Established in 1989, the Zentrum für Kunst und Medientechnologie | Center for Art and Media (ZKM) in Karlsruhe, Germany has recently installed a Lawo mc²56 mixing console in the Kubus at its Hertz Laboratory.

The ZKM Hertz Laboratory is dedicated to the performance and recording of experimental music and musical experimentation, including multichannel sound reinforcement. Its Kubus (Sound Cube) is specifically designed for audio projects using IP-based audio technology.

Currently, 51 loudspeakers are in use in the Kubus. Based on RAVENNA IP technology, the Lawo mc²56 audio production mixer replaces an outdated digital mixer that was no longer able to meet the demands of these ambitious tasks. With 32 faders and three DSP boards providing 144 fully equipped DSP channels, the mc²56 looks to bring artistic freedom to demanding productions and performances.

At the Hertz Laboratory, contemporary artistic/scientific concepts such as augmented reality in AR and VR applications, artificial intelligence, immersivity and sensor-supported environments are explored, alongside the use of artistic options in the electromagnetic field.

The new mc²56 console is equipped with 24 microphone inputs and 72 line outputs to fully exploit the potential of the complex Kubus immersive sound system. It also offers local inputs/outputs and four MADI ports, while a Lawo A__madi4 unit is used for the remote connection of two further MADI ports via RAVENNA.

“The console is self-sufficient in its routing, so we were able to eliminate the old audio router,” said Ludger Brümmer, instrumental and electroacoustic music composer and head of the Hertz Laboratory. “It was crucial for the decision that the mixing console for our Klangdom (Sound Dome, dedicated to sound spatialisation) could control and manage all output channels – our chamber orchestra performances often require 20 to 30 microphone channels. It also needed to be able to operate at 96kHz – even if this is rarely necessary, the Klangdom should at least be able to produce HD formats.”

Direct connection of the Lawo system to the facility’s Pyramix DAW allows control of the mixing console remotely via MIDI. Sound engineers can use this combination to control all microphone preamplifiers via touch display, and record directly via the core without a local console. The ZKM is also equipped with a fiber-optic infrastructure, allowing the Lawo Compact I/O unit that is also available to be flexibly positioned and used throughout the facility – so that, for example, signals can be taken from different locations for small events and mixed in the control room.

“Our musical and arts events sometimes involve up to 200 artists who perform their music and sound in two concert rooms,” Brümmer explained. “These events often last several hours, and present us with unpredictable challenges, especially as there is hardly any time for rehearsals before the concerts. The engineer at the mixing console must be able to react very quickly. Thanks to our experience with the hired consoles, we know that Lawo consoles can be operated quickly and intuitively, and react with lightning speed.”

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Colby Ramsey speaks to ADAM Audio’s CEO Christian Hellinger about the Berlin-based company’s two decades creating professional studio monitoring solutions…

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Tell us about how you first got involved with the company.

I’ve been at the company for two years now, so unfortunately was not here when it started 20 years ago! I guess I’m still kind of the new guy as many of the people here – especially in production – have been working at ADAM Audio for the whole time. Coming to this role from my long-term background in pro audio software, I have certainly learned a lot about how hardware companies operate.

How has the company’s ethos helped it to achieve its goals?

We’re always thinking about designing great products, and are constantly trying to push the limits of what a studio monitor is capable of. I think that’s the general approach of a lot of companies out there. We always try to harness the power of our excellent engineering teams as the key to achieving this goal and driving innovation, although we do often try to approach it from an end user perspective, rather than a technical one. It’s about trying to meet demand while also pushing the boundaries of what musicians, producers and engineers know is possible.

We offer monitoring solutions for a very wide range of budgets and experience levels, which I think makes us rather unique. From the quite methodical T-Series up to our flagship line of S-Series speakers – we are not boutique, and pride ourselves as being the manufacturer of studio monitors that many audio professionals rely on every day. There’s some awesome opportunities, because we are getting in touch with some totally different users out there and we like to follow them through their whole musical journey.

We are toolmakers, who like to get our hands dirty. Knowing what the users need and being able to adjust and develop our products is crucial to stay relevant, so keeping that in mind is more or less part of everything we do. I want to keep the passion going at ADAM Audio by staying very pragmatic and hands-on, while combining this with some very professional processes, structures and supply chains that can shift the company up to the next level.

