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ETC Control System Scores Touchdown at SoFi Stadium

ApexPro is the sole distributor of ECT products in Southern Africa.

Any event at Inglewood’s SoFi stadium is likely to be upstaged by the venue itself. Along with the Walt Disney Concert Hall and the Hollywood Bowl, SoFi stadium’s place in Southern California iconography is assured. Site of the Super Bowl LVI (sorry Bengals fans) seen by millions around the world, it is arguably the pinnacle of stadium design. The superlatives are in the numbers: 70,000 seat capacity, 302 FTE roof panels containing 28,000 LED “pucks,” a 360-degree infinity screen, and 25,000 miles of cabling all set in a grade 100 feet below ground level. Passengers flying into LAX can view games or concerts projected on to the 80-million-pixel roof. But no less impressive is the ETC control system that keeps it all running. 

ETC Scores Touchdown at SoFi Stadium

The Body of SoFi

“The end-users’ journey through the stadium had to be considered on both game and non-game days, with attention paid to enhance memorable views and ‘Instagrammable’ moments along the way,” says Stacie Dinwiddy, Associate Principal at KGM Architectural Lighting, who handled the indoor hospitality area lighting. “We found ourselves addressing new and unique challenges as we navigated to complete a project of this scale during an international pandemic and lockdown, for a building and program originally designed for mass gatherings and public displays of face and body paint.” 

To enhance the experience and promote movement around the concourse, KGM worked closely with a custom manufacturer to design a ribbon-like LED feature pendant that could twist and glow like neon to reflect a meandering path throughout the entire concourse. Another integrated installation that was thoroughly engineered is within the entrance corridors leading to the Owner’s Club. The original design was a continuous linear line of light that went up one wall, across the ceiling, and down the opposite wall. “To shake up a popular detail, we opted to offset the lines at the wall to create a more dynamic effect through the corridor and allude to the laces on a football – a theme carried out in many areas on the project,” she added. 

LAM Partners’ James Perry describes the task of lighting the exterior of the massive structure. “The field of play is certainly the primary focus of the project, but the overall stadium was envisioned as a living, organic form that could pulse with activity and motion from the field all the way out to the exterior skin of the building. The lighting design and controls were a part of the story-telling of the architecture and the NFL excitement within.” 

Of the many firsts attributed to this project Perry notes, “The LED media mesh that is draped across the clear membrane roof canopy was a first as far as we know. The entire roof and fifth elevation of the building becomes a large video board. But the interesting design challenge was achieving this for the exterior view of the building without impacting the environment or event within the stadium bowl below. None of that lighting is visible when ‘on’ from within the seating bowl.”

The Brain of SoFi

Providing the often overlooked but critical component of control went to 4Wall Entertainment, who integrated all the ETC control elements which form the backbone of this impressive project. Buddy Pope and Brent Pritchett headed up the team that linked it all together. “Every single light that turns on and off we controlled via Paradigm – restrooms, locker rooms, offices, concourses, exterior lighting, and even the signage a few blocks away are controlled by ETC Paradigm,” says Pope.

On the entertainment side, Mosaic Show Controller X and an Eos console control the sports lighting and color-changing lights throughout the venue. No stranger to huge installations, Pope notes that “a big challenge was the sheer length of data and DMX runs – the equipment list is short but has big numbers.”

To comply with California Title 24 rules, over 1200 Paradigm occupancy sensors are everywhere, but the Paradigm system easily dealt with any customization. “We were able to tweak the Paradigm advanced controls to make overrides,” says Pope. “The lights never go out in the Rams’ locker room during a game, for example.”

Not surprisingly, the sequence of operations for the building was extensive and called out for specific looks. The Paradigm system stores not only game and concert modes building-wide, but campus-wide. A Mosaic controls all the signage on the campus, color changing and white light controls as well as a retail section that is under construction. Even the landscape lighting has its own distinct presets. 

Not even the restraints of COVID protocols and supply chain holdups during the construction cycle, could hold up the creation of this truly remarkable addition to LA’s sport and cultural life.

