PALM Technology March-June 2020

™

SOUND & STAGE DJ TECHNOLOGY EXPO PROMOTION

Bishwadeep Chatterjee shares his unique perspective and experience on Music Recording and Sound Design

Professional Focus Sound Designer – Bishwadeep Chatterjee Studio Install shares his unique perspective and newexperience studio on music recording and sound Shankar Mahadevan’s design. Lambodara Studios designed by Sound Wizard Film Mix Engineer – In Conversation with Sreejesh Nair

Mrinal N’s dream projectIndependent - Music Producer – Renowned Stained Class ProductionsMusic Producers talk about their recording Features approaches and technology Renowned Independent Music Producers talk about their recording approaches and technology

In Conversation with Sreejesh Nair

BOSE reinforces sound at Sardar Patel Stadium, Motera with ArenaMatch STUDIO ISSUE MARCH - JUNE 2020

note from Content Anchor Smita Rai PALM’s Fantastic run of Glory for 20 years gets a Virus Lockdown!

ALM has always lived up to expectations and always delivered a fantastic expo, which has acted as a catalyst for growth of the industry in its glorious run of 20 consecutive, successive years. But as you have it, this glorious run has been unpredictably hit by a virus lockdown, bringing to naught all preparations. PPALM was on the verge of completing two magnificent decades when the catastrophe struck. The utter disappointment of hosting a fantastic celebration on the exhibit floor of India’s great pro sound and light industry is unfathomable. This decision forced by the government, as per effective laws, for safety of exhibitors and visitors, has caused insurmountable losses for PALM expo organisers, as much as it has for the exhibitors, stakeholders and the industry as a whole. Considerable investments made by organisers on venue, marketing, media ads, admin, utilities, arrangements with fabricators, vendors etc., has been swallowed up by the COVID monster. Ongoing preparations and investments to bring back the much-awaited Outdoor Line Array is also washed away (pun intended) into oblivion. 27 - 29.05.2021 Of course, there isn’t an industry contributing to PALM 2021 BOMBAY EXHIBITION CENTRE, AV-ICN expo which has not GOREGAON (E), MUMBAI, INDIA been impacted - hospitality, weddings, MICE - especially the Media, Event & Entertainment industry. This Event industry, which is all about people, huge gatherings and entertainment, has been decimated to say the least. An EEMA survey indicates that over 50% of the media companies have lost 90% of their business since March 2020. As per FICCI reports, the Indian Media and Entertainment sector, which was expected to cross US$34 billion by 2022, at a CAGR of 10%, pre Covid-19, is now expected to reduce by 16% to Rs 1.3 lakh crore in the current financial year. However, it’s time we all stand together and cross the bridge to future anew. Recovery from the virus will require flexibility, with the industry needing to advance some existing trends while also creating new solutions and business models. As an industry, I believe we have shown time and again that we are spirited in difficult times. PALM Expo’s support to the market, industry trade and professionals is unstinting. We are all in the same boat and we are committed to remerge stronger than before. Our best response would be to stay together as an exigent unit.

THE DIGITAL AVTAAR Since normalcy seems to be in the distant future, the next couple of issues of PT too will have to be circulated as eMagazine. It has become increasingly evident that digital media has become a force to be reckoned with, and this shift has never been more valid than it is right now. Once we are ensured that dispatch of print magazines can be executed without any hiccups, we will resume the print edition, but until then PT will re-focus its energies on Digital pdf avtaar. People across the world have re-aligned and altered their consumption behavior, so this Digital offering will present the biggest opportunities for companies wanting to maintain operations and be seen as active in the face of the new coronavirus situation.

We therefore encourage companies to optimize marketing efforts and utilize PT digital platforms to stay relevant and active in the months going forward.

BACK TO THE STUDIOS We have a feature-rich, combined Mar-Apr and May-June Digital mag with the main theme being “STUDIO”. We are so happy that we could get some meaningful insights from three-time National Award winner Bishwadeep Chatterjee. Read his interview on pg.30. Also in this issue is an Interview with another award winning Indian Sound Engineer, reputed film mix engineer,Sreejesh Nair on pg.51. We feature Shankar Mahadevan’s new studio – Lambodara, designed by Didier Weiss and his team at Sound Wizard on pg.46. Unfortunately, we could not get pics of this brand new studio due to the lockdown but we will feature the same in PT July-August eMagazine. On pg.59 is a look at Mrinal N’s Stained Class Productions, a new Bangalore based studio designed by Rahul Samuel of LiveEnd. PT also touched base with indie Music Producers Keshav Dhar, Jehangir Jehangir, Ayan De, Vivek Thomas and Rohan Ramanna to find out more about their recording approaches and technology. Turn to pg.56. In a six-part educational series, Rahul Sharma of Menura Acoustic Labs in collaboration with Sound Wizard will outline “Acoustic and Audio System Design for Small Rooms”; part 1 on pg.68. While Viraf Pocha talks about how the virus has affected the events industry and steps to take to set the ‘New Normal’ on pg.83, Kapil Thirwani of Munro Acous- tics outlines a sequence of steps for Studio Owners to follow post the lockdown on pg.74. Also featured in this issue on pg.48, is the impressive Bose Professional install at the world’s largest cricket stadium, Sardar Vallabhbhai Patel Stadium in Motera. The next issue of PT is the Install special issue and we hope to bring to our readers details of more of such remarkable installs across various verticals. Until then Cheers and Happy Reading!

Smita Rai – Content Anchor

March - June 2020 04

PALM TECHNOLOGY

CONTENT CHIEF Anil Shiv Raj Chopra [email protected]

CONTENT ANCHOR Smita Rai [email protected] 59 Mob: +91 98209 43398 Control Room at Stained Class Productions, Bangalore CONTENT MANAGER Meghna Porwal [email protected] Mob: +91 98204 03040

DTP MANAGER Features Peter Pereira [email protected] A Note from the Editor 04 PALM’s Fantastic run of Glory for 20 years gets a Virus Lockdown! WEB DEVELOPER Dimple Shah Studio Install [email protected] 46 Lambodara Studios – Shankar Mahadevan’s new studio designed by leading acoustics design firm Sound Wizard Amol Kanchawade Stained Class Productions – Bangalore based Mrinal N’s dream project. [email protected] 59 Professional Focus DISTRIBUTION Sound Designer - Bishwadeep Chatterjee shares his unique perspective and experience on Meetali Solanki 30 music recording and sound design. [email protected] 51 Film Mix Engineer – In Conversation with Sreejesh Nair 56 Independent Music Producer - Renowned Music Producers talk about their recording ap- CONTENT PRODUCTION & RESPONSE proaches and technology OF FICE PALM TECHNOLOGY Stadium Install 530, Laxmi Plaza, 5 th Floor, 48 Bose Professional at Sardar Patel Stadium Motera Laxmi Industrial Estate, New Link Road, Andheri (W), Mumbai - 400 053. Technical Focus T: +91 22 4286 3900 68 Rahul Sharma in a six part educational series outlines Acoustic and Audio System Design for Small Rooms

shares guidelines to follow when resuming Studio Operations post lockdown PRINTED BY 74 Kapil Thirwani ABEC Exhibitions & Conferences Pvt. Ltd. 530, Laxmi Plaza, 5 th Floor, Product Focus Laxmi Industrial Estate, New Link Road, A look at some products from 2019. Andheri (W), Mumbai - 400 053. 54 Studio Microphones 70 Studio Monitors

Printed at: 84 Outdoor Line Array M/s. Dhote Offset Technokrafts Pvt. Ltd. 2nd Floor, Paramount Etstate, Plot No- Sa, Studio Excellence Off Aarey Road, Near Kotkar Estate, 88 Recordings to Record: Top 30 Bollywood songs in 2019 Dindoshi Village, Goregaon (E), Mumbai-400063 CONTENTS March - June 2020 06

CONTENTS

News 10 Sound & Stage Adamson & Sound.com support Record-Breaking Performance; Ahuja Amplifies Murari Bapu Gathering; Hi-Tech Audio live with DiGiCo SD10; JBL VTX V Series; Anand Narayanan d&b APAC President; Meyer Sound ULTR A-X20; Electro-Voice Powered Floor Monitors; Dynatech’s Digital Mixer Seminar; Amate Loudspeak- er Management Processor; Meyer Sound Promotes McMahon; Systematic Inc. turns to d&b KSL; Outline launches two new products; API introduces API 2500+; NEXT-proaudio introduces N-RAK; Namaste Trump with SNL Pro; Audio-Technica 3000 Series Wireless; SNL Pro at Vh1 Supersonic 2020; AUDIOCENTER K-LA 212 DSP for SR Electricals; Sound.com boosts inventory with Adamson E12; Studio- master launches UHF wireless microphone system; Dynatech at Mal Bazar; N-Labs launches U1; Yamaha Solutions for Entertainment and Enterprise; L-Acoustics Full AVB Rack; JBL Professional VTX A Series; Rode expands Wireless Go Range; Hi-Tech Award winning Indian Sound Engineer and Film Mix Audio Systems - 30 Years; Sennheiser AUDAC Partnership ; Martin Audio Cardioid 51 Engineer, Sreejesh Nair Subwoofers.

34 Audio & Music Production ANSATA & iZotope Seminars; DiGiCo DMI-KLANG; Allen & Heath Avantis; Mackie Element Series; Pro Tools Folder Tracks 2020; RCF new products; Roland Jupiter; MAGIX Acid Pro 10; Rode NT-USB Mini; Waves Music Maker Access; PreSonus AVB Ecosystem; PreSonus Eris E7 XT; Solid State Logic V2.3 System T; Steinberg UR24C Audio Interface; ADAM Audio T8V Studio Monitor; Eve Audio SC3070 Near/Mid Field Monitors; Sound Devices v2.90 for A10; YAMAHA new powered monitor speakers; Genelec launches 1235A; ARK Infosolutions HARMAN Nationwide Mas- Columns ter Dealer; Audix new products. 73 Sound Impression Transformation of Studio Recording: Vipin Pungalia talks about how the intervention of technology has changed music record- 64 Audio Visual ings in studios d&b new KSLi System; DiGiCo A164D Wall LCD and A168D Stage; EM Acoustics Reference Series Loudspeakers; Mackie Thump15As at Full Gospel Church; Funk- tion-One smallest loudspeaker models; Martin Audio Five New Ceiling Loud- speakers; RCF Touring & Theatre line; Alcons Audio QB242 Arrayable Subwoofer; 83 The Bright Spark Green Hippo New Leadership; Bishop Sound Delta dual twin 15” active speaker; ‘‘We’ or ‘I’: Viraf Pocha talks about how the virus has affected the Shure Celebrates 95 Years; Xilica Fourth Generation Designer Software; JBL at ABR industry and steps to take to set the ‘New Normal’ Cinemas; L-Acoustics LA 2Xi Amplified Controller.

76 Lighting Elation Artiste Rembrandt LED Wash; ADJ LED Video Panels; PR Lighting IP66 moving heads; Absen Venus LED Series; Elation Fuze SFX LED Spot FX luminaire; Obsidian Control Systems ONYX 4.4; ADJ Element ST HEX; CLF Odin and Poseidon; ARRI intelligent lighting control app; ROE New Processing Platform; Martin MAC Aura PXL LED Pixel Wash Light; ETC ArcSystem Navis luminaries; Strand announc- Transparency is the main goal of any es Outdoor-Ready Version of Leko Profile; Vari-Lite expands VL800 Series Event Line. recording studio design, and Shankar Mahadevan’s Lambodara Studios has multiple acoustic features that help it 90 DJ Technology Serato support for Pioneer DJ XDJ-XZ; KKR sells stake to Noritsu; Rekordbox Cloud 46 achieve this goal. Library Management; Algoriddim with Tidal & Soundcloud; XDJ-1000MK2 and XDJ-700 compatible with TRAKTOR PRO 3.

March - June 2020 08

Sound & Stage

Adamson & Sound.com support Record-Breaking Performance in Mumbai

It’s a rare occasion when a live audio system from production technol- minimal set-up.” the Adamson components were concert features more musicians on- ogies provider Sound.com. Sound.com deployed four identical powered via Lab.gruppen PLM stage than there are spectators in the “When we were first approached stacks of three Adamson S10 two-way, 20K44 amplifiers. audience, but such was the case for to take part in this very special event, full-range sub-compact cabinets over Rounding out the audio system a Guinness World Record-breaking it was clear that the sound system a single S119 subwoofer to cover the were five DiGiCo consoles run- performance in Mumbai on January needed to be compact and discreet as long but shallow seating area for a total ning on a fibre loop and a sizeable 24th, 2020. to not impede the audience’s sight- of just 12 mains and four subs. As with complement of wired and wireless To commemorate the premiere of lines, considering the unique layout of the rest of the company’s substantial microphones from Shure, Senn- Amazon Prime’s highly-anticipated the seating and stage,” begins Warren inventory of Adamson products, the heiser, AKG, and Audix to capture series The Forgotten Army, Live D’Souza, the Founder and Managing system was acquired via Sonotone, the 650-plus vocalists, 250 acoustic 1000 – a group of 1,046 musicians– Director of Sound.com. “We knew the manufacturer’s exclusive Indian guitarists, 80 drummers, 15 orchestral performed selections from the series’ Adamson’s tour-proven S-Series would distributor. string performers, five brass players, score for a crowd of about 200, give us the power, clarity, and head- “We needed a compact system that one electric guitarist, one bassist, one supported by an Adamson S-Series room we needed, even in a such a could deliver the required coverage and keyboardist, and two sitar players. SPL for this show and the S-Series The band performing its score as delivered on all fronts,” comments Live 1000 was comprised of musi- Adamson Live1000 at The Forgotten Army Sound.com’s Mark Thomas, who cians from all over India, as well as mixed FOH for the prestigious select guests from Kenya, Malaysia, event. “The 110-degree dispersion and the U.A.E. An official adjudicator of the S10 allowed us to cover the from Guinness World Records was wide artificial amphitheater seating on-hand to recognize the group as while delivering a truly impactful the new record-holder for “Largest experience to the audience. The di- Indian Cinematic Music Band.” rectionality of such a compact array “This was obviously a once-in-a- was quite remarkable since we had lifetime event and we were thrilled minimal leakage of the PA onto the to be a part of it,” comments D’souza 100-plus microphones right behind.” in closing. “Adamson’s S-Series once Six key bandleaders on stage had again lived up to its reputation, an Adamson M15 multi-purpose and we’re very proud of how the loudspeaker in front of them as a system and our team performed in foldback wedge to complement capturing the energy and power of their in-ear monitors with live Live 1000, which is now one for the imaging from the FOH mix. All of record books!”

Ahuja Amplifies Murari Bapu’s Message of Universal Peace

Morari Bapu is a renowned exponent and pilgrimage in India and travelled for a long time, the association gained is that this exceptional sound quality of the Ram Charit Manas and has been to countries like Sri Lanka, Indonesia, strength in 2018 when Ahuja distributor is backed by technical support and reciting Ram Kathas for over fifty years South Africa and Kenya to the United in Gujarat - Hindustan Elektrotekniks prompt after sales service infrastruc- throughout the world. The overall ethos Kingdom, United States, Brazil, Australia, started working closely with them. ture at Hindustan Elektrotekniks and of his Katha is universal peace and Israel and Japan, drawing millions in Since then Ahuja equipment has been at Ahuja dealer in Bhavnagar - Alankar spreading the message of truth, love audiences. powering all of Murari Bapu’s events. Radio. Thanks to the ready availability and compassion. Although the team organizing these After relentless discussions and sim- of original spares in Gujarat, the team Bapu has traversed every major city events have been using Ahuja products ulations, the organising committee in there have full confidence that in September 2019, select- unlikely event of any Ahuja equipment ed Ahuja 500W compact requiring service, there will be virtually Ahuja 500W compact single 12” line-array ALX-6000 ensures even coverage of sound single 12” line-array minimal downtime. across the audience. ALX-6000 to ensure List of equipment being used in even coverage of sound addition to ALX-6000: across the audience. 24 • 24 pieces of 400W 2-Way Speaker systematically placed System SPX 450 line –arrays delivering • 16 pieces of 700W 2-Way Speaker crisp and clear sound System SPX 810 are being used during • 20 pieces of Square Box (4 X 12”) the events to cover vast Speaker System SQX 850 gathering, ranging from • 16 pieces of 40W 2-Way Music Horn 2 to 10 thousand. AMH 402T The organising Driven by Rugged & Reliable Ahuja committee is extremely booster amplifiers (BTZ 10000, BTZ satisfied with the audio 7000) and power amplifiers (LXA 3200, quality. The best part LXA 1400)

March - June 2020 10 Sound & Stage

d&b appoints Anand Narayanan as APAC Territory Manager and President

d&b audiotechnik has appointed taking another strategic role within the music. Anand Narayanan to serve as Terri- d&b group. Narayanan’s appointment tory Manager APAC and President, Narayanan brings a strong back- underscores d&b’s commitment d&b audiotechnik Asia Pacific Pte. ground in operations and technology, to drive new growth in the Ltd. coming to d&b from Danfoss Industries, APAC territories and successfully Narayanan will be responsible for where he was the Asia Pacific Regional strengthen its regional partner d&b’s business in Asia Pacific, which Director. Narayanan also previously network. He brings a depth of includes strategic business devel- served as the Regional Commercial knowledge and a track record opment, sales & services, expansion Leader of Projects for Korea and Japan of successfully driving strategy, of d&b’s brand positioning, and at General Electric. Narayanan is an sales and marketing and business general management. Narayanan ambitious leader with an affinity for development in his previous Anand Narayanan, d&b audiotechnik succeeds Michael Case, who is technology, engineered products, and roles. Asia Pacific Pte. Ltd.

Meyer Sound introduces ULTR A-X20 Loudspeaker and USW-112P Subwoofer

At ISE 2020 in Amsterdam, Meyer source loudspeaker is a junior-sized 110°x 50° horn in a coaxial configura- “The ULTRA-X20 is a breakthrough Sound introduced two new compact, version of the ULTRA-X40 loudspeaker. tion. Power comes from a three-channel in power-to-size ratio,” says Pablo self-powered loudspeakers to provide It offers the same design principles and Class D amplifier with sophisticated Espinosa, Meyer Sound’s Vice President, versatility for covering a wide range of technologies but with smaller drivers in DSP, with everything fitted inside a and Chief Loudspeaker Designer. “It is installed and portable applications. a lighter and more compact package. compact cabinet that measures 7.5” / 30 percent smaller and 7 percent lighter ULTRA-X20 Compact Point Source The ULTRA-X20 incorporates two 19.5 cm wide by 19.04” / 48.4 cm high than our UPJunior loudspeaker yet it Loudspeaker 5” cone drivers, one 2” diaphragm by 8.6” / 21.8 cm deep and weighs only The new ULTRA-X20 compact point compression driver, and a rotatable 26 pounds / 11.8 kg. (Continued on page 69)

Sound & Stage

Hi-Tech Audio takes it live with DiGiCo SD10

In recent months Hi-Tech Audio Pvt. Ltd., the authorized distributor of pert from Hi-Tech Audio Systems who supplied by DiGiCo’s authorized India has supplied the DiGiCo SD10 not both RCF and DiGiCo provided the is always providing us endless support Distributor, Hi-Tech Audio Systems of only for live events but also to com- technical support for the show. and solutions in regards to DiGiCo as New Delhi. panies who were looking to expand Aside from the speakers, USL’s well RCF did an excellent job post and “The entire team of Audio Waves their inventory list. Director Amitav Biswas confirmed that during the show. You can always count Light & Sound was very excited to Universal Sound and Light rocks the RCF TTL -55 purchase was driven on them for show support.” add DiGiCo SD10 to our inventory. Kolkata with RCF’s TTL55-A and by the relationship the company has The entire TTL 55-A system along We do events at various part of North DiGiCo SD10 traditionally enjoyed with the Italian with TTS 56-A subwoofers was con- India and our clientele list is always Among all the rental companies manufacturer and its India distributor trolled by the latest RCF RDNet 3.1. growing. To go with DiGiCo SD10 is in Kolkata, one name steals the Hi-Tech Audio Systems. Hi-Tech Audio Ganesh Thapliyal, System Application the right decision as sound engineers spotlight –Universal Sound and Light installed 10 pieces of the three-way Engineer from Hi-Tech Audio Systems often put in their tech ride. My per- TTL 55-A (total 20 nos.) led USL’s technical team to rig and align sonal favourite, the smart key macros active line source on the system for the show. “RCF RDNet of DiGiCo SD10 that makes life easy each side in conjunction 3.1 is the latest marvel from RCF. The for the user”, says Happy Prabhjot. with 10 pieces of TTS major update of the RDNet (Networked With the DiGiCo SD10, Audio 56-A subs. Management System) sees much im- Waves Light & Sound has provid- “RCF TTL 55-A provement such as direct control of the ed remarkable audio support for is designed to be on-board high-pass filter, a new Shape prestigious live artists like Harshdeep easily scalable for few Designer and a Bass Shaper function. Kaur, Noorwan Sisters, Siddharth modules for medium RDNet 3.1 not only controls loudspeak- Mahadevan, Jubin Notiyal and few and small venues to ers, it can also be paired with digital others to name some. The artists’ full size arrays for very matrixes or amplifiers”. engineers really prefer the flexibility large open air spaces. Rajan Gupta, Managing Director and complexity of SD10 that gives so Throughout the year we of Hi-Tech Audio Systems stated, many options for routing, layout and provide audio support “Universal Sound and Light commit- processing. to dynamic events and ment towards quality and efficiency Nirdosh Aggarwal, Director Sales RCF TTL 55-A is the premium upgrade for our inventory. With the TTL 55-A, we have escalated our audio support and services,” says Amitava RCF TTL-55A for Vishal-Shekhar show, Kolkata Biswas, Managing Di- rector, Universal Sound owned by Amitava Biswas a veteran and Light. in the audio, video and lighting Tosief Shaikh, FOH engineer for industry. Recently USL was associat- Vishal-Shekhar was impressed with the ed with the sensational Bollywood power and precision of the RCF system music production, singer-song-writer used at the show. “I must say that RCF duo Vishal-Shekhar at Imperial Blue TTL-55 speakers are hidden beasts. They Superhit Night at Kolkata. For this delivered super powerful, tight clean Tanay Gajjar working on the new DiGiCo SD10 at Shaan live concert show, Amitava and his team installed sound and did justice with my mix. RCF’s stellar line-array series TTL Powerful system is something which 55-A along with TTS 56-A subwoof- we always look for when it comes to is tenacious. They are determined to of Hi-Tech Audio Systems shares, ers. The entire show was mixed on the dynamic duo Vishal-Shekhar’s live provide top line audio inventories to “DiGiCo SD-series is a game changer DiGiCo SD10. Hi-Tech Audio Systems shows.” Tosief adds on, “Technical ex- artists and audio engineers. The TTL-55 globally and in India too. We are and TTS 56 set-up will surely strengthen able to provide excellent technical USL’s technical support and skills. This is support on DiGiCo to empower our the outset of a glorious era for Universal clients. Plus our after-sales training Sound and Light with RCF.” on DiGiCo have been appreciated by Audio Waves expands inventory Audio Waves Light & Sound.” with DiGiCo SD10 MasterSound hits Masterstroke Audio Waves Light & Sound is one with DiGiCo SD10 of the leading event management and The audio rental industry in the rental company based in Panchkula. country has become more dynamic From live shows to corporate events, in its inventories and services. grand weddings to small events, the Some of the pioneer Indian rental company provides complete audio, companies have played an important video and lighting support to its long role to mould the future of today’s list of clients. audio rental market. MasterSound Recently Happy Prabjhot, owner of is one of the companies from the Audio Waves Light & Sound took his 1950’s who are known to be the company to the next level by purchas- Ganesh Thapliyal (L) and Toseif Shaikh (R) with Digico SD10 ing the DiGiCo SD10. The console was (Continued on page 15)

March - June 2020 14 Sound & Stage

JBL Professional VTX V Series Loudspeakers Continue to Drive Adoption In the Indian Live Sound Market Rental companies, FOH engineers and tour production crews throughout India swear by the time-tested VTX V Series to deliver great sound for productions of all sizes

Rental companies, FOH engineers VTX V Series introduced several innova- stands tall as a milestone in the practical quality. We’ve been doing small and and tour production crews through- tive technologies that have cemented application of creative engineering medium-format shows more often, out India swear by the time-tested its place on stages worldwide. Patented because of their high levels of per- and this product is a great fit for VTX V Series to deliver great sound Differential Drive transducers and D2 formance, system integration and meeting client budget and expecta- for productions of all sizes compression drivers deliver pure sound user-friendliness,” said Aditya Todi, tions. Moreover, the product comes Live sound professionals across with high output, while the Radiation Senior Director of Sales and Marketing, highly recommended from many India continue to rely on JBL Boundary Integrator (RBI) waveguide Harman Professional Solutions, India sound engineers and artists, which Professional VTX V Series line array ensures precision coverage. The S.A.F.E. and SAARC. “The VTX V20 features a has ultimately helped us in getting loudspeakers, more than eight years suspension system streamlines deploy- high power density three-way system more deals. I appreciate the services after their release. ment and ensures secure rigging. complemented by a suspension system offered by the HARMAN Professional A product of decades of experi- “Of all the achievements JBL has that provides efficient transport, fast Solutions team.” ence in loudspeaker design, the JBL made over the years, the VTX V Series setup and precise configuration. It has “As vendors, we want to provide always amazed touring professionals.” the best for our clients’ touring From their astounding power and requirements, and what’s better than sound quality to their quick and easy legendary JBL sound?” said Amit deployment, live sound professionals Sanghavi of Echoes India, a rental from all over India have great things to company providing a complete range say about VTX V Series loudspeakers. of audio and visual equipment for all “We loved the JBL Professional VTX kinds of events. “We added the JBL V25,” said Arvind Singh of Devil Truss, Professional VTX V20 to our inventory one of the leading suppliers of trussing because it provides efficient trans- systems in India. “It has helped us port, quick setup and precise config- deliver the finest sound quality and uration. It delivers linear, transparent awesome coverage for high-profile sound at high output levels, which is events in big spaces, which is what one amazing for its size.” would expect from a legendary brand “The JBL professional VTX V20 is like JBL Professional.” quite compact and offers clear, loud “The VTX V Series is amazing because sound,” said Arijit Bose of The Sound, Arijit Bose of The Sound with the JBL VTX V Series of its waveguide and speaker design,” a sound rental company based in Kol- said Gaurav Soni kata that works with major Bollywood of Indore-based artists and their teams. “It’s almost Durgesh Sound. like a plug-and-play system, making it “The VTX V25 in easy to setup at the venue. So far, all particular, with its of our customers have been content 15-inch driver, has using the system. Working with helped us serve HARMAN Professional Solutions was many large-for- great, as always. A HARMAN engineer mat shows. We was available to guide us through also love the V-20 setup, and the team was always because of its size, available for help.” weight and tonal Arvind Singh and team Devil Truss with JBL VTX V Series

Hi-Tech Audio takes it live... (Continued from page 14) take ahead MasterSound’s legacy with Gajjar, who was the FOH engineer, the same promise as my father and my preferred DiGiCO and we were happy pacesetter in North India. Recently in 1956. He never compromised on the grandfather’s.” Further Tarandeep con- to provide him the SD10.” MasterSound achieved another quality of the audio system and always tinues, “DiGiCo SD10 is in high-demand “MasterSound’s DiGiCo SD10 milestone by purchasing the DiGiCo aimed to provide the best audio solution among mixing engineers and artists. It curtain raiser show for Shaan went SD10 from the British manufacturer’s to his clients. From India’s first Prime was time for us to upgrade our inventory smooth. Tanay Gajjar who is India’s authorized India distributor- Hi-Tech Minister Jawaharlal Nehru to George and the first choice was DiGiCo. I was top mixing engineer has been trav- Audio Systems. Harrison to sitar maestro Ravi Shankar confident with Hi-Tech Audio Systems elling with Shaan for long now. He is Tarandeep Singh, Director of to Lata Mangeshkar, MasterSound was support on DiGiCo and thus opted for an avid user of DiGiCo and loves the MasterSound shares, “Gurnam Singh, privileged to work with some global DiGiCO SD10. The first show we did with work surface”, shares Hi-Tech Audio founder of MasterSound was a vision- iconic names. Being the third genera- the new console was for Bollywood’s Systems application engineer for ary with the inception of MasterSound tion torch-bearer, I have made sure to popular singer Shaan in Lucknow. Tanay DiGiCo - Vanshaj Sharma.

15 March - June 2020 Sound & Stage Electro-Voice launches first powered floor monitor

The PXM-12MP marks Electro-Voice’s the freedom to move across the stage, processing with IIR/FIR set- debut in the powered stage monitor rather than being constrained to just a tings for optimized audio market. Created for live performances small area. performance. The inte- from solo entertainers, bands, mobile While the PXM-12MP compliments grated digital three-band DJs and rental companies, PXM-12MP any sound system, it also expands EV’s EQ features different is a powerful, rugged, and flexible portable speaker portfolio. It equally factory presets, as well loudspeaker designed for daily use. The performs well as a fill, delay, or mounted as five individual user acoustically optimized, high-output, on a pole working as a sound system for presets. The GUITARCAB two-way stage wedge features coaxially short-throw applications; subwoofers setting allows connect- aligned 12” LF and 1.75” HF transducers. can also be connected whenever extra ing a guitar directly to the Its small footprint and light weight of bass is needed. PXM-12MP via a DI box. 13.5 kg (29.8 lb) makes it a portable The built-in two-channel Class-D 700 The recessed connection panel solution suited to live performances on W amplifier, developed by Dynacord, features two XLR/TRS combo mic/line all stages, particularly where floor space provides plenty of power, precision inputs, an individual phantom power is limited. sound and enough headroom to option, a stereo RCA AUX input for play- MP’s integrated cable management The acoustically optimized 55° satisfy the most demanding monitoring back music sources, and an XLR THRU reduces stage clutter and prevents monitor floor angle enables an artist to requirements, reaching a maximum input when used as part of a distributed tripping over cables. The stage monitor stand as close or as far away from the sound pressure level of 129dB. sound system. An XLR MIXOUT output is housed in a durable, 15 mm plywood system as necessary without sacrific- EV’s intuitive QuickSmart DSP allows the cabinet to act as a basic enclosure with rugged EV-Coat and is ing audio intelligibility. The wide 90° features a backlit LCD panel and a three-channel mixer that can send the furnished with a powder-coated steel horizontal angle also gives performers push-button encoder, providing signal mix to another loudspeaker. PXM12- grille to guarantee roadworthiness.

Excellent Response for Dynatech’s Digi24 Digital Mixer Seminar

The Dynatech Digi24 people, all with a will to learn some- said, “It was our pleasure to host the digital mixer demo and thing new and the want to upgrade Dynatech Digi24 training here. The training held on 28th & themselves. I had a fun time teaching session was very beneficial and Dr. 29th February received as everyone showed keen interest and Khade was excellent in conveying immense response with actively accepted the Digi24. I would all the information about the Digi24 over 50 people attend- like to thank Urjesh Gupta of Liberty mixing console clearly. I am grateful ing the session in total. Electronics and Deepak Gupta of to Karan Nagpal and the team at Sonotone Electronics Digitrons for their hospitality.” Sonotone for their help in organizing hosted the seminar along Urjesh Gupta of Liberty Electronics the event.” with its dealer Digitrons in Nagpur and Liberty Electronics in Chandra- pur. Dr. Rajesh Khade who gave a demo of the Digi24 and shared his knowledge with the attendees conducted it. “The response was really overwhelming,” commented Dr. Rajesh Khade. “It was a brilliant group of Dynatech Digi24 Digital Mixer Seminar

Amate Audio Releases Loudspeaker Management Processor Platform

The Amate Audio LMS206 is a to any output, with two crossovers with on each output. bilities. Higher performing 24-bit ADDA dual-input/six-output loudspeaker selectable Butterworth, Linkwitz-Riley With four analog inputs, a two-chan- converters on the units I/Os gives the management processor platform using and Bessel filtering and independent nel AES/EBU digital input and eight LMS608 higher sound quality than its a 64-bit DSP architecture. Fully configu- compressor/limiter settings available analog outputs, all on balanced XLRs, less powerful sibling. rable, each input is assignable the 1U 19-inch The LMS608 includes both 80 rackmount user-programmable and password-pro- LMS608 tectable memory presets, and 20 offers powerful factory presets.. Ethernet or advanced USB (Windows and macOS) remote system operation is available with Amate Audio configuration capa- DSPLink software.

March - June 2020 16 2021

27 - 29.05.2021 Bombay Exhibition Centre, Mumbai, INDIA Sound & Stage

Outline STADIA 28 - Constant Outline launches two new products Curvature Array

Outline has announced the class weather protection and premium or horizontal orientation, with just six launch of two new ground-breaking audio quality as the rest of the range cabinets providing a full 150-degree products – the STADIA 28 - Constant but is designed specifically for smaller coverage in both deployments. Curvature Array and the L3000 - venues, providing a very cost-effective L3000 - freestanding, high-powered freestanding, high-powered multi- solution for locations that don’t need multi-mode power amplifier mode power amplifier. the power of its larger stablemates. Also making its debut at ISE 2020 will STADIA 28 - Constant Curvature Its usefulness is extended by its be the L3000 multi-purpose amplifier. ability to be arrayed in either vertical Array Designed principally for applications STADIA 28 is a new addition to where it is not possible or practical to 750w @ the very successful STADIA family of use 19” racks, L3000 is a freestanding, 4ohm) and loudspeaker systems designed high-powered multi-mode power am- bridge mode for the largest sports ven- plifier presented in a durable wood fin- (either 2 x 1500w @ 8 ues and arenas. ish as Outline’s touring loudspeakers. ohms or 1 x 1500w @ 8 ohms The new module is a If rack mounting is required however, and 2 x 750w at 4 ohms). Onboard medium-throw, Constant two L3000s can be mounted using a DSP provides a range of essential Curvature Array enclosure dedicated Outline kit. amplifier controls and its universal weighing just 21Kg yet The L3000’s Class D design includes regulated switch mode power supply capable of a peak SPL of two inputs and four outputs, able to allows it to function on various input 139dB. It features the same world- Outline L3000 multi-purpose amplifier operate in single channel mode (4 x voltages and mains cycles globally.

API introduces API 2500+

Since its debut in 2002, the API digital front of house and 2500 has become the ‘go to’ Stereo monitor consoles, the 2500 Bus Compressor for mixing engineers has been proven invalu- worldwide. Offering an exceptionally able in providing punch, fat wide and true stereo image, the 2500 is bottom end and warmth. famous for its signature tone and ana- API has now announced +10db to -20db) API’s Director of Engineering Todd Hu- log warmth. The 2500 enhances mixes the 2500+. While retaining all the func- New ‘Blend/Mix’ function mora noted. “The 2500+ is an evolution across virtually all musical genres, from tional and sonic characteristics of the Featured in the limited production of the 2500, with the addition of a few classical and jazz to pop and rock. original 2500, the 2500+ adds several 50th Anniversary Edition, the Blend/ key features that our users have had The 2500 has found a home in the additional design parameters that have Mix function offers both cross fader and on their wish lists for quite some time! live market as well, with a large per- been carefully incorporated into the parallel mix control of the compressed We’re very grateful for the ongoing centage of tours carrying one or more original unit. The same API sound with and uncompressed signals. success of the 2500 and it’s our hope 2500 Stereo Bus Compressors for main, an enhanced feature set including: “Over the past 18 years, many that the new 2500+ will allow for even subgroup and monitor mix buses. With Expanded Threshold control improvements have been made to the greater creativity among its users in the the standard for live sound now being of +20db to -20db (from the original 2500, some small and some larger,” studio, and in the live market.”

NEXT-proaudio introduces new N-RAK

NEXT-proaudio has introduced The N-RAK series also include N-RAK 20, Customized Rack with 2 Powersoft Panel in the back. two new models in the N-RAK N-RAK 40, and N-RAK 80. T604 (N-RAK12) or 1 Powersoft T604 The N-RAK features Armonia family – N-RAK 6 and N-RAK 12 for The new N-RAK 6 and 12 have Dante, (N-RAK6); 2U Audio Distribution Panel software for convenient, simplified, the company’s entire product range. AES3, and Analog inputs for multiple in the front; and 2U Power Distribution and standard control. The complete The new N-RAK touring rack offers connections, making the setup process digital audio signal management an advanced rack solution covering greatly simplified and much system based on ARM Cortex signal and power distribution in a more efficient than the for- A-8 processor and TI C6000 DSP plug-and-play touring package. Both mer LA Rack. With the Power- platform heralds new and inno- the N-RAKs are equipped with Pow- soft amplifiers already built-in vative level of signal processing, ersoft T604, featuring Dante audio and no assembly required, an providing non-boolean routing and networking functionality. easy-to-configure, all-in-one mixing, multi-stage equalization The new N-RAKs were created amplifier solution eliminates with raised-cosine, IIR and FIR filters, as a universal platform developed the process of building amp delay up to 4 s in input processing to facilitate cross-rental between racks. and 200 ms for time alignment, gain NEXT-proaudio’s users worldwide The new fully equipped and polarity adjustment, crossover, and to ensure compatibility with N-RAK 6 and 12 module peak limiters, TruePower limiters and the cabling standard of the systems. comprises a compact 4U Active DampingControl.

March - June 2020 18 Sound & Stage Meyer Sound Promotes McMahon and Realigns Sales Structure

Meyer Sound has promoted key and education teams.” Technical services responsibili- executives and announced a strategic Meyer Sound has also expanded ties have been realigned for more realignment of sales and technical the role of its international office internal efficiencies and improved services. The changes were prompted and realigned its international sales customer communications with by continuing sales growth globally in structure. Technical Services Manager, Inter- all market verticals. Meyer Sound Germany, under the national Dennis Tholema heading John McMahon has been promoted direction of Wolfgang Leute, has a global team from Meyer Sound to Senior Vice President of Sales and expanded its role to support dealer Europe offices in Germany. Marketing. In his expanded role, McMa- networks in the United Kingdom, “As an independent and hon will assume responsibility for global Scandinavia and parts of Eastern privately owned business, we sales, with all U.S. regional and interna- Europe. Meyer Sound’s distributors have the freedom and flexibil- tional sales managers reporting directly in Russia, the Baltics, Romania and ity to make structural changes to him. McMahon also will oversee all Bulgaria will receive additional sup- quickly in response to demands,” of the company’s “outward facing” op- port under Leute’s direction. states McMahon. “Although we erations, including marketing, technical Jocelyn Moras will assume are introducing new internal services and education/training. responsibility of managing the sales structures, most of our customers “By placing high-level direction of all teams throughout Latin America, will be working with the same our customer-related responsibilities including Central and South America great Meyer Sound employees as in John McMahon’s extraordinarily and the Caribbean. Meyer Sound before, and they will continue to capable hands we will ensure a close Mexico returns to being the sole and benefit from the same indus- coordination of these interdependent exclusive distributor for Mexico, under John Mcmahon, Meyer Sound try-leading level of support.” activities,” says Meyer Sound Executive Moras’ direction from the Mexico City President and CEO John Meyer Vice President Helen Meyer. “Customer office. Sound’s network of European Distrib- will continue leadership of the R&D relationships are at the heart of how Sales throughout Asia have been re- utors in addition to leading Asian sales and new product development teams we run our business, and this move will focused under the direction of Director activities with support from the new while Executive Vice President Helen further strengthen the links between of International Sales Scott Gledhill. Meyer Sound Asia office recently estab- Meyer will direct overall company our sales, marketing, technical services Gledhill will continue to manage Meyer lished in Singapore. operations.

