Entertainment Technology Asia September-October 2013

September - October 2013MICA [P] 021/09/2013 KDN: PPS 1663/08/2013 [022991]

t e c h n o l o g y a s i aw w w . e - t e c h a s i a . c o m

‘Ariah’ basks in the Betawi Spirit

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48

86

CONTENT

FIRST WORDS06 A Writer’s release

NEWS08 Essenti al news from the

industry

ENNOVATIONS32 A round-up of hott est

technology today

EXHIBITION PREVIEW42 Prolight + Sound

Shanghai 2013

SPECIAL FEATURE44 Projecti ng Arts with Epson

MANAGEMENT PERSPECTIVE48 Avollusion’s Benson Looi

TECH-TALK50 Microphones

52 Fear of Wireless

EXHIBITION REVIEW56 BroadcastAsia2013

58 Palme Asia 2013

68 PALMM Philippines

INSTALL70 Fernvale Primary School

upgrades its audio system

72 Turbosound at Café Del Bar

74 coolux Pandoras Box brings

Ninja Magic to Eiga Mura

75 Meyer Sound at ASB Theatre

LIVE76 Fall Out Boy Live in Singapore

79 G-Dragon blazes through

Mata Elang

80 Robe lights Watan Al Ahlam

event

82 SOUND.COM and Optocore

mastermind opening of IPL

84 ACME “2Gether 4Ever” with

S.H.E

85 Fine Art shines at Jay’s

Concert in Shanghai

86 Ariah basks in the Betawi

Spirit

90 Singapore Food Festi val

92 Shure at Harbour City

94 Sennheiser & UNICO present

Bund No Shakin’ Vol 2

95 Robe has a Vivid vision

96 The Hidden Ones: Riedel

MediorNet

Haaave U met..?97 Anthony Chow

VOL 14 ISSUE 5 September - October 2013

76

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06 FIRST WORDS September - October 2013

Hello readers! This issue I’m bestowed with a litt le face ti me on so I guess I’ll say hello. As you can see, we’ve rolled out a new design for our Content Page (Love it!) as well as our very own switched up version of “Game of Thrones”, where we take turns warming up the hot seat for First Words, albeit minus the bloodshed.

So where do I begin? It’s been a litt le more than a year since I’ve joined the Spinworkz team and wow, how ti me fl ies! I think I’ve come a long way since my fi rst story for a Church installati on – which is technically not an E-Tech piece but rather, for its sister magazine, Systems Integrati on Asia.. well anyway, it’s been a joy ride and now I’m more than capable of spouti ng technology poetry (intelligible at the very least).

Now that we’re almost nine months into the new year, I can most certainly say that projecti on mapping has come under one of my top favourite things in 2013 (right aft er sit-coms and my pet guinea pig).

For this past year, I think we’ve been dazzled enough with the many examples of this incredible, transformati ve art form. From plain architectural mappings, 3D animati ons to making people appear to be somewhere they’re not – projecti on mapping has opened up a whole new medium for us to “communicate” with the world as our canvas. And you got to admit, that’s some prett y impressive stuff !

So in this issue, we’re going to explore just that – I’ve had the pleasure of interviewing Epson regarding their latest digital art initi ati ves (page 44) and also Edwin Tan from AIMS and the Etcetera team on their projecti on mapping blockbuster of the year ‘Ariah’ (Page 86). Do check them out!

And seeing how the world’s all about QR Codes now, let me direct you to an interacti ve music video showcasing the 10th year celebrati on for Roppongi Hills’ “LOVE TOKYO”, which uti lized a 3D projecti on mapping on a miniature model of the city of Tokyo at a 1:1000 scale, done by creati ve director Tsubasa Oyagi:

Finally, which projecti on mapping project impressed you the most this year? Do tell and share the link/video with us on Facebook. Till then, have fun reading this issue!

Rosalind [email protected]

DisclaimerEntertainment Technology Asia is published 6 times a year. All rights reserved. No part of this magazine is to be reproduced, whether mechanical or electronic without the prior written consent of the publisher. Views expressed in this magazine do not necessarily refl ect those of the editor or the publisher. Unsolicited contributions are welcome but the editor reserves the discretion to use them. Whilst every care is taken to ensure the accuracy and honesty in both editorial and advertising content at press time, the publisher will not be liable for any inaccuracies.

PRINTED BYStamford Press Pte Ltd

PUBLISHED BYSpinworkz Pte Ltd51 Bukit Batok Crescent#06-10 Unity CentreSingapore 658077Tel: (65) 6316 2716Fax: (65) 63162715www.spinworkz.com

Publisher / Editorial DirectorThomas Richard [email protected]

INDIA AND MIDDLE EAST EDITOR

Ram [email protected]

ADMIN & CIRCULATIONJulie Tan

[email protected]

DESIGN AND PRODUCTIONJimmy [email protected]

MEDIA REP IN NORTH AMERICA

Broadcast Media International

Michael MitchellTel: +1 631 673 0072

[email protected]

WRITERElissa [email protected]

wirelessdmx.com

08 NEWS September - October 2013

ETC Sensor3 Power Control shines bright at The Star PAC

Singapore: Singapore’s star is shining bright. The country boasts recent major architectural achievements, including The Star Performing Arts Centre (The Star PAC), opened in November 2012.

Located above The Star Vista, the performing arts centre spans from level 3 to level 11 and consists of Singapore’s only 5,000-seat theatre, a multi -purpose hall, an outdoor amphitheatre, rooft op recepti on areas, and supporti ng spaces of varying sizes, outf itt ed with the latest ETC lighti ng control systems and fi xtures.

ETC’s Sensor3 Power Control system provides The Star’s PAC’s hybrid lighti ng rig with over 1500 dimmer channels, of which one third are ThruPower.

Technical Director Daniel Loh shares, “We’ll have concerts on Saturday nights followed by church services on Sunday morning — an especially ti ght turnaround for our anchor hirer, New Creati on Church. Using the same cabling infrastructure for LED or moving-light fi xtures and conventi onal fi xtures saves us ti me over having to use diff erent cables.

“By a keystroke we can change the same circuit from a dimming to a relay non-dim circuit. The key is that the ThruPower Modules allow us to have fewer issues with patching or infrastructure — such as power for movers being patched incorrectly to a dimming circuit, or vice versa, and having to retrace the cabling.”

Besides live worship and concert producti ons, The Star PAC places strong emphasis on broadcast capabiliti es.

“The lights and the dimmers must be very reliable to ensure that whatever is captured on video is good,” says Loh.

The Star Theatre counts hundreds of Source Four (incandescent) spotlights in its lighti ng rig — some 40 in the front-of-house box-boom positi ons, 90 on the front-of-house catwalk, with almost 70 Source Four jrs, and some 50 Source Four PAR EA’s mixed in.

“Source Four fi xtures are commonly used in the industry,” he adds, “Most of the crew members are familiar with them, and new technicians are able to pick up quickly.”

Complementi ng the potent colour output of the incandescent stage lights are 24 ETC Selador Vivid™ Classic LED striplights — with x7 Color System technology — and many other-brand fi xtures, including moving lights.

The versati le Selador LED fi xtures are employed for numerous eff ects. The Star PAC used the Seladors as wall washes for their Grand Opening last November and as stage washes for concerts.

“For our current concerts, the ETC fi xtures are primarily used as face light from our catwalks or specials to light up fi xture positi ons, such as drummers,” says Loh.

An ETC Unison Paradigm system further controls the house lights, work lights and running lights in The Star Theatre.

“Aft er eight years of experience in the performing arts industry, ETC is sti ll the fi rst on the list when it comes to dependability,” Loh enthused.

“The dimmers and lights can be in constant use day in and day out. As our venue hosts leading arti sts, we need to ensure that the equipment we provide is not just superior in light quality but also reliable.”

The Star PAC also counted on ETC’s service for the success of their aspirati ons – Loh adds, “The support has been great from ETC Asia. From the tender process through the installati on and now operati ons, they have been with us and they are a quick email or phone call away.”

www.etcconnect.com

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Hibino Sound Division invests in Martin Audio MLA

Japan: Hibino Corporati on, the largest enterprise for the entertainment industry in Japan, has made its fi rst investment in Marti n Audio’s Multi cellular Loudspeaker Array (MLA) system.

Making up the Hibino Corporati on are four divisions — Hibino Sound, Hibino Pro Audio Sales, Hibino Visual and Hibino Chromatek.

With its proven technology across challenging venues such as Tokyo Dome and large scale festi vals like Rock in Japan, Marti n Audio’s MLA was the clear system of choice, brought about by the need to provide consistent stadium coverage up to 200 metres depth (such as Tokyo Dome), without the need for delay towers — enabling them to deliver clear sound right to the back of the venue and at the same ti me solve any noise polluti on and sound spill issues.

The MLA acquisiti on was authorised by the Sound Division, which has been a market leader in internati onal touring for many years, supporti ng many of the world’s leading arti sts with premier loudspeaker systems.

Their investment includes four System 36 rigs, plus an additi onal four MLA and four MLX subwoofers. This gives them a combined inventory of 92 x MLA, 8 x MLD (Downfi ll), and 52 x MLX — providing a large capability.

Speaking of this latest development, Ryoichi Hashimoto, Managing Director, Hibino Sound, explains, “We decided on the MLA investment because the promoters of

summer outdoor festi vals are increasingly demanding the absence of delay towers from festi val sites and a need to solve off site noise issues.

“We also like the fact that its calculati on ability is extremely accurate. The benefi t of this is that we can get a result that corresponds with what we have planned in the simulati on.”

MLA also benefi ts from its size and weight rati o, which given regulati ons in Japan mean that the system provides no obstacles for its deployment.

“In Japan, the weight of the rigging is strictly regulated, but MLA’s weight is similar to systems we have used in the past — even though it is powered. So, it is good for us to be able to plan as we did before.”

Hibino Sound’s new MLA will be pressed straight into festi val duty.

“This is the most unique loudspeaker system we have ever had,” shared Hashimoto.

“It will become the new choice for customers since it has the ability to meet all their demands.”

Marti n Audio has already completed training for most of Hibino Sound’s system technicians on site, which was carried out by Chris Pyne, Marti n Audio’s Technical Support Specialist in APAC.

Anthony Taylor, Managing Director for Marti n Audio, concludes, “We are delighted that MLA conti nues to prove its technical advantage over the competi ti on and more importantly solving sound issues that face the industry. For the number one rental company in Japan to recognise this is a great honour, and we look forward to supporti ng Hibino in their success moving forward.”

www.marti n-audio.com

Hibino MLA technical training — with Chris Pyne (centre)

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Concept Associates appointed exclusive dealer for Cornered Audio Denmark

Malaysia: Concept Associates (KL) Sdn Bhd has been appointed as the exclusive Malaysia master dealer for Cornered Audio’s speaker, a patented triangular speaker that comes with a contemporary design that originated from Denmark.

Concept Associates (KL) Sdn Bhd will be responsible for the reselling acti viti es, installati on and technical support in Malaysia.

Cornered speakers are designed with a unique 90-degree triangular shape for a perfect fi t in the corner. They are installed

directly on the wall, without a bracket taking up space behind the speakers; mounti ng points of the speakers are hidden behind the front cover and no visual cable terminals (the cable runs in slides at the rear of the cabinet).

Along with its unique, discreet and elegant design, it also off ers superb sound quality, capable of reproducing a large, natural three dimensional sound stage, fi lling the area with loud and clean sound. Thus, these speakers are perfect for home use, retail shops, restaurants, café, bars, theatres, conference room and etc.

“At Cornered, we are passionate about music and we strive to surround you with top quality sound, whether you are at home or out at your favourite bars and cafés. Call us ageing hippies, but we strongly believe that good sound does not have to cost a fortune and we aim to impress you with the value of our designs,” a representati ve at Cornered Audio Denmark comments.

www.cornered.dkwww.conceptaudio.com.my

Sound House appointed TURBOSOUND distributorJapan: TURBOSOUND has selected Sound House Company, Ltd. to handle distributi on, customer support and service for its loudspeaker systems in Japan.

With almost 20 years in the commercial audio and lighti ng business, Sound House has developed an extensive dealer network that reaches to all corners of the Land of the Rising Sun.

The two companies already have a well-established relati onship, with Sound House

serving as a major distributor of parent MUSIC Group’s BEHRINGER-branded MI products.

Sound House Sales Manager Kotaro Suzuki comments, “We are proud to become an offi cial distributor for TURBOSOUND in Japan. We will put all our eff ort into making TURBOSOUND a well known name in music circles throughout Japan.”

“We are delighted to be working with Japan’s foremost distributor of music products,” adds

Nigel Beaumont, head of MUSIC Groups's Professional Division.

“We are convinced that our live sound and installed sound products — including the new Milan series of portable powered loudspeakers — will fi t perfectly within the Sound House portf olio, and with their extensive knowledge and excepti onal market coverage we look forward to serving the Japanese market together.”

www.turbosound.com

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Samantha Bailey named VP of Global Sales at Green Hippo

Internati onal: As Green Hippo further expands its company and market share, Head of Sales Samantha Bailey has been promoted to the new positi on of Vice President of Global Sales, managing the growing sales team and all aspects of the global commercial strategy.

Samantha started her Green Hippo journey in 2008 working with now Head of Training Simon Harris to manage the sales of the Hippoti zer range and has consistently moved upwards in the company since.

She shares, “Since starti ng at Green Hippo I have fi rmly believed that Hippoti zer is the market leading media server and the growth of the company as well as the conti nued joy of working with such a great team means I’m thrilled to have taken on this role.”

Samantha’s role goes further than looking aft er specifi c territories.

As Vice President of Global Sales, she will now be taking on business strategy and business development responsibiliti es, making sure that the company weathers this tough climate and conti nues to grow globally.

Having greatly increased the company’s turnover and presence globally, Green

Hippo has now expanded its staff from 12 employees to 30.

Among which, the team behind it all is expanding even more with the additi on of soft ware developers Zep Mouris and Vlad Voina, and their new product design intern Rhian Wellington.

Zep, who started at Green Hippo as an intern has developed his programming skills whilst working towards fi nishing his degree and has been a great additi on to the team from the get go.

Vlad joins the team as a graduate from Goldsmiths University with a BSc in Creati ve Computi ng and he has shown great enthusiasm working at Green Hippo and in our industry.

Rhian, a BA Industrial Design and Technology student at Brunel University joins us this July working closely with the Hippoti zer range.

“I wanted to work for Green Hippo because it’s a very well-known company that has an excellent reputati on for providing media servers to the live event industry. With this in mind, I thought it would be a great opportunity to get involved with their design internship programme,” shared Rhian.

www.green-hippo.com

hian Wellington Vlad Voina Zep Mouris

Samantha Bailey

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API names MI Corp a 1608 distributorto design recording studios, it was clear that one thing was missing: the API 1608 console.

“MI Corp is designing prominent recording studios and meeti ng the most diffi cult demands of sound engineers,” said Sunny Park, Manager of the Import Department.

“Many engineers [in Korea] would like to own and operate an API 1608 console.”

And thus, the authorizati on to sell the 1608 console began.

The 1608 that was shipped just a few weeks ago, features its own demo room at the MI Corp headquarters.

Situated in the Gangnam-Gu area of Seoul, MI Corp originated as a musical instrument distributor back in 1997.

As of 2009, they began to expand their services, aiming to become a leader in the multi -media industry. Expanding to professional audio and video, as well as the architecture and design of studios, they have been known as MI Corp ever since.

Sales director and former recording engineer, Ted Suh, was familiar with the API reputati on and knew the impact it would have in Korea and API soon became a fundamental part of their inventory.

“In the current digital audio equipment market, customers missed analog music equipment. We think API is the leading company, not only for consoles, but analog modules,” said Park.

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South Korea: MI Corp has offi cially become Korea’s 1608 representati ve, making the coveted console available to an enti re market that was previously untapped.

MI Corp experienced much initi al success with API products such as the Lunchbox, 500 Series modules and the 3124+. As they began

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SGM appoints Hanslee Lim as Senior Area Sales Manager for Asia

Asia: With eff ect from August 1st, SGM has placed Hanslee Lim under contract as Senior Area Sales Manager for the Asian region.

Hanslee is no new face at SGM. He initi ally arrived in June 2012 to distribute SGM products through former local subsidiary, SGM Asia. However, the SGM management has now taken the strategic decision to manage the region from HQ in Denmark.

When asked about the changes, Hanslee says, “I am very pleased to be working closer with the team at SGM. Led by Peter

Johansen, and supported by an experienced team of professionals, I am confi dent that SGM will become one of the leading lighti ng manufacturers in the world. The interest in SGM’s products has been increasing rapidly, and by receiving support directly from the factory it will enable me in return to support SGM’s customers in Asia more effi ciently.”

CEO of SGM, Peter Johansen adds, “We welcome Hanslee as part of our dedicated sales force. Together we are ready to take on new challenges in the Asian region, and we have many opportuniti es to assess.”

The level of acti viti es in SGM has been overwhelming with the roll-out of the new LED product portf olio since SGM became a Danish company in early 2012; with the latest additi ons being the revoluti onary IP65 moving head, the G-Spot and the series of ultra- hi-res LED screens – all manufactured in Denmark.

The reference list of tours is comprehensive, including some of the greatest arti sts and bands of today. For The Mrs. Carter Show

World Tour, Beyoncé is touring with more than 500 X-5 strobes, while Nine Inch Nails soon followed also with the X-5 strobe starti ng out in Japan — and the latest is Kings of Leon.

Additi onally, Pink, Rammstein, Depeche Mode, One Directi on, Taylor Swift and Lady Antebellum all tour with SGM products – to name a few.

The SixPack blinder shone brightly at this year’s Eurovision Song Contest, The P-5 permanently illuminates the famous Christ Light monument in Brazil, and music festi vals have been booming this summer with grand lighti ng designs developed around the LED fi xtures.

With a new factory in Denmark, the vision of manufacturing high quality LED products without compromise at any level is being fulfi lled. Meanwhile the focus remains on paramount requirements, such as fl exibility, quality and service.

www.sgmlight.com

Hanslee Lim with CEO Peter Johansen

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Art Institute of Inner Mongolia University chooses ACME

China: ACME, a manufacturer of professional entertainment and stage LED lighti ng equipment, has provided a comprehensive lighti ng rig, consisti ng of 120 units of BW-54 3RGBW, 40 units of XP-15R BEAM, units pieces of XP-1500 Series and 16 units of BW-27-10FC to Art Insti tute of Inner Mongolia University in China.

Inner Mongolia College of Art goes back a long way, whose predecessor was founded in 1957 in Inner Mongolia art school – the autonomous region that is an important training base for nati onal arti sti c talents, also known as Inner Mongolia, one of the cradles of art.

To keep up with the trend of modern dance in the insti tute, as well as to nurture students’ arti sti c talents, ths school had been gradually working on its 3,000 square meters auditorium in the recent years, and ulti mately went ahead with an extensive lighti ng upgrade which includes 15R beam lights, LED moving head, zoom lights, 1500W moving spot lights, and other new moving head light fi xtures.

With ACME optoelectronic engineers on the fi eld to help debug and aid in the installati on, the auditorium is now ready for daily performances; complete with bright lights and dazzling stage eff ects that go beyond the expected design requirements.

www.acme.com.cn


PR 5000 Spots and Beams glow bright in Bangladesh

Bangladesh: Bangladesh-based Glow Lights & Eff ects only set up in business in 2011, but by the following year they were already starti ng to service many events out of Dhaka — frequently using the PR5000 Spot and Beam lights from Chinese manufacturers PR Lighti ng.

Founder, Mukimul Anwar Mukim, and Managing Partner M H Khokon, along with experienced team members Shamim Ahmed (Technical Adviser) and Chief Communicati on Offi cer, Khundker Hafi zur Rahim, fi rst saw the fi xtures at the 2011 PALM Expo in Beijing and the team was immediately impressed by the state-of-the-art technology and highly developed opti cal path.

By 2012, he was ready to purchase 18 units of each fi xture for use in the company’s inventory.

These soon appeared on a number of high profi le events including the ‘Grameen Phone Tri-nati on Mega Festi val’ in the Bangladesh Army Stadium.

Grameen Phone is one of the largest mobile phone operators in Bangladesh, with over 40 million subscribers and this show was organised especially for its ‘star subscribers’ in the stadium, back in December last year.

Over 20,000 people turned up to see Bangladeshi psychedelic rock star James

perform, closely followed by Pakistani Sufi specialist, Shafk at Amanat Ali Khan and Indian superstar singer, Sonu Nigam.

Glow Lights & Eff ects used all 18 pieces of the PR5000 Spot and Beam, along with other intelligent lights.

The stage was designed and manufactured by sister company, Mukim’s Creati on.

Another major event in which the company parti cipated was the 15th Meril Prothom Alo Award.

The event was held indoors at the Bangabandhu Internati onal Conference Center’s Hall of Fame, in which close to 1,500 VIPs were in att endance including top Bangladeshi celebriti es and media personaliti es.

This ti me, Glow Lights & Eff ects deployed 16 units of the PR 5000 Spot and Beam, along with other lights, while Mukim’s Creati on was again responsible for building the stage.

www.pr-lighti ng.com

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Inspired lighting tools for today and beyond

“Twelfth Night”, directed by Igor Konyayev at Mikhail Chekhov

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Prolyte Group network extends to "Down Under"Australia: Prolyte Asia Pacifi c has worked hard to re-establish the distributi on network in Australia and has announced that parti es have been found to represent all the brands to create a nati onwide coverage for Prolyte.

Sydney-based Design Quintessence is appointed as Prolyft Service Point and will further distribute StageDex staging products.

With their subsidiary offi ces in Brisbane, Melbourne and Perth, Design Quintessence can perform the Service Point support, maintenance and certi fi cati on services from several bases.

All branches will also stock the range of ProLyft hoists and StageDex to guarantee opti mum availability.

As Ian wood, Managing Director, comments, “Being able to off er ProLyft and StageDex enables us to off er our customers a range of

top quality products. It’s the perfect additi on to the brands we already represent."

Wood adds, “ We’re really pleased with the support and service Prolyte gives us, this will certainly help our customers to fi nd the right soluti ons.”

Harris Movement Engineering (HME), will take on the trussing products from Prolyte.

HME has offi ces in Sydney and Brisbane.This fast emerging company has its roots in the installati on and projects business.

With the additi on of ProlyteStructures trussing they are making an important move to expanding their product portf olio.

Owner and CEO of HME, Glenn Harris comments, ”We are thrilled by the opportuniti es this will bring to our company. Prolyte is regarded as a most respected truss

brand and our customers now can rely on the certainty of these excellent products.”

Menze van der Sluis states, “We have really tried hard to fi nd the best soluti on for our customers in Australia. With these companies representi ng our products we’re convinced the market will be served on a high level. Both companies will be able to cross sell their product ranges – off ering their customers an unique service.”

www.harrismovement.com.auwww.dq.com.auwww.prolyte.com

www.palmexpo.in


SLS adds Absen A-6 Die cast LED screen

UAE: SLS Producti on has expanded its inventory with the purchase of the latest model Absen A-6 Die cast LED Screen.

Currently, they have a 100sqm of 50cm x 50cm size screen and can make a maximum of 24m x 4m single size screen. The new inventory also includes Dataton Watchout System 5.2 version.

A6 LED Screen is light weight, fl icker free to cameras.

Marti n Luiz, Managing Director of SLS, is excited about the new purchase and expects to meet the growing needs for LED screens of their clients.

