NEP Denali has increased its mixing surface real estate with the installation of a 144-fader Calrec Audio Argo Q and accompanying ImPulse IP core in the 53ft Gold remote production unit, one of a fleet of six the company operates in the US. The installation enables NEP Denali, which is part of the NEP Group, to accommodate the increasing number of its clients who are demanding immersive and personalised formats.

Doubling the number of available faders in the same compact space, the refurbishment enables NEP Denali to not only keep up with changing requirements but simplify existing workflows and develop relationships with a wider range of content providers and clients.

NEP Denali is renowned for live coverage of popular entertainment shows such as America’s Got Talent and American Idol, as well as prestigious award shows including the Academy Awards, the Emmys, and the Screen Actors Guild (SAG), believes that the new Argo Q system delivers a flexibility previously untapped in broadcast TV audio.

‘Entertainment is all about the operator experience and the audio control room is very similar to a recording studio environment,’ says James Mullen, Audio Guarantee for live and taped events with NEP Denali. ‘Many entertainment productions require the A1 to mix multiple band stages in addition to normal production audio and playback elements. Additional requirements like remote production injections means the audio team needs to land and monitor many incoming and outgoing signals. The Argo Q console’s fader count and corresponding metering means this can be accomplished easily.’

Established in 2000, NEP Denali’s Gold remote vehicle is one of two original NEP Denali trucks. The recent upgrade preserves the legacy of the vehicle, and gives Denali the ability to quickly adapt to increasingly more demanding shows.

‘The previous audio system had become problematic, and there were many things we just couldn’t do which are inherently simple on the Argo Q – things like providing individual tone breaks for transmission and reconfiguring bus widths are very simple on a Calre,’ Mullen says. ‘It enables us to keep up with the current trends of providing multiple mixes to accommodate main and international 5.1 programmes, as well as streaming in immersive and descriptive audio formats; it delivers a feature-rich platform to keep the technology out of the way of the art.

‘The configurable nature of the Argo surface, custom wilds panels and fader option keys, combined with its immense horsepower, means it stands alone in the broadcast audio field. One of our favourite features is the remote access to the surface given to the A1 before the show loads in. They can comfortably program their show on the system from any location, whether that is at home, a hotel or on a plane.’

The truck was recently used at February’s SAG Awards in Los Angeles, exclusively broadcast on the Netflix platform for the second year running.

‘More and more streaming platforms are picking up prestigious entertainment events from traditional over the air broadcasters, such as Netflix’s live coverage of this month’s SAG Awards,’ says Calrec US Regional Sales Manager, Helen Carr. ‘The implications for audio are significant and it is crucial that companies like NEP Denali can easily accommodate whatever audio formats are required, whether it is traditional stereo, Dolby Atmos, or descriptive audio formats. Calrec’s Argo technology makes this easier and helps broadcast suppliers to seamlessly adapt to these new ways of working, whatever the demands are.’

More: http://calrec.com

Following last year’s Cyberdrive, United Plugins has announced Cyberdrive Core from JMG Sound as its ‘big brother’, re-engineered by to give results in a more straightforward way while reducing computer resource load.

Shipping with the same 64 distortion models, Cyberdrive Core’s single Dist module features a powerful filter system to fine-tune the resultant distortion’s tone and character with high-pass, low-pass and multi-band crossovers; dedicated knobs for gain-compensated dry/wet mix; a Drive control for the signal level going into the distortion; and Control, which changes the character of the distortion, the behaviour of which is different in each model.

Cyberdrive Core mirrors much of that offered by Cyberdrive’s Dist modules, including Automatic Gain Compensation that constantly measures the input loudness and compensates the output to match; a hard clipper on the output of the module to prevent any peaks above 0dB; HP Pre to select the high-pass filter before the distortion; LP Pre to select the low-pass filter before the distortion; and Slope to select the filter or crossover type from 6dB, 12dB, 24dB, 48dB, and 96dB.

Cyberdrive Core comes with the same 64 distortion types as Cyberdrive, arranged as eight categories. Classic emulates the character of analogue hardware, from tubes to tape; Modern is for exploring dynamic distortions and wave-folding using multi-band companders and other processes; Pized for bit- crushing, rate reductio and glitch effects; Shape with wave-shaping techniques like rectify and asymmetric clipping; Amp guitar and bass amplifier emulation; Pedal for guitar pedal emulation; Doom for extreme custom distortion; and Freaf for experimenting with avant-garde techniques like ring modulation, frequency modulation and spectral synthesis. All are designed to offer a spectrum of sonic possibilities.