Systematic Inc. pumps up corporate annual day function with d&b KSL

Pro-audio rental company regulations, he decided that the need of and subs. The purchase was facilitated partnered with d&b was a dream Systematic Inc. puts its new d&b the hour was to get a brand that would through Ansata. and now I am living my dreams with audiotechnik line array to good use, talk for Systematic Inc. Thus, he decided Speaking about the concert and the the SL series.” deploying its KSL system to support to opt for the top-notch d&b audiotech- gear Vinod affirms, “Our first gig with Sharing his experience with Ansa- a corporate annual day function nik brand. They reinforced their invento- world-class d&b audiotechnik line array ta, he said, “Thanks to Ansata, with- program. Based in Bangalore, Sys- ry with a truly comprehensive d&b KSL with these incredible sounding boxes. out your support, this wouldn’t be tematic Inc. is a full-service sound rig that included 12 units of the KSL8 We had a blast with the new gear. possible. Lot of respect and thank and light reinforcement company medium to large format 3-way line Sounded terrific and must say words fall you Leslie Lean for the continued with top of the line equipment and array loudspeakers along with 4 units of short to express the power & the quality support and Neil Lean for all the professionally trained crew that the KS12 line arrays, 8 units of the SL- of this KSL boxes. The system proved to training and tuning the system. We has worked on some of the biggest GSUB and a total of 8 units of the D80 be a big hit. Honestly the best sound- are so proud to be associated with productions in the country. amplifiers to power the loudspeakers ing boxes I have heard till date. Being Ansata for more than a decade now On 29th November and you guys are the best 2019, Vinod Bangera - the in your service in the entire owner and lead engineer of country for the products Systematic Inc. along with you deal with. Thanks a ton his team of well-trained for your continued support.” professionals in pro-audio, “It is heartening and provided support to the highly appreciated that concert that was held at industry professionals like the KTPO Trade Centre, Vinod Bangera and his team Bangalore, India. Vinod have partnered with d&b the sole proprietor of the audiotechnik – a brand that company has been serving is recognized the world over the industry as an Audio for its unbeatable quality Engineer since 1997- 98. products - for the invest- It was Vinod Bangera as a ment of their new KSL-series brand that would talk for system. Our best wishes are his company. However, with Vinod and his entire with the changing market team,” concluded Leslie characteristics and strict Vinod Bangera with d&b audiotechnik line array Lean, Director, Ansata

19 March - June 2020 Sound & Stage

Namaste Trump with SNL Pro

Donald Trump’s two-day visit to responsibility upon the shoulders of India got off to a celebratory start Sound & Light Professionals (SNL Pro). as the 125,000-strong crowd who Artists like Kailash Kher, Sairam Dave, had gathered at the world’s biggest Kirtidan Gadhvi, Parthiv Gohil, Kinjal cricket stadium welcomed the US Dave relied on world class backline President on his first visit to India tech provided by SNL Pro to deliver alongside the Indian Prime Minister. their signature sound. Sound & Light The event, organized in Ahmed- Professionals (SNL Pro) deployed, abad in Gujarat, was the pinnacle of designed and implemented the audio Trump’s visit to India and a platform system with products like L-Acoustics, for the two leaders to show off their D.A.S, Shure, Yamaha, Sennheiser and enthusiastically friendly relationship. Before taking to the stage, Trump rally favorites Madman Across the SNL Pro deploys L-Acoutics, D.A.S., Shure, Yamaha, and Sennheiser for Water by Elton John Namaste Trump Event and Macho Man by many more. rector of SNL Pro. “L-Acoustics is just the Village People “The organizers were commend- a known constant for me,” he adds. boomed out across ably meticulous in demanding a pure Many difficulties were faced while the giant stadium. L-Acoustics sound signature to be setting up the gear. One of the rea- Owing to its sheer maintained across the expanse of the sons being size of the stadium and scale and stadium concert, and it was up to us to ensure the complications that comes with complexity, the that a truly uniform audio experience it. As this event was organized for event demanded a was delivered to the crowd by precisely the world’s most powerful man, the truly comprehensive tuning and time aligning the delays extensive security protocols had to and world class live with the FOH. The fidelity of K1/K2 is be followed which included opening sound reinforcement simply incredible; it brings a very stu- and checking every piece of equip- architecture, the likes dio-esque listening experience to the ment which would be placed on or of which was never audience, and places everything right around the stage and the thorough before seen in the in front of their faces. With the proper vetting process of each member of country. Recognizing deployment, it’s a system engineer’s the crew involved owing to delays this critical need, dream as it just sounds the same from and constant changes due to these Wizcraft trusted this front to back,” said Manish Mavani, di- security measures.

Audio-Technica Expands 3000 Series Wireless with Network Control and Monitoring Option Audio-Technica ATW- Audio-Technica announces the R3210N transmitter allows live monitoring of connected expansion of its acclaimed 3000 Series systems with the option of filtering Frequency-agile True Diversity UHF the displayed devices by assigned tag Wireless Systems with the addition groups. Parameters monitored include of a network port, which now allows AF, RF, battery, transmit power and network control and monitoring along more. with the same easy setup, versatile op- Audio-Technica’s 3000 Series eration and detailed high-fidelity sound wireless systems give users the power as standard 3000 Series components. and flexibility to operate within the Expanding on the functionality of congested UHF spectrum. With a the standard 3000 Series Wireless class-leading 60 MHz tuning range, System, the new network control and 3000 Series systems are available in two monitoring option is unique for a Audio-Technica 3000 Series frequency bands – DE2 (470–530 MHz) wireless system, as it allows the 3000 and EE1 (530–590 MHz). Frequencies Series to be compatible with A-T’s cations. The software package offers a wireless systems; Frequency Coordina- can be easily scanned and selected on proprietary Wireless Manager software, broad range of control and manage- tion, which allows real time spectrum the receiver and then synced with the a Mac OS/Windows application for ment functions of networked receiv- scanning via the 3000 Series Wireless transmitter via IR sync functionality. remote configuration, control, mon- ers, grouped into three tabs: Device with Network option or other A-T The 3000 Series lets users set a backup itoring, spectrum management and List, which auto-discovers connected connected network enabled receivers, frequency that can be swapped by frequency coordination of compatible compatible A-T hardware and allows or the option of using the pre-load- pressing the transmitter’s multifunction Audio-Technica devices in sound users to populate a device list of Au- ed television channel database for button in the event of unexpected reinforcement or installed sound appli- dio-Technica and other manufacturer’s off-site planning; and Monitor, which interference.

March - June 2020 20

Sound & Stage

Super Success for SNL Pro at Vh1 Supersonic 2020

Vh1 Supersonic- India’s premier Stage and Techno Stage. For both Main L-Acoustics, DiGiCo and RCF products Pro was responsible to provide stellar music festival, boasting multi-genre Stage and Live Stage, DiGiCo SD10 was from Hi-Tech Audio Systems Pvt. Ltd., audio and SFX support for this year’s artists from hip-hop, indie rock and used at FOH. Further for the very first India’s Authorized Distributor for all the rocking headlining acts like Diplo, electronic music takes place every time, SNL Pro used the RCF TTL33-A line three brands. Machine Gun Kelly, Illenium, Divine, year in February. With unparalleled array with Sub9006 for Techno Stage Vh1 Supersonic 2020 broke all Fever 333 and Prateek Kuhad among productions and mesmerizing stage at Supersonic. SNL Pro purchased the barriers of music festivals in India. SNL others. SNL Pro has created a bench- designs, the music festival is the mark for Supersonic through their mecca for festivalgoers. The entire premium inventory, sheer experi- production for VH1 Supersonic music ence, and dedication. festival this year was taken care by Rajan Gupta, Managing Director India’s leading rental company- SNL of Hi-Tech Audio Systems shares Pro. his thoughts about SNL Pro, “We SNL Pro were privileged to un- are privilege to be associated with dertake complete event technical of Manish Mavani and his team. They audio, trussing, rigging and special have done some amazing work and effects for all 4 stages (Main stage, carved their name at the top. Today Live Stage, Change over stage and in the rental market of India, SNL Pro Techno stage) at the festival. owns the apex series of L-Acoustics, For such colossal music festival, DiGiCo and RCF. They have become SNL Pro deployed a combination of the trailblazer of this industry and L-Acoustics K1, K2, SB28, Kara, SB1, inspired others too with their expan- Arcs and X15 for Main stage, Live SNL Pro uses L-Acoustics, DiGiCo and RCF at Vh1 Supersonic sive portfolio.”

AUDIOCENTER K-LA 212 DSP is the preferred choice for SR Electricals

The super compact and super light- latest investment!” ABOUT AUDIOCENTER K-LA 212 DSP quency with 56-bit precision, whereas weight AUDIOCENTER K-LA 212 DSP Talking about SR Electricals’ decision & K-LA 218 DSP SUB high-performance Class-D amplification is an active DSP-controlled line array to purchase the AUDIOCENTER K-LA The game-changing K-LA212 DSP from Pascal ensures optimum levels of speaker whose performance value can 212 DSP rig, Mr. Sunil, the company’s from Audiocenter features a novel power are always maintained. An added be compared to that of a three-way Director stated, “We were blown away phase corrector, which shifts the center layer of protection is included wherein system from any of the world’s leading with the performance value of the of the speakers closer to the center of the standby mode is automatically ultra-premium pro audio brands. The Audiocenter K-LA 212 DSP and K-LA the box and ensures that the working deployed if the units do not receive K-LA 212 DSP sports customized Beyma 218 DSP. The system as a whole is not frequency of the speaker and the wave- input signal for more than 15-minutes. drivers with high-performance PTV HF just powerful, and pleasing to the ear, guides system of the horn are always In addition to the plethora of features, horn that assures consistent response but is also extremely easy to set up and maintained at an optimum; getting a the rock-solid construction of the mod- across the horizontal plane coverage, use, and efficient and reliable. Basically, sum of + 6dB on the entire response ules from humidity-free birch plywood along with a unique dual phase- it is everything that a rental compa- band of the subwoofer. The line-array ensures rugged durability, whereas plug design that ensures precise it’s unique aesthetically appealing dispersion. Recently SR Electricals, design with integrated hardware one of the key players in the audio built-in to the cabinet allows for reinforcement solutions market in multiple rigging options including Odisha, operating out of Kendrapara vertical suspension. district, have proudly added to their The K-LA 218 DSP is an active inventory a total of 4 units of the DSP-controlled Dual 18” subwoofer world-class AUDIOCENTER K-LA 212 that is designed to meet the high DSP line array elements along with 2 requirements of touring perfor- units of the matching pair high-per- mance, rental and fixed installation, formance K-LA218 DSP subwoofers, with the LF drivers of K-LA 218 DSP with the sale facilitated by Bhuvane- featuring two customized Audio- shwar based Om Sai Sound – an center 18” drivers (4” voice coil). authorized dealer of Audiocenter The unit features 3 user-selectable products in the region. `low-pass filters (80Hz,100Hz,120Hz) Mr. Litu of Om Sai Sound says, that help in ensuring optimum “Sunil and his team at SR Electricals, SR Electronics uses AUDIOCENTER K-LA 212 DSP line array low-frequency delivery irrespective desired a new system that would of the performance environment assure and consistently deliver great ny would desire in a state-of-the-art module’s HF section features two driv- and/or music style. These key features sound performance for every event sound system. We are very pleased ers with a composite membrane (2.84” make the K-LA 218 DSP a perfect match with added benefits like ease of use, with our decision to invest in our new voice coil), while two customized driv- for all Audiocenter full-range speakers, ease of logistics, efficiency – all of which AUDIOCENTER K-LA DSP rig, and we’re ers with 3” voice coils comprise the LF especially the K-LA 212 DSP, extending are facets that AUDIOCENTER’s K-LA confident that we will continue to sections. Unparalleled control is made the bandwidth of frequency response DSP system successfully delivers. And commission great work with our new possible through the high-end onboard and delivering powerful, impressive, we congratulate SR Electricals on their system in the future.” DSP that features 96kHz sampling fre- punchy bass performance.

March - June 2020 22 Sound & Stage

Sound.com boosts inventory with Adamson E12

Having earned a reputation as one of India’s top audio rental companies delivering the best in sound technology, Mumbai-based firmSound. com has once again bolstered its inventory with an investment in E-Series from Adamson Systems Engineering. Sound.com’s already extensive inventory now includes 12 Adamson E12 three-way line array enclosures, 6 Lab.gruppen PLM20K44 amplifiers and M12 wedges. The entire package was sourced through Sonotone and LBT, Adamson’s distributor in Warren DSouza with Adamson E12 India. Working together, Sound.com and Sonotone have already made a premiere of Amazon Prime’s highly-an- production as well as be the perfect lasting impact on the local market ticipated series The Forgotten Army, companion to the E15 in a stadia,” says with the Adamson brand. More with the Live 1000 – a group of 1,046 Sound.com founder Warren D’Souza. recently, they supported a Guinness musicians. “Sporting a wider horizontal of 110 with power and headroom to match World Record-breaking performance “Love the Adamson E12 box because degrees you can splay audio in the its big brother. Here’s to 12 more in in Mumbai to commemorate the it can stand alone in a big ticket most difficult angles or down the array our loudspeaker armoury!”

Studiomaster launches two new UHF wireless microphone system

Studiomaster Professional recently capsules to ensure clear and crisp voice The NT 50 wireless microphone system (IR). Both the bodypack (lapel) and launched two new UHF Wireless Micro- pickup. One of the stand out features of is engineered for a variety of touring, handheld microphone units let the user phone Systems, the NT 50 Series and the NT 50 series wireless microphone mobile PA, and installation applications. select between the 16 UHF channels the NT 60 series. system is the integration of a Micro Both the NT 50 series variants are readily on-the-fly. One of the most powerful features NT 50 series UHF wireless micro- USB port for powering up the receiver. available at authorized Studiomaster This allows users to power up the unit Professional outlets across India. of the NT 60 series is the integration phone system of a Micro USB port for powering up For decades now, wireless microphone using a powerbank, making it ideal for NT 60 16 Channel UHF wireless a variety of mobile applications. On the the receiver. This lets users power up systems from Studiomaster Professional microphone system the unit using a powerbank, making have been synonymous with high-qual- other hand, the transmitters operate The NT 60 series are a range of it perfect for a variety of outdoor and ity, reliable performance, and incredible on standard 1.5V AA batteries, further high-quality yet affordable 16 channel mobile applications. Additionally, the value for money. Armed with this expe- increasing the mobility of the unit. UHF wireless microphone system. The transmitters can be powered up using rience, the brand expanded its offerings Other features include backlit display series is available in two configurations, standard 1.5V AA batteries, adding to with the launch of NT 50 single channel for frequency indication, balanced XLR NT 60 H (handheld) and NT 60 L (lapel). the mobility of the system. UHF wireless microphone system. and unbalanced ¼” jack outputs and an The NT 60 offers 16 selectable UHF Anti-roll microphone grille design. The handheld and lapel microphones The series features the NT 50 H channels letting users deploy multiple With so many features packed into are engineered with professional-grade (handheld) and NT 50 L (lapel) variants. units in one location. The transmitter cardioid capsules to ensure clear and The handheld and lapel microphones a compact package, the series is high- and receiver can be quickly and easily crisp voice reproduction. Other features integrate professional-grade cardioid ly-affordable and performance-driven. connected and synced via Infrared include a bright backlit display for frequency indication, balanced XLR and unbalanced ¼” jack outputs and an NT 50 Series NT 60 series anti-roll microphone grille design. The NT 60 series is truly a cost-effective and value-driven 16 channel UHF wireless microphone system ideal for a plethora of touring, mobile PA, and installation applications. Both the NT 60 H (handheld) and NT 60 L (lapel) variants are easily available at authorized Studiomaster Professional outlets across India. Both the NT 50 series and NT 60 series are high quality UHF wireless microphone systems designed for a variety touring, mobile PA and installation applications.

23 March - June 2020 Sound & Stage Dynatech commands excellent audio delivery in Mal Bazar

Babua Light Service, one of the most of Dynatech products dynamic event technical solution com- is absolutely fantastic! DEL-218 Sub-Woofer panies in Mal Bazar, has confirmed that The DLA-212 is a line the success behind their performance array superior in its class lies in their comprehensive audio sys- with great tonality and tem that comprises of remarkable prod- the DEL-218 subwoofer ucts from market leader Dynatech. Their deliver impactful clear loudspeaker setup hosts the notable sound. The V-Series DLA-212 line array, DEL-218 subwoofer amplifiers are not and CX-15 monitors, all powered by only rugged and easy multiple units of the formidable V-Series to maintain, but also power amplifiers. The company con- provide efficient clean firms that this system is the backbone power, ensuring any of their FOH line-up, aiding them in loudspeaker that it pow- reinforcing events of every scale and ers, always sounds its nature. The speakers were purchased best. This all Dynatech through The Sound Control - the official system allows us to give representative of Dynatech products in our customers constant Siliguri. high-caliber sound that DLA-212 line array Mr. Babua of Babua Light Service has now become synon- shares his comment on the products ymous with our name.” saying, “The quality and performance

N-Labs launch U1 – Professional Dual Channel UHF Wireless System

The new N-Labs U1 is a profes- phone system can be used and will sync frequency, battery, and signal, on both flexible options of Dual Hand, Dual sional dual channel UHF wireless with either the body pack or handheld the receiver and microphones with Tie, Hand + Tie, Dual Hand + Tie Com- microphone system. The U1 features transmitters. The transmitter features an independent volume controls. bo and a five years limited warranty. 2 internal antennas, single clip circuit on/off switch and is powered by batter- The system also comes with Au- With the choice of the body-pack with 200 unique and useable fre- ies with a backup of up to 10 hours. to-Scan function, which can automat- and handheld transmitters, the quencies, and IR sync from receiver The UHF microphone system ically locate a clear channel to avoid system allows users the flexibility to use the right microphones for the right job.

Other Features include: 1. Unique license band for interference free sound 2. Advanced digital pilot technology 3. Adopting the highly advanced PLL synthesized technique 4. Adjustable RF power in H/L mode N-Labs U1 Wireless Microphone to enhance the signal according to venue to transmitter. The U1 has 2 separate minimizes interference and noise frequency interference. With a working 5. 30mV RF power with Battery balanced XLR outputs and 1 mix jack generated by digital devices and other distance of more than 100m in ideal Backup of 10 Hours (with Duracell out on the back of the unit for easy electronic equipment. The wireless sys- conditions and stellar sound quality, the Ultra) set up. The output is controlled by tem provides ease of use and cordless system is ideal for live sound (singers, the volume control located in front freedom. anchors, vocals). 6. High Quality Capsule for Zero of the unit. The cardioid handheld microphone The U1 Dual Channel UHF Wireless Feedback with Balanced Individual The U1 2 channel wireless micro- comes with easy-to-read LED display of Microphone System is available in four Output and Mix output as well

March - June 2020 24

Sound & Stage

Yamaha Highlights Solutions for Entertainment and Enterprise at ISE 2020

At February’s Integrated Systems an eye on everything. Using an adapter, UC in Europe since September 2019. ship DZR/CZR series loudspeakers Europe exhibition in Amsterdam, only one cable is needed to connect “We are continuing to diversify our and DXS XLF/CXS XLF subwoofers Yamaha highlighted its support for to a desktop or laptop computer and distribution system, develop new sales was also shown in Europe for the both the entertainment and enter- initiate conferences. channels and work closely with system first time, following their launch at prise markets with its range of high Yamaha UC also showcased its wire- integrators on more complex projects, the NAMM Show in January. The end, integrated solutions. less conference microphone systems, ensuring we provide comprehensive powered DZR range comprises eight In keeping with the motto Where which highlight the close relationship consultation and support services to full-range models and four DXS XLF Corporates Meet Entertainment, between UC and the customer.” subwoofers, including ‘D’ versions Yamaha showcased a broad product Yamaha’s Pro Au- Yamaha’s industry-leading digital that feature onboard Dante IN/OUT range for both the enterprise and dio technology. mixing systems was also on show, capability. Sharing the same cabinet the entertainment markets at the “With Unified including RIVAGE PM and and speaker components as the Integrated Systems Europe 2020, Communica- the latest V5.5 firmware DZR/DXS XLF models, the passive highlighting the close relationship tions, Yamaha for CL/QL series digital CZR/CXS XLF models are perfectly between the company’s Unified brings the mixers, which supports matched with Yamaha’s all new PC-D Communications (UC) and profes- range of amplifiers to deliver very sional audio portfolios in Europe. high power-handling and focused, The UC presence highlighted professional sound. the three categories of its product All DZR/CZR and DXS XLF/CXS portfolio, all designed to deliver XLF models available in white as communication with pristine au- well as black finish provide more Yamaha white DZR series loudspeakers dio quality in any environment. options for a greater variety of uses, These included the new YVC-330 expertise from its Pro Audio ProVisionaire Control/Touch, such as hotel banquets, houses of conference phone, which combines segment to the enterprise conference the latest Version 3.6.0 enabling com- worship and auditoriums, where a a compact, portable design with and communications market. Audio is plete control over the entire network high quality audio system needs to exceptional audio clarity. Innovative the most important part of communica- chain, from mixers through to amplifi- blend into the design of the space. SoundCap technology with Far Field tion and it is our goal that Yamaha will ers (including Yamaha’s PC Series and Yamaha also highlighted its Noise Reduction (FFNR) wide-ranging Audiover- and Yamaha’s Human Voice sity education content Activity Detection technol- at ISE, with a variety ogy ensures perfect speech of training sessions intelligibility in any situation. available on the stand. The CS-700 video sound These covered a variety bar features an integrated of topics, including camera for the perfect, overviews of the RIVAGE Yamaha PC-D amplifiers voice-optimized solution for PM systems, hands-on small and medium rooms. Four di- be recognized throughout Europe as an the NEXO NXAMP4X4MK2), processors with CL/QL consoles and integrat- rectional microphones capture every expert in this field,” statesMarcus-Mi- and speakers. ed AV control using ProVisionaire word, with the 120° camera keeping chael Müller, responsible for Yamaha The new white models of the flag- software.

L-Acoustics Eases Tour Life with Robust New Full AVB Rack

L-Acoustics has announced the new as possible for sound professionals handling elements to facilitate LA-RAK II AVB flyable touring rack, of- while further improving audio quality.” transport. Compatible with fering twelve channels of amplification The presence of two LS10 AVB any voltage standard, LA-RAK II in a 9 U frame. Contained within are switches in a 1 U space within the AVB functions worldwide and three Milan-certifiedLA12X amplified rack allow for seamless dual network facilitates tour logistics and controllers, two LS10 AVB switches and redundancy and a full AVB ecosys- cross-rental between L-Acoustics power and signal distribution panels tem from the P1 processor at FOH all rental partners. LA-RAK II AVB is that are internally prewired to offer the way down to the Milan-certified mechanically and electronically plug-and-play, reliable and redundant amplified controllers. If any failure compatible with the legacy LA- networked audio. occurs on the primary audio network, RAK II and LA-RAK standards. “Our goal at L-Acoustics is to the redundant AVB network is standing “As the list of AVB and Milan consistently evolve our technology to by to automatically switch over and protocol adopters grows, more optimize system design, deployment, continue the show with zero audio loss. industry professionals recognize and control, so that sound engineers The console-to-amplifier AVB signal that there is no other network- can focus on creating extraordinary ex- guarantees better sound quality. Up to ing technology that fulfils the periences for their artists and audienc- 8 channels in one AVB stream can be requirement for robust loud- es,” explains Genio Kronauer, Director passed over a single cable, saving labor speaker systems,” concludes Kronauer. quality. The LA-RAK II AVB will let sound of Electronics Development, and Avnu and cable costs. “The simple fact that Milan is the only professionals forget about network board member. “Launching a dedicated As with its predecessors, LA-RAK II deterministic network for professional setup and concentrate instead on AVB rack is our way of making tours and AVB is rugged, featuring a shock-ab- audio guarantees precise and stable what they do best – creating amazing mobile installations as fast and simple sorbing inner frame, protective and audio transport, which means better performances.”

March - June 2020 26 Sound & Stage

JBL Professional VTX A Series Loudspeakers Achieve Widespread Adoption In the Indian Live Sound Market Designed from the ground up to serve the needs of modern rental companies, FOH engineers and tour crews, the VTX A Series is taking the Indian market by storm

With redesigned drivers, an leaders make the best of legendary all-new rigging system and three JBL sound,” said Aditya Todi, Senior flexible models to choose from,JBL Director of Sales and Marketing, Professional VTX A Series line array HARMAN Professional Solutions, loudspeakers are quickly becoming a India and SAARC. “The VTX A12—the favorite of live sound professionals in flagship offering from JBL Profes- the Indian market. sional’s tour sound inventory—was Building on the success of the designed from scratch to address venerable VTX V Series, VTX A Series the unique challenges that rental loudspeakers feature several new companies, FOH engineers and tour innovations that make them the sound production crews face.” ultimate choice for touring and Here’s what some of India’s installed applications of any size. leading live sound professionals are Next-generation transducers deliver saying about VTX A Series loud- high-output performance with speakers. improved low-frequency extension. “We like the VTX A12 and A8 as A redesigned Radiation Boundary it offers a compact sound system Integrator waveguide ensures a with an amazing design,” said JBL VTX A12W smooth transition between mid Mahesh Saniddhya of Sound Bulls, and high frequencies. An all-new a professional live sound company sional Solutions team was rigging system features auto-locking that also specializes in lights, laser smooth as always.” suspension for faster, safer and more systems and trussing. “We have been “The JBL Professional VTX A12 precise deployment than ever, and part of the JBL Professional family is very impressive when it comes to the speakers’ reduced weight makes for the last 10 years, and it seemed horizontal directivity control,” said transporting them easy and efficient. only natural to pick a JBL product Jitu More of Sound Mindz, a premier “The VTX A-Series is JBL’s next-gen- for our recent touring requirements. sound rental company in Mumbai. eration tour sound solution, and The sound quality is loud and clear. “It’s very sturdy and the rigging and we’re glad to see so many industry Working with the HARMAN Profes- JBL VTX A12 suspension hardware is great.”

Rode expands Wireless Go Range with White Edition

Rode Microphones has announced at NAB 2019, the Wireless GO is an an in-built omni-directional condenser and receiver are super lightweight, the expansion of its Wireless GO Range. ultra-compact digital wireless micro- capsule, the Wireless GO launched as weighing a minuscule 31g each. The Wireless GO White, Lavalier GO phone system that has since become the world’s first truly wireless micro- The Wireless GO White boasts all the White, Interview GO and MagClip GO the go-to for vloggers, run ‘n’ gun phone system, entirely unique in its same features as the black Wireless GO, are the four additions to the ecosystem. filmmakers, journalists and more. clip ‘n’ go versatility. There is also a only the colour of the transmitter and Unveiled to widespread acclaim Featuring a transmitter pack with 3.5mm input for connecting an external receiver has changed – even the includ- microphone like the RØDE Lavalier GO ed furry windshields are white. for even greater flexibility. For those who prefer using a lavalier The receiver features a dual-purpose microphone with their Wireless GO, the mount that sits snug in a camera cold Lavalier GO (sold separately) also now shoe or clips securely onto clothing comes in white. or a camera strap. Audio is sent to the “This expansion of the Wireless GO receiver using RØDE’s Series III 2.4GHz range is the product of 12 months of digital wireless transmission that deliv- listening to user feedback and seeing ers crystal-clear sound over 70m line- what creators need and want,” says of-sight and is designed to excel in lo- RØDE CEO Damien Wilson. “We are cations with dense Wi-Fi and Bluetooth always in tune with how our products activity. There is also a three-stage pad are being used and who is using them, for tailoring the mic output to a camera and we constantly push ourselves to or recorder and a bright LED screen for create new products that inspire and monitoring levels and battery life. encourage creativity. Keep an eye on All of this is packed into an incredibly the Wireless GO range in the coming tiny form factor – both the transmitter months, there’s more to come.”

27 March - June 2020 Sound & Stage

HI-TECH AUDIO SYSTEMS - 30 YEARS OF EXCELLENCE, TRUST AND LEADERSHIP

Progress is only possible when distribution of professional audio, video relationships with rentals companies degree sales initiative backed by you decide to lay the foundation & lighting products, professional safety over the years specializing in AV prod- impactful marketing promotions. of strong-willed beginning. This is & security solutions, communication ucts. Pro Audio brands like L-Acoustics, Milestone Projects what the founders of Hi-Tech Audio systems, after sales support, technical DiGiCo and RCF, Hi-Tech Audio Systems In the last one decade, Hi-Tech Systems Pvt. Ltd., Mr. P.K. Gupta trainings & demo among other state- offer apex product series to the rental Audio Systems has successfully and Mr. Rajan Gupta envisaged in of-the-art services. Recently Yash Gupta companies. Technical support team of executed myriad of projects varying the year 1990 when the New Delhi and Shaurya Gupta, the third genera- Hi-Tech Audio Systems works closely from government buildings, hospi- based company became Dealers of tion family members joined the vast with the rental clients from providing tality, enterprise & corporate, stadi- Philips CSI for Public Address and growing company. them intensive product trainings to ums, retail chains, malls, educational Conference Systems. Strengthen by dedicated sales team live show support. The company also institutions, airports, clubs & lounges, With strategic thinking, training, who are supported by enthusiastic guides their clients on new inventory convention centres, museums and investment in new technologies technical experts, Hi-Tech Audio Sys- investments by organizing regular galleries, etc. With in‐house team and resources through a clear focus, tems is authorized India distributor of demo sessions and road shows in differ- of Engineering & Design team of

RCF TTL live demo, New Delhi Klang-DiGiCo Live show

today the company has a consistent global iconic brands like ent cities. Such business practices also 25+ professionals including certified turnover of 150 Crore+ and growing RCF, L-Acoustics, DiGiCo, ETC, MA opens new avenues for both parties as pre‐design engineers, AutoCAD every year in Professional Audio, Lighting and other such names of they can interact closely before taking engineers, audio 3D simulation, AV Video, Communication & Security audio, video and lighting industry. lucrative decisions. application & field engineers, Hi- verticals making it India’s one of 30 years journey of Hi-Tech Audio Wide Network of Dealers and Tech Audio System can deliver top- of-the-class quality projects to their the biggest Pro Audio, Video and Systems has been remarkable as the Growth-Partners Lighting Company. company now have offices in 3 major Hi-Tech Audio Systems has extended clients. From supplying, installing, Along with P.K. Gupta and Rajan states beside New Delhi (Head office) - their partnership to dealers in Tier 1, Tier testing and commissioning of audio, Gupta, Hi-Tech Audio Systems Uttar Pradesh, Mumbai and Bengaluru. 2 and Tier 3 cities. Renowned system video and lighting equipment, Hi- is spearheaded by Nitin Gupta, In‐house service centre equipped integrators, sound engineers, DJs, club Tech Audio Systems is a one-stop Nirdosh Aggarwal , Manik Gupta and with trained staff for handling compo- owners, commercial audio installers, solution company with highest level Ankit Gupta, who are well-known nent level repairs is an added factor lighting engineer and lighting designers of commitment. individuals of the industry. Currently for the company to offer the best to have been significant part of Hi-Tech’s Towards a new decade the company is offering an array of its clients. growth journey. The company’s dealers As Hi-Tech Audio Systems enters services ranging from professional Relationship with Rental Companies propel the movement of audio and its 30th year the management is sound reinforcement solutions, Hi-Tech Audio Systems has built great lighting products by following 360 focused to introduce avant-garde technologies and new audio, video & lighting brands for the Indian L-Acoustics Open Day conducted by Peter Owen market. Another agenda for the company is to educate its rental clients through regular technical trainings and product demos. This will help the company to have personal interaction with existing clients and new prospects. Beside the metro cities, Tier 2 and Tier 3 cities of India are becoming active by investing on cutting-edge AVL products. This is the right time for Hi-Tech Audio Systems to capture the market with ceaseless support to clients and build a client relationship based on trust.

March - June 2020 28 Sound & Stage

Sennheiser Announces New Distribution Partnership with AUDAC

Sennheiser, the German audio serve the growing audio market. giant today announced its exclusive AUDAC’s International Sales Di- distribution agreement with AUDAC rector, Mark Asselberghs, is equally to expand its presence in India excited with the new appointment. market. With this partnership, Senn- “Sennheiser is a well-established heiser will manage the complete distributor who knows their market sales, distribution and services of the inside-out. They understand the comprehensive range of innovative importance of not just selling a prod- audio products and solutions by uct, but the added value of excellent AUDAC. service and technical assistance at On this occasion, Mr. Vipin Punga- every stage of the project. And that lia, Director, Professional Segment, is exactly what AUDAC stands for.” Sennheiser Electronics India said, There has been a growing “The partnership with AUDAC comes demand for audio equipment as a great delight to us and will and solutions in the market. This further help us grow and strength- collaboration will provide a plethora en our presence in the market. We of products and solutions for the always aim to provide our customers customers and businesses. It will with best class products and services bring AUDAC’s wide range of speak- and this partnership will effectively ers, digital matrix system, amplifiers; and efficiently help us in reaching solutions like ultra-compact wall our customers and reinforce our speakers, ceiling speaker solutions footprint in India. Sennheiser has with subwoofer to the customer. one of the largest sales, service and It further strengthens Sennheiser’s support system in India. This also ability to provide a technologically gives us the opportunity to offer the driven integrated sound solution to wide-ranging products and solution Mark Asselberghs, Audac’s businesses, and customers operating range across the professional International Sales Director, and in the professional audio segment. ecosystem to make our customers Puneet Kumar Kain, National believe that together, Sennheiser and The tie-up will also accelerate the integration easy and efficient. We Product Manager at Sennheiser AUDAC will provide a great portfolio to professional velocity of the business.

Martin Audio launches High-Performance Cardioid Subwoofers

Martin Audio has announced the al pattern control. It features an 18” improving low frequency response driver and 12” (300mm) rear facing driv- release of two new compact, high (460mm) forward facing driver and a accuracy and impact. er, each driven, again, independently performance cardioid subwoofers, the 14” (356mm) rear facing driver, each The enclosure is constructed from by separate amplifier channels and DSP. SXCF118 and the SXC115, suitable for driven independently by separate am- tour-grade plywood and finished with Each driver, similarly, has its own cham- both live sound reinforcement and plifier channels and DSP. Each driver has a hard-wearing textured polyurea ber with optimized bass reflex porting. fixed installations. its own chamber with optimized bass coating. It is equipped with four grab In front of the enclosure, the output The SXCF118 is a flyable version of reflex porting. handles, while foam-backed perforat- from the two drivers is additive, giving the SXC118 released last year and has The recommended iK42 amplifier ed steel grilles protect the front and an extra 1dB of output when compared been purpose designed to accompany optimizes the DSP parameters for front rear drivers. Integral flying hardware, with a conventional 1 x 15” subwoofer the WPS optimized line array system, and rear drivers to maximize the rear re- coupled with the WPSGRIDT touring and 21dB at 43Hz of rear rejection. It is while the ground stack SXC115 is set to jection—from 21dB at 43Hz to 28dB at flying frame, allows the SXCF118 to be the perfect accompaniment to WPM partner WPM. 75Hz. This keeps low frequencies away incorporated at the top of a WPS array, or indeed with a pole mount for Martin The SXCF118 combines maximum from stages and walls as well as reduc- or flown as a separate array alongside. Audio point source loudspeakers. low frequency output with exception- ing reverberant energy in the room The SXC115 follows similar principles Dom Harter, Managing Director, said, and contains a 15” (380mm) front facing “We were delighted with the response to our initial cardioid subwoofer last year and this has really driven the demand to release these two further products. This also means we have announced 12 new products in the first three months of the year which is a record number of new products for us in such a time frame. We are consistently reviewing the market and our customer needs, and working tirelessly to offer our partners the optimal solutions between technology and price to win in SXC115 Compact, High Performance Cardioid Subwoofer SXCF118 Compact Cardioid Flown Subwoofer the marketplace.”

29 March - June 2020 PROFESSIONAL FOCUS: SOUND DESIGNER The ART and CRAFT of Sound Design Interview with Bishwadeep Chatterjee

PT met up with Bishwadeep Chatterjee, one of India’s most esteemed Sound Designer. In this extremely insightful interview, he generously shares his unique perspective and experience on music recording and sound design.

ow did you get into a career as a something I didn’t really get into. I Hrecording engineer? chose to work on the technicalities of My interest in music got me into this recording first before being involved field. I was not cut out for a convention- in the aesthetics, like design and music al job like banking or engineering jobs. production. It’s just that we didn’t get I was looking for something related separate credit for it. But our generation to music and the arts. Though there was very lucky; we saw the exit of the were limited facilities for learning music vacuum tube, we largely worked on in those days, you did not have any analog medium and then witnessed the facilities for learning music produc- coming in of the digital medium. tion. A little research and networking How easy or difficult was it for you to eventually led to me applying for the adapt to new technologies? FTII in Pune. Fortunately, I had a father It’s not very difficult once you are who supported my decision to apply for trained in the basics of recording and such an unconventional field. I cleared then it’s all about the mindset. Either the entrance examination and the you adapt to the new technology interview that followed. As I entered the and move on or stagnate. Those who gates of FTII, I knew I had come to the became complacent with the conven- right place. tional ways and did not upgrade them- Did you not want to be a music direc- selves, were being left behind. Mumbai tor instead of a sound designer or a thankfully is place where every time a recording engineer? new product or technology is launched I had joined FTII to specialize in sound the recording and mixing engineers recording and sound engineering. Back get to know about it and we also get in the day, this was the only place that a chance to try it out. This communi- gave us that option. We learnt how cation and interaction with vendors, to record sound on location, dialogue companies that launch new products, and sound effects recording, song fellow technicians etc. is very necessary and music recording and mixing, film because besides learning about new soundtrack editing, designing and film technologies, we have the opportunity mixing. We had an integrated curric- to experience how it sounds in other Bishwadeep Chatterjee ulum where we learnt motion picture studios too. The need to keep ourselves photography, film editing, direction and updated is a natural progression. In the screenplay writing as well. We also had late ‘90s, digital technology became a went in for a workstation and explored much more flexible and I can concen- lectures in music by musicians of vari- reality in Mumbai. I was fascinated. It how I could exploit it to the maximum. trate more on the program than the ous genres. FTII graduates were quali- was the first time I was experiencing the With the advent, evolution and devel- mechanics of it. I am loving it and I think fied to make films. You could become concept of non-linearity with the AVID. opment of digital technologies, I don’t we are living in very good times. a composer or anything you wanted, I took a full demo of the product and really miss analog today any more. It So you recommend FTII to people who related to films, but composition was realized that non-linear was the future. I was good while it lasted but today I am are aspiring to join the film industry?

