENCE FOR GENELEC IN INDIA

India’s nearfield monitor market has evolved, reflecting the global trend of embracing more portable and affordable studio equipment. The growth of independent music, YouTubers, and home studios has created demand for studio monitors that offer professional-grade audio quality within smaller spaces. The key advantage of nearfield monitors is that they are designed to be positioned close to the listener, offering clear and accurate sound that is less affected by room acoustics.

Genelec has also made significant inroads into the Indian market, where its monitors are used in some of the country’s leading studios. In particular, the S360, with its high-SPL capability, is popular for sound design and post-production work, while the 1237 and 1238 models are favored by professionals for their three-way design and superior sound accuracy.

Additionally, models from The Ones Series, such as the 8331, 8341, 8351 and 8361, are well-regarded in Indian studios for their compact coaxial designs and exceptional sound reproduction. These monitors provide an ideal solution for smaller studios that require nearfield monitoring that can intelligently adapt to the room’s acoustics.

Protyay Chakraborty highlights the aspirational nature of Genelec studio monitors because of their unparalleled quality, “Someday, I would like to own a Genelec monitor. I’m a mix engineer by profession, so my work depends critically on high-quality equipment giving the highest possible accuracy, and I think Genelec does a great job at that. Worldwide, there are so many studios that have Genelec as their go-to monitors. So, I cannot understate the value of high-quality accurate sound in my line of work.”

Mona Shetty the Managing Director of Sound and Vision Studios notes how Genelec monitors have become a natural choice for engineers in her studio: “Our engineers feel at home using Genelec speakers. They don’t have to second-guess things, which makes Genelec a no-brainer for us. When working with high-profile projects—whether it’s for feature films, television, OTT platforms, or audio – we need the best equipment to produce the best quality sound.”

Genelec’s GLM Calibration Software, an advanced tool designed to optimize monitor performance

Genelec’s UNIO ecosystem, a cutting-edge audio integration solution

Genelec’s new 8550 Headphones are at the heart of UNIO

innovation, reliability, and environmental responsibility. From the iconic 1031 to the cutting-edge SAM series and UNIO ecosystem, the company has consistently delivered products that meet the evolving needs of the audio industry while staying true to its core mission: to deliver the most accurate and truthful sound reproduction possible.

As India’s audio landscape continues to evolve, Genelec remains at the forefront, offering unmatched accuracy, detail, and transparency. From small studios to large-scale productions, its ability to cater to diverse needs makes it a preferred choice for engineers, mixers, and producers alike. With testimonials from leading figures in the industry, it’s clear that Genelec’s monitors are not just a tool, they’re an essential part of the creative process, ensuring that sound is delivered with precision and clarity across every project.

Farhad Dadyburjor speaks of the evolution of Genelec studio monitors since he first started

Genelec’s The Ones Series with an ultra-compact, three-way coaxial design, are a strong preference among Indian Recording Professionals

For Shetty, Genelec’s reliability and ability to meet the demands of high-profile productions make it an indispensable part of her studio’s toolkit.

GENELEC’S ENDURING LEGACY

Genelec’s legacy in studio monitoring is unmatched, with a hist

Audio & Music Production

GENELEC INTRODUCES UNIO PERSONAL REFERENCE MONITORING SOLUTION

Genelec has chosen the IBC 2024 exhibition in Amsterdam to debut its new UNIO Personal Reference Monitoring Solution, designed to bridge the gap between in-room loudspeaker and personal headphone monitoring. This innovative system includes the 9320A SAM Reference Controller, Reference Measurement Microphone, and the new 8550A Professional Reference Headphones, offering users an enhanced, calibrated listening experience. Additionally, Genelec has introduced Aural ID V2.0, a binaural headphone monitoring technology that adds precision to personal mon-

2023, and integrates Genelec’s Smart Active Monitors, GLM calibration software, and Aural ID personal headphone technology under the control of the 9320A controller, managed via the user’s MyGenelec account. This system provides seamless translation between monitors and headphones, allowing for consistent workflow, whether in-studio or on-the-go.

The newly launched 8550A Professional Reference Headphones are a key addition, designed to enhance the UNIO system’s accuracy. These headphones incorporate an active design that allows for factory calibration via the 9320A controller, offering precise resolution and unmatched linearity

deliver in traditional loudspeaker setups.

The 8550A headphones feature a closed, circumaural design that provides excellent sound isolation and comfort. Built for durability, they include replaceable parts for extended use. With a frequency response of 15 Hz to 20 kHz, 40 mm transducers, and neodymium magnets, the 8550A delivers exceptional sound quality, while the headphones are capable of achieving up to 119 dB of short-term SPL. Personal comfort is ensured with both leather and velvet ear cushions, along with options for straight and coiled cables.

The new Aural ID V2.0 technology further enhances the personal monitoring experience by modeling each user’s head and torso to calculate their unique HRTF (head-related transfer function), allowing for a more realistic headphone mix. This includes precise azimuth and elevation, creating a sense of spatial awareness that mirrors in-room loudspeaker monitoring. The updated Aural ID software includes room modeling with early reflection support and webcam-based head tracking, ensuring that the acoustic presentation remains consistent even as the user moves their head.

SENNHEISER UNVEILS THE MD 421 KOMPAKT A COMPACT POWERHOUSE

Sennheiser introduced the MD 421 Kompakt, a compact version of its iconic MD 421 and MD 421-II microphones, renowned for their versatile use across various professional settings over the past six decades. The MD 421 has been a staple in the music and broadcasting industries, featured in award-winning performances and productions. The new MD 421 Kompakt retains the signature sound quality of its predecessors while delivering it in a more adaptable and compact design, complete with a newly redesigned mounting clip.

Bertram Zimmermann, Manager of Live Sound & Studio at Sennheiser, noted the legacy of the MD 421: “Since its inception in 1960, it excelled as a studio and a vocal microphone, but was also used a lot in broadcasting, capturing the sound source with precision, detail, and rich sound.” The MD 421-II, released in 1998, continued the tradition, becoming a versatile option for various

instruments, including drums, guitar cabs, and horns.

The MD 421 Kompakt delivers the same powerful performance, with a cardioid pick-up pattern and a wide frequency response of 30 Hz to 17 kHz, offering accurate reproduction

of both high and low frequencies. To maintain its smaller size, Sennheiser eliminated the bass roll-off switch, a feature originally carried over from the MD 421-II. Zimmermann explained that the switch’s functionality is now largely handled by mixing desks and DAWs,

AT IBC 2024

In addition, Aural ID V2.0 supports Open Sound Control (OSC) for hardware head trackers and provides options for stereo and immersive monitoring up to 9.1.6. The software offers both a personal HRTF and industry-standard Kemar and KU100 head-and-torso simulator HRTFs.

Genelec Managing Director, Siamäk Naghian commented on the expansion of the UNIO ecosystem, saying: “UNIO now effectively offers audio professionals three levels of reference monitoring. Those simply seeking the finest inroom loudspeaker monitoring can enjoy the combination of Smart Active Monitors, GLM, and the 9320A, while users that also seek accurate headphone monitoring will embrace the arrival of the 8550As. But for those seeking the ultimate combination of in-room and personal headphone monitoring, the UNIO Personal Reference Monitoring Solution and Aural ID V2.0 represents the most accurate and portable monitoring system ever produced.”

Visitors to IBC 2024 explored the full UNIO ecosystem.

allowing for a more streamlined design. Jimmy Landry, Category Marketing Manager for MI, added, “With the MD 421 Kompakt, we’re offering the same legendary sound but with an incredibly compact form factor.”

The microphone also features a rugged design, including a stainless-steel basket and gold-plated XLR-3 connector, ensuring durability for both studio and touring use. The redesigned clip, integrated into the mic’s housing, addresses user feedback by providing more secure mounting. For drummers, Sennheiser offers a version of the MD 421 Kompakt that includes the MZH drum clamp, priced at EUR 299, while the standalone version is available at EUR 279.

The MD 421-II will remain available alongside the MD 421 Kompakt, ensuring customers continue to have a range of options to suit their needs.

The 9320A SAM Reference Controller, Reference Measurement Microphone, and the new 8550A Professional Reference Headphones

The newly launched Sennheiser MD 421 Kompakt Microphone

KLANG TECHNOLOGIES’ IMMERSIVE EXPERIENCE TRAINING TOUR ENLIGHTENS AUDIO PROFESSIONALS IN INDIA

Hi-Tech Audio & Image, the official distribution partner of KLANG Technologies in India, successfully hosted the KLANG Immersive Experience Training Tour across three major cities: Bengaluru, Hyderabad, and Mumbai. This event featured the esteemed Phil Kamp, Head of Sales at KLANG Technologies, as the lead trainer.

The tour attracted the crème de la crème of the audio industry, including top-tier audio engineers, seasoned professionals, and renowned musicians.

Participants were immersed in the advanced features and capabilities of KLANG’s innovative audio solutions, designed to enhance on-stage performance through immersive sound experiences.

During the training sessions, Phil demonstrated the applications of KONTROLLER, KONDUCTOR, and DMI: KLANG

Phil Kamp shared his first KLANG training experience in India. “The participants’ quality and professionalism truly stood out and their smart, insightful questions sparked deep and engaging discussions. Witnessing the vibrant exchange of ideas between sound engineers and musicians was incredibly rewarding, fostering a collaborative environment – not lacking laughter and fun.” He continues, “Seeing firsthand how our solution facilitated these

connections was a proud moment. We’ve laid a solid foundation for the full adaptation of KLANG in India as this system is uniquely qualified to handle the specific needs and challenges of Indian productions, particularly the complex demands of percussive and traditional instruments. I am confident that KLANG will revolutionize the audio landscape in this diverse and dynamic market. I would like to thank the fantastic Hi-Tech Audio & Image team and all participants for a perfectly organized and planned training tour of which I am happy to have been a part of.”

“At Hi-Tech Audio & Image, we are dedicated to advancing the audio engineering landscape in India. The response about the recent KLANG training in Bengaluru, Hyderabad, and Mumbai was overwhelmingly positive, and it reinforced our belief in the transformative power of immersive audio technology. Given the success of these initial training programs, we are excited to announce our plans to expand this initiative to other regions of India. As the official distribution partner for KLANG in India, we recognise the importance of continuous education and support for our community. We aim to bring KLANG Training to more cities, making this advanced technology accessible to a wider audience”, shares Rajan Gupta, CEO-Founder of Hi-Tech Audio & Image.

Nirdosh Aggarwal, Managing Director of Hi-Tech Audio & Image emphasized the strategic importance of organizing KLANG training sessions in

driving the sales of the product range, saying, “We believe that education is key to creating more prospects in the market who will come to appreciate the advanced features of KLANG products and subsequently promote them. As audio engineers and artists become more familiar with the KLANG product range, it will become an integral part of their tech arsenal, alongside industry giants like DiGiCo. To turn this vision into reality, Hi-Tech Audio & Image plans to offer more hands-on demonstrations of KLANG products and provide on-site support to audio engineers, ensuring they can use them easily and confidently.”

To organize the training session in Hyderabad, Hi-Tech Audio & Image collaborated with Production Brew, an independent organization of freelancer

audio engineers. Production Brew empowers and equips House of Worship volunteers to be the best versions of themselves by training them in the basic use of audio production gear. Leveraging their extensive network and experience, the team at Production Brew secured the prestigious Hope UC auditorium as the venue for the training session in Hyderabad. This venue, known for its stateof-the-art facilities and acoustics, provided the perfect setting for an immersive and hands-on learning experience.

The flawless execution of the event underscored the commitment of Hi-Tech Audio & Image’s application team to providing high-quality training experiences.

AUDAC INTRODUCES THE VEXO208: A NEW STANDARD IN AUDIO CLARITY

AUDAC one of the world’s leading pro-audio companies, has unveiled its latest innovation, the VEXO208, a high-performance 3-way loudspeaker engineered to deliver exceptional audio quality across a wide range of applications. Designed with versatility and performance in mind, the VEXO208 offers a compact yet powerful solution for those seeking both robust sound reproduction and aesthetic appeal.

The VEXO208 features dual 8-inch drivers housed in a compact, sophisticated cabinet, delivering high-output audio

without sacrificing clarity. “The VEXO208 has been meticulously crafted to provide detailed sound while maintaining its compact form factor,” AUDAC noted, emphasizing its commitment to superior

audio experiences.

A key highlight of this speaker is its advanced compression driver overload protection mechanism, which ensures longevity and reliability, making it a solid choice for various installation environments. Versatility is central to the VEXO208’s design, offering flexible mounting options for horizontal and vertical orientations. Additionally, its compatibility with Hi-Z systems is enhanced by the optional 70/100V transformer mod-

ule, allowing for easy integration into different audio systems.

Ease of installation is another priority for AUDAC, as the VEXO208 comes with essential accessories, including a U-bracket and drop safety wire, simplifying the setup process for integrators and installers.

AUDAC invited attendees to experience the VEXO208 firsthand at ISE 2024, where the company showcased its full range of audio solutions. The VEXO208 promises to set a new benchmark in audio performance, combining powerful sound, flexible design, and easy installation.

Phil Kamp, Head of Sales, KLANG Technologies stood as the lead trainer at KLANG Immersive Experience Training Tour hosted by Hi-Tech Audio and Image

The newly unveiled AUDAC VEXO208 speakers are a compact powerhouse offering unmatched clarity

AMOEBA BOWLING & SPORTS BAR REVITALIZES SOUND SYSTEM WITH SOUNDTUBE ENTERTAINMENT

Amoeba Bowling & Sports Bar at Phoenix Market City, Kurla, recently embarked on a significant upgrade to modernise its facility, including a new audio system. Seeking to align the sound experience with the venue’s fresh, contemporary aesthetic, the project required a carefully tailored solution. Keeping this in mind, the team selected SoundTube speakers to provide a balanced and immersive audio environment across the restaurant, bar, and bowling alley. This case study explores the installation process, the design challenges, and the factors that led to the successful integration of the new system.

With an attached bar and restaurant, Amoeba has been a preferred choice for entertainment and dining for many years. Following its success, the team at Amoeba decided to give the venue a complete facelift, incorporating contemporary designs, a fresh look, and a new sound system to align with the modernised vision. The primary goal was to create an immersive audio environment that not

only enhanced the entertainment factor but also provided seamless integration into the newly revamped interior. The client required a sound system that could deliver high-quality audio for foreground music, announcements, and an overall auditory experience that complemented the visual aesthetics.

Discovering SoundTube

Uday Bhat from Usquare Electronics & Electricals was contacted by the Amoeba team to provide pro audio solutions. Mr. Bhat was introduced to SoundTube by Mitul Soni, Techno Commercial lead India, a while back. Here he learned about SoundTube’s minimalist design approach to its products and Audio Solutions which seamlessly integrates with one’s vision to create contemporary designs and deliver lasting audio experiences. The wide range of products available allowed for a tailored solution that met both aesthetic and performance needs. Impressed by the product performance, Mr. Bhat chose to integrate SoundTube speakers into this project. After assessing the client’s needs and the interior design requirements, the SM31-EZ speaker model was chosen for its compact size and exceptional coverage and tonality. Additionally, the newly introduced corner/surface-mount subwoofer and a 4-channel power amplifier from SoundTube were incorporated, offering a complete sound solution.

Addressing Design and Installation Challenges

One of the key challenges was providing even sound coverage across the

The Amoeba Bowling Centre replete with cutting-edge SoundTube technology

ment system.

The team had to achieve this without using bulky or obtrusive loudspeakers. Collaborating with the interior design team, Mr. Bhat and his team conducted multiple mock fit-outs and adjusted subwoofer placements to ensure the final setup aligned with both aesthetic and functional goals.

The project’s success was attributed to the small form-factor and performance of SoundTube Loudspeakers. According to Mr. Bhat, the SoundTube speakers required minimal tuning out of the box, saving a significant amount of time and effort during the project. With a sleek design and no preset for

Surface mount loudspeakers SM31-EZ distributed across the bar, restaurant and bowling alley. Six units of , providing powerful low-end frequencies, MCA2004t 4-channel power amplifiers with built in crossover, limiter and many protections features to ensure CM31-EZ Ceiling Mount loudspeakers are installed for even sound distribution near the restrooms, while a SA502 handles smaller amplification needs.

3rd party DSP loudspeaker management system for precise audio control and an analogue mixer to manage inputs, making the entire setup versatile for various audio requirements. From ideal speaker placements to creative mounting solutions for the corner subwoofers, the team was able to blend the audio system with the venue’s décor. “Final setup and commissioning were done flawlessly, and it is beautiful to see how the entire sound system becomes part of the overall product offering at

Uday Bhat noted that the wide product portfolio offered by SoundTube was one of his favorite aspects of the project. “When you are assessing the needs of your clients or trying to come up with a unique audio design for a project this unique, you know that SoundTube has something in store for you. And the system sounds great.” commented Mr. Bhat. The client was equally satisfied with the outcome, as the system’s performance exceeded expectations and met the venue’s revamped vision.

Amoeba Bowling & Sports Bar’s transformation was greatly enhanced by the integration of SoundTube’s cutting-edge technology and products. By

Amoeba Sports Bar equipped with Sound Tube’s impressive collection of surface mount loudspeakers

Audio Install

INSPORTZ ARENA’S AUDIO REVOLUTION: AN EXTRAORDINARY SOUND EXPERIENCE WITH BETA3

Insportz Arena, a premier sports and entertainment facility in Koralur, Karnataka, aimed to revolutionize its audio system to match the dynamic events hosted within the venue. From sports games to community gatherings, the arena required an advanced audio solution that could provide immersive sound coverage and adapt to various needs.

Challenges: Ensuring Coverage and portability. One of the primary challenges was ensuring even sound coverage and maintaining high clarity throughout different zones of the arena. Insportz Arena needed a system versatile enough to handle everything from high-energy sporting events to clear announcements for crowds and participants. Additionally, the management requested portable speakers that could be easily repositioned and utilized for different activities.

The Power of Beta3 VX12a and R10P: Beta3’s solution to these challenges was the installation of their VX12a active speakers alongside the R10P portable speakers. The VX12a is renowned for delivering powerful, crystal-clear sound with exceptional coverage. Deployed strategically across the arena, these speakers provided consistent and high-quality audio, ensuring

every corner of Insportz Arena received immersive sound.

Complementing the VX12a speakers was the R10P portable speaker Lightweight and versatile, the R10P was positioned to handle dynamic audio needs, including announcements and smaller-scale events. The portability of

the R10P allowed for rapid deployment in various parts of the venue, providing flexibility for the arena’s diverse event schedule.

Enhanced Sound Quality and Versatility: The new audio system brought significant improvements in sound quality and functionality. The VX12a speakers delivered superior sound coverage, enriching the overall atmosphere of the arena. Whether for high-energy sports or community gatherings, the VX12a ensured that every event was enhanced by rich, clear sound that heightened audience engagement.

The R10P portable speakers added valuable flexibility to the setup. Their portability allowed for quick adjustments, ensuring seamless audio support for a variety of activities, including on-the-spot announcements and localized audio needs.

Client Feedback: An Immersive Audio Experience The management at Insportz Arena expressed their satisfaction with the system, noting a

significant improvement in both audience engagement and overall sound quality. “The immersive and clear audio coverage has brought every moment of action to life,” they remarked, further praising the seamless integration of the system into their dynamic event schedule.

A Sound Solution for Every Event: The collaboration with Insportz Arena highlights Beta3’s commitment to delivering high-performing, versatile audio solutions. The combined system of VX12a active speakers and R10P portable speakers has transformed Insportz Arena into a cutting-edge venue capable of catering to a wide range of audio needs. This upgrade not only enhanced the sound quality but also positioned the arena as a leader in immersive audio experiences for sports and entertainment events in the region.

