The Dangerous Music S&M mid-side processing matrix has been reissued for a 20th anniversary limited production run, years after it disappeared from the market. Just 100 of the analogue hardware units have been produced under the watchful eye of creator, Chris Muth, with each bearing his signature and an official numbered, metal, credit card-style certificate of authenticity.

The product name, S&M or Sum and Minus, is a riff on the traditional M-S or mid-side microphone recording technique invented in the 1930s by legendary British electronics engineer Alan Blumlein. The technique separates everything that is common in the left and right channels of a stereo signal, summing it into a single channel (L+R), from all that is different between the two channels, summed into another channel (LR), a process also referred to by the term sum and difference.

In Dangerous Music’s implementation of the sum and difference electronic matrix, the balance between the two signals can be adjusted to widen or narrow a stereo image using a rotary control labeled Width — the sole variable control on the unit’s front panel. The stepped attenuator adjusts in 0.5dB increments, engineered to 0.02dB tolerances for repeatability and precision, across a scale of -4dB to +6dB. The other front panel control is a switch to engage the matrix and the sum and minus send and return connections; otherwise, the circuitry is fully bypassed.

The two pairs of rear panel XLR connections enable either channel to be looped through outboard processing, offering an almost endless variety of creative and error-correcting possibilities, from widening the stereo image to taming excessive dynamics or re-balancing elements within a stereo track.

For instance, if a vocal is too sibilant yet panned instruments are too dull, insert a limiter to de-ess the voice in the sum channel and introduce an EQ into the minus (difference) channel to brighten things up to left and right. Similarly, if the bass is presenting problems but instruments on the left and right need some low-end boost, loop through an EQ to surgically clean up the bass while also adding heft or sparkle to the other instruments. Maybe the stereo drum overhead mic image is perfect except for the snare, which is just too loud. Send those two tracks through the unit, insert a limiter on the sum channel and balance can be restored.

The Dangerous Music S&M is shipping now at a street price of US$1999.

More: www.dangerousmusic.com

Renkus-Heinz has appointed SeeSound as its exclusive distributor for Spain and Portugal.

Based in Barcelona, SeeSound has been providing professional audio solutions for the audiovisual market in Spain and Portugal since 2004. With a team of more than 30 professionals boasting extensive experience and knowledge of the latest generation products in its portfolio, SeeSound provides comprehensive guidance tailored to real project needs, integrating products, processes, and professionals.

In addition to regular training sessions and open days hosted by the company to further knowledge and promote customer engagement, SeeSound has invested in a 1,500m² Experience Centre to offer demos and allow customers to see products in context to help facilitate the decision-making process.

‘SeeSound has grown considerably in the installation market in the last ten years, and it’s now one of the main drivers of the company,’ observes SeeSound Audio Product Manager, Carles Ribó. ‘Renkus-Heinz is extremely strong in this market, and we share a similarly customer-focused approach. Our portfolio will now include Renkus-Heinz’s legendary beam-steering products which deliver amazing performance and sound quality alongside a solid reputation – this will allow us to deliver new, tailored solutions to our customers.’

‘The collaboration with SeeSound focuses on swift growth in the integration sector, and presents a unique opportunity to enhance beam-steering awareness in Spain and Portugal,’ says Renkus-Heinz Export Sales & Marketing Director, Michal Poplawski.. ‘SeeSound’s strategic approach aligns closely with Renkus-Heinz’s direction. Renkus-Heinz’s innovative products will not only add value to existing channels but also open up new avenues across diverse markets, including meeting spaces, auditoriums, performance venues, churches, and public areas. We are optimistic about a prosperous future for both companies in Spain and Portugal.’

More: https://seesound.es

Broadcast media systems integrator BeckTV and Lawo have completed a large-scale AES67 build of radio control rooms at KPBS, San Diego’s NPR and PBS member station on the campus of San Diego State University.

The new control rooms modernise the infrastructure to the AES67 standard, bringing all-digital origination, with studios, routing core, signal intake and distribution all employing AoIP networking for maximum flexibility and maximum redundancy.

