Cardiff-based theatre and live event rental company Stage Sound Services (SSS) has made a ‘future-proof investment’ in DirectOut solutions for theatre assignments

‘We’ve been using DirectOut Technologies’ kit since 2013 when we bought the original Andiamo Madi Analog converter,’ Huw Semmens says. ‘Following that initial investment, whenever we had a specific task that required a hardware solution, we found that DirectOut already had a suitable product in their line-up. We now have just under 100 DirectOut assets in our inventory, including ExBox.MD, Ma2chbox.XL, Madi.ridge, Madi.9648, Andiamo2, Andiamo.AES, Split.Converter, and the recent Prodigy.MP and Prodigy.MX.’

Having the shelves full of equipment that is used once and never again represents a wasted investment for a hire company, not being cost-effective in terms of rental returns or storage space. If a designer requests equipment that is not in the company’s regular rotation, it is down to Semmens and his team to ensure that the product is viable and cost-effective for the company, without disappointing the designer.

‘First, we will look at our existing inventory to check whether we carry something that’s able to achieve the same result,’ he explains. ‘If that isn’t possible, or the solution is too convoluted, we’ll establish potential future usability of this new item before deciding whether to invest. Solutions such as DirectOut’s Prodigy can replace several separate pieces of equipment, so for an application such as converting Madi streams to Dante and functioning as a patch bay for digital radio mics, it makes complete sense to invest.’

The change to digital radio mics in theatrical performances has had a knock-on effect for SSS. Theatrical performances usually follow a full schedule of shows, generally eight shows over six days a week, as two days also have matinee performances. This means that sickness or injury is likely to affect the performers’ ability to appear. When this happens, especially in musical theatres, an understudy covers the role. It is unusual for them to only cover one role, especially if there is a chorus, as understudies and swings usually have chorus roles to complete, too. The easiest way to get around this is to patch the mics as the performers switch roles throughout the show. In analogue systems, this could be via a bantam patch panel, or directly using XLR.

However, with the proliferation of digital transmitters and receivers, production sound engineers are looking for more accessible options: ‘A huge surge towards digital radio mics in theatre over the past five years has meant ExBox.MD, alongside globcon has been used in place of bantam patch bays for radio mic monitoring and patching,’ Semmens says. ‘Similarly, more shows are moving towards 96kHz systems. With band monitoring hardware generally operating at 48kHz, we have deployed the Madi.9648 as a bridge between these systems.’

The Prodigy Series is a range of solutions that have been designed to address numerous applications across live, broadcast, installation and recorded sound industries. It is this flexibility that has been most attractive to SSS and resulted in their continued use of the full range of products.

‘The modular nature of Prodigy is perfect for us as a rental company because it allows us to carry one or two types of host unit (MP and MX in our case) and a selection of I/O cards to cover most conversion requests,’ Semmens says. ‘Software/plug-in upgrades are also optional and granular, so we’ve been able to customize the specs of the units, adding Automator and OSC add-ons in our case, to ensure they’re exactly what we need.’

DirectOut prides itself on delivering bespoke solutions and Prodigy.MX, .MC and .MP can be tailored to deliver unique solutions to a range of applications. Combining DirectOut Products with third-party equipment to provide even greater flexibility, reliability and control, especially important in the ever-changing world of theatre.

‘The vast array of modules and control protocols available introduce so many possibilities. We have a couple of productions using Nemesis Research OSCA-1616IO to OSC convert button presses, controlled by a custom-built button panel, switching an alternative mic input into the console. Sonoros audio routing software is about to integrate control of DirectOut hardware so that pre-defined macros can be used to reroute audio, too.’

When your customers are as diverse as the client list of SSS, reliability and support are key concerns: ‘On the odd occasion that we’ve had reason to reach out for support, both our supplier, Aspen Media, and DirectOut themselves have been great, responding rapidly to our requests and resolving our issues,’ Semmens says. ‘We have a few Prodigy.MP on shows at the moment. I suspect our DirectOut products will be used for many years to come, and I never have any hesitation in recommending them. The reliability of DirectOut’s kit is second to none.’

More: www.directout.eu

Microphone manufacturer Sontronics and the Abbey Road Institute have jointly announced the new Sontronics Scholarship, designed to support and inspire the next generation of music producers and sound engineers. This initiative offers one aspiring candidate the opportunity to study at Abbey Road Institute London on the one-year Advanced Diploma in Music Production and Sound Engineering, with Sontronics funding their full tuition.

