Blackmagic Design release DaVinci Resolve 14.2

Blackmagic Design release DaVinci Resolve 14.2

Headlines in the latest update to Resolve include support for importing audio-only AAF clips, the ability to name Gallery stills with user defined tags, a bug fix for the audio playback issues you may have been having while dynamic trimming, and improved Fairlight keyframe editing and more.

The full feature list is below and contains a wide variety of additions and bug fixes. The download is free, and available now from the Blackmagic Design site.

So what’s new in Resolve 14.2?

Users focusing on audio and Fairlight will be able to enjoy:

–  Added support for the DeckLink 8K Pro monitoring modes.
–  Added support for importing audio-only AAF timelines.
–  Added support for rendering audio handles in Pro Tools round trip mode.
–  Added support for audio playback when performing dynamic trimming.
–  Added support for import and export of Final Cut Pro 10.4 XML.
–  Added support for automatically naming Gallery Stills using user-defined tags.
–  Added support for 16 and 18 fps timeline frame rates.
–  Added support for 95.905 fps timeline frame rate.
–  Added support for more fine-grained preferences for Performance Mode.
–  Improved support for keyframes in the Fairlight page.
–  Added support for listing multiple DeckLink SDI devices with unique names.
–  Added visual indicators for distinguishing between timeline clips without media in the Media Pool and without media on disk.
–  Added the ability to change the playhead position without stopping playback on the Fairlight page.
–  Added support for Enable 2D Timeline Scroll on the Fairlight page.
–  Added support for context menus for markers in the Fairlight page.
–  Added support for automatic creation of a timeline when dragging in an audio clip in the Fairlight page.

There have also been updates to collaborative tools, and several glitches have been ironed out. Blackmagic have:

– Addressed issues with acquiring and releasing the lock for a bin in a collaboration project.
–  Addressed an issue where network connectivity issues could cause unexpected results in a collaboration project.
–  Addressed an issue where a blank node graph would sometimes be displayed when switching between clips in collaboration mode.
–  Addressed an issue where two users could sometimes load a non-collaboration project in write mode without a warning.
–  Addressed an issue where “Update Timecode from Audio using LTC” would not work on clips starting with blank audio.
–  Addressed an issue where retiming an audio clip would sometimes result in audio glitches.
–  Addressed an issue where unlinking linked audio groups with the Pan dialogue open would cause a crash.
–  Addressed an issue where starting or stopping playback would sometimes cause a momentary glitch in the audio on the Fairlight page.
–  Addressed multiple issues with fader behaviour for direct track outputs in the Fairlight track mixer.
–  Addressed an issue where the Fairlight timeline would sometimes show an incorrect number of audio tracks.
–  Addressed an issue where the Fairlight control room widget would sometimes become invisible when resetting a dual screen UI layout.
–  Addressed an issue where JKL playback would not honor the looped playback state on the Fairlight page.
–  Addressed an issue where moving an audio clip would not refresh the keyframe navigation buttons on the Fairlight inspector.
–  Addressed an issue where some Fairlight dial widgets would not reset their values correctly on double click.
–  Addressed an issue where audio EQ band adjustments might be incorrectly saved.
–  Addressed an issue where stopping playback would continue audio output for a few frames on the Edit page.
–  Addressed an issue where LTC timecode output over SDI would not work when playing back on the Edit page.
–  Addressed an issue where the Mute status would not be reflected correctly in the Edit page on a track with automation.
–  Addressed an issue with titles where using certain fonts would result in cropped glyphs.
–  Addressed an issue where bypassing colour grades would bypass OpenFX applied on the Edit page.
–  Addressed an issue where deleting a clip with an OpenFX transition would sometimes crash.
–  Addressed a crash when switching multicam angles if the viewer was in source mode.
–  Addressed an issue where reconforming multicam clips from a bin would not retain the original angle information.
–  Addressed an issue where performing a blade operation on asymmetric linked edits would result in incorrect linking.
–  Addressed an issue where previewing compound clips and timelines in the source viewer would activate the timeline audio meters.
–  Addressed an issue where previewing video-only clips in the source viewer would sometimes be slow on the Edit page.
–  Addressed an issue where importing older projects using a Sony IDT in an ACES workflow would sometimes cause a crash.
–  Addressed an issue with audio playback when applying clip filters on the Colour page.
–  Addressed an issue where Colour Tracing Power Windows from proxy files would result in incorrect window positions.
–  Addressed an issue where copying grades between clips would unnecessarily invalidate the clip source cache.
–  Addressed an issue where bypassing colour grades on speed changed clips would disable the optical flow or frame blending.
–  Addressed an issue with incorrect results when stabilising multiple edits from the same source.
–  Addressed an issue where switching databases would sometimes incorrectly hide the second screen in a dual screen monitor layout.
–  Addressed an issue where GoPro CineForm clips would decode with a watermark applied on Linux.
–  Addressed an issue with decoding some Sony XAVC-I clips.
–  Addressed an issue with incorrect cropping for certain QuickTime ARRI clips.
–  Addressed an issue with colour shifts when decoding certain Panasonic AVC-Intra clips.
–  Addressed an issue where the stereo audio format of some MXF clips was not recognized correctly.
–  Addressed an issue with reading drop-frame timecodes for DPX clips.
–  Addressed an issue when decoding some QuickTime clips with large timecode values.
–  Addressed an issue with colour shifts when rendering stereoscopic 3D clips in side-by-side mode using H.264.
–  General performance and stability improvements.