How would you describe the company’s recent growth trajectory?

ADAM Audio has experienced all kinds of ups and downs. Around four years ago the company went into insolvency and the entire structure significantly changed. We now have investors on board who have made some major decisions in that we’re not doing hi-fi products anymore, and are instead really putting our focus on pro audio and our studio monitors. I think we owe our recent success in pro audio and significant organic growth to that decision.

What our shareholders did was heavily invest their time, effort and funds into the operations departments; supply chain, logistics, purchase, production etc. They put some solid structures and processes in place to allow for future growth, but still kept the spirit that I mentioned earlier – handmade gear with a lot of passion, based on a professional and reliable company structure.

Why is ADAM Audio’s 20th anniversary so significant for the company, and what are you doing this year to celebrate?

20 years in the audio industry is quite a long time, and we really have experienced it all, from great success to very tough times. The intention and the approach was always about the product and it has remained that way – the company has changed a lot but we still have the same people and the same passion. Because of the changes that took place around four years ago, it feels like the company is still in its early stages, despite being around for 20 years. It almost feels like a bit of a startup where everyone is hungry and excited for the next five years. We’re making progress in every aspect of our business and we want to maintain that.

As we celebrate our 20th anniversary this year, we also want to make it a celebration for our users and our business partners. We are going to be doing special promotions and activities every month, as well as a big party in Berlin for all of our dealers, distributors, staff and their families in the late summer. Under that 20-year banner, we want to do some limited editions of our products and donate any profits raised to some kind of social institution. It’s a big year for us and I can see that people are very proud, especially my colleagues who have been here since the beginning!

We will of course be at Superbooth again this year – it’s a show that’s really focused on the music and the passion. We exhibit there, but more importantly last year we supplied more than 60 per cent of the exhibitors with speakers and supported them. Events like this show that we are a company that wants to be close to the customer, always engaging in conversations with them.

How do you plan to develop your product ranges? Could you offer your thoughts on any particular industry trends that you’re seeing?

While we are always growing and developing our existing product ranges, I think there’s lots of opportunities for us in terms of horizontal growth, and I can see us playing a significant role in other areas of the pro audio environment. Headphones is of course a logical step for us.

We’re seeing so many interesting use cases in terms of immersive audio and Dolby Atmos on the installation side of the business. However, we are a small company compared to some of the others out there, so we have to make sure that we don’t lose our focus. For me, quality over quantity is important.

We’re still really keeping our eye on the move from analogue to digital, which is part of the reason why I came into the company with my software background. The speakers are becoming more and more software based with their big DSP engines, which is an important step for us, especially when it comes to our ideas about the solutions that we provide.

Users want to interact with their speakers and have them connected and embedded. It’s a case of looking at how we can translate the ‘smart home’ of the future into a ‘smart studio.’ We’re always looking left and right to see what else can make us a major player in pro audio aside from speakers, and it’s about trying to balance our core segment with research and development into the next generation of products. There are some extremely exciting times coming up and we’re in our best shape ever at the moment, so I think people are really looking forward to what we have planned for the future.

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Berlin-based ADAM Audio is this month celebrating 20 years since it was founded in March 1999.

The company achieved its breakthrough on the international stage with its ADAM S3A active studio monitor, with many still serving faithfully in renowned recording studios.

The A7 (2007) and A7X (2010) models wrote new chapters in the company’s ongoing success story. Among the latest ADAM Audio products is its flagship S series – the first ADAM Audio speakers to feature DSPs.

In 2018, ADAM launched the T series, providing newcomers on a limited budget with the ‘ADAM sound’. In the same year the company also introduced its SP-5 headphones, a mobile professional monitoring solution.

“We’re very happy and, of course, also a bit proud that our studio monitors have been part of countless music productions over the last twenty years,” commented Christian Hellinger, CEO at ADAM Audio. “It’s a challenge – a wonderful and gratifying challenge – to be part of a creative process and to help artists, producers and audio engineers make decisions by providing them with innovative new technology when recording, mixing or mastering their material.