For more than 20 years, Sontronics has crafted microphones trusted by musicians, producers and engineers worldwide – including within Abbey Road Studios itself. The Institute, launched by Abbey Road and Universal Music in 2015, has become synonymous with excellence in music production education Ggraduates are now shaping the future of the industry with more than 90 per cent of alumni working in music and audio-related jobs within six months of graduation. Recent successes coming out of the London school include multiple Grammy nominations, along with recognition from MPG and the Billboard Top 10.

The Sontronics Scholarship offers more than financial support as it includes a bespoke package of Sontronics microphones and accessories, providing the recipient with the tools needed to reach their full potential. Throughout their studies, the scholarship recipient will share their journey, providing insights into their creative growth as a Sontronics Ambassador and showcasing how the prestigious microphones play a key role in their projects.

‘Having studied in the first cohort of students at Abbey Road Institute in London, I know first-hand the quality of education and opportunity this scholarship will provide,’ says Chris Cook, Head of Sales at Sontronics.

‘We’re thrilled to join forces with Abbey Road Institute to provide this opportunity,’ adds Sean Higgins, Head of Marketing at Sontronics. ‘We believe in investing in the future of music, and this scholarship is a way for us to champion emerging talent while showcasing how Sontronics microphones can empower creators to bring their ideas to life.’

Applications for the scholarship will be open to aspiring music producers, sound engineers and creators worldwide, with a focus on identifying individuals with the potential to thrive and an aspiration to hone their skills in this highly respected programme. Those applying will go through a competitive selection process, and the successful candidate will enrol in autumn at Abbey Road Institute in London. The final selection will enable the panel to identify and choose a recipient who embodies the passion, talent, and dedication that this scholarship seeks to foster.

Applicants should be 18-25 years old at the time of enrolment, and exhibit strong potential, motivation, and a genuine commitment to developing skills in music production and sound engineering. They will need to complete and submit their application for the Diploma and the Sontronics scholarship online via the Abbey Road Institute website. The Application Deadline is 6 June 2025.

More: https://sontronics.com/pages/sontronics-scholarship-at-abbey-road-institute-2025

A regular fixture for Martin Audio partner dBS Solutions saw The Hallé Orchestra back at their resident venue, The Bridgewater Hall in Manchester, for  Top Gun: Maverick – In Concert.

Premiered at the Royal Albert Hall in late summer with the Royal Philharmonic Orchestra – and attended by Tom Cruise – the Manchester event used a scalable WPS line array featuring14 elements a side, driven in optimum 1-box resolution by iKon iK42 amplifiers, with Martin Audio FlexPoint FP12 sidefills (two per side) providing foldback for the SFX and dialogue to accompany the score.

Project manager James Roberts, dBS Solutions dBS worked with creative producers, ESK Film Services, who oversaw all technical elements with the orchestration and track separation. Roberts explained that the principal musicians, percussion section and conductor were all on click tracks, but that the large concert hall with its unconventional shape and four-level tiered seating, presented its own difficulties where amplified music is concerned.

‘It’s obviously a more challenging acoustic environment than you’d expect in a venue that is designed for classical music,’ he says. ‘All the orchestra were miked, so the aim was to get optimum gain before feedback – which is why we used the Wavefront Precision.’

dBS also employed the Hard Avoid feature on the stage to keep stage levels down. Rear rejection was further achieved by the deployment of four SXCF118 cardioid subwoofers – a formula adopted by dBS Solutions for all orchestral work. Aside from the rear rejection, using a generous 14 WPS per side allowed dBS to get consistent coverage from the front rows to the rear of the room.

Although the trim height of the rigs was higher than would have been preferred – to avoid obscuring sightlines to the video screen – the splay angles were correctly calculated using Martin Audio’s proprietary Display software.

‘We’ve worked with dBS Solutions for some years now on our amplified concerts,’ says Lucy Turner of the Hallé. ‘The team there really understand what we and our players need when amplifying an orchestra. The sound of the Top Gun performance was a superb balance of orchestra and film, covering every seat in the hall. It was dynamic throughout without being too loud or bass heavy for our players on stage. We look forward to working with Chris and the team again soon.’

