Pro Audio Asia March–April 2017

A Social Concept

SINGAPORE: Following the recent unveiling of Philippe Starck’s interior designs at Singapore’s South Beach, his distinctive style has now been applied to M Social Singapore on the Singapore River. The 293-room hotel is the latest addition to Millennium Hotels and Resorts’ signature Leng’s Collection. The 10-storey avantgarde laboratory blends art and A/V technology within the ground zones. From the moment that guests arrive to self-check at kiosks built on Spanish patterned tiles and the unique scene is enhanced by an audible BGM system provided by EV C8.2 ceiling speakers controlled from a Bosch PLM-WPC volume and source selector.Powered by two EV PA2250T

Bosch Plena PLM8M8, the BGM is further enhanced with the addition of four EV C10.1 subwoofers to the 18 C8.2 8 inch models in the restaurant and bar known as Beast &

designed seating including marbled patterned armchairs, lava lamps and individually-designed chandeliers, the monotony of the elongated room is broken by a pool table between the restaurant and the bar. However, it is the highly imaginative video system installed by Concept Systems

Technologies that captures the guests’ attention.

Those who have paid a visit to Laugh Bar within the South Beach complex will possibly experience deja-vu. Just as the Laugh Bar features innovative glass countertop screens equipped with streamed live TV, so does M Social. Here 28 Samsung 40-inch table-top screens have been inserted into the customised aluminium framed tables allowing diners to watch their sports, news

32x32 video matrix switcher accepts four Blu-ray feeds, all of which can be controlled via Wi-Fi from a 10-inch touchscreen courtesy of the installed Crestron CP3 processor. Lessons were learnt over the 12-month period between South Beach and M Social Singapore as Concept Systems Technologies GM

we have created such a display and over time we noticed the screens were warmer than they should be.

A videowall combining 40 Samsung Galaxy Tab 4 10.1-inch displays captures

As such, we added a cooling fan to the bottom of the frame for every two screens, which has cooled

The cabling of this clean design has been to the underside of the table and up through the legs from the ELV room. The lounge integrates a videowall combining 40 Samsung Galaxy Tab 4 10.1-inch displays, all of which are individually powered by extension cables. Content is streamed wirelessly via a dedicated IP network to each display. Perhaps more challenging to the Concept team was the design blueprint to add individual

projection systems within the eight chandelier recesses. Eiki EK-401W

4,600 ANSI lumens video projectors have been inserted into the false circling around the curved apertures after dark, these can be accessed

for servicing and maintenance via a concealed hatch. The content for the projectors is stored in a laptop

with PT 571 signal transmitters and PT 572 receivers.

The upstairs pool area and gym is furnished with discretely hidden EV Evid 4.2T dual 4-inch weatherproof and C8.2LP ceiling speakers, powered by PA 2250T and PA 1250T

is managed courtesy of a Bosch volume and source settings accessed from a PLM-WPC wall panel.

www.concept-systems.com.sg

INTRODUCING GLX-D® ADVANCED DIGITAL WIRELESS

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TW Audio reinforces inaugural Ravolution Music Festival Astorg invests in Audiotonix

VIETNAM: The debut edition of the Ravolution Music Festival was recently staged outside the Saigon Exhibition and Convention Center in Ho Chí Minh, headlined by some of the world’s leading EDM stars, including Sweden’s Alan Walker, KSHMR from the USA and R3hab from the Netherlands. Rental company Phuc Thinh was enlisted to supply the technical equipment for the event, while Joey Choi from Korean company Star Sound was brought in to look after the audio setup, working in collaboration with Filmstar Co Ltd from Vietnam to deploy a TW Audio solution. The 20,000 EDM fans in attendance faced a main PA system comprising 42 Vera36 loudspeakers, which were hung in

complemented by 14 S33 and 18 BSX subwoofers placed in front of the stage and a further six Vera36

either side of the stage. Another six Vera36 and a pair of S33 subs were deployed as monitors for the DJs, while stage monitoring was courtesy of eight C15s. Four T24N and the same number of T24P provided

Powering the audio setup was a

combination of Powersoft and Lab.

Powersoft K3DSP, four Lab.gruppen PLM12K44, two PLM20000Q and a pair of PLM10000Q were used.

subwoofer array and to spread the energy evenly and powerfully,’ said far out on both sides of the venue. To cover this area with enough

delay values, forming an arc, and hung an additional Vera36 array as turned out to be absolutely precise, providing a very smooth frequency response. The overall sound was loud and clear but not harsh – perfect to listen to for a long time.’

‘The show lasted for nine hours, so a reliable system was most important,’ explained Neo Yang, the festival’s technical production

Sound (a division of Starnetworks)

Audio products were sure to succeed. The design for the show came from me and to put such a large system together was quite a challenge.’

www.twaudio.de

WORLD: European private equity

Audiotonix, the parent company behind British mixing console brands Allen & Heath, Calrec and DiGiCo. Completion of the transaction is anticipated to subject to satisfactory clearance from relevant competition and

‘We are thrilled to invest in Audiotonix and support its fast growth trajectory,’ added François de Mitry and Stéphane Epin, live sound industry, Audiotonix differentiates itself by the undisputed quality of its product, superior support to their clients, and a brilliant management

regulatory authorities.

‘We are delighted to partner with Astorg who have demonstrated an impressive understanding of our business and our core strengths,’ said Audiotonix CEO, James Gordon. ‘With their support we aim to capitalise on our manufacturing capabilities, strengthen our worldwide development programme and enrich our product portfolio.’

team. This brand equity was crafted by years of pioneering research and development, and a long term vision of managers who are passionate and innovators of their business. We are extremely pleased to support James Gordon and his team to bring Audiotonix even further.’

www.astorg.com

www.audiotonix.com

Audio Workshop sets up at the Australian High Commission

NEW ZEALAND: The Australian High Commission in Wellington was until recently suffering with a poorly performing audio system that was

engaged Audio Workshop managing

formed of a combination of all four areas. This presented one of the key considerations in the design of a new sound system as it would need to offer the versatility to deliver good quality sound and speech intelligibility across all four spaces in

The solution for this meeting space saw the installation of JBL Control 16CT in-ceiling loudspeakers, which are fed from iPod and CD playback sources, as well as the multichannel AKG WMS470 wireless microphone system with distributed antenna

This microphone system reportedly solved an ongoing issue concerning dropouts in certain parts of the

venue. When video playback is required, the system is set to switch automatically to a series of Control 29AV loudspeakers.

individually or time aligned when combined. Also installed was a closed wireless network with

director Matt Chapman to perform a full analysis on the existing system and provide recommendations. That solution would take the form of a new sound setup comprising Harman Professional systems.

and meetings are held throughout the year at the Australian High rooms or openly in a number of combinations to suit the size of an event, including those large enough to warrant a single large venue

installed JBL CBT-70J line array column speakers, designed to maximise speech intelligibility by delivering consistent pattern control on and off-axis as well as the best possible gain-before-feedback. These speakers were selected due to the atrium’s high ceilings and hard surface areas causing high reverberation. Meanwhile, other areas throughout the Australian High Commission have also been installed with Control 16CT ceiling speakers.

A BSS Soundweb Blu 100 audio processor serves the entire audio solution and control is offered by a BSS Contrio EC-8BV wall controller or via a specially programmed iPad. Each zone can be programmed

distributed access points, serving the iPad control.

this system is performing,’ said Mr Chapman. ‘We have been able to work alongside the client to understand their needs and functionality and provide them with a robust system that ticks all the boxes and will serve their needs for many years to come.’

‘We are really happy with the system has exceeded our expectations.’

www.audioworkshop.co.nz

J Davis Prosound & Lighting powers Sunburn gigs

INDIA: J Davis Prosound & Lighting has been kept busy recently, providing the complete technical setup and support at several gigs presented by EDM promoter Sunburn. These include a series of shows in Bangalore featuring Martin Garrix, Lost Frequencies and Hardwell, as well as multiple events in Hyderabad starring Dimitri Vegas & Like Mike, Marshmellow and David Guetta.

The Bengaluru-based rental company deployed a main rig of 24 L-Acoustics K2 loudspeakers for each gig, with 32 V-Dosc cabinets employed as right and

for the DJs were 12 dV-Dosc line array elements. Handling the lows were 24 SB28 and 12 SB218 subwoofers and L-Acoustics Arcs the setup were L-Acoustics’ LA8 and courtesy of four Dolby Lake LP4D12

roads of Japan with NHK

JAPAN:

sale of another mobile audio kit to NHK, which sees an mc²36 join the broadcaster’s existing line-up of mc²90, mc²66 and mc²56 consoles. The 24-fader mc²36 with a Compact the Japanese public broadcaster’s video trucks and portable equipment for capturing sporting and cultural events.

now in possession of an estimated 20 mc² systems used for both studio and mobile applications. Both broadcaster and manufacturer also have a history of working together in an R&D capacity, developing tools and practical applications required for creating immersive audio experiences with 3D surround audio (22.2) as well as other technical innovations.

The mc²36 is designed as an ‘all-in-one’ mixing desk with a 96 DSP-channel micro-core, internal 512x512 port audio matrix and an line inputs and outputs, eight digital

processors and an Avid Venue SC48 with Waves plugins provided control at FOH.

J Davis also supplied the DJ equipment, including 10 Pioneer CDJ-2000NXS2 DJ multi-players and three DJM-900NXS 4-channel digital mixers. On the lighting side, of brands was delivered, including Robe ColorSpot 2500E, Claypaky Alpha Spot 1200 and Elation Lighting Platinum Beam 5R moving heads. Silver Star Cyan 8000XE and Boxers, Martin Atomic 3000 strobes and Lite Molefays were also implemented along with a an MA Lighting grandMA2 Lite console and grandMA2 fader wing extension

for controlling and programming the lighting design. DMX splitters from LSC were also provided and

completing the visual effects were haze and smoke machines from Look and Smoke Factory.

Meanwhile, the rental company’s delivered the trussing solutions and LED display screens for the events. This included Weifa roof truss and sub hangs, and approximately 140

www.jdavisprosound.com

www.sunburn.in

WORLD: The global professional audio community is grieving at the loss of another greatly sudden passing away of Mark Herman on 17th December 2016. The preliminary determination of the cause was a stroke following a complication that occurred following heart bypass surgery.

Born on 22nd June 1956, Mr Herman was a long-time resident of Northern California, living in San Francisco, Marin County

respected Mr Herman for his audio journalism and in particular for publishing Live Sound

Operating two terrestrial and a pair of satellite television services, three radio networks and the NHK World Service, the broadcaster is

AES67 channels and a headphone jack in addition to a Madi tie-line connection.

www.lawo.com

addition to knowing how to select a great wine, the family man always had a passion for sound reinforcement. The inception of Hi-Tech Audio Systems in 1983 as his live sound console rental company began with a single console. The entrepreneur grew the business before selling his

stake in 1995, enabling Hi-Tech Audio to become the largest livesound console specialty company in the world.

The founders of Blank Canvas Publishing knew and greatly

publishing activities in 2008, he continued to trail blaze new ideas and media formats including the AVL Factor, which provided videobased instructional materials for vertical markets focused on technical entertainment technologies. He also launched the Big Buzz Network website that provided audio product and industry news incorporating a unique text-to-video delivery.

complete with his radiant smile, can-do-attitude, detailed industry knowledge, positive energy and profound sense of humour. His loss will be greatly felt to all those whose lives he touched.

ARX Systems licenses Dante

AUSTRALIA: ARX Systems has licensed Dante digital-media networking technology from Audinate. The Australian manufacturer will

INDIA: NJ’s Sound Machine has acquired a new rig comprising systems from d&b audiotechnik’s V-Series from distributor Ansata. The rental company will put its new equipment to use for a range of live events across central and south India.

The V-Series solution purchased includes eight V8 and four V12 line array loudspeakers as well as four V-Sub and B22 subwoofers, with accessory kits for transport and rigging, as well as covers. Three D80 power the entire rig.

incorporate the digital media networking solution in its future professional digital and analogue audio interface and signal processing products.

‘We’ve incorporated Dante into our new range of network interface products,’ ARX managing director which was shown at the ISE exhibition in Amsterdam.’

www.arx.com.au www.audinate.com

‘We’ve owned rigs from different international brands over the past happy with the performance of those rigs,’ explained Nixon Johnny, director of NJ’s Sound Machine.

‘However, with the sharp increase in the kind of work we’ve been doing in the recent past – both quantitative as well as qualitative – we knew that it was time for us to take things up a few notches. It had to be a brand that’s recognised as a global standard by artists and event organisers across the landscape. d&b audiotechnik is a name that’s

synonymous with that description, and that’s what sparked my interest.

‘Having researched the brand and its various product ranges extensively, I found the V-Series to

And the fact that Leslie Lean and representatives of the brand here in India, further reinforced my bias towards d&b. After a few quick discussions with them and a demonstration of the V-Series rig, I knew that this was the one.’

Neil Lean from Ansata conducted

V-Series training with the NJ’s Sound Machine team following the purchase. This covered the system

software and R1 remote control software. Since delivery, the system has been deployed by the rental company at a range of events along with An Avid Venue SC48 digital console.

‘What we love most about the system is how versatile and adaptable it is,’ said Sanchit Subramanian from NJ’s Sound Machine. ‘Be it rock music or metal

or Indian classical or regional folk, you’re always guaranteed great quality sound from the V-Series. A big part of this is thanks to the ArrayCalc software, which makes rigging, tuning and aligning an absolute effortless process. There aren’t enough words to describe how impressed and proud we are of our new V-Series rig and we thank the entire team at Ansata for being such amazing professionals to work with.’

‘Rental company owners like Nixon understand the value of great technology and the kind of positive impact that it has on one’s business,’ said Leslie Lean, ‘It feels nice to hear positive feedback from Nixon and his team about the performance of their new V-Series rig in the live environment.’

Your Vision Sound Solutions on the wharf

called for a system that could allow performers to play at the venue without the need to bring their own equipment, as well as

aesthetics.

diameter each at ear-height,’ noted Mr Coxon. ‘We positioned the subs in the middle of the room, and we’ve got excellent coverage.’

speakers that serve as a paging system for the restaurant’s takeaway window.

AUSTRALIA: Newcastle-based harbour-front restaurant Scratchley’s

On The Wharf has recently expanded with the addition of a new bar, named Battlesticks at Scratchley’s, as well as new function rooms and kitchens. With the construction came the opportunity to extend and update the venue’s A/V systems, leading to the installation by Your Vision Sound Solutions of an integrated Harman solution, which was supplied by Jands.

‘The new development has doubled Scratchley’s footprint,’ explained Your Vision Sound

Solutions owner Brett Coxon. A range of events are hosted at Battlesticks and the design brief

‘I chose JBL Control 65P/T pendant they really suit the room,’ said Mr Coxon. ‘We used white pendants double insulated cable to run down to the speakers. They’re all running on 100V line, tapped at 60W. ‘I set up four input channels on a BSS-Blu 101 DSP that are patched via two XLRs, labelled mic one and two, and two combo jack/XLR connectors for instruments,’ he continued. ‘All the performers need to do is plug in their equipment. They’re then handed an iPad running Harman’s HiQnet software. They have an output to stage for monitoring via a JBL Eon 610 as foldback.’

the Control 65P/T pendants and supplemented by Control 60PS/T pendant subwoofers. ‘The pedants cover a circular area of about 5m in

The pre-existing parts of Scratchley’s were updated, with JBL Control 45C/T ceiling speakers

and Control 8128 and 8124 ceiling speakers deployed in the bathrooms and kitchens. Outside, running along the promenade beside the harbour, are Control 25AV compact outdoor

forms the basis of the multi-zone solution employed. Meanwhile, a the kitchens and bathrooms. All processing is via the BSS-Blu 101 DSP.

www.jands.com.au

www.yourvision.com.au

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THAILAND: Thailand’s largest with

extra brightness be required. and reliability,’ stated Christie

www.christiedigital.com

JAPAN:

‘We were already using DSR112 artists were attracted by the quality time the renewal was being planned www.yamaha.com

KOREA: system.

www.amateaudio.com

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www.daelimmuseum.org

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WORLD: Acoustic Technologies has revealed that it has discontinued the practice of developing its own amplifiers

Technologies

in Taiwan, China, Belgium, Spain and the UK to build its amplifiers.

The decision was reportedly made to go with Powersoft following

R&S facilitates UHD broadcast for SBS

intensive research. Following the switch, Acoustic Technologies has stated that customer feedback has been positive.

KOREA: Seoul Broadcasting System (SBS) recently broadcast in UHD to the ATSC 3.0 broadcast

and is instead exclusively using Powersoft amplifiers across all of its turnkey systems and amplifier modules. The Australian manufacturer previously relied on original equipment manufacturers

‘Since we have started using reaction has been overwhelming, with system sales increasing,’ noted Acoustic Technologies owner and director, Harry Lloyd-Williams. www.atprofessional.com.au www.powersoft-audio.com

Schwarz THU9 transmitter system. This saw a world cup short track speed skating race broadcast terrestrially from SBS’ transmitter station located on Kwanak Mountain, where the German manufacturer installed the liquidcooled transmitter system. In keeping with the ATSC 3.0 UHD standard, SBS now plans to across Korea as it opens new transmission stations on Namsan, Yongmoon and Gwanggyo mountains. SBS aims to broadcast the Pyeongchang 2018 Winter Olympics in UHD via its terrestrial television network.

by SBS for the initial Kwanak transmitter installation following SFN trials with the ATSC 3.0

standard and due to the manufacturer’s prior support for T-DMB, ATSC 1.0 and FM transmitters.

www.rohde-schwarz.com

WORLD: Genelec founder Ilpo Martikainen has passed away following a long-term illness.

Dr Martikainen was a hugely and widely regarded as a pioneer in active audio monitoring since establishing Genelec in 1978.

As an engineer, Dr Martikainen products that built the company’s reputation.

In recent years his focus had been on involving the next generation. His children Juho Martikainen, Mikko Martikainen and Maria Martikainen have grown up as part of the Genelec family. They have been closely involved in developing the company as members of the Genelec Board since 2001. According to a company statement, the children will continue in ownership of Genelec together with the other board members Topi Partanen made their lifework with Genelec. chairperson of Genelec Board. ‘We warmly thank Ilpo’s family for supporting him in being an essential part of our lives and journey too. We hope the whole audio and music industry will join us in extending thoughts and prayers to his family,’ said Genelec managing director, Siamäk Naghian. ‘Even if we greatly miss Ilpo we are privileged and grateful to share in the wonderful memories, passion, humanistic values, love and evolution of the Genelec story that we have experienced with Ilpo. This keeps his memory living in our hearts and deeds. He will continue to live on, through us.’

www.genelec.com

WORLD: The Summer of Love — 1967 — served as the epicentre of the counter-culture, beckoning thousands of young people to the San Francisco Bay Area. Flower Power was up, war was down, the Monterey International Pop Festival served as a precursor to Woodstock, and two young sound enthusiasts named John and Helen, went on a

The Beatles’ seminal, psychedelic Sergeant Pepper’s Lonely Hearts Club Band

Throughout 2017, to celebrate both their love and the 50th anniversary of the Summer of Love, John and Helen Meyer will visit key Meyer Sound customers, host exclusive curated events in Meyer Sound

environments at their Berkeley, CA campus in the San Francisco Bay Area and elsewhere around the world. The Meyers aim to highlight their innovative, handcrafted audio products, systems and ideas for live music in concert halls, stadia, corporate settings, educational arenas, theatres, houses of worship, restaurants, cinema postproduction

As a central hub for information about Meyer Sound innovation, products, ideas, and the Summer of Love 50th anniversary celebration details, the redeveloped and expanded Meyer Sound website was launched during ISE in Amsterdam.

‘To celebrate, we’re creating an incredible programme for 2017,’

Star Radio Group upgrades monitoring software

commented Meyer Sound co-founder and executive vice president Helen Meyer. ‘We will travel near and far to see our customers and creations and participate in exclusive experiences, to launch important new products, host listening experiences, increase our festival presence and collaborate with key touring partners and explore new Meyer Sound frontiers, such as China and India. We have some special surprises in store and can’t moments.’

The campaign kicked off in the iconic and somewhat symbolic setting of the John Lennon and Yoko Ono suite in Amsterdam’s Hilton Hotel on 7th February. A Facebook Live broadcast was streamed from the event to the new website followed a champagne and canapé reception. Recalling the events of the 1968 Berkeley riots, John Meyer insisted that the Beatles had more of an

than the political landscape of the time. ‘I remember walking through the riots and it was like being in a there, but I wasn’t there as nothing happened to me personally whilst the protesters and National Guard did battle with each other.’

www.meyersound.com

Meyer Sound celebrates Summer of Love golden anniversary technology solutions portfolio

WORLD: The Adam Hall Group has added Riggatec to its event technology solutions portfolio. The inclusion of the Riggatec brand allows Adam Hall to offer a comprehensive catalogue of rigging

products to the stage and events sectors, worldwide.

Sascha vom Scheid has taken responsibility for the Riggatec line.

The product range includes clamps and double clamps, safety cables

and a multitude of suspension products.

‘Adding the Riggatec brand to our portfolio allows us to offer our customers an even broader range of event technology solutions

MALAYSIA: Star Radio Group has made an upgrade to audio monitoring in its master control room with the installation of Stagetec Asia’s XGUI-MultiMeter software. The manufacturer’s R&D team developed the software as an extension of its XGUI modular solution to provide touchscreen control for the Nexus

based on the requirements of a also features an alarm system to detect signal failure.

‘XGUI-MultiMeter is a real advantage to Nexus users as it combines Nexus Logic and XGUI function,’ said XGUI developer Yap Wei Keong. ‘We are able to help the

digital audio routing and network system and to enable users to select and monitor multiple signals from a single view.

Broadcasting four radio stations, Suria FM and 988 FM in Malay and Chinese respectively, with Red FM and Capital FM both serving the English-speaking population, operators at Star Radio Group are now able to monitor up 60 stereo meters simultaneously across all four stations. Level meters can be

customer to improve their system can be designed to simplify the Following the upgrade, Star Radio Group staff are reportedly impressed, with the broadcaster’s technical ‘Our technical team is really happy with the XGUI implementation and we look forward to using XGUI for many years ahead’.

www.stagetecasia.com

while delivering on our standard for excellent customer support, stemming from our many years of experience and our professional range of event technology products,’ explained Mr vom Scheid. ‘We are excited to work together with our new partner.’

www.adamhall.com

www.riggatec.de

Republic Day parade goes digital with Harman

INDIA: Each year, during Republic Day, a grand parade takes place between the Rashtrapati Bhavan and India Gate along New Delhi’s ceremonial boulevard, Rajpath. The PA system for the event is handled by the Indian Army Corps of Signals, which for the recent 68th Republic Day parade commissioned a new solution that was provided by Harman after a rigorous selection process.

Republic Day celebrates the day that the Constitution of India came into effect in 1950 and the parade is attended by political and military representatives of all levels, as well as thousands of members of the public. The festivities are also broadcast on both national television and radio. The previous system used for the parade relied on analogue

audio lines to transmit the audio feed from one rack location to another. This setup was deemed risky and as

JBL’s CBT 70J-1 and CBT 70JE-1 column loudspeakers were chosen by the army regiment, reportedly due to their combination of sound reproduction ability for both speech and music and their aesthetic look. Operators were provided with Soundcraft mixers, while a range of BSS digital signal processors facilitated audio transmission.

Harman’s HiQnet Audio Architect software was utilised for system control and monitoring.

on standby and was of an age that it required manually switching to. For the new solution, Harman

delivered a complete system from several of its brands with Dante and CobraNet as the backbone to

old system were Crown DriveCore deployed due to their dual analogue and digital input and priority router feature that automatically switches to analogue should the digital input fail. Line switching was courtesy of the Crown CT8SHO,

WORLD: Atlona has revealed details of the technology alliance it has formed with Sennheiser. The strategic partnership is part of the Sennheiser Global Alliances programme and facilitates interoperability between Atlona’s soft codec conferencing system and the German manufacturer’s wireless conference system.

Sennheiser’s Global Alliances programme is set up to offer technology-driven companies and vendors, such as Atlona, with a one-stop solution for business communications. The new partnership initially focuses

upon the interoperability between Atlona’s AT-UHD-HDVS-300-KIT and the Sennheiser TeamConnect Wireless Conference System.

‘Atlona strives to serve our global customer base with forwardlooking, complete solutions that both simplify and enhance the way people work in a variety of

A/V environments,’ explained Atlona general manager, Ronni Guggenheim. ‘This strategic partnership with Sennheiser unleashes the full power of our advanced, innovative soft codec solution, and provides businesses with a simpler way to instantly provide a professional-

sounding online meeting from any networked location. It underlines the importance of providing an ecosystem approach to make the integration more easy and reliable.’

‘This strategic partnership offers an ideal solution for

Adamson arrives in Australia on the Eighth Day

a standard in the European festival circuit and are now exploding in North America. We’re proud to have complete range to the Australian market.’

To ensure that its team would be trained to use the new systems, several Eighth Day Australia team members travelled to the rental company’s global headquarters in Cleveland, Ohio, where they completed Adamson’s Applied course along with a number of their international colleagues. This was an early opportunity to partake in the

AUSTRALIA: Eighth Day Sound’s Australian operation has expanded its inventory with the addition of new Adamson Systems E-Series and S-Series solutions. The A/V rental in London and Los Angeles, has reportedly ‘invested heavily’ in the

manufacturer’s system in recent years.

‘Having Adamson available globally has been a part of our strategy since day one,’ explained Eighth Day Sound executive VP, Jack Boessneck. ‘With the acclaim it is garnering around the world, we have to be prepared to meet the growing demand.’

The recent purchase comprises more than 140 loudspeakers and subwoofers from both the E-Series and S-Series. ‘The E-Series is a powerful addition to our system offerings in Australia,’ noted Damo Pryor, general manager of Eighth Day Sound Australia. ‘These products are

launched in February 2017.

Following the training abroad and delivery of the new systems, Eighth Day Australia has already lined up plenty of events in which it plans to put the new Adamson systems to use. ‘I had the chance to work with

which switches without the need for human interaction. A pair of differing PA zone, providing redundancy for loudspeaker line connectivity.

www.harman.in

up to 24 participants, while greatly simplifying overall system design and installation based on the seamless interoperability across Atlona and Sennheiser,’ added Sennheiser’s manager, global strategic alliances for business communication, Nick Pemberton. ‘Atlona’s strong and unique innovation for emerging online videoconferencing needs makes them a perfect partner for Sennheiser and its global customer base.’

www.atlona.com

www.sennheiser.com

this year in a stadium application in the US. The PA threw for days, and we covered the entire stadium without delays,’ said Tristan Johnson, lead system technician at Eighth Day Sound. ‘The new E119, designed with input from our team, had a shocking amount of power. I can’t wait to roll it out in Australia and show people what it’s capable of.’

‘We’ve had the chance to work with Eighth Day Sound globally for several years now. Their commitment to standardise their equipment offering with unmatched service across the globe makes them an industry leader,’ concluded Adamson Systems’ director of marketing and sales, James Oliver. ‘We’re looking forward to exposing the Australian market to an alternative product currently only available from Eighth Day Sound.’

www.adamsonsystems.com

www.8thdaysound.com

European beer and sound in Singapore

SINGAPORE: The latest arrival in the Stärker Fresh Beer chain has opened its doors along East Coast Road in Singapore. The company’s

manufacturer, K-array.

When seeking an appropriate sound system for 86 East Coast Road, Stärker approached Luther

Music Pte Ltd to design and install a system that would be simple to the venue aesthetically. To protect the décor from both destruction and obstruction, the team from Luther Music designed a setup that avoided the need to drill and kept the cabinets largely hidden from view.

beer is produced at its breweries in both Singapore and Malaysia and adopt traditional German brewing techniques to provide patrons with

Complementing the beers on tap at the new venue is German style interior decoration and delivering the audio coverage is an equally European sound system from Italian

The K-array system installed comprises 12 KT2 Tornado compact speakers, reportedly chosen for the small size as well as the audio quality. Supplementing these are three KU26 subwoofers. ‘K-array was selected simply because it had the right mix of high quality sound and was not a visual hindrance to the restaurant’s theme,’ explained Luther Ong, president of Luther Music. Following the installation, the client is reportedly impressed. ‘Thank you, Luther, for presenting thought out layout and competent system design,’ said Benedict Lim from Stärker.

www.k-array.com

www.luthermusic.com

DPA launches Chinese website

CHINA: Recognising a growing demand for its products in China, DPA Microphones has launched a Chinese language version of its website. The website will provide product information, Microphone University articles and company

the Chinese market.

‘China is a very important market for us, but its sheer size does make it challenging. To be successful in this market you need more than just great products – you also need to get closer to your customers by providing them with relevant information in their own language,’ explained Ken Kimura, managing new website will help us achieve this by making it easy for Chinese audio

professionals to identify the best DPA microphone for their needs.’

Mr Kimura also noted that the Chinese language website will offer direct support to DPA’s Chinese distributor, Digital Media Technology (DMT).

‘DPA is known worldwide for its Microphone University. The company’s deep knowledge of pro audio applications gives it a special position in the market as its product development takes everything possible into consideration to deliver perfect microphone solutions,’ added Clement Choi, MD of DMT. ‘Having Microphone University available in Chinese will allow this knowledge to be spread to even more people.’

www.dpamicrophones.cn

d3 Technologies tours APAC Ohms added to F Bar & Lounge

APAC: d3 Technologies completed its ties with the resellers, industry region. The tour comprised visits to users and universities and d3 introduction of a new regional sales manager, Stephen Tsui. to travel throughout the region since joining d3. He possesses 19 years of sales experience in the telecommunications and media sectors.

Hank Liu, technical manager of d3 reseller Redline Technology Beijing Co Ltd recently received d3 trainer

stopped by and led some seminars.

‘It is an honour to become part of the d3 trainer community,’ said a recognition of my professional level and capability to nurture and educate the market.’

‘A two-day session let us feel Hank’s passion for the technology,’ noted Lai Weijian, technical manager of E-GO Computer Graphics and d3 trainee. ‘The interactive demonstration of d3, the BlackTrax tracking system and the highlight of the training.’

The d3 team also made stops at

the Academy of Arts and Design at Tsinghua University, the National Academy of Chinese Theatre Arts, the Central Academy of Drama in Beijing and Hong Kong’s Academy for Performing Arts. Presentations at these institutions focused on technologies currently in development, such as camera-based projector calibration, generative content, tracking, collaboration and visualisation, while projects in which d3 played a key creative role were also showcased.

‘d3’s visit and presentation brought a visual feast to our teachers and students and delivered the latest in contemporary visual creativity and stage arts,’ recalled Fu Haoyue, department head of the digital space design faculty at Jilin College of the Arts. ‘It provided constructive comments for our Digital Space Design faculty, making the digital reach a new height, while building a solid foundation for the next step in our cooperation.’

The tour concluded with visits to key users in the region.

www.d3technologies.com

INDIA: Patrons visiting New Delhi’s F Bar & Lounge have reportedly noticed the change in audio quality following the installation of a new sound system. The newly-deployed solution is formed of several cabinets from British manufacturer Ohm UK and is designed to enable the multipurpose venue to transition from a place to eat during the day, to a bar in the evening and a nightclub later on with higher SPL pumping out in the later hours.

The setup installed features Vela compact line-array cabinets that

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www.ohm.co.uk

Eclipse

Crestron expands across Asia

ASIA: Crestron has expanded in Asia, unveiling three further operations. The new Crestron China is joined by a wholly-owned Crestron subsidiary in India and the opening of a facility in Hong Kong to serve North East Asia. Partnering exclusively with Shanghai Golden Bridge, Crestron China will provide a ‘full Crestron service model to China’.

‘Combining Shanghai Golden Bridge’s extensive infrastructure footprint and in-depth knowledge of the China market with Crestron’s technology solutions, technical support and sales and marketing programmes makes a lot of sense,’ at Crestron. ‘Crestron and Shanghai Golden Bridge will create a full

service operation in China. We are currently building a Crestron Experience Centre in Shanghai and will create a new benchmark for

customer service.’

‘We will provide a direct Crestron presence right across China including Shanghai, Beijing, Guangzhou,

Jinan, Chengdu, Hefei, Kunming and Guiyang, delivering the full Crestron sales and marketing programmes, tailored to the China market,’ added Zhou Zhe, director and general manager of Shanghai Golden Bridge.

Crestron’s Indian subsidiary includes a headquarters at RMZ Ecoworld in Bangalore and several HQ features a Crestron Experience Center with state-of-the-art training facilities. This enables Crestron staff to provide training and product demonstrations.

The Quarry Bay facility in Hong Kong also includes a Crestron Experience Center and training facilities with the ability to deliver advanced technical support. It

will serve all key North East Asia markets, including Korea, Macau and Taiwan.

important market for Crestron and we are investing to support our customers, ensuring opportunities for all,’ furthered Mr Craig. ‘Crestron is fully committed to providing our partners in the region with the highest level of customer experience and the tools and technologies to help our partners grow their business. Our goal is to provide the full range of our market leading technologies locally and to ensure our customer service leads the industry.’

www.crestronasia.com

KOREA: LaON’s LT750 Expert wireless intercom system has recently been put to use by lighting production company, Festival of Korean awards ceremonies.

INDIA: Vijender Singh recently

Middleweight title against Tanzania’s Francis Cheka by TKO in front of a crowd of more than 5,000 spectators at Thyagraj Stadium in New Delhi. In addition to those seated in the stands, the event was broadcast on Star Sports to an audience of millions. New Delhi-based rental company Audio Factory was hired to supply the technical infrastructure, including lighting, trussing and LED screens, as well as an audio solution, for which it turned to RCF’s D-Line.

