Current Issue : July - August 2022




To The FREE Digital Magazine And Newsletters

Articles Jan-Feb 2023

Creating State-of-the-Art AUDIOVISUAL Experiences Surrounding The Statue of Unity New!

In PALM + AV-ICN's conference session titled 'AV Architect of the Year', Narendra Naidu, Chairman and MD, Rhino Engineers, talks about rendering jaw-dropping audiovisual technology for Gujarat's Statue of Unity and several other projects situated in its periphery... read more

Articles Jan-Feb 2023

Udaipur City Palace Comes Alive with Splat Studio & Dataton New!

Splat Studio makes use of Dataton's Watchout software to highlight India's culture and heritage on the palace's facade

The G20 Sherpa Meet in Udaipur, India witnessed a congregation of world leaders, who partook in key conversations on sustainable lifestyle, technological transformations, and more. The City of Lakes - the host of the G20 Sherpa Meet... read more

Articles Jan-Feb 2023

AV Innovations Galore at ISE Barcelona 2023 New!

ISE Barcelona 2023, held from January 31 - February 3, 2023 in Barcelona, Spain, witnessed a record-breaking footfall over the four-day show. Clocking in at 58,107 unique attendees from 155 countries around the world, the ISE Barcelona 2023 not only gave the global AV industry a much-needed push in the right direction after the two-year long COVID-19 pandemic... read more

Articles Jan-Feb 2023

BRINGING SOUND TO LIFE: Ashish Saksena on his Love & Passion for Live Sound Mixing New!

With more than 25 years of experience as a live sound engineer for musical stalwarts such as Shankar Ehsaan Loy and KK, Ashish Saksena has forged his craftsmanship with technical acumen in monitor mixing and Front of House mixing. But his expertise in sound engineering isn't restricted to the live stage. Even in the studio, Ashish knows how to make the mix dance to his own tunes. read more

Articles Nov-Dec 2022

Leading with LED New!

PALM + AV-ICN reports on the latest popular, reliable, and cost-effective LED video walls available in the Indian pro AV industry today. From Barco's TruePix to NEC E Series, these indoor LED video walls are here to change the conferencing game in the long run. read more

Articles Nov-Dec 2022

An 'AV'ant-Garde Fusion of Nature & Technology New!

Gujarat has always been a home to the greatest minds who believe in the concept of 'simple living, high thinking'. Be it Mohandas Karamchand Gandhi, Sardar Vallabh Bhai Patel, and India's current Prime Minister,Narendra Modi - these individuals have been a testimony to how a human being... read more

Articles Nov-Dec 2022

Active LED Video Walls - Demystifying The AV Enigma by Abdul Waheed, CTS, Managing Director, EYTE Technologies Pvt. Ltd. New!

The ever changing video market is reaching new heights with active LED video walls. From projection to plasma displays; LCD to LED, the continuous journey for large size display wall is always challenging. The indirect light of projection system, to the thick breaking lines of Bezel in LCD and LED is always disturbing the impact of the high resolution content. The cost of Micro LED panels and the alignment issues didn't allow it to be a success. read more

Articles Nov-Dec 2022

On Delivering Quality Mega Scale AV Projects in India New!

The PALM + AV-ICN conference session witnessed a panel of AV experts, Prashanth Govindhan, Claron D'souza, Abdul Waheed, and Kapil Thirwani sit for a dialogue on the evolution of Indian AV industry, how it differs from AV industries in other countries, and how moral is the concept of jugaad in the Indian AV sphere. In this article, read the highlights of the talk. read more

Articles Nov-Dec 2022

Mondosonic Studios' Varun Krrishna on Preferring Analog-Over-Digital SetupNew!

Varun Krrishna is not just a mixing engineer and music producer out of profession, but also out of passion. With an ardent love for music, Varun Krrishna is also the founder and owner of Mondosonic Studios in Kerala, a space he has built for music to breathe free. So, it isn’t a surprise that the man of music is always in a quest to stay abreast with the latest trends in the world of acoustics, and knows just how big the spatial audio boom is. To encapsulate the essence of spatial sound, Varun Krrishna is upgrading Mondosonic Studios with an extension for spatial audio. read more

Articles Nov-Dec 2022

Dialing it up: Ashish Saksena on how Monitor Mixing can Elevate a PerformanceNew!

What does it take to create a technically accurate monitor mix and put the stage performance on a pedestal? Ashish Saksena, Live Sound Engineer for Shankar Ehsaan Loy & Late KK, spills the beans on crafting a good monitor mix in PALM + AV-ICN conference session titled, 'How Good Monitor Mixing Can Boost A Performance.'read more

Show More

Spaghetti & Curry Westerns in Immersive Audio

Had an amazing week this year at ProLight + Sound 2018. Frankfurt never disappoints and this time around the most interesting developments were the demonstrations and presentations of immersive audio systems from two of the leading manufacturers in turnkey loudspeaker systems. Beyond a doubt ‘Immersive Hyperealism’ is the way of the future, a whole new paradigm, a new eco-system and a new way of thinking about sound and the way we design, mix and provide the hardware to do a show production. What this also means is buying many more speakers/amplifiers/ancillary gear from the perspective of hardware to achieve this and thus bring out the creativity in a boring job of normally mixing in dual-mono to a spatialised audio mixing concept.


What is immersive audio is beyond the scope of this column but to simplify things I would say that from a simple pan potentiometer on your console you suddenly have migrated to Pan: Distance: Width: Elevation & Auxiliary Send just by opening a full screen and selecting channel by channel of control like you’d do with EQ.

This allows us to create a virtual environment in which we can place close-mic’d sources across a broad space and more than anything it increases our empathy with the music and enables us to deliver it to the audience in a much richer way. The illusion of spatialisation in immersive systems is overwhelming.

