Pro-Systems 2nd Quarter 2012

2nd Quarter 2012 R35.00

REVIEW

AWARDS

INTERVIEWSSTUDIO

Tracking Technology

roBin 600 review

record-Breaking ProjecTion

Producer ProducT choice

TriniTy cluB insTallaTion

AV SyStem IntegrAtIon | InStAllAtIonS | lIVe eVentS | StudIo & BroAdcASt AudIo

Imported by

www.audiosure.co.za

Audiosure

1

news

Imported by

www.audiosure.co.za

South African company Viva Afrika Sound

and Light was recently awarded exclusive

distribution rights for dB Technologies

products in sub-Saharan Africa (excluding

Angola and Zimbabwe).

“We are looking forward to a long and

fruitful relationship with dB Technologies.

They fit in perfectly with our company vision

of offering high quality European

loudspeakers at competitive pricing to the

South African market,” says Viva Afrika

director Bernard Pienaar. The company was

also recently appointed distributor of Beyma

products in South Africa.

Viva Afrika is one of the fastest growing

professional audio and lighting distributors in

South Africa with a portfolio of brands that

include Numark DJ products, Audiocenter

loudspeakers and Real loudspeakers.

Extron recently announced that they will no

longer exhibit at InfoComm USA and

Integrated Systems Europe (ISE).

“Extron has exhibited at every InfoComm-

USA show since 1986 and at ISE since 1999.

We have enjoyed and appreciated what

InfoComm-USA and ISE have become,” said

Extron president Andrew Edwards in a

statement.

“However, we have concluded that the

time and energy put into exhibiting at these

short three-day events can better serve our

customers by being repurposed toward

activities that provide direct benefit and

Mediatech Africa will take place from 17 to

19 July 2013 at the Coca-Cola dome in

Johannesburg, South Africa.

A bi-ennial event, Mediatech Africa is the

continent’s largest all-inclusive technology

expo for the live entertainment, AV

integration, music production, broadcast,

film and post-production, animation, DJ and

music industries.

The event attracts exhibitors from across

the world, as well as local manufacturers

and suppliers, with visitor demographics

encompassing a broad cross section of the

industry. Last year it attracted an impressive

6 395 visitors over three days; with 125

exhibiting companies that represented 880

brands collectively.

Visit www.mediatech.co.za for more

details.

DWR Distribution was recently appointed an

authorised distributor of Prolyte products for

South Africa.

“DWR Distribution is privileged to be given

this opportunity,” commented DWR founder

Duncan Riley. “Robert Izzett, responsible for

Prolyte sales, will present the brand with

enthusiasm and continued back-up

support.”

DWR Distribution has already ordered the

first batch of Prolyte products. Apart from

delivery from stock for standard items, DWR

will also give expert service and sales

support.

support to our customers. Specifically we are

focused on the creation of additional Extron

support and training facilities both

domestically and internationally.”

Edwards said Extron would remain a

member of InfoComm International and

exhibit at other events around the world.

news

dB Technologies and Beyma awarded to Viva Afrika

Extron pulls out of InfoComm USA and ISE

Mediatech Africa 2013 dates announced

DWR secures Prolyte agency

Duncan Riley and Robert Issett

Bernard Pienaar and Giovanni Barbieri

TADCO, an independent sound and

communication distribution company,

recently announced themselves as an

authorised distributor of Coda Audio

products in South Africa.

A reputable pro-audio loudspeaker

systems manufacture, Coda Audio is

represented via a global network of

international distributors. The Germany-

based company is expected to launch more

innovative products, having already

released a range of acclaimed loudspeaker

cabinets, including the CoRAY4 and the

AIRLINE LA12.

Tadco announces Coda

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inside This issue

It’s been a long time coming and I am personally delighted to present you with the first issue of Pro Systems News.

The key focus of the publication is on three target markets: AV System Integration, Concert & Live Events and Studio & Broadcast Audio. We are excited about providing you with news, reviews and insight into the latest technology, installations and productions from both our local and international markets.

By travelling to the relevant industry trade shows and engaging with international markets we are confident that you will find Pro Systems an invaluable tool – especially for those not so fortunate to have the time or resources to attend these events.

We have tied up great relationships with local and international journalists and industry experts who contribute balanced, unbiased content to our readers. As a media company we pride ourselves that our team is dedicated to providing independent stories that are newsworthy and informative with the aim to educate and offer real diversity of content to you, our readers.

The magazine is complemented by an online news portal – www.pro-systems.co.za – where it is available as an e-read and (soon) as a downloadable magazine for tablets.

Enjoy the read! Simon Robinson

Publisher & editor

Contributors

Contents

SySTEm INTEGRATION

ISE Report

Integrating the AV industry ................8 – 13

Interactive Communication

TouchTable sets new standard .............14 – 15

Venue Installation

Transnet conference centre upgrade ........15

Industry Experts

Alex Sanfilippo & Gavin Olivier .....................16

Conference Solution

Lightweight LED video tiles ...........................18

Communication Solutions

Ground-breaking tablet launched ..............20

Linking into video conferencing ..................21

INSTAllATIONS

Product Review

Taking sound to the next level ........22 – 23

Venue Solution

Trinity club installation .......................24 – 26

Audio Solution

Upgrading theatre sound ........................28

Sounding off in the BMX world ................29

Architectural lighting

Anolis in architectural lighting first...30 – 31

lIVE EVENTS

TPI Awards

Gearing up on global

production scene .............................32 – 33

Pro light + Sound Report

Global trade show lights the way ...34 – 39

Expert Opinion

Sound advice ............................................40

Product Review

ROBIN 600 review .............................41 – 43

Industry Expert

Joshua Cutts ..............................................44

Concsert Report

80’s Rewind ................................................45

Production Report

Pulling the SAFTA’s out of the hat ...46 – 47

International Video Design

Florence + The Machine ..................48 – 49

International lighting Design

Snow Patrol world tour .....................50 – 51

International Stage Design

Brilliant Stages for Rammstein ..........52 – 53

International Video Projection

Record-breaking artwork

projection ...........................................54 – 57

Video Projection

3600 Audio visual spectacular .........58 – 59

STUDIO & BROADCAST

Audio Solutions

Small studios, big sound ...........................60

Nurturing young talent .............................61

Product Update

Moving ahead with sound ......................62

Industry Expert

Adam Howard ...........................................63

Expert Choice

Producer product choice ................64 – 65

live Streaming

The sky is the limit ......................................66

SOCIAl ..............................................67 – 68

Claire Badenhorst | Industry expert with eight years experience in event management, PR, marketing and advertising within the professional audio, video, lighting and staging sector. Claire has played an integral role in the development of the concept and content creation of Pro Systems and works closely with our advertisers and readers.

louise Stickland | Professional journalist and photographer with huge passion and enthusiasm for technology and the production industry. Louise initially worked and toured as a lighting designer after graduating from university. She has many years experience in the music and live event sector, and works closely with leading international designers, production companies and technology manufacturers.

Eddie Hatitye | Professional journalist and former editor of Music Industry Online, Eddie has been actively involved in the South African recording and music industry for the past 5 years. He has a strong passion for music production and has leveraged this knowledge and his contacts to further his career as a journalist.

Andy Stead | Trained as a television engineer in the UK after which he immigrated to South Africa, and joined Video Sound Studios. Stead founded ZSE TV which pioneered live transmission for the fledgling Mnet television services. After a period as marketing Director of Sasani Limited he resigned and took up freelance writing for several publications.

Greg Bester | Musician and audio engineer - proficient in both the analogue and digital domains and has extensive experience mixing live music, setting up and configuring loudspeaker systems, monitoring and general stage management. He has mixed events numbering into the thousands and is comfortable on large and small-format mixing consoles.

michael Nicholson | Former editor of mondo*dr. mondo*dr has over 20 years experience in the international marketplace for lighting, sound and video equipment, showcasing some of the most impressive installations worldwide in theatres, nightclubs, stadia, museums and cruise ships. With its target audience of distributors, dealers, installers and system integrators, the magazine provides unrivalled in-depth editorial features allowing readers an overview of the installed international marketplace.

Editor | Simon Robinson | [email protected] Sub-Editor | Tina Heron in-houSE JournaliSt | Eddie Hatitye | [email protected]

advErtiSing SalES | Claire Badenhorst | [email protected] dESign | Trevor Ou Tim | [email protected] SubScriptionS | Albertina Tserere | [email protected]

Sun Circle Publishers (Pty) Ltd | Tel: 011 025-3180 | Epsom Downs Office Park, 13 Sloane Street, Bryanston, Johannesburg | PO Box 559 Fourways North 2086, South Africa

www. pro-systems.co.za

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news

It has just been confirmed that InfoComm

2012 will be the largest audiovisual trade

show the world has ever seen.

InfoComm International, the trade

association representing the commercial

audiovisual industry, said more than 925

exhibitors would showcase their products

Lingenfelder,” said Malherbe.

“I also acknowledge the

extremely high standard of both

cast and musicians in the musical,

as well as the expertise of the

crew that I worked with.”

The Naledi Theatre Awards

recognise and reward excellence

in live theatre in Gauteng. Other

winners in the technical field this year

included Faheem Bardien and Michael

Mitchell, who took accolades for best

theatre lighting design and best set design

– both for Mandela Trilogy.

This year marks the 20th anniversary of a very

strong partnership between Electrosonic SA

and Martin Professional.

The relationship started in 1992 when

Electrosonic SA was appointed distributor of

Martin Professional’s smoke machines in

South Africa.

By 2000 Martin was firmly established in

the industry, with a varied range of lighting

products (notably the Martin Mac moving

heads range) and Electrosonic SA was

always the company’s first choice distributor

in South Africa.

At present Martin boasts a host of

acclaimed products such as the Mac 101

and the Mac Aura fixtures, which are all

locally distributed by Electrosonic SA.

Prosound recently

installed a range of

ETC’s Source Four

lighting fixtures at

the newly-built

Soweto Theatre in

the heart of the Jabulani CBD. This state-of-

the-art complex boasts a 420-seater main

arena with two smaller halls of 180 and 90

seats respectively.

A total of 216 Source Four lights were

installed between the three arenas,

including 72 of the Source Four Fresnel lights

that were only introduced in South Africa in

January this year. The Soweto Theatre will be

used for a wide array of productions that will

incorporate theatre, music, dance and

Avid recently appointed

SEGMA as its South African

distributor.

“In alignment with the Avid

market strategy we are

delighted to appoint SEGMA

as our distributor in South Africa

for Avid’s pro audio product line comprising

the award winning Avid Pro Tools HD series

and solutions to thousands of visitors from

over 90 countries across the world.

Focusing on integrated display, projection,

audio, conferencing, lighting and staging,

digital signage and communications system

solutions, this year’s Infocomm will run from

13 to 15 June in Las Vegas.

interfaces, Pro Tools|HD

Native, Pro Tools|HDX and the

digital console Icon,” says

Nadiyam Ravisankar, audio

sales manager for emerging

markets at Avid.

“We look forward to

building on the existing client base and

adding more users who will benefit from

ready stock and pre/post-sales support of

the highest order that Avid is known for.

SEGMA South Africa has the right strategies

and is well positioned to support the Avid

brand. We are glad to strengthen our

relationship and will continue to work closely

together to offer complete solutions to the

customers in the pro audio segment.”

The Southern African Communications

Industries Association (SACIA) will take place

from 7 to 8 August 2012 at the Misty Hills

Convention Centre in Muldersdrift,

Johannesburg. Organisers of the bi-annual

ProAV forum are inviting submissions from

organisations, companies or individuals

interested in presenting papers.

A spokesperson from the forum recently

said: “Presentations should focus on the

successful application of AV technology and

while manufacturers and dealers are

welcome to submit papers, the organisers

require that presentations should not be

structured to sell or promote a particular

brand or product. Presentations can vary in

length from 30 to 60 minutes based on

relevance and content. ”

This year’s event will focus on the use of

broadcast and audio visual technologies in

business, government, education and

houses of worship.

If you’re interested in presenting a paper

at SACIA 2012, send a detailed synopsis to

[email protected].

choral performances.

Prosound also recently installed two Midas

Pro9 digital audio mixers at Artscape in Cape

Town. Both consoles include the Pro9 control

surface, each supplied with the DL351

modular stage racks with DL441/442 I/O

cards and the Klark Teknik DN9696 hi-res

audio recorder.

Prosound technical director Mark

Malherbe won his fourth Naledi

Award in March this year. The prolific

sound designer received the ‘best

theatre sound design/sound effects’

accolade for his work on Jesus Christ

Superstar – an acclaimed musical

that ran at the Teatro in

Johannesburg last year.

“I always treat these awards as more of

team accolades. I have been extremely

fortunate to work fairly consistently with the

creative team of director Paul Warwick

Griffin and musical director Charl-Johan

Biggest InfoComm on the cards

Industry Partners celebrate 20 years

New lights rock Soweto Theatre

SEGMA signs with Avid

Malherbe scoops fourth Naledi SACIA calls for papers

mark malherbe

4

news

Wits Arts Museum in Bramfontein.

“The screens face the streets and they use

tracking cameras to detect movement by

curious night visitors. It gives the museum an

entire audience on the other side of the glass

and we are helping to develop a viral

campaign around the concept,” says Gavin

Olivier of Digital Fabric.

Located on the corner of Jan Smuts

Avenue and Jorissen Street, the museum has

an invitingly open glass-fronted ground floor

which allows for views into the exhibition

spaces from the streets. The museum is

scheduled to open on 18 May.

The Custom Electronic

Design and Installation

Association (CEDIA)

recently introduced a new

mobile app to its

members.

Available as a

download on Android,

Blackberry and Apple

devices, the app offers 12

features and gives CEDIA members exclusive

access to a range of useful tools, including a

home theatre calculator suite, access to all

CEDIA white papers, a

selection of professional

marketing tools, quick

reference in-the-field

documents and the CEDIA

member directory.

The app also allows CEDIA

members to receive industry

news feeds, updates on training

calendars, Twitter and

Facebook feeds, as well as

more information from the

CEDIA blog.

To download visit your app

store and search ‘CEDIA’.

Blackberry users visit direct.

core-apps.com/cedia from

your smartphone to download. For more

information visit

www.cedia.org/app.

Sasani Studios recently upgraded its audio

suite by installing an Avid Pro Tools HD 10

Native System with an ICON D-Command ES

work surface.

Mark Yaman, Sasani’s final mix engineer,

notes that the new audio suite will streamline

his workflow and keep Sasani abreast with

international standards.

“Pro Tools 10 is going to be a major game

changer in workflow with all its new features

such as clip based gain, 32bit floating

processing and better delay compensation.”

With D-Command ES, operators have

powerful hands-on command over every

aspect of a Pro Tools project, including

recording, editing, mixing, and processing

—with integrated video and delivery – from

a relatively small, but expandable work

surface.

On the video post-production front Sasani

already has a sophisticated set-up to handle

big budget productions. It houses 32 edit

suites running on Avid Media Composer 5

and Final Cut Pro 7, both of which support full

SD and HD editing technology.

The South

African Roadies

Association

(SARA) is

running a

12-month training programme (Live Event

Technical Production – NQF Level 4) in

Newtown Johannesburg.

Funded by the Culture, Art, Tourism,

Hospitality and Sport Education and Training

Authority (CATHSSETA), the programme

covers live sound, lighting, staging, health

and safety, backline and production. A total

of 20 students enrolled this year.

Over the years SARA has initiated a series

of educational programmes covering the

lighting, audio and production sectors.

Registration for the 2013 to 2014 course will

start in February. For more information visit

www.saroadies.co.za.

Over 300 manufacturers and suppliers of

professional audio, lighting, AV, stage

engineering and systems integration will

exhibit at London PLASA in Earls Court from

9 to 12 September 2012.

PLASA 2012 will be the first show to be held

after the London Olympic and Paralympic

Games and organisers are promising a

memorable event.

“We will take a look back at some of the

most spectacular achievements of the

summer and present special educational

events to highlight the best bits of London

2012,” says events manager Sophie Atkinson.

“We invite everyone to come and enjoy

the unique atmosphere in London this

September, the home of the Olympics and

the heart of the creative industries.”

Digital Fabric, one of the most successful

bespoke AV consultancies to the local

museum and visitor attraction sector, was

recently commissioned to develop

interactive windows for the newly opened

CEDIA app for AV industry

Sasani upgrades studios

PLASA 2012 promises fireworks

Interactive windows at Wits Arts Museum

Educating the industry

mark yaman

TIDTID

6

news

The management team at Tygervalley

Shopping Mall in Cape Town have raised the

bar on live entertainment for South African

Malls.

Tygervalley have installed a JBL concert

line array system in their Arena Entertainment

Court. Together with a large HD screen and

concert lighting, this allows the centre to

present live concerts within a shopping

centre environment.

The arena is a complex acoustic

environment with huge reverberation

challenges and multiple audience levels,

which needed audio coverage.

The sound system installed is the Vertec

VT4887DPDA line array system which

provides an exception audio pattern control.

A high standard of audio coverage and

clarity are achieved in all areas that enable

the system to showcase artists at their

absolute best.

Visual presentation products manufacturer

Vivitek Corporation is set to host its key

distributors at an annual event in South

Africa. The Vivitek Education strategy will be

a key agenda item at the event as the

company is about to launch a

comprehensive new education portfolio

with innovative interactive software and

hardware solutions.

Vivitek will also use the event to showcase

its new products; the D8800 – a high-

performance projector for the Pro AV staging

business, the D5180 and D5185 – two models

that combine installer-friendly features with a

competitive price point and the D5280U,

which is said to be the ideal projection

solution for all types of business,

education and leisure applications.

“Vivitek is proud to host the annual

event in South Africa at The Sun City Hotel

and Pilanesberg Kwa Maritane Bush

Lodge. The venues provide us the right

mix of business facilities and leisure

options such as the game drives and

cultural entertainment to enjoy a

successful business event. Our distribution

partner in South Africa – Audiosure – has

been instrumental in putting this event

together”, comments Holger Graeff,

General Manager Vivitek EMEA.

Leading production company Dream Sets

was awarded a contract to produce the

18th South African Music Awards (SAMAs)

and pulled in a specialised team of

technical suppliers (Audio Logic, AV

Unlimited, MGG and Visual Frontier) to

produce what has been described by many

as one of the best SAMA awards ever.

The event, held on 29 and 30 April at the

Sun City Superbowl, featured a ground-

breaking set design, which incorporated a

total of 13 screens – seven mounted on the

roof and five creatively spread across the

stage. The set was designed by Robert Hoey

of Dream Sets, who worked closely with

leading audio visual specialist Guillaume

Ducray – the master mind in bringing

Robert’s creation to life.

Independent lighting designer Joshua

Cutts of Visual Frontier complimented the

event with a memorable Grand MA-

controlled lighting design that incorporated

a varied range of Robe and Clay Paky lights.

Dream Sets also supplied technical for the

event under the direction of Sean Hoey with

Mark Gaylard of MGG was involved as a

rental partner and supplied part of the

lighting, rigging and low resolution LED

equipment. Audio design was done by

Marius Marais of Audio Logic and Dave

Thompson from AV Unlimited fulfilled the AV

needs of the prestigious event.

(See our next issue for the full story)..

Registration for this year’s International

Broadcasting Convention (IBC) is now open

online at www.ibc.org.

Now in its 45th year, IBC is one of the

biggest trade shows for the global media

and entertainment industries. With over 50

000 attendees from more than 160 countries

and 1 300 plus exhibitors, the show comprises

an unparalleled exhibition and agenda-

setting conference encompassing the very

latest developments in broadcasting, mobile

TV, IPTV, digital cinema and R&D.

Along with a six-day conference, the IBC

experience includes 14 exhibition halls of

new technology developments from more

than 1 300 global exhibitors. This year’s event

will take place from 6 to 11 September at the

Amstedam RAI in the Netherlands.

The US-based professional AV products

manufacturer recently appointed Antony

Olivier and Gary Atkins (formerly employed

by Dimension Data) to head up the office.

Atkins and Olivier have vast experience in

the AV industry and have collectively worked

in AV installation, sales, design and

education. They have both spent the past

few months in training with Extron , getting to

grips with the company’s product offering,

policies and systems. Their office will be

based in Johannesburg and will feature a

dedicated training facility with the

established support of the Dubai office.

Cape Town shopping mall upgraded

Vivitek to host partner event in SA

South African Music Awards IBC registration opens

Extron Electronics opens in South Africa

Creating AV magic

Questek – the leading suppliers of corporate audio-visual solutions:

• Boardrooms

• Auditoriums

• Training Rooms

• In-house Digital Signage

• Parliamentary and Municipal Chambers

• On-site Technical Support and Service Level Agreements

Supplying systems that integrate audio & video by embracing

new technologies such as remote management, cloud video

conferencing and the total automation of the system.

Present, share and communicate

information effectively.