ELEGANT FUSION OF SOUND AND DESIGN: WORK PRO’S AUDIO SOLUTIONS ENHANCE DINING EXPERIENCE

The interior of PF Chang’s presents a vibrant homage to Chinese culture, featuring a sophisticated blend of gold, black, and red, with custom-painted murals adding an artistic touch to the space. The open kitchen design provides diners with a direct view into the culinary process, elevating the sensory experience. To complement this visually immersive atmosphere, the restaurant has also prioritized audio quality. The Pink Noise Professionals team designed and installed a sound system using WORK PRO’s NEO 6 loudspeak-

due to their compact size and effective audio distribution

ers and PA 1254 amplifier to create an optimal auditory environment.

The NEO 6 speaker is a two-way acoustic loudspeaker with a 6.5” woofer and 1” tweeter, housed in a durable ABS plastic frame with an aluminium grille. Its compact design allows for seamless integration, delivering clear and balanced sound throughout the venue.

Supporting the system, the PA 1254 amplifier provides 4

channels of 150 W at 4 Ohms, ensuring consistent sound distribution. Housed in a 1 HU rack, it offers versatile audio configurations and reliable performance, making it the ideal choice for delivering high-quality background music across the space. This thoughtful integration of sound and design, results in an enhanced dining experience, where customers enjoy not only the visual and culinary offerings but also a finely tuned auditory ambiance.

NEO 6 Loudspeakers by WORKPRO were chosen for PF Chang’s

Insportz Arena in Koralur, Karnataka

The Beta3 VX12a and R10P installation at Insportz Arena

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Audio Install

YAZU AT THE DOME ELEVATES AUDIO EXPERIENCE WITH MARTIN AUDIO

Yazu at The Dome, a renowned pan-Asian restaurant, recently expanded to Indore, Madhya Pradesh, offering not only its signature fusion cuisine but also an immersive dining experience enhanced by

was to install a system that would not only deliver consistent audio performance across the venue but also maintain a sleek, minimalistic design that aligned with the restaurant’s modern aesthetic. The open layout of the restaurant further demanded

atmosphere. For additional audio support, Blackline X8, an 8” Passive Two-way Loudspeaker, was installed. Powering these systems, BA’s 2XL, 2XM, and 2XS amplifiers ensured crystal-clear sound across the venue.

The Delta 48X Digital Standalone

high-quality audio. Known for its unique blend of Asian flavours and chic ambiance, Yazu’s new outlet required an audio system capable of delivering precise sound that would complement both its vibrant and serene atmospheres.

For Yazu at The Dome, sound quality was paramount, both for background music and live entertainment. The challenge

strategic speaker placement to ensure even sound distribution without compromising on visual appeal.

To meet these requirements, Martin Audio’s CDD15, a 15” Passive Coaxial Differential Dispersion On-wall Loudspeaker, was selected for its ability to deliver precise audio coverage. Complementing this, the Blackline X218, a 2 x 18” Passive Subwoofer, provided deep bass, essential for enhancing the venue’s lively

Audio Processing System was implemented to fine-tune and manage the sound distribution, offering flexibility for different acoustic demands.

The audio upgrade has had a significant impact on the venue, with the management and customers expressing their satisfaction. Sanjay Pahwa, Director of Yazu at The Dome, praised the system, stating, “The sound quality is exceptional, with a perfect balance of clarity and power that complements the ambiance we’ve created. Our guests have repeatedly mentioned how much they enjoy the enhanced experience, whether they’re here for a quiet meal or a lively gathering.”

Vinayak Luthra, System Integrator from Audiocratz Sound & Light Solutions, shared his insights: “The Martin Audio and BA systems were the ideal choice for Yazu At The Dome, delivering both precision and power. The loudspeak-

ers, combined with the Blackline subwoofers and BA amplifiers, provided us with the flexibility and control needed to cater to the different acoustic demands of the venue.”

Industry Professionals Weigh

In

Prem Salve, National Sales Manager for VMT Retail, emphasized the importance of the installation: “By integrating Martin Audio’s CDD15 loudspeakers and Blackline series with BA’s high-performance amplifiers, we were able to deliver an unmatched level of clarity and sound coverage.” He added that the system provided the versatility needed for a variety of events held at the venue.

Echoing this sentiment, Anurag Khanna, National Sales Manager at VMT Enterprises, expressed his appreciation for the collaborative effort: “Their expertise in system integration, combined with our premium audio products from Martin Audio and BA, allowed us to exceed the client’s high expectations. The system is not only powerful but versatile enough to accommodate the varying needs of the venue.”

A New Benchmark for the Hospitality Industry

The installation at Yazu, at The Dome is seen as a significant advancement for the Indian hospitality industry. Jeff Mandot, Director of VMT, remarked, “This installation showcases the growing demand for high-quality, professional audio solutions in hospitality venues. The combination of cutting-edge technology from Martin Audio and BA has raised the bar for audio performance in cafes and restaurants, creating a blueprint for future projects in the sector.”

The project exemplifies how precise audio engineering, combined with innovative technology, can elevate a dining experience, making it both an auditory and culinary delight.

Yazu, The Dome at Indore, offers enhanced audio experiences with its expanded inventory comprising of Martin Audio and British Audio Systems

Yazu, at the Dome delivers enhanced experiences to its customers with updated inventory

Audio Install

SUPERIOR SOUND ENHANCES GOA’S BEST SUNSETS AT SLOW TIDE RESTAURANT

Slow Tide Restaurant in Anjuna, Goa, perfectly blends its rich Portuguese heritage with the vibrant nightlife for which the region is known. Featuring live music and DJ sets during the tourist season, it has become a hotspot for both locals and tourists seeking an unforgettable mix of good food and entertainment. However, when it came to designing the restaurant’s sound system, a unique challenge presented itself: the need for consistent sound quality and coverage in a beachfront setting, while preserving the venue’s aesthetics. Additionally, the sound system needed to perform equally well in both relaxed atmospheres and lively parties, all while enduring harsh environmental factors such as humidity, salt, and heat.

To address these concerns, AUDIO KRIS , a prominent rental and installation company in Goa, was brought in to conceptualize and execute the system. Known for its expertise in installations across Goa’s pubs, nightclubs, and restaurants, AUDIO KRIS turned to DAS Audio’s WR series systems , renowned for their resilience in extreme conditions and superior audio performance.

At the heart of the installation were the WR-8826-CX and WR6415-CX models, both featuring cutting-edge technology designed to deliver uniform sound coverage. The WR-6415-CX is equipped with a 15” transducer and a compression driver with a 3” titanium diaphragm , coupled with a 60°x 40° rotatable horn , ensuring bright and clear high frequencies. Meanwhile, the rugged enclosures, constructed from birch plywood, offer enhanced durability, ideal for the venue’s beachfront location.

To boost the low-end frequencies, two WR-151S and two WR218S subwoofers were included in the setup. The WR-151S features a 15” loudspeaker with 800W RMS power handling and a frequency range from 45Hz to 125Hz. Complementing it, the WR-218S subwoofers come equipped with two 18” speakers, offering a power handling

of 1600W RMS and an extended frequency range of 30Hz to 125Hz, making them ideal for the restaurant’s energetic parties.

The new inventory also featured six PA-1500 power amplifiers and one PA-4000 power amplifier . To ensure even sound distribution and

meet both environmental and tech

nical demands, ARCO series systems were installed, featuring enclosures made from high-impact ABS plastic for durability and uniform sound coverage. Audio management was expertly handled by the Integral series M-88 processor , ensuring

seamless system control. Karl da Costa’s contribution was critical to the system’s overall performance, as he played a key role in configuring the M-88’s crossover

The combination of DAS Audio’s WR and ARCO series systems, along with expert management by AUDIO KRIS, ensured that Slow Tide achieved unparalleled sound quality, even in the challenging beachfront environment. “Working on the Slow Tide Restaurant project was a fantastic opportunity for us to showcase the durability and sound quality of DAS Audio products. Our long-standing relationship with DAS Audio allowed us to confidently meet the unique challenges posed by Goa’s beachfront environment, ensuring that both locals and tourists enjoy an exceptional audio experience,” said Cris Furtado , Managing Director at AUDIO KRIS

With DAS Audio’s superior systems in place, Slow Tide Restaurant now delivers not only stunning views of Goa’s sunsets but also an immersive audio experience that enhances every moment. The durability and high-quality performance of the audio systems ensure that this exceptional sonic experience will continue to delight patrons for years to come.

The new installations by DAS Audio, supplied by AUDIO KRIS elevate Slow Tide to the next level

-

The new equipment acquired by Slow Tide renew patrons’ experiences positively

MASTERING SOUND ENGINEERING WITH THE AWESOME SOUND ENGINEER

At the PALM Expo Conference 2024 held in May this year, renowned sound engineer SREEJESH NAIR shared his experience on some of the most intricate technical aspects of sound engineering. With years of experience working on high-profile projects and learning from some of the best in the industry, Nair provided an engaging mix of humor, practical tips, and profound knowledge about the field of sound engineering. His session was not just a technical deep dive, but also a tribute to the many sound engineers he learned from. Our team at PALM Expo Magazine has captured the highlights of his session filled with insightful real-world applications and the invaluable lessons shared during the session. Peppered with witty one-liners and real-world lessons, read on to know more about the riveting session led by the Awesome Sound Engineer himself!

A TRIBUTE TO SOUND ENGINEERING MENTORS

Kicking off his talk, Nair acknowledged the many sound engineers who have influenced his journey, noting that the title “Awesome Sound Engineer” was not a self-reference but rather a nod to those who paved the way for him.

“This is actually also my tribute to the industry and the ones I’ve learned from,” he said. Sharing anecdotes from industry stalwarts, Nair explained how their influence shaped his understanding of sound.

UNDERSTANDING THE LF PROBLEM: SIGNAL CANCELLATION EXPLAINED

One of the key issues Nair addressed was the challenge of managing low-frequency signals, particularly in immersive audio formats like Dolby Atmos or

5.1 surround sound. Nair explained that many engineers encounter a curious problem when working with LF channels: instead of hearing the LF, the signal sometimes seems to decrease. This phenomenon puzzled many until the root cause was understood: signal cancellation between the center channel and the LFE channel.

“As long as you have an LF, there is a very strange problem,” Nair explained. “It takes a couple of listens for us to actually understand what that is.” He illustrated this by showing how increasing the LF level in a mix could sometimes lead to a reduction in the perceived output, rather than an increase. “When you push up the signal on the LF, instead of hearing more LF, you actually hear it go down,” he noted. The solution, Nair explained, is tied to the relationship between filters, phase shifts, and signal cancellation.

The Awesome Sound Engineer, Sreejesh Nair, delivers an engaging session on Sound Engineering and Mixing to an enthralled audience

FILTERS AND PHASE SHIFTS: DEMYSTIFYING THE MATH

To help the audience understand why this cancellation occurs, Nair broke down the role of filters. Using simple analogies like coffee filters and throat filters, he made the complex subject of signal processing more approachable. “If your sample rate is 48 kHz, the maximum signal you can record is 24 kHz. That’s called the Nyquist frequency,” he explained. Nair emphasized that the critical point where the signal cancels is called the corner frequency, which is 3 dB lower than the input signal. “At the corner frequency, the signal drops by 3 dB—that’s where things start to cancel.” He elaborated further on how filters impact the phase of a signal. “Every time you have a 6 dB per octave filter applied, it will cause a 45°phase shift at that frequency,” Nair said. When these phase shifts add up to 180°, signal cancellation occurs, which is why boosting LF signals can lead to reduced output.

THE IMPORTANCE OF DIFFERENT FILTERS

Nair then introduced the concept of feedback filters, a crucial component in understanding how certain frequencies cancel out. While feed-forward filters operate by feeding delayed signals forward, feedback filters, as the name suggests, involve feeding the signal back into the system. He explained the difference between FIR (Finite Impulse Response) and IIR (Infinite Impulse Response) filters, providing relatable examples to make the concepts clear. “Anyone who’s stood in front of a speaker with a microphone knows what feedback is,” he joked, underscoring that feedback filters can continue to operate indefinitely, whereas feed-forward filters eventually stop.

THE REAL-WORLD IMPACT: HOW IT AFFECTS YOUR MIXES

After explaining the theory, Nair shifted focus to how these principles affect real-world sound mixing, especially when working with loudness standards like ITU 1770-4. “For anyone who’s done YouTube, Atmos mixes, or OTT projects, getting to -18 LUFS is crucial,” he said. He emphasized that sample rates have a significant impact on these values, and engineers need to be aware of how their filters and sample rates interact to avoid unwanted cancellations in their mixes. He also provided a solution for dealing with problematic low frequencies: subharmonic enhancers. “There’s no way you’ll get a signal to cancel if it’s not coherent,” he explained, advocating for tools like the Avid Pro Subharmonic to ensure clean, punchy mixes. For those keen to delve deeper into the world of sound engineering, Nair also recommended checking out Sudeep Audio’s YouTube channel, which offers a wealth of knowledge through interviews and tutorials. “There’s a ton of interesting one-liners over there,” he added with a smile, encouraging everyone to continue learning and pushing the boundaries of sound.

THE AVID MTRX 2 IO: ADVANCED AUDIO CONVERSION TECHNOLOGY

A focal point of Nair’s talk was the Avid MTRX 2, an IO device known for its advanced audio conversion and routing capabilities. “It has one of the best converters because of this little thing: the sampling resolution is a 5-bit Sigma-Delta converter running at 5.645 MHz or 6.144 MHz, giving you a 24-bit PCM,” Nair explained. While this level of technical detail may seem daunting to some, Nair broke it down further, helping the audience understand how this improves sound quality by minimizing conversion noise.

“When you convert analogue to digital, you will always lose something; digital is not entirely accurate,” he said, explaining that digital conversion is essentially a compromise. “But as you increase the bits, you reduce the error, and for every bit you increase, you reduce the noise by 6 dB.” This reduction in noise translates into greater headroom, which allows engineers to work with more dynamic range, a crucial factor in professional sound production.

DEBUNKING MISCONCEPTIONS AROUND BIT DEPTH

Nair also addressed a common misconception: that a higher bit depth means louder recordings. “If I ask you which one records louder, 16-bit or 24bit, some would say 24-bit,” Nair noted. “But neither of them records louder. To record louder, you would need more voltage, which would fry your IO. What

the higher bit depth allows you to do is record softer with more precision.” This nuanced understanding of bit depth helps clarify why engineers prefer higher bit depths for professional recordings, not for loudness, but for the detail they preserve in quieter passages.

DELTA SIGMA CONVERSION: A TECHNICAL DEEP DIVE

Nair then shifted his focus to the Delta Sigma conversion process, using an unexpected analogy with the Gregorian calendar to explain how noise shaping works. “This is how a Delta Sigma converter works,” he began. “In the Julian calendar, a leap year was introduced every four years to account for the Earth’s rotation. But in the Gregorian calendar, adjustments were made to fine-tune this even further, removing one day every 100 years to maintain accuracy.” He likened this process to how audio converters handle quantization errors. “Quantization errors are like the extra day we need to manage in our calendar. By spreading out these errors across time, we shape the noise and reduce it in the frequency range we can hear.” Nair explained that in high-end converters like the 5-bit Delta Sigma ADC used in the Avid MTRX 2, oversampling techniques help minimize this noise further. “It’s a 128 times oversampling converter, which gives you an output at 24-bit PCM,” he added, illustrating how oversampling increases audio accuracy by distributing noise more evenly across the frequency spectrum.

THE IMPORTANCE OF CONTROL SURFACES IN MODERN SOUND ENGINEERING

Moving beyond the technical aspects, Nair emphasized the importance of understanding and investing in your audio equipment. “If you don’t invest in yourself, why would anyone else?” he asked. While many sound engineers rely on traditional mouse and keyboard setups, Nair encouraged the use of control surfaces for more efficient mixing. “A lot of us are still mouse-and-keyboard guys, but if you want to drop down eight faders, you’ll have to do it eight times. With a control surface, you can do it in less than runtime,” he explained. Control surfaces allow for greater precision and faster workflow, especially in film mixing, a field Nair is intimately familiar with. “As a film mixer, you can even premix a reel in less time than its runtime using a control surface,” he shared, demonstrating how investing in the right tools can significantly enhance productivity.

TRUE PEAK: WHAT YOU HEAR VERSUS WHAT YOU SEE

Nair also touched on the concept of True Peak, an often-misunderstood aspect of digital audio. He highlighted how audio signals that appear to be fine on a digital audio workstation (DAW) can still clip when converted back into analogue. “Your DAW will only know the value at specific sample points, but in between those points, the signal could be clipping,” Nair warned. He explained that this phenomenon led to the development of True Peak limiters, which analyze the audio at higher sample rates (such as 192 kHz) to ensure there’s no clipping in the final output.

“When Netflix says you need to have -2dB True Peak, this is what they are referring to,” Nair clarified. “True Peak measures the actual peak values after upsampling, ensuring that the audio will sound clean on all playback systems.”

THE ADVENT OF AI - NAVIGATING THE CHALLENGES OF ARTIFICIAL INTELLIGENCE

As many in the industry grapple with the rapid advancements in technology, Nair emphasized the importance of understanding AI, particularly generative AI and large language models, which have become integral to the creative process.

Nair stated, “AI is only as good as the data it receives.” He elaborated on how the AI integrated into Avid Sibelius, a popular music notation software, functions by analyzing chord progressions and generating musical suggestions based on learned data. This AI capability allows composers to explore new creative avenues, offering not just suggestions but also insights into why certain chords may work better than others. Importantly, he highlighted that the AI operates locally on users’ systems, underscoring the concept of responsible AI and the significance of data privacy in today’s digital landscape.

The conversation shifted to copyright issues surrounding AI-generated con-

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tent. Nair referenced a landmark case involving a monkey named Naruto that had taken a selfie, raising the question: “Who gets the copyright—the photographer or the monkey?” This analogy underscored the ongoing debate in the industry regarding AI and copyright, emphasizing that human intervention is essential for determining ownership. “Copyright requires human intervention,” he noted, stressing the complexities that arise when AI is involved in creative processes.

THE POWER OF AUTOMATION IN SOUND ENGINEERING

Automation tools have also revolutionized sound engineering, allowing professionals to maximize efficiency. Nair shared his experience with Soundflow, an automation tool that dramatically reduces the time spent on repetitive tasks. He explained, “Once I finish with my mix, I want to remove all of my inactive sends and plugins, it goes through my entire session and analyzes it.” This feature has been invaluable in streamlining his workflow, enabling him to focus more on the creative aspects of sound engineering rather than getting bogged down in technical details.

Echoing this sentiment, he quoted Pramod Chandorkar who emphasized, “Do not become a slave to the machine. Use it and improve; it is a tool.” Nair’s practical application of automation tools exemplifies this philosophy, showcasing how technology can enhance, rather than hinder, creativity.

NAVIGATING THE CREATIVE PROCESS

As sound engineers, understanding the relationship between the composer and the execution of their vision is paramount. Nair quotes K.J. Singh, “A sound engineer has to get into the mind of the composer.” This insight highlights the need for effective communication and collaboration throughout the production process. Vijay Dayal added, “As an engineer, you are the translator between art and execution,” underscoring the vital role sound engineers play in bridging the gap between creative intent and technical realization.