A three-day training was conducted at SLS Warehouse by the representati ves from Absen to equip AV Engineers with technical knowledge on operati ng the A-6

LED screen effi ciently.

To date, several successful events like IDEX Gala Dinner, KIA Cerato Launch, Mylanji Grand Finale, have been executed with A-6 LED screen since its purchase.

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“In the next issue, we take a sneak peek at some of

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Consolidated Audio Network named Denon DJ distributor

Singapore: To celebrate being the new distributor for Denon DJ in Singapore, Consolidated Audio Network (CAN) held a party to commemorate the milestone. Having started his career in the DJ business, CAN’s Owner Chad Batchelor called the event, “Nostagic “and “Senti mental”.

Coined as the re-launch of the Denon DJ brand, the event housed more than 250 guests consisti ng of DJs and friends at the barraka Bar & Restaurant in Singapore’s posh Robertson Quay district.

With the re-launch also came the announcement of the 4 DJs who have been chosen to represent the Denon DJ brand in its upcoming tour. Two of the four DJs hail from Singapore while the remaining two come from Malaysia and Indonesia respecti vely.

Within the next three to six months the team will be in Kuala Lumpur and Jakarta looking to fi nd the last two DJs to complete their

team. Following that, they will be fi nally ready to hit the road with stops planned in the UK and the USA.

Chad explained, “We are promoti ng our DJs to clubs, events and launches. It’s the ulti mate for our DJs because they are getti ng exposure and they are getti ng paid and Denon DJ is there to back them up.”

During the tour, the DJs will also be seen teaching the younger generati on of DJs in selected music schools around Asia.

“The road map for a year and a half has already been planned out and Josh M, our Producti on Specialist will be heading the team and guiding them along the way.” Josh M is the resident DJ at the Ministry of Sound in Singapore and whose resume includes shows done in Ibiza.

Denon is also being brought by The School of Media Art in Singapore to all the local

schools.

Chad comments, “It’s not about just being a DJ, it’s about music producing because that’s what being a DJ is about. So we're taking our experti se and knowledge to the schools and starti ng programs in Singapore and Malaysia all the way to Indonesia.”

Deals have already been made between CAN and rental company, 3Angus Producti on who do the live producti on shows for MediaCorp, Singapore’s only free-to-air channel operator. The company has brought CAN on board to supply all the DJ sets for their upcoming live shows.

Att endee, Nesh Meridius who is the resident DJ at the Hard Rock Cafe in Singapore was personally invited by Chad for the launch.

“I think it’s quite cool that even though Denon hasn’t been producing much equipment for the past couple of years they are now back with a bang! I started off with Denon and you cannot forget where you came from. I like the brand but I haven’t been using them lately because I never believed they would come up with such sophisti cated equipment. It’s good to see that they are up and running again,” shares Nesh.

With CAN taking the reins of distributi on in Singapore, Denon users now have the technical and service support worthy of the world’s leading DJ brand of equipment.

www.can.sgwww.denondj.com

Chad Batchelor making his opening speech

The team who made the evening possible

The ilumo ZOOM LED Spot.Built for the future, available now!Designed & Manufactured in the UK

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D.T.S. making strong headway with its BEAMs and WASHes.

Steve Vai on stage with D.T.S.Indonesia: Steve Vai recently performed live in Jakarta, on the 22nd of July, to the delight of his fans.

The concert, promoted by Java Musikindo, was held at the Tennis Indoor Senayan, Jakarta, in the wake of Vai’s Story of Light World Tour.

Aft er a few juvenile years as lead guitarist in the court of the genius of contemporary music – Frank Zappa – and 15 million albums sold in an outstanding solo career that also won him three Grammy Awards, Steve Vai is alive and well, touring the world over with his 4-piece band, and willing to showcase his signature tortured-string playing technique.

The gig at the Tennis Indoor Senayan, Jakarta, off ered the best song list that his fans (and fellow guitarists) could imagine, starti ng with ‘Racing the World’ and progressively

climaxing through ‘Gravity Storm’ and ‘The Ultra Zone’, to the fi nal ‘For the Love of God’.

Stave Vai was lit by a light rig made of D.T.S. moving heads, either discharge or LED, supplied and installed by Melodia Sound & Lighti ng System.

The light rig included an array of XR3000 BEAMs, hung to a truss crossing the stage over the musicians, and various NICK 600 WASH as side lights.

www.dts-lighti ng.com

OnGameNet champions RAPTOR in KoreaSouth Korea: D.T.S. is currently in the midst of rolling out their RAPTOR beams around the world, with South Korean TV network OnGameNet, being the latest installati on.

Located at the Yongsan iPark Mall in Seoul, OnGameNet is a renowned South Korean cable-TV network that specializes in television programs about video games tournaments.

Yongsan e-Sports Stadium is the television studio where OnGameNet broadcasts its championships, such as StarCraft , StarCraft 2, e League of Legends.

The network is part of On-Media company, the owner of a range of cable-TV networks.

NES Korea Co. Ltd, was the lead installer for the project. Prior to this, the company had just recently completed a major installati on in a temple of high technology whereby 18 units of the brand new RAPTOR and 12 units of the renowned JACK high power compact moving head were inaugurated.

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PR Lighting lights up Miss Sri Lanka pageantSri Lanka: PR Lighti ng fi xtures were out in full force at the recent Derana Veet Miss Sri Lanka 2013 pageant in Wadduwa.

Held at the 5-star Blue Water Hotel luxury hotel overlooking the Indian Ocean, the ballroom stage was imaginati vely lit by technology company, The Lighthouse (Pvt), who handle the lighti ng each year for this event.

The company’s Dinusha Perera based his lighti ng plot enti rely on LED and discharge fi xtures from PR Lighti ng, which form the core of Lighthouse’s rental stock, to complement the opulent stage set conceived by Madawa Madawala from Derana TV.

Chosen for their bright output, advanced featureset and good colour referencing, Perera selected 16 units of XS1200 Spots, with their fast and intense beams, and 13 units of XR200 Beams, a high output moving beam light — along with some LED washes and par cans.

These were used stridently and dynamically, under the control of an Avolites Pearl Expert.

The Lighthouse’s Dinusha Perera Chanaka shares, “Everyone was delighted by the impact created by this dynamic presentati on.”


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SLS Production celebrates with DoT

awarding ceremony. Entertainment and live music accompanied the guests during their dinner.

A highlight of the show was when the performers did their number at the backstage in which the 19m x 5m LED screen was divided into two using the 27m track system for movable screen to reveal another screen on the center.

The performance was projected from the rear by a Christi e 12K HD Projector.

The main P.A consisted of two fl own JBL Vertec VT4888 arrays at the far peripherals of the LED wall and stage. These elements were rigged with 15º inner facing off sets at an 8 metre trim in order to supply an even horizontal and verti cal sound coverage to the main VIP tables that housed the fi rst 25 metres of the venue.

The main P.A had further Low Frequency reinforcement (LFE) by the way of two ground-stacked clusters of the VT4880 Sub element, explains Ben Spencer, SLS Sound Engineer for the event.

Two lines of delay were used to achieve an even coverage to the rear of the venue.

Nexo PS15's were truss fl own to compliment the main P.A whilst the fi rst truss comprised of four boxes and a further two boxes were rigged on the back truss to slightly augment the narrow entrance to the room.

Delay compensati on was added to the Nexo delay lines to create conti nuum in eff ect.

M. Hamza, Producti on Director, was there to supervise the 3-day producti on set-up and managing the show during the event.

www.slspro.net

UAE: SLS Producti on recently awarded by Viola Communicati ons to provide a complete technical support of Sound, Light, Stage, LED and Projecti on system for the Department of Transport (DoT) Awards Night at St. Regis Hotel, Abu Dhabi.

DoT Awards Night was organized to give tribute to employees for their long service with the insti tuti on. A series of presentati ons and fi lm documentary about DoT were shown before the

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32 ENNOVATIONS September - October 2013

PR Lighting: LED Studio series

Allen & Heath: Firmware update for GS-R24

American DJ: Inno Spot LED

PR Lighti ng has formally announced the launch of its new LED Studio series. The fi rst items set for release are the LED Studio 3700 — available in two models (White and RGBW) and with two colour temperatures. These units have been specifi cally designed to meet the requirements of the global market in TV studio, photography, and conference hall and stage sectors — with the principal applicati on being in digital HD TV studios.

The LED Studio 3700 White features stable colour temperature (available in 3200K and 5600K), high CRI, soft and even light output and high effi cient cooling (without a fan) while the LED 3700 (RGBW) boasts the same

features as well as linear colour temperature correcti on from 3200K to 10000K.

Both products adopt a high quality, long-life LED light source, off ering huge energy saving benefi ts. The LED Studio 3700 White uses 12 x 10W white LEDs, while the LED Studio 3700 RGBW uses three each of the 10W R/G/B LEDs and 15W (white).

Both products off er a fi eld angle of 0°-80°, 0-100% linearly adjustable dimmer and electronic strobe of 0.3-25 fps. Total power consumpti on of the White fi xture is 135W @ 220V AC and the RGBW, which includes linear colour mixing with macro, is 150W @ 220V.


Powered by a 50-watt LED source, the compact intelligent moving is equipped with high-energy built-in lightshow programs, which kick in automati cally when the unit is used in Sound-Acti ve or Master-Slave modes.

The Inno Spot LED can be operated with a DMX-512 controller (10 DMX channels) to

unleash any of its features, which include: 6 rotati ng, replaceable gobos; 8 colors + white; Gobo Scroll mode; Gobo Shake eff ect; 3-facet prism; pulse and variable speed strobe eff ect; and 0-100% dimming.

Extremely user friendly, the Inno Spot LED features a convenient 4-butt on menu system on the rear panel that allows for simple navigati on through its setti ngs. In additi on to manual and DMX operati on, the unit is compati ble with the opti onal ADJ UC3 Series controllers (sold separately) for easy remote control of its basic functi ons.

Other quality features on the Inno Spot LED include: Auto X-Y repositi oning, stepper motors with microstepping for smooth, accurate movements; and a fan cooling

system. 17° beam angle and 540° pan/270° ti lt, a manual focus and separate colour and gobo wheels.

It’s hard edge beam is similar to a traditi onal halogen or discharge lighti ng eff ects with a fracti on of the power draw (93W) or the hassle of changing out light bulbs (LED source rated at 50,000 hours). Aimed for the mobile market, it weighs just 15 lbs./ 6.5 kg ad measures in at 9.75”L x 8.25”Wx 11.25”H/ 242 x 205.8 x 284.6mm.

www.americandj.com

A fi rmware and driver update has been released for the recording console, GS-R24, bringing the mixer’s HUI emulati on for Pro Tools to a new level. New controls available on the desk include bank swap, single/multi ple track selecti on, marker inserti on and navigati on, toggling between Mix and Edit view, and three jog-wheel functi ons (fast forward/rewind, scrub and shutt le).

The cursor butt ons can now operate in three diff erent modes: navigati on mode to move the cursor across region boundaries, zoom mode to control horizontal and verti cal

waveform zoom, and selecti on mode to adjust ‘in’ and ‘out’ points or move the selecti on to a diff erent track. Soft MIDI butt ons 1 and 2 control and display the Mute and Track Arm status of the selected tracks. Similarly, MIDI butt ons 3 to 7 control and display the automati on mode of the selected tracks, making it possible to switch quickly between Read, Write, Touch, Latch or Off .

Users also benefi t from a range of enhancements to the FireWire interface driver, including support of Mountain Lion and Windows 8. All existi ng GS-R24 users

can update their hardware with this new fi rmware.

To download the fi rmware, visit www.allen-heath.com

www.pr-lighting.com


Elation Professional: Platinum Spot 35 PRO

Taking Philips MSR Plati num lamp technology to the next level of brawn and brightness, the 800-watt , feature-packed moving head spot is ideal for large stages, amphitheatres, sports arenas,

and major concert tours. Featuring the 55,000-lumen, 7,800°K MSR Plati num 35, the fi xture delivers up to 76,880 lux at 5 meters (minimum 8° zoom).

The Plati num Spot 35 PRO off ers 0-100% mechanical dimming, a high-speed mechanical shutt er/strobe, and sweeping-moti on 540°/630°pan and 245°ti lt. Plus, with premium features such as an 8°-50° motorized focus/zoom system; motorized iris (5%-100%); and 16-bit resoluti on on all motor functi ons.

From a user’s standpoint, too, the Plati num Spot 35 PRO incorporates today’s

most coveted features and conveniences. For starters, it includes a built-in EWDMX wireless DMX receiver that allows it to receive DMX signals wirelessly from up to 3,000’ when used with an Elati on EWDMX transmitt er (sold separately). The unit also comes equipped with 3-pin and 5-pin DMX connecti ons. Three DMX channel operati onal modes (27/29/41) are available for versati le programming opti ons.

Fixture can also be run manually in Sound-Acti ve and Master-Slave modes. Features built-in auto program macros, plus a microphone for triggering these programs via sound acti vati on. A 6-butt on touch control panel with a full-colour 180° reversible menu display makes it easy to navigate through DMX and manual setti ngs. As an added convenience, the display has its own rechargeable batt ery backup.

www.elati onlighti ng.com

Visio: BP-40 QW and BP-183 RGBW/CW/WW

3 projectors with compact designs that allow heat venti lati on in rugged die-cast aluminium housing with an IP66 protecti ve rati ng. With the combinati on of the latest opti c technology and electrical developing achievements, a new light sensor– photocell – is used so that these lights can light up automati cally when the surrounding environment is getti ng dark. All three fi xtures require an input voltage of 100-240V AC, 50/60Hz and have a net weight of 4.2kgs.

BP-40 QW building projector LED spotlight uses 45W of energy and is equipped with 4 pieces of CREE MCE 10W Quad Colour LEDs and a specially designed lens. BP-40 QW is capable of showing (fade) via the LED touch-panel to set up operati on modes without DMX control. Additi onally the fi xture is designed with a diff usion fi lter to change beam angles easily.

BP-183 RGBW features 18 pieces of 3W CREE LEDs (R4, G5, B5, W4) for colour

mixing eff ects. The seven lens opti ons of the BP-183 RGBW (6°/15°/25°/25°×45°/40°/60°/80°) make it ideal for diff erent applicati ons including building façades, hotels, landscapes, theme parks and more.

For the BP-183 CW/WW, both AC and DMX dimming are available along with six lens opti ons and various beam angles. The BP-183CW/WW features 18 pieces of CREE White LEDs to deliver powerful outputs that are designed for accent and decorati ve lighti ng applicati ons.

www.visio-led.com

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ProAudio Technology: Optimised loudspeaker library for Konfi gurator2

ACME : XP-15R BeamThis high power moving head light provides a light output of up to 80000lux at 20m and a powerful beam via the Philips MSD Plati num 15R lamp. Featuring a 1° beam angle and specially designed triple 8 facet prisms, the fi xture is able to off er a variety of projecti on eff ects. Equipped with 12 rotati ng gobos and a smooth dimming range from 0 to 100% among 12 dichroic colours.

Diff erent operator modes are available when connecti ng with the DMX Control channels that include 14/17/18 CH. Blue/ White LCD display with batt ery back-up for easy navigati on. Highly fl exible, the XP-15R Beam has automati c pan/ti lt positi on correcti on and electronic focus functi ons.

Uses RDA (Remote DMX addressing) so that the DMX address can be set up by universal controllers. Compact in design with dimensions of 435 x 344 x 554mm and a net weight of 23.5kgs. Also exhibits easy calibrati on and maintenance by magneti c home positi oning.

www.acme.com.cn

To get the ideal sound as neutral as possible, an opti mised ProAudio Technology loudspeaker library is now available for the Konfi gurator2 soft ware package. All passive loudspeakers separate MT10, MT12, M20 and HT16 produce loud ProAudio Technology by a linear phase technology (eg FIR) averaged over 6 octaves to 20 kHz zero degrees phase. Due to the complex and low-loss passive crossovers, the passively crossed speakers in the system deliver a performance that one would expect from acti vely separate midrange speakers.

Also the usability has been improved. Each speaker of ProAudio Technology can be assigned to each channel of the two 4-channel amplifi er system arbitrarily. And besides the internal FIR fi lter technology there are other free fi lters available for every channel. Apart from other parameters, the signal routi ng of the four amplifi er inputs is also freely programmable.

htt p://proaudio-technology.de/2_EN/index.html

The frequency and phase response of the HT16 top in cut mode

www.tsm-int.comPhone: +65-62879878

[email protected]

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Studiomaster Professional: Fire 84 sub-woofer

A dual 18” 2000W (RMS) high power sub-woofer has been added to Studiomaster Professional's Fire Series. The sub-woofer incorporates two high performance 18” low frequency transducers with a 4” inside/outside wound voice coil for opti mal power and maximum effi ciency. An effi cient cabinet design coupled with a durable build quality and high quality carry handles make the Fire 84 easy to load, transport, and set up.

A unique characteristi c of this sub-woofer is its ultra-compact enclosure design that ensures excellent low frequency re-

producti on. The sub-woofer has a broad frequency response of 30Hz-2000Hz with a max SPL of 134db. The Fire series already boasts of the popular Fire 55, a dual 15” 950W (RMS) loudspeaker and with their extended frequency range and high sensiti vity, all Fire series loudspeakers are clean and fl at. Like all members in the Fire family the, the Fire 84 also comes in rich brown paint fi nish.The unique brown colour makes the whole series very versati le.

www.studiomasterprofessional.com

GTD Lighting: GTD-230II Beam

Based on OSRAM SIRIUS HRI 230W integrati ve new lamp source and the tailored imported 6 layers opti cs lens, the 230 II BEAM is outshining the market in the industry. The fi xture has one fi xed gobo wheel with 17 rotatable and indexable positi ons, a fi xed color wheel with 14 dichroic fi lters and an independent 8 facet prism. It features super brightness, intensive sharp air eff ects, nature color, linearly adjusted beam edge and gobos, an independent smooth frost eff ect in great uniformity, clear-cut eff ects of 8 faced beam, 3-phase stepper motor to ensure low noise level and PAN/TILT fast moving, and stable switching power supply. Furthermore, its rubber paint design makes the fi xture more exquisite.

www.gtd-china.comwww.gtd-truss.com

HARMAN Martin: MAC Viper Quadray

GLP: Impression X4 iPAD App The impression X4 from GLP is part of the award winning series of fi xtures and features 19 high powered RGBW LED’s giving a homogenized output across a full zoom range of 7 to 50 degrees. One of the versati le features of the impression X4 is that users can create their own pixel designs on the fl y and store them directly into their control console.

The new iPad app makes the process fast and easy by bringing up a mimic of the fi xtures front lens layout. Users can tap individual lenses on and off to design the output that they would like. Simultaneously the app displays the corresponding DMX channels and values to be input to the controller for the physical fi xture. An additi onal feature of the app is the colour picker allowing you to see

colour selecti on on top of any patt ern for a real feel of how a fi nal patt ern will appear.

The app is free to download from the Apple Store, and will soon be released for the iPhone and Android platf orms.

www.glp.de

The new MAC Viper Quadray adds to Marti n’s award-winning MAC Viper Family of moving heads. This unique, multi -beam luminaire has been deployed on internati onal tours, including the Sarah Brightman tour with lighti ng design by Andi Watson, and Pitbull with lighti ng design by Justi n Geiger.

The MAC Viper Quadray allows for the projecti on of four individually controllable rays of light – a new eff ect providing a

unique aspect to any show. An effi cient eff ects engine provides designers and programmers the ability to create a whole new variety of looks that would otherwise be diffi cult or even impossible to program via a lighti ng console. The MAC Viper Quadray houses a narrow-range zoom and includes the same high-quality feature set as the MAC Viper AirFX, including a vibrant colour mixing system and stunning aerial designs. Additi onally, it features the same compact form, impressive speed and superior light quality from the MAC Viper Family’s 1000-watt lamp.

The MAC Viper Quadray is available as an easy-to-install front lens replacement kit for any standard MAC Viper AirFX. The lens kit installs (and uninstalls) quickly, providing fl exibility of use and greater value from a single luminaire.

To know more about The MAC Viper Quarday, please scan the QR code for the youtube video:

www.marti n.com

www.robertjuliat.com

www.tsm-int.com


Allen & Heath: GLD OneMix appAn iPad app that gives musicians wireless control of their personal monitor mix. GLD OneMix locks control to a single Aux mix, providing instant access to a customised easy-to-use monitor mix environment.

Multi ple iPads can be set up by an administrati ve user to give numerous musicians personalised monitor control without aff ecti ng each other or the FOH main mix. A musician’s own aux monitor mix is assigned and locked into the ‘My Mix’ layer, and a selecti on of input splits dedicated to the individual musician can be added. Similarly, all other instrument send levels can be assigned to any of the three extra layers, allowing unique personal monitoring confi gurati on. The range of accessible setti ngs is defi ned by custom permissions for each layer.

When in User mode, the musician is presented with simple-to-use access and control of their aux master level and processing, instrument send levels and

processing, if enabled. Depending on the applicati on and the performer’s technical knowledge, the layout and level of access can be kept minimal or extended to a more complex musician’s monitor mix involving a high channel count across multi ple layers. Notably, the mix can be tweaked and listened to by both the user on stage and the sound engineer at the desk, enabling easy interacti on between the two. Up to 16 iPads running OneMix can be connected to a GLD system.

www.allen-heath.com

Showline: SL NITRO 510The SL NITRO 510 is a LED-based strobe that provides intense bursts of light and dynamic eff ects with over 1300 high-powered LEDs. The luminaire uses less power than traditi onal strobes, yet reaches up to 68,000 lumens. It also has six programmable zones to create a multi tude of looks and it can be used as a featured light source through the conti nuous duty cycle where the LEDs can be on at full for nearly unlimited amounts of ti me without any loss in output.

Currently shipping, SL NITRO 510 LED luminaires include a built-in quick-connect system that allows them to easily connect together in both horizontal and verti cal orientati ons. The connecti on pins lock fi xtures together while maintaining a perfect pixel pitch alignment of each fi xture’s six programmable zones.

Additi onally, to ensure they fi t perfectly into the Showline family, SL NITRO 510 luminaires can quickly connect with SL BAR 520 luminaires. When the units are combined, both the pixels of the SL BAR 520 and the zones of the SL NITRO 510 align allowing symmetry and unlimited design possibiliti es.

www.philips.com/showline

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Wireless done right!

For more information about LumenRadio’s wireless control products, please visit www.tsm-int.com

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• Industrys most reliable wireless DMX/RDM system• Automated Cognitive Coexistence• Is not disturbed by and will not disturb other systems• Lowest latency in the industry at 5 ms• Link range: 500-1000 meters line-of-sight• Advanced 128 bit encryption • One button takes care of all setup

Illumination Physics: LPSL – ‘Low Power Special Lens’

coolux: Confi gurator for Pandoras Box products

The power of so called ‘Low Power’ LEDs has improved steadily over the years but because of their physical dimensions, the use of conventi onal lenses was precluded and att empts to shape the broad beam of lights had limited success. Illuminati on Physics has had a breakthrough. Harnessing the enhanced power of the latest LEDs through a special asymmetric

lens, they have now produced a ‘low power’ fi xture that performs like past High Power technology –‘LPSL’ produces an intense asymmetric and parallel light footprint which is ideal for grazing applicati ons..