MultiChoice Auditorium

KPMG Digital Signage

Johannesburg Council Chambers

KPMG Auditorium

Telephone: +27 11 706 0405 Email: [email protected] Website: www.questekadvanced.co.za

Questek

8

sysTem inTegraTion ise rePort

This year’s ISE, held from 31 January to 2 February at the

Amsterdam RAI in Holland, was the biggest in the show’s

history, attracting the highest number of participants; 825

exhibitors (up by 15%) and 40 869 visitors (up by 17%).With a

total of 825 major brands occupying 11 halls – or 30 000 net

square metres – of the Amsterdam RAI, the event’s exhibition

floors were logically the first choice for most visitors. Local guys

who attended also told me that the pre-show conferences,

DiSCO, Dynamic Events and the InfoComm Future Trends

Summit, were equally valuable.

Conferences

The forward-looking InfoComm Future Trends Summit once again

covered a wide variety of technology trends, from latest technologies

in display inventions to network bandwidth challenges and cloud

computing.

Speaking at the Cloud Computing and AV seminar, David Snipp,

said cloud computing posed serious threats to traditional AV

manufacturers, distributor and installers, whom he urged to “adapt

quickly and radically”.

DiSCO, the Digital Signage Conference, focused on retail

Integrating the AV industrySustainable growth in the AV industry would not be possible without events like Integrated Systems Europe (ISE). Since its inception in 2004, the international trade show has persistently introduced AV professionals to unending technologies and business opportunities.

9

ise rePort sysTem inTegraTion

opportunities and featured a suitable line-up of speakers who

covered a range of topics that included how digital signage can help

small retailers thrive, innovative retail concepts and digital signage in

the sports sector. Speaking after the conference, DiSCO chair Florian

Rotberg said digital signage had huge potential to help “bricks and

mortar retailers” compete with e-tailers like Amazon and Asos by

allowing them to reflect the new ways in which consumers are

shopping.

Another noteworthy gathering was the Wainhouse Summit where

communication professionals heralded mobile smart phones and

tablets (particularly the iPad) as the way forward in visual

communications.

Display

The display area was busy as anticipated, although most products

showcased this year had previously been seen at InfoComm. That

said there was a good amount of novel products from the likes of LG

Display, Christie, Barco, Sony and Panasonic.

lG showcased its new 165-inch 3D video wall. The gigantic screen

consists of nine 55-inch displays in a 3x3 configuration and uses LG’s

Film-type Patterned Retarder (FPR) 3D technology.

Each display features a super narrow bezel that leavesa narrow 5.3

mm gap between the individual panels that make up the video wall.

The pixel count and brightness of each panel is 1,920 x 1,080 and

800cd/m2, respectively.

LG says the FPR 3D technology used on this screen is an improvement

over active shutter 3D because there is no flicker, minimal cross talk.

The FPR glasses are made with curved lenses and are much lighter

and cheaper than active shutter glasses.

A highlight from Christie was the JumpStart content management

solution which allows easy content management for large tiled

displays. JumpStart can be used with any digital display with up to

four inputs.When used with Christie MicroTiles, JumpStart

communicates directly with the master External Control Unit,

automatically picking the best resolution for the canvas and showing

the location of every tile so that content can be easily snapped into

position. “With the addition of the Christie JumpStart content

management solution and Christie Interactivity Kit for multi-touch

interactivity, we’re broadening our MicroTiles solutions system to help

meet the needs of customers across many markets,” says Christie. Also

on the Christie stand were the new Christie LHD700 and Christie

LX1200 projectors, as well as the Roadie HD+35K and Roadster

HD20K-J projectors from the company’s new J Series.

Barco demonstrated its new generation of liquid-cooled LED video

walls which offer 33% brightness levels, or 33% less power at

conventional brightness levels. The company also showcased its

HDX-W18 3-chip WUXGA DLP projector, which features 17 500 lumens

brightness, compact design, on-board image processing and control

via smartphone and tablets.

Distributed by www.questekadvanced.co.za

Panasonic showed its new PT-DZ21K 20,000-lumen WUXGA projector

which was used to beam video content onto a colossal 3.9m x 4.5m

wall. The projector series are the company’s smallest and lightest

3-chip DLP models to date and have a lamp replacement cycle of

up to 2 000 hours, making them suitable for large venue applications

such as auditoriums and museums.

Communications professionals heralded mobile smart phones and tablets as the way forward in visual communications.

10


martin Professional attracted

visitors with the EC-10 – a new

10mm pixel pitch LED display

panel. Featuring the same

lightweight and cable-free

design for rapid deployment,

the EC-10 is compatible with

the EC-20 in terms of colour,

setup, curvature, control,

processing and even

accessories – allowing for

seamless, mixed resolution

visuals in one system. Also on

the Martin stand were the

P3-200 and the P3-PC – two

new additions to the P3 system

controller family for LED

screens.

Distributed by www.electrosonic.co.za

Canon presented the XEED WUX4000, its flagship installation projector

for home theatre. The projector uses Canon’s LCOS panel technology

to deliver “accurate” colours and a resolution of 1920 x 1200. The

projector packs in 4 000 lumens of brightness and a contrast ratio of

1000:1. The aspect ratio of the projector is 16:10. Canon offers three

lens options for the projector with a standard zoom, long zoom and a

fixed focus wide-angle lens. The vertical and horizontal lens shift,

zoom and focus are all motorised and the connectivity options

include HDMI and DVI.

Sony exhibited a mix of home cinema, digital signage and business

projector solutions. A highlight was a demonstration of the 2

000-lumen VPL-VW1000ES, believed to be the world’s first 4K home

cinema projector, in combination with the ‘Reality Creation’ upscaler

that converts Blu-ray disc images to 4K. The projector uses active 3D

glasses. Visitors were also able to see Sony’s digital signage software

Ziris in action as it managed content for the entire Sony stand.

Audio

Shure showcased its ULX-D digital wireless system for installed

applications. This has a dynamic range of 120dB, a latency of less

than 3ms and a 20Hz to 20kHz frequency range. ULX-D uses AES-256

standard encryption and can be integrated in media control systems

from the likes of AMX or Crestron. Up to 17 active transmitters can be

used on an 8MHz TV channel and over 60 compatible channels in

one frequency band, with permanent signal stability claimed over

the entire 100m line-of-sight range. Also on the Shure stand were the

new MX150 lavalier and MX153 earset microphones, which are said to

be ideal for discreet placement and speech applications.

Distributed by www.wildandmarr.co.za

Ivan Potter of iled:

Peter Aylett’s presentation on where the industry is

going – he used a key word called dis-

intermediation – simply the loss of business as

technology becomes more cost effective and

readily available through retail or online stores. This

progression will always occur in sectors as they

mature – how we position our companies to mitigate this threat and

how we look at new business opportunities to take advantage are

important. New technologies are being developed to allow the use

of tablets (iPad and Android) and smart phones as user interfaces to

control every aspect of a home or office. By embracing this new

technology and applying it into an existing market, opportunities

open.

mike Blackman of ISE:

We are most pleased that we were able to pass

the 40,000 attendance figure for the first time, and

to retain our ability to grow our attendance faster

than our growth in exhibit space – a trend that we

have maintained for the past four shows. ISE 2012

drew attendance from 130 countries – more than

any other audiovisual tradeshow in the world. So

although the event will always have a European flavour as you would

expect, considering its Amsterdam location, it is now firmly

established as a forum for global business in the AV and electronic

systems industry. All this was achieved against a backdrop of

economic uncertainty in Europe, so overall we are delighted with the

show’s performance.

Industry professionals’ perspectives on ISE 2012

11

Bosch Security Systems introduced OMNEO – a new media

networking solution designed to provide open public standards-

based media networking architecture. This architecture has two

components: an audio program transport protocol suite that offers

low latency, multichannel audio stream exchange and a robust

control protocol suite that provides “reliable and secure” system

control for pro networks of all sizes. OMNEO’s program transport is

based on RTP, a widely adopted IP streaming protocol.

Allen & Heath demonstrated their GLD live digital mixing system,

which is based on the digital iLive series. The GLD- 80 mixer provides

48 input channels, eight stereo FX returns, 30 configurable busses, 20

mix processing channels and DSP power. GLD-80 has analogue-style

channel processing controls plus a graphical 8.4in touchscreen.

Inputs and mixes can be assigned to fader strips through a simple

drag-and-drop process. There are 20 fader strips in four layers, each

with motorised fader, a channel LCD display which can be named

and colour-coded, plus a rotary control for direct access to gain, pan

and aux/FX sends. The mixer‘s local I/O comprises four XLR mic/line

inputs, four XLR line outs, four RCA inputs, two RCA outputs, and digital

outputs in SPDIF and AES3 formats.

Distributed by www.audiosure.co.za

ISE 2013 will be held from 29 to 31 January at the Amsterdam RAI and over 31,000 net square metres have already been booked.

Gavin Olivier of Digital Fabric:

Flat panel displays were very impressive. The

sheer size of manufacturer-sponsored booths

was an indication of the size of this market.

Between Samsung, LG and NEC the range of

products was astounding with noticeable

growth in the range of commercial grade units.

Transparent LCD products were also being shown in products that

you can actually buy. Somewhat humorous was the fuss being

made over Samsung’s square LCD when not that long ago the

market was celebrating widescreen formats. Projection technology,

while not showing anything really new, has in some respects closed

the gap between high and low end units with even the simplest

units being shown in warped and blended setups.

Electrosonic System International

12


Connectivity and control

AmX showcased new members in its Enova family; the Enova DGX 16

and 32 Digital Media Switchers. According to AMX these offer a

future-ready HDMI and HDCP solution that can perfectly scale to any

resolution. “With a built-in central controller, the Enova DGX 16 and 32

resolve copy protection issues, centrally manage connected devices

and overcome many of the challenges facing integrators today. They

manage and distribute analogue plus digital audio and video

including HDMI with HDCP (HDMI/HDCP), control and Ethernet

without any of the typical problems associated with HDCP

authenticated content distribution and switching.”

Crestron showcased latest additions to its DigitalMedia range,

including the DigitalMedia 8G+ technologies and the DMPS-3000 AV

presentation system. DigitalMedia delivers high-definition audio and

video, plus Ethernet, control signals and more, over long distances to

multiple rooms, all over a single cable. DigitalMedia 8G+ can be used

with standard Cat5e, DigitalMedia 8G or CresFiber 8G cable. The

DMPS-3000 is a digital AV presentation system in a box – comprising

control system, matrix switcher, audio DSP, mic mixer and amplifier. In

addition, HDCP, EDID and CEC are managed, eliminating the need

for IR emitters and receivers and many serial cables. The company

also announced the expansion of its trade-in scheme for analogue

distribution systems to incorporate any brand of device.


Products on display at the Blackmagic Design stand included the

ATEM family of live production switchers and converters. The ATEM 2

M/E Production Switcher and ATEM 2 M/E Broadcast Panel, the

Teranex VC100 video processing line, the Videohub family of routers

and a wide range of Blackmagic Design capture and playback

devices were showcased. The Teranex VC-100 was demonstrated

converting SD video (a DVD movie) to 3D HD. This model can handle

up to 280 different kinds of format conversion, can upscale or

downscale video and carry out frame rate conversion.

Barco showcased a sneak preview of the new ClickShare solution to a

select audience. ClickShare is Barco’s answer to many technical

difficulties with presentation equipment. This solution not only helps

the presenter to get the presentation on-screen in a second, but also

allows other people in the meeting to participate more actively. This

results in enhanced meeting efficiency, and leads to better decision-

making.


George van Gils of Questek:

We at Questek regard ISE as one

of the premier exhibitions to

attend as it covers the complete

spectrum of visualisation

products. There were twelve

halls jam packed with the latest

technologies but we found that most of them were

much the same. However, we were impressed with

new products from some suppliers especially in

software applications. The two items that really

stood out for us were the new Infocus Mondopad

and the new Barco ClickShare.

Bruce Genricks of Electrosonic:

Unlike the past few years, in which 3D was the

dominating theme of the show, this year the

attention was on multi-media interactive displays.

What really caught my eye were Christie’s

extremely bright 15k lumen LCD projector and

Sharp’s new 80” interactive whiteboards. I was

also impressed with Kramer Electronics training titled ‘Putting some

sense into the digital formats chaos’. I found it really informative, most

interesting was the section on Thunderbolt. This is the new connection

for Apple and transmits video, audio and data simultaneously. It is

also chainable, with one cable from the PC connected to the

monitor and from there it is linked to a printer and then to a hard drive.

Industry professionals’ perspectives on ISE 2012

13

ise rePort sysTem inTegraTion

An impressive display at Integrated Systems Europe (ISE 2012)

ilED

14

sysTem inTegraTion interaCtive CommuniCation

Developed for SA Tourism by local AV design consultants Digital Fabric in partnership with Cape Town

digital agency Pixel Project, the 2.5m-long table has wowed some of Europe’s leading trade shows,

including ITB (Berlin), WTM (London) and Top Resa (Paris). It has also won two Loerie Awards; a silver Loerie

in the category of applications and interactive tools and a Loerie Craft Certificate in the category of

Internet, mobile and interactive communication: digital crafts.

Launched at Travel Indaba in Durban last year, the horizontal surface features a single, glass based

multi-touch overlay capable of sensing 32 simultaneous touch points. Its user-friendly software,

developed by Pixel Project, allows users to search and browse all the leisure experiences offered in South

Africa, also allowing video and image playback, as well as email functionality.

TouchTable sets new standardTech Box• Resolution 3072 x 1366 (4 Ultra

Narrow Bezel LCD)

• Speed controlled surface

cooling system

• 32-point optical multitouch on

10mm glass substrate

• Network on-board, WiFi, 3G

• Computing Quadcore i7 3.2

GHz, SSD drive

• Quad output graphics

• Superstructure 6000 Series

machined aluminium

• Size 2 520mm x 1 215mm

• Height: 900mm +/- 50mm adj

• Weight: 400kg

“TouchTable 4 sets new standards in interactive design. The attention to detail extends below the sleek surface cladding and into each and every component to create the mechanical stability required for continual user flow.” – Gavin Olivier

TouchTable 4, a ground-breaking South African multi-touch surface, has taken the global AV industry by storm.

15

venue installation sysTem inTegraTion

TouchTable sets new standard

As a reputable enterprise, Transnet wanted to create a state-of-the-art centre with

the latest AV equipment to host both large and small conferences.

Natal Video’s first move was to construct a new drywall with down lighters and

wall-washers to lower the level of the suspended ceiling. This assisted with the

enhancement of the venue’s ambience which was ultimately complimented by the

advanced technological control systems and lighting systems that followed together

with motorised Venetian blinds.

For lighting, technicians installed the Crestron DALI control system, which allows

complete control of the lighting levels. “An advantage of installing a control system is

that energy management becomes very easy and cost effective to implement. In

this case, presence detectors were installed in the venue,” says Natal Video’s

spokesperson.

“When the facility is vacant for a pre-set period, the lighting, audio visual and sound equipment automatically switch off, and the blinds return to an open position. This not only saves on electricity bills, cost of projector lamps and wear and tear of equipment, but also helps save our planet.”

A sliding partition was fitted which allows the venue to be turned into two smaller

self-contained conference rooms. Panasonic networkable LCD projectors were then

installed in each of the subdivisions, and for security reasons all projectors were

mounted on projector lifts, that automatically fold into the ceiling when not in use.

Projection screens from Elite Screens were mounted which also fold into the ceiling

when not in use.

After the projectors a Crestron Digital Media System was installed to cater for all the

latest digital signals as well as legacy analogue signals. At the heart of this system is a

DM-MD8X8 digital matrix switcher for DSTV, Blu-ray and computer inputs. Digital

Media transmitters located at the lectern and presentation positions provide inputs

for both analogue and digital inputs.

A digital media receiver was later mounted at each projector. All DM signals were

carried on Cat6 cabling, which is readily available, easy to terminate and only

requires 20mm conduit. A Crestron control system was also installed to control all the

equipment. Later a six-inch Crestron touch panel was installed in the lectern and a

wireless touch panel was installed in a wall mounted docking station. Using these two

panels, either rooms can be controlled individually or the combined bigger room

can be controlled.

The audio system comprises both voice lift and show sound. Amplification is

provided by Crestron 3 x 80watt amplifiers and speakers consist of Kramer

closed-back ceiling speakers and Kramer wall mount speakers.

Transnet conference centre upgradeDurban based AV company Natal Video was recently awarded a tender to revamp Transnet’s Elwazini conference centre in Richards Bay.

“TouchTable 4 sets new standards in interactive

design. The attention to detail extends below the

sleek surface cladding and into each and every

component to create the mechanical stability

required for continual user flow,” says Gavin Olivier

of Digital Fabric.

The table can be broken down into flight cases

and reassembled in a few hours. Olivier says it is

unique in its ability to be easily transported

between venues. “Most touch tables of this size are

engineered for fixed installation, but TouchTable 4

is suited to both temporary and fixed environments.

It [TouchTable 4] has travelled some serious road

mileage but it still looks like the day it came out of

the box.”

All of the required technology is housed within

the table structure, ensuring easy setup with a

single power connection to the table. The table’s

sound system comprises twelve speakers. Eight

high powered full range speakers deliver crisp,

detailed audio to the top edges via custom

acoustic waveguides and four sub-bass units are

concealed in the legs to add punchy low end

audio.

TouchTable 1 variants are currently being

built for SA Tourism based on the success of

TouchTable 4.

16

sysTem inTegraTion industry exPerts

long-time friends and business partners Gavin Olivier and Alex Sanfilippo are key players in the local AV industry. With over three decades of combined experience in AV design and consultancy, they have collaborated on all sorts of prestigious projects, from Freedom Park to liliesleaf and SA Tourism. late last year they signed a significant agreement to co-run Digital Fabric, one of the most recognisable bespoke AV consultancies to the local museum and visitor attraction sector. We recently sat down with the duo.

How did you get into the AV industry? Alex: I started out in the sound rental industry at Hattech/Satellite

Sound as a technician in 1999, spent a further two years at Wild & Marr

and in 2002 joined Shattered Glass AV & Staging. My time at Shattered

glass forged my passion for the industry. In 2008 I joined Megaview

Displays as new business development manager and technical

advisor. After a short stint on my own, doing World Cup related work, I

merged with Digital Fabric in 2011.

Gavin: I grew up in the telecommunication and mainframe

industry, but absolutely hated it. In search of something more exciting I

put in a few years in the live event industry after which I joined

Electrosonic South Africa in their first year or two of existence. Thirteen

years later, the attraction of the museum and heritage market lured

me away and the rest, as they say, is history.

What inspired you to join forces?Alex: Gavin and I had been doing business together for many years,

since my days at Shattered Glass and we had always toyed with the

idea of doing more together. The truth is that I had always aspired to

one day work for Gavin, but now have the privilege of working with

him. A lot of what happened in 2010 around our work culminated into

our joining forces a year later.

Gavin: We often wonder why it took us so long to get to this point

because we have been on the same page for a very long time. We

complement each other so incredibly well; my ability to get projects

off the drawing board complements Alex’s ability to turn them into

real products that constantly push the boundaries of design

excellence.

How best do you describe what Digital Fabric does? Gavin: Hmmm, that’s hard to summarise in just a paragraph. We

mostly offer consulting and design services to the Heritage and Visitor

Attraction market; however because of the bespoke nature of certain

items, we are increasingly required to provide turnkey development

for projects. Most of our interactive projects are examples of this –

there simply aren’t existing products out there for us to specify.

What are some of your favourite recent projects? Gavin: The Freedom Park Museum project that we are midway with is

certainly the most exciting. We are handling AV, exhibition lighting,

interactive hardware and software and digital archiving systems, so

it’s quite a handful. But outside of that there have been many deeply

rewarding projects, mostly small, where we are involved in the

concept and narrative design from the outset.

We have also recently been commissioned to develop interactive

windows for the newly opened Wits Arts Museum in Bramfontein. The

screens face the streets and use tracking cameras to detect

movement by curious night visitors. It gives the museum an entire

audience on the other side of the glass and we are helping to

develop a viral campaign around the concept.

Alex: We recently developed an interactive touch surface called

TouchTable4 for SA Tourism. It’s unique, even by international

standards, and we have extensively showcased it in Europe with great

response. The table is two and a half metres long and can be used by

eight people at the same time. It allows users to search and browse all

the leisure experiences offered in South Africa, also allowing them to

access a large database of information, play high definition videos

and send emails using a state-of-art multitouch interface.

What has been your proudest project?Alex: Working at Moses Mabhida Stadium for the 2010 World Cup; I

worked with Wild & Marr to design and install the stadium’s flagship

line array system.

What do you do in your free time?Gavin: The free time that I have is spent with my family; we love

entertaining and visiting cool spots around Joburg.

Alex: I spend time with friends and my much better half, I also love

cooking – great to de-stress

What’s your holiday destination of choice? Alex: …Still looking, really.

Gavin: Franschoek Valley or most parts of Italy.

Favourite song of all time?Alex: Queen – Bohemian Rhapsody

Gavin: Sarah McLachlan – Angel.

Great Chatting to you guys, thanks for your time and we wish you all the best!

Alex Sanfilippo

Gavin

Oliv

ier

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18

sysTem inTegraTion ConferenCe solution

The launch of Transnet’s much-talked-about R300 billion ‘market Demand’ strategy incorporated one of the largest lED screens on the market – a DigilED 6mm pitch indoor screen.

Supplied by AV Systems, the screen measured 12.8m wide x 2.7m high

and cloaked the full width of the stage to make for a truly captivating

backdrop.

