PALM technology May-June 2018

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A Note from the Editor:








- Distributor Profile THE BOSE TEAM FULL OF GUNG-HO

- Interview with Vibhor Khanna

Product Focus: Live Sound Consoles Line Arrays

JOE PHAM President & CEO, QSC LLC elucidates on QSC story of constant innovation and forward transformation

11 Questions LIVE ISSUE

Vi s




i Ha n P ll AL 1 -B ME oo xp th o H2 20 18 9



from the editor

Anil Shiv Raj Chopra

China is moving on from an OEM supplier to technology brand market I visited GET Expo in Guangzhou this year. My first visit and I was impressed, by the energy of the China market. The GET Expo is for China buyers. Its China brands for China rental and install market, not so much to attract international buyers. Most Chinese companies I met had promoters present who ‘made’ these companies. Highly motivated promoters who took pride in developing their product displayed. Most companies showed large factories to boast, and stories of the journey to their success. Indeed I was surprised as I thought most China manufacturing would have been a collective enterprise. Not a passionate story of a promoter defying all odds and building successful manufacturing. Now obsessing with his brand and eager to prove his technology is original. It is a bit difficult for most as they need to live down present image of China. What I wish to draw attention to is the rather long term dedication and consistent build-up of manufacturing of pro audio, pro sound and lighting product. All of us know equally well, each product requires

GM, XMLite, Andrew Liang plays a leadership role as the first China Lanyard Sponsor, PALM 2018. Flanked by Wang Yingyao heading China delegation to PALM this year.

extensive tooling and all of us know tooling to perfection with a high finish is expensive and amortising investment is dangerously difficult depending upon the life cycle of the model and product and application. It is only huge quantities of sale that does the trick. And this is exactly what Chinese manufacturers have managed, that is huge quantities of production. Now this whole process driven by exporting to global consumption has made it possible for the global sound, light and audiovisual market to get product of quality at highly affordable cost which has driven growth to such levels. India primarily imports huge quantities from China which feeds India’s huge demand in pro sound and light. The entire Indian market is a happy camper. No pain, only gain.

Anil Chopra with Manish Mavani, Director - SNL Pro at the PALM Conference 2016; from DJ to top line stage technology in sound & light [pg 34].

Yet there is a lot Indian branding does which is product support with service and distribution and demo and training et al. Works in tandem with supply. The system is similar for globally established prime brands from US and Europe, where the high-end frontier tech equipment like studio consoles and FOH mixers, DAWs, near field monitors, is sourced. The PALM expo is a few days away and the pulsating energy of stage sound and light can be felt. The Art of Touring [page 22] has insight from A.R. Rahman’s tour on all the implications of managing a tour, logistics, gear, sets, travel, and the rest of the story. Smita Rai, Managing Editor, and intrepid reporter engaged Mr B live entertainment’s Mr Balaji Manoharan, producer of Encore live stage entertainment event with lots of musicians, celebrating 25 years of the maestro’s musical journey. 11 Questions for our industry’s top honchos has Joe Pham of QSC. Joe Pham, CEO, QSC evinces strong interest in the AV/IT market evangelising software as the game changer which QSC harnesses in its new product tech. Incidentally AVIXA he says has spelt out India as the fastest growing market in AV worldwide. AV solutions is a major traction at PALM each year growing with more AV Consultants making attendance a must priority more so than AVIXA’s own show in Mumbai.

PALM bears the IPR flag I chose in 2001 since inception of PALM expo, to stand guard against copyright violation on its exhibit floor, creating PALM as an enlightened international expo, fully educated on the implications of IPR to drive innovation, new product, new techniques and higher quality in all applications. PALM has driven this message as much in all its media and communication to industry globally. The show magazine circulating on show dates at the venue has this message on [page 144]. PALM organisers understand the imperatives of securing and innovation equally for all exhibitors. Current management is as alive to IPR protection and promoting original brand and product at the show. PALM Technology being the voice of the industry, promoting original technology 365 days of the year, as organiser of PALM expo completely validates the expo’s credentials. Sharing similar vision in mutual faith we must act with mutual respect and thus be an example to the global industry.

India’s first full backline service rental company – backline for your information means musical instruments et al, is fully functioning. Warren of is the promoter of GearHouse, based in Mumbai but serving the whole country [page 58]. PT team of Smita Rai and Ankita Bhadrawale entered GearHouse’s cave to play this story. Warren has contributed all his business acumen for those who wish to emulate this new biz. This issue is our Live issue and Manish Mavani is the dude who goes ‘Live’ on every stage which is challenging. Mavani’s SNL Pro, Mumbai based topline rental for stage sound and lighting has the story of how as a DJ he got into sound install, and then you need to go to [page 34] for the whole story of SNL Pro. I confirm it’s an example story for all of you who want to be there on the big stage.

May - June 2018



Anil Shiv Raj Chopra - Editor

Ready to perform. Anywhere. Any time. ©2017 Bose Corporation.

Introducing the Bose® S1 Pro Multi-Position PA System Sound great anywhere with the S1 Pro system. With big sound, unparalleled portability, and Bluetooth® connectivity, the S1 Pro is the ultimate PA, floor monitor, and practice amp that’s ready to be your go-anywhere and do-it-all music system.

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MANAGING EDITOR Smita Rai Mob: +91 98209 43398



Vibhor Khanna, Country Manager - SAARC, Bose Professional

Cyrus Gorimar, Founder, OPIUM Events

SUB-EDITOR Ankita Bhadrawale

Features Mob: +91 89668 12132

DJ EDITOR Reji Ravindran Mob: +91 98926 04095


A Note from the Editor


The ART of Touring




Setting Standards with the Overtone note




Audio & Acoustics for Video


High on Opium


Product Focus: Line Arrays


The New Bose Team Full of Gung-ho


Product Focus: Live Sound Consoles

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China is moving on from an OEM supplier to technology brand market.

Exclusive feature, PT finds out from MR B Live Entertainment, the producers of this tour, how an AR Rahman multi-city tour takes shape.

Manish Mavani, talks about the SNL journey to becoming one of India’s biggest sound & light rental companies

Meet Overtone Audio – a one-stop-shop offering end-to-end recording solution for film, TV and the Live events industries.

In conversation with Warren D’souza the Man India’s first backline service rental company

Kapil Thirwani Elucidates on Audio & Acoustic for Video

Cyrus Gorimar, Founder of OPIUM Events talks about his long term vision of augmenting live music in India.

Sound Stars

Interview with Vibhor Khanna, Country Manager - SAARC, Bose Professional

Mixing it Up for the Live Stage

11 Questions

With Joe Pham, President and Chief Executive Officer, QSC LLC

M/s. Dhote Offset Technokrafts Pvt. Ltd. 2nd Floor, Paramount Etstate, Plot No-5a, Off Aarey Road, Near Kotkar Estate, Dindoshi Village, Goregaon (E), Mumbai-400063

May - June 2018

Contents 06

Contents News 10




Sound & Stage Jolly sound Nexo STM; Allen & Heath and Audix Mic Presets for Qu; Outline Superfly Compact Line-Array; FBT Horizon Vertical Horizontal Array Series; Allen & Heath and Shure Prime I/O Modules; LTM LP1000 Hoist; Global Sound Management Reinforces DISTRICT Techno Festival; Allen & Heath and Audix Mic Presets for Qu; FaitalPRO Three Ferrite-Based Cone Woofers; Ashly Rack-Mountable DigiMIX18; Alto Professional TS3 & TX2 Professional Powered Loudspeakers; Celestion CDX14-3040 Neodymium Magnet Compression Driver; Cadac CDC five and CDC seven-s; Dynatech delivers amazing audio experience in Nagpur with Audiomaxxx; Logic Systems V-Line range and Three Wedge Monitors Loudspeakers.

Vinod Subramanian, Overtone Audio


Audio and Music Production Steinberg PAIR OF audio interfaces; Waves Audio SoundGrid Rack for VENUE within Avid’s VENUE | S6L; Rycote Appoints Overtone Audio as Distribution Partner for India; PreSonus Studio Magic Plug-in Suite; Adam Audio Mounting Options for S2V, S3V AND S3H Studio Monitors; TK Audio BC1 Ltd compressor; Scott Esterson Joins Audionamix; Loopmasters Loopcloud 2.0 loop browser; TC Electronic TC2290-DT.


The Bright Spark


Stage Sound & Tech

Audiovisual Bose Professional fosters audio experience; Crest Powered line array Versarray pro; HARMAN Professional Solutions JBL C221 and C222 Two-Way ScreenArray Cinema Loudspeakers; JBL New VLA Compact Series; P.Audio + Dynatech K9 The Coastline, Pune; Martin Audio Flyable 15” Subwoofer; Sound Devices VR Partnership with Sennheiser; Logic Systems Pro Audio compact Ci Series; ADJ Design Series; WyreStorm AVoIP NetworkHD series; HARMAN Powerful Vista 5 Black Edition; LYNX Technik’s ; international Sales manager; Mackie FreePlay Series; PHYSC Gym at P.Audio & Dynatech; Clair Brothers 10SPOT Loudspeaker; Atlona 8x8 HDMI Matrix Switcher.




DJ Technology

“Some of the new equipment may lead you to completely re- think the way you set up shows. If you have a marketing team - go with them and see how you can use this new equipment to sell new ideas to clients who are always looking for ‘Never done before’ thrills” says Viraf Pocha in his column “You Exhibitionist”

“Beyond a doubt ‘Immersive Hyperealism’ is the way of the future, a whole new paradigm, a new eco-system and a new way of thinking about sound and the way we design, mix and provide the hardware to do a show production.” says Warren Dsouza in his column “Spaghetti & Curry Westerns in Immersive Audio”


Hang the DJ DJ Editor, Reji Ravindran elaborates on the journey, evolution & exposure of some legendary media players in the Indian market through the decades in his article “The Indian History of Popular Media Players for DJing”.

Avolites Q3 Media Server; Elation Seven Batten series; ETC’s ColorSource Pearl; Elation Professional Smarty Hybrid; New Diode Series by Laserworld; Chroma-Q Studio Force II Natural Choice; Chauvet Professional STRIKE P38; Work Pro LightShark Range; X-Laser three New Laser systems.

Pioneer HDJ-S7 professional on-ear DJ headphones; Audio-Technica Two New Moving Magnet DJ Cartridges; Reloop RP-4000 MK2 Budget DJ Turntable; DJ Rohit with Dynatech HP-12A+; TRAKTOR compatibility for CDJ-TOUR1 and DJM mixers.

58 The GearHouse Story

May - June 2018


Voice Track Intelligence for Presentations and Conferencing.

AM-1 Real-Steering Array Microphone The AM-1 Real-time Steering Array Microphone System, is equipped with a built-in sensor to detect and track sound sources, and it captures voices clearly and continuously from either side, above or below. This frees speakers to move back and forth in the vicinity of the podium, turn or tilt their heads to address different sections of the audience, or gesture naturally without concern for the location of the microphone. Placed unobtrusively on top of the podium or pulpit, this innovative voice-tracking microphone completely eliminates the interference and inconvenience of gooseneck or handheld mikes. Intuitive parameter setting by iPad* adds further convenience. *iPad is a registered trademark of Apple Inc.

We supply sound, not equipment.



Sound & Stage

Jolly sound expands its portfolio, adding Nexo STM to their inventory Rapidly expanding AV Rental Company in North India, Jolly Sound, has made a substantial investment in wseries, a high-end line array system. Mr. Manmohan Jolly and Mr. Gaurav Jolly, owners of Jolly Sound, were looking to expand their inventory to cater to mid & big size live events, for which, they have invested in STM series speakers with the NXAMP4X4. This system is well equipped to provide a well-balanced sound throughout the frequency spectrum and the NXAMP4X4 can be programmed to drive the sound with enough power to cater any venue or situation. A combination of M46, M28 along with B112 Bass and S118 Subs has been preferred for their touring system. The system includes 6 x M46, 6 x M28, 4 x B112 and 6 x S118s, powered by 4 x NXAMP4X4C amplifiers. “The main reason for selecting STM series is the possibility of future expansion by adding more modules instead of buying a complete new rig, hence serving the company’s purpose in the long run where the system can grow with the

Team : Jolly Sound (Owner), Nexo and Yamaha Music Team : Manohar Jolly with the Nexo and Yamaha Music team company” said Mr. Manmohan Jolly. Post Technical discussions held between Mr. Manmohan Jolly & Mr. Gaurav Jolly, owners of Jolly Sound, and Mr. Ramal Kant, Sales & Marketing In charge, Yamaha Music

India, Amar pal Singh, New Bharat Music House and after considering the company’s requirements, the STM series has been selected for its innovative patented technology that has advanced the science of sound

reinforcement and also allowing the technical aspects of system rigging to be safely carried out by one person, this system enables seamless integration with NXAMP through Dante Audio network.

Allen & Heath and Audix Announce Superfly Compact Line-Array by Outline Mic Presets for Qu Allen & Heath has announced a collaboration with Audix on a new range of ProFactory Mic presets for its Qu series of compact digital mixers. ProFactory Mic presets help Qu users of all abilities to quickly achieve great results with popular and industry standard mics. Following successful collaborations with Shure, Sennheiser, AudioTechnica and SE Electronics, the

ProFactory Mic presets

May - June 2018

new presets cover a range of popular Audix models, including the D2, D4, D6, i5, and OM range of vocal microphones. Allen & Heath Product Manager, Keith Johnson commented, “Our Qu ProFactory Presets have proved a real hit, particularly with bands and volunteer operators looking for the perfect starting point for EQing their favorite mics. We’re delighted to be working with Audix to extend the preset library to cover many of their leading mics.” “Audix microphones and Qu mixers is an incredibly popular combination for bands and engineers alike”, comments Jonathan Umfleet, Audix Product Manager. “These factory approved presets are a superconvenient way to get great sound at record speed, with the reassurance of having dedicated PEQ presets for each individual mic model.”

European designers and manufacturers of professional loudspeaker systems Outline has announced the launch of their latest Superfly, a concept linearray speaker, which has hugely influential Butterfly design. The new ‘Superfly’ compact line-source weighs under 38kg (83.8 lb) per module yet with prodigious acoustic potential and class-leading dispersion control, it integrates perfectly within the existing Outline portfolio and can be readily paired with any of their subwoofer designs. Superfly also redefines the low-frequency performance expectations of compact line-array loudspeakers. The LF extension from the individually-driven dual 10” drivers are extraordinary (below 50Hz) and for many applications Superfly’s ultra-wide bandwidth and clarity makes it the ideal solution without the need for additional subwoofers. However, when used with any Outline


subwoofer, its full acoustic potential is realized. Powered by the company’s own DSP-equipped X8 amplifiers, Superflybased systems are flexible, powerful, predictable, quick and easy to deploy and convenient to transport, contributing vital operational efficiencies to any live sound scenario.

Sound & Stage

FBT Launches Horizon Vertical Horizontal Array Series FBT introduced its new Horizon Vertical Horizontal Array series which is designed to meet the increasingly diverse needs of rental companies and systems integrators. This series is comprising of a full range VHA406A, plus two options for low-end extension in the shape of the 12” VHA112SA and 18” VHA118SA. Constructed in birch plywood with a tough and tour-ready synthetic rubber surround, each VHA406A comprises four 6.5-inch woofers plus a 1.4” large-format neodymium compression driver with a 2.5” voice coil. The purpose-designed central waveguide, optimized with BEM finite element simulations, offers

dispersion of 90°horizontal and 20° vertical, with precise and focused vertical control across the enclosure’s entire operating range. The result is a combination of perfectly balanced, symmetrical dispersion – multiple system can be coupled with full coherence far beyond 18KHz, plus a particularly powerful, defined midrange with a frequency response extending from 65Hz to 20KHz. Its integrated hardware allows the linking of up to six VHA406A cabinets with variable angles from 5°to 20° , ensuring an easy and error-proof system configuration and set-up. Rigging is simplified even further by the inclusion of only one

setting point per side. All setting pins are fixed and integrated into the hardware, eliminating both the risk of loss and damage in transport. For low-end extension, meanwhile, the VHA112SA flyable bass-extension module is ideal for small-to-medium sized projects, seamlessly matching the VHA406A in both size and shape yet housing a single 12” B&C long excursion woofer. The bass reflex design incorporates a laminar air flow to minimize turbulence and compression, while the Class-D amplifier module drives the system with 1,200W, and includes on-board DSP with filtering, equalization and limiting.

For larger spaces, the ground-stacked VHA118SA is an exceptionally powerful and versatile subwoofer that sets a new standard for SPL to size ratio. Comprising a single 18” B&C woofer, the birch plywood, bass reflex sub again deploys a laminar air-flow for refined performance, while its 2,500W Class-D amplifier module offers a selection of six entirely rewritten preset algorithms.

Allen & Heath and Shure Launches Prime I/O Modules Allen & Heath and Shure have announced a new collaboration to enable native monitoring and control of Shure’s ULX-D and QLX-D wireless systems from Allen & Heath’s flagship dLive digital mixing systems. Reportedly, with this release of dLive V1.7 firmware, engineers can monitor supported Shure wireless systems without leaving the mix position. All essential wireless information, including mutes, signal level and battery bars, is visible from Bank screens, allowing simultaneous monitoring of multiple channels. Selecting the Preamp tab on an individual wireless channel reveals more granular information, including RF frequency, device name and peak indicators. Receiver gain and mutes can also be controlled direct from the

dLive touchscreen, or from a laptop running dLive Director software. dLive systems auto-detect any supported Shure wireless systems on the same network. “One of the key design goals with dLive has always been to help audio engineers focus their attention on the performance, particularly in high-pressure live, installation and broadcast environments where the same operator is responsible for different aspects of the production,” commented Ben Morgan, Allen & Heath’s dLive Product Manager. “Working with Shure, we have integrated convenient, at-a-glance monitoring of key wireless functions within the dLive interface and from Director laptop application.” “Shure has always made it a

priority to ensure that our customers’ workflow and product experience is as intuitive and efficient as possible,” said Rob Fuhlbrugge, Shure’s Senior Director of Engineering and Product Development. “Our collaboration

with Allen & Heath to integrate the monitoring and control of two of our best-selling wireless products with their powerful dLive systems and the Director software achieves this.”

LTM Adds LP1000 Hoist to its entertainment LP electric hoist series In order to extend its Entertainment LP electric chain hoist series, LTM has added to the series the LP1000 Hoist. The LP1000 has up to 60% greater lifting capacity with a weather resistant IP65 rating as standard - a key feature for the theatre and live events marketplace. With the D8 standard motor, the lifting capacity of the LP1000 is 1600kg in one fall operation, with an equivalent smaller weight chain for the same capacity in previous versions of the hoists. The specific requirements of the entertainment industry, such as increased capacity in one fall

May - June 2018

operation, low dead weight, low noise emission and suitability for outdoor use, have been given priority throughout the design and manufacture of the LP1000 concept. LP1000 has a robust construction, is simple in its assembly and does not contain any sensitive electronics. All shaft-hub connections are built in a self-centring polygonal design, meaning disassembly and assembly is faster with no special tools required. Wearing parts, such as the chain or chain wheel, can be replaced within a few steps and without disassembly of the entire chain hoist. Perfect for

a happy life on the road! Available with D8, D8+ or C1 specifications, threeand single-phase designs (except C1) are available. As per C1 design criteria, LP1000 has interfaces for path and load measurement. The entire chain fall is designed with a static safety factor of at least 8:1 (ISO M5, FEM 2m), meaning wear of the


components is decreased and the life cycle is extended four times, to 16,000 hours (ISO M5, FEM 2m) in comparison to the previous model at identical lifting capacity. A case-hardened and manganese phosphate profile steel chain offers a higher capacity, compared to conventional round steel chains. LP1000 Hoist

Sound & Stage

Global Sound Management Reinforces DISTRICT, India’s First and one of its kind Techno Festival Rajasthan which is widely known for its artistic and traditional music worldwide, recently experienced, a one of its kind sound and lighting extravaganza par excellence, at the first edition of DISTRICT - India’s first techno music festival, courtesy, Delhi Based Global Sound Management - a rental company with a large in-house inventory of truss & lights provided. DISTRICT boasted of 40 of the Top Djs of the country including Arjun

and eight DBS 18-2 sub-bass units. This stage was produced keeping in mind a larger than life techno experience with a matching sound setup by Outline Considering, that Rajasthan could get a little warm in March during the day, the second stage, located at the pool area where people could chill, with warm, deep techno music playing on the side creating that perfect Caribbean vibe. This stage

One of the four stages at DISTRICT powered by the Outline speakers Vagale, BLOT, Ash Roy, Calm Chor and international stars such as Eric Volta. This festival took place at an 18th century Heritage property set in a small village on the outskirts of Jaipur. To add to this, the awesome lighting, visuals and mapping on the castle structure created an unforgettable experience. This 72 hours techno event was conceptualised by Vijay Kumar aka Mister.K, one of India’s foremost techno artists. His crew included Sonia Sekri (Co-Founder), Raman Bhandari (Co-Founder), Gaurav Gambhir (Co-Founder), Nalin Sharma (Head of Operations), Joey J (Head of Social Media and Pr). For the DISTRICT techno festival four different stages were built, all of which were powered by Outline PA systems supplied by the manufacturer’s distributor Global Sound Management. The main stage which was named - Checkpoint Charlie, featured a PA system which included 16 Outline Mantas 28 vertical line array elements

which was called Aruba, featured an Outline Spectra Bass system and another pair of the manufacturer’s DBS 18-2s subwoofers. The De-Wallen stage, which was also known also as the after-party zone, offered a more intimate setting with less bass and more melody. Here, Global Sound Management’s founder Gaurav Malvai and his team supplied a pair of Outline Doppia 3-way speakers, complemented once again by two DBS 18-2 sub-bass units. The monitoring setup mirrored that of the Aruba stage with two Outline Vegas 15 CXs systems. Lastly, was the Diamond Fuji stage which was setup on the roof of the castle featured a total of four Vegas 15 CX cabinets, two for PA, two for monitors with a pair of DBS 18-2 sub-bass units. The DISTRICT crew has gone back to the drawing board and are working on DISTRICT 2019 and are confident that Gaurav Malvai has some bigger production ideas in store for them!

Sound & Stage

Allen & Heath and Audix Announce Mic Presets for Qu Allen & Heath has announced a collaboration with Audix on a new range of ProFactory Mic presets for its Qu series of compact digital mixers. ProFactory Mic presets help Qu users of all abilities to quickly achieve great results with popular and industry standard mics. Following successful collaborations with Shure, Sennheiser, Audio-Technica and SE Electronics, the new presets cover a range of popular Audix models, including the D2, D4, D6, i5, and OM

range of vocal microphones. Allen & Heath Product Manager, Keith Johnson commented, “Our Qu ProFactory Presets have proved a real hit, particularly with bands and volunteer operators looking for the perfect starting point for EQing their favorite mics. We’re delighted to be working with Audix to extend the preset library to cover many of their leading mics.” “Audix microphones and Qu mixers is an incredibly popular combination

for bands and engineers alike”, comments Jonathan Umfleet, Audix Product Manager. “These factory approved presets are a super-

convenient way to get great sound at record speed, with the reassurance of having dedicated PEQ presets for each individual mic model.”

FaitalPRO Debuts Three New Ferrite-Based Cone Woofers FaitalPRO has unveiled three new ferrite woofers: the 18-inch 18HW1070, the 12-inch 12FH530, and the 10-inch 10FH530. The new 18HW1070, dubbed the “high-performance subwoofer,” is outfitted with a 4-inch (100 mm) voice coil. It has a rated nominal power handling specification of 1,600 watts AES, with maximum power handling of 3,200 watts. “We wanted to create an 18-inch loudspeaker for subwoofer use that would be similar to our 18XL1600 in terms of acoustic characteristics, power, frequency response, Thiele & Small parameters, and so on, but with a ferrite magnet assembly,” explains Flavio Naggi, Pro Audio Division Manager for FaitalPRO. “Once the new woofer completed our testing process, it became evident that the project requirements had been fully confirmed, and in some cases, surpassed expectations,” he continues. “For example, maximum excursion values were superior to

the reference model, and the same happened in parameter linearity with large signals.” The new 12FH530 and 10FH530 are meant for midfrequency woofer configurations and applications. Declared power ratings for both are 500 watts AES nominal and 1,000 watts peak, and they offer the same ferrite magnet assembly with internal demodulation ring. The 12FH530 model is an “improvement” of the existing 12FH510, adding the demodulation ring for the correction of harmonic distortion, particularly in the medium frequencies. The cone and suspension also have a new coating procedure. “It’s a very special process, and as a result, we achieve new characteristics in cone rigidity, so we can point to a real improvement in comparison to current products on the market,” explains Naggi. “This means that the 12FH530 is able to produce a new sound, a different tone, with a more lively

presence in the medium frequencies. The response curve is softer compared to existing products, preferable when it’s necessary to emphasize the voice of the performer or instruments that operate in this frequency range in an acoustic system,” he adds. Suggested uses are in 2-way horn-

Ashly Introduces Rack-Mountable DigiMIX18 Ashly Audio has introduced the new digiMIX18 digital mixer features intuitive real-time mixing functionality pros and beginners will appreciate – with real buttons and knobs, intelligent fader and meter bridge and a seven-inch touchscreen interface. “Our digiMIX18 has everything an audio engineer will want, configured so that quick access is insanely practical,” said Anthony Errigo,

May - June 2018

director of marketing communications, at Ashly Audio. “Non-experts will have an easy time navigating basic functions in ‘EZ-Mode’ when digiMIX18 is set up for, say, a meeting or a presentation. It doesn’t depend on Wi-Fi for anything, so it’s completely self-sufficient. All around it’s a powerful solution for any live performance or event.” Additional features include eighteen inputs, twelve output busses,

comprehensive equalization and dynamics processing, two effects engines, automixing functionality, optional Dante digital connectivity, supplied rackmounting hardware for a locking rack system.


loaded loudspeaker systems or in a front-loaded design in a classic 2-way enclosure with contained volume. “These are ‘simple’ woofers that do not present specific problems with filtering or matching in any PA system, making them incredibly versatile,” Naggi says.

Sound & Stage

Alto Professional Launches TS3 & TX2 Professional Powered Loudspeakers Alto Professional has introduced Truesonic TS3 series and TX2 series of professional powered loudspeakers. Truesonic TS3 series There are four models in the new TS3 range: The TS308, TS310, TS312 and TS315, with 8-10-12- and 15-inch woofers respectively. The range shares a new 2000-watt peak (1000-watt continuous) amplifier, a significant advance over the 1100-watt peak (550watt continuous) amplifiers in the TS2. The four models boast all-new lowfrequency drivers, designed to play louder and handle more power than their already-impressive predecessors in the TS2 Series. They also have a new horn-loaded high-frequency driver. This impressive transducer has a brand-new heat sink design that provides exceptional heat dissipation

for impressive power-handling, even at all-night-long concert levels. Because these new drivers can safely handle the additional power, the TS3’s take full advantage of the increased wattage and will play at higher SPLs with lower distortion. Of particular interest and utility is the optional wall-mount bracket. This durable steel bracket enables both vertical and horizontal positioning, has a matching powder-coated finish and 15-degree rotational locking points for fine tuning the speaker’s positioning. “Alto Professional’s TS2 series of powered speakers met with incredible success and became an instant best-seller,” said Pyotr Belov, Product Manager for Alto Professional. “This new TS3 Series builds on that success by improving every single aspect

of our TS2’s performance—more power, higher power-handling, louder SPLs with less distortion and easier connection and control. The new TS3’s exemplifies what we mean by Expectations. Exceeded.” TX2 Powered Loudspeakers This series is comprised of four models—the 300-watt TX208 and 210, and the 600-watt TX212 and 215. They are all bi-amplified 2-way designs, with a long-excursion woofer and a 1-inch titanium compression driver in a newly-designed precision horn. This new horn design improves the high-frequency performance and produces a very precise 90˚H X 60˚V radiation pattern—ideal for optimal audience coverage. The TX2 Series features a new ID, resulting in rugged, lightweight,

easily-transportable cabinets. Their trapezoidal shape enables either upright or wedge monitor positioning and the full-sized steel grille gives complete driver protection. These speakers are built for continuous heavy-duty use. Add to that their full complement of inputs/outputs and mounting options and it’s easy to see that the Alto Professional TX2 Series plays an indispensable role in any performer’s equipment lineup. “Alto Professional’s TX2 series of powered speakers are a perfect example of what we mean by Sound like a Pro,” said Pyotr Belov. “These new speakers deliver everything the demanding performer is looking for— great sound, outstanding loudness capability and the mounting and hookup flexibility to cover any scenario.”

