Standards News

L-Acoustics rolls out L-ISA Auditoria globally

Worldwide – Recognising that L-ISA technology is in ever-increasing demand, L-Acoustics is rolling out L-ISA Auditoria in strategic locations around the globe. Now, demonstrations, training or mixing sessions of L-ISA Immersive Hyperreal Sound technology can be accessed in dozens of locations in L-ISA Auditoria designed to stringent L-Acoustics specifications.

“To support the development of L-ISA technology in the professional audio market, we have developed pre-determined systems for either mobile or permanent L-ISA Auditoria which can be deployed to support existing partners, artists and potential clients,” explains Cédric Montrézor, executive director of applications at L-Acoustics. “The network of L-ISA Auditoria around the globe is designed to exacting standards to guarantee the natural, intimate spatialised experience of L-ISA Immersive Hyperreal Sound technology.”

Two versions of the packages are available: a frontal system that delivers the resolution required for optimised source localisation, immersive effect and the width required for an effective demonstration of reverb and the same configuration plus complementary overheads which enhance the immersive experience and demonstrate the 3D capabilities for direct sound and room engine.

“Over the past 12 months, we have trained 160 high-profile sound designers and mixing engineers in over 25 seminars, which is over 75 days of training in total,” adds Etienne Corteel, L-Acoustics director of scientific outreach and education. “Rolling out additional facilities allows our partners to organise training seminars at their own locations with an L-Acoustics certified trainer and represents an important next step in making L-ISA training available to a wider audience of professionals.”

To date, in addition to the facilities already in place in L-Acoustics head office in Marcoussis, France, its L-ISA headquarters in London’s Highgate, Delta Live in Surrey and L-Acoustics’ US office in Westlake, California, 15 L-ISA Auditoria have been completed. These are situated at Certified Providers Sonoruss in Moscow, Matrix in Denmark, Finland’s Audico, Seoul’s Klausys, Pro Music in Prague, Germany’s Babbel & Haeger, Groh-PA and Wilhelm & Willhalm, LMG in Orlando and New York’s See Factor, and with China’s Rightway in Taipei, Chengdu, Guangzhou, Shanghai and Beijing.

The auditoria serve as demonstration venues, training sites and are also available as a place to prepare mixes for future projects. DeltaLive!, which has delivered a fully immersive experience for three years in Thailand’s Wonderfruit festival, has served as pre-production headquarters for electronic artists to prepare their immersive mix for the festival.

11th February 2020

EXE Technology Holds its First Ever Training in Germany

EXE Technology Holds its First Ever Training in Germany

Germany – History was made on 22 and 23 January when The Area Four Industries Direct Germany office organised the first ever EXE Technology training session in Germany. Training was held in Emsdetten and was led by sales and marketing manager Carsten Pfeiffer (Area Four Industries Direct Germany) and EXE Technology automation manager Gianluca Ferrari.

To kick off the training, Pfeiffer and Ferrari provided the ten attendees with a complete overview of EXE Technology’s range of chain hoists, load cells, controllers, and DSTs (Dynamic Stack Tracks). The training then dove into specific facts and detailed information about models within the EXE Rise and Vario chain hoist ranges, which included classifications, key features and components.

To gain a better understanding of how EXE hoists work, attendees witnessed a complete strip down of the chain hoist and learned about its operation from the inside out. After the mechanical heart of the hoist was put back together, a complete overview of the inspection process (DoV, CE, etc) was covered to help ensure the safety and long-term reliability of the hoists. An explanation of service log contents was also provided.

During the second day of training, attendees were given the opportunity to practise the inspection procedure and ask additional questions.

With dirty black hands, and big white smiles, attendees left the session with a better understanding of the internal components within EXE chain hoists and how they operate together.

Between the first and second days of the training session, trainers and attendees travelled to a nearby restaurant for a filling German meal and refreshing drinks.
Attending companies included TDA Rental GmbH, Rigging Service GmbH, Satis&fy AG, Groh-P.A. Veranstaltungstechnik e. K., LITECOM GmbH, Stagebox Rigging Service and Lockschuppen Event GmbH.