If you want to know more, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Claim up to £400 cashback on your Sony accessories until March

Claim up to £400 cashback on your Sony accessories until March

If you buy an FS5 or FS7 between 1st December 2017 and 31st March 2018, Sony will give you up to £400 cashback against a huge range of their accessories. This effectively means you get up to £400 worth of accessories for free, making it the most cost effective way to a) kit out your camera or b) buy everyone you know a memory card for Christmas (full disclosure: we tried this last year, responses were… not excellent). 


What do I have to do?

All you have to is purchase an eligible camera and accessories at the same time, at some point before 31st March (the camera and accessories need to be on the same invoice). As a Sony authorised dealer, we keep a range of the eligible models in stock and ready to deliver, so you could be enjoying your new camera and accessories in days.

You’ll then need to send Sony a scan of your invoice and pictures of the serial numbers of the products you’ve bought, which you can do by filling out the participation form here. You’ll need to have submitted this by 30th April 2018 to claim your cash.

Which models are eligible?

More specifically, anyone buying the FS5 or FS5K can claim £220 cashback, while anyone buying a Sony FS7, FS7 Mk II, or FS7K Mk II can claim £400. It’s worth bearing in mind that you’re claiming cash back against the value of the accessories, not the camera, so if you buy an FS7 and £200 worth of accessories, you can only claim £200 back.

The full list of eligible accessories is available here, and includes batteries, chargers, lenses, adaptors, mics, media and mounts, so there’s something for everyone.

Any recommendations?

Official word from our Sony product specialist is as follows:

“The list of potential freebie accessories is huge, so there’s plenty to take your pick from, whether you want to treat yourself to an extra lens or cover off some essentials like spare batteries.

“If you’re going down the FS7 route, it might be useful to get a bit of money off the XDCA-FS7 extension unit, to allow a RAW data output to record 12-bit RAW footage to an external recorder.

“We’re also big fans of using the lenses Sony have collaborated with Zeiss on, so you could pair a ZEISS Sonnar T* FE 35mm F2.8 ZA wide angle Prime lens with the FS5. If you’re not sure how best to take advantage of this great offer, feel free to drop us a line for some further recommendations.”

To get those further recommendations, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Avid S6 powers Twickenham Studios’ near-field room

Avid S6 powers Twickenham Studios’ near-field room

This May, Twickenham Studios added a new audio suite to their already impressive lineup. Theatre 4 is the studios’ new near-field environment, and has already been put to work on television and film projects. 

At the heart of the room is Avid’s scalable, customisable S6-M40, which in Twickenham’s configuration has 24 faders, five knobs and and a Master Post Module.


This sound mixing/monitoring master module is an option which was added to the S6 system that enables the mixers to switch between recorded tracks/stems and their inputs and punch into record. It offers two rows of 10 PEC/DIRECT paddles, each with solo and mute buttons, and an OLED display to view track/stem names

“Twickenham Studios have been in operation for over 100 years, and it’s a privilege to be part of their development and help them continue that legacy,” said Joffrey Ghiringhelli, Head of Business Development for Pro Audio at Jigsaw24. “The flexibility and power of the S6 mean it’s the ideal choice for anyone designing a room to meet Dolby standards.”