For some, it’s getting a little unclear about what 3D live sound is, whether it’s stage localisation, immersive or surround audio, or basically 2D solutions for re-distributing the sweet-spots or some other kind of imaging. However, it is clear: it’s about using the principles of object-based audio to give sound professionals an entirely new tool, to unlock the creative potential of audio.

All the matrixing is happening inside the processor that’s made by the loudspeaker manufacturers and hence this doesn’t put a load on your consoles, which by the way are updating their software’s to accommodate their new plug-ins and it is coined as ‘Source Control’ functionality that is now natively integrated into a leading range of mixing consoles, adding to object-based mixing technology to the console’s control surface.

Source Control functionality expands the range of creative choices the mixing engineer can employ simultaneously, ranging from classic stereo or 5.1 controls, for uses such as downmixes or auxes, to the advanced object-based multichannel environment

And third party control of trackers and replay devices of industry standard software and hardware based companies have shaken hands with their protocols and control. Even spatial based in-ear monitoring systems have joined the bandwagon extending this onto the stage and not just the audiences too.

Understanding the eco-system of object based live-mixing one should understand the architecture of the entire sound design and its control from the workflow below:

Trackers – Live Object Based Mixing

Replay Devices – Playback Automation

Console – Desk Link (software within the third party console)

Processor – Spatial/Immersive Controller

DSP Amplifier – Systems, Preset & Environmental Control

Loudspeaker System – Environment/Prediction Software

Another pioneer in third party based immersive and assisted audio technologies use 3D object based rendering engines that are completely CPU driven, redundant dual SSD, road ready with dual power supplies that can be controlled with a web based browser and possess various modules like a production module an advanced 3D room acoustic module and a tracking module to follow light and audio sources, they can also accept LTC based time code. The biggest advantage of such a system is that you do not have to use a particular sound system and its associated hardware to use this technology and in many ways I like this too, so if you are on tour and getting different PA systems then this is a big solution for you.

Their third party integration is also fantastic and their tie up with vector based stage tracking systems allows them to follow audio & lights in 3D with upto 100 tagged performers with each individual tags transmitting over 100 positions a second. The have even brilliant integration with playback automation software and investing in such technologies in already co-existing installs will breath life into venues sound systems.


The one project that really caught my eye was the “Ennio Morricone” Italian debut a fantastic application of Live Immersive Audio. Being a huge fan of his music & legacy I dug deeper into the world of spatial audio systems. Haven’t we all since childhood watched, listened and admired the score of Sergio Leone’s directorial epic trilogy of A Fistful Of Dollars: For A Few Dollars More: The Good, The Bad & The Ugly by the master composer & music director par excellence Ennio Morricone. I can’t even fantasize how resplendent the sound must be on this tour. Imagine listening to the music of the scene Live, where Tuco (Eli Wallach) is frantically running around the cemetery in search of the grave that has 200,000 dollars with the haunted score of ‘The Ecstasy Of Gold’ Morricone’s biggest recognizable hit that everyone around the world would recognize from the first note.

The films were called Spaghetti Westerns because the entire unit was Italian, film crew, composer & director. These Euro westerns saw the rise of Clint Eastwood to stardom, although Sergio Leone also owed his success to Japanese director Akira Kurosawa one of the most highly respected directors in the world, which was actually a remake of his film Yojimbo.

Now don’t we all know the most famous dacoit film is actually Sholay, with its dacoit character Gabbar Singh played by Amjad Khan. It was a masala film that combined the dacoit film conventions of Mother India and Ganga Jamuna with that of Spaghetti Westerns, spawning the Dacoit Western genre, often known as the “Curry Western”. Sholay became a classic in this genre, and its success led to a surge of films in this category like Ganga Ki Saugandh.

The character Gabbar Singh was modelled on a real-life ruthless dacoit of the same name who had menaced the villages around Gwalior in the 1950s. Any policeman captured by the real Gabbar Singh had his ears and nose cut off, and was released as a warning to other policemen. The character was also influenced by the villain “El Indio” (played by Gian Maria Volontè) of Sergio Leone’s For a Few Dollars More

The sound & score of Sholay known to every Indian offers a model lesson on how sound can be used to signify the terror a character evokes. Sholay is also exemplary in its use of soundmatching to jump cut to a different scene and time, without breaking the continuity of the narrative, yet, intensifying the drama and the music by R.D Burman goes down in history as one of the best film soundtracks too.

I honestly believe in the power of music and what works in films, broadway and live music is the way the music has been presented to the audiences and especially if it has already been created. How do you make the experience even better!

Now here is what I was coming too, if the Italians along with the French could work together to make music of Ennio Morricone’s legacy in music come to life in Immersive Audio then why not the Indians probably with the Germans or the French bring the music & score of RD Burman to a billions of people around the world to rediscover or listen to his discography/collected works in Immersive Audio and this is just one such example. Surely I would want to work on such a project with a smoking gun with my hat n holsters on. Quoting Tuco “Hey Blundie! When you have to shoot, shoot. Don’t talk.

Now I just have to cough up the money to buy the hardware and applications software and use my greymatter on the creative applications engineering space whilst I find a promoter to believe in this concept/workflow (that’s here to stay) and pay for the production!

“Tera Kya Hoga”

Warren D’souza - Founder, Managing Director, & Working Member of Sound.Com


Current Issue : January - February 2023




To The FREE Digital Magazine And Newsletters


Palm Expo Magazine Nov Dec 2022 Palm Expo Magazine Nov Dec 2022
Palm Expo Magazine Sep Oct 2022 Palm Expo Magazine Sep Oct 2022
Palm Expo Magazine July Aug 2022 Palm Expo Magazine July Aug 2022
Palm Expo Magazine May-June 2022 Palm Expo Magazine May-June 2022