Celestion launches New CDX14-3040 Neodymium Magnet Compression Driver Celestion, a supplier of professional loudspeakers and compression drivers for sound reinforcement applications, has announced the launch of the CDX14-3040 neodymium magnet compression driver. This new model from Celestion utilizes a single-piece pure titanium diaphragm and surround together with a compact lightweight magnet assembly to deliver a superior high frequency performance. The CDX14-3040 is a 1.4” exit, 3” voice coil neodymium magnet compression driver. It features a stiff

and light edge wound coil copper clad aluminum voice coil and delivers 75Wrms (AES standard) power handling as well as a sensitivity of 106.5dB from 500Hz to 20kHz. Celestion recommends a minimum crossover frequency of 1kHz (at 12 dB/octave). It is the third large format compression driver developed by Celestion to incorporate a 3” singlepiece titanium diaphragm and surround, following the introduction of two ferrite magnet drivers: the 1.4” exit CDX14-3030 and 2” exit CDX20-

3020. Due to its lightweight neodymium magnet assembly, the CDX14-3040 offers a size and weight advantage over its ferrite magnet counterparts, weighing in at a modest 1.4kg/3.1lb at a diameter of 135mm/5.3”. Celestion managing director, Nigel Wood says,”Our new CDX14-3040 reproduces the very high frequency performance of many popular large format titanium compression drivers while also

offering a number of performance advantages such as lower distortion as well as reduced size and weight.”

Cadac Unveils two new consoles - CDC five and CDC seven-s Cadac celebrated its 50th anniversary with the launch of the latest model in its CDC digital console series. CDC five – the smallest, most affordable of the touch-screen CDC series – offers a compact mix solution of unparalleled quality and power for small-to-medium sized production companies, freelance mix engineers and fixed installations. The CDC five features a single 23.5” touch screen and 16 faders, with dual banks of user assignable buttons, providing a total of 40;

May - June 2018

a unique feature of the CDC five. The rear panel boasts 16 analogue inputs, to compliment the 8 analogue outputs and 8 digital inputs and outputs, as well as the integrated 64 x 64 Waves card. The CDC five also includes dual MegaCOMMS ports, enabling additional MegaCOMMS processing / interfaces to be connected, to form part of an extended audio and mixing console network. The CDC five runs 96k / 24-bit audio and is capable providing up to 48 inputs and 24 assignable busses, plus LCR and monitors

in FoH mode; or 30 assignable busses when operating in Monitor Mode. Designed as a ‘one box solution’, the CDC five has one internal PSU with the option of adding a second redundant external supply (the current PSU 4800).


The second new Cadac console, the CDC seven-s is Cadac’s new

(Continued on page 20)

Sound & Stage

Dynatech delivers a new wave of amazing audio experience in Nagpur with Audiomaxxx In recent times, the quaint town of Nagpur has woken up to the sound of pristine world class quality audio experience, as the city’s local sound rental outfit – Audiomaxxx – has invested into adding a comprehensive audio reinforcement system comprising loudspeakers from India’s favorite brand that symbolizes power, performance and efficiency – Dynatech. The rental company have purchased multiple numbers of the inimitable Dyantech DVX 225 high performance passive loudspeakers, which joins their existing range of loudspeakers that already comprises multiple units of the Dynatech HP15A+ loudspeakers, all of which are powered through Dynatech PD series power amplifiers.

The purchase was made through Digitrons - the official representatives of Dynatech products in the region. Mr Kiran of Audiomaxxx shares his thoughts on the purchase as he says, “Our decision to add the Dynatech DVX 225 loudspeakers has totally been worth it all. The loudspeakers are powerful, extremely versatile and super easy to move around logistically, and extremely high on performance, and all our clients have praised us for the great quality of sound that we’ve delivered for their events. There’s absolutely no doubt that these are amazing products, and we’re glad that we’ve invested into a system that will continue to deliver great quality performance for years to come!”

Logic Systems Launches V-Line range and Three Wedge Monitors Loudspeakers Logic systems Pro Audio a Lincolnshire-based loudspeaker manufacturer has recently introduced the new V-Line range featuring HPLS and MPLS models, three new passive wedge monitor loudspeakers i.e. MLM15, ML 118 and MPPLS 4. V Line Sound Range These loudspeakers are pure line source designs that radiate acoustic energy in a 90 degree (horizontal) and 15 degree (vertical) ‘cheese wedge’ pattern. The powerful V-Line range features HPLS and MPLS models which are both compact and lightweight. The new speakers have

low frequency enclosures. The HPLS line source loudspeakers are designed for high power mid/ high frequency applications and require separate low frequency loudspeakers to cover the frequency range 35-125Hz. The MPLS range is designed both for medium power, full range applications, and also for higher power use with separate low frequency loudspeakers. MLM15, ML 118 and MPPLS 4 Wedge Monitors Loudspeakers These new passive wedge monitor loudspeakers are significantly added to the Logic systems ML Multifunction

Cadac Unveils two new consoles... (Continued from page 18) flagship CDC console and replaces both the current CDC seven and the inaugural CDC eight. A significant upgrade to the CDC seven, CDC seven-s offers 128 inputs and 64 busses – of which 56 are assignable (62 in Monitor Mode). The new console also features a number of additional

May - June 2018

hardware buttons, aimed at speeding up navigation. Version 5 Console Software also greatly enhances CDC six, not only with all of the additional new features, but also from an increase in its input channel count, bringing that up to 80 input channels, while maintaining the 48 assignable bus counts.

product range. The MLM15 uses a 15” dual concentric driver; the MLM 12, a 12” dc driver; and the MLM 10, a 10” dc driver. The enclosures also include a ‘top hat’ mount, dedicated bracket and M10 flying points. The multipurpose nature of the cabinet makes it suitable for a variety of applications including front of house, monitoring, stage fills, delays and installation. Also added to the ML Multifunction product range is the ML 118, a compact bass enclosure with a frequency range of 40Hz - 500Hz and a power handling capability of 1kW. This unit has a load impedance of four ohms and is supplied with a


‘top hat’ fitting, handles and heavyduty castors. The MPPLS 4 is a compact line designed for smaller applications and has true line source performance for throw distances up to 12 meters. The unit utilizes four 5” mid/bass drivers and two 1” compression drivers mounted on a specially developed waveguide. With a frequency range of 70Hz -18kHz and power handling of 500W (AES), the loudspeaker can be used for voice and background music applications, either standalone or with additional bass loudspeakers to allow higher power full range usage.


The ART of Touring

Behind the Scenes at Encore

A.R. RAHMAN - the name says it all! 2017-2018 witnessed one of the most imposing live stage tours, when Rahman, set sail on a multi-city tour in India, reliving his musical renditions over the years. The event, aptly named ‘Encore’, was conceived to celebrate 25 years of his glorious musical journey. A tour of this stature, involving one of the biggest icons of the Indian music industry also calls for impeccable behind the scenes planning and execution. In this exclusive feature, PT finds out from MR B Live Entertainment, the producers of this tour, how an AR Rahman multi-city tour takes shape!


ith six National Film Awards, two Academy Awards, two Grammy Awards, one Golden Globe, fifteen Filmfare Awards and sixteen Filmfare Awards (South), A.R. RAHMAN, is undoubtedly one of the most celebrated film composers and music producers of our time. Encore – A Symphonic Celebration of his 25-Year Journey was brought to four major cities in India. The mammoth 45 day, four-city tour, which started in Hyderabad in November, moved on to Ahmedabad and Mumbai, before culminating in Delhi, end of December. A dream tour of this magnitude, where A.R. Rahman was performing live on a big stage, accompanied by

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talented musicians from across India, commanded excellence in all areas of live production. For many live tours, creating a sense of altruistic collaboration is key to attaining the perfect concert energy. Chennai based MR B Live Entertainment Agency spearheaded by Balaji Manoharan, joined hands with AKR Events (booking agent for AR Rahman), Book My Show and LIVE Viacom 18 (investors and main promoters for Encore), and MTV (Event Partners), and Rapport Global Events (Show Content and Show Running) to make this dream tour a reality. MR B Live Entertainment, an agency creating exciting and

immersive experiences for audiences worldwide has a pan India and international network of associates. The company specializes in new conceptual shows and forges tie-ups with investors and partners for the innovative formats it creates. The company excels in providing end-to-end solutions: from ideating new concepts to bringing in investors and converting the show on paper to reality. Encore tour was pitched as possibly one of the biggest live performances by an Indian artiste in recent years. The core team at MR B Live Entertain-

The stage-set for the Encore tour was a massive ship which was beautifully detailed. The concept was to portray A.R. Rahman at the helm of the ship, sailing across four cities along with an ensemble of supremely talented musicians. Created as an ode to Rahman, this stunningly intricate, superbly complex set was truly a visual treat and a work of Art.

ment who worked relentlessly on this project included Balaji Manoharan – Project Director, Shikal Jain – Project Head, Pooja Sarathkumar & Yesavani Bhoopathy – Logistics, Nikhil Thomas & Sushmitha – Backstage, Vinay Agarwal – Production Head, Priyank Verma & Vinos David – Production Manager.

Meticulous Planning “We had a daunting task of delivering an event, which was a 45-day Tour. We collaborated with the best vendors for the tour in all aspects. Artrageous Design Studio for Sets, SOUND.COM for Sound, SS Lights for Lighting, SNL Pro

for Trussing and Surya LED for LED. “Multiple teams were assembled with very specific roles and logistics which involved, more than 1000 crew members who worked tirelessly back to back to deliver the results, were deployed for every city, right before the execution. Given the tight production schedule, with every show being as less as 7 days apart, the over four-month preparation ensured that all the vendors were part of the planning. The core team was the same for the entire tour. The four-city tour scheduled to take place back to back, involved a massive stage setup. Since

the production team had to complete set-up in each of the venues within a limited period, MR B Live hired local on ground production support for each of the cities to execute Venue Construct, Seating, Branding, Power & Electricals and Security Planning. Production Crew Entertainment was brought on board for Hyderabad, Ahmedabad & Mumbai and Scoop Holdings held fort in Delhi. When it comes to tour logistics, spotless and rigorous planning involving hand-tailored solutions designed to meet timeframe and budgetary requirements is crucial to ensure that the show goes on smoothly.

The Mr B Live Entertainment team with A.R. Rahman. From l-r: Sushmita, Yesasvani Bhoopathy, Vinay Agarwal, Pranav, Akshay, Vinos, Balaji Manoharan, Shikhal Jain, Nikhil Thomas and Pooja Sarathkumar

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“With multiple crews working on the project and over 100 members travelling from different parts of the country, each on different dates to different cities with its own set of challenges and work ethos, we had to ensure that in each city, the teams were present well in time. Starting from the flight and hotel, followed by ground transportation, each member had different dates and job roles assigned. In association with Rapport Global we planned the entire logistics. The logistics team with the support of Destino (Hospitality Partner) ensured that each Artist, musician, crew member reached in time, as the setup period was less than 8 days in all, including tech day, rehearsal and show day,” says Balaji Manoharan and Shikal Jain. This tour witnessed, besides Rahman, an impressive array of musical talent including renowned singers like Mohit Chauhan, Javid Ali, Jonita Gandhi, Harshdeep Kaur, Shashaa Tirupati, Poorvi Koutish and Hriday Gattani, whoperformed some timeless tunes with a range of talented musicians like Mohini Dey, Ashwin Srinivasan, Asad Gulrez Khan, Keba Jeremiah, Sanket Athale, Ranjit Barot and Darshan Doshi backing them. The success of a tour for a big artiste also relies heavily on coordination, briefing and planning with not only the artiste, but also the various musicians from across the country who accompany him. Muhammed Rafiq, AKR Events and Syed Nasser, ARN System worked persistently and systematically and handled the entire coordination. The Show Director, Mr. Deepak Gattani (Rapport Global) conceptualized the show as a celebration of Rahman’s musical journey, capturing

The tour also witnessed an impressive array of musical talent including renowned singers like Mohit Chauhan, Javid Ali, Jonita Gandhi, Harshdeep Kaur, Shashaa Tirupati, Poorvi Koutish and Hriday Gattani, who performed some timeless tunes with a range of talented musicians like Mohini Dey, Ashwin Srinivasan, Asad Gulrez Khan, Keba Jeremiah, Sanket Athale, Ranjit Barot and Darshan Doshi backing them.

every milestone from the very start. A 25-year legacy was delicately presented in a two-and-a-half hour show, with the theme shining through - be it in the set, the song list or the visuals

were was used and two identical sets were fabricated, as the first set used in Hyderabad was moved to Mumbai and the second from Ahmedabad to Delhi,” says Balaji Manoharan.

Iconic Stage

Lighting up Rahman

Varsha Jain of Artrageous Design Studio designed a grand stage for the tour as per the brief shared by Deepak Gattani. His vision was to create a theme that symbolized the journey of AR Rahman in the musical world. Elaborating on the theme and the concept behind the set design - “When Columbus first set sail, he discovered new continents and countries, when Rahman first set sail, he discovered tunes and notes that people had never heard before and which was beyond the realms of anybody’s imagination. This visionary captain steered an entire crew into unknown waters veering through new waves of trends and tides spanning over several years.” Metaphorically, this grand ‘ship-themed’ stage design became the central visual element. Everything flowed from this centerpiece – the concert visuals highlighted the beginning of Rahman’s career, his achievements, his musical evolution, his tryst with Hollywood and accolades from across the world. The endeavor was to give his grand journey, a well-deserved homecoming. Cult imagery from Roja, Bombay, Taal, Rangeela, Dil Se, Rockstar, Highway, Slumdog Millionaire etc. were an absolute visual treat highlighting his milestones. “Considering our shows were back to back, within a period of less than 7 days, it was very crucial for us to ensure that two of the exact same trussing systems

Ace lighting designer Becket Tundatil complemented the beautiful set with magical lighting design. Again, Gattani had set a show flow and briefed Tundatil much before Tundatil could even start programming for the first city. “He briefed me on the look and feel of the show. We had planned for a pre-programming, which we couldn’t do because of time constraint, but finally we managed to pull it off on flight before the first city tour. I usually worked at nights with the director, before rehearsal and we planned the whole sequence of colors and graphics to match the music. For Encore, I used the Jands Vista Console because it is a very user-friendly console which allowed me to program things and keep and then carry it to the next city in a very easy format,” says Tundatil. “I have been doing AR Rahman’s shows since 2005 and have also done Rahman Sir’s Canada and US tours. For me, Encore was a lovely experience, because Rahman Sir’s shows are one of my favorite shows to work on. Not to forget, the crew was great. I was working with some of my old friends Balaji Manoharan, Vinay Agrawal and Nikhil Kotian, It was a very different experience as it’s very rare that you do a tour with such a big artist in India,” he adds.

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The Sound of Music While supplied the inven-

tory for all the shows, Warren D’Souza, Audio Director & Systems Engineer for the tour designed and specified the sound systems and Fali Damania mixed at FOH. The rest of the sound team included Mark Thomas - Monitor Engineer (AR Rahman & Singers), Raghu Ramankutty - Monitor Engineer 2 (Rest Of The Band); Riyasdeen Riyaz - Recording Engineer and Niket Shinde - RF Engineer. The sound rider provided by Rahman’s team listed the same equipment for all the shows, which certainly made it easier for the sound team to deliver a consistent result each time, in every city. DiGiCo SD5 was deployed at FOH, while monitors had DiGiCo SD10, The tour utilized JBL VTX for the main PA while VT series was used for the front and side fills. (see complete list of inventory in adjoining box).

Overcoming Hurdles Organizing a tour also means that each day has unique challenges and variables to navigate. “Every city presented us with a diverse set of rules and laws. Adhering to each city’s individual legality and processes was overwhelming but we pulled through with the expertise of our local teams,” explains Balaji Manoharan. “In Hyderabad, the Global Entrepreneurship Summit which was attended by Ivanka trump was taking place, resulting in unavailability of hotels, local transport and local vendors. In Ahmedabad due to the ongoing election campaigns, the police protection deployed for the event did not suffice and hence we had to fly in additional crew and private security from Mumbai. In Mumbai, the venue was


Sound Inventory for the tour 30 VTX V25 II Main PA 44 VTX G28/S28 Subwoofers 12 VT4887 Side-Fills 12 VT4887 Front-Fills 24 VT4889 First Delays 24 VT4888 Second Delays 72 Crown I-Tech HD Amps 01 DiGiCo SD5 FOH Console 01 DiGiCo SD10 Monitor Console 1 (AR Rahman & Singers) 01 DiGiCo SD10 Monitor Console 2 (Musicians) 02 DiGiCo SD Racks (FOH), 2 MadiRacks (Monitors 1) 2 MadiRacks (Monitors 2) 01 Soundcraft VI3000 Sub-Mixer + 2 VI Stage Boxes 02 Waves SoundGrid, MGO + ProShow Bundle Plug-Ins 02 Dolby/Lake L8P8 Processors + TabletPC 32 Shure UHF-R/UR2Beta58/UR1 + WW 32 Sennheiser IEM300 G3 + WSM 24 Fischer Amps Wired IEMs 64 AKG, Telefunken, Sennheiser, DPA, Shure, Neumann Wired Mikes 16 Schertler, AKG Pick-Ups 28 Radial, BSS & KT DI Boxes 08 DiGiComm 400A & 125A Power Distros

handed over late, due to which there was a delay in setup, and the crew had to put in extra hours of work.”

(Continued on page 82)

Audio & Music Production

Steinberg launches new PAIR OF audio interfaces Steinberg has unveiled the latest pair of audio interfaces - the UR-RT2 and UR-RT4 which are the result of a collaboration between Steinberg, Yamaha and Rupert Neve Designs. What sets the UR-RT audio interfaces apart from others is their implementation of transformer circuitry from Rupert Neve Designs, which was specifically developed for audio interfaces. Transformer design is one of Mr Neve’s obsessions, so it’s quite the accolade to have his Rupert Neve Designs transformers — known for imparting natural compression and saturation — built in. The UR-RT2 comes with two analogue XLR/TRS combo inputs (with a Hi-Z switch on input 1 for electric

guitar), plus 2 TRS line inputs, and a headphones jack with independent level control. Meanwhile, the UR-RT4 boasts four analogue XLR/TRS combo inputs (Mic/Hi-Z on input 1/2 and Mic/Line on input 3/4), plus two TRS line inputs for a total of six inputs, as well as two separate headphone buses with individual outputs. Both interfaces offer +48V phantom power, USB 2.0 and MIDI connectivity alongside a range of I/O options for laptop and iPad, as well as providing DSP-powered effects for zero-latency monitoring. According to the company, together with the D-PRE preamps by Yamaha and the featured Rupert Neve Designs transformers, the UR-RT interfaces

Steinberg UR-RT2 and UR-RT4 deliver an “expressive sound with rich harmonics”. The UR-RT2 and UR-RT4 audio interfaces will come bundled with Cubase AI DAW software for Mac

and PC (64-bit only) and the Cubasis LE DAW app for iPad. The interfaces will be available from the beginning of June and will cost €399 and €649 respectively.

Waves Audio Announces SoundGrid Rack for VENUE within Avid’s VENUE | S6L Mixing Console Wave Audio has announced SoundGrid Rack for VENUE, enabling live sound engineers to run Waves plugins directly within Avid’s VENUE | S6L mixing console with tactile control from the console’s surface knobs and integration in the VENUE software, thus eliminating the need for a computer host or an external network switch. SoundGrid Rack is a plugin that runs within the VENUE | S6L environment and can load up to 8 SoundGrid-compatible Waves plugins per instance. All standard VENUE plugin features apply, including “Config” and “Show” modes, delay compensation, snapshot automation and detailed tactile control of plugin parameters. It allows user run up to 128 mono or 64 stereo SoundGrid Racks within the S6L, each containing

up to eight plugins. The included SoundGrid Inventory component (also available as a separate download from Waves Central) manages the SoundGrid network and allows to monitor its status. Mick Olesh, Waves EVP of Sales & Marketing, comments, “We are delighted to offer Waves SoundGrid technology to Avid, for integrated SoundGrid control and the use of Waves plugins on Avid’s VENUE | S6L live console, thus boosting its mixing capabilities and offering live sound engineers a significantly enhanced and creative workflow.” “We’ve worked with Waves to deliver a completely integrated experience for our live sound customer community,” said Al McKinna, Director of Live System Product Management at Avid. “With Waves SoundGrid setup and plug-in

control now fully incorporated into the VENUE software, S6L customers will enjoy the intuitive, lightning-quick workflows they need to mix the most demanding of live shows with ease.” Waves SoundGrid Rack for VENUE features: • Run Waves plugins directly within your Avid VENUE | S6L console • 128 audio paths at 96 kHz • Follows standard operation of all

plugins in the VENUE plugin rack • Tactile control surface mapping for all Waves plugins • Snapshot automation for plugin parameters • Legacy VENUE show file compatibility • Server redundancy with automatic failover • No external computer host or network switch necessary

Rycote Appoints Overtone Audio as Distribution Partner for India Rycote, the award-winning UK manufacturer of advanced microphone windshields and suspension systems has announced the appointment of Overtone Audio as their sole distribution partner for India. Rycote operates a global distributor network and welcomes this great opportunity to service

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their professional audio customers in India, and to explore the potential for

owner of Overtone Audio, Vinod Subramanian both as a long-time

future business growth in the region. Speaking of this new appointment, Rycote CEO, Simon Davies said “I have known the

customer and friend for well over ten years. Vinod is an exceptionally talented feature film production sound mixer and incredibly


knowledgeable about everything related to production sound. Therefore, when he told me he was considering forming Overtone Audio to support & distribute professional sound equipment, we were honoured that he would include Rycote within his portfolio of brands”.

Audio & Music Production

PreSonus Updates Studio Magic Plug-in Suite PreSonus has updated its

effects optimized for modulation lets

just the attack curves of a sound

popular Studio Magic Plug-in Suite

one add rhythm with reverb and

event. This allows instruments to

for Mac and Windows. Reportedly,

compressors pumping, filters and

be mixed at lower levels, which

seven classic Lexicon plate, hall,

this 2018 Studio Magic Plug-in

EQs opening and closing, delays

opens up space in the mix, while

chamber, and room reverbs. A

Suite software bundle includes

morphing, and tube distortion

the relationship between tracks is

streamlined interface and 100

seven popular plug-ins in VST, AU

warming and cooling.


versatile, finely crafted presets

(Mac), and AAX formats. Add warmth, depth and

SPL Attacker is a micro-plug-in

Mäag Audio EQ2 delivers the

levels after applying EQ. Lexicon’s MPX-i reverb delivers

enable you to quickly get the

that employs the same Differential

sound of the Mäag Audio EQ2 two-

sound you want. Input and output

character to the tracks with

Envelope Technology as SPL’s

band hardware equalizer. Its design

metering lets one monitor levels

Klanghelm SDRR2tube, which

famed Transient Designer. Using

allows for exceptionally low phase

at a glance.

can be a saturation processor, a

SPL Attacker, all attack events can

shift across all EQ adjustments, which

compressor, an EQ, a bit-crusher,

be amplified, regardless of their

helps maintain the integrity of the

compressor combines the best

or a subtle stereo widener—or it

signal level. By focusing on the

mix’s original sound while enhancing

aspects and anomalies from

can simply add movement to your

initial transient instead of specific

the very high “air” frequencies. An

several legendary, light-dependent

tracks. A comprehensive set of

frequencies, SPL Attacker amplifies

input attenuator lets you normalize

compressor circuits. The result is

The Brainworx bx_opto

controls enables users to manipulate

a powerful dynamics processor,

the character of the saturation to

teeming with character and

make it sit perfectly in the mix.

delivering sounds that can’t be

The user can transform any

achieved with analog optical

instrument, synth, raw sound or


full track in real time with Output

Arturia’s Analog Lab Lite is

Movement, an exciting effects

a “Greatest Hits” collection of

plug-in for the studio or stage

physically modeled classic analog

that adds powerful rhythms to any

synths, organs, string machines,

input in real-time. Movement’s four

and pianos from Arturia’s

rhythm engines with sidechains,

V-Collection of virtual instruments -

proprietary Flux mode, LFOs, step

from Oberheim, Roland, Sequential

sequencers, and macros blend seamlessly. Analog modeled

Circuits, ARP, Hammond, Fender, Klanghelm-SDRR-2 Tube

Wurlitzer, Moog, and Vox.

Adam Audio’s Launches Mounting Options for S2V, S3V AND S3H Studio Monitors ADAM Audio has announced the availability of its new range of mounting options for its S2V, S3V and S3H speaker models. “We’re excited to offer our customers new installation solutions that allow the best possible positioning of their speakers in the room. That applies to both stereo set ups as well as larger multi-channel configurations

in both commercial and private venues,” says Hellinger, CEO at ADAM Audio. Designed and manufactured in Germany, these montage systems offer a flexible and durable way to fit or suspend S Series speakers from walls or ceilings. The ceiling mount includes a telescopic arm that allows

Adam Audio S-Series mounting solutions

easy height adjustments while the robust new mounting brackets can

TK Audio release BC1 Ltd compressor TK Audio has unveiled the limited edition of their BC1Ltd compressor on their 10-year anniversary. They have added some of the “most asked for” functions over the years like the THD function and HPF frequency options from the BC501. Also added is a new function called “grab” that selects a harder threshold knee,

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perfect for the drum-bus. The BC1Ltd panel is a sleek brushed anodized panel which gives an exclusive feeling and the units are individual numbered on the front panel. It also has key features mentioned below: • Threshold: -20dB to +20dB • Ratio: 1.5:1 / 2:1 / 4:1 / 10:1 / • HP Filter: 80Hz, 150Hz, 220Hz,

• • • • • • •


-6dB octave THD: adds more even harmonics Grab: selects a harder threshold knee Attack: /0.1/0.3/0.6/1/3/6/10/30/60/ 120mS Release: 50mS / 100mS / 300mS / 600mS / 1.2S / Auto Gain reduction meter Make-up: 0 to +20dB External sidechain: in/out

be swiveled backwards or forwards by up to 40° .

