Tag Archives: International

Elk CEO Talks Aloha Remote Performance Software’s Development

Swedish developer Elk is debuting Aloha, which it says allows musicians within a 600-mile radius to play together remotely over the internet with 1mS latency.
Swedish developer Elk is debuting Aloha, which it says allows musicians within a 600-mile radius to play together remotely over the internet with 1mS latency.

Stockholm, Sweden (November 12, 2020)—Practical real-time remote music creation and collaboration took a step closer to reality recently when Stockholm-based developer Elk began posting videos made by beta-testers of its Aloha service. Conceived for use over high-speed internet and, ultimately, over 5G networks, Aloha combines ultra-low latency audio with a video chat user experience and is scheduled for a 2021 release.

The effect of latency—the time it takes for a signal to pass through a digital audio system and back to the originator’s ears—varies from one individual to the next and according to musical content. One rule of thumb is that latency becomes noticeable at 15 to 30 milliseconds, but performers are often more sensitive, and some find that more than 7mS is too much to handle and remain in sync (for example, U2’s Bono favors an analog in-ear monitoring path for that reason).

“We knew there would always be limitations; the speed of light is still there,” says Elk CEO and co-founder Michele Benincaso over Zoom from Sweden, “but there are things to make it better and there are different kinds of experiences. If we want to have an in-the-same-room experience for a pro musician, with good fiber, you’re looking at around 1,000 km,” or about 620 miles, maximum, between participants.

Benincaso’s path to developing Aloha was somewhat circuitous. Born in Italy, he has a master’s degree in violin making. Yet despite such a decidedly analog beginning, “I’ve always been fascinated by technology, and I had a dream to put technology and musical instruments together,” he says.

His original goal was to create the guitar of the future. “We had a vision to bring the guitar to a level where you can give the musician access to more sounds and a new way of expression.”

Aloha Promises Real-Time Remote Music Creation

About six years ago, Benincaso met a professor from Stockholm’s Royal College of Technology, one of Elk’s co-founders, who introduced him to the potential of modern wireless communications and the Internet of Things. In pursuit of his original vision, that led ultimately to the development of the Linux-based Elk Audio OS.

“The magic is that we can run it on a general-purpose CPU; we use Raspberry Pi, but we can do analog-to-analog in one millisecond. There’s [typically] no way of getting that without a very expensive computer and a very expensive audio interface.”

Through the company’s relationship with Steinberg, Elk has already ported over 500 VST plug-ins to its OS. The Elk Audio OS is at the core of the company’s Sensus smart guitar and other products, and it also enabled the building of a custom solution—in combination with Fishman and Arturia—for Muse frontman Matt Bellamy to generate Prophet V synth sounds from his wireless guitar.

It is the Elk Audio OS within in Aloha, which will ship with a small stereo audio device and an Ethernet cable, that makes real-time remote collaboration feasible. “There are technologies that work on a LAN, like Dante, but the internet is another story,” Benincaso says. “What Aloha technology in the device does is optimize the audio to be sent to the internet. Aloha considers packet drop, distance and jitter.”

Jitter can be worse than latency, he says. “In an orchestra, you can have 30, 40 milliseconds between one side of the orchestra and the other, but it’s consistent, so musicians adjust. What is harder is unpredictable latency—jitter. Aloha, based on the network conditions, adapts to constantly deliver the most consistent latency. And we use other technologies to maximize the audio experience for the user.”

No less important is the user experience, he says. “It’s a video chat app that you can access on a computer, phone or tablet. It’s important to have the visual feedback from the other musicians and also for recording and livestreaming. Once the device is connected, you will see a list of people connected. Pick who you want to play with, call him or her and you’re ready.”

An early version of Aloha was previewed by Swedish telecom company Ericsson at the 2019 Mobile Congress in Barcelona, where a band performed from two locations in the first live demo of the service over 5G. With 5G, processing power in the cloud will eliminate the need for a local CPU, RAM or dedicated audio interface. For Aloha, he says, “Edge computing is where you get ultra-low latency, so there will be a major impact when 5G comes.”

Elk has been flooded over the past several months with suggestions for where Aloha might also be employed, such as in music education, says Benincaso, so the company has now adjusted its focus and put more resources behind launching the service. However people use it, he says, “We let musicians connect in the shortest time possible with a seamless experience.”

