German loudspeaker giant d&b audiotechnik has completed its first ever KSL Soundscape installation at Taiwan’s new Kaohsiung Music Center.

Located in Kaohsiung, the newly developed venue comprises of a vast outdoor stage HI-BREEZE Square, four auditoriums and a large main stage, HI-ING Hall. The final auditorium is located outside of the building on top of the bridge overlooking the Love River. Like the auditoriums, the main stage can be subdivided into smaller units, offering greater flexibility in its hosting capabilities. As well s serving as a tourist attraction, the venue will primarily feature live music and concerts.

The Kaohsiung City Government worked with audio professionals and a consultant to design and specify a future-proof sound reinforcement system, identifying d&b Soundscape as the ideal fit.

The Kaohsiung Music Center, along with supplier Topsound, combined d&b Soundscape immersive technology, and d&b KSL loudspeakers to create a first-of-its-kind installation. The venue features seven hangs of KSL line arrays (five for the mains, and two for outfills) to provide full-band directivity control to the space. The system is powered by the DS100 Signal Engine, an audio system processor based on a Dante-enabled signal matrix.

Also key to the installation is d&b’s En-Scene technology – a sound object positioning software tool that enables the individual placement and movement of sound objects. It depicts stage scenarios so that each sound object corresponds both visually and acoustically.

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“This venue is unique, not just in its design and construction but also because of its ability to accommodate audiences of all sizes,” said Kenny Liu, general manager of Topsound. “The combination of KSL and Soundscape has been revolutionary and provides the coverage we need to ensure every spectator has the same sound experience, whether they situated right at the front or in the back corner.”

Due to COVID-19 restrictions, the d&b team was unable to be onsite during the installation. Instead, they provided the Topsound teams with a series of virtual training webinars.  

“We were supported by d&b every step of the way, and their online training initiatives taught us so much and ensured we felt extremely comfortable with the system,” commented Liu. “This is an extremely impressive looking venue, and we needed a sound system that would match, d&b gave us that and more, and we are very excited for audiences to experience this one of a kind system in a one of a kind venue.”

The installation completion marks the latest in a series of firsts for the German pro audio company. Last month, d&b audiotechnik announced the launch of its new subscription service. 

The service is designed to enable venue owners to upgrade their audio offering with a brand new d&b audiotechnik system without a large, upfront capital investment. The standard d&b Subscription Series plan offers customers the flexibility of a monthly payment and commitment periods as short as 24 months. The subscription fee covers all hardware, including accessories, system commissioning, post-install services, maintenance, and decommissioning. 

This announcement was preceded by the news that the company was rolling out an e-commerce platform dubbed d&b Direct. d&b CEO Amnon Harman spoke to Audio Media International about the new platform and what it means for the business in a world exclusive interview, which can be read here.

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German loudspeaker giant d&b audiotechnik has today (March 3) launched the d&b Subscription Series – an ‘alternative to ownership’ aimed at making the company’s solutions available to a wider range of venues.

The d&b Subscription Series enables venue owners to upgrade their audio offering with a brand new d&b system without a large, upfront capital investment. 

“We’ve been working closely with our customers to understand their changing needs and it’s clear that technical flexibility and commercial accessibility are highly valued,” said Amnon Harman, CEO d&b audiotechnik. “Our new Subscription-Series gives any venue owner or manager who aspires to offer the best sound experience access to d&b solutions. The world has changed, buying behaviour has changed, and it’s critical that we address these new needs.”

The standard d&b Subscription Series plan offers customers the flexibility of a monthly payment and commitment periods as short as 24 months. The subscription fee covers all hardware, including accessories, system commissioning, post-install services, maintenance, and decommissioning. 

At the end of the subscription period, customers can choose to continue their subscription, upgrade or adjust the system requirements, or cancel the service. The d&b sales partner and dealer network come as part of the package.

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In addition to the d&b Subscription-Series, the company is also offering a pay-per-use option. The add-on option enables customers to install additional d&b equipment for use at occasional events. Venues are charged when the enhanced system components are actually used.

The d&b Subscription Series is available in the US, Europe (incl. UK), Singapore, Australia and New Zealand from today.

“At d&b we have the mission to accurately transfer passions,” Harman continued. “We know that extraordinary sound enhances and shapes extraordinary experiences and that’s what our systems deliver. Subscription-Series will make our premium solutions even more accessible for all kinds of installation projects, no matter the size, budget or application.”