The plug-in’s internal 64-bit audio processing will handle any sampling rate – reaching 192kHz or higher. Similarly, the intelligent way Cyberdrive Core manages bypassing ensures that there are no clicks or harmful noises when automating the parameter.

Cyberdrive will find that their licence also opens Cyberdrive Core, so there is no need to hold both licenses in order to take a more straightforward approach to desired results.

More: https://unitedplugins.com/cyberdrivecore

Audiomovers has announced the latest updates to its Omnibus 3.0 audio routing software, delivering multichannel, full-resolution audio routing within a computer, well as to and from hardware I/O – via an active grid-based routing matrix display with precision metering and snapshots to instantly restore even the most complex configurations.

Omnibus 3.0 also includes the new supporting Minibus plug-in, designed to bridge to the widely adopted NDI connectivity standard that enables multimedia systems to communicate with one another wired or wirelessly over local networks.

Together these tools reckon to tepresent a ‘significant leap forward for audio professionals’. Omnibus 3.0 enables collaborative workflows within machines and across local networks for tasks like A/Bing immersive mixes, multichannel monitor system switching, connecting multiple machines into studio or live environments, or connecting to immersive audio-ready interfaces, opening up new possibilities in professional environments.

‘We are committed to working to remove the unnecessary barriers to audio workflows and collaboration, speeding up processes so audio professionals can concentrate on being creative and making great work,’ says co-founder and Head of Product, Igor Maxymenko. ‘With the integration of the supporting NDI transmission plug-in Minibus into Omnibus 3, we’re doing exactly that – further empowering Omnibus users to achieve seamless audio routing over networks, including wirelessly, on sessions and in studios.’

Minibus will retail for US$49.99 on its own, or free with Omnibus 3.0.

More: www.audiomovers.com

Outside broadcast solutions provider Rec4Box has adopted Riedel Communications’ MediorNet real-time network technology across its fleet of mid-size OB trucks, enabling the operation to streamline on-site infrastructure with more efficient use of limited truck space and easier management on-site.

In addition to transforming Rec4Box’s production capabilities, this strategic deployment also enabled the swift restoration of operations for a major Canadian broadcaster following a catastrophic flood.

‘MicroN has become our secret weapon,’ says Rec4Box founder and Chief Technology Officer, Jonathan Fortin. ‘Whether it’s a small local event or a large-scale broadcast, the system’s flexibility allows us to adapt quickly to different production requirements. It has dramatically reduced our set-up time and increased our operational efficiency. We can now arrive on-site, set up eight cameras, lay a single fibre, and be ready to shoot in record time.

‘The cost savings over numerous productions throughout the year are substantial,’ he adds. ‘ With MicroN’s software-defined nature, we can reconfigure our setup on the fly, eliminating the need for multiple specialised devices and significantly reducing our equipment footprint.’

After experiencing issues with its previous intercom solution and traditional large SDI router for video infrastructure, Rec4Box committed to Riedel’s ecosystem, integrating multiple MediorNet frames and MicroN devices into its operations. Another key was MediorNet’s built-in redundancy, which proved essential for high-stakes live productions where technical failures are never an option. Instead of relying on a single large router inside the truck, the MediorNet network operates like a distributed spider network with point-to-point connectivity, allowing for a much simpler and more efficient set-up.

Rec4Box now uses MicroN units for distribution across any venue as well as Riedel’s StageBox, RockNet audio distribution network, and Bolero wireless intercom. Artist G2 frames with numerous panels and 40 Bolero beltpacks are shared across two 26ft trucks, one 40ft truck, and two fly packs. Designed with built-in redundancy, the MediorNet network enables the team to prioritise critical signals and add more fibre links for increased backup options. Its ability to decentralise routing has become particularly beneficial for mobile productions.

Thanks to MicroN’s user-friendly interface and plug-and-play nature, new engineers can become operational with the system after a 20-minute lesson. Extensive preconfiguration and saved settings allow for rapid deployment and integration of new units into the network.

