ENTECH 2013 Show guide CLICK HERE
AUDIO • LIGHTS • VIDEO • STAGING • integration CX 83, JULY 2013 $5.50
VIVID
World’s Biggest Interactive Lighting Display
Technology
GEARBOX REVIEWS: ·Soundcraft SI Expression 2 ·Clay Paky Sharpy Wash 330 ·Sony NEX-FS700 Camera ·ChamSys MagicQ MQ60 ·Roland VC-1 Series Video Converters
EAW’s World First
Road Skills
CX NEWS: •Staging Connections swap debt/shares •Radiohead stage collapse update •EAW debuts ANYA •Rosco, RICC with Robe, Amber & more!
Daft Punk, APIA
Grover Notting
Australian Industry Success
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INSIDE ISSUE CX83
12
EDITORIAL 6 InfoComm, Sydney Scec Bows Out NEWS 8 8 9 10
Staging Connections swap debt for shares ULA Group ENTECH, Radiohead stage collapse update, EAW Rosco, Amber, CX spills the beans
InfoComm 2103 The Big USA Show
NEW GEAR
tra
TV
HOW
magblog
ezine
gearbox
20 Allen & Heath, ClearOne, Aviom, Avid, Meyer & More!
34
FEATURES 12 18 24 34 44 66
InfoComm 2013 - The Big USA Show Some Girls Do It Too - authored by Jeanne Hurrell Grover Notting - Australian manufacturing success VIVID - World’s Biggest Interactive Lighting Display TECHNOLOGY - EAW’s World First CHW Consulting
VIVID World’s Biggest Interactive Lighting Display
68
GEARBOX 50 54 58 62 64
Soundcraft SI Expression 2 Clay Paky Sharpy Wash 330 Sony NEX-FS700 Camer 3a ChamSys MagicQ MQ60 Roland VC-1 Series Video Converters
REGULARS 28 32 40 46 68 75 78 81
Road Skills DAFT PUNK & APIA
The Mill Report with Andy Stewart talks Synth Presets What If? with Andrew Mathieson Install Adviser - The Great Outdoors Listen Here - Background Noise with Andy Stewart Road Skills - Daft Punk and APIA with Cat Strom BIZ TALK with Julius ACETA - Australian Manufacturers Manifesto When it all goes wrong - Instant karma with Duncan Fry
NETWORK cxdigitalnetwork.com, cx-mag.com, cxmagblog.com, cxhow.com cx-tv.com: CXtra, Gearbox, News, CXHow
LIKE US ON FACEBOOK! Search for CX Mag! Buy CX Magazine on Newsstand for iPad. Different layout, full of interactive features. Just AU $4.49 - Annual Subscription $37.99 Newsstand Search - CX Magazine 4 | www.juliusmedia.com CX83
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EDITORIAL CX83
NETWORK PUBLISHERS PANEL
CX8 3 J U ly 2 0 1 3 . i s s u e 8 3 . O N L I N E e d i t i o n Editorial by Julius Grafton INFOCOMM We made the double leg trip to Orlando where no one in their right mind should go. Unless for a convention. Having said, there were a week’s worth of theme parks you can visit, if you like that sort of thing. One previous time there I did the Cape Canaveral day tour which is beaut if you like enormous rockets and men in space suits. INFOCOMM is very much the second show for our target industry, first being that astronomic mess that is Musikmesse in Frankfurt. Live production professionals go there, while integrators do InfoComm. Funny enough these two camps have split on similar lines here, where this month the live crew will devour ENTECH while the integrators will do Integrate in August. Next year Infocomm rotates back to Vegas, where several hundred Australians will do their best to professionally represent their nation by challenging all comers to all kinds of endurance tests. SYDNEY SCEC BOWS OUT We didn’t mention SMPTE, held at the same time as ENTECH, next door. All these trade shows will be cut free next time since the NSW Government has decided to bulldoze Sydney Convention and Exhibition Centre after the end of this year, and a year later the Sydney Entertainment Centre. Eventually a better facility will open, but in the three years of construction possibly NOTHING will replace them. CX are continually amazed how limp the Exhibition & Event Association of Australasia (EEAA) and the Meeting and Events Australia (MIA) have been on this. They have been polite and restrained while their members prepare to go bankrupt. Think how many CX readers will suffer from the drought of major events after Christmas in Sydney? The NSW Government announced a lame plan to build a ‘temporary’ facility on Glebe Island, comprising a large structure imported from the London Olympics which would allow large trade shows to run, on a wharf, with no pedestrian access, no bars or restaurants, and no public transport. Perhaps unsurprisingly, the winning tenderer got cold feet in May. Every day I sit in traffic across the one single lane road that feeds this empty wharf and admire the foresight of the NSW Government. Trade shows like SMPTE, Integrate and ENTECH are planned 2 years ahead, so the idea a temporary venue with no conference facilities could pick up the slack and open in five months from now is absurd. AND FINALLY Kudos to the working professionals out there, struggling to acquire additional skills and earn a living wage, many of you freelance. I don’t think it has ever been harder than now, what with IP addressing, networking and continual software updates for everything. CX will always champion the working tech, whether you lift and shift, patch and terminate, or program and code. If you design and mix, all the better! - Julius
CX Magazine is published in Australia by Juliusmedia Group Pty Ltd (ACN 134170460) under license from CX Network Pty Ltd (ACN 153165167) Web: www.juliusmedia.com LOCATIONS SYDNEY OFFICE & STUDIO Email: juliusmedia@me.com Phone: +61 2 9638-5955 Mail: Locked Bag 30 Epping NSW 1710 Australia MELBOURNE OFFICE Email: jason@juliusmedia.com Phone: +61 407-735-920 PEOPLE Publisher: Julius Grafton Business manager: Steve James Technical editor: Jimmy Den Ouden Melbourne: Jason Allen Creative director: Lee Romer Codger at large: Duncan Fry Printer: Printed in Australia Distribution: Apple Newsstand CX-TV hosts: Meg Mackintosh, Michaela Leisk, Sophie Pearson CX-TV is at www.cx-tv.com Coffee Supplier: Rob Forsyth Happy hour: Willoughby Hotel Accountants: Kieren Martin, Watkins Coffey Martin Official airline: Virgin Australia Lawyers: Gibert + Tobin (Defamation), McGylnn & Partners (Commercial), Banki Haddock Fiora (Copyright) Copyright and legal notices COPYRIGHT CX Magazine is Copyright CX Network Pty Ltd. All contents protected by international copyright law. All copyright breeches vigorously prosecuted in any jurisdiction. Images, concepts, writing and content cannot be reproduced or transmitted in any medium whatever without the express written consent of the publisher. EXEMPTIONS: Articles, news of features in CX may be photocopied and distributed for educational use at accredited educational institutions without further consent required, provided such use is expressly for class instruction on a related topic, and where such use clearly identifies CX Magazine as the source. This exemption does not apply to electronic reproduction. Articles from the News section of CX may be referenced under ‘Fair Use’ provisions in other news media, provided CX Magazine is clearly referenced as the source and any quotes are clearly attributed. Feature articles or Gearbox reviews generally may be reproduced by stakeholders referenced within the story at no cost, provided specific written consent is sought prior to use. LEGAL DISCLAIMERS All material in CX Magazine is carefully edited and vetted before publication. In the event anything herein may cause confusion or may contain inaccuracies, please contact the publisher immediately. Where an inaccuracy or confusion is found to exist, we undertake to remedy any such instance as soon as possible. Do not rely on material contained within CX Magazine or broadcast on any CX media if making material decisions relating to safety. Always seek professional advice before implementing, or changing any safety system or procedure. While all care is taken in production of CX media and material, the occasional mistake may arise. We apologize in advance should this happen. SUBSCRIPTIONS A subscriber may cancel a subscription at any time, and is entitled to a refund representing un-delivered future editions. Any such cancellation must be made in writing or email. Please allow 28 days for the refund. The publisher will replace any missing or damaged copy at no cost, but is not responsible for editions more than three months after publication date.
INDUSTRY NEWS S TA G I N G C O N N E C T I O N S S WA P D E B T FOR SHARES N at i o n a l A u s t r a l i a B a n k t o a s s u m e 4 9 % o f f i r m At presstime Staging Connections Group shareholders were expected to approve issue of up to 49% of the firm’s shares to its bank, NAB. In exchange for the shares the NAB will forgive $20 million in debt, which will reduce total bank debt from $70 million to $50 million. The move values the entire firm at $40 million - $10 million short of its bank debt. Other liabilities push the
value well into the red, a far cry from when it was bought for $50 million in 2003 with another $100 million poured in since. However the prognosis isn’t all bad – the bank clearly have faith in an outcome that is likely a trade sale, otherwise they would liquidate. More in BizTalk, see page 76
R I C C G EA RS U P Microhire CHOOSES ROBE FOR MODULAR VENUE IN BRISBANE
ULA Group has won the contract to supply the latest Robe LED lighting technology to Microhire QLD to be used as the in house lighting inventory at the Royal International Convention Centre (RICC) in Brisbane. After tight negotiations and evaluation of all major products in the market, Microhire decided to make their investment in the latest Robe LED lighting “This lighting purchase will place RICC as one of the most sustainable venues in Australia in terms of its event lighting being the latest in green technology”, stated Russell Bennett, Microhire QLD General Manager. Microhire had been awarded the contract as the in-house AV supplier for RICC earlier this year. The newly released Robe fixtures will be used as a part of the permanent lighting installation in the movable truss grid system in the halls of RICC. The recently acquired lighting set includes 30x Robin 300 LEDWash Plus fixtures, 24x Robin DLX Spots, 6x Robin DLS Profiles and 12 Robin MMX Wash Beam fixtures.
8 | www.juliusmedia.com CX83
The combination of Robe’s reliability and reputation and the ULA Group’s local service and support was not the only factor in brokering the deal. The new technology LED product assembled in the lighting rig offers significant savings on overall operational costs. The versatility of the fixtures, their compact size, low power consumption, light lifespan and minimum ongoing maintenance costs offer additional saving for both Microhire and the RICC venue.
ENTEC H RO LLS U P
REVOLUTION:
1 1 t h S h o w , o p e n s j u ly 2 3 i n sy d n e y
E AW d e b u t A N YA f l at c o n c e r t a r r ay
The 11th ENTECH Trade Show opens Tuesday July 23rd alongside the SMPTE convention at Sydney’s Darling Harbour. This will be the last time for this venue as it will be demolished next year and rebuilt – leaving Sydney without major events for over 3 years. Expect to see over 60 exhibitors at ENTECH, a healthy comeback from the near death experience two years ago. The roll call has most lighting distributors and around half of all audio distributors committed to the show, with some audio firms choosing Integrate instead, which runs in August – also at Darling Harbour. A very solid program of seminars with 35 expert speakers, and events occur around ENTECH this year. Standards, Safety and Rigging are all headline sessions. An ENTECH first is an Audio Engineers Lunch, and there is a similar lunch for Lighting professionals. ENTECH runs for three days, with SMPTE right next door and accessed on the same (free) visitors badge, giving visitors a very wide range of technology exhibits.
EAW’s Anya arrived at a demo timed to coincide with InfoComm 2013 and caused disbelief because it is a large format line array that does not require angles. It hangs in a vertical line, removing all the compromises that are inevitable with a J curve of boxes set at various angles. But it will steer almost 90 degrees up, and another 90 degrees down – as well as horizontally. We heard it do this in real time, driven by software. Until you stand underneath and hear it, it sounds impossible. To do this they crammed a startling amount of components and electronics into the box, yet it occupies less space than some other top end cabinets, and weighs a respectable 128kg. A full report is headed ‘TECHNOLOGY’, on page 24.
EAW Anya flat array www.entechshow.com.au
LY 23-25
Convention R A DSydney I O H E A DCentre A C C REGISTER I D E N T R E P NOW O RT & Exhibition
entechshow.com.au
F i n a l ly s o m e t h i n g h a p p e n s , a y e a r l at e r
ALIA’S ENTERTAINMENT TECHNOLOGY AND INSTALLATION SHOW
Almost exactly a year after the stage roof collapsed and killed Radiohead’s drum TRADE SHOW tech, charges haveNEW TOlaid ENTECH 2013 been in Toronto. -located with SMTPE - Promoters Live Nation, BOSE stage Visitor Networking Evening. Free drinks, builders Halls, thousands of brands food and live entertainment! Optex engineer ndreds of new products straight and an un-named ENTECH will be are using all Presdo Match a m Prolight + Sound facing court. unique networking platform which allows you to make 1 to 1 appointments with industry e the biggest names first at ENTECH: The charges against the engineer read thus: professionals – www.entechshow.com.au nasonic, Jands, Casio, Amber Technology, Exclusive ACETA Australian Hall of Manufacturers “endangering a worker, as a result of his advice G, ULA, Chauvet, Show Technology, Meyer Sound, ACETA Skill Zone: Explore career options in the land, BOSE and many more. that is given or his certification that is made Entertainment Technology Industry negligently or incompetently.” Audio Engineer and Lighting Technician Lunches USIVE SEMINAR PROGRAM Immediately after the accident, Live Nation shut down the site and chased media away. CX est Professional Development was pursued by securityREGISTER through the parklands, am Ever in Australia! an Audio & Integration or ses studies on Sydney Opera House and on public space, and faced demands to delete Lighting Tour of the NOW TO ng Kong live on stage Sydney Opera House at photographs. www.entechshow.com.au ASA international speaker program featuring rl Ruling and Timothy BirdThe fromvacuum the UK of information since has not assisted concerns ynote presentations from Scots Willsallen, across the industry, since the crew were highly professional uce Ramus, Brenton James and Rolf Greve – FOR MORE DETAILS failed CONTACT catastrophically in leaders in their chosenand fields well regarded. Yet something Stephen moving Dallimore, elements Event Manager o-day Riggers Forum with Bill Sapsis, benign conditions and before used during ck Barnfield and Tiny Good on +61 2 9556 7988 or the show were deployed. Accidents such as these cause email sdallimore@etf.com.au dicated stream covering Integration and anxiety amongst performers and crew. siness Skills
scounted passes for multiple sessions available
T ST RS ME TIM TI R EVER EV
T ST RS ME TIM TI R EVER EV
WIN
/EntechShow
Radiohead 'S BROKEN stage
The only informed opinion published so far was from veteran tour manager Lars Broggard who claimed the main roof structure should have been steel, not aluminium. More information will arise during hearings in Ontario. CX 83 www.juliusmedia.com | 9
ROSCO ADDS GAM; HIRES ANDREW BALL
AMBER ADD LINES
Rosco is pleased to announce the appointment of Andrew Ball in the position of Sales Account Manager for Australia. Andrew has nearly 30 years experience working with end users in the Film, Broadcast and Audio Visual sectors. In joining the Rosco team, Andrew will be working with Rosco’s dealer network and end users to bring the expanding portfolio of Rosco products to the market. Rosco, established in 1910, has recently acquired GAM Products and is continuing to expand its range of LED fixtures including custom architectural solutions.
Amber Technology have added two new brands to their distribution portfolio – Niveo Professional computer networking products and Middle Atlantic racks, enclosures and consoles. Both acquisitions extend Amber’s offering to the commercial and custom AV installation market.
W o n ' t yo u c o m e b a c k t o t h e f i n e g r i n d , Jimmy D, Jimmy D? by Jason Allen We take our coffee pretty seriously in my home town of Melbourne. There are several individual roasters in warehouses near my house, all offering single origin, fair trade, organic, carbon free coffee handpicked by 7th generation artisanal producers who don’t use any technology invented after 300 BC. Imagine my surprise and delight when I discovered that some of the best coffee I have ever had can be found in a repurposed laundry in Sydney’s Chatswood, blended by a self-admitted failed barista who only got into showbusiness because the perfect crema eluded him. CX’s own Jimmy Den Ouden makes a deep, complicated brew perfectly suited to the abstract ruminations that shape the creative dialogue at CX.