Elk Audio • www.elk.audio

Original Resource is ProSoundNetwork.com

House of Glass Tackles 100-Album Project

House of Glass Studio in Tuscany recently installed a new Solid State Logic Duality console with a new System T.
House of Glass Studio in Tuscany recently installed a new Solid State Logic Duality console with a new System T.

Tuscany, Italy (November 12, 2020)—Italian producer/remixer Gianni Bini, owner of Viareggio-based recording studio House of Glass in Tuscany and one of the prime movers behind the Ocean Trax record label, has replaced a 10-year-old Solid State Logic Duality with a new System T.

The original House of Glass was destroyed in the tragic Viareggio railway disaster in 2009 and, as part of the rebuilding process, Bini decided to place a SSL Duality console at the new studio’s heart. A decade on, it became time to replace it and he found himself on the verge of signing a deal for a different brand.

“I really wanted to stay analogue and I was about sign the deal for a new analogue console when two things happened,” he says. “The first thing is that at the end of last year, I signed a huge contract for 100 albums to be produced in the next five years. And the only way to produce 100 albums in five years, is to record it live. I needed something that was going to be able to do that and manage the throughput.

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“The second thing was that I heard System T,” he continues. “This console is closer to the SSL 4000 than the Duality is. I don’t know what they did, because this is a computer, but they did it. I wanted some input from people that I trust—and I expected them to come in and say, ‘No, no no, digital is no good, don’t buy it’—but they came in, listened to it, and they said, ‘Wow, this is fantastic, the sound is brilliant.’ The word they used was ‘stellar.’”

The new installation at the House of Glass consists of a 64-channel SSL System T S500 surface, Tempest Engines and Network I/O AoIP stage boxes, featuring SSL’s SuperAnalogue mic pre technology.

Bini has found that the System T has come in handy has he tackles the mammoth 100-album project. “I did 10 albums in two and a half months because the console let me do it,” he says. “I do a set up and I can save it, and when the next band comes, if I use the same mics, then it’s already saved. The gains are already done, the workflow is already done…it’s very quick.”

Solid State Logic: www.solidstatelogic.com

Original Resource is ProSoundNetwork.com

Salzburg’s OVAL Lands L-ISA During Lockdown

The OVAL recently installed a new L-Acoustics L-ISA system.
The OVAL recently installed a new L-Acoustics L-ISA system. Andreas HAUCH

Salzburg, Austria (November 10, 2020)–The OVAL is a 227-seat cultural showcase set inside Salzburg, Austria’s EuroPark shopping mall. While it’s long offered a mix of music, drama, cabaret, cinema and more, in July, it upped the ante by adding a L-ISA Immersive Hyperreal Sound technology from L-Acoustics.

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Right from the start, the room’s architecture, which features a steep atrium grandstand and a 13-meter-wide stage that is only 15 meters from the control room, posed challenges to conventional L-C-R sound reinforcement systems. “Thanks to L-ISA, not only was the conventional technology replaced, but a completely new, immersive listening experience was created at every seat,” explains Rupert Pichler, managing director of Pansound and project manager for the L-ISA conversion in the OVAL.

The OVAL's L-ISA design is intended to create an immersive listening experience for every seat.
The OVAL’s L-ISA design is intended to create an immersive listening experience for every seat.

The sound design by Martin Rode, head of Application Install D-A-CH, comprises a Scene system with five arrays of three A10 Wide, evenly hung above the stage and across its entire width, along with two sets of three KS21 subwoofers each, flown horizontally behind the Scene system and configured in an end-fire cardioid array. A total of five 5XT placed in front of the stage serve as frontfill, while three coaxial X8 per side are placed along the walls, with a further two X8 on the rear wall, and five ceiling-mounted 5XT create surround and overhead sound. The entire system is driven by LA4X amplified controllers.

Signal Sound & Light Distribution, L-Acoustics Certified Provider Distributor for Austria, provided the OVAL system.

L-Acoustics • www.l-acoustics.com

Original Resource is ProSoundNetwork.com

Van Don International Airport Upgrades Audio

Vietnam’s Van Don International Airport recently installed a large-scale Harman Professional airport sound solution
Vietnam’s Van Don International Airport recently installed a large-scale Harman Professional airport sound solution.