The versatility and reliability of Riedel’s MediorNet system were put to the test when a major Canadian broadcaster faced a severe flooding incident that threatened to halt its operations and forced a complete move within 24 hours. Leveraging the broadcaster’s existing fibre infrastructure and expertise, Rec4Box employed MediorNet in two to three days, quickly creating a distributed network architecture for the broadcaster’s multiple-room set-up. The system’s flexibility and robustness in emergency situations allowed the broadcaster to relocate, get its entire production centre up and running, and resume operations quickly. Rec4Box later lent the broadcaster two MicroN units, which were used for approximately three weeks. After seeing the benefits of MediorNet, the broadcaster purchased and installed its own MediorNet media distribution solution.

‘When the broadcaster needed to move their entire operation within a day, it seemed impossible,’ Fortin sats. ‘But with Riedel’s MicroN and MediorNet systems, we were able to provide a solution that not only met their immediate needs but also offered a more efficient, distributed architecture for their future operations.’

‘From long-time customers like Rec4Box to new deployments at broadcasters and sporting events, we’re seeing significant momentum with MediorNet across diverse applications in North America,’ says Riedel Communications Regional Sales Manager for Canada, Peter Tsegaye. ‘The versatility and efficiency of MediorNet are proving invaluable, and Rec4Box’s unique approach continues to showcase the system’s exceptional adaptability.’

More: www.riedel.net

Also known as the East Parry room, the Carne Room in the Royal College of Music’s East Tower in London functions as a multi-use space for performance, practice, teaching and meetings, with visitors treated to views overlooking the Royal Albert Hall. It is one of the institution’s four Parry Rooms, whil are named after composer Hubert Parry who served as Royal College of Music Director between 1895 and 1918. It is also home to a new installation of Audio-Technica Dante-enabled Ceiling Array microphones.

The room requires to deliver high-quality audio during hybrid meetings, with the ATND1061DAN Dante-enabled Beamforming Ceiling Array microphones unobtrusively placed in the room’s vaulted ceiling – which received a custom paintjob by Aura Futures, ensuring the perfect fit for the venue’s aesthetic.

‘While the natural reverb in the room is wonderful for acoustic performances, when we started hosting hybrid or online meetings in here, it wasn’t ideal for speech,’ explains Royal College of Music A/V and Broadcast Engineer, Andy Denyer. ‘It immediately became clear that we needed a solution that would allow meeting participants to clearly be heard by remote attendees, without feedback echoing through the system.

‘Additionally, the multi-purpose nature of Carne Room meant that ease-of-use and deployment was a real priority. We used to spend an hour setting up tabletop microphones with a mixer and audio interface for each meeting – logistically that became untenable.

‘We realised that permanently-installed ceiling microphones were going to be the way forward and having auditioned several, we settled on a pair of Audio-Technica ATN1061DAN models, which give us great coverage over a large area. We weren’t necessarily expecting a super-clear, crisp “meeting room” result – we needed to avoid using any acoustic treatment that might have made that possible – but the results were much better than we predicted. The beamforming functionality of the ATND1061 ensures very precise pickup.

‘The microphones deliver excellent, intelligible speech and the onboard DSP, echo-cancelling and the fact that they’re Dante-enabled they integrate nicely into our wider Dante network - they’ve proved to be the perfect solution for us,’ he reports.

Opened in 1883, the Royal College of Music (RCM) is a world leading music conservatoire with a prestigious history and contemporary outlook. In 2024 the Royal College of Music was ranked the Global No. 1 institution for Performing Arts for the third year running and earned the inaugural top spot for Music in the QS World University Rankings by Subject.

The RCM has trained some of the most important figures in British and international music including composers and performers Gustav Holst, Ralph Vaughan Williams, Benjamin Britten and Michael Tippett. Regular visitors include Sir Thomas Allen, Sir Antonio Pappano, Alina Ibragimova and Lang Lang.

More: www.audio-technica.com

Shure has released the MoveMic 88+ Wireless Stereo Microphone as a ‘first-of-its-kind’ wireless direct-to-phone stereo microphone with selectable polar patterns.

Following the earlier MV88 Digital Stereo Condenser Microphone and MV88+ Video Kit, the new wireless mic is intended for creators and videographers wishing to record audio and video separately, allowing microphone placement independent of camera position.

‘The MoveMic 88+ gives creators complete freedom to capture professional-quality audio wirelessly, whether they’re recording in the field, working on a short film, reporting news or creating social video content,’ says Shure Associate Director of Global Marketing, Paul Crognale. ‘Shure’s new wireless video microphone is perfect for travelling light, quick to set up, discrete and easy to use and allows for creativity in any situation, giving creators the video they want with the audio they need’.