“Our ART tweeter still reveals details, even to experienced audio engineers, that the listener hasn’t heard before,” Hellinger added. “The X-ART and S-ART tweeters are still made by hand at our HQ in Berlin. But they’re far from being the only ADAM Audio innovation. Years of research and development continue to result in future-oriented technologies, such as our new driver concepts, digital signal processing and software solutions.

“The most important driver for our development was and is our excellent team who are passionate about our aspiration to develop, build and distribute the best studio monitors. Our customers have now trusted us for 20 years, showing us that we’re on the right path.”

To celebrate, ADAM Audio has created a limited white edition of its A7X speakers, in a production run totalling just 20 units. This special version will be available through several channels throughout 2019. One pair will be given to the winner of the company’s Instagram competition while another pair will be auctioned via eBay with all proceeds going to the charity Doctors Without Borders.

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The Fraunhofer Institute for Digital Media Technology (IDMT) – which focuses on applied research in the field of audiovisual media – has invested in a brand new range of Powersoft Ottocanali 4k4 DSP+D amplifier platforms for its Ilmenau headquarters.

A total of 29 Ottocanali 4k4 DSP+D amplifiers were required to meet the institute’s grand aspirations, with 16 of those units being installed in the building’s 3D Presentation Room alone.

“This room is one of our biggest experimental rooms,” said René Rodigast, business manager in the acoustics department at Fraunhofer IDMT. “The goal when we created it was to have an efficient and flexible setup. The room is equipped with 117 loudspeakers and is able to accommodate a small number of subwoofers as well. All of the speakers can switch to different setups. One of our standard configurations is a stage setup of below-stage subs and some front fill, and a system enclosing the ‘audience’. Thanks to the certified acoustics, we can simulate other systems as well, such as stage, cinema, planetarium, and even home setups.”

Rodigast continued: “The amplifiers’ Dante capabilities make the system very flexible, which is ideal when using different speaker setups in the room. It is also easy to use the Dante metrics – we often have projects with students who are not used to the system but it’s easy to explain to them how it works. Flexibility is so important as we have different hardware and software all the time. It’s good for us to have a reliable audio network where we can work quickly and easily switch channels.

“In our acoustics department we have a lot of research and sound possibilities. Our biggest room, the 3D Presentation Room, is where we conduct R&D in relation to 3D sound systems. We also have a 3D sound studio, which is used for creating the 3D sound content and for presentation of technology.”

The studio itself houses more Powersoft amplifier platforms, as well as computers, digital/analogue converters and the playback system. “We go directly from the PC to the amps via Dante and from there we go direct to the loudspeakers in the 3D room,” Rodigast said.

Aside from these rooms, there is also a full anechoic chamber at Fraunhofer IDMT’s HQ, which is one of the biggest in Germany at 10m x 9m x 8m. The room is capable of accommodating 60Hz and allows the team to conduct very precise measurements in low frequencies, which is very important for the improvement of sound reinforcement systems.

One of the principles explored in depth at Fraunhofer IDMT is Wave Field Synthesis (WFS). Through conducting numerous experiments, the institute came up with Spatial Sound Wave (SSW) technology – an object-based system for producing 3D sound. Using SSW, audio content can be produced for reproduction by any audio system and loudspeaker setup. Reprocessing and adaptation of scenes or effects is not required.

Rodigast concluded: “We can accommodate most applications on the pro audio market here at Fraunhofer IDMT. We are currently doing things in the video side of the market as well, combining 3D sound with VR and headphone applications. We also have aspirations of working outside pro audio in areas such as industry and maybe medical technology.”

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Global media localisation company BTI Studios has acquired 100 per cent of the share capital of Berliner Synchron GmbH from Munich based S&L Medien Gruppe.

The completion of the deal increases BTI’s offering to 63 recording studios across 24 facilities spanning Europe, the US and Asia, and follows BTI’s acquisition of Dutch dubbing studio Creative Sounds last month.

Berliner Synchron was founded in 1949 as the first professional dubbing studio in Germany. Since then it has dubbed more than 8,000 titles into German.