Meyer Sound PANTHER Shines on US Tour Debut with Dead & Company

Meyer Sound PANTHER Shines on US Tour Debut with Dead & Company

Stadium/Shed System from UltraSound Anchored by 72 PANTHER Loudspeakers

Dead & Company is back on the road for their 2022 Summer Tour which kicked off in mid-June at Dodger Stadium in Los Angeles. As they carry on the Grateful Dead tradition of using the latest innovations in sound reinforcement, the tour is powered by a system featuring Meyer Sound’s new PANTHER large-format linear line array loudspeaker. The band further augmented its seemingly limitless repertoire of tunes while UltraSound — decades-long audio provider for the Grateful Dead and successor ensembles — assembled the largest system of PANTHER loudspeakers in North America, and the first to roll out on a USA tour.

To cover expansive audience areas in a mix of sports stadiums and larger sheds, UltraSound is carrying a PANTHER inventory that allows reconfiguration for venue size. For stadiums, a typical deployment is four identical arrays — two main front and two side — each comprising fourteen PANTHER loudspeakers, with four PANTHER-W wide coverage versions flown under 12 PANTHER-L long-throw versions.

Mixing the band for PANTHER’s North American touring debut is FOH Engineer Derek Featherstone, who also serves as tour director and UltraSound CEO.

PANTHER is a very responsive system and reacts quickly to change. The vocals tend to lead nicely, staying up front in the mix better than with last year’s system. I’ve altered some vocal compression to take advantage of this.”

Derek Featherstone
UltraSound CEO and Dead & Company Tour Director/FOH Engineer

Weighing in at 150 lb (68 kg), the PANTHER loudspeaker nevertheless produces greater than 150 dB peak SPL. The compact size and reduced weight save on transportation costs while the new Class D amplifier dramatically reduces power consumption. PANTHER is the first line array system to offer AVB Milan™ protocol network connection directly to the loudspeaker cabinet.

As tour director, Featherstone appreciates the added flexibility afforded by PANTHER’s power-to-size/weight ratio.

“We’re using the same count of PANTHER as we had for LEO last year, but the reduced size and weight allowed us to carry more subs and deploy them more effectively. Recovered truck space allowed us to bring the VLFCs, while PANTHER’s reduced weight makes it easier to do more end-fire sub-arrays in stadiums within the same total weight limits.”

For larger venue deployments, PANTHER arrays are bolstered in the bass registers by 18 flown 1100‑LFC low-frequency control elements plus 12 700-HP high-power subwoofers on the ground. Ten VLFC very-low-frequency control elements extend response down to a subsonic 13 Hz.

A dozen LEOPARD compact line array loudspeakers are deployed singly for front fill, and a total of eight GALAXY Network Platforms provide system drive and optimization. The stage foldback system comprises 10 MJF‑210 and two MJF-212A stage monitors along with two JM‑1P loudspeakers for side fill and two 1100-LFC elements as drum subs.

“We invested in PANTHER for three reasons,” says Featherstone. “We needed additional inventory, we were confident that the fidelity would be as expected from Meyer Sound, and we would benefit from the added versatility. We are already getting a good deal of interest from other tours and events after Dead & Company wrap up next month.”

In addition to Featherstone, the Dead & Company tour is supported by Michał Kacunel (system engineer), Ross Harris (recording engineer and ground PA tech), Lonnie Quinn, and Ian Dubois (monitor engineers), along with crew members Sean McAdam, Aaron Lauzier, and Reilly Williamson.

The band’s 2022 tour proceeds eastward with 20 shows scheduled in 16 cities, wrapping up at Citi Field in New York on July 16. Of the tour venues, four are Major League Baseball stadiums, one an NFL stadium, and one college football stadium, with the balance at larger sheds.

Dead & Company was formed in 2015 when the Grateful Dead’s Mickey Hart, Bill Kreutzmann, and Bob Weir joined forces with artist and musician John Mayer, Allman Brothers’ bassist Oteil Burbridge, and Fare Thee Well and RatDog keyboardist Jeff Chimenti, and has quickly become one of the most successful touring bands year over year. Since its formation, the band has completed six tours playing to millions of fans and became a record-breaking stadium act when it broke Wrigley Field’s all-time concert attendance record, which still holds to this day. Having toured consistently since its 2015 debut, the band has grossed $300 million and has sold more than three million tickets across 172 reported shows.