Available in a range of colour temperatures from Very Warm White to Cool White, Mono Colour or RGB, the LPSL Linear Led Strip has a source life of 50,000 hours under normal operati ng conditi ons and is powered via remote 24V PSU / DMX Driver. Housed in an extruded anodized aluminium housing with a acrylic clear cover, the fi xture operates at -200C ~ +600 C. LPSL is available in lengths of 510mm(standard), 758mm and 1006mm, or custom length upon request, weighing 1.6Kg per metre. Consumes 14W of power per metre and is connected via 2 pin IP rated connector or 4 pin for RGB versions. Physical dimensions: 1006(L) x 47(W) x 36(H)mm.

www.illuminati onphysics.com.au

coolux, the creators of the award winning Pandoras Box product family, have added a product confi gurator to their website. The confi gurator leads customers through a series of questi ons in order to help them determine the perfect product for any given scenario. Aft er answering the product and feature related questi ons, the confi gurator automati cally generates a PDF with all the necessary informati on that can be instantly downloaded.

coolux CEO, Jan Huewel, explained the benefi ts of using the confi gurator, “Since we off er a great variety of Pandoras Box products that share the same interface, we wanted to create a tool that makes it even easier for customers to fi nd the perfect soluti on for their project ideas. Obviously no product confi gurator can refl ect a customer’s unique requirements with 100% accuracy, but sti ll we think that the confi gurator puts the power into our customers’ own hands to do more in depth research in a quick and easy way.

The new confi gurator will also help with the knowledge transfer related to our powerful Pandoras Box toolkit. Using the confi gurator, one intuiti vely comes to understand the many diff erent uses of our Pandoras Box product family.”

The coolux product confi gurator is available in English and Chinese and will soon be available in German.

www.coolux.com

Lumen Freaks everywhere rejoice! Philips Vari-Lite introduces the VL3015, VL3015LT & VL3515 Spot luminaires. All using the double-ended 1500W lamp that has been so effective and reliable in our large format wash luminaires, the VL3015 and VL3515 Spot luminaires feature 6:1 zoom optics and 27,000 lumens of output, while the VL3015LT boasts 10:1 zoom optics and can produce over 41,000 lumens.

All of the fixtures possess features that are identical to those found in the famous luminaires they are based upon, with the LT model also boasting a second fixed color wheel, frost, and a prism option.

The best just got brighter.

www.vari-lite.com

www.tsm-int.comPhone: [email protected]


JB-Lighting: LED washlight Sparx 7

The design and the arrangement of the lenses produce a circular light beam requiring only small bars between the lenses. The Sparx 7 is equipped with 19

multi -chip RGBW LEDs in the 15W class and comes with the technology, that is characteristi c of the A8 and the A12 washlights. This includes, among others, a unique cooling system allowing maximum power consumpti on at minimum noise level, integrated radio DMX and 3phase stepper motors for real rapid and precise movements.

Another highlight that has been added to the wide range of control opti ons are the various layers of patt erns available which can be combined freely for unlimited colour and patt ern variati ons. This comes close to single chip control but requires only a fracti on of DMX-channels. The Sparx 7 is a compact with dimensions of 320 x 385 x 200 mm and has a maximum power consumpti on of 350W.

www.jblighti ng.com

Philips Strand Lighting: S21 LED raceway

The S21 LED raceway is a confi gurable power and date distributi on system for use with all types of luminaires. An extension of the R21, C21, and A21 range of installed dimmer cabinets, these modular raceways are assembled to order with your choice of any combinati on of 3 power modules; a dual IGBT dimmer for conventi onals and phase dimmable LED loads (IGBT dimmers can run forward/ reverse phase dimming) which features an Insulated Gate Bipolar Transistor power device that works in tandem with a dedicated microprocessor to control almost any type of lighti ng load required; A dual relay module which features two switched

circuits each with a DMX output designed to power the PL1 and PL3 LED luminaires or the new VARI*LITE VLX wash family of LED automated sources. Each relay can be individually controlled to “Power down” your rig when it is not in use and the new quad LED driver module that can be used to control and power the PL Wash or Colour Kineti cs Colour Blast luminaires.

Each S21 LED Raceway may be ordered to specifi cati on with a range of hangers for a variety of installati on confi gurati ons.

www.strandlighti ng.com

ETC: Source Four LED CYC

The Source Four LED CYC is an adapter that affi xes to any Source Four LED luminaire, transforming it into a powerful tool to illuminate cycloramas. Using the x7 Color System, which combines up to seven LED colours in one unit, Source Four LED luminaires can provide a nearly limitless range of colours, from pure whites to

refi ned pastels and vibrant, saturated hues.

With the introducti on of the Source Four LED CYC accessory, that colour fl exibility can now be applied to cycloramas. “Painted cloths get the biggest benefi ts,”says ETC Entertainment Marketi ng Manager Matt Armendariz-

Kerr. “Designers can tweak the Source Four LED CYC’s colour to bring out or tone down certain hues, completely changing the mood of a scene.” With the strong beam that the Source Four family is known for, the Source Four LED CYC can evenly distribute light across the cyclorama, so

no gaps or seams are visible between the luminaires.

The Source Four LED CYC is a convenient and budget-friendly additi on to stocks of luminaires, because of the Source Four LED’s multi purpose functi onality. “Most venues keep a stock of lights that can only be used to light cycloramas,” explains ETC Fixtures Product Manager Jim Uphoff . “If a show doesn’t have a backdrop, those expensive fi xtures are put back in storage. The Source Four LED is much more versati le, because the CYC adapter can be removed when a backdrop is not needed, and the luminaire can be used with traditi onal lens barrels to light another part of the stage.”

Designers need just apply the cyc-lighti ng knowledge they already have and as soon as the CYC adapter is added to a Source Four LED, it’s ready to use.

www.etcconnect.com

www.analogway.com

42 EXHIBITION PREVIEW September - October 2013

Prolight + Sound Shanghai 2013The next Prolight + Sound Shanghai, jointly organised by Messe Frankfurt and INTEX Shanghai Co Ltd, will be held 10 – 13 October 2013 at the Shanghai New Internati onal Expo Centre, Shanghai, China.

Prolight + Sound Shanghai crowned the “Shanghai Internati onal Brand Exhibiti on”

Prolight + Sound Shanghai, a dynamic trade platf orm for professional audio, lighti ng, entertainment and event technology, was recently awarded the presti gious ti tle of “Shanghai Internati onal Brand Exhibiti on” by the Shanghai Conventi on & Exhibiti on Industries Associati on.

The ti tle was presented recently and only exhibiti ons that met specifi c requirements were eligible for an award. Requirements included compliance to the Procedures of Shanghai Municipality on the Administrati on of the Exhibiti on Industry; a high level of sati sfacti on from both exhibitors and visitors; and a high return rate of parti cipati ng exhibitors.

Fiona Chiew, Deputy General Manager of Messe Frankfurt (Shanghai) Co Ltd shared, “It’s an honour to receive this award. It proves that Prolight + Sound Shanghai has established itself as a leading internati onal trade fair providing exhibitors and visitors with a professional trading platf orm.”

Strong presence of leading pro audio and lighti ng suppliers

Looking for business opportuniti es in the fast growing Asian market, exhibitors from Canada, China, France, Germany, Hong Kong, Korea, Portugal, Russia, Taiwan, UK and the

US have signed up to showcase a variety of audio, visual, lighti ng and stage equipment, and AV integrated products.

TW Audio from Germany, an exhibitor for fi ve consecuti ve years, sees the show as a powerful business platf orm.

“The show is one of the most important fairs on the Asian conti nent. We started our business in Asia at the show in 2009. Since then we have seen a constant growth and recogniti on of the TW Audio brand in China and Asia,” commented Managing Director Bernhard Wüstner.

This year, TW Audio will present their new fl agship sound system VERA36 made for

large-scale events, at the show’s signature Concert Sound Arena, together with a powerful but compact T24 for mid-scale events.

Jeff Cai, Special Assistant to Chairman and Account Director from Sunrise Exact Industrial Co, a connector parts processor from Taiwan adds, “Conti nuous exposure at Prolight + Sound Shanghai is essenti al for us, as we rely heavily on this show to meet with customers from southeast China and other parts of the world.”

Sunrise is set to demonstrate its Heavy Duty Category 6 Network Cable this year.

Another leading professional audio supplier Samson Technologies will be showcasing its top brands such as Samson, Hartke and Zoom, whilst Electronics supplier AVSL Group will also make its fi rst appearance at the show with its brands Chord, Citronic and QTX featuring DJ equipment and stage light eff ects.

Apart from individual exhibitors, some suppliers from Taiwan will be grouped into a pavilion, hoping to take advantage of strong demand in the Asian market.

LamaVita, a LED stage lighti ng equipment supplier has joined the Taiwan pavilion and Sylvia Lee, Marketi ng Director of the company shared, “Prolight + Sound Shanghai

is an eff ecti ve platf orm to acquire customers and look for strategic partners.

“This is why we are bringing a full range of our products to the show, including the Digital LED tube, BOBhaze, RDM LEDpar& Controller, and Moving Head & Bar.”

Jim Liao, Sales Manager of quick release pin manufacturer Jin Kou Enterprise Co Ltd shared the same senti ment, adding, “Our main customers are those famous companies in the stereo industry worldwide. This Shanghai show gives us multi ple business opportuniti es in this sector, so it’s important for us.”

www.prolight-sound.comwww.messefrankfurt.com

44 SPECIAL FEATURE

Transforming Theatre and the Art Scene with Epson By Rosalind Tan

ETA: Could you elaborate and tell us more about the creati ve process leading to the art projecti on at Aliwal? What was the concept that Aliwal/Epson wanted to achieve?

May Lin: “In Epson, we believe in challenging traditi onal boundaries with the innovati ve use of the latest technology available – in this case, in the use of projectors. The projectors we have deployed are business models that are usually found in corporate and indoor setti ngs.

We wanted to push the boundaries and use the technology to help arti sts express themselves on a bigger and diff erent platf orm outdoors, and showcase their creati vity to a mass audience.

Through projecti ons as well as live demonstrati ons of portraiture and “virtual graffi ti ”, arti sts can break the boundaries of conventi onal art materials, and be free to experiment and create works of art on-the-go to envelope the building’s façade.”

ETA: It would seem that the trend of late, is moving steadily towards large scale projecti on and interacti ve sets. What would you consider most challenging in this project?

May Lin: “Projecti ng the 3D mapping of the multi media work onto the building’s façade

In recent years, Epson, the world’s No. 1 Global Projector brand for 12 years, has been

making its mark in Singapore as the projector brand of choice with its series of lifestyle collaborati ons and creati ve initi ati ves aimed at supporti ng the local arts and design scenes.

Epson Singapore collaborated closely with Aliwal Arts Centre for interacti ve performances during its Arts Night Crawl, and loaned its projectors for a recent local play, “Illogic” by Cake Theatre Producti ons. In additi on to equipment loan, Epson worked closely with the partners behind-the-scenes to calibrate the projecti ons for 3D surfaces, to create an excepti onal visual extravaganza.

Performing art venues have stepped into the brave new world of digital, where the commitment to detail extends beyond the theatrical stage. Rather than merely projecti ng onto a fl at surface, the advances in 2D video projecti on technology now allows projected images to be mapped onto elaborate stages and odd-size venues; much like watching a high-def 3D movie come to live, only without the audience having to wear the glasses.

To further explore this, Entertainment Technology Asia sat down with Tan May Lin, General Manager for Epson Singapore (Sales Division), to know more about these art initi ati ves and how AV technology can be creati vely applied to enhance visual experiences beyond the classroom.

requires very precise measurement of the building in order for the arti st to develop the content. Epson and the arti st involved worked together to ensure that the angle and positi oning of the projectors, in relati on to the façade’s surfaces, were just right. Extensive rounds of testi ng & calibrati on work were repeatedly carried out so that the work projected onto the façade is sharp, vibrant and accurate.

During the segments where the arti st showcased live drawings, the arti st’s

September - October 2013

drawings were transmitt ed via a third party device to the interacti ve projector through a server. Seamless integrati on of the various hardware components was essenti al to coordinate the process and feature a “real ti me” visual experience of the live projecti on.”

ETA: Epson was also recently involved in a stage play, Illogic. I should think having to transfer the visions on stage and to bring these diff erent ideas/designs to life to be quite the challenge. How long did the whole planning process take?

May Lin: “According to CAKE Theatrical Producti ons, it took about 20 months, from the fi rst creati ve meeti ng to the performance on stage.”

ETA: At which stage of the whole set-up was EPSON called in? Were you involved in the designing process, or only at the technical/engineering stage?

May Lin: “Epson was approached by CAKE Theatrical Producti ons to collaborate by providing the projectors and the technical set-up.”

that technology shouldn’t cross when it comes to theatre and the performing arts?

May Lin: “Technology has oft en been seen as a double-edged sword. When used appropriately as part of the creati ve process, we believe it can be an enabler to help transcend traditi onal boundaries such as space and resources.”

ETA: And fi nally, what is the main diff erence between the projecti on technology used in theatre and that of outdoor projects (like Aliwal)?

May Lin: “The projecti on technology required is similar for large theatres, as well as outdoors projecti ons. Both instances require projectors that can support large venue usage.

The projector lumens specifi cati ons are important to ensure that the projected work

ETA: It’s really impressive to include 3D mapping and projecti ons on set. Could you provide us with a brief rundown on how this was achieved? What were the projectors used in the play?

May Lin: “The technology for 3D mapping and projecti ons for Illogic is similar to what was deployed during the Arts Night Crawl (which was on a larger and more extensive scale).

The three projectors include the Z8450WU business projector.”

ETA: I believe many in the theatre community, especially so for the traditi onalists, would argue that such advanced, dynamic projecti on will distract the audience, thus breaking the spell of an arti st’s performance. What are your thoughts on this? Is technology replacing the power of imaginati on? Is there a line

“Technology has often been seen as a double-edged sword. When used appropriately as part of the creative process, we believe it can be an enabler to help transcend traditional boundaries such as space and resources.”

would be vibrant & bright enough, especially for outdoor usage. The lumens for both the white, as well as the colour light output, need to be high, as a high colour brightness allows projecti ons to showcase vibrant and realisti c colours.

All Epson projectors, including the ones used for large venues, feature its leading projecti on technology that provides 3x colour brightness to ensure that the image projecti ons delivered are bright, vibrant and natural, even for outdoor usage.

Unlike projectors that may have high white light outputs but low colour light outputs, Epson 3LCD projectors are able to produce an equal number of white and color light output. For example, a 7000 white light lumens projector also displays 7000 colour light lumens. This ensures maximum colour brightness output for all projecti ons.”

www.epson.com.sg

About Aliwal Arts Centre’s Arts Night CrawlMembers of the public were treated to large-scale interacti ve projecti ons on Aliwal Arts Centre’s façade during the Arts Night Crawl on 14 June. Local arti sts drew caricatures as well as graffi ti designs in real-ti me on a white board with an interacti ve pen, using Epson’s interacti ve ultra-short-throw interacti ve projector EB-1410Wi. The creati ve process and results were instantly projected on the building’s façade. Including the EB-1410Wi, four projectors (2 of G5950 & 2 of G6150) were used during the collaborati on to display the multi media and art projecti ons on two building facades. Epson was the offi cial Projecti on Partner for the Arts Night Crawl.

About threatrical producti on “Illogic”Held between 13 to 15 June, Illogic saw the integrati on of the cast’s performance with 3D mapping and dynamic projecti ons on the set. The set’s backdrop was lit and changed by the projectors and video projecti ons accompanied the cast’s dramati c sequences. Three projectors were used, including the Z8450WU business projector.

“For the performance of “Illogic”, I needed numerous projectors that had high lumens and were easy to confi gure to our system.

As the performance had multi ple changing backdrops, I wanted to video map on the backdrop to change the terrain of the producti on. Epson has the perfect projectors and the colour accuracy was astounding!

We were looking at other projectors in the market and most were too big and bulky and some were not as bright even though the adverti sed lumens were similar to Epson.

Epson was a perfect match and I couldn’t have achieved what I wanted without the Epson projectors.” – Brian Gothong Tan, Multi media Designer, CAKE Theatrical Producti ons

46 SPECIAL FEATURE September - October 2013

www.gtd-truss.com

48 MANAGEMENT PERSPECTIVE September - October 2013

The key to Avollusion's successDistinction-

Three years aft er being transferred from his residence in Sydney, Benson Looi saw that there was a service gap in the rental&staging scene in Hong Kong and with Managing partner Justi n Choy decided to start a technical company with a diff erence. In a nutshell, Avollusion is a technical events producti on company whose capabiliti es cover everything that you would need to make an event run. In fact, they had made such a reputati on for themselves that, just a year into their business that a buyout was off ered. Realising the company had not fulfi lled its evoluti on and vision, Benson and Justi n quickly declined. Now he is the Managing Director/Technical Director of one of the premier technical teams in Hong Kong whose vision is to be not just a supplier, but an event partner. Using cutti ng edge equipment and technology, Benson, Justi n and the rest of the team from Avollusion bring unique soluti ons, global standards and professionalism to the local market and all over Asia. We proudly present to you an ETA exclusive with Benson Looi.

ETA: Thank you for speaking with us Benson. Before we jump in, can you give us a general view of the R&S market in HK?Benson: I think the HK market is sti ll quite young when it comes to internati onal standards, but some aspects such as event design and a mostly ‘can do’ atti tude, are quite far ahead which surprises a lot of internati onal clients. It’s a very small market so collaborati ve relati onships and fresh ideas are really the key to making things work.

ETA: Throughout the world, the R&S markets are quite competi ti ve. How does Avollusion maintain its competi ti ve edge?Benson: We bring internati onal standards to the Asian Market, a trait which internati onal clients appreciate, and a lot of our return business is because of this. We make it a priority to keep up to date on the latest technological trends that help make us bett er equipped to fulfi l clients’ needs. We have even been invited to be part of the R&D for certain products, which enables us to plan ahead in the future directi on of the company as well as the events that we do.

Truth be told, rental companies in the region can easily have the same equipment because money can buy you the best of anything. What makes us, as a company, stand out are the people behind the equipment. Not just pressing butt ons or focusing projectors, but the many hours of thought put into how to use these pieces of equipment in a smarter way to enhance the experience. Professional and incomparable service is a must but we’ve taken one step further in terms of equipment by asking ourselves what can we acquire that not many companies have in Asia, and how can we be the best at using it?

ETA: Has being the Managing Director at Avollusion changed your management styles to adapt to the R&S market? Benson: Now I’m standing from a diff erent viewpoint within the industry. I’m representi ng something that Justi n and I have built and truly believe in and live by the noti on that it’s not just YOUR (client) reputati on on the line, but ours too.

Benson Looi

ETA: What are some of the key products in your inventory?Benson: Avollusion has high-end equipment such as Christi e Projectors, Green Hippo’s Range of Hippoti zer Media Servers and d&b speakers. But again whilst what you have is important, how you use it is the real challenge.

ETA: Can you expand on that?Benson: Our team is always our top priority. They are the ones using and mastering the equipment aft erall, and in mission criti cal events this is always the make or break factor.

ETA: What are your criteria for choosing inventory and what are your ROI expectati ons?Benson: We chose to specialise in 2 very strong brands that aren’t used by the majority of the R&S companies in the Hong Kong market: Christi e Projectors and Green Hippo. We are working towards becoming the go-to company for these high end products and services in the region.ROI expectati ons?? With these two brands, the sky’s the limit!

ETA: How do you keep staff moti vated in such a hecti c industry?Benson: I truly believe in work/life balance. Our industry is not a 9-5 but the fl exible and demanding hours call for fl exible (and demanding) ti me off . Our range of work is also quite invigorati ng. One day it could be a standard conference, the next day a fashion show, and the next a gala dinner. Making sure we all have ti me to ourselves and a wide range of event genres helps us stay on top of our game.

ETA: Is there any show that comes to mind which you are parti cularly fond of and how did Avollusion att ribute to its success?

Benson: Even though we have been very fortunate to have carried out 7 casino/resort openings including the Veneti an, Galaxy, City of Dreams in Macau and Marina Bay Sands in Singapore, I must say the All Things Digital (AsiaD) conference held in Hong Kong in 2012 is the one that stands out for me.

AsiaD was the inaugural expansion of the D: All Things Digital conference onto the global stage. Although countless companies pitched for this event, we were chosen based on our professionalism and technical know-how. It cemented our vision of bringing internati onal standards to the local stage and that conference ended up winning the Best Geographical Conference Launch award at the Asian Conference Awards in 2012.

Another standout event was the Coco Lee and Bruce Rockowitz wedding. Working with internati onal high profi le acts Bruno Mars (singing with the HK Philharmonic

Orchestra) and Alicia Keys was an amazing and rewarding experience.

Benson and Justi n have never shied away from a challenge and as a company nothing is too small or too large for Avollusion. From private 10 pax dinners, to public events such as casino/resort openings, the man and the company have no plans of letti ng the waves sett le. In his own words Benson describes them best, “Think of the wildest idea you can and we will defi nitely give it a shot!”

Want to take Benson up on his challenge? Drop him an email at: [email protected]

www.avollusion.comAnother successful event in Hong Kong

Avollusion in Macau

Full set-up done in Japan

How to read microphone specifi cationsAn extract from DPA Microphone University: Choosing the right mics for the job

When you read microphone specifi cati ons in order to compare diff erent microphones, it is extremely important that you understand how to interpret them. In most cases the specifi cati ons can be measured or calculated in many diff erent ways.

This arti cle is designed to help evaluate specifi cati ons in a meaningful way.

While microphone specifi cati ons provide an indicati on of a microphone's electro-acousti c performance, they will not give you the total appreciati on of how it will sound – just as it is with cars.

Knowing that it is a 3.0 turbo-engine with 4WD gives you an idea of a prett y good driving experience, but for the exact feeling, you need to drive the car yourself.

Frequency range/frequency response Frequency range tells you the range of the frequencies (for example 20 Hz to 20 kHz) that the microphone can pick up and reproduce, but not how well the diff erent frequencies are reproduced. To see that you need the frequency response:

Here you see how linear the response is or if the microphone has any ‘spikes’. But pay att enti on to the scale on the left . The number of dB each step represents can vary a lot.

The frequency response normally refers to the on-axis response, which means from a sound source right in front of the microphone. The diff use fi eld response curve will illustrate how the microphone will respond in a highly reverberant sound fi eld.

The off -axis response is also important to examine. A microphone always takes in sound from the sides too, the questi on is just how much and how good it sounds.

In parti cular, directi onal microphones can, in their att empt to suppress sound from the sides, get an uneven off -axis response:

Finally a polar plot can show the 360° response of selected frequencies.

The response curves should be smooth and symmetric to show an uncolored sound. Extreme peaks and valleys are unwanted and the response curves should not cross each other.

From the polar diagram you can also see how omnidirecti onal microphones usually become more directi onal at higher frequencies.

Equivalent noise level /self noise

The equivalent noise level indicates the sound pressure level that will create the same voltage that the self-noise from the microphone will produce.

A low noise level is especially desirable when working with low sound pressure levels so the sound will not drown in noise from the microphone itself. The self-noise also dictates the lower limitati on in the microphone's dynamic range.

There are two typical standards:

1. The dB(A) scale will weight the SPL according to the ear's sensiti vity, especially fi ltering out low frequency noise. Good results (very low noise) in this scale are usually below 15 dB(A).2. The ITU-R BS.468-4 scale uses a diff erent weighti ng, so in this scale, good results are below 25 dB.