More: https://martin-audio.com

Fourier Audio has introduced a new feature to its transform.engine – a Dante-connected server designed to run VST3-native software plug-ins in a live environment.

Key among v1.4’s feature list is that it permits DiGiCo Quantum console users to natively integrate the transform.engine into their worksurfaces for streamlined operation. Plug-ins can be viewed and controlled from a DiGiCo desk’s touchscreens, while console snapshots and sessions can be synchronised to the transform.engine.

Plug-in chains – previously only available in mono and stereo – can now input and output as many channels as desired, availing users of multichannel plug-ins for surround and immersive audio applications.

With v1.4, transform.engine permits sidechaining for plug-ins fed from external inputs to be patched from the Dante network, and a new Dante AES67 mode increases connectivity options by allowing cross-compatibility with AES67 devices.

Chain groups can now be created, to filter and view multiple chains, making it quick to control all the desired chains in one place. And new customisable plug-in grids allow users to see and control multiple plug-ins simultaneously, while an overview mode further enables every chain in a showfile to be viewed at once.

‘With each subsequent iteration of our transform software, we’ve done our best to make our customers’ wish lists a reality,’ says Fourier Audio CEO, Pete Bridgman. ‘Far and away the biggest request we’ve fielded since launch is for console worksurface integration, so we’re thrilled to announce this native DiGiCo integration today.

‘The experience of effortlessly controlling plug-ins and cuelists on a DiGiCo as an integral part of a mixing workflow is a huge step forward, and we can’t wait to see how engineers use it. We’re very excited to continue pushing the boundaries of what software audio processing can achieve, and our door is always open for plug-in developers and customers who want to share how we can help make their lives easier and better.’

More: www.fourieraudio.com

DiGiCo’ has announced Software Version 20 for all Quantum and SD-Range mixing consoles, bringing ‘a host of invaluable new features’, notably including direct Fourier Audio integration for all Quantum console worksurfaces allowing users to connect their desk to the transform.engine’s control network to synchronise session files and snapshots, as well as see and control plug-ins on the console touchscreen.

Soloing a channel with a Fourier chain inserted displays the plug-in chain on the master screen of the console. All of the visual processing is done within the transform.engine, taking no processing power from the console. From this panel, parameters can now be controlled using the touchscreen and the touch turn dial, where this functionality has been enabled by the plug-in manufacturer.

There is also an option for session and snapshot (Cuelist) control of the transform.engine. When this is enabled, loading a session on the console will load the session of the same name on the Fourier device. The transform.engine can also follow commands, including saving a session.

On the snapshot side, inserting, firing, updating, snapshot auto-update state, deleting, and reordering snapshots is all copied to the engine, ensuring that snapshots stay in sync with the console.

In Version 20, DiGiCo has also added further support for Sound Devices transmitters. With the new Astral External control device, Macros can be programmed to be triggered directly from the transmitter, when using the A20-Nexus and A20-SuperNexus receivers. Potential use cases for this control could be a simple push-to-talk, unmuting a separate feed to a director in a broadcast scenario, or allowing a vocalist to turn on or off a particular effect send for their microphone during a performance.

The latest software update also introduces the Mustard Source Expander (MSE), a new dynamics option to the Mustard processing strips found on Quantum consoles. Requested by customers, the MSE reduces the level of a signal by a given amount when it is under a threshold. This works like a gate but is better for non-transient signals, like vocals or brass. By reducing the level when a singer stops singing, the MSE can minimise the risk of feedback and generally reduce the level of stage noise spilling into open mics. Its controls include threshold, depth (which can go to 40dB), and release rate. A sidechain is also available.

Software V20 is also a necessary update in bringing DiGiCo’s optional Theatre-software suite to the company’s most compact Quantum console, the Quantum2²⁵, for small-to-mid-sized theatrical venues and productions. The ‘T’ package modifies how console cue lists operate, tailored specifically for theatrical applications, and provides a way to manage cast and costume changes through Players and Aliases. Upgrading to the Theatre software on a Quantum2²⁵ offers the same increased channel count and processing as the company’s Pulse upgrade, with 96 input channels, 48 buses, 36 Mustard Processes, and 48 Nodal processes. It also expands the matrix past even the Pulse count, increasing to 24 by 24.