As part of the renovation, KPBS and SDSU contracted with BeckTV to build out new control rooms and refurbish existing ones. There are now five control rooms connected to corresponding studios, two hybrid studio/control rooms, and three announce booths.

Lawo helped design and supply AoIP control rooms for NPR’s two headquarters locations, and the two companies worked together to design and build the rooms at KPBS, with multiple Lawo consoles at the heart of the operation.

Key to the upgrade was replacing all audio mixers with Lawo diamond radio mixing consoles. The facility needed an expandable, AES67-compliant, AoIP-driven audio infrastructure. Switching to an AES67 infrastructure driven by Lawo’s standards-based AES67/Ravenna networking and sophisticated, expandable mixing, processing, and routing systems was a significant upgrade for KPBS. In particular, the mixing consoles are all interconnected with AoIP player/recorders and other AoIP devices, resulting in a completely connected KPBS-FM facility. The AoIP network environment also seamlessly interfaces with the new audio mixers. And because Lawo systems are scalable, native AES67 networks, adding capacity will be easy to accomplish when the need arises.

BeckTV also integrated new intercom and telephone systems for the facility, and both can be patched through the AoIP network.

‘It’s gratifying to have such a productive partnership with Lawo because Lawo’s expertise has been instrumental to this project. Together we rebuilt KPBS’ radio systems to a current standard that’s already in use by NPR and at other facilities throughout the industry,’ says BeckTV Senior Engineer & Director of Engineering, Brendan Cline,. ‘With this project, we brought the station into the modern era and ensured it is capable of handling networked audio for years to come.’

‘There was a lot of complexity with this project, and BeckTV did an amazing job managing those challenges with us. Together we were able to deliver a powerful networked audio solution to KPBS that we both can be very proud of,’ adds Tony Staires, Sales Director for Audio at Lawo North America. ‘This AoIP solution truly meets the demands of modern radio by blending the hands-on immediacy of physical faders with the context-sensitive efficiency of multi-touch controls.’

In addition to working on the radio side of the KPBS facility, BeckTV also integrated many TV rooms and systems, bringing KPBS up to date using the best available broadcast systems. This includes a new TV router, a new broadcast IP network stack, a modern IPTV system, a showcase master control room, an automated TV control room and studio, and a virtual control room with an adjoining virtual set for augmented reality production.

More: www.becktv.com

Telefunken Elektroakustik has launched the TF17, newest voice in the Alchemy Series and latest vintage-inspired phantom-powered condenser microphone.

Combining mid-forward ‘German’ voicing with modern FET technology, the TF17 is offered as sonically bold with a punchy transient response, high SPL handling and low self-noise.

The TF17’s extended low-frequency response, strong midrange and smooth top-end are suited to vocals, drums, electric guitar and piano. The mic features a K47-style centre-terminated capsule, premium through-hole components and a UK-made OEP/Carnhill transformer with high-grade nickel-iron core. It has been designed with a broad variety of recording applications in mind – home, the studio and the stage.

Designed and assembled by hand in the USA, the TF17 provides depth and detail with extended low frequency response, bold midrange, and a smooth top end.

Key specifications:

• Type: FET condenser.
• Polar Pattern: Cardioid.
• Frequency Range: 20Hz–20kHz ±3dB.
• Power: +48V Phantom Power.
• Capsule: TK47S.
• Transformer: OEP/Carnhill T217.
• Sensitivity: 12mV/Pa, ±1dB.
• THD at 1kHz at 1Pa (Amplifier): 0.01%.
• Output Impedance: <200 Ω.
• Maximum SPL (for 1% THD): > 135dB.
• S/N Ratio: 91dBA.
• Self Noise (Amplifier): 3dBA.
• Dimensions: 175mm (l) x 46 mm (diameter).
• Weight: 545g.
• Accessories: Shockmount, stand mount, mic sleeve, case.

More: www.telefunken-elektroakustik.com/product/tf17

The Assembly Theatre at The Woman’s Club of Minneapolis has hosted lectures and shows from a particularly wide range of speakers and performers for nearly a century. Among them are Helen Keller, Frank Lloyd Wright, Garrison Keillor and Henry Rollins, Amanda Palmer, and The Jayhawks. Opened in 1928, the non-profit organisation’s six-storey mansion overlooking Loring Park has hosted events for both private club members and the visiting public in its 630-seat venue.