Theatre 4 runs one Pro Tools HDX1, one HDX2 and one HDX3 system all on 12 Core Mac Pros with 64GB RAM, and is equipped with Avid MTRX audio interfaces, which combine flexible routing and monitor control with DAD’s legendary AD/DA convertors.

The room is configured for immersive audio, and its Dynaudio monitor array supports formats up to 7.1.4 in conjunction with the Dolby Atmos plug-in for home entertainment mixing. BSS speaker management is in use, allowing anyone to switch between mixing for television or cinema deliverables.

Remote working is also enabled by an Adderlink Infinity KVM system and a GB Labs SAN storage system over fibre has recently been installed to take care of all storage needs.

“Since its inception, Theatre 4 has grown to be a popular room with our clients and in house mixers alike,” said Twickenham Studios. “The Dynaudio BM15 screen and BM6A surround combination delivers a detailed and smooth listening environment, making it a perfect solution for this type of mixing environment.

“For a multi-format room such as this, we needed a certain degree of flexibility, which is why we opted for an Avid S6 controller coupled with a BSS speaker management solution. It is now one of our busiest rooms, catering for all of our Theatrical Mix Home Theatre deliverables, as well as original TV content for clients such as Netflix, BBC, Amazon and AMC.”

You can find out more about Theatre 4 here. If you want to know more about the S6 and our other audio solutions, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Goldcrest build their own ‘drama village’

Goldcrest build their own ‘drama village’

Goldcrest Post are creating their own ‘drama village’ – a combination of advanced DaVinci Resolve systems, audio mixing and Flame suites catering to their rapidly-expanding high end TV portfolio, spearheaded by recent recruit Jet Omoshebi. 

The new suites, which will include one hero suite, two online suites and multiple prep and QC systems, all on Linux turnkey builds, will be installed in Goldcrest’s Lexington Street facility in Soho. Goldcrest plan to combine these suites with a client area and their (newly expanded) audio facilities to create an internal ‘drama village’.

Unsurprisingly, people are keen to hear what kit they choose for the new space, and so far the shopping list has included DaVinci Resolve Hero4 systems based on the latest GPU processing cards, along with an Advanced Control Surface sat on custom AKA furniture. This will bring the overall number of Linux Resolve systems at Goldcrest to 13.

Speaking to Broadcast, managing director Patrick Malone said: “When we started our move into TV drama, we were shoe-horning the work in alongside features. We were getting away with it really. People just had to work bloody hard. But the last thing we wanted to do was compromise our reputation by screwing up one of these jobs because we didn’t have the manpower or infrastructure to handle it. We’re going to be doing TV drama with considerable intent to do it as well as we do features.”

We have an enduring relationship with Goldcrest, and are thrilled to be providing hardware for the exciting new build the Goldcrest team has designed, alongside AKA Design, who are building custom furniture for the suites, and Medialease, who are providing asset finance for the grading and online kit.

The new suites are due to be operational by the middle of November, with Jet taking up her post in January.

Ready to remodel? To find out how we can help develop your facility, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

We’re a TriCaster Elite Reseller (and we’ve got our own operator, too)

We’re a TriCaster Elite Reseller (and we’ve got our own operator, too)

We’re one of just a handful of NewTek Elite Resellers in the UK, and our production consultant Anthony is one of just two TriCaster Certified Operators working for UK resellers, meaning he’s the best person to call for TriCaster training or help with configuring your setup. We’ve also got a dedicated tech support team who you can contact in a live streaming emergency.

What’s a NewTek Elite Reseller?

It means we can offer you the best prices and service when it comes to NewTek products. We know all their hardware and software, provide a level of support that’s unequalled, and have all the practical experience that comes with supplying and supporting their systems for a decade. Whether you need a TriCaster, 3Play or NDI solution, and whether it’s a standalone system or something more sophisticated, we have the NewTek seal of approval as one of their preferred, go-to resellers.

We’re also one of the first to know about (and get our hands on) the latest NewTek gear. This helps us to provide you with up to date information about their live production systems, helping you to make an informed decisions about the future of your production setup.