The screen was made from 48 ‘fast-rig’ digiLED frames each

measuring 800mm wide x 900mm high and weighing in at 40kg. Key

to AV Systems’ choice of a video screen was resolution and the

digiLED proved to be the best option with a high resolution of

2048 x 432.

“The resolution of the screen is very impressive and it was exactly

what the client wanted. Another beauty is that with LED you do not

have to worry about lighting as you would with other screens,”

explains Denzil Smith of AV Systems.

The screen is part of the digiLED Tile series which is manufactured

by UK-based company DisplayLED. With its ‘fast-rig’ frames weighing

in at 23kg per square metre, the screen is hailed as one of the lightest

rental options in the industry. It has also been praised for its ability to

serve power. For this particular event; a 32 amp, three-phase power

supply was used.

AV Systems also used two Barco 14K HD projectors (supplied by MJ

Event Gear) to beam PowerPoint graphics to two side screens. Hailed

as ‘the quietest 14 000 lumens native HD projector on the market

today’, the 14K HD projectors are optimised for wide screen

applications which demand – not only high brightness – but also

extremely low noise and an ultra-long lamp lifetime. There were two

more portrait screens on the sides, which used two Christie Roadster

8k HD projectors.

All the content was loaded into Dataton’s flagship multi-display

production and playback system Watchout 5 and fed into a Folsom

Encore unit which controlled all the screens allowing Smith to send

camera content and PowerPoint presentations to desired screens.

MJ Event Gear designed the set and supplied audio and lighting as

well as the stage. The set was built by Dream Sets.

Lighting and sound

Johnny Scholtz’s lighting design included 14 Robe ROBIN 600 LEDWash

lights, two Robe MMXs, four Clay Paky Sharpy’s, 24 Thomas Pixelpar90

LED par cans and two Robe DT 5000s. Control was done on a Grand

MA 1 full-size console. A d&b audiotechnik system was used for sound

with four Q10s, four Q-subs and two T10s as fills. FOH control was done

on a Yamaha LS9 console.

The launch of Transnet’s much-talked-about R300 billion ‘market Demand’ strategy employed one of the largest lED screens on the market – a DigilED 6mm pitch indoor screen.

With its ‘fast-rig’ frames weighing in at 23kg per square metre, the screen is hailed as one of the lightest rental options in the industry.

Lightweight LED video tiles

Tech boxVideo• DigiLed 6mm (2.8 m wide and 2.7m high)

LED screen• Two Christie Roadster 8k HD projectors• Two Barco 14K HD projectors

lighting • 14 x Robe ROBIN 600 LEDWash lights• Two Robe MMXs• Four Clay Paky Sharpy’s• 24 x Thomas Pixelpar90 LED par cans• Two Robe DT 5000s• Grand MA 1 full-size console

Audio • D&B system• Four Q10s• Four Q-subs• Two T10s • One Yamaha LS9 console

Photo by mark Drysdale

Wild & marr

20

sysTem inTegraTion CommuniCation solutions

Measuring 55 inches, the HD wall tablet combines intuitive touch

collaboration applications with Vidtel’s any-to-any, cloud-based

video conferencing to offer a disruptively priced all-in-one

collaboration display.

“The Mondopad’s natural touch interface changes the way people

interact with information; collaborate and connect. Meetings are

more engaging, content is more immersive and audiences are more

engaged,” says a spokesperson from InFocus.

High-quality cloud video conferencing

InFocus partnered with Vidtel, a cloud video conferencing service

provider, to make business-grade video conferencing as easy as

making a phone call.

Unlike traditional video conferencing, the Mondopad requires no

upfront infrastructure investment or IT resources and connects to all SIP

and H.323 standards-based end-points and many proprietary video

conferencing platforms – from popular free consumer video

conferencing applications like Google Chat, to enterprise

telepresence systems from Polycom and Cisco. With the Mondopad,

Vidtel has solved significant video conferencing interoperability issues

so organisations don’t have to hassle when adopting the same

equipment and service to connect with external partners.

The Mondopad’s 720p HD video camera and sound bar are

designed specifically for video conferencing to eliminate conference

room clutter and enhance the audio quality of dialogue. “The

combination of the Mondopad wall tablet and the Vidtel managed

service yields an affordable, high quality, standards-based visual

collaboration solution that is easy to install, manage and use. It is this

type of solution that will help video conferencing break into the SMB

space,” says Ira M. Weinstein, senior analyst and partner, Wainhouse

Research.

Transform conference rooms into collaboration rooms

Offering a 55-inch full-HD 1080p (1920x1080) LCD display and

designed for multi-touch from the ground up, the Mondopad

changes the way people interact with information and each other.

Sharing documents and visuals in a meeting is exceptionally easy,

whether users are local or remote. The Mondopad’s multi-touch

display works with Word, PowerPoint, Excel, PDF, JPEGs and more.

Presentation, whiteboard and annotation applications – including a

complete set of writing and drawing tools – open the dialogue,

increase engagement and make it easy to brainstorm and quickly

save and distribute ideas. Multiple Mondopads on the same network

support multi-party whiteboard sessions.

Share, view and control on any device

Local or remote users can easily share, view and control presentations

from their PC, tablet or smartphone.

The Mondopad’s WiFi ensures meeting participants have the right

level of access: from authorised users connecting directly to a

corporate network through the display, to meeting guests being able

to easily deliver documents to the display or access the Internet

without connecting to an organisation’s private network. There is also

an option that allows remote participants to see what’s on the

Mondopad via a web page served by the Mondopad.

Monitor and manage the Mondopad from anywhere

IT administrators and managed service providers can securely

monitor and manage the Mondopad from anywhere. Embedded

Intel vPro technologies and compatibility with remote monitoring and

management software provide immediate

access for controlling, analysing and

administering the Mondopad as a hooked IT

asset. Administrators can also add their own

Windows applications to the Mondopad.

Ground-breaking tablet launched

Key features

• Multi-touch high definition 55 inch display

• Flexible and expandable with built-in Windows PC

• Digital interactive whiteboard and document annotation

• Business-class video conferencing

• Share, view and control from your tablet or smartphone

• Full copy of Microsoft Office ensures file compatibility


InFocus recently launched the

mondopad – their first all-in-one giant

tablet for business-class video

conferencing and collaboration.

21

CommuniCation solutions sysTem inTegraTion

Focused on new unified visual communication technologies, the

conference was attended by more than 50 representatives from local

enterprises. Speakers at the three-day event included Fred

Baumhandt from Microsoft, Greg Drake from Kathea and Ismayeel

Syed from Aviva in the UK.

“Video conferencing is very important to business, not just for true remote employee engagement and global collaboration, but also for accessing human resources regardless of whether based at HQ, branch office, working from home or travelling in between,” explained Syed.

A renowned consultant in digital media and unified communications,

Syed also urged companies to embrace free videoconferencing

platforms such as Skype.

“Small businesses that have very limited budgets can rapidly

deploy Skype for free and start visually collaborating. Once the

mind-set has been switched to VC via Skype, more integration and

third party add ons can be adopted to extend the experience,”

he said.

Enterprise broadcasting

Syed also talked about his own telepresence solution, EnterpriseTV,

which allows companies to broadcast live to their clients at minimal

cost.

“The beauty of EnterpriseTV is that it requires very minimum

resources; you need only one camera and a green background, and

the solution offers a plethora of collaboration features. EnterpriseTV

has resonated a lot with over 500 South African customers we

presented to during the summit and we look forward to the first few SA

implementations of it,” said Syed after the summit.

New products

Two major collaborative releases from Polycom (the EagleEye Director

camera and the CX 7000 console) were showcased on the last day of

the summit.

Built by Polycom and Microsoft, the EagleEye Director is a room

camera tracking system designed to enhance video conferencing

experiences through close-up views of every speaker in a video

conference, regardless of their location or the number of people in

the room. With fully automated camera pan, tilt and zoom motions,

the EagleEye Director resolves the common problem in video

conferencing of seeing all participants during a meeting, but not

being able to see facial expressions of the person talking. By

highlighting, zooming in and framing active speakers, everyone can

clearly see critical facial expressions and read the subtle body

language which enables deeper engagement and more effective

meetings. An array of seven microphones in the base of the unit

allows amazing results in rooms of all shapes and sizes, making it the

ideal solution for large conference rooms, class rooms and

board rooms.

The CX7000 was designed to be used in a similar manner to a

traditional video conferencing system, but the cherry on top is

that it is specifically optimised for Microsoft Lync. So in addition to

regular video calling to other Lync users, CX7000 owners get a full

Lync collaboration experience in the meeting room. This console

combines all the powerful features of Lync with high definition

(HD) telepresence, voice and an array of collaboration features.

This allows users to join online meetings, receive and make Lync

calls, share uploaded content and view or actively collaborate

on any content shared by other participants. The system comes

with a wireless keyboard, wireless mouse, omni-directional, an

EagleEye View camera with built-in microphones, as well as a

small footprint PC.

Video conferencing was hailed as a key business tool at the microsoft-Kathea customer summit held in Johannesburg in February.

Kathea customer summit

Ground-breaking tablet launched Linking into video conferencing By Eddie Hatitye

22

insTallaTions ProduCt revieW

‘Better sound through research’ is the motto of audio giant Bose, the

now legendary Framingham, Massachusetts-based company that

has been manufacturing high quality home audio for the past 50

years.

Granted, this has been their forte and they now have many

thousands of happy home-bound customers worldwide but, starting

with the L1 series of personal monitoring and PA systems, they have

now forged into the world of professional audio. This has culminated

with their latest unveiling – the Bose RoomMatch and PowerMatch

line array system to the professional audio community of South

Africa in the Theatre of Marcellus at Emperors Palace.

Bose RoomMatch

In a nutshell the RoomMatch system is designed to

overcome the three main problems faced in point source array sound

reinforcement, which include:

• Phase interference seams – which cause an inconsistent

frequency response at different points in the room.

• Coverage seam gaps – which cause inconsistent level at

different points in the room.

• Unwanted sidewall reflections – which cause inconsistent tonal

balance throughout the listening area.

PowerMatch

RoomMatch comes with

the PowerMatch

PM8500 and PM8500N

power amplifier

systems, the only

difference being that

the PM8500N offers

Ethernet support. Both

of the amplifiers

include a high

efficiency Class-D

amplifier that supplies

4000 watts to a

maximum of eight

outputs per amp. This

means that you get 4000

watts to slice any way

you want between the

eight outputs. The amps

are all digitally configurable,

either from the front panel or

via USB and Bose’s patented

ControlSpace Designer

Software.

Aimed at installations only, the

system incorporates fixed dispersion

array modules that fire at specific horizontal and vertical angles to

more accurately match the coverage requirements of any given

installation. There are a total of 15 different modules, each with their

own coverage pattern, one subwoofer module and rigging

accessories. The subwoofer can either be flown with the array or floor

mounted and has a relatively narrow response of 80 to 40Hz. Either

way, without the subwoofer the array can still extend down to 60Hz,

which is more than ample for many applications.

Taking sound to the next level

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 over 24,000 lumens of output, while the VL3015LT boasts 10:1 zoom optics and can produce 40,000 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.comwww.dwrdistribution.co.za

Varilite

Pro Systems contributor Greg Bester recently attended the South African demo of new Bose RoomMatch and PowerMatch line array System.

23

Bose claims to have virtually eliminated phase seam interference

with the design of their patented Continuous Arc Diffraction Slot

Manifold, which is a specialised waveguide for the six high end drivers

per box. This is one of the key features of the RoomMatch system.

Scorecard

We were given listening material to test the system, the first one, a

classical piece, showcased the arrays flown on their own without the

addition of the subwoofers and it was completely evident that the

arrays could extend down to 60Hz as we felt the bows of the

contrabass and cellos in our chest. The system was clear, present and

detailed without being overwhelming at any point. The sound

seemed to emanate or glow out of the boxes.

The next piece – acoustic music – comprised acoustic guitar and a

female vocal, but this time with the subwoofers enabled. Once again

the sound was clear and detailed and revealed the wonderful

organic tones inherent in the music with deep, full bass.

The final pre-recorded material played to us – male acapella and

rock, was all presented in high fidelity and the initial impression was

impressive.

During playback we roamed around the room and listened; the

coverage was accurate and was not lacking at any point. Tonal

balance was also consistent from point to point and I would say that

Bose has really done something right in their RoomMatch system

when it comes to addressing the aforementioned problems.

Finally, we were treated to a surprise performance by the Graeme

Watkins Project to demonstrate how the system handles a live band.

However, in all honesty, I did not feel that the system supplied the

impact that a live band needs to make an impression. I felt it lacked

the definition and clarity of the pre-recorded music we had just been

played. Simply put, I did not feel the kick in my chest that I am familiar

with and I felt the midrange was a bit fuzzy. This could be the result of

the mix engineer’s fault and he may have not been given the time to

setup and optimise the system to the band.

That being said, I still think that Bose has created a high quality,

interesting, and competitive system that offers much for many venues

where fidelity is critical. Indeed, it has already won an inAVation

award for ‘Most InAVative Commercial Audio Product’ and ‘Most

InAVative Commercial Loudspeaker’. I wish them many more.

Bester is an audio engineer and musician and is as chief audio engineer at

Shifted Audio.

Tadco

During playback we roamed around the

room and listened; the coverage was

accurate and was not lacking at any

point. Tonal balance was also consistent

from point to point and I would say that

Bose has really done something right in

their RoomMatch system.

24

insTallaTions venue solution

When Trinity’s owners looked at launching a new nightclub in Cape

Town, they looked to the US and Europe for inspiration. Their objective

– to give Cape Town a venue that surpassed any other in the city, but

not only that, they wanted to give Africa something it had never had

before.

“The aim was all encompassing,”

revealed Jonathan Inggs, Trinity’s

marketing manager. “To provide

a premiere clubbing experience

and, moreover, a custom venue

where corporate companies can

have conferences, product

launches and goodwill functions,

alike.”

Such aims require a flexible technical installation, which comes

from capable equipment. It also comes from expert advice. In every

case, Trinity is covered.

The installation was split between three companies, with each

handling a different kind of entertainment technology.

The venue’s multi-level configuration offers distinct changes in

mood and tempo, with the décor and finishes emphasising these

changes. Trinity Café, Trinity Grill and Trinity East offer different dining

experiences. Salon Prive is an exclusive, members club and Trinity

Garden brings elegant outdoor surroundings to the rooftop.

Funktion One speakers feature throughout, but like the rest of the

technological elements, the highest concentration of equipment is

found in the Funktion Room – no prizes for where the name came

from. A central water feature, motorised projection screen, stage and

authentic Indian temple doors create a unique offering that is both

aesthetically pleasing and absorbing at the same time. A mezzanine

level overlooking the main dancefloor allows for a respite from the

action on the dancefloor and main stage, with plush seating and

tables making for a relaxed environment complete with a full view of

the dancefloor below.

Eight Funktion One Resolution 4E-C speakers have been flown on

the left and right hand sides of the room. Each one offers wide

dispersion and a 3-way, mid-high frequency range. It has been

designed as part of a 4-way system, requiring the addition of a bass

enclosure. In this instance, four Funktion One F221’s (with their

infamous dual 21-inch bass potency) have been integrated into the

set-up. Two Funktion One F88 speakers have been added for

Multi-function club in mother cityA multi-level venue has redefined nightclubs in Cape Town.

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By Michael Nicholson

25

venue solution insTallaTions

centre-fill.

Trinity’s AV technician, Bradley Bruchhausen, described the

Funktion One-effect: “Trinity is kitted through-out with Funktion One

sound, with the layout designed by Tony Andrews himself.”

“Every foot of the venue is coated

with a warm, transparent sound.”

“It switches seamlessly between DJ and bands, lunches to club night,

leaving diners and clubbers alike foot tapping to every beat.”

A DiGiCo SD9 fulfils FOH mixing duties in Funktion Room. The SD9 is a

complete, integrated system powered by Stealth Digital Processing,

which includes the mixing surface, a D-Rack digital stage interface

and CAT5E digital multicore, with the additional ability to

simultaneously record 56 channels direct to your favourite multi-track

software or DAW.

Two Pioneer CDJ-2000 decks and a Pioneer DJM-800 DJ mixer

facilitate a varied entertainment programme. Jonathan revealed:

“We host at least two international DJ’s a month, and we surely can

boast that we are one of the top venues in southern Africa, if not

Africa. We have had Armin van Buuren, Tommy de Clerc, Sebastien

Leger, Judge Jules, Edu Embernon, Heist, James Zabiela… the list goes

on. Naturally, with our Funktion One system, this is the venue that DJs

prefer to play at.”

Lighting fixtures – supplied by DWR like the rest of the lighting

infrastructure – are controlled using an Avolites Tiger Touch. Described

as ‘a hybrid of powerful Diamond 4 functionality coupled with the

friendly Pearl interface’, the console provides user-friendly

functionality and high profile venue performance. Dimming is

handled by a Philips Strand Lighting wall rack.

The fixtures supplied by DWR include 12 Robe 575XT Scanners, six

Robe ROBIN 300e Spots and a Robe Dominator XT1200. With the

XT1200, the rotation-speed of the barrel mirrors is fully controllable. It

has a three-facet prism effect, six different gobos and three different

dichroic colour filters. It offers a multitude of lighting effects. Twelve

Robe LEDforce 18 RGBW fixtures and 54 Robe LEDforce 7 RGBW

fixtures supply colour washes to the surrounding environment. Four

400W UV cannons complete the room’s lighting line-up.

Discussing the lighting equipment, Bradley explained: “DWR’s Nick

Britz did the original layout however; Gideon Naude and I have

moved the entire rig during the course of last year and are constantly

repositioning fixtures to keep the venue fresh or for whatever the

client’s needs may be.”

“Everyone has their personal favourite, but yes we were very happy

when we found out that Robe and Avolites would be in our arsenal of

LX. We love the colour of the Robe fixtures, the combination of Robe

575 scanners and Robe ROBIN 300e moving heads peppered with

LEDforce 18 and 7 cans works well for us making the palette that is

Trinity a pleasure to paint every night. These fixtures have been

pushed through some high heat and moist, smoky conditions and

hardly give us any issues.”

“The Avolites Tiger Touch is the backbone of our shows. With the big

touch screen it makes selecting colours and gobos quicker than ever.

Setting up workspace palettes makes multi use a joy. Wireless control

via an iPad or browser enabled phone makes testing a dream.”

A framework of Prolyte trussing provides hanging points for the

fixtures. There are three trusses (Prolyte H30V) running across vertically

and three trusses (Prolyte H30V) running across horizontally overhead,

in a grid format, installed above the dancefloor and stage, which can

be utilised for additional lighting and/or other equipment. There are

three beams at ceiling height (about 3.8 metres) running along the

width of the venue that can be utilised for any additional rigging

required with a maximum weight load of two tonnes per beam and

500kg per point.

Trinity is a multi-purpose venue,

which means a high-energy club

at night can be followed by a

corporate gathering the next

day. The entertainment

technology has been prescribed

with that in mind, including the

video elements.

Multi-function club in mother city

26

insTallaTions venue solution

AQ series Stadium series

The Martin Experience www.martin-audio.com

Blackline seriesWavefront series

Tel: +44 (0)1494 535312 Fax: +44 (0)1494 438669 E-mail: [email protected]

4326-Corp Ad PAA 15/10/04 15/10/04 16:20 Page 1

www.audiosure.co.za [email protected]

Motorised projection screens have been installed by

Avicom, along with Hitachi CP-X 1000 and Cp-X 5021

projectors. Four Samsung LCD screens are found in the

Funktion Room.

Discussing this technology, Bradley said:

“The projection elements are

used for entertainment and

presentations. We have

Arkaos Media Master Pro,

which we use for VJ

purposes when we don’t

have an external VJ on the

screens at night. During the

day PowerPoint

presentations on the 5-metre

by 4-metre projection screen

will not be missed.”

Elsewhere in the venue, the same combination

of manufacturers can be found. A breakdown of

the exact models and quantities are featured in

the technical information box at the end of this

article.

A complete Audix microphone kit has been

supplied by Metropolis Sound & Lighting, along with

K&M microphone stands and Radial DI boxes.

All amplification is via Full Fat Audio Amplifiers.

Three FFA 4004s, six FFA 6004s, three FFA 8000s and

a FFA10000 are used to drive the complete system.

All processing is through BSS Audio Soundweb

London BLU processors, which are networked and

controlled using a tablet PC allowing for wireless

control of the system from anywhere within the

club.

An amp room overlooking the Funktion Room

houses the three 42U amp racks. Each rack is

powered by a 32A three-phase Metrobox Rack

distribution module, which also accepts a feed

from the rack mount UPS and protects and

distributes it to all processing and control gear in

the racks. Metrobox patch points around the venue

allow signals to be input and extracted throughout

the venue. Connection points for monitor input and

output are also included on the patch points.

Reflecting on the installation, Bradley picked out

a personal highlight: “It was a great honour to

meet Tony Andrews himself at the beginning of this

year. He imparted knowledge to us that is

invaluable in our industry and has such a zest for life

that is unparalleled.”