March - June 2020 30 Yes, because unlike other in London. The Album and countries, in India the film the film created a sensation. industry still rules music. There Spectral Harmony was a is no independent music tiny studio by Bollywood industry as such, and television film song recording studio is only recently become an standards. This album broke independent industry. Movies the myth that you needed at are where you get your recog- least a 5000 square foot area nition and that’s the biggest studio to record a film song. platform. You could be a very I was now on the “Bollywood good composer but sadly, Map”. nobody knows you unless you Who are the top five music score the music or compose directors/composers you songs for a film. The same goes like to work with? for every department… be it I like to work with every acting, direction, cinematogra- music composer. I am not phy, editing, sound, produc- being diplomatic because tion design etc. FTII, I believe for me it’s a creation by an would be a stepping-stone individual and I have been to this platform. Being a gov- chosen to be a collaborator. I ernment institution, it’s much have been fortunate enough better equipped and much to work with most of the very cheaper than most private good music directors. I have options. Bishwadeep Chatterjee with Team URI: The Surgical Strike, a film for which Chatterjee worked with Ismail Darbar, won the National Film Award for Best Audiography You have recorded some ma- Vishal Bhardwaj, Shantanu jor Bollywood soundtracks, Moitra, Amit Tridevi, Annu Malik etc. I the filmHum Dil De Chuke Sanam fader and mute automation. The big- what are some of the main technical mixed the songs for Shantanu Moitra’s thanks to music director Ismail Darbar gest challenge would be to make notes challenges and how did you overcome Ab ke Sawan, Lage Raho Munnabhai, and Sanjay Leela Bhansali. There were of the eq and compressor settings with them? Parineeta and 3 idiots, even though I a handful of studios where film songs a pen and paper as only mute and fader There is always some challenge. had started working on these films as used to be recorded. Each studio had a automation data could be ‘recalled’. During the initial stage of my career, a sound designer. I have not really had distinct sound of its own; I could iden- Now the next challenge was more aes- I first started doing location sound the chance to mix a song with A R Rah- tify which studio a particular song was thetic. I processed instruments like the recording for a documentary by Ketan man, but I have worked on three films recorded just by listening to it. Naturally violins, the woodwind, brass, percus- Mehta. Then I worked on a film called for which he had composed the music there were inconsistencies when each sions, the mandolins etc. very differently Salaam Bombay, where I was assisting - Sachin, A Billion Dreams, Sanju and song of the same film was recorded from what the typical trend was in the main technician who was from Shikara. I have recorded and mixed Silk in different studios and were stringed Bollywood at the time. My generation at LA. Back in 1987, we were doing sync Route’s Dooba Dooba album, Mika’s together and handed over to the re- that time was trying to rebel and bring sound recording and were shooting Sawan Mein Lagi. etc. As independent spective music companies…there was in a ‘new ‘Sound in Bollywood. I started in places like Grant Road, Kamatipura, music bands and composers, they were no concept of “Mastering”. I wanted to treating the songs in a different way. I Colaba etc. That was a huge challenge. just great. change all that. I sat down with Sanjay had got myself a SADiE workstation by Meanwhile in our film industry, the I have even worked with senior music and Ismail and explained to them that then. I locked the SADiE with the 2” 24 concept of location or sync sound directors like Naushad, Pyarelal, Bappi we need to do something different. I tracks and I would edit, cut, paste tracks recording was discontinued around the Lahiri, Uttam Singh and many others wanted to record all the songs in my that I needed to and use it to double ‘70s with portable analogue recorders but my biggest regret is that I could studio, but there were times when they my outboard effects processors by like the Nagra becoming popular. Soon never work with R D Burman, Salil they realized that all the dialogues Chowdhury and Kishore Kumar. could be dubbed in a quiet studio and What is your advice to independent they did not have to spend on ‘blimped’ Never take short cuts..!! One can always perceive the music producers doing their own cameras and generators. So now the compromise in quality! It is the attitude you have to- production in project studios or home shooting sound was limited to just a wards your own creation that will bring recognition studios? pilot guide track. Today I am glad sync Never take short cuts..!! One can sound is back again. Dubbing sounds and with that, the respect that you so much deserve. always perceive the compromise in fake and we must only dub where it is quality! It is the attitude you have to- absolutely necessary. wards your own creation that will bring I wanted to get into music recording, had to book other studios as mine was recording the processed tracks on it so recognition and with that, the respect which was my main intention when not available sometimes. Then I asked I could free the processors for other in- that you so much deserve. Even the I initially started pursuing a career in them to bring all the tapes to my studio struments or vocals. I took three to four average gear that you work with comes this field. For a long time, from 1989 to so that all the mixes at least could be days for mixing a song and achieved at a staggering price- treat that as your about 2000, I was mostly doing song done by one person. This itself made the quality, because I was spending so ‘investment’. Cut costs but don’t cut and music recording and I enjoyed it. the whole album sound very consistent. much time on the product and doing corners. If you have to record a live in- The challenge was to adapt to a new The studio I was working for was Spec- it with so much care. With the support strument and you don’t have adequate technology and everyday was a chal- tral Harmony in Santacruz. It was de- of both Sanjay and Ismail, we came to gear or your own decent studio, hire a lenge because you had a new product signed and named by me. We had the a fantastic mix and then I dropped the proper facility to record that instrument each time and you were learning some- Otari MTR 90 MKII - 2” 24 track machine bombshell that I want to go and master or those wonderful vocal parts…it will thing new every day. (with Dolby SR in every track). I had the this in London. Sanjay, Ismail and I got stretch your budget a bit, but you will My biggest recognition came from Soundtracs Solitaire mixer, which had it mastered at the Townhouse studios never cringe at an inferior patch in your

31 March - June 2020 otherwise fantastic track. I would not be to record the string section. None of the to take me. There is just one challenge hear exactly what we are mixing and we able to live with the guilt of mediocrity. studios in Mumbai then had a Pro Tools we face and that challenge is that the have to be careful not to become gim- This was the very reason that made system, so I took it to Ramoji Film City film’s release date is fixed, theatres are micky. You can’t just put random things me buy expensive studio monitors to do the mix. It was a fantastic expe- booked, overseas release is planned, in the surround, or instead of watching with great difficulty when I started out rience and it gave me the confidence marketing and announcements have the film people will keep turning their on my own, because I needed to hear that I needed as a sound designer. The been done, but are we given the film on heads to hear what these sounds are. right to record right. There is a way of second film that I worked on was a film time? Is the VFX completed on time? You have to understand where not to intelligently preserving the quality; it called Raincoat. I started with my own I would prefer to have 3-4 months step above the film. depends on how you source it and how workstation. I brought a Pyramix and to work on a project, but usually what Is there any difference when you are you plan your work. Keep yourself up- carried my entire workstation into the happens is that they give it to you doing 3D movies? dated with all the new developments in mix studio. I did the mix of this film in when there are hardly 20 days left. A With 3D movies, the challenge we your field. Today you have the internet that process. I was always challenging lot of time is invested into the visuals, face is that a lot of films are made into and social media…. There are really no the system. The agents of Dolby at that VFX, rendering, editing but the general 3D in the post, but what is disturbing excuses. time would say you can’t work like this, impression is that the sound can be is that we have mixed the film for a 2D you have to bring it in Hi-8 tapes and 24 taken care of easily. I have learnt not to Which was your last project as a studio format. In a 3D format, there is a huge tracks. My only problem was that I was crib, as that does not help. I don’t want music recording engineer and your change in visual perspective. We don’t 20 years ahead of my time. Later when to be the problem but rather try and be first as a Sound Designer? have 3D mix theatres and many movies Dolby themselves stepped in, all of that the solution for the entire process. This like Padmavat have been released in the My ‘last’ major project as a studio changed of course and they were much gives the film makers the much - need- 3D format. Since the visual perspectives music recording engineer was Devdas. more encouraging. I have been working ed confidence in a crisis like situation. (and in many cases the magnification) Starting with Devdas, I think I was the in a similar fashion ever since. Eventually What I always do is that I start taking the change, the sound mix does not seem first music engineer in Mumbai who I bought my own Protools and the films edits of sequences as and when they to compliment the visuals. I am working went from mixing his own stereo song that followed soon after were Parineeta, are completed so I can start the work on a particular film where I am insisting mixes to mixing them in 5.1 surround that if they are planning to release it for a film. I would also mix the film score in the 3D format, then we must do a in surround. I was never happy with the separate mix with proper 3D projection way film mixing engineers would mix In a documentary, you cannot take certain liberties, in mix theaters- this will also have some songs or the music score. This whole which you would otherwise in a fiction film. technical challenges as workstations exercise acted like a catalyst towards like the Protools would have to play 2 switching over to sound designing parallel picture files simultaneously… (I for films. I didn’t want to restrict my Eklavya, Lage Raho Munnabhai, 3 Idiots of sourcing, planning out, aesthetically don’t know how they’ll do it). involvement to just the music in a film. etc. to name a few. thinking of key sequences of the story I wanted to create the entire sound- Do you have a library of your mixes line. This is pure time management scape of the film…. The sound effects, What is your go to gear for getting the and tracks? Is there a process you go because I am constantly trying to stay the musical effects, the stylization, the job done? through deciding how much sounds ahead to avoid a crunch when the final tonality of the dialogues etc…I had you take from an already existing If you ask me, then I want the world. edit is ready. explored almost all aspects of recording library versus creating entirely new I have six studios, and all of them have The Sound Designer is like a com- music and felt the need to do what I sounds for a given project? the Pro Tools because that is some- poser, it’s just that we are composing had always wanted to do since I was at Yes, I do have a huge collection of thing I really love. I wanted to get the sound to try and get a particular effect. FTII - design sound for films. With the several terabytes. For Uri I had decided control surfaces, but I cannot afford My aesthetics come into play when I advent of more sophisticated ‘VSTs’ that we didn’t want to use the old stuff. them right now. I would like to maybe design the sound. Dialogue, effects and Acoustic recording was diminishing and I have a very large collection of guns get the S4. I have some outboard gear music has flow seamlessly, with the music producers were doing a great job and choppers, needed for a war movie, like the Bricasti Reverb unit and SSL visuals. They should not individually in their home studios. As a recording but for Uri I decided that we need to Compressor, but I would like to get stand out or it will be very distracting engineer, I started finding my involve- upgrade our library. I did not want to some more like the new SSL Fusion. I for the viewer. use the same sounds all over again. I ment in music recording to be very prefer Genelec Speakers; all my studios How challenging is it to work with limited. We used to spend an average of have them. I love the Genelec sound needed sophisticated sounds, more multi-channel systems and technolo- 10 days per song in a studio, right from because of the consistency I get from contemporary sounds. Whenever there gies like Dolby Atmos and Auro 3D? conceptualization, programming, re- them, and it is something that I could was a requirement, I buy and down- cording, to the final mix. We were now not compromise on. You are ultimately I have never worked on Auro so I can- load libraries, I also have a collection hardly using one or two days for live re- going to be designing a mix depending not comment on that format, but I have of sounds recorded by me and my team. I record foley, process it as per cordings in the studio. As a result, many upon what you hear. I use the Genelec extensively worked with Dolby, right the requirement, enhance them with big studios started folding up since 1037c with corresponding subwoofers from 5.1 to 7.1 and to the current Dolby my library sounds and blend it with the the billing went down and the music and I have the Genelec 8050s and Atmos. It’s not so much of a challenge for other elements in the effects tracks. For industry started going into a recession. Genelec 8040s in other studios. A me. I’m a lot more comfortable because This was a worldwide phenomenon. recent Plugin that I really liked was the with the Dolby Atmos, diverse sounds are instance, in Bajirao Mastani I had five or six layers of just Bajirao’s footsteps Under the circumstances, to survive as a iZotope Bundle. I bought the iZotope becoming a possibility and that is some- because the footfall of this king had to music recording engineer would mean 3 Bundle that has got pretty much ev- thing which I am relishing today and attaching myself to a composer, which I erything. It is an expensive bundle, but which is why I say we are living in good have ‘authority’. The crunch in his step, did not want to do. it will help me not just in dialogue and times. Earlier when we used to record the leather squeak, the heavy sole, a low My first film as a sound designer was effects processing but also in music. sound in optical, we were stuck with a 30 frequency thump all combined to cre- a Bengali film calledChokher Bali by the dB dynamic range; we had to try to pack ate the desired effect. We are conscious Is the timeframe for completing a proj- late Rituparno Ghosh starring Aish- everything into that but today the entire about what we see, but usually not warya Rai. I recorded most of it in Kolk- ect sufficient? spectrum of sound can be heard and about what we hear. All these minute ata and did most of my sound design- I am very confident about time. If a that’s the beauty. However, I have to be a details add a certain ‘weightage’ to the ing work over there. I also recorded the particular project comes to me, I pretty lot more careful now about what I put in visuals which we can ‘feel’. much know how much time it’s going music there and went down to Chennai my soundtrack because everybody can (Continued on page 59)

March - June 2020 32

Audio & Music Production

ANSATA & iZotope conduct Fix, Mix & Master Seminars at Mumbai & Chennai

Ansata in association with iZo- production process, even to seasoned Rebalance, Master Rebalance, Low-end at the ‘KM Conservatory Auditorium’ tope organized a one-day seminar users. Richard broke things down in a focus, EQ Match, Ambience Match & - Both the events witnessed students in Mumbai and Chennai, on 18th & simple & easily comprehensible manner Reverb Match allow for complex audio & faculty members, seasoned engi- 19th November 2019. iZotope’s Sales even for some of the less experienced processing tasks to be achieved easily neers, and audio professionals. and Products Specialist – Richard members in the crowd to understand, with just a few clicks as they are built Some of the noted attendees Morson, conducted the seminar. appreciate, and use in their day-to-day upon Machine Learning based assistive included senior sound engineers like Spanning an illustrious career, work. audio tech. Bishwadeep Chatterjee, Anuj Mathur, Richard Morson has been involved P A Deepak – a Grammy award-win- The sessions in both cities enjoyed Baylon Fonseca, Farhad Dadyburjor, with cutting edge audio technology ning Sound engineer, and one of the a very good response, totaling around Resul Pookutty, Vijay Rathinam, Mad- products his entire career. Having attendees who participated in the 200 participants with visitor profiles in hu Vishwanathan and fraternity of worked with esteemed audio tech- workshop, shared his feedback about both cities comprising of senior industry sound engineers from A R Rahman’s nology companies, the likes of which the initiative as he commented, “Firstly professionals in music & post, plus stu- AM Studios. Participants across both include Euphonix, Studer and now thanks for the effort in connecting all of dents and teachers of audio engineer- cities had dedicated time for Q&A, iZotope - a pioneer in audio signal us and making this happen. I somehow ing schools. where doubts and ideas were befit- processing products that makes use missed the previous seminar, this time Talking about his impressions of par- tingly addressed by Richard Morson. of machine learning and artificial I made a point to join up as Izotope is ticipants attending the seminar Richard They were extremely happy to have intelligence to simplify otherwise my favourite plugin manufacturer and I commented, “Hosting the iZotope Sem- had the opportunity to get such a tedious and time-consuming love their innovative products. The seminars in Mumbai & Chennai on the 18th deep understanding of the various audio processing tasks. His depth inar was a gathering of a good set of & 19th November 2019 with Ansata was products presented and discussed, of knowledge with audio technol- industry’s true engineers who buy and a huge honour, highly enjoyable and an from a seasoned audio technologist ogy is unsurpassed and this was of encourage innovative products from absolute privilege. Starting with Leslie like Richard, compared to what they great benefit to the customers who the likes of Izotope and many more. I’m and Dipanshu’s hospitality and the or- would otherwise be exposed to in received a deep insight into the hoping we do more of these events in ganization of events, which was second their day-to-day work lives even products demonstrated during the the future.” to none. Participation was amazing when using these products. seminars. The seminar covered a wide range with a great turn out of attendees. The Leslie Lean of Ansata says, “Our Ansata and iZotope to help of products like Ozone 9, RX 7, Neutron level of interest from those that joined core philosophy and goal is to

Full House at the iZotope Fix, Mix & Master Seminars in Mumbai & Chennai

improve the everyday tasks of 3, Insight 2, Nectar 3, and the revolu- us was very high with lots of questions, make available great products at audio professionals working in the tionary new Dialogue Match. Richard comments, and feedback about the affordable prices and back it up with segments of post-production, music delivered a precise overview of the products, which is always a good sign training sessions like these to make mixing & mastering meticulously plugins and its capabilities to achieve that people have really engaged. Not to sure the buyers learn and use the planned the seminar. The lucky quick yet good results while dealing mention that having people ask to have products to the maximum effect and attendees of the iZotope workshops with the complex and time consuming photos taken with me made me feel like develop a better appreciation for walked away with a ton of useful audio processing needs of music and a Rock Star!!! I can’t wait to come back them. This, in turn, encourages the tips on using these products. The audio post projects in Films, OTT & to India for more events. Big thanks to good news about these products sessions had great tips on audio broadcast. With these products, topics the Ansata team and all of those that to be spread through word-of- cleanup, dialogue replacement, like dialogue replacement, noise reduc- attended.” mouth in their group of peers and music mixing and mastering. Some tion and repair, metering, intelligent The session in Mumbai was held colleagues thus delivering us newer of these topics are without a doubt audio mixing and concepts of audio on the 18th Nov. at the ‘The Club, customers for these amazing brands among the more mysterious and mastering were discussed. iZotope’s DN Nagar Andheri’ while the session who get benefited in the process as confusing aspects of the audio unique technologies such as Mix conducted in Chennai on 19th Nov. was an end result.”

March - June 2020 34 Audio & Music Production DiGiCo announces DMI-KLANG – Immersive In-Ear Mixing Expansion

DiGiCo announced the launch of the the first hardware product since KLANG mixes of 64 inputs for 16 musicians. This KLANG console link, monitor engineers new DMI-KLANG at NAMM 2020, an and DiGiCo joined forces,” says DiGiCo’s is the highest input count of any KLANG can use snapshots, faders, and knobs, immersive in-ear mixing expansion that General Manager, Austin Freshwater product to date. And the best thing is, we but with all the benefits of immersive can be mounted directly into DiGiCo “We took KLANG:fabrik’s immersive were able to bring the processing latency in-ear mixing. consoles, equipped with DMI slots. in-ear mixing core and rebuilt it with down to a quarter of a millisecond.” “The DMI-KLANG is just the begin- KLANG’s immersive in-ear mixing The DMI-KLANG ning of a new line of products,” says systems make spatial and transpar- connects directly to KLANG’s co-founder Pascal Dietrich. ent in-ear monitoring possible. With DiGiCo consoles’ in- “Together with the DiGiCo OrangeBox lower listening levels – on average ternal audio stream and the many I/O expansion cards avail- up to 6dB less – it eliminates the without any addi- able today, we can now interface with feeling of isolation associated with a tional hardware I/O almost any professional digital mixing normal in-ear stereo mix and offers or overhead. This console.” less fatigue. Its applications range makes it possible Available DMI cards offer MADI (TP, from personal mixing for touring to route any audio BNC), Optocore, Dante and many other monitor engineers to spatial mixing channel from the digital formats. Additionally, by utilizing for recording studio sessions. console to the DMI- the KLANG: app, personal mixing can The DMI-KLANG follows in the today’s latest FPGA technology. With one KLANG and return the immersive mix be done on any tablet, smartphone, or footsteps of the KLANG:fabrik. “This is device, we can now deliver immersive to the Aux merge input. Via the DiGiCo PC/Mac.

Allen & Heath’s Avantis Makes Debut in India

Sun Infonet Pvt Ltd., Allen & and artists. Feedback from attendees live shows,” comments Neeraj Chandra, operation of the console to those Heath’s exclusive distributor for has been incredibly positive and many Director, Sun Infonet Pvt Ltd. who were in attendance. With limited India, marked the launch of the took the opportunity to have their Avantis has already received many time for soundcheck, Avantis showed much-anticipated Avantis digital questions answered by the team. gleaming reviews from end users who its capabilities on day one - the band console with a series of events. Avantis is the third mixer based on have tested it in the field. was extremely happy with what Taking place at prestigious hotels Allen & Heath’s 96kHz XCVI FPGA engine “This is a really awesome product they heard on their IEMs and I was across four cities in India: Mumbai, and provides engineers with Continuity with a metal body built for rugged use happy with the way they sounded Delhi, Bangalore and Chennai, each UI, extensive I/O options, add-on pro- in the Indian climate. The unique design with minimal processing. Thanks to launch event was led by Allen & cessing from the flagship dLive mixing can be tailored to individual engineer Avantis’ preamps and continuity UI, it Heath’s Director of Sales (APAC) system and a rugged full metal chassis. requirements and it’s easily transported just gives me the controls I need right Jamie Ward and featured a presen- “This incredible console not only from one place to another,” comment- at my fingertips.” tation on the making of Avantis, an improves the overall workflow for engi- ed Delhi-based rental company owner, “Avantis is the best upgrade for in-depth rundown of its features and neers but is armed with all the essential Tanish Sakhuja. customers who are looking for a a Q&A session. features needed to execute a smooth Jayakaran, Sr.Live Sound Manager at 64-channel console, with 96kHz The events also included one-on- show (big or small) some of which Sun Infonet and FOH Engineer for Vic next-gen technology, more auxes one time with the console and guest can be found in the most high-end con- and the Big Fish, added,“Vic and the Big more FX at the best possible ROI”, demonstrations from some of India’s soles. Avantis is bound to be a game Fish had been signed up to perform at concludes Tanmay Masurkar, Sun most prominent sound engineers changer in the field of broadcast and the showcase and show the real field Infonet’s in-house Audio Engineer.

Allen & Heath event, Mumbai

Allen & Heath event, Delhi

Allen & Heath event, Bangalore Allen & Heath event, Chennai

35 March - June 2020 Audio & Music Production

Mackie introduces Element Series Microphones

Mackie has introduced their microphone. It’s a handheld vocal mi- microphone can new EleMent Series microphones. crophone and excels as an instrument coonect directly to Like all Mackie gear, EleMent Series and amplifier microphone. The EM-89D a laptop or mobile mics combine professional-caliber comes with a mic clip, XLR mic cable, recording device performance and Mackie’s famed and zipper pouch. using USB-C and Built-like-a-tank rugged reliability The new Mackie EM-91C’s audio features a built-in and outstanding value. The series quality and classic cardioid polar pattern headphone out- consists of three models: the EM- makes it suitable for a wide variety of put with inde- 89D Live Vocal Dynamic, EM-91C studio applications. Though the EM-91C pendent volume Large-Diaphragm Condenser, and is recommended for use with stringed control. It also EM-USB USB Condenser micro- instruments, it can also be used for live provides controls phones. streaming, voiceovers, and many other for main input The EM-89D dynamic microphone types of content creation. The EM-91C gain and mute. features a cardioid polar pattern comes with a shock mount and an XLR The included mic and is primarily designed for stage mic cable. clip, tripod mount, use but can also be used as a studio The Mackie EM-USB condenser and USB-C cable. Mackie EleMent Series

Folder Tracks Coming Soon to Pro Tools 2020

The firstPro Tools update for 2020 At launch, here are just some of what ly edit clips across all member tracks. You’ll notice that the Track UI is now a bit will bring one of the most highly you’ll be able to do with Folder Tracks in On open folders, all edit commands different, with icons on the bottom left requested and anticipated features to your session: that are currently available on of the track information area, indicating the world’s industry-standard DAW • Organize tracks into collapsible multi-track selections are allowed; A that this is a folder. Additionally, you’ll Folder Tracks. This feature, along with folders (up to 8 layers) smaller core set of edit commands notice the UI change above the folder its many possible workflows is one that • Drag-and-drop tracks into folders are available on closed folders and title, as well as the same color around a positively affects and helps Pro Tools with ease will allow users to perform many thin border across the track information users from all types. Whether you’re • Color-code folders useful edits without having to open and additional track modules (Inserts, writing, recording, editing, or mixing, • Edit the folder itself, thereby au- folders. Sends, I/O, Real Time Properties, etc…). efficiency and organization is essential tomatically editing the “member” • Track Presets: Folders with their This all exists to ensure that you’ll easily to stay focused on getting your ideas tracks simultaneously nested members can be saved and be able to distinguish a track from a fold- down and sounding their best. During • Basic Folder Track Functions: imported as Track Presets, expander. Looking into the main edit/arrange the process of creation, editing, and include reordering tracks in and ing the already powerful feature. area, you’ll notice that a visual repre- mixing, sessions can get quite com- out of folders, open/close folders, • Backward Compatibility: When sentation of all the tracks that exist in plicated and difficult to manage, even and propagation of show/hide and sessions with folders are opened in the folder. In the example below, you’ll small track count sessions can become active/inactive actions to member Pro Tools versions earlier than 2020. notice that the green “Horns folder” has unwieldly, depending on the amount of tracks. R1, Routing Folders turn into AUX 4 separately colored tracks, living in this work being done. This is where Folder • Routing Folder Tracks: allows audio tracks, while Basic Folders are simply folder. Remember, folders can also be dropped. Nesting is flattened. saved and recalled as Track Presets! Ele- Even just a quick overview of these gantly simple, powerful, efficient. That’s Folder Track options, it’s easy to see the beauty of Folder Tracks! how any Pro Tools user can start uti- Folder Tracks for Audio Post lizing this amazing feature to manage If you’re in the world of audio post, their sessions, increasing efficiency you stand to reap enormous benefits through organization, all in the name using Folder Tracks in your sessions. By of keeping every user in their most cre- their very nature, audio post sessions ative and focused mode. There will be tend to get large rather quickly. Using an abundance of ways to incorporate Folder Tracks in Pro Tools | Ultimate, an Folder Tracks into your workflow. Here audio post user can easily build a scene are a couple of basic examples showing by grouping related tracks together and how one might incorporate Folder mange functions such as signal flow, Tracks comes into play. signals to be routed through the Tracks into their workflow. Folder Tracks allows Pro Tools users folder for stem mix workflows. mutes, and sends, all through a routing the ability to take command of their All Aux track functions, including Folder Tracks for Music folder. Also available in Pro Tools | sessions by organizing tracks into visual, inserts, sends, and automation The simplest, yet most powerful ex- Ultimate is the ability to navigate a large collapsible folders. This ability creates a are available on Routing Folders. ample of using Folder Tracks in a music session easily by consolidating numer- more streamlined, organized arrange- Optionally, selected tracks can be session is using folders to organize your ous tracks in the mix and edit windows. ment on screen, helping to remove the automatically routed when moved tracks by type. For instance, in the ex- Audio post users can organize different distraction that having to scroll through into a new Routing Folder. ample photo below, you’ll see that tracks types of tracks including scenes, sound numerous tracks can bring. Folder • Editing: Edit selections made on are organized into folders, based on the design, dialogue, and any other audio Tracks enhances session management folders are propagated to their track type. Lead vocal tracks live in the elements, logically, according to the to new heights. member tracks, allowing one to easi- hot pink folder titled “Vox Lead folder”. user’s desire.

March - June 2020 36 Audio & Music Production

RCF launches new and updated products at NAMM 2020

Desktop Digital Mixer: M 20X one for the main master mix. There are new generation analog F series initially Series four fader layers (Input 1-10, Input 11- raised the stakes, offering high sound Package includes 16 preamps, mul- 20, four FX return and six Custom faders, quality through a choice of four formats, tiple recording options and intuitive while the fourth is dedicated to the 10 ranging from six channels up to 16, all GUI MIX outputs). devices packed with effects, housed in a All channels contain hi-pass, gate, sturdy metal frame. Based on feedback received, RCF has now developed a complete, 4-band parametric EQ, compressor Now it has gone bigger still, com- versatile range of four further M (ch 1-16) and gate, with four internal pleting the F series with the launch of studio-quality Z.CORE FX the F 24XR, boasting an unprecedented engines. number of inputs and preamps. The other key features of The new mixer features 18 mic these M 20 mixers are three preamps (eight channels more than RCF AYRA PRO10 SUB options for various multi- the F 16XR), 16 line inputs, four stereo nents. The full range PRO5 (5”), PRO6 track real time recording inputs, two stereo bus outputs, and six (6”) and PRO8 (8”) are joined by the and playback, with 20 tracks compressors. It contains 16 multi-FX PRO10SUB (10”) subwoofer. on SD card, in addition to a presets, single control compressor and The main feature of these moni- 24 x 24 channel USB 2.0 in- is supplied with USB interface for stereo tors is the high power of the Class-D terface and stereo recording recording, 3-band EQ with selectable amplification — respectively 100W, and playback on a USB key. frequency and 4 Aux sends (one avail- RCF M 20X 120W, 140W for the 8”, and 300W able for the internal FX engine). for the subwoofer — almost double In common with other models in that of its competitors. the series, the F 24XR boasts the same All monitors have DSP on board rugged construction, metal chassis and and the FiRPHASE algorithm is plastic side cheeks for portability. likewise loaded as standard — the AYRA Pro Studio Range - More Power first monitor in its class to install this and FiRPHASE — to ensure 0° linear phase for time- RCF has announced a new complete aligned sound emission of the entire RCF M 20R line of AYRA near-field studio monitors, spectrum. This feature provides Of the mixer designations, the M20 series mixers with added function- which has been designated the AYRA detail in the reference sound, with a X is the standard device, while the ality—the M 20X, M 20R, M 20XD, PRO. This now replaces the existing real panorama of the stereo sound M 20 XD adds a Dante interface for M 20 RD—from the ground up. The AYRAs. field, where the phantom center is Audio over IP networking. There are DSP-rich consoles are fully recallable, The new range includes four mod- perfectly perceivable. 3U rack versions of each without the with 11 motorized faders and 16 re- els—three 2-way speakers and one In addition to professional stereo faders (M20 R and M20 RD) offering the mote controlled preamps contained woofer, equipped with new compo- or multichannel use, the new AYRA same functionality and remote-control in a compact, ruggedly constructed PRO range can be used in high-end capabilities. chassis. AV systems or hi-fi devices. The new M 20 series features 20 The M20 X represents the first time RCF has produced a complete digital MC-1 input channels with 16 high quality RCF has introduced the MC-1 mixer with motorized faders, and with Mic preamps, with eight XLR and Monitor Controller, designed to its compact form factor will appeal to eight Combo inputs, two TRS Inputs, manage two couples of stereo mon- rental companies, musicians, as a con- a Stereo Input on Mini Jack. There itors. This features two stereo inputs ference system or sub-mixer for larger are 10 Output channels, with eight on combo connectors (TRS+XLR) on installations. XLR and two TRS as well as two Input A and TRS Jack and Mini-Jack The next development will be an Main output XLR’s. All outputs are on Input B, as well as two pairs of extended Control App for both iOS and routable. XLR for output. Also featured is a Android. Via the Attach function users The rear panel contains AES-EBU DIM (Mute) button, reducing the will have access to a larger touch sur- stereo output, USB audio 24x24 sound by - 20dB, a mono switch, face and expanded screen to enhance multi-channel interfaces, and LAN and a central generous machined the mixing experience. port to connect external access main volume control. Being passive, point for wireless remote control. F 24XR Digital Mixer Completes F with no external power needed, it There is a 5-inch capacitive high Series has no colorations and is inherently contrast touch screen with five en- Drawing on the heritage of the transparent from distortions. coders, for control of all the mixer’s widely-acclaimed analog E series, RCF’s capabilities. RCF AYRA PRO 5 In addition, there are four Function buttons that recall the main pages on the screen and eight programmable User Keys. The motorized faders include 10 for Inputs/Outputs, and RCF F 24XR Digital Mixer RCF MC-1 Monitor Controller

37 March - June 2020 Audio & Music Production Rode introduces NT-USB Mini Studio-Quality Microphone

The NT-USB Mini microphone offers like room reverberation, air condition- for eliminating distracting echo when studio-quality recording direct to a ing, and traffic. tracking vocals or recording instru- computer or tablet. Designed to deliver With a class-compliant USB output, ments. crystal-clear, professional-quality audio, the NT-USB Mini works seamlessly with Compact and Flexible it is perfect for gamers, podcasters, mu- a computer or a tablet. No drivers or The NT-USB Mini has a magnetic desk sicians, streamers, and content creators. software is needed, and no external stand that provides a sturdy base for Simplified Studio Sound power is required to operate it. It works reducing noise from knocks and bumps The NT-USB Mini provides pristine seamlessly with any recording software and is easily removable, allowing the sound quality in a compact, easy- or streaming app, and studio-quality mic to be detached and placed on a to-use USB microphone. Featuring a 24-bit, 48KHz A/D conversion ensures studio arm or mic stand. The integrated high-quality condenser capsule with extremely low distortion and very high 360-degree swing mount allows to RF shielding and capsule isolation, it dynamic range, delivering incredible position the mic upright, on an angle, delivers professional-sounding audio audio every time. sideways or upside down. in any application, from recording The NT-USB Mini features a stu- The NT-USB Mini is 89mm wide and vocals and instruments, to podcasting dio-grade headphone amplifier and 141mm tall, compact, taking up only a and voiceovers, to gaming and live 3.5mm headphone output, complete fraction of the desktop or home studio streaming. An in-built pop filter reduces with precision volume control, allowing setup. Hard-wearing steel and rein- the rigors of recording anywhere and plosives and its pickup pattern has been easy monitoring. There is also a switch- forced nylon resin construction ensure everywhere. optimized to reduce extraneous noise able zero-latency monitoring mode the NT-USB Mini is ready to take on

Waves Announces Music Maker Access, a New Subscription Plan

Waves Audio, has tions plans start from just $6.99/ (including popular plugins such as announced Waves Music month, and all plans begin with a Waves Tune Real-Time, Vocal Rider, SSL, Maker Access, its new, 1 Month free trial. Subscribers also and many more), to create their own super-affordable plugin receive unlimited lifetime plugin custom subscription bundle. subscription plan. updates and premium customer With Waves Music Maker Access, Waves Music Maker service. Subscribers can cancel any every music producer, novice or pro, Access offers monthly time, no strings attached. can now afford the award-winning, or annual subscriptions In addition, subscribers to Gold gold-standard plugins used by count- for Waves’ best-selling, or Platinum are eligible to choose less GRAMMY-winning producers, award-winning plugin bundles Silver, industry, used by millions of music mak- a bonus Custom 5-Pack subscription mixers and musicians in chart-top- Gold, and Platinum. These bundles ers, from home producers to GRAMMY for just an extra $7.99/month. Custom ping sessions for Billie Eilish, Beyoncé, include the most popular pro-quality winners. 5-Pack subscribers can choose five extra Kendrick Lamar, Drake, Taylor Swift and plugin bundles in the music and audio Waves Music Maker Access subscrip- plugins from the massive Waves catalog countless more.

PreSonus Releases the Next Advancement in its AVB Ecosystem

PreSonus has released its Ecosys- newly added AVB Auto-connect, any Control to support the Ecosystem 3.0 mixer, and SW5E AVB switch. tem 3.0 update for StudioLive Series III PreSonus AVB Ecosystem device will release, the following products require It is highly recommended that all Stu- ecosystem products. An early adopter reconnect its stream routing after being firmware updates for full compatibility dioLive Series III Ecosystem customers of AVB, PreSonus continues to be on power cycled or temporarily discon- and improved network performance: take advantage of this free update. The the cutting edge of advancing reliable, nected from the network making it StudioLive Series III mixers (64S, 32S, new Ecosystem 3.0 firmware is available consistent network performance while extremely reliable in complex installa- 32SX, 32SC, 32, 24, 16, 32R, 24R, and to registered StudioLive Series III moving closer to full interoperability tions or touring rigs. 16R), NSB stage boxes (NSB 16.8, NSB Ecosystem product owners in their My with other leaders in AVB development. In addition to an update to Universal 8.8), EarMix 16M personal monitor PreSonus account at my.presonus.com. The newest update builds on many of the advantages that make AVB the most robust audio network option for pro audio. Among the many improvements, this update strengthens PreSonus Eco- system device connection and stream routing to create the most configu- rable audio networking environment in its class. PreSonus AVB Ecosystem networks can be configured in complex star and ring configurations that include dozens of StudioLive mixers, NSB stage boxes, SW5E switches, and EarMix 16M personal monitor mixers. With the

March - June 2020 38 Audio & Music Production

Yamaha Launches new powered monitor speakers for 50th Anniversary

It has been 15 years since Yamaha ing broadcast studios to commercial ical advancements in order to meet the studio monitor design, and carefully introduced the HS series of powered spaces, resulting in generations of customers ever evolving needs. rethinking every element, Yamaha studio monitors to the market. Since class-leading mixing consoles, power Yamaha has always insisted on announced the next-generation HS that time, the HS series has be- amplifiers, speakers and signal proces- complete fidelity to the original sound series which added yet more polish come a favorite for use in near-field sors. and the ability to reproduce the subtle to the accuracy of these speakers. applications for both professional For Yamaha, studio monitors had the changes of tone and position in the mix, Offered also as the HS-I, Yamaha and home studio environments. To most significant pop culture impact on and these principles are exemplified equipped the enclosure with rigging commemorate the 50th Anniversary this fifty-year history. Starting with the in the HS series that appeared in 2005 points and the capability of using of Yamaha Pro Audio the company NS10M STUDIO in 1977, Yamaha moni- with its bright white woofer cones. As speaker brackets that allow mounting announced the special edition HS tors essentially defined the look and the high-bit and high-sampling-rate con- on a wall, ceiling, or baton mount for MP models, HS5 MP, HS7 MP, and sound preferred by engineers in studios tinue as trends in the field of music pro- improved convenience of installation HS8 MP. around the globe. In 1998 they released duction, leading to an increasing need in a commercial production studio or in the sound room of a hall. With the expanded assortment and options of the current HS Series, the monitors now meet the demanding needs of a greater number of customers’ sonic and aesthetic needs. 2019 Yamaha marked the 50th Anniversary of the Pro Audio division by offering a special limited-edition model: the HS MP models. Main- taining the same rigorous design Yamaha Pro Audio has a history the MSP5 powered studio monitor for high-quality nearfield monitors, principles that have guided the of innovation that goes back to to expand into more critical listening these speakers deliver the high-quality Yamaha design legacy, the HS MP 1969. Starting with the release of environments where even more faithful sound and accuracy that are ideal for ships in a paired carton adorned with the VA120 vocal amp systems, the reproduction of the original sound was the studio environment. a MP (Matched Pair) sticker, including company has continually expanded required. From 2000 to 2008, this model In 2013 fusing the know-how and speakers with matching serial num- their pro audio offerings to service a expanded into the MSP/MSP Studio cutting-edge analysis technology that bers and a special production process wide range of applications includ- Series by utilizing the latest technolog- was developed through many years of utilizing specially selected parts.

Genelec launches 1235A Smart Active Monitor

Genelec has unveiled the 1235A matches exactly the dimensions of the level, distance delay and Smart Active Monitor, which fuses the 1035, and features dual high perfor- more, to provide an op- sound and heritage of the iconic 1035 mance 15” drivers, dual 5” midrange timized listening experi- main monitor with high performance drivers and a low distortion 1” throat ence. GLM allows users 96 kHz processing and the ability to compression driver. The midrange and of any type of Genelec adapt to any space through its tight tweeter drivers work in conjunction Smart Active Monitors integration with Genelec’s GLM calibra- with proven DCW waveguide tech- to easily and swiftly tion software. The 1235A is therefore nology to produce the outstanding create systems to suit all the perfect main monitor for large directivity and smooth, consistent types of stereo, multiple music, film and post production studios imaging for which the Genelec brand stereo, multi-channel that demand high SPL, and neutral, has become renowned. The 1235A’s or 3D immersive audio stable imaging that can be perfectly op- remote-mountable RAM XL electronics formats. timized for the room’s unique acoustic module contains power amplification, The technology of environment. crossovers and processing, with Class D the new 1235A is also available as a The new 1235A shares all the finest amplification delivering 2000 W, 800 W retrofittable on-site upgrade for existing of music, film and post for main mon- characteristics of its forerunner the and 250 W for the LF, MF and HF drivers owners of 1035A and B monitors. The itors that can deliver pristine truthful 1035. Outstanding frequency response respectively. Input connectivity is pro- upgrade, which includes installation performance at very high SPLs. Sitting both on and off-axis, coupled with vided via both analogue and AES/EBU of the new RAM-XL module, brand happily between our 1234 and 1236 superb directivity, results in a very wide digital formats – along with an AES/EBU new drivers and a complete system main monitors, we are sure that the and stable sweet spot that can be trust- digital output – and the updated design calibration, can be completed with no technology of the 1235A will be warmly ed by multiple listeners within a room. of the 1235 also delivers a flatter on-axis structural changes and little downtime, embraced by those building new With a short term SPL of 130 dB and low frequency response and improved enabling 1035 users to benefit from im- rooms, and existing owners of vintage frequency extension down to 29 Hz, the noise performance than was possible proved performance, greater flexibility – 1035s that now want to take advantage 1235A also delivers staggering power, with the original 1035. and many more years of reliable service of all the power and flexibility that our but its transparent uncolored perfor- Through its integration with GLM from their monitors. Smart Active Monitors offer. The first mance ensures that the listener can still software, the 1235A can be configured, Genelec Managing Director Siamak pair of 1235As is already destined for make accurate, reliable mix decisions controlled and calibrated for any type Naghian comments: “While control Metropolis Studios in London, and even after long sessions. of acoustic environment, allowing the room sizes are generally shrinking, there we’re excited about the potential for The 350 litre enclosure of the 1235A user to tailor the frequency response, is still a clear demand from the worlds this reborn Genelec classic!”

39 March - June 2020 Audio & Music Production

Roland has Jupiter Rising

Since the release of the JUPI- pianos. Also onboard are the TER-4 in 1978, the name JUPITER many Roland drum machines has marked the pinnacle of Roland that are the foundation of sound and playability. electronic and dance music Keeping up to its name, Roland like the TR-808, TR-909, CR-78, has now launched the JUPITER-Xm and more. It’s like a studio full that combines the classic Roland of vintage gear, with mod- design and premium build quality ern capabilities and a deep with a powerful new synth engine. synth engine to explore the Self-contained, ultra-portable, unmapped sonic territory. idea machine Intelligent. Inspiring The power of polyphony Bluetooth, and even controls soft JUPITER-Xm has a universe of JUPITER-Xm’s I-Arpeggio is a next JUPITER-Xm can layer up to five parts, synths on computers and iPad with sounds, expanding all the time. generation arpeggiator that uses artifi- four for synths and one for drums. Its Bluetooth MIDI. JUPITER-Xm has an entire electronic cial intelligence to not just accompany engine can power multiple authentic Portable. Playable production and performance environ- but to inspire as well. It works on each Roland classics like the JX-8P or JUPI- JUPITER-Xm strikes a perfect ment that can be put under one arm. of JUPITER-Xm’s five parts simultane- TER-8 with enough polyphony to create balance with an all-new 37-key ously, and generated patterns can be thick layers and complex backing parts. Classic analog to vintage digital. slim keyboard that redefines what customized and even exported to DAW. And beyond Built to last. Made to play a compact keyboard can be. In These aren’t canned backing tracks— JUPITER-Xm is equipped with Ro- Whether it’s a personal studio, JUPITER-Xm, has responsive keys they’re intelligently generated beats land’s latest sound engine, capable professional studio, or a touring rig, and three full octaves in a space and phrases that energize live perfor- of morphing into legendary synths JUPITER-Xm is right at home. The generally reserved for a lot less. mance and pulverize writer’s block. from the long history of Roland’s high-quality, balanced connections, Ever-expanding genre-defining sounds. It’s so flexi- Find the sweet spots full-sized MIDI jacks, and multiple pedal JUPITER-Xm is part of an expand- ble that it can reproduce the highly In addition to its informative display, inputs make JUPITER-Xm ready for any able platform so it can be updat- sought-after analog classics like the JUPITER-Xm has an array of large, situation. ed with fresh new content as it JUPITER-8, JUNO-106, and SH-101, comfortable knobs, sliders, and buttons. Wireless Freedom becomes available. It can also share as well as digital machines like the With the dedicated effects section and JUPITER-Xm operates for hours on sounds and other contents with the vintage XV-5080 and modern RD quick switching between synth layers. batteries, can also play audio over full-sized JUPITER-Xm.

MAGIX Launches Acid Pro 10 Announces significant enhancements to the loopbased mixing tool

MAGIX Software has announced staying true to its roots as a powerful, innovative loop-based creations to their enables musicians to isolate and manip- significant enhancements to its loop- elegant, yet simple to use digital audio final mix. ulate music note-by-note by isolating based mixing tool for musicians with workstation (DAW) that complements MAGIX has added new professional tones and notes in any measure, chang- the launch of ACID Pro 10 and the ACID musicians’ mixing and finishing work- features, instruments and effects and an ing pitch, duration, or volume. Pro 10 Suite. flows. ACID Pro 10 integrates seamlessly all-powerful 64-bit architecture. With a MIDI Playable Chopper with Auto With this announcement, MAGIX is with a number of industry-popular new, sleek, and modern interface and Slicing: The MIDI Playable Chopper strengthening its commitment to devel- DAW solutions and adds unique and its innovative loop-based compositional enables musicians to split a file into oping the ACID Pro platform, while environment, the software retains the beats and samples and then play them simple and elegant workflow. back, with no additional programming. What’s New in ACID Pro 10 and the This powerful feature allows performing with audio, playing a complete tune in ACID Pro 10 Suite The team at MAGIX has improved real time, and recording everything as and enhanced the ACID Pro 10 work- new sample events for instant remixing flow experience on which musicians simple and intuitive. worldwide have come to depend. Key New and Exclusive in the ACID Pro new features include: 10 Suite: Xfer Records Serum STEM MAKER 2: Version 2 of Zynap- Exclusive to ACID Pro 10 Suite is the tiq’s AI-powered STEM MAKER Audio Xfer Serum synthesizer, developed with Source Separation technology delivers a high-quality sound and a visual- improved separation and higher pro- ly-stunning workflow-oriented interface cessing speed. designed to make creating and editing ACID Morph Pads: ACID Morph Pads sound fun, and without tedium. With deliver a creative effect assignment tool thousands of presets created, Serum that enables musicians to morph be- enables musicians to “go deep” when tween a diverse range of effect presets desired and create, import, edit or for instant, stunning results. morph wavetables, and manipulate Melodyne Essential 4: Melodyne these on playback in real time.