Nair stressed the importance of delivering high-quality audio. He highlighted a common issue faced by sound engineers when exporting mixes, particularly in different codecs like MP3. “Imagine what this will do if your limiter was set to -0.1,” he cautioned, explaining the potential pitfalls of audio compression and the intricacies involved in maintaining audio fidelity.

CLIENT MANAGEMENT - BUILDING BRIDGES BETWEEN EXPECTATIONS AND RESULTS

Navigating the complexities of client relationships is another crucial aspect of sound engineering. Nair urged attendees to “never say no” to clients, emphasizing the importance of flexibility and problem-solving. The ability to manage expectations and navigate egos in the industry is a skill that can set professionals apart. He explained, “Every situation has to be managed,” highlighting that effective communication is vital in addressing the diverse personalities and opinions that often come into play in creative projects.

As Nair reflected on the journey of emerging sound engineers, he encouraged them to find their unique selling point in a competitive landscape. “If you are like everyone else, you are average,” he stated. He advocated for starting from the ground up, assisting seasoned professionals to gain experience and insight into the challenges of the industry.

Nair quoted Avinash Oak who states, “Engineers today record with their eyes and not their ears.” He underscored the need for sound professionals to balance reliance on visual meters with the critical art of listening. He illustrated this point with the example of a 100 Hz square wave, explaining how digital-to-analogue converters (DACs) often employ filters to protect internal electronics. “If I take this 100 Hz signal and put a high-pass filter at 20 Hz, you might see a peak at -12 dB. But upon rendering, that peak can jump to -5.5 dB. You will never see this, but you will definitely hear it,” he explained, warning against sending clipped outputs, especially on subwoofers.

UNDERSTANDING LOUDNESS MEASUREMENT

Nair highlighted a common misconception surrounding loudness measurement in audio production. Quoting his colleague Baylon Fonseca, he said, “We aren’t launching a rocket into space. We are doing sound. It isn’t complicated.” This statement resonated with the audience as Nair broke down the complexities of audio meters and loudness measurement. He clarified that every channel in a 5.1 audio setup undergoes pre-filtering, impacting the final output. He

elaborated on how human perception, influenced by the Fletcher-Munson curve, affects our experience of sound. “We hear more in the high frequencies and less in the low frequencies, so you cut off the lows and boost the highs,” he noted.

Nair then explained the significance of understanding both requirements and recommendations in audio specs from platforms like Apple Music and Netflix. “There are no rules, only guidelines,” he stated, urging engineers to educate themselves on the fundamentals of sound engineering to navigate industry standards effectively. He reflected on his own journey, emphasizing that many foundational concepts in sound have remained unchanged for decades.

INNOVATIONS IN AUDIO TECHNOLOGY

During his presentation, Nair also introduced innovative tools and features that can enhance sound engineering workflows. He discussed advancements in software like AVID’s memory location enhancements and the utility of track markers, which allow audio professionals to streamline their work. “With track markers, you can filter out what you want to see based on your role—whether you’re a dialogue editor or a mix engineer,” he explained.

Moreover, he highlighted the evolution of Dolby Atmos technology, differentiating between stereo mixes and direct stereo versions. “A 2.0 direct is a direct stereo version from the Atmos. It sounds very different and brilliant, especially in music,” he emphasized, underscoring the ongoing developments in audio technology that continue to reshape the industry.

THE ROLE OF COMMUNITY IN SOUND ENGINEERING

Nair strongly believes in the importance of building a supportive community within the audio engineering field. “It is my responsibility to make sure that the people entering the industry stand on the shoulders of people like me,” he asserted. He expressed the need for experienced engineers to mentor newcomers, fostering an environment of shared knowledge and collective growth.

He reflected on the collaborative spirit of the industry, noting, “An awesome sound engineer is not just an individual; it’s the sum of all the awesome sound engineers they have met along their journey. And I hope that you take that along with you as well.” This notion resonated throughout the conference, as attendees shared experiences and learned from each other.

CLOSING THOUGHTS- THE PHILOSOPHY OF AUDIO

In a lighter moment, Nair quoted fellow audio professional Kunal Mehta: “God said, ‘Let there be light,’ which means sound came before audio. That’s why it’s called audio-visual, not visual audio,” he said, drawing laughter from the audience. His point was that audio is just as critical—if not more so—than visual elements in creating a compelling experience.

Nair wrapped up the session by encouraging engineers to trust their ears and invest in their skills. “Don’t panic. The answer is 42,” he quoted, leaving attendees with a nod to the importance of experimentation and curiosity in the ever-evolving world of sound engineering.

Nair’s balanced approach, combining technical expertise with practical advice, served as a reminder that while technology evolves, the core of sound engineering remains a deep understanding of both the science and art of audio.

In closing, Nair encouraged attendees to embrace the learning process, framing it as a continuous journey rather than a destination. “What you do is secondary, and how you do it makes a difference,” he reminded the audience, emphasizing that understanding sound engineering principles in a fun and engaging way is vital for professional growth.

His engaging presentation, filled with practical insights and relatable anecdotes, left attendees inspired to deepen their knowledge and foster a collaborative spirit within the sound engineering community. As Sreejesh Nair aptly summarized, the future of audio production lies in building connections and sharing experiences, ensuring that the industry thrives through collective effort.

To view the full conference session, visit the link –https://www.youtube.com/watch?v=oNcQrDwV6ns

Head to the PALM Expo Official YouTube channel for all conference videos on industry pathbreakers!

Lalit Chopra is recognised as an old hand in the Indian pro-audio industry. His company, CSC Audio (Creative Sound Concepts) stands tall as a testament to the successful blend of German engineering and Indian manufacturing. The story of CSC Audio is driven by the passion and expertise of Lalit Chopra and Daniel René Danzer. The PALM Sound and Light Awards 2024 award ceremony which took place in Mumbai on May 31st this year, honoured the duo for their visionary leadership in consistently exploring innovation and delivering excellence in new Pro AV product technology.

Lalit Chopra is well known in the Indian pro audio industry for his contribution to the industry. Being in the audio business for over two decades, he helped design audio systems for several projects and hand-held integrators. He has also always been open to sharing his experience and expertise with young professionals in the industry through seminars and training sessions.

Mr. Chopra began his professional journey as an engineer before establishing his first industrial unit in 1983, which was focused on manufacturing electric cables. In 1994, he, along with old friend P.S. Sandhu, who was working with the UN at the time, and Dr G.S Sanghera from the UK, who was a doctorate in solid state physics joined forces led to the formation of Harness Overseas Pvt. Ltd., an audio, video and lighting integration and distribution company. Armed with a degree in electrical engineering, Mr. Chopra honed his skills working closely with international audio engineers and technicians in the UK.

CSC Audio began its journey by introducing and selling commercial audio

CSC AudioFusing German Engineering with Indian Craftsmanship

The CSC Audio factory at Chandigarh, India

L to R: Daniel René Danzer, Aamir Chopra and Lalit Chopra

products in the Indian market through integration partners back in 2008. The pivotal moment arrived in 2013 when Mr. Chopra met his long-term friend Daniel René Danzer in Germany. Daniel René Danzer who had pursued a Master of Business Administration at the Georg Simon Ohm University of Nuremberg, had launched his own company in 1994 specializing in event technology production and installation. By the late 1990’s, Daniel expanded into distribution through SLD Media Teck and later SLD Distribution, which became significant players in the German and EU pro audio and lighting markets by 2010.

They got together and decided to augment the existing range of CSC Audio commercial audio products and launch a range of performance-oriented pro audio products using German engineering and Indian skills. The company’s mission was to blend the expertise of passionate engineers and audio professionals from Germany and India to produce high-quality, robust products suitable for international markets, with particular attention to the challenging conditions of the Indian consumer market.

At this point, they began to envision a world class product at an affordable price. Daniel and Lalit met in Delhi two weeks later and kicked off the business plan for their pro audio series. The duo promptly plotted a course of action, which combined Daniel’s understanding of European business practices with Lalit’s knowledge of Asian consumer behavior, to create a range of products tailored for both mature European and emerging Asian markets. This gave them the ability to act swiftly to changing technical demands, which was a challenge for previous distributors.

By late 2014, their Indo-German venture which sought to combine the prowess of German technology and the skill of Indian manufacturing, saw CSC assembling loudspeakers with components from top European suppliers at its new facility in Punjab, India. The production process integrated German engineering with local craftsmanship, supported by training for the Indian team.

Their vision led to the creation of a range of superbly designed, well-built, and powerful-sounding loudspeaker systems offered at competitive prices, and today, CSC Audio provides a well-thought-out product line that is both versatile and aesthetically neutral, making it suitable for any application.

Performance is at the core of CSC Audio’s philosophy. Over the years, the company has developed a comprehensive range of products for professional, commercial, and touring installations, including amplification and signal processing. The company manufactures professional audio speakers for tour, cinema, corporate venues, musician and religious places.

All CSC products are designed and developed at their R&D facility in Germany, where a resolute team of engineers ideate, prototype, test, and perfect their creations. Among their innovations is the patented shallow double 18-inch subwoofer, demonstrating their commitment to innovative design.

CSC Audio utilizes the finest components and materials sourced from leading European manufacturers procuring drivers from top suppliers in Italy, France, and Spain, while crafting loudspeaker cabinets from braced birch or thick-walled aluminum extrusions. Upholding a commitment to environmental responsibility, CSC ensures that 99% of their raw materials are recyclable and biodegradable. The company employs a special water-based, non-toxic, UV-stabilized, mold-resistant paint provided by their German partners. All cabinets are conscientiously painted inside and out to ensure water resistance.

flawless performance.

With product development in Germany and an assembly facility in India, CSC Audio proudly adheres to the “Make In India” initiative, with products today sold in over 15 countries across Europe, the Americas, Asia, Africa, and the Middle East. The company is trusted by numerous renowned brands and institutions, including government and defense establishments. Notably, CSC’s success is driven by a roster of repeat clientele and word-of-mouth referrals, as the company has yet to invest in traditional marketing.

In 2021, CSC launched the RR212HL, an innovative three-way horn-loaded point source array. With its variable dispersion horn, it quickly became a prod-

uct of desire, with some encouraging sales in India and around the world.

The hardware used by CSC Audio includes special alloys for speaker grills to ensure corrosion resistance, and all metal parts are treated to minimize environmental corrosion. Additionally, CSC designs its passive crossovers with a meticulous eye for detail, using components with minimal inductance to reduce distortion and thermal compression.

In a groundbreaking move, CSC Audio is among the first to employ a super-efficient silicon carbide device in a Class D amplifier design, significantly reducing heat loss and power consumption. To ensure compliance with global standards, CSC products undergo third-party certification and adhere to European and American regulations, including FCC, CE, and RoHS approvals. The company also provides GLL files for most products to assist with venue simulation.

At their 20,000-square-foot state-of-the-art manufacturing facility near Chandigarh, India, CSC Audio produces products in small batches to uphold their detail-oriented approach and uphold the highest standards of quality. Rigorous testing and quality checks are integral to their process, ensuring

After the launch of the Ultra-Wide dispersion loudspeaker STW 28 in 2021, followed by the CF 210 in 2022 and MOD Series amps in 2023, CSC launched a powerful J array called ‘Harmonica’ at the PALM Expo 2024. Complemented by a triple 18-inch cardioid subwoofer, targeting both the touring and installation markets. Each product is meticulously tested with GLL files.

In 2025, CSC proposes to launch a series of active products and some interesting plug-and-play solutions with unique features to cater to the home and commercial markets. Several other products, including new electronics, are also in development and will be announced soon.

Today, CSC Audio is recognised as one of the leading pro-audio brands, distinguished by its well-engineered, high-quality products that excel in performance and design. Looking ahead, CSC Audio is set to launch a powerful constant-curvature line array with variable vertical dispersion, complemented by a dual 18-inch cardioid subwoofer, targeting both the touring and installation markets. Several other products, including new electronics, are also in development and will be announced soon.

The CSC Audio RR-212HL point array

The CSC Audio Harmonica J Array

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The Indian Music Industry Today: A MELODIC FUSION OF TRADITION, INNOVATION, AND GROWTH

The Indian music industry, both in film and non-film sectors, is undergoing a significant transformation. Unlike a decade ago, when the film industry dominated India’s music scene, today’s independent musicians are breaking barriers and reshaping the industry. This shift is apparent in the 2024 IRAA (Indian Recording Arts Academy) Awards, where the majority of nominations for this year came from independent artists rather than traditional film music. This signifies the growing strength of non-film music, allowing artists to express themselves more freely without the constraints often found in commercial cinema. During an exclusive discussion with PALM Expo Magazine, members of the 2024 IRAA Jury reflected on this evolving landscape that rivals even global standards. Read on to find out more about what industry experts appreciate about the industry and its future!

EMBRACING TECHNOLOGY AND CREATING OPPORTUNITIES

Jim Satya, an Eminent Music Arranger and Music Producer, reflected on the remarkable evolution of music production technology, highlighting how the shift from mono recordings to Dolby Atmos has reshaped the industry. He points out the revolutionary impact of technological advancements, stating, “The Indian Music industry has evolved leaps and bounds through time. Embracing technology, creativity & talent in its path. From Mono recordings and Analogue tape to Dolby Atmos. In the field of music production, things have shifted from two track recorders to multitrack recording. Symphony Orchestra studios to Home studios. This technological revolution has paved the way for newer departments to form such as music production, sound design, sound editor, music supervisor, etc. to name a few. This in turn has created more job opportunities for musicians and technicians alike. With AI entering the industry, there could be furthermore use of technology in this creative process. Films are enjoying the use of this new technology. Film schools are offering courses to provide the younger generation with the best of music education.” Satya also lauds the rise of independent artists stating, “With Indian music mainly centred around films, it’s lovely to see a rise in independent artists, who are churning out spectacular songs and arrangements.” He concludes by encouraging more artists, “There is room for everyone in this business.”

FROM ANALOGUE TO DIGITAL

In lieu of the evolution of the technology used to develop music, veteran sound engineer Yogesh Pradhan an Eminent Music Arranger, reflects on this journey, sharing his insights from witnessing live recordings where musicians, singers, and backup vocalists would rehearse and record together. “It has been a beautiful journey that I have experienced, looking at and experiencing how acoustic and analogue recordings used to happen, with all musicians and singers, and with backup vocals rehearsing and then recording together. That was a great experience. Now, the scenario has totally changed, transitioning from analogue to digital recording. More precise and clean tracks are now available, with multiple tracks, and another category has evolved, namely mix & master engineer. It is great to have them, but according to me, the engineer who records the basic sound of each and every instrument live, has a character. Today, this has been tweaked into a different form, becoming a new fashion of sound exposure, which each composer has to follow and experiment with I thank the IRAA Awards for recognising and PALM Expo Magazine for felicitating and recognising these new technicians, music producers, and engineers for their hard work behind the scenes. May God bring good music in the future and, especially, uplift our Indian acoustic sound with present technology. Thanks for expressing my view. My best wishes to the IRAA Team, Jury, and Creative Heads for involving more categories and awarding them.”

COMMUNITY AND COLLABORATION IN THE INDIE SCENE

The genres in Indian music have become more diverse, inculcating voices from all facets, instead of solely on Bollywood and other popular genres. One such genre gaining more traction is the Indie genre, witnessing exponential growth, with artists collaborating and supporting each other despite the challenges they face.

Raag Sethi, Founder of Compass Box Studio, remarks, “In the last couple of years I’ve had the privilege to work with some of the top indie artists in the country. What I’ve really loved to see is a strong sense of a community forming in the non-film music industry, of course, there is still competition because there aren’t enough venues or opportunities for everyone, but for the most part, people are willing to help each other get more out of their music. So many small startups have begun to address the need of the indie musician, either from a label standpoint, or production, the Indian artist of 2024 doesn’t have to fail in order to figure out the ropes anymore.” Startups and labels have sprung up to address the needs of indie artists, allowing them to focus on their craft and take their music to new heights.

A BOOMING INDUSTRY WITH GLOBAL REACH

Mujeeb Dadarkar, Co-founder of OdBle Consultants, feels one word represents the Indian Music Industry’s trajectory: Growth. He notes that the industry generated around Rs. 12,000 crore in 2022, representing around 6% of India’s media and entertainment sector. With the rise of legal music streaming and non-film artists breaking through to international audiences, Mujeeb believes that India is on the cusp of overtaking the USA as the leading music streaming nation. “Although the Indian music scene is driven by film music, with more than 70% of music production and consumption being film music, I am happy to see that new non-film artistes are breaking through to mixed audiences around the globe. A new generation of niche Indian artists are creating inspiring music that’s finding an audience overseas. The Indian music industry is growing at the rate of 15% annually, with a huge rise in legal music streaming. It appears that India will overtake the USA to become the dominant music streaming nation soon!” he notes.

BLENDING TRADITION WITH MODERNITY

Though the industry is making strides forward in terms of genre and diversity, we have not forgotten our roots. The beauty of the Indian music industry lies in its seamless fusion of traditional and modern elements.

Ashish Saksena, Director at Purple Haze Studios, comments on this unique blend, saying, “The Indian music industry, both film and indie, has always been a remarkable blend of tradition and innovation. It seamlessly integrates diverse genres, from classical ragas to bhangra to folk to contemporary electronic beats, it forms an ever-changing, complex soundscape. From soulful classical compositions to cutting-edge indie tracks, Indian music reflects a spectrum of emotions and experiences. In the film industry, music is integral to storytelling, shaping narratives in ways that resonate deeply with audiences across generations. The rise of indie music has given a unique platform to independent artists who are experimenting with genres and creating fresh sounds. What I find interesting is the industry’s openness to experimentation, where age-old musical traditions coexist with modern influences, keeping Indian music relevant and inspiring for global audiences.” He highlights the rise of independent music as a powerful platform where artists can experiment with genres, creating fresh sounds that resonate with global audiences.

Indrajit Sharma (Tubby) Composer and Record Producer echoes this sentiment, emphasizing the diversity of Indian music. He remarks, “Indian music industry is as diverse as the country’s culture, offering a wide range of languages, genres, and styles. From classical music like Hindustani and Carnatic to folk, devotional, and modern forms, it represents the rich variety of Indian sounds. Traditional instruments such as the sitar, tabla, and veena blend with modern instruments and technology, creating unique and exciting music. Whether it’s Bollywood film songs or independent music, Indian artists celebrate both local traditions and global influences, especially from the West. This mix of old and new makes Indian music constantly evolve, while still reflecting the country’s deep cultural roots. It’s this diversity and versatility that make the Indian music industry truly special.” He appreciates the balance between old and new, which keeps Indian music evolving while staying rooted in the country’s rich cultural heritage.

THE ROLE OF TECHNOLOGY IN ETHICAL MUSIC CREATION

With modernity comes rapid technological development and the role of technology in music creation has sparked both excitement and concern.

Pramod Chandorkar, IRAA Director, Founder & Director, Soundideaz Studios & Academy, reflects on this development, urging the industry to adopt technology ethically. He warns against the misuse of technology in replacing human artistry, stating, “Technology has always paved the way for innovation. This is very evident in the recent times and is very promising (or concerning) in the coming times. We as musicians have a choice to make use of the technology in an ethical manner and avoid and discourage misuse. We should respect the art and the artists around us and ensure that we grow as a community and not by replacing artists with technology. Human expression of art will always remain unique, and only humans can respect it, not machines.”