Quang Ninh, Vietnam (November 5, 2020)—Vietnam’s Van Don International Airport recently installed a large-scale Harman Professional airport sound solution to cover its 2.5 million passengers a year.

Located on the west coast of the province Quảng Ninh, the airport covers 800 acres and has a single runway. In addition to passengers, it also handles 10,000 cargo tons per year, and has four jet bridges, four baggage carousels, eight security gates and 31 check-in counters.

To cover all that, integrators Ba Sao Invest Co., Ltd. and Thien Van Tech Co. designed and installed a system based around JBL Professional loudspeakers, Crown amplification and BSS signal processing

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Ba Sao selected JBL 8138 and 8128 ceiling speakers along with Control 23-1 compact speakers. In some spaces, JBL’s CBT 100LA-LS line array column loudspeakers were used ot provide vertical coverage. Allowing airport staff to deliver announcements throughout the facility, Ba Sao selected JBL CSS-H30 paging horns and AKG PZM11 LL WR boundary laundry microphones. For outdoor areas, JBL Control 85M landscape speakers provide 360-degree coverage. All that is powered by Crown DCi 8|300N and CT16S amplifiers; the system is configured and integrated using BSS BLU-806DA signal processors with BLU Link.

“We were pleased to partner with Ba Sao and Harman for the installation of a highly capable and robust audio system for the airport,” said a spokesperson for Van Don International Airport. “With the new system, we will raise the bar in providing an unmatched world-class audio experience to our passengers.”

Harman Professional Solutions • http://pro.harman.com

Original Resource is ProSoundNetwork.com

JIExpo Theater Jumps with Meyer

The 2,500-capacity JIExpo Theatre in Jakarta recently opened and put its Meyer Sound Constellation system to the test with a concert by Yo-Yo Ma.
The 2,500-capacity JIExpo Theatre in Jakarta recently opened and put its Meyer Sound Constellation system to the test with a concert by Yo-Yo Ma.

Jakarta, Indonesia (October 13, 2020)—Nestled inside the Jakarta International Expo (JIExpo) centre for meetings, events and arts performances is the JIExpo Theatre, a brand-new venue seating 2,500. “The venue was originally specified to be just a theatre, but I saw the potential to make it also serve as Indonesia’s largest concert hall,” said managing director, Prajna Murdaya.

Key to the facility is its Meyer Sound Constellation acoustic system, provided through Meyer Sound national distributor Mega Swara and installed by Jakarta-based integrator Kairos Multi Jaya. A total of 285 small, self-powered loudspeakers (MM-4XP miniature and UP-4XP full range plus UMS-1XP subwoofers) are deployed throughout the auditorium to create natural acoustical environments uniformly throughout the large space. Processing is handled by Meyer Sound’s multi-module D-Mitri Digital Audio Platform, with 51 microphones distributed overhead for sensing the ambient acoustics.

For events requiring amplification, the JIExpo Theatre provides a direct reinforcement system anchored by LEOPARD line array loudspeakers, with arrays of 12 per side to cover the first two levels and an additional set of four per side for the uppermost level. Deep bass is supplied by a cardioid configuration of five 1100-LFC low-frequency control elements flown over center stage. Center channel loudspeakers are UPQ-1P, with UPJ-1P loudspeakers as side fills and UPM-1P loudspeakers for front fills as well as under- and over-balcony fills. The system can be used with Constellation off, or with acoustical enhancements added for a variety of pop, rock, jazz and musical theatre performances.

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Among first events was a concert by cellist Yo-Yo Ma—his first in Indonesia—for which the Constellation system remained on throughout, extending the theatre’s RT60 baseline physical acoustic from 1.2 seconds to 2.2 seconds. The system allowed the theatre’s technical manager, Bayu Wicaksana, to customize the response for the cellist’s instrument. Ma’s rendition of six suites for cello by Johann Sebastian Bach drew extended standing ovations from the audience.

Other key contributors in the design phase were theatre consultants Philip Soden and WSDG acoustic consultants. The Meyer Sound contingent was led by Constellation Project Director John Pellowe with design and tuning of the direct reinforcement system supervised by Director of System Optimization Bob McCarthy.