March - June 2020 40

Audio & Music Production PreSonus launches Eris E7 XT

PreSonus announced the launch Eris Series. Featuring the same 140W of minimize desk reflections and maximize of the Eris E7 XT, making it the latest Class AB bi-amped power as the E8 XT, performance. member to join the Eris family. the E7 XT can deliver tight, focused bass Like the E8 XT and E5 XT, the E7 XT Eris E7 XT is designed for moder- down to 42 Hz despite the compact is flexible, offering acoustic tuning ate-size and some mid-large studio form factor. Moreover, just like the E8 XT controls that enable it to adapt the spaces. With a 7-inch woofer and 1.25- and E5 XT, Eris E7 XT is equipped with voice to the room’s response and to inch silk dome tweeter, E7 XT’s voice is PreSonus’ custom Elliptically Boundary placement close to walls or corners, and significantly more powerful and richer Modeled waveguide, which enables across a wide 100 degree “sweet spot” it accepts input via XLR, TRS, and RCA than that of the smaller speakers in the it to be clearly and accurately heard with a focused 60˚ in the vertical to connections.

Solid State Logic announces V2.3 System T broadcast production platform

Solid State Logic (SSL) has work I/O V4.0 update, which includes ST channel input provides simple signal 16.12 SRC capability has been added announced the latest V2.3 System 2110, ST 2059-2, and ST 2022-7 support path checking, while a new per path to facilitate mixed sample rate or T broadcast production platform for all devices, providing standards talkback inject for channel and bus di- separate clock domain use. Scenarios release, with new features for the based AoIP and Dante technology rect outputs enhances communications that requires audio sharing, without range of System T consoles; S500, simultaneously on the same chipsets. switching and conferencing. Cue and exposing networks to either team S500m, S300 and TCR. For live broad- This allows installations to leverage IP Auto Cue further simplify communica- can be achieved directly on the stage cast, event space audio, recording networks for both infrastructure and tion with outside and remote sources, boxes or across a high capacity 256 and postproduction duties, this consoles-based audio routing work- greatly reducing the console operator’s channel bridge. latest release includes DAW control, flows, without proprietary hardware tasks during broadcasts with complex A graphical FFT analyser overlay Immersive audio, Dynamic Automa- TDM routers. It also adds support for TSL remote feeds. is now available on the channel and tion, Patch Manager CSV files, Access UMDv5 providing the audio operator System T’s Event Manager provides bus, EQ and Filters GUI. The fixed- Control, Event Manager, Scene Auto- with accurate information about the graphical and user programmable point-per-octave analyser has equal mation, and fully featured on-board source currently presented on each macro functionality for GPIOs, Console resolution across the entire frequency FX rack. fader. functions, MIDI, AFV, Ember+, User range. V2.3 brings further additions SSL has also announced the Net- An additional tone inject on the Keys, Fader starts, and Scene triggers. and updates to the onboard FX rack. Expanded for V2.3 this extensive list of The Dynamic EQ module benefits user definable event triggers is joined by from a full graphical redesign and path event controls. Three controls per additional functionality including per path provide up to 2400 additional as- band threshold trigger function. signable switches, controllable from the T-SOLSA provides System T control touchscreen or hardware quick controls software for standalone computers above the faders. The events system or virtualized servers. T-SOLSA is also gains an event tally feature, driven designed for use as an active re- from a GPI or specific function, user key mote-control, a training tool, or an of- LEDs can be externally controlled. fline setup application. V2.3 adds full V2.3 brings Dante Domain Manager screen mode for each app allowing (DDM) login capability directly into the large engineering “dashboard” capa- console software. Support for Network bilities, or feeds into multi viewers for I/O Dante HC SRC, plus SB 32.24 and SB overview and FX rack metering.

Steinberg unveils UR24C Audio Interface

Steinberg has announced the imme- and Guitar Amp Classics — the UR24C Cubase or Nuendo, where the diate availability of its new audio inter- comes with a comprehensive software signal from output 1 or output 2 is face, UR24C. It is the latest of an entire bundle: the Cubase AI music production chosen as the headphone source line-up of UR-C USB 3.0 interfaces that software, the Basic FX Suite consisting while allowing the user to adjust are designed for musicians, producers, of effects and sound processing tools, the balance of the signals from the and performers. native versions of the DSP effects (both DAW and from the UR24C’s inputs; As with each UR-C interface, the VST 3 and AU compatible) and the DJ mode is expected to be used UR24C provides USB Type-C (USB 3.1 Cubasis LE music production app for for performances with DJ software Gen 1 SuperSpeed) connectivity to the iPad. and backing tracks where the ensure universal compatibility with The UR24C features two balanced signal is split so the mono master PCs and Mac computers, as well as iOS Neutrik combo inputs, high-grade sound is output to the right side of the and 32-bit/192 kHz resolution, the devices. It features 32-bit/192 kHz audio D-PRE microphone preamps, two TRS headphones and the mono cue sound whole UR-C range of interfaces sets a resolution, MIDI and delivers DSP power main outputs, four RCA line outputs, to the left, also letting the user adjust very high standard. The UR24C includes for using effects when monitoring and MIDI in and out. Its specialty lies the balance of both signals. all these competitive advantages, but audio without latency. Alongside the in the switchable monitor modes for Steinberg’s Senior Marketing Manag- also comes with a unique and flexible dspMixFx mixer that accesses the DSP headphones: DAW mode is used for er, Stefan Schreiber, commented: “With concept of monitoring that works both effects — REV-X reverb, Channel Strip producing music with a DAW, such as its build quality, first-class components in the studio and on stage.”

March - June 2020 42 Audio & Music Production

HARMAN Appoints ARK Infosolutions as Nationwide Master Dealer for India ARK Infosolutions to distribute HARMAN’s products in the Recording and Broad- cast vertical in India

HARMAN Professional Solutions for the PA and Retail segment for the has appointed ARK Infosolutions as North Indian region. its Nationwide Master Dealer for the “Collaboration and partnership are Recording and Broadcast segment essential parts of any organization (“R&B”). The collaboration is aimed when aiming for success. ARK Infoso- at facilitating channel penetration lutions’ approach towards customer for HARMAN Products to meet the preference matches our own,” said increasing demand in various seg- Aditya Todi, Senior Director of Sales ments such as broadcast, produc- and Marketing, HARMAN Professional tion, post-production studios, rental Solutions, India and SAARC. “Col- laborating with them will not only allow our partners and customers in North India to access and experience HARMAN’s PA and Retail segment products, but Aditya Todi Senior Director - Sales & Mohan Rawat - General Manager - ARK also everyone else across Marketing - Pro Division-Harman Infosolutions Pvt Ltd. India, will gain access to solutions in the R&B 250 channel partners, which will help sumers and enterprises worldwide. segment.” HARMAN continue to grow in the me- ARK, with its experience, resources Headquartered in Noida, dia and entertainment vertical. and robust infrastructure, coupled ARK is a niche player and “Today, the biggest sources of oppor- with HARMAN’s integrity, innovation a leading value-added tunity are collaboration and partnership. and operational excellence, will distributor for technology We are excited to be partnering with inspire breakthrough performances products in India for indus- HARMAN for the Indian market and that generate customer value and try segments like anima- will be representing them for their R&B enhanced experiences. We look tion, architectural engineer- and PA business opportunities,” said forward to a long and successful companies, cinematographers, ing and construction and more. Mohan Rawat, General Manager of ARK partnership by addressing the musicians, film fraternity, and more. In India, ARK has a presence in more Infosolutions Pvt Ltd. “HARMAN offers requirements and needs of all our ARK will also be HARMAN’s partner than 350 cities and a network of over great advantages and solutions for con- valued partners and end-customers.”

Audix Microphones unveils new products at NAMM 2020

Audix, a leading US manufacturer of the A140, A145, A150 and A152. All studio recording and broadcasting to Featuring point source phase coherent microphones for the professional audio models are closed-back, dynamic driv- hi-fi listening and gaming. 10mm drivers and high resolution audio markets and installed sound industry, er, pro-sound high fidelity headphones The earphone line includes: the A10, cables with gold-plated MMCX connec- unveiled 14 new product designs - the with high-quality detachable cable A10X as well as A10-BT and A10X-BT, tors. The A10 serves as a detailed in-ear most in their 30+ year history - at 2020 options. Each model has a unique which include Bluetooth 5.0 enabled studio monitor, while the A10X offers an NAMM. sound profile for various uses, from cables with integrated microphone. extended bass frequency. Under development for several The large diaphragm condenser years, the products include a full series includes: the A131 and A133 line of headphones and in-ear fixed charge condenser models, and earphones, four condenser mi- the A135 and A137 true condens- crophones, a ribbon microphone, er models. All four models have and a reference microphone. All internally shock mounted cardioid products, from the capsules, grills, capsules. The A133 and A137 are bodies, and circuitry are new equipped with pad and roll off designs and in addition to the new switches. products, they unveiled a newly-de- The A160 is a transformer-based, signed company insignia. passive, bidirectional ribbon mi- “It’s a new era for Audix,” says crophone with no active electronic David Marsh, Director of Sales at components, and is based on the Audix. “We’ve got a new generation classic ribbon design and does not of products for a new generation require phantom power. of producers, musicians, sound The A127 is a type one reference engineers, and audiophiles.” microphone with a ½” metal film The headphone line includes: omnidirectional capsule.

43 March - June 2020 Audio & Music Production ADAM Audio announces New T8V Studio Monitor

ADAM Audio has announced the price class, with a frequency response dispersion-control attributes as the HPS all new T8V studio monitor, the latest that reaches down 33 Hz and the ability waveguide in the S Series. The Class D addition to its award-winning T-Series to project an impressive SPL of 118 dB amplifiers for tweeter and woofer offer line of professional studio monitors per pair. ample power for the 8-inch woofer, de- which offer renowned ADAM Audio ADAM Audio’s acclaimed T-Series livering 20 W and 70 W respectively and performance, quality and reliability at line of studio monitors was launched in providing 118 dB max SPL per pair. a value price point. The T8V features 2018 with the T5V 5-inch woofer and All T Series models feature a beveled an 8-inch woofer paired with powerful T7V 7-inch woofer models, followed cabinet design, rear-firing bass reflex amplification and its power and lower in 2019 by the T10S subwoofer. Just port, built-in DSP-controlled driver bass extension make it an ideal choice like the previous two monitors in the crossovers and equalization, and for project and home studios, clients T-Series lineup, the T8V makes use of multi-way analog connections; and are who work in bass-heavy music genres ADAM Audio technology developed compatible with the ADAM Audio T10S such as hip hop, dance, ambient, dub for the company’s high end flagship S subwoofer. and EDM, and those who work in series available at a very affordable price “ADAM Audio is very well-known renowned ADAM Audio monitor quality non-electronic genres like funk, metal, point. throughout the world for its high per- and precision to an even broader range blues and pop. Its U-ART tweeter (Unique Acceler- formance, precision studio monitors,” of customers, and we are very pleased The new T8V offers performance and ated Ribbon Tweeter) is mated to a says Christian Hellinger, ADAM Audio to be able to add the 8-inch woofer T8V specifications unprecedented in its sophisticated waveguide with the same Managing Director. “The T-Series offers to the family.”

Eve Audio announces SC3070 3-Way Tri-Amped Near/Mid Field Monitors

Designed and assembled in Berlin, glass-fibre honey- the same SilverCone The DSP ensures latency-free filtering Germany, the SC3070 is a high-res- comb membrane found in existing mod- and simultaneously protects the entire olution, tri-amplified near/mid field woofer designed els from EVE Audio that frequency range from overload. When monitor optimized for precise midrange to produce have proven their worth switched on, the volume of the SC3070 and powerful bass response. This 3-way reliable midrange in top studios all over increases slowly to leave enough time monitor achieves the outstanding frequencies the world. These drivers to reduce the source volume if the mid-range reproduction of its larger with the utmost work with a low-dis- input signal is too loud. sibling SC407’s mid-high section with detail. A seven tortion copper-cap Three high-quality Class D amplifi- exceptional balance and low distortion inch woofer magnet system, which ers complete the system and deliver over the entire frequency range, but driver rounds out significantly reduces the enough power to the demands of in a much more compact cabinet. The the SC3070 by distortion factor. modern music production. Selected SC3070 is the ideal solution for record- providing precise As with all moni- volume and/or filter settings can be ing, mastering and home studios were and powerful tors from EVE Audio, independently fixed with DIP-switches the complete skill set of a fully-fledged low frequencies. the SC3070 features that are positioned on the rear of the 3-way system is required, but where The cabinet high-resolution DSP amplifier to prevent unauthorized or space is at a premium. houses a bevelled electronics. A high-qual- unintentional adjustments. The rear-fir- The SC3070 was launched at NAMM ultra-stiff front ity analog/digital con- ing bass reflex channel is designed 2020 and features EVE Audio’s RS3 Air plate to reduce verter from BurrBrown with low flow noise and reinforces the Motion Transformer to deliver high- undesirable resonances. (24bit/192kHz) converts the analog SC3070’s powerful and precise bass end frequency production. A four inch The bass and mid-range drivers are input signal supplied via RCA or XLR. reproduction.

Sound Devices announces v2.90 for A10 Digital Wireless System

Sound Devices has announced saves a considerable Marketing. firmwareversion 2.90 for the Audio amount of time in Additionally, the A10-RX now Ltd A10 Digital Wireless System and post-production by ex- features expanded RF indication: the its companion Mic2Wav and A10-TX tracting only relevant A10-RX’s red LED illuminates and the Remote applications. Firmware 2.90 bits of a MIC file based screen displays ‘RF Overload’ when features key improvements for both on what was captured the incoming signal is too strong. production and post-production. on the production’s Reducing RF power on the transmit- Most notably, the companion appli- mixer-recorder. ter, increasing the distance between cation Mic2Wav introduces the “Con- Important metadata TX and RX, or applying attenuation to form to CSV” feature, which converts like Scene, Take, Tape, the antenna system in use will correct audio files recorded on an A10-TX to and more is copied the overload. WAV files using a CSV sound report from the sound report The A10-TX transmitter and the from a MixPre Series, 6-Series, or to the converted WAV A10-TX Remote companion appli- 8-Series mixer-recorder. file,” saidNicholas cation also received performance “The ‘Conform to CSV’ feature Vandrush, Director of improvements.

March - June 2020 44 MAY 27 28 29 2021 Bombay Exhibition Centre Mumbai, INDIA

2021 CASE STUDY: MUSIC PRODUCTION, RECORDING AND MIXING STUDIO Shankar and Siddharth Mahadevan’s LAMBODARA STUDIOS – Leaves you Breathless

Auroville based leading acoustic consul- tancy & audio video system design firm Sound Wizard was tasked with designing acclaimed singer, composer and music director Shankar Mahadevan’s new studio. In this article, Sound Wizard gives PT the lowdown. Watch out for the July-August issue for Studio Pics.

ituated in Navi Mumbai, Shankar The Design Process and Siddharth Mahadevan’s The civil shell of the building had stunning new facility Lambodara S already been constructed with this Studios has been built to the latest purpose in mind, so the Sound Wizard international acoustic standards and team began the design process by interior design trends. Within the stylish working on possible layouts to ac- “Bollywood-jazz” interiors of this first commodate a main control room, live floor studio, form follows function, with no compromise to either. The attention recording area, reception, machine rack, to detail in acoustic and interior design bathrooms and an administrative area has resulted in a comforting and pleas- in the space. The critical task of taking ing mixing and recording environment the original civil blueprints of the build- that fosters and encourages creativity ing, cross checking and correcting them at the highest level. The genesis of with precise on-site measurements Lambodara Studios began in 2019 with fell to Sound Wizard’s architect Mehul a WhatsApp message from Siddharth Kumar. Along with acoustician Didier Mahadevan, after his visit to Island City Weiss, Mehul worked on the complex Studios (a Sound Wizard project) in puzzle of fitting all the aforementioned Khar West, Mumbai; ”Just visited Island areas into the 100m2 (1075ft2) shell. City Studios a couple of days ago... NICE Once a tentative layout was approved WORK! Listen, I’m building my own by the client, Sound Wizard began studio here in Mumbai and I want you detailed interior acoustics, isolation and guys to design it.” system design for the space.

March - June 2020 46 The usual challenges of designing a posite wall (to the glazing) to simulate professional studio in Mumbai present- the acoustic performance of glazing, Lambodara Studios Technical Specification ed themselves early on, including a low, resulting in a perfect stereo image at flat ceiling and parallel walls. Equally the listening position. A combination Studio size: 100m2 (1075ft2) important, Sound Wizard needed to of custom-designed diaphragmatic ab- Control room: 33m2. (355ft2) find space to accommodate a compli- sorbers as well as ceiling and side-wall Recording space: 30m2. (300ft2) cated ducted air conditioning system absorbers have been used to eliminate that would satisfy cooling requirements modal issues (standing waves) and cre- Main monitoring: Quested Q412D in Mumbai while remaining virtually ate a flat reverberation-time curve at all Subwoofers: Quested QSB118 silent. After much deliberation, Sound frequencies. Both the control room and Near field: Barefoot MicroMain 26 Wizard formulated an unorthodox yet recording area have also been designed simple solution to combat the space within “floating” shells, “room within a Mixing console: SSL AWS 948 constraints. The control room and the room” designs that reduce sound trans- Software: AVID ProTools & Logic Pro X recording space were placed side by mission through structural vibration. Pre-amp: Neve 4081, Lexicon PCM & Chandler Limited TG12411 side, as opposed to the more usual The custom designed honeycomb Interface: Universal Audio Apollo X16 & Universal Audio Teletronix front-to-back orientation. The reward diffusers in the control room are a fan- LA-2A for this clever thinking was threefold; tastic example of collaboration between Equaliser: Manley Massive Passive it opened up extra floor space, created client, consultant and interior design- Compressors: Universal Audio UAD 1176, Dangerous Music & API 2500 plenty of visual contact between the er. While Sound Wizard had initially recording room and control room, and planned to use QRD (Quadratic Residue Microphones: Neumann U87, Brawner MV1 & AKG C12VR freed up space on the front baffle-wall Diffuser) or slat diffusers, Siddharth between the main studio monitor loud- Mahadevan preferred a complex hon- Cabling: Sommer Cable speakers for a large video display. eycomb diffuser instead. Using software Since the client had complete faith simulation to determine the form and Acoustic design: SOUND WIZARD; www.soundwizard.net in the acoustic design prowess of dimensions required to diffuse sound Sound Wizard, they were allowed to put at a targeted frequency range, Sound together a coherent design, un-spoilt Wizard was able to provide interior de- duct work, which was further devel- had to follow up with multiple on-site by the common practice of “design signer Kiran Shetty with the framework oped and adapted by the HVAC vendor meetings to ensure a seamless build- by committee” that usually results in to turn a functional acoustical device in their final system design. out. It always helps to have a design a compromised outcome. Succinctly into an eye-catching interior and light- team with plenty of local experience put by Didier Weiss, “When a concept ing design element. Acoustically, the Implementation and a client willing to understand is simple, then the outcome is often effi- device achieves its target of scattering Translating a consultant’s vision into re- that consultant site visits save time cient and harmonious.” mid and high frequencies to minimise ality is the most critical part of the process, and money in the end because fewer comb filtering at the listening position and a failure to pay attention to detail at mistakes are made. The design team Design Features while also creating a more pleasant and this stage results in a massive waste of can then ensure quality control and As with any Sound Wizard project, “live” listening environment. time and money. Especially when it comes clearly answer questions to the on-site high quality acoustic design aided to sound isolation, any mistakes made craftsmen, taking local methods and by EASE simulation was the key to HVAC System during the construction of a “floating” materials into account. unlocking the full potential of the space. An often overlooked and under-ap- shell results in issues that are difficult and Lambodara Studios is a first-class Transparency is the main goal of any preciated feature of a professional often impossible to rectify. The smallest of example of how one can morph square recording studio design, and Lamboda- recording studio is the heating, ventila- leaks in a shell can compromise its entire block city construction into an excellent ra Studios has multiple acoustic features tion and air conditioning (HVAC) system function, resulting in wasted material, professional music facility without that help it achieve this goal. The front design. Lambodara Studios is divided space, time and money. going overboard. Understanding the baffle wall of the control room acts as a into two independent air condition- The construction team Ashok Inte- importance of acoustics and a commit- waveguide to redirect the energy from ing zones. The most critical area, the riors was recruited to implement the ment to detail are key elements that the flush-mounted Quested Q412D recording room, meets an NC15 noise sound isolation and acoustic interior guarantee a speedy and cost effective studio project. Thanks to a fantastic partnership between client and consultant, Lambodara Studios sets a new benchmark in India as a modern, state- of-the-art recording studio that will be relevant in the Indian music scene for years to come.

Sign-off Completing the circle, this project started with an enthusiastic WhatsApp, and befittingly also comes to a suc- Shankar Mahadevan seen here with his sons Shivam (L) The Main Control Room: Didier Weiss doing the final sys- cessful completion with a message of and Siddharth (R) at their new studio Lambodara tem and room optimization of the powerful baffle mounted appreciation. Quested studio monitoring “Hi Didier, ... just wanted to tell you monitors QSB118 subwoofers. The level target. The (slightly) less critical design had previously worked on Island that this is by far the best studio I have glazing between the recording room environment, the control room, meets City Studios in Mumbai, the studio heard and am so thankful to you and and control room (for visual access) is an NC20 noise level target. Having two that brought Sound Wizard to the your team for doing such a fabulous built up of 3 panes and has been angled independent AC setups lowers the notice of Mahadevan. Although using job! We really feel proud having this vertically within the control room to machine noise levels, mitigates sound skilled labourers with some experience studio of serious quality and aesthetics! prevent first reflections from interfering transmission between separate spaces installing acoustical materials helped, Thanks once again and hope to see you with the direct sound and colouring the and also offers better control over ener- it is always challenging for a construc- sometime soon!!” signal. To create symmetry in the room, gy consumption. Sound Wizard devised tion team to get to grips with complex Shankar Mahadevan (client sign-off mirrors have been placed on the op- the concept layout and detailing for the technical drawings. Sound Wizard WhatsApp - March 2020)

47 March - June 2020 STADIUM INSTALLINSTALL

and it creates a record of sorts for Bose reputed PA brands. After evaluating the Professional as a brand in India, as it performance on various parameters, the now stands are the largest comprehen- authorities hailed Bose’ ArenaMatch sys- sive sound system deployment from tem as the clear winner, and this is how Bose Professional in a permanent instal- we bagged this prestigious project,” lation in the country. says Vibhor, as he adds, “Our systems are “Vibhor Khanna, Country Manager perfectly suited to the demands of this – India & SAARC, Bose Professional, world-class sporting arena,”. commented: “We are extremely happy It is revealed, however, that since the with the sound system installation at ArenaMatch system had just recently the Sardar Patel Stadium in Motera, debuted at the time, the brand had to and we are proud and honored to have make special arrangements to ensure deployed this system in light of the that the demo was executed perfectly historical significance of the venue. This as planned. Navin Datta, Engineering is the largest stadium in the world and Head- Bose Corporation shares, “At the I consider this installation as one of the time of the shootout, the company Bose Professional assures an feathers in the Bose cap. This is an amaz- had just recently launched the product, ing opportunity to showcase our latest so it wasn’t even available for demo. ArenaMatch speakers from the DeltaQ We had to request the head office to family of arrays and the whole company support us with the demo units, which is energised by this contract, which is were then shipped to India just in time IMMERSIVE SOUNDSCAPE at among one of our largest permanent for the shootout, and the outcome of installations in India to date.” that promptly arranged but wonderful Reports affirm that the ArenaMatch demo, actually almost closed the deal system from Bose Professional was for us.” Sardar Patel Stadium – the largest chosen as the preferred system for the Intimately involved in the planning venue after an on-site simultaneous live of the sound system deployment, Bose demonstration was conducted featuring Professional was instrumental in guid- three of the most reputed loudspeaker ing the GCA in setting up a world-class OEMs available in the country. audio system. “The design of the sound cricket stadium in the world “The Bose Professional ArenaMatch system had some inherent challenges line of loudspeakers was launched of meeting the very high SPL levels during ISE in 2019 to coincide with the required for stadium application; while unveiling of the ArenaMatch installation ensuring acceptable STi levels, given the at Philips Stadion in Netherlands, which high ambient noise levels of such large 1,10,000 spectators to enjoy Bose sound provided consultants, SIs and end users arenas” says Datta, as he shares that the an opportunity to witness the system’s main challenges in commissioning the at Motera Stadium; ArenaMatch range sound quality, consistency, vocal clarity system involved delivering crystal clear and flexibility in outdoor venues such sound experience at every seat while of loudspeakers deployed as main PA as sports stadiums, arenas and outdoor maintaining the 90 dB SPL norm and entertainment centers. After our return assuring an STI of 0.5 or above from from ISE, we approached the Gujarat already defined speaker mounting Cricket Association and L&T who was locations. the master contractor, and it was sug- Various models of the Bose Are- S President Donald Trump in Motera, Ahmedabad, Gujarat, which be treated to a pristine sound experi- new comprehensive audio system gested to have an on-site shootout naMatch have been deployed through- and First Lady Melania is now the world’s largest stadium, ence, courtesy, Bose Professional Audio. from Bose Professional comprising between three of the industry’s most out the facility to precisely address UTrump were welcomed surpassing Australia’s Melbourne Cricket Constructed by Larson and Toubro a total of 146 units of the globally by Prime Minister Narendra Modi Ground. (L&T) and spread over 63 acres with a acclaimed ArenaMatch series. The as they arrived for the “Namaste When the stadium officially re-open’s seating capacity of 1,10,000 people; system was primarily acquired to Trump” event on 24 Feb 2020, for international cricket matches, report- the colossal stadium now boasts an efficiently and effectively meet the The Bose team that spearheaded the install. From l-r: ...... , Navin Datta - Engineering Head, Bose Professional India and Vibhor Khanna - held at the Sardar Patel Stadium edly sometime in March, spectators will immersive soundscape thanks to its venue’s increased aural demands Country Manager, India and SAARC

March - June 2020 48 March - June 2020 00 March - June 2020 STADIUM INSTALL

and it creates a record of sorts for Bose reputed PA brands. After evaluating the Professional as a brand in India, as it performance on various parameters, the now stands are the largest comprehen- authorities hailed Bose’ ArenaMatch sys- sive sound system deployment from tem as the clear winner, and this is how Bose Professional in a permanent instal- we bagged this prestigious project,” lation in the country. says Vibhor, as he adds, “Our systems are “Vibhor Khanna, Country Manager perfectly suited to the demands of this – India & SAARC, Bose Professional, world-class sporting arena,”. commented: “We are extremely happy It is revealed, however, that since the with the sound system installation at ArenaMatch system had just recently the Sardar Patel Stadium in Motera, debuted at the time, the brand had to and we are proud and honored to have make special arrangements to ensure deployed this system in light of the that the demo was executed perfectly historical significance of the venue. This as planned. Navin Datta, Engineering is the largest stadium in the world and Head- Bose Corporation shares, “At the I consider this installation as one of the time of the shootout, the company Bose Professional assures an feathers in the Bose cap. This is an amaz- had just recently launched the product, ing opportunity to showcase our latest so it wasn’t even available for demo. ArenaMatch speakers from the DeltaQ We had to request the head office to family of arrays and the whole company support us with the demo units, which is energised by this contract, which is were then shipped to India just in time IMMERSIVE SOUNDSCAPE at among one of our largest permanent for the shootout, and the outcome of installations in India to date.” that promptly arranged but wonderful Reports affirm that the ArenaMatch demo, actually almost closed the deal system from Bose Professional was for us.” Sardar Patel Stadium – the largest chosen as the preferred system for the Intimately involved in the planning venue after an on-site simultaneous live of the sound system deployment, Bose demonstration was conducted featuring Professional was instrumental in guid- three of the most reputed loudspeaker ing the GCA in setting up a world-class OEMs available in the country. audio system. “The design of the sound cricket stadium in the world “The Bose Professional ArenaMatch system had some inherent challenges line of loudspeakers was launched of meeting the very high SPL levels during ISE in 2019 to coincide with the required for stadium application; while unveiling of the ArenaMatch installation ensuring acceptable STi levels, given the at Philips Stadion in Netherlands, which high ambient noise levels of such large 1,10,000 spectators to enjoy Bose sound provided consultants, SIs and end users arenas” says Datta, as he shares that the an opportunity to witness the system’s main challenges in commissioning the at Motera Stadium; ArenaMatch range sound quality, consistency, vocal clarity system involved delivering crystal clear and flexibility in outdoor venues such sound experience at every seat while of loudspeakers deployed as main PA as sports stadiums, arenas and outdoor maintaining the 90 dB SPL norm and entertainment centers. After our return assuring an STI of 0.5 or above from from ISE, we approached the Gujarat already defined speaker mounting Cricket Association and L&T who was locations. the master contractor, and it was sug- Various models of the Bose Are- S President Donald Trump in Motera, Ahmedabad, Gujarat, which be treated to a pristine sound experi- new comprehensive audio system gested to have an on-site shootout naMatch have been deployed through- and First Lady Melania is now the world’s largest stadium, ence, courtesy, Bose Professional Audio. from Bose Professional comprising between three of the industry’s most out the facility to precisely address UTrump were welcomed surpassing Australia’s Melbourne Cricket Constructed by Larson and Toubro a total of 146 units of the globally by Prime Minister Narendra Modi Ground. (L&T) and spread over 63 acres with a acclaimed ArenaMatch series. The as they arrived for the “Namaste When the stadium officially re-open’s seating capacity of 1,10,000 people; system was primarily acquired to Trump” event on 24 Feb 2020, for international cricket matches, report- the colossal stadium now boasts an efficiently and effectively meet the The Bose team that spearheaded the install. From l-r: Pankaj...... , K Singh Navin –Datta Design - Engineering Engineer, Navin Head, Datta Bose -Professional Engineering IndiaHead, and Bose Vibhor Professional Khanna - held at the Sardar Patel Stadium edly sometime in March, spectators will immersive soundscape thanks to its venue’s increased aural demands IndiaCountry and Manager, Vibhor Khanna India and - Country SAARC Manager, India and SAARC

March - June 2020 49 March - June 2020 March - June 2020 00 the need for tweeters and crossovers, tegically located control rooms, all to provide unsurpassed reliability and connected over Dante. Navin shares, vocal clarity. Furthermore, 10 units of “We used Bose EX-1280 C processor, the Panaray 402 and 6 units of AM40 which is a Dante enabled (64X64) have been deployed as point source to DSP. It has on-board ‘Logic/Control’ cover the banquet area within the VIP to interface with third party devices, section. and the same is used to interface The Articulated Array design, with with ‘Fire Evac’ system of the BOH wide 120° x 60° coverage, reduces the areas. Being Dante enabled, it can Various models of the Bose ArenaMatch have been deployed throughout the facili- number of required loudspeakers, while communicate to various amplifiers ty to precisely address these aural requisites - with the three sections in the venue the 73-Hz low- frequency range reduces installed across four control rooms, i.e. The Lower Bowl, The Upper Bowl and VIP area featuring multiple units of the the need for subwoofers, providing a seamlessly!” AM10, AM20 and AM40 boxes in meticulously planned specific configurations. cost-effective solution. With affirmations of the system As Navin affirms “The system, as a creating quite the positive impres- these aural requisites - with the three sports a total of 19 such arrays. Bose cohesive unit, delivers clearly audible sion, Vibhor concludes, “This design sections in the venue i.e. The Lower products are also used in three of the commentary and voice announcements provides seamless coverage, volume Bowl, The Upper Bowl and VIP area VVIP sections and the Banquet area to every seat in the venue.” and clarity for fans in all areas of featuring multiple units of the AM10, within the VIP section. To deliver maximum power till the the stadium. This major installation AM20 and AM40 boxes in meticulously With the Panaray 402 featuring a speaker end, Bose had to customize dif- illustrates the depth and clarity of our planned specific configurations. full-range-driver array and being fully ferent types of speaker ‘cable thickness’ high-performance speaker systems While the Lower Bowl area features outdoor rated, a total of 11 units have for different array positions, depend- and we look forward to further 16 arrays of four units each of the AM10, been installed in the VIP section and 10 ing on the circuit lengths. The entire installations in similar venues in the AM20 and AM40; the Upper Bowl area units in the VVIP section, eliminating system is controlled through four stra- future.” nn

The ART and CRAFT of Sound Design Interview... (Continued from page 32)

You have done a lot of movies, as are as popular as league cricket matches producers and directors have no idea be immersed in distinct orthodox religious well as documentary sports films like in our country. It’s like a huge festival and about sound or the role of a sound de- sounds like, prayers, bhajans, mantras, Sachin. Are there quantitative or qual- if there are festivals, there are rich tribal signer, so that level of ignorance within temple bells etc. My research lead me to itative differences in terms of mixing dances, music and drums... this gave us the industry is very unfortunate. I expect this place near Panchgani where Brahmins Various models of the Bose ArenaMatch have been deployed throughout the facility to precisely address these aural requisites - with the three sections in a rich music track. The biggest challenge people who are making films to know from all over Maharashtra would come suchthe movies venue versus i.e. The a mainstreamLower Bowl, The Upper Bowl and VIP area featuring multiple units of the AM10, AM20 and AM40 boxes in meticulously planned specific commercialconfigurations. movie? in documentaries is the budget. Not every department. Sanjay Leela Bansali, and chant the Vedas and senior women “Sachin” is a docu-drama, which people everyone is lucky to have budgets like is one of my favorite directors because singing old Marathi bhajans every year. I know about because it was released in National Geographic or docu - features he understands what you are going to wanted those kinds of Vedic chants and theaters.these Sachin’s aural requisites childhood - with sequence the three full-range-driverlike “Sachin a Billion array Dreams...” and being fully doAs as Navin a Composer, affirms as “The a Sound system, Designer, as a interfacebhajans in with the ‘Firefilm Evac’ and I systemhave used of these in was sectionsthe drama in orthe the venue fictional i.e. The part Lower of outdoorA typical rated, Bollywood a total of feature 11 units film have on cohesiveas a Choreographer, unit, delivers as clearly a Visual audible Artist; I themy BOHsoundtrack. areas. Being Sanjay Dante Leela enabled,Bansali loved the movie.Bowl, The For UpperSachin’s Bowl interviews, and VIP we area beenthe other installed hand in has the budgets, VIP section with and bud- 10 commentarythink he is complete. and voice If his announcements films cost Rs itthese can communicatebhajans coming to out various of Kashibai’s am- usedfeaturing the sounds multiple of his homeunits of videos, the AM10, we unitsget comes in the scaleVVIP section,and finesse. eliminating We also to300 every Cr, then seat thatin the 300 venue.” Cr is visible and plifiersroom’. I installedalways have across a “parallel four control sound usedAM20 recordings and AM40 of his boxes matches, in meticu- and even thehave need the luxuryfor tweeters to create and and crossovers, design to audibleTo deliver in his maximum movies and power that shouldtill the be rooms,script” discreetlyseamlessly!” running alongside the painstakinglylously planned sourced specific commentaries configura- providesounds, unsurpassedmusic, graphics reliability etc. the and way vo- speakerthe attitude. end, IBose get very had putto customize off by people dif- film.With Bajirao affirmations Mastani was of mythe favoritesystem work fromtions. Pakistan. We also had to obviously calwe clarity.want. ThatFurthermore, is a different 10 units level of of the ex- ferentwho treat types sound of speaker as a small ‘cable part thickness’ of the creatingfor a period quite film the until positive now. impres-Madras Café is insert particularWhile the sounds. Lower BowlFor instance, area I Panaraycitement. 402 We and take 6 libertiesunits of AM40like creating have formovie different and thankfully array positions, I don’t dodepending work sion,also oneVibhor of my concludes, favorite films.“This designThat is when wantedfeatures an open 16 arrays stadium of foursound units so Ieach got beeninteresting deployed and asusually point ‘larger source than to cover life’ onwith the such circuit kind lengths. of people. The I automaticallyentire system providespeople stood seamless up and coverage, noticed volumethat there is a hundredof the AM10,dubbing AM20 artists and into AM40; Bhavan’s the theeffects banquet or stylization area within to createthe VIP dramatic section. isknow controlled that I am through not going four tostrategically make any andsomething clarity for called fans sound in all areas design. of Madrasthe collegeUpper ground, Bowl shouting area sports the a ‘trade total -of 19 impacts.The Articulated Array design, with locatedkind of differencecontrol rooms, to this all connectedguy or his film. I stadium.Cafe was Thisthe firstmajor film, installation which il-was mixed in mark’such “Sachin...Sachin...!” arrays. Bose products These things are also wideDo you 120° think x 60° sound coverage, designers reduces are the overwould Dante. rather Navin work shares, on one “We good used project Bose lustratesDolby Atmos the depth in India. and Uri clarity was a of very our con - madeused an impactin three and of theinduced VVIP sectionsdrama numbergiven enough of required recognition loudspeakers, and credit while EX-1280than 10 badC processor, projects. which is a Dante high-performancetemporary, very different speaker warsystems film. Both Uri into andthe documentary.the Banquet area However, within for the a VIP thein our 73-Hz country? low- frequency range reduces enabledYour best (64X64) work so DSP. far It as has a sound on-board andand weMadras look Caféforward had todifferent further challenges. real documentary,section. it is most important theOf need late, forI believe subwoofers, that people providing are a ‘Logic/Control’designer and why? to interface with third installationsThe sounds inin Madrassimilar venuesCafé were in thedifferent that weWith reproduce the Panaray the real 402 sound. featuring If I a cost-effectivebeginning to understand solution. that there party(Laughs). devices, When and Ithe mixed same Hum is used Dil De to future.”from the sounds used in Uri, which was am out on the street for an interview is something more than music and Chuke Sanam, at that point in time, it very contemporary and sophisticated. with a character, I cannot bypass the dialogues in films and that something is sounded very nice. Today I would not Every film has its beauty, so I cannot point sounds on the street and the realism of sound effects. Thanks toResul Pookutty probably mix it like that. I probably today out to any one favorite. Ten years down the street. I cannot dub that particular for getting the Oscars; at least people will record and mix Devdas in a different the line if someone asks me to mix a movie character’s voice because the spontaneity know there is something called sound perspective as today I am a slightly dif- like Uri, I would do it differently. Nothing is of the voice cannot be re-created. In a in cinema. Mostly people don’t know ferent person and our environment and permanent. documentary, you cannot take certain what I do but they are slowly becom- tastes have changed; we have been in- As they say in Hollywood, “You are only liberties, which you would otherwise in a ing conscious of the fact that there is troduced to so many new things. When as good as your last project”. Sound Design fiction film. If you are adding music to a something called sound designing and I mixed those sounds they were very is a creative process and a particular meth- documentary, you need to consider the people are beginning to understand this new, and they had a fresh vibe. The kind od may not work for you the second time. subject of the documentary. I worked on whole concept of Sound Design. Sound of sound design I did for Parineeta was I have never differentiated between one very interesting documentary about is what has brought back the audience very different from what I did forBajirao big or small production houses, directors, some tribal people in a certain region of to the theatres. When they are listening Mastaani, which was again a milestone. composers, technicians and artists in Odisha. It was about the obsession with to Dolby surround sound, they automat- I loved Bajirao because it was a period general. Both have rewarded me well. This hockey among the youth of the villages ically know they are listening to good film wherein you had to create a period year I got the National Award for Uri and of that region. Their biggest ambition was sound; it’s not an alien subject anymore. environment for which I needed to I got another National Award for a short to join the Indian Hockey team. At one I’m not expecting the common man to create a particular effect. Bajirao Peshwa film called Children of the Soil. This was point there were actually four players in understand the details of photography came from a very staunch Maharashtrian the first time that Audiography received the Indian Hockey team from that particu- or sound or editing, but that ignorance Brahmin family. A typical Brahmin house- two National Awards in two categories in lar village. Hockey matches in that region should not be within the industry. Many hold environment of that time would the same year. This was proof enough. March - April 2020 00 March - June 2020 0050 PROFESSIONAL FOCUS: FILM MIX ENGINEER

In Conversation with Sreejesh Nair

Besides being a part of the first Dolby Atmos Mix theater installation in India and the first Dolby Atmos Premiere Mix room in the world, Sreejesh Nair has been responsible for crafting the sound for major films like Bombay Velvet, Gangs of Wasseypur - II, Agneepath, Jodha Akbar, and more. In this interview, the award winning sound engineer and re-recording mixer talks about his journey of 17 years and how the industry has changed in terms of technology and recognition given to sound engineers.

ow did you get started as a tiple challenges, although to be honest, fortunate enough to be taught by many friends of mine on three way speakers recording engineer? I was probably too young at the time to including H. Sridhar. This opened my and the crossover! But the point is, by H I finished my B.Tech in see them as challenges. Over the years, thoughts to a point where I realized that sharing ideas, even manufacturers listen Mechanical engineering and went on the track count has increased. The mix the growth of an industry is not just the to that and implement some very clever to Chetana Studio in Trichur, Kerala to techniques have changed. It has evolved knowledge of one person, but also the things. from being a fixed method of mixing collective knowledge itself. That lends to pursue a 1-year diploma in sound engi- What are your go-to gear for getting to more radically experimental ones as a creative competition, which in turn will neering. This was in 2002. At the time, the job done? Name the top 5 tech well. The main challenge though for me push better quality. One of the things this area of work wasn’t quite known products impacting your studio? and it was a challenge for me both wasn’t only creative. Technically, I always I remember is talking to a dear friend Pro Tools. I cannot work without that. personally as well as financially to start felt the need to have a knowledge skill of mine, Bharath Venkatesan about a In this age of multiple DAWs and gear, I off on this. I came to Mumbai and was set that would make me understand technique of mix I used during Gangs know I may come across as biased, but offered a job at Gaurav Digital, (now Fu- why a certain fader move, plugin, EQ or of Wasseypur. This involved splitting the at the same time, even before I joined tureWorks) via Sreekumar, a good friend Avid, I felt an incredible level of comfort of mine. I worked there until 2012 as a there. For me, mixing has to be intuitive. mix engineer before joining AVID as an The challenge of mixing in Dolby Atmos was to I am too lazy to think, do, listen, and go Application Specialist for Pro Audio. I understand why that format is as effective as it is. back. Most of the time, my techniques, still mix two films a year, a lot less com- or ideas are muscle memory or reflexes. pared to what I used to do before. Once you get that, the underlying philosophy is just And at that point, having a tool that is You have mixed some major Bol- that of panning. more like an extension to my thought lywood soundtracks, what are some process is important. I started by of the main technical challenges you working on a console, so I was trained normally face. You can cite examples technique is used. It was also important frequencies, planning them separately, to be a fader person and not a mouse from your previous work. that I clearly understand what happens and processing them. Bharath took that person. However, later when the track When I started, we were running vid- and can articulate this to a colleague. idea and helped implement a form of it counts started increasing exponentially, eo on tapes, had multiple Hi-8s and MO Challenges that I met weren’t just techni- in Pro Tools called the AOS (Aux Output the natural shift was towards a control (Magneto Optical) disks. FutureWorks cal in that sense. There was also reluc- Stem). Although by no means do I take surface. I used the Digidesign Icon and had the firstPro Tools system in a film tance to share or mentor. Most had an the credit for any of that! This came mostly the S6 now. I love some plugins. mix stage in Mumbai. There were mul- extremely closed idea of their work. I was from a random conversation with some iZotope is one in my bag of necessities.