For the past two years, Rip Nordhougen, Technical Director for The Woman’s Club, has been working with the goal of ‘bringing back to life a wonderful theatre that was originally used for vaudeville’.

‘The Assembly has basically been unused for several years, so finding a new console to replace our old one installed in 2008 was definitely the first step,’ he says. ‘We needed a reliable, easy-to-use desk that would suit us well for the next ten years or more. With a wide variety of mix engineers planning to come through this space, it was important to have a console with an intuitive workflow to best help them get up-and-running very quickly.’

Working in tandem with Twin Cities-based concert promoter Sue McLean & Associates, Nordhougen turned to local pro audio agent firm Wiklander & Associates and dealer Windy Shores Sound looking for a recommendation to revitalise and modernise the room’s audio. ‘They immediately suggested the DiGiCo S31 for its flexibility, user-friendliness, sound quality, and price point,’ he says. ‘Having 24 local inputs for our current I/O infrastructure, a full 10×8 matrix processor, three touchscreens with 31 faders, and built-in dynamic EQ and multiband compression on any channel were all key. Getting that much flexibility at a price point that nicely fit our budget really sealed the deal.’

In addition to The Assembly Theatre at The Woman’s Club, Nordhougen works with three larger venues in downtown Minneapolis, all of which have converted to DiGiCo within in the past three years, so he was quite familiar with the brand’s reputation and real-world performance. ‘It was critically important to choose a desk with great manufacturer support, and it’s no secret among audio professionals that DiGiCo’s customer service is second-to-none,’ he says.

Installed by Windy Shores Sound, the theatre’s new S-Series console quickly proved to be the right choice. ‘We chose the S31, in part, because we often switch between running monitors from FOH and from an iPad side-stage,’ he describes. ‘The Flexi Aux/Group Bus option allows us the flexibility to choose on a show-by-show basis how we use the console. Whether it’s monitor sends, effects sends, or turning some into groups for bus processing, we always have plenty of options.’

A few months ago, The Assembly Theatre hosted The English Beat – a technically demanding production, but one that the S31 handled with ease.

‘The show’s channel count was approximately 24 inputs, but it was a seven-piece band in a very live space with a lot going on to keep track of.’ Nordhougen reports. ‘We weren’t maxing out the capabilities of the desk, but we had to be prepared for a lot of moving parts on a tight schedule. The S31’s flexibility and made it a snap to set up the show and get running very quickly. And, of course, the console helped make a legendary band sound great.

‘We also had a recent show with Grammy Award-winning singer/songwriter Dan Wilson, best known as the front man for Semisonic. His engineer had never mixed on an S31. After setting up his show files and experiencing the sound quality he was able to output, he was extremely pleased, and so were our patrons in attendance for Dan’s two sold-out shows.’

Having put the S31 through its paces, The Assembly Theatre’s audio techs particularly appreciate its three touchscreens and intuitive workflow. ‘You can walk up to the desk having never seen it and know more-or-less how to operate it. We’re planning to soon also upgrade our loudspeaker system, but since our current PA is older and lacks accessible system processing, having a full matrix that we can use to drive the main PA – as well as record feeds and additional sends – has been great. And the onboard UB Madi port for quick multi-track recording has been fantastic as well. The more we dive into this console, the more there is to appreciate.’

And it’s not just audiophiles that have noticed the step up in sound. ‘Kevin Winge, who is the Executive Director for The Woman’s Club, has repeatedly told me that the quality and clarity of the sound here has improved beyond his expectations,’ Nordhougen adds. ‘He says that he now feels completely comfortable bringing any level of performer into the venue without having to worry. That peace of mind is just another one of the many benefits that having a DiGiCo brings.’

More: https://digico.biz

German public-broadcaster Westdeutscher Rundfunk (WDR) is using on a media and intercom network based on Riedel Communications technology for the renewal of its technical infrastructure at WDR Filmhaus in Cologne.