Sensiti vity, sound pressure level (SPL) handling & total harmonic distorti on (THD)

Sensiti vity tells you how well the microphone can convert the acousti c sound into electricity and according to the IEC 60268-4 norm, the sensiti vity is measured in mV per Pascal (air pressure) at 1 kHz.

The higher the sensiti vity the bett er, because it reduces the need for amplifi cati on and therefore reduces the amplifi cati on noise.

SPL handling tells you how much sound pressure in dB the microphone can handle before it either clips (the diaphragm hits the backplate or the amplifi er overloads) or reaches a certain level of distorti on (THD or total harmonic distorti on).

Typically either 0,5% or 1%. The higher level of sound pressure before clip or distorti on the bett er.

DPA 4006A Frequency Response

On-and off -axis responses of 4011A/4012/4011C cardioid microphones measured at 30 cm

20 kHz

15 kHz

10 kHz5 kHz1 kHz

4006A Omnidirecti onal Microphone

Example:DPA 4004 Hi-SPL Omnidirecti onal Microphone, 130 V: Maximum sound pressure level:168 dB SPL peak Total harmonic distorti on: 142 dB SPL peak (<0.5 % THD), 148 dB SPL peak (<1 % THD)

www.dpamicrophones.com

Scan here for the full report “The Essenti als of Microphone Technology”

50 TECH TALK September - October 2013

D.A.S. Audio, S.A.C/ Islas Baleares, 2446988 Fuente del JarroValencia - SpainTel. +34 961 340 860

D.A.S. Audio of America, Inc.Sunset Palmetto Park6816 NW 77TH CourtMiami, FL. 3166 - U.S.A.Toll Free - 1-888-DAS 4 USA

D.A.S. Audio Asia PTE. LTD.25 Kaki Bukit Crescent #01-00/02-00Kaki Bukit Techpark, 1Singapore 416256Tel. +65 6742 0151


Who's afraid of the little black box?

Wireless begins...Having started his career in the lighti ng industry in 1993, Niclas had the dream to become a DJ. Aft er that didn't work out quite as he planned, he decided that instead of being a DJ, he would provide for DJs, thus, Disco and Company was born. A company that would eventually come to be known as Interlite AB and who are now the offi cial distributors for brands such as Clay Paky, MILOS, Avolite and D.T.S in Sweden. He explains, “I wanted to sell things to the nightclubs and DJs in the beginning so we sold and rented mainly DJ/disco equipment (eff ects, turntables, cd players). Step by step the company started growing and before we knew it, 3 years had passed and we were doing well enough to start buying directly from a few manufacturers in Italy. Aft er Interlite took off , in 1997, we stopped all the rental and only did selling and I started to focus more on lights.”

It was from Interlite AB that Wireless Soluti ons was born. The idea fi rst struck Niclas in 2001 when his part-ti me engineer at Interlite took longer than required to design a PCB board which pushed Niclas to take it upon himself to get wireless off the ground. The fi rst offi cial launch of products happened at the now defunct SIB exhibiti on which, at that ti me, was the largest light show in Italy. At that ti me Interlite was distributi ng SGM and borrowed the companys' booth space to display the wireless prototypes which were, as Niclas says, “One really ugly metal box and two small plasti c boxes which were controlling some of the SGM lights wirelessly. It was only about 20-30m but the main point was that the products were there and working.” As unsightly as it may have been, it was the Generati on 1 (G1) prototype that won the Innovati ve product award at PLASA in 2004.

Aft er a few more tweaks, Wireless Soluti on fi nally brought Generati on 2(G2) box to the

open market in 2005. G2 was immediately set apart due to its ability to jump all over the broadband spectrum whereas normal wireless links such as WIFI would be standing sti ll. This in-built stability is what pushes the brand Wireless Soluti on ti ll today. “Our products always jump all over the spectrum to make sure it can conti nue to go at the same speed as cables. Just like in a high traffi c road, instead of having one lane, you have multi ple lanes which you can switch between to reach your desti nati on. We were the fi rst to have the frequency hopping system to make sure there was a stable signal,” says Niclas.

Even though wireless lighti ng controls are making splashes in other parts of the world, there is something about Asia that just can't seem to get them on board. In this ETA exclusive, we try to dispel some common misconcepti ons about the wireless concept and Niclas explains what it is to 'Think Wireless'.

The fear of wireless stops us from moving forward and embracing a new age where the intangible is more reliable than what you can see or touch. Leading the charge in the name of wireless for the past 12 years has been Wireless Soluti on Sweden AB (Wireless Soluti on). Founded by Niclas Arvidsson, Wireless Soluti ons was the pioneer company into the foray of simplifi ed wireless products. Now the company is responsible for the design and producti on of W-DMX, the award winning Wireless DMX system that is the un-offi cial standard for those that require the most dependable product available for transmitti ng lighti ng control data wirelessly, no matt er the distance or locati on.

ETA: At the ti me when Wireless Soluti ons started, there were already a few companies producing wireless products. What made/makes Wireless Soluti on any diff erent?Niclas: While there were people before us who had done wireless products, those products were very complicated and expensive so people could really only buy them when there was absolutely no way

to run a cable. So when we started the company, we said we needed to have a few parameters to follow in order to be successful, otherwise we would not be bringing anything new to the market. It had to be easy to use, so we started with only one butt on on the product and is sti ll the same with our products today. It had to be a decent price so people could aff ord to buy because it wouldn't matt er how cool the product was if we only sold 5-10 pieces every month, it

would not put any food on the table. And lastly, it had to be stable and reliable so people could depend on the product.

ETA: There is no offi cial standard for wireless lighti ng control. Where does that leave Wireless Soluti ons in terms of comparability?Niclas: There is really no comparability between the diff erent systems on the market. If you are talking cable there's a

standard DMX but we are sending Wireless DMX so the questi on becomes how is it possible to send the DMX wirelessly without a standard? Since we started early, we now compare ourselves by being the brand with the most OEM companies using our products and also there are around 45 companies using W-DMX technology; Clay Paky, SGM, DTS, Chroma Q and Elati on, just to menti on a few.

ETA: So would it be correct to say that you are one of the main leaders of wireless technology?Niclas: Yes because turnover wise we are bigger than all of the rest combined. We are the pioneer of wireless lighti ng controls but there are 2 to 3 other manufacturers but they are more of a second choice for wireless.

The market has been growing a lot in the past years and so have we and the competi ti on. This shows that there is more space for people on the market and there is a growing interest in wireless controls. I think its good to have competi ti on because that's what drives me to be bett er. If I didn't have any competi ti on I would be lazy and sit on my a** and do nothing. Why would I want to spend money on marketi ng and R&D if everyone was happy? But with competi ti on, I need to spend money to keep on improving the products and coming up with new ideas while promoti ng them either in magazines or trade-shows because otherwise people will forget you.

ETA: Who are some of your current clients?Niclas: SGM was our fi rst OEM client meaning that they would buy the PCB modules from us and put it into their fi xtures so my relati onship with the main people of SGM is very good. Before they believed in wireless, they believed in us and it was because of that relati onship that they started to install PCB into their fi xtures. They were the fi rst to use wireless inside their products and are sti ll with us plus many other diff erent manufacturers including D.T.S and Elati on who buy our PCB and install it in their products. Some manufacturers choose to just buy the card from us and install it in their products per requests.

ETA: Tell us about the fear of wireless in Asia.Niclas: The fear comes because, essenti ally, what we are asking people to do is take away the cable that they have been using for 20-25 years and that's mentally diffi cult. You're asking someone to disconnect and trust something that they cannot see or

touch and especially when you are talking entertainment lighti ng, it can be scary. When you push the butt on something should happen immediately, not one second later. It's 'Push' - 'Light'.

Our biggest obstacles come from developing countries like, India, Vietnam, Cambodia and Thailand. In these countries, labour costs are cheap compared to places like Europe. For example in Thailand, if you employ a person for 10,000 BAHT (320 USD) and lets say our price for a single wireless unit is about the same, it means that to purchase a wireless system of 4 units is equal to 4 people a month. Management just sees it as having another labour cost but they don't count how much more hassle comes from a using a cable or how long an installati on takes. A lot of ti me they don't see the whole picture and because of this we need to try to adapt the product to get it into the market. As a manufacturer you want people to want to have your product and there are many people who want it but think it is too expensive and its easier for them to use cable. This leads people to be more focused on the cost of buying wireless systems rather than the soluti on itself.

ETA: Price aside, isn't there a problem with trust as well?Niclas: Yes there is a trust issue as well since people cannot see it, people cannot touch it, they need to rely on 'Is this really going to work'. And that needs a lot of training and convincing for many people and that is one of the important parts of our campaign in Asia. During trade-shows is when we try to do seminars which don't cost anything to att end and we try to educate people on how to use our products and what to do if there are problems. Because, as with everything else, our products are not perfect and we don't try to make it sound like they are but from ti me to ti me when there is a problem it is usually a user problem. Of course there are ti mes when the system fails, s*** happens and it can happen to anything from moving heads to consoles to anything.

ETA: What is the main pull to wireless then?Niclas: Many requests in general relate to custom made designs or when they need to go over water or reach long distances. There are two types of situati ons which make people contact us. The fi rst and most typical is when it is very crystal clear that you need to go wireless and then the second one is what we have in countries like Sweden, Germany, England, France and the USA where our distributors have been able

to educate their clients to use wireless on a daily basis. In those countries, it has become a second nature to them. When they get a job they think, 'OK I grab my 10 moving heads to go do a show and yes, I bring my 4 wireless products at the same ti me. Maybe I use them, maybe I don't but I have them all the same.' These people realise what may be required in ti me crunches or when things don't go according to plan and you don't have ti me to do installati ons. So? *SNAP* Box there, box there, up in 2 minutes and you're done. When people start to realise that wireless helps a show, that's when our distributors start selling.

ETA: How do you get them to realise that?Niclas: Training and demonstrati ons and more trainings and more demonstrati ons. For Germany, Sweden and America, they are all proacti ve to wireless because they have already seen it working. But Asia is sti ll a litt le bit behind. and its not because they don't want to but because they feel it may be too expensive someti mes. So we are coming out with a few new products for the developing Asian countries in the 4th quarter of 2013. We are not going to change the technology, but we are removing components that are not the number one choice in the Asian conti nent and by that we can save costs on producti on and the product becomes more interesti ng in terms of pricing.

ETA: So what will we be losing?Niclas: In small ways only. For example, in some boxes we have Ethernet modules as well as DMX but with the new ones its only one band instead of two. Instead of a 2.4 or 5.8 soluti on now it becomes only a 2.4 soluti on.

In very crowded situati ons, it can be good to go up on the second band of radio frequency but what we see in developing countries is that they are not developed on normal wireless either. There is less interference in the developing countries so it doesn't aff ect them much at all. So yes, we do remove some small features but at the same ti me it gives them an excellent introducti on to an entry level of products and when they see that working, they most likely will want to invest to the second level of the more professional features. But the core is the same, how the radio is working is exactly the same and we don't compromise on the quality. We just remove some added value features and this drops the cost of producti on which therefore makes the product cheaper which we feel, is what Asia, Africa and even some parts of South America needs.

ETA: Will your entry level products be sold in developed countries as well?Niclas: No, we only want it to be available in the developing countries. It will be offi cial but its not in the data catalogue and for the moment its only 2 products. One indoor and one outdoor, making it really simple.

That's also another thing that we want, simplicity and aff ordability. 3 models will be sold to the developing countries: Indoor, Professional Indoor and Professional Outdoor. Very clear steps make it easier for our distributors to stop the product, to promote the product and to train their own staff . So it is easier to cater to our clients' diff erent needs. 1 universe or 2? Depending on what you want. The lower cost units are our idea of an entry level which will allow people to step up and buy products with extra features when they are ready. In developed countries, the pro series will be sold side by side but the entry level products will be “a way in to the market – a door opening” to then conti nue to the top of the line.

ETA: The main problem in developing countries seems to be that they just don't trust something new. You can train and you can demonstrate but how does Wireless Soluti ons get people to take that leap?Niclas: Baseball Bat? Laughs.. This is the thing that takes such a long ti me because, if you see how when wireless mics started in the beginning there were only the big players like Shure and the systems were really expensive. That's the same way that wireless lighti ng control started in the 90s, a few players, extremely expensive and only used when cable was not possible. And step by step the development goes further and further so the trust is gained every year but it is, of course, up to us to show the clients that they can trust it but if the client doesn't dare to try then it will go much slower but the good thing with the entertainment industry is that it is technology driven so people are curious to test. Especially if they don't need to pay for it. For us, all our distributors MUST have demo kits and they MUST lend them out free of charge. This gives people the chance to test it and see that it is working and feel comfortable with it. We even show them how to get the systems to fail so they know what you should not do because people do come up with stupid ideas someti mes.

ETA: Can you elaborate?Niclas: The stupidest idea I've seen was when we did an installati on in China many years ago and it was in Autumn so there were no leaves on the trees and we had to go up a 2000m hill, place a receiver at the top and re-transmit down the valley again back to us. Aft er the set-up everything was working fi ne but 6 months later they called us and said nothing was working. I said, 'What do you mean nothing is working?' But they insisted it didn't work and we had to come down. So we sent a technician from Sweden to China and once he saw the transmitt er behind, what had now become a big big tree full of leaves aft er the season changed, he immediately knew the signal had become too weak to work properly. The signal had to pass through all the leaves so all he did was move it 2m and it worked. It is things like that, where people do not want to try but immediately call us for help. With any new technology, you need to play around with it in order for you to know how to get it to work.

ETA: Tell us about 'Thinking Wireless'.Niclas: When we do training, we always say, 'Think Wireless', because in many applicati ons you can think cable and do it in the same way but you need to be more open-minded and if you think about it in that way you can avoid many problems. It may be good if the signal goes over people's head rather than trying to shoot through 500 people. Or if you need to go through a building you have to plan out your positi on, so a litt le thinking goes a long way. Many people apply the same way of doing cables to doing wireless and they must realise that it is not the same thing. That's one of the training processes that we always talk about, standard procedure. It is a challenge but the fun part is when you see the result and you see the trust increase every year. From 2010-2012 we increased our turnover rate by 50%.

ETA: What are some of your strategies to keep Wireless in the mind of the consumer?Niclas: Wireless lighti ng control it is one of the few markets where the client's are not the drivers, instead, it is the manufacturers. The client who uses wireless doesn't really care what fancy word we put on our technology, as long as its working. Wireless lighti ng control is sti ll relati vely new, so people don't think too much about all the functi ons or details. They just want it to work. That's why when we launch a product, we always try to put simple words

on the functi ons so people can relate to it. For example, saying something like 'Invisiwire' which is basically an invisible cable can isolate people because they do not understand it. But if you say, W-DMX then people automati cally associate it with Wireless DMX.

This use of simple words also applies to our products because people don't need to know every detail in the manual to make it work. If everything is good you should not even need to read the manual. For all the basic standard uses, just push the butt on and go. If you are going to do a big job, then maybe study the manual like everything else but if its a simple job, just push the butt on.

ETA: In your opinion, will wireless ever replace cable?Niclas: Wireless for lighti ng control will never replace cable, that will just be a foolish dream because in some applicati ons, even I as a wireless manufacturer know, cable is a bett er soluti on. More and more fi xtures take more and more channels and the limitati on today even if wireless were to get more advanced over the years and the use became more versati le, it would sti ll be required in some combinati ons to use an Ethernet cable or existi ng computer products to distribute a signal. So I will say that Wireless DMX, honestly, if it can do 10% of all the jobs in the world, that market will sti ll be huge. Silly BIG to be honest.

ETA: What are your predicti ons for the future of wireless in Asia? Niclas: I think Asia is defi nitely becoming more accepti ng. The biggest challenge we will have is that as more and more products become wireless, the spectrum will become more and more full. One way to deal with this is to make the technology even bett er than today or to co-operate with the radio authoriti es to fi nd new spectrum's that are available to use and free of charge. Unfortunately, that may take a very long ti me. For the moment, it is really about talking to diff erent manufacturers of components because they know a lot about what's going on as well. Just for us, we will conti nue to make it simple and we will not make more than 8 to 9 products in general. The products will remain simple to use and simple to teach. Easy, easy, easy, easy.

To learn more about Wireless Soluti ons, check out: www.wirelessdmx.com Or e-mail Niclas at: [email protected]


www.allen-heath.com

56 EXHIBITION REVIEW September - October 2013

Broadcast Asia 2013 Takeaways

BroadcastAsia2013, held for the fi rst ti me at Marina Bay Sands, alongside CommunicAsia2013 and EnterpriseIT2013 from 18 to 21 June, Singapore, was a hit with the crowd as approximately 15,000 visitors swam in to get their hands on the gear and the latest technology. (*The total number of visitors for all three exhibiti ons was 51,000).

The exhibiti on, which featured more than 710 exhibiti ng companies from 45 countries and regions, certainly brought forth new trends and technology breakthroughs including the much talked-about 4k technology, over-the-top (OTT) and cloud technology.

And as the industry witnesses a great shift in consumer demands from high- quality and on-the-go content to multi ple platf orms and more, the need to enhance user experience was placed at the forefront at this year’s BroadcastAsia2013 conference; where the seminars closely hewed to the theme “Enhancing User Experience, Moneti zing Content”.

An Intrinsic Crowd

The hustle and bustle of the show fl oor was kept to a minimum at this year’s show as the once-familiar sight of open fl oor spaces were replaced with a series of segregated booths spread across a maze of large meeti ng rooms.

Visitors fi lling up the hallways

“This is a great show and a perfect platf orm for Nuage. I think we’re located at one of the best spots, where it can best capture the impression of the Nuage. With our equipment all laid out in the open, it defi nitely draws the curiosity of the crowd,“ shared Lawrence, Assistant General Manager of PA/CA Marketi ng for Yamaha Music Asia.

Panasonic’s booth was also especially inviti ng with its mysterious “dark room” setup, complete with heavy draperies and neon lights.

Summer Neo, Marketi ng Support Executi ve for the Professional Display Division at Panasonic Systems Asia Pacifi c explains, “This year, with a much bigger booth, we were able to be more creati ve. We went ahead with a futuristi c theme that consisted of odd-shaped screens and bolder displays.”

To cater to the stream of visitors, Panasonic arranged a special fashion show that showcased the theme of “past, present and future” in the form of 3D projecti on mapping against an unorthodox ceiling structure

Strenuous navigati on aside, the exhibiti on scored some great wins with several exhibitors.

Yamaha once again rolled out its fl agship Nuage audio post-producti on system, with recording engineer Ashly Shepherd taking the reins for the demo sessions.

microphones, even in the presence of direct interference.

Total Soluti ons engaging customers at their booth

As 4K technology took precedence at this year’s show, Sony went in line with its theme of ‘Beyond Defi niti on’, to unveil the newest member of its XDCAM-series camcorders – the PMW-300.

Hailed as the market's fi rst semi-shoulder camcorder, the PMW-300 was certainly the crowd magnet, as it can easily adapt to diff erent types of shooti ng scenarios; making it a great workhouse for broadcast, producti ons and corporate events.

Looking Ahead

As BroadcastAsia bid goodbye to a successful 2013 show, organizer Singapore Exhibiti on Services (SES) is already looking ahead to BroadcastAsia2014.

With BroadcastAsia2014 coinciding with the FIFA 2014 World Cup in Brazil, visitors to BroadcastAsia2014 are in for a special treat!

“Sports is sti ll the main driver for live content delivery and we will have a special feature area for sports-casti ng at BroadcastAsia2014. We are working with several vendors to demonstrate the viewing of sports content — likely to include footage from the FIFA 2014 World Cup — from multi ple angles and on multi ple platf orms,” commented Calvin Koh, assistant project director of BroadcastAsia, SES.

www.broadcast-asia.com

Shure Axient

E&E’s Sales & Product Manager Gerald Chew shares, “The system is very popular in the industry as it constantly scans for interferences, all while maintaining a list of back-up frequencies to provide a clean and compati ble frequency whenever required.”

Built in line with its new global booth standards, Sennheiser had the crowd basking in the buzz at their booth, with the series of new product launches including the Digital 9000 series and the LSP 500 PRO which were unveiled for the fi rst ti me in Southeast Asia.

The Anakonda

and wall, as well as a portrait projecti on slideshow using the PT-DZ21KE and PT-DZ13KE projectors. Panasonic also put on a “Cube Dance” programme that featured dancers holding onto projecti on mapped cubes.

New Faces and Product Launches

Taking on the BroadcastAsia crowd for the fi rst ti me was Total Soluti on Holdings Pte Ltd, who was on site to showcase its coolux Pandoras Box system’s impressive 4K realti me playout and compositi ng capabiliti es.

“coolux can do so much more – and that’s what we’re here to demonstrate, and also to tap into a diff erent target market. It is our fi rst year at BroadcastAsia and we’ve quite pleased with the turnout so far,” T. Vijay, Deputy Business Development Manager of Total Soluti on enthused.

Sitti ng proud and prett y at the Mahajak SKM booth was the Studer Vista 1, the latest additi on to the long-established Studer range of digital mixing consoles.

The Vista 1 incorporates all the features that TV broadcasters require: the control surface, I/O system, DSP and power supplies, etc.

Also on display were the OnAir 1500 and OnAir 2500, a fl exible hybrid soluti on befi tti ng the adverse broadcasti ng environment.

Electronics & Engineering Pte Ltd (E&E) also showcased its much sought-aft er Shure Axient, a wireless system designed to deliver clean, uninterrupted audio for mission-criti cal

Sennheiser also hit the mark in eye-catching fashion with their fascinati ng Anakonda K-array, a bendable speaker that can adapt to almost any integrati on environment.

“K-arrays are usually not shown but it seemed to apply this year. Although the (crowd) traffi c is a bit slow, the response was prett y promising. It’s defi nitely a good place to meet with the right crowd,” Ada Yen, Marketi ng Executi ve for Sennheiser Electronic Asia mused.


PALME Asia 2013 focuses

Soren Storm of Marti n Professional Augusti ne Edward of TWAudio

Back for its 27th editi on, PALME Asia 2013 off ered both visitors and exhibitors a much needed platf orm to come together in a place where ideas fl owed and sales or competi ti on wasn’t the fi rst priority. Held at the Marina Bay Sands in Singapore, the conventi on brought together customers, distributors, manufacturers, consultants and integrators in a setti ng where work and play could co-exist.

The exhibiti on fl oor featured a myriad of over 160 established brands and companies from over 26 countries spread over an esti mate 5,000 square meters of exhibit space. The show though inti mate in size sti ll showcased many new products that were recently launched internati onally and which off ered visitors from the region the opportunity to view them up and close. Kudos too to many of the exhibitors who created visually att racti ve booths.

A fair number of exhibitors were present for branding purposes and of course to show their latest soluti ons. Dave Loh, General Manager of Mahajak SKM Electronics Pte Ltd (MSE) pointed out, “Visibility is very important. As a HARMAN distributor, we come to the tradeshow because, fi rstly, its market branding, all the big brands have to be here. Next because we are a Singapore distributor and because MSE is a fairly new company, my duty here is to build the company in the eyes of the industry and to gain confi dence from potenti al clients.”

Reiterati ng the point was Marti n Professional’s Managing Director, Soren

Storm who said, “We have an opportunity to meet new clients even though we rarely do business in these exhibiti ons and it’s also about branding.”