51 March - June 2020 So are Cargo Cult Spanner, Pro Limiter, creating entirely new sounds for a an alternate movie. The time I mixed shoulders of giants to be in my position, and Fabfilter. When it comes to reverbs, given project? Gangs of Wasseypur was probably the and I definitely will do all I can to make I heavily use Revibe and for Atmos mix- If I sound design, I try and make sure most challenging one I had to do. This sure the next ones also get to stand on es I use the Stratus 3D by iZotope. My the sounds are as authentic for the film. was because, in the daytime, I was mix- the shoulders of giants. No one needs to surgical and match EQ has always been The sounds that sell the movie are the ing Rowdy Rathore and at night it was reinvent the wheel. There are many who Seq-S by Nugen Audio. ambience sounds and any sound that Wasseypur! Of course the genres are are trying to make it in an industry today different, the styles of sounds are differ- Do you mix the music tracks featured is particular to the movie like a car or saturated with a lot of engineers and a ent, the approaches are different. For in your sound design and do you work so. All of those I try and make sure are lot with incredible talent. Being at the example, one will have an over the top with music directors or music compos- recorded for the film. Many times, we right place at the right time is very im- score and a very stylish sound design, ers while designing the background have to resort to library sounds as well. portant. From my experience, there are while the other will be minimalistic. score? Purely because they are well cata- two things that I learnt which are very logued, have a sound that will sell in- So, even in the conceptual stage, they important. This is a service industry. You Majority of the times, yes I do. While I stantly (we are conditioned to certain are different. But the effort on both are can only make it big if you have repeat don’t involve in the score design part as punch sounds for example!), and the equal. It is impossible to have one lesser clients so make sure you treat them well. I come as a film mix engineer, I do make workflow is easier. But to be fair, if the than the other! The person who makes tea for you does sure I have the music engineer listen to sounds don’t work, we do have to end his 100 percent, just as the actor who the mix. To me, this is very important. How challenging is it to work with up recording or sourcing it. The first portrays the role. The second important When I started as an assistant, I remem- multi-channel systems and technolo- view and talking with the director will aspect is having the knowledge and the ber this was nearly impossible and most gies like Dolby Atmos and Auro 3D. help me understand how much of this maturity to use it as a tool, because at of the times, they weren’t allowed. My I started my career mixing in 5.1. and has to be done and what the film re- the end of the day, the audience doesn’t two cents on that is simple. They have I have an incredible amount of respect quires. If we manage to present a view really care what EQ or Compressor you lived with the score more than I have. It for anyone who mixes in Mono or of the film that extends the directors used. They only care about how good is only right that I get the score and the stereo, because that is the most chal- vision, then we are successful. the experience is and for that, being music balance to sound as good as pos- lenging format to mix in! Although the knowledgeable both technically and sible with the dialog and effects at the You have done many movies, like Udta majority of analog hardware, saturators, aesthetically is important. The former same time. The huge tension at the time Punjab, Bombay Velvet, Gangs of Was- mastering equipment are all stereo and you can gain by reading and interacting was they may change the balance, they seypur - II, Harry Potter and the Death- not surround. The challenge of mixing with engineers. Becoming familiar with don’t know surround mix, their mixes ly Hallows – Part 2, Omkara, Poseidon, in Dolby Atmos was to understand why technology is the first step to making are too bright etc. but my point was, all it your friend. The latter you gain by prac- of that can be fixed. It is as important for tice, and practice only. them to see how their work turns out as well. This will open a path to conversa- Do you think mix engineers are given tion and is always mutually beneficial It’s important to have the knowledge and the enough recognition in our country? and at the end of the day, they are your maturity to use it as a tool, because at the end of This is a very difficult question to friends. I remember during Agneepath, answer. The term recognition needs to we were on an extremely tight deadline. the day, the audience doesn’t really care what EQ or be defined. Is it by the peers or by the The sound design was as heavy as the Compressor you used. They only care about how good public? Both are different measures. score was. I spoke to Vijay Dayal who Initially there was a time when the mix was the music engineer for the film, the experience is and for that, being knowledgeable engineers were everything. They took recording Ajay-Atul’s score. I remember both technically and aesthetically is important. the call to the film, decided on the way very clearly how exhausted he was with it sounds, and what needs to be where so much work. One evening during the etc. Later, this shifted to sound designers mix, I went to Yashraj and met Vijay. He making the call in the movie. There was was doing a mix down to get the tracks and period movies like Jodha Akbar. that format is as effective as it is. Once a time, when the mix engineer wasn’t within a finite number to be delivered to Is there a quantitative or a qualitative you get that, the underlying philosophy that critical as long as someone who me for the mix. I told him “Don’t worry, difference in terms of mixing such is just that of panning. It is an extremely could have a comfortable vibe would be just send it as is, do the best you can movies versus a mainstream commer- accurate positioning format. This helps great. Today, it has become a team work. on the recording, don’t compromise, I cial Bollywood movie? to create hyper-realistic scenes and The reason is that the final deliverable will balance it on my end, and then you None of the movies above are an mixes. Initially it was a challenge, but is taken care by the mix engineer while come in one of the days after a good individual effort. For exampleGangs of then it all comes down to a discipline of the aesthetics and the blend of all the rest and check out the balance. There Wasseypur was mixed in three studios managing the session, tracks, and most elements is a combined effort of the de- is no need for both of us to be stressed by Alok De, Sinoy Joseph and me. importantly knowing the tools. Today, signer and the mix engineer. So, in terms and tired!” Well, this was a very defining Bombay Velvet was the first96kHz Dol- Pro Tools is designed in such a way that of recognition by peers, yes, but from moment for both of us. First off, I learnt by Atmos film in the world and the first the entire mix can change between the general public it is not that much. a lot on how he works, and he in turn two-man mix in India. This was mixed Dolby Atmos and conventional mix in Things changed for me with a National helped smooth a lot of the musical by Justin Jose and me. Jodhaa Akbar I an instant. It is not as difficult as the Award. I realize that the general public balance. To be honest, we saved much was associating and at the same time initial times were. respects your achievement and not more time and were less stressed! took care of the sound effect mix and What is your advice to new mix necessarily your area of work, and that is Is there a process you go through music editing. So, you see the defini- engineers? because being a film mixing engineer is deciding how much sounds you take tion of the role is very dynamic. Now, As an engineer, I feel I am incredibly probably the toughest job description to from an already existing library versus mixing between a mainstream versus lucky that I am where I am. I stood on the put in words!

March - June 2020 52 UHF 4 Channel Diversity System Designed with JTS newest generation wireless technology, the R-4 is a 4 channel system in a 19” one U case. It provides more compatible channels within limited bandwidth. Both power and antenna output can be cascaded for easier installation.

JTS, a complete range of professional microphones, wireless systems and headsets. Distributed in India by Sonotone 102, Savoy Chambers, Above Mini Cooper Showroom, Linking Road Extension, Opposite Masjid, Santacruz (West), Mumbai 400054, India Phone: +91-22-66439999 Fax: +91-22-66439900 Email: [email protected] Website: www.sonotone.in Prodct Focus Studio Mcrophone

Telefunken - Alchemy Series AKG Lyra Sontronics - STC-20 Pack The Alchemy Microphone Series are large AKG Lyra is perfect for creating podcasts, diaphragm tube condensers. These new YouTube videos, music and more with 4k-com- Sontronics STC-20 Pack is an all-in-one microphone models are the TF29, TF39, TF47, patible, Ultra HD audio quality. Featuring cardioid condenser microphone package that and TF51 and feature unique sonic profiles cutting-edge AKG Internal Element Overload allows achieving the same quality recordings developed from the ground up. Prevention, an internal shockmount and built-in as in a professional studio. With a fixed cardioid The Alchemy Microphone Series boasts sound diffuser, Lyra automatically reduces noise pattern, the large-diaphragm STC-20 micro- of newly designed custom head grilles for and improves signal levels for optimal perfor- phone gives impressive results on a wide range transparency and openness, hand-plugged mance. The four-capsule AKG Adaptive Array of sources, including male and female vocals, circuit boards, and selected American and Eu- offers versatile capture modes that eliminate acoustic guitar and other plucked instruments, ropean vacuum tubes and transformers. These guesswork, to get professional sound. AKG Lyra guitar amp, percussion, drumkit, piano and microphones are the ideal choice for engineers, works seamlessly with Windows, Mac, iOS and other acoustic instruments. The STC-20 micro- musicians, and producers. Android devices. There’s no assembly required phone features a large open grille that houses a Main Features include: or need for a separate audio interface—it just one-inch gold-sputtered capsule. TF29 Copperhead works, right out of the box. It is recommended for... The TF29 features a new old stock Main Features include: • Vocals (sung & spoken) American-made 5654W vacuum • Ultra-HD Quality Audio with 24-bit/192kHz • Acoustic guitar & other plucked instruments tube, all-brass K67-style capsule, high-resolution converters • Guitar amps stand out antique copper finish and • Use with the integrated desktop mic stand • Piano & other acoustic instruments a premium Swedish-made Lundahl or mount to a standard or boom mic stand • Percussion & drums output transformer. It’s a workhorse • Zero latency monitoring while tracking with • Podcast microphone, accurately capturing full control over output volume, mic gain Main Features include: vocals, acoustic and electric guitar, and mute • Large-diaphragm condenser mic drums, saxophone, piano, banjo and • Four-capsule mic array provides four us- • Fixed cardioid pattern nearly any source put in front of it. er-friendly capture modes • Fantastic for vocals, acoustic guitar, piano, TF39 Copperhead Deluxe • Camera-ready styling for on-screen appeal guitar amps, drums, podcast and other The TF39 Copperhead Deluxe • Includes Ableton Live 10 Lite audio produc- acoustic instruments comes with an addition of a dual tion software • Comes with shockmount, popshield, mic membrane K67-style capsule, allow- Technical Specification: pouch and 5m XLR cable ing for 3-pattern selection between • Transfer Protocol: USB 2.0 • STC-20 microphone covered by LIFETIME cardioid, omnidirectional, and • Transducer: 4 proprietary, permanently WARRANTY figure-8. It has the same features as in polarized back plate, condenser capsules Technical Specification: the TF29 Copperhead. • Capture Modes: Selectable; Front, Front & • Polar pattern: Cardioid TF47 Back, Tight Stereo and Wide Stereo • Frequency response: 20Hz - 20kHz The TF47 is a new design based • Frequency Response: 20 Hz – • Sensitivity: 16mV/Pa on the “German” sound, drawing 20 kHz -36dB ±1.5dB inspiration from the historic U47 and • Bit Depth / Sample • (0dB = 1V/Pa @ M49. With a deep low end and a Rate: 24-bit / 192 1,000Hz) forward midrange, the TF47 is excel- kHz • Impedance: ≤200 lent for adding depth and presence • Maximum SPL: 129 Ohms to any source. The Microphone has dB SPL (0.5% • Equivalent noise level: an all-brass K47-style capsule, new THD) 18dB old stock 5840W vacuum tube, and • Power Re- • (A-weighted) custom-made BV8 transformer. These quirement/ • Max SPL (for 0.5% THD characteristics make it especially Consumption: @ 1kHz): 125dB ideal for recording vocals, guitar 5V USB / 75 mA • Power: Phantom power amps, upright bass, trombone, cello, • Impedance: 16 48V required percussion, toms and kick out. ohms • Connector: 3-pin XLR TF51 • Power Output (RMS): 43 • Dimensions: 194 x 53 x The TF51 is based on the “Austrian” mW 53mm microphone sound and exhibits a • THD: <0.009% • Weight: 610g (810g smooth midrange and airy top end. • Frequency Response: with shockmount) The 6072A vacuum tube is paired 20 Hz – 22 • Comes with: shock- with an edge-terminated style kHz mount, 2 spare elastics, capsule. The output transformer • S/N Ra- nylon-mesh popshield, is a custom German-made Haufe tio: 98.0 zip-up microphone transformer. This is a reliable first pouch, 5m XLR cable choice for stand out vocals, acoustic instruments, and percussion.

March - June 2020 54 The essence of a microphone is to capture a performance whether doing a recording or a show. A good Microphone can accentuate the voice but finding the right one for your studio needs can become tricky. Here is a list of microphones launched in 2019 that can make your choice easy.

SHURE MV88+ Video Kit Portable Mic Technical Specification: (TF29) • Type: Condenser Pressure Gradient • Internal impedance: 203 Ω MV88+ Video Kit, is a digital stereo condenser • Capsule: TK67S Center Terminated Dia- • Rated load impedance: 1000 Ω microphone that provides an all-in-one solution phragm • Supply voltage: 48 V ± 4 V for capturing professional-quality recordings • Tube Type: 5654W (New Old Stock) • Current consumption: 7.2 mA on-the-go. Designed for podcasters, videog- • Transformer: Lundahl LL 1935 • Connector: Gold plated 3-pin XLR raphers, content creators, field recordists, • Polar Pattern: Cardioid • Microphone dimensions: 24 dia. x 83 mm, and musicians looking to record immersive, • Frequency Range: 20Hz - 20kHz 0.9 dia. x 3.3 in rich, high-quality audio wherever, the MV88+ • Sensitivity: 17mV/Pa accentuates the power of flexibility, enabling to • THD at 1kHZ at 1Pa (Amplifier): < 0.3% transform the smartphone device into a profes- • Output Impedance: < 300 Ω Rode TF-5 sional-level mobile audio and video rig. • Maximum SPL (for 1% THD): 130 dB • S/N Ratio: 87 dBA Main Features include: The precision sonic matching and beautiful • Self-Noise (Amplifier): 7 dBA • Built-In Headphone Output for real-time tone of the TF-5 makes it perfect for recording • Dimensions/Size: 200 mm L x 46 mm Dia monitoring detailed and natural-sounding performances • Current Draw from Mains: 50 mA • Live stream ready when used as a stereo pair, or for capturing • Power Supply: M 902 PSU - 7 Pin Female XLR • Seamless compatibility with Shure MOTIV the nuances of a soloist when used as a spot Input, 3 Pin Male XLR Output Audio & Video Applications (iOS & Android mic. The TF-5 is a small diaphragm condenser • Cable: M 803 - 7 Meter TELEFUNKEN Tube versions) engineered to sub-micron tolerances, giv- Microphone Cable, 7 Pin Male & Female XLRs • Multiple stereo width and polar pattern ing unprecedented consistency of tone and • Shock Mount: M 703 - Shock Mount, M 782 - options for ultimate flexibility response. Stand Mount • Included industry leading Manfrotto PIXI Main Features include: mini tripod • Matched pair small diaphragm condenser • Included Lightning cable, USB-C cable, Lewitt LCT 040 Match cardioid microphones. phone clamp, shoe-mount mic clip, & neo- • Imagined and designed in collaboration prene roll-up bag to keep all accessories in With the LCT 040 MATCH recording instru- with Tony Faulkner one place ments is as easy as it gets. It’s tried and tested • Brand new capsule, precision-engineered to • The included phone mount is also compati- small diaphragm condenser capsule provides sub-micron tolerances, ble with existing set-up, allowing to connect well-balanced sound with a pleasant high-end. • Exceptionally low noise floor (14dbA) to any tripod with a connector The excellent transient response retains the • Includes high-quality RØDE stereo bar • Apple MFi (Made for iPhone/iPod/iPad) natural musicality of the acoustic instruments. Technical Specification: Certified for direct connection to any iOS The LCT 040 MATCH is durable and lightweight • Acoustic Principle: Externally biased con- device without the need for any additional thanks to its CNC’ed aluminum housing, weigh- denser adapters or connection kits ing only 44 g or 1.6 oz. • Active Electronics: JFET impedance convert- • Compatibility with lightning-equipped iOS Main Features include: er with bipolar output buffer devices and additional devices • Small diaphragm condenser microphone • Polar Pattern: Cardioid • Allows for phone charging while mic is in • Well-balanced sound with pleasant high- • Frequency Range: 20Hz - 20kHz use (requires USB-A cable and Apple USB3 end • Frequency Response: 30 Hz - camera adapter)- iOS users only • Made for acoustic guitar and drum record- 20 kHz ±3dB // 20 Hz - 20 kHz Technical Specification: ings ±4dB • Height x Width x Depth: 27.0 × 27.0 × 77.0 • Durable and light aluminum • Output Impedance: 63Ω mm housing • Signal to noise Ratio: 80 dB • Frequency Response: 20 Hz – 20 kHz • Cardioid polar pattern • Equivalent Noise: 14 dB SPL • Frequency Response: Adjustable (A-weighted, as per IEC651) Technical Specification: • Max. Sound Pressure Level: 120 dB SPL (At • Input SPL @ 1% THD: 135 dB • Type: Condenser, perma- Minimum Gain, Flat SPL (1kHz @ 1% THD, 600Ω nently polarized Mode) load) • Acoustical operating • Transducer Type: • Sensitivity: -29 dB re.1 Volt/ principle: Pressure gradient Condenser Pascal or better (35 mV @ 94dB transducer • Polar Pattern: Bidi- SPL @ 1kHz) • Transducer Ø: 17 mm, 0.67 in rectional, Cardioid • Dynamic Range: 112.6 dB (1kHz • Polar pattern: Cardioid • Connectors: LTG, USB @ Max SPL) • Sensitivity: 18.8 mV/Pa, -34.5 • Interchangeable Capsule: No • Power Requirements: 7mA @ dBV/Pa • Main Functionality: Recording 48V phantom power • Equivalent noise level: 20 dB • Headphone Output: Yes • Dimensions: Length: 98.7mm (A), cardioid • Microphone Housing: Metal Diameter: 20mm • Max. SPL for 0.5 % THD: 135 • DSP Modes / Presets: Flat, Loud, dBSPL Acoustic, Singing, Speech • Dynamic range: 115 dB (A) • Requires Phantom Power: Bus powered via USB/LTG VDC

55 March - June 2020 PROFESSIONAL FOCUS: INDEPENDENT MUSIC PRODUCERS

The era of independent music (read non-Bolly- wood) is finally upon us. In a country where Bol- lywood reigns supreme, Indie Music has gradually made a mark for itself Independent and this can be attribut- ed in large to advancements in technology. PT caught up with re- Producers Blurb nowned independent music producers to find out more about their recording approaches, on their music and technology they use and if there is still a need for conventional studios and technology recording rooms.

Keshav Dhar – Illusion Audio

ccording to Keshav, what makes an amazing producer is a little bit of technical know-how and an innate musicianship. “In the true sense of the word, a producer is always first creative and secondly technical. ATechnical know-how needs to only be enough to identify what is required to translate what’s up here in our heads to down there on our computer,” he says. Talking about the technology he prefers, Keshav, who comes from the Billie Eilish school of thought, is all about improvisation, DIY and being able to work when inspiration strikes. A minimalist, all he needs is his Macbook, Apollo Duo, Event Opal Speakers, ATH-M50 headphones and a Blofeld Keyboard and he is all set. Technology used by Keshav • Macbook • Apollo Duo • Event Opal Speakers • ATH-M50 headphones • Blofeld Keyboard So, does he believe in having a conventional studio with the large desk and the acoustic musicians recording room? According to Keshav, these are ultimately luxury items. “It really depends on how much of a sound purist you are. Obviously having those things at your disposal will get you a ‘better’ sound in the technical sense, and if money is no object - go for it, but with DIY recording tech having evolved to the point that it has, you’re very much in the realm of diminishing returns with the whole big studio thing. Modern day producers are often also engineers, editors and mixers. So if I had a bunch of money, personally I would invest it into a space that facilitates and inspires creation and capturing that in the best possible way, and studio ‘toys’ as in fancy outboard equipment would be much more secondary,” he explains.

March - June 2020 5600 March - June 2020 Jehangir Jehangir – Island City Studios

ehangir started off as a drummer before getting into production. According to Jehangir, what makes an amazing producer is someone with the innate ability to know what will sound good for the song along with the ability to see Jthat vision into the track itself. He calls himself a geek, hence uses a lot of technology. “Lately I’ve been into using my iPad Pro and Apple Pencil as an external touch display to do some fun stuff.” Nevertheless, he feels technology has the potential to be really useful as well as very distracting. He continues, “As music makers we are always looking for cool ways of manipulating sound because apart from 12 notes in the scale there are a whole lot off other exciting sounds we can create when we explore sonic texture.” Technology used by Jehangir • iPad Pro • Apple Pencil Commenting on the relevance of conventional studios and acoustic musicians recording room, Jehangir says, “As the owner of one such studio, Island City Studios, you might have a biased response in favor of the above. Though I will admit as a producer, I can live without those things for a certain part of the process, but a good room with acoustic musicians performing for the song gives any production that life. Even if it is an old wonky piano sampled for that song, it’s done with a purpose to be used in that song”. He concludes, “Lastly as musicians and creators we need to be inspired and we need to feed of the energy of other musicians/producers etc. and honestly the best place for this is a purpose built studio for music where you have instruments and different sounds to inspire you and the right kind of equipment to capture that collaboration”.

Ayan De – Paralights Music

or the young music producer and sound engineer, what makes an amaz- Ayan is not a laptop person. “The reason I say this is because my setup is ing producer is the ability to remain objective towards a song and make a little excessive for an independent home studio and isn’t really designed Fdecisions not based on personal tastes and opinions, but rather based on for portability. I don’t use a lot of hardware synths as that just isn’t some- what’s needed for the song rather than personal interests. The approach of ex- thing that I have gotten into. I do however run a couple of computers for ecuting those decisions in an artistic way that is based on personal taste (both my production needs and then the main host system is designed more for the artist’s and producer’s) and finding a balance is what makes a producer mixing and mastering and recently I got another system just running Sadie amazing according to him. and Sequoia 7.” Ayan mostly tries to focus on being as transparent as possible when he Technology Ayan Uses is working on someone’s music as he needs to let the artist’s colour come through and enhance everything that is unique about them. According to • Slate microphone system • Oceanway Plugin from Universal Audio • Sadie Ayan, “It’s definitely more the technical side of things as I am more a sound • Sequoia 7 engineer than a conventional producer and with technology making strides Ayan believes that conventional studios with a large desk and an acoustic the way it is, there is always something new to do and try and some new way music recording room are necessary. “Even though it is fairly simple to do a to make something interesting”. lot in a small room with a laptop and a pair of headphones, what has largely Ayan considers himself more of a music technologist, he says, “Where cre- been taking a hit because of it (over the last decade) has been musicianship ating my own tools for the sound that I work towards, or creating something and just the ideology of what something should sound like. Even though the new by blending organic sounds (like a guitar or a drum kit) and processing completely programmed synthetic sound is totally and completely a sound it using unconventional processes, is something I have been driving towards on its own and I do respect that and do use it myself, I feel like it has to be a over the years. Lyrics are the heart of a song and I usually tend to work with the choice more than something that is just done out of a lack of time and effort,” lyrics in focus more than a groove or a nice sound, so pretty he says. much every choice that I make, like a chord or a drum groove, According to Ayan more than the giant desk is to drive home the meaning and story of that piece of mu- and the space for a sound, it is more about sic, so the experience is more cohesive”. Keeping an artist’s the workflow and the process that goes into brand and identity in the centre of the song and the it that is important. “My entire career has music and the art and nailing that balance as closely as pretty much been about getting that possible is what he focuses on. big studio sound and aesthetic from a Elaborating on the the technology he uses, Ayan Project Studio set up. informs that he has always been an ‘In the Box’ A ton of brands like Universal Audio kind of person. He started off by using a very min- and Softube, Plugin Alliance, Slate imal set up and everything was based on Midi. Digital, etc. have bridged the gap He tries to do everything as organically as pos- between running large expensive sible, like having someone actually play drums machines and being able to cut a on a triggered kit rather than using a mouse to very good record in a smaller space. draw out a groove. “Guitars are usually mic’ed or re- It’s just about the knowhow and the mic’ed in the box using a Slate microphone system ability to stick to a brief and idea from or the Oceanway Plugin from Universal Audio.” day one. Limitations have always been The heart of his studio is the Universal Audio System the path for innovation, it’s our job to and everything else in designed and routed accordingly work with limitations we have instead of to its functionality. against it.”

March - June 2020 57 Vivek Thomas – Vivek Thomas Productions

ivek has been working as a music producer and mixing mastering engineer for the last ten years. From these years of experience, he has realised that patience, focus and attention to detail is what makes a really good producer. Also Vmost important is respect, “when we talk about respect we are talking not just about music,” he says. Elaborating on technical knowhow, he continues, “Considering that technology is literally changing every day you have to be constantly updated”. Vivek is still very much an analog guy and not because it sounds better, but because it is more fun. Where technology is concerned, Vivek uses Prism and Cranesong convertors at his studio with a few outboard gears from Thermionic culture, Rupert Neve, Kush Audio, Bettermaker Kemper and Dangerous Music. Technology used by Vivek • Prism and Cranesong convertors • Outboard gears from Thermionic culture, Rupert Neve, Kush Audio, Bettermaker Kem- per and Dangerous Music For him, being an independent producer is to make good music and to make good music all he needs is his laptop and a good interface and not necessarily a conventional studio or recording room. “You definitely need to know what you are doing. If the artist or band has the budget, he still prefers recording on a console and mix/master ITB with few outboard gear,” he says.

Rohan Ramanna – Salvage Audio Collective

ohan has been professionally composing, producing and engineering music Rohan’s home is equipped with: in India for about 12 years now (Independent, Commercial and for Film) and • Mac book Pro • 2 electric guitars • 2 basses • A midi Keyboard • A 10 year old has had the great pleasure to study under some incredibly talented and R pair of Adam audio A7s • A motu Ultralite mk4 • The UAD satellite octo-2, and • seasoned producers and engineers. He is part of Five-producer collective called A pair of Audeze LCD-Xs. Salvage Audio. He also works as a mix engineer at Jehangir Jehangir’s Island City As part of Salvage Audio, he has access to instruments like ukeles, mandolin, Studios. percussion, synths etc. Commenting on what makes an amazing producer Rohan says, “I’ve come to So does Rohan think it necessary for an independent music producer to have realise that there are a lot of people out there who don’t even know what a music a conventional studio? “Here is a simple answer to an otherwise heavily debated producer does, and I feel that this job has really transformed over the last few topic. It purely depends on the sound you are going for. For some, making lofi decades. I personally think a music producer is a key facilitator who is tasked with music is what they enjoy, so there is no need for a fancy studio with a ton of bringing a musical work to life, right from an artist’s original idea until the end gear. They can get away with using a semi treated bedroom studio. There is completed piece.” a lot of music you can create at home, but for certain instruments, you need According to Rohan, the best producers understand what the purpose of the space, and you need decent equipment to capture it. A lot of producers today music is before they set off on any piece. If a producer is tasked with working on start at home, and some of them remain happy in that space, it’s about creating other peoples material (A film director, a band or a singer/songwriter), they need the content they want to create and they keep their audiences happy too.” Hav- to know whether the music that’s being made is for commercial purposes or if it’s ing said that, according to him, most of the working musicians and producers purely a personal expression. The best producers find what is most unique about he knows, generally always come into the studio to record final vocals, reamp the artist, and really try and bring that out, rather than follow references and guitars or drums if required. “Mixing in a well-treated room can save people trends. “In most cases, producing music for an artist is a complex set of steps and months of time in the mix stage. Even the producers who create purely instru- sometimes producers feel that they have to control every step of the process. In mental electronic music will come into the studio to mix their material. There truth - I found this is not always the best option - sometimes it’s about knowing might not be a need for a large format console in every situation, but honestly when NOT to step in, sometimes it’s about getting the right people in the room it is incredibly difficult achieving that kind of low-end extension and accuracy at the right time and facilitating the flow of ideas and then curating the best ones that is required to master in a monitoring room, even harder in an apartment in after it’s recorded,” he says. He continues, “A good producer is one who under- Mumbai.” stands that the content of the piece is the most important thing. Talking about his own set-up he says, “Having a Not how cool the bass sounds, how good the mix is or how loud semi-treated home studio definitely keeps budgets in the master is. The best producers constantly study each step check, and allows me to be creative without racking of the music making process. Composition, arrangement & up studio fees, but I never commit any processing at orchestration, recording, editing, mixing and mastering. home - it’s more like a safe space to ideate freely. And lastly, the best producers are all very patient! It can Every single mix decision is rechecked at Island city, be a lengthy and complex process, keeping your cool and all scratch recordings at home are generally and keeping the performers happy and comfortable is redone there too.” incredibly important.” He further adds, “There are a lot of pro- Technology used by Rohan ducers who just use pre-processed samples that are found online and can get away Talking about the tech he uses, Rohan says, with doing pretty decent mixes at home in “Today’s environment requires musicians to be fairly semi treated spaces, but to really create new diverse in their skill set in order to survive, so the work sounds and build your own unique signature, we pick up is extremely varied in terms of requirement recording your own raw tracks is the way to go.” of equipment and space”. Rohan composes and edits at Rohan believes it is completely necessary and home and keeps all vocal, drum, strings and horn record- relevant for most types of music to have the con- ings for the studio and tends to record guitars and bass at ventional studio with the large desk and the acoustic home via DI and reamp them at the mixing stage. musicians recording room.

March - June 2020 58 STUDIO INSTALL CASE STUDY Stained Class Productions

Beyond the Realms of Sound

Stained Class Productions is a recording, mixing, mastering and audio editing studio based out of Bangalore. Owner Mrinal N., took time out to talk about the journey of setting up Stained Class Productions. PT reports.

Control Room is flexible and large enough for expansion into a cinema

eet the father & son duo, Muru- career in audio recording, mixing and allowed him to work with them. “I got unconventional methods and spaces gan N. and Mrinal N. whose mastering. One such documentary that to visit a lot of studios in town in the which in turn would add its own flavor Mmusical influence has been inspired him was that of Judas Priest’s process and there were always a few to the recording. Judas Priest and who have aptly named British Steel. So while pursuing a degree minor aspects that used to bother me The whole idea behind designing their studio after the fourth studio in Audio engineering, Mrinal started and made me feel that I’m not getting and building his own studio was to album of Judas Priest - Stained Class. doing freelance work for both live and the best result out of the session,” he have a big Live Room, a regular booth Mrinal who manages the technical as- studio for local Rock & Metal bands in continues. and a decently sized Control Room, pects of the studio is also the in-house Bangalore like Bevar Sea, Kryptos, Dying Mrinal realized that none of the which would be acoustically treated engineer, while his father Murugan Embrace and Shepherd to name a few. recording studios had their own charac- rather than just padded walls. takes care of the finances. Stained Class Productions was ter. “Most of them were padded ‘dead’ For Mrinal, finding a location was no Opening a studio was imminent for conceptualized while he was doing his rooms (which might work for most problem. Mrinal chose his old home Mrinal. Watching a bunch of ‘album VISCOM course and while working for engineers),” he recalls. What influenced located in South Bangalore and con- making’ and documentaries of bands Rock & Metal bands. The musicians, he him to become a recording engineer verted it into a studio. “We chose this on how they made their records, says, were kind enough to take him to was the fact that most of the classic place in particular for multiple reasons, while growing up led him to pursue a their studios or to their live events and albums and songs were recorded with firstly it was a plot that we owned so

59 March - June 2020 the Control Room. “We are happy how it turned out and our clients are happy as well with how their instruments sound in the room and with the end results (recordings),” says Mrinal.

SOME HEADS ARE GONNA ROLL - THE DESIGN The set up and the aesthetics of the studio were a joint decision and collaboration between Mrinal and Rahul. “We asked Rahul if the aesthetics of the studio would work with the treatment and designs he had planned and if it would affect the final response of the room tone,” explains Mrinal. For Rahul, the fun part was designing the acoustics of the studio. “The studio is very different, the walls were bare and one could see the bricks. The rooms are ‘tuned’ to very precise dimensions and volume, reducing dependency on treatment to manage acoustical energy that would otherwise present itself as unwanted room modes. This design aspect was possible only because we built Live Room primarily used for Drum Tracking, multi-musician performances, live recording of a full band, group vocal the structure from ground up. This is an performances, choirs. Pictured here is the Drum recording session for Thermal and a Quarter extremely effective approach and rare, but we went all in here,” says Rahul. we could design the space the way we With a design-construction approach er solo instruments The surfaces of the room were care- liked it. Secondly, this is a well connect- like this, you make the best of your • Control room that is flexible and fully designed starting with procuring ed part of the city but mainly this is the resources as you know where you can large enough for expansion into and caring for the bricks in order to part of Bangalore that is relatively more splurge and where to cut down,” adds cinema, if necessary maintain consistent acoustical prop- quiet, relaxed and still has some bit of Rahul. • Space for artists and clients to be erties on the surface. All rooms were greenery left,” he says. A few months after their initial comfortable during extended hours/ designed as a room-within-a-room, A few basic requirements were given discussion, Rahul recalls his very short days both within and around the live complete with floating floors even to the acoustic consultant Rahul Sam- conversation with Mrinal, “All he said rooms though it is not strikingly evident at first uel, Founder of LiveEnd and Technical was, “Hey, I’m in the process of demol- • Living quarters for artists during glance. First reflection points were local- Support Specialist for Meyer Sound. ishing the existing building (his house), tracking - everyone needs a break or ly treated with custom tuned panels. “Mrinal did not ask the usual questions let me know what we should build”. nap The Acoustics about how much will it cost and how It’s a dream come true for any acousti- • Most importantly, a live room, versus With a live room as large as what soon can it be built, but instead he cian but also a huge responsibility and what seems to be staple - dead Stained Class Production has, it had focused on questions like: What do I commitment.” rooms to be kept flexible. “I had two factors need to create a successful studio? How Mrinal’s requirements for the studio The current space has two Record- in mind - firstly to keep Mrinal excited much space will I need to record live were very specific. ing Rooms with one common Control about the space over years to come; musicians? And I have a building, here • Recording: Live Instruments includ- Room. The Live Room is isolated com- and secondly to allow for artistic are the dimensions. Will this work?” ing drums pletely on a separate floor and the other decisions on acoustics,” says Rahul. The “We only gave him a few basic • Vocal booth large enough for quiet- Recording Room is on the same floor as excitement and artistic decisions were requirements that we were not going achieved by keeping the room live and to compromise on, these were each of using modular custom-built panels that our recording rooms should have some are movable. “We decided against creat- character of their own, bare minimum “Every piece of gear ing a uniform sounding room, so just by treatment or just enough to take care moving source location, orientation and of the problematic frequencies,” says that you will see in source-mic relation within the room, we Mrinal. Mrinal informs us he was specific our studio is selected were able to achieve different acoustic about having no dead spaces but at the behavior. The movable modular acous- same time did not want it to be overly after doing multiple tic panels aid this,” he adds further. reverberant. He wanted the main focus research. Every item The airlocks are functionally disguised to remain on the Live Room and the as storage, cupboards, and equipment Control Room that would be used for has a particular char- rooms and go unnoticed yet effectively recoding, mixing and mastering. Other acter that impressed isolating rooms from each other. The than these specifics, Rahul was given a entire designing was done keeping in free hand to come up with a design and us and there is still a mind future expansion plans. solution that he felt would work best bunch of gears that “Air locks are very important to any for the space. “Mrinal did not ask about studio were isolation is critical to its dampening or sound proofing. Instead, is in our wish list.” function. We spent a lot of time on we discussed factors such as NC, Isola- MRINAL N floor plans making sure we have all tion - both acoustic (air) and structural, the necessary airlocks without losing and Reverberation Time across the full useable studio floor space. I’m glad to spectrum that the rooms must achieve. say the extra effort paid off well. The

March - June 2020 60 studio feels spacious and lively - not just in the way it sounds but in the physical space which complements the warm but industrial-no-nonsense look and feel,” says Rahul. The Live Room The goal was to create a room large enough for a 6 piece band to play simultaneously for live tracking sessions. “We both agreed that this always makes for a better performance than tracking artists and instruments separately,” says Rahul. “Since the building was a multi-level building, we ran into an issue - ceiling height. At this stage, we eliminated two floors of the building. The floors which were originally allotted as housing were now re-allocated for artist residence and to allow for nearly twice the ceiling height in the studio,” Rahul continues. The Live Room is primarily used for Drum Tracking, multi musician Vocal recording session - Alexis D’Souza; the space has two recording rooms with one Common Control Room performances, live recording of a full band, group vocal performances, choirs, sometimes just for the big down. But with clever design and ad- gears that is in our wish list that we’ll be itor A5X with Sub 8, Konig & Meyer room sound in the recording be it for aptations, we achieved targets allowing procuring over the course of this year,” Stands, Warm Audio Pre Amps & com- acoustic guitar performance or guitar us to run the HVAC system full-time, reminisces Mrinal. pressors, Gator Monitor stands,” says amp tracking (live / re-amp). The Live during recording sessions as well. This Some of the gear that Mrinal current- Siddharth Patwa, Director – SoundGlitz. Room is equipped with a 32in & 32out full-time system does not add audible ly owns was purchased over time when Solomon Nesaraj, Product Specialist, audio breakout box and the Booth is noise into your recordings, and with he was doing freelance work. “Once the The Inventory says, “We supplied a few equipped with a 12in and 4 combo I/O adequate fresh air input, you won’t feel studio was setup we sourced equip- gears to Stained Class Productions. The ports. The Booth is a relatively smaller the well-known ‘studio fatigue’. This ment from ProMusicals, SoundGlitz, outboard gear used in the studio was space but big enough to house a drum keeps the artists and engineers fresh Prym Audio & The Inventory.” provided by us and we supplied all the kit if required for a much tighter and and energetic. This is just as important “We currently have the ADAM Audio Warm Audio gear.” He recalls giving focused sound if that is what is required as using good gear and acoustics. A5X (In L-R setup) with the ADAM Sub8 suggestions on what can be updated in but we usually tack vocals, acoustic for low-end extension and are review- the studio, what will suit his workflow guitar, violin, individual percussions etc. DELIVERING THE GOODS ing and demoing Mid-Field monitors,” and also suggested a couple of mod- – THE GEAR says Mrinal. ules that would be right for the kind of Electrical Power “We at SoundGlitz share special studio he has. One of the most overlooked aspects “Every piece of gear that you will see relations with Mrinal & Stained Class “I liked the studio, it does not have while building studios is electricity. This in our studio is selected after doing Productions. Right from its inception we a traditional studio look, and it is com- was factored into the initial structural multiple research, review from fellow were instrumental in consulting & giv- pletely different. It looks like a home, a and electrical design for the building. engineers and doing demos ourselves ing solutions for his studio & production place where I can come and chill out “We isolated general power and have (this is mainly possible due to the requirements. We have supplied brands and do my work,” enthuses Nesraj. dedicated power lines for the studio support we received and continue to like Sennheiser headphones HD280 with its own grounding. We designed a receive from the suppliers). Every item Pro, Sennheiser 600 Series Drum Mics, RIDING IN THE WIND robust grounding system that suits the has a particular character that im- Ashton Condenser mic Stealth, Aston The studio is still at its infancy (a year soil conditions at the studio location. pressed us and there is still a bunch of Starlight Stereo Pair Mic, Adams mon- & 5 months roughly). They have a rough These professionally installed systems road map planned, based on the how have a long life and are easy to maintain the studio grows, the financials and and monitor. All the equipment stay the type of work that they get going protected and the noise floor of the “The rooms are forward. “The current setup is more systems stays at their lowest,” informs ‘tuned’ to very pre- than capable of handling our current Rahul. cise dimensions and workload and the clients with whom HVAC we have worked with so far (be it mu- Elaborating on the HVAC system, volume, reducing sicians or other engineers) have been Rahul Says, “We designed the HVAC dependency on treat- satisfied and happy with the gear and the end result,” says Mrinal. system keeping the target NC in mind. ment to manage AHU and heat exchangers were chosen “I am very pleased at how the studio considering the environment and noise acoustical energy has turned out. Hats off to Mrinal for criteria in mind. All the ducting was that would otherwise being open to ideas and going all out treated acoustically with plenums and on this one. He had very good partners baffle boxes to maintain required room present itself as not in the construction phase who happily to room isolation. The challenge here present it as unwant- co-operated with an acoustician and was the lack of a false ceiling - which never questioned our judgment. This was removed to suit the dimensions ed room modes.” studio, like many other great ones, will and volume for the right acoustics. RAHUL SAMUEL continue to evolve especially with a Ideally, false ceilings are used to tuck progressive entrepreneur like Mrinal in the ducts, keeping the noise levels behind it,” concludes Rahul.