ApexPro’s Justin Acers experiences the Meyer Sound Panther first hand at Infocomm 2022

Prosound Director Justin Acres at Meyer Stand, Infocomm, 2022
Prosound Director Justin Acres at Meyer Stand, Infocomm, 2022
ApexPro Managing Director, Justin Acers meets with Meyer Sound Director of Global Marketing, Tim Boot at Infocomm 2022, Las Vegas 2022

Last week, Meyer Sound premiered the new Panther large-format linear line array loudspeaker at it’s booth at InfoComm Show 2022, in Las Vegas.

Our managing director, Justin Acers, had the pleasure to meet with Meyer Sounds Director of Global Marketing, Tim Boot, to experience the power of the Panther firsthand!

“We are very excited to bring the Panther to the African market. No other line array comes close to matching PANTHER’s remarkable output of over 150 dB in such a compact cabinet. PANTHER delivers unrivaled linearity and headroom, only achievable with a self-powered system.” ApexPro technical director Mark Malherbe points out.

DPA Announces The All New 4055 Kick Drum Mic

DPA 4055 Kick Drum Mic demo

Designed to kick the bass to the next level, the 4055 takes the traditional concept of a kick drum mic and turns it on its head – no more pre-tailored sound – now you can take sound design back into your own hands.

Join The ApexPro team on June 14, 10 am (SAST) for a LIVE STREAM demo of the DPA 4055 kick drum mic with Keith Karimi.

Learn about the DPA 4055 Kick Mic!

What makes the 4055 stand out from the competition is that it delivers the renowned DPA sound, clarity and linear frequency response, both on axis and off axis. Its low frequency response and dynamics are superb and result in a tight, natural, well-defined sound – the best low-end with detailed mids and highs.

The 4055 is one of the only kick drum mics that is not sonically pre-tailored to fit a traditional sound in a specific genre. Its performance allows a professional sound designer to create the exact sound s/he is listening for – regardless of the music genre. Want more attack? Slide the 4055 into the bass drum and point it directly at the beater. For a super-low-end sound, place the 4055 at the hole, just on the outside of the front head. Here, the level of sub and lows are represented the most.

Not only does the position inside or outside the kick drum give you different sounds but working with the angles of the microphone just outside the hole will deliver nuances of the drum sound. No matter what sound preference you have, the 4055 captures the true sound of a kick drum, whether it is used in classic, jazz, rock or any other genre.

The 4055 is placed in a large, robust housing and there is wind damping foam just in front of the capsule, behind the grille. A specially-designed shock mount also suspends the capsule inside the housing to avoid vibrations from the stage. The shock mount together with the extra wind damping ensures that the 4055 captures only the source.

The 4055 is easy to position, both inside and outside the drum. Its unique asymmetric design makes it quite easy to place the mic through the drum hole without ripping the front resonator skin.

ApexPro is the sole distributor of DPA mics in the Southern Africa region.

Contact us for more information and to book your demo of the 4055 Kick Drum Mic!


Level 42 level-up with Electro-Voice and Dynacord for UK tour

The recent Level 42 UK tour called on the versatility of Electro-Voice and Dynacord equipment to ensure that every audience had the best possible experience, no matter what kind of venue the band was performing in.

The British jazz-funk band toured with an Electro-Voice

The British jazz-funk band toured with an Electro-Voice X2 system as its main PA, driven by Dynacord TGX amplifiers with control from SONICUE sound system software.

The tour marked the first time that the band’s FOH engineer, Mark Clements, had moved away from Level 42’s usual equipment supplier for 25 years. However, the band had been working with Merlin PA on overseas and festival packages, and it became a natural move to tour the UK with the rental company too.


“The percussive and transient nature of Mark King’s style really shone through with the use of the X2’s 12” driver on the Mid Band Hydra.”

A further reason for the switch was to move to Electro-Voice’s X2 system, which Clements had heard several times. The solution’s size and form factor made it the perfect choice for a concert hall tour, but the technical qualities of the X2 also made it a strong choice for Level 42.

“The percussive and transient nature of Mark King’s style really shone through with the use of the X2’s 12” driver on the Mid Band Hydra,” explains Merlin PA’s Neal Allen. “That’s what the technology in the MBH allows you to deliver.”

The capabilities of the X12-128 dual-18” subwoofers were also an important factor for the performance. “This tour was one of the first where we consistently used a cardioid sub arrangement in almost every venue,” recalls Allen. “Due to the nature of the stage setup, some venues required a super-cardioid sub design, which dramatically cleaned up unwanted resonance onstage for Mark King.”