‘When someone invests in a DiGiCo console, it’s with the understanding that their product will be an exceptionally enduring solution – not something that will be quickly outdated and in need of replacement in just a few short years,’ says DiGiCo MD, Austin Freshwater. ‘Our R&D team is continually asking the question, “How can we bring more performance and value to what our customers already own?”. As DiGiCo always sources the fastest, most powerful DSP that the electronics industry has to offer, that answer lies in software updates that increase channel counts, streamline processing efficiencies, and add new functions and features. With V20 software, even SD7 and SD8 users who may have had their consoles for 15-plus years are still able to take advantage of new advancements that will keep their productions very much on the leading edge.’

More: www.DiGiCo.biz

TiMaxSpatial has appointed Gerry Marrone to the newly created role of Product Support Engineer.

Marrone, known to many in the industry as Gerry Brown, is an experienced sound engineer who has worked almost exclusively mixing immersive systems for live experiences, in both end-on formats and in-the-round performances for the past two years will provide training and support for new TiMax users and existing deployments from the company’s new central London offices and demonstration suite that are nearing completion in Tile Yard.

In his new post, Gerry will harness the customer-facing elements of the role to feedback user-experience to the product development team as well as to develop user training programmes and workshops supported by the production of new training material. He brings a rich vein of experience to the team, encompassing the training of technical users, artists and non-technical users, to help them understand how TiMax immersive audio can be implemented and how it will impact their set-up and workflow.

‘I’m really excited to be a part of the TiMax team, involved in developing new ways to showcase the TiMax range of products,’ Marrone says. ‘TiMax offers so much functionality and is a powerful tool so users will need to understand in an instant way what the products can deliver on any scale.

‘Artists and technicians don’t necessarily look at systems the same way so you need two different sets of vocabulary but I’m absolutely a hundred percent comfortable in this role, teaching new sound designers, teaching new technicians and new artists in what an immersive system can do and how they can deploy it.’

‘We’re very fortunate to have someone of Gerry’s experience and calibre joining the growing TiMax product support resource, to help forge new levels of product knowledge and adoption in a diverse and rapidly expanding immersive audio marketplace,’ says TiMaxSpatial Commercial Director, Dave Haydon.

For more than two decades, Papaya Beach Club has pulsated with the rhythms of Croatia’s celebrated Zrće Beach festivals and A-list DJs, from Tiesto to Calvin Harris to Paul Van Dyk. Having assured its place in dance music history, the club has now partnered with L-Acoustics on a new sound system…

‘Our vision was to transcend the limitations of rental equipment and create our own dedicated future-proof audio system,’ explains Luka Udovičić, Production Manager at Papaya Beach Club.

‘We sought a system that would allow us to showcase our creative potential for performance acoustics and ensure we remain at the cutting edge of audio technology for years to come.’

The choice of an L-Acoustics A Series was driven by the French manufacturer’s reputation for excellence and the service provided by L-Acoustics Certified Partner for Croatia, Dicroic, and has allowed Papaya to transition from rental reliance to a system precisely tailored to its needs.

Designing an audio system for Papaya Beach Club presented challenges, however. The venue’s open-air layout, proximity to the sea and exposure to strong winds demanded a system that could deliver exceptional sound while withstanding harsh environmental conditions.

‘L-Acoustics reputation stands unparalleled for transforming the listening experience,’ Udovičić says. ‘Our location is both our greatest asset and our greatest adversary, we required a system robust enough to withstand the ravages of the sea, and precise enough to deliver crystal-clear sound across our expansive space.’

Faced with handling the system design, Dicroic used L-Acoustics Soundvision software to create a bespoke solution. The software’s precise modelling capabilities were instrumental in optimising speaker placement and performance, especially given the venue’s distinctive white shell-shaped stage and multi-level layout.

Udovičić explains that the design process was made more difficult due to the stage height: ‘We were strict about pinpointing speaker locations. Each component was strategically positioned to create a harmonious sound field that defies our open-air challenges.’

The system comprises 16 A15i Focus and two A15i Wide line array speakers, complemented by four KS21 and eight KS28 subwoofers for robust low-end. Six X12 and two X8 loudspeakers serve as fill for the elevated VIP areas, ensuring uniform coverage throughout the venue. DJ monitoring is via two A15i Focus and two KS21 per side. The system is powered by four LA12X and eight LA4X amplified controllers.