So you can set me up with a demo?

Any time, any place (within reason). As Elite Resellers, we hold demo stock of the TriCaster Professional Line, as well as the TalkShow, the new NDI PTZ cameras, and the Connect Spark.

Do you also provide support? 

Indeed we do. We can design your installation, provide bespoke training, provide a spare parts kit and draw up support contracts with service level agreements that mean you have the support you need, whatever your situation. Live production equipment is only as good as your support, and we pride ourselves on offering everything you require to stay on the air.

What kind of training do you provide? 

We develop TriCaster training on a case by case basis, so tell us what you want to do, and Anthony will put together a training session that’s tailored to your needs. This means you get specific help with tasks you want to perform and problems you are likely to encounter within your own setup.

What if I want to be a Certified Operator, too? 

NewTek have a training and certification programme, which we can facilitate access to if you want to get their official stamp of approval.

Can I hire Anthony as a TriCaster operator?

Of course, but it’s a lot more cost-effective to hire Anthony for a few days’ training to get you up to speed on what you want to do.

What’s the best TriCaster gig Anthony’s worked on?

When the producers of CBBC show Remotely Funny were caught short last summer, Anthony spent four weeks ‘embedded’ with their production team. It’s the closest he’s ever got to Special Ops. “It was a hectic shoot but they had a great crew, and it’s exciting to see a show really embracing online technology and the way audiences want to engage with it,” he said of the show, which is currently recruiting contestants for its second series.

Where might I get a TriCaster to get started? 

You can see the NewTek TriCaster range here on our website. To discuss which is right for you, just get in touch with our team on the details below. (If you’re not sure about NDI and how if could affect you, NewTek have a handy primer video here.)

If you want to know more, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

View from the front: Mix with the Pros Atmos edition

View from the front: Mix with the Pros Atmos edition

On 26th October, we hosted the seventh instalment of our hugely popular Mix With the Pros series of events. This time, we tackled Dolby Atmos mixing, with presenters from Avid, Dolby, Sound Technology and Focusrite all offering advice on how to build your Atmos mixing environment and workflow. 

Big thanks to all of you who attended, to our speakers for their incredibly informative presentations, and to Pro Tools Expert for their lovely write up.


Avid’s Simon Sherbourne was first out of the gate, talking about the new 3D-friendly tools that are coming to Pro Tools in the 12.8.2 update that was announced at AES. The update links the front and rear pan parameters for easier object panning (which Simon was kind enough to demonstrate on our S6), and makes it easier for you to test out your proposed Atmos mix in 7.1.2 before committing to a final mix. It’s also worth noting that Simon managed to do all this with just a MacBook Pro, proving you don’t need as much power as you’d think to run the Atmos Production Suite software.

After that, Dolby’s James Shannon took to the stage to explain the different requirements for Atmos Home and Theatrical certifications, and the investments needed to reach Dolby Premier Studio status.


And while chasing premier status does mean incurring upfront costs, Sound Technology’s Ben Todd was on hand to showcase the reassuringly reasonably priced JBL Intonato speaker management system, which we’ve praised elsewhere.

Finally, Focusrite’s Simon Short dropped by to give us a crash course in Dante, the audio-over-IP solution that’s increasingly popular among pros who are dealing with immersive mixes. He also spoke about the Rednet X2P and Red 16Line interfaces (we’re very keen on the 16Line, as we’ve mentioned before) which he was kind enough to bring a long for us to have a look at.


Fancy joining us for a beer and some industry gossip? You can see our upcoming events here. If you were at Mix with the Pros and want to talk to the team about anything you saw there, get in touch on the details below.

If you want to know more, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Win a DPA and Sony wireless mic system worth over £1000!

Win a DPA and Sony wireless mic system worth over £1000!

DPA Microphones are celebrating 25 years in the business this year, and to make sure we all get in a party mood too, we’re running a sweepstake in which you can win a complete wireless lavalier system worth over £1000, comprising a Sony UWP D-11 wireless system with camera mounted receiver and a DPA 4060 Omni Lavalier microphone! 


For the discerning videographer, the Sony UWP and DPA bundle is one of the best sounding systems on the market. DPA microphones are recognised as possibly the best performers in their field and are the most common upgrade for the users who are dissatisfied with the sound quality from traditionally bundled lavalier microphones. The DPA SC4060 is the omnidirectional version, making it suitable for all kinds of piece-to-camera work.