EXE Technology Holds its First Ever Training in GermanyEXE Technology Holds its First Ever Training in Germany

6th February 2020

EXE Technology

Sonosphere offering two new training dates on Ambisonics Workflow for Immersive Content Production

Sonosphere offering two new training dates on Ambisonics Workflow for Immersive Content Production
Sonosphere offering two new training dates on Ambisonics Workflow for Immersive Content Production

UK – Sonosphere has announced two new courses taking place on 4 February and 21 April in Marlow and Knowsley respectively. Aimed at sound professionals from both the film and music worlds, as well as music producers, audio engineers and immersive content creators, Ambisonics Workflow training will provide a hands-on, practical understanding of the immersive content production, from capture to delivery.

As the world of immersive audio continues to develop, there is a greater need for audio professionals to become competent in understanding and applying the principles behind the latest advances in immersive audio workflows. Sonosphere’s award-winning trainers will bridge the knowledge gap utilising their expertise, state-of-the-art hardware and software from industry leading providers such as Sennheiser, Sound Devices, and Dear Reality.

The day’s agenda includes an introduction to Ambisonics Workflow as well as an in-depth overview of the hardware used in capturing, followed by practical location recording session and discussion around Ambisonics essentials. The second half of the day will see participants looking at spatialisation and mixing workflow, after which a practical session on 360 post-production will be held. The end of the day will see the group navigating through the depths of Ambisonics Advanced, finishing off with the last practical session focusing on mastering and uploading.

Upon completion of the course, all participants will receive a certificate confirming their understanding and ability of applying the principles of Ambisonics workflow for immersive content production.

As an additional benefit, all attendees on the course will receive an offer for 50% discount on the Dear VR ambisonics bundle containing dearVR PRO, dearVR Spatial connect and dearVR AMBI MICRO, with a potential saving of over £350. Participants can also make use of the special offer from Pink Noise for a MixPre-6 and AMBEO VR mic at a 10% off their web price for £1845 inc-VAT, with a saving of £205.

16th January 2020

Luminex Successfully Networks with AC-ET for Training Events

Luminex Successfully Networks with AC-ET for Training Events

UK – A.C. Entertainment Technologies Ltd. (AC-ET), in conjunction with Luminex, has hosted a number of sell-out network training events specifically for lighting, video and audio professionals.

Held at AC-ET's training facilities in High Wycombe and Leeds, industry experts have been teaching the fundamentals of networking, plus the specifics of networking and data distribution for professional lighting, audio and video applications.

The courses provided the ideal chance to learn more about Luminex products, including the new LumiNode next generation Ethernet to DMX processor and the Araneo software tool that provides a complete graphical overview of a Luminex Gigacore Network.

Application specialists from Luminex led the courses: one focusing on networking for lighting and video and the other on audio applications. Both saw a massive demand throughout the year, with each date selling out within days and generating a long waiting list.

Both courses covered network fundamentals and GigaCore switches, with the lighting and video training also encompassing lighting protocols, converters and splitters, and video over IP, whereas the audio session looked at the specifics of networking and data distribution for professional audio applications, including the use of Milan-AVB.

Those lucky enough to secure their places for the sessions have come away with a far greater understanding of networking, and found the training incredibly useful.

Jack Thompson, technical director at Manchester International Festival, commented: “The course content was very good, with an excellent instructor who knew all about his product and how it works in the real world. He was able to work with people at different levels of competence all at the same time.”

Ian O'Donoghue, head theatre technician at the University of Warwick said: “The course was really useful and was set at the right level. I felt very welcome and we were looked after well.”

“Top job by AC-ET for putting on these courses.” Added Sam Whitby, lighting technician for DPL Production Lighting. “If any other training becomes available please let me know, however for now I am more than happy!”

“We are very happy to be able to work together with Luminex to provide these training courses,” commented Neil Vann, Luminex brand manager for AC-ET. “It is fantastic that our Luminex training sessions have become so popular, and to meet the demand we are already looking ahead to add more dates in 2020.”