Situated in Cologne’s city centre, Filmhaus is the journalistic and technical heart of WDR. The existing Filmhaus facility is undergoing a thorough refurbishment that will adapt the building to the current and future requirements of media production. The project will include office and conference areas, as well as editorial, studio, and recording rooms for cross-media production. The Riedel solution offered by system integrator Studio Hamburg Media Consult International (MCI) came out on top in a public tender thanks to its efficiency, flexibility, and future-proof design.

‘Our partnership with Riedel has already proved its worth in countless projects,’ says Studio Hamburg MCI MD, Maximilian Below. ‘With the company’s Artist intercom and MediorNet HorizoN, we are relying on proven quality and innovation for the renewal of the technical infrastructure in the WDR Filmhaus.’

The software-defined MediorNet infrastructure with MediorNet HorizoN, MicroN UHD, and MicroN devices not only allows WDR to distribute audio and video signals (baseband and IP) throughout the Filmhaus with flexibility but also provides powerful multiviewing and processing functions. Sustainability and future-proofing are crucial elements of this landmark project, and Riedel’s MediorNet HorizoN hybrid processing platform will play a central role in addressing both goals as WDR undertakes a successful shift toward comprehensive media-over-IP infrastructure within the Filmhaus.

‘MediorNet HorizoN ensures that the new Filmhaus infrastructure remains receptive to future technology choices,’ says Riedel Communications Product Manager for Video, Patrick Mandl. ‘With its 128 IP gateways per rack unit, it acts as a bridge from the SDI world to open ST 2110 environments and gives WDR the opportunity to gradually and cost-effectively integrate innovative IP production complexes over the coming years.’

For the expansion of the Filmhaus intercom system, WDR will employ Artist-1024 and 1200 Series SmartPanels, which will be integrated into WDR’s existing intercom network via trunking. This Artist ecosystem covers all WDR production areas in Cologne’s city centre and enables communication across all its premises in Cologne.

‘The Filmhaus project represents an exciting milestone for us,’ says Riedel Communications DACH Regional Sales Director, Marco Kraft. ‘We are delighted to be able to support this renowned broadcaster in realising its vision of a flexible media infrastructure with MediorNet HorizoN while providing a reliable foundation for its move toward IP-based network solutions.’

More: www.riedel.net

Shure is claiming to have lifted the curtain on ‘a new era of vocal precision’ with the launch of the Nexadyne dynamic microphone platform with Shure Revonic Dual Transducer Technology.

Offered in cardioid and supercardioid polar patterns, Nexadyne vocal microphones promise unparalleled noise reduction and best-in-class professional touring performance. ‘Nexadyne is the next chapter of Shure’s storied history as the leader and innovator in dynamic microphone technology,’ says Shure Senior Director of Professional Audio Products, Nick Wood. ‘With built-in acoustic signal processing, the Nexadyne platform ushers in a new era of modern live performance that engineers and vocalists can trust on stage night after night.’

To deliver these revolutionary benefits, the Nexadyne platform is built on Shure’s patented Revonic Dual Transducer Technology, which minimises the amount of time and effort required by sound engineers to optimise performers’ live vocals.

Most dynamic microphones are designed with only one transducer, the part of the microphone that converts sound into an electrical signal. Breaking from the mould, Shure’s innovative Revonic Technology implements two precisely matched transducers. These work together to provide a greater range of acoustic optimisation, maximising specific frequencies and minimising unwanted noise, especially handling noise and mechanical vibration. This built-in signal processing delivers a stronger output than traditional single transducer designs, while subsequently removing the need for a traditional pneumatic shock mount and time-consuming, corrective audio editing.

‘Implementing the benefits of perfectly matched transducers requires thorough attention to detail throughout the manufacturing process,’ the company says. ‘By maintaining and surpassing the highest, stage-tested standards for every Nexadyne microphone, Shure has guaranteed optimum manufacturability for consistent performance.’