PALME does conti nue to att ract the regional crowd albeit in smaller numbers. Informa conti nues to put in eff orts to att ract visitors to the exhibiti on and though visitor-ship is smaller compared to the much earlier years of the exhibiti on, those who att end the exhibiti on are there with a purpose. As Menze Van Der Sluis, Managing Director at Prolyte Asia Pacifi c puts it best with regards to the quality of the customers, “We’re quite sati sfi ed with the refreshing mix of customers that this trade show brings. It’s a great place to discuss branding matt ers and to network with existi ng customers. Aft er all, face to face is always bett er.”

At least one exhibitor was caught off guard with regards to the exhibiti on. “While there isn’t much in quanti ty, the quality of the guests is great. We’re surprised with all the enquiries we’ve been receiving and the

people knowing the products because we are prett y new in this part of the world,” said Augusti ne Edward, Technical Support for Asia, TWAudio.

Visitors too had positi ve comments about the exhibiti on. “Overall, I found the quality and variety of vendors occupying the main space good,” said Dom Clements, Assistant Technical Manager for Scenic Fabricati on, Resorts World Sentosa, Singapore. Peter Tjahjadi, Sound Engineer, GKI CIAMIS, Indonesia adds, “PALME always brings new perspecti ves, improves knowledge, & expands network!”

Some sales were also concluded at the show fl oor thus helping to keep the buzz alive at the exhibiti on. One of those companies was Quad Professional. “Exhibiti ons are always helpful and overall we are quite happy with the turnout this year. Before I even signed the booth I had already made the decision that it was defi nitely worth it,” said Vincent Tan, of Quad Professional who sold off all the Klark Teknick DI boxes in this booth.

on knowledge upgradingThis year, the organisers, Informa, had put in more eff ort in bringing in seminars and training programmes to help the industry upgrade its knowledge. Almost all of the seminars had very good turn up of delegates including the paid ones. This additi onal initi ati ve defi nitely created a buzz within the exhibiti on and att racted a fair range of regional visitors. This initi ati ve was further supplemented with manufacturer training programmes thus providing visitors with the opportunity to learn, network and share.

Seminar and Training initi ati vesEntertainment Technology Asia got in on the mix by organising the fi rst ever 2-day Core Principles of Audio In-person Seminar hosted by Synergeti c Audio Concepts(SynAudCon). With an impressive att endance of 54 delegates from across Asia, the seminar was considered a smashing success. Chua Cong Wei, System Engineer of Electro-Acousti cs Systems Pte Ltd, comments, “The seminar is very informati ve for anyone interested in audio and I would highly recommend it to anyone.” Eric Haslim of PT Citra Inti rama, Indonesia reiterates the point, “This is a truly

Pat Brown of SynAudCon conducti ng the Core Principles of Audio seminar

excellent seminar for both beginners and also anyone in the professional audio industry looking for a refresher course. A very down to earth and honest approach to pro audio fundamentals that will provide invaluable knowledge and skills for years to come.” The seminar was sponsored by Harman and Mahajak and saw delegates from India, Sri Lanka, Malaysia, Indonesia, Philippines and of course Singapore.

Other seminars that were conducted throughout the three days included a one and a half day seminar on Safety in the Entertainment Industry; Eco-Soluti ons for the Entertainment Industry; Room Acousti cs Fundamentals by David Marsh of Kinsella Marsh Group, USA; Houses of Worship Technologies; Architainment Lighti ng Technologies and AV Technologies for the Hospitality Industry which saw a decent turnout of AV managers from the hospitality industry turn up for the talk by Ranjit Singh, CTS-D, CTS-I.

Delegates of the SynAudCon seminar

Robert Soo conducti ng the Houses of Worship Technologies seminar

Ranjit Singh, CTS-D, CTS-I conducti ng the AV Technologies for the Hospitality Industry seminar


The Safety in the Entertainment Industry conference and panel discussion was held for the fi rst ti me in PALME and it is a very ti mely conference as more events are held in the region which need to be held to the highest standards. The experienced speakers from Australia, New Zealand, USA, UK and Hong Kong shared their invaluable views and experiences with the delegates. The added bonus was the 9 Safety Development Units (SDU) awarded to Singapore delegates by the Singapore Insti tute of Safety Offi cers, which is accredited by the Singapore Ministry of Manpower, thus helping the delegates with their yearly license renewal.

Roy Lee, Marina Bay Sands’ very own Rigging and Staging Manager of Entertainment who att ended the conference and panel discussion comments, “It was useful personally and it was much needed, because there was a lot of informati on shared in regards to what other people are doing around the region and world. It would be futi le to develop something that is specifi cally for Singapore without taking into considerati on what is happening around the world because we are receiving shows from all over the world.” He conti nues, “Just the exchange of ideas and learning from people who have threaded the paths before and learning what you should avoid, to me, were the key takeaways.”

training workshops throughout the 3 days of the exhibiti on to familiarize the industry with their new LiveCore series. Distributors from Indonesia, partners from Malaysia, Brunei and other parts of SEA made the trip to Singapore to welcome the new series. At the end of every day, Analog Way’s VP for Asia Pacifi c, Willian Roddes performed a demo of the products and also allowed guests to have their very own hands-on sessions. “The point is to show them the LiveCore series as well as educate and explain to them the diff erence between the LiveCore series and the traditi onal range of our products,” said William.

represented by students and alumni profi led their various industry related educati on programmes. These were the Singapore Insti tute of Technical Educati on, the Republic Polytechnic, Ngee Ann Polytechnic, Nanyang Polytechnic, SAE, and SSR from Indonesia. These enabled visitors to understand the various certi fi cate and diploma programmes that are specially tailored for the industry and to take the opportunity to upgrade themselves if they so wished.

Also within the Educati on hub was an open area set aside for a series of talks by renowned industry kin to inspire the new generati on set to enter into the demands of the profession. The informal setti ng and presentati on provided for interacti ve sessions. One of the presenters was Music producer and owner of recording studio Snakeweed Studios, Leonard Soosay who says, “I was here on behalf of the School of Audio Engineering and I was trying to inspire the visitors especially the younger ones. Many ask me what to do aft er they fi nish school or they think the music scene in Singapore is too small and there's no chance. What I’m trying to tell all the young people is that there are opportuniti es out there and there are a lot of avenues you can go into. It’s how you use your knowledge, how you use your educati on and how you use your skills to actually do something with your life,” he stated.

William Roddes of Analog Way conducti ng the LiveCore series training workshop

From industry seminars and training to product specifi c, Analog Way and Electronics Engineering got in on the acti on. Innovati on-driven manufacturer, Analog Way, held

The Rati onal Acousti cs Smaart Live V7 training presented by Electronics and Engineering Pte Ltd and conducted by Chris Tsanjoures

Educati on Hub

Open talks helds at the Educati on Hub

Electronics and Engineering Ptd Ltd (E&E) held an introducti on to Rati onal Acousti cs Smaart Live V7 by Rati onal Acousti c representati ve Chris Tsanjoures. Smaart v.7 Di (Dual-Channel Interface) is a simplifi ed, streamlined, two channel version of the standard Smaart v.7 analysis soft ware. Di is a quick, effi cient, single transfer functi on analyser; which is perfect for nimble and precise measurements without the need or demands of multi -measurement and multi -mode complexity. Chris explains, “The cool thing about DI is it’s a bit more of an aff ordable version and its defi nitely an easier fi rst step into measurement soft ware for a majority of people. There are many technicians that are doing day to day measuring of systems where you need something fast to get the job done quickly and you can’t necessarily aff ord the ti me or have the need to go and measure things like impulse response and so, even for me, DI really covers 95% of the work that system engineers will need to do. For Asia as well as the rest of the Pro Audio community, DI just off ers more of a fi ghter jet version of version 7.”

Keeping an Eye on the futureAnother huge step that Informa took for this year's exhibiti on was to engage the young and those just coming into the industry. Coined as the Educati on Hub, within the exhibiti on hall, six schools

The Safety in the Entertainment Industry panel discussion

Keeping the focus on the young, Informa also held the fi rst PALME / ITE Apprenti ce Staging Design Competi ti on. Students from related courses of the ITE namely; Performance Producti on and Electrical Technology (Lighti ng & Sound) were involved in this inaugural staging design competi ti on, with the support of industry partners and exhibitors. Held in tandem with the Exhibitors cocktail recepti on on the fi rst night of the show, students pitt ed their skills against each

Beat Box entertainment at the PALME/ITE Apprenti ce Staging Design Competi ti on cum Cocktail recepti on.

The runners up of the Apprenti ce Staging Design Competi ti on: ITE College West with the Managing Director of Informa Exhibiti ons Pte Ltd Rosalind Ag

The winner of the Apprenti ce Staging Design Competi ti on: ITE College Central with the Managing Director of Informa Exhibiti ons Pte Ltd Rosalind Ng

Keeping the BeatPioneer helped conti nue the traditi on of the DJ Batt les that have been part and parcel of PALME Asia. This year it wasn't just about the batt le of the DJs but clinics and performances helped to off er that much more for the visitors. There was the Electronic Dance Music Producti on Clinic presented by Industry producers Case Woo, Akien and Zushan as well as Tips and Tricks of Digital Scratching which was presented by DJ toMU. Performances to inspire the next generati on of DJs was also showcased by DJ Pucuy from Indonesia who was the Pioneer Asia DJ Champion 2012.

other with their audio and lighti ng mixing skills. For many of them this was their fi rst hands on experience in front of a crowd. Said Anna Cheong, Exhibiti ons Director, Informa Exhibitons Pte Ltd, “It provided the parti cipants with an excellent opportunity to understand the rigours of the industry and experience fi rst hand the buzz of being involved in a live event. We hope that this will inspire them to improve and come into the industry.”

The crowd at the PALME/ITE Apprenti ce Staging Design Competi ti on cum Cocktail recepti on.


FROM THE SHOW FLOOR

Analog Way features its full LiveCore platform range

Meditec focuses solely on Mipro

Prolyte showcases its newest hoist range

Audio Technica showcases System 10 digital wireless system

VSL Audio and Visual highlights dBTechnologies

Analog Way went all out to make their presence felt. They had one of the largest booths not only on the show fl oor but in their history of exhibiti ng at PALME Asia. They made full use of it by exhibiti ng and

demonstrati ng their new LiveCore series. This was supplemented with the LiveCore Series training seminar that was held at Level 3 of the conventi on centre.

By the third day of the exhibiti on the response to the LiveCore series was widely positi ve. “We had some enquiries from interested parti es and the strategy of the booth worked great because we had the systems on-site to allow them to get a feel of the series and allowed us to answer any and all of their questi ons, both visually and verbally,” said William.

www.analogway.com

Lift ing, drive and control soluti ons from ProLyft make producti ons happen, on stage, on tour, in theatres or sports arenas. They ensure safe object or performer movements and protect performers in their daily work. Following its recent launch in Palm China, and earlier back in Frankfurt, Moscow, Dubai, and Malaysia, Prolyte's newest hoist range, the ProLyft AETOS fi nally reached the shores of Singapore.

The AETOS range is fully equipped to meet future demands in lift ing equipment and off ers clever features and carefully engineered product att ributes. The AETOS

range comprises of a standard 500kg and 1000kg hoist and will be expanded in the near future.

www.prolyte.com

One of the highlights of the brand's booth was the System 10 Digital Wireless System which targets musicians and end-users who want an uncomplicated system. Operati ng in the 2.4 GHz range, immune to TV and DTV interference, System 10 off ers amazingly accurate sound and extremely easy operati on with instantaneous channel selecti on, sync and set-up. System 10’s offi cial ambassadors, Brandon Khoo and Simon Yong were on site to demonstrate the wireless system on the show fl oor.

www.audio-technica.com.sg

Meditec off ers a complete spectrum of audio products for both consumer and professional markets in Singapore, Malaysia and Brunei. They are the sole agents for Mipro, FBT, KEMPTON, Tach, Sherwood, BSD, AV-Jefe and TVS products within these countries.

On their strategy for this years’ show, Lionel Lim, Managing Director at Meditec shares, “We decided to only showcase the MIPRO brand on its own for this year as we think this is the most cost-eff ecti ve way towards brand building; as opposed to presenti ng a broader range of only a few from each of our distributed brands.” He conti nues, “The student crowd was especially heartening as they are our “future market”. It’s a great way to promote and spread the word about the MIPRO brand.”

www.audio.com.sgwww.mipro.com.tw

Incorporated in 2002, VSL Audio & Video Sdn Bhd is a distributor and supplier of commercial audio, visual, stage and lighti ng equipment for the hospitality industry in Malaysia and South East Asia Region. The booth’s main product focus was based on Italian audio manufacturer, dBTechnologies speaker system of which VSL is the appointed distributor.

www.vsl-group.net

Sindo brings latest solutions from its Principals to the exhibition

Quad Professional sells off all its Klark Teknik DI Boxes

Robe showcases the MiniMe

Total Solution dedicates a stand to coolux

Sindo who are distributors of Allen & Heath, QSC Audio and KV2 Audio, among others, featured a booth fully supported by their big name brands. Proudly displayed at the booth were the latest off erings: QSC Audio’s Acousti cPerformance Series Loudspeakers (AP Series); Allen & Heath's QU-16 compact digital mixer and KV2 Audio’s ESD 1.15 series speakers.

Total Soluti on is a veteran distributor of many of the top of the range lighti ng, truss, hoists, wireless and media system soluti ons. As always the whole range of soluti ons were showcased at the exhibiti on. However this year Total Soluti on decided to dedicate an enti re booth space to Coolux. “This year, we did it diff erently for coolux. The brand has a dedicated stand due to its popularity and over the last 4 years, we have been having great success with the brand,” said Glenn Wong, Managing Director of Total Soluti on. It is not surprising as Coolux has made a huge impact within the industry.

www.tsm-int.comwww.coolux.com

Vincent Tan, Quad Professionals’ Sales Director called the new DN200 Dual-Channel Acti ve DI Box a testament to, “Klark Teknik quality”. The team had brought in only 12 units for the show and by the fi rst day, a customer had already off ered to relieve them of all their units. Vincent explains, “We wanted to use the show as a platf orm to introduce this product but surprisingly the demand was quite high and it caught us off guard.”

www.quadpro.com.sg

Featuring the MiniMe eff ects lighti ng luminaire for the fi rst ti me in Asia, the team from Robe were represented by their own booth combined with their distributor in Singapore, Lighti ng & Sound Distributi on (LSD). The luminaire features a full video output with colours, gobos and beam shapes that are all digitally generated by the on-board micro-media server. Custom artwork, sti ll photographs and video can be simply uploaded for projecti on, whilst live video can be streamed through the HDMI input. Another hot favourite at the stand was the Robe Robin Pointe which is now very popular among internati onal touring bands.

www.robe.czwww.lsdsingapore.com

Harman’s Martin showcases its Viper and Rush series

Strobe and more. The MAC Viper Wash™ and MAC Viper Wash DX™ with internal framing are full-range wash luminaires capable of performing at the high level you would expect from a professional wash light. Both luminaires feature the same compact form, impressive speed, superior light quality and beauti ful colours of the MAC Viper Family and use the same 1000 W HID source.

First launched at Prolight + Sound Frankfurt, RUSH is Marti n’s new, cost-eff ecti ve line of installati on eff ects.

www.marti n.com

Displayed for the fi rst ti me in Asia was the enti re Viper series which includes the Viper Profi le, Performance and 2 wash lights and the Rush series which features Beam, Wash,

LSC Lighting makes a sale with its new LSC LX600 Clarity console

Laservision at home at MBS

Mahajak SKM Electronics showcases full Harman range

Audio Light Asia presents solutions from GUIL

The Australian manufacturer showcased its soluti ons at its distributor booth, Lighti ng & Sound Distributi on and went off pleased with the sale of its new LX600 Clarity console.Louis Teo of LSD, made the sale to AIMS Producti ons LLP. Edwin Tan, Business Development Sales and Marketi ng for AIMS Producti ons LLP shared, “We’ve been avid users of the Clarity VX20 since its fi rst launch and it has been serving us prett y good. However, our company has also grown bigger over the past few years. There’s a need for more features, which the old board does not support. Thus, it’s only natural that we went ahead with its much bigger brother.”

The LX console allows seamless integrated control of conventi onal, LED and moving lights, media servers, and even audio playback from a single device.

www.lsclighti ng.comwww.lsdsingapore.com

Showcased and represented for the fi rst ti me at the show was the latest range of stage, lift ing and trussing products from GUIL. Audio Light Asia is the exclusive distributor in Singapore for GUIL, who specialise in the design and manufacturing of staging, lift s, trussing, crowd barriers, modular structures for audio and lighti ng equipment.

www.audiolight.com.sg

Partly why the company exhibited at this year’s show was due to the fact that their fl agship project highlights the Marina Bay Sands venue every night. The company had a large part to play in the conceptualisati on of the laser light show that frames the venue when the sun goes down. Unfortunately, this is not public knowledge. That was where PALME Asia came in by helping provide a good opportunity for the team to make contact with many potenti al clients and explain exactly what it is that Laservision does – create and connect.

On display at the booth was the company’s XHD-54 LED fountain light that can be used as an outdoor light and comes equipped with 8000 lumens, full RGBW and a wide range of lenses. As well as the XHD Video Server which was brought to the market specifi cally because there was no other product like it. A server that is able to handle the complexity of large

scale 3D architectural lighti ng such as that of the Veneti an Carnevale in Macau which the servers soft ware is based off of.

Summing up the philosophy of Laservision, Shannon reminds everyone, “We sell turnkey soluti ons so instead of selling a product, we sell an att racti on then we design the technology that we implement into that att racti on.”

www.laservision.sg

Taking up a huge stand at the back of the Exhibiton Hall was Mahajak which showcased the whole range of Harman soluti ons. Mahajak had also set up a mini stage to showcase the range of their soluti ons with performances from arti stes. The busy booth got busier during their own VIP drink sessions period. Personnel from Harman were also at the stand to assist Mahajak and one of them was Harman's newest additon, Vince Perreux who is the Tour Sound Market manager for Asia. He assisted with inquiries and the

overall management of the booth as part of his welcome to Harman’s crew.

Sennheiser demonstrates its solutions with live performance

Sennheiser got down to the basics by demonstrati ng how its soluti ons can work together to off er harmonious melody. Local guitarist Syltra Lee performed to an enthusiasti c crowd over the 3 days of the exhibiti on. The rounded live stage was lined with the K-array Anakonda KAN 200 speakers around the sides of the stage, with the Sennheiser Digital 9000 Series microphones, as well as other K-array speakers including the Cheesebox (KRM 33) monitor speakers, Anakonda and the KR 202 portable Redline speakers.

www.sennheiserasia.com


Acoustic & Lighting System brings to market an alternative lighting console

Electronics & Engineering launches Shure GLX-D and BLX line

MDG provides effects at the exhibition

The Acousti c & Lighti ng booth was one of the few booths that was almost fully furnished with products new to the Asian market. The main draws to booth this year were the new Clay Paky Sharpy Wash light and the new TT range from RCF. Also on display was the new MQ16 lighti ng controller from Chamsys. “The MQ16 allows the market to consider another brand when it comes to choice of lighti ng consoles,” stated Eugene Yeo, asistant sales manager, Acousti c & Lighti ng System Pte Ltd. 4 sets had already been sold before PALME Asia opened its doors. Chamsys is jointly distributed by A&L and Malaysian based Stage Lighti ng Technology Asia (SLTA) within Singapore, Malaysia, Thailand and Indonesia. SLTA was also present at the booth to help out with queries through its General Manager Sebati en Juromwich.

www.acousti candlighti ng.com

A booth without walls allowed the products of Canadian manufacturer, MDG to be displayed proudly. A smart move considering the main highlight of the company’s booth was their ICE FOG Series. Extremely quiet and low fog products that come in a self-contained unit on wheels for easy transport, the ICE FOG series products are compati ble with remote control ti mers and DMX interfaces. The Ice Fog Q- the quietest low fog generator on the market has a low fl uid consumpti on of 0.09 L/3oz per minute at full output and has been sold to internati onal acrobat act, Cirque Du Soleil amongst others.

www.mdgfog.com

(L-R) Hugh Chinnick from Pacifi c Lighti ng (H.K) Limited with Sales Director, Theirry Pouliot of MDG.

Always prominent at PALME Asia, E&E once again took up a huge space at the front entrance of the exhibiti on to showcase the many soluti ons from its various principals. EAW's recently launched Anya made a debut as well. E&E also took the opportunity to showcase Shure's GLX-D Digital Wireless Systems as well as the BLX Wireless System that was launched at NAMM this year. The revoluti onary Shure GLX-D Digital Wireless Systems combine leading-edge LINKFREQ Automati c Frequency Management technology with best-in-class intelligent lithium-ion batt ery rechargeability to defi ne the new standard for seamless operati on and digital audio clarity. The GLX-D system features a wireless receiver (GLXD4), a handheld transmitt er (GLXD2), and is well suited for front and back vocal and small performances as well as for guitars, bass woodwind and percussion instruments.

www.enepl.com.sgwww.shure.com/asia

www.ptmtj.com

Fahmi Pitono, Director of PT. Sentra Niaga Perkasa (SNP) Indonesia with the offi cial plaque pronouncing the company as Analgo Way's new distributor. With him is Lawrence Wai, Regional Sales Manager for AnalogWay.

Consultants, Distributors, Manufacturers, System Integrators...we are all one happy family.Dave Croxton of KV2 Audio with Koh Huimin of Sindo Exports.

Talented local pop/rock strings quartet, VOX at the Audio-Technica booth.

Starti ng the party early:) Glenn Wong of Total Soluti on.

Dina Menon of E&E with Chris Tsanjoures of Rati onal Acousti cs.

Winner of the Opening Recepti on Special Lucky Draw with Rosalind Ng of Informa.

JR Chai of Philips Varilite sharing his knowledge.

Winner of the Pre-event Seminar Delegates’ Lucky Dip with Anna Cheong of Informa.


www.palmeseries.com/vietnam

www.informa.com

www.informaexhibitions.com/sg

www.facebook.com/PalmeVietnam

www.twitter.com/palmevietnam

www.linkedin.com/in/palmevietnam


PALMM Philippines stronger than everEntertainment Technology Asia exhibited for the very fi rst ti me at this year's PALMM Philippines and the response was fantasti c. Almost all our magazines were snatched up in a matt er of hours on the fi rst day! Before we delve into the review of the show, held at the SMX Conventi on Centre in Manila, the ETA team would sincerely like to thank everyone who showed their support for us and for the warm recepti on we received at our booth. And even though the exhibiti on for the professional Sound, Light and Visual industry was combined with other ongoing exhibiti ons this year, it sti ll managed to stand out from the crowd. With exhibiti ons from the F&B and cosmeti c industries going on at the same ti me and in the same area, it looked like a disaster but may have actually been a blessing. Not only did it create broader awareness for our industry, guests were also treated to a perfect chaos of entertainment with lighti ng, visuals and audio. By speaking to att endees on the show fl oor, it became clear that there was a litt le of something for everyone to be found at halls 1-4. Now read on, for the must-see highlights of the 2013 editi on of PALMM Philippines!