TK Audio BC1 Ltd compressor • Straight signal mute • Blend control: from dry to compressed • Compression in/out • External sidechain input: unbalanced TRS jacks • Internal, regulated power supply with a toroidal transformer • 115 or 230V, selectable

GORILLA SERIES Extra Low Frequency Technology




Dual 18” 2000W Subwoofer

Line Array Speakers

LIVE PERFORMANCE EXPERIENCE Sonotone 102, Savoy Chambers, Above Mini Cooper, Linking Road Opp. Masjid, Santacruz (West), Mumbai 400054, India Tel: +91-22-66439999, Fax: +91-22-66439900 Email:, Website:

Digital Processors

Audio & Music Production

Scott Esterson Joins Audionamix Audionamix has announced that Scott Esterson joins the team as sales manager operating from the company’s Los Angeles area office. Esterson brings extensive experience in the music, broadcast and post-production markets to Audionamix, where he will be responsible for sales of the company’s software products as well as speech/vocal separation services provided by Audionamix’s in-house team. “I’m very pleased to join the Audionamix team,” says Esterson. “Over the last 13 years, Audionamix has developed incredible, forward-thinking

solutions for separating vocals and dialogue from existing tracks as well as rebalancing composite track elements. The company is poised for its next stage of growth, and I’m happy to lead that effort.” Esterson has vast experience with brands such as DTS, Lexicon, Genelec, Tascam and Adam Audio. At Genelec and Adam Audio, he was the western sales manager in charge of working closely with dealers as well as music, broadcast and post facilities. He was also responsible for many surround and immersive audio monitoring systems in the music, gaming and post communities. At DTS, he worked closely with both

DVD authoring manufacturers and authoring facilities throughout the world to encode DVDs with multichannel audio. At Tascam, he was responsible for outfitting major film lots and post facilities with Tascam Digital Film Dubbers. “Scott is Scott Esterson, Audionamix an experienced says Maciej Zeilinski, CEO of professional and we are happy to Audionamix. have him join our expanding team,”

Loopmasters Introduces Loopcloud 2.0 loop browser Loopmasters has introduced Loopcloud, designed for easy browsing, streaming and importing samples. This platform allows audition the Loopmasters catalogue from the users DAW, in sync with the projects without opening a browser or download and unzip anything.

any DAW via the Loopcloud plugin • Tagging is improved to help you choose from millions of sounds • Upgraded GUI and graphics, and general optimisations • Software updates are performed automatically Recent Updates (Version 1.4) • Drag pitched, time-stretched and sequenced audio directly to the DAW • History navigation: never lose the files you found, and repeat custom searches easily • Improved file searching and retrieval • Audition and export the files in half time and double time

New Features for Loopcloud 2.0 • Audition the entire Loopmasters catalogue in the DAW • Stream millions of samples whether you own them or not • Buy individual sounds, folders and packs directly from Loopcloud • Sounds match your project’s key automatically for easy auditioning • Loopcloud automatically connects to

TC Electronic introduces TC2290-DT TC Electronics has announced its new TC2290-DT which is designed to take up the sonic mantle of the original 2290 while radically reinventing the delay unit for a new generation of musicians, producers and engineers. “Because we still have the original blueprints, we’ve been able to rework the 2290 from the ground up,” says Thomas Valter, Director of Product Management at TC ELECTRONIC. “It retains the beautiful and dynamic modulated delays of

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“We have put a lot of effort into making it authentic in both its tone and controls. It is undoubtedly the ultimate emulation,” says Thomas Valter.

the original and fuses the plusses of plug-in technology with all the benefits of having a tactile control unit at the fingertips.” Over the course of more than a year, TC Electronic had their team of engineers take apart four original units, each with their own distinct character, and measured their components from top to bottom. By cross referencing the data step-by-step with the original schematics, their software engineers then recreated all the parameters until they achieved the unique 2290 sound.

TC Electronics TC2290-DT


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Manish Mavani, the man of few words, talks about the SNL journey to becoming one of India’s biggest sound & light rental companies Manish Mavani, Founder and Director, Sound & Light Professionals (SNL Pro)


ound & Light Professionals (SNL Pro) is today one of the leading sound reinforcement rental companies in India with an illustrious history of providing hire, sales and installation services to the pro audio sector while handling world-class acts and the most challenging live stage events. But this was not always the case. The astounding success of SNL Pro is a textbook study on how to build and maintain a brand.

Stage to Backstage Starting of his journey in the late nineties by hiring out DJ equipment for small parties and close friends, Founder and Director Manish Mavani has come a long way. “I was a professional DJ when I started my small rental company with just two turntables, which I would rent out to fellow DJs. I followed this up with custom-built speakers, “he says. What started as just a means to supplement a career in DJing, soon developed into a healthy business for Mavani, formalizing his entry into the world of professional audio and lighting. “I soon found myself getting installation jobs for nightclubs. It was then that I shifted my focus from DJing to sales and installation. At that time, the nightclubs we setup would include not only audio installs, but also installation of lighting fixtures. Our first installation was in 2000 for a new club at the Le Meridian hotel in Pune.” Mavani started investing the profit he made from the sales and install jobs into buying more equipment. “I graduated from custom-built speakers to buying big brands in pro audio and DJ equipment like JBL, Behringer, Denon and Rane,” he explains. A significant breakthrough for Mavani

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came in the form of Ohm, which certified SNL Pro as a full-fledged integration company. “My next move was to invest in the Ohm brand which was then being distributed by Lalit Chopra’s Harness

Overseas. Ohm got us many more club and pub jobs.”

Broadening Horizons Drawing on his experience in integra-


tion and with the aid of bank funding, Mavani made strategic investments into live sound inventory and started to broaden the SNL Pro customer base. “We started with DJ gigs and in a few



beyerdynamic India Private Limited . #1, 10th Main, 14th CrossMalleswaram, Bangalore-560003 . Phone: +91 9008602441 .

tion for the event, including designing the main PA system. By 2013 SNL Pro had provide sound for Sun Burn, Norah Jones, Snoop Dog (India Tour), Enrique Igleasias (India Tour), Swedish House Mafia, to name just a few.

Investing Big on Inventory

SnL Pro was one of the first rental companies in India to purchase two comprehensive AVID VENUE S6L consoles years, we gradually started getting large scale live gigs with international acts. We initially started by investing in a large mortar analog Allen N Heath ML series consoles, Soundcraft vi6, DAS Audio line arrays and Ohm Cred/TRS 218 rig.” Popular events in the mid-2000s like Smirnoff Experience and Bacardi Blast parties catapulted SNL Pro into the big league. It is probably little surprise then that by year 2010 their accumulated knowledge of sound system reinforcement for live events resulted in SNL Pro handling the entire technical for the NH7 Music Festival in Pune organized by OML. The SNL Pro crew also grew simultaneously from four members in 2000 to 20 members in a short span of time. By end of 2010 SNL Pro, had added the Venue SC48, D.A.S. Aero 48, D.A.S. Aero 28, D.A.S. Aero 218 and Lab Grup-

pen PLM 10000Q Amps to its existing inventory. Mavani followed this up by investing in three more digital mixing consoles in early 2011 - DiGiCo SD8,

corporate events. By October 2012, SNL Pro had further enhanced its inventory with the Digidesign Venue Profile. The following years only proved that

Technology is a key part of our industry, and I believe this is one aspect that can really get you to be future ready and which will ensure that you always stay a few steps ahead of the rest. This is why our purchase decisions have always been focused on technologies that are radical and ahead of their times.

Soundcraft Vi1 and Yamaha M7CL ES. The inventory of consoles ensured that SNL Pro was future ready for all applications and jobs - from rock gigs to large symphonies, religious ceremonies and

SNL Pro was slowly getting to the top of the rung. Late 2012, when David Guetta, gave a live performance to thousands of fans on the sands at Baga Beach in Goa, SNL Pro oversaw the technical produc-

The realization that SNL Pro was now a name to reckon with, compelled Mavani to start investing more on the latest state-of-the-art live sound equipment. In response to a growth in the numbers of touring acts visiting India, in mid2013, the company decided to boost their inventory with the L-Acoustics flagship K1, becoming the first company in India to be a K standard partner. “It was Christian Heil who convinced me to go for K1 instead of V-Dosc and I ended up investing in 24 K1 cabinets,” says Mavani. This was followed by an investment, every six months into L-Acoustics’ K1, Kudo and Kara range. By mid-2015, the company had invested in the DiGiCo SD10 and two D2-Racks, via DiGiCo’s Indian distributor, Hi-Tech Audio Systems Pvt. Ltd and in 2016, The company became the first rental company in Asia to add Avid’s Venue S6L console to its inventory, investing in two units. The kind of investments the company was making came as no surprise as Mavani’s mandate was clear from day one. “Technology is a key part of our industry, and I believe this is one aspect that can really get you to be future ready and which will ensure that you always stay a few steps ahead of the rest. This is why our purchase decisions have always been focused on technologies that are radical and ahead of their times. If you look at our loudspeaker rigs, we’ve always purchased world-class brands whose product lines were revolutionary,” he asserts. Today SNL Pro’s diverse product portfolio and quest for optimum technology is testament to the ongoing investment “We started as a sound company, but along the way have invested significantly into rigging & trussing solutions and now also into SFX and Pyrotechnic solutions,” he adds.

Phoenix Rising

Roger Drego’s Electrocraft and Manish Mavani’s SNL Pro deployed a massive synergetic audio consonance for the Global Citizen Festival that came as a result of the two companies synergizing their respective inventories

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The SnLPro success story however is not without its share of hiccups. A massive fire that broke out during a cultural “Make In India” event in Mumbai, in early 2016 destroyed a substantial percentage of the company’s inventory including the K1 rig. Regardless of the situation, the SNL story is an extraordinary tale of success, against all odds - a story Mavani hasn’t talked much about.

Undeterred by this adversity, the company continued doing what it was best at. Mavani’s singular commitment to quality and customer relationships saw the company support veteran, rental industry leader Roger Drego, for British rock band Coldplay’s first concert (Global Citizen Festival) in India, that same year in November 2016. From an event production point of view, the festival turned out to be one of the most technically advanced single stage concert that India had ever seen, with Drego’s Electrocraft and Mavani’s SNL Pro deploying a massive synergetic audio consonance that came as a result of the two companies synergizing their respective inventories. Read this story on In the last couple of years, the company has reinforced many big tickets shows which also includes Disney’s Beauty and the Beast musical in 2015, Electronic Daisy Carnival’s (EDC) debut concert in India in 2016, Arijit Singh’s Live in Concert 10 city tour in 2017 -2018. A privately owned company, today SNL Pro has around 55 employees consisting of engineers, technical crew, service technicians, warehouse management team and a backend team of HR, Accounts and Finance and breeds

FOH Engineer – SUNNY M.R. at the Soundcraft VI6 + VI 3000 consoles provided by SNL Pro for Arijit Singh’s “With the Symphony Orchestra,” in Mumbai loyalty in its employees many of whom have spent most of their careers with the company. “The crew at SnlPro now

your ADVENTURE also includes lighting engineers and we have been getting most of large turnkey projects for the past few years. My future

goal is to see the company grow many folds in various verticals of the entertainment industry!” concludes Mavani.




Bose Professional fosters a divine audio experience at the Madre-de-Deus Church in Vettukad, Kerala The parish of Vettukad, more

pro audio leaders, Bose Professional

popularly known as “Madre-

– designed and integrated by the

de-Deus Church”, under the

Bose Professional team in India

Latin Catholic Arch Diocese of

in association with their Indian

Trivandrum, is a famous pilgrimage

distribution partners Hi-Tech Audio,

site that bears a history of more

and regional partners M/S Nobel

than five centuries. The church

Audio who managed the installation

is dedicated to the Mother of

and technical support during the

God – Madre De Deus – which


is combination of two foreign

With the audio architecture divided

words; derived from Portuguese

into indoor and outdoor sections

and Latin ‘Madre’ means Mother

respectively, the system inside the

and De Deus means ‘of God’; and

church comprises multiple units of

people from all parts of Kerala and

the Panaray MA12EX modular line-

outside, irrespective of caste and

array loudspeakers integrated and

creed come to the church seeking

aligned in clustered sets of two, with

the blessings of Christ the King.

a few units of the RoomMatch Utility

A landmark structure in the

RMU 108 loudspeakers supplementing

region since its inception, the

as front-fills. Additional units of the

church prides itself on its rich

MA12EX cover the flanks of the

history and legacy. And with the

church as side-fills. The entire system

recent overhaul of its internal and

is powered by four Bose PowerMatch

external semblance; the church’s

PM8500N networked amplifiers, and

glorious heritage now embraces

complete speaker management is

cutting-edge audio technology

handled via a Bose ControlSpace

with the installation of a state-

ESP-00 processor. This indoor system

of-the-art PA system from global

replaces an older PA system that

The outer areas is covered through multiple numbers of the LT 9702 WR weatherized loudspeakers speakers along with a few units of the LT MB24 WR subwoofers providing the low-frequency fidelity;

whose insufficient coverage lead to the need for multiple numbers of speakers to line the internal space, thereby compromising the aesthetical appeal of the heritage structure.

The precise positioning of the

the audio from inside the church

loudspeakers of the new Bose system

to almost 40 meters outside,

perfectly addresses the church’s

where people gather on important

unique architectural challenges and

celebratory processions like those

allows the sound to be projected

on Easter and Christmas etc.

unobtrusively everywhere within the

Head of the church committee

intelligibility. The crystal clear sound

at the Madre De Deus Church,

is experienced in virtually every seat

shares “Our church stands on

without significantly increasing the

the pillars of rich history and


legacy; and quality is something

On the other hand, the The system inside the church comprises multiple units of the Panaray MA12EX modular line-array loudspeakers integrated and aligned in clustered sets of two, with a few units of the RoomMatch Utility RMU 108 loudspeakers supplementing as frontfills. Additional units of the MA12EX cover the flanks of the church as side-fills.

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Rev Fr. Dr. Nicholas T –

church with greatly enhancing speech

that we abide by very strictly.

outer areas required a complete

In light of the entire premise

weatherized solution that met the

commissioning a long overdue

key requirement of maintaining the

renovation, we knew it was time

same tonal signature as the indoor

to invest in an enhanced audio

system. And this is covered through

system. There were a lot of things

multiple numbers of the LT 9702 WR

driving a change in the sound

weatherized loudspeakers speakers

system, from aesthetics to sound

along with a few units of the LT

quality and just pure need for

MB24 WR subwoofers providing the

greater coverage. After checking

low-frequency fidelity; all powered

almost every available option in

through the PowerMatch PM8500N

the market, we found the Bose

and PM4500N amplifiers. This system

system to meet all of those

is particularly crucial in conveying


(Continued on page 40)


Crest Unveils Powered line array Versarray pro Crest Audio has announced the launch of its Versarray PRO powered line array, comprising of the Versarray PRO VR112 line array element and the VR-PRO 215 sub. Versarray PRO is appropriate for all mid-sized line array applications including live entertainment, theatres, houses of worship and more. With integrated Dante audio networking, built-in DSP, innovative flying hardware and world class components, the Versarray PRO powered line array delivers premium quality audio in a versatile, easy-toset-up, networkable package, says the company.

The VR112 benefits from Crest Audio’s latest-generation Mark III ribbon drivers and proprietary CLEAR FORM Waveguide for crystalline high-end reproduction. The low end is served by the 12” NEO Black Widow neodymium loudspeaker with dual 4” voice coils which works in conjunction with Crest’s patented Ram Air Cooling (RAC) design for even greater efficiency and power handling. The compact, flyable VRPRO 215 sub, also with RAC design, features dual 15” Black Widow Low Rider drivers and delivers full power down to 35 Hz and a peak SPL of 135dB. Both elements benefit from

3000 W of available dynamic power. In terms of rigging, Versarray PRO is a fully articulating array thanks to an ingenious, easy-to-adjust 3-pin system on the back, which enables a range of configurations that are simply unachievable in other comparably priced systems. As an active system, Versarray PRO features sophisticated on-board DSP processing including FIR filtering. Certain parameters may be accessed from the back panel for quick and easy initial set-up, or the whole system may be configured and controlled remotely via a dedicated Window-based software utility. Dante

network control and audio are delivered via a single Cat 5/6 cable, and redundant analogue connections have also been included for reliability.

HARMAN Professional Solutions Announces Availability of JBL C221 and C222 Two-Way ScreenArray Cinema Loudspeakers HARMAN Professional Solutions has announced that JBL C221 and C222 two-way ScreenArray cinema loudspeakers are now shipping in limited quantities, with full availability in May 2018. JBL C221 and C222 loudspeakers help small- and mid-sized cinemas upgrade to next-generation JBL technologies for improved coverage and smooth sound reproduction at an accessible price point. Featuring patent-pending Dual Dissimilar Arraying and Acoustic Aperture Technology, C221 and C222 loudspeakers continue the JBL legacy of leadership and innovation in cinema audio, combining a compact design with the latest technology for superior performance and better coverage for raked seating. The JBL 200 Series was designed to offer cinemas an

affordable solution for creating the best possible audio experience in small- to mid-sized rooms. By including new, patent-pending technologies that complement the legendary sound of JBL cinema loudspeakers, the 200 Series offers a solution without compromise— improving performance and coverage while dramatically lowering the total cost of ownership. JBL’s patentpending Dual Dissimilar Arraying design combines two asymmetric high-frequency drivers in tandem, making it possible to sculpt the geometry of modern cinemas. While traditional configurations

require three-way loudspeakers to achieve this level of performance, Dual Dissimilar Arraying

Bose Professional fosters a divine audio... (Continued from page 38)

creates coverage patterns specifically designed for raked seating in modern cinemas. And with the 200 Series, simultaneously lowers the total costs of ownership of such a system. The JBL 200 Series also includes Acoustic Aperture Technology that works seamlessly with its lowdistortion 15” driver. The integrated Acoustic Apertures creates a hornloading effect, helping to maintain a wide horizontal coverage pattern through the crossover range while improving speech clarity. The result is even coverage of the entire cinema seating area, making every seat the best seat in the house. Highlights • Two-way Next Generation ScreenArray design for maximum output, improved coverage, and minimum distortion • Patent-pending Dual Dissimilar Arraying Technology • Patent pending Acoustic Aperture Technology • 12” footprint saves space without sacrificing performance • Lower total cost of ownership

completely convinced about the

it is an absolute honor and privilege

challenges. We met with the team

positives of the system and it is an

for Bose Professional to be a part

that finally commissioned the sound

absolute value for money investment.

of such a rich legacy. We’d like to

system here, and they proposed a

The sense of presence is dramatically

thank the entire church committee

meticulous design sketched through

improved, and the sound is

especially Rev. Fr. Dr. Nicholas and

Gautham ND, and the teams at

spectacular. Bose gave us everything

the construction committee convener,

Hi-Tech Audio and Nobel Audio

we needed in a sound system.”

Mr. Aloysius for investing their

respectively, for a job well done.

faith in our brand; and a special

We are proud to deliver the kind of

vote of thanks to the entire audio

world-class audio solution that an

the Bose Modeler Presentation and Auditioner Demonstration. They went the extra mile in providing a live

Mr. Vibhor Khanna – Country

demonstration of the entire proposed

Manager – SAARC, Bose Professional

solution which certified the modeled

asserted, “The Madre De Deus Church

commissioning team including

exemplary shrine like the Madre De

results, and that is when we were

is an iconic religious institution, and

our official regional representative

Deus truly deserves.”

May - June 2018



JBL Brings Long-Throw Performance to More Venues with New VLA Compact Series HARMAN Professional Solutions has introduced the JBL Professional VLA Compact Series line array solution. Built upon the industry-leading capabilities of the JBL Variable Line Array (VLA) Series of long-throw line arrays, the new VLA Compact Series offers the same performance quality in a more compact, outdoor-ready solution for use in any large venue, from small- to mid-sized stadiums and arenas to larger venues where speakers are mounted a long distance from the listener. Kevin Brown, Sports Venues Solutions Manager at HARMAN Professional Solutions, says, “The new VLA Compact Series takes those capabilities and builds on them, providing a compact, versatile solution that is perfect both for smaller-sized stadiums as well as use in distributed clusters in arenas, domed stadiums and larger

performance spaces.” VLA Compact is designed specifically for permanent installation applications requiring even coverage, high intelligibility and audio levels capable of overcoming crowd noise. As a fundamental design element, VLA Compact Series offers large format horn-loaded modules to provide broad bandwidth horizontal directivity and an increase in sensitivity. To drive the superior performance of the VLA Compact Series, the full-range models include dual 10” low frequency drivers featuring HARMAN’s patented Differential Drive technology, with 65°and 100°horizontal coverage options available. A subwoofer with dual 15” Differential Drive woofers is also available. Because the VLA Compact is intended for outdoor use, the speakers also include weather protection out of the box, with an

JBL Variable Line Array (VLA) Compact Series IP55-rated fiberglass enclosure and steel end panels. “The JBL VLA Series is simply the industry’s best combination of performance and cost, and now it’s available in a small package that is perfect for a number of new applications,” says Iain Gregory, Director, Large Venue Customer

Solutions at Harman Professional Solutions. “This is yet another example where Harman is not only leading innovation, but is also taking that innovation and bringing it to the widest range of solutions possible, providing solutions that are flexible yet purpose-built to the unique challenges our customers face.”

P.Audio + Dynatech serves an ocean of immersive audio at K9 The Coastline, Pune Delivering the best in authentic Maharashtrian coastal cuisine, K9 The Coastline is a restaurant that has cooked up a storm when it comes to refreshing beverages, scrumptious meals, and delightful desserts, allowing patrons to experience the true essence of the coastal life – all within their plate. And this amazing culinary experience has awed the people of Pimple Saudagar in Pune. But apart from the gastronomical indulgences, K9 The Coastline also delivers the perfect ambience for their patrons to soak in and enjoy the vibe of the place, in which the magnificent pro audio setup plays a key role. K9 The Coastline sports a comfortable and luscious outdoor seating section that hosts a fine audio setup comprising multiple units of the Gallardo-4 surface mount install speakers which heightens the ambiance for patrons who choose to enjoy their meal in the fresh air. The indoor area on the other hand features the unbeatable combination of P.Audio PCS-6FT ceiling speakers and

May - June 2018

the Dynatech PA-250 amplifier, with the PCS6CT delivering pristine audio performance across the venue, much to the delight of the venue management and patrons. The stellar audio solution across all K9 The Coastline venues in Pune and Mumbai has been designed and commissioned by Pune based company AV Professionals. And commenting on the experience of being associated with the project, Sachin of AV Professionals shares The indoor area of K9 The Coastline features P.Audio PCS-6FT ceiling speakers “The Gallardos and the combination of the every sense. The system accurately management extremely pleased P.Audio PCS-6FT and the Dynatech reproduces all kinds of music with with the quality of sound, but PA-250 absolutely outstanding. great ease, and when the franchise they also love the fact that the Especially for hospitality and owners experienced the system’s system is extremely easy to use restaurant project the likes of K9 prowess the very first time at one of and maintain. Plus, the patrons The Coastline, where the demand their earlier outlets, they absolutely too love the quality of the sound. was for crystal clear audio across all fell in love with it. It makes me That, according to me, is a huge sections of the venue in a package proud to say that not only are the win!” that’s efficient and effective in


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Martin Audio Announces New Flyable 15” Subwoofer for Wavefront Precision Martin Audio has further boosted its subwoofer line up with the introduction of SXF115 – a passive subwoofer featuring a powerful, longexcursion 15” (380mm)/4” (100mm) voice coil driver in an ultra-compact bass reflex enclosure, capable of 136dB at 1 metre. The ideal companion for Martin Audio’s new Wavefront Precision Mini (WPM) optimized line array, it can extend the performance down to 42Hz and can be flown as part of an array, or ground-stacked separately.

Cardioid operation can be achieved by arranging the SXF115 in forward and rear-facing pairs. The design of the 15” driver maximizes output while minimizing power compression and distortion, and four reflex ports reduce air noise at very high output levels. The SXF115 enclosure is constructed from multi-laminate birch ply, finished with a durable polyurethane coating and equipped with a perforated steel grille, skids and twin bar handles. An M20 threaded fitting in the top

surface facilitates polemounting of up to four WPM or MLA Mini enclosures. Managing Director, Dom Harter, commented, “We are pleased to introduce for WPM the flyable SXF115. The SXF115 is also compatible with MLA Mini in fixed installations where ground-based, rack-mount amplification is preferred, so we expect to see very healthy sales of this sub.”

Martin Audio Flyable Subwoofer for Wavefront Precision

Sound Devices Announces New VR Partnership with Sennheiser Sound Devices has announced a new collaboration with Sennheiser to offer the full spatial audio experience for virtual reality (VR) video within Sennheiser’s AMBEO for VR partnership program. With the Sound Devices MixPre-6 & MixPre-10T portable recorders and Sennheiser’s AMBEO VR Mic, VR professionals can record and monitor premium 360°spatial audio for VR video. Reportedly, as an exclusive new feature to the VR partnership program, the MixPre-6 and MixPre10T will be the first portable recorders to offer onboard AMBEO to binaural decoding. This allows VR creators to assess and make creative decisions about spatial audio content at time of capture,

without needing a post-production workstation. “Sound Devices recorders have been used for Ambisonics field recording for many years, so it was

a natural progression for us to bring our MixPre recorders into the new world of VR 360 recording,” said Matt Anderson, CEO of Sound Devices. “We are happy to partner with

Sennheiser to provide a high-quality VR recording and monitoring option for our MixPre-6 and MixPre-10T customers.” “Sennheiser is excited to have Sound Devices come on board the partnership program,” commented Véronique Larcher, AMBEO Immersive Audio codirector at Sennheiser. “Offering VR content creators, the unique and exciting possibility to directly monitor their spatial recordings exemplifies the spirit of the program: making immersive audio workflows as simple and straightforward as possible for users.”

Logic Systems Pro Audio launches compact Ci Series Logic Systems Pro Audio has launched its new Compact installation series (Ci) which is reportedly more compact than the existing IS Installation series and is the result of extensive collaboration with installation contractors and consultants. The full Ci Series range covers 100W, 200W, 300W, 350W, and 400W installed loudspeaker options, and 500W Bass, 600W Bass and 1000W Bass loudspeaker enclosure options. The angled backs combined with dedicated yoke brackets allows compact installations close to walls

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and ceilings. Cabinets have back bracket and yoke mounting points, providing landscape and portrait alignments as standard. They also benefit from insert points to further assist the installer and HF units can be fitted vertically and horizontally. The choice of Bass to integrate with the Ci Series will be venue dependent and reflect the music policy of the venue operator, so Logic Systems is offering

Logic Systems Pro Audio Ci Series

a broad range of options and within the range there are three options covering most user requirements.


The series is available in two standard cabinet colours, black and white.


ADJ Introduces Design Series LED Video Range with Innovative New Panel Shapes ADJ has launched an innovative new range of LED video panels, the Design Series. Based on the same foundations as the AV Series – quality, reliability and affordability – the Design Series comprises of four modular panels of different shapes i.e. the DS4 (square), DS4T (triangle), DS4QC (quarter circle) and DS4HC (rectangle) which can be combined to create video screens of almost any conceivable size and shape. Offering a pixel pitch of 4.8mm, the Design Series panels utilize 3-in-1 SMD2020 LEDs to generate a brightness of 1200 NITS. The square panel has a pixel density of 104 x 104, which is equivalent to 43,264 per square meter, and the others have an equivalent density applied to their specific shapes and sizes. The Design Series panels are designed for both fixed installations and one-off/touring productions and feature a cleverly conceived locking system that makes it easy to join together multiple panels into screens of all shapes and sizes. Each panel is fitted with retractable

plastic locking bars on their top and left sides, which slide into matching holes on the bottom and right sides of neighboring panels. A quarter turn on the end of each bar then locks the panels securely in place, while the process is quick and easy to reverse to break apart the screen for transport and storage. The Design Series panels are also extremely lightweight, which further adds to their flexibility and portability. The DS4 (Square) unit is only 12 lbs. (5.5 kgs), while the other smaller panels weigh even less. A full system of accessories – including video processors, rigging bars, cables, connectors and road cases – are also available. This includes a case that allows square panels to be stored and transported while connected together in pairs, further reducing the time required to setup and dismantle a large multipanel display.