Last month, d&b announced the launch of its new d&b Direct e-commerce platform. Available from now to customers in Austria, Germany and the UK, d&b Direct is designed to provide a faster and more efficient way for customers to access the company’s solutions and allow d&b to interact with customers in a more targeted and personalised way. The online platform can present system configuration examples for installation sector buyers and is supported by a streamlined inquiry functionality that connects customers directly with a partner.

In an exclusive interview with Audio Media International, Harman said: We’re always listening to our customers and we came to the realisation that many of them are looking to access great advice and premium solutions faster than we’ve been able to offer in the past. We also recognise that some touring users looking for smaller systems find the idea of buying a system package online really appealing.

“The platform doesn’t just benefit our customers, we also have our eye on how we could strengthen our position as one the leading business partners in pro audio. The d&b Direct platform is part of that mission, simplifying how partners can interact with potential customers and opening up conversations with new customers.”

You can read the interview in full here.

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d&b audiotechnik has introduced a number of new features to its Soundscape immersive audio technology.

The new software updates are designed to improve ease of implementation and offer greater flexibility and predictability in performance.

The En-Scene object-based positioning software has been updated with sound object routing control, which brings individual level adjustment and mute for each sound object within each section (Function Group) of a loudspeaker system, such as mains, front fill, outfill. This option adds flexibility for a wide range of acoustic settings and audience areas. This update also ensures that a sound designer or mixer has complete control over the imaging and sound object performance as they relate to each Function Group in a distributed or immersive system.

Meanwhile, En-Scene has received two new function group modes in the form of ‘delay line embedded’ and ‘outfill embedded’. These address the growing number of installations that use delay lines for the audience areas within a surround (360) Soundscape setup. These 360 set ups use these delay lines either to distribute a higher number of small loudspeakers, or to enable immersive sound for larger audience areas.

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Elsewhere, the En-Space room emulation software now fully supports delay lines delivering room emulation on all loudspeaker function groups in a Soundscape system. The impulse response (IR) assignment has been optimised for simultaneous use of multiple instances of the same function group mode [e.g. Delay line] within one loudspeaker system. This development is deisgned to make it easier to use En-Space in a wider range of applications with multiple delay lines, from theatres with several balconies to large open-air events.

“At d&b we are planning ahead and ensuring the Soundscape platform is not only easy to deploy and accessible, but significantly advanced for when it’s possible to have events again,” said Georg Stummer, product manager, d&b audiotechnik. “The features released today not only significantly increase the predictability and flexibility of Soundscape, but also the ease of implementation from small theatre productions to large, complex applications. We are constantly driven by customer feedback and these updates reflect the markets leading requests, ensuring we can further embed Soundscape as the industry standard in immersive sound and deliver further capabilities to our customers creative endeavours.

“These latest Soundscape software updates are a significant step forward for designing and installing Soundscape systems. They ensure this immersive technology is designed to cater to the large variety of applications and audiences we expect to see at socially-distanced events this summer season and well into the future.”

Last week, Audio Media International exclusively revealed that d&b audiotechnik was introducing a brand new e-commerce platform under the banner d&b Direct. You can read our interview with CEO Amnon Harman here, in which he discusses what the new direct initiative means for the business.

Available from now to customers in Austria, Germany and the UK, d&b Direct is designed to provide a faster and more efficient way for customers to access the company’s solutions and allow d&b to interact with customers in a more targeted and personalised way. The online platform can present system configuration examples for installation sector buyers and is supported by a streamlined inquiry functionality that connects customers directly with a partner.

“We want to stay in touch with our customers beyond Zoom!”
Read the Audio Media International partner plan. 

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Audio Media International has spoken exclusively to d&b audiotechnik CEO Amnon Harman about the rollout of the loudspeaker giant’s brand new d&b Direct initiative, which will offer customers direct access to the company’s audio solutions.

Available from now to customers in Austria, Germany and the UK, d&b Direct is designed to provide a faster and more efficient way for customers to access the company’s solutions and allow d&b to interact with customers in a more targeted and personalised way. The online platform can present system configuration examples for installation sector buyers and is supported by a streamlined inquiry functionality that connects customers directly with a partner.

Furthermore, the platform offers small, ready-to-ship system bundles for mobile users that will be available to order and purchase directly online.