‘Our new L-Acoustics system provides partygoers with the sonic clarity, power, and reliability required for world-class performances,’ Udovičić reports. The upgrade ensures that Papaya remains at the forefront of Croatia’s music scene, offering an unparalleled audio experience to a diverse and discerning clientele.

More: www.l-acoustics.com

Offering visitors an immersive VR journey to the moon, a view of Earth from space, and the opportunity to walk on the lunar surface and take souvenir photographs, The Moon Cruise VR installation has opened its doors to the public in Tokyo – with Powersoft taking a stellar role.

The Moon Cruise is a free-roaming VR installation permanently installed in a new facility themed around ‘space travel’ called Space Travelium TeNQ. The space entertainment facility has permanent and special exhibits, as well as workshops to provide visitors with a single world-view learning experience,’ says Tsuyoshi Nomura, executive officer at STYLY Inc, the company charged with the technical design of the experience.

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Promoting the teachings of Dr David Jeremiah, US broadcast ministry Turning Point recently installed a Solid State Logic System T S500 broadcast audio platform the control room of its new TV Studio 1 in San Diego, California. An SSL Live L100 Plus console with a 16-fader Remote Tile has also been installed in the studio to mix audio for the audience. A System T S500m, a streamlined chassis version intended for mobile audio applications, has additionally been delivered ready for the ministry’s remote broadcast truck.

Turning Point first installed a C200 broadcast console when building its remote truck in 2008. ‘I really wanted to stay in the SSL family,’ says Eric ‘Ric’ Seaberg, Turning Point’s long-time chief engineer.

‘It’s so easy to mix on C200 and the System T is even better,’ he contines. ‘Especially as a music mixer, I find it so much easier to mix, because you’re not fighting with a bad quality signal. You’re starting out with great preamps, so you’re not having to clean things up; you’re just balancing the music. And that’s even more so with the System T, because the mic preamps and the processing are a double step better than the C200.’

For instance, Seaberg says, ‘The thing that was really easy for me to pick up initially was the whole concept of changing your fader layouts for individual tiles. I have a master template that we build everything from. But today, I might only want to see these faders on this tile, and it’s so easy to jump around and change things. That’s been really great.’

Both System T S500s have dual redundant engines with 256 processing paths and are configured with 48+2 faders. In the 6,500sq-ft studio, which seats about 150 people, the L100 Plus provides 24+2 faders with the associated Remote Tile. Two SSL Net I/O SB 16.12 and four SB i16 interfaces support 96 inputs from the stage while an SB 32.24 is positioned at FOH for audience microphones and other sources. The truck system travels with a pair of SB 32.24 stageboxes.

‘The entire ecosystem, tying the System T in and having the L100 Plus tied into that, with the Remote Tile, and sharing the stageboxes in terms of gain adjustments and so forth, is very, very nice,’ says Greg Praniewicz, the facility’s engineer-in-charge.

‘The whole infrastructure, with the SSL backbone and with everything being Dante and clocking and working together, plus the expandability, is hard to beat,’ Seaberg agrees. The facility’s production area, encompassing five control rooms and five edit bays, is already networked over Dante, and will soon expand to include six more edit suites, he reports. ‘So we’re really excited to be able to network the two halves of the building together over one large Dante network.’

‘Our primary requirements were sonic clarity and overall quality, and we recognise that SSL is renowned for that,’ Praniewicz resumes. ‘We do everything under the sun, so versatility and flexibility were also high in our list. Operationally, we’re dealing with different scenarios, like single-person interviews, multiple talent interviews, no audience, full audience, and musical guests with a full band, backup singers and horn section.’

While the Turning Point audio team is still exploring System T’s potential, one feature has already emerged as beneficial for interviews and presentations using multiple micrs on the studio stage: ‘We’ve already had several situations where we’ve used the built-in Automix,’ Seaberg reports. ‘It’s saved so much time, and it sounds incredible. We used Automix on the Live in the same situations – the mixers talk about how easy it makes our lives.’

Turning Point’s multi-camera UHD TV remote truck is used to capture senior teaching pastor Dr David Jeremiah every Saturday and Sunday at Shadow Mountain Community Church in El Cajon, California, about 30 minutes’ drive away.