A THRIVING MERITOCRACY

In comparison to the Western music industry, Donal Whelan, Senior Engineer, Hafod Mastering, praises the Indian music scene for feeling more like a meritocracy. He observes that, “One thing I love about the Indian music industry is that it feels more like a meritocracy than in the West. The steady stream of song requests and income from the film industry creates a thriving environment where skilled musicians, composers, producers, and studio personnel flourish. This in turn improves non-film music because good musicians have disposable income, talented peers and excellent studios in which they record their own music. There are exceptions of course, but when you listen to successful songs or watch a live show of Indian film music, the production and musicianship are frequently fantastic. The western music industry has this dynamic but perhaps to a lesser extent. It’s more important in the west to be “cool” or “fashionable” so fewer hit songs have that “wow” factor of exceptional musicianship.” This in turn boosts the quality of non-film music. Whelan finds the production and musicianship in Indian film music to be exceptional, noting that this dynamic is less prevalent in Western music, appearance and aesthetic often takes precedence over exceptional music.

A NEW GENERATION OF TALENT

With new voices emerging across the industry, Vijay Benegal, Co-Founder of OdBIe Consultants shares his excitement about the emergence of independent talent in the Indian music industry. “What I really like about the Indian music industry today is that we are now seeing a lot of incredible talent emerging, especially as independent composers, producers, singers, musicians etc. There used to be a skew in favour of the film related music composers and singers which is slowly changing. It heartens me to see and hear these newer independent artists or bands producing their music with only themselves for direction. Some really good music and production is coming out of this. Some of these new artists are not afraid to try out new approaches both musically as well as in the recording and production aspects. This is very exciting to experience,” he says. Benegal finds it heartening to see new artists producing music with creative freedom, often experimenting with new approaches both musically and in production. He is eager to see more exciting innovations from this new generation of musicians.

A HARMONIOUS FUTURE

The Indian music industry today stands as a harmonious blend of tradition and innovation, offering opportunities for growth, collaboration, and creativity. With the rise of independent artists, the integration of cutting-edge technology, and the industry’s commitment to nurturing diverse talent, the future looks bright for musicians and audiences alike. As Jim Satya puts it, “It’s time to recognise the stars behind the scenes, the ones who make the superstars shine brighter. Through IRAA these stars are awarded and rewarded. A timely recognition of their talent, time and energy.”

Revolutionising India's Pro-Audio Landscape

Founded on the core values of innovation, customer-centric service, and robust engineering, N-Labs is an emerging leader in the Indian pro-audio manufacturing industry. In this article Founder and CEO, HEMAL BHATT has an

insightful conversation with PALM Expo Magazine. In Part 1 of this conversation, we explore N-Labs' journey, core values, strategic vision, and future aspirations for both the Indian and global markets. Under Bhatt’s leadership, N-Labs' unique approach combines decades of hands-on experience in the audio rental business and local manufacturing techniques, making them highly attuned to the challenges and needs of their customers.

A Legacy Built on Practical Knowledge

N-Labs' roots are deep within the Indian rental audio scene, where Hemal's father had been operating since the 1980s. This intimate understanding of real-world audio requirements helped N-Labs create products tailored to the needs of rental companies. The shift from being a rental service to a pro-audio manufacturing company in 2019 marked a pivotal moment for N-Labs. Hemal Bhatt emphasised, "N-Labs started when we were doing rentals. We faced so many problems in the amplification. When people used to have issues in repairing. That time, we started the N-Labs. So, being a part of a rental company, we have understood what are the challenges that the customer faces. And we have tried our best to make all the intervention of a human to a minimum. And we have been successful in developing an algorithm for our amplifiers as an innovation which prevents customers from facing speaker issues."

The company’s unique position as a former rental provider allows it to design products that alleviate the common pain points faced by other rental companies, particularly concerning after-sales support and product reliability.

Core Values: Innovation and Customer Service

At the heart of N-Labs is an unyielding commitment to quality and customer satisfaction. Hemal Bhatt explained that their focus on service extends beyond merely selling a product, "What makes us special is our after-sale service support. Now, if you are buying a product. Now if that product, whether by your mistake or ours, faces an issue, you don’t have to spend a single penny on that. Company will service it free of cost for you. "

The company's rental-friendly design philosophy further underscores this customer-first mentality. N-Labs ensures low maintenance costs and even offers free service for life, a significant factor for rental companies striving to maintain tight budgets. Bhatt stressed, "Our message is very simple for the rental companies. We will be providing free service to the customers. We will provide the service lifelong till N-Labs exist and all the people who are using our products, due to the nature of our product, their cost has been reduced, because of our free service, their product maintenance cost has reduced. Indirectly that is extra profit for those rental companies. We help them save funds, and whatever they save becomes profit. The amount you save because of N-LAB’s free service is your earning." This proactive approach helps clients reduce operational costs, making N-Labs products highly appealing in the competitive pro-audio space.

User-Centric Design Philosophy

At N-Labs, the design process begins with a detailed focus on how the user will interact with the product. Bhatt elaborates: " User First means that we keep in mind what customer is going to use, how he is going to actually use the product and how he will repair the product after he purchases it. The first

thing we start is how we will repair the product and what are the chances of the failure of the product during the show. This is how we inculcate the user first approach."

This combination of innovation and practicality makes their amplifiers the go-to choice for rental companies and live sound engineers.

Strategic Vision for the Future

As for the future, N-Labs is setting its sights high. Over the next three to five years, the company plans to expand globally, with the ambition of becoming India's largest exporter of pro-audio equipment. Bhatt explains, "We are going to expand more, and in the next three years, we will be the biggest manufacturer of pro audio in India and also the biggest exporter for pro audio in India."

While N-Labs has already made waves with its QLA Active Line Array and other audio solutions launched at the PALM Expo, Bhatt reveals that even more advanced systems are on the way, aimed not only at the Indian market but at international buyers as well.

The N-Labs QX, a revolutionary product

E-mail: info@n-labs.co.in

Website: www.n-labs.co.in

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CONFERENCE SERIES: PALM AES PANEL

EXPLORING ADVANCED RECORDING TECHNIQUES AND IMMERSIVE AUDIO PRODUCTION AT PALM EXPO 2024

Audio engineers, industry experts, and students gathered at the PALM Expo in May 2024 for an engaging session on Advanced Recording Techniques And Immersive Audio Production. Moderating the session was Stan Alvares (Hon. Secretary, AES India), spearheading the interaction between engineers and the broader audio industry, as well as fielding questions from an enthusiastic audience. The panel, composed of recording and production specialists, Chaitanya Chinchlikar (Vice President and Business Head, Chief Technological Officer & Head of Emerging Media, Whistling Woods International), Ishaan Jagyasi (Spatial Audio Specialist & Music Producer), P.A. Deepak (Grammy & Award-Winning Mix Engineer) and Vijay Dayal (Chief Sound Engineer, YRF Yash Raj Films). Read on to find highlights of the engaging discussion captured by the PALM Expo Magazine!

Drawing in professionals from the fields of mixing, recording, post-production, and audio engineering, Stan Alvares introduced the session’s focus on immersive audio, emphasizing its growing importance in various sectors such as music production, live entertainment, and post-production. “It’s wonderful to see you all here at this session on Advanced Recording Techniques For Immersive Audio Production,” Stan remarked, acknowledging the expertise gathered in the room.

UNDERSTANDING IMMERSIVE AUDIO: MORE THAN JUST MUSIC

Taking over the stage next, Chaitanya Chinchlikar, Chief Technology Officer at Whistling Woods, captivated the audience with his approachable style, immediately admitting, “I’m not an engineer by education, I’m a chartered accountant. Everybody does stupid things when they’re 21!” This light-hearted comment set the tone for an engaging and educational discussion Chaitanya explained that immersive audio is no longer a niche or futuristic

technology; it has become mainstream. He noted how immersive sound formats, such as Dolby Atmos, are ubiquitous – from recording to post-production to playback to home-video. “Immersive audio is mainstream. It’s no longer ‘I do sound & music, and I also do immersive audio.’ That ‘also’ is pretty much gone,” he explained. Today, it’s essential for audio professionals to embrace immersive techniques, from Ambisonics to head-locked spatial audio, in order to stay competitive.

THE CORE OF IMMERSIVE AUDIO: AMBISONICS

Chaitanya dove into one of the foundational concepts in immersive audio production: Ambisonics, a multi-channel spatial audio format. He clarified its distinction from other surround sound systems like Dolby and DTS, noting that Ambisonics creates a true three-dimensional / volumetric sound field as opposed to traditional spatial sound fields. “It creates an immersive, volumetric, three-dimensional sound field. If you want to do that in any space or even on headphones, there’s a particular workflow you need to follow,” Chaitanya emphasized.

He demonstrated the technical foundation of Ambisonics, breaking it down into first-order Ambisonics, which use four channels labelled W, X, Y, and Z. These channels capture sound from different polar patterns, creating a comprehensive 3D soundscape. Using visual aids, he showcased various Ambisonics microphones, including Sennheiser’s Ambeo and Zoom H3, which are commonly used for these recordings.

MIXING IMMERSIVE SOUND: ENTERING THE SOUND FIELD

Immersive audio mixing, according to Chaitanya, goes far beyond typical studio techniques. He introduced DearVR, a German platform now owned by Sennheiser, which allows engineers to mix sound directly within a 3D sound field. “You can literally drag and drop pieces of sound and position them all around you,” he explained. This innovative approach enables audio engineers to create more dynamic and engaging soundscapes.

Chaitanya also touched on the ability to head-lock sounds, meaning they remain in a fixed position regardless of the listener’s movement, or allow them to follow the listener’s head movements. This flexibility is particularly useful in applications like Virtual Reality (VR), where sound plays a critical role in guiding attention within immersive environments. “Sound is far more important in VR than visuals are, even though it appears to be a visual medium,” he emphasized, highlighting the profound role that sound plays in creating truly immersive experiences.

BINAURALIZATION: BRINGING IMMERSIVE SOUND TO THE AUDIENCE

Once an immersive soundscape is mixed, the final step is to binauralize it for playback on headphones. Binauralization is the process of converting 3D sound fields into two-channel audio, which can be perceived as spatially immersive through headphones. Chaitanya showcased tools that allow engineers to achieve this effect, ensuring that immersive mixes are accessible to listeners without complex audio setups. “A lot of composers, like A.R. Rahman, now record regularly in Ambisonics, ready for immersive sound playback in all formats, including Dolby Atmos or spatial sound for headphones,” he noted.

AMBISONICS AND ITS ACCESSIBILITY

The conversation started with a detailed look at Ambisonics, a spatial audio technology that allows for immersive sound recording and playback. Stan introduced Ishaan Jagyasi, who spoke about the ease of working with Ambisonics. “Ambisonics is something that you can actually just process on your computer and listen to on any kind of streaming platform,” Jagyasi explained, emphasizing that creating a binaural mix is relatively straightforward and can be experienced on everyday headphones.

He also highlighted the simplicity of the workflow, noting that the Ambisonics sound field can be distributed and accessed on streaming platforms without specialized hardware. This accessibility has made Ambisonics a popular choice among musicians and producers who want to deliver spatial audio experiences to their listeners.

DOLBY ATMOS: THE INDUSTRY STANDARD

While Ambisonics has its place in spatial audio, Dolby Atmos has become a dominant force in immersive audio production, especially in recent years. Jagyasi pointed out that major streaming platforms have embraced Dolby Atmos, leading to an influx of music being mixed in the format. “In the past two to three years, Dolby Atmos has become a big thing now. All major streaming platforms are starting to introduce Dolby Atmos,” Jagyasi said.

However, despite its growing popularity, Jagyasi voiced a concern about the current approach to Dolby Atmos production. He explained that many labels are using stereo files and applying a plugin called Nugen Upmix to create an Atmos mix, which often results in a less immersive experience. “People are releasing in Dolby Atmos, but it’s merely just a lot of labels taking a stereo file, then using Nugen Upmix to upmix it into a 7.1.4 format,” he shared, suggesting that this process diminishes the true immersive potential of Dolby Atmos.

THE

PROBLEM: MUSICIANS LEFT OUT OF THE DOLBY ATMOS

PROCESS

One of the key issues Jagyasi identified is that musicians are often not involved in the Dolby Atmos mixing phase. Typically, a stereo mix is created

first, and then the track is stemmed out and mixed into Dolby Atmos afterward. This separation between production and mixing means that musicians are not fully engaged in experiencing their music in a spatial format. “Musicians are not involved in this phase where they are actually mixing with the mixing engineer or experiencing the whole thing in Dolby Atmos,” Jagyasi explained.

A SOLUTION: RECORDING DIRECTLY IN DOLBY ATMOS

To solve this disconnect, Jagyasi proposed a novel idea: recording directly in Dolby Atmos. He suggested that musicians could be placed in a studio surrounded by 12 speakers, enabling them to monitor their music in real time within a spatial environment. “What if we move on from the stereo channel, and record in Dolby Atmos? Imagine a musician sitting in a studio surrounded by 12 speakers, listening to their music in a spatial format,” he said enthusiastically.

Jagyasi’s solution would involve setting up microphones in a 7.1.4 configuration, which corresponds to the typical Dolby Atmos speaker arrangement: three front channels, two stereo channels at ear level, two rear channels, and four top channels. “This would be the first step to record spatial audio for representation in Dolby Atmos,” he added, explaining the technical setup of placing mics perpendicular to the ear-level channels.

REAL-TIME MONITORING AND MIXING

One of the more exciting developments in immersive music production is the ability to mix and monitor in real time, which Jagyasi demonstrated using Ableton and the Dolby Atmos Spanner plugin. “You can assign objects in real time and send audio out from the DAW to the Dolby Atmos renderer, allowing musicians to hear their recordings in an Atmos configuration while performing,” Jagyasi explained. The flexibility of being able to mix multiple channels and assign specific sounds to different objects within the spatial field opens up creative possibilities that go far beyond traditional stereo mixing.

THE ROLE OF BINAURAL PLUGINS

For those without access to Dolby Atmos renderers, Jagyasi offered a practical workaround using binaural plugins. These plugins allow producers to place sounds in a spatial field, giving them a sense of how the track will sound in Dolby Atmos before sending it to a mixing engineer. “If I don’t have a Dolby Atmos renderer, I can use a binaural plugin, imagine my track in binaural, and then communicate that vision to the mixing engineer,” he said. This approach enables artists to remain creatively involved in the spatialization of their music, even if they lack access to high-end equipment.

THE FUTURE OF IMMERSIVE MUSIC PRODUCTION

As immersive audio technologies continue to evolve, the importance of real-time recording and monitoring in formats like Dolby Atmos will likely grow. Jagyasi’s insights at PALM Expo 2024 highlighted the potential for more engaging, spatially immersive music experiences, where musicians and engineers work together to create soundscapes that go beyond traditional formats. “You have so much space to work with. It’s one of the exciting things I wanted to talk about—it’s possible, and people should explore it,” he concluded, encouraging the industry to embrace these emerging technologies.

FROM MONO TO SURROUND: THE EVOLUTION OF MUSIC PRODUCTION

Reflecting on the transformation of audio recording formats, Vijay Dayal shared his thoughts on the journey from mono to stereo and beyond. “We came from mono to stereo. It was a big leap,” he remarked, noting that while stereo became the standard for decades, surround sound introduced a new dimension to audio experiences, particularly in theaters with formats like Dolby Atmos.

However, Dayal highlighted a challenge that arose with this advancement: “We were a little reluctant when it used to go to Dolby Atmos in theatres. My song is going there, and I’ve taken efforts to put that thing together to make it one cohesive piece. But in the process, it’s again splitting into multiple speakers, and the glue of the song goes away.” This concern, echoed by many producers, emphasizes the complexity of ensuring musical integrity when adapting tracks for immersive audio formats.

DOLBY ATMOS: AN OPPORTUNITY FOR IMMERSIVE MUSIC

Despite initial hesitation, Dayal praised Dolby Atmos as a “beautiful format” that allows listeners to experience music in ways previously unimaginable. “Now, with Dolby Atmos for music, you can go beyond stereo and actually experience the objects moving around you 360 degrees, even behind you,” he explained. The technology opens up endless possibilities, but the key to unlocking its potential lies in the way music is produced.

Dayal urged producers to take greater initiative in crafting tracks with immersive audio in mind from the outset. “If they produce certain things in that fashion, the mix engineer doesn’t have to think about it—everything will be ready,” he said, emphasizing the importance of collaborating between producers and engineers to enhance the overall experience.

INNOVATIVE MICROPHONE TECHNIQUES FOR SPATIAL AUDIO

Dayal also shared his experience experimenting with advanced microphone techniques, particularly with the Neumann KU 100, a binaural microphone resembling a human head. “I place that microphone between the entire string section or the rhythm ensemble, and the effect I get is fantastic,” he revealed. By capturing sound from the perspective of human ears, binaural recordings create a lifelike audio experience when played back on headphones.

He further explained how strategic microphone placement can enhance spatial audio, encouraging engineers to capture reflections and ambient sounds. “If you’re using the KU 100, you should keep it behind the musician, facing the wall,” he advised. This approach mimics the experience of standing behind the performer, allowing the natural acoustics of the room to contribute to the final mix.

For those without access to specialized binaural microphones, Dayal recommended experimenting with regular microphones: “You can use a pair of microphones facing the wall or place a large-diaphragm mic close to the ground near the percussion section. The results, especially in the subs, are fantastic.”

THE ART OF MIXING IN DOLBY ATMOS

Taking the discussion further, P.A. Deepak, a Grammy-winning sound engineer, shared insights into why immersive sound matters in modern music production. “Why do we need immersive sound?” he asked, acknowledging that many young engineers question whether it’s necessary to consider spatial audio during production.

Deepak explained that, while working on background scores for films, immersive audio—at least in 5.1 surround sound—has become increasingly important. “Most background scores are now spread out in 5.1 or even 7.1 stems,” he noted, adding that incorporating convolution reverbs (which replicate natural acoustic environments) allows for a more authentic and immersive sound.

When working on projects with A.R. Rahman, Deepak emphasized the need for meticulous attention to detail, especially in recreating how musicians would have played their instruments. “While mixing, every engineer has to think about how the musician would have played. For that, you need to listen carefully, pan creatively, and ensure the track replicates the live performance as closely as possible,” he said.

A JOURNEY INTO BINAURAL AND SURROUND SOUND

Grammy-winning sound engineer P.A. Deepak took the audience through his journey of experimenting with surround sound and binaural audio. He emphasized how immersive audio has transformed the listening experience, especially when transitioning from mono and stereo formats. Deepak shared his experience with a track called “Beparwah,” produced in 2013, where he integrated binaural plugins into the mix.

“I put a binaural plugin there and ran through whatever things I could go through,” Deepak explained. He described how binaural technology allowed him to create an expansive sound field that filled not just the left and right stereo spectrum but also the area behind the listener, creating a semicircular audio experience. “Your half semicircle is filled up,” he said, pointing out how pads, synths, and reverbs benefit from this approach.

Deepak also touched on the role of mastering, highlighting that Reuben Cohen from Lurssen Mastering in LA worked on the final mastering of “Bepar-

wah,” Cohen’s feedback on the track’s bandwidth confirmed the potential of binaural audio in enhancing stereo mixes, offering a richer, more immersive experience even on regular stereo systems.

OVERCOMING CHALLENGES IN SPATIAL AUDIO ADOPTION

Ishaan Jagyasi addressed a crucial question from the audience regarding the reluctance of musicians to adopt spatial audio formats like Dolby Atmos and binaural sound. He pointed out that the main hurdle lies in the disconnect between musicians and the technical aspects of audio production. “Musicians are just involved in the music-making and production process, but after that’s done, no one is going to the studio and seeing how the mixing engineer is mixing in surround,” Jagyasi explained.