Walking into the hall, one of the fi rst things you would have seen was StageCraft Internati onals' large booth. Placed right in front of the entrance to the halls, StageCraft went with a 'Summit' theme for their booth and displayed their products on a makeshift round-table with laptops and conference microphones. Corporate Communicati ons Offi cer, E-Anne Enriquez stated, “Every year we have a theme and this years 'Summit' represents the diff erent industries we cater to. We pair them with laptops to provide a visual descripti on of our products while our sales reps are on hand to add that extra touch of support.”

of having 4 exclusive 9000 series microphone heads with lowest possible handling noise and pop sensiti vity.

the exhibiti on hall. Reynald stated, “Even though we distribute over 100 brands, the systems we chose at this show had to cater to our theme. We chose EV because we wanted the full concept of broadcast to be seen and felt.” By the end of the second day, Robin was pleasantly surprised at the enthusiasm of the guests. “We have had so many inquiries and advance orders which is great, because now we can gage the response even before the offi cial launching of the series,” he said. The offi cial launch was said to be held later within the month.

Delving further into the throngs of exhibitors, a booth shared between Red Tech System Plus (Red Tech) and Stage Riggers was found. Showcasing the latest off erings from the Prolyte Group, they were also assisted by Prolyte reps who were on hand for every day of the show. This was the fi rst ti me that Stage Riggers and Red Tech worked hand in hand to display various products from the European manufacturer. The two main product focuses of the booth were Prolyte's i-line range which includes the standard X and H 30 and 40 range truss inclusive of the corners, connectors and other related accessories as well as the full StageDex’s staging range with

(L-R)StageCraft Internati onal's Corporate communicati ons offi cer, E-Anne Enriquez with Sales lead, Sheila.

Among the brands displayed were Barco Projectors, Vari*Lite fi xtures, Robert Juliat, Panasonic screens and Sennheiser's D9000 series. “With our theme,we are promoti ng an integrati on of an enti re system and clients benefi t by gaining more insight about what they are purchasing,” she added. Daniel Lagdameo, the Business Development Manager for the Philippines arm of Sennheiser, was on hand to show his support and by the second day had catered to many inquiries from inquisiti ve att endees. The D9000 series includes the SKM 9000 digital handheld transmitt er which carries the tag

System 5-B large format digital audio console from Avid/Euphonix seen @ the EVI Distributi on Inc booth

Parallel to the StageCraft booth and also going for a theme approach was EVI Distributi on Inc, who steered their booth towards the broadcast market. According to Reynald Rodil, EVI's Product Manager for the Pro Audio division, the team chose the same prime spot (right at the entrance) and size (one of the largest) as last year's show. Showcased at their booth was the System 5-B large format digital audio console from Avid/Euphonix. In fact, Robin told us that EVI were the pioneers who brought the brand and the console into the Philippines and had already sold the mixer to one of the largest churches in the Philippines, though he declined to name names. The console itself boasts famous users such as Cable News Network(CNN) in America, ABS-CBN a major news network in the Philippines, R&B arti st Jay R Sillona and engineers from the Lord Of The Rings movie franchise.

As the offi cial distributors of Electro-Voice in the Philippines, EVI also displayed the ZLX series of loudspeakers. With the series displayed right in the front of their booth, it was no surprise that those were the fi rst products to be seen when one walked into

Prolyte's Managing Director for Asia Pacifi c, Menze Van Der Sluis (centre) with reps from Stage Riggers and Red Tech System Plus

accessories and the MPT Tower systems. The i-line range inquiries were handled by representati ves from Red Tech while Stage Riggers had a litt le bit more on their plate. Not only were they showcasing the new ProLyft Aetos range of manual chain hoists, but they also held a seminar enti tled 'Rigging Safety in the Entertainment Industry'.

According to Prolyte's Managing Director for Asia Pacifi c, Menze Van Der Sluis, the seminar was very well received. “We had close to 50 people show up and I think that was great.” The seminar was used as a platf orm to also introduce the new hoist range to the market. Aetos, which is Greek for Eagle, consists of quality in 2 versions. The manual chain hoists are available in a standard version and a rotable hand chain guide. Both versions off a 1000kg and a 500kg SWL capacity. According to the Prolyte Group, the new hoists are a must have for any elementary rigging needs in a variety of applicati ons.

Italian manufacturers, FBT were also featured through their offi cial distributor in the Philippines, One World Music and Sports, Inc (OWMS). Speaking to Export Manager for FBT, Roberto Mataloni he told us that he delayed his summer vacati on in order to come down and show his support. “We have a lot of followers in this region, thanks to OWMS. They have managed to raise the awareness of our brand and provide us with a lot of important contacts,” he said.

The widely successful booth saw 20 confi rmed sales of speaker systems by the last day of the show. Roberto gave the award for the booths biggest draw to the VERTUS CLA modular line array system, created for both live and fi xed installati on. Comprised of two products: the CLA 604a bi-amp two-way acti ve column speakers and CLA 208Sa acti ve subwoofer, the range was created with the thought of integrati ng professional line array technology in an extremely compact and elegant speaker column. Having att ended the show in the past, Owner of OWMS, Allan Chua commented that the show was.. “Defi nitely growing fast in terms of brand quality and especially in the high-end range. Clients are now more demanding and are learning more about what quality can off er and that helps us to help them.”

Also seen at the OWMS booth was D.T.S. Illuminazione srl. Exhibiti ng for the fi rst ti me at PALMM Philippines, VP Sales Franco Zaghini and his team was quick to roll out their big guns MAX, JACK, RAPTOR and the NRG1201 and NRG501 moving heads – bett er known as ‘The Dream Team’. He shares, “This

is defi nitely an interesti ng show. As we’re not quite known around here (in the Philippines), we’re really pleased with the crowd turnout. I defi nitely see a lot of potenti al in this growing market.”

Keeping up with appearances, retailer and distributor, JB Music & Sports, Inc had one of the largest booths on the show fl oor. On display at the booth, among others, was Allen & Heath's latest rackable digital mixer, the Qu-16 aimed at the live, studio and installati on market.

D.T.S.’s Franco Zaghini and his team

A&H representati ve, Alex Schlosser (centre) and Jericho Fernando, JB Music’s VP of Sales & Operati ons/Marketi ng Director (right) seen at the JB Music & Sports booth.

A new additi on to this year's exhibitor list was the Esco Pte Ltd booth. Headquartered in Singapore with regional offi ces spread across APAC, Esco has over 25 years of experience with technology services. While this was the fi rst ti me the company exhibited at PALMM Philippines, Regional Manager, Jeff rey Reyes told us that they had received many positi ve reviews from clients and partners who had come from overseas to support them and their products. The company has just transferred their Philippines offi ce to the City of Makati , which is one of the sixteen citi es that make up Metro Manila. Their presence at the show according to Regional Manager, Jeff rey Rayes signalled their move into aggressive marketi ng and engaging of diff erent verti cal markets and industries. “This year we just wanted to show our presence and prepare for next year where we plan to go all out.”

According to A&H representati ve, Alex Schlosser, the console has been receiving rave reviews in the Philippines and at the show itself. Jericho Fernando, JB Music's VP of Sales & Operati ons/Marketi ng Director told us that they had already sold out whatever mixers they had on hand and were trying to bring in more in order to cope with the demand from clients. “We have to bribe them(A&H) for more, we are trying to twist their arm”, he joked.

Regional Manager, Jeff rey Reyes (right) with the Esco team

One of the main things on the exhibitors minds this year was the growth of the show as compared to previous years. As stated by JB Music's Jericho Fernando,“This shows that the market in the Philippines is getti ng stronger and more prominent.” A statement concurred by representati ves from One World Music and Sports, Inc and EVI Distributi on.

E-Anne from StageCraft , like Jericho, felt the the show has fi nally started receiving the att enti on it deserves. She considered the show, “The best opportunity for us to showcase the brands we carry and the diff erent possibiliti es that we can provide.”

As for the future of the show, there are opti misti c views all around and though it has been said that many have not taken the show seriously in the past, that could not be said for this year's show. The PALMM Philippines exhibiti on is gaining momentum and is defi nitely something we should all keep an eye on.

www.gesi.com.ph

70 INSTALL September - October 2013

Situati onal Awareness Announcements are part and parcel of typical school environments. These could be announcements about specifi c events, a message from the school principal and more criti cally it could be safety announcements. Thus it is important that students know what to do and where to go as well as understand other vital informati on with regards to the nature of the announcements made. In these situati ons having complete, accurate and up to the minute instructi ons is essenti al.

As children generally have a short att enti on span it is also important that the message is delivered clearly and loud enough for them to hear it. For this reason, Fernvale Primary decided to implement a technologically advanced audio system to address this as well as to ensure the security and well-being of the school children.

Designing and implementi ng the audio system was Singapore-based Creati ve Elifestyles Pte Ltd. With the new audio system in place, announcements and messages are delivered with extreme clarity to the listening ear, and more importantly

delivered clearly over the noise of the enti re school.

Project Implementati on The soluti on Creati ve Elifestyles proposed for Fernvale Primary School Project consists of some new technologies like the Allen & Heath QU16 Digital Mixer Board and the KV2 Audio System ESD12 Two Way Full Range Speakers.

Prior to the KV2 Audio ESD 12 Front of House speakers that was chosen for the Government bid, the dimensions of the School Hall was sent to KV2 Audio in the Czech Republic to have an EASE acousti c simulati on. The input of the KV2 Audio ESD 12’s specifi cati ons into the EASE simulati on soft ware had been done and a few acousti c simulati ons were emulated to achieve the best possible fi ring angle and sound

Fernvale Primary School upgrades its audio system

SINGAPORE

KV2 Audio, QSC and Allen & Heath soluti ons provide clarity

The KV2 ESD12 FOH speakers

The QSC AD S282H Speakers that acted as delay speakers

dispersion for the School Hall, taking into considerati on very carefully the Noise cancellati on areas to cancel or at least minimize unwanted sounds.

With the innovati ve pursuance of excellence, the KV2 ESD range encapsulates multi ple disciplines, with a ti me aligned two way passive network in mid hi enclosures. Building block fl exibility in full system design and accompanied by electronics specifi cally designed to obtain superior audio performance, the ESD range off ers genuine ease of set up and operati on in a wide spectrum of applicati ons.

For the delay speakers, two units of QSC AD S282H was also incorporated with a further two units installed at the second level balcony area. An additi onal two units of QSC AD S82’s are used as monitors in the control room. All the speakers are powered by the QSC GX3 and GX5 Power Amplifi ers.

Having taken care of the high sound pressure level needed, the next “want” on the list from the school was to have the system doubling up for music and drama performance as well. Which meant that the whole spectrum of the audible frequency range was needed.

To achieve this, Creati ve Elifestyles installed Allen & Heath's latest digital mixer, the QU16. Allen & Heath’s QU-16 Digital mixer takes compact digital mixing to a new level with innovati ve design and excepti onal functi onality combining to create a superb professional mixing experience. Bristling with all the features you did expect from a top of the range digital console and incorporati ng technologies pioneered on the GLD and iLive digital mixing systems, Qu-16 has the power

and pedigree to deliver class-leading audio performance.

Creati ve Elifestyles Team took the bold move to propose a digital mixer to a Primary School as it had understood the requirements that the School had and to understand how best to eliminate the issues the School had with the current analogue mixer board it had. The issues faced were that they were unable to control the right volume of a parti cular event such as during the Assembly or Flag Raising Ceremony. This in turn also raised an issue on the specifi c microphone volume by individuals such as the Principal, Vice Principal, Discipline Master, whereby they had to always correct the individual faders to fi nd the correct volume & EQ levels required. The Allen & Heath QU16 Digital mixer did the trick as “scenes” were created to each individual event itself. Just by recalling a parti cular scene which had been programmed and stored, all they would

have to do is to recall a programmed scene, which triggered the QU16”s motorized faders to move into the preprogrammed level and EQ’s. This saved a lot of ti me and hassle compared to the analogue mixer board.

The new audio system has been embraced with open arms by the school. “The upgraded hall system provides clear output during assembly and other events. The ease of the digital mixer allows for the best projecti on of audio during assembly regardless of users,” said Mrs Mable Soh, Subject Head, ICT of Fernvale Primary School

“Creati ve Elifestyles is able to design and successfully install this project because of the experience and dedicati on of its people as well as eff ecti ve open communicati on channels with the school,” highlights Robert Adrian, Business Procurement Director, Creati ve Elifestyles Pte Ltd. The KV2 speakers as well as the QSC Audio soluti ons and Allen & Heath mixer was supplied by the local distributor Sindo Exports Pte Ltd.

The QSC GX5 Professional Power Amplifi ers

Allen & Heath QU16 – 16 Channel Digital Mixer

EQUIPMENT1 x Allen & Heath QU16 – 16 Channel Digital Mixer2 X KV2 Audio ESD12 Speakers (FOH)2 x QSC AD S282H Speakers (Delay)2 x QSC AD S282H Speakers (Balcony) 2 x QSC AD S82 Speakers (Control Room)3 x QSC GX5 Professional Power Amplifi ers1 x QSC GX3 Professional Power Amplifi ers

www.creati veelifestyles.comwww.kv2audio.comwww.allen-heath.comwww.qscaudio.comwww.sindoexport.com


TURBOSOUND, focus of attention at Café Del Mar

DUBAI

A TURBOSOUND Aspect loudspeaker system has been installed at the Café Del Mar in Meydan Beach, Dubai by

audio designer Joe Chidiac of Pulse Middle East, creati ng a focused, high energy dance fl oor sound fi eld.

Chidiac was invited to design the enti re audio, lighti ng and rigging system based on the solid reputati on he has built up in the UAE region, and by the high profi le of his stunning audio-visual and lighti ng design at the Diablo nightclub project in Dubai, which is owned and operated by local celebrity DJ Cowboy.

Buoyed by the success of Diablo and the confi dence he places in the technical support of the brand, Chidiac decided on a four-point confi gurati on of TURBOSOUND Aspect TA-500 three-way point-source loudspeakers to provide high level, low distorti on sound quality where it really matt ers.

As the Café Del Mar venue is within the boundaries of Meydan Beach’s up-market Jumeirah Beach Residence, a major considerati on of the project design was to minimize sound spillage into the nearby residenti al areas.

“The enti re venue could have easily been covered by two small line arrays,” says Chidiac.

“But as the DJ booth is facing the residenti al buildings, it became clear that line arrays wouldn’t be suffi cient in this case because I realized that potenti ally a lot of uncontrollable sound could be generated and directed toward the residences. We also had to take into account the wind speed and directi on, which can be unpredictable."

He conti nues, “One soluti on was to enclose the audio system in order to try to keep the sound within the venue, but that was not ideal. So I looked to TURBOSOUND’S Aspect point-source loudspeaker systems for a bett er soluti on.

“The TA-500 series was the best choice for this venue as the 50° horizontal by 25° verti cal dispersion is conveniently focused, and once you step out of the speakers’ hot zone and off the platf orm the sound level drops by around 10dB — a very useful noise reducti on which made the operati on easier by keeping the sound from reaching the residenti al buildings.”

The three-way TA-500s proved to be up to the task of achieving that goal, capable of outputti ng up to 141dB peak SPL, and were arranged in a four-point confi gurati on that concentrates very high defi niti on audio on the beachside dance fl oor.

Under each TA-500, a B-18 neodymium driver bandpass subwoofer from the NuQ series delivers low end punch down to 40Hz.

Additi onally, the club is equipped with a further eight TA-500 plus B-18 delay combinati ons, providing a balanced sound and completi ng a surround four-way system all over the venue. The system is designed as only one zone with the purpose of keeping the sound equally distributed everywhere.

The loudspeakers were specially treated to IP67 at the factory to withstand all possible weather conditi ons that can occur at the beach and in any season.

TURBOSOUND RACKDP-50 four-channel amplifi ers with built-in DSP power the whole audio system.

“The DSP-enabled amplifi ers provided a simple and speedy soluti on for programming and tuning the audio system,” says Chidiac.

“The project was completed in record ti me, taking only 12 hours to install and confi gure the enti re system including the lighti ng and rigging.”

“It was really impressive for a large system like this to be installed in such a short period of ti me,” he adds.

So concludes another successful project for audio specialist Joe Chidiac, lighti ng designer Rami Haber, and the Pulse Middle East engineering Team.

“It has been a great experience with TURBOSOUND,” says Café Del Mar’s owner Mr. Umesh Amarnani.

“I was very pleased with the short delivery lead ti me, product quality, and support.”

www.turbosound.com

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coolux Pandoras Box brings Ninja Magic to Eiga Mura

Toei Eiga-Mura, Kyoto’s famous movie theme park, now houses a popular Ninja themed acti on show, that

combines acti ng, stunt work and projecti on mapping with the help of a coolux Pandoras Box system.

The name of the show ‘Jiraya’, refers to a popular folk hero with the ability to use magical formulas in order to reach his goals.

Thirty minutes would seemed like a long ti me for only four characters to fi ll, but the actors manage to brilliantly combine charisma, humour and many visual references to both popular anime culture and ancient traditi ons.

Eiga Mura (literally “movie village”) is both a working Film- and TV studio, as well as a tourist att racti on. Countless famous Japanese period dramas were and are sti ll being shot here.

The setti ng is comparable to Western towns in American fi lm studios, since it can easily be adapted to new projects by changing the diff erent house and shop fronts ever so slightly.

The Jiraya show is one of the most popular att racti ons at the Kyoto Eiga Mura. Visitors can enjoy the performance three ti mes daily.

A shoji-screen style border frames the stage on three sides, which has a white projecti on

screen as its main background. Ambient content sets the mood for the diff erent scenes of the adventure narrati ve.

Due to the actors’ precision when it comes to hitti ng their marks on stage, it becomes possible for them to seemingly interact with some the projecti ons behind them.

In one scene, the red outlines of mysti cal Ninja appears, and in another, one of the heroes shoots energy balls at his opponent.

From the audience’s perspecti ve, the eff ect is very entertaining indeed!

Two soft -edged EPSON EB-Z10005 projectors, placed at the back of the theatre, and a coolux Pandoras Box system is all that is

needed to make the exciti ng story come alive and turn it into true family entertainment.

Both content and the technical implementati on were realised by the Japanese event and projecti on mapping specialist, Takenaka.

Old legends, modern technology and classical stage craft have been combined in an aestheti cally beauti ful show that will make adults think of their childhood heroes and will also resonate with children used to a steady diet of modern Dragon Ball style animati on series.

www.toei-eigamura.com/enwww.takenaka-co.co.jpwww.coolux.com

JAPAN

Meyer Sound Constellation brings great lyric to ASB Theatre

NEW ZEALAND

The principal venue of Aotea Centre in New Zealand, the ASB Theatre has installed a Meyer Sound Constellati on

acousti c system as part of its recent renovati on.

By subtly augmenti ng the theatre’s reverberant characteristi cs, Constellati on creates an immersive acousti c atmosphere and enhances the audience’s sense of envelopment.

The improvement was noted by New Zealand Herald music criti c Brian Rudman, “From the opening rumbles of the orchestra it was obvious that something magical had happened during the interior upgrading. Instead of the underwhelming ‘mono LP’ sound, there was volume, bloom, and the stereo-like envelopment you get in a great lyric theatre.”

The 2,068-seat hall’s original acousti cs were opti mized for amplifi ed events.

To provide acousti cs that support ASB’s orchestral and operati c performances, Principal Consultant Chris Day of Marshall Day Acousti cs specifi ed a balanced approach blending both structural and acti ve electronic soluti ons.

On the structural side, Day added new side and overhead hardwood refl ector panels and parquet fl ooring.

To provide the ideal acousti c support for classical music, ASB decided against the cost-prohibiti ve opti on, which required raising the ceiling to add room volume. Instead, ASB chose Constellati on as a cost-saving opti on that provides a broadband extension of the reverberant envelope.

The system also allows room operators to tailor the acousti cs for any event with the press of a butt on.

“We’ve had good feedback from patrons, parti cularly during the recent opera,”reports Kerry Griffi ths, head of technical

operati ons for THE EDGE, the umbrellagroup that operates Aotea Centre and other Auckland venues.

“Management has been pleased. And I’m relieved that we now can provide concert hall acousti cs for orchestral presentati ons. It’s also enhanced what we can off er for opera, both for singers and what we hear from the pit orchestra, which is vastly improved.”

At the heart of ASB Theatre’s Constellati on system is a D-Mitri digital audioplatf orm with three core processors, 12 input/output frames, one core matrix, and six dedicated processors running the patented VRAS™ acousti cal algorithm.

Forty-four cardioid and 32 omnidirecti onal microphones provide ambient sound pickup, while the enhanced acousti cal response is precisely reproduced through a total of 268 very small self-powered mid-high loudspeakers including Stella 4-C installati on loudspeakers, MM-4XP self-powered loudspeakers, UP-4XP 48 V loudspeakers, UPJuniorVariO loudspeakers, and 24 MM-10XP subwoofers.

The Constellati on system was provided and installed by Bartons Sound Systems of Auckland under the project supervision of Robert Waddell and Tony Wehner.

www.meyersound.com

76 LIVE September - October 2013

Put On Your War Paint!Sing

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When American pop-punk band Fall Out Boy(FOB) rolled into Singapore as part of their Save Rock & Roll

tour, organisers Live! Empire hit the ground running to ensure a great show. They quickly called upon the experti se of local rental company, Titans Music Producti ons (TMP) to provide not only the enti re technical support for the show but also to ensure the fans of FOB would be getti ng a show worth their money.

Held in the country's visually stunning, Fort Canning Park, there was an added pressure for the team from TMP as this would be the band’s fi rst return to a Singapore stage aft er a three-year hiatus.

Known for their lengthy song ti tles, e.g 'My Songs Know What You Did In The Dark(Light Em Up)', the band is back with their fi ft h studio album,the tongue-in-cheek ti tled "Save Rock and Roll," which debuted at the No. 1 spot on iTunes. Quite a considerable feat for a small town band that have managed to become a household name in the internati onal pop-punk arena.

When walking into the venue, the main advantage for the audio was clear to see. The 2 layer stage was set at the bott om of a hill in a 45degree incline. According to the

Main Protagonist of TMP, Taufi q Suratman, the incline and the fact that the FOH was set less than 15m from the stage were some of the unusual bonuses that the concert would produce.

Wanti ng to get that extra 'UMPH', FOB management spec'd a full L'Acousti cs system consisti ng of the Kudos as the main FOH with 10 units fl own left and right. Along with the 14 SB28 Subs, 4 Arcs , 4 SB18 and the 6MTDs

which were used both as front fi lls and monitors.

Taufi q told us how the L-Acousti cs' Soundvision soft ware, used by countless engineers around the world, was a 'big help' during his initi al planning as it “..did most of my work for us, it plans out the where and how you should angle the speakers, making our job so much easier.”

Fans of Fall Out Boy heaved a collecti ve sigh of relief aft er the news of the band’s return to the music scene was released. Backed by Clay Paky, D.T.S Lighti ng, Avolites, Digidesign and L-Acousti cs, Titans Music Producti ons rocked Singapore’s Fort Canning Park with a concert that declared war on bad music.

As much as the soft ware helped his allocati on of the equipment, he went for a more human touch for the fi nal tune-up sessions a day before the actual show.

Employing the help of Freelance Sound Engineer, Wahab, together with main Sound Engineer Mahdi from TMP, Taufi q explained, “A computer can only do so much, it can't appreciate the surrounding trees or depth of the stairs. You need trained ears to truly understand what needs to be done.”

The diff erences in experience and sound were clear to see by the bands diff erent strategies to portray their craft s. Empra, a rising semi-Australian band (the lead singer is from Singapore) that are quickly winning fans all across Asia, used the L-Acousti cs' Mtds monitors on stage while FOB decided on in-ear monitors by Sennheiser A choice that, according to Wahab, enables a band to get a bett er “feel” of the music and is now, “quite common with younger bands”.