61 March - June 2020 Audiovisual

d&b delivers high performance installation with new KSLi System

German audio technology and consistent pattern control down to amplifier provides the power density to full potential. Further supporting Solution Company d&b audiotech- the lowest frequencies, in part due to required to drive the KSLi loudspeakers the needs of integrators in the field, nik has announced the introduction the geometry of the new 40D amplifier of the KSLi System at ISE 2020. two front-facing also features a 4.3-inch Delivering a complete installation 10-inch drivers color display showing a package for the most compre- and two side firing range of speaker settings, hensive range of installations and 8-inch drivers, device status and more. applications, the system features the which couple and The entire d&b KSLi8 /KSLi12 loudspeakers, com- apply cardioid SL-Series represents a sig- bined with (KSLi-SUB/ KSLi-GSUB), techniques to nificant evolution in the subwoofers, the new 40D high cause directivity design and performance performance installation amplifier, with low-frequency of line array systems. The plus a complete catalogue of system headroom. ability of the SL-Series to specific accessories and customiza- The new KSLi control the full frequency tion options. SUB excels where spectrum minimizes low- Underscoring d&b’s commitment space or weight mid frequency masking to deliver significant performance limits exist, either in the reverberant field, improvements over all existing flown in an array in turn allowing system installed audio solutions, the KSLi-SUB or ground engineers to ensure the KSLi8 and KSLi12 are acoustically stacked KSLi-GSUB. delivery of a pristine and identical to the mobile KSL System The 40D instal- powerful mix while being and deliver the same performance lation amplifier able to reduce the overall characteristics: full-range broadband is designed for sound pressure level in directivity control, extended low fixed installation the venue. The direc- frequency response and enhanced applications and is tivity greatly improves high frequency resolution in a com- the most power- the system’s program plete package designed specifically ful four channel intelligibility while for high performance installations. Class-D installation dramatically cleaning up The KSLi8 and KSLi12 loudspeak- amplifier in the the stage sound as well as ers, with 80° and 120° horizontal d&b range. This backstage environment dispersion, respectively, provide high-performance from extraneous noise.

DiGiCo launches A164D Wall LCD and A168D Stage for 4REA4

DiGiCo announced two new I/O Amsterdam. Both Racks bring all the The A164D Wall LCD is a 16 input 4 from the 4REA4 controller software. It Racks, the A164D Wall LCD and A168D connectivity of the original A164 Wall output I/O Expander that uses the Dan- can run at both 48K and 96k sample Stage, for its acclaimed 4REA4 pro- LCD and A168 Stage, but with the addi- te network protocol to provide fixed, rates and it is AES67 compatible. cessing engine for networked audio in tional advantage of Dante connectivity. additional I/O anywhere on a network Primary and secondary Dante ports installations, at this year’s ISE show in “With 4REA4, we enabled audio over and is designed for wall or floor mount- come with locking EtherCON connec- IP, but until now it had ing. It comes with 16 Mic Preamps tors and can run in both redundant to be on a dedicated on XLR inputs with Phantom and switched mode. All LCD labels network,” explains DiGiCo Power status LEDs and four are dimmable and can be customized Technical Sales Manag- XLR Line Outs with using Dante controller software. er, Tim Shaxson. direct preamp The A168D Stage is a portable 16 “Adding control input 8 output I/O Expander, again Dante using the Dante network protocol to connec- provide additional I/O anywhere on tivity not a network. It comes only adds with 16 mic preamps the flexibility on XLR inputs with and famil- Phantom Power sta- iarity of the tus LEDs and 8 XLR line Dante network outputs with direct protocol, but also preamp control from means that consultants the 4REA4 controller and integrators can take software. It runs at 48k advantage of existing and 96k and is AES67 com- network infrastructure patible. Primary and secondary to drop I/O for their ports again come with locking 4REA4 anywhere on the EtherCON connectors and can run in A164D Wall LCD network.” A168D Stage redundant or switched mode.

March - June 2020 62

Audiovisual EM Acoustics’ debuts New Reference Series Loudspeakers

EM Acoustics has debuted the new featuring dual 10-inch LF drivers and the EM Acoustics portfolio, the R10 – flagship model of the new R10 Refer- a 4-inch/2.5-inch mid-hi coaxial unit. along with the rest of the Reference ence Series point source loudspeaker. Housed in an optimally tuned enclosure Series loudspeakers – is voiced with The Reference Series is a low profile, of the acclaimed HALO Series, the R10 is the natural, flat characteristics. ultra-high quality full range point supplied with two different, easily inter- The R10 features a sleek, weath- source loudspeakers with flat frequen- changeable dispersion waveguide op- er-protected polyurethane finish and cy and phase responses. Coupled with tions; a wide 110° x 50° guide for shorter tour-optimized, handling and rigging EM Acoustics’ DQ Series amplifiers, throw applications and a narrower 80° x systems that complete the package. the Reference Series offers a range of 50° option for controlled coverage over The architecture and construction of tools for audio professionals seeking longer distances. Both are rotatable for the R10 combined with EM Acous- high performance in a compact form maximum versatility and offer extensive tics’ FIR processing liberates each factor. pattern control to below 800 Hz. To component to achieve levels of sonic The R10 is a 3-way passive system ensure full compatibility with the rest of performance.

Mackie Thump15As Deliver Immersive Audio at Full Gospel Church

The Full Gospel Church in Sarvodai pleasing loudspeaker system Nagar, Jabalpur is known to be that would deliver top quality actively involved in the development reinforcement for speech and of the community in addition to its music during our regular services, which has garnered a great services. Manjeet Electronics deal of praise for their initiatives. recommended us to opt for During recent times, the church the Mackie Thump15A owing has revitalized the premises with to their trust in its exceptional a much needed dose of ardor and quality and delivery, being energy, thanks to the newly acquired dealers for Mackie them- Mackie Thump15A powered loud- selves; and we’re extremely speakers playing a crucial role in happy with our decision. The faithfully representing the Word of Thump15A offers pristine God through the preacher’s voice. quality audio with remarkable The speakers were installed by Man- flexibility and efficiency and jeet Electronics based in Jabalpur. the fact that the attendees are The management at Full Gospel enjoying the sound says it all.” Church shares, “We were looking for a competent and aesthetically Mackie Thump15A powered loudspeakers

Funktion-One launches smallest loudspeaker models

Funktion-One has launched two cabinet design for desktop use and a bass driver and requires no EQ or con- F5 and SB8 at ISE 2020. Though they compact loudspeaker models – the F5 3/8” microphone stand mount. troller, only crossover filters. A self-pow- are small in size, they are capable of the speaker and the SB8 bass unit. The Funktion-One SB8 is an extreme- ered version will be available soon. high-performance standards that we The Funktion-One F5 is a unique ly compact, yet powerful and convinc- Funktion-One founder Tony Andrews demand from all of our loudspeaker loudspeaker innovation, which offers an ing bass unit. It is perfect for applica- said: “We’re very happy to introduce the innovations.” extremely balanced and natural sound tions where a quality that’s not often found in loud- conventionally speakers of its size. The F5’s ultra-com- sized subwoof- pact dimensions and high output mean er is too large it is suited to a wide range of appli- or obtrusive, cations, including distributed public such as in bars, address systems, bars and restaurants, restaurants, retail as well as domestic applications, such and galleries, as as home cinemas, desktop monitoring, well as domestic and home music systems. applications. The F5 features a Funktion-One The dynamic bespoke wide-range, high-sensitivity and musical 5” driver, an integrated high pass filter SB8 features a for low frequency protection, angled high-sensitivity 8”

March - June 2020 64 Audiovisual

Martin Audio Announce Five New Ceiling Loudspeakers For Adorn Commercial Series

Martin Audio have announced a with a switch to select the further five new products targeting output level. For full-band- commercial installation sector with width protection, the low and in-ceiling and pendant loudspeak- high frequency sections are ers joining the ADORN series. individually protected against The ADORN commercial series overload in all models. has now been expanded by three Comprising a 4” (100mm) LF in-ceiling loudspeakers and the driver and a 0.75” (19mm) silk- company’s first ever pendant dome tweeter, the ACS-40TS speaker, available in white or black in-ceiling speaker produces as standard. 108dB peak output at 1 metre Martin Audio ADORN on-wall and its ported design delivers and ceiling loudspeakers bring strong bass that extends down class-leading performance, reliabil- to 73Hz. The wide 180° conical ity, and value to a wide range of coverage of the ACS-40TS The in-ceiling ACS-55T comprises It also features a wide 150° conical commercial sound installations — makes it particularly suitable for low a 5.25” (100mm) LF driver and a 0.75” coverage. from retail outlets, bars, and restau- ceilings and reduces the number of (19mm) silk-dome tweeter, produces Summing up, Managing Director, rants to corporate offices. With speakers required for even coverage 113dB peak output at 1 metre and its Dom Harter said. “These latest Martin Audio’s signature sound — leading to a reduction in installation ported bass reflex design and back- announcements mean we have characteristics, the ADORN series cost. It features a shallow backcan for can with generous internal volume announced ten new products for is the choice for background and installation in ceilings with a minimum maximizes low frequency output and different markets and applications foreground systems which require cavity depth. delivers strong bass that extends down since the turn of the year. New superior sound quality from visually Featuring a 5.25” (100mm) LF driver to 62Hz. It also features a wide 150° product development is the life- discreet, ultra-compact enclosures. and a 0.75” (19mm) silk-dome tweet- conical coverage. blood of our rapid growth in the last All the new ceiling models have er, the ACS-55TS in-ceiling speaker Finally, the ACP-55T pendant speaker three years and we are continuing a nominal impedance of 16 ohms, produces 113dB peak output at 1 metre features a 5.25” (100mm) LF driver and with that winning strategy in 2020. enabling four or more speakers and its ported design delivers strong a 0.75” (19mm) silk-dome tweeter, I’m delighted with this range of to be driven in parallel by one bass that extends down to 79Hz. The produces 109dB peak output at 1 metre ceiling speakers, in particular the amplifier channel, thereby maximiz- wide 150° conical coverage of the and delivers superb sound quality for company’s first pendant speaker, ing efficiency and minimizing cost. ACS-55TS makes it particularly suitable both music and speech reproduction. and I believe that the extended The new ceiling additions are also for low ceilings and it features a shallow Its pendant enclosure is equipped with ADORN series is a formidable value fitted with an internal high-quality backcan for installation in ceilings with a single-point mounting system plus proposition for the worldwide com- 70V/100V multi-tap line transformer a minimum cavity depth. provision for attaching a safety cable. mercial market.”

RCF improves Touring & Theatre line with RDNet, FiRPHASE and TT 4-A series New products offer Multi-Configuration and Control, With Rotatable Waveguide, FiRPHASE and RDNet on Board

RCF continues to improve its flagship Due to the advanced rig- with up to six modules per line. Touring & Theatre products, infusing ging and 90° rotatable wave- This offers flexibility to rental them with RDNet and FiRPHASE as guide the series offers infinite companies as these enclosures standard, and it has also extended the possibilities. The TTL 4-A’s can either be run in series or range, notably with the three-product rotatable waveguide can be intermixed. TT 4-A series. The new series has been moved from the upper to the All are equipped with designed to deliver top quality sound central position—swapping FiRPHASE 0° linear phase and for highly demanding events, both the woofer, and allowing RDNet as standard. In fact, RCF indoors or outdoors, and for small to the speaker to be arranged now has five products with FiR- medium sized areas. in vertical array or constant PHASE and RDNet plugin fitted TTL 4-A (line array), TTW 4-A (wide curvature clusters with up to to its TT+ series. dispersion) and TTP 4-A (point source) six modules. New Firmware and RDNet on are equipped with 2 x 10” LF woofers The TTW 4-A can used TT+ Series Speakers and high performance 4.0” compres- alone to generate a 100° x RDNet network connection sion driver on a rotatable/swappable 50° homogeneous coverage, embeds now all the TT+ speak- waveguide. The TTL 4-A waveguide is stacked/flown in a column or The TTP 4-A elements can be used in- ers and allows FiRPHASE tech- 100° x 25°, the TTW 4-A offers 100° x 50° arranged in constant curvature clusters dividually to generate a 60° x 25° homo- nology. Older models can be upgraded dispersion and the TTP 4-A is 60° x 25°. with up to four modules, the rotatable geneous coverage, flown in a column by installing the optional RDNet board All models are powered by 2 x 1600W horn allowing the speaker to be used in or constant curvature clusters—again and then running a firmware upgrade Class D amplifiers. both the vertical or horizontal planes. with vertical or horizontal orientation, from the RDNet software.

65 March - June 2020 Audiovisual

Shure Celebrates 95 Years in Professional Audio

Shure Incorporated is proud to directional microphone with a single of intelligent wired and wireless Games, the Academy Awards, and celebrate its 95th year as an industry moving coil dynamic element. microphone systems for A/V confer- by local, state, and national govern- leader in audio technology. From its • SM58 microphone, the industry encing and discussion. ments worldwide. Shure equipment humble beginnings in 1925 as a one- standard worldwide for live vocal • The SM7B microphone, widely used is also embedded in offices of the man company selling radio parts kits, performance. for studio recording, podcasting, largest global companies, bringing Shure has a rich legacy of innova- • Vagabond 88, the world’s first hand- and audio blogs. people together remotely, with clear tions in audio, and today, offers a held wireless microphone. This past year was another notable audio in virtual meetings. diverse portfolio of game-changing • SE Earphones, premium, “in-ear” one for Shure product innovation. The “Whether our customer is a and industry standard wired and earphones with Sound Isolating Company launched TwinPlex, a revolu- musician, audio engineer, lecturer, wireless microphones, personal and technology and unique sound tionary new subminiature lavalier mi- broadcaster, videographer, AV inte- professional listening products, and signatures. crophone; the MV88+ Video Kit, a new grator, content creator, or simply a

Shure Corporate Headquarters, Niles, IL S.N. Shure, 1926

conferencing and meeting solutions. • Axient Digital, the world’s leading stereo microphone to enhance content music lover, Shure has an innovative Shure products are now sold in more wireless microphone system with capture on smart phones; Microflex Ad- audio product to exceed their ex- than 120 countries, and through intelligent hardware and software to vance MXA910 with IntelliMix, a leading pectations,” said Christine Schyvinck, the decades, they have been used detect and avoid interference. solution in ceiling-mounted audio cap- Shure President and CEO. “Our around the world by such luminaries • KSM8 Dualdyne dual-diaphragm ture technology; and the AONIC line of founder, S.N. Shure, was dedicated as Dr. Martin Luther King, Jr., Elvis dynamic handheld microphone, listening products, including AONIC 50 to creating products of exceptional Presley, Pope Francis, Nelson Man- featuring a patented cartridge Wireless Noise Cancelling Headphones sound quality, durability, and techni- dela, The Beatles, and every United design with ultra-thin diaphragms and AONIC 215 True Wireless Sound cal innovation. His vision, combined States President since Franklin D. and groundbreaking reverse airflow Isolating Earphones. with the passion, expertise, and Roosevelt. technology. Shure users include people in the creativity of our Associates, has led Important product innovations • MOTIV digital microphones and re- spotlight as well as the technicians and us through 95 years of success. We throughout the Company’s 95-year cording solutions that deliver great engineers behind-the-scenes. Shure are very appreciative to all of our history include: sound quality anywhere. products can be found in use at the customers and channel partners for • Unidyne I Model 55, the first uni- • Microflex MXW, MXA, and MXC lines Super Bowl, the GRAMMYs, the Olympic their support over the years.”

BishopSound launches Delta dual twin 15” active speaker

BishopSound, has announced a been doubled in thickness compared aluminium BDP15 speakers (rated at brand-new addition to its range of with previous models and is recessed 600w RMS each). BishopSound says highly affordable point source PA to protect it from knocks and bumps this combination gives the user 1300 speakers - the 1,000-Watt RMS Active on tour. Watts capacity allowing for plenty of Delta Dual 15 with DSP. Inside, the Delta Dual Active 15 is headroom. Part of BishopSound’s recently just as rugged. Aimed primarily at DJ Reinforcing the Delta Dual 15’s easy announced move to all-plywood users and Houses of Worship who are to use credentials, the speaker comes construction for its DELTA range of looking for an easy to use, quick to with Bluetooth which means one V5.0 speakers, the 1,000 Watt Delta Dual set-up system delivering huge power Bluetooth device will drive two of 15 active is designed for a tough life and ‘thump’, the Delta Dual 15 offers these speakers in stereo. Alternatively, on the road, being constructed from an easy to use ‘single knob’ digital of course, users can simply connect 18mm (13 ply) birch marine plywood signal processor and a Class D power their music source with an XLR cable or painted with four coats of textured jet amp which delivers 1000 Watts into 1/4” jack, plug into the mains and be black PU paint. Reinforcing the new a BishopSound BRC175 100w RMS ready to start performing. enclosure’s strength, the grille has Compression Driver and a pair of cast

March - June 2020 66 Audiovisual

ABR Cinemas Delivers Powerful and Immersive Audio Experiences with JBL Professional Cinema Audio Solutions

To deliver immersive, dynamic Digital Sound System equipped sound in three theaters, sound the Audi 3 theater with an immersive integrators Digital Sound System 32-channel Dolby Atmos solution pow- equipped ABR Cinemas The Next: ered by a Dolby Atmos Cinema Proces- Gudivada with class-leading JBL Pro- sor CP850 and Dolby Atmos Interface fessional cinema audio systems. DAC3202. To deliver crystal clear sound, ABR Cinemas The Next is a world- Digital Sound System installed JBL 5732 class multiplex located in historic ScreenArray loudspeakers in left, center Gudivada. With three luxurious the- and right positions. aters, ABR Cinemas is one of Andhra To provide additional low-frequency Pradesh’s premier cinemas. To create support, Digital Sound System selected a more immersive AV experience powerful JBL 4642A dual-driver with even, balanced coverage, ABR subwoofers and JBL 4641 subwoofers. Cinemas recently decided to upgrade Digital Sound System mounted JBL its aging audio systems. 9310, 9300, and JBL 8320 cinema sur- ABR Cinemas hired sound integra- round loudspeakers on the walls and tors Digital Sound System to install ceiling to ensure consistent coverage ABR Cinemas The Next three cutting-edge HARMAN Profes- throughout the theater. The system is sional Solutions cinema audio systems powered by Crown DSi 4000, DSi 2000 compact 7.1 cinema audio system in been very good. Working with the featuring class-leading JBL loudspeak- and XLC 2500 amplifiers. the Audi 1 theater, featuring JBL 3732 HARMAN Professional Solutions team ers, Crown amplifiers and state-of- In the Audi 2 theater, Digital Sound ScreenArray loudspeakers in the left, has also been a great experience, as the-art Dolby Atmos processors. System installed a complete 7.1 cinema center and right positions. The system is everyone was highly professional and “We are proud to have been as- audio system featuring JBL 4732 Scree- enhanced with a JBL 4642A dual-driver ensured timely delivery of the project. sociated with HARMAN Professional nArray loudspeakers in the left, center subwoofer for low-end support and JBL I’d recommend JBL Professional prod- Solutions and all of the products re- and right positions. Digital Sound 8320 compact cinema surround loud- ucts for future upgrades at any branch cently installed at ABR Cinemas,” said System selected JBL 4642A dual-driver speakers for comprehensive coverage. of ABR Cinemas.” Dariya Hussain Syed of Digital Sound subwoofers to deliver smooth bass The system is powered by Crown DSi “With a forward-looking approach System. “The JBL Professional 4732 response and JBL 8320 compact cinema 4000 and DSi 2000 amplifiers. A JBL and a focus on quality, ABR Cinemas loudspeakers and 4642A subwoofers surround loudspeakers to ensure bal- CPi2000 cinema processor offers com- wanted to offer a world-class cinema have delivered exceptional audio anced sound in every seat. The system plete control over the system. experience for guests in Gudivada, results. We received the products is powered by Crown DSi 4000 and DSi “We recently had JBL Professional Andhra Pradesh,” said Aditya Todi, promptly and the technical support 2000 amplifiers and controlled using products installed at ABR Cinemas in Senior Director of Sales and Market- from HARMAN Professional Solutions a state-of-the-art JBL CPi2000 cinema Gudivada,” said Ramakrishna Anil Kumar ing, HARMAN Professional Solutions, helped us complete the installation processor. Pechetti, CEO, ABR Cinemas. “The sound India and SAARC. “We’re glad to have on time.” Digital Sound System installed a quality and product performance have been part of this journey with them.”

L-Acoustics launches Milan-certified LA2Xi Amplified Controller for Install

Recognizing that the increasingly ing arts centers, studio monitors, private W per channel. In 4 x 3 configurations, Milan-certified, LA2Xi offers analog and robust installation market demands auditoriums and more. it can drive a pair of X8 reference moni- AES inputs as well as AVB with seamless scalable, economical amplification, LA2Xi adapts to the needs of various tors with a SB15m subwoofer. Bridging redundancy. The rear panel contains L-Acoustics launched its first install-spe- applications, allowing to choose a four-, all channels in 4 x 1 mode, it can power terminal connectors for AES and analog cific amplified controller at ISE 2020. Pri- three-, two- or one-output channel con- one KS28 reference subwoofer with an inputs, loudspeaker outputs as well as marily designed to power L-Acoustics figuration. In 4 x 4 single-ended mode, impressive 2550 W. four GPIO and a 24 V DC backup power compact loudspeakers, the bridgeable it can drive up to 16 X4i or 5XT compact Packaged in a 1U chassis for op- for the DSP card, enabling external 4 x 4 channel LA2Xi offers anywhere coaxial loudspeakers. In residential timized rack space, LA2Xi was tai- control and monitoring, and ensuring from one to four outputs, allowing it applications where maximum SPL is not lor-made for integration applications. fast recovery in case of power loss. to also drive medium and large format required, LA2Xi powers a stereo pair Underneath the streamlined front panel “We are proud to expand our loudspeakers, in full or reduced SPL, for of elegant Syva and Syva Low colinear lies the same DSP engine as the flag- amplified controller range, which is various types of applications. LA2Xi is source loudspeakers. Bridge LA2Xi to ship touring LA12X amplified controller, renowned for high performance and the ideal choice to power background 4 x 2 mode and it handily powers A10i including features for loudspeaker man- efficient amplification to the installa- music in leisure installations, distributed and A15i medium-throw line sources agement, protection and monitoring tion market,” explains Genio Kronauer, fill systems in or KS21i subwoofers with a robust 1260 as well as a comprehensive set of tools Director of Electronics Development perform- for system adjustment and calibration. at L-Acoustics. “From the blank page through to launch, the LA2Xi has been honed to meet the needs and specifications of our installation partners. Its flexible input/output architecture makes it a powerful addition to our line-up.”

67 March - June 2020 TECHNICAL FOCUS – AUDIO DESIGN & ACOUSTICS

Acoustic and Audio System Design for Small Rooms - PART 1

By - Rahul Sarma, CEO, Menura Acoustic Labs In collaboration with Sound Wizard

Acoustic and audio system design for a “small room” can be extremely challenging, especially for critical listening applications like control rooms and reference home cinemas. It is vital to understand the relationship between system design and acoustics, and to accept that neither aspect can be designed in isolation without considering the needs and requirements of the other. In this six part educational series, we will outline many important “small room” design considerations and along the way demonstrate how to effectively tackle common acoustical and system design problems

mall Rooms Haas Effect sound are separated in arrival time by less than approximately 40ms, they are Let us start by defining a “small” room, The simplest way to describe the perceived as one. Because of this, both firstly so that you aren’t utterly disap- Haas effect is through its other name, sounds also appear to come from the pointed at the end of the series, and the precedence effect. If two sources of secondly because understanding the dis- Stinction between small and large rooms is the key to digesting the completely different design approaches to both. In an attempt to keep theory to a minimum, lets just say that small rooms are those where the room boundaries are close enough to create modal issues in the lower frequencies. Extensive low frequency absorption is usually required, and since the first reflections of sound from room boundaries reach the listener extremely quickly, a great deal of care must be taken to prevent early reflections from colouring the direct signal. As a rule of thumb, a room whose largest dimension is under 20m or 65 ft can be considered to be a small room In the first part of this series, we will focus on three basic acoustic and psychoacoustic phenomena Fig.1: The Haas Effect whose understanding are critical to effective design; the Haas effect, comb filtering and phase shift.

March - June 2020 68 same location, which ends up being of the Haas effect in small rooms is the physical location from which the straight forward; your brain is unable first sound reaches your ears. Because to separate the direct signal from early of this powerful psychoacoustic reflections because the arrival times phenomenon, your brain locks into this are too close together! Why is this bad? physical location, and it then becomes The short answer is comb filtering, but very difficult for your brain to reset the concept of phase shift needs to be and convince itself that there are in understood before we open that can fact two separate sources of sound in of worms.

Fig.3: Combing

aware that every audible (and inaudi- with the original signal. Thanks to the bile) frequency has a corresponding Haas effect, this is the resultant wave wavelength. The time period defines we hear in a room. We sometimes the time it takes for one complete oscil- mistakenly attribute the resultant wave lation over that wavelength. While most to the audio system alone, when in audio signals are complex and never fact it is a combination of the room resemble a sine wave, we will still use and source. The colouration affects one to illustrate our concept. the spectral content of the sound In the image below, two audio waves, which goes against the main signals with the same amplitude (level), design goal of any listening space – frequency response and wavelength transparency. The solution is to create BUT different arrival times have been a reflection-free zone, both through added. Because of the different arrival acoustic treatment and/or angling the times, the combination of constructive walls of the listening room. Stay tuned and destructive interference results in Fig.2: Amplitude, Time Period and Frequency of a Wave as we dive deeper into acoustic and the “combing” you see in the image audio system design considerations for different locations. below. As you can imagine, this is not a Phase Shift and Comb “small” rooms! Either the level of one has to be desirable result. reduced significantly, or it has to be Filtering The time delay created a phase www.menuralabs.com delayed by over 40ms. The implication As audio professionals, most of us are shift in the wave, which combined [email protected]

MEYER SOUND INTRODUCES ULTR A-X20 LOUDSPEAKER ... (Continued from page 11) offers equivalent output power and wall or ceiling mounting, or yoke mount is natively aligned with the 750-LFC to 23.50” / 59 cm high by 13.50” / 34.3 cm — thanks to the new coaxial design — in horizontal or vertical orientation at maximize ease of use in portable appli- wide x 11.95” / 30 cm deep. Weight is much more consistent pattern control any angle. Four additional M6 points on cations to allow rapid deployment with 47 pounds / 21.3 kg. below the crossover point.” the heatsink are compatible with most minimal effort. Versions of the USW-112P are The ULTRA-X20 can be ordered industry-standard wall mount brackets. USW-112P Subwoofer offered with either direct AC powering with any one of three connector panel A weather protected version is available The USW-112P compact subwoofer or for integration into systems using options. The two AC powered versions with sealed connectors that eliminate packs robust low frequency perfor- IntelligentDC, Meyer Sound’s technol- both have looping Powercon con- the need for rain hoods. mance into a slender, self-powered ogy for supplying both DC power and nectors with choice of 3-pin XLR for For extended low frequency power, package measuring less than 12” / 30 audio from a remote, rack-mount unit audio or 5-pin XLR for audio and RMS the ULTRA-X20 may be paired with cm deep. The slanted connector panel over a single cable. Optional facilities remote monitoring. An- the new USW-112P allows placement flush to walls, in verti- also are offered for Meyer Sound’s RMS other version is offered for subwoofer, the 750- cal or horizontal orientation, making the system for comprehensive remote integration in IntelligentDC LFC low-frequency USW-112P an ideal choice when stage monitoring. systems (audio and remote control element or or installation space is limited. The USW-112P is supplied standard DC powering on a single USW-210P subwoof- The USW-112P houses a single 12” with a removable carry handle and M8 cable) with a 5-pin Phoenix er. The ULTRA-X20 long-excursion driver along with a high- rigging points on the top and bottom. A connector. ly efficient class D amplifier side-mounted, 35mm/M20 thread pole Two additional variants and advanced digital signal mount receptacle is available as an op- are offered, identical ex- processing. The cabinet design tion. Using an M20 to M8 thread adapt- cept for the patterns of the features a low velocity port, er, the USW-112P can be flown from a rotatable horn: ULTRA-X22 based on the USW-210P, with single eyebolt. An optional U-bracket (80°x 50°) and ULTRA-X23 optimized tuning for linear facilitates mounting to a truss, ceiling (110°x 110°). response and low distortion. or wall. A weather protected version Transport, mounting and Preliminary performance uses sealed connectors (IP-X4 or higher rigging options are offered specifications include a linear rating), eliminating the need for rain for every conceivable peak output (measured with hoods. application. A carry handle M-Noise signal) of 123 dB SPL “The USW-112P is an extraordinarily is standard but easily across an operating frequen- versatile subwoofer,” says Espinosa. removable. Two integral cy range of 35 Hz to 140 Hz. “With its shallow footprint and light M8 rigging points on each Phase response measures weight, it can go anywhere and fit end enable use of a pole ±30° from 45 Hz to 120 Hz. anywhere, from churches and clubs to mount, single point hang, ULTRA-X20 Loudspeaker USW-112P Subwoofer The subwoofer measures restaurants and small theatres.”

69 March - June 2020 Prodct Focus Studio Monitors

JBL 104 Compact Reference Monitors

The JBL One Series 104 reference monitors • System Peak Spl: 102 Db (Pink Noise, 12 Db give content creators the ability to hear all Crest Factor) the details for better results while mixing and • Maximum Spl, Momentary Peak: 104 Db editing. These monitors are ideal for recording • Maximum Peak Input Level (-10 Dbv / +4 musicians, podcasters, and music and video Dbu): +6 Dbv / +20.3 Dbu producers. JBL 104s combine powerful 4.5-inch • Frequency Range (-10 Db Spl): 60 Hz – 20 (118 mm) low-frequency drivers with coaxial Khz .75- inch (19 mm) soft-dome tweeters, potent • Signal To Noise Ratio: 75 Dba (A-Weighted), 60-watt amplification, and innovative acoustic 70 Dbr (Unweighted), Relative to 2.83 Vrms design to provide exceptional imaging, neutral Output On Hf frequency response, and crisp detail. With their • Coverage (Horizontal X Vertical): 120º X 60º sleek, elegant design and compact form factor, • Ac Input Voltage: 100 – 240 Vac (± 10%), 50 they make a stunning statement in any home / 60 Hz PM 100: or pro studio. • Current Draw: 85 Watts The PM 100 features Main Features include: • Dimension (H X W X D): 9.72 in (247 mm) X • 6.5” injected PP cone woofer and 1” silk • Coaxial 4.5-inch (118 mm) LF driver and .75- 6 . 0 2 i n ( 1 5 3 m m ) X 4 . 8 8 i n ( 1 2 4 m m ) dome tweeter. inch (19 mm) soft-dome HF driver • Net Weight: Master Monitor: 4.54 lb (2.06 • Internally powered at 130W (LF: 80W, HF: • Contoured low-frequency port Kg); Slave Monitor: 3.81 lb (1.73 Kg) 50W) it delivers 107dB. • Integrated 60-watt Class D power amplifier; • Enclosure Type: Ported • The mids and highs are clear and detailed; 30 watts distributed to each speaker • Audio Output Connectors: 1 X 3.5 Mm (1/8”) the bottom end extends to 50Hz provid- • Acoustically optimized for desktop place- Stereo Headphone with Auto Speaker Mute ing a tight and warm LF response. ment • Audio Input Connectors: 2 X 1/4-Inch (6.5 • Inserts on the base allow for mounting. • Three sets of inputs allow connection with Mm) Balanced (+4 Dbu); 2 X Rca (-10 Dbv); The PM 100 is thus ideal not only for professional equipment, personal music 1 X 1/8-Inch (3.5 Mm) Unbalanced (-10 Dbv) near-field monitoring for music but also for players and consumer products multichannel applications. • Front-panel volume control Technical Specification: (PM 50 / PM 100) • Front-panel headphone jack with speaker • Description: Biamplified Studio Monitor mute feature Sonodyne PM Series • Enclosure: Heavily braced MDF, vented Technical Specification: • Transducer Complements: HF Neodymi- The PM Series are professional active loud- • Lf Transducer: 4.5 in (118 Mm) um magnet 1” silk dome tweeter speakers for the producing musician. In home • Hf Transducer: 0.75 In (19 Mm), Soft Dome • Transducer Complements: LF 1 x 5.25” or project studios, for tracking and for mixing, • Crossover: 1725 Hz, 1st Order injected PP cone wooder/1 x 6.5” injected the PM 50 and 100 are ideal. • Power Amp: 60 W (30 W Each Speaker), Class PP cone wooder The enclosure is heavily braced double MDF D • Amplifier ype:T Class AB panels. The integrated isolation base minimizes • Sensitivity: 88 Db Spl @ 1 M With -10 Dbv • Amplifier Power before Clipping: LF: 45 residual vibrations. The custom PP cone woof- Aux in (Volume = Max) W, HF: 45 W/LF: 80 W, HF: 50 W ers and the silk dome tweeters are tested to the • System Maximum Spl: 92 Db (Continuous • Amplifier THD at Rated Power: < 0.04% limit so that they retain fidelity at high SPLs. The Power Measured) • Max SPL @ 1M: 104 dB/107 dB Class AB bi-amplifier is reliable and efficient providing 45 W + 45 W for the PM 50 and 80 W + 50 W for the PM 100. On board features include EQ tilts for highs and lows, and level control. Whether ideating, recording, or editing, the PM is an excellent production speaker. Main Features include: The PM 50 features • 5.25” PP cone woofer and 1” silk dome tweeter. • Internally powered at 100W (LF: 50W, HF: 50W) it delivers 104dB. • The highs are open and transparent, mids are detailed, and the bass is tight. • Inserts in the base allow for mounting. The PM 50 is thus ideal not only for near-field monitoring for music but also for multichannel applications.

March - June 2020 70 Studio Monitors are loudspeakers that are designed for professional audio applications like recording studios, and home studios. With varying features and performance levels, to decide which studio monitor is best to choose from becomes tricky. Following is the list of Studio Monitors launched in 2019 to make the choice easy.