JIExpo Theatre boasts one of the largest stages in Asia, measuring 48 m wide by 16 m deep and expanding up to 21 m deep following renovations with the orchestra pit covered. The theatre is the latest addition to the larger exposition complex, which first opened in 2010.

Meyer Sound • www.meyersound.com

Original Resource is ProSoundNetwork.com

Osaka Onken Adds Adamson S-Series

The staff of Osaka Onken with its new Adamson S-Series system.
The staff of Osaka Onken with its new Adamson S-Series system.

Osaka, Japan (September 2020)—Live sound provider Osaka Onken has taken on the largest inventory of Adamson Systems Engineering S-Series in Japan. The system was provided by Adamson’s Japanese distributor, ReWire.

The new system comprises: 48 sub-compact S10 two-way, full range array enclosures; 16 complementary S119 subwoofers; eight ultra-compact S7p two-way, full-range point-source enclosures, and eight PC5 two-way coaxial loudspeakers from Adamson’s Point Centric Series.

Broker Sound Adds to Adamson Inventory

The new Adamson S-Series system was delivered to Osaka Onken’s headquarters earlier in the summer, and the company hosted Adamson’s globally-standardized Applied Certification training in order to best educate staff and outside technicians on the system soon after in mid-July.

“Wanting to significantly boost our offerings with an investment in a high-end, sub-compact loudspeaker system, we invited several very reputable loudspeaker manufacturers to demo their products in late 2019,” says Tatsuo Yamamoto, president and CEO of Osaka Onken. “It was immediately clear that Adamson’s S-Series was the top choice in terms of performance, and we’ve only grown more confident in that decision based on the support we’ve received from Adamson and their colleagues at ReWire in the time since.”

Adamson Systems Engineering • www.adamsonsystems.com

Original Resource is ProSoundNetwork.com

Barry O’Hare, Legendary Jamaican Engineer, Dead at 56

Barry O’Hare, mixing at the CarnRiv Festival in Lagos, Nigeria in 2013.
Barry O’Hare, mixing at the CarnRiv Festival in Lagos, Nigeria in 2013. PreSonus

New York, NY (September 23, 2020)—A mainstay of Jamaica’s recording and live sound scene for decades, engineer Barry O’Hare died from COVID-19 on Saturday, September 19, at the University Hospital of the West Indies in Kingston, Jamaica. Over the years, O’Hare worked with the likes of Burning Spear, Third World, Lee “Scratch” Perry, Morgan Heritage, Sean Paul, Beres Hammond, Toots and the Maytals and Shaggy. O’Hare was 56.

A Kingston native, O’Hare became interested in music at an early age and played piano in his father’s church by age 9. In the late 1980s, he began working as an apprentice studio engineer at Grove Recording Studio, where in time he would become a full-fledged producer/engineer who also composed music and worked as an occasional background vocalist. As the studio was a subsidiary of Ocho Rios radio station IRIE FM, O’Hare eventually became an on-air DJ at the station as well.

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O’Hare began producing for reggae act Morgan Heritage in 1992, contributing to albums like Don’t Haffi Dread, Caught Into A Trap and Reggae Road Block. Gramps Morgan, a member of the group, told the Jamaican Gleaner, “Barry was more than just a colleague in the music industry; to our family, he was a brother. After meeting him for the very first time in 1992, we realized how far and above he was at that time as an engineer. His personality was calm, and also his spirit and his  professionalism were far and beyond. He will truly be missed. To his family and all who are left behind, this is another big loss for our genre.”

Among his career highlights was engineering Burning Spear’s 1999 album, Calling Rastafari, at Grove; the record won the 2000 Grammy Award for Best Reggae Album.

As time went on, O’Hare added live sound engineering to his resume, engineering large-scale events such as the Jamaica International Kite Festival and Summer Sizzle. He eventually became a go-to FOH engineer for internationally touring reggae acts, including Sean Paul, Third World and Beres Hammond, though most notably, he worked as Shaggy’s touring engineer for a decade. The “It Wasn’t Me” singer noted on Instagram, “Lost our dear brother @barry_ohare_jamaica. Barry was my engineer and a great guy; he was instrumental in helping to establish Shaggy and Friends, especially on the technical side, and engineered a lot of the shows. We toured together for years; he made us sound great night after night. Thank you for your friendship, your talent and love! Rest well, my brother, R.I.P. – condolences to his family.”