The grounds are single origin – they always come from the same shop, and as Jimmy rides a bike to work, are also carbon-free. Without the continuous caffeinated libations that Jimmy provides us, there would be no magazine, no Gearbox video reviews and certainly no CXtra. Indeed, Julius himself would be technically dead and we would be tearfully forced to unplug the coffee machine that’s been keeping him alive all this time. Jimmy – we thank you. Whether it’s the late morning starts as we arrive and try to figure out why we’re having a camera pointed at us, or as we ponder who the Gaff Gimp really is and why he insists on sleeping under our server rack for warmth, we couldn’t do it without you. Mine’s a long black, please; a long, deep black, reminiscent of the rich loams that surround Kilimanjaro and heady nights spent dancing in ecstasy at its base, absorbed in the whirling rituals of the Tanzanians. Or you know, whatever you’ve got going will be fine.
The Sydney Launch of the Australian Road Crew Association will take place at
The Bald Faced Stag Hotel 345 Parramatta Rd, Leichardt, NSW, 2040. (02) 9560 7188 1pm - 10pm - 21 July 2013 It’s $50 at the gate for everyone. No exceptions. It is INVITATION only. It is not a “free-for-all” and you must provide evidence of your history and a referee.It’s about Australian Crew - our past, our present and our future. ALL ROAD, RIGGING, LIGHTING AND SOUND CREW Pre 1992THAT WERE INVOLVED WITH ACT, CLS, NOVA, JANDS OR JUST CREWING DOING O/S AND AUSSIE BANDS AROUND AUSTRALIA AND NZ. ... IF YOU ARE ALIVE AND/OR KNOW WHERE SOMEONE IS GET INVOLVED.
The Sydney event, is a reunion for those who couldn’t make last years Melbourne event - and to invite crew Australia wide to acknowledge their service to the music industry. So when you come leave all the personal crap, grudges, and any other negative agendas at the door. Go and find your mates and have a hug. This gig is not about how well you’ve done, how much money you’ve made, or who you’ve worked for. Go and find those you have a bone with, build a bridge, buy them a beer and celebrate that we are all here and remember those that did not make it this far. We are all mates. Simple. If you can’t deal with this - stay home.
Please contact
Ian ‘Piggy’ Peel 0415 667221 OR Irene 0417 174366 OR FACEBOOK & go to Encyclopaedia of Australian ROAD CREW – after which you will be invited onto the private site or try to log in at australianroadcrew.com to show interest and gain entry to this long overdue reunion. 10 | www.juliusmedia.com CX83
Infocomm shows everything CX reports...
Infocomm Orlando rolls around each other year and attracts 35,000 pre registrations. They don’t all show up, but the numbers are good. When the show runs in Vegas next year expect a lot more. 1,036 exhibitors occupy the entire convention centre at Orlando, and it took CX a day and a half to walk every aisle. Word on the street is that the American audio visual rental houses are in trouble. They seriously have no money, and in many cases are exiting driveway and small rentals due to crippling competition and in-house deals that are now squeezed to death by venue commissions. Integrators report patchy times, while sound, light and staging production houses look happy by comparison. The pro audio, lighting and staging markets are doing OK.
by Julius Grafton
12 | www.juliusmedia.com CX83
Omnicam 360 dEgree CAMERA
Paul Mulholland from Jands with John Penhallow from Fitness Audio
Samsung super thin displays
INFOCOMM 2013
THE BIG USA SHOW
Blackmagic mega stand
Leyard 1.9mm pitch LED screen
Freakin Big Danley with Steve shown for size comparison
Hi def 'tactical videoconference system' great for rough stuff Down in one corner the big disrupter of the video market is Blackmagic Designs. From their Melbourne base they have turned the video production industry upside down, at NAB they launched a 4k pro video camera for 4 grand. Infocomm brought together their range, which includes the ATEM 4k production studio for just 4 grand. A year ago you could pay 80 grand for something like this. In LED wall world the name on everyone’s lips was Leyard who have a crazy sharp 1.9mm pitch video wall that will soon come down to 1.6mm. This provides amazingly sharp images and for once it appears a Chinese manufacturer has something unique to offer.
Hanson will freeze you
Christie 35k lumen 4k projector
We work worldwide & local – from a radio mic hire to a mission critical worldwide event. Wherever professional audio is required, contact the market leading live audio production house across Australia or New Zealand.
AUDIO WITHoUt ATTITUDE 4 timezones • 6 warehouses • 80 audio professionals • 600 line arrays 500 amplifiers • 3000 microphones • 150 mixers • 999 kilometres of cable
Sydney +61 2 9737 8522 • Brisbane +61 7 3892 0900 • Melbourne +61 3 9646 9230 Perth +61 8 9409 9446 • Auckland +64 9 845 7801 • Wellington +64 4 472 7770 www.norwestproductions.com
Disgracful abuse on Gater Cases stand
Sennheiser wireless PA with 8 hours battery life
Crest touchscreen console IDT’s Gerry Wilkins
KV2’s international sales dude Australian Dave Croxton
INFOCOMM 2013
Boo hiss Gator Cases. They felt the need to rent a wrangler with a drugged up Alligator, snout wrapped tight with tape. Visitors were invited to hold the poor thing. Gator Cases kept this up through the show, the wrangler changed from time to time but who would know if the poor monster was given a break? They all look the same to me. I wanted to rip the tape off and have it go berserk and gnaw on the Gator goose that came up with this.
iRobot, yes it is Crest FOH box. Plus in your own screen and mouse to mix! Crest stage box, the third New Cadac CDC Four part of the system
Baby modular computer You want the world’s biggest? We got it. And the smallest – see the modular computer (pictured) and what was described as the world’s smallest air conditioner, for racks and equipment. How about a robot? Across from the one pictured, which baled us up by talking to us and correctly identifying key identifying features upon our garments, an even bigger exhibit of these pesky drones had its media moment when asked if their robot could move for our video. ‘We just have to reboot the server’, they said with no sense of irony. Next! Cracking the big barrier is the 35,000 lumen 4k projector. Christie have this at US$160k which is roughly what Barco wanted for 12k three years ago! Orlando had some lighting stands, and a lot of pro audio. Vegas has even more, so next year promises to be fun for everyone. 14 | www.juliusmedia.com CX83
Mono Price have the cheapest fibre cable
LED pioneers expand into architectural lighting With 150 staff and selling to 80 countries, Chauvet is a quiet performer in the world of lighting. Divided into Professional and DJ divisions, they were first to really see the potential of the LED by having the first all-LED fixture booth at the LDI convention in 2006. Albert Chauvet and his family hail from Haiti, when he graduated from college in the 1990’s, he started making rope light. Having manufacturing in his DNA, he saw the rope light business leading deeper into entertainment lighting. “He worked like a dog”, his wife Bérénice told CX at Infocomm Orlando in June. Sitting under the tall complex and eye pulling exhibit structure at this huge tradeshow, she reflected on where the firm has come from. “We followed the American dream. We were very successful in rope light, and as Albert travelled the tradeshows he saw that we have a chance to do this. We started at the bottom, and now we are king of the DJ (lighting market).”
Send in the clowns?
Freaking big horn from Anchor
INFOCOMM 2013
Chauvet steps up
Duran Audio drop design bombshell Free DDA software now models competing speaker brands
Duran Audio’s DDA acoustic prediction system will now accept any brand of loudspeaker. DDA is a powerful tool that predicts performance of a given audio system in a specific space. It is used to closely match and specify speaker systems and arrays, taking into account room architecture and finishes. Until now DDA has been specifically for Duran Audio products, but the firm has decided to open up DDA for use with any system that publishes a CLF (Common Loudspeaker Format) set of data. Not every loudspeaker manufacturer supplies CLF data on their website, but many industry leaders like d&b audiotechnik, JBL, TurboSound, Martin Audio and ElectroVoice do. Duran underwent the costly and complex path of developing DDA some years back, led by designer Evert Start who is their research and development (acoustics) engineer. 16 | www.juliusmedia.com CX83
Chauvet’s Len Quist, Berenice Chauvet & Stephane Gressier . “The Colorado was the turning point. Then LED put us on the map with professional. We were green, we educated ourselves early. The big guys had the market for moving heads. We can’t claim leadership, but we are very confident in LED”. Recently the firm branched out into architectural lighting with Iluminac. Bérénice Chauvet is beguiling and direct. Her closing statement is that her husband always had the ability to think globally. “First the US, but we are not afraid”. Chauvet products will be showcased at ENTECH in Sydney, July.
Soundking (debatable) with DVD. Why? Duran Audio Evert Start and Nick Skreen
At the time it gave the firm an edge, since it allowed their installation loudspeakers to be easily modelled. Now they say consultants and installers have been asking for DDA to be opened up to model other brands of loudspeakers, they claim due in part to the speed of DDA. Complex modelling can take some time. DDA allows you to drop a speaker system onto a 2D flat plan, and then add height data if you want to avoid XYZ number crunching. The software then gives you a 3D view, along with intelligibility and SPL at fine resolution. Duran say DDA also talks to Odeon, CATT Acoustic and EASE acoustic modelling software packages.
INDUSTRY WOMEN
Some girls do it too By Jeanne Hurrell
Sue Grey-Gardner’s long career as a lighting technician and designer resulted from a friend threatening suicide! It was the early 1980s and Sue was in Adelaide after postponing university in Melbourne and travelling overseas. She applied for entry into the technical production course at the Centre for the Performing Arts (CPA). But, without practical theatre experience, the lecturer in charge rejected her. When Sue told her mates (who were already doing the course), one of them stormed into the lecturer’s office and threatened to kill herself unless the decision was reversed. The following day, Sue was accepted. For females working in technical production, the blokey culture can be a real turn-off, so I was keen to chat with Sue and discover how and why she’s endured.
JH: How did you learn about technical production? SGG: At the CPA. We did basic set construction (staple guns at twenty paces), props and costume making (sometimes all night), scene painting, lighting, sound and theatre history (which should never be scheduled for 9 am). JH: So, why did you specialise in lighting? SGG: Because of lighting designer Nigel Levings and that legendary theatre lighting tech Bob Jesser. For the 1984 Festival of Arts, Nigel offered me a job as his lighting design assistant and board operator on Masterclass which I turned down because of another booking. When Jesser found out, he not-so-subtly suggested I reverse my decision! That job on Masterclass ignited my passion for theatre lighting. JH: Is there anyone else who’s influenced your lighting? SGG: Undoubtedly. I quote Francis Reid shamelessly. One day, I will meet him, buy him a drink and apologise. He writes about our craft with such wit and beauty. His books and the writings of Jean Rosenthal — pioneering female lighting designer of Broadway shows — are my dog-eared manuals. JH: What was your first gig as a professional lighting designer? SGG: It was Under Southern Eyes, staged in a wool store in Port Adelaide. It was a monumental undertaking but I had a truly excellent crew and the results were great. JH: How about a worst career experience? SGG: Hmm… I’d like to forget my tour to Shanghai with a certain dance company. The completely stressed out choreographer behaved appallingly, ripped me off, and 18 | www.juliusmedia.com CX83
seriously set back international diplomatic relations. The crew were great and bump in went smoothly because of my reams of paperwork. I’d focussed a PAR 64 NSP* ‘fingers of God’ backlight look then came back for plotting to find the head electrician trying to even it out! JH: Tell me about your two years on Les Miserables and Phantom of the Opera at Melbourne’s Princess Theatre? SGG: I loved it. As the board operator, my pre-show house light check was the entire building, including the angel on the roof. Up there, you look over Spring Street to Parliament House and the gardens beyond. It’s simply beautiful. I got to know the groundsmen there and, on matinee days when Parliament was in recess, they’d let me park my little Fiat for free in the pollies’ car park. JH: What are your thoughts on the masculine world of live technical production? SGG: Ha! Let me tell you about the woman assisting the guy who lit Phantom. She did all the frigging work! So, naturally, he always came across as totally cool and calm. Her drive and meticulous approach inspired me to be a committed paperwork junkie. JH: How do you cope with the challenges of freelancing coupled with your responsibilities as a parent? SGG: I don’t! I am the crying tired person — so uncool in this oh so manly environment. But I’ve recently become an empty nester after two decades of minimising the fallout of my stress on my child’s life. Sometimes, I think selfdoubt holds me back but I still like to approach the job in a collaborative rather than a competitive way. And my passion for lighting and the way it affects the emotional response of an audience sustains me. Sue’s easy smile, gentle voice and delicate manner mask the strength and stamina underpinning her thirty-year career. In an industry notorious for chewing people up and spitting them out before their thirtieth birthday, Sue has persevered and continues to develop as she rockets past fifty. It’s hard to find anyone with harsh words to say about her. Maybe it’s because she’s selfeffacing and rarely criticises others. She puts it down to yoga and the enduring support of friends. Whatever the reason, Sue remains inspired and dedicated to her profession, bringing light and joy to those she works with. Above all, she treads her own path. *The PAR 64 NSP (or Par Can) is a popular stage lantern with a parabolic aluminised reflector and narrow spot lens and fixed oval shaped beam
CONGRATULATIONS TO
GLOBAL CREATURES & THEIR PARTNERS ON THE SUCCESSFUL OPENING OF
KING KONG AT MELBOURNE’S REGENT THEATRE.
Glo bal Cre at u re s pre s e n t s
PRINCIPAL PARTNER
NEW GEAR
Edited by Jason Allen
Allen & Heath GLD 112 and new MixWizards Allen & Heath has introduced the GLD-112, a larger version of the popular GLD-80 mixer, with an extra bank comprising 8 control strips, increasing the channel count to 28 fader strips in 4 layers. GLD-112 retains the same analogue-style channel processing control section complemented by a graphical 8.4 inch touch screen as the GLD-80. Four additional soft keys are included next to the faders for scene-controls and other user defined functions. A fully-customisable drag ‘n drop layout allows quick and easy assignment of inputs and mixes to fader strips. There are 28 fader strips in 4 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 4 XLR mic/line inputs, 4 XLR line outs, 4 RCA inputs, 2 RCA outputs, and digital outputs in SPDIF and AES3 formats. Meanwhile, back in analogue, A&H also announced a new generation of its industry classic MixWizard range. Comprising the WZ4 16:2, WZ4 12:2 and WZ4 14:4:2, new 4th generation MixWizards feature enhanced styling and improved performance and functionality, including EQ in/out switching and new dual digital FX engines on the 16:2 and 12:2 models, along with an optional USB multi-track recording and playback interface card. Every MixWizard features the new EQ in/out switching, and optional multichannel USB interface with high quality multichannel soundcard for easy recording and stereo playback. All models retain the highly acclaimed transparent mic preamp and 4-band EQ with 2 sweepable mids, high quality 100mm faders, 6 auxiliary sends, 12 segment bar graph metering, and unique QCC connector system for easy desktop, rack or flightcase mounting.
20 | www.juliusmedia.com CX83
Neumann KH310A three-way active monitor
New ClearOne Video Conferencing Codecs ClearOne has increased its range of VC codecs with two new models – HD150 (720p) and FHD150 (1080p). These software-based codecs include built-in recording and streaming as standard, with an embedded MCU option. Audio is taken care of through ClearOne’s industry-standard DSP.
KH310A The KH 310A three-way active tri-amplified monitor features a Mathematically Modeled Dispersion Waveguide (MMD), flexible acoustical controls, various input options and an extensive range of mounting hardware. This allows the loudspeaker to be used in diverse conditions, with any source equipment and in a wide variety of physical locations. The KH310A is designed for use as a near-field monitor, as a front loudspeaker in mid-sized multi-channel systems, or as a rear loudspeaker in a larger multichannel system. It can be used in project, music, broadcast centres, OB vans, and post production studios for tracking, mixing, and mastering.
Aviom D800-Dante
ClearOne video-conferencing
Aviom D800-Dante A-Net Distributor Another announcement at InfoComm 2013, and a hot trend in the industry – collaborative products. Aviom teamed up with Yamaha Commercial Audio Systems (US) to bring us the D800-Dante A-Net Distributor. This enables up to eight Aviom personal mixers to be connected directly via the Dante ports of a Yamaha CL Series mixing system, eliminating the need for any extra Aviom A-Net MY cards to be installed in the console. The D800-Dante distributes power and up to 64 channels of audio to each A360 Personal Mixer in the system and is also compatible with Aviom’s A-16II Personal Mixers.
Electro-Voice ZLX Series Electro-Voice have announced the ZLX Series of loudspeakers. Available in powered and passive 12” and 15” two-way versions and perfect for use as either mains or monitors, EV have sought to make the powered models simple to use, with a clean interface and high-powered performance.