To register interest in future Luminex training days, visit the events section of the company’s website at

12th December 2019

AC Entertainment Technologies

Absen hosts 100th ACE training session

Absen hosts 100th ACE training session

USA – Absen is celebrating a major milestone this month as its globally recognised ACE Training Programme reaches its centenary. The 100th training session will take place at Absen’s North American headquarters in Orlando, USA, on 3-5 December 2019.

The Absen Certified Engineer (ACE) programme is a dedicated training course for partners and customers involved in the installation, configuration and maintenance of Absen LED products ensuring that end users get the most from their LED deployments by having access to the largest pool of professionally trained LED engineers in the world.

Since its 2014 inception, more than 1,500 professionals have been certified worldwide, making it the industry’s first and most widespread LED training programme. In 2019 alone, 518 new Absen engineers have been certified in 36 ACE training sessions across 22 locations and six continents.

“The goal of an ACE training programme is to teach participants how to set up a complete LED video wall from scratch,” says Kenny Jin who heads up Absen’s ACE training programme. “Through the training programme, participants are able to master new technologies and develop their skills in this increasingly competitive marketplace. Moreover, it allows our partners to strengthen their customer service abilities and reduce costs by bringing the skills in-house.”

“My training experience here at Absen was amazing,” says Stephen Trudell, AV technician at Onyx AV in the USA. “It was straight to the point and provided everything I needed to know, especially around troubleshooting. I couldn’t be happier with my experience.”

Another participant, Van Daele Eric, an AV engineer from Rwanda, added: “I can’t extol enough how professional the training course and personnel were. The Absen team spent all day with us and were excellent. They were able to answer all questions asked of them and their ability to pass on their experience could not be faulted.”

Split across two to three days – and free of charge – the ACE programme course allows engineers, technicians and freelancers to get a first-hand look at Absen’s LED products from the inside out, with instruction focussing on LED set-up, troubleshooting and LED control. At the end of the training course, participants must pass both a written and hands-on practical test after which they are awarded the status of ‘Absen Certified Engineer’ in an official graduation ceremony.

As the demand for smaller pixel pitches and higher resolution displays continues to increase, so too will the important role of training. Absen’s ACE training programme is continuously updated to ensure engineers are well-equipped to deal with any and all of their clients’ demands.

For anyone interested in taking part in the ACE training programme, please contact a local Absen representative.

10th December 2019

Fifteen ESTA standards in public review and a new project

Fifteen ESTA standards and draft standards are available for public review on the ESTA TSP website at Anyone materially affected by any document is invited to review it and to offer comments before the deadline. The review documents are available for free; downloading it costs you nothing but your time. The listing below is an alphanumeric sort. The comment due dates for the different documents are not all the same; please take note.

ANSI E1.17 – 2015, Entertainment Technology – Architecture for Control Networks (ACN), is being considered for reaffirmation – no substantive changes. It is a suite of documents that specifies an architecture, including protocols and language, which may be configured and combined with other standard protocols to form flexible, networked audio, lighting, or other control systems. The suite of documents is offered in a zip file for download. Comments are due no later than 30 December 2019.

ANSI E1.19 – 2015, Recommended Practice for the Use of Class A Ground-Fault Circuit Interrupters (GFCIs) Intended for Personnel Protection in the Entertainment Industry, is being considered for reaffirmation with no substantive changes. It offers guidance, in accordance with existing applicable standards, on how to select, install, use and maintain ground fault protection devices with nominal 5 mA trip settings in the entertainment industry. The purpose of their use would be to protect persons from shock and persons and property from fire. Comments are due no later than 30 December 2019.

BSR E1.2, Entertainment Technology – Design, Manufacture and Use of Aluminium Trusses and Towers, describes the design, manufacture and use of aluminium trusses, towers and associated aluminium structural components such as head blocks, sleeve blocks, bases, and corner blocks in the entertainment industry. It is being revised to bring its requirements up-to-date with current technologies. Comments are due no later than 23 December 2019.