The Jamaica Reggae Industry Association (JaRIA) recognized O’Hare for his contribution to the growth and development of reggae music in 2018.

Original Resource is ProSoundNetwork.com

Unlimited Fire Conference Streams with Waves

Audio provider ASIIS Indonesia used the Waves eMotion LV1 Live Mixer and Waves plug-ins for the broadcast streaming of the recent Unlimited Fire Conference – Power 2020.
Audio provider ASIIS Indonesia used the Waves eMotion LV1 Live Mixer and Waves plug-ins for the broadcast streaming of the recent Unlimited Fire Conference – Power 2020.

Surakarta, Indonesia (September 22, 2020)—Audio provider ASIIS Indonesia used the Waves eMotion LV1 Live Mixer and Waves plug-ins for the broadcast streaming of the recent Unlimited Fire Conference – Power 2020.

The Unlimited Fire Conference, an interdenominational youth network, was based this year in Solo City (Surakarta), Indonesia and featured the Unlimited Fire band, consisting of five vocalists, four musicians a pastor and two hosts. ASIIS (Acoustic, Sound, Image, Integrated, Solution), based in Indonesia, provided the internet system, broadcast system, tracking and mixing for the Unlimited Fire band’s main worship sessions.

“Our setup’s function is centered on direct-from-stage to the eMotion LV1 Stageboxes,” says Andy Mulya Sutikno, production director/mixing engineer and owner and director of PT. ASIIS Indonesia. “We used two SoundStudio STG 2412 Stageboxes for the stage, and one STG-1608 for monitor mixing and an additional one for broadcast mixing, feeding our nearfield Amphion One18 monitors. When working with the SoundStudio Stageboxes, we are able to get very clean and controlled high frequencies, solid and tight low frequencies, and warm yet articulated mid and mid-low to get the hi-fi feel of a live mix. We supported the venue’s existing backline via a Waves SoundGrid network that connects the broadcast mixer with the monitor mixer — with gain sharing from the various Stageboxes in the SoundGrid network.”

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He continues, “The whole conference was broken down into nine sessions that involved a chat, a music video, hosts, worship and sermon. The chat was recorded elsewhere, and I recorded and mixed the worship and sermon. The music video was shot separately by the church.

“The church’s media team took the worship and pastor sessions that I mixed and then combined it with the other bits and streamed it. We used the eMotion LV1 for tracking and direct mastering for sermons that go direct to a multimedia team for video editing. So, we had materials that were recorded at the moment, together with materials to be sent direct, mixed and mastered, minus sound editing.”

He goes on: “The sessions were recorded beforehand with the Waves eMotion LV1 live mixer, and we then supplied the band’s six sessions for the playback tracks using a Waves SoundGrid Driver to send data over a Cat 6 Ethernet cable. We received their prerecorded tracks and prerecorded multitracks which included bass synths, 808s, claps, pads, synths, brass, strings, backing vocals, effects, clicks and guiding vocals — less than 20 hours before they are supposed to be on air! There were about 30-plus channel sequencer tracks that we had to manually arrange in time, together with the existing tracks that we already recorded.”

Waves • www.waves.com

Original Resource is ProSoundNetwork.com

Hex Gets Genelecs

Hex! Museum of Witch Hunt (interior), with Genelec 4420 Smart IP loudspeaker visible
Hex Museum of Witch Hunt (interior), with Genelec 4420 Smart IP loudspeaker visible.

Ribe, Denmark (September 17, 2020)—The new Hex Museum of Witch Hunt may be dedicated to the history of “abolishing” witches, but one thing it didn’t have to search for was a way to create a soundscape for the various stories being told in each of its nine exhibition rooms. Following a recommendation from Johan Ahrenfeldt, head of the Moesgaard Museum Exhibition Design Studio, the new facility opened with a Smart IP loudspeaker solution from Genelec.

As Denmark’s oldest town and home to Maren Spliid, the country’s most famous witch, the setting is ideal for a museum that aims to tell the stories of witches – who they were, why they were so feared, and the myths and superstitions that surrounded them. In order to create the best possible visitor experience, Hex turned Ahrenfeldt, who in turn had recently used Genelec’s Smart IP technology on one of his own exhibitions, so he suggested it might work for Hex as well.