Technical Spec

AUDIO• Funktion One speakers • DiGiCo SD9 FOH console • Soundcraft EFX12 console • Pioneer CDJ-2000 & CDJ-900 CD decks • DJM-800 DJ mixer • Audix microphones • Full Fat Audio amplifiers

LIGHTING• Avolites Tiger Touch & Pearl Tiger consoles • Philips Strand wall rack • Robe: ROBIN 300e Spot, LEDforce, Dominator XT1200 & 575XT Scanner • 400W UV cannon

TRUSSING• Prolyte H30V trussing

VIDEO• Hitachi CP-X 10000 & CP-X 5021 data video projectors

• Motorised projection screens

• Samsung LCD screens

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AQ series Stadium series

The Martin Experience www.martin-audio.com

Blackline seriesWavefront series

Tel: +44 (0)1494 535312 Fax: +44 (0)1494 438669 E-mail: [email protected]

4326-Corp Ad PAA 15/10/04 15/10/04 16:20 Page 1

www.audiosure.co.za [email protected]

Audiosure – martin

28

insTallaTions audio solution

In a theatre’s case, there may be any number of alcoves, balconies

and floor spaces to cover, thus often making a simple stack-per-side

system out of the question and calling for something a little more

complicated. After all, everybody who buys a ticket deserves to hear

the programme no matter where they may sit.

Being a mix engineer myself, I am used to walking into a theatre gig

and having to deal with multiple delay enclosures, matrix sends, and

individual manipulation of the coverage areas but I must admit my

knowledge of the minutia of installations of permanent systems was

never significant. I’d simply never done one, nor had I ever witnessed

one done properly.

You can imagine my interest when I was given instruction by the

powers that be to review the new L-Acoustics system that was recently

installed into the Barnyard Theatre by Richard Smith and Joseph

Mandy of Sound Harmonics. These gentlemen were kind enough to

meet me early in the morning to check out their latest installation and

Richard was gracious enough to share his thoughts behind the design.

“The Barnyard Theatre is a discerning business

just like any other so obviously the budget wasn’t

on the order of a blank cheque. The theatre

already had an older MTD system so instead of

buying an entirely new system, we merely

added on some newer components from the

latest L-Acoustics line to fill out the room.”

The new components Richard refers to includes four new coaxial

8XTi’s, the LA4 amplified DSP unit, and a couple of SB18 subwoofers.

These, added to four MTD115A’s (mains), four MTD108A (front & side fills)

and two SB118 Subs, really helped Richard to attain an even coverage

to all areas of the theatre.

His main goal was to steer clear of adding fills on the front of the

stage and under the balcony areas for the simple reason that it

presents a delay nightmare, and an additional cost (of enclosures

and processing). In the case of front fills, it was extremely difficult to

get the delays right, because the front tables are so close to the

stage. For this reason he chose to fly all the boxes and implement

clever use of enclosure orientation and firing angles to achieve the

even coverage he was aiming for.

Using L-Acoustics’ proprietary system installation software called

Soundvision; Richard carefully plugged the venue dimensions into

their respective fields and designed a virtual space that reflected

the theatre. Soundvision naturally has all L-Acoustics speaker models

– including legacy – built into its interface so it’s merely a matter of

choosing one and specifying its position. Each speaker model

naturally has its own dispersion characteristics and this is built into the

software to ensure proper coverage of the virtual space.

A coverage map can then be generated to display the dispersion

of the system and all parameters such as type of speaker, angle and

position can then be manipulated to supply an optimum

configuration. It’s a wonderful tool that Richard uses on all his

installations and it really shows once you take a listen.

Taking a walk around the room, I was surprised to hear how even

the playback material sounded at all points in the room. The biggest

problem areas in this type of venue are often underneath the

balcony and the area directly under the stage, because the

Barnyard has a balcony that runs around the entire perimeter of the

venue and because the floor is actually quite large, it’s clear that

these issues were immediately a concern for Richard. But he handled

the situation beautifully as I was able to hear the music clearly no

matter where I was in the room, without any phase seams or tonal

change.

Sound Harmonics really did a great job with this venue and their

approach is a testament to taking what you have, carefully using the

tools at your disposal and getting the job done with the least amount

of expenditure and intrusion.

Upgrading theatre sound by Greg Bester

Theatre sound, although sharing many similarities with other kinds of audio installations, is a distinct beast with many challenges, the most pertinent challenge is coverage of the listening area.

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29

international audio solution insTallaTions

The audio system was designed and installed by Liverpool, UK-based

ADLIB Solutions, co-ordinated through their specialist installation

division.

It follows another CODA system supplied by ADLIB last year to the

adjacent Velodrome track, after which Manchester City Council

asked them back to deliver a permanent multi-purpose audio

solution at The BMX Centre.

The ADLIB team was led by Roger Kirby and John Hughes, and

overseen on site by Alex Burke.

CODA was specified for many reasons including continuity with the

Velodrome system as it offers the sonic range and dynamics

demanded by the BMX Centre, which stages a whole range of events

including those organised with local community groups. These

include Urban Expression, a weekly youth night focusing on urban

sports and music plus numerous other national and international BMX

track events.

“The main objective was to provide a very

flexible system to handle loud music and hyper-

enthusiastic commentators without excessive

breakout, while minimising environmental

disturbances to nearby residential properties,”

explains Roger Kirby.

The design’s starting point was to optimise the audio coverage and

reduce potential environmental noise pollution. On the latter task,

ADLIB worked closely with the venue’s preferred acoustic consultants,

Sound Space Design, which endorsed their system design.

Another requirement was to have a system straightforward

enough to be operated by the venue’s general events staff on a

day-to-day basis.

The speakers are configured to minimise reflections within the

space’s challenging acoustic environment.

Covering the centre of the main seating stands are four hangs of

four CODA Airline LA8 speakers, each with an Airline LA8 sub on top of

each hang, complete with all the necessary flying accessories.

The main stands’ front left and right positions are covered with four

CODA G712 / 96 speakers, and for the extreme rear left and right

corners of the stand, two CODA G308 delay speakers are deployed.

At the starting gate positions on both ramps are four ADLIB AA81i

speakers.

To minimise the sound spillage, the whole system is configured as 10

independent sound zones across the stands. This allows fine tuning of

the levels and speaker operations in these spectator-only areas.

The LA8 loudspeakers enhance the overall spectator listening

experience with their uniform cross-axis frequency response that

feature planar technology; their coherent spectral response and their

high output gain. The light weight – in relation to physical size – offered

many hanging options, effectively to simplify the installation into a

point-source speaker solution.

For control, ADLIB specified a BSS Soundweb ‘London Architect’

system network incorporating a BLU-100 device with BLU-LINK

connectivity for the simultaneous broadcast of audio signals and

microphone sources via Ethernet. The Blu-100 will be used as the

source feed for event commentary, DJ systems and visiting sound

mixers to tie into the installed system. An intelligent system processor

with on-board calendar configuration allows complete control and

sound level limiting, and can be programmed with different pre-sets

for times of day and days of the week.

The 19-metre trim height of the structural ribs in the building’s ceiling

– from which the sound system is flown – provided additional

challenges as the installation had to include the help of a self-

propelled aerial working platform.

Sounding off in the BMX worldSome overseas trends news courtesy our international correspondent louise Stickland.

A new CODA Audio sound system is servicing the UK’s first ever permanent indoor BmX track, which is part of the National Cycling Centre in manchester.

30

insTallaTions arChiteCtural lighting

It features the first ground-breaking architectural

lighting installation of its kind in South Africa, designed

by Paul Pamboukian and senior lighting designer

Joao Viegas of Paul Pamboukian Lighting Design

(PPLD), with 115 Anolis ArcPad 48 and 12 ArcSource 96

fixtures used to highlight the spectacular 34 metre

high, 42 metre diameter, 11 degree sloping roof

structure and its ETFE inflatable skin.

These were supplied by Anolis’ South African

distributor DWR, who also undertook the installation

and commissioning of the lighting system. DWR’s team

of three installation technicians all completed full

Rope Access and Working at Height safety courses

before starting on site, with approximately 70% of the

Anolis fixtures needing to be rigged externally on the

roof structure.

Protea Court – which houses 70 new international and luxury retail

outlets – was inspired by the shape of South Africa’s national flower,

the Protea and designed by Tia Kanakakis from MDS Architects.

PPLD has worked with MDS Architects on previous projects, and

was asked to create a fabulous and innovative lighting scheme to

accentuate the striking shape and aura of Protea Court, in the

process capturing the mood and spirit of the whole cutting edge

development and retail ‘experience’ with lighting.

PPLD specified ‘green’ lighting technology for several reasons:

Firstly, to match the energy efficient ethos behind the ethylene

tetrafluoroethylene (ETFE) roof, a fluorine-based product with high

corrosion resistance and strength over a wide temperature range.

Just two microns thick, it lets through all natural light, whilst providing

very robust insulation. Comprising 146 air-filled cushions, restrained

within a network of profiled aluminium extrusions curved to the shape

of the steel structure, it is also a first in South Africa.

Secondly, they wanted to ensure that the long-term operational

and running costs of the lighting scheme were efficient and budget

friendly – so LED was an obvious route.

Thirdly, after exhaustive testing, they knew that using colour

changing LEDs would work in the space and also offer additional

dynamic, flexible options, e.g. shading the roof differently for special

events and occasions. In addition to this, they were convinced that

the texture, look and feel of high quality modern LED fixtures was ideal

for the application.

Aesthetically, overall, they wanted the lighting to accentuate the

intense verticality of the space and make the strong structural

definition of the roof with its beams and girders come alive and

‘breath’. The central lift shaft is based on the idea of the Protea-stem,

bursting out at the top into this beautiful petal-like curvature and

canopy.

PPLD had not specified the Anolis brand before, but once their

research into which fixtures would be best to use commenced, DWR

– and Dan Riley – was one of the first calls, having heard that Anolis is

an excellent quality architectural product.

Fixtures that produced a smooth, rich even coverage with no

shadows, pixilation or blockiness across the roof expanse were of

paramount importance, and this is one of many areas where Anolis

really performs.

Anolis in architectural lighting first at new Sandton City extensionProtea Court is the newly opened extension to South Africa’s most desirable and glamorous retail destination – Sandton City in Johannesburg.

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arChiteCtural lighting insTallaTions

They looked at Anolis’s ArcPad 48 RGBWW Integral and ArcSource

96 RGBWW Integral fixtures which were initially demonstrated at

DWR’s warehouse. Impressed with the results, further more

comprehensive tests were set up on site at Sandton. Their client loved

the results as well, and so a lighting scheme utilising Anolis received

the green light.

The 115 ArcPad 48 and 12 ArcSource 96s are arranged over three

rings around the roof dome, of which a centre cluster of 60 ArcPad 48

Integrals above the top of the lift shaft are the only Anolis fixtures

inside the building. Above these – outside – are 12 ArcPad 96s in the

centre, plus the other 55 ArcPad 48s on two rings lower down.

They are all optimised to wash the entire roof area complete with its

elegant air filled undulations and features. Three very subtle

mixed-colour looks are currently programmed as default states,

adding finesse and complimenting the huge architectural statement

made by the roof itself.

“Using Anolis fixtures and DWR for the installation were definitely the

right moves,” confirms Pamboukian, “It all works exactly as I

envisioned.”

Dan Riley follows up with, “We are extremely proud to be involved

with a project of this stature with such amazing results, and glad to

see the equipment specified for all the right reasons.”

Data is distributed via four LSC DMX splitters, the Anolis units are

powered locally and some special ESA Pro Stand Alone PC-based

control software was dispatched from the UK, which is programmed

to run various programmes from dusk to dawn; slowly changing the

accent illumination on the structure, with sporadic colour bursts on

the hour and for special events.

The biggest physical challenge for the DWR site team of Bruce Riley,

Eazy Moketsi and JC du Plessis was the tough working conditions. With

very few areas of the roof that could be walked on, most of the

rigging was done from the air, an arduous task taking four weeks to

complete, and contending with assorted weather conditions – from

rain to high winds – all of which interfered with the workflow.

On site, they worked closely with Duane Jolley from contractors

WBHO, and DWR was sub-contracted through Vector Foiltech.

Protea Court has already been a massive success, and is one of the

most talked about South African business developments of the year.

Everyone is delighted with the lighting scheme. It is hailed as a

trend setting phenomena setting new standards and inspiration for

others to follow. While it will undoubtedly be emulated, in the

meantime PPLD, DWR and Anolis can take the credit for being original

and creating a true ‘first’ of its kind in the country.

The project’s joint venture contractors Aveng Grinaker-LTA and

WBHO recently took top honours in the annual Southern African

Institute of Steel Construction’s 2011 Steel Awards for their role in the

project.

Duncan Riley (DWR), Paul Pamboukian (PPlD), Bruce Riley (DWR), Joao Viegas (PPlD), Dan Riley (DWR), Nic Britz (DWR)

“We are extremely proud to be involved with a project of this stature with such amazing results, and glad to see the equipment specified for all the right reasons.” Dan Riley

32

live evenTs tPi aWards

Gearhouse SA triumphed at the eleventh annual Total Production

International (TPi) Awards held in February at the Novotel London

West Hotel in Hammersmith, UK.

The company cemented its status as one of the world’s most

reputable live production companies by winning the coveted

Favorite International Production Company Award for the second

time. It fought off competition from Ampco Flashlight, Clair, Firehouse,

Melpomen and Roadrunner Belgium – five prominent players on the

global live production scene.

Organised every year by leading UK industry publication, Total

Production International, The TPi Awards – are widely regarded as the

most prestigious honour for the live production industry. Speaking

after the ceremony, Gearhouse SA’s marketing manager Robyn

D’Alessandro attributed the accolade to the company’s strong

experience and world-class services. “This award recognises the top

services we provide locally and internationally, as well as our attempts

to keep up to date with the latest equipment. More importantly, it

acknowledges the dedication of our crew, who each individually

deserve this award for delivering professional service all the time.”

D’Alessandro added that the award would also put the local

events industry on the global map. “This appreciation extends not

only to Gearhouse SA but to the South African industry as a whole. It

showcases Africa as a world-class event destination and it’s good to

know that people outside South Africa realise that they can arrive in

this country and receive exactly the same quality, service and

equipment as in other countries.”

Gearhouse SA first won the Favorite International Production

Company Award in 2010. To accept the award this year was the

company’s top brass; John McDermott (Johannesburg branch

manager ), Thembani ‘Wiseman’ Lokoza (senior structures

technician), Andrew Potter (structures operations manager), George

Majola (lighting crew boss) and the company’s founder and

managing director Ofer Lapid.

D’Alessandro said the company was gearing up for another

successful year, having recently set up a new base in Ghana and

signed a contract to supply a big conference for Shell. “We are very

excited about the Shell conference because we have invested a lot

of money and time to recruit the right people and purchase

equipment specifically for the conference sector,” she said.

Gearing up on global production scene

GEARED FOR SUCCESS: John mcDermott, George majola, Ofer lapid, Thembani Wiseman lokoza and Andrew Potter

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tPi aWards live evenTs

Highprofileawards

Over 1 100 people from all disciplines of the international live event

production industry attended the TPi Awards this year. The sold-out

event was hosted by BBC 6Music’s Stuart Maconie and BBC 5Live’s

Danny Baker.

Duncan Riley from local company DWR Distribution attended the

awards. He says “It was amazing, seeing old friends that we haven’t

seen for a while and networking with people who are influential in the

industry. The highlight for me was being at the event and witnessing

Gearhouse SA winning the award. This was a win for South Africa.”

The awards are voted for by the trade and production industry.

Other hotly-contested accolades handed out during the

30-category ceremony included Live Production of the Year, Tour

Manager of the Year, Favorite Venue and Set Designer of the Year,

Favourite Sound Rental Company and Lifetime Contribution Award.

Mike Jones, who heads local event production company MJ Event

Gear, was very impressed and believes that local awards can learn

from the TPi’s. “I have always wanted to attend this function and it

was great. I think the TPSA Awards in South Africa could also learn

from them and perhaps add some categories. Remembering those

great guys who died in the industry and naming awards after them

was also a nice touch.”

Since their inception in 2002, the yearly awards have consistently

grown in size and, in addition to honoring outstanding industry

players, act as a solid networking platform for the global live

production industry. – Eddie Hatiye

Gearing up on global production scene“This appreciation extends to the South African industry as a whole.” – Robyn D’Alessandro

TPi production

Sound and communications company Orbital handled all

aspects of the evening’s sound. Engineers used the compact

and versatile d&b Audiotechnik T10 line array loudspeaker

system, powered by D12 amplifiers to handle the two stages in

the challenging Novotel environment. Mixing was done on a

Yamaha LS9 32 console with full iPad remote control and radio

microphones from Shure. For communication technicians used

a Clear-Com Tempest 4-channel wireless system.

The venue was lit entirely with ROBIN LED fixtures; a

collaboration between Czech Republic based Robe and

leading UK lighting and visuals rental company HSL, which

handled the rigging and installation of the lighting equipment.

34

live evenTs Prolight + sound rePort

During four days of the Prolight + Sound trade fair a total of 876

exhibitors from 41 countries exhibited to a record 40 894 visitors – up by

21% from 33 781 in 2011. It was held concurrently with Musikmesse,

which was also a success from an attendance point of view,

registering a total of 109 841 visitors over four days.

So what was it that made Prolight + Sound 2012 a worthwhile

outing?

From a visitor’s point of view, it has to be the show’s emphasis on a

comprehensive range of new products and technical solutions,

topical education programmes, as well as the networking side.

Feedback from Media Systems Congress, the biggest information

event at the show, was remarkably positive this year. Florian von Hofen

of the Professional Lighting and Sound Association of Germany says:

“Information about the sector, innovations and business are factors

for success at Prolight + Sound – and this was even more apparent in

2012 than the year before.” Another noteworthy platform was the

Prolight + Sound Forum organised by the VPLT with lectures and panel

discussions revolving around legal questions, occupational safety and

training.

One of the interesting things about Prolight + Sound is that the

organisers are always keen to try out new initiatives. This year they

introduced a new conference called The Eventplaza Conference

Forum for Event Management, which was aimed at event managers

and event agencies and also featured a small exhibition of products.

Other popular spots among visitors included the two outdoor

areas, the Concert Sound Arena and the Portable Sound Arena,

where visitors had the chance to see and hear extensive

demonstrations of different sound systems. A number of suppliers also

presented mobile stages and tent systems outside the halls where

crowds gathered to witness various technologies.

Global trade show lights the wayProlight + Sound has for many years preserved its status as the largest meeting place for the

global events, installation and production sectors. This year’s edition, held from 21 to 24 march,

was another milestone for the Frankfurt trade show.

35

Prolight + sound rePort live evenTs

Audio

In the audio sector, there were two new products awaited with particular interest; the CL series of digital audio consoles from Yamaha and the new VTX series from JBL.

The yamaha CL Series is a Dante network–based console featuring

remote I/O. All three CL models in the Centralogic series, only

differentiated by frame size and input capability, feature 24 mix buses,

eight matrix buses, plus stereo and mono outputs and 16 DCAs. “The

footprint of all three CL consoles is small, yet powerful and has been

developed specifically for sound reinforcement applications such as

performing arts venues, theatres, houses of worship, touring and

remote broadcast,” says a Yamaha spokesperson.

JBl Professional introduced the VTX Line Array Series with the launch

of the S28 and G28 subwoofers. “The VTX Series features JBL’s

legendary sound quality coupled with the most advanced sound

reinforcement technology and support available,” says a

spokesperson from the company. The first product from the VTX Line

Array Series is the VTX V25 – a full-size, 3-way, high-directivity line array

element. The VTX V25 features two 2000W, 15-inch Differential Drive

woofers mounted in die-cast aluminium baffles, with four 8-inch

differential drive mid-range transducers and three of the

‘revolutionary’ new D2 Dual- Diaphragm Dual-Voice-Coil

Compression Drivers mounted on a 3rd generation waveguide and

patented RBI Radiation Boundary Integrator assembly.

Distributed by www.wildandmarr.co.za

Global trade show lights the way

Audiosure mC2

www.audiosure.co.za

Sometimes less is more: less space...more power. Delivering high powered, superior sounding amplifi cation in a compact format, E100

guarantees exceptional sound quality and utmost reliability in the most demanding conditions. Our advanced 92% effi cient Class D output

stage runs cool and draws less power from the mains.Backed by a 5 year warranty, get more, for less.

Find the full specs at www.mc2-audio.co.uk.

E100. More power 2U.4 x 2.5 kW, 12 kg, Class D Power Amplifier

Imported by

36

British audio solutions manufacturer DiGiCo unveiled a new mixing

console called SD5.The SD5 has 124 input channels; 56 configurable

busses, plus up to 5.1 master; a 24 x 24 fixed matrix; DiGiTubes on every

channel, buss and output; 24 assignable Dynamic EQ; 24 multiband

compressors; 24 stereo effects; 32 Graphic EQ; 10 x 4 (40); and RGB

backlit macro buttons.