Audio Factory’s goal was to provide a suitable solution for the live audience that would translate well to Star Sports’ broadcast. The RCF setup comprised a total of 32 HDL20-A cabinets. Half of these were in each corner of the ring – while the additional 16 served as delays. Handling the lows were 12 SUB 8006-AS subwoofers, ground stacked on the stage.

www.audiofactory.in

www.rcf.it

The system, supplied by the manufacturer’s distributor, Flying Scott, provided communication between Festival of Lights crew working at the Melon Music Awards and 31st Golden Disc Awards.

The Golden Disc Awards were staged over two days in Seoul at Kintex Hall 7. Although the venue’s dimensions are 126m x 90m, a single BS750 Base Station throughout.

The Melon Music Awards took place at the Gocheok Sky Dome. It is much larger than Kintex Hall 7 and presents plenty of competition between several communications

systems competing for the limited available RF. To ensure communication across the whole site, Festival of Lights employed an RBS25 repeater unit to boost the signal while the BS750’s signal was switched off.

www.festivaloflights.co.kr

www.flyingscott.co.kr

www.laon-tech.com

Martin Audio and Powersoft roll with the punches

Yamada who works across Powersoft

b-monster is a boxing fitness studio that aims to offer a nightclub vibe

JAPAN: b-monster in Tokyo’s Aoyama operates with the lights dimmed by Enter-Sandman Inc and powered by

Enter-Sandman designed the solution

powered by three Powersoft

‘My priorities were to establish

‘Before deciding which speaker was

Alcons reinforces heavy metal at the Shenzhen

CHINA:

Center was the site of the Shenzhen

ribbon tweeter cannot handle high

‘Alcons has patented pro ribbon

mostly staged performances from cabinets were deployed on the These were complemented by 10

that high transients are also a ‘The high transient of the ribbon

‘Compared to a compressed

www.audiobrains.com

www.martin-audio.com

www.powersoft-audio.com

alignment and switch to another www.alconsaudio.com www.ead.cn

Lectrosonics engineers win an Oscar Sudarshan Audio adds Vertec to its inventory

WORLD: Lectrosonics engineers David Thomas, David Bundy and Lawrence Fisher have received a 2017 Academy Award for Technical Achievement. The honour is in recognition of the design, development and engineering that went into producing the manufacturer’s Digital Hybrid Wireless microphone system and the impact it has made to the process of making motion pictures.

‘We are so delighted to see our engineers receive this honour,’ enthused Gordon Moore, CTS, president of Lectrosonics. ‘These three engineers have made location sound, enhancing the movie experience. To see their accomplishments recognised by the Academy is truly exciting.’

The Academy’s Science and Technical Achievement Awards took place on 11th February at the Beverly Wilshire Hotel in Beverly Hills, California. Candidates for need not necessarily have been developed and released during the

last calendar year, unlike the awards

Rather, these awards are in recognition of technology with a proven track record of ‘contributing www.lectrosonics.com

INDIA: Mumbai-based rental company Sudarshan Audio has expanded its inventory with the purchase of several JBL solutions from Harman Professional distributor Dev Electronics. The rental company has been operating for more than half a century and prides itself on providing the best possible sound reinforcement solutions.

The newly acquired systems include

three-way line array loudspeakers and eight double 18-inch subwoofers along with accessory kits for transporting the equipment as well as covers. Crown I-Tech 3500 HD and were also a part of the sale and are used to power the JBL cabinets.

‘Our only goal is to ensure that our clients and the audience experience sweet tonal quality and impressive

coverage. That’s why we chose to go with the Vertec system,’ said Titu Kulkarni of Sudarshan Audio. ‘It acts as the perfect upgrade to our existing VRX setup. It allows us to amalgamate the two systems whenever needed, especially for larger scale events.

was at the grand launch of a popular jewellery brand in Thane. With Ketan Shetty of Dev Electronics present to provide support, our clients absolutely loved the way the entire show turned out. Top artist Alka Yagnik, who performed at the event with her live band, was so impressed with the sound that her engineer personally thanked us for it.

‘Doing business with Dev Electronics has been an absolute pleasure,’ furthered Mr Kulkarni. ‘The sales process was super smooth and the support we received from them was amazing.’

‘It is an honour for us at Dev Electronics to have been of service to Titu Kulkarni and his team in helping their inventory,’ Dilip Devjani of Dev Electronics commented.

www.develectronics.com

Kopper Kadai sets itself Apart with new sound setup

INDIA: Kopper Kadai in Bengaluru specialises in North West Indian cuisine, which it aims to serve in an environment with a lively ambience. To this end, the restaurant’s owner, Mohammed Shafeeq, decided to have a new sound system installed. A solution from Apart Audio was selected and installed by Awan India Pvt Ltd. The installation consists of CM20T built-in loudspeakers that have been integrated into the ceiling, a SUBA165 subwoofer challenge that presented itself was that a single subwoofer was to cover the entire space. Therefore, the CM20Ts were carefully placed

throughout the venue to ensure throrough coverage.

www.apart-audio.com

www.awan.co.in

BRIO: DESIGNED AND MANUFACTURED IN THE UK.

on the road

OB van has been acquired by South Korean broadcaster SBS. The vehicle,

for monitoring. Ikegami cameras and vision mixers have been installed as well as Evertz multiviewers and video routing equipment. There is also reportedly space for up to 18 people to

work comfortably.

Having taken delivery of the vehicle, SBS has already put it to use, deploying Short Track Speed Skating competition support to SBS to ensure that its inaugural production went smoothly. www.broadcast-solutions.de

Ciare production resumes in Senigallia

WORLD: Eighteen Sound is set to reopen the Ciare factory in the Italian commune of Senigallia. Eighteen Sound acquired the Ciare brand in late 2016, prior to which the two companies had entered into a mutual business agreement in 2015 that saw the former distribute the latter’s pro audio products worldwide.

With work resuming at the Senigallia factory, it is hoped that the launch of new products aimed at the pro, home and car audio market segments will be sped up. It also forms part of plans to re-establish production of Ciare’s existing product portfolio.

‘The reopening of the Senigallia factory

is a key step of our strategy to revitalise and strengthen the Ciare brand, making it possible to position this historical loudspeaker manufacturer on the global market,’ explained Eighteen Sound’s sales and marketing director, Giacomo Previ.

‘I am very pleased and excited about the new opportunities we can provide for Ciare to access new markets, as well as offering the evolving pro market manufacturers a broader range of solutions to their design needs,’ stated Pierpaolo Marziali, CEO of Eighteen Sound and Ciare.

www.ciare.com

www.eighteensound.com

Clair Global reinforces Keith Urban at inaugural ICC Sydney concert

AUSTRALIA: With construction recently completed, the doors have opened at the International Convention Centre Sydney (ICC was New Zealand-born Australian country musician Keith Urban. JPJ Audio supplied its newly acquired Cohesion PA system from Clair Global for the gig, as Mr Urban reportedly favours Clair products.

‘The new Cohesion system is a totally different animal to anything else Clair has produced. It’s also totally different from anything else that I have mixed on,’ reported Kirk Kelsey, Mr Urban’s FOH engineer. ‘Cohesion just keeps going – it never compresses itself, has tons

of headroom and it throws a very good distance. The clarity and vocal intelligibility of it is outstanding whether you’re in a theatre, arena or

stadium.’

The main hang was formed of 16 Cohesion CO-12 cabinets, while a further 12 were deployed as side hangs. ‘The side hang is

a 120-degree splay and the main hang an 80-degree splay,’ noted Mr Kelsey. ‘We also have a centre hang which consists of four Cohesion CO-8 cabinets and that covers the thrust that comes out from the centre of the stage. We also have CO-8s stacked in various places across the subs or the

Due to a large amount of low frequency in the hanging PA, Mr Kelsey noted that there was no

12 Cohesion CP-118 self-powered sub bass loudspeakers were laid out onstage in a cardioid pattern comprising two blocks of six.

The FOH engineer utilised an Avid

Clear communication across the Great Wall

mixed monitors on a pair of Midas H3000 analogue consoles. Mr Urban typically uses an IEM, while his band makes use of wedges.

‘There’s not a lot of processing in the Cohesion as I believe that Clair wanted to give engineers raw power,’ concluded Mr Kelsey. ‘One thing I learnt with the Cohesion PA is that you have to build your show in this system for it to be able to work. I can’t just come in after a show with another manufacturer, and plug into the system. The Cohesion system will have to undo everything.’

www.clairglobal.com

www.jpjaudio.com.au

CHINA: During the 2016 edition of China’s Great Wall Marathon race, Clear-Com was selected as an supporter for the event’s television relay. Several thousand athletes ran the more than 45km distance, with Chinese media company Sina streaming the marathon live.

The Clear-Com equipment was supplied and managed by Beijing Longway Broadcast Technology Company (Longway), which implemented an Eclipse HX digital intercom matrix to enable communication between the production team, as well as an IVC-32-HX frame card that facilitated use of the Agent-IC iOS app, meaning that the crew could use their iPhones as a two-way duplex intercom connected to the main intercom system. This in turn was connected to those using IPbased V-Series control panels also provided.

The Eclipse HX system allowed communication between those in Sina’s Beijing production studio and 20 production crew members

situated at the marathon’s starting to motorcycle-mounted camera operators.

‘Broadcasting for long distance outdoor events generally uses simple intercom systems. Such wired systems typically offer limited functionality and range, which is

very inconvenient for the director who is organising and controlling the broadcast event,’ said Longway production director, Yang Xiang. ‘In contrast, the IP-enabled Eclipse HX system and Agent-IC app provided us with the kind of secure, reliable duplex intercom service normally only found inside a studio. The IP-

based system outdoors allowed us effectively.’

‘The Great Wall of China is an iconic world treasure, which the Great Wall Marathon pays tribute to with its feats of world-class athleticism,’ furthered Jeffrey Wu, Clear-Com’s regional sales manager and chief representative for China. ‘We were excited to see Clear-Com solutions play such a pivotal role in bringing this marathon to the world.’

Impressed by the Clear-Com system, Longway plans to deploy it again for other outdoor events that it is set to cover, including the TDQL cycling race.

www.clearcom.com

NEPAL: Lucy Peckham, who describes herself as a theatre sound designer/composer, live-acousticand sound-effects creator, was approached by Professor Greg Mitchell of UC Santa Barbara to work in Nepal. The opera, Arjuna’s Dilemma, was to be performed outside towards the end of the rainy season at Patan Durbar Square and so Ms Peckham required equipment capable of withstanding Kathmandu’s often-harsh conditions. Her search would result in the use of DPA Microphone’s d:screet microphones.

‘I started receiving Live Design’s newsletter and DPA kept popping up,’ recalled Ms Peckham. ‘One article in particular caught my attention: DPA microphones were used to mic the entire cast and orchestra of a San Francisco Opera performance for the purpose of recording it. The idea

of using wireless to capture a live performance astonished me.’

Ms Peckham would explore DPA further, attending the manufacturer’s presentation at

CHINA: Hongshan Stadium in Wuhan played host to the Han Wave New Year’s Eve electronic music festival, which featured sets from Portuguese DJ Diego Miranda, DJ Mena of Hong Kong and Malaysia’s Bass Agents, DJ Nasty

the USITT conference. ‘At the conference, I decided I wanted to use three d:screet 4061 necklace microphones for the singers and a d:screet IMK-SC4061 instrument microphone kit with a d:screet 4061

omnidirectional microphone for the saxophone,’ she said. ‘I used d:screet 4061s for this project because of the quality of the sound they reproduce. Though the whole had to sound as if it wasn’t. It had to sound naturally acoustic, as opera should, and thanks to DPA, it did. The accuracy and transparency of sound reproduction without

feedback rejections, are absolutely amazing.’

The opera, originally composed by Douglas J Cuomo, is based on a story from the Bhagavad Gita

The performances required miking, amplifying and mixing due to their small orchestra of nine musicians and the variety of the company’s vocal strengths in addition to the

outdoor venue. The DPA mics were provided for opera singers Roy Stevens and Annalisa Winberg, Hindu temple singer Gurudev Kamat and the jazz saxophonist, Inap Shrestha.

www.both-ears.com

www.dpamicrophones.com

and Guru Guru. ZSound audio products were deployed, forming the entire sound reinforcement setup for the event.

The solution installed comprised 24 VCL dual 12-inch line array speakers at FOH with 16 10-inch while eight LA110 speakers served monitors were employed. Handling the lows were a pair of LA110s, 16 SS2 and four VCS subwoofers. An powered the entire system and F44 and M44 processors were also implemented.

www.prozs.com

AUSTRALIA: Ross A’hern is an Australian sound engineer whose career has included stints in senior operational and management positions at Sony Music Studios, the Sydney Opera House and ABC. He later went on to establish his own production company, building it around Merging Technologies’ Pyramix DAW and adding the Horus and Hapi networked I/O converter systems when they were released.

the Swiss manufacturer’s products, Mr A’hern recently added the Merging+Nadac player to his line-up.

‘I have keenly pursued the recording of music in high resolution and surround for several years now because of the dramatic improvement I hear in the outcomes compared to standard resolution stereo,’ Mr A’hern said. ‘However, even though I had a suitable high quality playback system in my studio, this pursuit raised several issues that required solving.

‘For some time, I had been hoping for the day when I could combine the studio and domestic – production and library playback –aspects of music through the same, integrated, high quality system, and

that has allowed me to do this,’ he furthered. ‘The result is the ability to bring these two different but interdependent worlds together, which makes perfect sense to me,

as from a listening point of view, the aims of the passionate music listener and the sound engineer are essentially the same.’

The player allows Mr A’hern to keep his entire music library readily available for use in one place. It

play back as expected in the real world and to distribute his work via mircreation.com.

‘As a network-based, multichannel DAC capable of working at all resolutions up to DXD and multiple DSD, the Nadac can sit on the same Ravenna network as my studio system and my media library, comprising Roon as a playout program and a NAS for storing content, including high resolution

newly developed Nadac player is a standalone unit capable of running Roon and removing the computer from the network altogether. All that

is required is a Nadac player and an NAS to make an amazing media library system. Either Nadac version active speakers, thereby removing another variable component.’

www.merging.com

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The PA People brews up a solution in Bankstown

AUSTRALIA: Those that participate in or attend events at Bankstown Sports Club are now able to drop in, underground, for a craft beer or cider at the club’s new venue: The Basement Brewhouse. Bankstown is situated in New South Wales and when seeking a company to design and install the A/V setup, the sports club turned to The PA People.

The A/V consultancy’s installation at the venue comprised 28 Bose FS40 surface mount speakers with three FreeSpace subs in the main areas. A further eight FS40 speakers and two FreeSpace subwoofers were split between the Brewhouse’s two private lounges. Shure ULX-D radio mics have been supplied for staff and Univox hearing loops provide assistive listening at the bar.

The visual side of the project saw the integration of several television screens, which caused the biggest

challenge due to the venue’s décor.

The televisions hung on the outer walls were to have curtains running directly behind them with no cabling or connections showing. To meet designed a single-point swivel

Some dining tables are located within oversized barrels. These too were to be installed with TV sets on adjacent poles. The original units to be mounted to round poles. However, during the project, this changed to a need for two televisions to be installed, one on each side of each pole, which would now be squared instead of round.

The PA People got creative, making use of tinted acrylic trim to hide all of the cables and connections. An AMX control system and Surface Touch Panel Control were also installed.

The other obstacles faced by The PA People were that the sports club remained operational, meaning noise and structural considerations were to be made during installation, and that construction work was

ongoing within the brewhouse.

‘We were on site most days to ensure that we were not “built-out” of any areas; thankfully we were mostly in front of where we needed to be and completed the install task

project manager.

‘In the process of this install, we upgraded the entire site-wide MATV system from analogue to digital,’ added Brett Steele, managerinstalled systems at The PA People.

‘The brief given was to provide us with a high quality distributed sound an intuitive control system,’ recalled Jason Klippel, audiovisual team leader at Bankstown Sports Club.

‘They have exceeded expectations in their delivery.’

www.papeople.com.au

Primacoustic updates its website Sennheiser and Apart reinforce discussion at Havells

INDIA: Fast moving electrical goods (FMEG) manufacturer Havells India Limited recently approached Okhla-based systems integrator Savi Vision to provide a wired conference system for the auditorium at its headquarters in Noida. With the client’s requirement specifying a microphone of good enough quality to allow two-to-three people to use a single unit at the same time, with a suitable loudspeaker setup to provide sound reinforcement to cover the 190-seat venue, Savi Vision installed a Sennheiser conference system. Following a demonstration conducted inside the auditorium by Sennheiser, the manufacturer’s ADN Digital Chairman Delegate series

microphone was installed as well as a TeamConnect CUCB1 digital signal processor. Complementing this setup are ceiling speakers, subwoofers, wall-mounted speakers and a digital

www.apart-audio.com

www.samsungpanels.com

www.sennheiser.com

WORLD: Primacoustic has launched a new website with the aim of streamlining the user experience and customising the needs of individual users. A new blog section has been added and an ‘extensive library of educational resources’ has been developed.

materials division has also noted that ‘the very popular online room calculator/quote feature from the previous site’ has been retained.

‘The markets and applications for acoustic treatment continue to snowball year after year and we decided we needed to restructure our website to provide the optimal user experience. We know when a potential customer lands on our site, they need to

and be walked through potential solution scenarios with as little fuss and distraction as possible,’ explained Steve Dickson, business development at Primacoustic.

‘Users also have immediate access to case studies and stories about installations that relate closely to

their own situation. As always, a free quote feature allows users to

measurements to learn more about their solution and the associated cost of materials.’

www.primacoustic.com

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Distributor list

Australia Production Audio Video Technology Pty. Ltd.

Cambodia AV Designs & Consulting Engineers Co., Ltd.

India Acoustic Arts Pvt. Ltd.

India ProMusicals

Indonesia PT Suara Visual Indonesia

Japan Sound House Inc.

Korea Chungbo Sound Inc.

Malaysia Search Music Sdn. Bhd.

New Zealand Webb Enterprises Ltd. TA NZ Rockshop

Pakistan V-Sel Music

Philippines JB Music and Sports Inc.

Singapore Consolidated Audio Networks Pte. Ltd.

Sri Lanka Euro Entertainment (Pvt.) Ltd.

Taiwan Seapower Technology Co., Ltd.

Thailand Music to Home Co., Ltd.

Vietnam Viet Thuong Trading Service Manufacturing Corporation

Netia acquired Martin Audio targets the Chinese KTV market

WORLD: Netia has been acquired by a pair of media entrepreneurs, Anthony Savelli and Vincent Benveniste. Mr Savelli and Mr Benveniste bought the French media software solutions company’s shares from its previous sole shareholder, Globecast, which is part of the Orange group. The sale was facilitated via Mr Savelli and Mr Benveniste’s consulting and servicing agency, Radio Act SAS. The new owners each possess more than 25 years of IT media experience and reportedly have strong track records of ‘successfully transforming technology businesses in synergy with customers, partners and staff’.

‘Having private owners committed to our roots in the south of France and to our core business will give us the autonomy operation,’ said Netia CEO Thierry Gandilhon. ‘Our teams have already started a dialogue with several customers and we are from this new setup, particularly from a user experience and lifecycle management standpoint.’ ‘Netia has very talented people working with the best media professionals across the world,’ said Mr Benveniste. ‘We’re honoured to lead its development from here on as a customer focused, agile, creative and autonomous organisation.’ www.netia.com

CHINA: Martin Audio and its Chinese distribution partner, Sino Huifeng Audio Group Co Ltd (Huifeng), recently formally launched the manufacturer’s X Series in the country. The series, which comprises the X8, X10, X12 and X15 loudspeakers, is targeting China’s strong KTV (karaoke) market.

in KTV has begun to move to a really quite high SPL,’ he explained. ‘Additionally, it’s moving towards longevity, so for designs that will last hundreds of hours.’ He went on to note that the same audio engineers that worked on the manufacturer’s to the production of the X Series.

‘We hope that the Martin Audio X Series will bring a high-quality, lowdistortion, high-output, professional sounding loudspeaker system to the KTV market.’

On hand for the event was Martin Audio’s managing director, Dom Harter, as well as APAC account president, Hugo Guo, and sales director, Han Yidong, were also in attendance.

Mr Harter gave a speech to begin the proceedings. ‘The market here

As Mr Harter stepped down from the podium, Mr Guo stepped up to discuss Huifeng’s relationship with Martin Audio and how it’s developed Blackline series. His hope is that both companies can continue to work together to provide end users with the best products possible. ‘From today, we enter the high-end KTV market,’ he said during his speech.

KTV brand.’

Following a speech from Mr Yidong, in which he welcomed interested

resellers, consultancies and end users to contact Huifeng for further an address, citing the product part of the Blackline family, is a new multipurpose range targeted at the domestic KTV market with best-inclass audio performance, versatility in deployment and signature Martin

A Q&A session was held after the speeches. During this, Mr Han noted that every industry goes through a transition process from time to time, and that the KTV market is expected to undergo a large period of growth.

www.hui-feng.com.cn

www.martin-audio.com

APAC: Following its acquisition of Vaddio last year, Milestone AV Technologies has begun providing project and technical support for the brand throughout the Asia

for Vaddio’s regional sales and marketing activities.

Vaddio manufacturers PTZ cameras, as well as pro A/V communication and collaboration range of products and peripherals.

Regional management teams across

Amplifying My Fair Lady

AUSTRALIA: Having recently played at the Sydney Opera House and celebrating the 60th anniversary of its original Broadway production, My Fair Lady is touring Australia with performances in Brisbane, Melbourne and at Sydney’s Capitol Theatre. The production organisers, GFO and Opera Australia, brought in Dame Julie Andrews, the original Eliza Doolittle from the 1956 Broadway version, to direct the musical. With such a prestigious director onboard, renowned Australian audio director Michael Waters was engaged to deliver the sound system design.

While the sets, costumes and lighting are all based on those used during the 1956 production, Mr Waters opted

to bring the audio solution more in line with modern standards, seeking the assistance of JPJ Audio. ‘We did see the original audio spec for the 1956 production which was only one page,’ recalled the audio director.

‘The sound pre-show check was turn

wound back to such a counter point and then press play’

For this production, the main PA setup comprised a combination of L-Acoustics’ Kiva cabinets for the centre cluster, complemented by SB18 subwoofers. The compact 5XT was employed for surrounds and delays, while Meyer Sound MSL-2 speakers were utilised for the dress circle and proscenium.

the APAC region will support the Vaddio brand, while Milestone’s a single contact for technical support, local design and project

Chief, Da-Lite and Vaddio solutions.

‘In the past years, our pro A/V distributor and systems integrator

specifying Chief and Da-Lite products, a trend in the growing communication and collaboration products,’ stated Milestone sales manager Joseph Mak.

‘Adding Vaddio to our leading portfolio of commercial and consumer A/V brands gives us the opportunity to deliver even greater value to our combined dealer base,’ added Scott Gill, CEO of Milestone AV Technologies.

www.vaddio.com

the 21st century – surround sound. He noted: ‘I was able to occasionally produce some soundscapes throughout the show. It’s not a sound effects heavy show but it does have its moments.

UPM-2 reinforcement loudspeakers

the UPM-2 speakers for their narrow 45-degree dispersion as the orchestra are not used to sitting in front of speakers,’ explained Mr Waters. ‘As the UPM-2s are Capturing the voices of the cast

onstage are DPA Microphones 4061 miniature omnidirectional mics, connected via Shure UR1M microbodypack transmitters.

Mr Waters put together his design in such a way as to pay homage to the original audio solution, while providing the audience with the type of coverage that they are used to in

‘It’s such a funny piece with lots of comedic lines in the show and when the audience erupts into laughter, it would be easy to miss the subsequent dialogue,’ Mr Waters push over the sound of the laughter and that also encourages the audience to keep laughing without fearing they’ll miss the next line.

www.dpamicrophones.com

www.jpjaudio.com.au

www.l-acoustics.com

www.meyersound.com

www.shure.com

THEY HEARD, “BAD NEWS, THE BUSINESS IS IN TROUBLE.”

But you said, “Big news, our business has doubled!” With Devio, the message is always clear thanks to an 8-element, voice-tracking microphone for crystal clear sound in any conference or huddle space. Quickly transition ideas from your laptop to a collaborative work session, adding displays, speakers, a web camera, and microphones with a single USB connection. Communicate better with Deviothe conferencing tool that works the way you work.

biamp.com/devio

Mahajak scores an installation at Mitr Phol Stadium

THAILAND: Thai Premier League football team Ratchaburi Mitr Phol FC recently moved from its old home of Ratchaburi Provincial Stadium to its new home ground, Mitr Phol Stadium. The new stadium seats up to 12,000 fans, has been constructed to FIFA parking, press areas, locker rooms and souvenir shops and is located in the Muang district of the Ratchaburi province. Hired to install the audio solution at the venue was systems integrator Mahajak, which deployed a range of JBL, Crown, BSS and Shure products.

sound system installation project for a football stadium. The customer required a sound system that can support public announcements and music performances with clear sound. Mahajak was responsible for system design, supply of all equipment and installation,’ recalled Rungrote Kerdpimon, project sales

engineer at Mahajak. ‘With a three-sided grandstand there was a challenge in the design of the sound system, since the sound must deliver coverage for every seat.’

JBL PD595-WRC and PD564WRC outdoor loudspeakers were installed for the main PA system, as the manufacturer designed them

and to resist all manner of weather conditions. The PD595-WRC units were installed atop the roofed

grandstand, providing coverage to the stand opposite. The PD564-WRCs serve those seated beneath the roof and are complemented by AWC129 two-way all-weather PA speakers. AWC564-WRC. Meanwhile, additional PD564-WRC cabinets cater for fans seated behind the goal. The loudspeaker setup is powered

installed in the stadium’s control

Taher Sound opts for dLive

distributor, Sun Infonet, Taher Sound had been deploying a 48-channel mixer. ‘I was using a previous mixer, when I heard about dLive having up to 128 expandable channels, among other unique features,’ recalled Zakir Hussain, owner of Taher Sound. ‘I immediately decided that my next console would be dLive.’

room alongside a Soundcraft mixer and BSS Blu-100 and Blu-50 processors.

Capturing the sound for PA announcements, musical performances and the Ratchaburi cheerleaders is a combination of Shure microphones. This is made up of a pair of PGA58LC, the same number of SM58-LC and two SLX24/ SM58 sets. Distribution is via a

UA-844 UHF antenna system with a and four UA8-774-865 receivers. ‘Shure microphone systems and Harman products were supplied for all PA systems,’ Mr Kerdpimon

Phol Stadium is one of our reference projects and we would like to thank our team that made this project a success.’

www.mahajak-pro.com

Barco, Full Dimension and Sounds & Motion at the Grand Theatre

sE loudspeakers.

INDIA: Following the recent addition of a new Allen & Heath dLive system to its arsenal, Hyderabad-based PA rental company Taher Sound has already put its new S7000 Surface, DM64 MixRack and DX32 Expander to use for a wedding reception

attended by approximately 8,000 guests. The reception saw performances from the 17-piece Telengana Telugu Orchestra and renowned percussion player, Shivamani.

Prior to purchasing the dLive system from Allen & Heath

Mr Hussain was introduced to the dLive system at a recent demo event staged by Sun Infonet and hosted by the distributor’s product manager, Rohit Reddy. The rental company owner was reportedly impressed by the system’s built-in features, such as the user friendly interface and capacitive touch screen, big headroom and tonal quality. It has since been deployed for a number of other events, including the premiere of Telugulanguage movie, Dhruva

www.allen-heath.com www.suninfonet.com

CHINA: Barco Audio Technologies recently partnered with Full Dimension and Sounds & Motion to complete an Iosono Core audio processor installation at the Shanghai Grand Theatre.

The Shanghai Grand Theatre’s gallery has undergone a refurbishment, modernised with the inclusion of a new 3D sound gallery. This has been equipped with Barco’s Iosono Core, as well as

‘Planning this project was challenging, as we were dealing with an almost 60m long room with Barco’s Iosono sound installation it is now possible to use the gallery in a variety of ways,’ noted Siwei Zou, composer and president of Full Dimension. ‘Playing subtle ambient effects is just as possible as creating spectacular movements of sounds throughout the gallery.’ The gallery is now open and used for live events and exhibitions, which make use of atmospheric background music via the 3D audio setup.

www.barco.com

www.iosono-sound.com

www.seelectronics.com

www.siweime.com

www.soundsandmotion.com.au

and compare up to four products at once.

stockist on the Where To Buy page.

WORLD: Fane International has launched a new website for its pro audio component loudspeaker business. The new site has been developed for improved userfriendliness and to offer easy access to information regarding its products and services.

As well as updating the site with new, clearer navigation and a more responsive layout, Fane has

integrated myriad new features. These include multi-lingual translation via a ‘Select Language’ dropdown menu at the foot of the page, a loudspeaker selection tool on the Products page, which assists visitors in selecting relevant products by entering their and compare option that enables

Fane distributors and dealers in region. The company will also soon be including its own e-commerce and account features that will enable customers to buy directly. Finally, the News/Blog archive has been updated.

www.fane-international.com

corporate identity

WORLD:

unveiled a new corporate design, slogan. The new corporate identity to ‘the professional use of audio an objective, clear and serious design.

Sound Control reports strong JTS US-1000D uptake

Tec’s branding going forward and supported by additional colours that will be assigned to accent different functions and ranges, types of product in catalogues and online.

slogan, Excellent Audio, has been produced to underscore and objectives, such as the operational reliability and leading innovation.

restructuring, it is only logical to our corporate identity,’ said Stage Jahne. ‘The new corporate design recognition. This will further strengthen the Stage Tec brand and position us in relation to our www.stagetec.com

INDIA: Sonotone, JTS’ Indian distributor, and Sound Control, an authorised dealer in the North East

is enjoying strong sales across the region. They state that ‘several key players in the live sound circuit’ have

said Atanu Mal, director of Perfect has lived up to every expectation and for all the events that we have deployed it for. They say that JTS

JTS’ US-1000D system

why.’ www.jts.com.tw www.sonotone.in

MA-708 picks up Excellence Award

TAIWAN: Mipro has received a Taiwan Excellence Award for The awards are organised by the and all of the products considered

The MA-708 has won a 2017 Taiwan Excellence award

is designed for portability with a handle and sturdy wheels’. It features storage for two handheld rechargeable battery developed to www.mipro.com.tw

Kyushu Butai switches to Prolyte Mr & Mrs Bund returns to K-array

JAPAN: Yokohama-based rental company Kyushu Butai Co Ltd and it subsidiary, Hiryu Sobi, based in Nagaoka, have reportedly replaced their entire trussing and staging inventory with products from Prolyte. The decision was made following

products’ features. Included in each company’s Stagedex roster are telescopic legs, adjustable stairs, ramps and a range of other accessories.

The equipment has already been deployed for a variety of events, such as the inaugurations of the Trans-Kyushu Limited Express bullet train and the BMW i8, as well as the Louis Vuitton America’s Cup World Series in Fukuoka. Impressed with the performance of Stagedex, both companies explored the possibility of expanding their inventories and took on Prolyte H30V truss for a trial period, which led to the switch to the manufacturer’s trussing.

‘The products we have invested in so far really have paid off in respect to faster and safer performance,’ said Mr Yasunaga. ‘Prolyte supply top quality products and give high priority toward product and user safety. The fact that their roof systems are fully compliant to Eurocode is really important for our company. Furthermore, the investment in a worldwide recognised A-brand has stipulated the leading role Kyusu Butai play in Japan, offering our customers only the best of the best.’

www.hiryu-soubi.co.jp

www.kyushustage.co.jp www.prolyte.com

Kyushu Butai managing director Yoshinobu Yasunaga’s introduction to the brand and its StageDex system at the World Lighting Fair back in 2012. Prolyte was relatively unknown in Japan at the time and it was the products’ ease of use and setup that impressed Mr Yasunaga. Both Kyushu Butai and Hiryu Sobi now possess Prolyte StageDex as part of their inventories after Mr Yasunaga convinced Hiryu Sobi’s general manager, Noritaka Kuwahara, of the

CHINA: Renowned chef Paul Pairet had a K-array solution installed in his Shanghai-based French restaurant, Mr & Mrs Bund, in 2015, replacing an old system that had been left behind by the building’s previous tenants. That installation saw the deployment of Kobra KK102 and KK52 loudspeakers, Thunder and Rumble subwoofers, and a the system, Mr Pairet turned to the Italian manufacturer once again during a recent system upgrade that sought to raise the SPL that could be achieved within the venue. Mr & Mrs Bund occupies a 19th century building and the décor forms part of the overall dining experience. The previously installed K-array system provided ample

1/2 PAGE

coverage throughout the room and was designed to not detract from the visual appearance of the space. The recent upgrade sees the installation of 18 Python KP52 line arrays

Rumble KU210 compact subwoofers hidden within the walls, and three Kommander KA24s providing

‘The food is amazing, the wine is high-quality and the audio is impeccable,’ commented K-array’s Marc Vincent. ‘It’s a great pairing in every sense of the meaning.’

www.k-array.com

WORLD: The 2017 NAMM Show featured the 32nd annual NAMM TEC Awards, which celebrates notable achievements in professional audio and sound production.

Avid, iZotope, Sennheiser and Solid State Logic (SSL) all scooped multiple Outstanding Technical Achievement awards during the event. Pro Tools Dock and Pro Tools 12.3 won the Workstation Technology and Audio Apps and Hardware categories for Avid, while iZotope’s Pro Audio Essentials and Ozone

7 Advanced won the new Audio Education Technology category and Signal Processing Software award respectively. Sennheiser won the Wireless and Headphone/Earpiece

Technology categories for its Wireless G3 A-1 Band and HD 25 Plus, and SSL took both the Large and Small Console Technology awards for the System T and the Sigma Delta.