In addition to the X2 main PA, compact 8” two-way XLE cabinets were called into action to provide further support. “XLE was required to provide extra intelligibility and consistency,” says Allen. “This was particularly important at Sheffield City Hall, which is a notoriously tricky venue to contain with a full house when you need to cover all three floors.”

A further aspect that enhanced the tour was the Dynacord electronics and software that drove every performance. “TGX amplifiers and SONICUE sound system software provided the backbone power to the Electro-Voice system,” notes Allen. “The intuitive nature of SONICUE enabled us to make effortless on-the-fly changes at different locations, while also providing an overall picture of all aspects of the system.”

Teatro Garcia de Resende chooses ETC ArcLamp


Portugal’s stunning Teatro Garcia de Resende was recently renovated and selected ETC lighting solutions including ArcLamp luminaires, ArcMesh Drivers, and an Echo control system to upgrade the space.

Teatro Garcia de Resende was recently renovated and selected ETC lighting solutions including ArcLamp luminaires, ArcMesh Drivers and an Echo control system to upgrade the space.

The theatre, which is recognized for its interior ‘Italian-style’ architectural beauty, was built in the 19th century and is a part of the European Route of Historic Theatres: a route around Europe, which distinguishes the most beautiful, historic theatres that represent European cultural heritage.

The theatre’s technical director, António Rebocho, was in search of LED lighting to replace the existing tungsten lights in the building. He particularly wanted an LED solution, which would not compromise the quality of the light or increase maintenance costs. After researching various options, António decided to go with ETC’s ArcLamp luminaires commenting that he had ‘never seen the room so beautiful – the new lights enhanced all the colors, especially the red tones.’

Teatro Garcia de Resende was recently renovated and selected ETC lighting solutions including ArcLamp luminaires, ArcMesh Drivers and an Echo control system to upgrade the space.

ETC dealer, NAN Audiovisuals installed 108 ArcLamp lights with Fade to Warm feature technology into the Teatro Garcia de Resende. The LED luminaires provide quality light, smooth dimming, and up to 90% energy savings. António Rebocho – commented: “ArcLamp is a unique solution in the market which would accomplish everything needed for the project. It improved the quality of light in the theatre whist simultaneously reducing the maintenance costs related to lamp replacements and energy consumption. Being able to control the lighting from the installed button stations and lighting desks was also a great improvement.’”

“The Teatro Garcia de Resende is considered to be a building of great architectural beauty and a landmark in the city of Évora. We are very thankful and proud that our ArcLamp solution was chosen by the theatre. Despite some challenges due to the age of the venue and its electrical infrastructure, the highly experienced staff of NAN, our dealer in Portugal, did a fantastic job with the installation and commissioning of the system. Not only was the lighting result stunning but also highly energy efficient and nearly maintenance free.”

ETC Regional Sales Manager Konstantinos Vonofakidis

ApexPro is the sole distributor of ETC Lighting Solution in South Africa.

Contact us for all your professional theatre lighting needs.

Introducing Electro-Voice MTS Loudspeaker Systems

Electro-Voice introduces the MTS point-source loudspeaker system.

Each MTS model is equipped with four 15″ woofers and dual coaxial mid/high-frequency compression drivers. The system is capable of generating more than 151 dB peak SPL with exact directivity for very long-throw applications.

According to Richard Lawn of Pro AVL Asia, “Having blended new technologies with long-established designs, Electro-Voice has delivered a powerful yet versatile enclosure that refuses to be boxed into a familiar niche.”

Richard sat down with Bob Rieder, Andrew Pardoe, and Oliver Sahm to find out more.

Find out more about the Electro-Voice MTS Series HERE: https://products.electrovoice.com/na/en/mts/

ApexPro is the leading distributor of Electro-Voice products and services in Africa.

Contact us to find out more.

Published by Pro AVL Asia

Meyer Sound Makes Science Education an Adventure at Denmark’s LIFE Campus

Meyer Sound Makes Science Education an Adventure at Denmark’s LIFE Campus

Spacemap Go Spatial Sound Adds an Extra Dimension to Immersive AV Learning Experiences

LIFE Campus was created to give young Danish students intensive engagement with a range of learning experiences in STEM — science, technology, engineering, and mathematics. Certainly, local fieldwork and laboratory experiments are fundamental to scientific exploration, but LIFE Campus also has world-leading resources for giving students memorable learning adventures in 360-degree immersive environments created by cutting-edge digital technologies. The facility’s extensive AV systems and sophisticated control networks, designed and installed by the consulting and integration firm Stouenborg, include a total of more than sixty Meyer Sound self-powered loudspeakers.