BSR E1.4-3, Entertainment Technology – Manually Operated Hoist Rigging Systems, applies to permanently installed, manually operated hoists used as part of rigging systems for raising, lowering, and suspension of scenery, properties, lighting, and similar loads. This standard establishes requirements for the design, manufacture, installation, inspection, and maintenance of manually operated hoist systems for lifting and suspension of loads for performance, presentation, and theatrical production. Comments are due no later than 30 December 2019.Comments are due no later than 30 December 2019.

BSR E1.6-2, Entertainment Technology – Design, Inspection, and Maintenance of Electric Chain Hoists for the Entertainment Industry, covers the design, inspection, and maintenance of serially manufactured electric link chain hoists used in the entertainment industry. The standard is being revised to provide more clarity or requirements. Comments are due no later than 23 December 2019.

BSR E1.20, Entertainment Technology – Remote Device Management over USITT DMX512 Networks, is a revision of ANSI E1.20 – 2010. The standard is being revised to clarify ambiguities, fix bugs, and incorporate some additional features. E1.20 is an extension to USITT DMX512 and ANSI E1.11 that allows for bi-directional communication on the primary data link. This allows a controller to discover RDM-enabled devices on the link, to set starting addresses and other configuration settings, and to request status messages. Comments are due no later than 30 December 2019.

BSR E1.21, Entertainment Technology – Temporary Structures Used for Technical Production of Outdoor Entertainment Events, establishes a minimum level of design and performance parameters for the design, manufacturing, use and maintenance of temporary ground-supported structures used in the production of outdoor entertainment events. The purpose of this guidance is to ensure the structural reliability and safety of these structures and does not address fire safety and safe egress issues. This standard also establishes a reasonable standard for care by providing the minimum acceptable requirements at which temporary structures shall be designed and used. Comments are due no later than 30 December 2019.

BSR E1.23, Entertainment Technology – Design, Execution, and Maintenance of Atmospheric Effects, offers advice on the planning, execution, and maintenance of theatrical effects using glycol, glycerin, or white mineral oil fogs or mists, in theatres, arenas, motion picture studios, and other places of public assembly or motion picture production. The guidance is offered to help effects designers and technicians create effects that can be executed repeatedly and reliably, and so that they can avoid excessive exposure to the fog materials and other foreseeable hazards. The revision includes guidance on developing strategies to maintain an effect over the months or years of a long-running show or an extended motion picture shoot. Comments are due no later than 23 December 2019.

BSR E1.37-5, General Purpose Messages for ANSI E1.20, RDM, provides additional Get/Set parameter messages (PIDs) for use with the ANSI E1.20 Remote Device Management protocol. Comments are due no later than 30 December 2019.

BSR E1.47, Entertainment Technology – Recommended Guidelines for Entertainment Rigging System Inspections, covers the inspection of entertainment rigging systems. Rigging systems may be statically suspended (stationary) (dead hung) equipment, manually operated counterweight sets, manually operated hoist sets, rope and sandbag (hemp) sets, and electric hoist sets (including winding drum hoists, packaged hoists, powered counterweight sets). The document includes inspection of fire safety curtain systems, rigging only. Rigging systems frequently include combinations and variations of rigging types. Comments are due no later than 30 December 2019.

BSR E1.62, Minimum specifications for mass-produced portable platforms, ramps, stairs, and choral risers for live performance events, is a product specification covering serially manufactured portable platforms, stair units and ramps used with those platforms, and choral risers. It also would cover railings provided as fall protection accessories for these units. It would give minimum payload and sideways force handling specifications. It would not cover custom platforms or complete stage systems. Comments are due no later than 23 December 2019.

BSR E1.66, Safety Standard for Followspot Positions Erected for Short-term Use in Entertainment Venues, covers safety requirements for followspot positions in, or on, structures erected for short-term use, and positions not covered by ANSI E1.28. It is applicable to positions located indoors or outdoors. It addresses structural, electrical, and personnel safety requirements associated with them. Comments are due no later than 23 December 2019.