Other award winners across the 23 technical achievement categories included Rupert Neve Designs’

RNHP: Precision Headphone

Twin USB interface, Shure’s KSM8 Dualdyne microphone, Meyer Sound’s MJF-208 stage monitor and Genelec’s 8430A IP SAM studio monitor. On the creative side, the list of award winners includes Star Wars: The Force Awakens for Film Sound Production, Game of Thrones for Television Sound Production and David Bowie’s Blackstar in both the Record Production Album and Single categories.

The Les Paul Award, the highest honour given at the TEC Awards, was awarded to Joe Perry. The recording artist and executive was presented with the award by his

forward.’

ASIA: Advanced Broadcast Solutions (ABS) – Asia has rebranded following a period of vast growth. Under the new name of Elevate Broadcast, the A/V systems integrator has recently relocated and has expanded the list of manufacturers whose products it represents and resells.

‘We’ve been able to harness our relationships with customers and suppliers, which has quickened the pace of our expansion,’ explained Dennis Breckenridge, CEO of Elevate Broadcast Pte Ltd. ‘We’re seen as innovative in design with a comprehensive understanding of the Asian region. Our depth in understanding the particular challenges faced in these emerging

in Myanmar and Malaysia, both of which have expanded substantially in terms of staff and output along

The company has completed projects across these countries, as well as in Macau, the Philippines and Thailand, including the launch of

a new studio and automated news and sports production facilities for the Forever Group in Myanmar.

‘Focusing on emerging markets and helping business owners grow key to our success,’ explained Mr Breckenridge. ‘We focus on the

Whitford, and Alice Cooper as all four performed live.

Meanwhile, the newest inductee into the NAMM TEC Awards Hall of Fame was Jack Douglas. The famed Aerosmith engineer and producer is associated with many of the band’s multi-platinum selling releases. On the technology side, Neumann’s classic U 67 microphone was inducted into the TECnology Hall of Fame for 2017.

www.namm.org

www.tecawards.org

BXB brings conferencing

MONGOLIA: Established in 1950, the Intermediate People’s Court of Ordos hears over 6,000 legal cases each year. The court was recently installed with a new conferencing system, selecting a BXB FCS-6300 series system with UFO microphones. Beijing Litron Ltd (Litron), designed and installed the solution.

entirety of our customers’ operations and business objectives. Technology

technical challenges our customers face. We offer a broad range of products and expertise that provide customers.’

www.elevatebroadcast.com

An FCS-6350 main control unit was deployed, its LCD monitor displaying the menu and settings in either English or Chinese. The system is also setup for hot plugging, whereby users are able to add or remove microphones at anytime during operation without interruption.

The UFO microphones are connected via Cat-5e cables and equipped with DSP chips that allow the adjustment of the automatic gain control and sensitivity. Each unit can be set as either a delegate or the chairman mic.

www.bxb.tw

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Big thinking For smaller boxes

Game-changing innovations in coaxial speaker design

At Celestion, we’re always looking to find innovative solutions to the challenges faced by PA manufacturers. That’s why more and more forward-thinking brands are choosing to work with us.

Take our coaxial drivers for example: unlike conventional designs, our FTX range uses a cutting-edge common magnet motor design to deliver big improvements in signal coherence and time alignment for a more natural sound from a very compact and lightweight speaker. Visit our website or contact us now to find out more about our innovative PA driver solutions.

Bosch provides International Airport Klotz delivers Tech brings K-Pop to

CHINA: Klotz Communications

CAMBODIA: Phnom Penh

International Airport greets approximately 5 million passengers

of humanity passing through its terminals, the airport’s operator, Société Concessionaire d’Aéroport, recently upgraded much of Phnom Penh International’s infrastructure, making security, safety, communications and building automation the highest priorities. This resulted in Bosch

Cambodia Co Ltd and contractor Enseas Cambodia integrating a solution comprising several of the manufacturer’s systems.

Bosch Dinion IP 7000 and

AutoDome IP HD 7000 cameras have been installed throughout the airport and are used to track persons and objects from multiple angles.

Meanwhile, the manufacturer’s Avenar detector 4000 has been deployed for smoke detection while a Praesideo public address and emergency voice evacuation system has also been setup.

Finally, Bosch’s Building Integration Systems (BIS) manages the airport’s access control system, which ensures that only authorised personnel enter certain areas.

www.boschsecurity.asia

www.gescambodian.com

consoles, with Radio Guangdong taking on 12- and 16-fader versions. The Chinese public broadcaster made the purchase via the manufacturer’s distribution partner in the country, Hangzhou Linker Digital Technology Co Ltd. Radio Guangdong has been installed with a Klotz Vadis system since 2002, including its eight on-air studios, main and standby routers, an integrated transmission path monitoring system, and a transmission routing system. The new DC 3 consoles will reportedly replace two of the broadcaster’s existing DC 2 consoles in the onair studios.

‘We are very proud that Radio Guangdong put their trust in Klotz Communications to supply them with the next generation of Klotz products,’ commented Andre Sauer, partner and

general manager at Klotz Communications. ‘The Vadis installation at Radio Guangdong has been working faultlessly over the last 14 years and has provided the end-user with the best possible reliability. The integration of the DC 3 consoles into the existing Vadis network

MALAYSIA: Sabah-based rental company Sounds Tech Production Sdn Bhd recently partnered with the Sutera Harbour Group to host a ‘K-Pop party’ at the Covered Tennis Court of Sutera Habour Marina and Country Club. Sounds Tech set up the 18m x 9m stage for the event, while also deploying the A/V and lighting solutions, all acquired from Concept Audio. Myriad Korean artists converged on Kota Kinabalu for the event, including girl group Bambino, DJ

SINGAPORE: The Glass Rotunda at the National Museum of Singapore was closed in 2014 while the museum partnered with Japanese digital art collective teamLab to create a new digital art installation. Contracted to handle the systems integration, content delivery and project management was Broadcast Professional Pte Ltd.

Recently re-opened, the Glass Rotunda now houses a ‘largescale digital art installation experience’ designed to provide a ‘360-degree immersive audio and video experience for visitors’ that spreads across the entire 170m spiral passageway and reaches the heights of the 15m high drum ceiling. A combined 17 Panasonic RZ670 projectors have been installed around the drum ceiling, while a further 42 were deployed along the spiral passageway. These create the effects of the natural ecology of 19th century Malaya as imagined by the artists of that time period in an exhibit named Story of the Forest

On the audio side, Broadcast Professional implemented Community DS-5 loudspeakers as the main source of audio reinforcement in the Glass Rotunda.

These are complemented by EAW MK8126i loudspeakers.

Key to the visitor experience is the interactivity offered via the technical setup. As attendees enter the attraction, accessing the spiral passageway from the museum’s sky bridge, motion sensors are triggered, which are set to change the images accordingly. Similar effects are also triggered via motion sensors installed in the lower part of the Glass Rotunda. Adding to the interactive experience is the ability for visitors to download an app to their smartphones, enabling them to aim their device’s camera at a part

means that Radio Guangdong can upgrade their existing equipment step-by-step and with minimal interruption to their daily operations.’

www.klotzcommunications.com

of the exhibit and gain additional information.

‘This has been a very interesting project for us. It was a truly collaborative effort working with the Museum and teamLab in creating this very large interactive digital canvas,’ said John Paul Tan, sales manager at Broadcast Professional. ‘The content and the technology had to work hand-in-hand for a memorable visitor experience and we are pleased to have been involved in this one of a kind project.’

‘A project of such a challenging and ambitious scale is only possible through excellent coordination and project management, which Broadcast Professional demonstrated throughout,’ added Angelita Teo, director of the National Museum of Singapore. ‘Story of the Forest is inspired by the region’s rich ecological heritage, and reminds us of the museum’s early beginnings

how the National Museum is evolving and progressing, working with artists and partners to adopt innovative methods to offer our visitors new ways of looking at Singapore’s social history and culture.’

www.broadcastpro.com.sg

Pica & Angels and DJ Chu, all of whom performed for an audience of more than 1,500. The A/V equipment supplied consisted of 200 P4 LED screen panels, which formed the stage’s background, as well as products from Shure, Nexo, Pioneer DJ, Avolites and Chain Master.

‘The mixture of music genres driven by different famous Korean DJs made it the hottest night in town,’ recalled Sounds Tech managing director Kenny Shiau, while also noting that safety was his top priority.

www.conceptaudio.com.my

www.soundstech.com.my

www.suteraharbour.com

Years

She’s been on board since 2010.

“d&b is a bit like salt, pepper and sugar. Salt because I think we are serious, pepper because we have a little point of craziness and the sweet part because we work hard but with a nice smile – the human part of d&b is very very strong.“ In 35 years d&b has evolved from a small garage venture to a worldwide standard in from the rest.

A new experience for Shure

SHURE ASIA WAS ESTABLISHED to serve distributors across Asia operating in Hong Kong since 1999.

and video codecs are equipped to organisations do not realise that the ideal solution.

technologies.

have also added non-audio related

Shure Asia to provide specialised technical support and hands-on

product training to our partners

solutions are operational in the

providing the best possible corporations are establishing their headquarters or enlarging their

As part of an expansion in Hong Kong, Shure decided to make its presence known in the market with the

SEMINAR DIARY

2-3 MARCH

Adamson Applied Training

Seoul, South Korea

Conducted by Adamson

APAC technical director David Dohrmann and hosted by Sound Solution, this course will focus cover Blueprint on the second.

www.sscom.com

10 MARCH

Control System Design for AV Professionals

Hong Kong

AMX Asia Limited hosts CD232: AMX Designer | Control System Design for AV Professionals. The course forms part of the Harman curriculum.

www.amx.com

13-16 MARCH

Audio Post Production – Now and the Future Singapore

This masterclass highlights the different aspects in understanding the addition of a third dimension in sound. Different immersive sound systems in the market will be highlighted and discussed in deeper detail to understand their pros and cons of each format.

www.mediaacademy.sg

28-28 MARCH

Core Principles of Audio Sydney, Australia

designed for those who need to round out their knowledge of technical audio fundamentals through a live, interactive learning experience. Provides networking opportunities and includes a oneyear SynAudCon membership.

www.prosoundtraining.com

Adamson launches standardised education programme

WORLD: Adamson Systems

Engineering has introduced a new educational programme to deliver a combined understanding of general live sound principles and product-

offered to members of Adamson’s global network, as well as the public, and is tiered with modules aimed at all levels, from novice technicians to the world’s most reputed engineers.

‘While Adamson has long held training programmes at a variety of skill levels, we are now globally standardising our education programme to ensure our users can deliver the same level of quality worldwide,’ explained Jeremiah Karni, head of education at Adamson. ‘Sharing our extensive experience in designing and deploying loudspeaker systems with our users is very rewarding, and we value their feedback for the continuous improvement of our product range.’

The programme begins online with video tutorials and user handbooks, among other pre-training materials, that are designed to bring all participants to the same level before the in-person training commences. The in-person training then starts course that will cover the framework

required to properly design, deploy and control an Adamson loudspeaker system, using Blueprint AV simulation software and Lake Controller.

The next level comprises a three-

This is aimed at touring engineers and integrators in particular, exploring more in-depth aspects

of design and control. Those that complete this course are then advised to partake in the Adamson

of achievement is presented upon completion.

‘Education and training is a key component of the Adamson integrated system offering,’ noted Marc Weber, director of product and brand management. ‘Handson training and other educational initiatives like tutorial videos elevate the performance of Adamson products by optimising their

performance is not only rewarding for the end users; it also increases the demand for Adamson products, maximises inventory utilization at rental companies, and enhances the lifetime return on investment for all of our partners.’

www.adamsonsystems.com

SSL teaches AoIP at YSTCM Sennheiser comes to Raipur

INDIA: Sennheiser’s Sound Impression Series roadshow recently stopped in Raipur for the of the German manufacturer’s products, in addition to studio monitors from Neumann and a range of solutions from Apart Audio. Local sound engineers, representatives from A/V

‘With our focus on the pursuit of perfect sound, Sennheiser launched the Sound Impression Series in 2013 to share the experience of perfect sound with professionals and audio enthusiasts,’ explained Vipin Pungalia, director, professional segment at Sennheiser Electronics India Pvt Ltd. ‘The

SINGAPORE: Part of the National University of Singapore, the Yong Siew Toh Conservatory of Music (YSTCM) operates a recording studio open for students majoring in recording arts as well as commercial productions of classical

a Solid State Logic (SSL) C200 console, recently served as the setting for a seminar co-hosted by YSTCM and SSL, titled Audio over IP (AoIP) and its Applications Conducted by SSL’s service engineer, Richard Wand, the course led about 30 faculty students and attendees from the local audio industry through the history and development of AoIP, the differences between the various formats and SSL’s reason for the implementation of Dante, including its application. ‘The purpose of this seminar was not only to introduce the attendees to AoIP and explain

the technology,’ said Mr Wand, ‘but also to tell where it came from, where it is now and where it might go, explain what it can do, what it can’t do, even dispel some of the myths.’

‘It’s a great chance for our students to learn about history and development of AoIP technology and understand it better from the ground up,’ Zhou Xiaodong, senior lecturer for recording arts at YSTCM explained.

‘We are glad to see, in addition to YSTCM students, people from other recording facilities as well as performing arts centres, houses of worship and systems integrators coming together here,’ stated Malcolm Chan, general manager of SSL Asia, ‘to present AoIP, a very relevant technology for all of them.’

www.solidstatelogic.com ystnus.squarespace.com

rental companies and dealers, musicians and artists, as well as sound enthusiasts, attended the event.

The Sound Impression Series is part of the Sennheiser Sound Academy and tours India to provide the country’s sound professionals with understanding of the latest technologies and techniques.

love and enthusiasm from people all around has encouraged us to make this successful series bigger and better with every edition. With every edition, we want to reach out to more people and thus taking the series to Tier 2 cities like Raipur which gave us an overwhelming response.’

www.sennheiser.com

Ansata hosts d&b software workshop in Mumbai

positivity that we’ve received in response to this workshop, we’ve decided to follow this up with several more knowledge and education based initiatives in 2017.’

Sindo Exports hosts myMix Academy in Singapore

INDIA: d&b audiotechnik’s Indian distributor, Ansata, has maintained its education and seminar strategy for the manufacturer, with the most recent workshop taking place in Mumbai. This latest seminar highlighted d&b’s software, such as ArrayCalc and the R1 Remote control solution, and was presented by Neil Lean and Yatin Tawde of Ansata.

Live sound engineers and rental company owners from across Mumbai, Goa and Vadodara attended the three-day workshop, which was split into two sessions – days one and two comprising a theory session, followed by a practical rigging session on the third

day, during which participants rigged a V-Series system. The live rigging day was held on the grounds of the Holy Trinity Church, where ArrayCalc was used to calibrate the system and R1 provided control.

‘We at Ansata have always strived to deliver the latest in cutting edge audio technology from world class brands like d&b audiotechnik to the fraternity here in India. Workshops like these are a decisive step in the direction towards enhancing the capacity and value of knowledge and information available to industry professionals in our country,’ said Mr Lean. ‘We’re proud to have done our bit here, and with the overwhelming

‘Line arrays tend to be complicated and an underestimated aspect of the event technology industry,’ said Anthony Fernandes, owner of Casant Entertainers and one the workshop attendees. ‘Workshops, such as the one held in Mumbai by Ansata, have helped end-users gain a better understanding of cutting-edge technologies such as those offered by d&b audiotechnik.’

Also in attendance was Nixon Johnny, director of NJ’s Sound Machine. ‘By dividing the workshop into both a theory and practical session, Neil and team Ansata successfully managed to cover all the nuances of line array technology in terms of how line arrays work, and how the systems express their sound throughout a venue,’ he said. ‘A big word of appreciation goes to the entire team at Ansata.’

www.ansata.net www.dbaudio.com

SINGAPORE: Singapore-based distributor Sindo Exports recently hosted a two-day myMix Academy was dedicated to training Sindo Export’s staff, the next day was open to local systems integrators, consultants, and personnel of rental and recording facilities. Presented by myMix president Mathias von Heydekampf, the seminars were an opportunity for an in-depth, hands-on introduction to personal monitor mixing, including the chance to experience 3D sound imaging.

‘We were happy having Mathias here to share his knowledge for different applications and demonstrate the usage of myMix,’ said Sindo Exports’ director, Koh Yock Kee. ‘The sessions were very informative and productive, indeed.’ ‘There is so much more to personal and in-ear monitoring than added Mr von Heydekampf.

‘We love conducting our myMix Academy seminars as they greatly help educating users.’

The opportunity to get hands-on with personal monitor mixing was provided

www.mymixaudio.com

www.sindoexport.com

Hall 3.1 Booth B11

Germany meets Japan in Thailand

Japanese pro audio industries meet in Thailand.

Discussions between the two parties began at Pro Light & Sound Shanghai in 2015 when SMY’s managing director, Dr Perawat Chookhiatti, met with Adam Hall Asia Pte managing director Chandan Mahtani. It was idea of SMY distributing Adam Hall’s products in Thailand.

company in Thailand represents a big and exciting shift,’ declared Mr Mahtani. ‘We are happy to acknowledge that we could contribute to the expansion of SMY although they have a great brand add value to their overall business by way of our product range and close communications.’

Bodo Falkenried, head of global business development at Adam Hall Group. ‘As we complete the Asian circuit, it is satisfying to see our aim for well-established partners has been successful.’

THAILAND: Adam Hall Group has established an exclusive distribution partnership for Thailand with Siam Music Yamaha Co, Ltd (SMY). SMY is the pro audio division of the Siam Motors Group and its current network of dealers comprises

150 partners, including systems integrators, retailers and wholesalers.

It is also a part of the Japan-based Yamaha Corporation, which makes the partnership with Adam Hall a particularly unique agreement in that elements of the German and

Hall brands within our group, this is as an expansion to the current SMY range of products,’ said Dr in various categories, which we are currently not representing and I know our dealers will be delighted to have a one-stop source solution.’ ‘Partnering with a Japanese

As a result of the partnership, SMY an Adam Hall Group showroom in Bangkok. This is expected to be completed and fully operational by February 2017.

‘The partnership between Siam Music Yamaha is a great step forward for the Adam Hall Group in Thailand and we expect substantial synergies between both parties,’ concluded

In other news, Adam Hall has appointed Great Wall Musical Instrument Co Ltd as the exclusive distributor of all of its brands, excluding Adam Hall Hardware, in China. The distribution agreement forms part of the German group’s subsidiary, Adam Hall Asia Pte Ltd’s strategy to develop ‘a powerful network of well-connected distributors in APAC’.

www.adamhall.com

www.musicgw.com

th.yamaha.com

Stonewater named exclusive Indian Precision Devices partner

INDIA: British manufacturer Precision Devices has appointed Stonewater Audio Labs as its exclusive distributor in the territory. The partnership comes off the back of the two companies’ wide ranging cooperation in manufacturing Precision Devices designed loudspeakers for the local Indian market.

Stonewater is also well-known in India for its installation work, all outlets nationally for 24 brands, including Starbucks, Burger King

and Domino’s. ‘We have been in an ongoing association with Precision Devices where for the last year

we’ve been developing some exciting products together that are aimed at both domestic and

Acoustic Arts named Indian Community distributor

INDIA: Community Professional

Loudspeakers has appointed Acoustic Arts Pvt Ltd as its new Indian distributor. The NewDelhi based A/V distributor was established in 1999 and currently represents various notable brands, including AMX, Audix, beyerdynamic, Biamp, Christie, Powersoft and Televic.

‘With their focus on providing nationwide distribution, together with market-leading sales and technical support for installers and systems integrators, we be a valuable partner,’ said Community’s APAC sales manager, Kim Muurholm Juergensen.

‘Acoustic Arts and Community have already enjoyed good growth in 2016 and with this new partnership we aim to take it to a higher level, working together for is an important market for us, and

with Acoustic Arts’ value added approach we feel strongly we are on the right track.’

‘Prior to distributing the brand we had used Community products when they conclusively offered the best solution for applications. We are pleased to now be appointed as distributor so that we can offer Community’s entire range of outstanding products to our customers,’ explained Acoustic Arts managing director Siddharth Chhibber. ‘Community is, of course, a market leader in large-scale all-weather loudspeakers, but they also excel in architectural environments, for which we see a great need in India. With outstanding audio quality, proven reliability and a comprehensive product range, Community

we can provide and is a welcome addition to our portfolio.’

www.acoustic-arts.com

www.communitypro.com

international markets,’ explained Stonewater’s director of marketing Vikram Shetty. ‘We have a state of the art factory here in India where we manufacture cabinets of the highest quality using precision

birch plywood under stringent quality control. Critical transducer components are manufactured in UK while assembly is done in India. Mark Oldroyd, technical director at PD and a man with golden ears, was personally responsible for shaping the tonal character of the

new Stonewater products. So you see, this is a much deeper level of cooperation than anything else the market has seen.’

To support the new distribution agreement with Precision Devices, Stonewater will be launching a wide range of PD transducers including compression drivers dedicated booth at Palm Mumbai 2017.

www.precision-devices.com

www.stonewaterindia.com

Midwich Australia takes on EV and Dynacord

ANZ: Bosch Communications Systems has formed a distribution partnership with Midwich Australia covering Australia and New Zealand. The agreement sees the New South Wales-based distributor take responsibility for sales and provide support for Electro-Voice and Dynacord branded installed audio products, including loudspeakers, microphones from both Bosch brands.

‘We are very happy to join forces with Midwich Australia,’ enthused Chris Dellenty, general manager of Bosch Security Systems Pty Ltd.

‘Midwich represents a dynamic company with both global and local expertise to support the needs of the customer. I am looking forward to a successful partnership between the two companies, our customer bases and the integrated pro sound and A/V markets.’

‘Bosch is a world leading company that’s well-respected across the industry for its innovation and

the Midwich Australia stable of premium brands,’ concluded Michael Broadbent, managing director of Midwich Australia. ‘We’re looking forward to serving existing Bosch audio clients in this region and are excited to grow and develop new opportunities into the ANZ marketplace.’

www.dynacord.com

www.electrovoice.com

www.midwich.com.au

INDONESIA: Adamson Systems Engineering has added to its global distribution network with the appointment of a new exclusive distributor for Indonesia: Big Knob Audio. Big Knob has more than a decade of experience as a pro audio and MI distribution company and will provide sales and support for the manufacturer’s products throughout the country.

‘The latest series from Adamson are just superb in terms of sound and build quality and we look forward to furthering the brand’s already stellar reputation in our market,’ enthused Timo Wibianto, senior partner at Big Knob Audio. ‘We are more than thrilled to partner up with Adamson and represent

the company’s high-performance products in the Indonesian market.’

Following the appointment, Adamson’s sales manager for the

ANZ distribution

ANZ: AtlasIED has appointed Hills as its exclusive distribution partner for Australia and New Zealand. The move has been described by the audio communication solutions manufacturer’s president and CEO, John Ivey, as providing his company with a long-term business partner that will be able help grow the brand in both countries.

‘AtlasIED is honoured to partner with Hills. They are a visionary distributor with solid support infrastructure across the entire ANZ region. They perfectly match our growth strategy,’ said Mr Ivey.

‘Hills has deep dealer support systems that will make choosing from our range of audio, digital paging, sound masking, security, evacuation, and IP endpoint solutions easy.’ Hills delivers distribution support across various markets, particularly the transport, education and healthcare, corporate, government and retail sectors. ‘Hills continues to build and invest in our A/V business, attracting global technology leaders with products that reinvigorate our portfolio and create opportunities for sales and

David Dohrmann, met with Mr Wibianto in Bali to sign the formal agreement and to deliver training.

Big Knob staged a demonstration event on the island, showcasing the manufacturer’s S-Series products

to both its current and prospective Dohrmann were on-hand to provide support.

‘Big Knob is a pinnacle example of how to build markets. They support younger companies and provide them the foundation to grow,’ explained Mr Dohrmann. ‘They our products to the market and translate the narrative of our brand to attract the right partners. I’m looking forward to the coming season with exciting events and opportunities.’

The ‘right partners’ of which Mr Dohrmann describes includes Indonesian rental company Soundworks Jakarta. Soundworks’

inventory includes E-Series and S-Series systems that have been as Brian McKnight, Boyz II Men and David Foster. The company has also completed a number of products, including at the Jakarta Praise Community Church.

‘We believe in this product and company wholeheartedly,’ said Pongky Prasetyo, director of Soundworks, discussing Adamson. ‘They have proven to be a top-notch partner with the most musical systems I’ve ever heard.’

www.adamsonsystems.com

www.bigknob.net

www.soundworksjakarta.com

‘I’ve had the privilege of working with Hills previously and have always been impressed with their level of technical expertise and in Hills’ ability to provide our mutual customers with the complete package of products and support that they need to be successful,’ he commented.

growth,’ explained Hills CEO, David Lenz. ‘As the largest value-added building technologies distributor in the ANZ region, we have a deep understanding of the industry and what end-users want, and we

look forward to developing this partnership with AtlasIED to provide a total A/V solution for customers.’

AtlasIED’s international sales manager, Dean Standing, has prior experience of working with Hills.

‘We see the AtlasIED product existing portfolio,’ concluded Dan Fletcher, head of audio visual product practice at Hills. ‘We have appointed a dedicated manager for the product and we expect strong market interest.’

www.atlasied.com

www.hills.com.au

catalogue expands with Klang

manufacturer’s founder and marketing director, Dr Pascal Dietrich. ‘A genuine enthusiasm for music and the arts, combined with providing the highest level of technical support, makes Huahui the ideal distributor for our innovative product range. We’re pleased to welcome them as our partner.’

Beatbox Entertainment adds API to its repertoire

CHINA: Klang Technologies has announced Beijing Huahui Audio Technology Co, Ltd (Huahui) as its new Chinese distributor. The distributor’s services include consultancy, design, installation, technical support, training and sales.

‘Klang Technologies is breaking new ground in performance technology and China is a substantial market, really important for us,’ said the

‘As a professional audio product distributor we have good relationships with major rental companies and sound engineers throughout China,’ said Allen Xu, senior solution advisor at Huahui. ‘By working with Klang we can provide artists with the tools to help give them better performances on stage, and provide an opportunity to expand Klang’s business.’

www.hh-audio.com

www.klang.com

INDIA: API (Automated Processes Inc) has appointed New Delhibased Beatbox Entertainment Pvt Ltd as its new Indian distributor. In addition to serving as a distributor of pro audio, studio, live sound, recording and broadcasting equipment, Beatbox Entertainment also provides consultancy, project management and commissioning services.

‘By adding API into our portfolio, we can offer our customers a wide range of their signal processors, modules and analogue consoles,

Radial joins portfolio

JAPAN: Electori Co has taken on the Japanese distribution responsibilities for Radial Engineering Ltd’s Radial and Tonebone brands.

which have established a legacy in the audio industry,’ said the distributor’s director, Suchit Ahuja. ‘Our close relationship with top engineers, musicians and producers allows us to extend our reach, and we’re excited to add API to our brand portfolio. Over the last 10 years, Beatbox Entertainment has established itself a premier supplier of high-end studio recording gear in India.’

www.apiaudio.com

www.beatboxentertainment.com

SSL selects Vintage Studio as its Thai distributor

THAILAND: Vintage Studio has been named as the new Thai distributor of Solid State Logic’s (SSL) product catalogue. The Bangkok-based company operates a working recording facility, which provides a unique environment in which to demonstrate SSL’s products, as well as to host promotional events.

‘Thai people often say they want the “Western sound”. They want their productions to be clear and “big”. They want recordings to match up

to the instruments and voices that they bring to the live room and they want their studio tools to give them creative options,’ said Vintage Studio co-owner, Teerawat Puengrusme, known as Bill. ‘SSL SuperAnalogue technology can give them that - and it’s not just limited to the biggest

rooms and budgets.’ The facility comprises three recording studios, a team of

‘We look forward to working with the team at Electori Co whose business philosophy aligns well with that of Radial,’ stated Steve Mckay, international sales manager at Radial. ‘They are known for their rigorous vetting process when taking on a product or line. Radial’s renowned build quality and sound performance was key. From our perspective, their longevity and attention to aftercare was very appealing. We anticipate a highly successful long term relationship.’

www.electori.co.jp

www.radialeng.com

www.tonebone.com

engineers and support staff. In addition to hosting recording artists, it is also in the process of developing an educational programme with a number of universities.

Mr Puengrusme summed up by predicting that SSL and Vintage philosophy,’ he said. ‘It’s about great equipment and great support.’

www.solidstatelogic.com

www.vintagestudiorecording.com

APPOINTMENTS

WORLD: Klas Dalbjörn has joined Powersoft as product manager, bringing aboard more than 24 years of industry experience gained gruppen. The Italian manufacturer states that Mr Dalbjörn will ‘add considerable strength and gravitas to the development team, headed by co-founder and R&D director, covers the entire Powersoft product portfolio.

‘After 24 years in the pro audio business I felt ready to embrace a

ASIA: Michel Brouard has taken on the role of business development manager for after joining the manufacturer as Greater China business development manager. Mr Brouard will retain responsibility for China, Hong Kong, Macau and Taiwan, with his remit expanded to cover Japan, South Korea and Mongolia. Just as when Mr Brouard took on the Greater China business development manager role, the job

of business development manager created position.

‘Michel will play a critical role in increasing the presence and Mullor. ‘Keeping his responsibility for China, he will now be active in other Asian territories that he knows well, working closely with sales director Denis Baudier.’

www.nexo-sa.com

AUSTRALIA: Technical Audio Group (TAG) has appointed Bryan Davidson as consultant liaison.

previously, leading A/V installation sales. Before that he worked in the rental market. At Genelec, he will build upon the monitor

knowledge and unique skills to Genelec, giving us an excellent

WORLD: Genelec has appointed to lead its international sales department. Taking on the position of international sales director, Mr Jensen’s appointment coincides company as sales manager.

distribution positions at the likes of Yamaha and TC Group, where he became VP of sales for broadcast and production and developed the company’s European pro audio distribution network. His most recent role saw him lead worldwide distribution at Dynaudio Pro and he will develop the international network of sales partners and distributors within the professional sector at Genelec.

opportunity to further our relationships with our distributors, dealers and end customers,’ said at Genelec. As we face the exciting opportunities that lay ahead, we feel fortunate to have such a strong team, and we are delighted team.’

www.genelec.com

Established in 1984, TAG is headquartered in Sydney and distributes Allen & Heath, AudioTechnica, Martin Audio and QSC throughout Australia. As a leading supplier of professional equipment for the concert touring, commercial and retail markets, TAG also has managers in Brisbane and Perth. Mr Davidson’s newly created role will enable TAG to develop closer relationships with the nation’s consultancy groups. Previously Mr Davidson served in a similar consultant liaison role for A/V distributor Hills and prior to that as senior sales engineer for EVI Australia, APAC Audio and Bosch Communications over a 25-year span.

‘During my time at EVI and Bosch, I was increasingly working with consultants who drew on my product knowledge to assist their system designs,’ explains Mr Davidson. ‘This is my specialist position and one which I most enjoy.’ Having developed a close friendship with TAG company founder Anthony Russo over 25 years, Mr Davidson has long admired the company’s virtues and the respect it has earned in the

new challenge,’ said Mr Dalbjörn. ‘For many years I have been impressed by the level of innovation and growth of Powersoft. I share many of the values held by the owners, so I am very excited about contributing to the future growth of the company. I look forward to assisting in the process of growing the product portfolio to cover both new and existing applications for our global customers and partners.’ Powersoft’s sales and marketing the key ingredient in a sustainable business is its people. ‘This is particularly true in a professional industry which depends on personal relationships. Maintaining a dynamic and progressive one-onone relationship with our clients and partners is key in consolidating our leadership in innovation,’ he said. ‘This has been our vision from day one, but we cannot implement this without highly skilled professionals like Klas who share our passion and ambition. He understands that what drives a company’s success is not just about having a revolutionary

idea but those who contribute to making it real.’

Meanwhile, Karl Kahlau has vacated his role as regional sales account manager for EMEA and India for Powersoft, assuming the position of executive director, Deva. more senior and experienced members of management, Mr Kahlau will oversee the Deva family of products as an effort is being made to reform its global sales and support strategy ahead of release.

www.powersoft-audio.com

personal relationships that Bryan has developed with Australia’s consultant community during his long and established career has earned him great respect.’

‘I’m re-energised to be working with a dedicated team of professional colleagues and surrounded by a raft of leadingedge products,’ furthered an enthusiastic Mr Davidson. ‘I’m especially excited about Q-Sys as it’s undoubtedly the leading AVC platform and to play a part in developing that with TAG promises to be very rewarding.’

www.tag.com.au

market. ‘Anthony and I worked on almost 20 years ago, designing a system for linesmen to talk into their wireless transmitter equipped referees’ in-ear receiver. Anthony’s innovative and creative ideas were always well ahead of the game, pardon the pun.’

‘Having consolidated our product portfolio into four leading brands several years ago, TAG is now

explained Mr Russo. ‘We have a great and expanding team here and someone with Bryan’s experience, skillset and market knowledge is a wonderful opportunity for us. The

Wil Stam appointed managing director of ASL Grass Valley splits APAC operations between new hires

WORLD: Following its acquisition by Riedel Communications, ASL Intercom has appointed Wil Stam as its new managing director. Ms Stam will lead the team at the

production in the Netherlands and has seen her travel the world. She has worked as project manager for Klotz Digital in Asia and Australia, held executive roles across sales and operations management with Salzbrenner Stagetec Mediagroup Australia and led the start-up and incorporation of Stagetec’s establishing an international partner business in Asia and Australia.