He suggested that by integrating the surround aspect into the production phase itself, musicians could become more engaged and excited about the possibilities of immersive audio. “Why not just skip the whole stereo thing and move on to surround sound?” he proposed, encouraging a more hands-on approach from artists to understand and appreciate the potential of these formats.

THE FUTURE OF IMMERSIVE AUDIO: TECHNOLOGICAL INNOVATIONS

In a compelling segment, Chaitanya shared his insights into the future of immersive music production, recounting his experience with The Sphere in Las Vegas. The 17,500-seat arena features a 270-degree wraparound screen and cutting-edge sound technology from HOLOPLOT, which utilizes beamforming to deliver highly specific and directional audio. “They’re able to vectorize and direct audio to be as specific from 200 feet away as to keep a gap of eight inches between two sound fields,” Chaitanya said, marvelling at the precision of this system.

He explained how beamforming technology allows for multi-zone audio coverage, enabling different languages or audio tracks to be played simultaneously in distinct zones within the same venue. “You can walk from the English zone into the Spanish zone, and there’s an eight-inch gap in between where you hear both,” he described, showcasing the practical applications of this technology for large-scale events.

SPHERICAL HARMONICS: A GLIMPSE INTO THE NEXT DECADE

Looking further into the future, Chaitanya introduced the concept of spherical harmonics, a complex mathematical model that predicts the ability to create multiple spheres of audio within a single listening environment. This theory, which goes beyond traditional Ambisonics, suggests that listeners could one day walk through different “spheres” of audio, each offering a distinct auditory experience.

“Spherical harmonics forecasts that you’ll be able to create many spheres and people will actually be able to walk in from one sphere out of the other,” Chaitanya explained. While the technology is still in its early stages, he predicted that spherical harmonics could become a reality within the next 10 years, offering a glimpse into a future where immersive sound is not just a luxury but a standard part of the listening experience.

EMBRACING THE IMMERSIVE FUTURE

The discussions at PALM Expo 2024 highlighted the transformative potential of immersive sound technologies, from binaural audio to beamforming and spherical harmonics. As Vijay Dayal, P.A. Deepak, Ishaan Jagyasi, and Chaitanya emphasized, the future of music production lies in embracing these innovations and overcoming the barriers that prevent wider adoption. Whether through greater collaboration between musicians and engineers or advancements in audio technology, the path forward is clear: immersive sound is set to redefine how we experience music.

Toviewthefullconferencesession,visitthelink–https://www.youtube.com/watch?v=C9mMx_EPCmo HeadtothePALMExpoOfficialYouTubechannelforallconference videosonindustrypathbreakers!

Imparting cutting-edge solutions to Audio Engineering & Lighting Fraternity

Becket Tundatil Lighting Designer, Fireflies

Mankaran Singh Technical Director & Co-Owner, Men At Work

Shipra Venkatesh Technical Producer, BookMyShow and A R Rahman Live

Vijay Dayal Chief Sound Engineer at Yash Raj Films

THE INDIE MUSIC SCENE IN INDIA: A FLOURISHING WAVE OF CREATIVITY

The indie music scene in India has experienced remarkable growth over the past few years, evolving from a niche market into a vibrant and influential movement. Independent artists are not only reshaping the musical landscape but also redefining cultural expressions across the country. With the advent of digital platforms and social media, indie music has found a voice and audience that resonates deeply with the youth.

The Rise of Indie Artists

Emerging indie talent is making significant strides in the industry. Artists like Prateek Kuhad, whose soulful tracks have garnered international acclaim, and Ritviz, known for his unique blend of electronic music and Indian folk, exemplify the diverse sounds coming from the indie scene. Bands like The Local Train and When Chai Met Toast are also gaining traction, attracting audiences with their relatable lyrics and innovative soundscapes.

Notable collaborations and labels play a crucial role in promoting these artists. Labels like Saregama and Kota Records focus on nurturing new talent and offering them a platform to reach a wider audience. Events organized by Sofar Sounds and local initiatives like Tangy Sessions provide opportunities for indie artists to perform live, further establishing their presence in the music community.

The rise of streaming platforms like Spotify, JioSaavn, and Gaana has significantly enhanced the accessibility of indie music. This has allowed artists to reach audiences not just in urban centres but

across rural India, bridging cultural divides. Moreover, the recognition of indie artists in mainstream media is becoming more common, with platforms featuring their work and even including them in film soundtracks.

Indie Labels Making an Impact

One of the key players in the Indian indie music landscape is Pagal Haina, founded by Dhruv Singh and Lucy Peters. The label has become a pivotal force in promoting musicians who defy mainstream norms. Currently, they manage a diverse lineup, including well-known names like Peter Cat Recording Co., Lifafa, and Shantanu Pandit, as well as emerging talents like Run It’s The Kid and Rounak Maiti

Recently, the label has been recognized for its role in bridging the gap between indie musicians and broader audiences. Prateek Kuhad, who was previously signed with Pagal Haina, have achieved significant success, highlighting the label’s effectiveness in nurturing talent. This journey reflects the growing acceptance of indie music in India, with artists increasingly attracting large audiences both domestically and internationally.

As newer recording studios contin-

ue to evolve, it focuses on fostering a community of artists who support one another, aiming to create an environment that nurtures creativity and collaboration. The label’s commitment to diverse and innovative music positions it as a key player in the Indian indie music landscape.

Indie Music Festivals: Celebrating Diversity and Talent

India’s indie music scene is thriving, and the rise of various music festivals is a testament to this cultural renaissance. These festivals not only showcase emerging talent but also provide a platform for artists to connect with fans and collaborate with one another. Here’s a look at some of the most prominent indie music festivals in India:

1. NH7 Weekender

One of the most recognized indie music festivals in the country, NH7 Weekender, began in 2010 and has since grown into a multi-city event. Featuring a diverse lineup that spans various genres—from rock to electronic—NH7 has hosted both local and international acts. The festival is known for its vibrant atmosphere, complete with art installations, food stalls, and interactive experiences, making it a holistic celebration of culture and creativity.

2. Ziro Festival of Music

Set against the stunning backdrop of Arunachal Pradesh, the Ziro Festival of Music is a unique blend of music and nature. Founded in 2012, this festival focuses on promoting independent artists, particularly from the northeastern region of India. Attendees can expect an eclectic mix of folk, rock, and experimental music, along with local cuisine and the chance to immerse themselves in the rich cultural heritage of the area.

3. Magnetic Fields Festival

Held in the breathtaking Rajasthani desert, Magnetic Fields Festival is an immersive experience that combines music with art and culture. Launched in 2013, this festival features a mix of genres, including electronic, indie rock, and folk music. The unique setting and emphasis on artistic expression make Magnetic Fields a must-visit for music lovers seeking something different.

4. Sunny Side Up Festival

A newer addition to the indie festival scene, the Sunny Side Up Festival focuses on promoting emerging artists while providing a platform for established names. The festival emphasizes the importance of local culture and sustainability, featuring eco-friendly practices and community engagement. The lineup often includes a mix of genres, highlighting the diversity of the Indian indie music landscape.

In conclusion, the indie music scene in India is on an upward trajectory, characterized by a diverse array of genres and talents. With increased visibility, support from labels and the power of digital platforms, indie artists are carving out their space in the cultural fabric of the nation. As they continue to gain recognition, the future looks promising for this dynamic and creative community.

All recorded labels are requested to share new releases with the PALM Expo team if they wish to get featured in the ‘Unequal Music’ column as the team explores the voice and talent of budding artists in this recurring feature. To share releases for this column, contact: Shanaya Sequeira shanaya.sequeira@hyve.group

The official poster for the upcoming NH7 Weekender, one of the leading Indie concerts, taking place in December 2024

PLS INSTRUMENTS EXPANDS WITH COMPULITE LIGHTING CONTROLLERS DEALERSHIP

PLS Instruments Stage Lighting announced a significant expansion of its product lineup with a new dealership of Compulite Lighting Controllers. This strategic partnership marks a pivotal moment for PLS Instruments, promising to deliver advanced lighting control solutions and enhance their already impressive array of lighting products.

A New Era of Lighting Control

PLS Instruments has long been a respected name in the professional lighting industry, known for its high-quality stage lighting solutions that cater to diverse applications, from theatrical productions to largescale events. The addition of Compulite Lighting Controllers will further bolster PLS’s offerings, providing cutting-edge technology that meets the growing demands of modern lighting design.

Compulite, one of the established leaders in lighting control systems, is renowned for its intuitive and robust solutions. Their products are widely used in prestigious venues and high-profile events across the globe. This partnership aligns perfectly with PLS Instruments’ commitment to offering the best in lighting technology.

AVOLITES

The new dealership will provide PLS Instruments’ customers with access to a range of Compulite’s top products, including:

• Vibe: These consoles are celebrated for their user-friendly design and powerful capabilities. They offer seamless control for complex

streamlined package.

• CompuDim Systems: Known for their precise control over lighting intensity, the CompuDim Systems allow for smooth transitions and dynamic effects, essential for creating engaging and flexible lighting environments.

lighting arrangements, making them a favorite among lighting professionals.

• Dlite Series: Compact yet powerful, the Dlite Series controllers are ideal for smaller venues or events where space is at a premium. They provide essential features in a

Meeting Modern Needs

The integration of Compulite’s advanced controllers into PLS Instruments’ product lineup addresses the increasing need for sophisticated lighting solutions. Whether for theatres, concerts, broadcast studios, or corporate events, Compulite’s

LAUNCHES UPDATE FOR TITAN REMOTE APP

Avolites has announced an update to its Titan Remote App, offering a major performance boost and expanded functionality. This update marks a key enhancement to the previous version, available now for download on both the Google Play Store and Apple App Store.

The Titan Remote App works seamlessly with Avolites lighting consoles

running Titan software, enabling lighting control from a mobile phone or tablet. By connecting through a Wi-Fi network using an external Wireless Access Point, users can remotely control any Avolites lighting console from their Android or iOS device. This functionality is invaluable for lighting designers, directors, and operators, particularly during rigging, testing,

and focusing of fixtures.

One of the app’s standout features is its ability to allow multiple devices to connect to the console simultaneously, with each remote device having a separate programmer. This capability allows the console operator to continue working independently while another user makes updates or runs palettes from a remote location. This

technology will provide the precision and versatility required for diverse production environments.

Support and Training

PLS Instruments is committed to providing comprehensive support and training alongside its new product offerings. The company will offer in-depth training programs and technical assistance for all Compulite products, ensuring users can fully leverage the capabilities of their new equipment.

“We know that adapting to new technology can be a challenge. That’s why we’re dedicated to offering extensive support and training to help our customers get the most out of their Compulite controllers. Our goal is to make the transition as smooth and beneficial as possible,” said Mayank.

Prospects

The new dealership with Compulite represents a major milestone for PLS Instruments as it continues to expand and enhance its product offerings. This partnership is a testament to PLS Instruments’ ongoing commitment to innovation and excellence in the lighting industry.

is particularly useful in settings where direct console access is impractical, such as when the front-of-house view is obstructed or distant from the stage. The latest update also introduces a local emulator, allowing users to test or demonstrate the app without needing a physical console connec-

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The addition of Compulite Lighting Controllers will further bolster PLS’s offerings, providing cutting-edge technology that meets the growing demands of modern lighting design

VMT HOSTS AYRTON DAYS: SHOWCASING THE LATEST IN LIGHTING INNOVATION

VMT held Ayrton Day, a twoday event at their headquarters, drawing attention from top engineers, rental companies, and industry professionals. The event focused on showcasing the latest lighting technology by Ayrton, one of the leading French entertainment and digital lighting manufacturer renowned for illuminating global landmarks such as the Louvre Museum and high-profile concert tours.

As Ayrton’s exclusive distributor in India, VMT presented a comprehensive demonstration of the brand’s product range.

The display included Huracán, Diablo, and the Zonda 9 FX, flagship products known for their cutting-edge performance and technological advancements. The event was divided into two main parts: a product demonstration and a detailed exploration of Ayrton’s latest innovations.

Industry experts in attendance had the opportunity to experience Ayrton’s products firsthand, with insights provided by David P from Ayrton’s Singapore office, who played a key role in designing the event and presenting detailed product overviews. VMT’s Clinton Mascrehas offered technical support throughout the event, ensuring smooth demonstrations for all participants.

Ayrton Days provided an opportunity for professionals to explore the latest developments in entertainment lighting and gain a deeper understanding of Ayrton’s commitment to innovation in the industry.

CLAYPAKY DEBUTS NEW LIGHTING PRODUCTS AT PLASA 2024

Claypaky unveiled its latest lighting innovations at the PLASA Show 2024, held at Olympia London from September 1–3. The event, known for showcasing cutting-edge technology in live entertainment, provided the platform for the debut of “Welcome to Wonderlight,” a collection of new products from Claypaky.

One of the highlights was Tambora Rays, a lighting fixture designed for volumetric effects and single

pixel mapping. With 27 individually controllable RGBWW LEDs, Tambora Rays offers flexibility in creative lighting design. Its compact structure allows for varied configurations, including stage borders or flying bars, and it can be combined with other products in the Tambora range for dynamic visual effects.

The company also introduced Tambora Stormy,

a modern pixel-mappable strobe light featuring high-performance SMD RGBW LEDs. Designed for fast feedback and wide-angle projections, it offers precise color control across 27 segments, enhancing its versatility in both horizontal and vertical setups. Additionally, Mini-B Sparky Aqua, a compact IP66-rated mini moving-head, was showcased. This fixture is suited for

Various industry experts lent their insights on the topic. Viraf Pocha quoted, “Ayrton’s Led fixtures throw an almost tungsten like warm glow that creates visuals unlike any other LED source. Very exciting to use either as a stand-alone or to reserve a special moment within a larger rig.”

David Prakash, Product & Application Manager from Ayrton expressed positive aspirations about the event saying, “Ayrton’s technology redefines what’s possible in lighting design, with unmatched precision and creative potential.”

indoor and outdoor use, featuring RGBW LEDs arranged in concentric circles for wide flood effects and extreme strobe capabilities. Its rugged design and high performance make it adaptable for various lighting applications, from concerts to architectural lighting.

Claypaky’s new products demonstrate its commitment to innovation and advanced lighting technology in the entertainment industry.

AVOLITES LAUNCHES UPDATE...

tion. This feature is compatible with Titan versions 16, 17, and the upcoming version 18, with future compatibility offered through app updates rather than separate downloads.

Paul Wong, Managing Director of Avolites, emphasized the company’s

(Continued from page 57)

ongoing commitment to innovation, saying: “We’ve really focused on delivering a great experience for our users with this update, and are committed to continuing development of the best control software in the market, which is fast, intuitive, and fully featured.”

Key functions of the Titan Remote App include the ability to select and control fixtures, modify attributes like pan/tilt, update and apply palettes, record and play cues, use command-style fixture selection, control intensity, create quick Sketch Legends,

and view DMX address patching. This update represents a significant advancement in Avolites’ product line, offering greater flexibility, ease of use, and enhanced performance for lighting professionals working in various environments.

Claypaky’s newly unveiled Tambora Rays, a single pixel mapping lighting fixture

The Tambora Stormy, Claypaky’s newest high performance strobe light

The Mini-B Sparky qua turned heads with its mini moving head feature

LIGHTING INSTALL: CONVENTION CENTRE

ILLUMINATING TRADITION: CANARA LIGHTING’S VISIONARY PROJECT AT VARANASI

In the ancient city of Varanasi, where tradition and modernity converge, a unique symbol of Indo-Japanese collaboration stands tall, the Rudraksha International Cooperation and Convention Centre (RICCC). This architectural marvel isn’t just a building, it’s a representation of the enduring partnership between India and Japan, blending cultural depth with technological advancements.

At the heart of this monumental space lies a sophisticated lighting system, crafted to illuminate both the venue and the rich cultural heritage it embodies. The innovative lighting design by Canara Lighting, one of the leading name in professional lighting solutions, exemplifies Indian manufacturing expertise on the global stage.

Indo-Japanese Partnership: A Testament to Friendship

Inaugurated by Prime Minister Narendra Modi on July 15, 2021, the Rudraksha Convention Centre stands as a symbol of friendship and cooperation between India and Japan. Financed by a generous grant-in-aid from the Japan International Cooperation Agency (JICA), this $28-million project encapsulates the spirit of bilateral collaboration. Designed to resemble a Shiva Lingam and adorned with 108 Rudraksha beads, the centre was built by a Japanese construction firm with the goal of bridging cultural and economic ties between the two nations. Canara Lighting was chosen to bring its worldclass lighting expertise to the project, setting a new benchmark in stage lighting for venues of this scale. The company’s Managing Director, Mr. Ajeet

Khare, expressed pride in Canara Lighting’s involvement: “We feel honoured to be associated with this prestigious project. A Japanese firm that built the convention centre at a cost of INR 186 crores was aware of the achievements of Canara Lighting and hence chose us for the stage lighting system.”

Canara Lighting’s State-of-the-Art

Design

When it came to the convention centre’s stage lighting, Canara Lighting’s approach was to go beyond illumination—creating a system that integrates seamlessly with the architectural and cultural narrative of the venue. The solution provided by the company is nothing short of revolutionary in its scope and execution. The auditorium, designed to accommodate over 1,200 guests, required lighting that would enhance not only performances but also the visual grandeur

Rudraksha International Cooperation and Convention Centre illuminated by Canara Lighting

of the space. Canara Lighting stepped up, delivering over 300 sophisticated light fixtures, each meticulously designed and manufactured at their Mangalore facility. The installation included RGBW profile spots, LED wash lights, and RGBW PAR lights, all of which were integrated into a versatile, motorised rigging system.

Key Features of the Lighting System

The lighting system at the Rudraksha Convention Centre combines cutting-edge technology with sustainability, featuring power-efficient LED fixtures that significantly reduce energy consumption without sacrificing performance or visual impact. Canara Lighting’s innovative design includes a remote-controlled partition curtain system, allowing the auditorium to be reconfigured easily for events of various sizes, from intimate gatherings to largescale conferences. Safety is a top priority, with all stage machinery and rigging systems incorporating rigorous safety protocols, thoroughly tested to ensure smooth operation. The entire setup, including lighting and curtains, can be controlled remotely, offering unmatched flexibility for live events. A standout feature is its power-free operation capability, enabling essential stage utilities to function independently of the power supply, ensuring both reliability and convenience during performances.

Crafting a Legacy: The Mangalore Facility

The lighting system installed at the Rudraksha Convention Centre was entirely designed and manufactured at Canara Lighting’s world-class facility in Mangalore. This is where the company’s expertise in innovative lighting solutions comes to life, blending cutting-edge technology with the precision of Indian craftsmanship.

From concept to execution, every detail of the lighting system was carefully planned, ensuring it met the exacting standards required for a project of this magnitude. The commitment to quality didn’t end with the design phase— Canara Lighting sent a team of highly skilled engineers to Varanasi to oversee the installation process. This hands-on approach ensured that every component was perfectly integrated into the venue, enhancing its functionality and aesthetic appeal.

Collaborative Success: Working with International Teams

Executing a project of this scale required coordination between multiple teams, ranging from sound and lighting to air conditioning and general construction. Canara Lighting’s ability to collaborate effectively with these various groups was a key factor in the project’s success. Their clear communication and comprehensive documentation ensured a seamless workflow, earning praise from the Japanese partners for their professionalism and timely completion. Masataka Ota, General Manager of Fujita Corporation, praised Canara Lighting’s work, noting their adherence to design specifications and timely delivery. “The work executed by Canara Lighting is as per the design & specifications. We are very much satisfied with the way they have delivered and installed the entire stage lighting system. We appreciate their efforts in using their resources effectively and for arranging expert Engineers for installation. The stage lighting system is performing very well to our complete satisfaction.”