“The response to the ADJ AV Series over the past few years has been truly astounding,” comments ADJ USA’s National Sales Manager, Alfred Gonzales. “Users not only appreciate the brightness, reliability and affordability of our LED video panels but also the straightforward manner in which they fit together.

That’s why I’m incredibly excited to introduce our new Design Series of LED panels, which builds on the success of the AV Series but introduces a new creative dimension. Custom-designed LED screens with curves and slants are now incredibly simple to create, both for fixed installations and temporary setups.”

WyreStorm expands AVoIP NetworkHD series WyreStorm has launched the NetworkHD 600 Series 4K HDR over 10GbE AV over IP solutions, utilizing SDVoE technology. The multi-platform NetworkHD line offers pro AV and custom install integrators a choice of three separate AV over IP technologies, the installer can select the solution that best fits their specific application. Adding to its low bandwidth NetworkHD 100 Series HD over 1GbE using H.264 and videowall and multiview-supporting 200 Series, and the low latency 400 Series 4K HDR over 1GbE with JPEG2000, the 600 Series adds powerful features for both commercial and residential applications. “As the flagship solution in the WyreStorm’s extensive NetworkHD product line, the 600 Series brings the best picture quality and the lowest latency to the market,” said

May - June 2018

David Silberstein, WyreStorm Director of Technology. “With support for 4K/60 with HDR and SDVoE-powering a 10GbE network to eliminate compression artefacts, the quality is highest available. The benefits of this are not only felt in specialist or mission critical applications, such as medical, visualisation, and large-source monitoring in command and control applications, but also boardrooms, where real time images can be displayed with no image lag.” The standardized hardware/ software platform of SDVoE provides the firepower for the 600 Series. The highly scalable delivery of mathematically lossless, zero latency ultra-fast seamless switching of 4K/60Hz and HDR using RGB or YUV, along with audio, control, scaling, processing, encoding, and encryption, over 10Gb IP network. 4K video is supported up to 4,096 x 2,160 60Hz at 4:4:4 8bit or 4:2:2 12bit HDR-10 over both HDMI and

DisplayPort, with Dolby Vision to be supported by the end of the year. Fully HDCP v2.2 compliant, 600 Series encoders and decoders feature auto-switch or software selectable input ports, with EDID capture and assign. Plethora Engine video scaling, re-timing and colour space conversion, in addition to powerful routing enabling stream breakaway for video, audio and control further add to the feature set.


HDMI audio is supported up to any known format (Genlock), as is multichannel audio up to Dolby Atmos and DTS:X, and Dolby/ DTS High Definition codecs for breakaway/routing. The 600 also supports audio embedding and de-embedding on encoder and decoder with DAC/ADC functionality, 8ch PCM audio downmix, and the creation of independent audio distribution via analogue ports.


HARMAN Debuts Powerful Vista 5 Black Edition Harman Professional Solutions has announced the immediate availability of the Studer Vista 5 Black Edition console. Built upon the tradition of the massively successful Studer Vista 5 M3 mixing console, the new Vista 5 Black Edition brings even more advanced capabilities to the platform with the addition of the industry-leading Studer Infinity Core processor. Studer Vista Black Edition consoles were designed to deliver the flexibility and advanced features of Vista mixing surfaces to a more cost-conscious market, bringing Studer’s legendary sound quality to even more applications, including radio and TV broadcast, OB trucks, houses of worship, performing arts, and more. “The response to the Studer Vista 1

Black Edition has been very strong,” says Mark Hosking, Director, Broadcast Sales at HARMAN Professional Solutions. “The larger Vista 5 Black Edition opens up more potential applications offering the same sleek look but in a scalable mixing system.

console with the sound quality our customers expect from Studer products.” The Studer Vista 5 Black Edition is available in 22, 32 and 44 fader sizes, and supports an optional TFT meter bridge. The console’s features include

And because it is built upon the Infinity Core processing engine, it can deliver full processing redundancy in a very cost effective, yet full featured

Studer’s unique Vistronics interface and FaderGlow technology, as well as the Infinity Core’s advanced capabilities such as Dynamic EQ

plug-ins and full Core redundancy with up to 1000 MEQs (Mono Equivalent Channels). The Vista 5 Black Edition supports any of Studer’s range of Infinity Core products, including the Infinity Core 300, 600 and 1000, as well as the new Studer Infinity Core Commercial off the Shelf (COTS) solution. This IT-friendly solution allows customers to run Studer’s real-time audio processing on their own server hardware just by adding a standard PCIe Infinity CoreLink card. “We are exceptionally excited to bring the Studer Vista 5 Black Edition to market,” says Hosking. “The combination of advanced features and compelling price point make this an excellent solution for a wide range of applications in today’s market.”

LYNX Technik Appoints international Sales manager LYNX Technik AG, provider of software-defined modular interfaces for broadcast as well as professional AV and industrial signal processing applications has announced the appointment of Matthias Gueckel as International Sales Manager. Most recently, as a sales manager for Sony Professional Europe, Matthias was responsible for Sony PSE sales in the field of healthcare media technology products for South-East Europe.

In his new role, Matthias will focus on LYNX’ partner and key account management developing new opportunities to address and implement LYNX Technik’s international sales strategy, together with the LYNX team. “We are pleased to welcome Matthias to the LYNX Technik team. Matthias has broad video technology knowledge, a proven track record in sales, as well as keen insights into the EMEA region. Matthias shares our LYNX Technik values, has a fresh view on our

Matthias Gueckel will focus on LYNX’s partner and key account management

sales processes and is determined to shape the future of our company together with the LYNX Team,” says Sebastian Schaffrath, CTIO of LYNX Technik AG. “I see great opportunities for LYNX Technik and its overall value proposition in this dynamic and rapidly shifting industry,” comments Matthias Gueckel. “I am excited to be working with the LYNX Technik team and its partners as we drive the company forward to build on its global presence.”

Mackie Announces FreePlay Series Mackie has announced an all-new personal PA plus matching portable Bluetooth speakers – FreePlay Series Personal PA and Portable Bluetooth Speakers., available in three models, the FreePlay LIVE, FreePlay HOME, and FreePlay GO, the FreePlay Series. “The original FreePlay was incredibly versatile and powerful, but we knew we could add even more value,” says Ryan Cassady, Mackie Product Manager. “Not only is the new FreePlay LIVE even more compact, it offers a built-in battery and integrated mic stand

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mount, eliminating the need to buy additional accessories to get those capabilities.” “FreePlay offers an unmatched listening experience from a speaker this portable and affordable,” remarks Cassady. “But we wanted to deliver that same incredible sound quality to even more people in two new ultra-portable musicdedicated models.” The FreePlay HOME and GO

Mackie FreePlay Portable Bluetooth Speakers feature powerful, immersive sound tuned by the designers of some of the world’s


most beloved and popular professional live sound and recording systems. Their compact, attractive design offers exceptional clarity and high-headroom power. Connect the device to FreePlay HOME or GO over Bluetooth, and even link it to a second FreePlay Series speaker with enhanced control via the FreePlay Connect app.

The Sound Devices

Difference For two decades, Sound Devices has built a loyal following in the production sound industry. By listening and thoroughly understanding the challenges our customers face every day, we are inspired to design products that help them succeed. Reliable performance, superior audio quality, rugged durability, and customer service that is second to none, are the values behind every decision and product innovation. Our unwavering commitment to helping sound professionals be their creative best is a proud heritage we will strive to uphold for the next 20 years and beyond.

Pictured: 688 with SL-6, CL-6 and CL-12

Sound Devices, LLC was founded in 1998. Based in Reedsburg, Wisconsin, the company’s first product was the MP-1 – a single-input, portable microphone preamp for broadcast use – introduced at NAB 1999.

Authorized Dealer

Visit Us At Booth C101, Hall1

Learn more at


PHYSC Gym works up a sweat with P.Audio & Dynatech An initiative of Mr. World Sangram Chougale - PHYSC Gym - is a brand that inspires patrons to whip themselves back into health and keeps them motivated to come back and exercise on a regular basis. And this is exactly what makes them such a huge hit in Pune, with the luscious gym sporting an ever-energetic ambience. A lot of this energy is attributed to the wide variety of music that supports the diverse workout regimes that the gym offers. So it comes as no surprise that PHYSC Gym has a dedicated world class pro audio system in place that keeps the music and the energy at an all-time high, always. Pune based solutions providers AV Professionals were entrusted with the responsibility of devising the perfect audio system to meet the gym’s requirements, and unflinchingly enough, the team designed and integrated

a comprehensive system for each branch employing the use of world class products from leader brands P.Audio and Dynatech. The gym has been integrated with an elaborate setup spanning the use of P.Audio’s ever popular XT-15 compact install loudspeaker in tandem with Dynatech’s impactful DEL-118 subwoofers. The entire loudspeaker system here is powered through Dynatech’s powerful and efficient V3000+ power amplifiers. The gym has been integrated with XT-15 compact install loudspeaker in tandem with DySharing his views, Sachin of AV Professionals natech’s impactful DEL-118 subwoofers. comments “The high they claim that their patrons love awesome audio system. That, to quality P.Audio-Dynatech system has working out to the great music and us, is the greatest compliment we received nothing but praise from vibe that’s built up thanks to the could expect!” the management of PHYSC Gym, as

Clair Brothers Introduces 10SPOT Hybrid Loudspeaker

Atlona Unveils 8x8 HDMI Matrix Switcher

Clair Brothers has introduced 10SPOT – designed as an ultimate hybrid loudspeaker that combines Clair Brothers Curved Array Technology together with their One

Atlona has once again expanded its range of high dynamic range (HDR) compatible AV integration solutions. Available immediately, the AT-HDR-H2H-88MA matrix switcher provides high-performance switching

provides compatibility with stateof-the-art 4K/UHD and HDR sources and displays – as well as future HDR broadcast services – while HDCP 2.2 compliance enables switching of protected content.

of 4K/UHD signals including HDR formats in a space-efficient, 1RU design. An 8x8 sibling to Atlona’s ATHDR-H2H-44M matrix switcher, the HDR-H2H-88MA builds on the proven performance, reliability and integratorfriendly features of the 4x4 model with significantly expanded input and output capacity for larger-scale applications. Support for all video resolutions, audio formats, and color spaces in the HDMI 2.0b specification

“Our 4x4 HDR-H2H-44M has been very popular with systems integrators and end-users, and we’re excited to now offer similar benefits in an 8x8 matrix switcher for those with larger distribution needs,” said Joshua Castro, product manager, Atlona. “The HDR-H2H-88MA’s flexible format support lets users take full advantage of HDR-enhanced content, while its rich integration capabilities allow seamless incorporation into any environment or system design.”

Series coaxial horn technology. The result is a unique form factor loudspeaker that occupies

little visual space while covering listening areas more coherently than average conventional point sources. With a frequency response of 90Hz – 20,000Hz it is a great solution when articulate speech and music reproduction is key. Due to its form factor, dispersion characteristics, and its four integral mounting points, the 10SPOT is well-suited for installation near ceiling to wall intersections in a variety of applications – hotel/club bar areas, performing arts centers, houses of worship, arenas and auditoriums, nightclubs, cruise ship venues and A/V systems support. May - June 2018






Meet Overtone Audio - a one-stop-shop offering end-to-end recording solutions for Film, TV and the Live events industries. It is not every day that you come across an audio products dealer who has extensive experience of using the products that they distribute. What’s even better is that products in their portfolio are some of the finest in their respective domains. Sound Devices, Zaxcom, Aaton, Lectrosonics, Audio Limited, Wisycom, Rycote, K-Tek, Ambient, Tentacle, Schoeps, Sanken, DPA, etc. the list is extensive and enviable. What is admirable is that Overtone not only sells its products but follows it up with after sales support which includes repair, most of which is done in-house. Overtone is the brainchild of Vinod Subramanian, a graduate from FTII, Pune and a production sound mixer for over two decades. Subramanian has worked on several Indian and International films, documentaries and music projects. He is an active and full member of the CAS (Cinema Audio Society), AMPS (Association for Motion Picture Sound) and IPS (Institute of Professional Sound). His passion for the work led him to explore all the products available and also learn how to repair them. He has been factory trained for repair and maintenance at Schoeps, Zaxcom and Lectrosonics. Vinod Subramanian at work on Overtone’s test and repair bench His zeal and skill soon made him a ‘go-to’ consultant for many people who wanted advice on the right gear for the projects they were taking up. This led him to setting up Overtone Audio. “We have known Vinod for many years as a user of our equipment and as a very progressive and influential production sound mixer in India. When we learned that he was planning to open Overtone Audio and represent Lectrosonics in India, we knew it would be a good match. Vinod’s enthusiasm is infectious, and his love of sound and audio equipment is what makes him so good at what he does,” reinforced Karl Winkler, V.P. Sales, Lectrosonics, Inc. Earlier this year, Vinod Subramanian was joined by Ravisankar Nadiyam to head the sales initiative in the TV Broadcast and Live segments. Ravisankar has been in the audio industry for close to two decades. Starting out in ’98 as the Pro Tools Product Specialist with the Indian distributor, he moved to Digidesign as the Southeast Asia Product Specialist in 2002 and went on to head sales of all Avid audio products, including studio, live and broadcast, for Avid’s Emerging Markets, based out of Dubai, that included Africa, Middle East, Russia, and the Indian sub-continent. His career has been driven by his desire to help the clients enjoy using cutting edge technology and places huge value on interpersonal relationship. Ravi’s experience and network in the studio, broadcast and live industry compliments the film industry clientele that Vinod has been addressing. Both Ravi and Vinod share the same passion. Their Mantra is ‘The whole process has to be enjoyable for the buyer and us’ - to help the industry professionals have access to the best gear backed by unbiased advice on the gear they need and great after-sales support. PT got in touch with the Overtone team to find out more about the company and their perception of the market vis-à-vis the products they represent. May - June 2018


provide sensible advice to customers during their purchasing process. After sales service support is of paramount importance to us. I have personally trained at a number of company factories for repair and maintenance. We carry spares and are skilled to carry out repair procedures for most of the equipment Vinod Subramanian, Founder, Overtone Audio we provide. During the process of a sale, every little item required – be it a cable or a power supply – is proT: Let’s talk about the genesis vided by us, so that the customer of Overtone? Is the company does not have to hunt for these relatively new in the Pro Audio peripherals in the market. market?


VS: Overtone was incorporated in August 2016, but due to my prior commitments as a Sound Engineer for projects, I could formally start operations towards end of 2016. However, during this period I made a trip to IBC in Amsterdam and met most of my principal companies. Relationships with almost all of our principals were forged and formalised by the end of 2016. PT: Since its inception, what has been Overtone’s core management and distribution philosophy? VS: Over the two decades and more that, I spent here as an audio professional, I witnessed the lack of customercentricity in the equipment dealers in India. Moreover, there was a gnawing lack of professional knowledge, let alone practical knowledge. I wanted to bridge this rather large gap with Overtone by providing solid support before, during and after a sale. We prefer to talk to customers directly rather than appoint dealers. This way we can guage their requirements accurately and

Ravisankar Nadiyam, Head of Sales

RN: The right advice followed by the right products for the right customer. We ‘feel’ the thrill of using the gear along with the customer and that makes a huge difference to the customer’s buying experience and our selling and post-selling support experience. We both enjoy it. PT: What are the most significant brands and technologies that Overtone represents? RN: We primarily offer the full range of equipment needed to record high quality audio on location. This includes microphones, recorders, wireless systems, boom poles, windshields, powering systems, time code solutions, sound carts, equipment bags, live noise suppression and automixing solutions. We represent the leaders in all the mentioned categories and offer a choice of multiple manufacturer solutions for most of the products. Some of the names are Sound Devices, Zaxcom, Aaton, Lectrosonics, Audio Limited, Wisycom, Rycote, K-Tek, Ambient, Tentacle, Schoeps, Sanken, DPA, etc. We are exclusive India partners for many of these companies. PT: Today there is a growing awareness in the Indian market for quality - is it true or myth? VS: This is not a myth, but there needs to be more structured understanding of what is quality, and only then can any attempts to achieve it be successful. On this front, we are in the build-

Overtone - A one-stop-shop offering end-to-end recording solutions for Film, TV and the Live events industries. Pictured here is the Hawkwoods NP battery, Schoeps Microphone and Sound Devices Mix Pre 3 ing stage. A few years from now things will be much clearer in terms of quality consciousness. Also, the end-users who are not tech-savvy are more and more privy to comparative quality standards between products than they used to be. This is not a result of manufacturers’ attempts to advertise the quality or a mob mentality but a genuine inward urge to see the difference in quality between one product and another. RN: Knowledge and information has always been available. The question really is not whether there is awareness of quality or not, but whether people are interested in working with and producing in the highest possible quality. I believe that the quality of work of a person reflects the quality of his or her life. One cannot be without the other. There is a cost involved with better quality and what comes with that is reliability, longevity and the apparently high quality of output. Is someone able to sleep well knowing that they have not done their best? That is an individual thing. Moreover, the term ‘quality’ itself is relative. We, at Overtone, believe in, and cannot do anything that is not of the highest quality – be it keeping ourselves updated on technology & gear, spending quality time with those who value suggestions that come from an educated study or actual experience, offering only the leading products, commitment to supporting the client, response time, effective com-

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munication, etc. – there is no other way that we know of. PT: With so many brands, how does Overtone break down internally? As in, how do you manage and market all the brands without compromising one for the other? What are you doing to ensure the quality and reputation

of the brands you represent? VS: In my time as a Recordist / Engineer I have extensively used products from each one of these brands. All products are not for all people, and this is most of the time based on the profile of work involved. When a customer asks for a particular product, I spend some time discussing the work profile and many times this paves the way for the process of selection of one product over another. RN: These brands have been handpicked by Vinod, based on his experience of over two decades. The brand owners know and respect Vinod’s knowledge. A certain model from Company ‘A’ might be more suitable for a particular job than a similar product from Brand ‘B’. It is not about pushing a brand’s products, but offering what is right for the customer based on the work profile and the budget. This is a win-win for the customer and for the manufacturer. Then there are products like Cedar Noise removal systems and Dan Dugan automixers that are unique, in that, they do a certain task that is highly useful. PT: Are all your brands high-value? If yes, do these high-value products have commensurate designs that justify the value? VS: Not a single one of the products we represent can be not termed as high-value. This is because of the design and the underlying creative technological process that has generated the product eventually. RN: How do you define high value? I

would rather call it ‘right-value’. When a manufacturer has gained the trust of users Worldwide, it is not because of an advertisement. The trust is built over time and there is a value to that which is unmistakable. Yes, all the products that we offer are highly regarded by users all over the World and that is because of the reason that I just mentioned. PT: What were the biggest challenges that Overtone faced in the time that it has been around in the industry? VS: Ours is a niche market and we have never witnessed a real player here in India – with the technical and aesthetic experience to be discerning, to be able to actually help the customer with the knowledge and experience from the word go until many months later if a tech problem develops in the unit and needs repairs. The Indian market is also price conscious and it sometimes takes some effort to convince the customer about a particular product that may be costlier but is also much better than another product. PT: Over the last several years, the industry has shifted to online purchases for many products including microphones. What kind of impact has this had (or will have) on Overtone? VS: We too are in the process of establishing an On-line presence, but this will ONLY be for products below the price range of maybe 20,000/-. For all other products we prefer to have a direct contact with the customer and talk before we recommend anything. RN: Online purchases are possible

Demo K-Tek kit bags with Lectrosonics wireless system and Sound Devices recorder


for certain types of products, those that are more for consumer or prosumer market. Purchasing professional gear comes after discussing, comparing and much study. That is where a dealer like Overtone comes into the picture. There is a movement towards people buying pro gear also online and that is when it is a repeat purchase or when they have done all the deliberation. We are also exploring the online sales options. PT: What are Overtone’s short and long-term goals for the India market?

VS: When I started thinking about setting up a company, I had one very long-term goal: to be instrumental in improving the overall quality of sound in this country. Everything we are doing has been adding a little bit of ground towards this very large goal. RN: Doing our bit to transform the quality of audio in film and TV is our overarching goal. With my joining Overtone this year, we are introducing the gear into TV channels with meetings and demonstrations. PT: If you have to name one single differentiated feature that distinguishes Overtone from other distributors, what would it be?

VS: A number of times over the last 14

There was a gnawing lack of professional knowledge, let alone practical knowledge. I wanted to bridge this rather large gap with Overtone by providing solid support before, during and after a sale. We prefer to talk to customers directly rather than appoint dealers. – Vinod Subramanian, Overtone Audio

months of operation, I have made cables for people at odd hours like 10PM in the night. I have also delivered on Sundays, so practically I have run Overtone as a 12/7/365 operation. I have provided standby equipment in lieu of equipment that has broken down on field – something I don’t think anyone else has done in India and I hope to keep the same way of working going at all times. RN: Vinod’s personal experience of having used almost all the products that we sell; add to that the fact that he can

repair most of the gear himself, cannot be taken lightly. PT: How do you think the live-sound and install industry has changed in India in the past decade?

RN: Though we do have a few products that cater to the live sound Industry, it has not really been a focus. From my previous experience, I can say that there are many more players in the rental market, as the number of live shows have increased. Hence, there are also multiple products at different performance and price levels that are now available in India. PT: What is your perception of the global market for pro-audio products and how does India fit into this global scenario?

RN: Having been part of the audio business in Southeast Asia, Middle East, Africa, Russia, etc, I have seen that though there might be a few similarities based on the region’s economy and culture, each Country is unique. India is all about volume. Companies that understand this will price their products right for the Indian market as we have this ‘cheap and best’ concept! Another factor in India is the emotion or feeling factor. There is a lot of heart and not just

the head in play here. PT: What is your vision for Overtone for the next five years? RN: We are in it for the long term. We believe in the basics of being honest in our advice and in our endeavor to provide the right solution to the clients. We collaborate with manufacturers who are innovative and believe in supporting us. We look forward to providing our brand of audio buying experience, increasing the number of happy clients and manufacturers, reaching out to more geographies and possibly exploring different channels like online sales. We will achieve this in whatever way possible. PT: Any message for your customers? VS: Come, talk to us. We are available to you on a one-on-one basis at all times. RN: Customers can either learn from their experience or use our experience. Learning from their experience can be costly and limiting, while using our experience can be productive. I feel bad when someone buys the wrong product, from the wrong person, not because I did not sell it but because they lost an opportunity for a unique and enjoyable, long term, user experience.

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India’s first full backline service rental company! Building stage business requires top level music song writers, big sound, big lighting and good musicians. A lot of musicians are required on stage performing live. Sound rental is passé, lighting rental is a given. Musicians require very high quality musical instruments, specially acoustic musical instruments. If you ask a renowned musician about his talent, if he is honest he will like to admit is as much to do with his priceless instrument as his virtuosity. Musicians prefer to safeguard their priceless instruments from the harrows of a stage event. This means, there must be a source for hig-performance, well kept, well treated musical instruments for these musicians. Gear House is one enlightened storehouse of priceless musical instruments. This is a big service to stage shows. Kudos to Warren D’souza one of the most diligent, meticulous, methodical and patriotic individuals who takes pride in sharing his inventory. PT has the whole story to those who follow the evangelist.


any people in the industry know that SOUND.COM is a company that has an admirably rich and colourful history in India’s pro audio rental business, but probably not many know that Managing Director, Warren D’Souza also heads up a fullservice backline rental outfit supported by a dedicated team, liaising with a roster of high-profile artistes from the

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music industry. This story is about GearHouse the backline rental arm of SOUND.COM that has meticulously invested in musical instruments, guitar amplification and domain knowledge that the company takes very seriously and passionately. The one thing about Warren D’Souza is that he stands out above all else – he knows his stuff, which probably comes

from being on all sides of the service provision of his businesses. The GearHouse journey began around seven years ago when D’Souza realized that he was spending too much of his time trying to source backline gear from other backline rental providers or friends/musicians if the particular gear wasn’t available. “The genesis of the name GearHouse


came up much later, but the need to provide an additional service of hiring backline crept in a long time ago. In the beginning, between 2005 and 2011 it was only Guitar amps that we were providing and not the drum kits or other musical instruments. We were hiring the gear from backline rentals like Furtado’s and others, and in that span of time I started realising that a lot of my


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time was being spent in sourcing the gear.” The experience D’Souza garnered working with festivals & international concerts with the riders requests he was receiving from these international artistes made him reconsider his strategies. “In the sound business, there are two types of inventories - boutique inventory and dog inventory. Dog inventory is the equipment, which goes out every day, like speakers & consoles for instance, and boutique inventory is the stuff you would use for specialist shows. In the musical instrument business however, the industry did not have boutique inventory. Therefore, if you went to any rental house in India, they would have the standard gear. If one wanted any other non standard model, then that would pose a challenge. Indian artist riders are based around these regularly available amps only. Musicians here make their riders based on ease of availability and not by tone. However that is slowly changing. I started noticing that whenever an international band came down to India, they would not get the gear they wanted and sound rental companies would be hunting high and low, trying to source musical instruments listed in the rider. And many calls and enquiries would float around for just one show and even a consortium of companies together could not put the backline in place.”

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THE GENESIS For D’Souza, working with other backline equipment dealers and rentals was really a great place to start. D’Souza took note of this scenario and by end of 2010, he realised that the situation was getting worse and he was not being able to meet up with the needs of international riders because of a dearth of gear. D’Souza also realised that festival periods were becoming a nightmare because he could not come

increasing my boutique inventory of amps. I knew that there was a constant demand for this kind of equipment and I realized I needed more than one of each, I started buying them in pairs, because international bands will ask for everything in multiples. Slowly we started getting closer and closer to the 100% compliance of the rider. It’s not heard of in India where you can come to such a close compliance in the rider and give the band exactly what they

Slowly we started getting closer and closer to the 100% compliance of the rider. It’s not heard of in India where you can come to such a close compliance in the rider and give the band exactly what they want.

to even come to 60% compliance of the equipment list, plus he was spending so much of of his day trying to source out different gears from distributors. Finally, in 2011, he brought the first workstation keyboard and from then onwards there was no turning back. This understanding of the market and the determination to fulfill the rider demands, subconsciously led D’Souza to slowly grow his backline inventory and build an ecosystem that would enable bands to get the gear of their choice under one roof. “I started getting the amps & instruments that wasn’t available and I started

want. And for the visiting bands in turn they cannot imagine how you cant get a simple piece of gear that’s so easily available by multiple companies in the West.”