‘It’s an honour to lead ASL’s outstanding team of professionals,’ commented Ms Stam. ‘ASL has a tremendous reputation for its highquality, European-built products and

APAC: Grass Valley has expanded following a successful year in the region. Somu Patil has been named as the Belden brand’s vice president of sales for Asia, while Ward Hansford joins the company to take on the role of vice president of sales for Oceania.

intercom and party line solutions manufacturer, while building the brand across the global A/V market and strengthening market share.

Ms Stam’s career beginning as an audio engineer for theatre

‘With Wil Stam, we have an experienced executive with extensive knowledge of international sales and operations,’ explained Jacqueline Voss, manager of corporate development at Riedel Communications. ‘This knowledge, combined with her lifetime of audio experience and achievements, makes her the ideal leader to take ASL forward.’

www.asl-inter.com

The two appointments are the result of Grass Valley dividing its APAC operations into two separate regions, which it states will improve the customer and partner experience and strengthen its local presence in each area. The new Asia region comprises China, Japan, North Asia, South Asia and ASEAN, while the Oceania region includes Australia and New Zealand.

Based in Hong Kong, Mr Patil has been with Grass Valley since 2013, serving in a number of roles, including that of regional director for South Asia and ASEAN. He has more than 20 years of relevant industry experience and will act as the direct report for regional pre-sales and regional sales operations in his new position. With over 30 years of industry experience, Mr Hansford lives and works in Sydney, Australia. His most recent role, prior to coming aboard Grass Valley, was as head of APAC television at Ericsson. Mr Hansford has also been active with SMPTE as its Australian section chair.

‘Our teams have helped us to establish Grass Valley as a powerhouse in the overall APAC market and set the organisation on course for a solid 2017,’ said Stephen Stubelt, senior vice president of global sales at Grass Valley. ‘The changes we’re making are aimed at continuing our growth and addressing the individual business opportunities in each of these areas. Under the experienced leadership of Somu and Ward, we’re ready to help our right solutions for the changing demands of the broadcast and production markets.’

www.grassvalley.com

The next stage of Class SSA : ®

Meyer appoints Indian sales manager

ASIA: Sandeep Braganza has joined Meyer Sound where he will manage sales for the organisation’s Indian operations. In his new role as sales manager, India, Mr Braganza will report to the manufacturer’s new sales manager, Middle East, Africa and India, Chris Mead.

Mr Braganza possesses previous management experience, having served as the manager of business development and application for India and Sri Lanka at Pro Visual Audio Pvt Ltd, which he initially joined as an application engineer. He has also held a number of engineer roles

at companies including Harman International, Electrocraft and Sound.Com.

‘We are extremely excited to have Sandeep join the Meyer Sound sales team, and are committed to developing our business in the Indian market,’ said Mr Mead. ‘Recruiting a local sales manager with Sandeep’s experience and connections is a major step in driving sales for the region.’

‘I am extremely proud and excited to be a part of the Meyer family,’ enthused Mr Braganza. ‘Meyer Sound has been at the forefront of

audio excellence and innovation with solutions for every vertical. I look forward to contributing towards the growth of the business in the Indian subcontinent.’

In related news, Brian Chow, who joined Meyer Sound last year as part of the manufacturer’s technical support team in Hong Kong, has been promoted to the role of sales manager, Japan and South Korea. He will remain in Hong Kong and report to director of international sales, Scott Gledhill.

www.meyersound.com

Adam Hall adds emphasis to its integrated systems division

WORLD: The Adam Hall Group

positions. Gabriel Alonso Calvillo is working for the company as product manager, integrated systems, while Patrick Roth is serving as sales representative, integrated systems. As the job titles indicate, the appointments are in an effort to strengthen and develop Adam Hall’s integrated systems division.

Mr Calvillo joins Adam Hall with vast experience in the installation technology sector gained during the course of the last 12 years. He started his career at a Spanish television network, before joining the technical department and

Industry veteran Jim Mack becomes Ashly CEO

at TASCAM, CEO at PreSonus and executive vice president at TEAC.

As CEO of Ashly Audio, Mr Mack is tasked with expanding the business within its existing markets while also venturing into new ones. He will report directly to Jam Industries president and CEO Marty Szpiro.

‘Jim has a depth and breadth of experience that makes him a real asset,’ said Mr Szpiro. ‘He has proven people and recruiting skills, and a tactician’s instinct. Ashly is an essential and strategic asset in Jam Industries’ portfolio, and we’re thrilled to have Jim on the team.’

‘I’m looking forward to growing Ashly by taking it in new directions and by growing its share in existing markets,’ enthused Mr Mack.

installation department at Lexon SA, a pro audio sales company. While there, he would work his way

up to the role of product manager for various brands.

‘The installation market has great we offer interesting solutions that meet the needs of the market,’ said Mr Calvillo. ‘I feel honoured to accompany the Adam Hall Group on its wonderful journey; this is a big challenge for me.’

Mr Roth, meanwhile, trained at the old Capitol Theatre and Offenbach Concert Hall, getting involved in a variety of theatrical, concert and television productions. He studied sound and music production in Darmstadt and

simultaneously established his own business, planning and setting up for events across Germany. He also supervised the implementation of technical media

‘As a graduate sound engineer and trained event technician, I am now the interface between sales and technology,’ declared Mr Roth. ‘I would not only like to strengthen the integrated systems division at the Adam Hall Group, but also take it further.’

www.adamhall.com

TMD hires regional manager to handle APAC growth

APAC: Following recent growth management company TransMedia Dynamics (TMD) has appointed a new regional manager in T Vimalanathan. A broadcast and archive industry veteran of the APAC region, Mr Nathan will lead local sales and support efforts while implementing and

WORLD: Ashly Audio’s parent company, Jam Industries, has hired Jim Mack to serve as the brand’s new CEO.

Mr Mack possesses over 30 years of pro audio industry experience notable roles as general manager

‘Ashly’s stable, passionate and talented team was a big draw for me. I’ll add to their strengths, not change them. I’m especially excited to work with (Ashly Audio president) Mark Wentling, whom I’ve known for a while.’

www.ashly.com

management systems for key clients across the region.

Mr Nathan previously served as CTO at Orange County Sdn Bhd and lives in Singapore.

‘Nathan is very well connected in the region, which is a huge bonus for us,’ stated Carlton Smith, recently appointed CEO of TMD.

‘Our customers entrust us with their assets, which means that the bond between TMD and the client has to be one of complete honesty and trust.’

Mr Smith was recently promoted within TMD from the role of chief from company founder Tony Taylor, who has stepped into the position of executive chairman. ‘As CEO, Carlton is going to be driving the company forward, freeing me to take the strategic overview, ensuring we remain the strongest solutions in the market,’ said Mr Taylor.

www.tmd.tv

25,000 attendees, 250 exhibitors, 500+ brands, 10 show features, your only opportunity in India.

PALM Expo India is the most awaited exhibition within the Indian pro sound & lighting industry. PALM 2017 will be the biggest ever exhibition showcasing products & technologies from across the world. Come and experience live demonstrations of newly launched products, learn and share knowledge with industry speakers, participate in workshops and training programs, witness global product launch of some key brands.

SD12 promises the best of everything

DiGiCo is aiming to deliver the best features of its S and SD lines with its new SD12 mixing console

DIGICO IS describing its SD12 console as the culmination of everything that it has learned over the last decade and a half. The desk borrows from the S and SD series of consoles, uses the latest generation of Super FPGA and has a compact footprint. In terms of the technical specs, the SD12 features 72 input channels, 36 aux/group busses, a 12 x 8 matrix and LR/LCR bus all with full processing. The desk also offers 12 stereo effects units, 16 graphic EQs, 119 dynamic EQs, 119 multiband compressors and 119 DiGi-TuBes, 12 control groups (VCA) and SD Series Stealth Core 2 software, making it compatible with all other SD Series sessions.

It has dual 15-inch digital touchscreens which were previously only seen on the SD7 and SD5. These screens provide 24 channels in one view, dual operator mode and the ability for the right-hand screen to be the Master, as well as connectivity via optional DMI cards.

EQ and dynamics controls are aligned next to both the left and right-hand screens and

sit adjacent to the graphic representation seen when an EQ is assigned. The manufacturer has also included its Hidden Til Lit (HTL) technology, with two banks of 24 encoders featuring an RGB HTL ring, as well as an SD7-style channel strip with HTL EQ encoders. There is also new dynamics metering on the channel strip and new high intensity meters associated with the faders. The rotaries that sit below the screen indicate, by colour, what parameters they are controlling, these are also HTL. In terms of feedback of the metering, alongside the dynamics controls are gain reduction meters normally only seen on the SD7 and SD5 and metering to show the action of the gates.

There is also an assignable Master section on the bottom right hand side of the worksurface, again only previously seen on an SD7 or SD5, and two assignable faders with their own displays and metering, which can be assigned to be any of the channels whether input or output, or Solo Master controls. Dedicated RGB scribble

total of 25 macros, and there is a Snapshot panel for quickly accessing and controlling next and previous Snapshot.

On the back of the console are eight local mic/line inputs, eight local line outputs and eight AES/EBU in/out for local digital sources, as well as two Madi ports, plus a UB Madi connection for recording at 48kHz. A reported 48 tracks of recording are possible with the console clocking at 48kHz and 24 tracks if it is clocking at 96kHz. There are two slots for DMI cards. Options include a Dante module, which can be plugged straight into the back of the console and a Waves module alongside a variety of DMI cards that can be changed between different projects.

The SD12’s suite of remote control options include the iPad SD remote app. session preparation and online remote.

www.digico.biz

Latest Lawo update goes live

THE LATEST software update from German manufacturer Lawo for its mc2 series mixing consoles has added several new features geared to the HOW, theatre and live sound markets. This upgrade demand from customers to use our consoles’ in these environments. Consoles running version 5.8 now feature Module ISO to prevent certain settings from being loaded from snapshots, or to create partial snapshots that only affect certain channels or modules. Aside from this, the update provides Ravenna

audio-over-IP integration for Neumann DMI-8 digital microphone interfaces. Also in line with increased use of the manufacturer’s consoles on the live side of the industry, a new interface card for Lawo’s modular Nova73 processing and routing core has been unveiled that will provide native Dante support for its mc2 consoles.

The 981/65 card features four redundant Dante ports with 64 channels each, resulting in a total

Acuity enhanced

IN ORDER to better serve the needs of high-end production environments working in SD, HD or UHD formats, Version 5.0 of Ross Video’s Acuity vision mixer has grown its capabilities.

The release sees the mixer’s MultiFeed functionality improved with added Split ME controls. This makes it possible to set up an Acuity ME as two MEs with up to eight keyer assignments. The Version 5.0 release reportedly allows an eight ME machine to be four ME UHD (4K) switcher. Other

features include new warp effects and lighting engines while a new signal processing format enables Acuity to accept 1080P25 inputs and manage them natively.

Further to this, in a collaborative effort with Evertz, Acuity can be equipped with IP (10G) I/O signal management. The Acuity IPBlades work with Aspen and SMPTE 2022-6 Protocols and also provide standard SDI connections. According to the manufacturer, these IP I/O cards can coexist with standard Acuity I/O cards permitting hybrid IP/SDI

capacity of 256 audio channels per card.

‘Whilst the broadcast industry

embraced AES67 and Ravenna as the audio-over-IP standard, Dante

install and live sound markets. With the new interface card customers can now connect their Dante-based equipment directly to our mc2 consoles’, explained Lawo’s live sound specialist, Hervé de Caro.

With the aim of further supporting the live sector, Lawo has already announced plans to add 96kHz Ravenna operation in the near future, as well as a networkoptimised gain compensation.

www.lawo.com

Ecler adds to essentials

DESIGNED FOR BGM and paging solutions, Ecler has added the eHMA60 and eHMA120 selfpowered installation audio mixers together with the WPmH-AT100 high impedance volume control to its growing Essentials range of products.

The Spanish sound reinforcement manufacturer has also redesigned the Arqis 110 and 112 loudspeaker enclosures. The Arqis 110 now includes a new woofer transducer providing a 30 per cent power boost from 170W to 220W RMS. Both the 110 and 112 models are

In related news, Ross Video has also released the Acuity DoubleDown Panels. Aimed at large I/O systems in sport and other fast-paced productions where shift functions to access mapped sources are undesirable, DoubleDown bus models double the number of key/aux bus assignment buttons for every ME row. The manufacturer states that this greatly reduces or eliminates the need for shifts entirely.

www.rossvideo.com

The sum of Sigma adds up

TARGETING FIXED installation with what it describes as an ‘unobtrusive design’, Wharfedale Pro’s new Sigma Series aims to provide installers and end-clients with a range of rigging options and discreet cosmetics with each model in the series available in a

latest generation chip resistant Rhino Rock paint. The manufacturer introduced the series with eight, 10, 12 and 15-inch two-way models, the Sigma-8, 10, 12 and 15 respectively, as well as an 18-inch subwoofer, the Sigma-18B.

Each model comprises proprietary Wharfedale Pro driver technology with a curved double-roll surround system as the LF driver. The HF compression driver, meanwhile,

features a 44mm diaphragm with a solid aluminium rear plate. The cabinets are of a size that has reportedly been reduced due to the manufacturer’s new angled-corner port system.

Dual-angle pole mount sockets are included in the 10, 12 and 15-inch models in an effort to ensure that HF is reached. All four of the two-

And already the Sigma Series has expanded with the Sigma V4 and Sigma V8 joining the range. The V4 utilises four 3-inch full range transducers, while the V8 makes use of eight. The alignment of transducers in both models aims to deliver minimal anti-aliasing effects and maximum phase alignment and

an ultra-wide horizontal dispersion of 160-degrees is reportedly achieved. Swivel/tilt mounting brackets accompany the cabinets, both of which are also available in black or white.

www.wharfedalepro.com

The eHMA60 comes with a 60W powered mono output that supports 4-ohms or high impedance speakers together with one mic and two mic/ line stereo inputs. Other features include an audio priority system, two-band tone control, auto standby mode, mute port, auto standby function and a universal power supply unit. Compatible with external 24 VDC IN backup supply systems, the eHMA120 self-powered mixer includes an extra mic/line stereo input. In addition to incorporating the same features as the eHMA60, it also includes independent two-zone on/off switches, an audio priority system available in three inputs and a pager/embedded chime function.

The WPmH-AT100 volume control unit can operate up to 100W and comes with a surface-mount installation box.

whilst new U-bracket optional accessory kits provide enhanced installation options. Augmenting the two-way speakers, the Arqis SB10 is a newly-designed wooden subwoofer that features a 10-inch woofer (150W RMS at 8-ohm) and internal LPF with two frequency settings. Also available in black or white, the SB10 comes with 12 M10 rigging points and wall-mounting hardware.

www.ecler.com

New from DiGiCo

SD12

SETTING A NEW STANDARD

Predictably Stunning

In 2015, DiGiCo launched its compact S-Series, which last year, the whole SD Range became much more powerful thanks to the introduction of Stealth Core 2 meet the new and predictably stunning SD12.

compact multi-application consoles, it simply rips it up and starts again.

Main Features

72 input channels with full processing

36 aux/grp busses with full processing LR / LCR bus & 12 x 8 Matrix

12 FX processors & 16 Graphic EQs 119 Dynamic EQs, 119 Multiband Compressors, 119 DiGiTuBes

Advanced surface connectivity with optional DMI cards UB MADI & optional Optics

The PT-70 performs

FOHHN AUDIO AG developed its Perform-Series, as the name suggests, for live performances. Therefore, the manufacturer looked to ensure that the newest addition to the series, the PT-70 in delivering concert sound and surviving touring life. Part of the extensive testing process involved putting the PT-70 to work, providing the sound reinforcement across Fohnn’s home country of Germany – at the Rantastic in Baden-Baden, the 28th Ehinger Jazztage at Jazzclub Ehingen and a performance by Axel Rudi Pell at Rockfabrik in Ludwigsburg.

A horn-loaded, passive, two-way speaker, the PT-70 has been designed to serve as a sound

solution for smaller venues, indoors and out, or as an extension for bigger line array or beam steering systems at larger arenas. Targeting the rental market in particular, it can also be used as a multi-functional plug and play solution.

It includes the manufacturer’s Convertible Dispersion Technology (CDT), which enables it to be manually switched between vented and cardioid operational modes. With a pair of 12-inch chassis, compression chamber and horn, as well as a 1.4-inch compression driver on the CD horn, the PT-70 possesses a passive crossover, featuring a voltage-controlled circuit and an integrated mid-range waveform system.

Fohhn’s PT-70 underwent real-world testing

DAS tool answers coverage questions

DAS AUDIO has developed an online portal to help users determine the size of system they require for an event. The Event Line Array Systems Performance Simulator has been designed to calculate how many of the manufacturer’s Event 208A or Event 210A systems are required to properly cover a given audience, or a determined audience area. The manufacturer intends for this tool to be simple to operate and has based the simulator around some standard questions. Users are asked to select the system, whether the loudspeakers

Two different beam dispersion angles are available: 90-degrees x 50-degrees and 60-degrees x 50-degrees. The maximum sound pressure level is 140dB, the frequency range is from 52Hz to 20kHz and the load capacity is 900W nominal, 3,600W peak. With dimensions of 400 x 850 x 450mm and a mounting bracket system designed to allow it to stand alone on a tripod or be brace reinforced multiplex birch plywood, coated with scratchas standard (other RAL colours are available on request) and weighs 39kg.

www.fohhn.com

New Design to CM Series

TAKING THE technical aspects of the Apart Audio CM series of in-ceiling speakers and adding a thin-edge grille and integrated neodymium grille manufacturer has introduced the CM Design series. In terms of functionality, Apart states that the CM1008D, CMX20DT, CM608D and CM20DT don’t differ in their performance compared to the non ‘Design’ models. The speakers also feature the

the area to be covered, or the number of people in the audience. With this information the tool will output a wealth of data, including the number of Event 208A or Event 210A systems required, maps, and rigging data. The tool can reportedly be used to calculate areas up to 35m x 35m or an audience size of up to 4,900 people.

The Event Line Array Systems Performance Simulator can be found directly on the manufacturer’s homepage.

www.dasaudio.com

Apart’s CM Design speakers which feature a new grille

Apart Quick Fit connector (70 - 100V) for fast connection via push terminals. Additionally, a transformer tappings sticker gives a clear colour indication for which power tap needs to be used.

www.apart-audio.com

Media is black and white for RCF

An Active approach to aesthetic design

ACTIVE AUDIO is targeting high-end stores and restaurants, bars and hotels with its new loudspeaker range, Vendôme. This is evidenced by the fact that the manufacturer has reportedly designed the series with aesthetic and personalisation aforementioned establishments, highlighting this alongside the audio reproduction qualities of the speakers themselves. There are four Vendôme series available, each of which offers a different look.

Vendôme speakers are designed to match a venue’s decor

The Classic Series comes in black, white or ‘natural’ (varnished meanwhile, sees the user provided with a unit in white primer and a masking kit for adding their own

The Color Series supplies the in the colour of their choice, allows the incorporation of any

www.activeaudio.com

WITH A pair of new additions as well as black or white colour options, RCF’s Media Series of two-way passive speakers for small to mediumsized installations has been expanded.

The new releases see 10inch and 12-inch models added to the range, while the manufacturer insists that offering the range in white will make them suitable for almost any environment and architectural constraint.

Starting with the new models, the M1001 and M1201 offer a 10-inch and 12-inch woofer respectively. Both models have 1-inch driver on a 90-degrees x 60-degrees constant directivity horn and a power handling capability of 300W AES. They both use oversized magnets and Kapton diaphragm compression drivers while the Low Impedance Compensated Crossover (LICC) design provides electronic protection for the driver.

As with the earlier M501, M601 and M801 cabinets, the new models can be wall- or ceiling-mounted thanks to installation points on the rear panel, top and bottom and Vesa Mount facilities on the rear of the cabinets.

All models feature a steel front grille with double mesh polyester cloth, rotatable RCF front logo and a 4-pin Euroblock connector.

www.rcf.it

ULTRA-COMPACT MODULAR LINE SOURCE

Packing a 138 dB wallop, Kiva II breaks the SPL record for an ultra-compact 14 kg/31 lb line source. Kiva II features L-Acoustics’ patented DOSC technology enhanced with an L-Fins waveguide for ultimate precise and smooth horizontal directivity. WST® gives Kiva II long throw and even SPL, from the front row to the back, making it the perfect choice for venues and special events that require power and clarity with minimal visual obtrusion. Add to that a 16 ohm impedance for maximized amplifier density and a new sturdy IP45 rated cabinet, and you get power, efficiency and ruggedness in the most elegant package. www.l-acoustics.com

SoundTube speakers achieve IP65 rating

FOUR OF SoundTube

Entertainment’s SM-EZ speaker family have achieved an IP65 rating. The SM52-EZ, SM52-EZ-WX, SM82EZ-II and SM82-EZ-II-WX have all at the speakers. The –WX models are IP65 capable out of the box, plug is installed.

SM-EZ speakers are constructed

SM-52-EZ-WX and 8-inch in the SM82-EZ-II and SM82-EZ-II-WX. All use the manufacturer’s proprietary BroadBeam Ring technology.

and SM82-EZ-II offers 25.5V, 70.7V bypass. The SM82-EZ-II and SM82EZ-II-WX uses a 64W transformer 8-ohm bypass. Inputs are made via

ceramic terminal strips. Heading back indoors, the manufacturer has added Dante capability to some of its in-ceiling and surface-mount speakers. A unique addition comes in the form

Next-proaudio launches Powersoft-powered sub

to any STNet speaker on the speakers can also be connected

SoundTube’s speaker monitoring groups of speakers; if a problem

NEXT-PROAUDIO HAS launched a

Series natively supports AES3, Dante digital streams, providing up to four different selectable input sources per channel.

The SM52-EZ is now IP65 rated

connection of non-Dante speakers

SoundTube IPD in-ceiling models and one surface-mount speaker

Master IPD4 speakers. The system not only permits individual setup of speakers, it provides 40W per channel PoE

system manager’s screen. Clicking up the information for the group having an issue. A Dante system controller DSP via a gigabit Ethernet port. Up to 16 speakers may be connected second gigabit Ethernet port for expansion of the system. The IPD4 Master Dante-enabled additional non-IP speakers. www.soundtube.com

and, according to the Portuguese manufacturer, has been designed to

precision and punch at incredible pressure levels’.

provide 5,200W per channel at 2-Ohms, in addition to a DSP-

PMC grows ATL

PMC SPEAKERS has expanded

range. The MB3 and BB6 are the result of feedback from industry professionals, producers and engineers for ‘ultra-high-resolution analogue inputs, designed for in recording, mixing, mastering and outside broadcast applications’. Both monitors are available in has included its drivers and DSP

ADAM raises

THE THIRD generation of the S increasing size, is ADAM Audio’s for use in audio recording and production.

The S2V, S3H, S3V, S5V and S5H form the range and see – an updated version of the manufacturer’s X-ART.

based on the most recent SHARC chips. Each cabinet in the series is constructed from vibration resistant material to

www.adam-audio.com

improve imaging and dispersion. Building on the designs of the MB2 and BB5 monitors respectively, the MB3 and BB6 feature PMC’s hand-constructed 34mm softBB6 possesses a 15-inch version 17Hz respectively.

to offer 3dB more headroom than their single-cabinet counterparts. For example, the MB3 XBD-A has

each unit is via Control 1200 and inch bass driver.

port tuning is also stated to provide an extremely high peak-to-peak excursion capability, delivering sub version incorporates eight handles

black semi-matte coating, the in either standard or cardioid

www.next-proaudio.com

into each MB3 and BB6 monitor is designed to optimise driver response, maximising dispersion per-octave crossover’. Presets RJ-45 desktop remote control that the listening position.

Two of PMC Speakers’ new monitors, the BB6XBD and MB3XBD

For users running multi-channel systems, dedicated centre-channel versions of the MB3 and BB6 are

the 20 to 60Hz sub-bass range is comprehensively covered’.

While providing shelving EQ and four presets, the DSP incorporated

The cabinets themselves are constructed from highly braced, resonance-damped Medite MDF

HF and MF drivers, radiused edges and acoustically absorbent

www.pmc-speakers.com

Available Technologies:

• ListenRF

• ListenIR

• ListenWiFi

• ListenTALK

For more information please visit:

InfoComm China Booth # CC6-02

www.listentech.com or call +1-801-233-8992

KRK updates V-Series

KRK SYSTEMS has updated its V-Series of studio monitors with the V-Series 4, 6 and 8, each model number representing that system’s woofer size. According to the monitors have been designed applications where accurate reproduction is critical’ and are aimed at recording and broadcast

studios, sound design and audio production facilities. All three models feature 49 selectable equaliser settings, enabling users to cater for

placement anomalies and personal preferences during setup. The monitors include custom designed Kevlar tweeters, woven Kevlar woofers and bi-amped Class-D

Hedd debuts the Type 30

HEDD (Heinz Electrodynamic Designs)

monitor. Although the manufacturer is relatively new, it was established by Klaus Heinz, founder and former head of R&D at ADAM Audio and his son, mastering engineer Frederik Knop, both of whom bring a wealth of studio monitoring expertise to the table. An analogue three-way system, the Type 30 is designed for use during

in-depth mixing sessions, high-end recording, broadcast applications, mastering and video and television postproduction. It houses 7-inch bass

The new V-Series monitors

The new V-Series models also have universal threaded mounting bracket points, EVA foam pad and

an optional protective grille. Completing the feature set of the V4, V6 and V8 is acoustic and desk loading condition correction low frequency EQs, mid and high frequency EQs, an input level attenuation switch and a Neutrik combo (XLR and TRS) connector.

www.krksys.com

and 4-inch midrange woofers with diaphragms made from honeycombsandwich material, as well as Mr Heinz’ Hedd Air Motion Transformer tweeter design, and four of the latest generation ICEpower 300W

Meanwhile, the frequency response is between 32Hz and 50kHz and the Type 30 is also equipped with a modular input card system via an empty slot on the back of the

Wheatstone corrects diversity delay

WHEATSTONE IS claiming its to accomplish off-air monitoring, measurement and real-time correction of HD diversity delay without requiring external gear. The manufacturer describes maintaining precise diversity delay as critical for minimising listener tune outs when the HD signal blends to analogue at the fringes of

a station’s coverage. The proofof-concept FM processor embeds the diversity delay, as well as its measurement and correction, within the audio processor. This means that diversity delay is reportedly always kept in perfect alignment, and removes the need for outboard hardware.

‘In many stations, the FM

processor provides the diversity delay and most FM processors can accept delay corrections from third-

unit, named the Hedd Bridge, which provides the options for connecting via USB 2.0, AES3, wireless and AES67/Dante AoIP. XLA and RCA connections also feature. With 38mm thick frontplates, the cabinet’s construction makes for 530mm wide x 280mm high x 338mm deep dimensions and a weight of 23.3kg.

www.Hedd.audio

party outboard monitors,’ explained Jeff Keith, Wheatstone senior product development engineer.

‘However, when the off-air monitoring, delay measurement and correction functions are all embedded within the processor itself, outboard gear is no longer required.’

AirAura X3 is reportedly the first processor for off-air monitoring

www.wheatstone.com

EAW’s Radius family gains a stage monitor in the RSX12M

Monitoring the Radius

EASTERN ACOUSTIC WORKS (EAW) has expanded its Radius line with the Radius RSX12M. The series now includes units designed to serve addition to monitors.

Featuring onboard 500W per and including the manufacturer’s Focusing and DynO algorithms housed inside a 12-inch vented cone, the RSX12M packs a 2.5-inch voice coil to drive the low frequencies, while a 1- x 1-inch exit 1.77-inch voice coil compression driver handles the highs.

EAW states that the stage monitor is able to offer ‘a uniform coverage pattern of 105 x 105-degrees’ and that the system latency is as low as 2.6ms to provide ‘transparency in vocal monitoring applications’. As with the other members of the Radius family, the RSX12M is compatible with the EAWMosaic system prediction, control and monitoring app for iPad.

www.eaw.com

Level monitoring live and for later

DESIGNED SPECIFICALLY for

analyser is a handheld unit that starts measuring automatically as soon as it is switched on. While it simultaneously records the users to analyse it again at a later stage.

is able to measure the average engineers to determine the level at the loudest point inside a venue to be ready to monitor within a matter of seconds.

display is a level monitoring visualisation tool powered by the and its limit levels are set using the sound level meter and stored

developed to provide engineers with a solution at venues where a mixing console may be positioned at a distance from the measuring device.

in the most suitable part of a venue and the Limit Light mounted

on the mixing console via an brightness and to not stand out at dimly lit concerts or shows.

www.nti-audio.com

Amphion heads out on the road

A COMPACT pair of Amphion studio monitors intended for life on the road has been launched as part of a product bundle combining the One12 studio monitors with a pair of cables and a wooden travel case. ‘The nice thing about the One12 is that you can listen to it up really resolution headphones which are and allow sharing the experience

Klang:fabrik

KLANG’S 3D personal monitor

adds Madi

to appeal to a wider audience

The Klang:fabrik 3D monitoring system

been released to support the enhancements in terms of usability

monitoring engineer

with the production team while

environments where space is a dome tweeter set in a Corian www.amphion.fi

and performers to tailor their own available for free download at the

Powersoft targets mid-sized installs with Quattrocanali

controllable via a web app and Armonìa over Wi-Fi or Cat-5, and feature a customisable interface that is able to display all devices on a single screen.

Linea Research examines installations

WITH THE launch of the Quattrocanali Series, Powersoft has reportedly completed its Installation Series, which already comprised the 2-channel Duecanali and 8-channel Ottocanali Series.

Quattrocanali translates from Italian as four-channel, the new series therefore sits between its exiting Installation Series siblings and is designed for medium applications where the channel count is limited but the need exists for a product to work with Hi-Z and Lo-Z systems.

platform consists of three models: the Quattrocanali 4804, 2404 and 1204. The 4804 operates at either 1,200W per channel at 8-ohms, 1,500W per channel at 2-ohms or 3,000W bridged at

4-ohms, while the 2404 runs at 600W per channel at 8-ohms, 800W per channel at 2-ohms or 1,200W bridged at 4-ohms and the 1204 achieves 300W per channel at 8-ohms, 500W per channel at 2-ohms or1,000W bridged at 4-ohms. All are available in DSP and non-DSP versions.

Each unit includes the Italian manufacturer’s switch-mode power supply with power factor correction in addition to smart rail management and bridgeable switch

output circuit topology. The switchmode power supply is designed to reduce the environmental impact of the product and is what reportedly

1U enclosure.

Powersoft has also added to the Duecanali range with the release of the Duecanali 1602. This new 2-channel model differs from the existing Duecanali versions, which are based on the K Series, and is said to be more in line with the Quattrocanali Series. It is reportedly able to drive low impedance loads (2-, 4 and 8-ohms) and 70V/100V distributed lines selectable per channel. It offers 16 possible

for network audio expansion via the Dante protocol with a capacity of 4x4 channels and has a per channel maximum output power of 800W at 8-ohms, 800W at 4-ohms, 1,000W at 2-ohms, 2000W at 8-ohms bridged, 1,600W at 4-ohms bridged, 800W at 100V and 800W at 70V.

www.powersoft-audio.com

MA40 mini amps debut at ISE 2017

AT ISE 2016, Cloud Electronics displayed a pair of development prototypes: the MA40F and MA40T mini amplifiers. At the 2017 edition of the Amsterdambased trade show, the British manufacturer showcased both models once again, this time as the newest additions to its MA40 series. Both new mini amplifiers are designed to provide

a de-centralised solution for legacy installations that require additional audio zones.

The MA40F’s list of features includes a mono 40W output at 4-ohms, a pair of stereo line inputs with individual input gain, a 70V/100V line input, a paging microphone input with independent EQ, music EQ, music mute and a facility port enabling

BRITISH AMPLIFIER and DSP manufacturer Linea Research is targeting the install market with the C Series, which is described as matching the sound quality, power delivery and performance of the company’s M Series touring

Each of the 88C versions has been developed to output its full rated power into 2- 4- or 8-ohm loads or 70/100V systems on a channel-by-channel basis. As with their M Series cousins, the C Series systems are able to operate on any voltage from 100V to 240V, and have been

The C Series currently consists of a range of models divided between two variants: 44C and 88C.

The 44C variants comprise the four-channel 44C20, 44C10 and 44C06 versions featuring 5,000W, 2,500W and 1,500W respectively, each at 2-ohms per channel.

Meanwhile, the eight-channel 88C variants range from the 1,250W per channel 88C10 to the 750W per channel 88C06 and the 88C03 at 400W per channel.

designed to ensure lower current draw and thermal dissipation would typically accept. The manufacturer’s System Engineer software is used for setup and third party control is allowed via the built-in contact closure, fault relay, RS-232, RS-485 and TCP/ IP interfaces, enabling integration with new and existing control architectures.

www.linea-research.com

the manufacturer’s LM-2 wall input and module and BT-1F Bluetooth wireless audio module to be connected.

The MA40T, meanwhile, has all of the features of the MA40 series, but with the inclusion of a 100V output instead of a low-impedance one.

www.cloud.co.uk

Cloud’s MA40F and MA40T mini amplifiers

RedX integrates SSA technology

REPORTEDLY COMBINING Class-A audio quality with higher than unveiled its single stage Class-SSA minimises the output stage energy

Amate speaks Dante

progressed from Class-A through

www.redxaudio.com

MIXING AMPLIFIERS

“A straight line is the shortest distance between two points”

(Archimedes, 3rd Century B.C.)

eHMA series

is the perfect integral solution for budget and user-friendly professional audio projects

eHMA60 eHMA240

“ECLER ESSENTIALS is the shortest distance between you and your audio projects”

Applications:

— Retail stores, restaurants and bars

— BGM & Paging solutions, with message priorities and source / volume independent selection

Key Features:

— Mixer + amplifier

— MIC & MIC / LINE inputs

— High & Low impedance outputs

— Auto - standby function

— Fanless, 100% silent

— Talkover function available

— 2 - band tone controls for mix output

— MUTE port

— External power supply included (eHMA60 and eHMA120)

www.amateaudio.com

Best of both

UNVEILED AS the successor to beyerdynamic’s Opus 600 series, the German microphone and headphone manufacturer has introduced a new mid-range model to its Tour Guide series, the TG 500.