Overcoming Technical Challenges

The Rudraksha Convention Centre project exemplified the complexity and technical expertise required for a world-class lighting installation, which Canara Lighting delivered with precision. Central to this was the stage lighting system, featuring over 300 LED lights that provided a visually stunning and versatile ex-

perience. Recognizing the importance of front-of-house lighting, Canara Lighting designed a fixed light bar that allows for safe, easy access to critical lighting positions, ensuring optimal control and maintenance. To handle the rigging needs, the team installed a manual double purchase counterweight system, an advanced solution that maximizes stage utility where vertical space is limited. This system enables the efficient operation of set bars, curtains, and screens with minimal effort. In terms of motorized solutions, Canara Lighting implemented line shaft hoist-type winch systems for stage and proscenium lighting, as well as pile winding-type winches for side lighting, each tailored to the specific demands of the venue with adjustable speeds and capacities. Further showcasing their expertise in electrical engineering, the project included a 400A dimming system control panel, a 100A carry-on power supply panel, and an 11-way MCCP & RCP with VFD option, ensuring robust electrical management across the entire system. Additionally, the Rudraksha Convention Centre was equipped with a comprehensive curtain system made from Inherent Flame Retardant (IFR) materials, paired with an HD cinema screen, offering flexibility for a variety of performance and presentation settings.

The Prime Minister’s Seal of Approval

The importance of the Rudraksha Convention Centre was underscored by Prime Minister Narendra Modi during the inauguration ceremony. In his speech, he highlighted the venue’s potential to host spiritual, cultural, and commercial events of both national and international significance. The advanced facilities, including the state-of-the-art lighting system by Canara Lighting, play a crucial role in showcasing the rich cultural heritage of Varanasi to a global audience.

Overcoming Challenges: Installation Amid a Pandemic

Perhaps one of the most impressive aspects of Canara Lighting’s achievement at the Rudraksha Convention Centre is that the installation was completed during the peak of the Covid-19 pandemic. Amid lockdowns, travel restrictions, and health concerns, the team demonstrated exceptional resilience and adaptability. Working under tight deadlines and extreme weather conditions, Canara Lighting implemented strict safety protocols to ensure the health and well-being of their staff while maintaining the high standards required for the project. Despite these unprecedented challenges, the team completed the installation on time, further solidifying Canara Lighting’s reputation for delivering under pressure. Prasada Rao, the Sr. General Manager who led the project, reflected on the challenges faced during the installation: “It was a test of our resolve and expertise. Despite the obstacles, we managed to maintain our high standards of quality and precision.”

Pushing the Boundaries: Canara Lighting at PALM Expo

Following the success of the Rudraksha project, Canara Lighting continues to innovate, as demonstrated by their participation in the PALM Expo. At this premier industry event, the company launched three cutting-edge products: the PALM Light, Canglo CCT, and Octapanel. Each product showcased Canara Lighting’s commitment to pushing the boundaries of professional lighting technology, providing versatile and efficient solutions for modern lighting professionals.

At the same event, Pawan Acharya, Manager at Canara Lighting, presented the company’s latest product catalogue. The aim is to empower clients to make informed decisions with ease regarding their lighting needs.

Canara Lighting’s contribution to the Rudraksha International Cooperation and Convention Centre stands as a testament to their expertise and commitment to excellence. From overcoming the logistical challenges posed by the pandemic to collaborating with international teams, Canara Lighting delivered a lighting solution that not only illuminates the space but also reflects the rich cultural and technological synergy between India and Japan.

In a world where ‘Made in India’ is more than just a label, Canara Lighting continues to lead the way, proving that Indian companies can excel on the global stage with innovation, quality, and perseverance.

The stage at RICCC lit with Canara Lighting’s revolutionary light bars and advanced rigging systems

Screens are everywhere. Life is in perpetual motion. Sometimes Engaging, Sometimes Distracting. Usually Arresting.

Screen time is almost equivalent to waking time. Wake up, morning clean up, commuting to work, WORK, time pass at work (it happens bosses. dare you to curb it), downtime after work, commute home all the way down to Goodnight kiss.

Be honest - what’s the last thing you do to signal the day is done. Prayer, goodnight kiss to loved ones or phone to charge?

To ensure you’re connected the moment you awaken.

Time was you made plans, spent money, evening out and you spent a few hours ‘Parde ke Samne’.

Then the TV arrived. Initially the family came together around it. Not ideal, because nobody spoke. But moms and grand moms could get their moments of fussing and lecturing in during commercial breaks.

The powerful decided that the public needed more. Longer hours, more channels. Suddenly every room had a TV. Family Splinter. Moms and grand moms needed their own downtime fix. Prayer time, family discussions became an ordeal usually ending with – ‘Serial starting. Are we done?’

Sometimes a good thing as babbling elders were cut off and uncomfortable decisions were hurried through to make the soap deadline.

Then the revolution as that innocent black and white crystal display on phones that confirmed which number you had dialled swallowed up the entire instrument. The screen swallowed the buttons, and then as soon as you were done with buttons, you cast them aside and were presented with a range of options.

What do you want to know?

Important stuff like – Do I carry an umbrella today? to ‘Who was

SCREENS

wicket keeper during the 1945 cricket match at some obscure club?’

Where do you want to go? How?

Walk (Nooooo), Train, Bus or Taxi. Which Size?

Until a short while ago screens equalled Entertainment. Today screens are Utility First.

Our main source of information. Instant. As in Travel Ports, Traffic intersections.

Daily – as in news & information. To stay abreast with the world and in some cases the bedrock of your occupations. Stockbrokers, Hospitals, Public Advertisements for products.

And for the basis for research and analysis for serious professions like Law, Research and perhaps most vital – in our Defence services.

Finally – most relevant to us –Screens have taken over the Entertainment space. Totally.

They bring the ‘Blockbuster’ element to even the smallest entertainment exercise. On one hand entire sections of the stadium are blanked out with massive screen that magnify every detail to the punter at the back row of the football stadium. You can hear a live piece that is created in front of you and watch every detail as it happens. Yes all 90,000 of you.

Weddings can now involve you in every detail without the need to queue up and shake hands with the couple.

Even smaller events continue to innovate how and where to place screens. Often times the conference backdrop in a 200 seater room is a massive LED screen where the speaker dominates the space when you can engage with the live person a few feet away.

That is what this roundabout road is actually heading to.

To break it down, understand and explore how screens can be used most effectively within the live event space.

The first fact that I take great pains to establish is that screens are blue light as opposed to natural warm light. Remember they are diodes and don’t conform to physics principal of light and heat being insepa-

by Viraf Pocha

rable within a larger chemical reaction (simplifying here. Yup exceptions exist. Not relevant to Event Spaces).

Regular Lights Radiate light. LED(iodes) emit. (Please let’s not get side-tracked with details here).

Yes – technology has progressed and LED’s are slowly being designed to reflect the same colour temperature as incandescent light. Worth remembering that with LED – that’s a choice we have made. To change the quality of incandescent light we must add an external filter.

from most seats. Necessary evil perhaps.

Why is this relevant? C’ause screens have a characteristic that is markedly different from real life. Especially when both objects fall into the same field of view. This gets exaggerated when the object (person) is close to the screen so we can see the larger screen pixilate.

We’ve all seen it. Mostly ignore it. Usually there is a battle between fitting the largest screen possible into the limited space available. So, where do you ideally place the screen?

Let’s consider conferences first. Traditionally when we had projection screens that usually only offered the PPT presentation the speaker stood off to the side with the presentation besides him. The audience could capture both in one field of view. Sadly, the presenter could not engage with the screen so buddy monitors were set up so he could see the presentation on a screen placed at his feet.

Personally I was in favour of the screen embedded into the podium top – maybe under a glass plane where presenter could place notes etc. In my opinion – worked best. But was unwieldy as podium designs kept changing and this custom fit was always expensive.

Now with LED screens – usually the LED forming the backdrop is most popular. While I understand the practicality of the solution, I cannot agree with its effectiveness.

For one – event halls in India are usually short. Chandeliers and ceiling decoration get in the way. So, the lower part of the screen gets cut off

I am talking about audience engagement. Feature is that today conferences are getting longer and longer. Schedules are getting packed. In my view this has dramatically dropped attention spans. Large screens too lead to visual fatigue.

Look at TED talks. Study its layout and format. They have struck an effective formula. I think we can learn from the layout.

Onto Music & Festivals.

The reality today is that we SEE music. Feel It. Experience it. All of today’s Buzzwords. We’ve stopped listening to it. Our obsession with screens could be suspended for a while as we LISTEN to music. But Nooo – we drag screens into the concert hall. I understand the need in Stadiums and arenas. Why do we need screens in clubs? Sometimes you notice a musician labouring away and the screens around the club blasting silent visuals totally disconnected with the live musician. What does that do to music?

When the music and concert industry start betting and investing on visual artists. Have you noticed the cult of DJ diminishing?

Shorter shelf lives, less intense following. Outside of the cult followers – are DJ’s even discussed?

In my view this is almost definitely due to screens capturing attention for concerts. Visual artists like Afterlife are flourishing. Where the video content makers are very much a part of the band.

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MUMBAI MUSIC INSTITUTE PVT LTD HOSTS SUCCESSFUL LIVE SOUND ENGINEERING MASTERCLASS

Mumbai Music Institute Pvt Ltd (MMI), located in the heart of the music industry in Mumbai, is renowned for its dedication to high-quality music education. Founded by Arvind Vishwakarma, MMI offers a range of courses that are creatively designed to adapt to evolving technology, ensuring students receive the most relevant education for thriving in the music industry. The institute emphasizes individualism and provides personal attention to each student beyond the duration of their courses. Students benefit from frequent interactions with top industry artists and gain invaluable insights from faculty members, who are seasoned professionals with extensive experience and knowledge. MMI also enhances practical learning through initiatives such as Workshops, Super Saturdays, MMI Connect, and rehearsals in the MMI Stage Jam Room, offering a comprehensive exposure that is especially beneficial for aspiring musicians navigating their future prospects.

The vision behind the Live Sound Engineering Masterclass was driven by the need to address gaps in the industry. Many individuals investing in live sound equipment, lack formal training and, despite initial success, often struggle due to insufficient knowledge. The 12-day Masterclass featured a series of sessions led by industry professionals, offering practical and advanced knowledge in live sound engineering. Detailed information about these sessions,

including PDFs, videos, and images, was available through various resources. The Masterclass saw students participating from different states across India. The sessions were highly interactive, with attendees, primarily studio sound engineers or live sound vendors, actively engaging with the faculty through numerous questions, which were addressed thoroughly.

Testimonials from industry professionals about the Masterclass,

the attendees, and the course curriculum were shared in a PDF and video format, providing further insights into the program’s success and impact. The Live Sound Engineering Masterclass at Mumbai Music Institute successfully achieved its goal of offering specialized, efficient training to professionals, enhancing their skills and knowledge in the live sound industry.

TWAUDIO CONDUCTS COMPREHENSIVE TRAINING FOR SOUND ENGINEERS IN BANGALORE

On August 6th and 7th, TWAUDiO hosted a Level 1 product training event and Demo Day in Bangalore, India. The training aimed to enhance the skills of sound engineers, users, and planners by providing in-depth knowledge of TWAUDiO products and sound reinforcement systems.

Participants received a detailed introduction to TWAUDiO’s loudspeaker series, including the acoustic differences between Point Source models and Line Arrays. The training included simulations of real-world sound reinforcement scenarios using EASE Focus 3 software, with configurations transferred to amplifier system software platforms such as Dynacord/Sonicue and Powersoft/

Armonía for practical application.

The training covered various topics, including subwoofer configurations

in cardioid, end-fired, and omni modes, as well as system calibration, phase alignment, impedance

testing, and system tuning. Rigging and accessory options were also discussed.

The event was led by trainers Tobias Goldmann and Thomas Vestergaard, with Krishna Singh from TWAUDiO India as the host.

Participants engaged actively, gaining valuable insights and practical experience. The event also received support from Shashank and Keerthi of the Blitzk. AV Team for their planning, and Nikhil Kumar and Jai Shri Shruthi were recognized for their live singing and mixing, which enhanced the event experience.

TWAUDiO expressed appreciation to the attendees for their participation and to the various contributors who supported the event.

Learning from the Legends of Live Sound: Amey Londhe, Arvind Vishwakarma, Ashish Saksena, Mark Thomas, Tarsame Mittal, and Vijay Dayal among others

Tobias Goldmann and Thomas Vestergaard leading the dynamic session with a captivated audience

COMCON CONCLUDES A SUCESSFUL YEAR WITH STRONG PARTICIPATION AT INFOCOMM AND BROADCAST INDIA 2024

Comcon, one of the most prominent suppliers of Audio, Video, Networking, and Connectivity solutions, has successfully wrapped up its participation in two key industry events this year: InfoComm 2024 and Broadcast India 2024. These events focused on the Pro AV and Broadcast markets, respectively, marking significant milestones for the company’s growth and innovation.

At InfoComm 2024, Comcon debuted its installed AV system solutions tailored to sectors such as Corporate, Education, Hospitality, and Government. The company showcased a range of connectivity solutions that address the rising demand for high-performance AV

range of solutions that focus on connectivity between installed AV systems, meeting the critical needs of professionals in the AV industry. The feedback from industry professionals was overwhelmingly positive, and we are excited about the future opportunities in this growing market.”

Shortly after InfoComm, Comcon participated in the Broadcast India event, this time focusing on broadcasting solutions for the Radio, TV, and OTT sectors. The company displayed a variety of products, including connectors, cables, playout software, and mixing desks. A notable highlight was the introduction of new partnerships with Multidyne

signal distribution and management, and the BI2024 show was a great

With both events behind them, 2024 has been a pivotal year for Com-

The Comcon and Neutrik Team at InfoComm India 2024

Industry News

HYRISS: L-ACOUSTICS’ GROUNDBREAKING AUDIO SOLUTION FOR IMMERSIVE SOUND DESIGN

L-Acoustics unveiled HYRISS (Hyperreal Immersive Sound Space), a transformative audio system that aims to redefine how sound is integrated into space design. HYRISS represents a paradigm shift by elevating audio to a key element in creating emotionally resonant environments, equal in importance to visual aesthetics.

In a world where visual design often takes precedence, HYRISS changes the narrative by making sound an integral part of architectural and interior design. Combining L-Acoustics’ state-of-the-art hardware, software, and services, this innovative system delivers high-quality, adaptable soundscapes for a variety of settings, including luxury residences, yachts, corporate spaces, and high-end hospitality venues.

“For too long, the audio experience has been secondary to visual aesthetics in the design of spaces,” says Scott Sugden , Director of Product Management, Solutions at L-Acoustics. “With HYRISS, we’re changing that narrative. We’re providing designers, architects, and engineers with the tools to create spaces that are as sonically captivating as they are visually stunning, evoking profound emotions and creating exceptional experiences through the art of sound.”

HYRISS enables complete sonic control, allowing environments to be tailored for various experiences. Whether creating a calm, meditative atmosphere or transforming the

space into a lively entertainment venue, HYRISS eliminates the need for dedicated media rooms. With its capacity to deliver concert-hall-level sound, the system seamlessly transforms spaces, offering flexibility for any event or mood.

HYRISS supports a range of audio formats, from simple mono sound to Dolby Atmos soundscapes. Its three-dimensional loudspeaker network delivers high-resolution sound, offering acoustic comfort and exceptional clarity. The system is designed to enhance presentations, immerse listeners in music, and adapt to a venue’s acoustics for various activities.

By incorporating discreet in-wall speakers, advanced spatial audio processing, and powerful amplification, HYRISS achieves concert-qual -

ity sound while maintaining visual elegance. This integration elevates the sensory experience, engaging audiences on both auditory and emotional levels.

The L-Acoustics Showroom in London displaying the HYRISS System Core Technologies of HYRISS HYRISS harnesses three key L-Acoustics technologies to create an unmatched audio experience:

1. L-ISA provides precise instrument positioning, recreating a live concert feel.

2. Ambiance uses sensing microphones and the L-ISA Processor II to adjust room acoustics.

3. Anima leverages advanced algorithms and machine learning to spatialize and immerse audio, transforming ordinary sound into extraordinary experiences. Sugden highlights the system’s

flexibility: “HYRISS transforms static spaces into dynamic experiences, matching the mood of every occasion and creating a true temple for sound. With HYRISS, every space becomes a stage for extraordinary auditory experiences, capable of stirring deep emotions and creating lasting memories.”

Each HYRISS installation is customised to meet the specific needs of the space and its intended use. Certified experts collaborate with system integrators and clients to define the desired acoustic experiences, ensuring each installation is optimized for performance and budget.

With HYRISS, L-Acoustics pioneers a new era of spatial design where sound plays a central role in shaping immersive, multi-sensory environments.

Is that a trend that will now force the VJ’s out of their studios and will set up consoles alongside the DJ boys ON the concert stage.

How many lighting designers dream of replacing the lead singer of a band and operate a lighting show with them on centre stage. That can’t be very far off now.

Within stadiums and arenas where

(Continued from page 64)

the artist diminishes to a few inches within a massive stage set, Screens are necessary. But what is their function?

To visually amplify a musician’s skill as he plays an instrument for tens of thousands of people.

Or enhance the music with complementary visuals?

A dilemma that has no correct answers. Depending solely on the performers charm and ability to engage an audience. Bruce Springsteen fills screens with his impish

face. Pink Floyd never shows a face. Though David Gilmour does step out a bit. In my opinion U2 strikes the perfect balance.

Totally subjective, but only stating here to indicate the different styles that can be used. All of the above enhance the audience experience. That is the main thing.

Within an event space to distract the entire audience away from their personal screen and keep them glued to the holistic performance on stage,

within which the screen is only an element that ties together an audiences experience. This must work on multiple levels though. To engage both the casual visitor and draw them into our world as well as appeal to the aficionado to keep him hooked to his love of the art and artist.

Watch the screen event bhai log (Pun intended). Keep it in control or you run the risk of being run over by its size and reach. Pretty much as its done our daily lives.

A view of the new L-Acoustics HYRISS Installation in France displaying the loudspeaker placement

SENNHEISER GROUP INVESTS IN SOFTWARE INNOVATOR SHOW CODE TO DRIVE DEVELOPMENT OF SOUNDBASE

The Sennheiser Group has announced its investment in Show Code, a U.S. based software company specializing in custom applications for the live event industry. The partnership aims to accelerate the development of SoundBase, a powerful tool designed to streamline audio project management in live productions.

Sennheiser, known for its industry-leading audio solutions, continues to strengthen its position in the professional audio market with this strategic investment.

Co-CEO Daniel Sennheiser emphasized the company’s focus on sustainable growth, “We want to grow sustainably as a company. In addition to investments in our existing business, this also includes investments in promising future fields outside of our company.”

Show Code, founded by Matthew Dale and Donald Kuser, has earned a reputation for delivering innovative, customer-centric software. The company’s signature product, SoundBase,

offers a range of features tailored to meet the complexities of live event management, such as multiple wireless link support, easy collaboration, offline access, and real-time reporting. Andreas Sennheiser, Co-CEO of

Sennheiser, stated, “We believe that SoundBase has the potential to emerge as the most significant software platform in the professional live industry.”

Though aligned with Sennheiser’s vision, Show Code will continue to operate independently, with plans to remain vendor-agnostic. This move underscores both companies’ shared goal of simplifying event management and delivering remarkable sound experiences across all types of live productions.