BSR ES1.9, Event Safety – Crowd Management, defines "crowd management," as distinguished from "crowd control," provides an overview of crowd management theory and vocabulary, and applies these terms to certain reasonably foreseeable risks that arise during live events. The standard is intended both to identify minimum requirements and to provide questions and suggestions that help event organizers make reasonable choices under the circumstances of their event.  Comments are due no later than 30 December 2019.

BSR ES1.7, Event Safety Requirements – Weather Preparedness, addresses the consideration, development and use of weather planning strategies to mitigate weather-related risks associated with live events and their associated temporary special event structures. Its scope includes both indoor and outdoor events, because both have considerations for attendees. Its scope includes sites not specifically designed for public events, as these too represent unusual or unique circumstances relating to risk assessment and mitigation. Comments are due no later than 23 December 2019.

BSR ES1.19, Safety Requirements for Special Event Structures, addresses structural safety for any temporary structure used for special events ("temporary special event structures"), where such structures are used for presentation, performance, structural support of entertainment technology equipment, audience seating or viewing in conjunction with the event, and regardless if the event is indoor or outdoor. It is being revised to correct errata, and to add further clarity to its scope and requirements. Comments are due no later than 23 December 2019.

BSR E1.21, Entertainment Technology – Temporary Structures Used for Technical Production of Outdoor Entertainment Events, is a revision of ANSI E1.21-2013 to deepen the requirements for operations management plans, designated person responsibilities, and related requirements. E1.21 establishes a minimum acceptable level of design and performance parameters to ensure structural reliability, safety, and to establish a reasonable standard of care for temporary special event structures.

And a NEW project:

BSR E1.69, Reporting the Low-End Dimming Performance of Entertainment Luminaires Using LED Sources, shall describe a way of showing the end-user or equipment specifier the low-end dimming performance of LED luminaires, when the luminaire output level is set by a control signal varying over the low-end range from 10% to 0%. Right now, there is no way for an equipment specifier to see and compare the low-end dimming of a luminaire without actually looking at the unit, and then there is no way to tell another person what the specifier saw without using subjective terms. Marketing terms, such as "theatrical quality dimming" or "dims smoothly to black," seem to say something, but really have no objective meaning. Interested? Contact Karl Ruling,

12th November 2019

Laserworld-Academy offers Laser Safety Officer Seminars

Laserworld-Academy offers Laser Safety Officer Seminars

Germany - Laser safety regulations are different in every country. Regulations in Germany require a Laser Safety Officer (“Laserschutzbeauftragter”) to take responsibility of any laser system class 3R, 3B or 4 that is used.

The Laserworld Academy has been offering their certified Laser Safety Officer Seminars in German language for many years. “The more diverse the society gets, and the more companies work all across Europe and worldwide, the more demand came up for those specific Laser Safety Officer Seminars in English language for the German market,” explains Norbert Stangl, CMO of the Laserworld Group and Head of the Laserworld Academy. “We can definitely see the demand for this kind of certification and therefore scheduled the first dates for 2020.”

The contents of the LSO Seminars meet the requirements of the German legal framework for laser use (OStrV and TROS) and base on the international regulatory IEC 60825-1. After having successfully passed the final test, participants can be applied as “Laserschutzbeauftragter” for work with laser systems in Germany. The seminars are suitable for lasers used for industrial purposes, lasers used in trade and laser show/display.

The Laser Safety Officer trainings take a whole day. The schedule is according to the specifications in TROS.

9th October 2019

PLASA launches NELT, training for production professionals

PLASA launches NELT, training for production professionals

UK – PLASA, the leading association for the live entertainment technology industry, has launched National Lifting Event Training (NELT), a training programme for production technicians who use lifting equipment during event production.

NELT has been carefully designed in conjunction with the Live Event Production Group with the aim of improving safe working practices of lifting operations. Some experience working in the live events or broadcast industries is recommended but not essential.
The course will take place across three days under the guidance of expert trainers in specialist facilities where the trainees will complete a series of practical activities and receive guidance on how to establish cohesive and safe working partnerships with NRC riggers. Upon successful completion, the candidate will receive a certificate and a listing on the PLASA website which will be viewed by prospect employers, venues and clients.