Fluid Audio FX80 • Overall Frequency Response: (+/-2 dB) 75 Hz ~ 20 kHz/65 Hz ~ 20 kHz The FX80 coaxial studio monitor offers a wide • Usable Frequency Range: (-10 dB) 65 Hz ~ frequency response in a space-saving enclo- 22 kHz/55 Hz ~ 22 kHz sure. Keeping true to the original “keyhole” • Crossover Frequency: 2.5 kHz design, the FX enclosure has been updated • Input Level for 90 dB SPL @ 1M: 0 dBu with a complex radius front baffle, to improve • Controls – Rear: Power, Volume, EQs cabinet defraction. Mounted in the center of • Protection: Overcurrent, Overheat, RFI, the woofer is a 30mm silk dome tweeter in a • Indicator: Power On / Off coaxial configuration. Using this technology • High Shelving EQ: -2 dB @ 15 kHz makes it a “point source” device, allowing all the • Low Shelving EQ: -2, -4, -6 dB @ 80 Hz sound to emanate from a single point improv- • Signal to Noise Ratio (At Unity Gain): > 90 dB ing off-axis response. (at full output) • Colors: Black Main Features include: • Dimensions (HxWxD) mm: 306 x 194 x • Contoured baffle enclosure design to im- 235/332 x 220 x 262 prove cabinet defraction • Power Consumption PM : 100 VA Max/200 • 30mm silk dome tweeter in a coaxial config- VA Max uration • Power Requirement PM: Two versions: 230 V • Boundary compensation DIP switches AC and 120 V AC, +/- 10% • Class-D amplification and standalone powerful DSP integration • Illuminated LED on the front panel • Front-loaded slot port design Focal Trio 11Be • Updated Tweeter Grille protection Technical Specification: The Trio 11Be is a double monitor designed • Frequency response: 35Hz-22kHz (+/- 3dB) for nearfield and midfield applications as well • Configuration: 2-way Coax as new speaker drivers with high efficiency and • System Type: Active Studio Monitor power handling. It delivers a high SPL (118dB at Sensitivity: Adaptable, +4 dBu or -10 dBv • Woofer: 8” paper pulp composite cone 1m) and offers a great versatility of use. With an • Bass: 300W, class G • Tweeter: 1.2” Soft Dome extended bandwidth (30 Hz-40 kHz), this loud- • Midrange: 150W, class G • Crossover frequency: 2.4kHz speaker is also composed of a 3-way monitor • Treble: 100W, class AB • Low-frequency amplifier power: 60 watts and a 2-way monitor. • Power supply Local supply 230V (1.6A T fuse) - 115V (3.5A T fuse) • High-frequency amplifier power: 50 watts Main Features include: Wiring: Connection Detachable IEC inlet • Signal-to-noise: 90dB (typical A-weighted) • High SPL: 118 dB @ 393/8’’ (1m). power cord • System Volume: -30dB to +6dB • FOCUS Mode: two monitors in one with • Indicators and controls: Rear panel Input • Polarity: Positive signal at + input produces remote switchover. sensitivity selector (+4dBu/-10dBV) outward LF one displacement • Pure Beryllium inverted dome tweeter: very • Low frequency shelving (+/- 3dB from 35 to • Size (single monitor): 340*254*295 / low directivity, linearity, and dynamics. 250Hz) 13.4*10*11.6 • ‘W’ composite sandwich cone on woofer High frequency shelving (+/- 3dB from 4.5 • Weight (each): 7.8 kg / 17.2 lbs and subwoofer: neutral sound, no distortion. to 40kHz) • Bass, mid-bass and treble settings on rear • Low-mid EQ frequencies (+/- 3dB to 160Hz, panel: optimum acoustical integration. Q factor = 1) • Optimized decoupling of the midrange FOCUS input / FOCUS output speaker driver thanks to silent blocks. • LED: Focus power on, clipping and default • Ultra-low distortion and noise. LED: on front panel • Rotating mid-treble plate: can be positioned • Subwoofer: 10W96701D horizontally or vertically Focal 913/16” (25cm) speaker driver with ‘W’ Technical Specification: composite sandwich cone • Frequency response: • Construction: 13/16 and 1³′¹⁶” (21mm and 3-way mode 30Hz - 40kHz (+/- 3dB) 30mm) panels with internal Braces 2-way mode (Focus) 90Hz - 20kHz (+/- 3dB) • Finish Natural veneering side panels Dark • Maximum SPL red burr ash, black Body 3-way mode 118dB (peak @ 1m) • Dimensions with four rubber feet 25” x 2-way mode (Focus) 105dB (peak @ 1m) 139/16” x 173/4” (635 x 345 x 450mm) • Inputs Type/Impedance Electronically (HxDxW) balanced / 10KOhms • Weight: 82.2lbs (37.3kg) Connectors: XLR

71 March - June 2020 Genelec 4430

The 4430 is a two-way active installation loudspeaker, that accepts both Dante and Dynaudio Core Series AES67 IP audio streams, and derives power via both PoE and PoE+ Power-over-Ethernet The Dynaudio Core Series professional formats. Through its Smart IP technology, reference monitors are the flagship monitor in integrators can streamline audio system instal- the Dynaudio’s high-end professional refer- lations using a single category cable. The 4430A ence series. Featuring state-of-the-art Class D is designed for indoor use.. amplification, cutting-edge DSP, the Core Series Main Features include: delivers flat and accurate response. Dynaudio’s • Compatibility with both Dante and AES67 IP latest Esotar Pro HF driver provides hours of streams pinpoint imaging detail without the listening • PoE+ technology fatigue. The series comprises of Core 59, Core • Smart IP Manager software with device 47, Core 7, and Core Sub. discovery Main Features include: • Capacity for virtually unlimited rooms, • Esotar Pro Tweeters zones, loudspeakers and audio channels • Breathtaking accuracy • Uncompressed, low latency audio with • Front-loaded bass reflex cabinet design sub-microsecond synchronization • All drivers handcrafted by Dynaudio in Tannoy Gold Series • Support of eight audio channels with sam- Denmark ple rates of 32 – 96 kilohertz and 16 – 24 bit • Core DSP optimizes imaging, balance, and Tannoy Gold nearfield reference monitors resolution bass extension have been created to serve the demanding • 5-inch woofer and 3/4 inch metal dome • Analog and digital inputs needs of professionals in recording, broadcast, tweeter • Sampling rate: 192kHz, resolution: 64-bit; and post-production environments. Engineered • Class D power amplifiers, one for each driver dependent on the input signal to the highest standards and build quality, the Technical Specification: Technical Specification: Gold Series impresses whether a seasoned • Lower cut-off frequency, -6dB: ≤ 45 Hz • Tweeter: 1in Tannoy user or just taking the first step up to a • Upper cut-off frequency, -6dB: > 39 kHz • Midrange: 5in monitor system based on the legendary Dual • Frequency response within ± 1.5 dB 58 Hz • Woofer: 9in Concentric driver. – 20 kHz • Inputs: Analogue and AES3 digital inputs The Gold Series comprises of three models: • Minimum delay from analogue input to • Maximum 24-bit/192 kHz: Depending on the Gold 5 that features a 5″ mid/bass driver, acoustic Output : 2.3 ms input signal the Gold 7 with a 6.5″ and the Gold 8 with • Short term max SPL: ≥ 104 dB SPL • Maximum SPL: 112 dB @ 1 m anechoic, an 8″. Each loudspeaker’s incoming signal is • Long term max SPL: ≥ 96 dB SPL 118 dB half space divvied up by a powered crossover before it is • Maximum peak acoustic output per unit at 1 • Crossover Frequency: 385 Hz (LF/MF) / sent to two Class A/B amplifiers – one for the m, using PoE+ power: > 107 dB SPL 5000 Hz (MF/HF) tweeter, one for the mid/bass driver – for a total • Dispersion angle (degrees), horizontal: 120° • Frequency Response: 36 Hz – 31 kHz -6 dB of 200 watts in the Gold 5, 300 watts in the Gold • Dispersion angle (degrees), vertical: 100° • Frequency Response: 42 Hz – 27 kHz +/- 3 dB 7, and 300 watts in the Gold 8. • Amplifier Power: 50W Bass (Class D) + 50W • Principle: Front-loaded bass reflex Main Features include: Treble (Class D) • Amplifiers: Pascal Class-D. HF 150 W/MR 500 • Precise and neutral soundstage • Bass driver: 130 mm (5 in) cone W/LF 500 W • Dual Concentric driver technology • Treble driver: 19 mm (3/4 in) metal dome • Dimensions (WxDxH): 280 x 380 x 550 mm • Front-firing bass port • Weight: 5.1 kg (11 x 15 x 21 11/16in) • Titanium tweeter with Tulip waveguide • Height: 285 mm (11 1/4 in) • Weight: 24.6 kg (54.2 lb) • Width: 189 mm (7 7/16 in) • Class-AB system • Depth: 178 mm (7 in) • Transducer-matched LF and HF bi-amplifica- • Enclosure Material: Die cast aluminum tion • Enclosure Type : Reflex port • Dedicated input trim, bass and treble controls • Selectable automatic standby mode Technical Specification: • Maximum Output Power:300W • Amplifier ype:T Bi Amp via Class-AB • Maximum SPL: 110 dB • Transducers: Dual Concentric with titanium twitter & Tulip Waveguide, 1 x 8” (203 mm) LF driver • Nominal Dispersion: 90° conical @ -6 dB point • Frequency Response: 54 Hz – 20 kHz ±3 dB • Limiter: Independent high and low frequency limiters • Inputs: 1 x XLR, balanced 1 x ¼ “ TRS, balanced 3.5 mm stereo mini jack • User controls: Power on/off, Input trim, HF trim, Bass adjustment, Auto-standby on/of

March - June 2020 72 Transformation of Studio Recording Industry in India

Vipin Pungalia, Director - Professional Segment, Sennheiser Electronics India. 9th century is known for the miraculous revolutions that 1have been remembered till room echo while placing the micro- consumers. date. The intervention of sound phones away from the original sources. KH 750 DSP Compact DSP-con- reproduction in the late 19th century The IFPI report, the recording industry trolled closed cabinet subwoofer, can be considered as one of the worldwide, found in a recent survey particularly suitable for small rooms, biggest examples of these revolu- that Indian consumers spend 21.58 can be operated with the small Neu- tions. It is believed that since the hours per week listening to music, mann KH 80 DSP studio monitors, but intervention of sound reproduction, higher than the global average of 17.89 of course also with other loudspeaker studio practices in musical recording hours per week – clearly making India systems. The sound in the closed evolved alongside with technologi- a music-loving country.1 The report housing is produced by a long-stroke cal advancements. also shows that the recording industry driver with a diameter of 10 “, a DSP The intervention of technology worldwide, India, currently ranked 15th helps to optimize the sound output. has made a significant effect on the in the world, is well-positioned to break In addition to this, KH 420 G-Powerful entire studio ecosystem. Studios into the top 10 music markets by 2022.2 tri-amplified midfield studio monitor and modern engineering became a Gradually, the valuation of studio is a high-precision dispersion with major influence on the way music ecosystem has gone through so many tremendous sound level reserves was shaped during the 1960s when delocalization of professional recording changes with the help of significant which is designed for a working musicians’ and producers began studios. It is considered that the tech- technology. The devices, gadgets distance of 1.5 to 3 m (5’ to 9’). It to use the technology that was nique which is known as Electrical re- and editing software become more handles the space effortlessly thanks available to them in a creative man- cording was first introduced by the end advanced and special with time. This to great power reserves and precisely ner. It was also during this period of World War. This technique enabled great combination has underwritten to concentrated dispersion. Even in that musicians became not only the amplification of microphone signals, improving the entire audio and music diverse acoustical environments the consumers of musical gadgets, but together with playback on loudspeak- experience for creators and audience as KH 420 G remains neutral and clear patrons of engineering technology. ers. Over the last 75 years, Sennheiser well. Considering the need of the entire in every detail down to the subtlest The increase in studio technology al- has been at the forefront of shaping the ecosystem of the studio including the nuances. In addition to these two lowed one person to enter a studio, future of audio with its innovative range growing audience, professional artists, products, Neuman NDH 20- STUDIO to understand how to use various of products. It has consistently raised and creators, it becomes important GRADE MONITORIN is a high qual- pieces of technology and leave with the bar with the superior audio experi- for brands to produce more products, ity headphones that are created to a finished piece of music. With time ences, especially, in studio recording. equipment and technologies that con- balance the sound quality as per the the music producing technology During 1920, the evolution of elec- tribute to their music creating process critical listening experiences against has been changed as well as the trical recording inspired the recording to make it more consumable. other aspects that are necessary in a methods of recording has also got industry to create higher-quality record- During any recording in the studio, studio setting, like comfort, isolation transformed. ings that saved increased attention for even a minimal sound can completely and ease of maintenance., and U87- In recent time, digital technology the listeners. The recording techniques change the output. Hence, at Sennheis- AI Studio Set microphone are known and internet file-sharing has led to allowed the users to experience natural er, we have products that are effective as most widely used product for over and help maximize 50 years and are a perfect amalgama- the in-studio perfor- tion of linearity and classic Neuman mance. We have an engeeneering. extensive range of With the emergence of the latest offerings specific only technology, consistently increasing to studio recording music-taste and digitalization of needs. Our Neumann platforms have increased the growth studio equipment possibilities of studio ecosystem in such as Neuman the coming decade and there are KH750 DSP, KH 420 chances that the studio recording tri-amplified midfield segment will see considerable studio monitor, growth and evolution. This will NDH 20 monitoring automatically boost the demand headphones, and for superior professional equipment U87 microphone with revolutionized technology while have been created giving us a motivation to produce/ while understand- innovate such ground-breaking ing the need of the technology.

1 https://www.musicplus.in/indian-recorded-music-industry-major-growth-driver-revenues/

2 https://www.livemint.com/industry/media/indian-music- Vipin Pungalia (centre) addressing visitors at a Trade Show industry-grows-24-5-in-2018-1554215051388.html

73 March - June 2020 POST-LOCKDOWN SUGGESTIONS Sequence of Steps to follow on Resuming Studio Operations post an extended duration of shutdown

Munro Acoustics India has put together a suggestion/ guideline document after consulting many studios and engineers across the world to aid their clients in the Indian Subcontinent, Middle East and SE Asia. PT has featured the same for the benefit of the industry. Munro Acoustics India or PT will not be held responsible for any mishap/ accident/injury caused using the guidelines and steps mentioned in this article on resuming Studio Operations.

Article by: Kapil Thirwani, MIOA, Electrical: MSc Audio Acoustics, • Ensure all the MCBs in your Distribu- BEng Electronics; [email protected] tion Box are in the OFF position. • Ensure all the switches, power • Clean the cables with I.P. and cloth. housings, head baskets and accesso- outlets etc. in the premises are in the • Clean the Monitor speaker’s drivers ries, both before and after use. OFF position. and surface with I.P. soaked cloth gen- • Leave the microphone unused for • Switch ON the mains to the Distribu- tly. (Use dry cloth on paper cones). some time. tion Box. display will indicate when it is safe to • Utilise separate accessories such as operate). • Switch ON only the lighting load Follow the below steps windshields to add protection. MCBs. HVAC: to turn on your Studio • Use of hand sanitiser installed on • Sequentially switch ON all lights in mic stand simultaneously is encour- • Clean the Air Filters of all HVAC Equipment sequentially: the premises. Keep an eye out for aged like shown below. units. (High wall units have these • Before Powering up the equipment flickering lights or any light that fails For cleaning microphone housings in their indoor units, for Ducted switch ON a dehumidifier and AC to turn ON (turn OFF the switch for from any soiling, including human systemsplease call your HVAC ser- (Dry Mode) and run it for at least 8hrs. all flickering/non-functioning lights exhalations, you may use ethyl alcohol viceman). • After 8 hrs switch on the Computer and circuits). (ethanol) or isopropyl alcohol (Isopropa- • Switch ON the Raw-Power MCBs in • Switch ON the MCBs for the HVAC and run it on the UPS for the 1st day nol/I.P.). Used as a disinfectant, typically the Distribution Box. units from the Distribution box. (Do not turn on your Monitors). a 70% solution is used. Apply with a • Check the PHASE-NEUTRAL voltage • Switch ON each HVAC unit one at a • Post ensuring stable operation of all disposable soft cloth, a soft brush or at various raw power outlets using time allowing a minimum of 30mins devices for a Day, you can switch on paper tissue. Make sure that the liquid a AC Multi-meter (it should be fairly of operation before switching on the the Monitor speakers. is applied only to the outside of the mi- stable and around 230V (+-5V)). next unit. • Switch on the equipment one by one. crophone and does not enter the inside • Check the PHASE-GROUND voltage • Schedule HVAC servicing as early as • Switch off any device that seems to or the capsule. possible. be operating abnormally, and have (it should be similar to the above) (Please Note Isopropyl Alcohol (I.P.) it checked by the service agency. • Finally check the NEUTRAL-GROUND may wipe out the paint, labels, words Cleaning and powering • Let all equipment remain switched voltage (it should be preferably printed on the equipment, cover it below 2V). up equipment: on for at least an hour before run- with masking tape or transparent tape • In the event of an extremely high/ • Clean the Rack mounted/Standalone ning audio. before applying any I.P.) low or severely unstable voltage gear, Computers, Screens, Televi- • Run the audio signal test check the reading, avoid turning on any equip- sions and Speaker Monitors gently inputs and outputs levels. ment and get it checked by your with dry microfibre cloth. electrician at the earliest. • In humid areas, dust may collect as Protecting & Cleaning • Switch ON the Refrigerator and grime over surfaces. Use Isopropyl Microphones: Alcohol (I.P.) on microfibre cloth to allow it to stabilise (preferably 24hrs, To reduce the risk of spreading dis- but 3-4 hrs minimum). clean this. eases through bacteria and viruses, one • Switch on the UPS and check for any (Please Note Isopropyl Alcohol (I.P.) or more remedies, explained in detail error LEDs or beeps...allow it to stabi- may wipe out the paint, labels, words below, may be used: lise (the batteries usually take about printed on the equipment, cover it • Ideally, have one microphone per 12-18hrs to charge, depending on with masking tape or transparent tape user (including the accessories). the residual charge left, but the UPS before applying any I.P.) • Clean all surfaces, i.e. microphone

March - June 2020 0074 • Do not use rough materials which possible on a weekly basis. reminding staff to wipe down kitch- on hygiene and cleanliness and might scratch the surface. Do not • Avoid using public transport (when en touch points (i.e. kettle handles/ the increased need to uphold this use any solvents stronger than operational) to get to the studios, or coffee machines/microwaves) to be throughout the studios and in com- ethanol or isopropanol (I.P.), as these home from the studio. clearly displayed and antibacterial munal areas. Engineers and assistants might damage the surface. • If clients are feeling unwell on the spray provided for this. to commit to washing their hands at • Never use sprays, as these can day of the session or are exhibiting • Where there are multiple studios regular intervals, particularly when deposit on the membrane and thus any signs associated with COVID19 in one building, a separate toilet / entering, or re-entering premise after damage the microphone capsule. they should not attend the session bathroom to be allocated to each phone/toilet/smoking breaks. • With some microphones, the head and contact the studio immediately. studio and clearly indicated with • ‘ Deep clean’ intensive cleaning basket can be easily removed for Please don’t hesitate to check body prominently visible signage. organised with government/health cleaning. Make sure not to touch or temperatures via non-contact ther- • Session start times to be staggered agency approved cleaning partners damage the capsule. mometers of anyone entering the whenever possible on premises with with a focus on anti-bacterial cover- • With the head baskets containing studio premise for safety’s sake. multiple studios. Studios should age on all touch-points. foam windshields, remove the inner • Reception and communal areas reserve the right to install additional • Alcohol wipes to be available in com- foam and clean it separately. should be marked at 2m intervals security on the main entrance. This munal areas and in studios for wiping down of touch-points/door handles/ • Metal head baskets may also be to encourage social distancing. will help with managing kitchen and light switches before use and at reg- cleaned on the inside with ethanol Corridors to be clearly marked to bathroom areas as well as corridors. ular intervals. Clients are encouraged or isopropanol. state that only one person should • Studio should promote unattended to bring their own keyboard/mouse/ • Not using a microphone for a min- use them at a time. remote sessions wherever possible, phone & laptop chargers to use in imum of 6 hours, before using for • Hand sanitising points should be set else limit the number of people the studio, if preferred. another artiste, will significantly re- up in reception areas and in studio attending sessions to the absolute • Staff who are asked to do food runs duce the possibility of any infection control rooms with clear signage en- minimum (2 for 10/12 sq.m., 3 for by clients should not handle cash – deposited on the metal surfaces. For couraging their use upon entry and 12/15 sq.m. etc.) in order to mini- payments should be made by card/ plastic or cloth accessories, an ex- exit. Hand sanitiser and liquid soap mize the number of people passing online only. tended period of 48 hours or more is dispensers to be readily available at through the studios. All attendees’ • All staff members to adhere to the needed to achieve similar results. all times in bathrooms. names and contact details to be • Kitchen facilities only to be used by provided before the session during government guidelines of isolating General Work Ethic sug- staff team (i.e. no food preparation the booking. Only those on the themselves for 14 days if they are experiencing a fever or cough, and to gestions based on many to be done by clients, all refresh- booking form will be allowed access to the building. Non-essential parties inform the studio immediately if this Studios Operational ments and use of microwave to be done by staff) and clearly marked as to join via Skype/Zoom/Google occurs. Any artist or client displaying Internationally: such. Clients to bring their own food Hangouts. symptoms to refrain from visiting • Work with two Staff teams (A&B) if and water where possible. Signage • All staff must be briefed thoroughly the studio.

March - June 2020 00 Lighting Elation debuts Artiste Rembrandt LED Wash

Elation Professional has added to its superior wash output. With a fast zoom color combinations that world-class Artiste range of high performance mov- range from 8° to 72° and an impressive lighting designers require. ing heads, the Artiste Rembrandt LED 180mm front lens, the Rembrandt has The Rembrandt also incorporates Wash. With superior output, unmatched the power to cut through at even great an innovative wash texture concept color and a package of design options distances in arena touring environ- that gives the designer new tools that includes an innovative wash tex- ments or large TV or theater stages. to wash stages while providing soft ture concept, the Artiste Rembrandt is The Artiste Rembrandt houses the textures and depth. Two inde- designed for service on even the largest 7-flag SpectraColor color mixing system pendent animation wheels allow stage. as the Artiste Monet. Exclusive to Elation for directional motion, including The Artiste Rembrandt’s Fresnel lens Professional, SpectraColor combines in- overlapping and counter-rotating optics and hotspot LED engine provide dustry-standard CMY color mixing with motion effects for texturing and an optimized wash field and high complementary RGB flags for the ability layering possibilities that are unique center intensity that make it an ideal to fade between the softest pastels to to the fixture. The fixture also houses wash solution for high output appli- deep saturated primary colors. With dual variable frosts (medium, heavy) cations. This robust moving head uses the addition of variable CTO, as well as for even more flexibility and a high- 950W 6,500K Bright White LED engine a fixed color wheel with UV and high speed iris can be engaged for further to power out up to 51,000 lumens of CRI options, the Rembrandt offers the impression.

ADJ Introduces Next Generation LED Video Panels

ADJ has introduced the Vision density), the VS3 has a 3.91mm pixel and lightweight (17 lbs. / 7.7kg.) panels has also been created specifically for Series, the next generation of LED pitch (128 x 128 pixel density) and the extremely easy to carry and rig. protecting and transporting up to video panels. The new ‘VS’ Vision VS2 offers the highest resolution in the The VS Series is completed by a range eight Vision Series LED panels. The Series of LED video panels offers a range with a 2.97mm pixel pitch (168 of accessories that can all be used robust wheeled road trunk features versatile modular solution that has x 168 pixel density). All three panels interchangeably with any of the panels eight padded slots for the panels, a been developed to make life easier utilize 3-in-1 RGB SMD2121 LEDs with a in the range. The VSRB1 is an intelli- hinged lid that locks in place using for video professionals installing brightness of 1000 NITS and a very high gently-designed rigging bar that can two butterfly catches, a rubber LED walls on either a temporary or refresh rate of 3840Hz. They offer a wide be used to vertically hang or ground bumper strip that runs around all four permanent basis. Each panel in the viewing angle of 160° (horizontal) / 140° stack up to 20 VS panels. The VSRQR is sides of the case, and two recessed range features four individual mod- (vertical) and a high contrast ratio of a convenient ‘quick rig’ attachment that bar handles on either end. It also ules, which are front serviceable, 5000:1, allowing for the delivery of ex- fits to the rear of any Vision Series panel features a useful clear plastic window making it ideal for temporary hang- ceptionally vibrant video reproduction. so that it can be fastened directly to a 2” that runs down one side, allowing users to easily identify how many panels are stored in a case without opening the lid. “ADJ video panels are now used worldwide, installed permanently in churches, nightclubs and entertainment centers, and utilized by production companies working on all kinds of tours and one-off events. For the new Vision Series, we’ve combined everything that made the AV Series so popular – value, reliability VS5 VS2 VS3 and ease of use – while also addressing the feedback we’ve received from our ing as well as permanent installation. All of the panels feature in-built pipe or truss. The VSSCSB is a support valued customers. Front serviceability Across the range, the modules are all articulated protectors which fold out base that allows up to three VS panels is something that integrators often mounted to the same frame, allow- from the back of the unit to provide to be mounted in a freestanding col- ask for, which we are pleased to offer ing panels of different resolutions to protection to the corners – the parts umn, ideal for temporary digital signage throughout this new range, while the be used together. of the panels most prone to damage – applications. The VSMRT is a module innovative magnetic rigging system Featuring the highest quality during transit. In addition, each panel removal tool that magnetically attaches offered by the Vision Series will make LED binning as well as bright, clear also features a convenient recessed to the front of Vision Series panels to aid life a whole lot easier for our event output, the VS Series features three carry handle built-in to its top edge. technicians in removing modules from production and touring customers,” panel models. The VS5 offers a This makes the compact (19.68” x 19.68” the front side when servicing. explains ADJ USA’s National Sales 5.95mm pixel pitch (84 x 84 pixel x 2.75” / 500mm x 500mm x 69.6mm) A dedicated flight case, theVSFC8 , Manager, Alfred Gonzales.

March - June 2020 76 Lighting Obsidian Control Systems announces ONYX 4.4 featuring DYLOS pixel composer

Obsidian Control Systems has the design process and encourages play- console, offering seamless program- collection, any custom user content can announced the release of ONYX 4.4 ful experimentation rather than an overly ming and playback through its opti- be imported at any time in almost any lighting control software, which fully technical and uninspiring approach of mized user interface of live previews, codec and size. integrates Obsidian’s DYLOS pixel com- numbers and values. thumbnails, library and FX browsers, An unrestricted trial version of two poser, opening up DYLOS Zones and up to four new possibilities Universes of DMX is enabled for the creative automatically for any ONYX designer. Inte- PC installation and is a gration of DYLOS great way to experience the into the ONYX power of DYLOS in combi- platform brings an nation with the free content innovative toolset package. PC systems can be of media com- easily unlocked through the position, effects, plug-and-play ONYX KEY, content, and text instantly expanding ONYX to generators, along with a large variety of Power and performance and dynamic parameter control. 128 Universes. parameter manipulation, right into the Based on a full 3D environment and Free content package / unrestricted ONYX 4.4 is compatible with all ONYX core of any ONYX console or PC system. powerful DirectX graphics processing, trial NX4 and NX2 consoles, all ONYX PC Create new ideas the DYLOS engine has been designed As part of the launch, Obsidian Con- systems and the M1HD and M2GOHD Creative control with DYLOS offers the for power and performance to manage trol Systems is offering users of DYLOS a M-Series controllers. A variety of USB de- designer a diverse tool set to support the tens of thousands of fixtures and carefully curated content package with vices like the NX-Touch or NX-DMX are performance with organic color compo- parameters with ease. DYLOS is natively over 1100 media files in many cate- supported to customize and tailor the sitions and animations. DYLOS enhances integrated into the operation of the gories. In addition to this large media ONYX experience to any application.

ADJ introduces Element ST HEX - Compact Wireless LED Uplighter

ADJ has announced the availability DMX programming. In addition, the unit selection. WiFLY DMX and robust, yet intuitive- of its most compact wireless LED offers variable speed strobing (0.1Hz “The original Element HEX remains ly-designed, body makes it a popular uplighter to date, the new Element to 11Hz) and pulse effects, as well as an extremely popular product,” choice for a wide variety of rental, ST HEX. Building on the success of 0-100% master dimming with a choice explains ADJ USA’s National Sales production, décor and entertain- ADJ’s popular Element Hex, the new of five different dimming curves. Manager, Alfred Gonzales. “It’s comment companies. However, with the model features powerful output, an The internal fixed lithium battery with bination of 6-in-1 hex LEDs, long life continued advancements in LED and extremely compact design as well a capacity of 6.6AH (Amp Hours) suffi- rechargeable battery, in-built wireless lithium battery technology, we are as a full color touch screen display ciently drives the pleased to now be able to for extremely easy setup and DMX LEDs for up to 15 offer the Element ST HEX addressing. hours using a single as an even more compact Featuring four 6-Watt HEX (Red, LED color on full option. Ideal for anyone Green, Blue, Amber, White + UV) LEDs brightness, which looking for an extremely the fixture offers smooth color mixing can be increased to unobtrusive wireless wash with an almost limitless palette. The as much as 25 hours fixture – as well as anyone inclusion of both amber and (cool) using the lower with limited transport white LED elements means that it can intensity ‘power or storage space – the be used to create white light with a saver’ modes. fixture also has the added wide variety of color temperatures. The unit also advantage of a color Meanwhile, the UV LED element not features an in-built touch screen that makes only allows for the creation of the ADJ WiFLY EXR mode selection and DMX classic ‘blacklight’ effect where white (extended range) addressing easier than and fluorescent materials glow vivid- receiver that can be ever before.” ly, but it can also be combined with controlled via DMX As well as offering the the other primary colors to create wirelessly using a Element ST HEX as an indi- hues such as hot pink, electric purple compatible control vidual fixture, ADJ has also and lime green that aren’t possible system. In addi- put together a package ADJ Element ST HEX using tri/quad color uplighters. tion, it also has an that combines four of the Although the fixture allows for infrared sensor for uplighters with an ADJ Air- full color mixing, through altering use with ADJ’s UC- stream DMX Bridge. This the intensity of all six of the primary IR remote, which is bundle is known as the LED color elements, it also comes supplied with the Element ST HEX Bridge pre-programmed with 63 built-in fixture. This allows Pak and provides an all- color macros. These allow for easy for simple control in-one uplighting solution static color washing to be setup over basic features that can be controlled without the need for any external such as blackout from a tablet using ADJ’s control and also help to speed up and color macro Element ST HEX Bridge Pak Airstream DMX APP.

77 March - June 2020 Lighting PR Lighting launches two corrosion-resistant versions of IP66 moving heads

PR Lighting has announced two new ors include CYM linear mixing system the fixed and rotating gobo IP66-rated outdoor moving heads that with macros, a color wheel with 12 wheels. Features also include are both marine grade: the 3-in-1 AQUA color, Rainbow effect with bi-directional an independent frost filter. Marine 580 BWS and AQUA Marine 580 and variable speeds and Stepping/ Other functions include DMX Beam. Linear color changing, while the color linear focus and zoom; 0-100% The double-layer special coating of filters can be in any position. They also dimmer (linearly adjustable); the chassis, accompanied by PR’s patent boast a linear CTO system. double shutter blade strobe pending sealing system, makes both The products accommodate one (0.3-25 fps, random strobe). Head AQUA Marine 580 fixtures resistant to a fixed gobo wheel (containing 17 gobos movement consists of 540° (pan), wider range of corrosive media, making plus open), bi-directionally rotatable 270° (tilt), with auto position correction. ArtNet; Optional wireless DMX512. them ideal for use on projects close to and shakeable at variable speeds. There AQUA Marine 580 BWS light angles are Both fixtures are contained in dust- the seashore or in sea water. is also a rotating gobo wheel, with 0°-2° (Beam), 2°-40° (Spot) and 3°-50° proof and water-proof cast alumini- Housing either a Philips MSD Plat- seven interchangeable rotating gobos (Wash). AQUA Marine 580 Beam has a um, high-temperature resistant and inum 25 R lamp or Osram Sirius HRI (plus open). dedicated 2° beam angle. UV-resistant engineering plastic, with 550W XL, both the AQUA Marine 580 There are four different facet prisms, Ancillary features include Adjustable IP66 protection grade. They are marine BWS (PR-2596) and AQUA Marine 580 which can be overlapped. The graphic Pan & Tilt speeds; Lamp / Fixture hours grade corrosion and neutral salt spray Beam (PR-2568) are fully featured. Col- effect wheel can be overlapped with displayed; RDM protocol; Optional resistant up to 1500 hours.

Absen Launches Venus LED Series

LED manufacturer Absen has (1500 x 1000) and fast locking sys- announced the launch of a new tem thereby saving on time. It is also super-lightweight touring solution easier to maintain and upgrade as the for rental stagers at ISE 2020. The modules can be swiftly switched out Venus (VN) Series is an innovative without the need to take apart the LED display that has been specifically frame structure. designed for concerts and festivals The VN Series will be available in two due to its ability to create super-sized standard sizes: 1,500mm (W) x 1,000mm screens at speed. The product fea- (H) and 500mm x 1,000mm, in order tures a unique integrated ‘module- to allow for fully customized options. It on-frame’ design. At 27.5 kg/sqm, will be available in 3.9mm, 4.8mm and it is the lightest integrated touring 8.3mm pixel pitch versions, boasting display solution on the market, up to 5000 nits brightness and black allowing creative teams to cut back face LED. The VN Series also allows for All Venus LED panels are fitted with on weight, save cost and build even concave and convex curving options for carbon fibre pipes with special anti-slip bigger LED walls – up to 20 metres highly creative video wall designs; with coatings to ensure the safety of climb- locking system with big-sized handles in height. horizontal free-adjustable variances of ers, with additional safety hooks so rig- are simple to use even with thick The VN Series is far quicker to -10 to +10 degrees, allowing fixed posi- gers can secure themselves at every step gloves on, with color-coded lock/un- install thanks to its big cabinet size tioning at -10°, -5°, 0°, +5° and +10°. of the building process. The VN’s easy lock markers and vertical auto-lock for an improved user experience. The product can be easily hung, stacked, and transported, thanks to a Elation shipping Fuze SFX LED Spot FX luminaire 5-in-1 dolly system, which has been carefully calculated to allow two rows and three columns to fit in a 40HQ Elation Fuze series is expanding the utilizing its variable frost filter while a container, allowing for 315 sqm of high-value line with the Fuze SFX, a wide array of beautiful colors is possible LED panels per truck. Wind bracing is new concept LED Spot FX moving head from a seamless CMY color-mixing also available and can withstand gale designed for a variety of applications system plus 7-position color wheel. force winds of up to level 8. requiring a compact and powerful Housing 18 carefully designed gobos Amy Tang, VP of product at Absen, multi-purpose luminaire. and a 4.5° to 38° zoom, the Fuze SFX comments: “The VN has been de- The Fuze SFX is a unique combina- can create stunning mid-air FX as easily signed with the customer in mind at tion of spot and effects fixture capable as precise image projections. every step of the way. Not only does of projecting tight beams to wide wash- The Fuze SFX is powerful enough the product deliver a visually stun- es using a highly efficient optical design to use in all sizes of rigs and because it ning performance for punters, it is while providing over 12,000 lumens of is remarkably silent can be utilized in radically different to what is currently output from a 300W White LED engine. noise sensitive environments like the- available on the market and will see Unveiled at the LDI show in November, atres, TV studios and houses of worship. customers save on costs, weight, and the fixture received an enthusiastic It is outfitted with all the professional time, thanks to its unique module-on- response and is now shipping. control features that designers should frame design. The SFX allows for even stage washes expect from a modern luminaire.

March - June 2020 78

Lighting CLF Launches Odin and Poseidon

CLF lighting announced the launch The RGB+Lime LED engine ing. Based on the successful CLF of the CLF Odin and the CLF Poseidon generates a rich color set, from Aorun, the Poseidon comes with at the ISE 2020 in Amsterdam earlier vivid and saturated colors to a fast and accurate feature set this year. subtle pastels. Adding lime fills the including a double prism, gobo CLF Odin gaps between red, green, blue and wheel, animation section, and The Odin combines cutting-edge LED enhances the color spectrum of frost. The 190mm wide lens technology, excellent light quality and the fixture. It also adds beautiful and unique optics allow big a sturdy outdoor housing. Designed white tones to the feature set. mid-air effects with a bright for high-demanding applications it High performance LEDs deliver and punchy beam, delivered CLF Odin CLF Poseidon comes with an outstanding optical high CRI and R9 values. by a 400W light source. The Odin combines convection The elegantly shaped, IP65 rat- system, which ensures even light and definable user modes. color projection. The fixture comes cooling with an ultra-quiet intelligent ed, housing is equipped with specially CLF Poseidon with a fast and accurate zoom function, fan. The fixture can be aimed easily by designed motors enabling fast pan and The CLF Poseidon is a powerful out- which ranges from 11° to 50°. The IP65 using the one button test function. tilt movements. A bright O-LED screen door beam fixture (IP65) that has been rating makes is suitable for indoor and The fixture can also be configured for offers easy access to on-board settings, developed for smooth CMY color mix- outdoor usage. exhibition applications by using the even in bright environments.

ARRI announces intelligent lighting control app

Stellar—ARRI’s lighting control luminaries from other manufacturers es. The fixture with the app—has paved a new way for including Litegear, Astera, and Kino smallest range takes lighting control, complete with a Flo. A set of generic dimmers can precedence while all highly intuitive user interface for ad- even be set up to work with tungsten the other ranges are vanced network configuration and lights (on a DMX dimmer). With Stellar cropped. management, Stellar made working 2, the correct DMX addresses can be Intensity with modern LED fixtures easier than assigned to the luminaries in only a Stellar 2 is able ever before. couple of steps. to accommodate a variety of unique fixture setups. With Stellar 2, ARRI has taken the Swap out fixtures requirements. Apply personal value as In Stellar 2, several smaller next step forward. Third-party prod- If any fixture needs to be swapped the default intensity by simply storing enhancements have been intro- ucts are now able to be controlled out, possibly due to malfunction, it can it as a favorite in the app settings. The duced including: a trial phase expiry with Stellar 2. Other features, such as be easily exchanged without affecting intensity will also remain at the same warning, smoother looks application grouping, have become much more the setup. A re-scan will detect it, if the level throughout all modes. when no color mode change is nec- convenient making setups faster fixture has not been in the setup before. Additional fixture data essary, improved connectivity han- and more flexible. Grouping of different CCT ranges If a fixture can provide these RDM dling, presets that apply on different Control of third-party luminaries With Stellar 2, it is now possible to functionalities, temperature and mode fixtures, and minor usability, layout, Stellar 2 is ready to control group fixtures with different CCT rang- information will be displayed in the and stability improvements.

ROE Visual Launches New Processing Platform

ROE Visual introduced a new pro- Designed as a flexible growth-sys- to create a redundant system, and mul- “What is important for ROE Visual is cessing platform at ISE 2020. Show- tem, the platform offers a versatile solu- tiple inputs can be stitched to achieve to offer a unique combination of LED casing its new Ruby LED panel on the tion with modular slots. The inputs and canvas resolutions up to 16K wide. panels and processing platform that will Helios processing platform, the large outputs of the Helios LED processing “One key advantage of the Helios give our client access to an exclusive display screen brought content in full platform utilize SFP+ ports, a compact processing platform is its scalability; technical solution that guarantees 4K HDR. hot-pluggable network interface. Using you can invest in this system to have it a best-in-class visual performance”, The Helios processing platform is the the SFP+ ports, the processor capacity grow with your demands. Starting with comments Roelof Bouwman, General result of close cooperation between can easily be scaled to meet the re- a Helios Junior package, you can scale Manager for ROE Visual Europe. “ROE ROE Visual and Megapixel VR. Combin- quirements. Further- the system up to become a full-fledged Visual offers a wide array of processing ing their forces and in-depth knowl- 8K processing system”, solutions, such as the eV4 and Bromp- edge of LED- and pro- comments Victor Kortekaas, ton processing to meet the broad spec- cessing technology the Technical Manager for ROE trum of requirements and applications result is a future-ready Visual. that our customers demand, we believe processing platform “With its modular slots that, with the Helios processor, we add that reimagines and SFP+, multiple inputs one of the best processing solution processing to support and a wide array of input currently available to our portfolio”. large-format LED displays adjustments, the system offers The Helios processing platform works for use in demanding pro AV, broadcast more, the maximum flexibility. The easy panel with a range of ROE Visual LED panels, and installation applications. The Helios fact that Helios works as an AVoIP based mapping and multi-user, web-based such as Sapphire, Diamond, Amber, processor will be exclusively available system makes it very easy to use and approach make it very easy to work Jasper and the recently released Ruby for ROE Visual LED screens. implement. Multiple units can be used with”, Kortekaas states. and Black Quartz LED platforms.

March - June 2020 80 Lighting Vari-Lite expands VL800 Series Event Line with New Compact Profile

Vari-Lite has announced that the industry-standard VL2600 Profile,” adds Vari-Lite VL800 EVENTPROFILE is now Palmer. “With the EVENTPROFILE, de- shipping. Originally debuted at LDI signers get a fixture built on that same 2019 in Las Vegas, Nevada, the VL800 popular innovation, but in a more com- EVENTPROFILE is the newest member pact package and a feature set targeted of the popular VL800 Series of event specifically at the mid-market.” luminaires. Despite its size, the VL800 EVENT- The VL800 EVENTPROFILE brings the PROFILE is full of modern features, DNA of Vari-Lite in a compact profile supplying a fixed color wheel; static and luminaire perfect for the event market. rotating gobo wheels; and prism, frost, “The VL800 Series has already been and iris. With camera-ready frequency embraced by designers on tours and adjustment options and multi-mode installations alike,” says Martin Palmer, fan control, the VL800 EVENTPROFILE Senior Product Manager, Vari-Lite and works well in any venue. “We continue Strand Luminaires at Signify. “This latest to expand our popular VL800 Series so member of the family is a compact we can address more needs for more framing profile with a high output and designs,” says Fernand Pereira, Head of professional-grade features, making it Marketing and Product Management, the ideal tool for a variety of applica- Vari-Lite and Strand at Signify. “We tions.” are committed to ensuring the VL800 With a tour-ready build and a small Series brings the quality and capabilities form factor, the VL800 EVENTPROFILE customers expect from us in fixtures was designed to look and feel like a targeted at event applications. We are Vari-Lite, with full CYM+CTO color proud to say that this newest member mixing. “The VL800 EVENTPROFILE of the line more than delivers on that offers the same color palette as the promise.”

27 - 29 MAY

2021 Lighting Martin launches MAC Aura PXL LED Pixel Wash Light

HARMAN Professional Solutions has “The MAC Aura PXL is the next evolu- rental company’s inventory.” announced the new Martin MAC Aura tion of the MAC Aura product line, and Sporting an RGBW LED engine capa- PXL LED wash light, the industry’s first delivers essential new features that light- ble of 13,000-lumen output, the MAC wash light with individual pixel control ing designers have been requesting,” Aura PXL is a true workhorse lighting of both the main beam and Aura said Markus Klüsener, Global Product fixture. Precisely calibrated LEDs deliver backlight. Line Manager for Stage Lighting, HAR- rich, saturated colors and subtle pastel With a bright, precisely-calibrated MAN Professional Solutions. “With con- hues with instant color mixing and RGBW engine, instant color mixing and trol over each individual pixel, not only minimal color degradation over time. seamless pixel mapping, the MAC Aura the 19 main beam pixels, but also down The MAC Aura PXL’s precise, silent 1:8 PXL is both a sustainable workhorse to the 141 Aura backlight pixels, via zoom goes from wide wash coverage for rental companies and a powerful DMX, ArtNet, sACN, but most important- to a tight and high intensity 5 degree creative tool for lighting designers. The ly and simply, our very own P3 protocol; narrow beam. fail-safe relay means the fixture can be MAC Aura PXL expands on the unique lighting designers can create never-be- A single Ethercon data connection turned off and on without affecting oth- LED backlight concept introduced fore-seen effects and map pixels to video supports all modern protocols such as er fixtures down the line. Weighing just in the popular MAC Aura with an with ease. And with its powerful output P3, ArtNet and sACN, while a 5-pin DMX 33 pounds with a small footprint, the enhanced feature set that presents and reduced size and weight, this fixture connection ensures universal compat- MAC Aura PXL takes up less truck space amazing new possibilities. represents a powerful addition for any ibility. A built-in Ethernet switch with and is easy to transport and rig.

ETC launches ArcSystem Navis luminaries & F-Drive power controls

ETC is revolutionizing commercial The fixtures are available in multiple beam angle lenses. Navis 100 into a luminaire capable of LED systems with the announce- color temperature options ranging from The recessed Navis 100 offers a small providing a smooth blanket of light ment of two new product fami- 2700 K to 5000 K as well as an RGBW form factor at only 100 mm high with for a wall or corridor application. lies designed to work cohesively color-mixing option. A 3000 K Fade to three wind-down clamps catering to The F-Drive LED power control together. ArcSystem Navis is a line Warm variant is also available providing ceiling thicknesses from 0.5 to 20 mm. solution is optimized for seamless of LED luminaries featuring pristine an intimate, warm light at lower inten- Any Navis 100 can be transformed into use with ArcSystem Navis luminar- light as well as a modular design ies, as well as third-party fixture for smooth installations. For applications. F-Drive provides an centralized LED power controls, accessible hub for all the critical F-Drive is a new system offering components controlling an LED an intuitive design with customiz- system utilizing familiar category able output cards. Together, Navis type cable with RJ45 connections. and F-Drive make one adaptable Depending on a facility’s needs, and robust LED system for any the F-Drive family includes both space. an R12 rack-mount option and a The Navis line of luminaries prior- sity levels often preferred in hospitality a Surface Cylinder or Pendant solution W1 wall-mount option. F-Drive R12 is itizes ease of installation, hassle-free environments. In the field, aesthetic by sliding it into the purpose-designed compact, using just 3U of rack space, maintenance, in-field customization, changes can be made in seconds with hardware accessories. In addition, providing power and data support and beautiful light with high-grade various magnetic trim plates, clip-in an optional wall wash accessory is for up to 48 individually controllable TIR optics and stepless dimming. optical accessories, and twist-and-click available, instantly transforming the Navis 100 luminaries.