Björn Lifvergren, BTI Studios founder and leader of the M&A team, commented on the deal: “The acquisition of Berliner Synchron is an important cornerstone in the geographic expansion of BTI Studios. It fits well into our strategy to establish presence in all key dubbing territories. Berliner Synchron has everything we are looking for in a dubbing company; a professional team with great management in state-of-the art studios.”

Maria Theresia Seidlein, owner of S&L Media Gruppe, added, “We are confident that BTI Studios is the right owner to take Berliner Synchron onwards. BTI’s international standing will boost the market position of Berliner Synchron and the future prospects of its employees.”

In 2016, Berliner Synchron moved into a new purpose built studios in the EUREF Campus in Berlin. Co-CEOs Dr. Martina Berninger and Marcus Dröscher will continue to lead the German studio and, together with their team, bring their knowledge in the German dubbing market to BTI Studios.

Dr. Berninger commented on the transaction: “We are delighted to join BTI Studios. Being part of the BTI group will give us access to greater technological resources and expertise to spur innovation and thus improve the quality of our services to our national and international customers.”

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German recording artist NENA recently took Coda Audio’s AiRAY system on her ‘Nichts Versäumt Tour’ (‘Nothing Missed Tour’) across Europe.

Event technology service provider Ambion supplied the audio for the tour, which encompassed shows in Germany, Austria, Switzerland, The Netherlands and Luxembourg this summer.

The size of the shows varied between audiences of 2,000 and 10,000. The tour budget specified one 40 ton semi-trailer for the entire audio inventory, so given the variety of venue sizes, Ambion supplied a system with the best power to size/weight ratio. AiRAY was supplemented by ViRAY, SC2-F sensor-controlled bass extensions, SCP-F sensor-controlled subwoofers and APS for nearfill and sidefill.

NENA’s ‘Nothing Missed Tour’ which opened in Düsseldorf on 7 May came to a close in Westkirchen at the weekend on 22 September. AiRAY’s power to weight/size ratio helped to significantly reduce transport costs on the 45-date tour.

The full system comprised:

• Main – 12 x AiRAY – 90°+ 4 x ViRAY 120°per side
• Outfill – 12 x ViRAY – 80°per side
• Low-End – 4 x SC2-F + 20 x SCP-F
• Nearfills – 14 APS – 90°
• Stage sidefill – 2 x APS + 3 x APS-Sub per side
• Amplification and DSP – 4 x LINUS T-RACK, 4 x LINUS M-RACK, 6 x LINUS RACK20, 2 x LINET-Master, 2 x LINET-Slave

“Thanks to the exceptional flexibility of the systems it was easy to determine the optimum set-up for each venue to obtain the best possible homogeneous coverage of the entire frequency spectrum,” said front of house engineer Oliver Steinberger. “Every area of the audience was covered in such a way that I was confident that the rear rows and balconies were connected to the action just as much as those in the front. The outdoor concerts really revealed the system’s true potential, where in addition to the range and excellent sound quality, it proved to be remarkably unsusceptible to the wind. Summing it up in one sentence, I’d say it was simply a pleasure to mix on it!”

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Audio-Technica has been appointed as Martin Audio’s new German distributor, effective October 1.

The company already handles distribution for Allen & Heath, Clear Com, and its own brand Audio-Technica Germany.

Audio-Technica Germany general manager, Matthias Exner, said: “It’s a case of two great brands joining forces to create an outstanding offering in both these sectors, Martin Audio comfortably bridges the gap between our great mics and wireless systems, through the A&H consoles to the audience’s ears.”

Audio-Technica’s sales & marketing director, pro audio, Tom Mikus, added: "Martin Audio is traditionally an innovative and great brand. It needs extensive support and a vertical distribution structure to succeed here. Improving both will therefore be our primary goal.”

Additionally, Audio-Technica Germany has appointed brand manager Tobi Franzgrothe, who has previously worked with Martin Audio’s former distributor. "We had an impressive demo at Infocomm18 and the Open Days, followed by a swift relaunch of Martin Audio in Germany, commencing October 1st," Exner continued.