Distributed by www.tadco.co.za

martin Audio presented the MLA Compact

Multi-Cellular Loudspeaker Array – a fully

integrated system with speakers,

amplification, DSP and optimisation

software. Director of sales, Simon Bull says:

“MLA Compact is our response to the

market demand for a mid-size touring

system that can double as an installation

system, while retaining all the breakthrough

benefits of the original MLA system. MLA

Compact enables a much wider segment

to buy into our game-changing multi-

cellular technology.”


mackie demonstrated its new portable

S500 Series passive loudspeakers, which

form part of a new system that also

includes the FRS power amplifiers and

SP260 2x6 speaker processor. There are

three full-range boxes in the series: the

two-way 12” S512, two-way 15” S515 and

two-way dual 15” S525. There is also an 18”

companion subwoofer called S518. All S500

models include NL4 and 1/4” inputs and

through connections.

d&b audiotechnik

presented its

V-series, which

consists of the V8

and V12

loudspeakers and

the V subwoofer.

All are matched

and constructed

to be

mechanically

compatible – in

flown or ground-

stacked arrays.

Allen & Heath showcased their new ZED mixer, as well as the new GLD

digital mixing system and other recent additions to the ZED and Xone

ranges. The ZED60-10FX is a compact, portable mixer ideal for solo

artists and small bands. Two of the four mono channels have high

impedance jack inputs that can take a normal line level or a low level

input from a guitar pickup, so guitars can be plugged straight into the

mixer without the need for DI boxes. Two stereo inputs are provided for

MP3/CD players or keyboards, and the mixer is equipped with

configurable USB audio in/out to capture a stereo recording, XLR main

stereo outputs, a flexible monitoring section with headphone and

speaker feed outputs, and 16 digital effects developed from the iLive

digital mixing system.


Kevin Glover – Sound StylistsI primarily go to Pro-Light + Sound to see the

suppliers and network with other industry players.

In terms of new products, Coda had some new

products that were mind-boggling. JBL also

launched an impressive touring system. We were

also impressed with Digico’s new products and we

may look at upgrading our Digico D5’s to SD5’s.

On the lighting side it was pretty much LED, LED and more LED. The

most interesting product for me was the Robe ROBIN 100. There were

also some interesting things happening with High End Systems lighting

desks. They are definitely on the way up. It’s Interesting to see how the

AV and lighting are starting to tie up.

Bruce Schwartz – Electrosonic SANot much has changed really in terms of lighting; it

is all about LED. Lighting products are getting

smaller and brighter but there is still a big divide

between cheap led and professional led

products. Products that caught our eye include

the Martin M2GO and M2PC control desks which

we believe will become a major factor in the

control desk market in South Africa. We will be showcasing the

amazing Martin Viper Range in South Africa around June July. This

product by all means will be the new touring standard in moving

lights. Its 25% brighter than the old industry standard MAC 2000 and

yet the Viper is the size of a comparable 700w fixture.

Industry professionals’ perspectives on Prolight + Sound 2012


37

Lighting

“The dominant subject in the lighting sector is the efficiency of modern lights. Interesting in this connection is that the tried and tested discharge lamps are also enjoying a small come back.”

– Florian von Hofen (Professional lighting and Sound Association of Germany)

martin Professional received

positive feedback for its new MAC

Viper Profile, which is anticipated

to knock down many lights in the

1200-watt range. Martin

Professional claims that the profile

is about 50% more efficient than

other lights in this range. Key

features of the light include 25 000

lumens, glass gobos with optimal

focal separation for superior

morphing effects and an 8-slot

colour wheel.


Czech Republic moving light

manufacturer Robe

introduced five new ROBIN LED

lights: the ROBIN DLX Spot, the

ROBIN DLF, the ROBIN 800

LEDWash, the ROBIN Actor 6

and the ROBIN 100 LEDBeam,

which is selling fast in South

Africa. The ROBIN 100

LEDBeam uses 12 high

powered RGBW LEDs arranged

in three zones (which can be

controlled independently). The

light has a virtual colour wheel with pre-programmed 237 colours

including whites (2.700K, 3.200K, 4.200K, 5.600K and 8.000K) and its

beam angle in 7°.

Distributed by www.dwrdistribution.co.za

Clay Paky presented the new

A.Leda LED moving head

range which consists of three

models with wide fast pan

and tilt movements (100 W,

300 W and 600 W). “This line is

a valid alternative to

discharge-lamp washlights of

equal power, with all the

benefits of LED lights: intense,

highly vivid saturated-tone

colours, lightweight, energy

saving, longer light source life

and lower operating and

maintenance costs,” says a

spokesperson from Clay Paky.


Electrosonic martin lighting

38


Industry professionals’ perspectives on Prolight + Sound 2012

Robert Juliat’s stand was

almost entirely illuminated

by LED fixtures,

demonstrating how LED

sources can simultaneously

offer cost and

environmental benefits. The

stand presented Robert

Juliat’s two new products,

TIBO and ZEP LED profiles, which are due for release later this year.

TIBO will be available in two colour temperatures: Warm White 3200K

and Cool White 6000K and offers three zoom ranges compatible with

the current zoom ranges of the popular 600SX Series tungsten profiles:

28°to 54°, 16° to 35° and 11° to 26°.


PR lighting got people talking with its XLED 336

moving head. It stood out among a large suite of

innovative LED based products on the stand of the

Chinese manufacturer, where visitors praised its

brightness, speed and sleek design. The light has

an 18.15° dispersion angle and generates its

power and RGB colour mix from 36 x 3W Osram

Oslon LED’s (12 red, 12 green and 12 blue).

Philips Vari-lite introduced the new

VL3015, VL3015LT, and VL3515 Spot

luminaires. All three luminaires include

CYM colour mixing, variable CTO

colour temperature correction, gobo/

effects wheels, and ultra-fast strobe

mechanisms. While the VL3015 and

VL3515 have a six-position colour

wheel, the VL3015LT utilises two five-position colour wheels, and the

VL3515 luminaire has an added feature of a four-blade shutter

mechanism that allows the blades to be operated independently or

in unison for a clear and crisp image. The VL3015LT luminaire houses a

precision glass reflector system with dichroic cold mirror coating. This

system allows the fixture to achieve over 40,000 lumens of output. Plus,

the VL3015LT also contains an independent, drop-in armature which

rotates, is indexible, and is capable of holding 5-facet prism or

included frost glass. The VL3015, VL3015LT and VL3515 Spot luminaires

are all complete with a palette of VARI*LITE gobos, effects and

colours, while custom gobos, effects and colours are also available.


martin Professional demonstrated a range of

exciting products,

including the new M2GO

and M2PC lighting consoles. Equipped with a fast, dual-core

processor, the M2GO is a full console with no external computer

required. It offers a professional level of features in a portable

package and has been developed with cost, ergonomics, feature

set, size, and weight in mind. The latest generation processor ensures a

fast and responsive user interface, even if hundreds of playbacks and

effects are activated simultaneously. The M2PC is the complementary

control surface to Martin’s M-PC controller software. With the same

layout and size as the M2GO, the M2PC delivers a professional level of

features in a portable package directly from any PC.


Networks

AVB and Dante dominated the network technology section; a majority of audio products were either AVB or Dante-ready.

Riedel Communications presented a

suite of AVB products, which provides a

real-time communication solution

based on official IEEE next generation

Ethernet standards like 802.1Qav,

P802.1Qat and P802.1AS. The Riedel suite

of AVB products includes the AVB-108 G2 Client Card and Connect

AVBx8 panel interfaces. The AVB-108 G2 card is a regular Artist client

card to be used inside the Artist mainframe. It converts eight Artist

matrix ports into AVB and vice versa. The AVB-108 G2 client card

communicates either with other AVB-108 G2 client cards in another

Artist systems, for example for trunking or for use with Riedel’s Connect

AVBx8 panel interface.

NEXO introduced the new NXDT104

Dante audio plug-in card for the

NXAMP, which enables NEXO

loudspeaker systems to explore the

many benefits of a high-performance

AVB-ready digital networking solution.

Distributed by www.tadco.co.za

Nick matzukis – AVl DistributionPro Light + Sound was dramatically different

from last year which was truly a case of

same-old same-old with only a couple of new

lines here and there. The most innovative

products I saw this year were Nivtek’s Clear

Glass Stage, which is the first truly clear glass

stage I’ve seen and the Gerriets G-quick

clamp, which replaces conventional cable ties/ribbons for cloths

and curtains. Eurotruss, launched the Catwalk Truss, a high-load,

massive strength truss which becomes a certified catwalk for

touring purposes and has wheels underneath for enormous

spans. They also launched a new touring range of folding truss.

John Silver – AudiosureI went to Pro Light + Sound to chat to my suppliers

and re-establish connections. The social side plays a

very important part in growing relationships and the

business. The most exciting products I saw were

Allen & Heath’s new GLD mixing systems. We’ve

already brought in our first one and have another

four coming in this month. This is an offshoot from

their iLive series. It’s simpler and has a much better price point. I have

really high hopes for it and the market’s reaction has been great.

Another exciting product was Martin Audio’s MLA Compact System.

One of the things that set it apart from other systems is the fact that it is

scalable and versatile and you can focus it so carefully.

39

Rigging & Screens

Eurotruss showcased

their new pre-rig trusses

the MT Truss, the RTS

Truss and the CWT Truss.

The MT Truss, with its

rigid dimension

(1 180mm height and

780mm width), enables

free spans of 28m and

can take up to 7 000 kg

of uniform distributed

load. The CTW Truss

can be used as a

catwalk truss with aluminium inlays and as two heavy duty pre-rig

trussing as the truss can be used in flat and or upright position. By

using a combo connection you can build it with a conical connector

and or gable connector. The RTS Truss is a heavy duty pre-rig truss for

automated lighting. It saves not only trucking space but also

guarantees less set-up time and labour.

Distributed by www.avldistribution.co.za

Gerriets showcased their new Optiblack

screen. ‘’Optiblack is

a nearly black

projection screen

with identical

luminance when

used in front or rear

projection

applications. When used in rear projection situations, the even

luminance distribution, combined with excellent diffusion qualities,

make it a perfect choice for soft-edge blending applications,’ says a

spokesperson from Gerriets. Due to its dark colour, ambient reflected

light is greatly minimised on the front surface thus making it almost

magically disappear when not in use. Optiblack can also be used to

diffuse LED screens and backdrops to create unique and interesting

effects. Gerriets also launched G-Quick- an alternative to traditional

methods of hanging drapery. The patented device replaces tie lines

as a means of attaching grommeted soft goods to pipe battens,

making it possible to install and strike stage curtains, backdrops, and

other drapery 3 to 4 times faster than by conventional methods.

Distributed by www.avldistribution.co.za

J&C Joel launched

their new Reefer String

Curtain.

Manufactured from

flame retardant

treated polyester,

Reefer String Curtains

can be made to any

size and looks fantastic

when lit. The curtain is available in a wide range of colours, each with

the option of interwoven lurex thread in gold, silver, or bronze. “The

release of the Reefer String Curtain shows J&C Joel’s commitment to

sourcing new products and providing our customers around the

world with the very best in high quality flame retardant fabrics and

draping’ said J&C Joel managing director, Andrew Walsh.

The next Prolight + Sound will be held from 10 to 13 April 2013 at the same Frankfurt venue.

matrix

A team of specialised technical supply professionals for corporate,

television, theatre and music events.

Lighting Supplier and 3D Lighting Design

Advanced Video Presentation Technology

Sales & Rental of Pro Audio Equipment

40

www.audiosure.co.za

Imported by

live evenTs exPert oPinion

Audiosure Xl

Sound engineers and musicians will agree that hearing is

the most valuable asset they have in order to do their work

effectively. However, a significant number of them will at

some point suffer from Music-Induced Hearing Loss (MIHL),

a dreaded disorder that results from prolonged exposure to

high-intensity sound.

Just a few minutes of exposure to high-decibel sound can

cause permanent hearing loss. Within the live event environment,

the risk extends not only to sound engineers and musos, but to

everyone involved, from the fans to lighting operators and even

security guards.

“Sound engineers often have damage in the most sensitive region of human hearing, the frequency range between 1.5kHz and 5kHz.”

What happens when sound enters your ears?

When sound enters into the external auditory canal, it is funnelled

through to the eardrum (tympanic membrane). The membrane

acts as an elastic diaphragm and drives the ossicular chain of the

middle ear system into motion. Then the middle ear ossicles transfer

mechanical energy to the cochlea by way of the stapes footplate

hammering against the oval window of the cochlea. This hammering

causes the fluid within the cochlea to push against the stereocilia of

the hair cells, which then transmit a signal to the central auditory

system within the brain. There are between 15 000 and 20 000

microscopic hair cells, when they are damaged they can no longer

transmit sound to the brain.

“Research indicates that classical musicians are the highest at risk compared to rock musicians and other music genres.”

Symptoms of Music Induced Hearing Loss

Symptoms of MIHL include: ringing in the ears after exposure to loud

sounds, feeling of fullness of the ear, difficulty hearing on the

telephone and difficulty in understanding speech in background

noise. Professionals may ignore these warning signs and may not

understand the impact that hearing loss has on their quality of work

and social life – until it’s too late.

“Listening to music with earphones at a medium volume can generate harmful sound pressure of a level of up to 100dB, after just 15 minutes per day.”

Hearing loss can be prevented

Having hearing loss is like listening to a piano recital when only half the

piano keys are played. Therefore it is very important to protect your

hearing as early as possible by using the correct hearing protection.

Professionals in the music industry should consult an audiologist, who

will provide advice and information on how to look after their hearing

and also monitor hearing damage on a yearly basis, because once

hearing damage has occurred, there is no turning back the clock.

“Safe listening levels must be below 74dB because damage starts to occur at 74dB exposure level at 4Khz (biologic damage threshold).”

Sound adviceWhen last did you have your hearing tested? Pro Systems consulted with audiologist Nolwazi Sambo from HearingCoach Africa to give some insight into hearing damage and its associated risks to professionals that work in the live event industry.

References: Occupational Hearing Loss in Audio Engineers – Jeffrey Wit; Why are audio engineers the enemies of our ears? – Ron Pellegrino ; http://www.sabre-international.com/sound-engineer-procedures.html

41

ProduCt revieW live evenTs

As a major player in automated lighting, Robe has continually

exploited new technologies to develop some of the most sought after

products on the market. The ROBIN 600 LEDWash light, distributed in

South Africa by DWR Distribution, is one of the Czech Republic

company’s most acclaimed fixtures.

Confirmed as Robe’s fastest selling product of all time, the ROBIN

600 LEDWash is ahead of most moving heads in its league. As a

member of Robe’s green-inspired ROBIN moving heads family, the

ROBIN 600 LEDWash is designed to save energy, generate less heat,

cut maintenance costs and generally give users an affordable

professional wash-lighting solution with enhanced creative

capabilities. But the big question is: does the fixture do what it was

designed for?

Well, before we get into that let’s first understand how it works:

Lights source and optics

The ROBIN 600 LEDWash uses 37 Cree XLamp MC-E RGBW LEDs, each

with red, green, blue and white emitters. These LEDs are dotted in

three concentric rings (zones) that can be controlled independently

with five modes of operation – each requiring a different number of

DMX channels. The inner ring or zone has seven LEDs, the middle

zone has 12 LEDs and the outer zone has 18 LEDs. These rings are

mounted on three concentric circuit boards, which are, in turn,

attached to a large aluminium heat sink. A sensitive fan is mounted at

the rear of the LED driver board to further protect the system from

higher heat levels. According to Robe, the LEDs’ life span is 60 000

hours and typical lumen maintenance is 70% at 60 000 hours.

The light’s homogenisation and spill-limitation systems comprise a

complex layer of plates and optical devices mounted above the LED

packages. One of the plates has 37 cone-shaped plastic TIR (total

internal reflection) lenses, which fit over the LED packages. Another

plate features 37 micro lens arrays which are also fitted over the LED

packages to form a myriad of small zoom lens systems with nearly 100

micro lenses per emitter. The last noteworthy feature in this section is a

larger micro “egg-crate” with 37 cavities to accommodate each

emitter.

ROBE’s fastest selling product

But the big question is…how does it perform?

ROBIN 600 LEDWash

MultichipsNew LED technologiesuse several LED chipson a single module thatcreates just perfectpoint sourceof extremely smoothnew dimensionalcolour mixing of RGBW.

Individualcontrolof LED ringsUnique design and controlof the LED PCB's allowsindividual control of eachLED ring for creationof eye-candy effect,such are colour wavesor strobing per rings.(Patent pending).

42

live evenTs ProduCt revieW

Pro Systems spoke to a number of companies using the Robe ROBIN 600 extensively and this is what they had to say.

“The light’s primary colours (Red, blue

and green) are incredibly bright and it

uses less energy and weighs very little.” – mark Gaylard

Colour systems, dimming and zooming

In the words of Robe, “The 600 is the world’s first LED wash light with

true white colours.” In addition to the three LEDs zones, the fixture

features a virtual colour wheel channel which is responsible for

creating a range of proper colours and effects. Through the desk,

users can fully manipulate this channel, changing colour

temperatures to any of the 237 variations of white pre-programmed in

the CTO filter (from 2 700K to 8 000K). The CTO whites even have the

thermal fade and red delay emulation of tungsten sources.

For dimming, the light offers 0 to 100 % high resolution dimming in

either 8-bit or 16-bit mode and has a motorised zoom system which

ranges from 15° to 60°. To increase performance in ROBIN lights, Robe

replaced the old PIC chip architecture with faster 32-bit ARM

processors, which have increased memory and this generally makes

the ROBIN 600 LEDWash faster in all areas.

Pan, tilt and noise

The ROBIN 600 LEDWash uses a combination of three-phase stepper

motors and belt drives to achieve a pan and tilt range of 450° and

300° respectively. According to Robe, a full pan movement takes 2.1

seconds at maximum speed and 3.4 seconds in ‘theatre mode’ – the

slowest and quietest of the available five modes of operation. A full tilt

movement takes 1.1 seconds at maximum speed and 2.5 seconds in

theatre mode.

Noise produced by the fixture is determined by the amount of work

it is doing. So the more work you assign it, the more noise you’ll get

from the temperature-controlled fan. However, the ROBIN 600

LEDWash light offers a theatre mode, which slows down the pan, tilt

and zoom motors to reduce noise levels.

Control

The light is equipped with Robe’s standard colour LCD touch screen,

which allows users to set the fixture s behaviour, obtain information on

its operation, test various parts & programme it in stand-alone mode.

The menu can also be controlled by four buttons (ESCAPE, NEXT, PREV

and ENTER/DISPLAY ON) which are found in the front of the base.

The unit’s automatic self-switching power supply is mounted on the

base, which also houses a host of delicate electronics. Motor drivers

are stored in one yoke arm and the other electronics are carefully

distributed throughout the unit.

Mark Gaylard – MGG (36units, 12 months in use)

“When I saw the 600 on the Internet I knew

right away that it was what I was looking for. I

bought it before I had even physically seen it

and it has exceeded all my expectations. The

light’s primary colours (Red, blue and green)

are incredibly bright and it uses less energy

and weighs very little. Another big thing is that there are no globes,

which makes the light significantly economical. The discharge lamps

we have require new globes after 700 hours of use so on a busy year

we relamp them twice and that amounts to about a quarter-million

rand. Discharge lamps use about 700 watts and the 600 only uses

about 200 Watts, which is very crucial especially when you have

electricity going up by 25% every year. The light is also very quiet;

there is a fan but it does not make a lot of noise because there is big

heat sink attached to the system. It’s also been great from a reliability

point of view; we haven’t had any problems at all and technical

support from DWR has also been amazing.”

LEDcoloursRobin LEDWash 600 is able to produce 4300 from pastel to saturated colours.

43

ProduCt revieW live evenTs

Mike Jones – MJ Lighting & Event Gear (24 units, four months in use)

“As a company owner, the biggest thing for

me is that I don’t have to relamp it. With other

lights you spend thousands of rands on

relamping every 750 to 1000 hours but the 600

gives you 70000 hours, which significantly

reduces costs. The 600 is also very versatile, its

dimming capabilities allow you to use it everywhere, from big rock

concerts to corporate events, TV shows and outdoor events. The thing

that surprises us the most, however, is the amount of zoom it has, it’s

just phenomenal. We are also very impressed with the unit’s

smoothness, speed, weight, size and quietness. In terms of colours,

Robe has done an amazing job because it has a proper CTO with a

correct range of whites. We have not had any faults at all and

support from DWR has been brilliant. Overall, I am very happy and will

certainly buy more.”

Stuart Andrews – Gearhouse SA(72 units, 7 months in use)

“I am impressed with their efficiency,

brightness and wide beam spread but I think

some of the colours could be better. The

colour mixing on LED fixtures is not quite as full

and rich as traditional colour wheels with the

full range of a colour palette. While we have used the fixtures

extensively, we also have had a few faults which I wouldn’t expect

from a fixture that is essentially brand new. However, I have the same

problem with other manufacturers and this seems to be a problem

with technology in general. We use them mainly for theatre, concerts

and corporate events and the response from clients has been very

positive, they are requested quite often.

Overall, the lights are fantastic, very versitile and we are very happy

with them. In fact, we’ll probably be buying more in due course.”

Abesh Dhevalall – Solid Rock (four units, 12 months in use)

“We were looking for a fixture that is light in

weight, smaller, power-saving and with as

wide a zoom as possible at a short distance

and the ROBIN 600 LEDWash was the perfect

solution. The fixture has meets all expectations

on every level and we’re actually thinking of purchasing six ROBIN 300

LEDWashes after the experience we’ve had with our 600 LEDWash

lights. DWR has been excellent in terms of service and willingness to

help where ever possible. My previous fixtures were lamp fixtures and

we will not buy them again because they are an expense to

maintain, unlike LED fixtures.”