Located in Lyngby, adjacent to the Technical University of Denmark, LIFE Campus is operated by the non-profit LIFE Foundation and was founded with the mission of inspiring Danish school children to become fully engaged in their formative years with inquiry-based science education. The new 5,400 square meter facility, opened in late 2021 by HRH Crown Prince Frederik of Denmark, is situated in an expansive natural area.

“The LIFE Foundation is an ambitious project with the purpose of strengthening young students’ knowledge of — and fascination with — the natural sciences. Therefore, we wanted to have only the best technical elements in our education center. And that includes outstanding sound systems which afford extraordinary opportunities for auditory support of teaching.”

Mogens Laursen Hastrup, head of AV operations, Technical University of Denmark, LIFE Campus

For large group learning experiences, LIFE Campus offers the innovative Kolossalen (“Colossal Hall”), a large open space that can be divided into two separate rooms. All the walls can serve as projection screens using 11 Panasonic projectors, and to control the acoustics the wall surfaces employ a perforated metal material that helps keep the reverb time to an intelligibility-friendly 0.8 seconds.

One side of the room, with a tiered floor, is termed “Auditorium 180.” Here, sound and visuals are oriented to one side with Meyer Sound’s CAL 96 column array loudspeakers — concealed behind the perforated wall/screen surface — using advanced beam steering technology with beam-splitting capability to precisely tailor coverage to the tiered seating areas.

The other half of the space, when divided and enclosed, is referred to as “Auditorium 360.” From an audio aspect, the most striking feature here is the dynamic spatial audio enabled by Meyer Sound’s powerful yet easy-to-master Spacemap Go spatial sound design and mixing tool. Using an intuitive iPad interface, Spacemap Go allows the user to freely move sounds around and through the space, directing them to the 26 full-range loudspeakers and four subwoofers, either singly or in loudspeaker groups.

“When designing this space, we consulted with workgroups of teachers and tech personnel. They wanted to have 360-degree projection, and although Spacemap Go had not yet been introduced, I knew it was coming. I recommended we support the projection with dynamic spatial sound. The idea was accepted by the group, and fortunately Spacemap Go arrived in time.”

Anders Jørgensen, project manager for Stouenborg

The Auditorium 360 system deploys 12 HMS‑10 surround loudspeakers around the walls, with four more in the ceiling along with 10 UP‑4slim compact loudspeakers. Four MM‑10XP miniature subwoofers supply deep low frequencies.

A key element in making the concept work, according to Jørgensen, was the flat-profile of the HMS-10. “The speakers are all hidden behind the perforated walls, and the HMS-10s were the only ones with the power to project through the walls and still fit in the space allowed.”

The room’s capabilities have opened new horizons for learning, according to Mogens Laursen Hastrup. “The multi-room allows us to present scientific phenomena — such as extreme weather, atomic structure, or lunar landscapes — in completely new ways to get the pupils’ attention and stimulate their interest. The dream is that, when they leave LIFE Campus at the end of the day, they think science is cool and they want to learn more.”

Other Meyer Sound systems are installed throughout the campus, with Ashby‑8C ceiling loudspeakers in the three laboratory classrooms (8 in each), in the large meeting room (4), and in the foyer (16). In the intimate canteen, full-range music reproduction is supplied by two MM‑4XP miniature self-powered loudspeakers augmented by an MM‑10ACX subwoofer.

“Our AV systems are crucial to the support of teaching at LIFE Campus,” summarizes Hastrup. “The projectors and sound systems are the first to be turned on in the morning and the last to be shut down at the end of the day.”

LIFE Campus was designed by Vilhelm Lauritzen Architects. The architecture is inspired by DNA strings, Fibonacci sequences, and other scientific and mathematical patterns. The façade features 96 solid oak columns. Major funding for the LIFE Foundation is provided by the Novo Nordisk Foundation. At Integrated Systems Europe 2022, LIFE Campus won an Inavation Award in the “Education” category.

If you are looking for an award-winning audio solution for your education facility, contact us to find out more about Meyer Sound Lab solutions.