With four selectable polar patterns – stereo, cardioid, bi-directional and raw mid-side – users can customise the direction of audio capture to perform in various scenarios from two-way interviews, recording in the field and acoustic performances.

The MoveMic 88+ offers flexible mounting options, by attaching to most popular tripods or mic stands using the two included 5/8” or cold shoe mic clips, and can also be used as a handheld microphone. To streamline workflow, the device pairs directly with a mobile phone via the Shure MOTIV apps without needing the MoveMic Receiver for a lightweight and portable rig. For additional compatibility, the MoveMic 88+ can also be paired to the MoveMic Receiver and connect via USB-C or 3.5mm to cameras, computers, and mobile phones to support third-party mobile apps.

The Shure MOTIV Video app allows creators to record content, offering direct recording and live streaming to Facebook, YouTube or other live stream platform using a URL and stream key, as well as being able to select between various audio and video settings such as audio format and audio quality, and choosing suitable frame rates and video quality.

The MoveMic 88+ Wireless Stereo Microphone is available for £289, €349 and US$299. The MoveMic 88+ Receiver Kit is available for £439, €519 and US$449, and includes the MoveMic Receiver in addition to a cold shoe mic clip, 5/8” mic clip, two USB-C charging cables, and 3.5mm coil cable.

More: www.shure.com/movemic88plus

Tascam Audio File Manager software is designed for both field and multitrack recordists to confirm the content of recorded material and organise their recordings ready for transition to the next stage in a project.

Tascam Audio File Manager is a file browser that displays the waveform of every file in a selected library, and brings a set of additional features. With the system’s waveform display, users can zoom in and out to take a close look at the waveforms. This visual confirmation can show at a glance if there is any peaking or popping in the captured audio, and sonic imperfections that users typically want to eliminate.

Basic editing functions include Copy, Cut and Paste, along with Mute and Normalize functions that further optimise recordings.

Field recordists may capture hundreds of audio files in a day, making the typical organisational process lengthy. The Tascam Audio File Manager can be used to easily Rename or simultaneously Add a prefix to multiple files.

Once audio files are satisfactorily named and identified, moving the material is assisted by Audio File Manager’s support for network drive or cloud services such as AWS storage or Dropbox. The software makes it easy to load files to such network/cloud services for sharing with other team members.

In addition to its editing functions, Tascam Audio File Manager supports multichannel playback of Tascam formatted audio files with its integrated mixer. The software supports standard mono .wav files as well as poly .wav files such as those commonly found on SD, SDHC and SDXC cards. Poly .wav files are multitrack recording sessions that are packaged in a single file. Once loaded into a DAW, these files expand and enable users to edit individual tracks as opposed to just the stereo mix of a traditional .wav file. The software supports sampling frequencies ranging from 44.1kHz-192kHz. Supported bit depth includes 16-bit, 24-bit and 32-bit float, as well as 32-bit integer. Files from both Windows OS and macOS are supported.

In addition, Tascam Audio File Manager provides broad support for a wide range of commonly encountered audio file formats including WAV, MP3, AIFF, AIFC, SD2, Mp2, MPEG4 and M4a.

‘There’s nothing really quite like this software available on the market,’ says Sean Daily, Tascam Product Specialist. ‘You’ll commonly find programs like Tascam Audio File Manager for video production, but not the audio side of things – that’s where we’ve stepped in. Audio editors and engineers deserve a solution such as this.’

More: www.tascam.com

KV2 Audio has announced news of the passing of founder and industry pioneer George Krampera Sr.

In a statement, the company says: ‘George had a passion for everything audio and dedicated his whole life to making the world sound better. On this journey he travelled the globe, creating market-defining products and producing revenue streams for many of the biggest names in Pro

‘Audio. After spending time in Canada and Italy, before eventually settling back in his homeland of the Czech Republic, George earned a reputation as one of the most significant and revolutionary transducer designers in the history of modern audio.

‘George was a great communicator, generously sharing his skills, knowledge, and technical genius with his KV2 team, as well as the many devoted fans who travelled to meet him or followed his work online. Through KV2, George created a level of sound reproduction that was an absolute and honest reproduction of the original source, conveying the true emotion of any artist’s performance and, most importantly to George, making people smile!