DOMAIN KNOWLEDGE Simultaneously D’Souza also started acquiring tremendous domain knowledge on the subject, which also eventually helped him win a lot of projects. He says that he burnt the midnight oil on this and he will continue to do so just like he has in audio. “90% of sound rental companies in India have zero domain knowledge


about backline equipment because of which they do not buy or know how to maintain it. A few even know the difference between clear skin or coated drum skin or the difference between Drum-kit A or Drum-kit B. There was a big void and I felt the need to fill that void. In fact D’Souza feels that companies should only dry hire the backline if they don’t know how to operate or maintain it. It just brings out more specialists into the industry to serve the musicians on stage. Studying the subject aggressively was mandatory, as I was not a musician and I had little understanding of the subject. It takes time to learn about one subject comprehensively. I started evaluating what the different kinds of drums, percussions, keys are, and in parallel drawing from the history of riders we have been receiving. I started learning the difference between various guitars, their pick-ups and even a lot of time was spent in orchestral percussion and large stringed instruments like double basses & cellos. I knew that if I don’t understand the gear, I would make wrong purchasing decisions. I eventually developed the skill set wherein I could tell instantly by looking at the rider whether the band is trash metal, heavy metal, rock, old school rock, pop or jazz. Just by the choice of the cymbals or drums, or by the depth of the toms, I can now tell what kind of act it is. Now, I am at a point where I can pass on this learning to my staff and this knowledge sharing is priceless, for example we even had a workshop on cymbals a couple of weeks ago and the entire team wasso happy that they could grasp why we spec certain models and their uses.

SOURCING GEAR GearHouse is also looking for avenues to innovate in hiring backline gear, increase transparency, and provide value to clients. Many a times the company has also gone through great difficulties to source equipment due to unavailability. “I started giving people whatever they were asking for. We were getting drums for clients who were asking for, different kinds of drum kits specifically for even genres like jazz & be-bop. We started buying expensive high-maintenance guitars for those international artistes who started realizing that their guitars were not feasible travelling on conveyor belts and they would have to hire it. Having all the gear also allows the tour promoters to save hundreds of dollars on shipping costs and CARNET. Every time we do a show, we invest around 5 to 10% on the backline kit. If there is a performance by a Bollywood band and they wanted, a particular


the dns that anyone can use


location studio live

portable dialogue noise suppression Vi s i t B o o t h C 1 0 1 , H a l l 1 A uthorised Dealer

w w w. o v e r t o n e . a u d i o

A view of the GearHouse Storage piece gear, which we do not have, then we would buy it. I also started investing in old school musical instruments. From 2015, it became harder to get old stuff and therefore I started to buy from eBay and or have my resources procure it from the US or Europe. I sourced equipment from unconventional avenues and even from remote villages in India. I have waited months and sourced equipment from overseas, even if it meant either waiting on the water with sea cargo or paying a premium on air cargo. This aggression with which we started purchasing backline equipment, resulted in us stocking rare pieces of equipment like Fender Rhodes pianos, Wurlitzers and Hammond organs. Our electric pianos are all 46-year-old pianos in immaculate condition.

INVENTORY “The guitars which we have are all are iconic guitars. There are eight major backline related guitars in the world - Stratocasters Telecasters, Les Pauls, SG Standards, Jaguars, Jazz & Precision Basses in both 4 and 5 string versions and we have all these guitars with no exceptions and the common models like Stratocasters, we have them in variations of single coils or humbuckers and rosewood or maple necks, same goes with our Telecasters. We have a massive synth collection too and made many IP’s on the way like SynthFest. The most known IP we developed “GearHouse Sessions” is from where we christened our backline rental company and that’s how the name “GearHouse” came to be.

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A Backline Rental Company has to also stock pedals, tuners, and rackmount guitar processors; basically any stage related artist requirement comes under the prevue of backline. Coming from India it is also necessary to have Indian musical instruments like tablas, dholaks & harmoniums and we buy them from sweatshops from all over India and the quality and workmanship of these cottage industries is unbelievable. Sadly it is also a dying trade however the government of India has waived off

tunity. I decided to segregate SOUND. COM from GearHouse and offer backline inventory, as a unique service provision even to our competitors who are now our clients. This is how the brand GearHouse was formed, and we started branding our musical instruments as GearHouse. Now if my competitors/clients hire backline instruments they hire into GearHouse. We now have a separate team for GearHouse that handles only backline rental. There is no selective supply here, in fact we prioritize

We were getting drums for clients who were asking for, different kinds of drum kits specifically for even genres like jazz & be-bop. We started buying expensive high-maintenance guitars for those international artistes who started realizing that their guitars were not feasible travelling on conveyor belts and they would have to hire it.

GST on all indigenously made Indian classical musical instruments as a relief to these artisans who make them. Even the musicians drum throne (seat), piano bench or upright players stool is construed under the category of backline and there is science in the manufacturing process of this for optimum comfort, performance and road reliability.”

BRAND GEARHOUSE With the kind of backline equipment he was procuring, Dsouza found himself staring at a remarkable branding oppor-

other rental companies requirements over ours in many situations in order to let them know we are here in the long haul to support them. The result was a turning point for GearHouse as it had now transformed into the first independent full service backline rental company in India. “There has to be a passion and aggression to do stuff like that. That is the level of seriousness of our business, where the investments are very well thought about and very well planned. This has never ever happened in the history of this country. We have done


everything in a systematic manner wherein we have studied the subject, made strategic decisions and investments and we are renting out gear at the rate it should be rented out at. GearHouse is never treated like a sound equipment rental company. Backline rental is a very personalized kind of business as you are directly interacting with the artist offering personalized services, whereas in the sound business you are only electro-acoustically connected with the artist. For A.R Rahman’s tours for example we have duplicates of all instruments, so that we could do rehearsals in Mumbai and the show and part of India or abroad the next days with identical equipment going to both cities. This was the kind of personalized service we were offering. Thanks to SOUND.COM understanding of the business of entertainment rentals all the logistics and rental management software processes of asset management and asset tracking of the gear, ensures that GearHouse is following this tradition like a progeny. Our equipment is always in perfect condition, thoroughly inspected at fixed intervals by the skilled repairers at our in-house repair shop. Most naturally, all gear always comes in professional flight cases and with all associated cables, switches etc. to make it fully functional. Our equipment is always tested before it leaves our warehouse, so we are sure everything is working properly. We’ve worked with all kinds of musicians - from stadium rockers to classical orchestras - and commit ourselves to their success.” Elaborating on the future plans for GearHouse he says, “In the future, we are looking to get into tour supplies. When a band comes to India and they want 10 packets of replacement strings, or sets of skins for the drums, we want to deliver it to them prior to the tour. What saddens me also, is that somebody like me who does not play a single musical instrument, can own all of this and maybe a gifted musician in India can’t even buy that one guitar of good quality. This is the state of music in India. So, in the next stage of GearHouse we also want to make ourselves resourceful and get into some kind of philanthropic work, where we can offer some kind of subsidized prices to people who need to be promoted and who we think are worthy. We have already done that for so many Indie artists recording their albums with support on gear. We wouldn’t mind endorsing them and promoting them if it is going to help India make better music,” he concludes.


Audio & Acoustics for Video PT invited industry leading Acoustics Designer Kapil Thirwani of Munro Acoustics, a leading acoustic consultancy, specialising in the design of high-end music, film and broadcast studio facilities to write a technical article for the magazine. In

Kapil Thirwani, Partner, Munro Acoustics MIOA, MSc Audio Acoustics, Beng Electronics

this feature article, Thirwani elucidates on Audio & Acoustics for Video.


n the past decade video playback has moved from televisions to multiple devices and the technology supporting the video cause from creation to delivery is being clubbed with audio; whereas earlier edit rooms had noncritical audio decision making in small black boxes. The number of channels on television that are also available on various streaming apps has increased the demand of such critical spaces. Channels and Postproduction facilities are investing time and money building these from scratch. Due to scale of these being very large owing to the sheer amount of content handled, there arises a critical requirement of an engineered solution that incorporates audio, video, acoustics, ergonomics, aesthetics and services. These corporate working environments of channels and ‘prefered vendors’ have to look ‘cool’ to host client quality checks and sound good to pass the end client (whether internal or external ) strict QC checks. The proposed layout for many such projects comprise the following studio facilities: • Recording studios (5.1 Control Rooms, Stereo Control Rooms and Voice Over Booths) • Edit Rooms • Smoke Suites • Quality Control Rooms • Mastering Rooms

1 Studio types 1.1 Recording Studios The primary use is sound recording, editing and mixing of music and speech. Sound recording will take place in

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conjunction with the Voice Over Booths while monitoring in stereo on stand/ wall mounted near-field monitors. Some of the studios require 5.1 or 7.1 surround monitoring formats. The studios should have a well-balanced, neutral acoustic response with specific attention to the ratio of direct to reverberant energy.

1.2 Voice Over Booths The primary use is in conjunction with the adjacent Audio Booth as a live recording area for voice and instruments. Acoustic performance should allow for a balanced live reverberation response that enhances instrument timbre whilst offering a more ‘dead’ area within the room for voice etc.

1.3 Edit, Mastering, QC and Smoke Rooms The primary use is for editing of tele-

vision program / show for live broadcast or later broadcast. The acoustic treatment should control acoustic anomalies, particularly at speech frequencies, and result in a fairly dry acoustic.

2 Sound Insulation It is envisaged that the Recording Studios, Live Rooms and Voice Over Booths will be constructed as roomin-room structures with floating floors to ensure adequate isolation from adjoining areas and the building structure. The Edit, Smoke, Quality Control, Mastering Suites will be of plasterboard stud construction, built on the existing structural floor. The sound insulation performance to be considered between a number of scenarios when these multiple rooms are building adjacent to each other such that they do not hamper the work-

ing requirement of each other during operation • 5.1 CR → 5.1 CR • 5.1 CR → Stereo CR • 5.1 CR → Voice Over Booths • 5.1 CR → Edit/QC/Mastering Rooms • Stereo CR → Voice Over Booths • Stereo CR → Stereo CR • Stereo CR → Edit/Smoke/QC/Mastering Room • All Studios → Common Areas The assumed source and receive levels in each space are shown in Figure 1 and Figure 2, respectively. The source levels will be updated with measurement data in due course. Source levels are expressed as Ls,max¬ sound pressure levels. This relates to loud, impulsive sounds such as drums and therefore gives the worst-case-scenario simulation. The sound insulation requirement

Source data Ls,max data for Control Rooms and RAs Octave Band Centre Frequency Live Rooms Control Rooms Edit Rooms

63 Hz 110 98 78

125 Hz 110 95 84

250 Hz 110 90 80

500 Hz 110 90 85

1 kHz 110 90 85

2 kHz 110 85 74

4 kHz 105 85 73

8 kHz 105 80 74

4 kHz 48.8 56.3 64.9

8 kHz -

ANSI speech levels (Ls,max) For 1 person, for corridor trafc noise & VO Booths Octave Band Centre Frequency Normal voice Raised voice Loud voice

63 Hz -

125 Hz 56.2 60.5 63.0

Figure 1 Assumed source levels


250 Hz 62.2 66.5 69.0

500 Hz 65.8 70.6 75.3

1 kHz 58.5 67.4 75.7

2 kHz 53.8 61.8 70.9

Octave Band Centre Frequency 63 Hz 55 55

125 Hz 44 44

250 Hz 35 35

500 Hz 29 29

1 kHz 25 25

2 kHz 22 22

4 kHz 19 19

8 kHz 18 18

Mastering NR25









Audio Room NR25









V.O Booth NR20









Edit NR25 QC NR25

Figure 2 Assumed receive levels is that Ls,max breakthrough from one studio space does not exceed the receive level in any other studio space. This does not mean that noise breakthrough between studios will be inaudible, but in our experience would allow adjacent rooms to operate independently without being unduly disturbed. The degree of sound insulation that can be achieved for any project is dictated in part by the existing building construction (structural capacity and flanking transmission via the concrete floor slabs) and the requirement to maximise studio floor area. Once the studio layout and source & receive levels have been established and agreed with the client, the final sound insulation requirement and partition performance have to determined. During this stage a lot of testing is to

target RT is finalised once the client has approved the layout. Modal behaviour for rooms is another factor in designing small rooms. The limitations are well know due to room sizes but optimizing them by carefully choosing the monitoring can work in the favour of the design. The acoustic treatment is to be a combination of tuned membrane absorbers and acoustic foam, designed specifically to achieve the required room acoustic performance. Though this is possible in audio mixing rooms and booths but never in the Edit/Mastering/QC rooms. In small rooms the balance of energy below 300 Hz is important to avoid wrong decisions taken during operation. The time slot given to the content is very well planned and technicians do have the luxury of time to check levels

be undertaken to establish traffic noise, Airplane paths, Insulation provided by

and variation of energy in third octave bands cannot exceed +/- 3dB.

4 HVAC, Fire Safety, Electricals, Technical cabling and Building Management Services Multiple services entering and leaving the studios through punctures affect the insulation performance. The Recording Studios and Voice

age, dead-ish room will create a Critical Distance Point somewhere in the next town; the concept of reverberation is not relevant. In the same room the low frequency Critical Distance (the distance from the speaker where the inverse square law reduction in the direct sound pressure is equal to the reverberation sound energy level) may be as little as 1m. So even nearfield monitors can be strongly influenced by their immediate environment. A typical classical room, with an RT of .3s will produce 85dB that is sufficient for working purpose. To throw away 5dB of level is the equivalent of having to almost double the size of the monitor system, or halve the headroom. Such a wide discrepancy in

Figure 4 Noise Rating Curves

Figure 3 Typical RT limits existing building elements and structural resonances through services.

3 Reverberation time and room acoustics The reverberation time, or RT, is one of the main descriptors of the acoustic treatment. A good balance of direct against reverberant sound must be achieved to give an accurate but natural sounding room. The target reverberation times are selected based on the room volume and intended room use. The graph below shows typical reverberation time limits for a small studio, based on a target Tmf of 0.20 s. The

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Keeping the above in mind a lot of construction of the insulation partitions have to be designed as panel absorbers with the right kind of mass and cavity depths for main modal frequencies. A lot of testing has been done in the past by universities in acoustic research and education and are available for design purposes. A good practice is to build mock-up rooms and measure them at the start of the project to include site conditions in design and get an approval from the client on signed off specifications. Such data is stored for future design implementation.

Over Booths ideally should have a dedicated silenced, ducted split heat pump A/C system designed to noise ratings stated in Fig 2. The Edit/QC/Mastering Rooms ideally have a similar silenced ducted system but many a times the clients prefer each room have a quiet wall-mounted unit for space constraints for physical ducting. A lot of importance is given to passive or active fire suppression systems. Electrical and Technical cable routing for general and equipment power is planned with the services consultant to avoid any ground loops and power inference with technical cabling. Building Management Services are used many a times for bigger projects part of the corporate offices of media companies. These transducers that control temperature, humidity, access controls etc. have to be incorporated into the design so that they don’t hinder any elements part of room for e.g. door isolation performance.

Direct to Reverberberant Ratio is the culprit in the matter and one, which can be addressed by good design, and perfect selection of monitoring that can easily be upgraded to future formats.

6 Appendix The noise rating (NR) of a given noise is found by plotting the octave or thirdoctave band spectrum and selecting the lowest noise-rating curve, which the spectrum does not exceed.

Disclaimer: Graphs and tables are provided by the author. The article contains copyrighted material, which is being made available to advance understanding of the subject matter. If you wish to use copyrighted material for purposes that

5 Monitoring

go beyond fair use, you

The problem with many audio environments is that they have the wrong combination of monitors and acoustics - a horn loaded speaker in the aver-

from the author.


must obtain permission

Professional Wireless Microphone Systems

Come see Overtone Audio at Booth C 101 in Hall 1 at the palmexpo 2018 for your professional wireless needs!


Avolites Launches Q3 Media Server Light and video control manufacturer Avolites has unveiled its new Q3 media server, the latest updates in the Titan and Ai software and Synergy, reportedly the brand’s pioneering light and video integration system. Stephen Baird-Smith, Sales Manager at Avolites says, “With Synergy, users will be able to control light and video from a single user interface (UI) across one networked Avolites system.” Among the system’s integrative features is Light Map, an update that allows users the option of streaming Ai video colour data through any fixture group, including both RGB and

CMY fixtures, to instantly integrate them into a larger video canvas meaning that everything from highres LED screens to LED fixture groups can be controlled from one UI. The Q3 media server, a compact server designed for use in shows, installations and corporate events. This unlocks 4k playback through a single DisplayPort 1.2 connection, with 2 x DVI outputs for HD displays. The server supports EDID for all three outputs, configurable via a dedicated front-end UI. The server allows for visually lossless playback with Avolites’ unique AiM codec. As with Avolites’ larger severs, the Q3 has native Notch support as well as a powerful inbuilt

effects engine. Avolites Titan and Ai software Software Updates Titan v11 updates Avolites’ industry standard lighting control software and Ai v10.2 brings new features to Avolites’ media control software. Titan users will get an extension of the software’s colour features to handle seven-colour systems, plus HSI channels and gel libraries from ROSCOLUX, LEE and GAM. Increasing the software’s intuitive functionality is the ability to specify the number of times to run Shapes, Key Frames and Pixel Maps to loop, including onceonly. The software’s timeline feature

Avolites Q3 Media Server can now run up to four separate timecode streams simultaneously. The Ai v10.2 update, key features of which include NDI output, allowing video to be outputted over CAT5. Users can now also stream ACN output for modular LED fixtures, allowing for more lines of DMX over the same network. LTC timecode via Line in means that analogue timecode can now be utilized within Ai’s license-key products as well.

Elation Unveils Seven Batten series Elation Professional has launched SEVEN Batten, a new line of linear lighting effects using the latest 7-color multi-chip LED technology for an even more flexible color wash solution. Housing long-life individual 25W 7-IN-1 RGBAW + Lime + UV LEDs, with the SEVEN Batten series the LED color spectrum has never been wider. Add to that an improved optical design that produces better color mixing and smoothness of field and the SEVEN Batten series is capable of powerful projections of uniform color

onto any surface whether lining the downstage edge or flown in a truss. Available in 1- (0.3m), 4- (1.2m) and 6-foot (1.8m) lengths, SEVEN Batten fixtures produce nearly 80% more lumens versus comparably sized SixBar series fixtures. An updated rugged die-cast aluminum case design provides improved thermal control and heat management, ensuring stable, improved performance and extending the fixtures’ lifetime. SEVEN Batten 14: Housing 12 total LEDs, output is 3,989 LUX @ 9.8’ (3m) with max power consumption of 204W. SEVEN Batten 42: Housing 36 total Elation Professional’s Seven Batten’s high-power LEDs with an expanded palette of colours

LEDs, output is 9,049 LUX @ 9.8’ (3m) with max power consumption of 612W. SEVEN Batten 72: Housing 60 total LEDs output is 11,700 LUX @ 9.8’ (3m) with max power consumption of 1000W. Useful for production applications or installations as a wash light, up light, wall/cyc wash, accent lighting, direct view pixel strip and more, the SEVEN Batten’s high-power LEDs offer an expanded palette of colors, including stunning ambers, true whites and even an ultraviolet effect. The addition of the Lime LED produces a better white mixed output and improved CRI across all mixed white color temperatures while the Amber extends the color range and provides an effective means of color temperature control and higher color rendering. LED zone control allows for even further design possibilities and eye candy looks. All fixtures in the SEVEN Batten

series are fully dimmable down to 0% and a selection of variable dimming curves is provided for faster programming. A selection of strobe effect options (1-18fps) add to their versatility. All SEVEN Batten fixtures operate flicker free for use in TV and other broadcast applications. A host of other professional features come standard with each SEVEN Batten fixtures like multi-channel DMX control, 3 and 5-pin DMX In/Out, PowerCON In/ Out and RJ45 etherCON in/out connections. All SEVEN Batten fixtures are ArtNet, KlingNet and RDM (Remote Device Management) protocol capable and come with multiple-unit power linking. A 4-button control panel with LCD menu display with easy-to-read fixture menus and messages makes for easy navigation through DMX and manual settings.

ETC’s ColorSource Pearl, a variable white-light LED array ETC has extended its ColorSource family of products with the audition of its new ColorSource Pearl. It is a variable white-light LED array for ColorSource Spot, Linear, and PAR fixtures. This array utilizes a mix of two different white LEDs that enable a user to set the color temperature anywhere between 2700 K and 6500 K. The Pearl array includes the same

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great feature set and high-quality construction as their full color siblings including an impressively bright output, a simple user interface, and a price point that is tough to beat. Designed for installations that depend heavily on white light such as studios, houses of worship, and architectural installations, this array features flicker-free operation and an

impressively smooth dimming curve. With the ColorSource Pearl its possible to install a full LED rig that gives adjustable white-light, without breaking budget. ETC ColorSource Pearl Linear



Elation Professional Unveils Smarty Hybrid Elation Professional has launched its new Smarty Hybrid, a compact, multi-functional CMY color mixing fixture features innovative and highly efficient “FLEX” lamp technology. Building on the success of the company’s Platinum range of moving heads, Elation has worked closely with Philips engineers to further improve Platinum lamp technology. The result is a new long-life Philips Platinum FLEX 200 lamp that sits at the heart of the Smarty Hybrid. The ‘smartly’ designed discharge lamp/ballast package produces an impressively high output for such a compact fixture while performance remains resourcefully economical with a lamp life of 6,000 hours, double that of other fixtures in its class. The Platinum FLEX 200 lamp is dimmable via the internal ballast, which not only dims the lamp electronically but offers a Hibernation Mode that reduces power to the lamp when not in use, resulting in lower power consumption. The lower internal

heat produced extends the life of not only the lamp but all internal components of the fixture. Smarty Hybrid is one of the most compact and lightweight hybrid lighting fixtures on the market, designed for a wide variety of professional stage applications. The fixture’s Platinum FLEX 200 lamp can emit up to 14,000 lumens while only consuming a maximum of 480W. Outfitted with a motorized zoom with auto-focus, beam angle range differs in Beam and Spot mode with gobo projection focus realized from 2.0°- 20°under Beam mode and 3.0°to 25°in Spot mode. No hotspot is visible in Spot mode. The Smarty Hybrid also includes a frost filter for a flat field wash effect, making it a truly versatile hybrid fixture.

Plenty of design options The Smarty Hyrbrid’s full-featured design includes plenty of color and graphics options. It offers a full CMY color mixing system plus linear CTO color correction with an extra 13 dichroic colors including UV and CTB

color correction for even greater color choice and color correction options. A variety of useful graphics are housed in two gobo wheels, one with 8 rotating, interchangeable glass gobos and the other with 12 static-stamped metal gobos. A host of effects and beam manipulation can be achieved via 8- and 16-facet independent rotating prisms and a motorized focus can be engaged for further effect. The Smarty Hybrid also houses a high-speed shutter for fast strobe effects (1-18fps) with smooth, full-range dimming possible all the way down to zero. Multiple CMY color, gobo, and prism macros have been included for programming ease.

Control and connection convenience The Smarty Hybrid is controllable via 2 DMX modes (20 / 34 channels) and supports RDM (Remote Device Management), Art-NET, and sACN protocol. The fixture can also receive wireless DMX via the integrated Elation E-FLY system. The Smarty

New Diode Series by Laserworld Laserworld has launched Laserworld Diode Series with improved beam specifications in a completely redesigned housing. These Diode Series units are available in 1W, 2W and 3W RGB power, as well as 1,8W single green

significantly reduces maintenance efforts for the Diode systems. The Laserworld DS-1000RGB is designed as a fan less system, so it operates without any noise from fans, which makes it a perfectly suitable laser system for installations, in bars

and 1,6W or 5,5W single blue power. The laser systems have graphics capable scanners at 30kpps 8°ILDA, which makes them suitable for a large number of laser show applications. The optics section of the laser system has no air circulation, which

or in quiet places. In addition to it these diode’s also designed as versatile low-cost solution for beginners and professionals. They are particularly suitable for bars, restaurants, nightclubs and smaller festivals.

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Hybrid includes a 6-button touch control panel with a full-color 180°reversible LCD menu display with battery backup that makes for easy navigation through DMX and manual settings. The Smarty Hybrid includes a host of other standard features like 5-pin DMX In/Out and PowerCON True 1 In/ Out connections along with ArtNet and sACN support via RJ45 EtherCON In/Out connections. The fixture also houses a universal switch-mode power supply for use anywhere in the world.

Chroma-Q Unveils Studio Force II Natural Choice for Studio Lighting


The new Chroma-Q Studio Force II is a high intensity tuneable white wash light. Using a homogenized LED source capable of delivering variable colour temperature, plus/ minus green shift control and the

but also performs particularly well in other situations demanding high quality tuneable white light such as touring key lights, exhibitions, corporate events and theatre lighting. The Studio

ability to produce deep saturated colours when needed. The Studio Force II is specifically designed for TV Broadcast and film applications

Force II uses the same ColorSure technologies found in other innovative Chroma-Q fixtures to deliver consistent colour across fixtures.


XLR & plugs powerCON ® & speakON® More than just connectors. We put our long time knowhow and our whole passion into our innovative products and unique solutions. No matter whether a rock band or a lighting designer, an industrial application or a broadcast studio – Neutrik offers high quality and reliable solutions for every application. For more information visit


Chauvet Professional Introduces STRIKE P38 Chauvet Professional has unveiled its new STRIKE P38 - an IP65-rated single pod LED fixture that offers the intense output that’s become synonymous with the series. “The response to the STRIKE 4 and STRIKE 1 has been very enthusiastic,” said Albert Chauvet, CEO of Chauvet. “LDs have come to value them as audience lights, washes and blinders because of their intense warm white output. The STRIKE P38 offers the same benefits, but it can be used in more applications and arranged in a greater variety of patterns because of its more compact size.” Its smaller dimensions

notwithstanding, the STRIKE P38 packs a powerful punch, because of its 90W warm white light source. The intensely bright fixture weighs in at a mere 3.8kg (8.4 lbs.) and measures 303 x 261 x 184 mm (11.93 x 10.27 x 7.25 in). Aside from enhancing the fixture’s versatility, its more compact size will also make it easier to rig. With its warm white output and IP65 rating, the STRIKE P38 can be used to create a welcoming immersive atmosphere at outdoor festivals as well as at arena concerts. The fixture’s emulated “amber shift” warms the color temperature of the light as it dims to perfectly mimic

incandescent lights. The fixture’s 16-bit dimming control results in smooth seamless fades, and its adjustable Pulse Width Modulation makes the unit camera friendly for videoed performances. Featuring a Strobe Rate of 0 to 29 Hz and four Dim Modes, the STRIKE P38 is well suited for use in creating special effects on the fly. Although it excels as a blinder, the STRIKE P38 stays cool enough to use as a wash. The fixture’s IP-rated direct power and DMX connections eliminate whips. This versatile fixture can be controlled via DMX or RDM protocols.

Work Pro Expands LightShark Range Work Pro, audio-visual equipment manufacturers have announced two product additions to its innovative LightShark range of lighting consoles: the LS-Wing console expander unit, which is designed to complement and extend the original LS-1 console, and the four-strong range of LS-Nodes, affordable hardware expanders for the LightShark system that add extra DMX and Ethernet connectivity without the user interface and physical controls of the LS-1 and LS-Wing units. The new LS-Wing, which is slightly narrower than the original LS-1 but still comfortably holds a 12.9-inch iPad Pro on its top surface mounting area, connects to the LS-1 via Ethernet and allows

users to expand the physical controls available in their LightShark systems. Each LS-Wing adds 20 backlit buttons and 10 Playbacks, plus two further Universes of DMX control (that is, a further 2 x 512 channels of lighting control) and an extra three Ethernet ports, while a pair of USB connectors allow users to charge the associated tablets or mobile devices being used to control their LightShark system. Four different models of LS-Node are available: the LS-Node1, LSNode2, LS-Node4 and LS-Node8, each of which adds its respective number of freely configurable DMX Universes to the connected DMXcapable lighting system, which can be LightShark or any other manufacturer’s DMX system. The three smallest LS-Node units are available

in the same quarterrack physical format as the original LS-Core, are powered via a compact USB-C connector and may be rack-mounted with optional LS-19AR rack ears, while the top-of-the-range 8-Universe LS-Node8 ships as a 1U 19-inch unit with an LCD display to configure the unit and a Neutrik Trueone power connector. All of the LS-Node range feature two-port Ethernet connectivity and support the industry-standard ARTNet and sACN protocols. The LS-Node1 and LS-Node2 models also offer a DMX input Universe, allowing DMX sources to be merged. “These new additions to the

Chauvet Professional STRIKE P38 “Our customers have always been impressed by the versatility of our STRIKE series,” said Chauvet. “Now with the STRIKE P38, they have even more reasons to feel this way.”