ZLX Powered
Powered models boast DSP, 1 100W Class D amplifier and simple “one knob” control. The passive models have both pole mounts and a wedge profile for use as monitors. The very competitive RRPs range from $499 inc for the ZLX-12 (passive) to $899 inc for the ZLX-15P (powered)
CX 83 www.juliusmedia.com | 21
NEW GEAR
Avid S3L System
The new S3L System
Meyer Sound Compass 3.0
Avid have introduced the new S3L System, a modular mixing system with a 16 fader control surface that can handle up to 64 input channels. The system is comprised of a highperformance HDX-powered mix engine running VENUE software and AAX DSP plug-ins, scalable remote I/O, a compact EUCON-enabled control surface, and Pro Tools software for integrated live sound mixing and recording. Bus structure is 24 aux busses, LCR, plus 8 mono matrixes and 8 VCAs. Paired with the control surface is the Stage16 remote I/O, providing 16 mic/line in, 8 line out and 4 AES3 out. The system connects digitally via AVB, with Neutrik EtherCon connectors for durability. Up to 64 channels of audio can be recorded or played back over the AVB network directly from a computer’s LAN port. There’s also a handy 2 track USB player and recorder built in to the surface. Avid S3L will be available at Avid resellers worldwide around August. Avid S3L starts at AUD$19,799.
Audix M55 ceiling microphone
Meyer Sound has released version 3.0 of its Compass software program. Compass 3.0 provides a centralised platform for controlling the new Compass RMS remote monitoring system, in addition to the Galileo and Galileo Callisto loudspeaker management systems and CAL column array loudspeakers. With the remote monitoring control interface moved to Compass 3.0, Compass RMS allows users to perform mute, solo, and wink ID functions and monitor more than a dozen loudspeaker performance parameters much more efficiently. Compass RMS supports both Windows and Mac operating systems and is backwards compatible with all Meyer Sound loudspeakers equipped with an RMS module. Use of Compass RMS with the Compass 3.0 software requires RMServer, the new purpose-built network hardware that hosts the loudspeaker status reporting functions. Compass 3.0 is available for free download from the Meyer Sound website: https://www.meyersound.com 22 | www.juliusmedia.com CX83
Ceiling mics are becoming increasingly popular, and Audix have now added the new M55 to their range. This mini condenser is designed for conference, boardroom and classroom applications, where aesthetics and sound quality are critical. The mounting system allows for drops between 30mm and 1200mm. Interchangeable speech optimised capsules allow a wide variety of coverage patterns.
Audix M55
pure energy
The New Neumann KH 310A Three Way Studio Monitor is in a class all of its own. With state of the art technology, the KH310A delivers cutting edge performance and extreme accuracy at surprisingly high reproduction levels . The result is a sweet spot that only Neumann can deliver.
For more information on the Award Winning Neumann Range, or details of your nearest stockist, call Syntec on Freecall 1800 648 628, email sales@syntec.com.au or visit www.neumann-australia.com.au
GROVER NOTTING
Australian manufacturing; a much needed success story by Jason Allen
Grover Notting Code 102s taking their place at Studio 346. The voids will be filled with Acoustisorb and blanked off when installation is complete.
ABC Studio 346 in Melbourne’s Southbank recently undertook the serious process of replacing its large mid-field monitors. With hefty pricetags to go along with the high performance needed, this was not a decision to be taken lightly. Studio 346 is a high-end room with an impressive signal chain and an equally impressive list of clients. An SSL C200 is its centrepiece, fed from 16 channels of external preamp and 48 channels of SSL preamp. There’s also racks of enviable outboard, including vintage Urei compressors.
The Grover Notting Powerplant 24 | www.juliusmedia.com CX83
Clients include Triple J, who have used the room to mix live recordings from Splendour In The Grass and Big Day Out as well as record Live At The Wireless, prestigious Jazz performers like Joe Chindamo, and even rockers like Bodyjar and Hunters & Collectors. Senior Sound Engineer Russell Thomson initiated a long and collaborative search for a solution, designed to give the large range of regular operators ownership of the eventual purchasing decision. Multiple manufacturer’s products were brought in for trial. Projects were run from start to finish on each product so engineers could determine how their mixes translated, how the sessions felt and how fatiguing each system could be. After the dust had settled, Australian success story Grover Notting was declared the winner with their Mastering Series Code 102. CX spoke to Russell about the factors that led to the decision. With such a diversity of clientele, including
classical and chamber music live-to-air, the speaker system had to be very versatile. “Some speakers suit certain styles of music better than others”, explained Russell. “We found the Grover Nottings are good right across the range we do.”
Can you please all of the people all of the time?? Extensive testing in an active working environment helped establish an important metric for a monitor – how fatiguing they are over a long period of time. As this is a workplace, it’s not just the quality of the product that’s important, but also OH&S and the worker’s comfort. “A lot of the speakers systems we’ve tried sound great but can be tiring if you’re doing a lot of work over a period of time” Russell observed. “We’ve found that we can run the Grovers loud if we want to, but also soft and still get the detail, which is really important for what we do.” Russell was also very complimentary about the Code 102’s imaging. With frequency response stated as 24Hz to an incredible 32kHz, the high end performance helps deliver a believable soundstage across multiple genres. “They have a depth that a lot of speakers don’t tend to have these days; you can hear three dimensions easily” said Russell. “You can put on loud screaming guitars or listen to a lute in an open room and get a spatial sense of both. In terms of consistency, everyone’s happy with this monitor. They sound very true, that’s the bottom line.”
HIRE & SALES
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Grover Notting’s Frank Hinton with his “babies”
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GROVER NOTTING
Operators can switch between two nearfield monitors and the Code 102s to make sure their mix is sitting well across different sources
The Australian Manufacturer is not dead yet
odd order harmonic distortion. It’s calibrated to the way humans like to perceive sound.” The amps were designed in Melbourne by Hugh Dean, an internationally renowned engineer that produces product under the brand name Aspen. “I personally think he is a genius” said Frank. “His understanding of the way people perceive sound is quite incredible. He really understands harmonic structure”
CX sat down with Grover Notting’s Frank Hinton to talk about the genesis of the Mastering Series, the challenges of manufacturing in Australia and how they’ve managed to succeed in such a demanding environment. The Code 102s were born out of field testing in studios, and Frank’s realisation that the ideal solution for studio monitoring, True Blue particularly mastering and mixing stereo sources, lay in Grover Notting wear their Australian Made badge proudly, having all frequencies, both felt, heard and perceived, and make it a philosophical and practical point to keep as originate from the same baffle. “It’s a phase and imaging much of their product on-shore as possible. “When we say issue” Frank stated. “No matter what I’ve done in a studio, Australian made, we mean it”, Frank stated emphatically. a sub has always been a problem. Studio designer Michael “We’re talking about metalwork, heatsinks, transformers, Fronzek agreed” This led Frank to develop the Mastering connectors. If you can buy it here, we do.” This goal is carried Series, large midfield solutions sitting squarely in a gap in the market ““No-one was doing over 10 octaves in a monitor”, Frank noticed. “So we developed a full bandwidth mid-field with low frequency augmentation. Initially, it sounded like two separate boxes, but gradually we got it seamlessly integrated.” The Code 102s come with their own dedicated power amplifiers – the Grover Notting Powerplant. “Our amplifier is completely discrete”, explains Frank “It has no ICs and it’s calibrated to drive our speakers, particularly in terms of the calibration of harmonic distortion. Studio 346 – big enough to hold a chamber We’ve addressed the positive contribution orchestra, live enough for solo acoustic of even order, in particular second harmonic instruments and treated enough to cope with distortion, and minimised the negativity of a rock band. 26 | www.juliusmedia.com CX82
down to even the cosmetic components – the brass plaques that decorate the front of the cabinets and amps are acid-etched and cut by hand in Australia, in an age when everyone else is getting their brass plaques laser-etched from China “The moral of the story is that it can be done if you look around,” Frank advised. “The manufacturing sector is doing it tough at the moment. It’s never been so bad. We’re trying to work with all of our suppliers to keep them in business.”
What we’re up against Australian manufacturers face difficulties beyond our high wages and strong (as of a last Classic outboard at Studio 346 week anyway) dollar. A big challenge that Frank identifies is the small size of the domestic “It seems our product is very attractive to European and market limiting the amount of sales a fledgling company English customers”, smiled Frank. “Some famous brands can obtain to establish itself. Add to this our geographical aren’t doing a lot with large monitors anymore, it’s all isolation and shipping costs and you’re starting from a portable nearfield, which doesn’t address the professional difficult position. Frank is also quite critical of the level of market. If you want to spend serious money and you want to government support available to small business; have a world class room, it’s quite hard. That’s the market we “We don’t get a lot of support from government to address.” access export grants or R&D concessions”, opined Frank. “It’s extremely difficult because it’s so convoluted. The Grover Notting UK will be based out of Oxford, providing programmes are aimed at big companies that employ a lot a valuable foothold into a domestic European market of of people. Small companies, and in our industry we are all almost 1 billion people. The company will seek to capitalise small companies, just can’t afford the time and resources to on its success in the ABC at comparable institutions and put into complying with the requirements.” other national broadcasters on the continent. With the European Pro Audio market’s reputation for putting quality What we do best and performance ahead of fashion and price, it’s a good fit “Australian manufacturers are resilient”, according to Frank, for the principles that Frank and Grover Notting espouse. and he knows that from personal experience. Frank is now We need Australian companies like this to succeed in the looking at taking some of this success overseas – Grover export market, or we’ll end up, in Frank’s words, as a Notting are about to open a UK office; a bold move for a country “with a very few Haves and a whole lot of Have small Melbourne company. Nots”.
PERFECT MATCH
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THE MILL
THE MILL REPORT SYNTH PRESETS ARE PRE-DICTABLE
Last month I was banging on about buying lots of new keyboards... now I've discovered that my favourite synth was right under my nose. by Andy Stewart
Producing albums takes many forms... sometimes you're the guy up the back of the control room pondering takes in full padmasana (lotus pose), at other times you're upside down on the floor trying to find out why the foot-pedal on the piano squeaks like a rusty bicycle. There are more times than you're prepared to admit when you're online buying instruments on spec, hoping that one day this latest purchase will hit the nail on the head of a song you're working on that needs that special something, and most days you feel the need to purchase more stuff. Being a producer is like sitting at a roulette wheel... you never know what's going to happen next, and that's why you're hooked!
SYNTH-ETIC PATHETIC The other day I was in the studio wandering through presets, looking for inspiration on a brand new synth I’d only shaken hands with moments earlier. It looked cool, flashed in all the right ways – even the pitch wheel was luminous! But pretty soon a familiar feeling swept over me… I’d been here before… many times. I was looking for an indeterminate sound on an unfamiliar synth and the pit was bottomless. Once I recognised this feeling, I saw the road ahead: a sixhour road trip down an unfamiliar highway searching for some cure-all sound that didn’t exist. I was looking for the Holy Grail… again. Was I mad? 28 | www.juliusmedia.com CX83
Needless to say my impatience quickly grew, but in my determination to get something down I eventually struck gold, or so it seemed. I recorded a couple of takes with this amazing new sound; cleverly running it through a couple of guitar amps and filling the large recording space with my aggressive and distorted masterpiece of an overdub. I cut up the takes into a single performance, tucked it quickly into the mix and moved on. A resounding success… or so I thought.
MORNING AFTER SYNDROME The next day I wandered over to the studio early to catch up on some editing… Still eating my cornflakes, and having all but forgotten about the overdub, I called up the session and hit ‘play’. When the overdub came around I almost launched a mouthful of cereal over the console. ‘That sound is completely crap’, I muttered to myself. ‘What the frack was I thinking?’ Sometimes synths are taskmasters at pushing s**t uphill. Looking around the room for an alternative to this sonic drivel I quickly spotted my Ensoniq Mirage – another synth! – a long lost keyboard that I’d gotten back off a friend only days earlier. I hadn’t turned the thing on for over a decade but my memories of the instrument were warm and fuzzy. So I set it up, dragged out the plastic bag full of floppy discs – yes, the synth uses floppy discs, and everything, even the operating system, is loaded via them – and after much buzzing and clunking from the drive I managed to load up some ‘choir’ sounds. That is, after a short mobile phone call that went something like this: “Hey John, how the frack do you import sounds into this thing again?”
I armed a new track, hit ‘record’ and let the ProTools session run…
NAIL HIT ON HEAD Immediate success… only this time it was for real. The ‘mirage choir’ fitted the song like a glove. Everyone was shocked, including me. The previous day we’d mucked around with the latest and greatest and gotten four fifths of nowhere, yet somehow today we’d struck gold with the first sound out of the bag (quite literally)! “Must be those vintage floppy discs that made all the difference,” I joked. “Not only do they sound great, they’re reliable, fit in your hip pocket and can store many kilobytes of information! And they’re only $28.95 each from Brashs!” (They still had the original Brashs price tags on them.)
KNOW YOUR EQUIPMENT The old keyboard had wiped the floor with the new one and revealed two things to me: that the sound of the Mirage is really quite something, and that my unfamiliarity with the new keyboard made me unfairly negative towards it. I’ve since fiddled around with it in private and discovered some interesting sounds… but the lesson learned (yet again) was that expecting a synth to pump out the perfect preset is more often than not a waste of time. Note to self: do the hard yards with your instruments; don’t expect a preset monkey in Japan to do all the work for you.
Hopefully I’ll be able to generate some decent original sounds with the new synth in the coming months, rather than scrolling down the road to nowhere… ‘Til next time. Andy Stewart runs The Mill in Victoria. He's always happy to answer questions about recording, mixing or mastering. Contact him here: andy@themill.net.au
HIGH ROTATION Music on high rotation at The Mill this past month – other than stuff I’m working on – has been mostly Sparklehorse, King Creosote and The Milk Carton Kids. What a superb album King Creosote’s Diamond Mine is; as is The Ash and Clay by the Milk Carton Kids… two very different albums on the surface, but both drawing on the same human ache. A couple of songs off Neil Young’s 35th studio album, Psychedelic Pill have also been getting a flogging here – up very loud. If Neil’s ‘Old Black’ Les Paul/Fender amp combo is not the best electric guitar sound in the world, I’d love to hear what is.
THE MILL
THE MILL REPORT...continued
Speaking of Music... Saw a sublime gig at Meeniyan Hall a few weeks ago: The Milk Carton Kids. This Californian folk duo has rapidly become one of my favourite bands, and their performance at this remarkable South Gippsland venue was one for the ages. The musical equivalent of the Cohen Brothers, the Milk Carton Kids play their old acoustic guitars with panache and skill, and weave it all together with phenomenally sweet and sometimes complex harmonies, very much in the genre of Gillian Welch and Dave Rawlings, or Simon & Garfunkel. If you like folky Americana, I guarantee you will love these guys.