Allan Dickinson – DNG Sound & Audio Visual (12 units, eight months in use?)

“The ROBIN 600 LEDWash is the best product

we could find in the range and I am

particularly impressed with the brightness of

the lights when using primary colours. We are

involved in live productions, mainly in the

corporate sector, and they meet all our expectations. They are LED

fixtures so the lifetime of the light is vastly better than any other light

we have ever had. In terms of maintenance costs, the lights are still

very new so it is hard to judge, but we estimate them to be a lot

cheaper to maintain because we don’t have to change bulbs.

Product support from DWR has been very good; they are the best in

the market.”

Kagiso Moima – Black Motion(12 units, eight months in use)

“I am particularly impressed with the light’s

output which is perfect for my market

(television). The ROBIN 600 LEDWash gives

you a benchmark in terms of natural colours

and it allows you to produce lights with the

right intensity. I also like the fact that they consume minimum power,

which is very important to us because we shoot for very long hours

and you wouldn’t want a light that gives you huge studio costs. Our

clients enjoy the technology and we’re actually looking forward to

buying more Robe LED fixtures.”

“I am impressed with their efficiency,

brightness and wide beam spread but I

think some of the colours could be

better.” – Stuart Andrews

“The ROBIN 600 is the best product we

could find in the range and I am

particularly impressed with the brightness

of the lights when using primary colours.” – Allan Dickson

“The 600 is very versatile, its dimming

capabilities allow you to use it

everywhere, from big rock concerts to

corporate events, TV shows and outdoor

events.” – mike Jones

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live evenTs industry exPert

How and why did you get into the lighting business?Cutts: I started working at the Market Theatre when I was very young.

My dad is an Actor and my step mom was operations manager at the

theatre so it was natural for me to get into the lighting business. I

started out as an assistant stage manager but quickly over to the

lighting department wherel I met Richard Barnes who taught me the

fundamentals of lighting and lighting design.

At what point did you start designing independently?Cutts: After eight years I left the theatre to freelance and gain

technical experience in the industry. No one knew me at that point so

I wasn’t really doing much lighting work. My friend says I was a hippie

those days because I was always lying on the couch (laughs).

So how did you end up at Electrosonic and AV Unlimited?Cutts: After a few years Dan Riley who was at Electrosonic at the time

asked me to work in their lighting department. I handled their lighting

control desks and I think that was the best opportunity I could ever

have had. It was like university for the technical side of lighting and I

really learnt a lot about the new technology. After two years I left

Electrosonic to join AV Unlimited and got back into designing again

and working shows.

And Visual Frontier? Cutts: I left AV Unlimited last year to form my own small business (Visual

Frontier) specialising in lighting and stage design. I really enjoyed my

time with AV Unlimited and worked on some awesome shows but I

wanted to focus on my passion for lighting design and I believe the

industry needs more independent designers.

What do you think is the most important lesson a person entering the business should know?Cutts: Stop trying to learn the control desks and start learning about

what you want to achieve on the stage first. It’s not about the desk; it’s

all about the light and the stage so learn what each light can achieve

creatively before you can even call yourself a lighting guy.

What do you find most frustrating about the lighting sector in South Africa.Cutts: The lack of lighting training. There is a huge gap, we need

training but people are not willing to pass on knowledge. At some

point I’d love to get involved with schools because if we do not act our

industry is eventually going to suffer.

What do you love about your job? Cutts: The flexibility, nothing is ever the same. No production requires

the same needs and everyone has new challenges and I am a guy

who loves solving challenges.

What projects have you been most proud of? Cutts: Idols. It’s just the perfect format and I really enjoy working with

Gavin Wratten; he is a very hands-on TV director who kind of forces

me to a level of lighting that I don’t normally achieve.

Besides your parents, who else has Influenced you?Cutts: Denis Hutchinson because he is a designer who does it right. He

has the most scientific knowledge of lighting in this country and his

designs are expertly crafted and thought through.

What type of invention would make your job easier?Cutts: I think a second me (laughs). My dream is to have a rig with no

generic fixtures but purely moving lights.

When you’re not lighting, what are you doing?Cutts: it’s not often that I am not lighting (Laughs). But to answer your

question; I spend a lot of time with my wife; We have a baby on the

way. J

What’s your lighting console of choice?Cutts: GrandMA. I recently got the GrandMA on PC Wing and I am

really enjoying it. I am excited about the onPC Wing as it allows me to

sit in the comfort of my home and a pre-program the complicated

shows using my laptop and the wing. It will hopefully cut down some

of the all night programming sessions I often have to do on shows.

Holiday Destination of choice?Cutts: Thailand, I enjoy traveling and seeing different places.

Favourite movie?Cutts: Any science fiction or comic book films.

Great Chatting to you Joshua, thanks for your time and we wish you all the best!

Joshua Cutts is one of the most prolific independent lighting designers in South Africa. With nearly two decades in the industry, he has designed some of the biggest events in the country, including Idols South Africa, the Vodacom Unlimited Festival and the South African music Awards (SAmAs). The Pro Systems team recently caught up with the 37-year-old Joburg designer. Jo

shua

Cutts

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ConCert rePort live evenTs

80’s Rewind

Prosound’s crew comprised 56 technicians. Riaan Jacobs was the

project manager and the backline supply was looked after by SA

Backline. “The whole PA system was a Meyer Sound M3D system,” says

Prosound Rental’s general manager, Donovan Calvert. “The primary

flown hangs were made up of 10 Milo 90 degs and two Milo 120s per

side. We had side stacks of four 90 degs respectively kicking up to the

immediate grand stands and we stacked 16 subs (700hp) in blocks of

two along the downstage edge. We also had eight Meyer UPQs and

eight Meyer Micas per side for delays.”

System control was handled by two Meyer Galileo 616s. “For FOH

control we used the MIDAS PRO9. Our engineer had used the PRO6

previously so the move up wasn’t an issue. We complimented FOH

racks with a selection of TC effects units from the M-ONE to the D2

and more comprehensive M3OOO reverb. For additional tie lines and

I/O capabilities we utilised a MIDAS DL251. All in all we had a very

straight forward run-up for FOH and on stage we used the MIDAS

PR02 with the Midas DL351 and DL251 modular I/O units connected

via CAT5,” adds Calvert.

For stage monitoring a selection of Sennheiser and Shure in ear-

systems was used alongside PX1122M and PX1152M Electro-Voice

wedges. Stage microphones

included Sennheiser,

Electro-Voice, Shure and

DPA.

Lighting control was done

on two ETC Congos with their

associated ETC Net3 DMX

gateways. Calvert says “The

rig was primarily made up of

Robe ROBIN LEDWashes and

Martin profiles for effects. We also had additional f/spots to pick-up

the more energetic artists who liked to wonder. For ambient crowd

lighting we used par bars and Molefays, all using ETC dimming.”

Concert Tech Spec• PA: Meyer Sound M3D system

• FOH control: MIDAS PRO9

• Stage monitoring: Electro-Voice PX1122M & PX1152M

• Microphones: Sennheiser, Electro-Voice, Shure and DPA

• DI boxes: Klark Teknik, Radial and Summit

• Lighting: ETC Congo’s, Robe LEDWashes & Martin profiles

• Trussing: Prolyte H40 and Prolyte H30

• Screens: BARCO T-20 LED tiles

• Power: 300kVA and 100kVA generators.

Prosound Rental supplied the 80s Rewind Concert staged at Durban’s mr Price Kings Park Stadium in February. Featuring pop legends such as Tony Hadley, Howard Jones, Rick Astley and midge Ure, plus an amped 20 000-strong audience – the event was a huge success.

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live evenTs ProduCtion rePort

With the venue confirmed only three weeks prior to the event, the

awards were planned and executed in just under 30 days. Due to

unforeseen change of dates, they were also not broadcast live as

anticipated and had to be edited for broadcast on Sunday in a very

short space of time. All said and done, it was fantastic that all the

teams involved pulled off an event of this nature in such a short space

of time.

CMP was tasked with recording, editing, packaging and delivering

the SAFTAs for broadcast on SABC 3 on 11 March. This also involved

conceptualising, creating and overseeing the awards show from a

scripting and staging point of view, sourcing the hosts, presenters and

entertainment and creating all the audio-visual packages for the

show. The core CMP team comprised 13 technicians, including stage

director Genna Lewis, technical director and editor of broadcast

package Daniel Black, line producer Ross Jameson, red carpet

producer Sipho Gogotya, script writer Ntokozo Mbuli, as well as Clive

Morris himself (executive producer and television director).

Lehlohonolo Lehana of Grooves Productions was involved as

associate producer.

The Gearhouse team, project managed by Lefa Tsiane, comprised

40 crew members and 18 casuals from a number of companies within

the Gearhouse SA group. Their task spanned six technical production

disciplines; lighting, audio, video, rigging, power and set building. All

these teams worked round-the-clock shifts to meet the deadline.

Set

The set was designed by Michael Gill Designs (MGD) and built under

the direction of Peter Joubert of SDS. It comprised a stunning,

spade-shaped 900mm-high stage which sprouted beautifully into the

audience as briefed by the NFVF. Three big AV walls were neatly

rigged on the set’s curvy walls, bringing the event to life and making

scenery interchangeable at the flick of a switch. Complementing the

set were sleek roof fins suspended over the stage to make for a truly

epic design. The stage covered about 175 square metres and was

constructed predominantly from steel and wood. It took SDS three

weeks to build the set offsite and three days to assemble in the venue.

Three pantech trucks and one 12-metre truck transported it to site. “It

was great working with MGD, the design was very clear and the team

being on site most of the time meant that problems were easy and

quick to solve. MGD also made a scaled model of the stage which

helped us a lot” says Joubert.

Lighting

Hugh Turner’s lighting design set ‘the mood’ for the heritage-themed

event. It incorporated mostly moving lights; 29 Robe ColorSpot 700E

Spots, 33 Robe ColorWash 700E Washes, 26 Robe RED washes, 16 Robe

ROBIN 300E Spots and 9 Robe ROBIN 300E Washes, which were

predominantly hung on stage and on audience trusses. A few moving

Pulling SAFTA’s out of the hat…

The 6th South African Film and Television

Awards (SAFTA’s) were staged at Gallagher

Estate in midrand on 9 and 10 march.

Organised by the National Film and Video

Foundation (NFVF), they were supplied by

Gearhouse South Africa and produced for

SABC 3 by Clive morris Productions (CmP) in

association with Grooves Productions.

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ProduCtion rePort live evenTs

lights were placed on the floor surrounding

the thrust and main stage, lighting the

underside of the central architectural

hanging feature, to create aerial views and

to complement the existing lighting.

Turner also employed a varied range of

conventional fixtures, which included 12

Strand 2Kw Fresnels, 28 Selecon Pacific 14-35

Deg profiles, 16 Selecon Pacific 12-28 Deg

profiles and 18 Bars of six PAR64s. The 2Kw

Fresnels were mounted on wind-up/combo

stands in the red carpet area and the PAR64s

were hung from the audience trusses. He also

embellished his design with a selection of LED

fixtures, which included 24 Tri-Tour LED PARS,

20 I-Pix BB4 LEDWash-lights and 53 Longman

Colorme 011A Strip-lights.

Control of the entire lighting system was

done on MA Lighting’s GrandMA System,

which comprised two GMA1 full-size

consoles, two video processing servers, two

network signal processors and two network

switches. The conceptualisation of the design

process, including refinement to the final

design, took about two weeks. Two pantech

trucks transported lighting and a trussing rig

to the site. The absense of a big loading bay

at the site proved a big challenge, according

to Tsiane.

Sound

FOH engineer Remember Chaitezvi, system

engineer Moffat Matolong, audio technician

Sandile Pooe and radio technician Kelvin

Egbegi were in charge of sound. The sound

system comprised six L-Acoustic dv-DOSC

and two L’acoustics dv subs per side,

amplified by L’acoustics LA8 and LA48.

Crossovers were XTA 4- series and the low

end was enhanced by eight JBL VRX 900 subs

on the ground, powered by Crown

Itech4000. To minimise audio-bleed onto the

stage, the main system was flown left and

right of the centre stage. The space between

the main stage and centre stage was

covered by four flown L’acoustics HIQ115 and

planning of the system was done using

L’acoustics simulation software. Microphones

were all wireless; Shure UR series equipped

with Beta58 heads.

Additional ground–stacked subs were

hidden behind the structure for the delay

screens and used mainly as effects speakers

to enhance low frequencies. Monitoring for

the centre stage consisted of four Clair

Brothers 12AM monitors placed on plinths

about three to four metres away from the

stage to keep them out of the camera

picture.

At the main stage five JBL EONS 510 were

flown as monitoring for dancers. Chaitezvi

used a Yamaha M7/48 FOH desk, which also

supplied the sends for the monitors, as the set

design did not allow for a separate monitor

console. With touch screen and logical

layout, the M7 was well equipped for this

show, as the Chaitezvi could work fast and

efficiently as well as store all his settings per

sequence of the show in scenes. Its ability to

be controlled wirelessly via Mac Book PRO

and iPAD was also used while walking

around the venue, applying EQ to the system

as well as changing settings to the monitors

while talking to artists on stage.

Video

Graham Sharpie, who was in charge of all

the AV screens, says: “The centre screen

was a 12 by 8 Lighthouse DuoLED 18 that

had a 10 by 5 Lighthouse DuoLED 12 insert.”

This screen delivered a series of eye candy

visuals (from the MA servers), while the side

Lighthouse R16s carried camera and

nominee packages supplied by Daniel

Black. There were also two rear 16x9 Stumpfl

projection screens showing onstage visuals.

Two Christie 18k HD projectors were used to

beam content to these screens. The main

control system for the screens was a Christie

Spyder X20, which received 1 SDI input from

the SABC OB truck and two inputs from the

MA Servers. The SDI input had cameras and

video from the EVS machines in the OB

truck. – Eddie Hatitye

Pulling SAFTA’s out of the hat… Tech Box

lIGHTING

• Two GMA1 full-size consoles

• 29 Robe ColorSpot 700E Spots

• 33 Robe ColorWash 700E

Washes

• 26 Robe RED washes

• 16, Robe ROBIN 300E Spots

• 9 Robe ROBIN 300E Washes

• 24 Tri-Tour LED PARS

• 20 I-Pix BB4 LEDWash-lights

• 53 Longman Colorme 011A

strip-lights

• 12 Strand 2Kw Fresnels

• 28 Selecon Pacific 14-35 Deg

Profiles

• 16 Selecon Pacific 12-28 Deg.

Profiles

• 18 Bars of 6 x PAR64s

AUDIO

• L-Acoustic dv-DOSC

• L’acoustics dv subs, amplified

by L’acoustics LA8 and LA48.

• Eight JBL VRX 900 subs

• Crown Itech 4000

• L’acoustics HIQ115

• L’acoustics simulation

software

• Clair Brothers 12AM monitors

• Five JBL EONS 510

• Yamaha M7/48

With the venue confirmed only three weeksprior to the event, the awards were planned and executed in just under 30 days. Due to unforeseen change of dates, they were also not broadcast live as anticipated and had to be edited for broadcast on Sunday in a very short space of time.

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live evenTs international video design

He collaborated closely with Florence’s set and lighting designer Chris

Bushell and together they evolved fresh, interesting live visuals for the

show combining both mediums to great effect.

XL Video’s UK operation supplied a projection system, Catalyst

media servers and control, cameras and crew for the band’s recent

UK tour.

Stembridge had only a week to create the show’s video elements,

which meant a lot of additions and extra support from XL whose tour

project managers were Jo Beirne and Phil Mercer.

The flown set was 40ft wide and 16ft high. It comprised seven

conjoined trapezoidal panels and was constructed by Hangman /

Metalman from a frosted polycarbonate material. It resembled a

series of large Art Deco style glass mirrors with a milky-white finish.

These were carefully edged in chrome to allow them to be joined

together to form the overall backdrop and split into tour-able

sections.

The idea was to light the panels from behind, project onto them

from the front or merge the two different types of illumination

seamlessly.

Central to Stembridge’s aesthetic goal was for the projections to

have their own mystique and sense of magic

To fit the video – playback and IMAG – content precisely to the

panels, Stembridge created highly accurate masking in the Catalyst.

The projectors were five Barco FLM R22s. Three fed the set / screens

area and the other two projected on to the two left and right IMAG

side screens.

These side screens were also specially shaped and angled to

mimic the style and shape of the main set. Stembridge and Hangman

/ Metalman designed a lightweight frame to support these covered

in a ‘Translight Midnight’ rear projection surface from Harkness, so

they virtually disappeared when not in use.

The control system comprised three Catalyst v4 media servers

operated via a Hog PC console.

Eight Sony robo-cams positioned all over the stage were fed into

this, picking up the action, together with an operated broadcast

quality camera at FOH with a 50mm lens focused on Florence Welch.

All nine cameras were routed into the Catalyst system through an SDI

matrix switcher and directed by Stembridge for the show.

Florence + The Machine

UK visual designer and video director Richard Stembridge was asked to present ideas for the influential and critically acclaimed Florence + The machine’s live show video earlier this year, after they were impressed with his work on Arcade Fire.

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49

Stembridge also created all the playback media. It was an open

brief and he used imagery from previous and current albums (Lungs

and Ceremonials) as his starting points for some clips, plus numerous

other inspirations.

The set’s screen panels received camera and playback footage in

various combinations, with projection for each of the seven set panels

controlled individually using 11 Mix Windows and 32 Catalyst layers.

With the steep angle of the three front truss projectors, he applied a

transparent background and a heavily keystoned Mix Window

technique in the Catalyst to correct all the projected material. This

avoided overspill between the surface areas across a single 1920 x

1080 output.

The video feed was distributed to three Folsom ImagePRO HD

machines which were used to scale and position the output, ensuring

that only the relevant portions of the output was sent to each of the

three set projectors.

The keystoning of the Mix Windows was so extreme that the

Catalyst layer keystone function could not un-stretch the content!

Instead Stembridge created a custom After-Effects Project to reverse

the keystoning on any of the content he made —before adding it to

the Catalyst’s library.

This wasn’t possible for the camera shots. Instead he used a fusion

of the Keystone function, scaling and X-Y-Z rotation on the camera

layers to achieve the smallest possible amount of stretch, which

fortuitously also fitted the overall look and design of the projection

extremely well.

All of this careful planning and meticulous imaging combined to

produce a distinctive, innovative and more provocative stage

appearance that Stembridge and Bushell had originally aimed for.

The idea was to light the panels

from behind, project onto them

from the front or merge the two

different types of illumination

seamlessly. Central to Stembridge’s

aesthetic goal was for the

projections to have their own

mystique and sense of magic

50

live evenTs international lighting design

Leading UK lighting and visuals rental company HSL, based in

Blackburn, supplied lighting equipment, a 26-axes Kinesys automation

system, all associated trussing and rigging plus crew.

HSL’s project manager Mike Oates commented, “We love working

with Davy and Robin and have seen the band’s show and their

designs take a real journey and evolution over the last few years. Each

tour is always fresh in ideas and this is among the best yet”.

Just as the band have explored new and alternative musical

directions with Fallen Empires, their sixth hugely successful studio

album, Sherwin’s lighting has moved into a different stratosphere.

Retaining all the theatricality and drama of the big rock show he

introduced an architectural dynamic with six large flying pods. These

come together to form a giant snowflake – the band’s logo – a move

only actually seen once at the culmination of the set.

The undersides of the pods are clad with Barco’s FLX LED mesh,

which is used for some really diverse, interesting and off-beat video

looks and effects. The Pods all move into numerous different positions

together and independently throughout the show, giving every song

a totally unique look.

Upstage in the stage left and stage right corners were four

diagonal flying trusses on the same Kinesys automation system as the

Pods, and the front truss was a V shape. Between the diagonals and

the front truss each side were two straight side ‘torm’ trusses.

Far upstage was a large Stealth screen with a gauze in front and a

grey cyc behind. Combining these two scenic elements (gauze and

cyc) with some classic ‘magic’ lighting, the screen disappeared

completely when not in use.

Rigged on the Pods were four Clay Paky Alpha Beam 700 moving

lights and 30 Chroma-Q Color Block DB4 Mk II LED battens outlining

the shape of each pod.

On the V-truss at the front were 16 VARI*LITE V*L3500 Washes and 16

i-Pix BB4 LED blinders. Fourteen linear 4-cell Moles were rigged

vertically and blasted into the audience for the band’s highly

interactive show.

Upstage on the diagonal trusses were three Martin Professional

MAC 3s on one truss and four on the other – both sides – giving a total

of 14 MAC 3s, alternated with three and four Atomic Colours

respectively.

On the back truss, eight MAC 2K Wash XBs and six Atomic colours

were all primarily used for highlighting the cyc.

Spread out along the four torms either side were a total of 16 Robe

ROBIN 600 LEDWashes, utilised for general higher up cross stage

coverage.