Work Pro LS Wing

system allow LightShark users to configure their system exactly as they want it. The number of channels, physical controls and connectivity in the system can now be tailored to customers precise requirements, while leaving the door open to expand the system as required in the future.” comments Equipson CSO Juan Jose Vila. The LS-Wing and the new LS-Nodes will be available later in 2018.

X-Laser Releases three New Laser systems X-Laser has released three new laser systems that will add to the brand’s legacy as a democratizer of high-powered laser fixtures. “We’re kind of going back to our roots with these new fixtures,” Adam Raugh, President of X-Laser, said. “The Mobile Beat Mercury adds our Mercury laser control system to our most popular model line, the Mobile Beat, the model that really helped us make a name for ourselves. And while our Skywriter series is a bit newer. The Skywriter HPX M-2 is the most affordable way to get Mercury control in a fixture that is truly road

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ready. Finally, the Aurora Mojito brings a fresh look to the entry-level laser market, and we’re really excited to see the response.” The Mobile Beat Mercury (500mW) and Skywriter HPX M-2 (2000mW) are the two newest Mercury-enabled

fixtures. They combine full-RGB color and 30K scanners with the full Mercury laser control feature suite that includes 400+ pre-installed gobos, eleven digital prisms with variable spacing, fully customizable gradient effects, a 0.08º to 45º zoom

X-Laser Mobile Beat Mercury & Aurora Mojito


range, and DMX512, RDM, and Art-Net control. As with all Mercuryequipped fixtures, they are plug-andplay compatible with major lighting consoles including Avolites, grandMA, Hog, ChamSys, Elation, Martin, Jands Vista, ETC and more. The Aurora Mojito joins X-Laser’s popular Aurora series of simple, safe and affordable DMX-only laser fixtures. With a bold, mint green color and dual apertures, the Aurora Mojito lets users add vivid, horizontal-only beam effects not found in other entry-level systems for an introductory price of less than $500 from X-Laser dealers.


High on OPIUM Interview with Cyrus Gorimar, Founder of OPIUM Events PT met Cyrus Gorimar, the man behind milestone events like Dream Theatre and One Republic. Brahma to One Republic, Gorimar has come a long way. In this interview he talks about his love for music and his long-term vision of augmenting rock and heavy metal live concerts in India through O Live OPIUM’s new music IP Are you a musician at heart first or an event organizer? Tell us a bit about how OPIUM Events came into being? I’m most certainly a musician first. I make music that does not necessarily make me a billionaire but it’s something I really love doing. I think OPIUM stemmed from my love for music. Though, I come from an Air Force background surrounded by pilots on both sides of the family tree, I always had a passion for music, ever since I was three. Even though I initially wanted to be a doctor but I found my true calling in music. I played in college bands while I simultaneously pursued an MBA degree. My first job was at a furniture store, selling furniture but I knew I did not belong there. I quit that job and formed the band – Brahma along with Devraj Sanyal. Our first gig was at the launch party of Southern Comfort whiskey and I got a good deal from them. With the money I earned from this gig, I bought my first computer and that was from where OPIUM started. I started taking Brahma to various colleges of India. I started selling this concept to various colleges and we were succeeding in it. For six years we were just doing rock concerts at college festivals and every year Brahma would do about 60-70 concerts. I then realized that I could sell my concepts. That’s when I started taking this up little seriously. We also diversified into corporate films, advertisements etc.

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The money I earned from this helped me bring in international bands. Which were the major shows that OPIUM Events conceptualised and executed before Dream Theatre? The first one was Joe Satriani. No matter how much money you have, to bring in an international band, you need something on your CV. If there was ever a time when I did not sleep at all, it was before Joe Satriani, however the stress level was higher during One republic because we were hustling due to the venue change. Joe Satriani would have never agreed to come to India, had I not been a musician. I had done over 5000 concerts in India, so I knew everything about sound, lighting and production from the grassroots level. I got Joe Satriani for three gigs - Mumbai, Calcutta and Bangalore. This was at a time when people were doing only one gig. I followed this with Sepultura in 2007, again for three gigs - Delhi, Shillong and Bangalore and then guitar god Michael Angelo Batio in Hyderabad, Delhi and Bangalore. When did you decide that you would bring Dream Theatre to India and how challenging was the process? I had been trying to bring down Dream Theatre since ten years. In 2008, I had signed a contract for two shows – one in Shillong and the other in Bangalore. But it was called off because Bangalore was having some local elec-

Cyrus Gorimar

tions and we couldn’t have the show in Bangalore and the agency was adamant that I would have to pay for both shows even though Bangalore was not happening. I tried again in 2009 but I failed and then in 2011 and 2015, I tried bringing them and I failed again. I believe that failed is a good word because it pushes you to do more. By this time, I had gained major experience in dealing with the ‘Goras’. Then finally, on 29th July, 2017 they agreed to come down. I was more aggressive this time and that fortunately worked well for me. Dream Theatre is a very anal and difficult band. Everything should be precisely the way they have planned, whether it’s the timeline, production or


travel, and OPIUM did it to perfection. That’s when all the international booking agents started taking notice of OPIUM and that’s how I got One Republic on my lap. What are your plans for the near future? Can we expect another big announcement from OPIUM Events soon? In September, I am bringing down a band, which I don’t want to name right now. It can bring in an audience of six to eight thousand people. It’s a progressive metal band and each member of the band is superb. It can pull the crowds but the problem is the venue. Unfortunately, MMRDA is gone and we are left with the Dome, which is a fantastic venue, and Jio gardens. If I do

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Dream Theatre - the American prog rock giants made their India debut in October 2017, courtesy OPIUM it in the Dome then my P&L will not work. We have Rangsharda but it cannot accommodate more than 2000 people. Our country needs more venues, probably like a nice amphitheater where we can do good shows. So yes, we have something lined up for September and then November will be massive. Then in 2019, I promise to bring the biggest show ever in the history of Indian rock. That’s what I’m planning. What we need is an international band show every month. If it’s not me doing it, then it can be Wizcraft or Percept doing it. As long as somebody just keeps doing shows, otherwise we have only the movies and mall to go to. As an event organiser how do you bridge the gap of bringing a concert, which is not only appealing to the audience, but is also a financially viable? I am more of a musician than an event manager so, by now I know what sells and what doesn’t. For instance, when Santana and Beyoncé were coming down, I knew it would not sell. Probably Beyoncé in a dome would sell but Beyoncé or Shakira in MMRDA will flop. I can get The Phil Colins tomorrow, but I know it’s not going to be a very Jio garden type of event. Its production cost etc. will be more viable for NCPA. Being a musician, I instinctively know what works and then I looked at the viability. I make my mental P&L and then submit to the sponsors. But you got no sponsors for Dream Theatre? Why? Yeah, because sponsors had never ever heard of Dream Theatre. They

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wanted me to do shows with Arijit Singh, Sunidhi Chauhan, Neeti Mohan. I tried my best to explain to them that Dream Theatre would be one of the biggest shows ever, but I had no takers. Eventually I had the last laugh. It

Yeah, but that needs to change. I don’t give out free tickets. Even to sponsors, I give no more than 10 free tickets. For their team I give bands, which they can wear and walk in, but no free tickets. For Dream Theatre, people were looking

rained and thundered the day of the show. I had agents asking me to call off the show and rake in big money from insurance, but I was adamant that the show would go on and the show did go on with audience showing up in big numbers. Thousands of people came from the North East. It’s all thanks to my entire digital team

for free passes, but none were being given out. Even with VH1 and others, I had asked for a guest list. I was scrutinizing the list and not allowing any of the big Bollywood musicians, who could afford the tickets to come in free. Many of them did not showed up because they were not given free passes but that’s fine, it is their loss.

Bollywood sells because India is the only country in the world, which makes music, which is like third-party music.

that we made such phenomenal tickets sales for Dream Theatre. They are the ones who created frenzy across social media with captivating tag lines and videos. Brands like Pepsi and Coke wanted a barter deal and I don’t bring barter deals at all into my events. My policy is simple – you pay me cash up front and you can sell your drinks . I don’t allow any of these people to come in unless they are delivering real value like VH1 and Radio One did with heavy promotion of the event. That’s a real value add-on. Normally in India, event organisers don’t make money on tickets sales?

For Dream Theatre not more than 45-50 tickets were given away free of cost. I allow some of the young kids who cannot afford to buy the tickets to come in, but that’s different. OPIUM does not own any festival IPs right. Any plans to launch an EDM festival? OPIUM does own O Live now. I will never do EDM music. I do weddings and have DJs there, but technically, I will not like to bring down a DJ. That does not excite me. Much before all these EDMs were even on the horizon, I did shows for Osho. I have done trance parties with Israeli DJs in areas like Wagholi and Kharadi in Pune, years ago. It’s all done


and dusted and I know what happens at these DJ shows. I just want to do shows that are clean, free of drugs and smoke; just pure, unadulterated good music. I have brought down Joe Satriani, Seputra, Dream Theatre and One Republic and none of the members of these bands drink or smoke. For them drinking means just one pint of beer. None of them has asked me for 10 bottles of alcohol, none of them smoke, none of them allow smoking backstage, none of them ask for women or hash. All they ask for is Indian food. They just love it. I will just do these kinds of musical events – live and intensive. OPIUM is all about live music. I now have Nokia and other sponsors coming in, who are taking notice of these live events. All sponsors collaborating with us, partner through O Live. O essentially is our logo, which stands for OPIUM and Live means anything to do with live music. I am more of a rocker, so the focus for me is a good live band. I don’t want to do an Ed Sheeran concert. He is brilliant and sheer talent, but one person standing on an 80 feet stage, playing a guitar with drums, base and keyboard programmed and lights, which could light up the whole of Dharavi, is not my kind of live music. One Republic which is a pure live band, is my kind of live music. Do you think genres, other than EDM can win the hearts of the masses (by masses we mean the young gen)? EDM sells for different reasons. Honestly, it sells for drugs, because people know they will get their supply here and it kind of acts as a catalyst to enjoy the

Only at:

Booth C101 - Hall 1


OPIUM Events organised One Republic’s first Indian concert at Dome NSCI kind of music being played there. I am not saying it does not happen anywhere else. It can happen in my backyard, it can happen outside the stadium or even in my rock concert. It can happen anywhere. Bollywood sells because India is the only country in the world, which makes music, which is like third-party music. So, if it is Pritam’s music, the face of that music is Salman Khan or Sharukh Khan, so it’s much easier to sell. Imagine that same music without a star face; will it sell? My answer is no. So many brilliant artistes like Shaan and Kay Kay have tried their hands with independent music, but have they sold? There is no serious push by any of the agencies to promote rock or other live music. Once upon a time rock was very big here. It’s not dead, but there are not too many shows happening at the moment, but which I plan to revive. I want to bring in more of the heavy metal bands. Somewhere, even parents are to blame. They do not understand that music has its own uniqueness. They discourage children from listening to different genres but they need to understand that its good music with sensible lyrics, about love, war, anti-drugs and anti-suicide most of the time. It is not about ‘chikani chameli’ and disrespecting women all the time. I am not against Hindi movies. I’m just against the music Bollywood churns out these days. Who do you think is your nearest

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competitor, when it comes to getting

to invest in OPIUM but I will only work

international artistes who are not EDM stars?

with partners who make the investment and do not interfere in the creative conceptualization or in the production. I would rather not have people who know nothing about music, telling me what to do just to save some money here and there.

I love competition because I don’t take it as a competition. Whatever I do, I do for the love of music. Therefore, I do not care who is promoting music as long as there are people out there who are promoting good music – be it OPIUM, Percept, Wizcraft, or anybody else. I personally really look up to Wizcraft and

Do you think India lacks musical talent? Not at all! There is lots of talent –

We have something lined up for September and then November will be massive. Then in 2019, I promise to bring the biggest show ever in the history of Indian rock.

Venkat Vardhan of DNA. Venkat at one time did great musical shows. I don’t look at it as a race between you and me. A first time agency was bringing down James Blunt but they had to call off the event because the ticket sales were not that great. If I had known earlier, I would have been happy to partner with them, make some investments and ensure that the show goes on. So, it’s not about competition; I do it for the love of music. If somebody wants to do good musical events together with OPIUM, I am game; my only prerequisite is that OPIUM will only do live music and nothing else. There are a lot of investors who have now woken up and want

phenomenal and insane talent. When any foreign band comes down to India, they have zero tolerance for any compromise, but when a big Indian band is performing here, no matter how hard we try for zero tolerance it doesn’t work. For instance, when my rider goes out, it clearly mentions two separate bass drums. However, even the big sound rentals in Delhi will not take the effort to provide equipment in tandem with the rider. When you see two separate bass drums, it’s understood that the same mics are needed, but they take everything for granted and provide whatever they like. I would say that talent is immense, but the professionalism of the support staff is lacking. Most of the


sound guys here just rely on ‘Jugaad’. They don’t realise that their ‘Jugaad’ is not helping our sound in any way. It’s very rare that I don’t go without my own drum kit, because I don’t want them springing surprises and saying we cannot provide a particular cymbal because it cracked. So what if it cracked? Go get another one. Warren is one person who will not think twice. In fact, he will buy whatever we want if he does not have it. I also think there is a lack of opportunities, not talent, and it will further decrease if we don’t do much about it. What’s your vision for OPIUM Events for the next five years? I want to bring 50 metal bands down and make rock bigger than Bollywood. It’s not a goal, it’s a dream and dreams take a lot of time to fructify but hopefully it happens. There should be some place for rock in between all the Bollywood frenzy. 50 metal bands in five years I know is very high and not attainable unless I have solid support from sponsors who are willing to back me. I think even sponsors need to wake up and support rock and heavy metal genres. I also want to start my own ticketing agency because OPIUM has a great team who are very good with digital and I think we can do it; it’s not a big deal. However, for that, I need a band like a Metallica, which can draw in an audience of 20,000. My database will then be sorted for any future rock concert.

Visit us at PALM Expo Hall 1 | Booth C51










Importers: @alphatecAV




You Exhibitionist


e are a backstage team. Hidden in the shadows we do our work so the stage

glows. But this the time we take over and exhibit our goods. Show the world what we got. It’s time for us to be Alice or Ali Baba or to be topical Aladdin (Which is playing in the City). Lost in this Wonderland Cave, stalked by Chalis Sellers and hoping for a Genie to show us the way to a profitable future. Our Eyes Blindened with choice, Our Ears deafened by variety and our senses overwhelmed by the magical strides in projection and Visual technologies. We tap into that inner desi in all our characters that can only be at ease when we are surrounded by chaos and choices. We can slurp and sniff out the best deals - that’s what keeps our adrenalin pumping. Good Luck to all of you. Hope you find the instruments that will see you through the next few seasons. Here’s a good time to remember the triumphs and mistakes of seasons past. I also hope you have attended and benefitted from one or more of the many seminars and workshops that are held alongside. I have had the pleasure of listening to some of the world leaders in some aspect of our trade. I have found them approachable and genuinely excited to be in India. They are amazed how their familiar craft is adapted and made to work in India at a fraction of investment in both inventory and manpower. That is one feature of our Indian scenario I sincerely hope will improve in the next few years. Not the inventory - the manpower. Our guys usually are harder working, more enthusiastic and bring greater energy to most projects. Accomplished professionals

The ART of Touring But despite the hurdles, the entire Encore team pulled off the daunting task flawlessly. “I must extend my sincere gratitude to certain key members of the crew without whom this tour wouldn’t exist. Kunal Khambhati, Head- Live Events and IP, BookMyShow along with

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are amazed with our ‘jugad’ and how we get to certain things done. Sadly this same ‘jugad’ also leads many of us to cut corners in the implementation of the production and in the rehearsal schedules sometimes under the impossible schedules that are thrust onto so many of us. I really hope we can find a balance with this jugad. That we don’t depend on it to carry us through with minimum effort, but use the skill to punch well above our weight category. Our shows can only improve. I also hope that as you trudged down the exhibition aisles you stopped every once in a while and struck up conversations with people in allied businesses. Started or cemented lasting relationships with people up and down the food chain. Our business is mostly TIME based. We are judged for our ability to perform ‘on the day’. That day you may be loaded with a whole array of issues - both technical and personal. The true hero’s in our profession battle that and perform up to the mark on their worst days. It’s on days like this that you truly value the ‘little bit of help from our friends and this is an opportunity to make these friends. Whether you need a particular connector at 2 am in Hyderabad or need a replacement unit driven down from the closest city six hours away. I have been blessed by great friends who have smilingly done these seemingly small favours that went a long way to support my delivering the expected job. Like most things in our industry these efforts go widely unrecognised and remain under appreciated. This is an opportunity to affirm who your friends are and strengthen bonds. Now it’s time to look at the equipment. The first thing I do is glance

through the list and check out who is exhibiting for the first time. Why are they here? Is it an experiment to get a feel of the market? Or do they have an interesting new product or line that they wish to expand into our market. A lot of the time they are overwhelmed and a little out of step. The vibe within our Indian exhibitions are definitely different from the energy of exhibitions around the world. We have a huge number of eager fellows crammed in there just to look around. This is great and I encourage this attention. I believe it is one of the ways we can get newer and more people tapped into our world. But to a guy out of Europe dealing with so may smiling accents all asking ‘wise’ questions. We have more than our fair share of smart asses who get off on showing off their ‘knowledge’ to anybody who will listen. (Hey that’s great too!). But that poor first time exhibitor does not know how to measure his pitch to strike the balance between keeping things interesting and still keep everything moving at a manageable pace. A touch of our Indian Hospitality goes a long way in making great friends and widening our networks. It has allowed me to learn a lot about how our industry functions across so many different markets around the world. Finally let’s look at all the goodies you really came to explore. The new stuff. Our world is moving so fast - new stuff hits us every day. But do you ever think every product is just an incremental change from the last time? In my opinion, and I may be wrong, a huge number of us look at newer equipment only as a replacement of the old. To use the newer stuff to do the old stuff. May be

in a more economic way. But basically - just old wine in new bottles. I urge you to consider this. If that has been your mindset, work seriously on letting go of the past. Some of the new equipment may lead you to completely rethink the way you set up shows. If you have a marketing team go with them and see how you can use this new equipment to sell new ideas to clients who are always looking for ‘Never done before’ thrills. Definitely more fun than trawling through YouTube clips looking for ideas to ‘be inspired from’. Like last year I saw some smoke spirals that I could think of dozens of uses for - but sadly never seen being used in anything other than smoke plumes. Come on Guys this is where your imagination will earn you the buck. Sure, we are dead without equipment. But remember - it’s our creativity in using that equipment that ultimately makes the difference on how successful we are in our jobs. I urge you to put your deal making skills on hold for a while and fire up your creative side first. Identify how we will make our shows different from last years. Different from every other vendor. Then unleash your deal making skills to sign the dotted line. Good Luck Guys. Have a super time Exhibiting yourselves. Here’s wishing Much Success for all of us.

magazine does not subscribe to them).

Entertainment in Ahmedabad, Viacom 18 in Mumbai and Maham Enterprises in Delhi,” states Balaji Manoharan. “When thousands of fans screamed ‘Encore’ in unison in each city it was a moment none of us will ever forget. Our team at MR B Live used our experience

and expertise with precise planning, careful vendor selection and time management, which resulted in a successful tour. As a company to execute a multicity tour with an Artist like Mr. A.R. Rahman was such a proud moment for the Company” he concludes.

(The views expressed by the author are his own personal comments and the

(Continued from page 25) his dedicated team travelled to every city and rendered great support in ensuring a smooth execution in every city & venue. Also, a big shout out to our promoters across the four cities who made this dream a reality - Hyderabad Talkies in Hyderabad, White River


Product Focus

Line Arrays

Sound Stars

2017-2018 was witness to the launch of an array of Line array systems intended as completely redesigned solutions for applications ranging from mid to large-size touring productions, live music applications and high-end fixed installations. The lineup here includes some high-profile debuts from 2017-2018 Amate Audio N208 Amate Audio continues the rollout of its new NÍTID series of ultra-compact, high performance active speaker systems with the introduction of the N208 compact line array and matched N18W / N218W subwoofer systems. In common with all NÍTID systems, these employ the latest digital amplification and signal processing technologies, in symbiosis with advanced electroacoustic research and design, to achieve exceptional levels of performance and versatility from compact

• SPL (1m): 129 dB continuous, 132 dB peak • Built-in DSP: 48-bit processing unit • AD/DA converters: 24 bit – 48 kHz • Presets: 2BOX_FR, 2BOX_SW, 4BOX_FR, 4BOX_SW, 8BOX_FR, 8BOX_SW • Standby mode consumption: < 5 W • Adjustable delay line: 118 ms / 40m • Frequency response (-10 dB): 78 Hz – 18 kHz • Components LF – MF: 2x 8″neodymium woofers (2.5″voice coil) • HF: 2x 1.75″PEN diaphragm, neodymium magnet compression drivers • Directivity (HxV): 110º x 11º • Weight: 23 kg (N208) / 21 kg (N208P) • Dimensions (HxWxD): 279 x 684 x 522 mm (no pins included)

Beta 3 TLX214a

speaker systems. The N208 is the flagship of the NITID series: a versatile line array equipped with the exclusive Amate Audio waveguide, ideal for all kind of live events. Main Features include: • Exclusive High Performance Waveguide • Light Neodymium components • Multiple Presets available • High resistant ployurea paint Tech Specifications: • Amplifier (program power): 1000 W + 500 W Class D bi-amplified • Input Sensitivity: 8 dBu – 1.94 V • Input Impedance: 20 kΩ balanced • Mains: Universal switch mode Power Supply 85-265 V / 45-65 Hz • Average current draw: 2.1 A (Heavy duty musical program)

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The TLX214a is an active 2-way line array module for small & medium events of indoors and outdoors. Equipped with 1 x neodymium driver and 2 x75mm drivers, it offers excellent sound quality and high SPL. TLX214a is driven by an onboard amplifier with DSP which provides 4 presets for users to select according to different applications. The optimized construction and high efficiency transducers makes TLX214a a compact enclosure with max SPL 132dB. TLX214a offers practical horizontal of 120 degree and can be curved up from 0 to 10˚ for each element. Main Features include: • Cutting edge 14’’ line array technology • Customized B&C high performance transducers • Customized waveguide • Switching mode technology grants reliability and robustness. • Built-in DSP with 4 presets • 3-point rigging system for quick set-up Tech Specifications: • Construction: Plywood • System: TLX214a: 2 x 3” HF + 1 x 14’’ LF • TLX118Ba: 1 x 18’’ LF • Frequency Response(-3db): TLX214a:


• • • • •

• • • • • • • • • • • • •

LF:45Hz-3kHz HF: 500Hz-18kHz TLX118Ba: 40Hz-200Hz Amplifier Power: TLX214a: 700W x 2 TLX118Ba: 1400W Amplifier Type: Class D Maximum SPL (1m) TLX214a: LF: 124dB/130dB (peak), HF: 126dB/132dB (peak) TLX118Ba: 124dB/130dB (peak) Power Supply: AC 220V-240V~, 50/60Hz (or AC 110V-120V~, 50/60Hz) Dispersion (H x V): Horizontal: 120° Vertical: Varies, depending on array length and configuration Input Connector: TLX214a: 1 x XLR TLX118Ba: 1 x XLR Output Connector: TLX214a: 1 x XLR TLX118Ba: 2 x XLR Dimension(WXHXD): TLX214a: 660 x 489 x 440 mm TLX118Ba: 660 x 807 x 568 mm Frame: 660 x 829 x 110 mm Net Weight: TLX214a: 33.5kg TLX118Ba: 53.2kg

NEXO GEO M10 The GEO M10 is a new addition to the GEO M range, sharing the same aesthetic design and sonic signature as the other line array in the family, while offering an unprecedented level of flexibility in all mid-size applications. The GEO M10 line array is NEXO’s new high-output sound reinforcement system for long-throw theatre and live music applications. With characteristic innovation and ingenuity, this exciting contemporary design uses a single 10” driver to deliver an unprecedented ratio of LF response to cabinet size

for this class of mid-size line array The GEO M10 system is a true power package, twice as powerful as its sister GEO M6 compact line array, launched 2 years ago. While the M10 design aesthetic is comparable to the elegant new-generation silhouette of the M6, the larger M10 cabinet draws on structural and acoustic innovations first released in NEXO’s ground-breaking STM Series modular line array, in particular the STM M28. Main Features include: • Compact line array element that can be stacked or flown, with or without its companion sub the MSUB15. • Integrated rigging hardware with no loose part and AutoRigTM feature. • Available in Touring or Installation versions, with custom colour options. • Incorporates latest NEXO patented technology from the flagship STM series. • Comprehensive range of versatile, multifunction accessories for deploying the GEO M10 in a wide variety of applications. Tech Specifications: • LF Component : 1 x 10” 8 Ohms long excursion Neodymium driver with PDD • HF Component: 1 x 1.4” throat driver on a BEA/FEA optimized HR WavesourceTM • Height x Width x Depth: 288mm x 531mm x 355 mm (11.3” x 20.9” x14.0”) • Weight: 21 kg (47 lbs) • Net Connectors (Touring version) : 2 x NL4, 4 poles connectors (1+/1- Through, 2+/2- GEO M10) • Connectors (Install version) : 2 x Cable gland with 2 cores cables • Construction Fittings : Lightweight Polyurethane Composite • Front Finish (Touring version) : 4 x Side handles (2 vertical + 2 horizontal) + back grip • Front Finish (Install version) : Steel front grill + back mesh Acoustic fabric fitted from grill • Operating temperature range : 0° C - 40 ° C (32°F - 104°F) • Storage temperature range: -20 ° C - 60 ° C (-4 °F - 140°F)

RCF HDL30-A RCF has introduced its new HDL30-A line array, the latest addition to the RCF HDL line array family. A compact, bi-amped, two-way active system, it is intended for medium to

large events and tours both indoors and outdoors. It features two 10-inch woofers and an impressive 4-inch titanium compression driver. The time coherent waveguide is the result of in-depth research and design. HDL 30-A is the first line array in a composite cabinet with zero-degree phase and ultra-linear amplitude response

Main features include: • 2200W Two Way Amplifier • 137 dB Max SPL • 48 kHz, 32 bit DSP processing • 1.4” Titanium Compression Driver, 4.0” voice coil • 2 x 10” Neodymium Woofers, 2.5” voice coil • Exclusive FiRPHASE technology on-board • RDNet Control and Management • 680 Hz Crossover Point Tech Specifications: • Frequency Response: 50 Hz ÷ 20000 Hz • Horizontal Coverage Angle: 100° • Max Spl @ 1m: 137 Db • Vertical Coverage Angle: 15° • Compression Driver: 1.4’’ Neo, 4.0’’ V.C • Woofer: 2 X 10’’ Neo, 2.5’’ V.C • Input Signal: Bal/Unbal • Output Connectors: Xlr, Rdnet Ethercon • Input Connectors: Xlr, Rdnet Ethercon • Input Sensitivity: +4 Dbu • Crossover Frequencies: 680 Hz • Total Power: 2200 W Peak, 1100 W Rms