TOOLBOX REVIEW
A notable acquisition at The Mill recently has been my new Retro Instruments Powerstrip Recording Channel. But before I tell you a bit about it I must make the public disclaimer that I’ve never reviewed a unit after I’ve purchased it before, but in this instance I couldn’t wait. I own a few Retro devices already… for one simple reason: sonic brilliance. The Powerstrip is a 2RU tube mono channel strip that’s been on the market for a couple of years now. It’s a transformer balanced tube preamp, Pultec-styled EQ and mono tube compressor all in one. The preamp stage contains facilities for mic, line and instrument inputs as well as phantom power and polarity switching. The mic preamp itself sounds superb, from crystal clear to smooth and deliciously creamy when driven hard. Remember this is a channel strip, so you can crank the input and output controls as you see fit, depending on your requirements. They’re on the right by the way, so don’t looking for preamp gain on the left. The two controls are somewhat peculiarly on the right masquerading (and doubling) as compressor controls. More on this in a sec. There’s 70dB of wide-open, gain available here – enough for virtually any microphone and circumstance. Somewhat frustratingly, the unit’s magnificent VU meter only describes gain reduction. Personally I like all my preamps to have an input meter, but alas. No preamp metering here. That said, the preamp stage on the Powerstrip is one of the best I own. When driven hard, the input saturates like a beast, but never harshly. It just gets fatter and fatter ’til it explodes! Well, not literally. 30 | www.juliusmedia.com CX83
Apart from being astounding performers, brilliant songwriters, and hilariously dry witted between songs – so much so that on this night the audience spent much of its time doubled over in hysterics – ‘the Kids’ perform using a very interesting audio setup. In a nutshell, they shun all forms of compression and EQ, preferring instead to rely on a flat PA, standing in front of a couple of 58s for vocals and 57s for guitar, and that’s it. At Meeniyan Hall the regular setup comes courtesy of engineer Mal Holt, who deploys four Nexo PS15s (two aside) and an RS15 sub for FOH, hooked up with a Digico SD11 digital console. Mal warned me it would be ‘different’ as I walked in… and he was right. Out of the PA came a whopping 86dB or so... impossibly low and ill suited to some venues and musical styles, but perfect on the night. Out of 10? I’d give this gig a 10… Eleven if it had been louder. Line and instrument-level signals sound strong and powerful too, and interestingly, the back panel of the unit, offers both ‘instrument-thru’ and ‘Hi-Z’ ¼-inch jack output stages for processed or unprocessed outputs. The EQ is a Pultec in all but name, featuring the EQP-1A’s familiar control set, with some extra top-end stages added to the midrange steps: from 1.5kHz all the way out to 16. This EQ is drop-dead gorgeous and identical to the circuit in the stereo Retro 2A3 equaliser. It can also be switched out of the signal path if you’re crazy enough to think it wise. Sweet as sweet can be up high and incredibly euphonic. Finally, with my word count rapidly diminishing… the onboard tube compressor functions a bit like a Fairchild vari-mu. There’s no ratio control here, only In and Out levels, a sidechain HPF and a time constant. As you dial the constant from slow to fast, both attack and recovery respond more rapidly. The compressor sounds great, although with its control sensitivity bound up in the preamp stage, balancing a microphone’s gain and compression structures simultaneously can be tricky at times, and somewhat counter-intuitive. It takes some getting used to. But if your life revolves around making things sound good for a living… well, you know… I’m just saying… no pressure. Retro make exceptionally good gear, and the Powerstrip is no exception. You might need a small bank loan though. Price: $3,909 Distributed by Mixmasters: (08) 8278 8506 or www. mixmasters.com.au
COLOURED CROWD CONTROL Award winning technology in crowd control. Now available in any colour of your choice.
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THE NEXT GENERATION IN CROWD CONTROL MANAGEMENT Framelock is a lightweight modular system of hi-tensile aluminium crowd control barriers and temporary fencing manufactured to meet or exceed Australian and international standards. Featuring a modern aluminium finish that looks good in any application. Combine barrier fence units with corner sections and service gates to erect a cost-effective, free standing integrated crowd control solution.
ASSEMBLY & TRANSPORT
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Wider step provides better footing Front anti-trip platform edging Provisions for ground pins for superior stability on any surface Interlocking panel system
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MEETS OR EXCEEDS: International Standard BS EN 13200-3:2005 (Spectator Facilities) Annex A WA Health Directorate 2004 (Guidelines for concerts, events and organised gatherings) Crowd Control At Venues And Events, A practical Occupational Health and Safety Guide, WorkSafe (Vic) September 2006 Australian standard AS/NZS 1170 parts 0,1 and 2:2002 (AKA loading codes) Australian standard AS/NZ 1664: 1: 1997 (Aluminium structures) Australian Standard AS 4687-2007 (temporary fencing and hoardings) MCK Metals Pacific. Strength and resistance load testing, November 2006 Patent pending. Registered design. 2007 © All rights reserved. Framelock structures Pty Ltd
Colin West E: cw@eventquip.com.au M: 0411 473 347
www.framelockbarriers.com
From FRAMELOCK STRUCTURES Pty Ltd
WHAT IF
What-If? What If we add a second brake to make the hoist “safer”??? By Andrew Mathieson
I was speaking recently to a colleague who is now based in Europe and does a lot of work in the Middle East, and he described to me an “incident” that occurred recently with a motorised chain hoist of well known origin and manufacture, that suffered a catastrophic failure during acceptance testing. Fortunately there was nobody anywhere near the test load when it came crashing down, but this was pure luck. At the time of the incident, the hoist was loaded to 110% of its rated lifting capacity and was lowering the test load at full speed. When the “down” button was released, there was an almighty bang and the load went into free-fall, impacting with the stage and causing considerable damage to the hardwood stage floor. So what happened? Well as it turns out, the chain failed – snapped a link. So how did this happen? The obvious suspect was a faulty chain, but checking of the batch test records and re-testing of the chain all indicated that it was not to blame – the re-tests all showed the chain failing at slightly over 5 times the rated capacity of the hoist (in this case, the test samples failed at around 5.2t for a 1t hoist). These hoists had been specified by a consultant and the specification called for the hoists to be modified by adding “an additional brake, identical to the first brake” in the interests of improved safety. This is all the rage at the moment, right? Chain hoists must have double brakes – having 2 brakes automatically makes them safer than having 1 brake, because you have a spare in case the first one fails – isn’t that just common sense? True, hoists that have a higher safety certification usually have 2 brakes, or braking devices, but these are part of an entire range of design features, including higher chain safety factors, overload and slack chain mechanisms, over-speed control, and most importantly, the control circuit for the brakes is designed so that the 2 brakes CAN NEVER be applied at exactly the same time. This is why the chain snapped on the hoist described earlier – in an ill conceived and poorly informed attempt to increase the level of safety in these hoists, an “expert” consultant made a fundamental error and specified that a perfectly good low specification hoist be “improved” by adding an extra brake. Let’s look at a couple of analogies to try and explain why this is such a big mistake. When you learn to drive a car, one of the first things you 32 | www.juliusmedia.com CX83
need to master is control of braking pressure – too much and the wheels lock up and you end up in a skid, not enough and you don’t stop in time. A car’s brakes are designed to stop the fully loaded vehicle from its highest speed – standing as hard as you can on the brakes when you’re puttering around at 60km/h will have unpleasant results. Unfortunately, electrically operated disc brakes of the type fitted to hoists only have 2 settings – ON and OFF. Another example is to consider what would happen if you substituted a good solid rope for that elastic rope when you make a bungee jump – not a pleasant thought is it? So, there is such a thing as too much braking capacity, and it can have catastrophic consequences. Going back to the hoist that snapped its chain, let’s take a look at what happened. In this case, the motor fitted to these hoists was sized to give a little headroom and was capable of comfortably lifting about 125% of the rated capacity of the hoist. The standard brake fitted to the motor was typical of “default” motor brake sizing, where the brake is rated to deal with 200% of the full output torque of the motor. So we have a hoist where the standard brake is capable of stopping 200% x 125% = 250% of the rated load. The expert consultant just added a second, identical brake operated in parallel with the first one. By applying at exactly the same time, a braking torque equal to 2 x 250% = 500% of the rated load was applied. Yep – 500% Remember? The hoist in question was a generic grade rigging hoist with a chain factor of safety of 5:1 (500%), which is exactly how much force the brake was applying to the drive train and chain when both of those brakes came on together. Now add a small overload (110% of rated capacity) and a little dynamic loading, and we can easily snap a chain, or a motor shaft, or a keyway, or a fixing bolt, or a shackle... This article forms general opinion only and must not be relied on without a detailed, professional risk assessment undertaken specific to your situation. Consult a professional staging company every time you consider anything that may involve risk with flown objects or people.
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32 Hundred take on Sydney Harbour Bridge by Julius Grafton
Vivid is the winter festival of light, music and ideas, held around the harbour in Sydney. Vivid came about in the dying days of the previous state government, and was such a success that it has returned each year, bigger and brighter. It brings people to the city in the down season. This year the night lights have stepped up to a whole new level, with the entire huge Western arch of the Sydney Harbour Bridge wired up with LED by 32 Hundred Lighting. Better still, festival goers were able to program the display, changing colour of roadway and arch elements from an interactive kiosk located at Luna Park. 32 Hundred founder Iain Reed came up with the creative idea and proposed it to Vivid, which is run by the state tourism body. His firm has been involved with the festival across its history. Vivid draws on creative ideas from other 34 | www.juliusmedia.com CX83
firms as well, with the sails of the Sydney Opera House used for massive graphic projections designed by Spinifex Group. There were interactive lighting displays across the city, drawing people into the city during the quiet winter period. Once the contract was confirmed Iain journeyed to Shenzen, which is a hub for LED lighting manufacturers. He had relationships with several manufacturers and then commissioned an order for 2,000 1 metre long LED tubes. These have a custom power supply that is addressed by ArtNet.
32 Hundred Founder
FEATURE VIVID
World’s biggest interactive lighting display
Iain Reed
THE WORK 32 Hundred crew worked by day on the Northern side of the arch, which is not accessed by the public tourist attraction called Bridge Climb. However the Southern half of the arch, nearest the city, is devoted to the climb company all day and into the evening, with literally dozens of people
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in groups traversing the arch continually. Visitors to Sydney remark on the groups climbing the arch, as they look like ants relative to the enormous structure, which is the largest steel arch bridge on the planet. This led to the work on the city side happening after the climb closed at 7pm. The crew then worked for around 5 hours, with the complication of low light and swooping bats.
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CX 83 www.juliusmedia.com | 35
FEATURE VIVID
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It was high risk work, with a lengthy safety plan and all crew wearing everything double attached with empty pockets. They had to carry all the lighting elements up the endless ladders in custom made back packs, just like Sherpas on a mountain. “It was a bit of a mission”, says Iain as an understatement. “It is potentially a very extreme environment and safety is paramount”. The LED tubes were cable tied to the structure, carefully says Iain, as there can be no marks or damage to the structure. He estimates they used 20,000 ties. Ten crew at a time did the work, over a two month period before the festival.
“It is potentially a veRy extreme environment and safety is paramount - Iain Reed 36 | www.juliusmedia.com CX83
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TECHNOLOGY 32 Hundred’s Production Manager, Martin Bevz created the software for the touch screen control system, which used a 55” screen at the kiosk at Luna Park, connected to a Mac. This addressed a Catalyst media server, which then sent ArtNet to the bridge along a very long fibre cable. Iain is cagey about how that cable was routed, but happy he didn’t rely on wireless for the Festival dates. The programming used wireless, but the live dates had the surety of the cable.
The Fibre ran on its secret path out of Luna Park, across a park and up the bridge to the first Node, one of 14 GB network switches. From the switches, 8.5 kilometres of cat 6 cable ran to the devices – 2,000 tubes and 140 custom made LED Par Cans that lit the metal framework between the upper and lower arches. Not much power was required, such is the joy of LED. The whole bridge consumed just 33,000 watts, supplied off 45 amp 3 phase that was run to 14 Cee Form power distro units. 3.5 kilometres of Cee Form power cable was used on the bridge.
THE SHOW People lined up all over the waterfront to watch the city and the bridge light up at six pm – well after dark in winter. At 6pm, the displays all fired up, and the bridge wowed the punters. A line formed outside the kiosk as people made their way to the screen where a 32 Hundred crew member would explain the possibilities. Being able to ‘paint’ the bridge without using 3,000 gallons of paint was a big fun factor. The display showed the bridge, and once the various colour and movement combinations were chosen, the punter hit the ‘Go’ button and in a few seconds, the whole bridge changed colour! The display ran across a two minute timeline before restarting. Aside from the bridge, 32 Hundred also had LED strips across the Cahill Expressway road that sits above Circular Quay. These strips were running a display unrelated to the bridge.
explains the system
32 Hundred Production Manager Martin Bevz
32 Hundred also lit the facades of ten high rise buildings, using Philips ColorReach high power LED spotlights, some Clay Paky HP1500’s and a 4.5k Biglight. All were addressed using a Passport wireless DMX system. So what next? Iain says we are a creative industry, after all. Being able to conceive and sell an idea is everything, and 32 Hundred have their focus on more large city outdoor lighting concepts, perhaps overseas. 38 | www.juliusmedia.com CX83
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INSTALL ADVISOR
INSTALL ADVISOR The Great Outdoors By Jimmy Den-Ouden
Here in Australia we’re lucky enough to have a climate that is conducive to spending a lot of time outdoors. Perhaps in response to this (and increasingly tough smoking laws), more venues are making use of outdoor spaces. Where once the outdoor area was the realm of the beer garden, a new kind of trendy outdoor bar area has taken hold. A floodlight and a classic 100v paging horn are no longer enough - punters now expect quality sound, lighting and video. Providing outdoor AV brings challenges, perhaps the most obvious of these being weather protection. INSTALL ADVISOR 40 | www.juliusmedia.com CX83
IP is short for Ingress Protection, and it’s a measure of how well equipment is protected against solids and liquids. IP ratings are important for outdoor installations because without a suitable one, there’s no guarantee the gear will work well or in an ongoing manner. The composition of an IP rating is actually really simple: the letters IP, then two digits. The first digit refers to how well protected a thing is against the ingress of solids, and the second digit refers to liquids. Take a look at a basic 3 phase 40A connector and chances are you’ll find it carries an IP rating. IP56 is a common one, and it means the equipment is protected against dust sufficiently that the limited ingress won’t interfere with normal operation. It’s also protected against powerful water jets – 100 kPa at 3m for at least 3 minutes. Depending on the nature of the installation a higher IP rating may be necessary (or a lower one acceptable). For all the weather ratings, it makes sense to take advantage of architectural features to protect equipment wherever possible. Eaves provide good natural protection for speakers, screens and the like. Weatherproof screens are now available in a number of sizes, and thanks to the maturity of LCD technology they’re actually an affordable option. Weatherproof enclosures are also available to protect existing screens, and the good thing about these is that they allow you change the screen over if it fails or needs updating. Try to find an enclosure with nonreflective glass to avoid compromising image quality, and remember that these things are typically very heavy (50kg plus), so installation is at least a two person job. Just as we humans suffer from too much time in the sun, so do cables. The damaging effects of UV radiation from the sun can take hold faster than many people expect, causing
insulation to become brittle and fail. Cables need to either be UV stable, or enclosed in a suitable conduit. Just like the Statue of Liberty, speaker cabling is typically made of copper and will oxidise over time. Where cables terminate into speakers in exposed conditions, tinning the ends with solder is a good way to slow down oxidisation. Using speakers with sealed terminal covers or IP rated connectors is even better. Any venue near the ocean not only has rainwater to contend with, but also salty air from the sea. Even equipment located indoors near windows will suffer badly from salt exposure – corrosion kills electronics! Stainless steel fasteners are more resistant to corrosion, but be aware that if you’re attaching them to a dis-similar metal the stainless can actually cause the other metal to corrode. For stainless fasteners, 316 is a significantly better option than 304 due to the addition of molybdenum. Given many venues are located in close proximity to residential areas, noise becomes more of a concern for outdoor audio installations. The reality is that crowd noise is likely to be more of a problem than quiet background music, but it still makes sense to employ intelligent system design to focus the sound where it’s needed. Observe directional characteristics of speakers and make smart selections. Setup the system such that volume levels are well regulated, and perhaps consider a DSP which allows level changes to be scheduled to comply with local noise restrictions. The final point to remember is that lots of well distributed small speakers are usually a better way to provide unobtrusive background music than a large central system.