“The building itself posed a few challenges as it’s an old listed building in the center of Ribe,” said Ahrenfeldt. “While this definitely adds to the atmosphere, it’s not ideal for audio-visual installations. Many of the rooms are quite small with low ceilings, so it was important that the technology remained as unobtrusive as possible, whilst nevertheless delivering a high-quality experience. Genelec’s Smart IP loudspeakers were therefore an obvious choice…. We know that Genelec is a guarantee of superlative audio quality, even at low levels, which was a requirement in this instance due to the intimacy of the environment and the proximity of the loudspeakers to the audience. Our aim was to provide linear and detailed sound reproduction that allows visitors to lose themselves in the experience without feeling overwhelmed.”

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The sound design was created by the composer Søren Bendixen of Audiotect, who specializes in creating soundscapes for exhibitions. The design was prepared in the studio but mixed on-site in an iterative process. The onsite use of the Spat Revolution software engine in the mixing process made it possible to map the sound designs, and adapt and benefit from the specific speaker placement in the exhibition rooms – independently of standard audio formats. Ahrenfeldt utilized a total of 36 4420 Smart IP loudspeakers across the exhibition rooms, supplemented by a half-dozen 4020 and four 4010 installation loudspeakers, as well as a compact 7050 active subwoofer.

“Each of the nine rooms is set up as a separate zone,” explains Ahrenfeldt. “The zones are managed and controlled via the Smart IP Manager software, which has proved both easy and efficient. We’re using QLab software and a Dante-compatible RME Digiface interface to control the 47 discrete channels and feed them to the Dante network. The playback by QLab is triggered by the main show control. As the rooms are all adjacent to each other with open doors, the audio separation between the zones is very poor. We needed to turn this obstacle into an opportunity. By considering the overall sound design as a composition of nine separate yet interconnected designs, the result is an auditive experience that both facilitates the mood in each individual room as well as providing a more holistic listening experience throughout the museum as a whole.”

Ahrenfeldt believes that the best audio in this type of visitor attraction is the audio that registers almost subliminally: “The last thing you want is for the soundtrack to start playing and people’s attention being instantly drawn to the source. Ideally, we don’t want people to even notice that there are loudspeakers in the room at all. Genelec’s Smart IP loudspeakers help us achieve that thanks to the minimal cabling infrastructure, which reduces cost and makes for quicker, tidier and more flexible installation. Also, Smart IP’s harmonious design enables them to blend into any environment, with the useful ability to dim the on/off LED indicator on the front of the loudspeaker. Sonically, their superb definition and crystalline intelligibility enable us to create audio designs that offer a truly immersive experience and bring the exhibition to life.”

Genelec • www.genelec.com

Hex Museum of Witch Hunt • www.hexmuseum.dk

Original Resource is ProSoundNetwork.com

Martin Audio Moves into Arco’s Centrale Caffe

Arco’s Centrale Caffe recently underwent a complete renovation, which included installing substantial numbers of Martin Audio loudspeakers.
Arco’s Centrale Caffe recently underwent a complete renovation, which included installing substantial numbers of Martin Audio loudspeakers.

Arco, Italy (September 16, 2020)—Arco’s Centrale Caffe recently underwent a complete renovation, which included installing substantial numbers of Martin Audio loudspeakers to provide atmospheric music for customers of the busltling bistro.

Local contractor Iiriti srl, led by owner Giacomo Galassi, was brought in and recommended the brand. Special attention was paid to the terrace, where customers gather and sit overlooking the main square and the public gardens while dining and relaxing. The terrace, which has been completely renewed, now features three Blackline X8 mounted horizontally on the external walls of the patio. Meanwhile, 10 ADORN A55 loudspeakers populate the main room and lounge.

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The sound system, which is split into three audio zones, is controlled by the customer’s computer running Xilica X-Touch App, with two quad channel power amplifiers driving the loudspeakers. The video system is controlled from the AVPro Edge video matrix, integrated into X-Touch.

According to Galassi, “The new audio system guarantees optimum sound and helps create the perfect atmosphere throughout the entire day—from breakfast to after-dinner.”

Martin Audio • www.martin-audio.com

Original Resource is ProSoundNetwork.com