For engineers, Nexadyne vocal microphones achieve improved signal quality, delivering a clearer source signal to work with during the mixing process. The higher output of the microphone ensures engineers can accurately reproduce and balance the performer’s vocals in the overall mix with significantly less corrective audio processing. Vocalists using Nexadyne microphones will experience greater clarity and range of detail, which allow greater control of vocal nuance and less time either holding back or pushing the voice too hard, regardless of venue size.

Nexadyne dynamic vocal XLR microphones and wireless capsules are available now, prices at £329/€379/US$299 in both cardioid (NXN8/C) and supercardioid (NXN8/S) polar patterns via the Shure.com website and at select retailers. Nexadyne capsules will be available bundled with Shure’s industry-leading digital wireless ecosystems starting this summer, including Axient Digital, ULX-D, QLX-D, and SLX-D. Nexadyne wired microphones are available in black. Wireless capsules of Nexadyne are available in both black and nickel finishes.

More: www.shure.com/nexadyne

AtlasIED has appointed Michael Bridwell as Vice President of Commercial Audio Sales. Reporting to VP of Sales Michael Peveler, he will support the growth of AtlasIED’s performance audio segment, featuring the Atmosphere platform, Aimline Series, IsoFlare Series, AS Series, and all commercial audio products.

‘I’ve known Michael for quite some time, and I couldn’t be more confident in this addition to our team,’ Peveler says. ‘His commitment to professional development, team building, and cultural enhancement aligns seamlessly with AtlasIED’s values and will no doubt advance our mission of delivering the best possible experience to our customers.’

An industry veteran with 16 years’ experience, Bridwell has previously worked exclusively on the manufacturing side of the industry for both video and audio manufacturers, aiding in the development and growth of sales strategies for a number of ‘renowned companies’. He boasts an impressive proven track record of furthering multiple companies into the commercial channel. Bridwell is passionate about volunteer work that actively moves the industry forward, presently serving on Avixa and NSCA councils.

‘The opportunity to expand the already impressive reach of AtlasIED in the commercial industry was too enticing to turn down,’ Bridwell says. ‘My new role allows me to build on existing relationships while expanding into verticals, hardware, software solutions, and partnerships that I’ve not worked in previously. I have years of learning ahead of me, which excites me deeply.’

More: www.atlasied.com

The first dynamic EQ plug-in from Solid State Logic, X-DynEQ has been added to the SSL Complete range of plug-ins in VST2, VST3, AAX and AU formats. Building on the X-EQ 2 Plug-in, X-DynEQ is billed as ‘the definitive tool for dynamic equalisation during recording, mixing and mastering’.

X-DynEQ is the most advanced EQ plug-in dso far developed by Solid State Logic and represents the ultimate EQ tool available in a DAW. The plug-in promises a ‘transparent and musical result’, maintaining clarity, dynamics/transients, and balance in the mix while addressing specific frequency issues. When nodes are switched to dynamic mode Attack, Release and Threshold parameters become active. When not in dynamic mode, X-DynEQ is a fully featured parametric EQ offering precision, control and high sound quality.

X-DynEQ features 20 different EQ types and filter shapes with dynamic EQ options for each shelf or bell filter, offering up to 24 dynamic EQ bands for detailed sound sculpting. Three filter types are available – Notch, Bandpass, and Tilt EQ – each designed for targeted frequency shaping from precise fixes to broad tonal balancing. X-DynEQ also offers flexible sidechain capabilities. Sidechain dynamic nodes from the internal or external sidechain of any other node/band for precision EQing, repair work, and creative effects.

Originally developed for the X-EQ 2, X-DynEQ features a significantly enhanced version of the ‘node-based’ user interface. Users double-click to create nodes and can use the keyboard and mouse wheel shortcuts to alter parameter values easily. Each Node can access any of X-DynEQ’s filter types and offers per-band stereo, left, right, mid or side signal processing. Users can quickly switch the Focus mode to concentrate on certain components of the stereo field, such as just the mid or side information. To further enhance workflow, X-DynEQ’s piano roll view allows the matching of EQ frequencies to musical tones. SSL’s anti-cramping EQ technology and optional HQ mode provide a high-accuracy EQ response with dynamic oversampling.