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Powersoft Ottocanali 1204
The Powersoft Ottocanali 1204 is a 1RU installation amplifier with 8 discrete channels which can be bridged in pairs. Optional extras include internal DSP with remote monitoring, and 70/100V constant voltage output plug-in transformers. www.powersoft-audio.com
Nightlife HDMS Nightlife HDMS is a music playback system providing not only music but also visual content for venues. A scheduler allows different playlists to be automatically loaded at different times and days, and regular library updates ensures content stays contemporary. www.nightlife.com.au
HiQnet Motion Control HiQnet Motion Control is an app from Harman Professional which allows design of HiQnet Motion control panels. This allows users to control HiQnet based audio systems wirelessly from an iOS device. hiqnet.harmanpro.com
The Great Outdoors 42 | www.juliusmedia.com CX83
AUDIO
TECHNICA
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Anolis ArcPad 48 Anolis ArcPad 48 is an IP67 rated RGBW LED fixture with a projected LED lifespan of 85,000 hours minimum. It’s relatively lightweight and requires little maintenance, so is ideal for hard to access installations. www.anolis.eu
There are loads of people using two mics on one sound source, but not many manufacturers putting two mics in one mic. Liquifi Outdoor Display
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he ATM250DE is a different approach to instrument micing, combining two capsules in one casing. The first is a cardioid condenser element, the other a hypercardioid dynamic. There is no summing done in the microphone housing, so you can choose to use either or both capsules from the console – giving a good versatility in combining the two. The two diaphragms are exactly aligned to avoid any potential phase issues. The mic, according to Audio Technica’s website, is optimised for kick drum use. Their suggestion is that the cardioid condenser element picks up the resonance of the drum shell while the hypercardioid dynamic focuses on the attack of the beater. In practice we found the response of both capsules to be fairly neutral, suggesting that the mic could also be applicable to other instruments. Many kick drum mics have heavily shaped frequency responses which limit their usefulness for anything else. The neutrality of the mic response means accurate reproduction, which is great if you’re working with a good drum to start with, but it might be a tad unforgiving of a bad one. My only other minor criticism of the mic is the need for a little XLR 5-pin adapter lead to plug it in. This is unavoidable, since you need to get the signal out somehow, but I’d be making a spare pretty quick, because this is the kind of Liquifi’s LCD Outdoor Digital Display monitor is thing that gets lost. At $525 the automatically mic’s not a cheapy, it’s not expensive IP65 rated, dimsbut to suit ambient lighting either. The build good, it air-conditioning offers all the features conditions andquality has anisinternal system to and functionality expect, and has the versatility to do prolong panel you’d life. www.liquifi.com.au some work away from the drum kit. In the end, microphone choice is always a question of individual taste, but I think the ATM250DE will find its share of devotees. www.tag.com.au www.juliusmedia.com
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CX 15 APRIL 2009
75
TECHNOLOGY
EAW’s world first: flat concert array ANYA leads next generation of live audio by Julius Grafton
Anya is a large format line array that doesn’t have angles because it hangs in one vertical stack. No lasers and no calculations before rigging means serious time savings, and the beam steering means no underhung boxes since it will steer down or up almost 90 degrees.
EAW Anya front on 44 | www.juliusmedia.com CX83
EAW broke with tradition and gave the system a name. Mark Graham, CEO of Loud Technologies (EAW parent company) says it is just too much system for a model number. CX attended the global launch in Orlando, and stood underneath as the audio was steered via software from directly below the array where I stood, to the roof of the venue. To do this with a regular line array you’d need to hang an almost impossible C curve of boxes, a difficult rigging and weight challenge. Then you would not readily be able to implement the steer, since the EAW method applies a time differential to every single component.
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Beam steering isn’t that new, but Anya takes it to a new level with 22 channels of processing and 10,000 watts of amplifiers built into each cabinet. Then there is a ridiculous number of transducers: 2 x 15 inch lows, 6 mid drivers at 5.25 inches diameter, and a crazy 14 compression drivers. Each component has its own amplifier and processor channel, which is how the steering is created. The acoustic design has the entire facade of the cabinet operating as a horn, with a low element on each end. The data sheet is not yet public, but expresses the response as 35 to 18k, albeit at -10 dB. Our audition and understanding has this as a full range system, and yet the footprint is 1143 x 762 x 428 mm. Weight is relatively low at 128kg – considering the cabinet is crammed full of more components than any other system we know of. Another aspect of the Anya revolution is that since the ‘angles’ and J curve have gone away, up to 18 cabinets can be stacked in one line. Each cabinet has infra-red sensors to detect the presence of another, in a kind of omnipresence. Adding boxes for horizontal coverage is easy. Since every box carries an audio signal, a software connection via Dante, and is mains powered, all system configuration, especially coverage and beam shape is done from EAW’s Resolution software. The demo we heard then added ground fill subwoofers, and ranged in music styles. To our ears, the system delivered sonically and clearly had a lot of power in reserve. Ironically another Loud Technologies brand, Martin Audio, have a new technology called MLA (Multicellular Loudspeaker Array) which also uses a channel for every component, yet is different again. It is not clear whether the two firms - under the same corporate ownership exchanged development information, but they were both first to market with on-board beam steering of this nature, for the concert audio business. Expect others to follow. See www.anyalives.com
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BACKGROUND NOISE? WHAT BACKGROUND NOISE? It’s everywhere, even on our recordings. But don’t get comfortable with background noise. Avoid it like the plague! by Andy Stewart
It’s not the most glamorous topic in audio, but like severe weight gain, it needs addressing… For years now I’ve been recording mixing and mastering albums, some with six-figure budgets, others paying peanuts. I’ve recorded in big commercial studios, barns by the ocean, grass huts on tropical islands, suburban hell holes adjacent to bus stops, on rural properties surrounded by tractors, cows and cockatoos and every other conceivable environment known to man. But as disparate as all these environments may have been, they’ve all had one thing in common: background noise. As distinct from noise floors common to consoles, preamps, microphones, and analogue tape machines, background noise is a difficult thing to eradicate. Unlike sounds commonly referred to as tape ‘hiss’ or earth-loop ‘hum’, which tend to be predictable, consistent and therefore treatable, most background noises are not. If I need to minimise ‘hiss’ from a sound, sure, I can knock that on the head relatively easily with quality noise reduction. But ask me to eradicate the sound of a light plane flying over the barn where you recorded a vocal overdub? Forget it.
A herd of these ladies can make quite a din, especially if they’ve just been separated from their offspring.
46 | www.juliusmedia.com CX83
LOCATION, LOCATION, COMPRESSION Recording an album on location is perhaps the perfect example of where these sorts of sounds can creep in and undermine your work. Location recordings typically occur in buildings with minimal or non-existent sound control, and a dearth of outboard equipment like compressors and EQs. The recording ‘isolation’ methods tend to be little more than blankets over windows, distance from civilisation, and blind luck. So if a pinecone lands on the tin roof during a quiet acoustic guitar overdub the take is probably abandoned and redone. But if a car goes past in the distance the take is often kept, either because at the time no-one heard the car in the first place, or it printed low enough on the recording that the problem seemed minimal. And that’s the problem in a nutshell. Most of the background noise on location seems just low enough to be tolerable, especially when you’re in denial because the environment around you is ‘just so amazing’! But how do you define ‘tolerable’, especially when there’s less than ideal monitoring around you? Do you listen through speakers turned down low because otherwise they’ll spill into the tracking room? In that circumstance it’s very difficult to tell if the sound you’re hearing is already in the room, or coming out of the speakers.
BACK TRACKING But the problem isn’t so much how ‘tolerable’ that distant car noise, that crow in the tree or that cow in the paddock is during tracking. The problem is how loud they’ll all be once the mix and mastering engineers have done their jobs.
If one of these occasionally drives past your location during a take, it will almost certainly disrupt the recording session. They’re big enough to shake the earth around you – quite literally.
If you’re recording on location you will almost invariably be tracking with minimal compression… sometimes none. I’m yet to witness a single instance where a location recording engineer took along 30 compressors to strap across all the mics in the room. Preamps sure, but compressors? Rarely. Initial track laying in these situations tends to be very dynamic – which sets up a false sense of just how loud the background noises around you will ultimately be. It’s only when you take the recording to a mixing environment and add even modest amounts of compression that the ‘tolerable’ amount of traffic noise suddenly becomes a real problem, for which there is no real solution – well, at least none that doesn’t substantially compromise the mix in some way.
NOISE: FLOOR & BACKGROUND VARIETIES If you’re a tracking engineer, it’s vitally important to recognise the distinction between noise floors and background noise. The former can be treated during mixing and mastering, the latter cannot. If you’re recording in an environment where inconsistent noises surround you day and night – cars, birds, planes, crickets, waves etc – figure them all to be more than twice as loud as your ears hear them in the room. That’s how loud they are likely to ultimately be. Don’t just shrug your shoulders and pretend the problem doesn’t exist. Do something about it now and you’ll be fine. Ignore the problem until mixdown and you’re in for a nasty shock.
SOME SOLUTIONS The first thing to do is get real about the tone and dynamic range of your recordings. If you’re tracking with little or no compression, do you plan to use more during the mix? Chances are, almost certainly… and probably tonnes of it since you’ve mostly avoided it ’til now. Do you plan to brighten up those room mics that currently sound quite mellow? Maybe. If you do, will the background noise come up? Definitely. Place these types of mics away from the worst aspects of the background noise wherever possible. If you’re unsure of where
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Crikey! These guys get onto recordings all the time. Their screech is legendary.
that might be, the best way to figure this out is to EQ and compress the mics hard during the setup phase, to make the background noise more apparent. This will help you discern the quiet areas from the noisy by exaggerating the differences. Once you’re happy with the placement, you can back the processing off if necessary. Commercial studios, unlike uncontrolled locations, are known for their ‘still air’ – that’s what you pay for as much as anything. The idea being that when you compress ‘still air’ you get a much better sonic outcome than when you compress sounds littered with background noises. The point being, if you compress things appropriately on location during the tracking stage you’ll have a much more realistic view of the final outcome. If you really don’t plan on adding any later, fine. Just don’t go complaining to the mastering engineer when your record is too quiet.
DODGING THE BULLET Avoiding background noise is very difficult, but the worst of it can be dodged… but how? Assuming you’ve chosen an environment that’s not so much ‘noisy’ as ‘occasionally disrupted’, the solution is to be acutely aware of these incidents when they arise. It’s no good if the insidious background noises are overlooked or missed during tracking… they won’t be during the mix.
MIC THE ROOM, & COMPRESS Get a mic – preferably one you can switch to ‘omni’ – and place it in the middle of the room so it’s basically picking up everything and everyone. (It can double as a talkback mic in most cases too if you like.) Set this mic up with a recording chain that includes a decent compressor and reduce its dynamic range substantially – say 10dB. Record it too if you want, but more importantly, feed this channel to your monitoring while you’re tracking. Don’t send it to the musicians… their job is to play well; your job is to record them well. The idea is that you should be far more aware of the background noises that surround you than the musicians. That way you can detect disruptive sounds if and when they occur, and make a judgement about whether they’re tolerable or not on-the-spot. If you can avoid the worst incidents of background noise your recording session will be far more successful than if you’d simply turned a deaf ear to the problem. Planes, trains and automobiles… they’ve never made good bedfellows with microphones.
Andy Stewart owns and operates The Mill in Victoria, a Grammy Award winning mixing and mastering facility. He’s happy to respond to any pleas for recording or mixing help... so what are you waiting for?
48 | www.juliusmedia.com CX83
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GEARBOX
Soundcraft SI Expression 2 Compact digital live audio mixing solution by Julius Grafton
It’s been a while since I laid hands on a Soundcraft, so this small to medium digital all-in-one solution mixing desk caught my eye in the CX test lab. It comes with 24 inputs and 16 output XLR’s on the back, along with 4 line in jacks, midi and a pair of AES-EBU connectors – in and out. Word clock and an empty slot finish off the rear. I am loving the +48v phantom LED against each input XLR, to show you NOW that the channel is armed and ready to bang. Topside we have 22 channel faders, and one for L&R, the last one for Mono/Sel. Really nice feeling light up buttons feature, as does a mega channel control area at the top and a rinky-dink mobile phone sized touch screen over at the right. An iPad sized landing pad completes the picture. Beyond the 24 inputs, you can card up for a total of 66 inputs on remote stage boxes. Four fader banks allow flipping around, bear in mind Soundcraft give you 22 – not 24 – faders, so the assumption will be that there will always be a couple that are configured for stereo. 50 | www.juliusmedia.com CX83
SIMPLE TO USE After the relatively quick bootup, I got to work. Default setup has 22 of the 24 XLR inputs patched on Faders layer A with 23 and 24 appearing on layer B. Also on layer B is a pair of stereo inputs, patched to the 4 jacks on back, plus 4 Lexicon effects returns from the internal effects engines. On layer C, I have 14 mix masters that can be pre fade or post meaning your group is either an auxiliary (amber lit) or subgroup (green lit). Down on layer D there are four matrix masters. There are two more fader select buttons, one for GEQ LO and one for GEQ Hi. These throw the final 14 faders into action, and suddenly there is a centre detent so they really are acting as third octave equaliser faders, with a glorious 100mm throw! Lit up RED via the fader Glow, so there are no misunderstandings. The Fader Glow is a powerful visual indicator of what is going on. All channels to each mix bus can be switched to pre or post fader from the menu, and doing this changes the fader glow from amber to green. Think amber for aux, green for subgroup. Stereo channels show purple, and Lexicon returns as blue.
JIMMY SAYS: A great thing about this console is that all the onboard IO connectors are, by default, all patched somewhere logical. It’s very simple to plug some lines in, gain the channels up and push faders around to pass audio out the mains. If
you get totally fouled up, go into the system menu and hit the RESET EVERYTHING button. The console won’t allow you to patch to inputs or outputs which aren’t physically present.
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GEARBOX Unlike the Si compact there are no DCAs on the Expression. Channel EQ is 2 bands of full parametric plus 2 additional bands of filters which are tuneable but without Q control. The card slot on the back allows for a choice of additional IO to be used, including a card to connect to the very well priced stage box. There’s also a digital output card option which includes Lightpipe, Firewire and USB – so the recording heads are well covered.
The ViSiRemote iPad app has been updated to include support for the Si Expression range of consoles. As mixer remote apps go, it’s pretty basic but it does all the important stuff you’d want if you were mixing monitors. You can adjust channel level to each send, as well as GEQ parameters. Visually the layout prompted some confusion about which bus I was sending to. Using the iPad remote app requires you to connect the consoles HiQnet port to a wireless router, and assign the desk an IP address.
AUDIO • LIGHTS • VIDEO • STAGING • integration
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network
A lot of features of the Si range have been brought into the Expression, including the “interrogate” function. You can hold down the phantom power button and the select key illuminates on all channels where it’s enabled. Same applies for compressor, gate, HPF and EQ. There’s a CLR button that lets you quickly reset parameters – hold clear and tap the GEQ band button to flatten the graphic. The screen is a tinky wee little thing, but really unless you’re patching or recalling scenes there’s not much call to look at it. Perhaps this is why it’s so user friendly – just select a channel then turn the relevant encoder to adjust parameters. Ultimately well at home (and within the budget) in any school or church, the Si Expression makes the transition from analogue to digital a soft and painless one.
Brand: Soundcraft Model: Si Expression 2 RRP: $4299.00 inc GST. Mini Stage box 16 - $1499.00 inc GST. Product Info: www.soundcraft.com Distributor: www.jands.com.au
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GEARBOX
Clay Paky Sharpy Wash
Part Sharpy, part wash light, totally Italian.
by Jimmy Den-Ouden
54 | www.juliusmedia.com CX83
When Clay Paky released the original Sharpy, people kind of went a bit nuts for it. Probably because it was a really cool, different kind of fixture to anything we’d previously seen. Beam lights are great, but ultimately limited to generating, well, beams. Sharpy Wash is the next evolution of the Sharpy. Physically they look pretty similar to each other, the real tell being how the pointy end looks. The Sharpy Wash has a different lens, as well as a motorised top hat. You can buy it in black, white, gold-plated or mirror chrome finishes. Very bling. The unit is pretty weighty for its size – 18.5kg. Power input is PowerCon, and the unit pulls a bit over 2A when lamped on and actually producing output. When the unit is idle and dimmed to 0% output, the current consumption drops back to around 1.7A. It actually reduces the lamp intensity when it’s not needed – clever. Sure it’s only one third of an amp, but it’s still something. Dimming is a combination of mechanical and electronic processes. DMX is input via 3pin or 5pin XLR with the same for loop outputs. The unit requires 22 channels of control, and you address it via the backlit LCD menu system. The menu is really simple and logical, but quite basic. There are basic
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GEARBOX test sequences for pan/tilt, beam, and colour but there’s no automagical standalone operation mode. Clearly Clay Paky don’t expect it to land in the hands of backyard users, and that’s probably a fair expectation. There’s an EtherCon for Ethernet too. Software updates can be performed with the fixture turned off thanks to an internal battery, which allows the control circuitry to run with no AC connected. Because wash fixtures spread light over a much greater area than a beam fixture, they require more light to achieve the same kind of concentration. Hence they have bigger lamps. Sharpy has a 185W lamp, and Sharpy Wash a 330W source. That’s pretty low consumption for a wash light, considering the output is compared to that of a 1kW fixture. Native 56 | www.juliusmedia.com CX83
colour temperature is 8000K, and expected lifespan of a bubble is 1500 hours. Pan and tilt are 540 and 240 degrees respectively, and both these functions happen at mind-blowingly fast speeds. If knocked, the head is capable of re-aligning itself to the correct position without needing a full fixture reset. Colour is a CMY mixing system, with the addition of an 11 (plus open) position colour wheel allowing quick matching to Sharpy colours. The beam from the Sharpy Wash is 6.5 degrees at the narrow end and can be zoomed out to 48 degrees, with the motorized top hat automatically engaging. There’s a rotatable beam shaper, which kind of turns the circular
beam into a rectangle. The beam tricks continue with a soft edge filter, and a heavy frost. Because the fixture doesn’t care about orientation you can mount it upright, inverted, sideways, or any other ways you can think of. Just sitting idle the Sharpy Wash metered at around 45dBA from about one metre away, and this went up a bit when it was moving. It’s not real quiet, but in the places it will likely be used the noise won’t matter a jot. The whole thing about the Sharpy Wash is that it’s really just a bit obscene. It’s obscenely bright, and obscenely fast, and just generally obscenely good. It’s lots of everything in a really tiny box, and it makes me want to go and light the next Eurovision.