ApexPro is the sole distributor of Meyer Sound Solution in South Africa.

Meyer Sound PANTHER Exceeds Expectations at Ed Sheeran “+ – = ÷ x” Tour Launch

Global Stadium Tour Debuts with Bold New Line Array In-The-Round

More than 80,000 Irish fans burst into cheers of jubilation when the first pummeling chords of “Tides” opened each of Ed Sheeran’s two shows in late April at Dublin’s Croke Park Stadium. Though most in attendance knew that the shows were the first of the in-the-round “+ – = ÷ x” (“Mathematics”), Sheeran’s fourth world tour, few outside the production crew likely knew that the occasion also marked the global premiere of Meyer Sound’s new PANTHER large-format linear line array loudspeaker. Supplied by U.K.-based Major Tom, Ltd. and suspended from daringly conceived mast and cable net rigging, the system was anchored by 212 PANTHER loudspeakers. The Dublin shows also were the first anywhere to deploy a Milan protocol AVB network from FOH mix all the way to the loudspeaker cabinets.

Although the PANTHER-based system is substantially smaller, lighter, and more energy-efficient than would have been the case using Sheeran’s prior touring inventory, which was largely based on LEO line array loudspeakers, everybody on the audio production team was confident that the new rig would perform with equivalent results. However, according to Production Director and FOH Engineer Chris Marsh, the Dublin debut suggests their expectations may have been overly cautious.

“One of the main criteria for the tours since we started 11 years ago was that Ed has to be heard clearly at every seat in the venue,” says Marsh. “I’ve always been impressed by how well LEO arrays could bring that sense of intimacy to the back rows of stadiums. And in that regard, I was surprised at how PANTHER, a lighter and smaller box, could do the same. I managed to get a bit of a walkaround during the support acts, and I was immediately aware of the remarkable clarity at distant seats.”

Marsh emphasized that the clarity went beyond simply a fan’s ability to understand Sheeran’s lyrics. “Clarity is usually thought of in terms of the high-end, of sibilants and diction, but PANTHER was also very tight in the low-mids — something you tend not to get when that far away. Everything was present and clear, including subtle nuances like reverb tails, which are often lost at distance.”

For the Croke Park shows, the system deployed 14 hangs of PANTHER arrays in two rings. The six inner arrays each comprised 10 of the “L” long-throw versions and two of the “M” main versions. The eight outer arrays comprised 10 “L” versions, two “M” versions, and two “W” wide-coverage versions. The three horn dispersion configurations enable system designers to tailor coverage for uniform levels and frequency response at various distances.

Controlled deep bass was supplied by six flown arrays of 1100‑LFC low-frequency control elements configured in gradient arrays of 10 each. A total of 20 LEOPARD loudspeakers were set around the circular stage as front fill, with stage bass supplied by six stacks of three 1100-LFC elements in gradient arrays.

Mixing the shows behind his DiGiCo Quantum 7 “was a remarkable experience,” says Marsh. “With LEO, I felt everything sat nicely in the mix, with ample open space. But now I feel PANTHER gives me even more space, an even larger canvas to paint on.”

The primary, Milan Certified GALAXY 816 Network Platform at FOH connects to a Milan End Point (MEP) network, configured as a star topology, which consists of one GALAXY 816 platform, three GALAXY 408 platforms, and 20 Luminex Gigacore 26i switches. As failover backup, the always-active parallel analog inputs were connected via a primary and secondary redundant Milan network with dedicated GALAXY units.

The tour system was designed in consultation with Meyer Sound Director of System Optimization Bob McCarthy, with on-site assistance from Senior Technical Support Specialist Josh Dorn-Fehrmann. Veteran audio system engineer Charlie Albin handles system alignment, tuning, and monitoring duties for each show.

The advantages of PANTHER also extend to the efficiency and sustainability of the tour, according to Marsh. “With the way it rigs, the 14 hangs go up and come down very quickly. Also, we are taking up a lot less truck space than if we were using other systems. The entire audio system fits in only three trucks, which we could not do with a LEO-based system or likely any other. Finally, although I don’t have the telemetry data yet, I’m sure the power consumption is way down from what we had on our previous tour, and those were end-on shows.”