Key features: 

• 24-band dynamic EQ.
• Switchable to 24-band parametric EQ.
• Auto Attack, Release and Threshold.
• 3 new filter types: Notch, Bandpass, and Tilt EQ.
• Per-band stereo, mid/side, left/right processing.
• Focus mode.
• Piano Roll view.
• Intuitive, Node-based interface.
• X-EQ 2 backward compatibility.
• Integrated help.
• Per-band advanced dynamic sidechaining.
• HQ Mode and anti-cramping technology.

More: https://store.solidstatelogic.com/plug-ins/x-dyneq

The Beijing-based China Film Group is a state-run company involved in most aspects of the countrys’ entertainment including film and TV production. Recently, its Sound and Picture Production Center installed 147 Genelec monitors across 28 recording studios, editing rooms and production studios.

China Film attributes the upgrade to the increased importance that being placed on audio by consumers. ‘In film and television, sound is greater than visuals, where “greater” refers to the spatial extension,’ says China Film Sound Director, Wang Danrong. ‘Sound fills the entire space, while visuals are confined to the screen.’

This shift has placed different demands on the monitoring environment, with engineers placing more emphasis on precision and uniformity. ‘When evaluating a piece of equipment, we usually consider its technology and parameters,’ Wang Danrong continues. ‘Personally, I believe it’s essential to look at the brand’s history and its pursuit of sound. I find Genelec’s pursuit of “real” sound quite reliable.’

Supporting China Film through the process, Digital Media Technology Co (DMT) took on responsibility for the design and integration of the monitoring system. ‘Genelec’s outstanding product quality and stable performance have always been our guarantee of confidence in system design,’ says DMT Technical Director Wang Yufei, who served as the project’s overall supervisor. ‘When you recommend a professional product to a client, you don’t want it to have any issues. Nowadays, the production cycle for filmmaking is tight, and the importance of delivering projects on time is comparable to live television broadcasts. Any flaws in sound could potentially delay the film’s release, so the entire range of Genelec solutions can be said to help films meet their scheduled release dates.’

The breadth of the project has seen China Film equip four 7.1.4 immersive rooms, 20 rooms with either 5.0 or 5.1 surround systems, and a further four stereo rooms entirely with Genelec Smart Active Monitoring. Rooms 212, 311 and 312 all serve as 7.1.4 immersive pre-mix stages, while Room 412 is a dedicated Atmos mixing stage largely powered by 8361 three-way coaxial monitors from The Ones series – complemented by 8350 two-way models overhead, with a 7380 subwoofer handling LFE.

System calibration of all of the studios in the complex have used Genelec’s GLM software. ‘Using GLM, there’s almost no need for extensive manual operations,’ notes Wang Guanghou, Mixing Engineer at China Film. ‘Just running GLM once covers most aspects. The consistency of the LCR channels after GLM calibration is better. Moreover, GLM allows for precise adjustment of the subwoofer’s phase. In the past, adjusting 90° and then listening, adjusting 180° and listening again. Doing this for every angle consumed a lot of time but with GLM it’s quite user-friendly now, and the calibration methods are indeed more numerous and effective than before.’

With the rooms equipped and calibrated, one of the major advantages has been the consistency of sound throughout its Sound and Picture Production Center. ‘Although the models in each room may differ, there is a basic consistency in all Genelec monitors,’ Wang Danrong explains.

‘The mixes I do on Genelecs translate well to other places,’ adds Zhu Yanfeng, a mixing engineer at China Film. ‘There won’t be a situation where the performance of the monitors is too exaggerated, leading to the discovery of missing elements when changing the listening environment. I think Genelec’s response curve is relatively smooth and flat. The sound coming out of Genelec monitors, I feel, is relatively guaranteed.’

The result of this is the ability to hear more details earlier in the process, creating a speedier transition to the final mix, and a more efficient workflow. Wang Guanghou has his own metaphor for the sound characteristics of the new monitoring environment. ‘Genelec’s sound is like lightly roasted coffee, preserving its original and authentic aroma without any additives or miscellaneous flavours.’