JBL Professional VTX A12W JBL VTX A12W is a Dual 12” Line Array Loudspeaker with 120-degree Dispersion. It is designed to address the requests from rental companies, FOH engineers and tour sound production crews who appreciated the advances introduced in the VTX A12 but needed wider horizontal coverage for their applications. Main Features include: • 120-degree dispersion pattern for wide horizontal coverage • New and improved JBL transducers for the best output per weight • Innovative HF section integrates the phasing plug and waveguide for high sensitivity and linearity even at high output levels • Redesigned Radiation Boundary Integrator® (RBI) for reduced horn edge diffraction, improved LF sensitivity, lower distortion and 120-degree coverage down to 250 Hz


• Next Generation LF section, including industry-defining Differential Drive woofers, with a dual magnet, dual voice-coil design for extended linear excursion • Best-in-class rigging for streamlined, rapid deployment • Full-face grill for superior weatherization and refined aesthetics • New transport cart and frame for simplified transport and setup • Optimizations throughout the design for space efficiency and reduced weight while simultaneously improving performance • Full integration with JBL system control and prediction software • Lightweight design • Fully compatible with VTX A12 Tech Specifications: • Frequency Range (-10 dB): 46 Hz - 19 kHz (Preset: VTX A12W) • Coverage Pattern (-6dB): Horizontal = 120 degrees nominal (250Hz - 16kHz), Vertical = Varies with array size and configuration • Maximum Peak Output *2: 146dB (Preset: VTX A12W) • System Processing: Crown Audio I-Tech 12000HD • Crown Audio I-Tech: 4x3500HD • System Impedance: LF = 2 x 8 ohms; MF = 8 ohms; HF = 8 ohms • Low Frequency: 2 x JBL 2264H, 12in diameter, dual 3in diameter voice coil, Neodymium Differential Drive • Mid Frequency: 4 x JBL 2165H, 5.5in diameter, dual 2in diameter voice coil, Neodymium Differential Drive • High Frequency: 3 x JBL 2423K, 2in diameter annular diaphragm, 2in diameter voice coil, Neodymium Magnet • Construction: 18mm and 15mm ,11-ply Finnish birch plywood, Black DuraFlexTM finish, integral recessed handles • IP Rating *3: IP55 EN (60529) • UV Rating: 6 (ISO105-B01) • Suspension: Captive suspension plates, quick-release pins, auto-locking mechanism for setting angles • Inter-enclosure Angle: 0.25, 0.5, 1, 1.5, 2, 2.5, 3, 4, 6, 8, 10 • Grill: Powder coated 14-guage hex-perforated steel with acoustically transparent black cloth backing Connectors • Type: Neutrik SpeakON NL-8 (2x) • Pin Assignments: Pins 1 ± (LF), Pins 2 ± (LF); Pins 3 ± (MF), Pins 4 ± (HF) • Dimensions (H x W x D): 330.2mm x 1.118mm x 495.3mm; 13.0in x 44.0in x 19.5in • Net Weight: 60.8 kg (134.0 lbs)

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The Bose Team full of Gung-Ho PT interviewed Vibhor Khanna, Country Manager – SAARC at Bose Professional. Khanna is an experienced business leader with over 18 years of experience in sales and business development of Audio-Video products. Since 2012, he is instrumental in setting up new Dealer Channels for Bose Professional products and has successfully managed the transition of business and established a vast channel for Bose Professional Products across India & SAARC countries. In this interview Khanna talks about turnaround agenda, Bose Pro Business Model, corporate innovation and more. Tell us about your current role (as Country Manager – SAARC) and about your journey to becoming the man on the spot for Bose in India? In my current role, I head the Bose Professional Business Unit for India & SAARC Countries. I started my professional career with Bose Corporation in 2001 and worked for 9 years with experience in Direct Selling to end customers, where I achieved huge success in building and maintaining relationships with key corporate decision-makers, establishing large-volume, high-profit accounts with excellent levels of retention & loyalty. I was behind many key projects implemented by Bose like the Delhi International Airport Terminal 3 In 2010, I took up my next assignment with Harman International where I was responsible for realignment of the distribution & dealer channel for HARMAN Professional across India. In 2012, I returned to Bose Corporation, with a task to set up the new Dealer Channel for Bose Professional products and successfully managed the transition of business and established a vast channel for Bose Professional Products across India & SAARC countries How difficult or easy, was it to for you to consolidate and further strengthen the existing team? When I was tasked to set up the new dealer channel for Bose Professional in India, we had a team who specialized in solution selling. The challenge was to coach the team and to start thinking from a product perspective rather than solution. Would give full credit to my team for the quick turnaround in their thought process and soon we were a cohesive team in the field making sure we started engaging with new partners & educating them with knowledge on our products and unique offerings. The team worked very hard towards making a channel for Bose Professional Products and today Bose is one of the preferred brands with Partners and we are proud

May - June 2018

of this achievement What was the first focus on your turnaround agenda? The turnaround had two crucial elements. First – changing the mindset of the existing team from a solution selling mode to a product selling mode and the second element was creating a network of dedicated partners who we called as Bose Friendly Dealers. This involved a lot of effort in terms of training the newly appointed dealers. We worked on the right pricing structure and engagement programs for the dealer network, so that we could get a strong foot hold in the market. Any transformational change in business involves some strategic steps? What kinds of strategies did you undertake (if any) to change the Bose Pro Business Model? Bose has developed Distribution network partners focused on AV verticals and an expanded product portfolio focused on system integration. Altering strategy in supporting System Integrators rather than compete for projects, essentially to broaden sales in AV and Engineered Sound segment helped us build a strong and loyal network of partners. The Bose team does Business Development activities for the partner network by continuously engaging with the end customers, architects and project management consultants to create pull for our products. Your blueprint on how Bose Professional India will evolve in the next couple of years under your leadership? We are quite enthusiastic and positive about the Indian market. India and the Indian sub-continent is a strategic growth market for Bose, we’re reinforcing our commitment to grow and expand our business throughout the region through a formidable in-house team, strong network of distributorrs and partners, expanded offline/online presence, enhanced customer experi-

Vibhor Khanna, Country Manager – SAARC at Bose Professional ence avenues, and absolute commitment to consistently deliver gamechanging technologies and products like the ShowMatch™, EdgeMax™, MB210 and more.


In complement to the new strategic developments and product releases, Bose will also be rolling out an intense education programme throughout India These sessions will highlight key existing

products like the ShowMatch™ line array system, EdgeMax™ in-ceiling premium loudspeakers, the MB210 compact subwoofer and more, in addition to several new technologies that the brand plans to introduce in the months to come. Bose affirms that all the efforts are to promote improved collaborations with the marketplace; and in doing so, the company is confident of fostering and nurturing new and better partnerships in India.

emphasize that it’s not only about technology; without delivering value to the customers, the process would be incomplete. So, our R&D process also involves being very much accountable for delivering results based on customer demand for our products.

In India, in which vertical do you see most potential for the Bose

Definitely, we have seen a shift in consumer behavior towards online especially for home & personal use. Our Bose Consumer colleagues have not been behind in following this trend and have made successful & very positive relationships with large companies like Amazon, Flipkart etc and we have a lot of our consumer products available online.

We already have three existing verticals which we go after. Firstly, we have Portable Vertical – where we have the popular L1 & F1 Product range which has been appreciated by the entire industry, then we have Engineered Sound Vertical – which has products suitable for House of Worship, Airports, Auditoriums, Convention Centers etc. and then Hospitality Vertical where we are leaders with the maximum market share in India. We are now having two more focus verticals - Conferencing and Rental – where the corporation is investing heavily as we see a lot of opportunities in these two verticals in the next few years Which of the Bose pro audio products would you say is your favorite and why? We are sure there are many but please mention one. Bose Professional has been focusing on technology as a key part. For example, over the past years’ innovations in the ceiling speaker market haven’t been anything to talk about. It’s all been the same - just cheaper and cheaper. But now Bose has developed EdgeMax a ceiling speaker that has a compression driver, a phase guide and can give even coverage. A flush-mount ceiling speaker with the audio performance of a surface mount speaker, but the aesthetics of a flush mount speaker – the best of both worlds. We are aware that the guiding philosophy at Bose has been better sound through research. Tell us a little about the R&D process at Bose? The guiding philosophy at Bose is definitely “better sound through research,” and that is very much present in our pro-audio business. We always play for the long term, so for us it’s not only about next year. If we think we can offer our customers a demonstrable benefit, we are willing to invest in technologies with a much longer time horizon. For example, the case for the DeltaQ line array technology: Our engineers have been working on this technology for over a decade. But I should also

Over the last few years’ consumers have shifted to online purchases of speakers for home and personal use. What kind of impact has this had on Bose?

What were the biggest challenges that you faced in the two decades that you have been around in the industry and what is the highlight of your career? Our industry unlike the other industries needs individuals who are technocommercial and can understand the technical aspect of the product and at the same time drive business for the brand. The biggest challenge which I feel has been identifying & retaining the talent pool. As a leader of the organization we need to be mindful to provide employees enough opportunities to learn & grow within the organization. At Bose, we constantly nurture talent and make sure that the teams are given a positive working environment. I am proud to share that at Bose we have a very cohesive and positive team of techno-commercial engineers. If you talk about the highlight of my career, it’s been my people management skills You have been in the pro audio industry since almost two decades. What is your impression of the pro audio scene - then and now? Earlier Pro Audio Industry in India didn’t have many brands present directly, whereas today we have most of recognized Pro Audio brands with direct presence in India, which is very positive from the India market perspective. It’s a very exciting time for us to be in the pro audio market. Some segments are growing very fast, especially on the corporate and the enterprise side, while other segments are very steady. Digital networking is also becoming more common in pro audio applications, and the need for premium quality audio is also increasing.

Spaghetti & Curry Westerns in Immersive Audio


ad an amazing week this year at ProLight + Sound 2018. Frankfurt never disappoints and this time around the most interesting developments were the demonstrations and presentations of immersive audio systems from two of the leading manufacturers in turnkey loudspeaker systems. Beyond a doubt ‘Immersive Hyperealism’ is the way of the future, a whole new paradigm, a new ecosystem and a new way of thinking about sound and the way we design, mix and provide the hardware to do a show production. What this also means is buying many more speakers/amplifiers/ancillary gear from the perspective of hardware to achieve this and thus bring out the creativity in a boring job of normally mixing in dual-mono to a spatialised audio mixing concept.

Theory What is immersive audio is beyond the scope of this column but to simplify things I would say that from a simple pan potentiometer on your console you suddenly have migrated to Pan: Distance: Width: Elevation & Auxiliary Send just by opening a full screen and selecting channel by channel of control like you’d do with EQ. This allows us to create a virtual environment in which we can place close-mic’d sources across a broad space and more than anything it increases our empathy with the music and enables us to deliver it to the audience in a much richer way. The illusion of spatialisation in immersive systems is overwhelming. For some, it’s getting a little unclear about what 3D live sound is, whether it’s stage localisation, immersive or surround audio, or basically 2D solutions for re-distributing the sweet-spots or some other kind of imaging. However, it is clear: it’s about using the principles of object-based audio to give sound professionals an entirely new tool, to unlock the creative potential of audio. All the matrixing is happening inside the processor that’s made by the loudspeaker manufacturers and hence this doesn’t put a load on your consoles, which by the way are updating their software’s to accommodate their new plug-ins and it is coined as ‘Source Control’ functionality that is

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now natively integrated into a leading range of mixing consoles, adding to object-based mixing technology to the console’s control surface. Source Control functionality expands the range of creative choices the mixing engineer can employ simultaneously, ranging from classic stereo or 5.1 controls, for uses such as downmixes or auxes, to the advanced object-based multichannel environment And third party control of trackers and replay devices of industry standard software and hardware based companies have shaken hands with their protocols and control. Even spatial based in-ear monitoring systems have joined the bandwagon extending this onto the stage and not just the audiences too. Understanding the eco-system of object based live-mixing one should understand the architecture of the entire sound design and its control from the workflow below:

Trackers – Live Object Based Mixing Replay Devices – Playback Automation Console – Desk Link (software within the third party console) Processor – Spatial/Immersive Controller DSP Amplifier – Systems, Preset & Environmental Control Loudspeaker System – Environment/ Prediction Software Another pioneer in third party based immersive and assisted audio technologies use 3D object based rendering engines that are completely CPU driven, redundant dual SSD, road ready with dual power supplies that can be controlled with a web based browser and possess various modules like a production module an advanced 3D room acoustic module and a tracking module to follow light and audio sources, they can also accept LTC based time code. The biggest advantage of such a system is that you do not have to use a particular sound system and its associated hardware to use this technology and in many ways I like this too, so if you are on tour and getting different PA systems then this is a big solution for you. Their third party integration is also fantastic and their tie up with vector based stage tracking systems allows them to follow audio & lights in 3D with upto 100 tagged performers

with each individual tags transmitting over 100 positions a second. The have even brilliant integration with playback automation software and investing in such technologies in already co-existing installs will breath life into venues sound systems.

Applications The one project that really caught my eye was the “Ennio Morricone” Italian debut a fantastic application of Live Immersive Audio. Being a huge fan of his music & legacy I dug deeper into the world of spatial audio systems. Haven’t we all since childhood watched, listened and admired the score of Sergio Leone’s directorial epic trilogy of A Fistful Of Dollars: For A Few Dollars More: The Good, The Bad & The Ugly by the master composer & music director par excellence Ennio Morricone. I can’t even fantasize how resplendent the sound must be on this tour. Imagine listening to the music of the scene Live, where Tuco (Eli Wallach) is frantically running around the cemetery in search of the grave that has 200,000 dollars with the haunted score of ‘The Ecstasy Of Gold’ Morricone’s biggest recognizable hit that everyone around the world would recognize from the first note. The films were called Spaghetti Westerns because the entire unit was Italian, film crew, composer & director. These Euro westerns saw the rise of Clint Eastwood to stardom, although Sergio Leone also owed his success to Japanese director Akira Kurosawa one of the most highly respected directors in the world, which was actually a remake of his film Yojimbo. Now don’t we all know the most famous dacoit film is actually Sholay, with its dacoit character Gabbar Singh played by Amjad Khan. It was a masala film that combined the dacoit film conventions of Mother India and Ganga Jamuna with that of Spaghetti Westerns, spawning the Dacoit Western genre, often known as the “Curry Western”. Sholay became a classic in this genre, and its success led to a surge of films in this category like Ganga Ki Saugandh. The character Gabbar Singh was modelled on a real-life ruthless dacoit of the same name who had menaced the villages around Gwalior in


the 1950s. Any policeman captured by the real Gabbar Singh had his ears and nose cut off, and was released as a warning to other policemen. The character was also influenced by the villain “El Indio” (played by Gian Maria Volontè) of Sergio Leone’s For a Few Dollars More The sound & score of Sholay known to every Indian offers a model lesson on how sound can be used to signify the terror a character evokes. Sholay is also exemplary in its use of soundmatching to jump cut to a different scene and time, without breaking the continuity of the narrative, yet, intensifying the drama and the music by R.D Burman goes down in history as one of the best film soundtracks too. I honestly believe in the power of music and what works in films, broadway and live music is the way the music has been presented to the audiences and especially if it has already been created. How do you make the experience even better! Now here is what I was coming too, if the Italians along with the French could work together to make music of Ennio Morricone’s legacy in music come to life in Immersive Audio then why not the Indians probably with the Germans or the French bring the music & score of RD Burman to a billions of people around the world to rediscover or listen to his discography/collected works in Immersive Audio and this is just one such example. Surely I would want to work on such a project with a smoking gun with my hat n holsters on. Quoting Tuco “Hey Blundie! When you have to shoot, shoot. Don’t talk. Now I just have to cough up the money to buy the hardware and applications software and use my greymatter on the creative applications engineering space whilst I find a promoter to believe in this concept/workflow (that’s here to stay) and pay for the production! “Tera Kya Hoga”

Warren D’souza - Founder, Managing Director, & Working Member of Sound.Com

#SoundGuyForlife #AudioEvangelist

Product Focus


Mixing it Up for the Live Stage Part II of PALM technology’s focus on Live Consoles, lines-up some more noteworthy desks, most of which were launched in 2017-2018. This guide is primarily focused on mixing consoles used for live sound, which is literally the heart of every live performance. As such, it is a crucial piece of equipment that requires careful consideration, which is why we have updated this guide to showcase some new consoles in the market. Part I which presented consoles from other brands like Studer, Midas, Soundcraft and Digico was featured in the Jan-Feb 2018 edition of the magazine. Those of our readers who missed it can access it through the “product focus” section on

Yamaha Rivage PM7


The RIVAGE PM7 digital mixing system expands the digital mixing options available for an even broader range of applications. This system is based around the CSD-R7 Digital Mixing Console with built-in signal processing for mixing and effects. Other required components are one or more I/O racks for input and output, and a dedicated interface card for network connectivity. Also, its built-in DSP offers similarly high standards of operation and workflow efficiency in a relatively compact, portable system.. Main Features include: • Yamaha offers two types of high-performance I/O Rack units for RIVAGE PM7 input and output, each providing compatibility with a different audio network. • Fitted with RY-ML-SILK analog input cards the RPio622 and RPio222 I/O racks offer outstanding emulations of the transformer circuitry and SILK processing featured in microphone preamplifiers from Rupert Neve Designs, immaculately modeled using Yamaha VCM (Virtual Circuitry Modeling) technology. • Through in-depth collaboration with Dan Dugan Sound Design, renowned Dan Dugan automatic microphone mixing with its advanced algorithms is built into the

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RIVAGE PM series digital mixing systems. Setup is easy: just insert the processor into up to 64 channels for automatically optimized microphone gain distribution. • The Selected Channel section of the RIVAGE PM7 inherits the full-featured configuration of the RIVAGE PM10, providing direct, fast access to all channel parameters. • The RIVAGE PM7 control surface features three groups of 12 faders to which channels can be assigned as required. The two leftmost fader groups work with large touch panel displays in the top panel, providing an enhanced version of the Catalogic operating environment.. Tech Specifications: • Mixing Capacity  Input Mixing Channels: 120mono  Mix Buses: 60  Matrices: 24 (Input to Matrix supported)  Stereo Buses: 2  Mono Buses: 1  Cue Bus: 2 • Local Connectors  Analog Input: XLR 8  Analog Output: XLR 8  Expansion Slots: HY Slots 3 (CSD-R7) ; MY Slots 2 (CSD-R7)  Digital In: AES/EBU 4  Digital Out: AES/EBU 4  GPI: IN (D-Sub) 8 (CSD-R7); Out (D-Sub) 8 (CSD-R7)  Word Clock I/O: In / Out (CSD-R7)  MIDI I/O: In / Out (CSD-R7)  USB: File 4; 2 Track Rec/Play 1


 External Redundant PSU: Built-in dual power supply  Ethernet: Yes  Lamp: 4 (CSD-R7)

Allen & Heath GLD-112 GLD-112 is a larger version of the popular GLD-80 mixer, with an extra bank of 8 control strips, increasing the channel count to 28 fader strips in 4 layers. GLD is a user-friendly, cost effective and scalable live digital mixing system, conceptually based on the hugely successful digital iLive series. Plug n’ play I/O expanders make it easy to build systems with up to 48 mic inputs, supported by a full suite of apps, software and personal monitoring solutions. GLD-112 provides 48 input processing channels, 8 stereo FX returns fed by the FX emulations, 30 configurable buses, 20 mix processing channels, and DSP power to provide full processing without compromise. Now in a new GLD Chrome Edition, with sleek new styling, Automatic Mic Mixing, new embedded plugin FX and new compressor models on all channels.

Main features include: • Compact digital mixer with scalable, remote I/O • Systems from 4 to 48 mics • Easy to use, quick to access, analogue style interface • dSNAKE Cat5 digital snake—up to 120m cable length • 8.4 inch colour touchscreen for graphical view and setup • 28 faders, 4 layers, 112 channel strips in a freely customizable layout • 48 input channels into 30 assignable buses (Aux, Group, Matrix, Main, FX Send) into 20 mix outputs • 8 stereo RackFX engines with dedicated ‘short’ returns with 4-band PEQ • Full processing on all inputs including trim, polarity, HPF, insert, gate, 4-band PEQ, compressor and delay • Full processing on all outputs including insert, PEQ, GEQ, compressor and delay • Deep processing embedded plugins including GEQ and compressor models • Automatic Mic Mixer with up to 44 microphone sources

Cadac CDC Seven-s


The Cadac CDC seven-s is the flagship console in Cadac’s digital lineup. The CDC seven-s is not only physically larger than its sister consoles, but it also has a greater channel count, with 128 input channels and a configurable bus count of 56. It shares the same operating system and feature set as its smaller siblings meaning that show files can run across all three. Main features include: • Classic Cadac Mic-pres • Sub 0.4 millisecond latency from analogue inputs on stage to analogue outputs on stage • Automatic latency management system • 128 input channels • 64 busses, 56 are assignable as Group, Stereo Group, Aux, Stereo Aux or Matrix • Unique Cadac Monitor Mode • Custom Fader Layers • 4 band fully parametric EQ • Extensive dynamics • 16 VCA groups including ‘VCA unfold’ navigation • 16 assignable buttons with OLED displays • 16 stereo on-board effects • 31 band graphic equaliser on all outputs as well as 4 band fully parametric EQ • Compressor/limiter on all outputs • Input and output delays • Snapshot automation system with Cue Ripple and Cue Preview

Avid VENUE S6L-24C

• Dugan Automixer post fade Insert for Waves Tech Specifications: • Faders: 36 x 100mm motorized faders • Screens: 2 x 23.5” 16:9 HD + 1 x 6.5” Touchscreens • PSU: 1 x external 19” 2U rackmount PSU • Channels: 128 with full processing • Busses: 56 configurable in pairs as group/ aux/st aux plus dedicated LCR, monitor LR, headphones LR and talkback • Matrix: Up to 67 x 48 with full processing • Outputs: Up to 192 (inc local I/O) • Graphic EQ: 32 band +/-16 dB on all 55 outputs • Internal FX: 16 high-resolution 96 kHz stereo effects processors • Local IO: 8 x XLR Mic Inputs (inc 48 V, PAD and 1 dB gain steps), 8x XLR Balanced outputs, 4 x XLR AES/EBU inputs and 4 x XLR AES/EBU outputs • Comms: 2 x Cadac MegaCOMMS Audio Specification • Sample Rate: 96 kHz • Processing Delay: Sub 0.4 millisecond latency through complete signal chain • Internal Processing: 40-bit floating point • ADC/DAC: 24-bit • Frequency Response: 20 Hz to 44 kHz + 0.5 / -1.5 dB • THD+N: better than 0.005% @unity gain, 10 dB input at 1 kHz • Channel Separation: better than 90 dB • Residual Output Noise: < -90 dBu (20 Hz - 20 kHz) • MIC EIN: < -127 dB with 200 Ohm source impedance • Maximum Output: 21 dBu • Dimensions: 1555.7mm wide x 766mm deep x 259.12mm height • Weight: 60kgs / 132lbs (approx)



Avid has expanded their award-winning Avid VENUE S6L live sound family, with three new control surfaces, a new engine, and two new I/O racks—built on a unified technology platform. The Venue S6L-24C is a 24-fader control surfaces from this extended family. It is designed as a replacement for, or more accurately an upgrade to, the hugely successful Venue Profile console. Complete reuse of S6L control surface modules supports the workflows designed for the larger S6L-32D and 24D surfaces. S6L-24C is supported with every E6L engine and I/O rack. Main features include: • Do more with a single solution: The unified live sound platfom that offers 100% software, hardware, and show file compatibility and interoperability across the entire line. It’s also offers direct Waves and AAX plug-in control from the console to elevate mixes, and 128 tracks of built-in Pro Tools recording/playback with Virtual Soundcheck, saving hours of prep time. Plus, you get three years of 24x7 priority support to ensure the show always goes on. • Meet any live sound challenge: Its modularity and unmatched flexibility make it easy to scale a system with your choice of five control surfaces, three engines, and four I/O racks. • Mix and record high-quality audio: With its premium-grade architecture, audio engine, and high-performance preamps, it delivers incredible clarity, warmth, and presence throughout the signal path. • Pump up performances with massive power: It combines two powerhouse technologies that work in concert together. With a state-of-the-art real-time processing engine and dedicated DSP plug-in processing, it gives unrivaled processing capabilities to handle an extraordinary number of channels—without the complication or stress.

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MUMBAI 30.05 – 01.06.2019


The Indian History of Popular Media Players for DJing (Part two)


indra Reji Rav


n case you missed it - part 1 was all about vinyl roots, emergence of Compact Disc/digital music and the ingenuity of Indian DJs by making simple players like the Sony CDP-S45 work in their favour. We all know what the currently vivid & flexible landscape of DJ technology looks like - so that’s what part 3 would be all about. In this part, I am going to focus on this blip of an era (post S45s & pre Pioneer CDJ2000s + ‘laptop DJing’) where dual CD players like Denon’s DN-2500F & Pioneer’s CMX-3000 (later followed by their CDJ-1000) reigned supreme. And on this sojourn, we continue to see more ‘all-too-familiar’ patterns between 1) ‘prosumer’ demands through the times & 2) attentive & seriously keen-to-impress brands laying the foundations for future standards in the digital domain, resulting 3) directly proportionate technological leaps & bounds.

Denon DN-2500F - The dual CD player archetype Dual CD players were (& still remains) a popular design for media players due to various factors. Single CD players (like the Pioneer CDJ500) were viewed as expensive players - as you simply needed 2 of them. Two decks also meant two different power cables. This & its design didn’t have a lot of flexibility for its placement inside a DJ console. In light of these factors, dual CD players were comparatively a big hit. It would comprise of the main

Denon DN-2500F - dual CD player driving unit (comprising of power, dual CD trays & eject buttons), the remote faceplate where you had dual screens & functions to operate, the slick 8 pin remote cable & a singular power cable. The remote cable would power & illuminate the remote from the main unit. They were both 19” rack mountable units. The fact that you had a separate (yet wired) remote allowed you to have the interface

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close to the mixer & tuck away the CD trays under the console. These features also made them super portable for its time. There were many brands who tried to persuade prosumers by building players with this same design. But in the mid to late 90s, Denon’s DN-2500F was the king amongst all dual CD players. But what factors made them the number one choice? All credit goes to the rapid digital technology development & its quick implementation by Denon. This resulted in faster & more tactile players. For example, they were able to reduce the standard play/pause button’s 2 second delay to 0.01 seconds! Single/continuous play and elapsed/ remaining time modes for each track on the screen were god sent features for all DJs. Jog dials were new on these players (something which even its predecessor - DN-2000F - didn’t have) giving you the initial impression of the possibility of scratching on them. However, they were used to scan through fractions of the song’s time to make precision cue points & loop markers with the inner ring and the outer ring of the jog dial was used for quickly scanning through tracks. It also had the seamless loop feature which actually gave DJs a peek in to shape of things to come. This sole feature gave a lot of DJs inspiration to use these players as modern remix machines compared to analog turntables. Pitch bending was again something which was attained through 2 separate + & - buttons, which gave it a whole different feel when you were ‘riding’ 2 songs together as one. All in all, there was something reassuring about watching its iconic fluorescent green LCD screens - fully illuminated in dark DJ consoles across the nation. For a lot of DJs, all of these features mentioned above were way more than enough for its time. This model was yet crammed with a barrage of other features like, +/-16% pitch range, auto/manual key correction, an 8 second sampler, a voice reducer & a cheeky brake effect. At a time where Pioneer’s CDJ500 players were the ‘cream of the crop’, the DN-2500F was yet the most popular player amongst top club installations & local sound vendors - due to its price & form factor. Within the


following decade, there were many more successors to this model in the Denon family (like 1800F, 2100F, 2600F, D4000 & D9000) but they were just crammed silly with more buttons & features which made them intimidating machines to work with. Denon was the most popular DJ brand in the nation during this time & they were the sponsors for the biggest DJ battles throughout India. Now, I need to reiterate that these were popular players. But not the best. For most high end electronic products, quality is directly proportionate to the pricing of devices. Camp Pioneer steered away from cramming up the minimal interfaces of their players with a barrage of digital features. They took their own sweet time with it. Their CDJ500 & CDJ500S players remained their flagship models through the turn of the century. They never ventured into building dual CD players. Until sometime in 2001, when they announced the launch of the newer CDJ1000 players (more on these later), which could accurately emulate the vinyl feel that most old school DJs & turntablists were missing in the digital domain. But quickly after the launch of this product, there was the announcement of their first foray into dual CD players - the second iteration of which gave birth to the legendary CMX3000 player.