The floor lighting started upstage with another eight MAC 2K XB

Washes to up-light the cyc, followed by a row of eight MAC 3Ks

pointing forwards alternated with seven Atomic Colours – all for more

‘Fallen Empires’ world tour

Snow Patrol kicked off the first UK leg of their ‘Fallen Empires’ world tour with a truly stunning looking show created by lighting designer Davy Sherwin, Catalyst and live visuals programmer / visuals operator Robin Haddow and video director Blue leach – collectively known on the tour as ‘The Art Department’.

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international lighting design live evenTs

intense back lighting and beam-ology.

For super-punchy punctuations and accents, six CP Sharpies

on the mid stage risers provided tight columns of light, with

another six running along the downstage edge of the stage, all

giving cool double-level floor based ‘power looks’.

For cross stage lighting at deck level in the ‘kicker’ position

were another four Robe ROBIN 600 LEDWashes a side.

Stage atmospherics were boosted with two Le Maitre

Stadium hazers, four Cirro Lite Strata mist systems and two Jem

ZR 33s, and HSL’s lighting package was completed with the

supply of four Robert Juliat 3.5K Zodiac follow spots.

Sherwin’s console of choice is currently the Road Hog Full

Boar, which is run with a mini wing and complete hot backup.

Haddow ran the Catalyst and all the playback video

footage via a Hog PC and Blue Leach cut the video IMAG mix

also sitting at FOH, using two Ableton Launchpad USB MIDI

touch controllers, which fed into the Catalyst and were then

output to screen. The Kinesys K2 system was operated by Dave

Jolley.

Video equipment was supplied by XL Video.

The tour is expected to continue for most of the year, which

will allow many more to experience the beautifully

fluid, intelligently harmonised visual chemistry.

Retaining all the theatricality and drama of the big rock show he introduced an architectural dynamic with six large flying pods. These come together to form a giant snowflake – the band’s logo – a move only actually seen once at the culmination of the set.

www.audiosure.co.za

Imported by

52

live evenTs international stage design

Production and lighting designer Roy Bennett worked closely with

long-term collaborator Peter Aquinde to create the urban style set

featuring several focal points, including a 3.9m diameter industrial

themed ‘Mega Fan’ comprising seven blades on a central cradle.

This was driven by a geared slew drive with a top rotation speed of

15 rpm.

The blades were lit by forty-eight integral Colorblast TRX LED fittings

positioned around the inner cladding of the main fan.

Four smaller 0.75m fans with individual speed control provided by

freelance electrician Lee Threlfell, were mounted at the corners of the

Mega Fan’s frame assembly to blow smoke through from upstage.

Brilliant Stages manufactured the enormous aluminium

construction, which measures 5.5 square metres and weighs over

1 750kg. This was suspended from four Cyberhoist motors, with two

additional hoists employed to hinge the structure back into a

horizontal position within the grid when not in use.

For the dynamic element, Brilliant Stages worked in association with

Brilliant Stages for Rammstein Made in Germany 1995 – 2011 TourUK based set fabrication company, Brilliant Stages designed and built four main staging elements for Rammstein’s made In Germany 1995 – 2011 tour, the re-vamped second leg of which finished in Europe last month.

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international stage design live evenTs

Belgium based WiCreations who provided the hub motor, gearbox

and control around which the fan is engineered.

They also fabricated the band’s signature logo cross into the drum

riser door, which operated as a staggered-edged, cross-shape frame

filled with cut tubes welded into position. These pulled apart to make

an entrance for band members. Either side of the drum riser were two

further 1m diameter, speed-controlled fans that were remounted into

the new drum riser.

The B-stage was manufactured as a 5m by 3m platform, mounted

on top of two manually operated hydraulic scissor lifts, raising it from a

height of 1.2m to 3m above floor level. The platform was clad with

aluminium slatted panels that mimic louvres, inset with an opal

polycarbonate to allow back-lighting. Each panel was fitted with a

framework to support the lighting and was up-lit through Neaco Nibar

top decks set into the floors.

The B-stage was linked to the main stage via a 24m long, 1.2m wide

catwalk composed of decking, handrail and ornamental balustrade.

The assembly included provision for mounting LED fluorescent tube

lighting beneath the decking, accessible through removable top grills

that remain clamped to the truss during transportation. The catwalk

breaks down into three metre long bays, each composed of 3 grate

panels for ease of handling.

The catwalk was flown in to a height of 3.3m above the audience’s

head from a series of chain hoists and is designed to attach to the

standard Rental Truss supplied by Black Box Music. Lifting bars were

supplied to raise and lower the catwalk from rigging provided by

head production rigger, Martin Gehring of DART GmbH, Germany.

Using a combination of coffin locks and Brilliant Stages’ own hook

and channel system, all the set pieces were designed for quick and

easily assembly, locking together safely with minimum fuss and

maximum efficiency. Everything was transportation between venues

in wheeled dollies to minimise the amount of manual handling

needed.

The final scenic elements were clad in aluminium before being

artworked and given a distressed finish by Perry Scenic another

regular Brilliant Stages collaborator.

Rammstein is currently touring the US until the end of May.

The catwalk was flown in to a height of 3.3m above the audience’s head from a series of chain hoists and is designed to attach to the standard Rental Truss

They fabricated the band’s

signature logo cross into the drum

riser door, which operated as a

staggered-edged, cross-shape

frame filled with cut tubes welded

into position.

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live evenTs international video ProjeCtion

London-based visual artist Ross Ashton from The Projection Studio designed and created a record-breaking video artwork featuring 32 animated mosaic portraits of HM The Queen that was projected onto Buckingham Palace.

Record-breaking artwork projected onto London landmark

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international video ProjeCtion live evenTs

The ‘Face Britain’ project was instigated by The Prince’s Foundation for

Children and the Arts and brought to life by PhotoBox. It enabled over

200 000 children to make their faces famous on the front of one of

London’s most iconic landmarks.

It also marks the first time that video has ever been used to project

on the front of the Palace.

Ashton has previously projected onto Buckingham Palace three

times – notably for the first time during the Queen’s Golden Jubilee

celebrations in 2002 – for which he used PIGI projectors.

This time leading UK video rental specialists Creative Technology

(CT) supplied the mix of 24 Barco and Panasonic 18K and 20K video

projectors.

The video montage of the 32 portraits broke the Guinness World

Records title for the Largest Collaborative Artwork – the most artists

working on the same art installation. The previous record stood at 28

267 artists.

Ashton said he was “Hugely proud” of the achievement

and “Delighted” to be involved in the collaboration, and to

work directly for one of HRH Prince Charles’ charities.

“With many creative and technical challenges involved

it’s very satisfying to get the opportunity of pushing the

boundaries and breaking new ground,” he concluded.

Children aged 4 to 16 were invited to produce their own

self-portraits by Face Britain encompassing all levels of skill

and in any medium, including drawing, photography,

textiles, painting and graphics. These were uploaded to

PhotoBox.

The animated mosaics were Ashton’s concept. He worked

with Moscow-based Boris Glazer to create a bespoke version

of Glazer’s Mazaika software to encode all the photos and

then compose the 32 images of The Queen from the 200 000

or so self-portraits that were submitted.

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live evenTs international video ProjeCtion

Ashton specifically wanted to see the individual photos make up

each portrait montage flying together as they formed onto the fascia

of the building.

The 32 portraits were composited into a 32-minute long video file

which ran as a loop, Ashton treated each individual portrait of the

Queen as a separate colour way, containing 6 400 children’s portraits.

This enabled him to get the desired movement effect.

The template portrait of The Queen was supplied by the Sun

newspaper’s legendary royal photographer, Arthur Edwards, and The

Queen herself had to approve all stages of the creative process.

Ashton and CT’s Scott Burgess designed the projection system.

CT supplied all the hardware including weatherised hides and crew

for the installation, and the projectors were ensconced as

unobtrusively as possible behind the pillars of the Palace’s front wall.

The video was run via a Watchout control system programmed by

Dave Boeck.

The overall image covering the Palace measured 110 metres wide

and 25 metres tall. Filling the spaces around the actual Queen’s head

portraits were a series of animated backgrounds and other picture

‘frames’.

In addition to the Buckingham Palace projections, the 32 portraits

were simultaneously shown for 24 hours on BBC big screens in 18

public locations around the UK.

Face Britain celebrates the UK’s children and young people in the

run up The Queen’s Diamond Jubilee in June and the 2012 London

Olympic and Paralympic Games in August.

Clay Paky

The overall image covering the

Palace measured 110 metres wide

and 25 metres tall. Filling the spaces

around the actual Queen’s head

portraits were a series of animated

backgrounds and other picture

‘frames’.

57

international video ProjeCtion live evenTs

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Prolyte Group HQ

Leek, Netherlands

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Unit 38, Graphite Industrial Park, Fabriek Street, Strijdom Park, Randburg

Tel: 011 793 5066 Fax: 011 792 5076 E-mail: [email protected] Visit: www.dwrdistribution.co.za

DWR / Prolyte

Record-breaking artwork projected onto Buckingham Palace

Phot

os b

y lo

uise

Stic

kla

nd

58

live evenTs video ProjeCtion

The Sound Syndicate, creative brains behind the event, were asked to

take the Australian launch model and apply it to the launch of the

South African publication.

Penny Wilson of The Sound Syndicate explains: “Our brief from

Grazia was to use the same concept used for the Australian launch.

We were shown the video of what they had done which featured a

360 degree screen and we were asked to adapt this to the local

market.” They called in Tony E’ Silva of Midrand-based Leisure Tech

Lighting who supplied the technical that helped make their ideas

come to life.

The Phoebus Apollo hanger was an ideal venue to cater for the

space and height requirements of the event. After looking at the DVD

of the Australian launch, E’Silva found that the physical structure of the

screen and centre piece was complex. The hanger, although fine

size-wise, did not have a roof structure strong enough to support all of

the equipment required, so a scaffolding tower was built in the centre.

The staging was also quite different to the Australian model – with the

bar and fashion ramp in the centre.

The Ministry of Illusion (MOI), a top end post and effects company,

was brought on board to provide all the visual material. Co-owner

Gerd Muller explains: “We created a seven-minute visual spectacle

promoting Grazia’s launch into South Africa. Grazia supplied us with

the raw elements which we animated and brought to life over the

seven minute run of the visual material.”

A Coliseum effect was projected in 360 degrees and various

elements moved around this — including taxis, the South African flag,

a train and other elements.

The Grazia chief editor was filmed in studio against a green screen

which enabled MOI to magically have her appear from within the 3D

projected coliseum structure and step out onto a podium welcoming

all the guests to the launch event, a definite highlight.

“The main challenge was how to integrate content across 10

separate HD projectors to ensure the storyline remains in sync for the

duration of seven minutes,” adds Gerd. This was well received as MOI

had done something similar for a launch of a similar nature in the past.

MOI handed 10 x HD video streams of content in Mpeg 2 format to

Sound Stylists Clint Fowler, a projection specialist who spent hours

behind the scenes to ensure every pixel was looked after while Mickey

Perreira from Mix Audio handled the surround sound.

A small demo version of all the screens was set up which enabled

the team to view the visual content prior to the event and make

adjustments to any photo sizes, content and colours used. The content

for these projections were in full HD - the best quality for a really

breathtaking visual experience.

The Sound Syndicate brought Sound Stylists onboard to provide the

projection and control equipment. 10 x 20000 lumens and 1080p HD

three-chip DLP Barco HD Projectors were supplied with a Vista Spyder

as an interface between playback and projectors. A Wings Media

Server was used with a total of 16 outputs. An Apple Macbook Pro

served for all static logos and control. All projector cabling runs were

done by fibre optics so the visual content was uncompromised.

Visual footage was loaded days in advance on the Wings Media

playback system. From there HD content was fed on different outputs

of Wings into the Vista Spyder. This unit is used to adjust images to size

and routes inputs to output. This is also a fail-safe in case technical

problems arose so they could switch the multi screen to the Grazia

logos and graphics.

In Wings the different videos were dragged into timelines, each

video for each section of the 110m prepared screen surface. Audio

was also fed from there. The surround sound set up had numerous

sound effects at different times. The visuals had taxis, flags and trains,

and if the train went past on the left, audio was added in the time

lines to only pass on the left side of the sound system. All the projectors

were networked to align all of the screens. This gave the technician

the capability to sit in the venue with a Macbook and adjust all the

colours and sizes of each projector individually. This is also used to

monitor each projectors’ lamps and temperatures and all power

related issues, crucial on high end events.

Once the projection team had completed the set up of the

projection and control gear, they spent hours checking to ensure that

Grazia launch – a 3600 audio visual spectacularThe launch of media 24’s Grazia magazine in South Africa was a glittering high tech event, which featured an impressive 360 degree panoramic projection. The event was held at the Phoebus Apollo hanger at Rand Airport in march and was attended by some 300 local and overseas invitees.

By Andy Stead

59

video ProjeCtion live evenTs

+27 11 791 7009 [email protected] www.tadco.co.za

Distributed by

Coda

every frame and every screen colour was the same. “I would say that

this launch was surely one of the largest HD 360 degree projections

undertaken,” says Fowler.

The Leisuretech crew then set about creating the 360 degree

screen. For this they used 10 panels each measuring 11 metres wide

and eight metres high – creating a total circumference of 110 metres.

Once the frames were built, the locally made material was stretched

over the frames. Everything was built off site and then taken to the

hanger and assembled there. “The assembly was not problematic,”

says E’Silva.

The 360 degree seamless screen also differed from the Australian

version which had gaps in between. The tunnel created for

walking into the centre area was closed up for the actual

projection. The screen was not actually a perfect circle. Each

panel was around 36 degrees to each other, however it was

quite difficult to detect this.

The actual event featured a fashion show as well as a live

performance by the band Good Luck but the main focus of

the entire event was the 360 degree projection.

“When you consider the short lead time, the fact that we

had client approval only four days before the launch, was

quite a feat,” says E’Silva. Quite a feat indeed!

Grazia launch – a 3600 audio visual spectacular

60

sTudio & BroadcasT audio solutions

It would seem, thanks to modern technology, that most of South

Africa’s top sound facilities have embraced the benefits of operating

out of small self-contained facilities with studios no larger than an

average bedroom, that use the latest sampling and plug-in devices

to create their masterpieces.

Probably the last custom built studio capable of recording an

orchestra was the well known Audio Lab in Blairgowrie,

Johannesburg, which closed its doors this year.

Top composer Rob Schroeder of Robroy music, who operated from

the Audio Lab for many years, has built a bespoke studio in

Stonewedge Park, Bryanston.

“A large studio is now totally impractical,” he says, “even if you want

to record a grand piano you use a keyboard, with the ability to

change the notes and dynamics. It does mean that control rooms

need to be much larger, but the equipment itself is smaller. In the past

we used an old desk with 60 channels, now we have a small digital

unit which offers over 190 channels. We also operate out of only three

rooms – a control room and two small studios.”

Adam Howard of Howard music agrees. Howard does the lot – from

composition through to final delivery. “You have to have some

musical abilities these days,” he says, as someone who plays a mean

trumpet. “Whereas in the past the various areas and operators were

specialised, now with the new technology – plug-ins, etc – you need

to have a broad range of expertise and be a jack of all audio trades.

“Large studios are being phased out. In the old days if you needed

strings you had to have a large studio with 20 string players. Now even

a drummer can get away with a programmed drum sound,

especially in the world of commercials. You can use sampled stuff – as

we have huge libraries of samples – and you can apply these to

virtually any requirement.”

Complete experience

Motion picture sound is also a specialised field and Refinery’s Area 5.1

is one of the few remaining facilities to offer a complete motion

picture sound experience. From ADR to Foleys to final mix, Area 5.1

boasts the only licensed Dolby 5.1 motion picture facility in the

country.

“We have completed quite a few upgrades,” says Refinery’s Tracey Williams, “including upgrading Studio 2 so that it can mix in

Dolby 5.1. Charlotte Buys, Michael Botha and Barry Douglas operate

out of the facility and we also offer a dry hire service when required.

We have an impressive list of recent motion picture sound credits

including Platteland, Lucky, 31 Million Reasons, Otelo Burning and

Man on Ground.”

Cape scene

While the bulk of South Africa’s sound facilities are still concentrated in

and around Johannesburg, Kloof Street in Cape Town is the home to

mama Dance! music for Africa / Composers for Africa, which has

become increasingly focused on creating and supplying music to the

advertising, film and TV sectors. They became the go-to-guys for

agencies and production companies that needed South African

flavoured music – composed, licensed or production music.

“We are very excited about the re-branding of our original

composition agency to Composers For Africa and are confident

that our one stop shop service attitude will be a big hit with

agencies and production companies who prefer to deal with one

reputable company rather than various composers for each job,”

says Craig mcGahey.

TheWorkRoom, also Cape Town based, is an award winning

audio post facility which encompasses all aspects of audio

production and post-production from recording to mixing, ADR,

Foleys and 5.1 surround sound.

“There have been many developments in sampling and plug-in

technology,” says owner / engineer Stephen Webster. “This gives

video editors access to audio plug-ins for mixing and has led to the

impression that there is a lesser need for dedicated audio post

facilities. Thankfully, we have a client base that understands the

value of having their work mixed by a professional sound engineer.”

Technology rules

Jim Petrak of Sound Surfers confirms the need to remain abreast of

technology. “We are always on the prowl for new technology and

this year we have invested in a new secret weapon – but if I tell you

what it is I would have to kill you – and then I guess it wouldn’t be

much of a secret then!”

The importance of sound cannot be over emphasised. Its appeal

to the aural sense is as important as the visual, and with the ability of

modern technology to create such marvels as a bass guitar played in

Abbey Road Studios, the abilities of our local composers and

engineers is further enhanced.

By Andy Stead

The importance of sound is arguably second only to sight when considering the senses, and as you sit back, eyes closed, and listen to that astonishing orchestra or your favourite group, can you imagine a world without sound? Do you visualise a large studio recording with a composer, musicians and vocalists?

The WorkRoom studio Howard music studioRob Schroeder in his control room Charlotte Buys in Area 5.1

Small studios, big sound

61

audio solutions sTudio & BroadcasT

Launched in 2007, the Red Bull Music Studio is firmly established in the

industry as the perfect space to explore South Africa’s diverse musical

talent.

A non-commercial initiative, the studio predominantly targets

undiscovered musicians with the aim to provide them with free

recording and promotional solutions. Over the past few years it has

helped nurture thousands of musicians across an array of genres,

including electronica (Das Kapital), hip hop (Tumi And The Volume),

house (Black Coffee) and rock (Machineri).

The studio is also very much about working with big names. But

instead of simply providing big-name acts with a professional working

space, it encourages them to collaborate. Some of the big names

that have collaborated at the studio include Freshlyground and

international house music act Nickodemus, local rockers Ashtray

Electric and Afro-electronica giants Gazelle, as well as incredible

songstress Zaki Ibrahim and London-based Dubstep group LV.

That aside, the studio regularly hosts ground-breaking musical

endeavours such as the ‘Skills that Paid the Billz’, where Cape Town’s

hip-hop community produced and released an entire album in one

day. ‘A Third World Perspective’ saw 20 musical minds from around

the country chosen to participate in a mini Red Bull Music Academy

at the studio.

As a way of taking the creativity out of the studio and bringing it to

the public, the Red Bull Music Studio also releases free compilation

albums each year and curates stages at two of South Africa’s biggest

festivals, Oppikoppi and Rocking the Daisies.

In the studio

Run by lead engineer Steve ‘Audiophile 021’ Elsworth and Richard

‘Tha Third’ Rumney, the facility is divided into two working spaces –

one suited for music production and live recordings and the other

customised for DJ set recordings.

The main studio runs on a Mac Pro Quad Core with 8 gigs of RAM

and a DJM 800 Mixer. A combination of the Digidesign 003 sound

card and JBL LSR2326P studio monitors delivers sound, and a Roland

TD-10 V electronic drum kit is set up to meet all the studio’s drumming

needs. Other top notch gadgets in the studio include an Elektron

Machinedrum, an M-Audio Axiom 49 Key MIDI controller, two Line 6

guitar amps, a Focusrite Red 8 Analog pre amp and a Numa Studio

Logic electric piano.

The other studio also boasts an impressive rig, including the Akai

MPC 2500 sampler, an M-Audio Axiom 25 MIDI controller, a Roland

Juno 60, two Technics turntables, two Pioneer CDJs and an M-Audio

Axiom 25 MIDI controller. Producers also use an array of virtual

instruments and plug-ins and a varied selection of microphones,

including the Shure KSM 44 and Neuman TLM 103. – Eddie Hatitye

The studio predominantly targets undiscovered musicians with the aim to provide them with free recording and promotional solutions.

Red Bull music Studio features• 2 x Mac Pro Quad Core with 8 gigs of Ram

• 2 x Digidesign 003 Sound Card

• RolandTD-10V-DrumKit•RolandHD-1V-DrumKit

• Elektron Machinedrum

• 4 x JBL LSR2326P monitors

• M-Audio Axiom 49 Key MIDI Controller

• M-Audio Axiom 25 MIDI Controller

• Line6Low150BassAmp•Line6SpiderGuitarAmp

• AkaiMPD24•AkaiMPC2500sampler

• Fender Squire Jazz Bass

• LexiconMX200EffectsUnit•AccessVirusTI

• MoogerFoogerCP-251•NordElectro

• DigidesignC24ControllerDesk•DJM800Mixer

• ARTHeadAmp6ProHeadphoneAmp•ARTTubeOpto8

TubePreAmp•FocusriteRed8AnalogPreAmp

• Moog Lil Phatty

• 2xTechnics1210MK2•2xPioneerCDJ800MK2

• RolandJuno60•RolandJupiter4Compuphonic

• Numa Studio Logic Electric Piano

• 1xShureKSM44•3xShureSM-58LE•1xNeumanTLM103

Situated in the heart of the mother city is the Red Bull music Studio – a fully-fledged music recording and production studio, which has been growing in leaps and bounds over the past few years.