‘Although semi-retired in recent years, George Sr continued to visit the KV2 factory, spending time with workers – especially the R&D team led by his successor, Radek Stöhr. Working alongside his son, George Jr, KV2’s CEO, he remained deeply connected to the company’s mission. Radek and the entire R&D team carry forward his uncompromising pursuit of perfect sound. His spirit is woven into the fabric of our company, and his legacy will resonate with every note a KV2 speaker produces. We will miss him dearly.’

More: www.kv2audio.com

Located in La Défense, the business district to the west of the French capital, and boasting more than 200 shops, 40 restaurants and a 16-screen cinema, Westfield Les 4 Temps is Europe’s largest shopping centre and recently completed an audio upgrade from Paris-based A/V specialist Videlio. Having previously been commissioned by Westfield for its Digital Dream – a series of three curved LED screens which, with a total surface area of 250m², are billed as the largest interactive indoor video display in Europe – at Les 4 Temps, Videlio turned to APG for the immersive audio accompaniment that would grab the attention of busy shoppers.

Stéphane Le Roux, Head of Digital Media for Videlio’s specialist complex-projects division, Videlio-Scénotechnique, has been working with Westfield Les 4 Temps owner Unibail-Rodamco-Westfield for ten years, overseeing maintenance of its existing A/V systems and advising on future upgrades. He explains that Westfield Les 4 Temps’ owners were converted to the experiential possibilities of spatial audio after Videlio demoed TADAMM, an ‘immersive experience box’ showcasing the possibilities of immersive audio and video solutions.

‘As a technological partner of TADAMM, we invited Westfield to witness the added value of an immersive sound system complementing the video system originally planned for this project. We demonstrated how the visual component’s impact on the LED screens coupled with the sound system could significantly improve visitors’ attention grabbing, preventing them from looking at their phones on escalators or during down time and instead engaging with the content.’

The design of both the Digital Dream display and the immersive audio system were overseen by creative agency Tetro, who commissioned Acoustique & Conseil to consult on the latter aspect of the project. AC’s recommendations were that any new audio system should be able to offer clear, intelligible sound at a consistent volume within a defined area around the LED wall, as well as create a fully immersive, spatialised audio environment.

The decision to specify APG loudspeakers was, says Le Roux, determined by four considerations – technological expertise, the strength of its bid, the fact its products are designed and manufactured in France, and the support the company is able to offer its integration partners. ‘We appreciate APG as a company with real expertise,’ he explains. ‘Having partners like APG – who understand the project’s challenges and actively contribute to the experience – was invaluable. APG’s tender more than convinced us, and, being a French company, it was also satisfying to highlight this aspect.

‘Beyond the solution, we needed a high level of service and support, particularly for the acoustic study of the site,’ he addds. ‘Advertisements run hundreds of times a day, so they must not become disruptive for staff and retailers. There was thorough consultation before and during the project. All this set APG apart from the competition.’

To create the desired immersive audio environment, Videlio devised a 12-channel system comprising 28 APG iX5 ultra-compact indoor coaxial loudspeaker, distributed across the two convex LED screens that loop around the first-and-second-floor balconies for even, object-based immersive sound coverage. A full-range loudspeaker that claims ‘studio monitor-like sound quality’, the iX5 is the smallest member of the iX family. All iX-series loudspeakers combine coaxial technology with an integral baffle to eliminate diffraction and provide a linear acoustic field.

Elsewhere, R210TC columns from APG’s sister company, Active Audio, are positioned on either side of the Digital Dream central screen, further ensuring precise and intelligible sound projection.

‘We want to offer a complete experience to our customers and positively surprise them,’ says Westfield Les 4 Temps, Perceval de Saint-Seine, Unibail-Rodamco-Westfield’s senior media manager for Europe. ‘This drives us to choose top-tier technology and partners to ensure no compromise on quality, and are extremely discreet and perfectly integrated into the environment’.

Reflecting on Westfield Les 4 Temp’s first immersive audio system – which is, according to Perceval de Saint-Seine, already being utilised with ‘spectacular’ results by advertisers such as Coca-Cola – Videlio’s le Roux is proud to have partnered with APG to deliver a world first in Paris.

UK-based pro audio manufacturer Glensound has joined the Avnu Alliance as a Milan Associate member, reinforcing its commitment to networked audio innovation.