The model is intended to bridge the gap between its entry-level TG systems, while also providing the best value for money. Crucially, the TG 500 can be used licencefree almost all over the world depending on the frequency band selected. ‘We are now the second or third manufacturer covering this frequency range,’ stated Michael Altemark, product manager wireless microphones. ‘That’s very cool and was one of the main ideas of the system, to cover licence-free areas all around the world. Therefore we also have special frequency versions for Korea, Japan and Australia, to cover the licence-free areas there’.

TG 500 comes with two kinds of handheld transmitters, a dynamic microphone capsule or electret condenser version using the same capsules that are used in the wired models. Following customer feedback, the design and operation of the device is very similar to that of the TG 1000. However, charging

contacts have been included on the handhelds to aid with installed use. The handhelds also feature the same illuminated button as on the TG 100 to tell directly whether the battery is empty or not and it can use either rechargeable or normal alkaline batteries for power. The display on the handheld shows the battery status as well as the frequency being used.

Compared to the TG 1000 handhelds, the TG 500 models offer a mute button at the thumb position. The button is programmable and can be turned off if wanted. ‘We’ve tried to make control very intuitive, and almost everything can be controlled via three knobs – transmitter name, channel, frequency in 25kHz steps, channel, adjust the output gain, selectable RF power (10mW and 50mW),’ added Mr Altemark.

The TG 500 receiver is a durable metal half-width enclosure housing balanced XLR and TRS output jacks, as well as an integrated power supply and antenna splitter. The dual receiver supplies the antenna with phantom power required for using remote antennas, while the diversity antenna operation aims to guarantee optimum reception for all the

receivers. The two audio channels of the dual receiver can be relayed via a common output if desired, without the need for an external mixing console.

Using one receiver per transmitter, sets, each of which contains an individual receiver and two removable antennas. The TG 550 Vocal Set is supplied with the

dynamic TG 500H-D handheld transmitter with a TG V50 capsule and is intended for singing, whereas the TG 556 Vocal Set comes with a TG 500H-C handheld transmitter with a TG V56 capsule, better suited to speech. There are matching microphone clamps for both handheld transmitters. The TG L58 clip-on microphone from the TG 558 Presenter Set can be

Studio Technologies takes analogue to Dante

STUDIO TECHNOLOGIES’ Model 44D is an audio interface that helps to expand Dante’s capabilities to facilities and equipment that primarily support signals in the analogue domain. The generalpurpose tool can interface two-channels of analogue line-level audio to and from applications that utilise Dante audio-over-Ethernet media networking technology. Two Model 44D units can also provide one-to-one signal paths, two in each direction, over a standard local area network. It also supports transport of contact closures or status signals between Model 44Ds and other compatible products. Each unit provides two GPIs and two GPOs. In-band audio signals (20kHz tones) are used to transport the signals through the Dante paths.

Two line-level audio inputs use standard 3-pin female XLR connectors for interfacing with balanced and unbalanced sources. The input audio signals are converted to 24-bit digital and then transported via the Dante interface. Two digital audio signals arrive via the Model 44D’s Dante interface and are then converted to analogue. A pair of 3-pin male XLR connectors on the unit’s back panel provide balanced line-level outputs. A 9-pin

D-subminiature connector, also located on the back panel, is used to interface with the GPI and GPO signals. The front panel features four 5-segment LED meters to display the level of the audio signals associated with the two line inputs and two line outputs.

For compatibility with SMPTE and choice allows the nominal level of the input signals to be +4 or 0dBu. The two analogue line-level output channels can also be set to +4 or

0dBu. Both inputs and outputs are electronically balanced, capacitor coupled and ESD (static) protected. The unit can be powered using Power-over-Ethernet or an external source of 12VDC. It connects to a data network using a 100Mb/s

twisted-pair Ethernet interface using a Neutrik EtherCon RJ-45 connector.

Joining the Model 44D in offering an analogue to Dante interface is the Model 5414 mic/line input and line output interface. The Model

worn in an inconspicuous position during presentations, while the TG 534 Headworn Set with a TG H34 neckworn microphone is better suited to theatre productions. Electric and bass guitars can be miked using the WA-CGI instrument cable (6.35mm mono jack), which is part of the TG 510 Instrument Set.

www.beyerdynamic.com

5414 allows four microphone or line-level sources to be connected to the unit for conversion to digital and then output via

and P48 phantom power can be selected. Four signals arriving by way of Dante can be converted to analogue and then output as balanced line-level signals. A monitor section allows the input and output signals to be selectively observed using meters and a headphone output.

The Model 5414 can serve as an edge device for a Dante network implementation or as a generalpurpose tool to help expand Dante capabilities to facilities and applications that were initially implemented to support signals in the analogue domain. The rackmounted unit features standard connectors for all inputs and outputs, along with direct AC mains power.

www.studio-tech.com

DPA’s on solid ground

DPA MICROPHONES is aiming to make further inroads into the installation market with the release of a new stand for its d:screet SC4098 supercardioid podium microphone.

Designed to be placed on a either a table or podium or attached to the ceiling or wall, the Microphone Base is available with either a MicroDot connector, an XLR connector, or unterminated leads for connections to Phoenix blocks. Both black and white versions are available that the manufacturer states as boasting an aethetically pleasing design.

The d:screet capsule is mounted on a boom that, for the tabletop version, has a gooseneck at the top and the bottom allowing users to position the mic where they want it. The ceiling version consists of

The Base can also be ceiling-mounted

one gooseneck. In both versions, the cable can exit to the side of or beneath the unit. A range of kits have been formed containing a different connector solution.

For tabletop applications there are three kits consisting of a black base and a d:screet SC4098 with a 45cm gooseneck, while

We make interpreting FUN

for ceiling applications there are three kits consisting of a white base and a d:screet SC4098 with a 15cm gooseneck. The microphone and base can also be purchased separately and mixed and matched.

www.dpamicophones.com

Biamp and Shure collaborate

INTEGRATED COMPATIBILITY

series of array microphones has been provided with the release of the latest addition to Biamp’s Tesira family, TesiraForté Dan. Released at ISE 2017, the new range of audio processors are able to interact with Shure’s MXA beamforming line of microphones, while also delivering seamless interoperability between DSP and microphone technologies thanks

RS-232, up to eight channels

display as standard. TesiraForté Dan also sees the addition of 32x32 audio channels by way of the Dante Brooklyn II module. The VI, TI and CI models include Biamp’s AEC technology, designed to remove acoustic echoes and feedback. The devices can be controlled centrally or remotely via Tesira software and users are able

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to dedicated Shure MXA input blocks included with the Tesira 3.0 software, reportedly reducing setup and installation times, while offering a complete digital solution.

as part of the TesiraForté Dan range, mirroring the existing TesiraForté family with AI, CI, TI and VI versions, all of which

line outputs, Ethernet control,

to connect natively and directly to Shure systems, such as the MXA910 ceiling microphone. The TesiraForté Dan processor can network with other units in the range as well as with a Tesira Server IO, should it contain a Dan-1 card. This allows servers to pass audio across an ecosystem,

www.biamp.com www.shure.com

Countryman better connects the B6

COUNTRYMAN’S B6 omnidirectional microphone lays claim to the title of smallest lavalier microphone in the world. In answer to a reportedly common request from users to

models, covering over 400 pieces of equipment from manufacturers Lectrosonics, Sony and Wisycom to name but a few.

provide the B6 with the ability to switch between different brands of transmitter, recorder and other all other equipment quickly and easily, the manufacturer has released a range of detachable connectors for the microphone.

This range detachable connectors includes 3.5mm, Hirose, TA3F,

To ensure the B6’s best possible performance, each connector in the range is built to resist radio frequency interference, while the mechanical elements selected for manufacture were chosen due to the reliability and ruggedness they provide to endure professional use.

www.countryman.com

First measurement microphones from AP

TEST AND measurement

manufacturer Audio Precision has unveiled a line of calibrated measurement microphones for its electroacoustic test equipment.

combine mic capsules with low-noise as the ideal complement to its APx audio analysers. The family includes two ½-inch and two ¼-inch occluded ear simulator. Each mic is calibration and is TEDS programmed to the IEEE 1451.4 standard for SMART transducers.

TEDS (Transducer Electronic Data Sheet) data contains microphone calibration information that can be read by a as the APx1701 transducer test interface.

All units are preCCP powered. The microphones are

measurement results when paired with calibrated instruments such as the APx515 audio analyser and APx1701 Transducer Test Interface.

‘The addition of measurement microphones to our product portfolio

expanded solution for evaluating the performance of their audio

VocoPro’s UDH-4-ULTRA system

VocoPro goes mix and match

AIMED AT houses of worship or bands wanting to simplify setup and

described by the manufacturer solutions that can go from a choir performance to a band systems come with four or eight

ever to allow users to mix and match any combination of wireless

receiver allows users to mix and match between handhelds and play operation. The systems

include four or eight handheld headsets and lavalieres and four enable instruments to go wireless. hybrid wireless technology for a 60m range and operates in the www.vocopro.com

Flagship functionality in a two channel receiver

WITH DIGITAL 6000, Sennheiser has brought the same long-range mode and proprietary Digital 9000 wireless microphone system to a two-channel receiver with associated handheld and bodypack transmitters. The series comprises a twochannel receiver in two different versions, a bodypack and a handheld transmitter as well as a rack-mount 19-inch charging unit. The digital two-channel receiver works across a switching bandwidth of 244MHz (470 to 714MHz), which is covered by three transmitter versions (470 to 558MHz, 550 to 638MHz, and 630

to 718MHz). Up to eight receiver units can be daisy-chained without the need for an additional antenna splitter as the multichannel system will work with a single pair of antennas and the system latency is a reported 3ms.

The system offers true bit diversity, transmission error correction and additional intelligent error concealment for reliability while security is covered by AES 256 encryption. Digital 6000 also features automatic frequency set-up function and works with the manufacturer’s Wireless Systems Manager (WSM) control and monitoring software.

All systems go

WITH ITS SystemOn audio asset management software, Shure is offering management of mission critical or large audio hardware deployments. The software provides centralised IT support and real-time troubleshooting for the SCM820 automatic mixer.

SystemOn is capable of remotely monitoring battery life, audio levels, and RF/spectrum status for various Shure hardware devices from a central location. It offers a hardware status view that batteries and missing equipment and enables remote adjustment

of channel level, mute status, and other parameters. According to the manufacturer, the link between its software and hardware ‘provides greater convenience for technicians’ and serves as a ‘comprehensive, cost-effective solution that does not require complicated programming like third-party control systems’.

SystemOn software is sold through a subscription license that covers a

device – such as an MXWAPT access receiver, or SCM820 automatic mixer – requires one license. In related news, VHF frequency bands have been added to Shure’s

The Digital 6000 receiver is which gives a quick overview of the RF signal, link quality, audio signal, battery status, frequency and encryption. Several home screens provide access to further information and critical operating conditions and error messages are directly indicated on the display.

The system works with standard active and passive UHF antennas, as the frequency-selective

the EM 6000 receiver. According to Sennheiser, this means that existing antenna infrastructures can continue to be used.

The SKM 6000 handheld Sennheiser’s standard capsule interface and can therefore be combined with all the microphone heads from the evolution wireless Series, the 2000 Series, and also the 9000 Series heads. The

transmitters use the same rechargeable accupacks as the Digital 9000 units.

charging modules, each of which recharges two bodypacks or two handheld batteries, respectively.

panel give a quick overview of charging unit can also be used for Digital 9000.

The solution can reportedly integrate into digital or analogue system infrastructures as the digital AES3 output, transformerand ¼-inch jack outputs. The Dante version of the receiver offers an additional Amphenol RJ-45 connector for integration into a Dante network.

www.sennheiser.com

systems. These VHF options will provide users with 42MHz of tuning bandwidth and build on an existing portfolio of Shure wireless products designed to offer alternatives for the increasingly crowded UHF TV Band. The new VHF options offer the UHF systems including spectrum networking options, and rugged construction for everyday use. A variety of VHF-ready accessories are available, including the UA844+V antenna distribution system, active directional antenna, and UA860V passive, ground-referenced omnidirectional antenna. The UA845UWB antenna distribution system is switchable for UHF/VHF. Away from wireless technology, Shure has also released a pair of accessories for its earphones. The Cable features a premium inline

for use with any iOS device with a with MMCX connectors, providing digital iOS compatibility for all detachable SE Sound Isolating earphones. The second release is a Remote + Mic Accessory Cable designed for detachable SE earphones and Apple iOS devices with 3.5mm TRRS connectors. Both cables work with SE215, SE315, SE425, SE535, and SE846.

www.shure.com

Essential updates

BLUE MICROPHONES unveiled a raft of updates and enhancements to microphones in its Essentials series at this year’s NAMM show. While each model in the Essentials series is intended to provide a different character, all of the models now boast a 100Hz highvisual design. The updated models have been renamed the Baby Bottle

‘We’re excited to take the legacy of Baby Bottle, Bluebird and Spark one step further,’ stated John Maier, CEO of Blue Microphones.

‘The new models were designed to enhance their distinct sounds and give customers greater

tuned to inspire creativity.’

In addition to the updated mic models, the US manufacturer has also expanded its line of premium headphones with two new models, Ella and Sadie. Intended for studio applications and detailed listening,

Ella is described as combining the ‘detailed sound of planar magnetic drivers, with the emotional impact of dynamic headphones’, while experience manufacturer’s Mo-Fi headphones to transform laptop and portable devices into complete monitoring systems’. Ella is also headphones with planar magnetic drivers to feature an on board

Both Ella and Sadie use Blue’s reinvented headband, which features a four-point multi-jointed linkage system with pivoting arm. The earcups are shaped like ears to achieve a superior seal for accurate bass response, improved isolation and reduced sound bleed. Both headphones feature three analogue amp modes – Off, On, and On+. On+ aims to restore the missing low end to vinyl-era music.

www.bluemic.com

Updates and adaptations

department.

FIRMWARE V4.0 has been released by Lectrosonics to supply its IFB-R1a beltpack receivers with the ability to operate in two different user interface modes. Following the update, Scan Mode delivers the original IFB-R1a interface experience whereby users scan for carrier frequencies, storing up to meanwhile, provides the option to program channels directly using the pushbutton and hex switches, and increases the channel-storage count

up to 10 at a time.

The manufacturer notes that the those using larger IFB systems, but up the setup time. Users can switch between the two UI modes using the hex switches on the side of the receiver.

is included with all new UHF IFBR1a receivers. Older units may be installed with the v4.0 update via Lectrosonics’ parts and repairs

A direct box 4-Play

RADIAL ENGINEERING is targeting musicians that employ multiple instruments on stage with the 4-Play direct box.

It features a ¼-inch jack for use with a range of instruments, as well as a mute footswitch for silencing the switcher when connecting or disconnecting. Signal is directed to a selector footswitch that will facilitate up to four channels of output. This allows for each instrument to have its own dedicated channel, should the user be working with a four-piece band. Visual feedback indicators, which inform the user of which output is selected.

each include a ground lift

Radial’s 4-Play direct box

switch, designed to remove the ground loops. All connectors

nylon that houses nickel-silver contacts. A pair of switches that the manufacturer has dubbed ‘set and forget’ enable the increase in range of a selector footswitch to either two, three or four outputs. Meanwhile, a dedicated tuner out

On the hardware side of things, the American manufacturer has produced a bottom plate adapter for is compatible with all SR Series dualchannel slot receivers, including the SRa, SRb, SRc, and SR, as well as the 5P variants. It provides audio sampling with an internal clock and an external clock, and balanced analogue audio from -50dBu to +5dBu in 1dB increments. The CH1 jack on the device can deliver one or two channels of digital audio, while CH2 feeds analogue audio.

and mounting holes have the same design as on all receiver output adapters in the SR Series and an external word clock may be fed to the device via a BNC connector. A a 75-ohms word clock connection termination.

www.lectrosonics.com

Kramer takes HDBaseT 2.0 further

KRAMER’S HDBASET 2.0 range extenders have been designed to offer long-range A/V signal extension and management

pair form a 4K UHD extended range HDBaseT 2.0 system for transmitting and receiving HDMI, USB 2.0, audio, bidirectional

input signals into an HDBaseT twisted pair signal that it sends to

In terms of vital statistics, the transmitter and receiver both

rate of 10.2Gbp

when using the manufacturer’s

www.kramerav.com

Dante endpoints

can be assigned. This can be set to be always on or to function in conjunction with the mute switch.

4-Play is powered by a Boss-style

cable lock to prevent accidental disconnection. The unit is designed for ruggedness, with a 14-gauge steel casing.

www.radialeng.com

USERS OF Dante networks are now able to create quick Dante endpoints, promises its Australian developer Audinate, thanks to the introduction of the Dante Analog Output Module. The device is a small-form factor PCB with appropriate analogue connectors that can be used in small footprint enclosures.

The module supports one RJ45 Dante input, and one or two balanced analogue outputs. It can

Thunderbolt compatibility for Windows 10 users

THE HIGHLIGHT release of UAD Software from Universal Audio is Thunderbolt compatibility for Windows 10 users. Following the release, Thunderbolt-equipped Apollo Twin, audio interfaces, as well as UAD-2 Satellite Thunderbolt devices can all be connected to Windows 10 computers that include a

The software release allows

current PC-based Apollo and Apollo rigs to Thunderbolt speed and stability with UA’s Thunderbolt Option Card. The upgrade is

only and PCs must be equipped

The other headline feature of the

With improved functionality over the original Console app, Console 2 gives Apollo FireWire users a host of

new features, including drag-anddrop plugin arranging and custom channel strip settings designed by

top producers and engineers.

receive audio channels from a Dante network and provide studio-quality, low-latency audio via balanced output connectors to analogue audio equipment. According to the manufacturer, any audio available on the Dante network can be routed via speaker, mixing console, digital signal processor or other analogue audio device.

www.audinate.com

interface for all Apollo models. Its channel strip presets allow users to see, save and recall UAD plugin chains. There are also new UAD plugin categories and individual show/hide functionality. Console 2 offers enhanced plugin features such as preset auditioning, per-input record/monitor effect switching and multi-level undo and redo for plugin assignments and parameters.

www.uaudio.com

A classic suite of passive loudspeakers delivering our signature sound at a price point not previously possible.

A clean, smart design with no compromise between the needs of installation and portability, BlacklineX is a must for live bands, DJs, corporate events, nightclubs and bars.

martin-audio.com

The Martin Audio Experience

The BlueBox family gains a little brother

FOLLOWING THE releases of the BBWR24MP and BBWR08MP, JoeCo has expanded its BlueBox series of Workstation Interface Recorders with the addition of the BBWR24B. As with its slightly older siblings, the BBWR24B serves as a multitrack while also interfacing with a studio workstation to constantly back up a user’s work, protecting from the likes of DAW freeze or failure.

delivers 24 balanced line inputs and 16 ADAT Lightpipe inputs with SMUXII support. These feed 24

balanced outputs, meaning that up to 24 channels of 24bit/96kHz audio can be simultaneously distributed via USB 2.0 in both directions. Local recordings are made as broadcast standard WAV

Much like the inaugural BlueBox systems, BBWR24B can be controlled by either its front panel controls or by the JoeCoControl app for Windows and Mac. The app has undergone an upgrade, which debuted at the 2017 NAMM Show. Its functionality now includes complete control over input

parameters, a dedicated mode selection depending on whether this interface is being used in live, studio or mixing environments, the ability to create multiple zero

studio monitor switching. The British manufacturer has also released a dedicated driver for Windows 7, 8 and 10, compatible with each model in the BlueBox series. Core Audio is also supported for Mac compatibility.

www.joeco.co.uk

Wavetool puts radio techs at the heart of the action

WAVETOOL IS the latest audio product to be launched by Wavemark Ltd and is born out of an unusual technological synergy.

National Opera House during a production of The Phantom of the Opera, where engineers and radio techs needed a way to manage mics and IEMs in complex entertainment products.

According to the manufacturer, the Phantom production presented a number of familiar problems, such as a large orchestra in the pit and lots of radio mics on stage that resulted in a large number of input sources spread over a wide area.

‘There is always money in the budget for a large front of house console on these productions,’ explained Tim

Liski from the Wavetool development team. ‘But for monitoring at the is not needed.’

The aim of Wavetool is essentially to put techs right in the middle of

the monitoring conversation. ‘You still need the proprietary radio mic product, said Mr Liski, ‘but normally these are static monitoring tools – something like Shure Wireless Workbench only looks at

momentary status.’

In contrast, Wavetool has been designed to cover a 10s history as well as streaming audio to iOS devices for live monitoring. Users can, for example, ‘do a thorough vocalist, take their mic on stage with an iPad and walk around to see

battery status, antenna in use and check visual alerts for low signal or battery,’ promises the developer.

The solution goes beyond simple monitoring, however. Wavetool has developed an algorithm named Snap Crackle Pop (SPC) that seeks to locate broken mics and cables by identifying unwanted noise sources.

‘You can equally use it as a test tool for your whole data stream, for

example with DiGiCo; simply take a Madi feed off the SD rack and use SCP for any transient noise.’

Working in tandem with a manufacturer’s tools, the application includes support for existing wireless systems such as

950/960, and Sony’s DWR. The current channel limit is 64 (or 48/96Hz) for a single system, but multiple systems can be run concurrently, one for orchestra, one for the cast, for example. On a Mac, users are also able to aggregate devices regardless of audio source – Dante, Madi or AVB.

www.wavetool.fi

Talkback through your Mac

A NEW software update for Apogee’s Element Control App for Mac and iOS has added a talkback function that lets users use their built-in Mac microphone or any CoreAudio input device to communicate with artists through their connected headphones. The update also reportedly provides compatibility between all Element audio interfaces and the Apogee Control hardware remote accessory. While tinkering with Macs, the interface manufacturer has also released its Symphony Control software for the Apple machines. Symphony Control is designed especially for Symphony I/O Mk II audio interfaces and has been developed from scratch to replace Apogee’s existing Maestro software. Offering all of Maestro’s functionality, the new control software provides a customisable user interface as well as several extra features, such as talkback Essentials control window and the

effects Send mixer utility that was recently introduced as part of the Element Control software.

Using Symphony Control, users are now reportedly able to use two Symphony I/O Mk II interfaces at once, making up to 64 channels of I/O available on a Mac via a Thunderbolt connection. Mac users can also use Symphony I/O Mk II in combination with Logic Pro.

On the hardware side, the manufacturer recently unveiled Apogee Control, a remote control designed for use with the Element

Series and Symphony I/O Mk II interfaces that connects to a Mac via USB. It provides access to input and output levels using its large ‘Symphony-inspired’ control knob and three control knob focus buttons deliver access to a variety of functions.

Compatibility between the Apogee Control remote and Symphony I/O Mk II audio interfaces is facilitated by the Symphony Control software.

www.apogeedigital.com

A32-Dante

FERROFISH HAS announced an AD/DA convertor that offers support for Dante networking as well as a wide range of audio formats. Streamlining cabling in live, studio and installed applications thanks to the Dante Dante offers uncompressed, multichannel digital media networking with ‘near zero latency’. The unit supports 64

I/O. Additionally, any ADAT optical connector can be used alternatively as an S/PDIF or AES/EBU interface. Audio can be freely routed (in groups of eight) between all interfaces.

Thanks to its comprehensive I/O, the unit can serve as a capable audio format converter while simultaneously functioning as an AD/DA converter.

www.ferrofish.de

131dB and LF down to 59Hz from a single 10" driver-equipped line array box? You better believe it.

Small additions to the AXI family

EXTRON’S AXI family of Danteenabled audio interfaces has grown with the arrival of two new ¼U members: The AXI 22 AT and the AXI 44 AT analogue audio-to-Dante interfaces. This, the manufacturer states, answers user demand for ‘small form factor rackmountable Dante endpoints’. The 22 model features two mic or line inputs and two line level outputs, whereas the 44 version possesses four of each. Both units are designed to interface with any Dante-equipped audio processor over a standard local area network. Mic and line sources accepted are converted at 24-bit with selectable sampling rates from 44.1 to 96kHz for

Dante output. The AXI 22 AT and the AXI 44 AT can be powered through PoE, and include 48V switchable phantom power. Control of level, gain and phantom power settings is via the front panel, the manufacturer’s DSP commands over LAN or through USB.

Elsewhere, the Extron Control app is now available on Android

devices from the Google Play store. The app, which was previously released on iOS, enables users to connect to and control a room’s Extron control systems. The user interface can be set to emulate either the TouchLink Pro touchpanel, eBUS button panel or MediaLink Plus controller.

www.extron.com

Classic contemporary compression

THE SCHWERKRAFTMASCHINE from Tegeler Audio Manufaktur promises both classic and completely new compression combinations. The stereo compressor has been created using the analogue tube signal path of the Vari Tube Compressor, but the side-chain has been replaced with a chip that calculates the compression and reportedly enables it to emulate nearly any type of compressor on the market.

The Schwerkraftmaschine can be remotely controlled via a plugin (AU, VST, AAX) allowing all settings to be saved in the DAW. The hardware unit is equipped with servomotors so that the controls match the plugin settings at all times. Users can recall

Orion for all

CAPABLE OF delivering 64 channels of audio via HDX or USB3, Orion32 HD is the latest audio interface in the Orion series from Antelope Audio. Its connectivity makes it compatible with any DAW on the market including both Pro Tools HDX and Native systems, the manufacturer promises, while its library of FPGA sound-shaping tools can also be loaded, providing hardware emulations of some of the most popular and iconic recording devices.

‘By bringing the potent combination of pristine conversion and our versatile FPGA soundshaping tools to both HDX and

Next-gen analogueto-digital conversion

BUILDING ON the success enjoyed by the Horus and Hapi networked audio interfaces, Merging Technologies has developed its ‘new generation of A/D cards that embrace the latest innovations in technology’. This new generation currently comprises two siblings in the AKD8D and AKD8DP cards, the former serving as the standard version with a range of up to 192kHz PCM, whereas the latter extends the range up to 384kHz while also offering all DSD formats up to DSD256 and including DXD.

Following in the footsteps of their forefathers, the AKD8D and AKD8DP A/D cards feature direct analogue out connections, as well as a Ravenna/AES67 connection, phantom power switching, phase

120dB is easily achieved’ with the new A/D cards and states that the ability to select the optimal impedance for condenser or dynamic microphones can be done on a channel-by-channel basis, featuring as part of the input stage.

settings with presets and automate the analogue parameters, allowing for different settings within various parts of a track.

that works both as lowcut and

Native systems, we are opening yet another chapter in our interface innovations,’ stated Antelope’s Marcel James.

‘Studios can now easily switch between Pro Tools HD Sessions and Natives DAWs to accommodate the modern laptop

The interface itself provides HDX, USB3, Madi, ADAT and S/PDIF connectivity, as well as a 32-in/32out analogue interface via DB25.

A/D conversion is handled by

Antelope’s 64-bit Acoustically Focused Clocking (AFC) jitter management technology. Two word clock or Loopsync outs allow the Orion to serve as the

as a tilt-EQ, as well as a mixer that blends compressed and uncompressed signals complete the Schwerkraftmaschine.

www.tegeler-audio-manufaktur.de

can be set locally from the unit’s front panel or remotely from the control room.

The Swiss manufacturer claims a ‘dynamic range of better than

Meanwhile, to ensure that gains are switched near to zero, an analogue detection feature has also been included and coupled with each converter’s DC servo loop. Designed to ‘guarantee that the offset is under 1mV over the whole gain range up to a maximum of 66dB’, this means that any clicks caused by switching the gain settings are suppressed. Also of note is that the AKD8D and AKD8DP are described as offering ultra-low distortion and noise to reduced latency and a lower power consumption than their predecessors.

www.merging.com

centrepiece of a recording setup, but Orion’s 10M/10MX Clock Inputs can also be connected to the manufacturer’s 10M or 10MX atomic clocks.

Finally, the interface also features a mastering-grade monitor output borrowed from the Pure2 Mastering Converter to ensure analogue signal integrity.

The associated routing and mixing software for Mac and Windows now features both Antelope’s familiar colour-coded routing matrix as well as an

alternate matrix-style view. The software panels are resizable and movable to help maximise screen real estate for multiscreen setups.

With no internal fan, the Orion32 HD is stated to offer completely silent operation.

In addition to the new Orion interface, the manufacturer’s portable Zen Studio has been based vintage EQs, including the VEQ-1A, VEQ-55A, Helios 69, NEUPEV and the Lang PEQ2. The new models come as part of a software

update that has also tweaked the Zen Studio Windows and OS/X applications to increase user responsiveness.

Orion Studio, Zen Tour, Goliath and Orion32+ haven’t been completely left out though, as they have also been treated to six new FPGAbased EQs, including the 1023 and 1084 from BAE Audio as well as the popular 70s and 80s EQs, the VEQ-STU 089, VEQ-STU 169, and VEQ-STU 900.

www.antelopeaudio.com

COME TO VISIT US AT

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HDL 50-A THE SYSTEM

The demands of modern sound reinforcement systems are higher than ever before. Besides pure performance - high sound pressure levels, constant directivity and sound quality other aspects are important for rental and production companies such as reduced weight and ease of use to optimize transport and rigging time. HDL 50-A is changing the concept of large format arrays, providing primary performances to an extended market of professional users.

HDL 50-A

ACTIVE THREE-WAY LINE ARRAY MODULE

- 4400 Watt, 3 way amplification

- 140 dB max SPL

- 8 x high power neodymium transducers

- 48 kHz, 32 bit DSP processing

- RDNet on board

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- DSP controlled Input section with selectable presets

- RDNet remote and control

Up, down and across the yellobrik road

aspect ratio converter, meanwhile, enables the PVD 1800 to switch a video signal’s aspect ratio by converting to letterbox/pillarbox,

other custom conversions. This functionality is accessed via the yelloGUI software.

A region of interest (ROI) tool is also delivered with the scaler, allowing users to crop a selected region on the original video signal, scaling it to be viewed on the SDI output as a full size video. With this, Lynx Technik AG states that input signal cropping as well as the sizing of the output signal display’.

Play gets faster

THE FIFTH version of EastWest’s Play software, aptly named Play 5, brings with it a reported performance upgrade that makes it the fastest version to date due to improved load times achieved by the optimised engine.

A variety of professional audio processing tools are bundled as part of the release, such as the SSL/EW FX Global Suite, which gate/expander, transient shaper and stereo bus compressor tools,

as well as 726 additional reverb impulses for Convolution Reverb. Meanwhile, the EastWest Goliath instrument collection for soundtrack composers and musicians now also includes an Amp Simulator and the Ohmicide multi-band distortion software. Both Play 5 and the Goliath update are available to download from the EastWest Support Center.

www.soundsonline.com

THE LATEST update to the PVD 1800 sees Lynx Technik AG add up/down/cross and aspect ratio conversion, as well as scaler functionality, to its yellobrik frame synchroniser. The upgrade reportedly adds to the system’s solution in a thrown down brick form factor, addressing multiple applications and comes as a free

of the most recent version of yelloGUI from the manufacturer’s website. The yelloGUI control software itself has also been updated with a suite of tools for

new features using a PC or Mac. The up/down/cross converter and scaler provide the ability to convert between video formats for facilities operating across multiple formats, including 3G, HD and SD-SDI. The

A fast scale mode that reduces the processing delay to less than 10 lines is also offered with the scaler tool, designed for use in applications that require a short processing delay and rapid conversion. It is noted that when fast scale is activated, the module’s frame synchronisation functionality will be automatically deactivated.

www.lynx-technik.com

Check it like a master and a pro

FOLLOWING THE rapid growth of music streaming services such as Spotify and Apple Music, Nugen Audio has introduced the MasterCheck Pro, a suite containing loudness, dynamics and codec music industry.

MasterCheck Pro has been designed to provide artists, producers, mix and mastering engineers with the ability to preview the playout encoding and loudness matching techniques used by streaming services, as well as different codecs in real-time to help with preventing codec distortion and over-compression when a track is played via an online stream.

Users are able to compare how a track will sound on different devices over different services and how it will be affected by differing loudness matching algorithms. Loudness and PLR

Dan Dugan Control comes to iPad

VERSION 2.0 of the Dan Dugan Control Panel for iPad offers the same functionality as the Dugan Control Panel for Java, which comes supplied with networkable Dugan automixers.

The Dugan Control Panel is stated to work on any size iPad and is reportedly capable of controlling any combination of the Dugan Models E,

Dugan-VN16 and Dugan-MY16, and can also be paired with the Model K control surface.

As with the supplied Dugan Control Panel for Java, the app allows users to set up channels, name units and channels, assign groups, set weights, mute channels and manually override the automix.

www.dandugan.com

(peak-to-loudness ratio)/dynamic range are shown by the plugin’s meters and the capability to A/B test a master effects track against the uncompressed mix, or other reference tracks. It supports AAX, VST, AU and RTAS for Windows and OS X operating systems.

‘With regards to loudness and codecs, most playout services have a “letter box” through which they deliver audio. If the music doesn’t meet those criteria, then it will be founder and creative director at Nugen Audio. ‘With MasterCheck Pro’s loudness and PLR features, between perceived loudness and dynamics, resulting in a master that’s optimised to the format.’ www.nugenaudio.com

S4.10 and S4.04 Series

Wireless System

No matter whether it’s for vocals, speech or instrument applications, you will have these systems up and running in no time and absolutely worry-free.