SoundBase promises to offer comprehensive support for event professionals, from small gatherings to large-scale productions, revolutionizing how audio teams plan and execute live shows.

INVESTINDUSTRIAL ACQUIRES RCF GROUP TO DRIVE GLOBAL EXPANSION

Global Sound Technologies Participations S.à r.l. (“Investindustrial”), an investment arm of Investindustrial-managed funds, finalised the acquisition of RCF Group, one of the leading global designers, manufacturers, and distributors of professional audio systems. Headquartered in Reggio Emilia, Italy, RCF Group is known for producing high-quality professional loudspeakers and audio solutions for concerts, installations,

and public facilities.

Founded in 1949, the RCF Group has grown into a significant player in the professional loudspeaker market, with products in over 130 countries and a turnover of approximately €250 million in 2023. Employing about 600 staff across Italy, Albania, the U.S., and Mexico, the company has consistently delivered innovative solutions in the pro-audio space.

The acquisition by Investindustrial

aims to accelerate RCF’s international growth, particularly in Asia, the Middle East, and the Americas. CEO Arturo Vicari and Chairman Alfredo Macchiaverna will continue to lead RCF, ensuring continuity in its management. The partnership also seeks to bolster the group’s presence through organic expansion and acquisitions.

Andrea C. Bonomi, Chairman of the Investindustrial Industrial Advi-

sory Board, remarked, “RCF Group is an Italian leader in the professional audio market. We are excited to work with CEO Arturo Vicari, Chairman Alfredo Macchiaverna, and the management team to consolidate RCF’s presence globally.”

RCF Group’s CEO, Arturo Vicari, expressed pride in the new partnership, stating, “We have chosen to work with a group that shares our desire to manufacture excellent and successful products and transparency in doing business.”

Investindustrial has a robust track record of investing in niche manufacturing companies and has experience in executing international expansions through its buy-and-build strategies.

REVOLUTION BAR: Setting New Standards in Nightlife Sound Quality with d&b audiotechnik

Revolution Bar, a premier nightlife destination in Pune, Maharashtra has always been dedicated to providing its patrons with an extraordinary auditory and visual experience. Recently, the venue has taken a significant leap forward by integrating advanced audio technology from d&b audiotechnik, marking a new chapter in its commitment to excellence.

TThe 24S Loudspeakers chosen for their ability to deliver consistent sound distribution

he process began with a meticulous evaluation of the bar’s acoustics and a deep dive into its specific sound requirements. With the goal of crafting an environment where music and ambient sounds merge seamlessly, the team, including Astys Audio Video Pvt. Ltd. of Pune and Ansata, conducted a comprehensive site assessment. Their objective was clear: To design a sound system that would deliver exceptional clarity and impact across all frequencies.

Technical Specifications and Equipment Selection

At the heart of this transformation was the selection of d&b audiotechnik

equipment. The 24S Loudspeakers were chosen for their remarkable ability to deliver high sound pressure levels and consistent sound distribution, perfectly suited for the dynamic atmosphere of Revolution Bar. These loudspeakers are renowned for their performance in demanding audio settings, ensuring that every corner of the venue experiences clear and powerful sound.

To complement the 24S Loudspeakers, the 21S Subwoofers were selected to provide robust bass output. The 21S Subwoofers enhance the auditory experience with rich, immersive low-end response, crucial for creating a vibrant and engaging atmosphere. The deep bass notes reverberate throughout the space, adding an electrifying energy to the environment.

The reliability and performance of the system were further ensured by integrating the 40D Amplifiers. Known for their precision and ample power, these amplifiers allow for meticulous control and adaptability, accommodating a range of audio needs. Their efficiency and durability make them an essential component in achieving the high standards Revolution Bar aimed for.

Improved Patron Experience

The impact of this state-of-the-art sound system on the patron experience has been profound. Guests now enjoy crystal-clear sound and rich bass, transforming their time at the bar into an immersive auditory journey. Whether patrons are dancing to the latest hits or engaging in conversation, the clarity of the audio enhances their enjoyment and overall experience.

Patrons have noted how the music feels more vibrant and alive, making their nights out even more memorable.

Impact on Nightlife

Revolution Bar has become a favoured venue for live music enthusiasts and sports fans alike. The bar frequently hosts live music performances and broadcasts cricket matches, creating an electrifying atmosphere for fans to enjoy their favorite games while sipping on drinks. This blend of great music, thrilling sports, and high-quality audio by Revolution Bar has raised the bar for nightlife in Pune.

By embracing cutting-edge technology and a forward-thinking approach, Revolution Bar has set a new standard in the nightlife scene. Its pioneering move has not only set a benchmark for other venues but has also attracted attention from audiophiles and music enthusiasts. The bar’s dedication to delivering the best auditory experience has earned it a loyal following and cemented its reputation as a leading nightlife hotspot.

“My overall experience with the d&b audiotechnik sound system has been exceptional. The sound clarity and depth are remarkable, providing a truly immersive listening experience.”

Revolution Bar elevated with d&b audiotechnik’s innovations

Owner Amit Tarte expressed his enthusiasm about the new system, noting, “My overall experience with the d&b audiotechnik sound system has been exceptional. The sound clarity and depth are remarkable, providing a truly immersive listening experience.” Feedback from customers has echoed this sentiment, with many highlighting the improved sound quality as a key factor in their enhanced experience. The bar has observed an increase in repeat visits and longer stays, attributing these trends to the superior sound environment.

The successful integration of d&b audiotechnik’s sound system at Revolution Bar underscores the importance of strategic planning and expert execution in achieving exceptional results. The venue’s commitment to quality and innovation has created an audio environment that stands out in the nightlife industry. Revolution Bar continues to push the boundaries of what is possible, offering patrons an unparalleled experience that combines exceptional music, live performances, and thrilling sports broadcasts.

In conclusion, the collaboration between Revolution Bar, d&b audiotechnik, Astys Audio Video Pvt. Ltd., and Ansata has set a new benchmark for sound quality in nightlife venues. Revolution Bar’s dedication to excellence has resulted in a transformative audio experience, demonstrating how technology and expertise can come together to create something truly extraordinary. As it continues to lead the way in nightlife entertainment, Revolution Bar remains a shining example of how commitment to quality can redefine the nightlife experience.

Revolution Bar elevated with d&b audiotechnik’s innovations

https://av-icnx.com/cavs.aspx

PRODUCT FOCUS: STUDIO HEADPHONES

Conquering Sound With the Latest Studio Headphones

Studio headphones are essential for achieving precise, accurate sound while recording. These tools provide unparalleled clarity, allowing sound engineers, producers, and musicians to monitor recordings in real time with exceptional detail. From mixing and mastering to tracking vocals, studio headphones offer critical insight into every nuance of the audio. Whether designed for closed-back isolation or open-back comfort, they ensure accurate frequency response and durability to meet the demands of rigorous recording environments. This being PALM Expo Magazine’s Recording Special Issue, we spotlight the most advanced and sought-after studio headphones, highlighting the innovations driving today’s pro audio market. These products have become indispensable to sound professionals striving for perfection in their craft.

Sennheiser HD 490

The Sennheiser HD 490 headphones are a notable choice for both audio enthusiasts and professionals seeking high-quality sound performance at an affordable price. Known for their well-balanced sound profile, these headphones offer clear highs, detailed mids, and satisfying bass that cater to a wide range of music genres. Ideal for those who prioritize sound accuracy and natural acoustics, the HD 490 remains a strong contender in the realm of entrylevel professional headphones.

Main Features include: Open-back design for an expansive and natural soundstage.

• Lightweight construction (260 g without cable) for comfort during extended use.

• Ergonomically designed for extended wear without pressure points.

• 2-year warranty with service and support.

Technical Specifications::

• Impedance: 32 Ohms, suitable for most portable devices.

• Frequency Response: 17 Hz - 22 kHz (-10 dB).

• Sensitivity : 106 dB SPL (1 kHz / 1 Vrms).

• Power Consumption: 300 mW (100 h, noise IEC 60268).

• Cable Length: Comes with detachable 1.8 m and 3 m cables.

• Weight: (without cable).

• Connector: 3.5 mm and 6.3 mm mini-phone stereo connectors

Sony MDR-M1 Studio Headphones

The Sony MDR-M1 Studio Headphones are designed to deliver high-quality audio for both professional and home studios. Known for their comfortable over-ear design and impressive sound clarity, these headphones have earned a reputation for accurate monitoring across a wide frequency range. With a focus on both durability and comfort, these headphones are engineered to support extended use without compromising sound fidelity.

Main Features include:

Over-Ear Design: Provides excellent isolation and comfort for extended listening sessions in professional environments.

• Wide Frequency Response: 5 Hz to 40 kHz, offering a full range of audio reproduction, from deep bass to crystalclear treble.

• Neodymium Drivers: Equipped with 50mm drivers for high-power output, delivering rich, detailed sound with precise low-end reproduction.

Technical Specifications:

• Impedance: 40 ohms

Type: Closed-back, over-ear

• Frequency Response: 5 Hz – 80 kHz

• Sensitivity : 104 dB/mW

• Driver Diameter: 50mm

• Driver Type: Dynamic, Neodymium magnet

• Maximum Input Power: 1000 mW

Adam H220

The Adam H220 studio monitors are designed for professionals seeking accurate, high-fidelity sound reproduction in both recording and mixing environments. With their cutting-edge H technology, they deliver precise detail and depth across the entire frequency spectrum. Made of 85% post-consumer recycled ABS plastic, the H220’s powerful performance and sleek design make it a standout choice in the world of studio monitoring.

Main Features Include:

• X-ART Ribbon Tweeter Technology: Provides extended high frequencies, faster transient response, and precise sound imaging for an enhanced listening experience.

DSP-Based Control: Integrated digital signal processing optimizes sound in real-time, ensuring accurate sound reproduction.

• Optimized for Nearfield Listening: Ideal for studio environments, offering precise monitoring for nearfield applications.

• Sleek Design: The minimalistic design of the monitor ensures a professional look while providing durable build quality for long-lasting use.

Technical Specifications:

• Driver Type: 40mm Polyether Ether Ketone (PEEK) diaphragm drivers

• Frequency Response: 2 Hz to 23.5 kHz

• Impedance: 32 ohms

• Sensitivity : 105 dB SPL (1 mW/1kHz)

• Maximum SPL: 130 dB Magnet System: Neodymium for clear sound

• Weight: Approx. 300g

A Look at the Top Headphones Brands Leading the Pro Audio Market

Beyerdynamic DT 770 PRO X Limited Edition

The Beyerdynamic DT 770 PRO X Limited Edition headphones bring premium studio-grade audio performance to professional environments. With their renowned over-ear design and comfortable fit, these closed-back headphones provide an immersive listening experience, delivering deep, accurate bass, clear mids, and crisp highs. The limited-edition design adds a touch of exclusivity, while maintaining Beyerdynamic’s signature sound quality that has made them a trusted name in the audio industry.

Main Features include:

• Driver Technology equipped with STELLAR.45 drivers offering elevated bass and treble ranges for a more exciting listening experience.

• Comfort offered by the memory foam ear pads and a spring steel headband that ensure a comfortable fit, even during extended sessions.

• Designed for precision, the limitededition model retains a classic Beyerdynamic design, with a modern twist. The ear cups also offer a limited rotation for a secure hold.

Technical Specifications:

• Impedance: 48 Ohms, designed for versatility across a wide range of devices, from professional gear to laptops and smartphones.

• Frequency Response: 5 Hz – 40 kHz, ensuring clear highs and deep lows.

• Sound Pressure Level (SPL): 96 dB, suitable for both casual and professional environments.

• Weight: (without cable), balancing durability and portability.

AKG K702

The AKG K702 Studio Headphones are a hallmark of precision and comfort for audio professionals seeking exceptional sound clarity and detail. Renowned for their accurate sound reproduction across a broad frequency range, the K702 offers deep bass, clear mids, and sparkling highs, allowing you to hear every nuance of your audio. Combined with a lightweight, comfortable fit, they are perfect for extended sessions and are a reliable choice for audiophiles and sound engineers alike.

Main features include:

• Over-Ear, Circumaural Design: The headphones feature large ear cups with soft, memory foam ear pads that provide comfort for long sessions, while the circumaural design ensures excellent isolation from outside noise.

• Flat-Wire Technology: The K702 uses flat-wire technology to reduce distortion and improve audio quality by providing more consistent performance. This also contributes to a longer headphone lifespan.

• Detachable Cable: Comes with a 3-meter (9.8 feet) detachable cable for convenient storage and transport, with a secure locking mechanism to prevent accidental disconnections.

Technical Specifications:

• Type: Open-back, circumaural (aroundthe-ear)

• Frequency Response: 10 Hz – 39.8 kHz

• Impedance:

• Sensitivity : 105 dB

SPL/V

• Maximum Input Power: 200 mW

Driver Type: Dynamic, with flat-wire technology

• Driver Size: 45mm

Philips Fidelio X2HR

The Philips Fidelio X2HR headphones are crafted for audiophiles who demand a premium listening experience. With an open-back design and 50mm highdefinition neodymium drivers, they deliver rich, natural sound with deep bass and clear highs. Known for their comfort and durability, the Fidelio X2HR features plush memory foam ear pads and a robust build, ensuring long-lasting wear during extended listening sessions. Ideal for professional use, the Philips Fidelio X2HR is a top contender in high-fidelity audio.

Main features include:

• High-Resolution Audio: The X2HR provides high-quality sound with enhanced detail, delivering an immersive listening experience.

• Customizable Fit: Features a self-adjusting headband and soft, breathable ear pads for comfort during extended listening sessions.

• Durable and Stylish: Made from premium materials, including high-grade metal ear cups, which are both visually appealing and durable.

Technical Specifications:

• Type: Open Back Design

• Driver Type: 50mm neodymium drivers

• Frequency Response: 5Hz to 40kHz Impedance: 30 ohms

• Sensitivity : 100dB (1mW)

• Maximum Power Input: 500mW

• Weight: (without cable)

L-ACOUSTICS EXPANDS EMEA SALES TEAM AMID SIGNIFICANT GROWTH

L-Acoustics, one of the leaders in professional audio solutions, has undertaken a strategic restructuring and expansion of its EMEA sales team to capitalize on substantial growth.

This initiative is led by Tim Völker, the recently appointed Director of Sales for EMEA. The expansion includes the creation of a new head of sales management position in the region and the appointment of a new sales

manager for the Middle East. As part of this restructuring, Chris Mead has been appointed as the head of sales for the Middle East, India, Africa, and Eurasia. In this role, Mead will work closely with Völker,

leveraging his experience in driving sales growth and market expansion from his previous roles at Sony Music Entertainment and Sennheiser. Additionally, Cyril Matar has been named the sales manager for the Middle East.

The company has reported a 30% increase in its workforce over the past two years, reflecting its growing sales performance across various market sectors. Völker outlined the company’s dual growth strategy, emphasizing both the deepening of relationships in established markets and the expansion into new territories and applications. The demand for L-Acoustics’ solutions, particularly in luxury residential projects and immersive entertainment experiences, has been a key driver of this growth.

Völker expressed confidence in the expanded team’s ability

(Continued on page 77)

LEA PROFESSIONAL APPOINTS JON HAN AS APAC BUSINESS DEVELOPMENT MANAGER

LEA Professional, one of the leaders in smart audio solutions, continues its mission of expanding its global presence with the appointment of Jon Han as Business Development Manager for the Asia-Pacific (APAC) region. Bringing over 18 years

of experience in Pro AV solution sales, Han is set to lead the brand’s growth in the region, focusing on increasing awareness and fostering new relationships with customers, system integrators, and consultants.

Han’s role will involve close

collaboration with LEA’s authorized sales partner, Generation AV, to drive the adoption of LEA’s innovative products in the APAC market. He expressed enthusiasm about joining the team, saying, “I’m thrilled to join the LEA team. It’s always a pleasure to represent a company with outstanding technology and company values.”

Han will oversee the introduction of LEA’s catalogue to the region, which includes the award-winning Network Connect series of professional amplifiers and the Dante Connect series. These amplifiers offer cloud-based remote control, monitoring, and real-time notifications, enabling integrators to manage systems from anywhere with an internet connection.

David McKinney, Managing Director of Generation AV, welcomed Han’s addition, commenting, “The addition of Jon to the LEA team will help to expand and further our

mission. We look forward to working together to grow our partnerships across the region.”

This appointment comes as LEA Professional continues to prioritize the APAC market, reinforcing its commitment to innovation and customer support. LEA’s smart amplifiers, which feature advanced DSP, cloud connectivity, and remote monitoring, have been recognized for their cutting-edge technology and user-friendly features.

Scott Robbins, VP of Sales at LEA Professional, added, “Bringing Jon on board will greatly enhance our presence there and grow our customer base. It’s a great way to close out another year of strong sales growth and an expanding catalog of award-winning products.”

By strengthening its presence in APAC, LEA Professional aims to deliver exceptional technology and expand its partnerships across the region.

L to R; Cyril Matar, Sales Manager for Middle East and Chris Mead head of sales for Middle East, India, Africa, and Eurasia

Jon Han, Business Development Manager for APAC region, LEA Professionals

ADAMSON SYSTEMS ENGINEERING APPOINTS LEE STEVENS AS APAC SALES DIRECTOR

Adamson Systems Engineering has appointed Lee Stevens as the new Sales Director for the Asia-Pacific (APAC) region. Stevens’ appointment comes during a period of significant global growth for the company. In this role, he will focus on expanding the APAC market, further building on the foundations laid by his predecessors. With over 20 years of experience as a touring sound engineer, Stevens brings a wealth of industry knowledge from his work in live, corporate, and theatre sound. Previously, Stevens worked at CMI Music and Audio, where he developed a strong association with the Adamson brand. He later held the position of Head of Production at Encore Event Technologies before rejoining CMI last year.

Stevens’ new role will emphasize education and support. He will work closely with Carlos Sallaberry, Adamson’s Head Of Education and Applications Engineer for APAC, to enhance the company’s training schedule. Stevens will also aim to grow the company’s partner network in response to increasing demand in the region, particularly for the VG and CS product lines.

Commenting on his new role, Stevens said, “With the brand in such a strong position globally and being recognized as one of the leading touring systems

in the world, it’s a real honour and pleasure to have this opportunity to work with Adamson.” He expressed

NICK ENGEL JOINS RØDE AS SENIOR DIRECTOR OF ENGINEERING

RØDE, one of the leading audio technology companies, has appointed Nick Engel as its new Senior Director of Engineering, entrusting him with oversight of engineering for the New Product Group. Engel brings with him two decades of industry experience, having held senior engineering roles at leading technology companies such as Dolby and Apple. His expertise spans both hardware and software development in consumer audio technology. The appointment comes at a

pivotal time for RØDE, as the company continues to innovate and expand its product range into new areas. Engel’s leadership is expected to be a key factor in shaping RØDE’s future product development roadmap.

RØDE’s CEO, Damien Wilson, expressed enthusiasm about the new addition to the team, saying, “We are incredibly excited to welcome Nick Engel to the RØDE team. His impressive background in audio engineering and his experience working with some of the world’s most iconic technology brands make him the perfect fit for our team. Nick’s

L-ACOUSTICS EXPANDS EMEA SALES TEAM...

to support existing partners and drive growth in emerging verticals and geographies. He highlighted the proactive approach the company is taking to meet current demand while continuing to influence future trends in the professional audio industry.

excitement about joining a team driven by “passion, technology, and people.”

Pieter van Hoogdalem, Business Development Strategist for Adamson Systems Engineering, also shared his enthusiasm, “We are thrilled to have Lee joining our team. His combined experience in sound engineering and business development will help our partners continue to grow their markets.”