Strand announces Outdoor-Ready Version of Leko Profile

Strand has announced the Leko LED quality and output, making it perfect for available. The white-only version is op- and an optional rotating/indexable Outdoor Profile, an IP65-rated version a variety of outdoor performance and timized to give even greater power for gobo rotator is available as well. of the popular Strand Leko. The new architainment applications.” long distance projection applications. “The Leko LED Outdoor Profile has weather-ready profile luminaire is avail- Like the standard Leko LED Profile The profile includes an onboard mo- been designed carefully with the able in both a full color version featuring fixture, the full color version of the new torized zoom and focus. The zoom has unique challenges of outdoor appli- RGBALC color mixing, as well as a higher Leko Outdoor Profile uses the RGBALC a range of 18° to 30°, and the zoom and cations in mind,” adds Palmer. “We output white version. The Leko LED Out- (red, green, blue, amber, lime and focus can be adjusted either manually worked hand-in-hand with designers in door is part of a full range of theatrical cyan) color mixing system as seen on or via DMX. The Leko LED Outdoor also these markets and are offering a fixture luminaires announced by Strand. the Vari-Lite VL5LED WASH. With the includes a four-shutter fram- that specifically meets their needs, “The Leko LED Outdoor Profile is a addition of the innovative SmartColor ing system, rather than simply placing our Leko modern successor to the iconic Strand Control system, designers can use LED fixture in an IP-rated housing. We Leko, but in a sturdy IP65 housing built RGBALC color mixing to achieve the are excited by the feedback we’ve to withstand the elements,” explains deep colors they would normally received from these designers, Martin Palmer, Senior Product Manager, obtain with gels, all while using and we look forward to the Var-Lite and Strand Luminaires at Signi- traditional CYM + CTO controls. To innovative lighting designs fy. “Designed to take the performance compliment the full color version, a we are sure will come outside no matter the weather, the high output cold white (5600K) version using the new Leko Outdoor fixture strikes the ideal balance of color of the Leko Outdoor Profile is also Profile.”

March - June 2020 82 ‘We’ or ‘I’ ?

he Human Race Vs a Virus. The will find a way for themselves when the full business – ALL of us will be most Evolved of Life’s forms time comes. there to build our businesses Tbattling against the Basest. and livelihoods again. Like in any war – Nobody has a clear Great – What about Now? Think. Even if we have the idea on who is winning and more Let me have a stab at it – here’s what resources to last through this by worryingly – what the state of Battle- I think. Hope it helps you form some ourselves. Is it better to be ma- field will be after the battle ends one ideas of your own. rooned on an island and then swim to way or another. Everybody talks of a ‘NEW NORMAL’. the mainland when the storm passes? Right now we all assume that our Everybody talks loosely that it will Rebuild from scratch. scientific prowess will prevail as soon include social distancing and a huge re- Or does it make sense to stay on the as we figure out how to combat the liance on the WEB. Ok – so then what? mainland, keep our house in shape and virus on its terms. Do you realise that makes almost 50% the fields ready so that when it is safe By and large our industry is only a of us redundant. to emerge – we are up and ready to go mute observer as this is played out Methinks the First thought in our from Day 1. individual companies. Utopian? over the world. We, action orient- minds should be – Do I do this alone It’s easy to say let’s all go web based. Sure – It’s never happened before. ed sorts used to working under and in isolation of everybody else. But if our venues all close down and get But then we were never hit by this impossible deadlines and used to OR re purposed in this time – where are kind of virus before. There is talk figuring out how to meet so many Every one of us is in this together. you going to stage your events? about a risk of sudden shut downs conflicting demands have been told Venues, Equipment Manufacturers, The It’s easy to say put everybody on at any time. This system could build to simply just shut down and sit on whole supply chain, Designers, Rental Half salary. Can our guys survive? Our in a shock proof system where the our hands. Companies and down to the ground well trained staff may drift away. Who risk is distributed over a larger bunch Not just our businesses and work technicians. will operate our equipment when the rather than fall on any one unlucky places, but also all but the most All of us are affected and it may make shows come on again? head. basic of our body systems. sense to create a system where each Does it not make sense for a col- There is so much talk of slash- No need to think, plan or plot. ing any extras and focussing on None of us has a clue on what to essentials. Great. Unless your entire plan for and when we can even livelihood is based on somebody’s think of implementing. taste for the extravagant. I’m not Our creativity, energy and our Everybody talks of a ‘NEW NORMAL’. talking High end watches here. I’m need to do stuff has to be chan- talking decent restaurants that have nelled into ‘Learning Series over the Everybody talks loosely that it will become part of our lifestyles. You Net’. Full marks for everybody who include social distancing. Ok – so are down to ZERO. got up and running so quickly. Shar- Restaurants capacities may need ing so generously of their knowl- then what? Do you realise that makes to come down – but can’t they edge. Time everybody has. almost 50% of us redundant. work some system out? Perhaps if All was well until that bloody everybody just order ahead ? Or ‘what if’ gene raised his hand. Yes if restaurants could trim menus, in that same one that gets me into consultation with their neighbours. trouble now and again. one finds a place. lective of the senior to somehow re pur- The limited clientele can be distrib- This Virus – has at least tempo- I understand that traditionally we In- pose our people and staff temporarily uted, staffing and supplies can be rarily – made all of those learning’s dians are sceptical about collaborating. so that we can make enough to survive easily managed and waste trimmed. redundant. As useful as those learn- We as a race feel more comfortable in this phase. But with an eye to the fu- Please don’t strip down these ing’s are, it looks like we not going to smaller organisations where we depend ture. Ensuring that all of us are enabled ideas and dismiss them. I am not get a chance to implement anything on fewer people and prefer to work in roll as soon as it’s safe to rock. an expert in your trade. But think for many months. tight circles. That’s what the title of the article asks like that. If the tech manufacturers So that irritating bugger impu- But I guess this gives us an opportu- you to think about. figure out that it does not make dently sits on my shoulder and asks nity to open our eyes and reach around Are WE going to think about collec- sense to ‘make.’ me ‘What you going to do until us for support. tively saving ourselves and our industry Can their facilities be re tooled for then?’ I saw an alarming post where a senior or will you prefer ‘I Will Survive on my maintenance? Could that work? I have watched with alarm when opinion shaper of our industry calls for own’. Yes it’s outside the ordinary and it’s a few respected colleagues have an ‘abandon ship, each man for himself’ Here’s a tiny example. Rather than not normal. slashed payrolls, rentals and in some approach. My take is that perhaps keep all Hotel Ballrooms shut. Let’s ask But that is the point of this article. extreme cases actually shut down that approach works when the ship if we can sell them at say a 30 % capaci- To urge all of us to step outside businesses. All bravely making is doomed and there is no chance of ty that will allow social distancing. Turn of ourselves, open our minds and promises that they ‘Will Be Back!’ saving her from the depths. arounds will be quicker. Our People will create the ‘New Normal’. I am sure they will. It was their I’d like to think this is a blip for manage some of that and support the The New Normal of our choosing spirit and energy that led them to humankind and we will survive. The hotels teams. Smaller equipment and rather than have it created for us by set up their companies in the first question is ‘In What Form ‘? resources. Perhaps we can all make somebody who has no understand- place. Barring some very terrible cir- I’d like to believe that a few of the 30 – 50% (due to quicker turn a rounds). ing of our business and no respect cumstances (‘Ovairu Ovairu’ – That’s thought leaders can share some ideas It’s something for everybody. Our for our lives. Our lives and careers Parsi for asking the Gods to never let on how ALL us can survive this is some marketing teams work is sync selling that define us and that all of us it happen) I have full faith that they form – so that when we can open for the project as a concept – and not have worked so hard to create.

January - February 2020 0083 JanuaryMarc - Februaryh - June 2020 Prodct Focus Outdoor Line Arrays

Bose ArenaMatch

• Output (1m) ¹ : Bose Professional ArenaMatch loudspeakers Transducers bring proven DeltaQ sound quality and flexibil- • Low Frequency: 1 × Bose LF14 neodymium 145 dB SPL ity to outdoor installations — sports stadiums, 14-inch woofer (4-inch voice coil) • Power rating² arenas, outdoor entertainment centers, and • High Frequency: 6 × Bose EMB2S ti- Front LF: 450 / more. Featuring an IP55 weather rating, Arena- t a n i u m - d i a p h r a g m , n e o d y m i u m 1800 W Match DeltaQ modules make it easy to create compression drivers (2-inch voice coil) • Power rating² durable and reliable outdoor loudspeaker • Nominal Impedance: Passive: 8 Ω / Bi-amp: 8 Side LF/MF/HF: arrays that bring consistent, intelligible sound Ω + 8 Ω 250 / 1000 W to every listener. There are 9 coverage patterns • Enclosure Material: Exterior-grade birch • Frequency re- available — choose from modules with 10, 20, plywood sponse (–5 dB): or 40-degree vertical coverage — and 60, 80, or • Finish :Two-part polyurea coating, black 54 Hz–18 kHz 100 horizontal waveguides. • Grille: Powder-coated perforated stainless • Dispersion (H): 8 0 °³ Main Features include: steel, acoustic foam, stainless steel mesh • Cabinets per • Improve sound quality, consistency, and • Suspension/Mounting: 8 x M12 threaded 40D (2-Way vocal clarity with DeltaQ array technology inserts (4 per side); 4 x M8; threaded inserts Active): 2 (with • Easily customize horizontal coverage with (2 per side) Array Process- replaceable waveguides • Dimensions (H x W x D) – millimeters : 489 x ing); 4 (with Arc • Deliver high-SPL, long-throw music repro- 783 x 400 mm (19.3 x 30.8 x 15.8 in) / Line mode) duction and vocal intelligibility • Net Weight: 34.9 kg (77 lbs) • Dimensions mm • 14-inch neodymium woofer and six Bose (H x W x D) 330 x EMB2S titanium-diaphragm neodymium 1000 x 572 compression drivers d&b Audiotechnik KSLi Series • Weight (kg): 57 • Rated for direct-exposure outdoor installations A complete installation package for the most • Three-layer stainless steel grille, water-resis- comprehensive range of installations and ap- tant woofer cone coating, industrial polyure- plications, the KSLi system features the KSLi8 / Martin Audio WPS thane exterior coating, and molded input KSLi12 loudspeakers, combined with (KSLi-SUB/ cover KSLi-GSUB), subwoofers, the new 40D high per- The WPS is a versatile, state-of-the-art line • Provide full coverage with fewer modules formance installation amplifier plus a complete array with a peak SPL of 133dB and is designed Technical Specification: (ArenaMatch AM40) catalogue of system specific accessories and for small-to-medium scale touring and install • Frequency Response (–3 dB) ¹ : 65 Hz to 16 customization options. applications that require a high output array kHz Main Features include: with reduced weight and footprint. With exem- • Frequency Range (–10 dB) : 55 Hz to 18 kHz KSLi8 and KSLi12 plary coverage consistency and superb sound • Nominal Coverage Pattern (H × V): 60° × • Two custom designed 1.4” exit HF drivers performance, the flexibility of WPS makes it 40° (AM40/60) or 80° × 40° (AM40/80) or with 3” voice coils in a compact format bring an ideal system for live sound reinforcement 100° × 40° (AM40/100) high output and resolution with an impec- and installations in theatres, concert halls and • Recommended High-pass Filter : 60 Hz with cable sonic quality Houses of Worship. minimum 12 dB / octave • A high sensitivity horn for the midrange, Main Features include: • Crossover: 950 Hz internal passive or exter- loaded with an 8” driver • Ultra-compact line array nal bi-amp (Bose Control- • Two 10“ LF drivers, coupled with two side • Scalable resolution for advanced array con- Space presets) facing 8” LF drivers that couple towards the trol • 70/100V front, cancel towards the rear and increase • External, dedicated, multi-channel Class D transformer low frequency headroom amplification tap settings • Cabinets are constructed from marine • Industry-leading DISPLAY software interacts : 70V: 100, plywood and have an impact and weather with DSP for highly-accurate results 200, 400 W; protected PCP (Polyurea Cabinet Protection) • Fast, integral 3-point flying systems for up to 100V: 200, finish. 16 enclosures 400 W • The front and side panels incorporate rigid • Side and rear handles for ease of handling metal grills backed by an acoustically trans- and setting splayangles parent and water repellent fabric. • 100° horizontal constant directivity pattern • Designed for medium to large scale sound control reinforcement. • Up to twenty-four KSLi loudspeakers can be Technical Specification: flown in vertical columns. • Type: Three-way, passive line array element • Frequency Response (5): 70Hz-18000Hz ± Technical Specification: (KSLi8) 3db • Components: 2 x 10“Front LF; 2 x 8“Side LF; 1 x 8“MF; 2 x 1.4“exit HF 3“coil

March - June 2020 84 Line Array Speaker systems are perfect for a wide range of applications including: stadiums, live sound venues, theatrical sound, performing arts facilities, house of worship, auditoriums, sports facilities, entertainment venues and arenas. PT takes a look at some of the outdoor line arrays launched in 2019.

L-Acoustics Kara II • Drivers: LF: 2 x 8” (200mm)/2” Kara II is a modular line source system that (50mm) voice panion sub the MSUB18. can be deployed standalone or with coil, long ex- • Integrated rigging hardware with no loose its companion subwoofer cursion, vented part and AutoRigTM feature. SB18. Assembled as a yoke, neodym- • Available in Touring or Installation versions, variable curvature line ium magnet with custom RAL colour options. source with class-lead- drivers; MF: 4 x • Incorporates latest NEXO patented technol- ing SPL per weight and 4” (100mm)/1” ogy from the flagship STM series. footprint, Kara II is ideal (25mm) coil, • Comprehensive range of versatile, multi- for applications that neodymium function accessories for deploying the GEO require clarity and long magnet drivers, M12 in a wide variety of applications throw capability such as compression Technical Specification: performing arts, congre- loaded; HF: 4 • Frequency Response @-6 dB: 50 Hz to 20 gations, large corporate x 1” (25mm) kHz and special events. exit/1.4” (35mm) • Sensitivity 1W@1m: 105 dB SPL Nominal HT Polymer • Peak SPL@1m: 140 dB Main Features include: • Internationally-rec- diaphragm, • Passive Crossover Frequency: 1.1 kHz ognized Kara with neodymium • Nominal Impedance: Active mode: (8 Ω LF Panflex magnet + 16 Ω HF)/Passive mode: 8 Ω • Added variable direc- compression • Recommended Power: Active mode: (1250 tivity and improved drivers Watts LF + 625 Watts HF)/Passive polar stability • System Amplifi- mode: 1250 Watts • 4 integrated hori- er: ikon ik42 • LF Component: 1 x 12” 8 Ohms long excur- zontal directivities • System Resolution: 1 to 3 enclo- sion Neodymium driver with PDDTM (70°/110° and 90° L/R) sures per amplifier channel (ik42) • HF Component: 1 x 3” voice coil 1.4” throat • + 2 dB SPL at 70° • Maximum SPL (9): 133db peak driver on a BEA/FEA optimized HR • Compact and light- • Nominal Impedance: 6Ω • WavesourceTM weight design • Dispersion (-6DB) 100º horizontal (-6db), • Height x Width x Depth: 370 mm x 700 mm • Time-tested efficient 120º horizontal (-10db); 10° vertical x 446 mm (14.6” x 27.6” x 17.6”) rigging system • Crossover: 520Hz, 1.6khz internal passive • Weight: Net: 34 kg (75 lb) • Enclosure: Vertical trapezoid with 5º wall • Connectors (Touring Technical Specification: angle, Multi- laminate birch and poplar-ply version): 2 x NL4, 4 • Description: 2-way active construction poles connectors WST enclosure, amplified by • Connectors: 2 x NL4 type (1+/1- Through, LA4X/LA8/LA12X • Fittings: 3-point rigging system; 2 x side 2+/2- GEO M12 • Usable bandwidth (-10 dB) : 55 Hz - 20 pocket handles; 2 x rear grip handles in passive mode, kHz ([KARA II 70]) • Flown array maximum: 16 (installation) and 1+/1- LF, 2+/2- HF • Maximum SPL1 : 142 dB ([KARA II 70]) 24 (touring) enclosures in a single array in active mode) • Nominal directivity (-6 dB): Vertical: de- • Dimensions: (W) 650mm (25.6in) x (H) • Connectors (Install pending on number of elements and array 261mm (10.3in) x (D) 400mm (15.8in) version): 2 x Cable curvature • Weight: 27kg (60lbs) gland with 4 • Horizontal: 70° / 110° symmetric or 90° cores connectors asymmetric • Active / Passive • Transducers: LF: 2 × 8’’ neodymium cone Nexo GEO M12 Series mode selection: driver; HF: 1 × 3’’ neodymium diaphragm Ruggedized, compression driver GEO M12 shares the same aesthetic and recessed, water- • Acoustical load: LF: Bass-reflex; HF: DOSC sonic signatures as the acclaimed GEO M10 proof 2 positions waveguide, Panflex Nominal impedance: and compact GEO M6 line arrays. The M12 can switch LF: 8 Ω; HF: 8 Ω be used in a range of applications from large • Construction: • Connectors: IN: 1 × 4-point speakON theatres and live performance venues to sta- Lightweight LINK: 1 × 4-point speakON diums and houses of worship. Integral rigging Polyurethane • Rigging and handling: 4-point captive rig- hardware with no loose parts makes it easy to Composite ging system; 2 side handles, 2 rear handles quickly configure ground stacks and line arrays • Fittings: 2 x Side • Inter-enclosure angles [deg]: 0, 1, 2, 3, 4, 5, of various scales. handles horizontal 7.5, 10 + back grip • Weight (net): 26 kg / 57 lb Main Features include: • Rigging components: High grade steel • Powerful line array element that can be with anti-corrosion coating stacked or flown, with or without its com-

85 March - June 2020 MXMDR LA Line Array Series Peavey Versarray 112 MKII Line Array MX Line Array is a large step forward in speaker design from the standard box on a The Versarray 112 MKII Ribbon Driver Line stick. Engineered to provide a very wide disper- Source Array module consists of a new 12” sion pattern and a narrow vertical dispersion Funktion One Vero VX Neo Black Widow woofer combined a neo- pattern, MX Line Array gives full control over dymium-based Peavey RD 2.6 ribbon driver in how sound is presented at venues and outdoor The VX90 is a 3-way vertically arrayable loud- a cabinet with a highly flexible rigging system. speaker with four new Funktion-One designed Designed to provide modular coverage of Neodymium drivers in a horizontally symmetric small to medium venues, and intended for use configuration. The Vero VX system with the companion Versarray Sub models, the comprises VX90 full-range Versarray 112 MKII offers extreme versatility and vertically arrayable loud- high performance capability. speakers, V124 or V221 Main Features include: bass enclosures, • Two-way Bi-Amp Ribbon Line Source Array amp racks, fly bars, SR System transport dollies, • New Ribbon Driver with Neo magnet, 50% ground stack hard- more power handling and 2dB more ware, cabling and sensitivity Projection predictive • Durable Hammer Head polyurethane finish software.. • Easy aiming angle adjustment rigging sys- Main Features include: tem Angle adjustable in 2 1/2 degree • Funktion-One wide increments from 0 to 15 degrees, total angle bandwidth Axhead between adjacent cabinets midrange (300Hz - 5kHz) for natural and effortless vocal clarity • Isophase diffrac- tion waveguide (HF) for coherent high frequency performances. Ideal for a wide range of porta- summation ble and permanently installed applications the • Lambda rig- full size flagship MX Line Array and a smaller ging ensures sized Compact Line Array provides clarity and accurate consistency than normal PA systems. The LA 28, array align- LA 10, LA 210 and LA 212 are the cabinets that ment make up the LA line of speakers. • Choice of motorized or Main Features include: • MX Audio Line Array is easily flyable and the static fly beams suspension can be easily adjusted to any • High efficiency angle needed for a venue drivers giving dynamic headroom, high SPL • Heavy duty construction and high quality and low amplifier count parts make this series perfect for life on the • Innovative FIR filter design providing wide road. and consistent horizontal dispersion • Cabinets can be bi-amped and also used in • whilst ensuring accurate transient response different configurations. • No corrective EQ, preserving headroom and • Compact And Powerful Russian Birch Ply- phase coherency wood Cabinet • Very clean output, even at maximum power • Pole Mount Socket For Stand Mount • Excellent results when used as a single • Attractive Steel Grill With Acoustic Form enclosure Technical Specification: Technical Specification: Technical Specification: [MX LA 212 (Neodym- • 12” Neo Black Widow 4” VC Woofer • Frequency response ±3dB: 60Hz - 18kHz ium)] • 1,000 watt program, 2000 watt peak power • Description: Dual 12 Inch Line Array • Usable bandwidth: 50Hz - 20kHz handling • System Type: Two-way Speaker • Maximum SPL *: 144dB • 90 Degrees H by 15 Degrees V coverage • Frequency Response: 50~20 kHz • Horizontal dispersion: 90° pattern (per one cabinet) • Component LF: 2 X 12” / 3”VC / Neo • Vertical dispersion:: 13° • Sound Guard tweeter protection • HF: 75mm Neo • Nominal impedance: 4 x 16Ω • Inputs are two Neutrik Speakon 4-pin jacks • Rated Power: 1000w • Rated power: LF: 2 x 400W; MF: 200W; HF: in parallel • Program Power: 2000w 50W • 18mm 13-ply Baltic birch enclosure • Sensitivity: 102dB • Weight: 70kg (154lbs) • Weight Packed: 70.55 lb(32 kg) • Max SPL: 133dB • Connectors:: 2 x Neutrik NLT8MP • Width Packed: 17”(43.18 cm) • Impedance: 8 Ohms • Height Packed: 27.25”(69.215 cm) • POWER: (Continuous / Program / Peak): • Depth Packed: 14.5”(36.83 cm) Passive: 1000W / 2000W / 4000 W

March - June 2020 86

SLUG LINE

Music in India has changed drastically. This music and song driven country which is largely dominated by Bollywood soundtracks, has in the past year seen less of originals and more of old songs being plagiarised to suit the new generation. But it is still up to the mixing and mastering engineer to give the old songs a complete makeover and the new songs sound even better. Whatever the case and whatever your taste in music, chances are the song you are listening to was made in a recording studio, mixed and mastered by experts to create a unique sound. Have you ever stopped and wondered what goes into making the song sound the way it does. In the list mentioned below, PT has listed the Top 30 Bollywood songs of 2019 that was largely appreciated by the audience.

Kaise Hua Ve Maahi Tujhe kitna chahne Kabir Singh Kesari Kabir Singh Mix & Mastering Engineer: Shadab Rayeen Mix & Mastering Engineer: Eric Pillai Mix & Mastering Engineer: Eric Pillai Asst. Mixing Engineers: Abhishek Sortey & Asst. Mixing Engineers: Michael Edwin Pillai Asst. Mixing Engineers: Michael Edwin Pillai Dhananjay Khapekar ABHIZ Music Records LIVINGWATERMUSIC VM Studios, New Edge Dil Ka Telephone Makhna Ghungroo Dream Girl Drive War Mix & Mastering Engineer: Gautam Chakrabortty Mix & Mastering Engineer: Eric Pillai Mixed by: Vijay Dayal Meet Bros Recording Studio Asst. Mixing Engineers: Michael Edwin Pillai Mastered by: Donal Whelan Future Sound of Bombay Vishal and Shekhar Studio, Coca Cola YRF Studios, Luka Chuppi Kinna Sona Mastering World, Wales - UK Mix & Mastering Engineer: Eric Pillai Marjaavan Asst. Mixing Engineers: Michael Edwin Pillai Mix & Mastering Engineer: Bharat Goel Apna Time Aayega Future Sound of Bombay Meet Bros Recording Studio Gully Boy Global Sound Labs B Mixing: Dub Sharma Teri Mitti Mastered By: Graeme Durham Kesari The Wakhra Song Purple Haze Studio Mix & Mastering Engineer: Eric Pillai Judgemental Hai Kya The Exchange UK Asst. Mixing Engineers: Michael Edwin Pillai Mix & Mastering Engineer: Eric Pillai Future Sound of Bombay Asst. Mixing Engineers: Michael Edwin Pillai Bekhayali Future Sound of Bombay Kabir Singh Dheeme Dheeme Mix & Mastering Engineer: Aftab Khan Pati Patni Aur Who Asli Hip Hop Asst. Mixing Engineers: Vatsal Chevli Mix & Mastering Engineer: Eric Pillai Gully Boy HeadRoom Studios Asst. Mixing Engineers: Michael Edwin Pillai Recording Engineer: Vrikpal Singh Future Sound of Bombay Mastering Engineer : Nakul Kamte Naah Goriye Purple Haze Studios Bala Don’t Be Shy Bala O Saki Saki Mix & Mastering Engineer: Eric Pillai Batla House Asst. Mixing Engineers: Michael Edwin Pillai Top Film Tracks - Album Mix & Mastering Engineer: Eric Pillai Future Sound of Bombay Sound Engineers Asst. Mixing Engineers: Michael Edwin Pillai Istanbul can Recording/ Mixing / Mastering Studio

March - June 2020 0088 Shaitan Ka Saala Ghar More Pardesiya Psycho Saiyan Housefull 4 Kalank Saaho Mix & Mastering Engineer: Eric Pillai Mix & Mastering Engineer: Shadab Rayeen Mix & Mastering Engineer: Eric Pillai Asst. Mixing Engineers: Michael Edwin Pillai Asst. Mixing Engineers: Abhishek Sortey & Asst. Mixing Engineers: Michael Edwin Pillai Dhananjay Khapekar Saba Studios Future Sound of Bombay YRF Studios New Edge, YRF Studios Kinna Sona Slow Motion Tera Yaar Hoon Mein Marjaavan Bharat Sonu Ke Titu Ki Sweety Mix & Mastering Engineer: Bharat Goel Mix & Mastering Engineer: Shadaab Rayeen Mix & Mastering Engineer: Eric Pillai Meet Bros Recording Studio Asst. Mixing Engineers: Abhishek Sortey & Asst. Mixing Engineers: Michael Edwin Pillai Global Sound Labs B Dhananjay Khapekar Music- YRF Studios New Edge, Rochak Kohli Music Studio, Tu Laung Main Elaachi Vocals- VnS Studio Wow & Flutter Studio Luka Chuppi Mix & Mastering Engineer: Eric Pillai Mere Gully Mein Koka Asst. Mixing Engineers: Michael Edwin Pillai Gully Boy Khandaani Shafakhana Future Sound of Bombay Recording Engineer : Vrikpal Singh Mix & Mastering Engineer: Eric Pillai Mixing Engineer : Nakul Kamte and Vrikpal Asst. Mixing Engineers: Michael Edwin Pillai Singh Sauda khara khara Future Sound of Bombay Mastering Engineer : Nakul Kamte Good newzz Purple Haze Studios Eric Pillai First Class Michael Edwin Pillai Kalank Chamma Chamma YRF Studios Fraud Saiyaan Mix & Mastering Engineer: Shadab Rayeen AMV studios Asst. Mixing Engineers: Abhishek Sortey & Mix & Mastering Engineer: Eric Pillai Future Sound of Bombay Dhananjay Khapekar Future Sound of Bombay Pannonia Studio Budapest, Hungary Ashok Honda Dil Chori YRF Studios Top Film Tracks - Album Sonu Ke Titu Ki Sweety New Edge Sound Engineers Mix & Mastering Engineer: Vinod Verma Recording/ Mixing / Mastering Studio

WINNER INC Deal in all type of speaker trolley

SPEAKER MAGNET

WJ-8015

WJ-1208 WJ-9015 WJ-7712 www.winjoy.in WJ-2510 [email protected]

M: +91-9810313409, +91-9315677399 WORKS SHOWROOM M: +91-9810996704, +91-9910943131 C-105/4, Naraina Industrial Estate, Phase-1, Shop No- 538, Old Lagpat Rai market Ph+91-11-45092521,March - June 2020 +91-1145088732 New00 Delhi - 110028 Delhi-110006 DJ Technology

Serato introduces support for Pioneer DJ XDJ-XZ

Serato DJ Pro 2.3.3 has introduced software-specific features using the 16 support for the Pioneer XDJ-XZ. multi-colored Performance Pads (eight DJ’s wanting to use the XDJ-XZ with per deck). Serato DJ Pro 2.3.3 will be required to The output sound of the XDJ-XZ is update and install the latest version of easily tuned with the 3-band EQ on the the XDJ-XZ firmware. master output - meaning it can easily For the first time, Serato’s colored be optimized for any environment. waveforms are integrated directly There are two separate microphone into the 7inch screen and CDJ- inputs with independent 3-band EQ’s sized jog wheel displays. As well as to give complete flexibility. A built-in Serato DJ Pro support also unlocks Feedback Reducer means it’s all hype, 4-deck mixing capabilities and a no hassle. range of Serato specific software Key features: • Full-size CDJ jog wheels with virtual • Dual mic connectivity with indi- features. The XDJ-XZ allows to take • 4-deck mixing capability with Serato spindle and track information vidual 3-band EQs and Feedback full creative control of DJ sets with DJ Pro • DJM mixing section with Beat FX Reducer 14 professional beat FX and 6 Sound • Serato waveforms and track over- and Sound Color FX • 16 RGB Performance Pads to Color FX taken directly from the view displayed on-screen and jog • Phono and line input on channels 3 control 8 Serato DJ Pro modes DJM-900NXS2 mixer, and trigger wheels and 4 for external players • XLR and RCA master outputs

KKR sells stake in DJ equipment maker AlphaTheta to Japan’s Noritsu

Investment firmKKR is selling own- Agreement with KKR PDJ Investment phaTheta Corporation early April 2020. ability of the company’s businesses and ership of AlphaTheta (formerly Pioneer L.P. and Pioneer Corporation to transfer As per the official press release by achieving growth in the medium-term DJ) to Noritsu, a Japanese photo pro- all AlphaTheta Corporation share each AlphaTheta, “Our business, operations, management plan. cessing machine manufacturer. company holds to Noritsu Koki Co., Ltd. brands, including brand names will The deal comes shortly after Alpha- On March 2nd, 2020 Noritsu Koki With this agreement Noritsu Koki Co., not be affected. We will continue Theta rebranded the business earlier Co., Ltd. signed a Share Purchase Ltd. will be the parent company for Al- contributing to the music industry with this year. our innovative products and superior “We are proud to have worked with service through Pioneer DJ, rekordbox, the management team and employees KUVO, TORAIZ, Pioneer Professional of Pioneer DJ, now AlphaTheta, to assist Audio brands.” the business’ growth in key global Tokyo Stock Exchange-listed Noritsu markets and to accelerate the compa- said it will acquire all shares of Alpha- ny’s migration towards a software-sub- Theta for 35 billion yen ($324.9 million), scription model to align with emerging and will use a 30 billion yen non-re- industry trends – all as a standalone course loan to pay the interest-bearing company,” Hiro Hirano, co-head of pri- debt of the target company. The acqui- vate equity for KKR Asia Pacific and CEO sition is aimed at increasing the profit- of KKR Japan, said in a statement.

Rekordbox Introduces Cloud Library Management

Pioneer DJ has announced the latest different feature sets so users can use can prepare sets in an advanced virtual goes missing or gets damaged, the update of Rekordbox - Rekordbox ver. the package that best suits their needs. DJing environment using Performance music and metadata in the DJ library 6.0 and Rekordbox for iOS (ver 3.0). For the first time, Export mode users mode, which is now free of charge. will be up to date and safely stored in Loaded with a host of major new The new updated the cloud. features, the updated DJ appli- Rekodbox allows us- Rekordbox for Mac/Windows (ver. cation now enables users to sync ers to Prep playlists, 6.0) now integrates with Inflyte, the the entire whole music library on tracks, and meta- global music promotion platform. Use multiple devices via cloud-based data such as cue Rekordbox for Mac/Windows (ver. application Dropbox. points on to their 6.0) to browse the tracks in the Inflyte The Rekordbox offers central- studio computer Promo Locker and, if users have Drop- ized music management that then download it all box enabled, Rekordbox can even stores the tracks in the cloud to the laptop. Users automatically import promos. so users can play them via can even choose The new rekordbox for iOS (ver. multiple devices whenever they playlists and tracks 3.0) also brings a host of new features like. Three subscription plans – to transfer to and to enable smoother preparation for Free, Core, and Creative plans from their iPhone. performances and support for more - including a free option – offer And if the computer file types.

March - June 2020 90 DJ Technology Algoriddim collaborates with Tidal & Soundcloud for new update to DJAY APP

Algoriddim has announced a free free to download, and by providing users to mix between music videos the TIDAL’s seamless synchronization major update to djay, integrating immediately available songs from same way they would between songs. allows users to discover new tracks and both SoundCloud and TIDAL across launch, Algoriddim has made another Djay users will also be able to receive videos through TIDAL’s unique collec- its mobile and desktop applications. significant step in making DJing a more an upcoming free three-month TIDAL tions – including Top Tracks, Rising, The partnerships enable Algoriddim accessible art form than ever before. trial, which will be available to redeem Featured, and Genre – and instantly add to take streaming in DJ software to an TIDAL integration within Algoriddim’s apps. these into their mix, whilst also being unprecedented level, introducing live DJ’s can now utilize TIDAL’s HiFi Djay is also extending its innova- able to add songs or videos to their video mixing through TIDAL, access to sound and exclusive content with its tive Automix feature to TIDAL’s music TIDAL favorites while mixing in djay. SoundCloud’s one-of-a-kind catalogue, comprehensive djay integration. djay video library, utilizing its innovative AI Ultra-low latency for both audio and and powerful song recommendations Pro users are also able to stream TIDAL’s technology to enable users to lean back video tracks, advanced effects, on-the- for both audio and video content, unique catalogue of music videos and and enjoy a perfectly mixed playlist with fly analysis, and TIDAL’s renowned high in one of its most significant feature audio tracks, enabling users to mix no need for manual intervention. djay’s fidelity sound quality provide a first-of- updates to date. videos and songs in real-time. This pio- Match feature will similarly encompass its-kind mixing experience. SoundCloud integration neering feature opens up a new chapter both TIDAL’s music and video cata- “The integration of music video The latest update to djay seamlessly for DJs and VJs, providing unlimited logues, suggesting compatible music or streaming through TIDAL and free to connects to SoundCloud, enabling possibilities for video output, allowing videos during a mix. access hand-curated content from creators to instantly stream and mix SoundCloud is unprecedented and more than 200 million tracks using a continues to push the boundaries SoundCloud Go+ premium consumer of streaming and DJ technology. By subscription. In addition, djay’s innova- providing DJ friendly songs when you tive Match feature has been extended launch the app, we are not just provid- to SoundCloud’s music catalogue, ing users the tools to DJ, we are giving providing powerful song recommen- them the perfect tracks to start mixing dations. right away,” says Karim Morsy, CEO of To celebrate the launch and make Algoriddim. it easier than ever to get started with “Algoriddim has pioneered music DJing, Algoriddim and SoundCloud streaming in DJ software and we be- are offering access to a selection of lieve djay users will love the advance- featured tracks for free in the latest djay ment into video streaming. The feature app, with no login required. The curated creates an immersive visual backdrop playlists feature emerging artists across and provides djay users with new cre- a variety of genres including hip-hop, ative possibilities to help them elevate house, tech house, festival EDM, trap, their DJ performances to a new level,” and dubstep. djay’s iOS app is already Morsy continues.

XDJ-1000MK2 and XDJ-700 compatible with TRAKTOR PRO 3

Native Instruments’ TRAKTOR The XDJ-1000MK2/XDJ-700 can be latest version of TRAKTOR (version 3.3.0) linked to the software. PRO 3 DJ software is now compatible used to intuitively control TRAKTOR for free to use USB-HID control with the Track information on XDJ’s screen with the USB - HID control feature PRO 3 including scratching and tempo XDJ-1000MK2/XDJ-700. Also update the Text information, artwork images, of XDJ-1000MK2 and XDJ-700 adjustment. The deck also displays track firmware for the XDJ-1000MK2 to ver. and waveform (XDJ-1000MK2 only) multi players. This comes under the titles, artwork, and other information 1.42, and for the XDJ-700 to ver. 1.13. from the tracks in TRAKTOR PRO 3 are Pioneer DJ Certification Program, an from the software to quickly select Key Features of Using the XDJ- displayed on the XDJ’s high-resolu- initiative to evaluate products from the next track without looking at the 1000MK2/XDJ-700 with Traktor Pro 3 tion screen, so it can be found quickly other companies and certify them as computer. and tracks can be selected by using Intuitive control compatible with the DJ gear. Registered users can download the Simply plug the PC/Mac into the the rotary selector on the deck. XDJ-1000MK2/XDJ-700 and control Audio output device TRAKTOR PRO 3. Intuitively scratch and The XDJ’s built-in sound card can use performance features including be used to output audio signals from loops, tempo adjustment, and play/cue, TRAKTOR PRO 3 without the need for an external audio interface.

TRAKTOR PRO 3 DJ software

XDJ-1000MK2 XDJ-700

91 March - June 2020 note

PromotionPromotion Index Index

Name Name PAGEPage NONo..

Ahuja Radios, Delhi 13 Ahuja Radios, Delhi 07 Alphatec, Kolkata 35

Alphatec,Ansata Computer Kolkata Systems Pvt. Ltd. 07, 45 & 10009

A-Plus Professional Audio Solutions, New Delhi 37 Audioplus, Mumbai 21 Audioplus, Mumbai 19 NJSM ‘s d&b Inventory Hits a Century

Mumbai Based professional audio rental company - AV Integrated Systems Expo’21,Expo’19, Mumbai 67 & 8945 NJSM has become one of the biggest holders of the d&b Audiotechnik systems V series boxes in India, by acquiring an additional 24 boxes...read more

Beta Three Audio India Pvt. Ltd., New Delhi 23 The Piano Man Jazz Club Shines with BOSE Corporation India Pvt. Ltd., New Delhi 5 HARMAN Professional Solutions... AM Integrated and Crescendo AV recently outfitted BOSE Corporation India Pvt. Ltd., New Delhi 5 The Piano Man Jazz Club with a complete HARMAN Professional Solutions sound...read more

HarmanCalibre Sound International Systems ( IndiaPvt. Ltd, ) Pvt. Mumbai Ltd., Mumbai IFC65 LumaSonic Joins Adamson Network

Goa based LumaSonic recently purchased a new Circle Pave Audio, Mumbai 39 Click Here To Read Latest PALM Technology Digital Edition Adamson sound reinforcement system, making them the latest company to join the Adamson network. In LBT, New Delhi 02 total the company added 16 S10...read more Harman International ( India ) Pvt. Ltd., Mumbai IFC L-Acoustics Open Day in India

Hi-Tech Audio Systems Pvt. Ltd., known as one of the top distributor & service provider of Professional Audio MXHi-Tech MDR Audio TECHNOLOGIES Systems Pvt. LIMITED, Ltd., New Mumbai Delhi 12 - 0213 Video & Lighting System has recently organized “L- Acoustics Open Day”...read more

LBT, New Delhi 31 Narain Audio and Lighting LLP, Mumbai 25 & 79 Modern Stage Services Pvt. Ltd., New Delhi 81

Allen & Heath Announces Bose Professional Adamson Installed at PALMMX MDR Expo TECHNOLOGIES 2020, Mumbai LIMITED, Mumbai 14 - 1517 Third Installment in... convenes a stellar... AntiSocial by Munro...

Narain Audio and Lighting LLP, Mumbai 27, 59 & 95 Rivera Digitec(India) Pvt Ltd, Mumbai 33

PALM Expo 2020, Mumbai 11, 75 & 85 Martin Audio Appoints Eighteen Sound Now Dev Electronics Enthralls Vardhaman Megatech... Available at Dev... DJs of Western India...

View all News... Sennheiser,Pope Professional Gurugram Acoustics Ltd, Coimbatore IBC17

Rivera Digitec(India) Pvt Ltd, Mumbai 21 & 41 Sonotone Audio LLP / JTS, Mumbai 41, 53 & 63 Sennheiser, Gurugram IBC Stage Sound & Tech - The Bright Spark - Think Sound Impression - All That Art, Science & Psychology... Guys Goes Into Enhancing... - Mr. Warren DSouza - Mr. Viraf Pocha - Mr. Vipin Pungalia VardhamanSonotone Audio Megatech LLP / JTS,Private Mumbai Limited, Mumbai 09, 25 & 431

Disclaimer: This email is sent to you by ABEC Exhibitions & Conferences Pvt. Ltd., Vardhaman Megatech Private Limited, Mumbai 1 located at 530, Laxmi Plaza, 5th Floor, Laxmi Industrial Estate, New Link Road, Andheri (W). Pin: 400 053. Tel: +91 98209 43398 | E: [email protected] Yamaha Music India Pvt. Ltd., Gurugram 3 & BC Yamaha Music India Pvt. Ltd., Gurugram 3 & BC Checkout our BI-WEEKLY NEWSLETTER at http://palmtechnology.in/Newsletter_Archive.aspx HalfHALF Page PAGE Contact us to book your AD for the upcoming Newsletter

BLK FERRITES Pvt. Ltd., New Delhi 99

BLK FERRITES Pvt. Ltd., New Delhi 89 ForFor EditorialEditorial & & Advertising Advertising contact: contact: SMITA SMITA RAIRAI H V & Company, Gujarat 57 [email protected]@palmexpo.in | |Mob: Mob: +91+91 98209 98209 43398 43398

HIntegrated V & Company, Entertainment Gujarat Solutions (IES), Mumbai 5111 & 5575

MarchJanuary - June- February 2020 2020 9298

UR-RT Steinberg.net/UR-RT

YAMAHA MUSIC INDIA PVT. LTD. P – 401, JMD Megapolis, Sector – 48, Sohna Road, Gurgaon Haryana – 122018, India Tel: +91-124-4853300 Fax: +91-124-4853301 Email : [email protected] www.steinberg.net in.yamaha.com