Phot

o by

Syd

Will

ow S

mith

Nurturing young talent

62

sTudio & BroadcasT ProduCt uPdate

Since the release of the first version in 1989, Cubase has been an

iconic digital music production workstation (DAW).

With a strong emphasis on production, recording, editing and

mixing, the software boasts an array of powerful tools for any studio

setting. Now to make it even better Steinberg has introduced Cubase

6.5 – a significant upgrade that incorporates latest technologies to

assist musicians, producers and engineers achieve their creative

visions seamlessly.

VST

The upgrade introduces new synths, effects and formats, and a

highlight for synth addicts is Retrologue – a powerful virtual studio

technology (VST) that catapults Cubase’s already impressive library of

instruments. At the heart of this analogue synth are two oscillators,

each with up to eight flexible voices alongside a remarkable sub and

noise oscillator. Packed into a user-friendly interface with note

expression support, Retrologue brings back the sound of analogue

circuitries and vintage warmth. More interestingly, the synth nestles an

extensive library with over 300 presets of classic and modern

synthesizer sounds, from heavy weight monophonic basses to

polyphonic stabs and razor-sharp leads.

Another priceless addition to Cubase’s VST section is Padshop – a

quality synth that is tailored specifically for sound designers. The VST

features two independent layers that are based on an individual

oscillator source and generate up to eight different grain streams. Its

‘edit section’ also gives users access to a plethora of cool parameters,

including an integrated distortion unit and filter bank.

Performance and effects

Cubase’s performance has always been remarkable. Unique to DAWs

like Ableton and FL Studio, the software rarely succumbs to CPU-

intensive jobs and it is impressive that the Cubase team also took

some time to advance the engine’s performance, giving it 64-bit

ReWire support. Another noteworthy feature is a FLAC audio

compression codec, which enables users to import and export FLAC

files effortlessly and save up to 60% disk space when recording audio

tracks in real time.

This package has intercommunication features to allow producers

to export their Cubase projects directly into Soundcloud. But knowing

how pedantic producers are, this feature may not enjoy widespread

use. The idea sounds great but it does not dramatically speed up

workflow and there are few producers who would choose to bounce

a track straight onto the web without carefully listening to it first.

But guitarists will be happy to know that Cubase’s VST Amp Rack

has been expanded with new classic and signature presets crafted

by top guitarists from bands like Meshuggah, Emperor and Accept.

VST Amp Rack now houses two new stomp box effects, the Maximiser

and Limiter which give engineers more creative room when

compressing guitar recordings. Cubase 6.5 also introduces the DJ-EQ

and MorphFilter effects for live EQing and filtering.

Overall

Cubase 6.5’s strength lies mostly in the Retrologue, which (I’m sure)

has already struck a chord with many producers around the globe. I

would have loved to see more effects but I am quite impressed with

the initiative.

Moving ahead with sound

Tech box

• Two new synths: The brand-new

Padshop granular synth and the

Retrologue virtual analogue synth

provide more than 700 presets.

• Supersonic sidekicks: The DJ-EQ and

MorphFilter effects and VST Amp

Rack 1.5 with new stomp boxes and

signature presets made by top

guitarists.

• One step closer to perfection: New

comping and audio quantizing tools.

• Intercommunication 2.0: Export your

mixes directly to SoundClou,.

• Save spac;: Save up to 60% disk

space while recording with the new

FLAC support.

• 64-bit ReWire: unify Cubase with

other top DAWs in a complete 64-bit

environment.

Cubase 6.5 is a significant upgrade that incorporates latest technologies to assist musicians, producers and engineers achieve their creative visions seamlessly.

Steinberg recently upgraded their flagship workstation Cubase to version 6.5.

63

industry exPert sTudio & BroadcasT

How did it all begin?Adam: In 1996 I graduated from the Guildhall School of Music and

Drama in London where I attained a Bmus degree in classical music.

There I studied trumpet, composing, electronic music and arranging

– my dream then was to play 1st trumpet in an orchestra. The week

after I graduated, I was invited to play 1st trumpet in an orchestra in

Germany and left England. A year later my friend who was playing for

the Cape Town Philharmonic Orchestra convinced me to audition for

the State Theatre Philharmonic Orchestra in Pretoria and that’s how I

came to South Africa. They initially gave me a six-month contract but I

ended up staying there until 2000 when the whole orchestra, ballet

and opera departments were retrenched.

Did you consider returning oversees at that point?Adam: Nearly, but I was starting to compose music for a few TV

commercials and the money was actually better than what overseas

orchestras were offering. In 2002 I joined a company called Stone

music where I worked as a music producer/composer and in 2004 I

formed my own company, Howard Music. In 2007, I did play again in

an orchestra – I was offered the 1st trumpet chair of the Johannesburg

Philharmonic Orchestra and spent a year with them. But with Howard

Music moving to the Ministry Of Illusion in 2007, I decided to

concentrate all my energies on my studio.

How best do you describe what Howard music does?Adam: We predominantly focus on composing original music for TV

and radio commercials, musical direction for live events and final mix.

What type of music did you listen to growing up?Adam: As a young boy I listened to a lot of British pop music, then I

developed a passion for classical music and jazz, but to be honest, I

listen to all genres. As a composer for TV commercials, you have to

have your finger on the pulse of many genres.

Do you still remember your first TV commercial?Adam: Yes! It was a Daiwoo Matiz TVC, with Oscar Strauss directing – I

was so excited.

What has been your proudest project?Adam: From a composing for TV commercials point of view, it has to

be winning a Silver Lourie Award for the IEC register to vote campaign

– and from a performance point of view it has to be playing in the

house band at the official FIFA Kick-off concert where I performed

with the likes of Shakira, John Legend, Hugh Masekaela and

Angelique Kidjo.

you are also a reputable musical director. What kind of events are you currently involved in?Adam: I am very excited to have been asked to musical-direct South

African artist William Kentridge on his worldwide tour called ‘Refuse

the hour’. We will spend about two years playing all over the world! I

am also MD’ing the Audi Silver Arrow awards at the Sandton

Convention Centre in May, featuring Lira, Chris Chameleon and the

Johannesburg Festival Orchestra. And also in May, the Toyota Staus

Club event at the Wild Coast Sun featuring Loyiso, L’loyd Cele, Louise

Carver and Elvis Blue.

Anything you find frustrating about your job?Adam: Nothing, I really love my job; I actually can’t believe I get paid

for it!

What type of invention would make your job easier?Adam: A brain to MIDI converter – something that would translate all

the musical ideas I have in my head into audio!

When you’re not composing music what are you doing?Adam: Playing golf and spending time with my family.

What is your holiday destination of choice?Adam: I’d love to go to South America – Peru, Cuba for the music.

DAW of choice?Adam: Logic Pro

Great chatting to you Adam, thanks for your time and we wish you all the best!

UK-born Adam Howard is one of the most recognisable music composers in the industry. Based at Howard music in Bryanston, Johannesburg – the 38-year-old has composed numerous award-winning TV and radio commercials, and worked with almost all the big names in the industry. Pro Systems recently had an opportunity to learn more about his illustrious career.

Adam

How

ard

64

sTudio & BroadcasT exPert ChoiCe

Darryl Torr: Openroom Productions Grammy-Award-winning record

producer Darryl Torr is one of the most

recognisable players in the industry. As

owner of Openroom Productions – he

has worked with almost every big name

in the industry, from Soweto Gospel

Choir, to Zebra and Giraffe and Louise

Carver.

My favourite tools in the studio right now are:

The iPad and vintage Wurlitzer.

• iPad: “One of the things

that define recording through

the ages is technology. The

iPad is a new device and it’s

constantly being developed

as a recording studio tool.

When it comes to production,

it’s become indispensable for

creating and developing

exciting new sounds within production.”

• Wurlitzer: “We

have a vintage

Wurlitzer which is really

nice as we have to

mic it up and create

new and unique

sounds. Because its

analogue, it keeps the

essence of what we

always try to do –

recording good musicianship first and then expand it into the digital

realm of the recording and mixing.”

If we could buy new studio gear right now it would be:

The Sl 6000E mixing console.

“We use the plug-in all

the time but having the

real thing would make a

world of difference. The

6000E is an advanced

system for production and post-production and it is designed to serve

the most exacting needs of the music, video and teleproduction

industries.”

Our DAW of choice is: Pro Tools. “This is because the program has

been written with old school recording style in mind, making it

extremely versatile for the recoding process.

my tip: A great sounding mix starts with the recording and not

during the actual mixing process. We find this is a concept not many

musicians today take into consideration and always think it can be

fixed during the mix. The actual recording process of each individual

instrument and musician dictates the sound of the mix.”

Robin Kohl: Jazzworx Kohl is one of South Africa’s leading mix

and mastering engineers. At present he

heads up Jazzworx – a top production

company known for releasing successful

acts such as Lira, Malaika and 340ml.


Focal Twin6 Be studio monitors and mac Pro Quad Core workstations.

• Focal Twin 6 monitors: “I love the

sound of these monitors; they are natural

and transparent – we have them setup

with Dangerous ST controllers in each

room and they are really impressive.

The Twin6 Be is the best seller of the

Focal Professional range and the most versatile work tool of the SM6

line. It represents the only necessary solution for recording, mixing and

mastering. The image precision, treble definition as well as midrange

neutrality are at the heart of its reputation. The excellent articulation

of the bass and midbass registers, even at very high sound levels,

makes it an unavoidable reference for engineers who require

absolute transparency. Also the design of the Twin6 Be permits a high

SPL while at the same time offering a stable tonal balance.

One of the two 6.5” woofers works in large band

(midrange – bass) whereas the other reproduces

from 40 to 150Hz. This creates a bass that preserves all

the signal dynamics, without any masking effect in

the midrange, therefore keeps all its neutrality and

transparency.”

• Mac Pro Quad Core: “The Mac Pro Desktop

Top producers share favourite gear & tipsWe recently asked three prominent producers Robin Kohl of Jazzworx, lloyd Niemandt of Wired Sound Studios and Darryl Torr of Openroom Productions to share some of their favourite studio equipment and tips. Here is what they had to say.

By Eddie Hatitye

65

exPert ChoiCe sTudio & BroadcasT

Computer Workstation from Apple is the company’s premiere desktop

workstation. The system is built with performance in mind, and is an

ideal computer for use with demanding applications in the music

industry. The computer is housed in a striking tower form factor,

highlighted by a silver front grille which provides easy access to USB

2.0 and FireWire-800 ports, as well as a headphone jack. Sturdy

handles aid in transporting the system when necessary.”

If we could buy new studio gear today it would be:

The SSl AWS 924. “I love the SSL AWS

924 mainly because it

works with almost any

DAW as a controller –

you get a SSL bus

compressor and 24

pres with stereo and

5.1 monitor control. It’s

an all-in-one machine

with huge appeal. Our environment caters for numerous operators

and as such, depending on your choice of DAW or project needs, this

would be a dream come true!”

my DAW of choice is: Cubase 6. “It has some amazing new

features and speed. However, at Jazzworx we have numerous DAW

solutions catered for every individual’s needs – be it music

composition, post-production or mastering. We also have suites of

applications and hardware for all kinds of jobs, from vintage pres,

mics, compressors, plug-ins, Logic, Pro Tools, Wavelab, Cubase, native

instruments and so on.

my Tip: Listen to a lot of music, remember why you got into

the game and keep the flame alive that one day you’ll retire

without debt.”

lloyd Niemandt: Wired Sound Studios

Hailing from a solid recording industry

background, Niemandt works at Wired

Sound Studios – one of Johannesburg’s

best recording facilities. Boasting

state-of-the-art equipment, the studio

has become the first choice of some

pretty serious names in the local music

and media communities.


The Presonus ACP 88 Compressor and Roland mC808.

• Presonus ACP 88 Compressor: “This baby is used

to control levels whilst recording and has a very smooth and

transparent sound – hardware side chains and gates are great for

experimenting with new sounds and synth-based effects. With eight

dynamics processors in one unit, you can employ tricks that aren’t

possible with other processors. The Channel Link feature lets you lock

together as many channels as you wish, so that all processors follow

the setting of the master processor. Since you can create multiple

simultaneous link groups, you could link a stereo pair of channels plus

a group of four processors and still have two unlinked channels for

other applications.”

• Roland MC808. “This is a

classic analogue pattern-based

drum sampler and synthesiser.

With Roland’s most sophisticated

processor at its core, the MC-808

possesses top-of-the-line

sampling, sequencing, and

synthesizer features. The MC-808 allows any sounds to be sampled,

edited, and added to the song WAV and AIF files can also be

imported from computer via USB. A few ‘must have’ sounds from the

MC-909 are also included.”

If we could buy new studio gear today it would be:

The Presonus Studiolive 16.0.2.

“This is an excellent-

sounding compact

digital mixer with a flair

for connectivity and

extensibility. You get

unprecedented freedom

to work the way that

works best for you. StudioLive technology certainly lives up to its name:

a powerhouse in the studio – with stunning live capabilities that give us

more than a glimpse into the future of live mixing. The PreSonus

StudioLive 16.0.2 even offers QMix wireless aux mix control software for

your iPhone and iPod Touch.”

my DAW of choice is: Cubase. “It has a great warm sound that

suits many types of projects. It has loads of headroom to work with

and its editing features are fast and user friendly.

my Tip: Many producers and engineers over-compress and use too

much EQ than is necessary, leading to a very synthetic, unnatural

sound. Less is more, subtlety is the key. Also, quality productions start

with the signals / sources so always use the highest quality samples

and recordings you can – no amount of mixing talent and gear will

make poor recordings sound great.”

“A great sounding mix starts with the recording and not during the actual mixing process. We find this is a concept not many musicians today take into consideration and always think it can be fixed during the mix.” – Darryl Torr

66

sTudio & BroadcasT live streaming

Adam

How

ard

Skyroomlive.com is a website where you can view live webcast

performances of popular South African bands and artists that go out

in real time across the world.

This is actually quite a leap forward in web-based content

streaming for this not-so-little country of ours; its creators claiming it’s a

well-timed foray into the future and I’d have to agree. Accessibility is

not the issue on the table at the moment either, but rather to show

South Africa and the world that it can be done and that we can do it.

And they have done it!

Skyroomlive takes place at an intimate venue on the rooftop of a

skyscraper in the middle of the Joburg CBD with the city-scape as a

perfect backdrop to the performances. As I patiently waited for the

evening’s artist, HHP, to perform, I was given a tour of the venue, the

technology behind the project and introduced to all the parties

involved.

Skyroomlive has been put together by the concept’s creators, Mark

Daubeney and Eban Olivier of Mushroom Productions, supported by

Gearhouse SA, Mastermax Productions, SA Backline Co and other

non-technical sponsors. My tour guide for the evening was audio

engineer Johan van der Colff from Mastermax who graciously gave

me the technical run-down of the show.

All FOH mixing and stage monitoring is handled by Gearhouse and

their house engineer; simply introduced as Frikkie. Overall the

Soundcraft GB8 / JBL PRX system is more than sufficient to handle

whatever the music throws at them, and later on, the quality of the

mix proved to be excellent. They have a good selection of

microphones up there too and it really comes through because the

quality of the live music was of a high standard. But the FOH mix is not

what you’re hearing when you log on to Skyroomlive.com and that is

where Mastermax Productions comes in.

Mastermax Productions handles not one, but TWO multitrack

recordings of the performance and the actual webcast mix,

which is handled by Johan from a small room, tucked away one

storey down. However, upstairs next to the FOH console is a Pro

Tools HD system, which is where the backup recording takes

place, fed from the direct outs of the FOH console. An active mic

splitter is used for the system to accommodate the sending of

each discrete channel into a Soundcraft stagebox with the MADI

protocol, which is then sent down to the Vi1 console in Johan’s

room. Here, a single MADI optical cable is connected to a SADiE

LRX2 system for the main multi-track recording.

The mix is then sent via a stereo analogue signal to another

room next door, which is Mushroom Broadcast and Eban’s

domain. Here all video cutting and direction of the show’s four HD

cameras take place in real time on a state-of-the-art Blackmagic

system, encoded on a high-spec Mac Pro with Flash 5 for

streaming on the spot, and fed directly to the web. I was not given

too much background information on the nature of the

connection and the where’s and how’s for security reasons but

suffice it to say that the signal was fed via a high speed router to a

couple of local stops in between and finally on to Montecasino,

where it is plugged into the high bandwidth internet pipeline and sent

off to the world.

Skyroomlive.com is a new leap forward in digital content streaming

and live music in general for South Africa. Granted, not everyone has

high speed Internet yet, but I was able to get the concert to stream

steadily on my phone via regular 3G, which makes the situation

hopeful for the future. The more and more Internet access grows in

this country, the more we will see concepts like this present themselves

and quite frankly I find it exciting.

Just remember who did it first. Skyroomlive.com!

There’s a new way to watch live music in Johannesburg and this time you don’t even need to be there. In fact, you don’t even need to be in the country, writes Greg Bester.

Phot

o by

Alis

tair

mcl

aug

hlin

67

Jose maturana, Bernard Pienaar and Jose masip

Kevin Glover Duncan Riley, Simon Robinson, mark Gaylard, Ezeria moeketsi, Bruce Riley and David livesey

John Silver and Greg Payne

Prolight + Sound 2012 – Frankfurt, Germany

social

Bjorn Blignaut and lindiwe Bungane

Tamara Dey and Craig massive

David Dennis and Greg Homann

Khabonina Qubeka

Des & Dawn lindbergh

Sello Sebotshane & his wife

Judy Page and Daphne Kuhn

Terrence Bridgett & Nadine

Norman and Edwin Bohmer

Nicholas michaletos

Nobulali Kama and Siyabonga Tshabalala

Siyabonga Tshabalala

Calvin Blignaut

Nick Britz

Emah Thompson

Andre Westraad

DWR Avolites Titan Training

Naledi Theatre Awards

68

social

Fanie du Plessis and John Silver

Ruben and manus

Dealers enthralled by a demonstration

Willie Cock and John Silver

Pieter Prellel and Jason Hatchuel

Terry Cronje

Natasha Alexis and Gavin Deysel

Networking and talking technology

lesley and Nilesh

Gath Ginsburg and Jaco Norval

Audiosure Dealer Evening

mi Casa

Anele and Grant

Zahara

Jozi

Jack Parrow

DJ Cleo

Joshua Cutts Robert Hoey, Duncan Riley and mark Gaylard

Danny K and fiancee lisa Gundelfinger

Kurt Darren and wife Dunay Nortjé

Jimmy Dludlu and Judith Sephuma

Auther mafokate and kids

SAMA Awards

Viva Afrika

viva afrikaViva Afrika Sound and Light (Pty) Ltd

Unit 2, 2 Drakensburg RoadLongmeadow Business Park West, West� eld

PO Box 4709, Rivonia, 2128, South AfricaTel: 011 250-3280, Fax: 011 608-4109

[email protected], www.hybrid.co.za

Lightweight cost, Lightweight mass

Heavyweight punch!

• Small footprint and light weight

• DVA T12 and DVA T4 are totally compatible to fi t together

• DVA Composer predictive software manages the complete set-up

– which includes the DVA S30N Subs, DVA T12 and DVA T4 line array enclosures –

ensuring limitless combinations, to suit venues from clubs to stadiums and everything in between

• RDNet Software manages the system during shows

DVA T4 3 Way Active Line Array Module

Frequency Response (+/- 3dB):

80 – 19000Hz

Max SPL: 128dB

HF Drivers: 2 x 1” Neo Compression Driver

MF Driver: 1 x 6.5” Neo

LF Driver: 8” Neo

Power Rating: 220 + 100 + 100 W

Weight: 13.8Kg

Dimensions mm: 580(W) x 240(H) x 327(D)

With stats to produce a technical knockout

DVA S30N Subwoofer


30 – 120Hz

Max SPL: 141dB

LF Drivers: 2 x 18” Neo

Power Rating: 3000 W

Weight: 72Kg

Dimensions mm:

1100(W) x 580(H) x 720(D)

DVA T12 3 Way Active Line Array Module


60 – 19000Hz

Max SPL: 136dB

HF Drivers: 3 x 1” Neo Compression Driver

MF Drivers: 2 x 6.5” Neo

LF Driver: 12” Neo

Power Rating: 710 + 350 + 350 W

Weight: 29.9Kg

Dimensions mm: 580(W) x 386(H) x 430(D)

DWR – Robe

Unit 38 Graphite Industrial Park, Cnr Commercial & Fabriek Street, Strijdom ParkTel: +27 11 793 5066 Fax: +27 11 792 5076 [email protected] www.dwrdistribution.co.za

Pro-Systems 2nd Quarter 2012

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