There is no easier way to create a multi-channel wireless system than with the S4.10. The S4.10 is a multi-channel-capable wireless system, which allows you to master a wide variety of challenges with up to 10 simultaneous channels.

Our entry level system, the S4.04 is prefectly adequate for most small to medium applications with 4 switchable frequencies.

** Models available may vary across different regions.

We supply sound, not equipment.

TOAasiapacific www.toa.com.sg

TOAeurope www.toa.eu

Digigram brings AoIP streaming into software

Q-Sys gains AES67 support

QSC HAS

update will bring AES67 support to the Q-Sys platform. This will enable distribution of the AoIP interoperability standard between Q-Sys and other systems that support AES67 without the need for additional hardware.

THE HIGH-PERFORMANCE encoding, decoding and streaming capabilities of Digigram’s audioover-IP technology are now available in a software package with Iqoya *VIP. The package can reportedly integrate with any audio-software solution on a physical PC platform, reportedly enabling ecosystem partners to more quickly create their own live-streaming, processing and encoding systems.

Iqoya *VIP runs as a software service in Windows or Linux environments in both physical or virtual instances, and is among

to combine full-duplex ACIP capability with real-time audio AES67 connectivity. Capable of accepting all major broadcast audio formats, the software features

stereo and multichannel audio I/O, accommodates up to 32 stereo virtual sound card devices, and offers multiple simultaneous encode/decode functionality, with support for AoIP streaming protocols including RTP/UDP, ACIP (EBU Tech 3326), AES67, Livewire, MPEG-TS, and Icecast/SHOUTcast.

Furthermore, to ensure the quality and continuity of each audio stream, the software features Digigram’s FluidIP redundant dual streaming

decoding backup priorities and PTPv2 clock synchronisation. The software also supports both SIP signalling and the transport of auxiliary data such as GPIOs, RDS UECP and serial data.

www.digigram.com

Apia users take control

USERS OF Apia’s QDX Series speakers can now natively control these systems thanks to Apnet Network Manager.

Created in partnership with DFM, the software will fully control and modify the internal DSP (40It allows users to manage, edit and customise presets while also offering EQ, dynamics and delay controls. The software has three levels of EQ ±15dB (‘input/output’ 10 band and ‘group’ 7 band) Xcrossover, limiting/compression and mute.

The Apnet software also has the complete preset library of all of the manufacturer’s products. Online or off-line system setup and tuning is possible for real-time management and monitoring from a remote PC via a graphical user interface. The Access Manager feature allows the administrator to lock the system, while still allowing a user to monitor it.

The software can be used with a desktop or laptop PC. All wiring is standard Cat-5 while all network architecture and equipment is standard Ethernet.

www.apia.pro

AES67 brings a bridging compliance mode to Q-Sys for any IP networked audio system operating with standard Layer 3 Ethernet connections. This allows the system to interchange between different AoIP platforms and communicate with systems running alternative network technologies, such as Ravenna and Dante.

In other Q-Sys Designer v5.3 software updates, QSC has partnered with Shure to increase the level of integration between the platform and

microphones. This includes new control plugins for the Shure MXA910 ceiling array systems and the addition of a detailed quick start guide to keep setup and integration simple.

The addition of the Shure MXA910 Control plugin provides Q-Sys peripherals and touch screen controllers with a variety of audio control, preset recall and monitoring functions for MXA910. The plugin is ‘de-coupled’ from the Q-Sys platform’s own audio integration method, allowing users to control and select alternative audio transport methods, such as with analogue audio using Shure’s ANI series, the Q-Sys Dante bridging card or via AES67 software support on the Q-Sys Core processor series. When using AES67 as the audio integration method, users can

integrate all Q-Sys Core processors in the platform with the MXA910 without the need for extra hardware or software licenses.

QSC has also been busy on the hardware side, releasing the K Cardioid Subwoofer which joins the K Family of loudspeakers. Containing the manufacturer’s DSP technology and 1,000W Class-D constructed as a compact unit

four rear-mounted casters, with a pair of M20 sockets that accept a 35mm speaker pole in either vertical or horizontal deployment.

The E Series has also gained a pair of new models in the forms of the E218SW dual 18-inch subwoofer and E215 dual 15-inch full-range cabinet.

The E218SW features a pair of 18-inch die-cast frame woofers with 4-inch voice coils and power handling of 1,800W continuous (6,400W peak) to deliver a maximum SPL of 132dB and LF extension down to 32Hz at -10dB. Conveniently located handles and a captive-skid system facilitate simple ground stacking ability.

designed for portable applications, as well as being suitable for installations.

Stating that the K Cardioid of a cardioid subwoofer array but in a single enclosure’, QSC has included dual 12-inch excursion drivers arranged in a sixth order bandpass chamber, combining to reportedly produce 15dB more output at the front of the cabinet than at the rear. The cabinet features aluminum handles and

The E215, meanwhile is built with dual 15-inch LF drivers and 3.5-inch voice coil. It makes use of a frequency-shading topology to minimise vertical lobing through the HF crossover transition. Transparent high frequency reproduction is offered by a large format 1.4inch device with 2.8-inch voice coil and 1,200W continuous power handling (4,800W peak) is reportedly achieved, while the manufacturer’s Directivity Matched Transition (DMT) technology is included for frequency response uniformity across a 75-degree coverage area, with enhanced LF extension down to 40Hz.

www.qsc.com

Klark Teknik heads to court

KLARK TEKNIK has begun

DM8000 digital audio processor.

DSP, audio networking and acoustic echo cancellation functionality and is intended for meeting room use for telephone/video conferencing in locations such as boardrooms, council chambers and courtrooms.

Users are able program their the provided audio toolkit, which contains a library of processing modules as part of the DSP Designer software. Furthermore, multiple DM8000 devices can be linked to create a network for system-wide programming and control of various to input sources.

According to the manufacturer, the network can accommodate multiple mic inputs, a live band or stereo music source, as well as telephony – and send the resulting mixes to up to six destinations. To aid setup and use, the processor integrates an automixer module to automatically adjust and balance levels for up to eight inputs and combine them with any output. An onboard feedback suppressor detects and removes feedback frequencies.

www.klarkteknik.com

Performance boost for Crestron touchscreens

A NEW generation of TSW Touch Screens have been introduced by Crestron, reportedly boasting performance increase, as a result of a new, faster processor, as well as better security for a range of enterprise and home automation applications. The three new models, TSW-560, TSW-760 and TSW-1060 also feature backlit capacitive buttons that illuminate according to sensor to tune screen brightness according to light levels in the room, a secure mounting option and builtPinPoint system.

In addition to the new-generation touchscreens, Creston has also announced new touchscreen aid the booking and scheduling of meeting rooms. The TSW-732 and TSS-752 Room Scheduling Touch Screens are intended to be mounted on the wall outside each room and provide LED indicators on the panels that are viewable from long

Symetrix plays its hand

SYMETRIX HAS released a new USB Interface Card for use with its Radius and Edge DSPs. It adds eight input and eight output channels for multichannel recording applications as well as driverless plug-andand 1x1 speakerphone. The USB interface card also provides the functionality to disable soft codec AECs, replacing them with Symetrix hardware AECs. Also new is the 2 Line VoIP Interface Card, which as of

Composer software, is compatible with Avaya teleconferencing solutions, including Session Manager 7.0.1 and Aura Communication Manager 7.0.1.1 FP1 SP1. The VoIP card is designed to integrate natively with narrow and wide-band audio codecs to offer a full range of telephony functions.

www.symetrix.co

distances, allowing anyone to see if a room is available or in use. Room availability and meeting details are displayed on the 7-inch screen, and if the room is already available for the amount of time needed, Alternatively, they can scroll through open time slots and book the space for future meetings.

Finally, Crestron has partnered with Microsoft to offer a Skype for Business

The 2 Line VoIP Interface card

solution, which adds HD audio streaming over the standard consumer solution also includes a touch controller that manages the Skype meeting, HDMI and Crestron DigitalMedia inputs and outputs, six USB ports for connecting peripherals such as cameras, and a Cresnet port to add an occupancy sensor for automation and room usage reporting.

www.crestron.com

www.riedel.net

Barco brings laser to all screen sizes

THE LATEST product offering from Barco sees laser projectors introduced for cinema screens both big and small. Targeted at small-to-mid-sized screens is the 2K SLP series, while the 2K/4K BLP range is intended for mid-tolarge screens. The manufacturer has also announced two new highthe Premium Large Format (PLF) cinema segment that reportedly double the contrast of its previous

The 2K SLP range is Barco’s entry-level range of laser projectors for screens ranging from 6 to 13m in size. Currently comprising two models, the DP2K-8SLP for 6 to 9m

screens and the DP2K-10SLP for 9 to 13m screens. Both models boast 30,000 hours of constant brightness and 2K resolution. Additionally, their light output can be dimmed to 30 per cent of the initial brightness to enable 2D and 3D showings from the same projector. The DP2K-8SLP outputs 7,000 lumens while this is boosted to 9,500 lumens for the DP2K-10SLP.

Moving up in size to the BLP series, the DP4K-17BLP has been launched for screen sizes ranging from 13 to 18m and the DP4K-23BLP for screen sizes from 18 to 25m. Image brightness and resolution have also increased to 17,000 lumens and 24,500 lumens respectively and

Multiplying digital signage

USERS OF Barix’ Audio Signage platform will now be able to deliver multichannel audio tracks for digital signage to mobile phones as a result of update will run on a standard Barix Exstreamer Store & Play and is available for download for free from the manufacturer’s website.

The updated Audio Signage solution is stated to work for any location where digital signage needs the additional boost of streamed audio. ‘Consider the

case of a museum with three digital signage displays running, each with a unique audio track that is transmitted via Wi-Fi to mobile phone users,’ says Barix’ Reto Brader. ‘The museum previously would have to buy and use a Linux PC to enable the delivery of channel information to the mobile app, in order to give access to all three audio streams via Wi-Fi. Now, all they need is an Exstreamer Store & Play loaded

www.barix.com

DCI-compliant native 4K.

Existing owners of B- or S-series Barco projectors can reportedly

technology without purchasing

4K preview, monitoring and playback in one

THE NEWEST player from Etere allows previewing and monitoring, content in 4K. The manufacturer states that this ‘professionalgrade and multifunctional tool’ will support ‘mission critical operations in broadcast, production and content distribution’ while providing ‘seamless browsing’. A part of Etere’s Media Enterprise Resource Planning software suite and based on the proprietary technology of the ETX, this new product has been named after its reported picture quality: the Broadcast Quality Player. The player’s dual-monitor capabilities allow users to switch to a second monitor for audio and video from a single interface. Audio monitoring abilities include the simple selection of up to 16 embedded tracks, a VU meter that displays multichannel level information, volume control and support for a variety of codecs, PCM, AAC, MP2, MP3, WMA and FLAC.

The solution is designed for

EZ TV gets digital signage capabilities

VITEC HAS integrated IPTV and digital signage with the version 8.0 release of EZ TV. The addition of signage capabilities will reportedly allow the creation of eye-catching digital signs, centrally manage IPTV and signage content from a single interface and automate video campaigns.

Vitec insists the 8.0 update provides enhancements for both

existing model with a laser phosphor module.

Finally, the two new high-contrast models in the manufacturer’s premium LHC series are the DP4K20LHC and DP4K-40LHC, both of which promise a doubling of the contrast ratio compared to previous models to 6,000:1, while retaining the same colour saturation and uniformity. The DP4K-20LHC boasts an 18,000 lumens output which increases to 36,000 lumens for the DP4K-40LHC. The manufacturer also states that existing owners of DP4K60L projectors are able to upgrade them to a high-brightness model.

www.barco.com

Active Directory settings and has also been developed for a ‘robust performance’ with a distributed architecture. Access is simultaneously and securely provided for content stored in the cloud from all MERP modules.

Broadcast Quality Player also allows users to monitor and trim

analyse QC reports for real-time monitoring, check audio content and verify video aspect ratios. SDI outputs are supported, as are video codes including H264, AVC, MPEG-2, MPEG-4, DNxHD, ProRes, FLV, DnxHD, DV, DVCpro and HEVC and container formats such as MOV, MP4, MPEG-PS, MPEG-TS, AVI,

www.etere.com

IPTV and digital signage. from low-latency 1080p60 playback, real-time updating of the electronic programme guide, video-on-demand content with new assets updating while events take place, time-shifted TV, live video access from PCs and mobile devices and user-controlled mosaic viewing of multiple channels. Meanwhile, the integrated digital

signage features offer signage authoring, administration and analytics.

The manufacturer’s IPTV and signage end-points feature discrete hardware processes for video and graphics, supporting digital signs social networking widgets, and dynamically updated data.

www.vitec.com

Renkus-Heinz loudspeakers deliver clarity to every seat.

It didn’t matter how far back their seats were. Or how cavernous the hall was. All they heard – all they felt – was sound that was warm, intelligible and personal. With clear, precisely-controlled sound from Renkus-Heinz loudspeakers, their seats were the best in the house. To learn more or for a demo, visit www.renkus-heinz.com.

renkus-heinz.com

It isn’t just about being heard, it’s about being understood.

THE COMPACT 500 is 4Evac’s response to a need from architects and interior designers with a small footprint. The wallmounted C500 is described as offering ‘the implicit simplicity of a stand alone conventional system, but with the added power Topology’.

The C500 drives two ‘live-stream’ audio channels and one serial data channel (RS-485) over a into global zones and operates a 3-channel message player that sends synchronised audio into the local zones. This enables it

streams to play simultaneously into the local zones.

Each unit provides in-built routing to six single zones of 6

single installation can reportedly reach over 1,500 speaker lines, accumulated into multiple paging zones within a system architecture of 256 prioritised zones. Designed and manufactured in Europe, the C500 is EN54 compliant and also third party the minimum relevant European standards, including EN5416:2008, EN54-4:2006, EN5417:2005 and EN50130-4:2011.

www.4evac.com

AEQ IS combining its broadcast audio technology with the intercom experience of sister company Kroma for Conexia. The platform has been designed to be an integrated solution for the centralised management of audio signals in TV and radio studios and a fully featured intercom system.

Conexia calls on a Kroma intercom master controller and an AEQ audio matrix. It has a capacity of up to 1,024 x 1,024 cross-points and a modular card structure. The manufacturer believes the unique aspect is Conexia’s ability to integrate intercom and broadcast audio sources into the same matrix, with internal sampling at 48kHz at 24-bit and a redundant system at all levels. According to the manufacturer, integrating broadcast and intercom audio this way allows the grouping

of all available audio sources and avoids the management of two disconnected, unrelated, parallel audio systems in an installation. The system has been designed to be compatible with all Kroma intercom terminals and interfaces with the full range of Kroma accessories including telephone and

can also integrate a broadcaster’s communications using the AEQ Phoenix family of AudioCodecs

intercom management software, CrossMapper.

www.aeq.es

Enhancing audio enhancement

A MAJOR revision of CEDAR Audio’s Trinity audio surveillance system has resulted in a ‘huge expansion’ of the recording, listening and speech enhancement capabilities, promises the manufacturer. In the original version, only eight audio streams could be ‘live’ at any given time and a maximum of only two could be viewed. But in CEDAR Trinity 2, the Project is now described as a wrapper for as many audio assets as may be required and up to 24 channels of audio can be live at any given time. Operators can reportedly view these channels simultaneously, recording as many as required, switching with a mouse click to any feed of interest. These assets are time-stamped with Universal Time Code, now with the correct application of daylight saving time,

so that the timing of events can be

also include Events, some generated by the system and some inserted by the operator, which can be used to describe activity of interest or realtime transcription of the audio.

into a project for listening, speech enhancement and adding events.

The administration level has also

Trinity 2 allows administrators to decide which operators have access to which assets so that multiple

on a single system. To comply with the law in a number of jurisdictions, the ability to erase audio from assets has also been added under strict conditions. A switch has also been added that allows incoming

audio to be monitored when no recording is taking place or that mutes the feed unless recording is taking place.

Further enhancements include improvements to the archiving feature, which now allows operators and administrators to restore archived audio to its position in the original asset, allowing teams to revisit surveillance material at any time in the future. Archived audio can also reportedly be used to create new assets.

One of the most important aspects of Trinity’s audio surveillance, speech enhancement, has also been updated to provide a ‘greatly improved’ noise reduction process based upon the manufacturer’s FNR process. The company states that this makes it possible for all users to

IN AN effort to loosen restrictions on the size and scale that Omnicare EVC (emergency voice communication) systems can be built, Baldwin Boxall has announced an extension to 8,064 outstations. Dubbed OmnicarePlus the system includes a touchscreen interface that serves as the master point of control while standard style panels handle local areas. Further touchscreen control points can be installed throughout a site as required, facilitating any need for alternative control or security rooms. Unless full control is transferred to one of these additional control units, they will serve as ‘slave’ or ‘mimic’ panels so as not to compromise authority. Up to 64 outstations can be managed by each local area control panel in any combination of any of the outstation types available. Site network cabling can use copper, single mode

functionality includes multi-layer graphical touchscreen control, automatic call queuing, multiple touchscreen control locations, incoming call logging and audio recording.

Outstation options available for Omnicare systems include disabled refuge, advance disabled telephones, combined unit and disabled toilet alarms.

Meanwhile, the British manufacturer has made BIM objects/drawings (Building Information Modelling) available on both its Omnicare and Care2 EVC systems. The drawings are free for users. In the construction industry, BIM is a process for creating and managing all project information and is designed to and save time on infrastructure projects.

www.baldwinboxall.co.uk

Finally, exports as well as assets and archives are now cryptographically signed so that users can use the TVerify utility to see whether anyone has tampered with the audio, while metadata

capabilities have been improved so that the user’s ID is added invisibly to events, and the speech enhancement parameters are embedded as metadata in exports.

www.cedar-audio.com

PRODUCTS

White is the new black

CAYMON HAS released white

extended ratio’ than the QX range. Aircraft aluminium forms the mechanical parts

gloves are worn and in all manner of weather conditions.

the manufacturer is targeting environments in which white would better suit the décor. both contain up to six and nine metal racks that are compliant with frame and feature 1.2mm thick plates. www.caymon.be

thread built from stainless steel to withstand constant microphone

The poles have also seen their collars redesigned. The machined improved grip and has been

The WPR406 and WPR409 wall racks are now available in white

ITALIAN CABLE cables with new models that offer differing cross sections. The six new cables are the TSK71 which has two

sections. Increasing the scale

Tasker has grown its range of divisible flat cables

The compression rings have been set at what the manufacturer increased locking of the segments. The internal bushings are made of soft felt for reported rattle free operation as well as preventing cold temperatures.

www.ambient.de

Each of the cables use a soft without halogen and resistant and environmental agents. The manufacturer states that all of these features make the cables

www.tasker.it

NIO xcel POLARIS evolution

Sennheiser targets musicians with wireless mics

SENNHEISER’S XS Wireless 1 and XS Wireless 2 have been designed with ease of use in mind, providing an option for artists and musicians that want to upgrade to a wireless system.

The XS Wireless 1 series consists of six wireless microphone sets – a pair of vocal sets, a headmic set, lavalier set, instrument set and brass set – and is described as offering both fast setup and reliable transmission. Automatic frequency management, one-touch synchronisation and intuitive, iconbased controls reportedly mean that talent will be ‘ready to perform in seconds’.

The series makes use of Sennheiser evolution capsules, employing antenna switching diversity, and is capable of providing up to 10 compatible, preset channels in eight frequency banks. It is available in myriad ranges across the UHF spectrum. Each XS Wireless 1 set comes with a receiver, transmitter, microphone (capsule) or

instrument cable, power supply unit and batteries. The receiver supplies balanced XLR and unbalanced jack outputs.

The two vocal sets offer the choice between a pair of different microphone capsules: the e 825 cardioid or the e 835, which also features a cardioid pick-up pattern. A microphone clamp is also included.

An ME 3-II headworn microphone comes with the headmic set, which

Harman connects solutions

HARMAN CONNECTED PA is an integrated PA ecosystem developed to streamline setup from several Harman brands via a single mobile app. The solution initially connects Soundcraft mixing consoles, AKG microphones, dbx stage boxes and JBL speakers that utilise the manufacturer’s ioSYS technology.

Reportedly designed for simplicity, the Harman Connected PA app not only removes the need for multiple with its setup wizards. The app is available for iOS and Android devices, as well as Windows and Mac.

‘Musicians need a fast and easy

way to set up their PA system so they can focus on performing instead of worrying about their equipment,’ explained Noel Larson, senior global manager at Harman Professional Solutions. ‘The Harman Connected PA system provides a simple and effective way to set up and operate an entire PA system from one central app, with minimal pro audio skills or previous live sound experience.’

www.connected-pa.com

www.harman.com

GLX-D advances

THE NEW GLX-D Advanced Digital Wireless products from Shure provide the option to include GLX-D features for the install market. These features include automatic frequency management and intelligent rechargeable batteries as well as ‘exceptional’ digital audio.

The suite includes the newlydeveloped GLX-D Advanced Frequency Manager, a rackmount receiver system and remote antennas among other accessories. Using Frequency Manager, users are able to operate up to nine systems simultaneously under ‘typical conditions’ – this

Wireless 2 system has been control and durability than XS Wireless 1. It boasts up to 12 compatible, tuneable channels across its eight frequency banks, as well as an LCD display for the transmission frequency, AF and RF levels and battery status. Designed for life on the road, XS Wireless 2 also features true-diversity reception, external antennas and a sturdy metal housing for the receiver, as well as rack-mount accessories.

is suited to live sound applications where the user needs a free set of hands. The lavalier set, meanwhile, is designed for presenters and hosts and bundles the ME 2-2 lavalier microphone with a mic clip. A CI1 instrument cable is included with the instrument set, whereas an evolution e 908 T gooseneck microphone that clips onto an instrument is provided with the brass set.

The soon-to-be released XS

On the listening side, Sennheiser also introduced the HD 200 Pro studio headphones at NAMM. Again, aimed particularly at musicians, content

creators and producers, the German manufacturer states that these ‘allpurpose headphones offer an ideal entry point into the world of home recording’.

Based on the HD 400 series, HD 200 Pro is reportedly well suited for monitoring when recording groups, smaller bands or live sessions. The user is defended from ambient noise by the circumaural headphones, which are designed for comfort during long recording sessions while also offering what Sennheiser describes as an ergonomic design. Equipped with the manufacturer’s drivers for an impedance of 32ohms, a 2m long cable with a straight 3.5mm headphone jack and a 6.3mm adapter is also included.

www.sennheiser.com

dBTechnologies offers a boost

DBTECHNOLOGIES INTRODUCED

the B·H Series of powered loudspeakers at NAMM 2017. The series comprises four two-way cabinets with eight-, 10-, 12- and 15-inch woofers respectively, each of which features a one-inch compression driver.

Designed with an asymmetrical horn, facilitating a wide and uniform throw pattern, the B·H Series is designed to offer ‘accurate digital sound processing’, letting users choose between a pair of EQ presets: Flat or Boost. This, the manufacturer states, means that all models ‘deliver faithful sound performance while boosting any background music for any performance’.

Each B·H cabinet, featuring a contemporary full grille design and

three handles (one on top and one on each side), includes Class-D

126.5dB for the 15-inch version. The enclosures are designed for use horizontally as stage monitors

at two different angles and can also be stacked with the manufacturer’s range of subwoofers or pole mounted to a tripod.

www.dbtechnologies.com

reportedly rises to 11 channels in ‘optimal conditions’. Meanwhile, facilitates the linking of up to six GLXD4R receivers with Frequency Manager via RF ports.

Frequency Manager will also automatically assign optimal frequencies to each of the receivers through RF cables by using patented data communication. A pair of

Frequency Managers may also be linked together to allow for the use of additional rack-mount systems.

‘GLX-D Advanced saves both installers and users time and money by including rack hardware and rechargeability in the box,’ said Shure wireless product manager Mike Nagel. ‘With the 16-hour run time, it provides exceptional value.’ www.shure.com

Studio monitor with DSP self calibrates

Reliable! Redundant! Fast!

Renowned in broadcast and theatre, Stage Tec‘s direct access AURUS platinum consoles bring the highest audio quality to your live sound application.

Abundant processing power: up to 800 audio channels, 128 buses, 96 kHz

Maximum reliability: hundreds of 24/7 installations worldwide

Greatest flexibility: configure order of EQ, dynamics, PFL, side chain, mute points etc. of each individual audio channel as you wish

Comprehensive networked connectivity options: freely configure analogue, digital and IP inputs and outputs and distribute as required

Fast in every sense: guaranteed 7-sample latency, 10 ms refresh rate for all parameters, ultra-rapid setup

A star is reborn

STARS DON’T GET MUCH BIGGER IN CHINA THAN FAYE WONG

For 25 years, Ms Wong has been winning over fans with songs from her Mandarin repertoire, which often combines alternative music with mainstream Chinese pop. But she has also taken time out from her extensive career, including a break from touring for four years following her Comeback Tour of 2010-2012. However by late December 2016, Ms Wong was back for one night only, performing Faye’s Moment Live 2016. The sellout show at the Mercedes Benz arena in Shanghai attracted 18,000 fans keen to catch up with the star after her absence.

The production team working on Ms Wong’s live performance were longtime collaborators on her shows. They included system design and FOH engineer Jin Shaogang, who has been working with Ms Wong since 2000, when he teamed up with her producer Zhang Yadong to create the Fable album.

The PA setup was provided by AHM Engineering, with a main team used d&b’s ArrayCalc software to simulate the system design before setup.

The three-sided stage at the Mercedes-Benz Arena is 2.1m high and surrounded by three tiers of seating in the auditorium. More than 100 d&b loudspeakers were used to cover the arena. A main left/right system consisting of J8 and J12 cabinets was

middle of the arena as a delay system. Subwoofers included two stacked on the left and right sides of the stage. More than 10 M4 stage monitors were positioned along the edge of the stage, with another two on stage for the band; the M4 was also used as an FOH monitor. Additionally, JBL VTX V20s were used on the

Mr Jin is one of China’s leading sound engineers, having worked on events such as the G20 Summit in Hangzhou, the 2008 Beijing Olympics, the 50th anniversary of China’s National Day parade and popular TV shows like The Voice of China. He has mixed other major Chinese artists including Liu Huan, Han Hong, Na Ying and Wang Feng. He believes that dedication and rigorousness are the keys to his profession. ‘Working on a live show is a “one time” art; you need to be well prepared,’ he says. ‘As Faye Wong is a solo artist, we need to make sure every song early December, and everyone had her lyrics to hand, marking down everything that needed special attention.’

When it comes to loudspeakers, Mr Jin’s preference is for big

Faye Wong returned to the stage in China with a plethora of new technology at the heart of show production and broadcast. Sue Su reports

in 2012 on a TV show, and was convinced they gave him the quality his work needed. ‘They were double 10-inch speakers, but the sound was loud, not noisy,’ he remembers. ‘d&b has a very good signature sound whether it’s low, mid or high frequency.’ Mr Jin also appreciates d&b’s technology such as

Mr Jin has also been a loyal DiGiCo user since 2014, and both FOH and monitor consoles on Faye’s Moment Live were DiGiCo SD7 Core 2s. ‘I like DiGiCo’s mic amp, and there are plenty of plugins which make my work much easier,’ he says. Microphones used on the concert included Shure’s radio mic system in combination with DPA capsules.

racks. Live multichannel signals were transmitted through an AVB network to a Mac Pro computer equipped with two HD cards running Pro Tools. The system was provided by Miso Tech, assisted by AHM Engineering.

24 console of my own, so I know the Venue’s software and control interface very well,’ says Mr Li. ‘That’s the main reason I chose the S6L for this show. It’s also capable of recording 128 channels at 96kHz. During rehearsals it was clear there was no problem in transmitting and storing such large scale data, proving the console could offer the excellent reliability and stability we needed.’

Mr Li has worked for Ms Wong for more than a decade on her recordings and postproduction mastering, though this was the

the show. ‘I was impressed with the S6L’s sound quality,’ he says. ‘I’ve been using Pro Tools for more than 10 years now, up to v12.7 which I’m currently using. Though this was the

combination worked even more smoothly.’

Mr Li was using a variety of plugins from McDSP, Sonnox, Crane Song, SansAmp and Avid. ‘There is one song where I needed to add a vocal distortion effect to the chorus,’ he explains. ‘I remember when I mixed this song in 2001, I used SansAmp plugin to create the effect. Fifteen years later, I was using the same plugin to reproduce it live, this time not on a Pro Tools v5 workstation but on an S6L console. I have to say it recalled many good memories. I hope there will be more third-party support for the S6L console in the future, which will enhance the performance of the console even more.’

The show was also streamed live by leading Chinese online video platform Tencent Video, reaching more than 21 million on the night. Tencent’s website is now registering more than 300 million hits and counting. Such a successful webcast surely owes part of its acclaim to the audio quality, and the man responsible for this was Ms Wong’s long-time recording and mix engineer, Simon Li. Mr Li’s broadcast setup also

‘We were responsible for multichannel recording and mixing,’ he explains. ‘Meanwhile, Tencent had assigned a team from Dolby to handle the live production of 5.1 surround and Dolby Atmos sound. So we sent the 96kHz stereo mixing signal and an ambient/audience mic signal gathered from microphones positioned around the venue to the Dolby team via AES and Madi. They used SSL’s AES-Madi converter to convert the 96kHz signal to 48kHz and designed a surround sound image from the ambient and stereo audio feeds, encoding them to surround and Dolby Atmos signals.’

Mr Li declares himself very happy with the live recording of

for its on-demand channel. For this, AHM provided its new SSL and Chinese distributor. The main broadcast console was an SSL Live L500 with an L300 as the expander. Two Pro Tools HD systems connected to the L500 by Madi took care of multitrack recording and broadcast signal sound effects. After carrying out a 5.1 mix on the console, the signals were encoded by a Dolby Digital Plus encoder and synchronised with the video signal. A Dolby Atmos production set up in the broadcasting

8330A SAM active monitors and a 7270A SAM active sub. Genelec GLM monitoring calibration software was used here to measure and calibrate the acoustic environment. Though for one night only, Faye Wong’s return to the spotlight was warmly welcomed by her fans. It also gave China’s live production industry its own spotlight in which to shine.

www.ahm.com.hk

www.misotech.com

University challenge

and rigged a system in conjunction with Gautham N D, manager

‘A technical committee which included people from All India Radio and Prasad Studios advised us on a new system for the auditorium,’ explains Dr Nirmal Kumar, associate professor of the Electronics and Communications Engineering (ECE)

Illaiyaraaja to evaluate the systems. It was a democratic, transparent tendering process.’

auditorium listening to the system we proposed, and we won the shootout against several competing brands,’ says Gautham N D. Anna University’s auditorium is a much-used hall which can accommodate around 800 people in various formats. As seating adjoining passageway is frequently utilised as an overspill area.

N/D267A dynamic vocal mics, six N/D468 cardioid instrument mixing is being handled by a Yamaha MGP24X digital mixer. Day to day operation of the new system is the responsibility

FOUNDED IN CHENNAI AS A SCHOOL FOR SURVEYORS

by the British East India Company, Anna University has taught academics engineering, technology and allied sciences for over 200 years. Its most recent incarnation began in 1978, when four institutions were amalgamated to form today’s university. The College of Engineering, Guindy (CEG) is based in the red sandstone building inaugurated by the British in 1920 on the main campus of Anna University.

part of the world,’ explains Dr S Muttan, professor and head, department of Electronics and Communication Engineering, College of Engineering, Anna University. ‘We have a great history and tradition. Many architects of modern India came from this university as civil, mechanical and telecommunications

more than 650 colleges. So the auditorium at CEG, Anna University, is thrown open to the best brains of the country, as well as to ministers from Tamil Nadu and outside states who often conduct their meetings here. Given this, we wanted to

Bosch was brought onboard in December 2015, when its the CEG auditorium with an Electro-Voice line array system. This was carried out in conjunction with Mentor InfoComm, a Bosch sound reinforcement application, Mentor InfoComm delivered

‘The auditorium is used by students who put on a large number says Dr Kumar. ‘Between January and April, the busiest time, something is going on almost every day. There are also activities for the placements we award to students throughout the state, in addition to student club and sports organisation activities.’

The auditorium is also used by third parties such as local government and VIPs. ‘As far as quality is concerned we didn’t want to compromise, as lots of inaugurations and functions relating to government are held here,’ continues Dr Kumar. ‘Students today expect high technical standards, especially as lots of cultural programmes are put on here.’

The L/R system, installed and tuned by Mentor InfoComm per side Electro-Voice X-Line XLD281B compact line array

stage monitoring and also provide reinforcement for the corridor adjoining the auditorium. The system is driven by

and has undergone training on the system. Technically, Mr three days carrying out the installation and testing, and they day is a new day for me as we have something different in the auditorium, which I set up and mix.’

The new Electro-Voice sound system has greatly contributed to the functionality of the auditorium, according to Dr Kumar. ‘It’s given us a uniformity of sound throughout the auditorium, which was our main request,’ he says. ‘Our technical the sound level is consistent and comfortable throughout, to the satisfaction of everyone involved.’

The last word goes to Dr P Narayanasamy, dean of Anna concludes, leaving no doubt that the Electro-Voice X-Line system was the most appropriate choice for this historic educational establishment.

low frequencies behind the sub, those going onto the stage, so it’s a much better experience for the people onstage,’ explains Gautham N D.

www.boschsecurity.co.in

www.electrovoice.com

One of India’s leading universities now boasts an auditorium equipped with an Electro-Voice XLVC line array system. Caroline Moss has a listen

Celebrating 15 Years of Making the World Sound Better

The science of art

HOUSED IN GWANGJU’S ASIAN CULTURE CENTER, THE Arts & Creative Technology Center (ACT) was conceived of as a ‘dynamic production institution, merging creativity and technology to support imagination becoming reality’. It serves as a platform for the exchange of knowledge, technology and experiences by creative talents from around the world, including artists, designers, researchers and engineers.