‘We record everything he teaches, and that becomes part of the television outreach of Turning Point Ministries,’ Praniewicz explains. ‘We bring in over 16 terabytes of data every weekend from all the content that’s recorded and that is edited into 30-minute and 60-minute television programs and translated into about 16 different languages.’

Content is broadcast across the US and Canada, to the UK, Australia and New Zealand, and to the world’s Spanish-speaking countries.

Previously, Seaberg would mix or remix the music tracks through the C200 in the truck. ‘But now that we also have a System T in our facility,’ Praniewicz notes, ‘Ric will be able to do his work here at the studio, and bring in all the raw content, audio files and so forth, and remix everything.’

For this reason, it was important to have two System T consoles, Seaberg says. ‘We wanted to be able to have one setup that we could easily transfer back and forth between the two systems. There are times when I’m running 128 tracks of Pro Tools. On weekends when we’re shooting, I could have 100-plus microphones with full orchestra, a 200-voice choir, full rhythm section and singers on stage, and video roll-ins.’

In TV Studio 1, the L100 Plus is paired with a Meyer Sound PA system. The compact console features 12 faders, with additional controls on the Remote Tile, bringing the total to 26. ‘That’s just enough,’ Seaberg says. ‘We don’t feel limited; in a live situation, we’re good with that. The Live console made perfect sense, given how everything integrates and shares the stageboxes.’

More: www.solidstatelogic.com

Available in two sizes, offering 12-inch and 15-inch woofer options, the RCF Audio Compact C Series of installation loudspeaker is intended for both background and foreground music applications. For weather resistance, a WP model features acoustically transparent, water-repellent fabric within the grille assembly and IP67 Amphenol Ecomate power connectors.

The compression driver voice-coil design with titanium dome provides natural sound with high power handling and durability over time. This allows the usual crossover point to be lowered to achieve better vocal performance at mid frequencies, also improving coupling with the low-frequency transducer. The low-frequency transducer design provides improved stability over higher currents, with lower distortion, and is highly efficient in terms of heat dissipation. Woofers endure a 200-hours continuous signal test to stress the transducer at extreme levels.

The waveguide design of the Compact C Series allows accurate control of directional characteristics. The loudspeaker features a 100° x 50° rotatable constant directivity waveguide, which can be swapped using an optional HN-Kit Compact C 32 C 45, for either two alternatives that change the enclosure’s directivity to 100° x 25° or 60° x 25°.

The design implements several refinements in transducers, crossovers and vented port design, with protection offered by proprietary Dynamic Active Mosfet circuitry. With the advanced design and sound shaping of the waveguide, the loudspeaker provides constant directivity and coverage to the entire listening area.

A solid, balanced birch plywood cabinet uses a textured polyurea coating for its scratch-resistant properties, also lasting longer than traditional coatings. The grille cover is heavy-duty steel protecting both transducers and vented ports. The rear panel carries two Neutrik Speakon NL4 (4-pole) plugs or IP67 Amphenol Ecomate power connectors for the WP version.

More: https://www.rcf.it

A Grammy-winning producer known for his work with artists including Amy Winehouse and Adele, Dom Morley has put his name behind Multiband.io, a tool designed to align all stages of the production process.

Multiband.io reckons to bridge the gap between creative vision and technical execution, giving producers a single point of reference during the recording process. Unlike VC-backed tools, Multiband.io is a labour of love created by a working producer to meet the real-world workflow demands of audio professionals. It’s a practical tool that makes a real difference.

‘I’ve been using Multiband.io for months, and honestly, I wouldn’t want to do a project without it now,’ Morley says. ‘It was built from my own challenges as a producer, to make sure everyone is working in sync and achieving their best.’

With Multiband.io, producers, engineers, artists and managers can keep track of all projects in one centralised dashboard, removing the need to sift through email threads Users can readily see which mixes need additional parts, which are delivered, and which have been approved. Additioanlly, uploading the latest audio versions means the team always references the correct mix, ensuring easy and efficient collaboration from start to finish.

Key features:

• Streamlined workflow designed to focus on creativity.
• Instant sharing of projects or retention for personal reference.
• Organisation productions and arrangements with free project templates.
• Adding of individual song and whole project comments.
• Light and dark themes for a custom workspace.
• Uploading of audio reference files to ensure consistency.
• Simultaneous management of multiple projects.

More: https://multiband.io