NELT is a valuable addition to PLASA’s skills portfolio which also offers the widely recognised National Rigging Certificate (NRC), a trainee rigger pathway, and a year-round programme of professional development training across a range of business and technical topics.

Nicky Greet, PLASA’s director of membership, skills and technical comments: “PLASA is pleased to offer this National training for production technicians that has been developed in collaboration with industry professionals on PLASA’s Live Event Production group. The aim of NELT is to standardise good practice and knowledge, making work environments safer and more efficient for all those involved.”

NELT is currently available at UK Rigging in Bolton and Production Services (PSI) in Northern Ireland, with more approved centres expected next year. Candidates must first enrol on the PLASA website at

9th October 2019

KV2 Audio partners with RADA to offer training opportunities for sound students

KV2 Audio partners with RADA to offer training opportunities for sound students

UK – KV2 Audio has announced a partnership with RADA (Royal Academy of Dramatic Art) to support the training of young students in theatre sound production. KV2 has provided a range of EX Series loudspeakers to equip RADA’s Jerwood Vanbrugh and Gielgud theatres, and will also offer masterclasses on sound design and the use of point source technology in a theatre environment.

RADA’s head of sound, Steve Mayo, is delighted that KV2 has chosen to become a RADA in-kind partner. “These partnerships are the life-blood of hands-on training for our students,” he declares. “I am very eager for our sound students to have the opportunity, not only to work with high quality, modern equipment, but also to meet the people behind it. “The support we’ve had from KV2 has been invaluable in paving the way for this partnership, from our initial conversations at ABTT in June through to them organising for all our students to have a proper demo of the full KV2 range at PLASA last month.”

Mayo recalls that his decision to approach KV2 was sparked initially by well-known theatre sound designer, Richard Brooker, when he came in to talk to the students about working on musicals and mentioned that KV2 had become an important part of his designs. He was further prompted by the fact that Autograph Sound (with whom RADA already has a close relationship) are an important KV2 user, a fact endorsed by Autograph sound designer, Avgoustas Psillas: “We were lucky enough to get Avgoustos in to mentor to our sound design students when we were preparing for our musical production during the last summer term, and he was very complimentary about KV2, just as Richard Brooker had been. I was able to meet Tom Weldon from KV2 at ABTT for an initial conversation and arrange a visit for him to RADA so that he could see for himself the level and quality of training we offer our students.”

Following the visit, Weldon had no hesitation in agreeing to the partnership. “We’re very keen to work with the technicians, engineers and designers of the future and feel that we can contribute to offering them a solid grounding in modern theatre techniques with equipment that is actually in use in productions across the West End and Broadway as well as on national tours. We’re proud to be able to make a positive contribution to the education of future generations.”

Mayo wholeheartedly agrees: “RADA does an amazing job in terms of the amount of productions we do,” he explains. “Over the course of this academic year we will mount thirteen RADA productions across three venues as part of the Technical Theatre and Stage Management course in collaboration with the third year actors training. The partnership with KV2 hugely improves our FOH systems for both the Jerwood Vanbrugh Theatre and the Gielgud Theatre and is incredibly exciting for the students and the productions to be using state-of-the-art equipment for their learning.”

8th October 2019

L-Acoustics Spotlights AVB Networking at AES

L-Acoustics Spotlights AVB Networking at AES

USA - The AES Convention’s technical programme has long been praised by seasoned audio professionals and students alike for its rich schedule of educational and training seminars offered at each gathering. This month, at the 147th convention and exhibition held at NYC’s Javits Center, L-Acoustics team members will be leading and/or participating in seven AES presentations, several of which will focus heavily on AVB (audio video bridging) networking and newly Milan-certified solutions, including the L-Acoustics P1 processor.

The first event, presented in room 1E13 at 9:00am on Wednesday, 16 October, will be a networked audio track panel session titled, “Solution-Based Approaches for Networked Audio in Live Production.” Moderated by Sound & Communications editor Dan Ferrisi, L-Acoustics director of electronics Genio Kronauer, one of the most recent members of the Avnu Alliance board of directors, and fellow panelists from Meyer Sound, Solotech, and other companies will share “how to” tips on working with Milan and AVB networking and practical use-cases from end users implementing Milan in live sound projects.