The job of creating the technical infrastructure for the centre was awarded to Dongyup Kwak, A/V consultant and CEO of C2 Artechnolozy. ‘Before meeting the ACT Center president, I had no sound system installation ideas for this venue,’ he explains. ‘Space 1 (called The Ground) was a really big area for media art installation and exhibition – the room is 70m x 30m with 18m ceilings. The president’s wish was to create a platform for artists, designers, engineers, and researchers to develop forward-thinking ideas, aiming for the ACT Center to become a multicultural interface that fosters knowledge and skill exchange between creatives in Asia and the rest of the world.’

With this brief in hand, Mr Kwak began looking at the space to see what could be achieved. ‘We proposed a state-of-the-art audiovisual immersive “canvas” containing among other things, an immersive giant screen, a 3D spatial sound environment and a multi-layer video mapping system capable of showing the biggest installations,’ says the consultant.

Wave Field Synthesis (WFS) has been put to use at the ACT Center to create the 3D spatial sound environment. Based on Huygens’ Principle (1678), the idea of WFS was developed in the Netherlands in the 1980s by the Delft University of Technology. WFS makes it possible to synthesise ‘sound holograms’ by simulating acoustic waves produced by virtual sound sources. To do this, the system uses a large number of loudspeakers, regularly spaced and used conjointly. These are each controlled with a delay and a gain to form a wave that emanates from the desired location of the virtual source. This process is repeated for each sound source in the sound

– even for listeners located at the periphery of the zone or for listeners moving within the zone.

Creating this environment saw C2 turn to French manufacturer Amadeus to see if it could assist with a custom speaker design.

‘The piece de resistance within this installation was the speaker system design,’ states Gaetan Byk marketing manger at technical, networking and acoustical constraints pushed us to develop a new series of bi-powered and Dante-enabled point source loudspeakers, allowing remote control of each built-in DSP for an optimal adjustment to the acoustical properties of the listening space. The Amadeus PMX D Series speaker was born from creating the sound system for this installation by enhancing our original PMX speaker design with these new technical capabilities.’

Deluc, Amadeus’ director of R&D. ‘We are committed to

minimising latency as well as unnecessary AD/DA conversions

Dante protocol and its widespread adoption by professionals led us to consider its implementation within our systems.’

The resulting loudspeaker design features built-in 24-bit 96kHz DSP, as well as analogue, AES3 and Dante inputs. The PMX 12 D features a coaxial driver with a 12-inch woofer and

speaker channel is controlled by a 64-bit digital processing unit reportedly capable of 118dB dynamic range. Each of these on-board DSP units include a module dedicated to managing core system parameters including system EQ, time alignment between sections, limiting, and transducer thermal protection.

of the space to be covered, the installation called on 74 of the PMX 12 D cabinets with low-end support from 10 of the manufacturer’s ML 28 double 18-inch subwoofers. While the PMX 12 D cabinets are active, three Lab.gruppen PLM 20000Q

The Arts & Creative Technology Center in Gwangju has been installed with a powerful bespoke A/V system to ensure artists can make their concepts a reality

While the speakers provide the output, the brains of the immersive installation are found in the processor. ‘For immersive synthesis rendering unit for processing of up to 32 input and up to 64 output channels,’ furthers Mr Kwak.

was the overall control of the audio system. This fell to an SSL

based routing solution,’ states Philippe Guerinet, director of international sales for SSL and SSL France manager. ‘Audio over IP allows us to put the stage-boxes where needed, with minimal cabling, which in this complex exhibition hall setup is very important. And it easily lets us connect all kinds of Danteenabled gear: Amadeus PMX D speaker systems, SSL L300 console, SSL Network I/O stage-boxes, and every other piece of ancillary equipment needed. This network approach notably allows us to solve classic constraints, especially channel count, synchronisation, redundancy, latency, and signal distribution without adding any traditional TDM solution. Last but not least,

and an astonishing audio quality, while surprisingly reducing overall cost and making expansion straightforward as well as cost-effective.’

While the audio system is undoubtedly the highlight of the installation, the rest of the solution was equally complex. ‘For immersive installations and exhibitions, we had to create an intelligent ceiling, equipped with chain motors, including audio, video and network connections,’ recalls Mr Kwak. ‘So, I designed a custom steel truss ceiling featuring 64 chain hoists and 64 digital cable reels, combined with Cat-5E network cable reels with mercury wetted contacts. After many experiments, the mercury wetted contacts were found to be quite stable solutions.’

Movecat‘s Pluslite 500 Series chain hoists were selected as rigging hoists by the ACT Center and C2 feel they are the

and positioning of trusses, stages, ground support structures and other devices used in media applications. All of the chain hoists are controlled by Movecat‘s I-Motion Expert-T II System Controller. Developed for applications with up to 240 drives, it allows the control and supervision of any application, in the which require a double brake system, double gear box, and a 1:10 safety factor,’ explains Mr Kwak. For immersive video, C2 selected the 4x4Pro media server from d3 Technologies which is able to drive up to four 4K

outputs or 16 HD outputs. It is connected to 12 Panasonic PTDZ21K projectors which are compatible with both passive and active 3D projection systems.

positive result for the ACT Center. ‘This studio-grade speaker system combined with the legendary sonic signature of SSL is a very good marriage, which makes listeners, attendees and artists very impressed.’

www.amadeus-audio.com

Heritage reinforced

Success with past projects for the Bangsaen Hotel largest convention centre.

ORIGINALLY NAMED BANGSAEN BEACH RESORT,

the Bangsaen Heritage Hotel has been a part of Bangsaen’s heritage for over three decades. It’s interior décor and architecture successfully combines old Bangsaen with modern Thai styles. Whilst welcoming tourists from Bangkok and overseas with a large number of rooms, the property also entices businesses and wedding parties with its four separate halls, including the largest convention centre in Chon Buri province. Having been contracted by the Bangsaen Hotels Group to upgrade the A/V and control systems together with the digital signage at a sister hotel, Tide Resort, in addition to the Saen Sabai room in 2014, Mahajak was entrusted to fully upgrade the remainder of Heritage Hotel. This included the Saensuk Grand Hall together with the Saen Samran and Chomtalay rooms. Working directly with the client, Mahajak designed systems that not only conformed to budget, but also combine ease of use, by having quality products at their disposal, particularly in the Saensuk Grand Hall which is promoted for organising national

350 guests in theatre-mode, although it can be divided into JBL Control29AV speakers can be combined with portable JBL PRX718XLF subwoofers should an event require sub passive monitor system can be added into the Saensuk and also been added to the control room rack for loudspeaker management with stored DSP settings.

3,000 guests during cocktail evenings. Distinguishable by its an RGB lighting system that can change between 12 colours. It smaller events concurrently. Mahajak has integrated L-C-R loudspeaker clusters each combining dual JBL VRX932LAP and single VRX918SP subwoofers as the main FOH system. Additionally, the hotel technicians can plug in portable PRX715 and PRX718FLX speakers for the varied audio requirements. With a ceiling height of 3.65m, the Saen Samran Room

A sizeable inventory of Shure microphones was supplied to the hotel for its varied needs, for which the ULXD series was selected as the main wireless system. For live performances, Beta 56A, Beta 91 and SM81s are used for instrumentation with industry standard SM58s for vocals, whilst MX150 lavalier and MX415 goosenecks have been installed for conferencing

audio patches allowing additional loudspeakers to be deployed when an event requires higher SPLs. Intriguingly, the hotel management opted for an analogue patching system declaring managers. Mahajak also delivered a digital signage system for displaying information, promotions and branding.

Located above the coffee shop, the Chomtalay Room is in size and layout. The largest room accommodates up to 180 guests in theatre-style mode, but it can be divided for smaller rooms can host large seminars, conventions and classes. When sub-divided, the rooms are served by secondary, individual A/V conferencing systems allowing them to be used independently. The audio signals emitting from playback sources the control room whilst the video signal is distributed directly to the projection system via scalers and switchers. The host can processor, which has been programmed with stored presets.

AC18/95 and Control28 speakers, the volume and presets can be adjusted from wall mounted BSS Blu-3 controllers in each room. Furthermore, all the A/V parameters can be remotely controlled from individual iPad interfaces. Whilst Mahajak installed an entirely new cabling infrastructure, the hotel supplied all its own projectors and screens for the entire project.

www.bs-heritagehotel.com

www.mahajak.com

SHARING THE SAME NAME AS THE FIRST SECTION OF MIAMI Beach to be developed in 1910, South Beach development was planned a century later as a multipurpose complex comprising South Beach. It has been christened as a result of its location at the southern tip of Beach Road on prime real estate little misleading as it incorporates four conservation buildings the conserved buildings on the site had to enhance the dynamic urban vista.

new life into the three conserved buildings of the hotel by lights suspended in aluminium tubes dripping down from a 10m Forest Of

Military precision

Concept Systems Technologies took responsibility for the A/V systems at the JW Marriott Hotel Singapore South Beach. Richard Lawn takes a tour

Lights in different colours for weddings and corporate events. Forest of Lights produces clear, detailed images with smooth motion reproductions. Fixed Samsung screens in the lobby area

respectively.

proved to be one of the more formidable challenges for the positioning and installation of the two trusses for a very long

approval process for which you have to liaise with structural

moving heads have been suspended on the two trusses running parallel to the lateral walls with a further pair installed centrally Perhaps not as challenging as the installed lighting and video audio solution that would deliver intelligibility and clarity for all 340 seats.

Networked Justice

Vichai Trading has installed a comprehensive A/V system integrated with the IT infrastructure to meet the needs of Thailand’s Ministry of Justice. Richard Lawn goes behind the scenes

VZ-3 document visualiser. An Extron DVS 510 presentation switcher has also been added to maintain scaling quality and consistency from the various sources. Having taken on Thai distribution for many premium brands over the years, Vichai Trading Co Ltd sensitively attempts to the two audio systems that have been installed in this particular

chamber. Firstly, a ceiling speaker system consisting of 23 Tannoy Series 4 4-inch models is powered by three Biamp MCA8050 rely on the integrated speakers of the DC6120P units. Secondly,

Those delegates chairing the meeting can simply employ the technology of their choice courtesy of an Apple iPad Air 2. Alternatively, instructions may be issued to the rear control

audio routing and processing for the video conferencing, video wall presentations and speech reinforcement.

that integrates all the A/V devices in addition to the other room technology such as lighting, air conditioning and security. Whilst ensuring ease of use for users, the increasing adoption professes. Following the implementation of the conduits and cabling network between the audio, conferencing and video outputs to the rear control room rack, the terminations were completed onsite. The Vichai Trading team rubbed shoulders with other contractors and endured the humid conditions that existed without air conditioning. ‘The internet connection was not always operational and at best was unstable during installation,

www.moj.go.th

www.vichai1983.co.th

IT IS NOT JUST A SCREEN, IT FORMS THE BACKDROP BEHIND THE STAGE AND INSTANTLY TRANSFORMS. YOU CAN BE ANYWHERE DEPENDING ON THE CONTENT OF THE SCREEN.”

Tan Kian Chuan - Project Manager, South Beach Consortium daktronics.com/UHDvideo

EVERY MOMENT MATTERS

“

Building for the future

ADAM Audio has installed monitoring systems into the studios at TV Tokyo’s new headquarters. Caroline Moss visits

LAST NOVEMBER, TV TOKYO CORPORATION RELOCATED

from its premises in Toranomon to the brand new Sumitomo Fudosan Roppongi Grand Tower, an impressive 231m structure that is making a statement in this part of Tokyo. The broadcaster has established its new headquarters and basement, where two more studios are located. established by the Japan Science Promotion Foundation in including Television Tokyo Channel 12 followed before the of news and economic slots, documentaries, sports, drama, lifestyle and children’s programmes. It also has a very large focus on anime. building, each with its own dedicated control room. Additionally, a standalone control room known as A Sub is mainly used for receiving and broadcasting outside events such as sports and live concerts. ADAM Audio’s Japanese distributor, Continental Far East, has provided all of the studios with a pair of ADAM F5 active monitors with the Room Equaliser feature, providing sonic consistency throughout the facility. This consistency is taken further in Studios Three and Four, by Japanese manufacturer Tamura. Studio Three is mainly used for news programming. However, Studio Four is also used for some musical output, so it has additionally been installed as well as the F5s.

‘For our musical programmes we need studio monitors that production department. ‘Studios Three and Four are always used for live broadcast, and Studio Three is online 24/7. These studios have been designed to be interchangeable, so can go on with the control room of Studio Four being used. The consoles are slightly different but of the same type, so

with a Lawo mc2 56 digital console, of which more later. The control rooms of Studios One and Two have been installed with Calrec Apollo and Calrec Artemis Beam digital broadcast consoles respectively, while redundant Yamaha DM1000 and 02R consoles in each studio provide emergency

engineering division, technical production department. ‘Tamura

is a popular console brand in the Japanese broadcast industry. Each station tends to have these consoles, so most operators know how to use them very well. We have also improved our very important for us as we need to monitor several channels at once.’

The equipment for the new studios was chosen by a team of and decided what would best suit the individual control rooms. ‘What we are working on here is different between each for each studio, so based on those needs we’ve chosen what we consider to be the right console and monitoring for the jobs

we are doing. We decided to go with ADAM Audio because we did a listening comparison of several brands in our previous studio, and these were the ones that best suited our purpose. They are good for musical reproduction, but it wasn’t just down to sound quality, it was also about size and cost.’

Ms Nishiyama agrees with this. ‘We tested a lot of speakers and we chose ADAM Audio as it is a very good monitor,’ she says. ‘We’ve also chosen Dynaudio for some of the other studios where we needed to connect a surround system.’

All of the audio studios are situated within a larger control room which also houses the video facilities. ‘We’ve managed to secure a bigger space for the audio part of the studio than in our previous premises, which makes it easier for our engineers to work,’ says Mr Nagakubo. ‘We’re used to working in this kind of setup, and we didn’t think about separating the two studios in the new building because of the ease of communication this way of working offers. Plus, the space constraints of our studios makes sense for it to be set up like this.’

Overall though, the new studios represent a technological upgrade for TV Tokyo. ‘There hasn’t been one big innovative leap into all-new technology, but our previous newsroom environment was not so polished,’ continues Mr Nagakubo. ‘We based our studio designs on the knowledge we’ve accumulated over the years; for example, we did some renovations to our previous studios, and those changes have been implemented here. Then we have introduced some new things, such as the interchangeability of Studios Three and Four, which is something we didn’t have before.’

At the time of Pro Audio Asia’s visit, TV Tokyo had only been broadcasting from its new premises for two weeks. ‘It was a says Mr Nagakubo. However, even at this early stage the verdict from the audio team was unanimous: the new studios were impacting the quality of the programmes being made and broadcast from the building in a very positive way. ‘I think there are two main reasons for this,’ says Mr Nagakubo. ‘Firstly, the overall audio is better as the master broadcasting

system has been upgraded, which seems to have provided a good improvement in sound quality. Secondly, there is also an improvement in the individual studios. I really like working with the ADAM Audio monitors; they sound great. We’re using them in all the studios right across the board, for our news, economics, current affairs, talk shows, kids’ programmes, anime and musical programming.’

TV Tokyo hasn’t abandoned its previous building, however. It still houses two TV studios, one of which will be used for general recording, and the second of which is currently being refurbished to make it suitable for recording live news programmes. There is also a further studio in Tennozu,

Shinagawa, where content is recorded. As for the new facilities, with the exception of the larger Studio One, which is being used for previously recorded programming, the new TV Tokyo headquarters is being used almost exclusively for live broadcasting. The A Sub control room specialises in receiving sporting and other programmes which are recorded outside and broadcast from the new studio, and is the reason why a Lawo mc2 56 digital broadcast audio console has been chosen for this environment. ‘We wanted to install at least one of these desks as it’s one of the global standards for audio mixing for broadcast,’ explains Ms Nishiyama. ‘When any of our broadcasters travel abroad and rent an outside broadcast truck, it is often equipped with a Lawo. We decided to install one here so that all of our engineers can be familiar with it.’

With innovations such as this, TV Tokyo has ensured its brand new facility is world class and ready to meet the demands of broadcasting into the future. www.adam-audio.com

Out of the woods

are now handing over to different heads for new ideas, though his role as a sound designer.

DESPITE HAVING A FILM BUSINESS THAT’S BEEN PROLIFIC as recently as 10 years ago. By the early 2000s the industry

they have just been joined by the Evo system, which consists of a 12-channel table top controller, a Xynergi controller, two XE6 fader sidecars and a 3D audio processor loaded with a CC2 card and four full Madi I/O ports. This console, custom designed and Indian Fairlight consultant Raj Mulay, has been installed alongside a 3D Pulz surround sound system. The Pulz system consists of M5 Premium main speakers with CW218 Premium and CS8 Premium surround speakers. The main speakers and subs are driven by Pulz Rs1000 Premium amps and 4810 Classic for the surrounds and the rear subwoofer channels. A Pulz XO89 bass management processor has also been installed for the surround channels.

‘I’m proud to say that our Auro-3D sound stage was tested and says Mr Ranjan. ‘It’s now being used by students, and also get to work on them too, so they can sit in on real world projects and see how it’s done.’ Meanwhile, Fairlight is relishing its role as technical partner Fairlight’s product support specialist, Joe Hammer. ‘Along with

sound is a lab full of iMacs for learning the basics of Pro Tools. capturing the location sound, creating the special effects and getting it out there.’

and recording,’ concurs WWI president, Meghna Ghai-Puri. Rakesh, who have such great knowledge of the industry and at the same time are great teachers. Rakesh has been with us since we started, so he set up the course and has overseen the progress of the music school.’

Prior to the opening of the school, most options for studying industry-focused in terms of where the faculty comes from, and we aim to prepare our students for the real world,’ she says, pointing to innovations such as WWI’s ongoing masterclasses, where students are able to interact with the industry.

‘When we started I was a little concerned about our students being accepted by the industry, as there are lots of stereotypes the real world,’ she continues. ‘However they have been totally accepted, and this is especially true of our sound and editing students. I think it’s taught the industry to value trained talent a lot more, and understanding the importance of education is a great thing for any industry.’

The industry is so impressed with the talent emerging from WWI that the school will regularly receive phone calls from hold open days to showcase our graduating students because before they’ve got that far, most of them already have jobs,’ working in the industry. ‘The students are being hired straight out of Whistling Woods as assistants, or they are being helped

perfect for the school as it easily added full 3D immersive sound of their course. Our collaboration also includes the possibility television production hub, Film City.’ WWI also has a Dolby 7.1 room which is constantly busy

want to come and interact with the students so they can see the sending our students out on internships.’

WWI recently converted its entire programme of study to

with a Pro Tools rig and Martin Audio Screen 4 and 3R cinema speakers. Additionally, there is a music recording studio featuring an SSL AWS 900 analogue console with Drawmer 300L reverb processor, an Eventide DSP7000 processor, a TC Electronics 2290 digital delay and ADAM Audio S5A Mk2 monitors with ADAM Sub20 active subwoofer, and Genelec monitoring. Other classrooms include three 5.1 rooms for track DM2000 and Avid Artist Control consoles and Pro Tools 10 and Pro Tools 11 rigs, plus four additional sound studios.

‘As part of our curriculum, we train our students to tell a story,’ says Mr Ranjan. ‘To do this, they learn to use various tools that we teach them. The tools here are the sound elements. We design. Throughout all these disciplines, we try to give them an idea of what they will encounter in the real world. So for location

classroom our students will encounter as their introduction to

programmes tend to be diplomas and not degrees,’ says Ms Ghai-Puri. ‘We are a conservatory model as we are very trainingfocused, but now that we have a degree attached to our course it’s opened it up to more potential students.’

There are also plans to roll the Whistling Woods model out across India. ‘We don’t want to spread ourselves too thin as we believe the industry needs to have the right amount of supply, here in Maharashtra,’ she says. ‘There are different kinds of journalism and fashion, so we have to be careful about which states we choose, and tailor what we offer to those regions.’

It has taken 10 years for Whistling Woods International to get to this point, and the impact it is having on the industry is clear

winning formula.

www.fairlightau.com

www.pulz.co.in

www.whistlingwoods.net

A studio worth its Salt

A new recording studio has opened up on India’s south east coast, with acoustic design by Sound Wizard. Caroline Moss visits

WATCHING THE WAVES ROLL IN, ONE COULD BE FORGIVEN for thinking that the view from Salt Haus Studios was that of structural challenge was a column that would have been right

management system, which makes life a little easier, especially when you’re monitoring more than eight channels of audio.’ Salt Haus also has an impressive collection of mic preamps, including a four-channel SSL Alpha VHD-Pre, a Universal Audio 4-710D and 6176 channel strip, Neve 1073 LBs, API512 compessors and Shadow Hills Gamas. There are also Neve, API, Manley and Prism EQ units and a good selection of compressors including Shadow Hills, Rupert Neve, SSL and a Lisson Grove AR-1, which is based on a vintage Altec

compressor used extensively in the 1960s. ‘I’ve tailored the whole room to the sound I want to get,’ explains Mr Sharma. ‘I knew exactly what I wanted because at Full Sail you’re exposed to such a wide range of gear that you get to know everything.’

Other equipment includes two Rupert Neve 550 Series tape saturators and a master two-bus Neve processor which Mr Sharma uses for a lot of mixing and mastering. There is also a good selection of synthesisers including Korgs, a Minimoog Voyager and Access Virus TI Darkstar and Virus B, plus Neumann, AKG, Sennheiser, Shure and Rupert Neve microphones.

Mr Sharma is now hitting his stride as the studio beds in. ‘After the studio was built it took me three or four months to and sounding good, and start getting everything ready for some serious work,’ he says. ‘Then I met a couple of musical directors who liked my sound, and I’ve been working on the minutes of that day’s edit, with cues, and I write the music from that stage. Initially the musical directors would come here, but it’s quite far out of Chennai, so I’ve set up a solution which

allows us to use video and audio feeds to work remotely.’

own solo projects, recording and producing some artists he’s currently working with. ‘I’ve got used to the Western way of recording music, which is very different to how it works here in India,’ he says. ‘With one of the bands, we recorded 300 drum tracks in four hours, and they were blown away with how we did they had never been miked like that and they loved the sound. There was no EQing or compression, it was just ready to go in the mix. So we’re really trying to incorporate new styles and try out different things in this studio. I love the way the room sounds, and it’s really fun to write, mix and master in here.’ my day pretty early, around 7.30am, and the work I do in this

And with views like that from the control room window, it’s no

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www.soundwizard.net

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Sweet sound of victory

Genelec has a lengthy history with Japan Victor Studio, and now some 8351 SAMs have joined the array of monitors installed throughout the facility. Caroline Moss drops by

JAPAN, A COUNTRY WITH A LONG AND DISTINGUISHED recording history, is home to some historic studios with impressive track records, Japan Victor Studio in Tokyo being no exception. Designed by Sam Toyoshima, Victor is a world-class studio in the fashionable Ayoama district of the city. Originally opening its doors in 1969, it moved to its current premises 30 years ago, and remains at the cutting edge of Japan’s recording room. Each of the recording studios has been designed to provide a unique acoustic environment, and all are operated by skilled in house engineers. The studio is owned by the JVC record label and works with its artists, but is also run as a commercial facility. The facilities are constantly being improved and updated, and one of the latest arrivals on the technology front is a new system consisting of six Genelec 8351A SAM

(Smart Active Monitor) coaxial studio monitors.

customers, and the initial purchases also roughly coincide with the appointment by the Finnish manufacturer of Otaritec, which has remained its distributor for around three decades. Over the years, Victor Studio and Otaritec have enjoyed a good working relationship.

‘Victor Studio set a big example for the Japanese studio market with the 1035s,’ says Mika Makilaakso, area sales manager for Genelec. ‘Six pairs, along with SSL consoles, were installed into control rooms here when the new studio was being built, and are still in use today, as are the consoles.’

This is clear proof that a winning formula can’t be beaten, though it can of course be updated. Six 8351As have now been installed into Studio 202, where they are at home alongside

monitors and a 64 channel SSL SL6000 G+ console with bargraph meter. This studio is used for mastering, where the listening environment is critical.

Yoshinori Nakayama, one of the main house engineers at Victor monitors but was looking for technology that could improve on the midrange frequency reproduction. ‘I was very happy to learn

Finger on the Pulz

RAMAKRISHNAN MK HAS BEEN AT THE HEART OF THE Indian pro audio industry for more than three decades. Over Dolby to India, and today manufactures a respected line of

Like many in pro audio, Mr Ramakrishnan’s interest in audio was piqued at a young age. After studying physics and ‘This gave me a lot of exposure to cassette players, recorders, at that time,’ he remembers. ‘Down the line, CD came in. At that time in India, imports were very expensive, so we decided to

life as a small garage operation. Soon the company was diversifying from consumer audio into the manufacture of studios started coming up with their own requirements for custom-built equipment, and so we entered the pro audio industry,’ he continues. ‘Tannoy started sending us the drivers, we could now offer a monitoring package for the studios. That was a very key requirement at that point of time.’

important annual event for the recording industry. Here, in 1990, he met the Soundcraft team and before long, his distribution company, R&S manufacturer. This was shortly followed by BSS, Klark Teknik, Neutrik and Tannoy, and later by Genelec, Martin Audio, Gotham Cables, ElectroVoice, KCS, Community and others.

It was while in the UK that Mr Ramakrishnan met a man who was to change the nature not only

and music recording industry: Tony Spath from Dolby Laboratories.

‘Tony was planning to come to India to talk to the studios about Dolby SR, so he took my card and we started communicating,’ remembers Mr Ramakrishnan. ‘Then he asked me if I would look into distributing Dolby studio products, and that’s how our long association with Dolby Dolby’s focus at that time was on its Dolby SR noise reduction format. ‘There were magnetic tape recorders everywhere, operating without any noise reduction,’ he continues. ‘We used to carry out demonstrations, recording

something with jangling keys and low level signals then adding Dolby SR to the same recording to do an A/B comparison. The tape hiss completely vanished, so the sparkling sound of the Dolby also asked Mr Ramakrishnan if he could handle its cinema business in India, which at the time was managed by traditional cinema companies unversed in the latest technology. Initially, he wasn’t very keen. ‘Back in my home town in Kerala, my family had owned cinemas, and whenever there was a holiday or a festival, we were working in the cinema, selling tickets or operating the projector,’ he explains. ‘So I didn’t want to get back into that industry, I was more comfortable in studio and broadcast. A year went by and Tony started asking me again, so I looked at Dolby’s way of working in the cinema and realised it wouldn’t be the same as the traditional industry I remembered. The sophisticated technology produced a fantastic sound, so I said yes. We started with one cinema, then another, and eventually we captured the whole industry. It went on like this for quite some time, until ultimately 100 per cent of Bollywood converted to Dolby, and we were there right from day one.’

Mr Ramakrishnan reacted to this revolution by manufacturing

convince cinemas to convert because it was very expensive,’ he says. ‘Everything had to be imported as none of it was available in India, and import duty was very high. It was a big challenge. Dolby also wanted affordable amps and speakers to be available here so they could get into more cinemas. So with our cinema offer an economical package to the cinemas.’

A simultaneous conversion to Dolby took place in the mix studios as they realised the potential of offering the technology

The success with Dolby ultimately meant the company had to relinquish some distributed brands. ‘Some of the other studio to equip it with Dolby I had to be neutral in terms of other equipment,’ he explains. I couldn’t have that kind of situation, so decided to focus on Dolby, and it’s been a long time since concentrated on distributing brands that complemented the Dolby business, such as THX.

Mr Ramakrishnan worked with Dolby for almost 30 years, only stopping in 2013, when the company opened its own Indian selling the hardware to carrying out the licencing,’ he says. ‘But Dolby was thinking into the future, the business model was changing, and they decided to do it on their own. We still work

Caroline Moss visits one of India’s longest-established pro audio companies, Pulz

large venues

together with Dolby and sell their products, but R&S Electronics doesn’t act as their distributor.’

The company’s attention was now focused on Pulz, which in the meantime had become an established cinema speaker brand in India. ‘A large number of cinemas here use Pulz, and we’ve also started to export to other parts of Asia and the Middle East,’ says Mr Ramakrishnan. The Pulz range has also branched out beyond cinema into sound reinforcement. ‘We started making our line array speakers in 2005, and as far as I know, we are the only Indian company to manufacture them,’ he says.

All woodwork, assembly and testing is carried out in the Pulz factory, 100km from Mumbai, where 60 staff are employed. A further 25 people work from

and Spain. The Pulz range includes the Isotop cinema system with location

line array system aimed at medium to large venues and the CX Series coaxial monitors for live sound.

One of Pulz’s biggest clients is the Carnival cinema chain, with other cinema clients including PVR, Cinemaxx in Indonesia and MBO in Malaysia. The speakers are also being installed into small single multiplexes with three or four screens as well as home cinemas and private screening rooms. The company is also working with the 3D cinema formats. ‘Pulz systems are installed in more than 3,000 cinemas all over India,’ explains projector and server deployment companies Scrabble Entertainment, UFO, Malaysia, Indonesia and Vietnam. We also have installations in Cambodia, Laos and Nepal. Our cinema products are well established now, and we can compete with the big brands, so we have plans to establish our range on an international level.’

control on system design and installation. ‘We work very closely with the calibration is done by our engineers so we ensure it’s installed and optimised correctly. We have around 17 calibration engineers working directly for us.’

After all these years, Mr Ramakrishnan’s attitude towards his business remains the same. ‘We thoroughly enjoy what we are doing, that’s the main thing,’ he muses. ‘We are audio people through and through, and we like to do what we do without any compromise.’ And that’s the philosophy underlining three successful decades which have shaped the Indian pro audio industry.

www.pulz.co.in

Building the bridge

ALBERT EINSTEIN’S EVERGREEN COMMENT THAT

‘curiosity has its own reason for existing’ was tailor-made for the audio pioneers of the 60s and 70s. Today, we live in a more disposable era within the Internet of Things, but the inventors of yesteryear forged their careers and their businesses by dismantling or even destroying equipment in the pursuit of seeing what made them tick. Balancing a passion for music with his technological inquisitiveness allowed Gary Snow in his founded what was to become Wheatstone in the early 70s, his dynamism, attention to detail and enthusiasm have formed the solid and successful basis of this privately owned broadcast manufacturer.

Like most hobbyists, Mr Snow would return from work to spend his evenings in Syracuse crafting audio equipment specially requested by his friends. With good supply came increased orders, ensuring this hobby extended into daylight hours and the creation of his mass production company Audioarts. The 5200 Disco Mixer led to the 3100 parametric equaliser followed by the 2K, 4K and 8K consoles and the M10 stage monitor console. Operating from a converted barn, these compressor/limiters, electronic crossovers and consoles found a healthy demand in studios and live sound companies.

Whilst relocating to a 500 sq-m building in Bethany, Connecticut in 1981 in order to maintain production, Mr Snow launched the Wheatstone Project as a very high-end custom sound reinforcement console. This led to the company becoming incorporated as Wheatstone Corporation – a brand name that console project in an old carriage house in rural Connecticut,’ attests VP in charge of technology, Andy Calvanese. ‘At that time, our president and CEO Gary Snow had been making small mixing boards for bands and production houses under

console going by the project name Wheatstone, named after the Wheatstone Bridge, which was an electronic measurement device symbolising both precision and balance to an engineer.’

In the four decades that separate the birth of the 5200 and the IP-64 IP Network TV Console, Wheatstone opted for a ‘less is more’ product catalogue by ceasing to create any audio equipment that was demanded by them. This philosophy was sparked in 1983 when a dealer from Oklahoma asked why they didn’t make consoles for broadcast. ‘At the time we didn’t, because we didn’t know much about the market,’ furthers Mr Calvanese. ‘Our emphasis was always on high performance, best-sound-you-could-make consoles, which was not synonymous with broadcast. The dealer in Oklahoma was selling big sound systems to churches where broadcasting was

came up with a design and developed the A-500, which was our launch into broadcast audio.’

Making its debut at NAB in 1984, the A-500 was connected

demonstrate the cleanest sounding console in broadcast. The talk of the show went into and remained in production for 10 years until it was replaced by the A-6000 with all electronic switching.

With peaking production levels and 22 employees, Wheatstone simply ran out of space and moved to Syracuse, New York in 1986 but its shift into TV and radio console production meant this would only be a temporary home. Coinciding with the launch of the A-6000, Wheatstone’s 58 employees were forced to relocate to a purpose built 2,000 sq-m facility.

technology (SMT) engineering into its design. ‘Our SMT was acquired following a visit to a trade show in Boston,’ elucidates

Mr Calvanese. ‘We were looking for equipment that would use the old lead parts to build our consoles, as we could no longer

times had changed and they weren’t being used anymore, so we decided to buy surface mount.’

This same era was pivotal for Wheatstone as it also marked its entry into the digital console arena with the unveiling of the D-500. ‘By creating a digital board from scratch based on our own feedback and designs, we devised a way to hot swap modules on operational consoles and retained an analogue friendly interface rather than the in-vogue drop down menus of the time.’

With the SMT now available to measure the electrical properties of all the components prior to insertion on the board, the TV-1000 soon followed. ‘With a million op-amps on it and a countless number of resistors and capacitors, the TV-1000 was most complicated analogue piece of equipment we ever made.’