Pioneer CMX-3000 - The new contender In my personal opinion, Pioneer has always been forward thinking with its research & development for value added features. At a time when Denon was going crazy by cramming more buttons (& features) into its successor models, Pioneer took precarious steps into literally ‘pioneering’ a handful of features - which later became the foundations of their current Rekordbox environment. Another thing what I have observed about this company is that they first develop a small (but solid) pool of features & sparsely integrate them across all their models - big & small. Due to this ethos, you would find particular features which may not be present in their flagship models, but easily available in their budget models - making them special in their own right. Right after the mega launch of the CDJ-1000 model, launching the budget CMX-3000 player was a brilliant move. They were competitively priced (for the price of two CDJ-1000’s you could get almost three CMX-3000 units) and for the first time Indian DJs on a budget got a chance to experience the ‘ease & feel’ of operating on Pioneer systems. Only a few DJs would remember that the CMX3000 was the successor of the short lived CMX5000 dual CD player model. In this model, Pioneer had already delved into Auto Beat Mixing - a raw precursor to the now sophisticated ‘Master & Sync’ feature - which was never introduced again in the following models. However, their early foray into this direction forced them to do revolutionary R&D on their beat/BPM detection algorithms ( which have become staple features now). With the CMX-

Pioneer CMX-3000 - The new contender 3000, you could read the BPM of the tracks in each player now. Once they cracked that algorithm, they moved on to a one button four beat emergency loop feature - which still is a saviour for many inattentive DJs. You could pitch bend with the super cool jog dial now around the circular screens - giving you the feel of riding a CDJ-500 or 1000 on a budget player. A pitch range upto +/-100% urged its user to get wildly experimental in their DJ sets. It’s tray-less CD slot system was also much appreciated, as CD trays were easily susceptible to mechanical failures due to daily wear & tear. For the first time we could see the emergence of the now staple Hot Cues feature - where you could memorise 3 cue and/or loop points anywhere within one CD. Very few people were aware of the fact that each player had a massive data memory, holding cue/loop information for a maximum of 1000 CDs. Each player ‘remembered’ each CD played on that specific player. As this memory was not swappable, some DJs preferred to operate on their own players to deliver smart performances. This memory later became swappable with the aid of SD cards on the CDJ-1000 & its successors. CD text info was now readable on the screen and with the waveform display feature, you could now see the sonic peaks & troughs in your audio file. All of these groundbreaking features made the CMX-3000 a mighty successor amongst dual CD players. This model was highly popular between 2002 & 2007 - giving Pioneer a foot in the door opportunity in penetrating the latent Indian DJ market with their best technologies. You could simply say that the smooth experience of working with CMX-3000 players made the Indian customers feel generous about loosening their purse strings for the CDJ-1000 & all the following models of its ilk.

Pioneer CDJ-1000 - The shape of things to come With the turn of the century, Pioneer launch its breakthrough flagship model - CDJ-1000 - in 2001. Sticking to their familiar single player model, they were at home in delivering a top quality product and a worthy successor to the CDJ-500. The biggest feature of this player was the much hyped introduction of the ‘Vinyl’ mode. With the help of a non-rotating touch sensitive jog dial & a circular display in its centre, DJs could now control digital audio files with their finger tips - in the same fashion as a turntable. The quest of decades for building a true ‘digital turntable’ was finally achieved. As there were no moving mechanical parts (motor, tone arm etc.) there was no fear of needle jumps in wild DJ routines. But the non-rotating jog dial

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didn’t exactly give the However with more & more songs, it got tougher feel of a real turntable for DJs to memorise the exact location (CD & track (which wasn’t a big deal number) of a particular song within a collection to adapt with a bit of of say 300CDs. So, a hand-written/printed track time, knack & practice). list went hand in hand along with the CD into All over the world, the the DJ’s working collection. CDs were also purely Vinyl mode feature used for audio purposes first & they were used was the much needed much later on (in our timeline) as a data storage final push for many medium. The idea of reading/writing .mp3 files old school DJs to stop from/on your CDs was implemented in players gigging with records & go much later on & it turned out to be highly counconvert them into CD collections. ter productive for DJs. This same recall factor also Some of the other features of this model were didn’t work with data CDs as it had provisions for the reverse mode, start/stop speed adjustment in endless folders packed with .mp3 files. Memorising the vinyl mode, x2 zoom in the wave form display, maximum 25 audio files on a single CD was more 3 x hot cue buttons, a multimedia card reader practical than hundreds of files in a folder struc(for memory, hot cues & loops) and a handy CD ture. Compared to these times of the past, this eject lock. Along with these, Pioneer’s trademark same provision is not a big problem in 2018 due BPM detection algorithm, Master Tempo & front to present availability of features like - bigger/betloading CD slots became highly evolved mainstay ter display screens & smart search features (along features in their CDJ (& XDJ) lineage. In a stepwith a QWERTY keyboard). by-step fashion, the company introduced various The act of making audio CDs out of blank CDs little updates, which eventually developed into the using a CD writer & burning software was called foundational elements of its Rekordbox system. ‘burning’. One major factor amongst CD DJs was Pioneer had struck gold with the CDJ-1000 the condition/state of the lens of these players. making it the industry standard CD player across As most of these players were used on a daily the world. By the time it’s 3rd iteration - CDJbasis, they went through heavy wear & tear. Now 1000MK3 - was introduced in 2006, the player if your player had a weak lens, then none of could now read .mp3 files out of data your CDs would be ‘read’ on it. This CDs. By then Pioneer had realised worked the other way around that CDs were soon going to too i.e. if you didn’t be obsolete & tried making ‘write’ (or burn) players for newer media your CDs well. formats like DVDs CD writers were (with video), SD getting cheaper cards, USB flash (& writing speeds drives & directly on them were getinterfacing with ting faster) day by day. computers. Through If you wrote your CDs on a forever keeping a high speed, then you could get keen ear to the professional DJ it burned within 4-5 minutes. But market, they eventually outdid their writing on high speeds only worked previous accolades with the launch of well with data CDs (not audio CDs). Pioneer CDJ-1000 the CDJ-2000 players. More on that in If you wrote an audio CD on a high the next edition. speed, then the data would not be etched deeply

Lessons from the ‘Burning’ days gone by As a foot note for part 2 of this story, I was compelled to highlight certain attributes, lessons & learnings of the CD era, which today has lost its reverence. If you want to know the pros & cons of media players of any era, then it is imperative that you understand the format & medium in context to the era. Even though we had entered the digital DJing age (in the 90s) with CDs - you need to understand that it was still a nascent technology. The CD had its own practical limitations for DJing. One aspect was any DJ’s literal visual memory of all the songs on one CD. In comparison to its predecessor the vinyl - where you may get a minimum of 1 (single) & a maximum of 10 (album) songs on a record with unique cover art as visual cues - CDs could accommodate anywhere between 10 to 25 songs in each (as audio files). With CD writers getting cheaper, DJs also got the power to compile songs from various albums into a power packed & private compilation disc.


into the memory of the CD. If you played this same CD on a player with a weak lens, then you were bound to get a flashing error message on its screen. So, in order to compensate for these factors, audio CDs were preferably burned on a lower speed (preferably 8x). This used to take a lot of time (10-12 minutes). Personally, I used to use this time to manually write the track list for this CD - using a pen & card paper. Factors like these, track compilation within a CD (on a micro level), creating different sections within a CD wallet (on a macro level) & many more, developed a specific CD burning workflow for DJs - each tweaked & tuned with endless trials & errors. Collecting digital music files, compiling, burning audio CDs & all in all, building a practical CD wallet/collection/library - seems almost like a lost art in 2018. However, in all its amazement, it is not from an era long gone by (say only 15 years ago). However, we can still take big cues from this era for making sense of the endless digital file clutter which is inevitable in all our foreseeable futures.

DJ Technology

DJ Rohit loves monitoring on the Dynatech HP-12A+ Rohit Kapoor is a DJ who’s been making the music scene in Chandrapur alive and making people dance to his tunes on the dance floor for several years now. His unique style of music and mixing is unmistakable; and in addition to be a stand-out performer, he’s been known to be one of the most sought after DJs in the private function scene in Chandrapur. A key aspect of his unmitigated success stems from his passion for top quality sound; and the DJ himself shares that he loves the quality of sound that he experiences while playing on the DynaDJ DDJ-850 media player.

Says the DJ himself “Whether you play commercial music or Bollywood or whatever, as a DJ you need to know that the audience will respond to your sound. And as a DJ nothing impacts your sound more than your choice of player/controllers and mixers. Personally, I love playing on the DynaDJ DDJ-850 media player; it is a simple and uncluttered piece of equipment which delivers good processing and clean playback. It ensures high performance in a simple package, and that’s what I love most about it!” DJ Rohit with DynaDJ DDJ-850

Audio-Technica Launches Two New Moving Magnet DJ Cartridges rigid, lightweight polyphenylene Audio technical has launched sulfide (PPS)/glass fiber body for AT-XP5 and AT-XP7, two new minimized vibrations, and the moving magnet DJ phono cartridges are also designed to give cartridges. The new cartridges maximum visibility of the stylus combine specialist DJ requirements tip for accurate cueing. The new with superior high-fidelity sound. DJ cartridges from Audio-Technica Both the AT-XP5 and AT-XP7 give DJ’s superior sound without have been designed to be robust compromise. and reliable, with a 0.3 x 0.7 mil elliptical bonded stylus and a Key features AT-XP5 DJ Cartridge: tracking force range of 2.0 • to 4.0 grams, offering the ultimate tracking ability for even the widest grooves and deepest bass. This tracking ability is combined with a powerful output level, with the ATXP5 giving 5.5 mV and the AT-XP7 giving 6.0 mV. Both AT-XP5 DJ Cartridge cartridges feature a highly

• • • •

0.3 x 0.7 mil elliptical bonded stylus tip Highly-rigid polyphenylene sulfide (PPS)/glass fiber body 5.5 mV high-level output Tracking force of 2.0 to 4.0 grams (3.0 grams standard) Durable carbon fiber-reinforced ABS cantilever and nylon wire suspension ensure precise tracking

• Design offers maximum visibility of the stylus tip • Great tracking and channel separation for high-fidelity sound Key features AT-XP5 DJ Cartridge: • 0.3 x 0.7 mil elliptical bonded stylus tip • Highly-rigid polyphenylene sulfide (PPS)/glass fiber body • 6.0 mV high-output level • Tracking force of 2.0 to 4.0 grams (3.0 grams standard) • Stainless wire suspension, double-layered rubber damper and tapered aluminum cantilever ensure precise tracking • Design offers maximum visibility of the stylus tip • Great tracking and channel separation for high-fidelity sound

AT-XP7 DJ Cartridge

Reloop Introduces RP-4000 MK2 Budget DJ Turntable Reloop has launched its new RP4000 MK2 Budget DJ Turntable. This new MK2 version comes with several improvements, including a newly developed top panel and reworked metallic buttons with enhanced feel as well as a variety of functions. RP-4000 MK2 Key Features Include: • Precise Motor Control With 3 Speeds: The precision-engineered die-cast platter is accelerated by a powerful motor with a high-torque direct drive of more than 1.8 kg/ cm. The precise motor control with 3 speeds (33 1/3, 45 & 78 rpm) allows for the RP-4000 MK2 to play

May - June 2018

back any record. The pitch section with a selectable range of +/-8% and +/-16%, respectively, is suitable for the finest pitch adjustments. • Statically Balanced S-Shaped Tone Arm: The RP-4000 MK2 features a statically balanced s-shaped tone arm with hydraulic lift and anti-skating mechanism. Via the universal connection for pickup systems (SME) many pick-up systems can be connected. • Newly Developed Top Panel and Sturdy Housing Design: The new deep black metallic top panel construction is equipped with

metallic buttons for start/stop, platter speed, pitch control, reverse function and tempo reset. The improved touch upon hit offers a clear haptic feedback. The sturdy construction with optimized damping features and shockabsorbing feet improve isolation


from unwanted vibrations.

DJ Technology

Pioneer launches HDJ-S7 professional on-ear DJ headphones Pioneer has announced the launch of its new HDJ-S7 professional on-ear DJ headphones. KEY features of the HDJ-S7 Headphones • High-quality Audio Design: Equipped with newly developed 40-mm HD drivers, enabling reproduction of high-resolution sound from 5Hz to 40 kHz.

Audio-Technic 3000 Series (Fourth Generation) Frequency-agile True Diversity UHF Wireless Systems • Extremely wide 60 MHz UHF tuning bandwidth for maximum versatility in an increasingly congested RF environment • Unique multifunction button on the handheld and body-pack transmitters can be used to switch to a backup frequency (on both transmitter and receiver) should interference be encountered • True Diversity operation reduces dropouts • Auto Squelch feature automatically adjusts squelch setting to maximize range while minimizing potential interference • Frequency scan and IR sync functionality for ease of setup • Dual-mode receiver display can switch between standard view or a performance view that highlights key metering • Transmitters and receivers include OLED screens for optimal readout of key settings and alerts • Charging terminals on transmitters to recharge NiMH batteries

Authorised Partner in India

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• 4-core Twisted-Structure Cable: the independent ground wire in the 4-core twisted-structure cable provides superior left

and right channel separation, improving sound quality. Bass Reflex Chamber: the bass reflex chamber in the upper housing ensures excellent bass response and sound insulation. Superior Durability: the headphones have cleared the US Military Standard MIL-STD-810G Shock test, as well as Pioneer’s demanding stress testing. Highly Durable Materials and Construction: the HDJ-S7 headphones highly durable and lightweight at the same time to create a strong construction for professional use. Improved Functionality: these headphones are comfortable to use for any monitoring style, especially when hanging them on your neck with the swivel angle fixed to 45 degrees forwards. Also, the outside of the housing is textured for enhanced grip to quickly grab it and start listening.

compatibility for CDJ-TOUR1 & DJM mixers Traktor Pro 2 is now compatible with the USB-HID control feature of the CDJ-Tour1, and Traktor Scratch Pro 2 is now compatible with the DVS feature of the DJM-Tour1, DJM750MK2, DJM-450 and DJM-250MK2 DJ mixers. This extended support for Pioneer’s latest multi player and DJM mixers allows users to use TRAKTOR PRO 2 and TRAKTOR SCRATCH PRO 2 anytime, anywhere. A newly released CDJ-2000NXS2 firmware update also brings Beat Jump control and enables display of enlarged waveform and beat grid, significantly improving player’s usability. Users can download the latest version of TRAKTOR PRO 2 to enable USB-HID control with compatible multi players and download the latest version of TRAKTOR SCRATCH PRO 2 to enable DVS control with compatible DJM mixers. Key Features of Using Compatible Multi Players with Traktor Pro 2 • Users can simply plug their PC/ Mac into the players via USB and control Traktor Pro 2 without the need for a control disc. Intuitively scratch and use performance features including loops, tempo

adjustment and play/cue, which are all linked to the software. The Beat Jump, Beat Countdown and Phase Meter features are now available on the display of supported multi players. • Due to the player’s built-in USB sound card, users can use it to output audio signals from Traktor Pro 2 without the need for an external audio interface. Key Features of using compatible DJM Mixers with Traktor Scratch Pro 2 • Allows users to plug PC/Mac into DJ mixer using a single USB cable and use the DVS feature to control and scratch the digital audio files stored on their computer. • With the DJ mixer’s built-in USB sound card(s), users can output audio signals from Traktor Scratch Pro 2 without needing an external audio interface. Traktor CDJ-TOUR1 DJM Mixers


What do you do after you’ve given the performance of a lifetime? You deliver an encore, of course. Introducing the K.2 Series. The next standard in powered loudspeakers. K10.2



Š2018 QSC, LLC. All rights reserved. QSC and the QSC logo are registered trademarks of QSC, LLC in the U.S. Patent and Trademark Office and other countries. World of K is a trademark of QSC, LLC.

with Product Registration


Joe Pham President and Chief Executive Officer, QSC LLC

As QSC celebrates a significant milestone of 50 glorious in the pro audiovisual industry, PALM technology caught up with President and Chief Executive Officer Joe Pham to find out more about the company’s entry into the digital mixer market as well as the company’s short and long-term goals for the Indian market.

QSC story is one of constant innovation and forward transformation, what according to you are the five main milestones in terms of product development in the 50-year history of QSC? We’re delighted and very proud to have introduced quite a few groundbreaking products in our 50th year history, several of which have redefined a product category or become a top selling brand. As far as product development milestones, I’ll focus on more recent innovations - since many of these products are still going strong in installations and applications around the world: • 1995: Introduction of PowerLight amplifiers which ushered in a new era of lightweight amplifier technology • 2003: Introduction of our DCS loudspeaker line for Cinema market, formally bringing the QSC brand into Cinema • 2009: Launch of the K Series line of powered loudspeakers, establishing a new industry standard for design and performance and quickly becoming the number one brand in the category • 2014: Entry into the digital mixer market with the TouchMix™ series of Digital mixers, redefining the category • 2015: Expanding the lineup of our Q-SYS™ portfolio with the Core 110f processor, providing a revolutionary software-based processing solution for using single room projects up to large Enterprise scale deployments.

2018 marks the 50th anniversary of QSC; what can we expect to see from QSC this year? We are marking this significant milestone in our company history throughout with our yearlong “QSC 50 years and forward” celebration. More than a 50th anniversary, we’re very excited about the possibilities for QSC in the future. To say it another way, although we’ve been around for 50 years – we are just getting started! As we continue to experience strong growth across our businesses, QSC will keep to its heritage of technology and product innovation; always listening to the needs of our customers, using what we hear and learn to focus on seeking opportunities to expand our portfolio, expand our

May - June 2018

business, delight our customers, and provide our employees with a great place to work and grow. In 2018, our customers will see an expanded global presence for QSC including new in-region facilities, additional in-region staff and increased service and support capabilities. For product and solutions: we will continue to innovate in our core categories delivering new products and solutions that serve the needs of our customers around the globe; expanding into some new technology and application areas; and we will continue to increase the capabilities and functionality of our of Q-SYS™ integrated audio, video and control platform for both our Systems and Cinema businesses.

QSC has recently entered the digital mixer business. What is the reason for that and how do you expect to succeed in that business, given all the competition? Quite often, live sound system owners

India is on our top list of economies to watch and invest in in the coming years. According to AVIXA reports, India is one of the fastest growing AV markets in the world, having expanded 1820% annually in the last few years. While the live-sound industry is not a growth market globally, there is ample growth and potential in the Indian live sound market as well.


including musicians, bands, AV production professionals find themselves having to choose between great sounding, fully-featured big mixers with more input and output channels and their need for small mixers that have the right channel count and affordability. Our TouchMix™ resolves this problem with a series of right-size mixers with “big console” features and sound. Our TouchMix™ digital mixer has capabilities that rival many of the world’s largest and most prestigious largeformat consoles. At the same time, its graphic display and touch-and-turn operation make it compact, intuitive and affordable. We believe TouchMix™ is quite simply the most powerful, small-format digital mixer series ever created. From the highly compact TouchMix-8 to the flagship TouchMix-30 Pro, the TouchMix™ series offers the unique features, capabilities and sound quality of the world’s most esteemed large-format consoles in a refined and portable package that’s small enough to be carry-on luggage. TouchMix™ really goes “Beyond Mixing” by also offering Wizards, Presets and other beneficial tools that help both seasoned audio professionals and novices alike get great results quickly and easily.

QSC is known the world-over for making great power amps. Today, there are too many amplifier manufacturers to count. How will QSC remain relevant in the amplifier

business going forward? In our 50 years, QSC has become the clear leader and brand of choice in power amplifier products and technology with unmatched reliability and quality. In the coming years, we are focusing our strategy around technology innovation, and portfolio extensions that carry forward our legacy in amplifiers. We will continue to deliver the most robust, powerful, flexible, and reliable power amplifier solutions available for applications in live sound, cinema and installed sound.

QSC, like many other brands, is now a global manufacturer. QSC quality is well-understood across the world but how do you maintain that quality using manufacturing locations located outside of the US? We are very proud of the quality reputation we have earned over many years. Quality is a fundamental guiding principle for many aspects of our business, including our manufacturing strategy and operations around the world. We hold ourselves to a very high standard as we continue to invest in people, processes and systems across our global manufacturing footprint, always keeping our business partners, suppliers and customers very close to ensure we maintain our reputation for quality and customer satisfaction.

What is your perception of the global market for pro-audio products? We continue to be very positive on the proaudio market, and while it is not an industry experiencing high growth in aggregate, we believe there are segments, geographies, and applications within the pro-audio market that offer great opportunities for QSC given our brand strength, reputation for quality and legacy of innovation. The introduction and positive market acceptance of our TouchMix™ series of mixers and E Series loudspeakers is an example of product innovation driving new business opportunities for QSC. When we entered the powered loudspeaker market several years ago, many people felt it was an over-crowded category offering limited business potential. Yet here we are several years later with QSC as a leading brand in the powered loudspeaker category, and still experiencing great potential and increasing market share with the recent launch of our new K.2 series.

Which product is QSC pushing most aggressively in the pro audio market and why? Our primary focus continues to be in our loudspeaker and digital mixer categories: in operational excellence, customer service and support, and highly targeted product innovation and portfolio expansion. In these categories we are building on the strengths of our core technologies and brand, and strong business partner relationships to pursue product and market adjacencies where we believe we can be successful. Of course, we will continue to ensure we maintain our leading positing in our power amplifier business, but to your question of where we’re placing most of our

May - June 2018

In the coming years, we are focusing our strategy around technology innovation, and portfolio extensions that carry forward our legacy in amplifiers. We will continue to deliver the most robust, powerful, flexible, and reliable power amplifier solutions available for applications in live sound, cinema and installed sound.

built a great team, headed by our newly hired Rajesh Mittal, Director of Sales and Marketing for India and Deepak Gracias, Director of Operations in for the region. Having a strong team in place enables us to focus on building brand awareness and recognition with the Indian customer base, as well as deep relationships with channel partners and key end users. We are also investing in our support infrastructure in India to be able to provide the great level of service that is a hallmark of our brand. I am personally very excited about the growth of India, and QSC’s presence here. I believe that our technologies will delight Indian customers and deliver exceptional live sound experience along with leading edge, state-of-the-art AV technologies and solutions that meet their needs today, and providing peace of mind as a longterm platform investment designed to grow and as needs evolve and change.

What is your vision for QSC as a company for the next five years? focus and investments, the primary focus is QSC loudspeakers along with digital mixers in the pro audio space.

How do you think the live-sound and install industry has changed globally in the past decade? And how do you think India fits into this global scenario? There has been many changes in these industries over the past decade. While the live sound industry has seen its share of technology advancements, this trend is very apparent in the install market. The AV/IT convergence trend has brought about a wave of technology innovations to create more lasting, IT-friendly technologies, especially in the corporate market segment. The needs of the end users in this segment are changing rapidly to have scalable, software-based solutions with streamlined support and flexibility of deployment. The voice of the IT end user is becoming more prevalent in AV. QSC’s Q-SYS™ Integrated Audio, Video and Control platform in the most flexible and scalable solution in the market today, serving the needs of today’s technology influencers and buyers in the installed space. India is on our top list of economies to watch and invest in in the coming years. According to AVIXA reports, India is one of the fastest growing AV markets in the world, having expanded 18-20% annually in the last few years. While the live-sound industry is not a growth market globally, there is ample growth and potential in the Indian live sound market as well. We have opened QSC India a year ago, and we are committed to bringing our technologies, brand, and market support to help bring pro audio and AV to the Indian customers.

What are your short and long-term goals for the India market? To invest in India and bring direct market presence and operations was a strategic decision on our part. We see a big opportunity for QSC in India for all our businesses, and we believe our technologies and brand will be very successful in the Indian market. In the last year, we have


Throughout its 50 years, QSC has always been a technology company with a relentless focus on customer satisfaction. Our vision entails building upon our legacy with new product categories serving new market applications, and expanding our reach around the world through a network of value added partners. We will combine this investments to build scalable best-in-class customer experience capabilities that support the needs of customers today and in the future. More specifically, here is how we will address each market we focus on: - In the live sound market, our vision is to strengthen our market position as a globally recognized premium brand serving the M.I. retail and rental production markets with locally competitive solutions. - The install market is “ripe” for innovation, and its HW-centric business models will inevitably undergo transformation. Our vision is to continue our technology leadership built around our Q-SYS™ AVC platform and take a leading role in the next wave of transformation in the AV industry. - In the cinema market, we have acquired USL Inc., a leading media block provider last year, which extends our offerings into video content delivery. Our vision for cinema in the coming years to be the leading supplier of D-Cinema video and audio content delivery solutions globally.

Check out answers from global industry leaders in the 11 Questions section. For more Log on to

Record. Rehearse. Perform.

TouchMix -16 ™

The TouchMix -30 Pro goes where you do — from studio to stage and everywhere in-between. Its 32 x 32 channel DAW interface works with the top recording applications for both macOS and Windows computers. That’s plenty of I/O to record the whole band at once — plus lots of individual headphone mixes, DSP and an intuitive touch-control interface — all without taxing your computer’s CPU. ™


TouchMix -8 ™


In the rehearsal studio or on stage, the TouchMix-30 Pro also records 32-channel direct-to hard disk (no computer needed) to capture and play back your best performances. And of course, with its incredible monitoring capability, Presets, Wizards, effects, Wi-Fi control (iOS and Android ) and a long list of additional professional console features, the TouchMix-30 Pro is also one of the easiest to use live consoles on the market today — all in a package the size of small carry-on luggage. ®

® ©2018 QSC, LLC. All rights reserved. QSC, the QSC logo, TouchMix and Beyond Mixing are registered trademarks of QSC, LLC in the U.S. Patent and Trademark Office and other countries. macOS and iOS are registered trademarks of Apple, Inc. Registered in the U.S. and other countries. Windows is a registered trademark of Microsoft, Inc. Android is a trademark of Google Inc. Specifications subject to change without notice.

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