The move aligns Glensound with the Milan advanced interoperability protocol. Built on Audio Video Bridging (AVB) this offers precise, reliable and deterministic media transport over Ethernet.

‘This offers us a great opportunity to expand our networking reach and cover another major area,’ says Glensound MD, Marc Wilson. ‘The maturity of AVB to the Milan specification has played a big role in this decision, as now there are established standards within the system. We can offer a broad range of solutions to our customers, including those who need products compatible with Milan, which will be available later in the year.’

Milan has been widely adopted in live sound and touring markets, offering a robust and user-friendly solution that eliminates complex switch configurations while ensuring high-priority audio signals remain unaffected by network traffic. This reliability is critical for large-scale live events such as concerns and festivals, where traditional Ethernet solutions may pose risks.

Glensound is accustomed to responding to client needs and an increasing number of requests to use the company’s products as part of a larger network drove the decision to join the Alliance. Glensound already offers products with Dante and Ravenna connectivity, demonstrating its expertise in networked audio protocols and its commitment to compliance across industry standards.

‘We are delighted to welcome Glensound to the group of Milan manufacturers within the Avnu Alliance,’ offers Henning Kaltheuner, Consultant and Board Member of Avnu Alliance for d&b audiotechnik. ‘Glensound’s innovative interface and breakout products will undoubtedly expand the applicability and value of Milan in the market, strengthening its presence and impact.’

A major provider of subtitling, translation and language dubbing services, California-based Iyuno has expanded its footprint in Germany with a new Berlin dubbing facility – its third in the city – where technology, acoustics and artistry converge.

Calling on the expertise of acoustician Andy Munro and the team at Studio Sound Service in its design, the Berlin Moabit facility – built from scratch to accommodate theatrical, TV and streaming content – combines advanced technology with creative workflows to ensure that dubbing processes are seamless and consistent across Iyuno’s global network. ‘Interchangeability is key to our workflows,’ says Iyuno Germany Managing Director, Dr Mark Specht. ‘A talent can record in one location and the project can seamlessly continue in another – and Genelec systems enable that consistency.’

Each of the 25 rooms in the facility was designed with precision and purpose. The ADR rooms feature a pair of Genelec 8340A monitors plus an 8341A for the centre channel, providing an environment where actors can deliver performances with exceptional accuracy. The Dolby Atmos mixing rooms use a 7.1.4 configuration with 8361A monitors for LCR, 8340A monitors for the surround and overhead channels, and a 7380A subwoofer for controlled low frequency performance.

‘We specified Genelec for this project as part of the consistency plan initiated years ago, particularly after the successful completion of major projects in Paris and Los Angeles,’ says Iyuno VP of Global Dubbing Technologies, Daniele Turchetta. ‘In our inventory I can now count over 750 Genelec monitors.’

GLM software was another game-changer for the Moabit facility, enabling individual system calibration of each room. ‘GLM provides absolute and additional value by simplifying the fine-tune calibration activities, alongside its Grade room reports,’ Turchetta says. ‘We invest heavily in acoustic design and with fine-tune calibration, we are able to achieve the best performance from our rooms.’

Building the new facility came with its challenges, the first being significant delays in obtaining permits, which ultimately required the entire construction to be completed in under six months. ‘In terms of the project itself, balancing the space and acoustic requirements of ADR and mixing rooms with local fire protection regulations was a significant design challenge,’ Turchetta says.

The collaboration between Iyuno and Studio Sound Service was instrumental in overcoming the challenges at the facility. Since 2019, Studio Sound Service, led by CEO and Technical Director Donato Masci, has worked alongside Munro on several Iyuno facilities worldwide. For the Moabit project, the team optimised workflows, designed Dolby Atmos configurations and implemented treatment system that drew on years of expertise and refinement.

‘The facility encompasses a wide range of spaces from editing suites to ADR monitoring rooms and Dolby Atmos Home Entertainment mixing environments, where Genelec has become the de facto standard,’ Masci says. ‘The exceptional low-frequency control provides unique sonic definition, where Genelec’s subwoofers really shine – which is particularly crucial for ensuring accurate monitoring across all types of content.’

‘This is a space where creativity thrives, supported by the best tools and technology the industry has to offer,’ Turchetta adds. ‘Directors, actors, engineers and clients are all incredibly satisfied with the quality that we’ve achieved in this facility. As we continue with authenticity and impact, more people can experience powerful storytelling, no matter where they are.’