The Sony UWP wireless system features a body pack transmitter and camera-mountable/belt pack format receiver, and is amongst the best sounding and most reliable systems available. Of particular interest to users of Sony cameras, the optional S-MAD P3 adapter allows the receiver to be directly mounted to cameras which have Sony’s MI (Multi Interface) shoe, which allows for a cable-free setup and also for the receiver to be directly powered by the camera itself.

All you need to do to be in with a chance of winning is click the link below:

Register here for your chance to win.

We also offer the full range of Sony and DPA bundles, which you can buy via our web store.

If you want to know more about your audio options, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

New releases from MOTU and Focusrite

New releases from MOTU and Focusrite

When not predicting the doom of all around him based on their choice of monitor, Rob is actually a very knowledgable audio product specialist. New releases that have received his blessing include the MOTU 828es and Focusrite Red16 Line.

MOTU 828es

MOTU’s 828es combines the networking and control technology of its AVB lineup with the I/O options on the 828, giving 28 individual inputs and 32 individual outputs, all of which can be used simultaneously. It uses the same EES Sabre32 DAC technology as the MOTU 1248, giving you 123 dB of dynamic range and roundtrip latency of as little as 1.6ms.

As well as eight analogue inputs and outputs, the 828es’s 19″ 1U frame contains two mic/guitar ‘combo’ style inputs, which provide transparent preamps with remote control for individual gain/pad/48V phantom power and amp-like hi-Z guitar input. There are also 16 ADAT ins and outs, two RCA S/PDIF ins and outs, two XLR main outs, two stereo headphone outs, a built-in talkback mic, dedicated in and out sockets for Timecode support, and an AVB port so you can connect to additional I/O options via Ethernet.

The 828es supports flexible, matrix-style routing and splitting, so you can route audio straight to any computer or device on your network. It’s controlled from a web-based app, not from software stored on your hard drive, meaning that you can control it from any device that’s on the same network as it.

Rob’s verdict: “Every iteration of the MOTU’s 828 has been a hit and it’s nice to see it continue to evolve. It’s a format that works in terms of I/O, and MOTU stuff is always rock solid. The new AVB range has been really popular because it is so easy to create an expanded system by mixing and matching different models from the range – Ethernet is all you need. Its great for the 828 to now be part of that ecosystem. It’s the little things like the expanded CueMix DSP, timecode and upgraded Sabre32 DACs that make this an exciting evolution. The ability to remotely access the CueMix from any machine on the network is especially useful if you want artists to be able to control their own monitor mixes, for example.”



The M64 is a flexible MADI interface, router, repeater, splitter, converter and mixer with AVB/TSN networking. It supports 256 channels of MADI in total – 64 in and out channels each for optical and coaxial MADI. A front panel display lets you monitor any activity, and displays detailed metering for all your I/O. It also has enough DSP for you to mix 48 channels, and features EQ, compression and reverb modelled after analogue classics.

Rob’s verdict: “The MOTU AVB range is quickly becoming one of the most flexible interface systems on the market, and the M64 now allows you to add MADI to your setup. But the advantage of MOTU’s system over the competition is that any of the units can be used on its own or as part of an expanded system, so the M64 is great for someone who just needs to get MADI in and out of a portable solution.”

Focusrite Red 16Line


The latest addition to Focusrite’s interface lineup, the Red 16Line is the first Thunderbolt 3 interface of its kind, and has received loads of positive press after early showings at IBC and AES. It’s equipped with two new Thunderbolt 3 connections and two Mini DigiLink connections, so you can use it with Pro Tools HD or any other setup without needing to swap out option cards. You can achieve 64 x 64 interfacing with your DAW over the Thunderbolt or Mini DigiLink connections, or 32 x 32 using Dante for audio over IP.

The Red 16Line’s combination of impressive dynamic range (118dB A/D and 121dB D/A) and low latency mean that you can track plugins in place, so can use the same mix for recording and playback. It uses the same mic pres as the much-praised Red 4Pre and 8Pre – those on the Red 16Line can be stereo linked and provide up to 63dB of gain – and Red 2 and 3’s EQ and compression plugins.