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Brand: Clay Paky Watch on CX-TV.com Model: Sharpy Wash 330 RRP: $8499.00 inc GST Product Info: www.claypaky.it Distributor: www.showtech.com.au
14/06/13 12:09 PM
GEARBOX
Sony NEX-FS700 Camera Slow down honey by Jimmy Den-Ouden
The NEX-FS700 is a digital cinema camera, with a high speed read out Exmor Super35mm CMOS sensor. Traditionally most video cameras use 1/3” sensors. 35mm is a much bigger sensor, and it’s perhaps thanks to this that the camera is 4K-ready. Internally, the camera records to SDHC cards using the NXCAM format, but there’s a space on the side to install an external Sony Flash Memory Unit which allows higher data rates and capacity.
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Physically there’s no denying the NEX-FS700 is weird to look at. Especially without a lens attached. The camera uses the Sony E mount lens system, and our test unit camera was equipped with an 18-200mm Sony lens. We were also loaned a 3rd party lens adapter that allowed me to attach my Canon EF series lenses. Check out the photo of the camera with a $130 50mm prime lens attached – it only seems hilarious until you view the results. Using the Canon
lens required manual focus, but the Sony E mount lenses are capable of auto focusing. The NEX-FS700 has an array of useful input and output connectors, but the ones most users will care about are the SDI output and dual XLR inputs. Yes, you can plug real mics into it, and yes you can connect it to a real video system. The camera has an in-built LCD screen, and if you prefer a conventional viewfinder you slip a “hood” type accessory
over the screen to achieve this. The LCD is in fact a touch screen, though it’s largely possible to navigate menus and such using the arrow, enter and menu keys beneath the screen. For folks like me who don’t like touch screens that’s a win. A future firmware upgrade promises to allow the camera to output 4K resolution to an external recorder which is pretty cool. You won’t be able to record 4K inside the camera, but that’s basically a given.
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GEARBOX
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There’s a focus assist feature – basically things in the viewfinder turn red when they’re sharp. Using the camera feels like a peculiar cross between using a DSLR and a conventional video camera. There’s a gain switch, but you can change the configuration of the unit so instead of controlling gain it changes the ISO setting. There’s an optional screw-on grip for hand holding the camera, and while it’s certainly light enough at around 3kg (with lens and battery etc…) it just seems awkward. On a tripod it makes a lot more sense, especially if you’re going after the really
shallow depth of field thing, the NEX-FS700 just does it beautifully. Another thing this camera does very nicely is slow motion and even super slow motion. 200 frames per second at full HD, or if you can stand for reduced resolution you can capture 800fps in 50i mode. This opens up some very interesting possibilities for people looking to create their own content for media servers, stage projections and the like. The only downside is that shooting such high frame rates means you need a truckload of light. Bright sunshine worked well for me. If you’re not shooting slow-mo there are internal ND filters to tame excessively bright conditions. There’s a photo mode too, so in case you only want 1 frame of video that’s possible too – just shoot a photo instead. I really love that web video “Locked in a Vegas Hotel Room with a Phantom Flex”. The Phantom Flex is an amazing camera capable of shooting HD video at 2500+ frames per second for a mere $50,000 to $150,000. But let’s face it; with my track record nobody will ever lend me one of those. The NEX-FS700 camera is not quite a Phantom Flex, but for my budget it’s damn well near close enough. It is an undeniably brilliant, weird, and strangely fun device to use. Brand:Sony Model: NEX-FS700 (body only)/NEX-FS700K (body with 18-200mm lens) SRP: NEX-FS700 - $9460 inc GST. NEX-FS700K - $10,230 inc GST. Lens adapter for Canon EF lenses RRP just under $500 inc GST. Product Info: pro.sony.com.au Distributor: pro.sony.com.au
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GEARBOX
ChamSys MagicQ MQ60
by Jimmy Den-Ouden
ChamSys is a UK based company who have been quietly doing their thing for years now. They build their larger consoles in-house and outsource some of the smaller ones to other manufacturers still in the Southampton area. Nice to support local industry. ChamSys has an interesting approach to compatibility. Their thinking is that you should be able to run any show file on any software version on any bit of hardware, with no conversion required. So that’s how they make it work – show files are backwards, forwards and sideways compatible. In the spirit of giving, the ChamSys software is still entirely free to download and use; they even let you use it with other people’s DMX hardware. The same software runs on Mac, PC or the ChamSys hardware, which runs a proprietary Linux build. If you want to output ArtNet, you don’t even need additional hardware. This means that a basic laptop is enough to give you a full tracking backup to your console.
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The MQ60 is a recent release for ChamSys, and something of a generational advancement. It’s the first console they’ve made where all components except the power supply are mounted on a single PCB. This decision was driven by the logic that if you don’t have multiple boards plugged into each other with ribbon cables, they can’t become unplugged and fail in a touring situation. Fair point. I also like that the MQ60 uses an SSD rather than a conventional magnetic disk. Another advance is that the console has an uninterruptible power supply (UPS) built into it. Pull the power and it keeps running and keeps outputting DMX for up to about 15 minutes. Not long enough to finish a show but certainly enough time to restore a missing power source, and have a quiet word with the person responsible… The MQ60 has all the right connections on the back, starting with a PowerCon input for the auto-ranging power supply. There’s a LED lamp output (the lamp is included), four Ethernet ports (there’s a network switch built-in), four 5-pin XLR DMX ports, MIDI, four USB ports, plus a VGA output for external display or touch screen. If you connect a wireless access point to the console you can control it via an iPad. 12 universes are supported via ArtNet, plus four via the on-board DMX512 ports. The whole idea is that the
console is fully self contained, and small enough to take on an airplane as hand luggage (at least in Europe. Australian hand luggage restrictions are tighter). Using the MQ60 is just like using every other ChamSys board ever. The encoders are a bit smaller than the larger consoles, as is the screen. Some elements such as the playback faders have been brought in from the PC wings, so it’s nice to know they’re already proven. I like that the programmer is populated with keys whose names I recognize, and whose functions I understand. Many aspects of operating the MQ60 are very predictable, and there are a couple of different ways of achieving most tasks. The console can run in tracking or non-tracking mode, and the Hog II emulation option is still there. This mode selection basically controls what is cleared from the programmer when you hit the clear button. A bank of dedicated keys at the upper right corner offer quick access to functions such as setup and media servers. ChamSys integrates well with media servers, with the console porting media thumbnails onto the inbuilt touch screen via the MSEX protocol. I tried the MQ60 linked into an Arkaos system and the controls were good and responsive. The touch screen is quite good. Some of the windows which open have an impractically tiny little “X”
Brand: ChamSys Model: MQ60 RRP: MQ60 console including case $13604.00 inc GST. Product Info: www.chamsys.co.uk Distributor: www.ulagroup.com
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button to close them, but that’s okay because there’s an ALT key function to do the same job. Three customizable layouts are available, each with their own dedicated hardware key. Layout recall is pretty quick and most importantly recalling a layout doesn’t just open more windows on top of other windows – a pet hate of mine. Other nice points to mention are the free visualiser included with the software, in-built fixture library editor and the pixel-mapping function. Really this is a lot of console for the money, and it’s built to last.
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GEARBOX
Roland VC-1 Series Video Converters
Convertible thinking by Jimmy Den-Ouden
Video conversion is a funny thing. Done badly it can lead to all sorts of problems – especially where digital signals are involved. If you used a crappy DA on an analogue signal, you might get lousy colour or bad levels but it would still work. Digital video is very much an all or nothing proposition – it either works perfectly or not at all. The “brainy” inputs found on so many devices are capable of detecting what you’ve plugged into them, unless the signal has been all mangled out of shape. Then, you’ve got problems. Roland has been doing rather good video conversion for some time now, and for a long time previously branded as Edirol. A lot of it is built into their switchers and vision mixers. Admittedly they’ve taken their sweet time to fully embrace SDI as a format but now they have, and the results are good. Each unit has an explanation of DIP switch settings underneath
The VC-1 series is a range of converters designed as digital video tools. It includes four devices, and we looked at three of them. Perhaps the best place to start is with the commonality between all the VC-1 converters. First up, they’re all the same size, shape and colour. They’re built 64 | www.juliusmedia.com CX83
such that they almost look like little books – there’s a metal frame which slides into a 2mm thick aluminum U-shaped housing. The parts are secured together with no less than 12 screws. I don’t think they mean for it to fall apart. Physically the converters are a lot bigger than some others on the market – they have a footprint about the size of a CD jewel case. Perhaps the chunkiness is to allow better cooling. Video converters typically end up sandwiched into the back of racks or attached to the back of monitors and typically get switched on for a period of years, so heat is often the most common cause of failure. All the converters have their purpose in life clearly stated on top – HDMI to SDI, etc. They’re all configurable via DIP switches on the side, with the information you need to flip the correct switches screened nicely onto the bottom of the unit. They all run from external power supply units, with a DC input connector. I dislike DC connectors on any device – they’re hard to solder, and the plugs fall out too readily. But really I can’t hold this choice against Roland since virtually every converter on the market suffers the same affliction. At least they’ve had the decency to include a cable-retaining clip. Rant done. The annoying DC connector is balanced by the clever status LEDs on each connector to confirm the presence and validity of signals – these are not something every converter has, but are something every converter should have. The VC-1 series accommodate USB connection to a computer, which allows more advanced configuration changes to be made. It’s also way more user-friendly and less fiddly than DIP switches. The software is straightforward to use, and it displays each unit’s serial number. So you can connect multiple units to a USB hub and know which one you’re adjusting. Perhaps the most appealing thing about the VC-1 series is that they work well. The conversion is good, and the devices are very flexible in how they can be configured. For example as well as its intended purpose, you can use the SDI to HDMI converter as an audio embedder or de-embedder.
Note the DC cable locking clamp at the right The converters support things like AES3 audio, SDI audio group selection, HDCP pass through (not to SDI outputs), level A and B 3G-SDI signals. Really exciting is that the devices include a reclocker for SDI outputs, allowing additional cable distance. Maybe it’s time to talk about the models? The VC-1-SH is an SDI to HDMI converter, but it also has an SDI output plus audio input and output so can be used as an embedder, de-embedder, or signal buffer. The VC-1-HS HDMI to SDI is essentially the same thing but with the HDMI and SDI connectors swapped. It also has dual SDI outputs, and will allow you to embed or de-embed audio from an HDMI source. The audio functions and format are switchable, as is HDCP and a number of other options. The third converter in our test kit was the VC-1-DL FS Delay, and I reckon it’s the absolute pick of the bunch since it does all the stuff the other two can, and then more. The FS Delay essentially allows you input any kind of SDI or HDMI signal plus analogue or digital audio, embed the audio, delay the audio, or the video or both, and then output as SDI or HDMI. Or both. And de-embed the audio. And it also has a frame synchroniser (that explains what the reference input socket is for). It is essentially an “anything digital to anything else digital” converter. The delays are adjustable in half-frame increments (single fields) up to 4.5 frames, but if you use the software interface you can also delay by lines. The VC-1 series is solid. It’s more than twice the price of other products on the market which perform similar functions, but it’s probably a worthwhile spend. Chances are the VC-1 series is going to perform those functions twice as well, and probably for twice as long.
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Brand: Roland Model: VC-1 Series RRP: VC-1-SH $795.00, VC-1-HS $795.00, VC-1-DL $1100.00 (all include GST). Product Info: www.vc1series.com Distributor: www.rolandcorp.com.au
Neutrik Light PowerCon Weight
Neutrik Light PowerCon Weight
Neutrik Light PowerCon Weight
Melbourne’s CHW Consulting celebrated their 10 birthday this year. Founded by directors Tim Hales and Peter Clynes, they are a specialist firm, concentrating on AV, IT and communications. The company had its genesis when Tim was working for Victoria’s Department of Justice, running their IT and AV requirements. Peter was working for another consultancy, and the pair worked together on a large rollout of video conferencing for the DoJ. CHW now has 11 full time staff in Melbourne, 2 (soon to be 3) full time in WA and a host of subcontractors in its employ.
It became the first collaborative learning space in Australia.
The first jobs that CHW cut its teeth on were law courts. Courts are a demanding user of AV ; speech must be reinforced with high intelligibility, everything must be recorded, elaborate video conferencing is required and technical problems can have serious consequences. CHW distinguished itself in the field, writing the Victorian court video conferencing and audio recording standards. The University of Melbourne became CHW’s first education client. wThen a professor with a vision and no technical experience approached the company to do something new – a collaborative learning lab. Senior Consultant Manoje Indraharan looks back on it as one of his favourite projects. “ It was a curveball”, explained Manoje. “The professor just said ‘give me a technical solution’. It was a challenge and I found it very rewarding.”
Not just a check-up
Immersive Learning - 3D and 4D Projection One of the drivers of CHW’s success in tertiary education is their expertise in 3D and 4Dprojection systems. CHW achieve these results using a combination of hardware and software solutions, varying from project to project according to requirements. Swedish company Dataton produce a software product called Watchout that enables control and manipulation of stills, animations, video and sound across multiple displays from Windows computers. Hardware manufacturers such as Blackmagic Design and RGB Spectrum offer solutions in video processing, switching, scaling, keying and overlaying. The more familiar name s Barco and Panasonic offer multiple products that can manipulate image geometry and provide edge-blending .
The challenges of providing AV, IT and coms in the health space can be both of scale and complexity. CHW are working on WA’s new Fiona Stanley hospital, which Tim Hales pointed out has 360 spaces that need to be integrated, including operating theatres, where strict sanitary rules apply to cabling and equipment. More technically complex
Melbourne Oral Health Training and Education Centre Melbourne Oral Health Training and Education Centre at the University of Melbourne. CHW designed several AV spaces within this facility, including the pre-clinical simulation lab which is designed for teaching and training purposes.
MOHTEC
FEATURE CONSULTANCY
by Jason Allen
The AV system consists of a matrix switching system that allows the facilitator to present a variety of different sources to each student independently. The teacher is able to demonstrate intricate dental procedures that are then transmitted to each student’s individual screen. All classes can also be streamed live or as recordings to other parts of the building or via videoconference to external parties. Students also have the ability to work independently or in groups by displaying their own PC/laptops on their screen. All AV equipment is integrated with clinical equipment for seamless operation. 66 | www.juliusmedia.com CX83
Monash Faculty of Education CHW Consulting worked in collaboration with Blomquist + Wark Architects to develop a space for the Monash Faculty of Education that allows for 360 degree immersive projection, including projection onto the floor. The system consists of 12 projectors seamlessly edge-blended and geometrically adjusted to suit the octagon shaped room. Microsoft Kinect sensors were also installed above each wall so that University can develop content that uses gesture control for interaction. The system can also be used for traditional lecture style presentations and collaborative group work. Users are able to control the audio visual system, switch between the different operational modes, adjust audio levels and select playback devices from a dedicated iPad application.
are multi-disciplinary team meeting spaces – these are dedicated rooms used for teams of specialists, often in oncology, to discuss patient treatment strategies. Team members can dial in remotely, video conferencing with their colleagues. Documents, images and audio are all shared between the doctors. To make matters more complicated, often rooms within treatment areas have strict rules on electromagnetic radiation, meaning fibre optics must be used to transport signal to avoid interfering with medical equipment.