Here, Harman explains the philosophy behind the new initiative and what it means for the future of the business…

What is d&b Direct?
d&b Direct, is our new e-commerce platform that ensures that d&b system solutions are more accessible than ever before.

How does it work?
Some premium brands profit from being exclusive and unreachable, but that has never been our business model. d&b Direct is designed to offer direct access to our solutions in our pilot markets of Germany, Austria and the UK. For installation buyers in these markets, d&b Direct presents easy-to-use but detailed system configuration examples to help customers find their optimum solution faster. d&b Direct also helps customers connect directly with tech partners to best address their needs. For mobile users in these pilot markets, the platform offers small, ready-to-ship system bundles, available to order and purchase directly online. For these bundles we also offer the possibility to consult a d&b expert.

Does the scheme system work for all d&b customers?
d&b Direct works for installation and mobile customers. We see this being of particular interest to smaller applications, including touring DJs, bands, and small-scale hospitality/entertainment venues.

What are they key benefits for customers?
We’re always listening to our customers and we came to the realisation that many of them are looking to access great advice and premium solutions faster than we’ve been able to offer in the past. We also recognise that some touring users looking for smaller systems find the idea of buying a system package online really appealing.

The platform doesn’t just benefit our customers, we also have our eye on how we could strengthen our position as one the leading business partners in pro audio. The d&b Direct platform is part of that mission, simplifying how partners can interact with potential customers and opening up conversations with new customers.

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Why Germany, Austria and the UK?
These are very mature d&b markets. We have great brand appreciation amongst customers and well-established partner networks – these are optimum conditions to try new ideas and approaches.

Will you be looking to roll the platform out into other countries/territories?
Yes, that’s the plan. During the pilot phase, the inquiry and purchase functionality will only be active for Germany, Austria and the UK. Other countries will be added gradually once pilot-phase assessments have begun.

When will d&b Direct be up and running?
d&b Direct is available to access in our pilot markets now.

How is the company dealing with the ongoing uncertainty surrounding the live sector?
There is no question that we felt the impact of the initial uncertainty in live events, but the effect was different for each sector of the market and each region. The market has responded quickly and we have seen our systems deployed in new and innovative ways: in sports stadiums to create the crowd effect; in outdoor ceremonies for worship; in safe-distanced lecture halls for education and in socially-distanced concerts around the world, particularly in APAC where restrictions are not as limiting. For our installation partners, we have seen that now is the perfect time to upgrade venues which are closed to the public.

What else does d&b have planned for 2021?
The ever-changing dynamics of the industry bring with it extraordinary challenges, but ones that, at d&b, we are eager to tackle. The pandemic has changed virtually every aspect of our daily lives so we, as an industry, must adjust with these changes. Our team, from the engineers to those in-market are ready to see the sector rebound and recover, and with that will come incredible innovation and experimentation. Over the course of the year, you will see us accelerate our digitalisation efforts to deliver accessibility and flexibility where possible, to both customers and partners. We will continue to monitor changing buying behaviours and we will be addressing that with important new product and service offerings to customers and extensions of our business model.

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German loudspeaker giant d&b audiotechnik is hosting a range of virtual seminars as part of NAMM Believe In Music Week, which runs from January 18-22.

The company will be hosting a variety of sessions and unveiling new products from its virtual NAMM booth.

d&b education sessions include:

Session 1 Jan 18 @9AM PST (A-Series) – Point Sources, line sources, and the space between.
Session 2 Jan 19 @9AM PST (KSLi) – Improved intelligibility for installations.
Session 3 Jan 20 @9AM PST (44S) – Notably unnoticeable. The ultra-compact 44S.
Session 4 Jan 21 @9AM PST (Soundscape) – Soundscape introduction and real-world benefits.

Marc Lopez, VP of marketing Americas at d&b audiotechnik, commented, “NAMM has always had the benefit of bringing people together from multiple creative disciplines to a common platform. The NAMM Believe in Music event offers a direct accessibility for a greater number of people globally that the traditional NAMM Show couldn’t always reach.  We look forward to making connections with people who may not have traditionally had access to attend this show in person.”

Last week, Lopez spoke to Audio Media International about the importance of a virtual NAMM Show during the COVID crisis. You can read what he and other pro audio industry leaders had to say about the benefits and challenges of virtual trade shows here. 