Taking its name from an electronic measurement device, Wheatstone’s journey has been dedicated to building the best sounding products it can. Richard Lawn reports

It went on to become one of Wheatstone’s greatest sellers and owing to its success, the company relocated to its current home of New Bern, North Carolina in 1998. Not only was this move south of the company’s roots close to the Canadian border, but also had the foresight to purchase a large woodland adjacent to this plot should we ever need to build a larger premises,’ highlights sales director Jay Tyler to underline Mr Snow’s fatigue of constant packing and unpacking at that time. Today, manufacturing is divided into multitrack recording and Audioarts mixing consoles in addition to IP networking and and a bit of heavy metal, by custom building and machining every single one of our consoles,’ explains sales engineer Brad Harrison whilst highlighting the fact that no production make stuff. It’s vital that you create your own parts to exact tolerances and use the very latest surface mount technology in order to ensure consistently zero defects. By controlling processes such as silk screening, graphics and powder coating, laminates and furniture building together with computer never return. In essence, we’re making sticks as opposed to boomerangs!’

The huge production loop in the New Bern facility starts with a warehouse where all the incoming raw materials such as sheet and folded mechanically, the console faceplates are powder generally takes three days to produce a console’s mainframe faders and ports,’ furthers Mr Harrison. Barcoded PCBs precisely allow the SMT robotics to create the broadcaster’s bespoke product, before being manually inserted with larger computer design, software coding, R&D and prototyping – the any design direction can be taken. undergoes constant appraisals made by Audio Precision testing

as it was getting very time consuming doing everything by hand

2+ computers. Now we conduct full sweeps from rack mounted Wheatstone’s emergence as a DSP provider was something of an accident following the development of the Audio Ecosystem console, processing and limiting was available on all the

Dimension Three, whilst Edge enables the use of IP networks engineer Rick Bidlack.

The US brand may be a giant domestically, but the global pursuits and visibility of Mr Harrison and Mr Tyler has grown into its studio.

feedback generates the R&D cycle. These sparks of inspiration are further stimulated by Mr Snow’s blue sky thinking overlooking the St Lawrence waterway near Syracuse during has lost interest and is busy on the next generation of product development,’ comments systems engineer Paul Picard with politics at Wheatstone. We have meetings in the hall when passing one another and we know exactly where to go to in order to get a decision. I don’t know any other companies like that today in terms of top to bottom communications and agility.’ But then again, Wheatstone isn’t any other company. The relocation to North Carolina would have been the death sentence for most other manufacturers. However, some two thirds of the employees uprooted their lives crossing the company legacy, expertise and knowledge rolled south along

or you don’t here at Wheatstone. We’re something of a cult and those who stay, generally stay for life. If you do your best during the day, you generally sleep well at night.’

with a proprietary DSP platform that could be integrated into its

allowing Wheatstone to create systems that are capable of operate the system.’ at Wheatstone, but unlike most other US and western that hit the broadcast industry, price dominated designs were is a market for it.’ more recent years to the creation of an IP Meters app, new applications where other manufacturers can network with it. The

With hindsight, the decision to manufacture audio broadcasting technology was something of a masterstroke rather than a leap

been pampering to the fashions and fads of the studio recording industry before that, whereby all the studios wanted their own is both tricky and expensive to produce. When we created the a radio station in Chapel Hill would still be operational today.’ with stable roots for its 85 employees who regard their creativity it would appear is continually stirred.

www.wheatstone.com

A letter from America

Is streaming setting its sights on live music? Asks Dan Daley

MUCH HAS BEEN WRITTEN ABOUT HOW revenues from live shows have become the lifeblood of the music industry. God knows it needed something: right around the turn of century the industry saw its cherished milk cow, the CD, begin what would become a precipitous decline. Revenue from ticket sales became even more critical as it became increasingly apparent that sales of downloads were not going to replace the loss of the CD. Then came streaming, which is proving to be an even stingier economic environment. When the royalty cheque barely covers a nice dinner, it’s a good thing that those concert ticket sales are still going strong, right? While we’re still waiting on 2016’s statistics, 2015 saw a record average ticket price of US$74.25, an increase of US$2.81, or four per cent, over the previous year. It was also a good year for the global concert business with the Top 100 Worldwide Tours generating a total gross of US$4.71 billion, Pollstar told us. However, there is a distinct possibility that live music is headed for its own digital

Waterloo, because the rise of live streaming is increasingly encompassing the sector. Companies like LiveList.com, and StageIt.com are tracking the growing use of live streaming by artists and festivals. Vevo, a joint venture between Sony Music Entertainment and Universal Music Group, began as a streaming outlet for music videos but is increasingly being used as a platform for streaming live shows. Companies like ConcertWindow.com are integrating live music streaming and real-time social-media interaction, which is arguably the one-two punch for capturing this cohort.

At the moment, live streaming has a fairly small footprint. However, the proliferation of bigger broadband pipes and ad-blocking software is making live streaming productions more attractive. At the same time, among the next generation of concertgoers, 40 per cent of them say they are watching native forms of video on their smartphone more frequently. The change in the user base is coming, and it’s coming faster than many might expect.

A letter from Europe

Phil Ward ponders on 80 years of public service broadcasting in Europe

NOW, THIS IS VERY INTERESTING. SO THE

came into being why, exactly? Because we’d already invented radio sets and, surprise surprise, they weren’t selling very well. Obviously, before the BBC, or any other type of programme making organisation, there wasn’t much to listen to. A bit like buying a fridge before your village gets electricity. Very nice, say the neighbours, as they back away without taking their eyes off you. Somewhere to put the aspidistra.

Scottish comedian Frankie Boyle once summed up this problem perfectly. Poking a bit of fun at the sometimes dour character of his resourceful countrymen, he imagined a conversation between television pioneer John Logie Baird and an early admirer: ‘Congratulations, Mr Baird, it’s a technical miracle.’ ‘Aye,’ replies the old curmudgeon, ‘but there’s **** all on.’

With the typical vorsprung durch technik

of the 20th Century, Western civilisation contrived to market something people didn’t need until the vacuum it created had to

In this way, we can talk about growth and expansion as if these were natural things like the secrets of the Universe, and Swindon. True, if some things didn’t exist it would be necessary to invent them. But unlike God, television is not one of those things.

As Europe, indeed the world, celebrates 80 years of public television broadcasting, its impact cannot be overstated. Despite an intrinsically hollow provenance, it has become somehow essential to business, politics, culture, economics and patisserie. The problem of knowing what to do with it

summer, with sales of early TV sets struggling just as radios had struggled 10 years previously, demonstration broadcasts were

More live music is being streamed and the upcoming consumer generation is looking for less-costly entertainment alternatives, and that’s where it gets interesting. The next round of consumers simply goes out less. A survey by ULI/Lachman Associates indicates that barely 60 per cent of all Millennials spend time at music clubs and of that group, only 25 per cent spend time at clubs more than once a month.

Meanwhile, the infrastructure of live music is showing signs of overbuilding. In Nashville, which has become the country’s biggest touring hub, the local newspaper noted that industry watchers are, ‘worried that Nashville’s concert industry has reached its saturation point.’

There is growth in the concert industry,

According to Ticketmaster’s 2014 US Live Event Attendee study, 44 per cent of people aged 51 to 70 that attend live events said they attend more events now than 10 years ago. Ten years from now? Probably not so

much. Meanwhile, Millennials may be just as happy seeing music on a device instead of in a venue.

Live music isn’t going away, but the landscape will look different. The metrics today point towards experiential entertainment and away from passive attendance at concerts. Connected devices will continue to play a bigger role, as will virtual reality. While those sorts of platforms could encourage further avoidance of venues, they can also be leveraged to do just the opposite, as long as what they can point people to is spectacular enough.

But suppose that this isn’t enough to compensate for falling show attendance and revenues? Then the music business will be facing a rerun of what it faced when CD and then download sales began to disappear. But at least this time we’ll have been through it before and we’ll know that there are solutions. Because the fundamental lesson learned is that people don’t stop wanting music, they just start consuming it in different ways.

hastily arranged for the annual Radio Show at Kensington Olympia in the hope that these bizarre, glass-capped wooden totems of modernism would present an exciting option for the very few Londoners with equal income to dispose on them as on a small family car. In the end some 20,000 homes witnessed television studio housed in a crumbling Victorian leisure temple called Alexandra Palace, perched atop a North London hill transmitter mast is still there, and gets a Christmas card every year from all its Palace and its surrounding park, quite innocently, it turned out, on that very day, to be the 50th Anniversary of public television broadcasting – namely, the 2nd November

one else was there to mark the occasion:

no brass band, not even a BBC Outside Broadcast truck. Only the small plaque on a discreet wall bore witness, and I was the only one reading it. Suggesting: either television is so essential it’s taken for granted, like oxygen; or nobody gives a stuff whether it’s there or not.

Another conversation, this time a real one I witnessed many years ago, frames the conundrum even more adroitly. ‘What do you need television for?’ asked a colleague rather primly, being well known for his ‘acoustic’ attitude to clothing and fun. ‘To watch the Grand Prix,’ said another, aghast in terms of life’s fundamental burdens, in terms of what survival on this planet entails, the contingencies of fate and the transient nature of existence, what do you really need television for?’

After a pause, the answer came.

‘To watch the Grand Prix.’

If you’ve missed an issue, wanted to refresh your memory on an older project or simply wanted to delve into the history of the pro audio industry in Asia, Africa or the Middle East then the Pro Audio Central archive is the place for you. Our fully searchable collection of Pro Audio Asia Pro Audio MEA, and Worship AVL digital editions dates back to 2010 and is free to view.

Fundamentals of enhanced audio production

Dennis Baxter has been a sound designer for international sports

AS AUDIO REPRODUCTION HAS DEVELOPED AND EVOLVED from a single dimension sonic space to a fully immersive, multirealising the production potential of multi-dimensional sound have developed as well.

The evolution of audio in broadcasting has paralleled the advancement of the number of audio channels available in the broadcast ecosystem with which to record and transmit.

Analogue satellite technology provided two channels of audio –one channel for full programme and one channel for programme without commentary – and through the early 1980s, stereo was often two channels of processed mono. Surround sound had an analogue transition period with processed 5.1, but now it is common for broadcasters to transmit discrete 5.1 surround directly to the consumer and let the set-top box decode the digital signals. Immersive sound is the next phase in creating a true multi-dimensional experience with the addition of height sound information. The use of the height speakers is subjective and clearly dependent on the content, but one thing is clear: height speakers give greater resolution and creative possibilities in audio reproduction. The next generation of sound production – known as Advance Audio Production Practices –will require more channels and more transport bandwidth than its 5.1 predecessor. Immersive sound is being promoted as reproduction formats that include everything from 8.1 (5.1.2) to 22.2, and is essentially any possible combination of speakers that include some height elements as well as that are capable of creating a height perception.

Operations and workflows

There are varying interpretations of what immersive sound for broadcast and broadband should be because there are programming, live entertainment and live sports. Each genre postproduction, there is no doubt that movies and made-for-TV

The audio for these media productions is produced in studios and on digital audio workstations (DAW) and there are plenty of tools that work within the DAW domain. As with 5.1 surround sound, this type of programming will lead the integration and migration of immersive sound into the consumer domain.

enhanced immersive experience and the creative palette of spatialisation tools for innovative spatial imaging.

Typical sound design for live music is ‘the sweet spot’ – a few rows back in the centre of the house. With immersive sound production, the listener enjoys an enhanced spatial and localisation experience shaped from spatialisation tools and advance audio production techniques which create spatial imaging far beyond any horizontal speaker reproduction. Live sports production is challenging because the sound perspective and point-of-view does not always match the listener with atmosphere behind the listener. With surround sound, there has always been a question about the use of the

sound, the question is what sound do you put above the listener? What do you put in the height channels when there are no apparent height sound cues?

Many sceptics look at immersive sound as surround sound with more trouble. There is no doubt that there is going to be a learning curve, but next generation sound offers unparalleled

There are many questions relative to the actual use of immersive sound in broadcast. How do we monitor? How does immersive audio collapse to 5.1? How can we best utilise stereo and soundbars? And how can immersive sound be used to produce an

This series will explore the wide range of creative possibilities within Advance Audio Production Techniques/Practices

(AAPT) incorporating spatial imaging and placement utilising spatialisation tools and ambisonic capture and construction.

Advance Audio Production Techniques

that describe the ability to produce immersive, interactive and personalised sound as well as programme user audio control. sound for live sports and entertainment media distributed by broadcast and broadband methods. The range of production possibilities and options are intended to be executed in realtime by the audio practitioner in the mixing environment. Enhanced audio will grow in sophistication and demand as it serves up programming control, immersive and interactive. Immersive audio will draw in creative sound designers because of the cool possibilities to manipulate more sonic space. But after a while

from immersive sound production, resulting in a variety of sound designs and audio objectives. Enhancements like speech intelligibility over a wide range of reproduction devices production. It could also possibly be used to more accurately features. Frankly, we are just beginning to explore these very real possibilities.

Sound design – immersive audio production for live sports and entertainment

Sound and production design is the creative intent, vision

leaves on a soundscape. Typically, the audio producer is expected to reproduce, enhance or possibly alter the experience. Sports sound requires the mixer to reproduce the experience because there is a certain expectation ingrained into the viewer as to what something should sound like. Sound designers excel when they appropriately satisfy the expectations of the listener and take the experience to another level. Fundamental sound design begins with deciding the perspective or POV of the listener. Sport is generally presented from the perspective of the person in the stands. This sideline POV was an easy adaptation for 5.1 surround sound

front, next to the screen, keeping the viewers’ attention forward. The surround channels were used only for ambience and crowd. A the sound design is from the athletes’ or competitors’ point of view. This close perspective changes the use of the surround channels from ambience and crowd to sounds which bring the viewers closer to the POV of the action – in the ring, in the car or on the court.

Perspective for sports is different and may be counterintuitive. Perspective is where the size of the sound element corresponds to the size of the picture. Typically, a wide shot shot, but often sports audio production is consistent with a camera cuts and visual changes. Sports tend to give a constant spatial audio perspective with medium and wide shots, but will change dramatically with a close up shot. Generally, the audio effect the sound designer is trying to achieve – like being inside a racing car as opposed to being in the stands. These perspective which warrant such a change.Perspective and POV are the most natural and powerful tools for the immersive

production. Spatial enhancement may not be as desirable reproduction approach to immersive sound design which uses and sonic quality.

Producing – immersive audio production

Live immersive audio production is a multi-step process of capture, create and construct. Immersive sound capture requires consideration on how to capture a realistic

be in the front of the listener, with surround and immersive sounds supporting the experience. To improve detail in the proximity of the desired sound and included in the mix at the appropriate time, location and volume during the live production. Much of the detail of an audio production is

dynamically captured and blended by the audio mixer to enhance the microphones constantly changing foundation providing the glue to on top of it is critical. Ambience and atmosphere are the sonic foundation for all formats and must simulate a wide range of visual representation: wide shots, medium shots and close up shots with soundscapes in stereo, surround and immersive sound. Immersive sound production is achieved by adding sonic information above

question is, what level of height reproduction makes a suitable immersive sound mix? What is the content of that height information? With sports and entertainment, much height information is literal approach to sound design might consider that what is above the spectators/viewers is mostly reverberant atmosphere and PA, leading one to wonder about the need for immersive sound. Clearly the sound envelope is

positive consumer behavior for immersive sound?

Production – spatialiser tools –dynamic audio elements – spatial movement

Spatialiser tools give the sound designer/mixer the means sound anywhere in the soundsphere. These 3D panner/ positioner tools can be applied to audio elements or groups of sounds to position any 3D coordinate/position in the acoustic soundscape – around, above and below the listener. Spatialiser tools can rotate sound 360-degrees on the horizontal plane known as Azimuth. A 360-degree rotation can image a sound anywhere around the listener, creating a phantom image between two speakers. Stereo and surround sound reproduce audio on the horizontal plane – in front, to the sides and behind the listener.

Additionally, spatialiser tools can move the audio up and down in the vertical axis known as elevation. Vertical panning is effective because additional height dimension contributes to the detail and localisation of sound elements/

sound designer because the height sound reproduction can contribute ambience and atmosphere. Immersive sound is about creating additional spatial depth by adding the height/ vertical dimension to the horizontal viewing dimension. Planning a vision for what is possible with the sound above the listener/viewer can be a real inspiration for creativity and sound production. Begin by asking these questions: what should immersive sound for a sports event sound like? What sound should be above and in front of the listener? If you are

Realistically, the sound from above would be crowd and PA practices for immersive sound design and mixing progress, audio practitioners should consider alternative sound designs. I have heard a couple of sports demos where it sounds like you are in the stadium, but I do not think that more ambience and atmosphere is compelling enough to move people to immersive sound. Additionally, more ambience and atmosphere in an immersive soundbar will certainly dilute any detail in the sound

of the sound contribute to the amplitude and positioning sound around and above the listener and is effective for sonic separation of sound elements. The ear can easily differentiate sounds that are separated a few degrees from each other. Separating sounds can give better clarity

elements in a stationary location, sound elements can be

and movement has tremendous creative potential and may represent a paradigm shift in the production of audio for live video production.

generators, allowing the vision mixer to move and automate graphics and pictures for a live production. Dynamic panning can be used to move sound nuggets to accentuate motion and movement and contribute to the production value of an immersive sound 4K production.

microphones are placed in proximity of the desired location and volume

NAMM 2017

WITH A BACKDROP OF UNCHARACTERISTIC RAINSTORMS and Donald Trump’s presidential inauguration setting the scene for the 2017 NAMM show, a record attendance and a rise in exhibitors found shelter within the iconic Anaheim Convention Centre. The destructive political landscape of last year may have done little to promote much optimism ahead, but some of the attending musicians begged to differ. Sure enough, the late the civil rights movement, whilst the punk/new-wave explosion of 1976-77 was largely a creation of the decaying social and industrial UK landscape. As NAMM got lost in music, the show’s growing pro audio persona is fast becoming a headline act. Rather than isolating its professional audio exhibits and marketing portable PA and recording as a separate show, NAMM has always successfully integrated them. Refreshing in the era of division, and encouraging for the future of NAMM considering that a new hall is well under construction and will be online for NAMM 2018. Line arrays gained further visibility on the show a decidedly pro curriculum. What was once unfairly dubbed NAMM has not only increased its own membership and appeal

In addition, the Maryland-based manufacturer also promoted the new Tranzformer product for guitarists and bass players on an adjacent booth. ‘In terms of current buyers and endusers, NAMM is now the most important trade show for API in the US and is a great meeting point for international distributors,’ acknowledged director of sales Dan Zimbleman. ‘It ceased being solely an MI show many years ago, yet it is the ideal platform to launch the Tranzformer.

amongst a new, younger audience but it has also extended NAMM’s credentials.

Given its timing in the calendar, NAMM has always been used as the New Year barometer. This year was no different and undoubtedly change is in the air, although it is tricky to see where those changes exist in the latest product technology. More than ever, suppliers and manufacturers take note of their competition and back up their own marketing convictions with three latter acronyms. So unless a trade show ticks the correct boxes in the ROI (return on investment), OKR (objectives and key results) and KPI (key performance indicator) categories, the likelihood is it will be a casualty. For this reason, regional shows having it their own way either.

launches were less evident than ever before. Having coordinated a worldwide unveiling of the latest SD12 ‘Project Vulcan’ console at 10.00am locally around the world working backwards from Australia, DiGiCo was understandably

‘Although the launch of the SD12 coincided with the NAMM show, we opted to promote the new console via social media and our global distribution partners,’ explained marketing manager, Maria Fiorellino. ‘It was so successful, that we are now questioning whether we need to launch a product via the traditional trade show platform in future. However, visitors to the show have given us glowing feedback on the dual-screen interface and the many features that we’ve built into a model that takes the best from our S and SD series.’

API Audio showcased its renowned 1608, Box and AXS Legacy formats alongside its acclaimed, equalisers, compressors and mic pres.

We’re hoping that the new pedals will allow us to connect to a new generation of API users over time. Reports of analogue’s demise have been seriously exaggerated!’ Across the hall from Tranzformer was Radial Engineering, another manufacturer relishing the plethora of musicians eyeing its collection of DIs, switchers and effects boxes.

The newly-arrived consoles on display promoted portability, competitive pricing and extensive feature sets. Standing out were Soundcraft’s Ui24R 24-channel digital mixing and multitrack recording system, Topp Pro’s T-2208, QSC Audio’s TouchMix -30, Allen & Heath’s dLive C Class compact surfaces and MixRacks and the next generation of PreSonus’ StudioLive range. Promoting itself as part of the Harman Connected PA family of products, the Ui24R demanded further attention

Having approached full capacity last year, NAMM still found room at the Anaheim Convention Centre to grow

perhaps. Products within the Connected PA ecosystem, which include JBL PRX800W speakers, dbx DI1 box and the AKG P5i mic, can now self-identify with an app for setup, whilst automated wizards

The reformatted QSC booth enticed box K-Cardioid subwoofer solution. In close proximity, HK Audio added to its Lucas Nano series of portable PA systems with the launch of the 602. Similarly, fellow German manufacturer LD Systems extended its Maui portable system been really well-liked. The show is channel partners outside of the

New Zealand, China and Korea.

launch its ETX, EXA and ZXA portable ND microphones in recent years, EV this year hosted a 90th party with musical entertainment. For the second year in succession, dBTechnologies its distributor American Music & in its own dedicated demonstration

the new B

stand-space with its sister company, RCF, which this year showcased a bespoke number of products from

compact array, Ayra studio monitors, Art-708a cabinet and E-series monitors on display appealed by

tags, the latest designs from ADAM Audio, Dynaudio Pro, Eve Audio, Genelec and Neumann perhaps demanded a straddled the line somewhat between the camps with the B&C, Beyma, BMS, Faital Pro and La Voce Celestion

P Audio was also showcasing its latest more weight to the fact that some of the bigger, more relevant over the years, Synthax had clearly arrived to make a point

RME jam sessions and booth events promoted by several female came as a relief to Synthax managing director Mathias von There were no shortages of new wired and wireless the ear, both Earthworks and DPA Microphones showcased

Shure

Audio-Technica

Cloud, Royer Labs and Soundelux had all crafted new diaphragms for recording

TASCAM

display cabinet crammed with some three decades of TASCAM

Perhaps retro is the latest new?

awaited visitors and exhibitors in the form of smartphone

Schoeps Countryman

omnidirectional lavalier microphone, and Blue Microphones

its Ambeo creations, Sennheiser

2017 Dates: 19 – 22 January

2018 Dates: 25 - 28 January

Venue: Anaheim Convention Centre, CA

Total exhibitors: 1,779

Attendance: 106,928

Contact: www.namm.org

Active semi-horn loaded bassreflex subwoofer LF 3x18”

Frequency Response (-10dB) from 35 Hz Max SPL 143 dB

3x DIGIPRO® G3 Class D 2700W/RMS Amplifier Delay control up to 9.9 ms On-board cardioid array configuration preset

Active 2-way line array module HF 1x1.4” Neod. LF 2x10” Neodymium Max SPL 135 dB

DIGIPRO® G3 Class D 900W/RMS Amplifier On-board double rotary EQ Control System

info@dbtechnologies-aeb.com www.dbtechnologies.com

dBTechnologies

ISE 2017

HAVING ESTABLISHED ITSELF AS THE LARGEST A/V SYSTEMS integration trade show in the world, Integrated Systems Europe (ISE) is a speeding juggernaut breaking through traditional barriers that other trade shows can only gape in awe at. It has aim for and few achieve. If anything, the 2017 event seemed to solidify its position at the top of the tradeshow tree with four days of product launches, training sessions and plenty of business being done across the RAI.

Tom Back from Alcons. ‘Pro sound transducer technologies are in demand due to their increased dynamics and reduced distortion. At the same time, AES3 digital signal routing is another example of this trend. The top residential consumer is developing into a “prosumer”. ISE has acknowledged the integration of A and V from the beginning and offers a unique platform for these individual markets.’

One of the reasons for these companies taking space at ISE is the diverse crowd it attracts. ‘It’s a very eclectic mix,’ observed Anindya Mukherjee from Sonodyne. ‘There are people that we wouldn’t expect to see here, people that you see at NAMM and Frankfurt are here. There are people from all over the world.’

‘We see more customers here. Our distributors are migrating to this show from Pro Light & Sound as well because they see customers here,’ agreed Margie Kirby from Renkus-Heinz

‘We see a lot of rental organisations here where we don’t see them anywhere else really,’ noted Clear-Com’s Nicki Fisher. ‘A lot of rental organisations bring teams over so it’s nice to speak to the entire team.’

‘We’ve seen more and more of our broadcast SIs and customers coming,’ stated Chris Exelby from TSL Products ‘It’s been worthwhile to be here for our existing customers. We can now put a value on being here purely on the opportunities discussed with our existing customer base.’

While visitors from other sectors are an important sign of growth, the install-centric visitors will always be the core of ISE. As such, the combination of the residential and commercial audience that comes from merging InfoComm and Cedia is a major draw for exhibiotors. ‘This is our biggest show for Crestron because it’s a combination of what in the States are two separate shows with Cedia and InfoComm,’ noted Crestron’s Dennis Fink.

‘This and InfoComm are the core shows for us,’ agreed Mark Tracy from Middle Atlantic Products. ‘This is nice because it has the Cedia crowd so we get the residential people and the commercial people and we can speak to them the same way.’

shifted industry R&D cycles. Where once manufacturers waited for Pro Light & Sound to unveil their latest creations, now this takes place a few months earlier in Amsterdam. And it’s not just the A/V-centric companies such as Kramer, WyreStorm and Peerless-AV who choose ISE as the launch vehicle for their latest offerings. Some manufacturers more traditionally associated with rock n roll, such as Nexo and Meyer Sound as well as the more broadcast-oriented entities like Lawo, Calibre and Exterity all decided that this was the appropriate location

‘The systems integration market is interesting to us and this event is more and more pro audio,’ stated Daniele Massaccesi from Proel brand Axiom. ‘All the companies that are here are talking about pro audio globally. We are here because we feel that the level of professionality is really high. We are talking about work, how to solve things and form solutions. We are teaching by explaining our products, but we are also learning thanks to meetings we are having here.’

‘On the audio side, an increasing amount of pro audio technologies are entering into the residential market,’ furthered

‘We’ve had a few theatre guys, a few operators who wanted to see the new S6L features – they had heard about it but wanted to see it,’ added Avid’s Robb Allan. ‘We’ve seen a few installers who wanted a demo to see if it meets their needs. And then there are also a few rental companies and rock n roll people who come here as well. Of course, all our resellers are here too.’

Has ISE become the ‘must-attend’ tradeshow for the global audio industry? Four days of launches, training and visitors from outside the install sector suggest it has

Of course, there were also plenty of releases that were targeted directly at these install customers. The likes of beyerdynamic, Audix, RCF, Picturall, Audac, Yamaha, Topp Pro, Taiden, LD Systems, Cloud Electronics and KlarkTeknik all had releases aimed at the traditional ISE crowd.

‘I think it’s the only proper show that we can launch the Quattrocanali at because it is increasing year by year and it is focused on the integration market,’ offered Powersoft’s solutions to ease their work and ISE is the perfect place in Europe to do this.’

‘With the ControlSpace EX audio conferencing system we are Koro from Bose Professional. ‘It’s the right product and the right segment for this show.’

‘With the expansion of our TeamConnect family we are showing the right products and getting a great reaction,’ stated Sennheiser’s Mig Cardamone. ‘We have seen a lot of people from all over the Middle East.’

One of the interesting technology factors to come out of ISE 2017 was that exhibitors were not only showing completed products. Companies such as Avid, RME and Christie were offering technology showcases that highlighted to potential customers the equipment that was currently being worked on. ‘For most of the people that have been coming here they’ve had the “wow” factor when they’ve looked at stuff and understood what we are trying to share with them with our underlying foundation technologies,’ smiled Christie’s Chris Kee. ‘They are really wowed by the fact that we have all this in development and we are beginning to share this with them.’

For those A/V suppliers and integrators that happened to be

were around 100 exhibitors, now look where it is today. It takes

McClean from Spinetix

With two tier stands, projectors on robotic arms, projection

BUSINESS: SHOW REVIEW

mapped racing cars as well as the Drone Arena and VR Zone, included Genelec’s colourful offering to celebrate the 120 RAL colours available for its 4000 series and the Electro-Voice/ Dynacord booth which changed branding every 70 seconds. As well as the well-designed booths, there was a culture shift how wonderful their new products were as standalone devices, conversations have changed to highlight how well the latest equipment works together in systems. This was highlighted at ISE by a number of manufacturers announcing that they were working together to better meet the needs of their customers such as Crestron and Intel with NVX, Biamp and Shure with TesiraForté DAN or NewTek and Wowza with Media DS.

‘We’re not trying to keep all this technology to ourselves, we’re

compatible with QSC, Biamp, Polycom and Crestron working as a technology partner to make sure that everything talks the same language,’ said Shure’s Andrew Low. ‘It’s not about how products work, it’s how they work together.’

Symetrix discussing ‘For this show we released the d&b audiotechnik plugin,’ said Peavey not always.’

And it was not just networking and interoperability between Harman booth, there verticals. ‘When you think about the way Harman used to be structured Martin Professional could have been thinking business AMX but they weren’t talking to each other,’ explained Harman’s David Glaubke. ‘That’s why what we are doing on this booth is so compelling because now we have people pooling resources

BXB’s Zolzaya to several customers and they like it.’ integrated into corporate networks, and as such has become

to overwhelm the network, whilst more users in less controlled environments equates to a greater security risk. organisation, managers are being told that audio, video and control are now under their care and expect standardised QSC protocols. Our industry has a choice: pretend that the IT industry again grew in scale to keep pace with the demand. An extra temporary structure. As it was, 135 new exhibitors blended in come to our stand are new business,’ observed Chriss Smeeton Argosy a new customer.’

once again attracted record visitor numbers with more than Apart’s Kris

We give them the opportunity to have a meeting table here and over, the integrators and the installers.’

‘The quality is good. I haven’t seen many consultants but there Tendzone

Visionary Solutions than in the States.’

Atlona. ‘Not only can we entertain our customers directly, but also our partners bring their to connect with our global partners.’

K-array’s Andrea Torelli. ‘We are seeing more end users and consultants. We have moved our attention to the architects and end users.’

Singapore,’ said Audio-Technica’s Teng Shaokai. ‘We’ve had ‘We seem to be having a lot more customers and end users Revolabs resellers than end users. It appears to me that there are a lot

‘It’s gone extremely well. We’ve been even busier than last year. added Televic’s Herman Geerinck. ‘There are still not enough expecting more Chinese people, but that was limited. There are Sommer

2017 Dates: 7-10 February

2018 Dates: 6-9 February

Venue: RAI, Amsterdam

Total exhibitors: 1,193

Attendance: 73,413

Contact: www.iseurope.org

Watch the show on our YouTube channel: www.youtube.com/ watch?v=kI9ZPcvNBj4

Living the dream

Virtual reality has recently become one of the major trends for consumer technology. Sennheiser is looking to ensure the audio keeps up with the video with Ambeo

demonstration the audio follows, rendering the complex engineering and algorithms to make this work fairly simple. By mounting the microphone to a 3D camera, the audio recording tracks the video.

‘We saw enormous commercial opportunities in developing Ambeo,’ explains Simone Hansen, project manager, Ambeo sports broadcasting. Covering immersive audio products and technologies for the entire signal chain, from capture to mixing and processing to reproduction, Ambeo is the umbrella for recording, processing or playback in 9.1 or over headphones.’

‘With Ambeo Music Blueprints, a technician can record and mix music with the same natural, spatial sound as in the

original performance,’ furthers Ms Larcher.

loudspeakers, binaural and for virtual reality, provide information on recording set-ups and microphone positioning, on mixing with additional spot microphones and on delivery and playback for a 3D listening experience. A dedicated website explores recording, mixing and delivering live music in immersive 3D audio, with topics including 3D recording for 9.1 loudspeaker reproduction, binaural 3D playback on standard headphones and

microphone set-ups when creating immersive 3D audio recordings for 9.1 loudspeaker playback as well any objectoriented format targeting loudspeaker playback such as introduce a height elevation when a 9.1 loudspeaker set-up is used for playback. For a 3D audio recording, the usual pair of main stereo microphones is replaced by the Ambeo dummy head such as the Neumann KU 100 for recording 3D audio and enhances the audio with spatially processed spot microphones, targeting a listening experience over creates 360-degree recordings by using panning tools for mixing in additional audio sources, binaurally rendering the Ambisonics channels for head-tracked 3D headphone reproduction.

Next up is the Ambeo Smart Surround, a compact consumer earphone for immersive 3D audio recording. Debuted at CES 2017, and launching in the second half of 2017, it allows users to capture and listen to binaural audio recordings on smartphones, and features the introduction of Apogee A/D conversion technology and digital connectors such as Apple Lightning and USB-C.

resources has made Ambeo a platform in its own right. By concerts and gaming will continue to be enhanced. From audio capture to reproduction via its mixing and processing expertise, Sennheiser’s lead in this domain is undisputed.

www.sennheiser.com

www.sennheiser.com/ambeo-blueprints

www.sennheiser.com/microphone-3d-audio-ambeo-vr-mic

1/2 Horizontal

1/2 1/2 Ho

IT’S NOT SURPRISING THAT THE EN54 standards in buildings but also to enable

Pro Audio Asia

‘Originally introduced as a European the people affected and operating staff if is to guarantee 100 per cent functionality by also describes in detail the functions, product quality and testing procedures for focused all of its energies on this sector

the people out of the danger zones added resellers (VARs) and integrators that

highest security standard in the

increasing adoption is constant training for all

EN54 has been predominantly a European-practised standard up until more recently. Simon Luckhurst