While the bands shared the Avolites Pearl for lights, they went with two very separate heavy-weight brands for their audio console.

Empra relied on Allen & Heath's iLIVE T112 console controlled by local Sound Engineer/Music Producer, Leonard Soosay, who also happens to be the mentor of Empra's lead vocalist, Sanny Veloo.

On the choice of the Allen & Heath console, Leonard commented, “I was quite surprised

the board was chosen because most of the ti me for other shows you have the main act with a more advanced mixing board but in this case, Live! Empire have given me a board that is equally as good as the main acts. That means they don't want the opening act to be inferior to the main act as long as they sound as good and people have a good ti me.”

On the quality of the console, he added, “Even though I have used this board many ti mes in the past, I didn't have to spend much ti me refreshing myself because the functi ons are quite basic. This gives me more ti me to spend on getti ng a bett er sound rather than fi guring out what knob does what.”

For the main act, a Avid Digidesign console was chosen and was supplied by TMP.

Assisti ng FOB Sound engineer during the show, Wahab commented, “The mixing was very nice and everything was done very well. The Digidesign was everything the band wanted and I think the people who have been in the industry long enough know how to appreciate a great console.”

The night really got started when FOB took the stage with their own brand of unapologeti cally high-energy rock sound. Riding the wave of the audio, the mood lighti ng had to hit the audience hard as well.

TMP's Lighti ng Engineer, Masyadi, uti lised 24 units of the Alpha Beam 700 by Clay Paky to highlight the band and really put the fans

in the mood. Framing the band in cyan, magenta and yellow were 14 units of Clay Paky's Alpha Wash 700. Robb Jibson, FOB's Lighti ng and Video Designer personally spec'd the Clay Paky fi xtures. He stated, “Clay Paky fi xtures are second-to-none, they are always my fi rst spec.”

Further complimenti ng the main lighti ng, as per rider request, TMP supplied 12 units of D.T.S Lighti ng's XM 1200 along with 36 ParCans and 8 Molefays.


Both bands requested for the same lighti ng console, trusti ng in the quality of an Avolites Pearl 2010, a console which never seems to stay in any company's storage for long. Riders in Asia and around the world have been known to request this bestselling console from Avolites. Robb also personally brought in his own Pearl, stati ng, “I typically travel with my own console because it's easy to bring around and it gives me a familiar interface every day. Its versati lity also allows me to travel and plug into systems where-ever we go.”

With more than 4000 fans expected in the fi eld behind the Fort Canning Green building, TMP placed 2 projector screens from Dalite. The somewhat confi ned area worked out well for the audience since the left and right screens were so close, some teenage fans were seen singing to the band when their faces were displayed on the screen via Panasonic projectors. An immersive experience, to say the least.

The backdrop for both bands was a hoisted 5m by 3m LED wall, fed by a Catalyst Media Server that spat out some of Fall Out Boy's newest video's like 'The Phoenix' and even a Rock 'n' Roll montage that paid homage to rock legends like Freddie Mercury of Queen and Kurt Cobain of Nirvana.

Media was controlled via a Jands Vista console on which Robb commented, “I'm a big fan of the Jands Vista console. It's a completely diff erent way of thinking about programming shows, it’s all ti meline based and it's all like working in [the] aft er-eff ects so it’s very seamless to go from one video program to your lighti ng program. It's basically like you're making a ti meline of the events the way you want them to happen, all you have to do is hit 'Play' and it happens.”

Helping Robb ensure display video was smooth and under control was TMP Video Engineer, Abdul Aziz.

A night of supercharged spirits and euphoric sing-a-longs ended on a note as high as it had begun. The venue mixed with the fi st pumping that never seemed to end, made one feel transported to the large open-air festi vals commonly seen in Europe. Taufi q, who seemed very pleased with himself and the crew, stated that if he could change one thing, “It would be the lights. We wanted to add more but we didn't want to complicate things aft er the rider. We defi nitely wanted more...You know how it is, there are never enough lights.”The overall experience of the show was very personal and the band even took the ti me to personally explain why they left and why they had come back – to Save Rock 'n' Roll. If the saviours of Rock 'n' Roll are armed with such powerful equipment, it kind of makes you feel sorry for the bad guys, doesn't it?

www.ti tans.com.sg

Robb Jibson, FOB's Lighti ng and Video Designer Freelance Sound Engineer, Wahab TMP Director, Taufi q Suratman with (L-R)TMP Lighti ng Engineer, Masyadi, Sound Engineer Mahdi and Video Engineer, Abdul Aziz

G-Dragon blazes through Mata Elang International

Indo

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Clay Paky and Vari*Lite fi xtures light up South Korea's G-Dragon worldwide tour.

Following the success of South Korean boy band, Big Bang's fi ft h mini-album, Alive, and their subsequent world tour,

G-Dragon,the leader of Big Bang, decided to release a solo album. Enti tled, One of a Kind, the album was criti cally and commercially acclaimed, selling over 210,000 records as well as being nominated for the 10th Korean Music Awards, among others, and winning accolades such as Record of the Year from the Seoul Music Awards.

Riding on the success of his release, G-Dragon took to the road to promote his record with his worldwide One of a Kind tour consisti ng of 26 shows in 8 countries and 13 citi es. For his Indonesian leg of the tour, the mega star chose the Mata Elang Internati onal Stadium (MEIS) located at Ancol Dreamland in Jakarta,Indonesia, for its size and capabiliti es.

Guided by veteran Lighti ng Designer/Adviser, Bernard Chew, along with G-Dragon's own lighti ng designer, Jihae Hyun, the lighti ng

set-up consisted of 50 Vari*Lite VL 3000 Spots together with the ever-present Clay Paky Sharpy's of which, 35 units were used. All were specifi ed by G-Dragon to begin with due to their reliability and presence in the worldwide touring scene.

On the combinati on of using the VL 3000's and Sharpy's, Bernard comments, “It was a great mix of the two best lighti ng manufacturers in the world which in turn, produced a spectacular lighti ng showcase unlike any other”.

At the FOH, Hyun along with great help from Chief Lighti ng Designer, Deddy and Lighti ng Engineer, Hassan controlled the atti tude of the show via a grandMA2 light console which is able to control all kinds of lighti ng genres such as conventi onals, moving lights, LEDs, video and media. Lighti ng control was complemented further with two grandMA2 full-size consoles which represent MA Lighti ng's most powerful console.

The massive success of the show was testament to the cohesion of the devoted team to bring the 'Dragon' to the many fans that made the trip to the stadium. All this for the superstar that has been placed on the list of “50 Reasons Why Seoul is the Best City” by worldwide news network, CNN.

Delighted aft er the show, Bernard sums up, “It was everything I wanted and I am very proud that the choice was made to combine both the VL 3000 and Sharpy's to produce a light show befi tti ng the Dragon!”

mataelang.com

Taking a breather before the show, G-Dragon's lighti ng designer, Jihae Hyun, along with Lighti ng Designer/Adviser, Bernard Chew.


Robe Lights Watan Al Ahlam EventDub

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UAE-based Lighti ng Designer Terry Miranda specifi ed over 120 Robe fi xtures to realise an eye-catching

design for “Watan Al Ahlam” (Country of Dreams), a musical performance staged by the UAE Ministry of Educati on at the Dubai World Trade Centre. Students from schools across the UAE parti cipated in the event directed by a team of Emirati professionals. This enabled them to showcase their talents in front of an invitati on-only audience comprising high ranking government offi cials and locals.

The Robe lights – along with the complete technical producti on - were all supplied by Dubai based Lighthouse Producti ons of which Miranda is also a Founder / Director. Lighthouse has a large rental stock of Robe, and Miranda is one of the leading LDs in the country, working on a diverse selecti on of producti ons. The stage design was based on a futuristi c theme, with video projecti on mapped to a large backdrop setti ng the scene with dramati c visuals. This set up was also Miranda’s starti ng point for the lighti ng.

The trussing lines mirrored the wedged shaped stage arranged in triplicate decreasing perspecti ve, with each run of trussing a slightly diff erent size all adding to the depth and perceived height of the performance space. All the moving lights in the rig were Robe. The fi xture count included 12 x ROBIN MMX WashBeams, 24 ROBIN 300 Beam Classics, six ColorSpot 2500E ATs, 12 ColorSpot 1200E ATs, 28 ColorWash 575E ATs, 18 x ColorSpot 575E ATs and 24 x ColorMix 240s. The lighti ng was split into fi ve secti ons.

The rear truss followed the curve of the backdrop and was rigged with 14 of the

ColorWash 575E ATs, 12 ColorSpot 1200E ATs and 16 of the ROBIN 300 Beams. On the largest 18 metre triangular truss above the stage were four more ColorWash 575E ATs, six ROBIN 300 Beams, two of the MMX WashBeams and another four ColorSpot 1200E ATs. On the smaller 12 metre triangle were ColorWash 575s, the remaining ROBIN 300 Beams, a couple of ColorSpot 1200E ATs and four ROBIN MMX WashBeams.

On the smallest 6 metre triangle were four ColorWash 575E ATs and two ColorSpot 575E ATs.

The front truss featured six MMX WashBeams, the six ColorSpot 2500E ATs and eight ColorWash 575E ATs. All the trusses were toned by Satellite LED bricks which accentuated the architecture of the rig very eff ecti vely.

Miranda especially liked the MMX WashBeams, a relati vely new additi on to Lighthouse’s hire stock. He saw the WashBeam in acti on for the fi rst ti me at the 2013 PALME Dubai exhibiti on, and placed an order on the spot! Robe’s Middle East offi ce headed by ME Regional Sales Manager Elie Batt ah then ensured that the new units were

delivered to Lighthouse in super-quick ti me for this show. They were used as beams and washes as well as shutt ered down ti ghtly for specifi c scenes. They were also used for spotti ng and gobo work.

“It’s the fi rst ti me I have been able to achieve so much from one fi xture,” Miranda declares. “They are hugely versati le and I’m delighted with them,” he enthused, adding “They are an absolute dream to work with – so multi -functi onal and so light in weight!” In fact, he could easily envision producing an enti re lighti ng design with MMX WashBeams as the designer can eff ortlessly move between a spot, a wash or a beam fi xture and achieve so much more dynamics … with fewer lights.He was impressed with the intensity, the beam shaping and the shutt er framing, which allowed arti sts to be pinpointed almost anywhere on the stage. His only regret was “Not having enough MMX WashBeams on the show!”

The lights were programmed by Adrian Guzmann using Jands Vista T2 and L5 consoles. The show’s Producti on and Video Content Designers were Lighthouse’s Mohammad Tameem & Rizwan Zafar.

The operett a was televised live on Dubai TV & Sama Dubai and att ended by His Highness Shaikh Mohammed bin Rashid Al Maktoum, Vice-President and Prime Minister of the UAE and Ruler of Dubai. Lighthouse subsequently received an Award from the Ministry of Educati on for their ‘Outstanding work’ on this event.

Miranda and Lighthouse’s relati onship with Robe dates back to 2003. He reckons that investi ng in the Robe brand has helped Lighthouse maintain its reputati on for award winning lighti ng and producti on designs over that ti me by “Supporti ng us with outstanding products and service”.

www.robe.cz

www.infocomm-mea.com

www.infocomm-mea.com


Since 2010, SOUND.COM has been at the forefront of some of the biggest sporti ng and entertainment events

in India. Therefore when the company embarked, at the beginning of the new fi nancial year, on the Opening Ceremonies for Indian Premier League (world-leading Twenty20 cricket championship) they were confi dent they could put on an audio spectacle to match similar ceremonies, such as the Commonwealth Games in 2010.

The multi -purpose Salt Lake Stadium in Kolkata was chosen to host the opening ceremony of the cricketi ng franchise this year with the inaugurati on promising to be one of

SOUND.COM and Optocore mastermind opening of IPL

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the most spectacular events ever witnessed. Built in 1984, the stadium is the largest in India and the second largest in the world with a capacity of 120,000. With its astroturf surface the facility primarily caters to football matches and has also hosted athleti c events in the past.

But according to SOUND.COM MD, Warren Dsouza, it wasn't an easy venue to design and deploy an audio system. “It takes a lot of experience, and one has to work through a lot of infrastructure related obstacles in order to put a system together.”

With bases in Mumbai and Delhi, SOUND.COM sent a proposal to main contractors - Dutch based, Poly Worldwide Entertainment - setti ng out their credenti als. “The belief that they had chosen the right audio company in India was established as soon as we opened our fl ight cases,” he said. “We had everyone inspecti ng and admiring our Optocore digital transport system and our self-styled OptoRacks,” he said.

The latt er combined a large number of Optocore devices with Dolby Lake processing, and the Optocore network was wired in a redundant ring for fi bre failure back-up. Additi onally there was an analogue back-up to each amplifi er positi on.

“This technology has allowed SOUND.COM to scale to any level of audio producti on, no matt er how big the stage is. But nothing takes away from the human element — and

the ability to integrate all this is the ulti mate key to a successful show,” said Warren.

“The successful cooperati on between SOUND.COM sound engineer Sunil Karanjikar and co engineer, Poly Worldwide’s Fred den Dulk, with their respecti ve teams, was the underlying reason for a successful show,” he adds.

A large JBL VerTec PA system was rigged, driven by Crown ITech-HD 12000 and LabGruppen PLM10000Q amplifi ers, with every loudspeaker element networked and controlled using the Lake controller and

Harman’s Performance Manager. Sound.Com deployed 4 OptoRacks, each consisti ng of 1 x DD32R-FX and 1 X6R-FX (16 Mic In) units. One each was positi oned at the console, stage left , stage right and at a central delay positi on for the delay arc. Also available were Optocore DD32R-FX, DD4MR-FX, DD2FR-FX MADI interfaces, although on this occasion, the event was not multi tracked.

Finally, the racks also housed a network switch that ran via a spare fi bre link in the cabling, to help provide network control over the Dolby Lake devices. “Opti cal isolati on allowed us to run the various positi ons on diff erent gen-sets without having to worry about power induced issues,” stated Sunil.

Considering the stadium would get extremely hot and humid — as high as 38°C — all devices had to be conti nually monitored for overheati ng. And here Optocore came to the rescue, as Sunil explained. “Though the network switches developed a communicati on error because of the heat, the Optocore devices performed fl awlessly and we were able to use the System Ethernet opti on on the Optocores to regain control of the Lake devices which we had lost.”

For the headlining act Pitbull, the touring engineers had specifi ed Avid consoles and SOUND.COM supplied the enti re kit and backline gear for the act as well. The consoles were patched into the PA and monitors using Dolby Lake devices and the input matrix

feature on the devices helped to match multi ple consoles.

Summing up, Warren says, “The main challenges were really logisti cs — weather, rigging, getti ng the gear into the stadium with West Bengal waybill bureaucracy. Actually the business of putti ng the kit together and executi ng the show was a breeze.”

Sunil adds, “As for the Optocore, the visiti ng engineer specifi cally commented as to how the network seemed a lot faster using this system than on a dedicated IT network switch.”

www.optocore.com


ACME “2Gether 4Ever” with S.H.ETaiw

an

Since releasing their fi rst album Girls Dorm in 2001, members Hebe Tian, Selina Jen and Ella Chen of the

Taiwanese pop girl group S.H.E have grown leaps and bounds in the entertainment world, a feat that they credit to their strong friendships. While members have left from ti me to ti me to pursue other projects, they never fail to return to what they call, a 'big family'.

And a 'big family' is what they got when they arrived at the Taipei Arena in Taiwan. Their sold out concert resulted in a showcase of superb lighti ng eff ects along with a seamless mix of the perfect stage performance and great singing which brought fans to their

musical heaven during the concert.

Various lighti ng eff ects from diff erent the LED lights combined with a unique atmosphere of the show corresponded to the theme of the live performances of which ACME provided 44 units of the XP 1500 SZ stage lights which feature 3 modes of DMX 512 control channels: 24/ 24/ 32 along with a DMX wireless receiver built-in that is unique to the fi xture. Another useful control is the fi xtures lamp power save mode that occurs automati cally during a black out.

Also used to light up the performance were 40 units of ACME's XP 1500 WZ professional

stage lights. The Xperior 1500WZ Wash is an excepti onally powerful moving wash with a soft , clean, and even beam. It comes with a rich CMY colour mixing system, variable CTO, 2 colour wheels, a motorized zoom, a combined dimmer/ shutt er design, and opti onal DMX wireless receiver, making it ideal for all kinds of big venues.

During the concert, the 84 sets of lights performed with excellent quality and great reliability, proving the company's reputati on for being well received by stage designers, directors and celebriti es alike.

www.acme.com.cn

Fine Art Shines at Jay’s Concert in ShanghaiChna

Jay Chou’s “Opus” world tour concert opened on May 17 this year in Shanghai, to an overwhelming crowd of fans who

enjoyed themselves with the music of their favourite entertainer.

The latest staging technologies were implemented to produce a fantasti c concert with special 4D eff ects. Jay Chou performed his classic hits in a warm atmosphere amidst the virtual fantasy elements. And part of the lighti ng rig was fi lled with Fine Art’s lighti ng fi xtures, such as the Fine Xtreme 230 and Fine II-1500E Spot HPE. These Fine Art lights brought striking visual eff ects to the concert.

The concert began with a 3D fi lm called “Time Track”, a sci-fi like setti ng where Jay Chou emerged as a warrior from a blue light spiral aircraft that landed in the ruins of a city. Later, he showed up in a carved bronze

armour suit with red and gold fl oral details, and he sent thousands of fans screaming wildly. Jay divided his performances into seven chapters according to diff erent styles. There were also movie clips that detailed Chou’s 12 years of his music journey. Overall, the concert was a blockbuster success, which certainly left Jay Chou and his fans with great memories.

www.fi neart-light.com


‘Ariah’ basks inIndo

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Where art and technology meets – 3D projecti on mapping can make any surface come alive. And while there is no doubt that live performance visuals are the norm right now, the true boundary-pushing work comes when you want to transfer these visual sketchings on stage. From June 28 to 30, the stage musical ‘Ariah’ radiated with energy as all of its 200 dancers pranced around the giganti c stage, brilliantly mapped with intrinsic visuals, grooving to the zestf ul music played by the 120-strong orchestra. The audience were spoilt by the magic that Jay Subyakto did as the arti sti c director, who transferred his visions onto a massive 72-meter wide ‘valley stage’.

As part of the month-long festi viti es to celebrate Jakarta’s 486th anniversary in June, all eyes turned to the Nati onal Monument (Monas)’s square where the colossal dance musical ‘Ariah’, left the crowd in awe with its performance on the biggest and most spectacular stage ever in Indonesia.

Ariah itself tells the story of a simple peasant heroine who struggled to uphold the honor and dignity of the Indonesian woman during the Dutch colonial era in 1869, back when

Jakarta was sti ll known as Batavia. Her courage to escape from poverty and her determinati on to follow her heart in the matt ers of love and friendship, were a running theme in the musical. The historical account of the story coincides with the Farmers Rebellion in Tambun in 1869.

Backed by the talented director and scriptwriter Ati lah Soeryadjaya, alongside arti sti c and stage director Jay Subiyakto – the same people behind the classic Javanese musical drama ‘Matah Ati ’, the story of ‘Ariah’ managed to resonate soundly with the audience thanks to its dynamic cast and vibrant portrayal of Ariah, who shone through the whole play with her strong spirit and soul.

And this commitment to detail extends beyond the theatrical stage as the producti on team worked ti relessly through two weekends to construct a stage design – that was equally, if not more extravagant, befi tti ng that of the brilliant ensemble cast.

the Betawi spirit

Visual Mapping & Multi media Designer Taba Sanchabakhti ar and his Jakarta-based This and That Design team, were intrigued to create something novel and experimental for Ariah’s 3D Visual Mapping.

Taba elaborates, “Ariah is a dance musical with a clear plotline that needs to be clearly conveyed, not just by the players, but also by its visual. Visual mapping for Ariah in this case, is to highlight the ambiance, senti ment and the mood of each scene, and to aid in the change of setti ngs that were repeatedly occurring throughout the story.”

An Augmented RealitySet adeptly in front of the iconic Nati onal Monument, which towers over an approximate 132 meters, the 72-meter wide stage boasted an innovati ve stage design consisti ng of three diff erent levels – with two levels on the sides, sloping between 15 and 35 degrees; and a three-sided pyramid perched in the middle – at heights of three, seven and 10 meters respecti vely.

PT Sima Agustus, a local audio visual multi media producti on company in Indonesia, upon awarded the large scale

stage projecti on project, was quick to call in AIMS Producti ons (AIMS) – a Singapore-based Barco Rental Partner who’s well-versed in the art of mapped visual, to collaborate and blaze life into the performance through sophisti cated projecti on mapping.

To support this multi -sensory project, PT Sima Agustus managed the technical integrati on of the multi media control system and projecti on system with audio and lighti ng control.

For hardware alone, PT Sima Agustus supplied twelve units of custom Dataton Watchout media servers and deployed a fl eet of six units of Barco HDF-W26s large venue projectors while AIMS reinforced with a further four units of Barco

HDF-W26s and twelve units of HDX-W18s large venue projectors. A total of eleven units of Barco large venue projectors was deployed for the show with the rest maintaining as a central reserve and spare.

Prett y impressive, I must say considering the level of diffi culty it must be to project animated graphics in real-ti me on a multi -dimensional canvas, with only 11 projectors in sight!

As Taba shares, “The physical setti ng of Ariah did provide a few creati ve challenges for the multi media and 3D mapping team. 3D visual mapping had to be projected on two strikingly diff erent canvases. The Monas Monument, apart from its slim 132 meter build, a mere width of 8 meter serves as the only backdrop for the performance. The unusually large and disti nct 72-meter stage required fi ve extensively far-ranging points of


focus – all of which needs equal att enti on in visual projecti ons.”

Skillfully projecti ng the video art onto the elaborate stage were fi ve units of Barco HDF-W26 and three units of Barco HDX-W18 Three chip DLP large venue projectors; whilst three units of Barco HDF-W18 Three chip DLP large venue projectors covered for the 132-meter Monas façade – all of which were projected from a throw distance of 70 meters.

Edwin Tan of AIMS adds, “This is the fi rst ti me in South East Asia that a show organizing committ ee truly understand how projecti on mapping really works. For Ariah, the visual aspect was the main character, while audio and light waited on the back seats. Video mapping is fi nally given priority, as opposed to being secondary or merely to complement.”

The applicati on of projecti ng these, was a heartening sight as it eff ecti vely portrayed the mood and situati on of each dramati c

scene perfectly, further cementi ng projecti on mapping’s importance as a medium in smoothening the social dialogue between art and technology.

“The key to success is the close collaborati on between all involved and it pays to collaborate with an experienced projecti on company. Video projecti on which began its surge in popularity a few years back has yet to reach its peak potenti al,” he adds.

Lighti ng FiestaAdding to the slack-jawed gawping factor at ‘Ariah’ was the striking lighti ng eff ects and visuals orchestrated by Lighti ng Project Manager Iwan Hutapea from ETCetera Lighti ng and his team, consisti ng of lighti ng

designer Axel Morgethaler and lighti ng programmer & operator Tony Anzalone.

The team brought in an extensive lighti ng rig that comprised of 48 units of Clay Paky Alpha Spot 1500 HPE, 48 units of Vari-lite 3500 Spots, 60 units of D.T.S. XR3000 Beams, as well as 121 units of Fine Art Beam 2500s, 24 units of Fine Art Spot and Wash 2000s and 11 units of Syncrolite SXB-7ks.