Stevens’ extensive background and passion for sound engineering are expected to significantly impact Adamson’s growth in the APAC region.

expertise will be crucial as we push the boundaries of what’s possible in creative technology.”

Engel, too, shared his excitement about joining RØDE, stating, “I was drawn to RØDE because RØDE is a global leader in its field. I’ve always been able to rely on RØDE products both professionally and in my creative personal life, so it’s an honour to join the company at such an exciting time. RØDE’s commitment to excellence in product design and engineering is truly inspiring.”

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This strategic enhancement of the EMEA sales team is expected to solidify L-Acoustics’ position as one of the leaders in the professional audio industry, ensuring continued success through innovation and a customer-centric approach.

“The impressive trajectory of L-Acoustics speaks to the strength of our products and the trust our clients place in us,” said Völker. “Our expanded team is poised to support our existing partners better and drive growth in key emerging verticals and geographies.

We’re capitalizing on exciting opportunities in sectors such as high-end residential installations, and next-generation nightclubs. This proactive approach allows us to meet current demand while continuing to shape future trends in professional audio.”

Lee Stevens, Sales Director, Adamson System Engineering, APAC

Nick Engel, Senior Director of Engineering, RØDE

Column

AI MUSIC CREATION: ALLY OR THREAT?

Artificial Intelligence (AI) has come a long way, now playing an increasingly pivotal role in the music creation process. Tools that generate melodies, harmonies, and even entire songs are no longer just futuristic concepts but practical assets available today. Music creators, from composers to producers, are starting to embrace AI for inspiration, idea generation, and streamlining production workflows. However, as these technologies advance, they raise critical questions, particularly around ownership, creativity, and ethics. In this guest column, Aditya Mehta from Sudeep Audio weighs in on the implications of AI in the industry.

A Case Study: How AI Created a Hindi Song

To fully appreciate the capabilities of AI in music, let’s look at a personal experiment with an AI app called Saaz (not yet associated with any major brands). This app generated an entire song in just 20 seconds, based on minimal human input:

1. I created a simple brief: a lover missing his ex and inviting her to share a meal of dosa, her favorite dish.

2. I wrote some quick lyrics to fit the theme.

3. Then, I pasted the lyrics into Saaz’s input window and selected the genre “Pop.”

In less than half a minute, the app delivered not only the melody and harmony but also a fully mixed and arranged track, including vocals sung with an accent. What’s more impressive, Saaz offers features like promptbased lyric generation (currently only in English) and allows users to commercially release the final track—all for a mere Rs. 20 per day.

Tools like Saaz are both exciting and terrifying, offering immense creative possibilities but also unsettling questions about Intellectual Property (IP) and creative ownership.

Who Owns AI-Generated Music?

This brings us to the first major question: Who owns the rights to an AI-generated song?

Copyright law traditionally defines the “author” as the one who creates the content. But when a song is created using AI, determining the rightful author

becomes ambiguous. Is it the person who provided the input and initiated the process, or the AI system that produced the composition? If Saaz is responsible for the melody, arrangement, and even singing, does it, or the company behind it, own any part of the song?

According to existing copyright laws, the person who contributes original human input typically owns the work, but with AI handling so much of the creative load, this line is blurry. Copyright divides ownership between composers, lyricists, and producers, and royalty societies like ASCAP, PRS, and others exist to ensure rightful compensation. The rise of AI-generated music could force these societies to reconsider how they define and assign rights.

Could AI ever be registered as a co-author, much like how music producers and mixers earn credits? This remains an open question as legal systems worldwide haven’t yet adapted to these technological shifts.

Will AI Become a “Member” of Royalty Societies?

AI has introduced a fascinating dilemma for royalty societies. These organizations are designed to recognize human talent by tracking performances and distributions of royalties based on song plays, performances, and sales. Can we imagine a future where AI itself becomes a member of these societies?

For now, AI is considered a tool no different from a DAW (Digital Audio Workstation) or VST plugin. But what happens when AI-generated compositions start flooding streaming platforms and climbing charts? Would the AI “author” receive a share of royalties? And what if the app users take all the credit, claiming the work as entirely their own?

If no explicit framework exists to monitor and assign rights for AI-generated content, the person operating the AI could claim full authorship without anyone knowing the difference. With services like Rebeat that allow creators to distribute music worldwide, this scenario isn’t farfetched. A song entirely generated by Saaz could very well be released under someone’s name with no mention of AI involvement. But would that be ethical, or even legal?

A Powerful Tool with Creative Potential and Ethical Pitfalls

AI in music isn’t just a fleeting trend, it’s a powerful tool that opens new doors for creativity, efficiency, and audience engagement. Musicians and composers can generate hundreds of ideas in minutes, sparking inspiration or even completing full songs when faced with tight deadlines. AI can also assist in breaking creative blocks, offering endless possibilities for melodic and harmonic variations.

However, there’s a danger in over-reliance. As AI becomes a larger part of music production, it’s crucial that artists retain creative control and ensure that automation complements their original input, rather than fully replacing it. Tools like RipX DAW, for instance, already allow users to extract and remix elements of songs from existing mp3 files, demonstrating the growing ease of AI-assisted production.

We’ve seen similar concerns in the past, when synthesizers, hard-disk recorders, and later DAWs revolutionized music-making. Back then, purists worried these innovations would replace human creativity. Instead, they became valuable allies, widely adopted by nearly every

be viewed as a creative partner, not a gimmick or threat. But this time, the debate isn’t just about workflow—it’s about who gets credit for the final product.

The

Future: AI as a Creative Partner?

As AI tools become even more advanced over the next 1–2 years, we can expect expanded features such as language support for lyrics and translations, and an array of virtual voices that sound increasingly “Indian” or specific to other ethnic backgrounds. These AI-generated tracks will begin to feel more “authentically” human, further complicating the question of originality.

The critical question remains: Should we make use of AI as a creative partner, or should we shrug it off as a passing fad?

AI is already proving its value in assisting with monotonous or highly technical tasks, allowing human creators to focus on the artistic elements that matter most. Just like earlier technological advancements, AI will likely become an essential tool in the industry, transforming how music is made. However, it also introduces complex intellectual property concerns that will require legal frameworks to evolve.

For now, AI in music creation is an exciting, albeit controversial, frontier. The next few years will be crucial in determining how artists, technologists, and legal bodies respond to this seismic shift. One thing is certain - AI will continue to shape the future of music, whether as an ally, a tool, or an artist in its own right.

ALPHATHETA CORPORATION INTRODUCES OMNIS-DUO DJ SYSTEM IN INDIA

AlphaTheta Corporation, building on the company’s legacy under the Pioneer DJ name, aims to push the boundaries of DJ technology and foster a growing community of music enthusiasts. As part of this initiative, the company has unveiled the OMNIS-DUO, a portable allin-one DJ system now available in the Indian market.

Since the introduction of the CDJ-500 in 1994, AlphaTheta has consistently developed products featuring advanced technology designed to help DJs thrive. Looking to the future, AlphaTheta plans to continue its engagement with the global DJ community, creating products that resonate with both professionals and enthusiasts.

The OMNIS-DUO offers several innovative features that are expected to enhance DJ performances. Its dual-deck control allows seamless track mixing, providing DJs with the flexibility to create dynamic transitions. The system also features a high-resolution touch display for easy navigation of tracks, effects, and settings, ensuring smooth operation during performances. Notably, the OMNIS-DUO does not come with integrated speakers but is designed to connect

with external speakers for a customizable audio experience.

The system is equipped with Bluetooth audio input, USB Type-A, and SD card compatibility, allowing users to easily access their music libraries. DJs can further elevate their mixes using 8 Beat FX types, 6 Sound Colour FX types, 8 Hot Cues per deck, and controls like Beat Jump and Beat Loop. It also includes two microphone inputs and a booth output, making it suitable for a wide range of events, from small gatherings to large-scale parties. With its battery-powered option and multiple input and output choices, the OMNIS-DUO is designed for portability

and convenience.

The OMNIS-DUO will be available in the Indian market for INR 1,49,900/(including GST).

The product launch in India is part of a strategic partnership between AlphaTheta and Alphatec, a company recognized for delivering innovative AV technology solutions. Alphatec will serve as the exclusive distributor of the OMNIS-DUO in India. The collaboration between the two companies aims to revolutionize the DJ and AV landscape in India by providing professional-grade equipment that meets high standards of quality and performance.

“We are excited to introduce

the OMNIS-DUO to the Indian market in collaboration with Alphatec,” said Yoshinori Kataoka, President and CEO of AlphaTheta Corporation. “This partnership signifies our commitment to providing Indian DJs and music enthusiasts with top-of-the-line DJ equipment that delivers exceptional performance and unmatched versatility. With the OMNIS-DUO, DJs can take their sets to the next level, whether performing at intimate gatherings or large-scale events.”

Devasis Barkataki, Founder and Managing Director of Alphatec, added, “We are thrilled to partner with AlphaTheta to bring the OMNIS-DUO to India. As a leading provider of AV technology solutions, we are dedicated to delivering innovative products that meet the evolving needs of our customers. The OMNIS-DUO is a game-changer in the DJ industry, and we are confident that it will be well-received by DJs and music enthusiasts across the country.”

This collaboration marks a significant step in the growth of AlphaTheta’s presence in India and highlights the company’s ongoing commitment to enhancing the DJ experience with cutting-edge technology.

The newly unveiled OMNIS-DUO equipped with Bluetooth audio input, USB Type-A, and SD card compatibility

WITH Marcus Graser CEO of Claypaky

Founded in 1976 in Italy, Claypaky has become a global leader in professional lighting for live events, theatres, and architectural lighting, In this exclusive interview with PALM Expo Magazine, Marcus Graser, CEO of Claypaky, explores the leadership vision driving one of the world’s most innovative stage lighting companies. Marcus shares his journey, with him at the helm, from working alongside industry giants to shaping a customer-focused leadership approach. He offers exclusive insights into the company’s plans for expansion into emerging markets, including India, and provides a glimpse of upcoming product releases that are set to revolutionize live entertainment and event production.

1.COULD YOU SHARE ANY PERSONAL EXPERIENCES OR MOMENTS IN YOUR CAREER THAT SIGNIFICANTLY SHAPED YOUR APPROACH TO LEADERSHIP AND INNOVATION?

Throughout my career, I have had the fortune to work closely with many outstanding managers. This has allowed me to learn from a variety of leadership styles, which can be summarized in two main points:

• The customer is always key to success. Therefore, managers must take utmost care of them. This involves visiting them frequently, especially at their workplaces, to understand the real needs of their businesses.

• Be people oriented. Implement a management system where

staff are well-managed and well-cared for, ensuring job satisfaction, and provide training.

In my opinion, focusing on both customer and people orientation is at the heart of leadership and innovation.

2.WHAT DO YOU CONSIDER TO BE THE BIGGEST CHALLENGES FACING THE LIGHTING AND STAGE TECHNOLOGY INDUSTRY TODAY? HOW IS CLAYPAKY ADDRESSING THESE CHALLENGES?

Our industry, today, faces challenges on different levels. Currently, many technologies coexist, such as LED systems, laser systems and discharge lamps. Nowadays, LEDs have become the most popular light source due to their durability, quality and reliability. However, Claypaky pioneered the introduction of RGB laser sources into the market with its Xtylos, marking a significant breakthrough in entertainment lighting. Meanwhile, discharge lamps are still used for certain use cases.

We also face technological challenges that affect the performance of fixtures, including protocols, connectivity and the precision and speed of movement, as well as quiet operation.

Claypaky tackles these by selecting and integrating a multitude of technologies into its units. Customers today are very demanding and place great emphasis on these aspects, which not only ensure optimal fixture performance but also lead to time savings and reduced maintenance, providing good value for their investment.

Another aspect to consider is that, over the last ten years, our industry has become significantly more competitive, with the number of players almost doubling in our market segment. This means there is a strong emphasis on product development, cost competitiveness and enhancing market reach.

At Claypaky, we take several approaches. First and foremost, we continue to invest in innovation to design and manufacture lighting products that benefit the customer in terms of both new features and practicality and convenience. Another focus is on digital solutions, such as our CloudIO, which cater to customers’ needs, affecting not only the choice of light but also how it is used and the associated services.

3. CLAYPAKY HAS A REPUTATION FOR PIONEERING ADVANCED LIGHTING SOLUTIONS. HOW DO YOU MAINTAIN YOUR LEADERSHIP POSITION AND CONTINUE DRIVING INNOVATION IN A COMPETITIVE MARKET?

Innovation at Claypaky involves significant investment, with a substantial budget allocated to Innovation projects each year. Our innovation process involves several actions. The first is a systematic exploration of various technologies, including light sources, optics, electronics and digitization, to identify the best for the fixtures we are developing.

Importantly, innovation should foster creativity while also addressing practical needs. A key point lies in working closely with our customers, including lighting designers and rental companies, whose feedback is crucial and provides useful insights for product definition and marketing. Lastly, for us, innovation also means working efficiently, thereby optimizing production processes and reducing costs in particular using digital technologies.

4. GIVEN THAT A SIGNIFICANT PORTION OF LIGHTING EQUIPMENT IS MANUFACTURED IN CHINA, HOW DOES CLAYPAKY ENSURE THAT ITS PRODUCTS, WHICH ARE DESIGNED AND ENGINEERED IN ITALY, MAINTAIN THEIR HIGH STANDARDS OF QUALITY AND INNOVATION WHILE POTENTIALLY LEVERAGING CHINESE MANUFACTURING CAPABILITIES?

A good portion of our equipment, particularly our top-range products, are entirely designed and manufactured in Italy, allowing full control over the production process from conception to final assembly. Moreover, we work closely with selected partners in China to enhance our portfolio and reduce supply chain costs. This close cooperation involves true product co-development. We maintain stringent control over various stages of the conception, development, production and quality control process to ensure that the final product perfectly conforms to our initial specifications in terms of features and design. Once the product arrives at Claypaky, it undergoes an additional final inspection, which ensures a result in line with the reliability for which Claypaky products are known for worldwide.

5. CAN YOU SHARE ANY MARKET RESEARCH OR INSIGHTS THAT HAVE INFLUENCED CLAYPAKY’S DECISION TO CONSIDER EXPANSION INTO INDIA?

The potential of the Indian market has been evident for years and we were among the first ones to systematically start investing into it. Back in the days when we worked together with Osram, we had a very successful local team in India, which we kept going for Claypaky. The Indian market is appealing not only in terms of turnover but also because of its significant and, in some ways, unique market trends in the international arena.

6. WHAT POTENTIAL DO YOU SEE IN INDIA’S LIVE ENTERTAINMENT AND EVENT PRODUCTION INDUSTRY? HOW DOES THE INDIAN MARKET ALIGN WITH THE COMPANY’S STRATEGIC GOALS?

The Indian market is also interesting due to its large and growing live entertainment industry, which demands high-quality, innovative products — aligning perfectly with our strategic goals.

India also has a very successful market for television, motion pictures and cinema, which presents opportunities for joint business strategies with our current parent company, ARRI. We work together locally to organize demos, attend trade shows and visit customers.

7. WHAT ARE CLAYPAKY’S LONG-TERM OBJECTIVES FOR ITS

“The potential of the Indian market has been evident for years and we were among the first ones to systematically start investing into it. The Indian market is appealing not only in terms of turnover but also because of its significant and, in some ways, unique market trends in the international arena.”

PRESENCE IN INDIA, AND HOW DO YOU MEASURE SUCCESS IN THIS NEW MARKET?

Our long-term goals, of course, include increasing our market share, establishing a local presence and engaging with major market players. But that’s not all — India could become a crucial part of our supply chain, particularly concerning digitalization, as well as software and hardware.

8. HOW DOES CLAYPAKY ENSURE IT STAYS AHEAD OF INDUSTRY STANDARDS AND REGULATIONS, ESPECIALLY REGARDING SAFETY AND ENVIRONMENTAL IMPACT?

Claypaky has a special team devoted to this, which works closely with our parent company, ARRI. We comply with all renowned international certifications and standards. We are the first and only company to secure robust compliance for marketing laser source fixtures in the U.S. in compliance with the rules given by FDA/FAA. Lastly, our focus on sustainability is evident from our achievement — two years ago — of the ISO 14064-1:2018 certification under our “CP Green” project, making us the first company in the entertainment lighting industry to receive this certification for carbon inventory management systems.

9. COULD YOU SHARE ANY UPCOMING PRODUCT RELEASES OR TECHNOLOGICAL ADVANCEMENTS THAT CLAYPAKY IS PARTICULARLY EXCITED ABOUT?

The market today is highly diverse, with several promising technologies with an assured future. In particular, multispectral LED engine sources and both white and RGB laser sources will be firmly on our roadmap in the coming years. We continue to see potential in discharge lamps, especially for use in hybrid products where LED light sources have not yet reached peak performance. The market increasingly values certain product features, such as the noise level during lighting fixture operation, the speed of movements and effects and the precision of light projections. Concurrently, we are developing service tools and implementing digitization to simplify the use of our fixtures. We also recently launched effect lights that combine advanced technology with creative effects, like the Volero Wave. Lastly, our roadmap consistently aims to diversify design and production as much as we can to provide customers with as many options as possible, while also ensuring that we do not undermine sales of our existing units.

“Customer feedback has always been essential for our product development. For instance, our Sinfonya and Rhapsodya lines were developed based on specific requests and feedback from theatre customers amongst others.”

10. WHAT DO YOU SEE AS THE FUTURE OF LIGHTING IN LIVE ENTERTAINMENT AND HOW DOES CLAYPAKY ASSESS AND RESPOND TO THESE CHANGES?

As mentioned before, we consistently receive feedback from various markets and customers. Based on this feedback, we have identified two main trends that may appear contradictory but are actually complementary. On one hand, there is a demand for our fixtures to be as versatile as possible, allowing them to be used in a wide range of applications and environmental conditions. On the other hand, there is a call for highly specialized products, tailored specifically for particular market segments, such as the theatre world. The challenge

lies in allowing both trends to coexist, of course, by adopting distinct development strategies.

Today, innovation and new product development move at a rapid pace, necessitating frequent updates to our roadmap. Nonetheless, we can confidently identify some trends. Weatherproof fixtures are becoming the new standard in many applications and hence valued in both outdoor and indoor settings. Both LED and laser sources will continue to develop significantly without getting in each other’s way since they complement one another. Digitalization will become more prevalent, enhanced by the latest digital technologies and artificial intelligence tools. As always, our role is to remain actively engaged, continuously gathering market feedback and investing in our leadership to drive the innovation processes within our industry.

11. HOW IMPORTANT IS CUSTOMER FEEDBACK IN SHAPING CLAYPAKY’S PRODUCT DEVELOPMENT AND SERVICE OFFERINGS?

CAN YOU PROVIDE AN EXAMPLE OF HOW CUSTOMER INPUT HAS INFLUENCED A RECENT INNOVATION?

Customer feedback has always been essential for our product development. For instance, our Sinfonya and Rhapsodya lines were developed based on specific requests and feedback from theatre customers amongst others, resulting in features like the TONEDOWN functionTM for silent operation as low as 27 dB, “Absolute Position” for advanced pan and tilt control, and ACCUTUNE, an advanced new colour management algorithm.

Consider the Skylos as well, which has established a new product category within moving heads. It is essentially a searchlight equipped with several features that make it ideal for touring and other applications/installations.

Additionally, I should mention CloudIO, a maintenance tool for moving heads that was designed at the request of rental companies to facilitate and optimize their workflow in service and operations.