“The addition of Martin Audio to our distribution portfolio is an exciting development as this turns it into a one-stop-solution: From the microphone to the loudspeaker and matching peripherals like Intercom, we now have a well-rounded portfolio for the various vertical markets,” said Mikus. “Here at Audio-Technica there is always the right product for every project.”

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DPA Microphones has appointed a new sales team that will be responsible for handling the company’s extensive product line in the German market.

The new team is headed by Martin Kaaber, DPA’s VP of Sales for Germany, Austria, Switzerland and the Benelux countries. He is supported by business development manager Florian Kresse and account managers Reinhard Stelter and Mike Brühl who will respectively handle the North and South of the country.

 Kaaber has many years’ experience of the German market and his expertise in customer support, distribution strategies, market development and account management makes him the ideal person to head DPA’s effort to provide even better support to its German customer base and dealer network.

“Your success is our success – that is my philosophy,” said Kaaber. “I believe in integrity and want our business partners to know that they can rely on my word. My aim is to be their ambassador within DPA and create fruitful co-operations, built on trust.

Commenting on DPA’s expansion in Germany, CEO Kalle Hvidt Nielsen said: “Having this incredibly strong team on the ground will allow us to exploit the great potential we see in this important market and develop even closer links with our dealer network and customers.

"DPA is growing rapidly and is constantly developing innovative new products. In recent months these have included our CORE by DPA microphone technology that reduces distortion and increases dynamic range, and our pocket-sized d:vice MMA-A Digital Audio Interface that enables content makers such as live and mobile journalists to record and broadcast studio quality audio while on the move. We have plenty more innovations in the pipeline and we want to take the brand and our customer service to the next level.”

The post DPA Invests in new German sales subsidiary; makes key appointments appeared first on Audio Media International.

QSC has announced the opening of its new EMEA headquarters in Sinsheim, Germany.

The office will serve as the management and support hub for its systems business in the Europe, Middle East, Africa and SAARC sub regions, forming part of the company’s international growth strategy.

In addition to the European headquarters in Germany, QSC will open sales and business development offices in the UK and Germany on 1 June 2018 – establishing a local presence in two of the largest and most influential AV&C markets in Europe. At the same time, QSC will end its long-term distribution cooperation with Shure Distribution UK and Shure Distribution Germany.

“Establishing a regional headquarters in Europe brings us closer to key geographic markets and enables us to expand in-region services to better serve our distributors, channel partners, influencers and end customers,” said Markus Winkler, senior vice president, QSC Systems and managing director, QSC EMEA.

“The corporate AV&C systems market is of particular focus to us. Given the ongoing convergence of AV and IT, multinational end user clients increasingly expect closer ties with manufacturers to inform better long-term investment decisions,” Winkler added. “Additionally, they look to us to help coordinate multinational and global AV&C deployments with their chosen, qualified channel partners.”

While the company will change its distribution approach for the systems business in EMEA, distribution channels for its live sound and cinema businesses will remain unchanged.

Customers can contact the newly appointed Torsten Haack (torsten.haack@qsc.com), director Germany and Austria, QSC Systems or Duncan Savage (duncan.savage@qsc.com), director UK and Ireland, QSC Systems.

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Lawo, the German manufacturer of IP-based audio/video systems and control solutions has appointed Tibor Tamas to the position of senior sales manager in the sales team for Germany, Austria and Switzerland.

Tamas brings with him over 35 years’ experience in technical development and sales positions in the field of audio mixing consoles, plus extensive broadcasting know-how.

After several years of international experience during which he established and organised service and sales infrastructures for Studer in North America, Tamas also worked as business development manager for Studer’s professional Audio division.

Said Tibor Tamas on his new position: "Lawo is a forward-thinking company that understands applications and customers, and can map the complete broadcast workflow with its IP-based systems and solutions. Lawo’s technological innovation, future-oriented thinking about comprehensive broadcast solutions, and absolute focus on customer satisfaction made moving to Lawo a natural choice. I’m looking forward to working with my new colleagues and helping new customers."

Martin Blum, Lawo sales director for Germany, Austria and Switzerland, added: "We are very pleased that Tibor now is a member of our Lawo family. He brings a lot of industry experience and has excellent business relationships with both clients and partners. Tibor is a perfect fit with Team Lawo.”

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