Iwan shed some light on his equipment of choice, “As the size of the stage was way too big, we had to choose lights with very narrow opti cs and beams. The Clay Paky 1500 HPE Spots, Vari-lite 3500 Spots and DTS XR3000s fi tt ed our requirement perfectly.”

Naturally, having to light up such a massive stage with such an elaborate ensemble and design was not without its hiccups. In fact, it posed quite the challenge for the Lighti ng team.

“Lighti ng the stage without front light was an immense challenge,” Iwan elaborates, “Our

“The complexity of this project is much higher as we have got

more depth to cover. What really excites us most is transferring of

a fl at canvas into 3D space,” - Edwin

THE ‘ARIAH’ TEAM

Multi media Producti on Team: PT Sima AgustusProjecti on Team: AIMS Producti onsVisual Mapping & Multi media Designer: Taba Sanchabakhti ar

Promoter: GLOBAL 3LProducti on by: Etcetera EntertainmentProducer: Mdm Ati lah SoeryadjayaArt Director: Jay SubyaktoProducti on Manager: Inet LeimenaTechnical Director: Toto ArtoLighti ng Designer: Axel MorgenthalerLighti ng Programmer & Operator: Tony AnzaloneLighti ng Project Manager: Iwan HutapeaMusic Director & Conductor: Erwin GutawaCostume Designer: Chitra SubyaktoDesigner and Technical Director for Visual Multi media: Taba Sanchabakhti ar

creati ve director, Jay didn’t want any lights to shine from the front or back as it would distract the audience and quite possibly wash out the video projecti on. So, that only left me with two towers at the left and right sides of the stage to work on, thus eliminati ng a whole range of fi xtures.”

A further unit of grandMA2 full-size and a grandMA2 ultra-light, together with 4 units of NPUs and 6 units of grandMA 2Port Nodes complemented the whole setup.

Much More Than A MusicalNot forgoing the “music” in the word ‘Musical’, Clair Brothers Indonesia provided for the enti re sound system.

Together with their majesti c visuals, Ati lah and Jay sure possess the knack for re-imagining urban folktales and bringing the magic to life. ‘Ariah’ has eff ecti vely path the way for future music and theatrical performances as producers push the boundary to explore the aestheti c wonders that projecti on mapping can bring to the table. Aft er such an extravagant 486th celebrati on, it sure leaves the citi zens of Jakarta with much to think about!

www.sima-agustus.comwww.aimsproducti ons.comwww.thisandthat-design.com


Succulent sound and luscious lights for major food festivalUniversal AV relies on Meyer Sound, Yamaha and D.T.S to keep up traditi on of excellence.

There’s no bett er way to enjoy being in a food paradise than to be part of the 20th editi on of the Singapore

Food Festi val. Celebrati ng the country's vibrant dining scene, the nati onwide festi val featured home-grown culinary talents alongside traditi onal cuisines with their own unique modern twists. One of the key elements of the Food Festi val, spearheaded by the Singapore Tourism Board (STB), was the Food Festi val at Litt le India, an ethnic neighbourhood that pays homage to the Indian community in Singapore.

Together with STB and the Indian Restaurants Associati on Singapore (IRAS) the festi val has been growing steadily over the years and has att racted hundreds of thousands of tourists from various parts of the world. IRAS has established 2 Guinness World Records for ‘the Longest Table In the World (2011) and the Most number of Curry Fish heads (2012) served in a single dinner (2012) during the the festi val itself.

Over 10 days, guests were treated to various games such as the 'Amazing Food Race' where much like the American reality television game show they were challenged with racing around the venue to fi nd clues which led them to att racti ve prizes. A chef competi ti on where six teams of professionals were paired with culinary students to come up with the best full course meal, family challenges, wine tasti ng and multi ple food

inspired challenges. As the festi val was ongoing, IRAS felt it best to have a focal point of entertainment. They appointed local R&S company, Universal AV (UAV) to provide and set-up the technical requirements for the focal point which would, on the last night of the festi val, play host to a full concert as well as a celebrity appearance from India.

Behind the scenes and ensuring the smooth sailing of the event, UAV have built a strong reputati on of technical experti se for themselves since their incepti on in 2000. Taking into considerati on the (approximately) 15000sqft venue, Project Lead, Naresh Thiagarajan worked closely with Technical Director, Vinod Sivapillai, to hand pick all the

equipment that would be used over the 10 days. Just a week aft er receiving the fi nal confi rmati on for the event, the team from UAV set to work setti ng up the systems. Vinod comments, “There weren't many challenges for us on this project as we were working cohesively with Q's Adverti sing & Sin Hiap Mui Pte Ltd (the other companies responsible for the focal point) and we also planned out our movements and executed our ti ming precisely.”

For the main PA, the team, led by Technical Manager, Surin Venugopal and Crew Team Leader, Arivind Mohan fl ew 16 units of Meyer Sound's M’elodie. The ultracompact high-power curvilinear array loudspeaker with its 100o horizontal coverage is Meyer Sound’s latest additi on to the celebrated M Series family line. These were complemented with 4 units of Meyers' 600-HP compact high-power subwoofers which feature two specially designed high-power 15-inch cone drivers, engineered to provide opti mal performances

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along with high-excursion, back-vented drivers that have 4-inch voice coils rated to handle 1200 watt s (AES*) each. Tuning of the systems were placed in the hands of 2 units of Lab.gruppen's Lake LM26 and 2 units of Lake LM44 processors. Completi ng the audio set-up, a total of 16 units of T-Audio's PS15's were supplied as delays, front fi lls and monitor speakers.

Audio engineers, Feroz Mya Aye and Benjamin Wong ensured the perfect pitch with the help of Yamaha's M7CL-48 Digital Mixing Console, a 48- channel system that has been said to be easier to use than a conventi onal analogue console. With its Centralogic interface, the M7CL-48 doesn't try to simulate the feel of an analogue mixer, instead it uti lizes the strengths of digital technology to bring users digital operati on that's as intuiti ve as analogue. A touch-panel display combined with Yamaha's selected channel concept and a straightf orward navigati on system lets users focus in on any operati on directly and instantly.

With the expectati ons of 700,000 people riding on their shoulders the audio along with the visuals and eff ects had to be just right. UAV supplied 8 units of D.T.S Lighti ng's XR3000 Spot CMY complemented with 8 units of the XR3000 Beam. Both of which are high-output moving head projectors equipped with a 1200W discharge lamp and are capable of delivering a massive luminosity of 85.000 Lux (Spot) and 283.500 Lux (Beam) /5m, giving an excepti onal balance between performance and power

consumpti on. In charge of the lighti ng were Lighti ng Engineers, Ravi Subramanian and Thurai who operated via an AVOLITES Tiger Touch console, a hybrid console of the powerful Diamond 4 functi onality coupled with the friendly Pearl interface.

For the entrance display into the main hall where the stage was housed and as a backdrop of the stage, UAV set up a 4m by 3m and a 6m by 4m GAMMA AIR LED screen, respecti vely. Both of which have a pixel density of 9216 dots/m2 and module sizes of 250mm x 250mm. Under the watchful eyes of Video Engineers, Maddy and Yacob the screens were complemented via 2 units of Coolux Pandoras Box Servers which synchronized all video and audio sources. Equipped with on-site 3D rendering, compositi on and editi ng, the Pandoras Box has become a popular choice for live events.

Off ering technical conceptualisati on and consultati on UAV's unique take on the festi val made it something that will be hard to top in the years to come. According to Naresh, UAV has already been requested for next year's festi val. He comments, “We always off er generous insight and understanding with our own extra personal touches and that makes us the preferred choice for clients from all walks of life. Another aspect that makes this company unique is its ability to form partnerships rather than to act merely as a vendor to our clients. With all this in mind, Universal AV is well positi oned to enhance the communicati on, collaborati on and presentati on needed to the client, so as to empower them to connect their brands with consumers.”

htt p://www.youtube.com/universalavpteltdwww.uav.com.sg

The team from Universal AV


Shure delivers flawless audio over water at Harbour City

Hon

g Ko

ng

Outdoor venue hosts opening ceremony for mariti me exhibit with support of Shure PSM 1000 and UHF-R Systems

Marking the city’s fi rst mariti me art exhibit, Hong Kong’s busy Victoria Harbour recently welcomed

a 16.5-meter infl atable “Rubber Duck,” a fl oati ng creati ve project that signifi ed youthful opti mism in the form of free public art. To celebrate the exhibit, Harbour City, a large outdoor shopping centre, organized a public ceremony—fi lled with music and entertainment—to honour and draw excitement around the community’s new art installati on.

Before the opening ceremony commenced, Harbour City needed a wireless system that could support the event’s performances to ensure the large number of att endees scatt ered throughout the complex could hear and experience the entertainment. Challenged to fi nd a soluti on, Harbour City

tapped Amek Services Co., a Hong Kong audio rental company, to select audio gear that would not only deliver clear sound to a large crowd, but had the ability to transmit audio signals from performances to ceremony att endees located across a bend in Victoria Harbour. Wireless microphone setup was complicated by the fact that many att endees were separated from the performance area by a large gap of water.

Understanding event requirements, Amek Services opted to use a point-to-point wireless confi gurati on—equipped with Shure PSM 1000 Personal Monitor Systems and UHF-R Wireless microphone technology—to combat the issues posed by the harbour’s challenging environment. Anson C.W. Wong of Amek Services, who previously relied on Shure technology for large-scale events

with successful outcomes, turned to Shure systems for their high-fi delity sound, stable RF signal coverage and ability to operate reliably via AC power. Wong explains, “A Shure point-to-point wireless setup was the soluti on needed to allow secure and safe wireless transmission. With the ability to transmit high-fi delity audio from one area of the harbor to another area—separated by water— we were able to address a diffi cult challenge and execute ceremony performances with the level of sophisti cati on needed.”

A point-to-point confi gurati on is recommended for applicati ons that require audio transmission in large outdoor and temperate environments where laying long audio lines is not feasible. With help from

the Shure Asia Applicati ons team, Wong and his team added not only two channels of PSM 1000 and six channels of UHF-R to the point-to-point setup, but also four UA874WB acti ve directi onal antennas and two HA-8089 helical antennas, which improved RF performance and allowed for audio signals to be distributed over a longer range multi -dimensionally.

Commenti ng on the important placement of the UA874WB and HA-8089 antennas, Owen Leung, Applicati ons Engineer for Shure Asia, noted: “Because the ceremony’s environment had large pillars that could potenti ally block the audio signal’s line of sight, we had to positi on antennas on both sides of the harbour very carefully, making sure they were raised up high, pointi ng directly across from each other.”

Once the antennas were set, the technical teams relied on Shure Wireless Workbench® 6 soft ware to effi ciently scan and coordinate frequencies of the wireless systems directly from a computer, which helped maintain the RF signal strength throughout the ceremony.

Welcoming a large crowd, by relying on the experti se of Amek Services and Shure, Harbour City was able to produce a fl awless

public ceremony that eff ecti vely celebrated art and music, insti lling smiles and laughter among the urban community. “The opening ceremony was executed without a hitch. The ability to transmit audio through our point-to-point wireless confi gurati on meant there were no signal

interrupti ons during the event—something we always strive for,” explained Wong. “During a live event, we only have one chance to get it right, so we needed top-of-the-line audio gear that we could trust. Shure technologies exceeded our expectati ons.”

www.shure.com/asia


Sennheiser & UNICO present Bund No Shakin’ Vol 2

Chin

a

UNICO, Shanghai’s premier Lati n tapas lounge and bar by Michelin-starred Argenti nian chef Mauro Colagreco

and Sennheiser, the world’s most recognized microphones and high end headphones brand presented the Bund No Shakin’ Vol 2. A showcase by Tony Allen and Afrosonic featuring Theo Croker, Grammy award winning jazz trumpeter, singer and band leader from Leesburg, Florida. Grandson to Doc Cheatham, Theo Croker was exposed to jazz music early in life and att ended Douglas Anderson School of the Arts in Jacksonville,

Florida. He graduated from Oberlin College in 2007 and has called Shanghai home in recent years while performing all around the world.

UNICO catered to a full house when Croker performed contemporary jazz and good ol’ favourites like “My Funny Valenti ne” with the house band, Tony Allen and Afrosonic. Guests, who were treated to a feast representi ng various regions of Lati n America including Patagonia and the Caribbean, were doubly lucky as Croker’s performance set the

pace for an acti ve and wonderful experience in Shanghai.

Sennheiser provided all the audio equipment and set up support on-site for the event and also prepared the stage backdrop. DJ Amar, musical director at UNICO warmed up the crowd as guests lay in wait for the band. Once Tony Allen and Afrosonic kickstarted the evening, there was no stopping guests and staff alike as everyone danced the night away.

Legendary Jazz criti c Nat Hentoff wrote: I fi rst got to know 23-year-old Theo Croker aft er he returned from a gig in China (Shanghai’s House of Blues and Jazz) and he was so impressive. On fi rst hearing his trumpet on the immediately disti ncti ve recording, I was struck by his “signature sounds” — personal and indeed “in the traditi on,” but also contributi ng to its future. His voice speaks directly to the listener, and his avoidance of showboati ng technique reminded me of what Count Basie once said to Buck Clayton: ‘I’d give a thousand dollars to fi nd a trumpet player who doesn’t play so many notes.’ Furthermore, listening to Theo on ballads, it was at fi rst hard to believe someone so young was able to sound as if he’d had extensive experience with aff airs of the heart, gaining and losing love.”

www.sennheiser.com

Tony Allen on drumsTheo Croker gets the crowd going

Robe has a Vivid visionAus

tral

ia

Robe got behind UK based Lighti ng Designer Simon Brockwell of SBLD to assist the facilitati on of

his innovati ve interacti ve work ‘The Nocturnal Pianola’, one of the eye-catching exhibits at the 2013 Vivid Festi val of Music, Light & Ideas in Sydney, Australia. The Festi val featured around 60 major lighti ng installati ons all located in and around the downtown area of the city aft er dark. It att racted approximately half a million people who came to enjoy and experience some of the wonders and thought-provoking and imaginati ve properti es of light as a live art form.

Robe has always been interested in creati ve arts projects, and Simon’s initi al contact with Robe was with Ashley Lewis, Key Account Manager for Film, Theatre & TV from the UK offi ce. The two have worked on some previous projects together. Ashley put him in touch with Robe CEO Josef Valchar to whom Simon explained his ideas and intenti ons for Vivid 2013.

Says Josef, “We feel it’s really important to encourage people who are engaging with lighti ng in imaginati ve and dynamic ways, and apart from Simon’s passion for the project, I was really impressed with

the way he thinks generally about light and lighti ng – it’s something from which we can all learn”.

Keen to support the project in the most practi cal way possible, Josef put Simon in touch with Robe’s very proacti ve Australian distributor, The ULA Group. They in turn helped him source equipment to use for The Nocturnal Pianola installati on via their local rental partners. Robe then funded a student bursary which allowed Simon to take an assistant to Australia. From a myriad of applicants, Simon selected Jaz Hewitt , a fi rst year Lighti ng Design student at London’s Central School of Speech & Drama.

Simon expands, “Robe agreed that the opportunity to exhibit at Vivid and to share the experience of Vivid 2013 with a potenti al young LD of the future was invaluable, and so a big thank-you to them for fi nding the bursary”. Josef adds, “Encouraging the next generati on of emerging industry talent is an area to which Robe is fully committ ed”.

Both Simon and Jaz really enjoyed working on Vivid 2013, and producing ‘Nocturnal Pianola’ which was incredibly well received by the public, the event organisers and other arti sts.

Simon sums up, “What I really enjoyed most about exhibiti ng at Vivid was the transiti on

from being a lighti ng designer to arti st. While most LDs are arti sts, they are oft en not seen or appreciated as such – so it was a fantasti c opportunity”.

For Jaz, att ending Vivid was enough of an experience in itself, but working alongside ‘Nocturnal Pianola’ enabled her to expand both her creati ve vision and practi cal knowledge. “Having seen how the interacti vity of our installati on could bring happiness to so many people and bring a community together through light and music has been hugely inspirati onal” she enthuses.

Robe conti nues to be a keen supporter of visual arts and performance projects worldwide. Other recent acti viti es include working with the Zip Zap Circus in South Africa and The Caravan Stage Company in Canada and Italy.

www.robe.cz

Simon Brockwell, Lighti ng Designer


The Hidden Ones: Riedel MediorNet, the fi ber backbone behind Kingdom Invasion 2013

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In the last Kingdom Invasion Conference, the event saw over 4,300 believers, 266 churches and 25 nati ons coming together

for the Holy Spirit in the area of healing, signs and wonders.

So it was with much enthusiasm when Randy Clark, Heidi Baker, Tom Jones and Bill Johnson – the four leading voices from the diff erent ministries came forth to sti r the hearts and testi monies of the mass, at the Singapore Expo in late March this year, duly organized by Cornerstone Community Church.

To provide the broadcast infrastructure and the signal distributi on backbone for all video, audio and communicati ons signals, Illuminate Producti ons was called in to install a comprehensive system based on Riedel Communicati ons’ MediorNet, a fi ber based multi point network soluti on providing integrated transport for 3G/HD-SDI video, audio, data and communicati ons.

Technical director Huang Muen, who was involved in the stage design, visualizati on and content creati on phase, was on site to provide technical support.

“Riedel is no longer just an intercom provider, it is a

soluti on provider,” – Joe Tan, General Manager, Riedel Communicati ons Singapore Pte Ltd

In partnership with Riedel Communicati ons, the new system, with two MediorNet mainframes at its heart, gathered plenty of positi ve vibes for its fi rst-ever event showcase.

As expected, MediorNet truly manifests as an effi cient fi ber backbone with a real-ti me network approach that goes beyond single point-to-point links.

Jonathan further enthused, “With just one cable, we are able to link all the videos,

data, and audio signal between the diff erent locati ons, specifi cally the FOH and the stage.”

“It saves us a lot of ti me and manpower during setup and also, eliminates the

need for external devices. More importantly, it greatly

reduces cabling eff ort!” - Haung Muen, Technical Director, Illuminate

Producti ons Pte Ltd

Fueling the supremacy of the intercom, was the Performer digital partyline system, which was seamlessly integrated with the Matrix intercom installati on.

He elaborates, “We have a central Intercom Matrix stati oned at the front, where it links up all the audio inputs and intercoms, together with a Performer digital partyline intercom system through 11 digital partyline beltpacks via four-channel master stati ons.”

Indeed, the ease of setup, fl exibility and the overall integrati on of the Mediornet is defi nitely a plus.

Knowing that all the signal distributi on is being well taken care of, it defi nitely makes things easier for the fl oor, allowing the technical team and the audience to concentrate on what's most important: the service.

www.illuminate.sgwww.riedel.net

MediorNet, The heart of the system

Anthony ChowAV Consultant & Sound Engineer – K.L., Malaysia

Born and bred in Malaysia, Anthony Chow holds more than 25 years of experience under his belt and is conspicuously known as “drsound” in his home state. Over the years, Anthony has been the sound engineer of choice in Malaysia, where he was the Systems Engineer for Air Supply’s World Tour 2011 and the MLTR Concert, as well as other major concerts and festi vals. He was also notably crowned with the “Best Radio Jingle” Award at the 2003 Kancil Awards, while acti ng as Producer & Sound Engineer for NADA Studio.

ETA: Let's go back to the beginning, how did you fi rst get started?

Anthony: All the way back to 1986 the interest started when I was a member of the sound & lights team in High School (St. Xavier’s Insti tuti on’s), As part of the school co-curriculum we were made to do what I have now made into a career.

ETA: Do you remember your fi rst show and how was it like?

Anthony: It was an awesome experience back in 1989. The fi rst ti me I saw 48 full range cabinets and 24 subs, I was doing sound for a nine-piece band with a horns secti on called “Heavy Machine” at an EXPO in Malacca.

The system belonged to Cahaya Audio and as the owner of the system, the late Mr. Francis Yeo quoted “the engineer for ‘SEARCH’ the day before never had sound like this!”

ETA: What has been the most memorable aspect of your work so far?

Anthony: Covering all aspects of the industry and now am able to facilitate and also watch my son excel in my footsteps. ETA: Do tell us more about your son, Walter. We've heard that he's the youngest sound engineer in town (Malaysia).

Anthony: Well I started training him at the age of 9 when I saw the interest developing as he wanted to follow me on all my GiGs and litt le did I know he was paying much att enti ons to all the workshops I facilitate.

97 HaAvve U met...?September - October 2013

At the age of 12 I started giving him personal att enti on and now at the age of 14 he is my most trusted assistant on the Innovason Eclipse and Concerts that I do, In additi on to that he is getti ng gigs on his own.

ETA: I don't think I can ever forget the epic quote you gave us at the Penang Concert, about how sound is the art and science, and if we get it right, it can hit the audience's senses through mind, body and soul. Very insightful and poetic, i must say. So where did all that philosophy come from?

Anthony: Through my past experience I came to discover that the body is a living vibrati on and in order for the Human Being to enjoy sound one needs to make sure that all frequencies are projected, the Low Frequencies hit the inner part of one’s body and one can feel the vibrati on while the Mid

Frequencies is what one’s ear’s projects to the Mind and the High Frequencies that is so fi ne can actually make one’s hair stand on ends now that’s the part with soul.

So an Engineer that gets the right MIX and Blending of frequencies will make the audience feel really Good!

ETA: What would you consider your "big break"?

Anthony: On the 27th of March 1992, I did FOH sound for the fi rst ti me for an Internati onal Guitar Legend “Buddy Guy” at the Hard Rock Café and I remember the date so well as it was my birthday.

ETA: What are your favorite tools of the trade?

Anthony: Currently, good user-friendly digital mixers, one of it being the Innovason Eclipse.

ETA: Describe the most creative show you're ever done.

Anthony: Discovering Psycho Acousti cs, I did 6 months research with a hall in Malaysia that was fi tt ed with the LCS audio system.

I must say, an awesome piece of hardware & soft ware! It’s my fi rst experience of doing audio simulati on that goes beyond the 7.1 surround, which was back then, a new dimension for sound.

ETA: What are you most happy about with your current work?

Anthony: I get to explore all aspects of the audio Industry from Live Sound with Internati onal Arti ste to recording and producing albums not forgetti ng Soud Design

for Video, next step is plans to open an Academy in Show Touring and Producti on.

ETA: How long have you been with MegaUltimate?

Anthony: 10 years on a part ti me basis and currently 2 years on a full ti me basis

ETA: If your path in life had been different, where do you think you would be today?

Anthony: Who knows there is sti ll ti me and never too late to start preaching the word of God.

ETA: Do you have any hobbies?

Anthony: My work is my Hobby!

ETA: Is there anyone you feel that has had a great infl uence on your career?

Anthony: Quite a few actually. First of all, God for the gift . My mom and my great grandmother, my high school, as well as Mr. Renato De Guzman, the sound reinforcement owner from the Philippines, and the late Mr. Jude De Cruz.

ETA: And fi nally, what advise do you have for the boys on the ground that are just joining the entertainment industry?

Anthony: If you do not have passion for the job, don’t waste your ti me.

To get in touch with Anthony, drop him an email at drsoundproducti [email protected]

Like our last page features? Scan the code and drop us a message if you would like E-Tech Asia to interview someone noteworthy within the industry.

98 HaAvve U met...? September - October 2013

Anthony’s son, Walter.

www.fineart-light.com

Entertainment Technology Asia September-October 2013

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Transcript of Entertainment Technology Asia September-October 2013