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d&b audiotechnik has partnered with Gareth Owen Sound to launch En-Snap, a new form of cue automation software designed to advance the application of its immersive Soundscape technology.

Developed by Gareth Owen Sound for d&b Soundscape, the German audio giant is working in cooperation with sound designer Gareth Owen and his team to make the En-Snap tool available for free to registered d&b Soundscape customers and users.

Owen has previously used Soundscape and an early version of the En-Snap tool to bring his sound designs to life on recent productions such as the Olivier Award winning sound design for Come From Away in London; as well as the Broadway production of Diana and the German productions of Bat Out of Hell and Starlight Express.

“The public launch of En-Snap is of huge significance to Soundscape users everywhere,” said Owen. “It provides a seamless and efficient way to integrate Soundscape into show programming and operation, greatly reducing the amount of time sound designers and engineers spend in the production phase.”

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En-Snap enables a straightforward cue-based control within the Soundscape environment. The software connects directly to the d&b DS100 Signal engine and stores the parameter values of all 64 sound objects and any En-Space room emulation setting as an En-Snap cue. 

En-Snap sound cues can be manually operated by FOH engineers and show caller, as well as integrated into automated production workflows, by cue recall, via OSC and MIDI timecode to control a Soundscape setup on up to two DS100s simultaneously.

“By partnering with Gareth Owen Sound, we continue to expand the possibilities of Soundscape for the needs of the creatives and the market,” said Georg Stummer, product manager, d&b audiotechnik. “It is important that we plan ahead for when performances restart in, 2021. The introduction of En-Snap to the Soundscape environment will bring productions to life faster, with even more creativity, flexibility and functionality.”

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Top executives from d&b audiotechnik, Royal Albert Hall, Audiotonix and Live Nation have come together to discuss the future of the live events industry as part of the Horizons Summit: Entertainment, Technology and Beyond.

The panel, which addressed common partner and customer concerns and industry trends around the impact of the COVID-19 pandemic, featured Amnon Harman, group CEO, d&b audiotechnik; James Gordon, CEO Audiotonix; Jackie Wilgar, senior vice president, Live Nation; and Craig Hassall, CEO Royal Albert Hall.

“2020 has brought incredible challenges for everyone in this industry,” said Harmon. “While many of these conversations have been taking place behind closed doors over the last few months, this Summit gives the industry the opportunity to openly address challenges and to discuss what we believe will be the future of live entertainment. Community matters, strength in numbers matters and we need to bring everyone together to navigate these challenging times.”

You can watch the summit here.

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On November 13, Björk kicked off the European portion of her critically-acclaimed Cornucopia tour, deploying a d&b Soundscape immersive sound system as the show scales up dramatically from its debut in New York’s new arts centre – The Shed – to a comprehensive run of large scale arena dates including London’s 02 arena.

Cornucopia is Björk’s most elaborate stage production to date, incorporating stunning visuals, intricate stage movements and a fully integrated immersive sound design.

Cornucopia’s sound was designed by Björk and FoH sound engineer John Gale, supported by Southby Productions, and Steve Jones from d&b, utilising the d&b En-Scene object-based mixing and En-Space room emulation software, running on the DS100 system processor and a comprehensive d&b KSL speaker system as an integral part of the concert performance design.

“Björk wanted the sound for Cornucopia to create an otherworldly sensory experience for the audience that draws all the visual, aural and virtual elements together,” said Jones. “By utilising Soundscape from the studio all the way through to the show performances, she has delivered on that impressive vision.”

While already utilised in many major musical productions, installations, festivals and concerts, the Cornucopia tour marks one of the most ambitious and extensive applications of the Soundscape system. Björk’s creative vision, combined with d&b’s vision for designing high quality audio experiences, provided the opportunity to bring Cornucopia’s multi-sensory world to large-scale arena-based audiences.

To date, Cornucopia shows in the US and Mexico have received universal critical acclaim from audiences and critics alike for its stunning visuals and unmatched audio quality.

To get a look at the Cornucopia Tour click HERE to see it in action.

www.dbaudio.com

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The sound design of the immersive theatrical production Mamma Mia: The Party – which surrounds a dining experience – is centred around the localisation and spatial control capabilities of two TiMax SoundHub-S64 3D audio processors, procured and supplied by Orbital Sound for the show, which has taken London’s O2 as its new permanent home.