Ed Sheeran’s “+ – = ÷ x” (“Mathematics”) Tour is currently scheduled through March 12, 2023, with 54 shows in Europe and 10 in Oceania. It is the follow-up to the 2017–2019 “÷” (“Divide”) Tour, which currently holds Pollstar’s all-time records for both gross receipts and total attendance.

ApexPro is the sole distributor of Meyer Sound solutions in Africa.

Contact us for all your pro-audio needs

DPA Microphones meet the growing live production needs of the broadcast and AV markets

DPA Microphones will highlight its latest microphone solutions, designed to meet the growing live production needs of the broadcast and AV markets, at the 2022 NAB Show (Booth C8609).

As the rapid adoption of live streaming continues to grow in broadcast applications, speech intelligibility remains at the forefront of all productions. In recognition of the changes in the media landscape, DPA recently released the 4097 Micro Shotgun Microphone and Interview Kit, along with two other important broadcast mic solutions, the 4466 CORE Omnidirectional and 4488 CORE Directional Headset Microphones

“The pandemic has shown us the true importance of being quickly and easily adaptable to a rapidly changing media landscape. These new offerings are a direct result of the innovation and forward-thinking response to the industry, and we are excited to finally present them in-person at the NAB Show.”

Christopher Spahr, Vice President of sales and marketing, DPA Microphones, Inc

Based on the design of the DPA’s groundbreaking 6066 Subminiature Headsets, the new 4466 CORE Omnidirectional and 4488 CORE Directional Headset Microphones feature the brand’s popular 5mm round microphone capsule. These latest offerings provide the security, durability and flexibility necessary for use in broadcast, worship, theatre and corporate conferencing. With a one-size-fits-all design and adjustable boom height and length, the 4466 and 4488 headsets accommodate all head shapes and sizes. A unique, three-point gripping system (above, below and behind the ear) ensures a greater level of security, while the flexible ear hooks provide continued comfort during extended use.  

In addition, the new headsets share the same interchangeable cable and boom options as the 6066 Subminiature Headsets. This includes the 90-degree cable management guide at the neck. The headset frame, boom and capsule have a non-reflective surface for unobtrusiveness and ease-of-use for camera crews. With a high-quality, professional look, the 4466 and 4488 are available in black, brown and beige options.

Featuring the same sonic qualities as the brand’s other supercardioid microphones, the 4097 CORE Micro Shotgun Microphone has been optimized to pick up speech from a distance. Initially designed for plant miking applications, it is ideal for miking in small spaces because of its small footprint and clear audio pickup. Additionally, when selected as part of the company’s new 4097 CORE Interview Kit, which includes a lightweight boom and windjammer, the mic enables journalists to conduct interviews from up to two meters (6.5 feet) away, making it the perfect tool for single-reporter interview applications. 

Featuring a lightweight telescopic boom pole and a Rycote windjammer to provide ideal conditions for outdoor productions, the kit also includes DPA’s 4099 Cold Shoe Mount, a DPA MicroDot cable and a transmitter plate. This plug-and-play solution allows single-operator crews to quickly, easily and safely capture important news and information. 

The sonic qualities of the 4097 CORE Micro Shotgun are particularly beneficial for placing mics in inconspicuous locations as it enables location sound experts to capture sound from anywhere on set. Used in combination with DPA boom mics and lavaliers, the 4097 Micro Shotgun becomes the final piece of a complete microphone package to meet the needs of any TV or film production. 

When used in conjunction with DPA’s lightweight MMA-A Digital Audio Interface, the 4097 CORE Micro Shotgun becomes a complete remote recording package. The interface is a high-quality, two-channel microphone preamp and A/D converter offering mono, dual mono and stereo capabilities. Compatible with iOS devices, Mac or PC computer, the MMA-A provides crystal clear audio in a wide array of remote applications. 

Terminating in a MicroDot connection, the 4097 CORE Micro Shotgun can also attach directly to a transmitter and can be used with the company’s 4099 series mounts, clamps and clips for easy mounting on any surface. Most recently, DPA released the MS4099 Mic Stand Mount, a sturdy and flexible solution for mounting the 4097 onto any mic stand. Borrowed from the design of other DPA mounting options, the barrel of the MS4099 mic holder makes it quick and easy to attach or remove the microphone. In addition, the mount can be turned for vertical or horizontal use, pending application.

Contact ApexPro, the sole distributor of DPA in South Africa, for all your pro-audio needs.