Rob’s verdict: “The Red 4Pre is our most popular interface for Pro Tools HD systems – sound quality, I/O configuration and the fact that it can be used either as a interface that connects directly via DigiLink or as a Thunderbolt interface for other DAWs. The Red 16Line is going to be hugely popular with anyone who needs more analogue I/O and it keeps the impressive connectivity with Dante and two of Focusrite’s mic preamps. Nothing else offers what the Red series can deliver.”

The Red16 Line will be available from December, with an RRP of £2869. To find out more about these, or any other new audio releases, get in touch with the team on the details below.

If you want to know more, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

LaCie reveal PushPlay 2017 winner

LaCie reveal PushPlay 2017 winner

Congratulations to Ben S Hyland, winnner of LaCie’s PushPlay competition. As well as getting a slew of state of the art production kit (including computer, camera equipment and a drone, all supplied by Jigsaw24), Ben also got to a two day mentoring session with Oscar-winning cinematographer Michael Paleodimas, which included backstage access to Glass Works and Panavision. 

The LaCie kit you spotted was a selection of LaCie Rugged mobile drives and a 12Big desktop RAID. LaCie Rugged drives are dust proof, crush proof, water resistant and seemingly childproof, which has made them a popular choice for onset media storage. The high speed and capacity of the 6Big and 12Big RAID towers, combined with their ability to offer protection from RAID0 up to RAID6 depending on your level of paranoia, has made them a popular choice for filmmakers. They’ve recently become available with Thunderbolt 3 connectivity, enabling even faster data transfer.

The Jigsaw24 office on show was our Soho premises, which is also the home of our Resolve-equipped demo room, should anyone have any follow up questions about the grading portion of the video.

You can see Ben’s winning film, 88, and find out more about PushPlay here.

If you want to know more, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Get to know the Focal Shape range

Get to know the Focal Shape range

Focal have spent three years developing their Shape range, designed to deliver their most innovative technology to date, and let you experience truly critical and articulated listening. 

After three years of furious research and development behind firmly-closed drapes at Focal HQ, the JMLab team have finally announced an exciting new range of active studio monitoring speakers featuring their most innovative technology to date, and boasting a truly critical and articulated listening experience.


Shape has been designed with high definition, neutral midranges, wide/precise stereo imaging and acoustic transparency in mind. Right off the bat you’ll notice Focal’s newly designed MDF cabinets featuring custom walnut effect veneer. The dimensions of each speaker cabinet throughout the range have been painstakingly calculated to ensure a linear high-end frequency response.

Under the hood, exciting developments are also afoot. Focal have introduced a newly designed ‘flax sandwich cone’ woofer consisting of a layer of flax fibres between two glass fibre layers. The composition of materials is similar to that of the drivers used in Focal’s SM6 and SM9 ranges and delivers predictably striking results.


The Shape models also feature a new M-shape inverted aluminium/magnesium composite tweeter, offering a linear frequency response below 6 kHz and optimising the crossover with its woofer counterpart. The rigid design is surrounded by specially designed housing to reduce distortion and provide equal horizontal and vertical directivity.


Unlike the majority of Focal’s other nearfield monitors, the Shapes are un-ported, sealed units. The task of maintaining an extended frequency response in such compact speakers has been achieved by introducing dual passive radiators to the side of each model. This tactic not only means that impressively low tuning is possible, but also that the monitors can be placed in close proximity to walls without the worry of rearward reflections and compromised accuracy.

Several additional innovations have found their way into the Shape design: a ‘Neutral Inductance Circuit’ (or N.I.C.) reduces the effect of the woofer voice coils on their magnetic field, whilst optimising tweeter crossover. Plus, around each of the drivers, Focal have employed a TMD surround system which optimises harmonic absorption, ensuring a piston like action reducing distortion and yielding a greater overall stereo image. And finally, class AB amps have been specially chosen to ensure optimal control over signal and dynamic range.

Every aspect of the Shape has been carefully considered to ensure the greatest critical listening experience in any situation – and we mean any situation. Each model ships with protective grills and height-adjustable spikes to customise elevation and angle, and threaded back panels designed for speaker brackets. The Shape 40 and 50 also include universal threads on their undersides for microphone stand mounting.


You can see the Focal Shape range here. If you want to know more, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.