Dining is established across two floors of the venue, styled as the Greek taverna straight from the Mamma Mia movie set. Taverna owners Nikos and Kate host a fast-paced evening that revolves around a chef, a daughter, a love interest and a brimming effervescence of music.

As band and cast move freely amongst the tables across the multiple levels of the space, the precise performer localisation and tight spatial control of TiMax enable diners to immediately make sense of the soundscape, locating voices and instruments to the exact positions at which they’re performing.

Image definition objects created in TiMax allow the restaurant space to be split into multiple zones on a Z-axis as well as X- and Y-.  Delay-matrix imaging for those zones is then auto-calculated in TiMax PanSpace using selected loudspeaker channels within the distributed d&b system. As performers are cued into different positions, TiMax dynamically morphs them between the corresponding audio image definition objects.

The speaker system is comprised of four main d&b V-Series arrays, with six centre arrays of Y-Series complemented by SL-Subs, which help deliver the rock concert level performance. The spatialisation is supported by, as sound designer Gareth Owen described, “literally hundreds” of smaller d&b speakers from E0s to V7Ps.

Owen explained, “TiMax allows us to position the performers anywhere in the fully immersive performance space, localising voices and intelligently decoding positions regardless of the orientation of the speakers.” It’s the advanced refinements within TiMax that allowed the extreme simplification of the complex audio system setup. Just by updating one or more speakers’ location, TiMax adaptively renders all image definitions set up within the space automatically.

The entire audio and communications system was supplied and supported by Orbital and MD Chris Headlam, noted, “It’s always a pleasure to work with the world’s leading sound designers and Gareth is absolutely top of his game. Mamma Mia The Party was a hugely complex audio project yet the end result is smooth, involving and really contributes to the audience’s night out. TiMax does an awful lot of work, but it’s all beautifully hidden in a seamless design.”

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British pop-rock band The 1975’s two-year world tour, ‘A Brief Inquiry Into Online Relationships’, is one of the first to take d&b audiotechnik’s KSL System out on the road.

Rental house Eighth Day Sound has worked with The 1975 for their past two album cycles. As early adopters of new d&b technology, they collaborated with Jay Rigby – FOH engineer for The 1975 – to specify the KSL System for this tour.

“Musically, this band is very eclectic, so you really need a sound system that covers all of those genres and styles,” said Rigby. “[Lead singer] Matty Healy and drummer George Daniel produce their own albums – they know exactly how they should sound live and they have the technical expertise to communicate that effectively.

“One really interesting thing with the KSL,” added Rigby, “is that the vocal range is just incredible – that crossover point between the mid and the high is so smooth; you don’t really hear any horn distortion and the voice is just so smooth all the way through. The fans want to hear every word that Matty is saying and KSL has made it so much easier for every seat in the house to hear just that.”

Whether playing smaller venues such as The Brighton Centre (4,500 capacity) or large arenas such as London’s O2 (20,000 capacity), the striking, art-installation-like set design by conceptual designer Tobias Rylander scales accordingly, and sound follows suit. “We bounce into different sized venues on an almost daily basis and KSL sounds great in all of them,” said Rigby.

Faced with such variety, Eighth Day Sound’s system engineer Dan Bluhm utilises d&b ArrayCalc and R1 control software to plan, implement and optimise the sound for each venue. “The d&b eco-system drives my day. From starting with ArrayCalc prediction software for room measurement and determining speaker angles. Then transitioning into the R1 control system. This allows me to perform system checks and array verification while the system is still at a working height. We’re able to check all the components in the boxes, make sure that everything is functioning, and cabled correctly before sending it up. We have found the KSL to be very easy and fast to hang. Our two fly guys are hanging the arrays within a matter of hours from shooting the room.”

Monitor engineer Francois Pare also feels the benefit of KSL: “The rejection on stage is pretty spectacular – it makes my job so much easier. I’m not fighting the PA as much as with other sound systems, which is kind of nice for the band. Any band likes clarity, it’s super important. Again, the rejection keeps the stage down, so it is easier to be clear with mixes.”

Rigby concurred: “The overall clarity we’re getting with KSL, I kind of relate to television, when you’re used to watching standard definition and the first time you watch in HD there’s this wow factor, where you never knew it could look or sound so clear. I’m now hearing parts in certain instruments that I never heard before, almost to the point where I’m going to the backline guys to ask if it was there last time. There’s detail and clarity that we didn’t have before.”

www.dbaudio.com

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