Kronauer will also participate in an Avnu Alliance-led session on 16 October for the Live Production Stage, starting at 2pm (LS04), titled “Milan Protocol: Deterministic AV Networks,” sharing an overview of the Milan product philosophy and benefits for the market, as well as case studies of live sound installations using a Milan network.

That same day, at 1:30pm in room 1E12, L-Acoustics product manager Scott Sugden will deliver a sound reinforcement track event titled, “Large-Scale Loudspeaker System Calibration from Simulation-Based Design to On Site Tuning.” The presentation will cover, among other things, the efficient implementation of the manufacturer’s Soundvision Autosolver tools, the benefits of Milan-compliant AVB networking as offered by P1, and the brand new M1 measurement platform, part of the upcoming LA Network Manager 3.0 release.

In the year since its debut, the multifunctional P1 AVB processor and measurement platform has firmly established itself as an indispensable tool for many audio pros. Designed from the very start to be compliant with Avnu Alliance’s new Milan interoperability protocol, P1 became one of the very first two products on the market to officially receive Milan certification through Avnu Alliance as a fully compliant Milan device earlier this year.

“Milan represents the pro AV industry coming together to define common protocols and ensure seamless interoperability between products, regardless of their brand,” says Kronauer. “What L-Acoustics and our fellow industry-leading manufacturers did with Milan was to take IEEE’s open AVB standard to a truly reliable and convenient ‘plug-and-play’ level, you simply connect a device and it works every time. This allows our users to focus on what they do best, which is creating amazing audio-video experiences for their clients and audiences.”

Designed to optimally deal with the real-time needs of professional media transport, Milan is a standards-based, user-driven deterministic network protocol that takes into account the specific needs of the pro AV market for moving time-sensitive, high-quality audio, video, and data across the network. Once network connectivity is established, Milan reserves bandwidth specifically for deterministic delivery, which ensures that users will never have a dropout or loss of information during a show or live performance.

Over the past year, numerous audio professionals have already enjoyed Milan’s benefits that the L-Acoustics P1 has provided, including tours for Hugh Jackman, Mark Knopfler, Madness, and Rammstein, as well high-profile installations at the Wells Fargo Center (home to the Philadelphia 76ers) and the iconic Hollywood Bowl.

According to Hollywood Bowl principal mixer and sound designer Fred Vogler, “There's a different show here almost every night and we have to stay on top of it every time. The Milan processors are easy to use and have a fidelity and a resolution that is really high. I've heard other types of digital transmission – we had AES in here – and it seems like the AVB Milan protocol is cleaner with enhanced fidelity, which makes it sound more natural. Also, in discussion with tours and other sound design folks that come through, we never get any pushback. We have to rely on it daily and alter or change it if necessary, so it is comforting to know that it's easy to use, has a great sound, and is something that, industry-wide, people are comfortable using.”

As a founding member of the Milan initiative, L-Acoustics has been able to build Milan into all of its amplified controllers and audio processors, concurrent with the development of the Milan standard.

The P1 processor is a unique, three-in-one unit that serves as a front-end processor, an audio matrix and bridge, as well as a system measurement and tuning platform, all in one convenient, robust package. The P1 takes the complex and hardware-intensive task of system optimization and streamlines it to a single piece of hardware, fully integrated with the industry-leading LA Network Manager software platform.

As a signal processor with equalisation, delay, and dynamics, its four analogue line inputs with premium A/D conversion assure the utmost sound quality. Integrating 20 inputs and 16 outputs in one rack space, the P1 can matrix, bridge, and distribute AVB, AES/EBU and analogue audio. Time-aligned redundant signal distribution guarantees artefact-free sound with the click of a button.

Updates to LA Network Manager will leverage P1’s four microphone preamps to create an analyzer that is aware of all system parameters. This technology enables system tuning without additional noise.

3rd October 2019