Provider of co-working spaces and office rentals, Halkin recently opened new premises in the heart of the City of London’s financial district. Set across four floors, the landmark workspace required an extensive A/V system that would fit the brand’s technology standard, enable collaboration and provide ease-of-use for clients.

London-based A/V and IT specialists Tateside led the integration of a A/V system across a total of eight meeting rooms. ‘We have worked with Halkin on several workspaces over the past couple of years,’ says Tateside Technical Director, Jack Cornish. ‘We started out collaborating on smaller jobs such as upgrades of existing meeting rooms. The complete integration of the new office spaces at King William Street is our largest project with Halkin.’

Halkin has established a technological standard across all of its sites, based on Neat brand meeting room solutions. ‘Halkin is a Zoom-room user, using Neat technology including Neat Bars, Neat Boards and Neat Centers, across all sites,’ Cornish continues. ‘In collaboration with the team at Halkin, the project focused on using high-quality products and “doing meeting room technology properly”, without cutting corners and to the same standard across all their spaces.’

Tateside was involved in the project from its early stagers, working with the initial room designs and client requirements. With Halkin’s aspiration to provide a premium meeting and collaboration experience, Tateside designed a solution that would ensure a user-friendly experience. Smooth connectivity and automation would streamline collaboration in communal meeting spaces for all users, even those with zero experience in setting up hybrid meeting spaces. Bring-your-own-device (BYOD) capabilities were another key requirement.

Providing a complete meeting and collaboration package within one device, Neat Boards were integrated into almost all of the meeting rooms. Each comprises a 65-inch multi-touch screen, a built-in audio system and a wide-angle camera, taking care of the audio-visual needs of a modern meeting space within a single solution. The addition of a Neat Pad in each room allows for seamless control of the Neat Board display. In several rooms, an additional Neat Bar is also installed, providing further options and versatility for users.

Tateside used four USB-C powered Taurus UCX universal switchers from Lightware. ‘Taurus UCX offers something unique, with good built-in control and automation available, as well as the physical UI of the two USB-C inputs allowing for plug-and-play functionality, the latter being the key point we needed to achieve,’ Cornish says. ‘Through harnessing USB-C connectivity, Halkin’s clients can effortlessly connect their devices and enjoy a streamlined and efficient meeting experience with easy host-switching.’

An exception to the Neat standard can be seen in the 24-delegate boardroom space. In this larger space, immersive visuals are provided through the integration of two 75-inch 4k Samsung displays and an 85-inch Samsung Flip 3 collaboration screen, allowing participants to actively interact with content via the touchscreen. For discreet yet effective audio coverage, eight Bose DM5C loudspeakers are deployed, whilst two Shure ceiling array microphones ensure delegates throughout the room can be heard clearly.

Three Yealink PTZ cameras, including one tracking model, ensure a high-quality hybrid meeting experience and excellent visual pick-up. User control is made simple and efficient through the integration of a Yealink MCore kit mini-PC and touchscreen, whilst device switching and network connectivity in the boardroom are handled by Blustream transmitters and receivers.

In addition to meeting room solutions, Tateside also integrated digital signage and a background audio system across all four floors. Bose DesignMax DM5C in-ceiling loudspeakers were chosen for their audio quality and were custom coloured to work with the décor of the office space. For digital signage in the reception area and throughout, Samsung Frame 4K HDR Smart TVs provide functionality in a design-led format. Some bespoke elements were also incorporated, such as custom brass finishes on Kramer Cable Cubby units.

‘As we’ve come to expect, working with Tateside has been an absolute delight,’ says Benjamin Freedman, Director of IT at Halkin. ‘Despite the tight schedule, they always managed to fit us in and make things work. The quality of their work is second to none and we’ve subsequently sold both their services and the kit we’ve installed in our meeting rooms to several of our own clients.’

‘Halkin workspaces are an excellent example of a brand that is standardising its technology,’ concludes Cornish. ‘The result is a coherent user experience, and meeting rooms that function to a very high standard, every time. Users want to come in, plug in their laptop and start a meeting without jumping through hoops or navigating complex control systems. At King William Street and across other Halkin offices, this is what we have achieved.’

More: www.tateside.com