Convergence? Yes and No…. With the trend towards Ethernet transmission of audio and video converging with distribution of communications and control on the same network, CX asked Tim Hales wether he sees the next step as total convergence with the IT network. “As far as getting AV on the networks, the IT departments just don’t want it,” said Tim. “They have enough trouble giving someone quick access to a file, let alone putting audio and video on their networks.” Apart from the human
Manoje Indraharan
Tim Hales
and technical challenges, Tim also flags a purely practical consideration – workflow and commissioning; “If all your systems sit on an IT network, then to commission your AV system, the IT network has to be operational. Generally that isn’t the case – the IT department doesn’t come in until the end of an installation. So it creates commissioning issues in a big AV job”
Where’s the VGA port gone? With all of this AV out in the market, CX asked Tim and Manoje what will drive the next wave of growth in the industry. Both agreed that the imminent obsolescence of several video standards, namely composite video, VGA and DVI, will force many users to upgrade to digital. “The education sector is probably the big one,” surmised Tim, “but there’ some challenges – VGA is 4:3, it gives you a nice big screen down the front. If you go to HD, you go to 16:9 but you’ve still got the same width, so they’ll actually lose screen size by going for more resolution, which is not what they want. But eventually they’ll have to go that way. Corporates will have to do the same.”
Monash University Virtual Pharmacy The Monash University Virtual Pharmacy is an interactive/immersive projection system. The University uses the space to simulate a real life pharmacy where specially made content from the University is shown. Activities from the Virtual Pharmacy can be recorded and streamed to other areas of the facility.
CX 83 www.juliusmedia.com | 67
DAFT PUNK
JULY 2013
DAFTPUNK
APIA BY CAT STROM
Daft Punk PHOTOGRAPHER - Joshua J Smith APIA PHOTOGRAPHY - Michael Pollard & Daryl Braithwaite
68 | www.juliusmedia.com CX83
The small Australian town of Wee Waa, population 2000, has played host to the official global album launch of one of the world’s major pop bands. The town had been on a collective adrenalin high since it was confirmed that Daft Punk’s Random Access Memories would be launched in Wee Waa during their annual agricultural show. As hundreds of obsessed Daft Punk fans descended on the cotton picking capital of Australia, the local butcher made Daft Pork sausagesand Random Access Rissoles. The town’s population more than doubled for the event with 4,000 tickets sold (2000 of which were only for people of the shire) and almost 10 percent of those who bought tickets gave an international address. Rumours of a surprise performance by Daft Punk’s GuyManuel de Homem-Christo and Thomas Bangalter turned out to be just that. The band were a no show. The highly anticipated event was preceded by the more usual show affairs such as a pet show, wood chopping, dog high jump and the crowning of Wee Waa’s Miss Showgirl. Then, after a firework display, the album playback was opened with the record’s first track ‘Give Life Back To Music,’ and
continued until the rest of ‘Random Access Memories’ played out. Daft Punk’s production house Daft Arts conceived and designed the space, and together with Sony Music Entertainment Australia, an Australian team of professionals was chosen to ensure the event was a success. Michael Long looked after production requirements and Mark Pope was appointed to manage the creative elements, and he in turn brought in lighting designer Jamie Centofanti. Daft Punk had definitive ideas on how they wanted the event to look preferring to create an ‘atmosphere’ as opposed to a traditional concert set up. Seven days before the load in for the event the original staging and lighting concept was thrown out of the window and the team started again! “The original concept involved a stage, dancers, big widescreen video and playing certain parts of the album before the complete playback,” explained Jamie. “However Daft Punk decided that they wanted the world’s largest video dance floor that had to be circular and surrounded by searchlights. They wanted a warm 70’s ‘Close Encounters’
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70 | www.juliusmedia.com CX83
DAFT PUNK
ROAD SKILLS vibe. We ended up having a two-hour conference call every day for four days with their manager. We were doing drawings and renderings on the fly during the meetings, shooting stuff back and forth whilst at the same time trying to ensure there was enough of the required gear available in the country. It went from a consult, design and execution to a very long, drawn out design consult, design consult, design consult for several days!” Time may have been the biggest hurdle but the location itself threw up several logistical problems. A small town like Wee Waa has no infrastructure for such an event, for example if you wanted to get in an extra boom lift you had to pay for the transport of one from 400 Km away. Most of the crew stayed in Narrabri although some of the less fortunate were allocated Wee Waa’s new miner huts basically caravans on stilts designed to accommodate short term miners. Power supply was interesting especially once sixteen 7K searchlights were added to the mix! “One of the local mining companies - Santos - supplied generators and we ended up with 500kVA for lighting, 300kVA for audio and a bunch of 175kVA for ancillary site stuff,” said Jamie. “It was interesting setting up in a showground environment in the middle of an oval that we had to hand back at 8am the morning after the event for the horse parade. We’d dug trenches to lay cable for the LC Panels so they had to be filled and doing an eight hour load out in 1.8°C was not fun.” The dance floor, which resembled an LP record, comprised of 110 Martin LC Panels and 16 Martin LC Plus Panels. Every Martin LC Panel available in the country was used, with the production team sub-hiring from eight production companies in four states. The 19 metre clear Perspex circle had a black surround ring taking the dance floor out to 28 metres in diameter. The Panels were run back to a Martin P3 processor and then into a Catalyst media server run off a grandMA console. The content was a collaborative effort between Daft Arts and Australian creative collective Strictly & Lowdown, with visuals created by Daft Arts and Rachael Johnston being operated and mixed live by Ken Weston. Before the dance floor area was opened to the public, Sony arranged a fly over so the set up could be filmed from the air and sent to the band and management for approval. The images also went viral promoting the event as it was held. Special content was created solely for the aerial shots and
marketing purposes whilst the content for the actual playback event was more low-fi, 8 bit material. “It was such an untested environment,” remarked Jamie. “There were 2000 tickets sold to the general public, which sold out in a few minutes, whilst 2000 went to residents of the shire who went to the Wee Waa show every year. We thought that during the more esoteric numbers people may sit down and we’d see more of the content on the floor but everyone crowded the dance floor and stayed there until it was over. However, seeing those bits of programmed video shining up between people dancing was amazing.” Colin Rendell and Simon Downs were the technicians responsible for making sure the LC Panel dance floor became a successful reality. Encircling the dance floor were sixteen Panther 7K search lights which are colour changing, can strobe and have a beam shaper. During the programming the night before the Sony personnel reported that the search lights were visible 30km away on the road to Narrabri. “It’s all flat ground so you can see for miles and apparently they looked amazing,” said Jamie. “I placed Martin MAC2000 XB washes on the entry way arches along with Atomic strobes and some molefays. On the outside of the PA towers we had 9K molefays for extra punch.” HES Showguns were used to light the massive 7ft mirrorball suspended above the dance floor courtesy of wire between the two PA towers with 16 ton of ballast at either end to keep the wire tight. “It was a great effect especially with the vision from the dance floor reflecting off the bottom of the mirrorball,” said Jamie. “Having the fairground with the carnie rides as a backdrop looked great - a warm, twinkling tungsten surround.” Although Jamie prefers an MA2 for control he won’t take shiny, new consoles out into the cold and dirt opting for an older, original grandMA console. “It’s probably better to trash one of those than the newer model!’ he laughed. “ Norwest Productions were brought in to basically playback a CD - albeit in spectacular fashion! The brief from Daft Arts was to provide a big sound system for the dance floor.
“We needed to make this area like a nightclub so we used four hangs of PA, one outside each quadrant of the circular LED dance floor facing inwards,” explained Nick Hutchinson, Norwest’s account manager. An Adamson E15 PA system was chosen as Norwest believed it was the best for ensuring the most faithful representation of Daft Punk’s creation. Each array consisted of eight Energia E15 cabinets with six T21 subs. “It gave us the headroom to provide the SPL required in the ring and sufficient low frequency energy to make the album a body-shaking experience,” added Nick. “Since we had to fly the arrays inside scaffold towers which were only 2m deep, the rigging system on the E15 made flying the PA a breeze.” Whilst the arrays were situated to sound good on the dance floor, inside the circle where the ticket holders were, Nick admits other attendees of the Wee Waa Annual Show would not have experienced the full glory of the system. Having all four arrays pointed at each other did create some hot spots; in the centre, as you were halfway from each array the effect was negligible. However as you neared the outer edge of the dance floor, hearing two arrays with about 150ms of time difference confused the issue slightly. Some EQ on the appropriate boxes helped smooth the issue, and the small gain boost on the nearest boxes showed a marked improvement, dropping the perceived level of the “echo” from the other arrays to a level which was not as confusing for the brain. The subs also created some hot spots, and given a specific frequency Nick was able to effectively even the coverage out to within a few dB, but only at one frequency. “I experimented with different EQ and delay settings on opposing and adjacent clusters of subs, and while I had some success in evening out the level on the dance floor, the impact of the low frequencies was lost, sometimes almost completely,” he said. “I decided to overlook the level difference in preference for the intensity - that ‘shake-yourwhole-body’ low end.” Front of House Engineer Scott Harrison used a Digico SD8 chosen because they were using an all-digital signal path between the replay devices and the amplifier. The SD8 let them bring in both their main and backup replay machines on MADI, the backup CD in AES3 and also have analog backups for each of those devices. “Our replay devices were Mac Minis running QLab, and output via MADI to the SD8,” explained Nick. “The AES3 digital output of the SD8 was fed into a DLP, and out as AES3 into the Optocore node. The Optocore network did all of our signal distribution. At each of the four locations we took the relevant digital audio from the network, as AES3, processed it using the Lake modules, and only then at the last possible stage, converted it to analog to drive the amplifiers.”
Processing was Lake and all amplification was Lab.Gruppen Lighting: Chameleon Touring Systems Audio: Norwest Productions Rigging: Clifton Productions Staging: Staging Rentals
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The Star Crowd
APIA
ROAD SKILLS
APIA Time Of My Life tour 2013
Four iconic Oz music performers, a set-list of hits, one highly experienced house band and a team of seasoned crew .......... on paper the concept appeared rock solid. With a proven delivery in the corporate events world plus undeniable individual success and ongoing demand, the TOML tour promised as much potential for success as it had for logistical hurdles. The principle stars - Ross Wilson, Joe Camilleri, James Reyne and Daryl Braithwaite - represent many of this country’s musical highlights of the past fifty years. Whilst all continue to regularly perform live and even record, this was the first opportunity to take to the public this ‘super band’. What lifted this tour to the next level was the unique combination of all the artists on stage together and the hitafter-hit song list guaranteeing all who attended the time of their life! Tour management was taken on by Ross Wilson’s manager Mark Sydow, a role he was ably equipped for with many years of industry touring experience behind him and the deft touch as required of an artist manager to keep the four stars in show mode for seventeen shows over 3 ½ weeks.
The Star stage view 72 | www.juliusmedia.com CX83
Audio production was provided by Melbourne based Howard Sound with Geoff Howard himself looking after system rigging as well as driving the 17 odd tons of production heading to each venue. Whilst the tour was created with typical constraints of budget and transportation factors, the Howard Sound system turned out to be a winner with a flexible combination of boxes to meet the demands of those venues where the house system was not an option. The system provided included FOH boxes from E/V X-Array with matched 18” subs, Wayloud monitors, Lab Gruppen amps and both consoles were AVID SC48. However it was agreed by all crew that the most valuable piece of touring equipment was LD Alex Saad’s DeLonghi espresso machine, complete with its own Pelican case. Stage Tech Chris “CR” Rogers had his hands full with a ten piece band on stage, a daily set-up of a combination of six amps and pedal-boards, one drum kit and keyboards. With thirteen guitars to be readied off-stage and inevitable midgig management of all stage action and random acts of chaos that often make for a truly entertaining show, his hands where clearly full. Bill McCormick, a long time associate of Howard Sound supplied monitor rigging and monitor mixes, with Grant “Tosh” Walsh, Brad Parker Black and Michael “Smasha” Pollard taking care of primary FOH duties. One of the tour’s complexities was that each artist has retained their preferred FOH engineer for the run of shows, meaning there are three changeovers at the FOH mixing desk during the 2.5hr show. Smasha took care of FOH mixes in the first half with Ross Wilson opening followed by Joe Camilleri taking the show to an interval. Then following a short break, Tosh mixed James Reyne before Brad took to the desk for Daryl and Tosh returned for the ensemble finale.
Soundcheck'n WA
APIA
“With each primary artist regularly gigging, we are each familiar with their production requirements, from songto-song mix cues to stage monitor needs so it made sense to retain that knowledge and bring it to benefit this tour,” explained Smasha. “There are plenty of jobs for all of us to be pretty busy both in the set-up but also during the show never a dull moment!” With eleven monitor mixes on stage, up to five guitarists and ten open vocal mics, the challenges to wrangle a mix together and keep foldback clean, clear and adapted to each act were many, always shifting and indeed keeping the entire crew on their toes. The mix brief was to ensure vocal clarity and coverage to all seats and then to create a complimentary mix around that to suit the individual venue challenges. “Once Geoff has the system rigged, Tosh, Brad and I will agree on array tweaks, infill positioning and critical venue sound coverage requirements,” Smasha continues, “ I will run up Smaart Tools via my iPad using the very handy Studio Six app and check box responses, set delays and phase coherency, then each of us will tune and save to our personal preference and artist requirements”. With some venues requiring up to six matrix outputs to ensure coverage in the room - the AVID was an asset to the tour and straight-forward for each operator to customize and ensure advanced show-files would be hassle free. “By using the recall options on the SC48 each of us would perform a system tune to suite our primary artist and
their vocal sound, then save it off as part of the recall scene,” commented Brad on hotswapping at FOH. “It worked out surprisingly well as we each have our own mixing style and each principle artist also has a differing delivery. This approach allowed the night to unfold a natural sense of mix differences between each act.”
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ROAD SKILLS
LD Alex Saad
Brad, Tosh, Smasha
With a common house band on stage for the duration this multi-operator approach also offered some critical uniqueness to the band mix. In venues that had suitable in-house systems the SC48 connected into the house wiring, and special mention must go out to house-techs in these venues with Smasha noting that in every case they where accommodating, generous and flexible to meet their needs. All agreed that the tour highlight was the Sydney gig at Star City’s Events Room which utilises a d&b Audiotechnik J-series system and the touring crew were quick to realise its potential. “Tosh had mixed in this room at the opening party with John Farhnam and band, so we had a heads-up on the system and the room design, but the reality was still something else again,” remarked Smasha. “The even coverage and SPL control was amazing and the controlled acoustic sound of the room itself resulted in pulling a mix that was detailed and dynamic without room induced anomalies, like mixing on a big set of studio monitors! It was a true pleasure not just for us on the desk, but the band could also appreciate the acoustics via their onstage sound and the audience really had no bad seats.” With a stage full of guitars and wedges (only the drummer Haydn Megitt wore IEMS), one challenge to wrangle was off-stage volume. “We created guitar amp baffles using road-case lids with shot bags and black cloth for covering,” explained Tosh. “The effect was a substantial reduction in off-stage leakage into the first twenty rows, and no extra weight in the truck or load-ins. Allowing the FOH system some control over the mix balance and saving the ears of the poor souls up close to the stage was a nightly challenge. This is not a quiet band and is bit of a rock beast at times in the two sets, especially the encore with an all-in brawl delivering a rock tribute to Chrissy Amphlett with a cover of All The Boys In Town.”
Palais view
74 | www.juliusmedia.com CX83
APIA
The Touring Party TOML
The crew also had a multi track recording of each show via the SC48 Firewire to a MacBook running Pro Tools v10.3.5 with 32tk capture including audience mics and Stereo LR mix. The ease and compactness of this multi track system, together with the all-in-one SC48 desk, was crucial to ensuring that the FOH position took out as few seats as possible with most shows being a full house. This system also allowed the inevitable virtual sound check option to offer freedom in system changes and scene-toscene mix changes. Smasha was also completing basic bounces from the early shows in the tour to allow band members to get a sense of the show and offer focus on any areas in need of production tweaks. Lighting and visual design was by Alex Saad whose initial brief was to highlight the four guys in their own way. “I wanted to create an environment that would prompt people to remember what they were doing at that particular time of their life,” said Alex. “I used old video footage from 70s and 80s, hopefully re-living peoples past, playing clips behind actual performances of the same songs. Some clips had never been seen before, as they had been locked away for years. Others were old clips from the guys. As people were enjoying listening and dancing to the old songs, I was providing some visual highlights and pleasure as well.” Alex used a rig that included Robin 600 LED washes, LED video panels, Mole Fay Quad packs, Martin MAC600s and MAC700s, Extreme Beams, Unique Hazers plus a RoadHog and Catalyst for control.
Farewell Gold Coast
SUMMER ROADSHOW TOURING FEBRUARY! With the sustainable stages conference 2014
The tradeshow that comes to you More info & free event registration - www.cxevents.com.au
2014 TOUR DATES: • Sydney February 10 • Brisbane February 12 • Canberra February 14 • Melbourne February 17 • Adelaide February 19 • Perth February 24
BIZ TALK
Staging Connections dressed to sell as NAB move to control 49% with Julius Grafton
Late June Staging Connections Group shareholders were expected to approve the issue of up to 49% of the firm’s shares to its bank, NAB. In exchange for the shares the NAB will forgive $20 million in debt, which will reduce total bank debt from $70 million to around $50 million. The move values the entire firm at $40 million - $10 million short of its bank debt. Other liabilities push the value well into the red, a far cry from when it was bought for $50 million in 2003 with another $100 million poured in since. CX published a fairly dry version of events back in 2008 at juliusmedia.com, the story is called Staging Connections: The corporate history. It is here: http:// www.juliusmedia.com/cxweb/index.php?option=com_ content&task=view&id=628 Up until 2008, the firm was on a growth through acquisition phase which had pushed bank debt north of $90m. From a high of 56c, the share price crashed to around 3 cents and the music stopped. Until then the parent firm AAV was fully stocked with management, with a duplicate layer sitting in Staging Connections – the largest entity in a conglomerate that included Regency Recorders, Bytecraft (purchased for $42 million) and Exhibitions and Trade Fairs (ETF, owners of ENTECH) which was bought for $13 million. There were partnerships in China, Singapore, London and Dubai. An executive office in London was opened. Eventually Bytecraft was sold (for $15m, a loss of $27m) and various smaller chunks were cut adrift. ETF is up for sale while Staging Connections battles in a market now full of aggrieved former staff and management. Two aggressive competitors, Scene Change and AV Partners have emerged and the outright winners are the five star hotels where the percentage cut of AV in house services has leapt from a manageable 20% to well over 30% at some locations. This in turn sees venue clients gouged $600 for use of a video projector in a meeting room, and the current flurry of TOD (Technician on Duty) fees that has excited the interest of the ACCC. The industry and venue clients are paying the price for the madness of the last decade, and now the National Australia Bank will also suffer a small whack. To kick off the beginning of the end, BOO Corporate Finance (East Coast) Pty Ltd were commissioned to report on the proposed deal with NAB, where in exchange for wiping $20 million in debt, and the payment of One Dollar, 76 | www.juliusmedia.com CX83
NAB would be issued up to 49% of the shares. BOO made a fair valuation of Staging Connections Group Limited, and came up with zero. They calculate the net asset value of the firm at $35 million, which of course is dwarfed by its debt of a greater value. Despite all this, the entity generates around $15 million EBITDA (Earnings Before Interest, Taxes, Depreciation and Amortization) but it needs to spend $8 million a year on capital expenditure (CAPEX) to maintain the earning. 15 minus 8 equalled 7 last time we looked. From that they have to pay back their debt, which is where the whole thing has stalled. If NAB can sell ETF (it makes $2 million EBITDA) and flog the minority chunks elsewhere, an eventual buyer could make a good fist of things and return around $13 million from Staging Connections in Australia, before all the bookkeeping fun blunts the numbers. Clearly in the view of its bank, SCGL can’t maintain a bank loan of $50 million (with interest payments of at least $4 million a year), let alone the $70 million before this latest deal rolled around. Along the way, spare a thought for the staff. At least 450 remain on the coal face, most of them really good people. None of them enjoy CX ventilating this. Over the decade of this madness we have had a lot of flame mail each time we’ve reported on matters relating to Staging Connections. Well over 1,000 people have been caught in this mess, which was created when corporate raiders went crazy, and made worse when they didn’t look after the management who went away to extract a very real revenge. Bill Davidson was CEO at Staging for just one year (2007). His ‘Wow’ rebranding cost a fortune and was quickly dumped when clients started to say WOW – and not in a good way when they got the bill.
The advice given here is general in nature. You ALWAYS need to seek professional advice before making commercial decisions.
CX July 2013 FINAL-v2.pdf 1 11/06/2013 13:03:13
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The ACETA Australian Manufacturers Manifesto
The brief reference to the ACETA Australian Manufacturers Manifesto in the May issue (81) of CX has certainly resonated positively within the broader industry, eliciting much encouragement and numerous questions. Therefore it is timely in this issue, to provide a rationale for the initiative which is currently being authored, and should be available for scrutiny by the end of July. DEFINITION Many questions concerned the determination for qualification as a bona fide Australian manufacturer of commercial entertainment technology. The following definition is proposed for ACETA Board of Management ratification next month: ‘The organisation creates commercial entertainment technology in Australia and manufactures its products locally or off shore. The organisation shall be based in Australia and subject to Australian corporate and consumer law. At least 51% of its shareholding shall be held by Australian citizens, and it shall employ 2 or more Australian based employees. The final arbiter on qualification is the ACETA Board of Management or its nominated agent’.
BACKGROUND In terms of comparable output, research indicates that a manufacturer employs about four times that of a manufacturer’s representative (distributor/wholesaler) in achieving similar turnover, and this doesn’t take into account the flow on impact from manufacturing. A manufacturer requires the skills of a distributor (administration, logistics, sales and marketing etc.) but additionally its core activity is technology creation, engineering and the trades (manufacturing). Australia has participated and excelled in the evolution of commercial entertainment technology creating leading edge systems, devices and components, and developing various
78 | www.juliusmedia.com CX83
engineering techniques and parameters that underpin the industry worldwide. However the local industry has never been unified, has not capitalised on its creative and engineering skills, and with a few exceptions has not realised the commercial success it deserves.
CURRENT INTERNATIONAL BUSINESS ENVIRONMENT In global terms it is quite clear the commercial entertainment technology industry is currently navigating a challenging course. The industry has shed staff and there is a significant moderation of expenditure. By distilling available information it is evident that consumption of audio products has declined significantly, most notably in the USA and Europe, the lighting industry relays the same story, and we suspect similar patterns in Australia. As a result there is clearly a natural correction taking place, all indicators say the immediate future will be challenging for many participants, who will need to understand the challenges before they can successfully address them. It is a buyer’s market and the emphasis on logistics, namely getting as much product out the door as possible, to appease investors, will no longer be sustainable. What does this all mean going forward? It will most likely mean a more equal balance between marketing and engineering. It may mean a more appropriate balance between features and performance. Future success will require collaborative partnership. In the digital domain, a closed architecture approach will no longer be acceptable; the market will demand choice and freedom. One suspects we will see more defined product/ system delineation between consumer and industrial/ professional. It seems apparent that innovation and high product performance standards, is being led by the niche and private sector. If we view this as a reasonable portrayal of the current industry landscape, Australia’s manufacturing sector is well positioned to elevate its international influence. The Australian commercial entertainment technology manufacturing sector is attractively small and niche (client friendly) by nature, resilient, proven in the development of high performance technology, neutral, and with little if any baggage, a highly desirable supply partner. But most importantly, it is now empowered with its own peak body that can unify, share resources, develop pro-active promotional programs, and deliver clout where needed.
The ACETA response:
THE ACETA AUSTRALIAN MANUFACTURERS MANIFESTO If we are to experience growth in commercial activity and employment in our industry, the major potential resides with the manufacturing sector that has the world as its client. The ACETA Australian Manufacturers Manifesto (AAMM) will be aspirational by nature, aimed at providing a platform to elevate export activity and increase employment levels. Logic dictates that any success has a positive flow on to all industry stakeholders, including domestic distribution and the crafts, by virtue of an elevated international status. The AAMM will identify and leverage against the industries strengths and find solutions to deal with its weaknesses. The AAMM will propose that ACETA develop strategies to apply for funding (as a collective) such as export and development grants on behalf of the industry and disperse accordingly to its qualifying members. It will study the potential for ACETA to establish central offices in key regions (i.e. UK, Dubai, Hong Kong and the US) to assist in the administration and management of ACETA members export activity. ACETA manufacturers will be promoted in the ACETA Forum and all relevant ACETA supported industry events will include an ‘Australian Hall of Manufacturers’. This brief overview will give you a sample of what to expect and if you have any suggestions they will be most gratefully received at ACETA HQ.
SUMMARY The bigger picture here is the need to value add to our nation, if we don’t make things, the nature of our society will change, and not for the better. Far from accepting the notion of decline in terms of commercial activity and employment, ACETA’s aim is to experience growth and good health in our industry. Currently there are over 55 commercial entertainment technology manufacturers within Australia, get involved, join your peak body, have a say in your future and enjoy the benefits.
Frank Hinton President ACETA
REPRESENTATION Australia is a highly developed industry, as is the quality of its product representatives. Australian distributors are often held up as role models to the international industry and exert significant influence on their suppliers. Maybe it would be prudent of the distributor network to consider Australian designed and/or made product in the future. Likewise Australian manufacturers could do well to consider the marketing and other skills of our wellestablished distributor network.
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ADVERTISER INDEX ISSUE 83 JULY 2013 · Amber.............................. 45 Australian Road Crew Association... 10 AVID............................... 39 BS Sound........................... 80 Cannon Sound & Light............... 43 Cases.com.au....................... 17 Chameleon Touring Systems.......... 79 Chauvet Lighting................... 49 Clay Paky Australia................ 15 Concert Lighting Systems Aust...... 25 CMC Music Australia................ 29 CMI....................... FC,27,63,69 CX iPad............................ 52 CX Roadshow........................ 75 CX-TV.............................. 71 DTS Australia...................... 59 Entech 2013........................ 37 Entertainment Assist............... 80 Framelock Structures............... 31 Jands..................... IFC,3,57,73 GENERAL SERVICES
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DUNCAN FRY
When it all goes wrong
Instant karma’s gonna get me © 2013 Duncan Fry Every now and then you get one of those gigs where everything that can possibly go wrong actually does! I haven’t had one of them for a while; maybe I’m getting better at preventing problems, maybe the gear is more reliable, or maybe the audio gods are sending good karma down on me, to make up for all the bad in the past. As we all know, sometimes you wake up in the morning and just don’t feel like doing a gig. But you don’t want to let the band down by cancelling, the money is always useful, so you drag your weary body out of bed around 3pm and just soldier on. And so it was with a medium-weight metal band, with a girl singer/flute player, which was playing at a pub down at Geelong, about 60k outside Melbourne. The gig was at a typical old country pub from about 1800-and-something. Obviously access for Live Music production was just about the furthest thing from the architect’s mind in those days, and no-one since had thought to change things. Consequently, everything had to be carried across the car park, through the bottle shop, through the saloon bar, and out the back to ‘The Disco’, where a corner of the room was reserved for the band to set up. This corner was just about big enough for the drum kit if we only used one kick drum. When it was all set up, the band, PA and disco took up about two-thirds of the room. Typical 80s over-the-top production. Well, at least it would look nice and crowded with just the crew and the band’s friends. Everything was soundchecked, all worked OK, so we went off and had some dinner and came back ready for the show. The disco was in full swing and there was a crowd of about thirty - so the place was jammed! And then it happened; as the band launched into its opening number, I realised I should have stayed in bed that day. About ten bars into the song, the power supply for the mixer died. Just stopped and started smoking. Well, chaos reigned supreme. Not to put too fine a point on it, we were totally stuffed! Everything was running through the one console - we had no such luxuries as a monitor desk that we could have used instead. There was only one thing to do. I went over to the DJ. “Excuse me, sir,” I begged, “Could we please plug the vocal microphone into your system?” I hated asking and the DJ knew it.
“What,” he crowed, “You want to plug into my crappy old disco system?” (He’d obviously overheard us talking as we set up!) “Yes please,” I replied, “It would be really great if we could.” He smiled triumphantly. “Of course, mate, happy to help”. So, the lead vocal/flute microphone got plugged into the DJ console, and the band played raw - no PA, no monitors. I just sat behind my now useless console and cried into my drink. The band played pretty well. I guess you tend to pull out all the stops when you’re up against it, just to show that you can do it. Still, it was not the kind of music the audience really wanted to hear. There was no steady disco beat, and apart from leering at any girls in the audience, there was nothing for them to do. At the end of the night there was polite applause, which the singer mistook for a standing ovation. She bounced back on stage waving her flute, looking like a female Jethro Tull in black leather. “Thank you, thank you,” she yelled, “Wow - what a great audience. What would you like us to do now? Do you have any requests? Any requests?” A lone voice rang out from the back of the room. “Yeah - sit on your flute!” She hadn’t heard properly. “What was that?” she yelled, “A bit louder, I can’t hear you.” The whole audience helped her out. “SIT ON YOUR FLUTE!” they all chorused, absolutely wetting themselves with laughter. “Oh,” she said, suddenly twigging to what they were saying, and ran off stage in embarrassment. Well, I had to smile myself - it was pretty funny. In fact, it was the only thing I had to smile about all day and night. After the gig, the band and I thanked the DJ then, while Gordon the world’s laziest roadie hid somewhere, the pub manager and I packed up and loaded everything into the truck. Just as I closed the truck rear doors, Gordon miraculously re-appeared, and we headed back to Melbourne. The old truck was really cooking, barrelling along the highway at nearly fifty kilometres an hour! Suddenly, RATTLE – RATTLE - RATTLE - it sounded as though there was a demented castanet player locked under the front of the truck. The oil pressure gauge sank below zero. CX 83 www.juliusmedia.com | 81
I wandered over. Sure enough, the button was stuck on, and the Real Thing was squirting out at a great rate of knots. I made a snap decision. “Stick it in the sink and let’s p*** off out of here.” We left it there and we indeed p***ed off. I didn’t want to hang around explaining things to the night manager, even if I could find him, so we just jumped into the truck and headed home. Somehow or other the post mix wand must have jumped out of the sink during the night, because when the staff came around to check things out the next day, the whole place was swimming in Coca Cola! Of course we knew nothing about this until we rolled up the next Saturday. All of a sudden there was someone from the hotel security hanging around the bar area while we loaded in, and the carpet felt extra sticky! “Why all the security?” I wondered aloud. “Jeez mate, don’t ask,” he said. “Some idiot left the thing on all Saturday night and it flooded the place out. Just ran and ran until the tank was empty! Now we’ve got to keep an eye out to make sure it doesn’t happen again.” “Was it one of the staff?” I asked disingenuously. “Nah - they’re pretty sure that it couldn’t have been one of the staff, because they all know there’s a cut off switch right here under the bar!” Jim and I looked at each other, said nothing, and kept loading in. Good karma or bad karma, sometimes it’s best to keep your mouth shut!
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We had run the engine bearings dry. The loud rattling noise woke Gordon up. “I didn’t know this truck was a diesel?” he said. “It’s not,” I replied. “Hmm...a pity,” he grunted, and went back to sleep. I filled the engine up with as much oil as it would take, and we idled our way home for the next fifty kilometres at a steady walking pace. At least it gave me plenty of time to think, especially about how much the gig had cost me. About two grand, at a conservative estimate. So much for not wanting to let the band down. I knew I should have stayed in bed that day! Other times, the problems have nothing to do with the music side of things. At one large hotel, during the loadout we were allowed to go behind the bar and help ourselves to soft drinks from the post mix machines - those magic wands with buttons on the end that spew out a variety of tooth-rotting sugary fizzy drinks. One Saturday night after my trusty assistant Jim and I had loaded out, he slipped behind the bar to get us a jug full of Coke from one of these gadgets. He was gone for quite a while. “Dunk, I can’t shut it off,” a plaintive voice called out from behind the bar. “Just flick the buttons a bit,” I replied, busy doing a final check of the room. A couple of minutes passed. “Dunk, I still can’t turn it off. What’ll I do?”
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