STOP THE ROCK CSM pulls the plug on festivals business p07 BRIGHT LIGHTS Hot products set to debut at P+S ‘10 p27 THE EASY SELL Our definitive guide to the best DJ gear p32
VISUAL MEDIUM How Creative Technology is carving a niche in the events biz
FUNK MASTERS Egyptian production house Funk Gurus shows off its new facility
Showcasing the top tech that will change the way you do business in 2010 and beyond Vol: 4 Issue: 3 March 2010
An ITP Business Publication 1 Licensed by Dubai Media City
CONTENTS 16
March 2010 Volume 4, Issue 03 07 Regional News CSM pulls the plug on festivals business in the UAE; Cirque du Soleil owner ‘unaware’ of Dubai World plans.
10 Funk Masters Egyptian production house Funk Gurus showcases its new Red Sea studios.
14 Visual medium Creative Technology’s Damien McGurn discusses the company’s growing AV business in the Middle East.
16 COVER STORY: Top technologies of 2010 S&S gets to grips with the most innovative new technologies set to change the way you do business this year and beyond.
27 P+S 2010 hot products The top 10 companies and technologies to keep an eye out for at this month’s Prolight+Sound 2010 exhibition in Germany.
32 Buyer’s guide The essential guide to the best DJ technologies in the business.
40 Backstage
08
14 32
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WEB LOG DPme.com
JANUARY’S TOP STORIES
MOST READ SOUND & STAGE NEWS STORIES
1 AKG debuts iPhone
Simon Cobon, Nadia Puma
monitoring application
2 Sting to headline Meydan racing event
3 Abu Dhabi stadium plans revealed MOST READ NEWS STORIES OVERALL
AKG debuts iPhone monitoring application AKG has introduced a free wireless audio monitoring application designed for the Apple iPhone and iPod Touch. The application is designed to streamline the workflow for wireless microphone monitoring and configuration by linking Harman’s HiQnet protocol to the Apple products app via Wi-Fi networks.
1 Al Jazeera Sport to broadcast World Cup in 3D
The new application can be used to monitor wireless system parameters and radio frequency connections on stage in conjunction with some of AKG’s most popular wireless microphone systems, including the DMS 700, the WMS 4000/4500, and the IVM 4 in-ear monitoring system.
2 OSN to battle piracy with HD STBs
3 AKG debuts iPhone monitoring application
EDITOR’S CHOICES NEWS
NEWS
SAE MULLS FREE KIT OFFER
GORILLAZ TO HEADLINE DUBAI MUSIC FESTIVAL
SAE Dubai may offer its digijournalism students free equipment.
UK act confirmed for new Elements festival in Dubai.
SPOT POLL
DO YOU PLAN TO ATTEND CABSAT 2010 IN DUBAI THIS MONTH?
51.9%
18.5%
16.5%
13.1%
YES, I’LL BE THERE
MAYBE
NO INTEREST WHATSOEVER
NO, I’LL SAVE MYSELF FOR NAB OR IBC
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LED Solution Expert
J&C Joel UAE
EDITOR’S COMMENT
The show must go on... This month’s Prolight+Sound exhibition in Frankfurt, Germany, is expected to provide a clear barometer of the health of the professional audio and lighting manufacturing industries, which have been considerably impacted by the global economic downturn. The tradeshow, which is recognised as one of the world’s largest professional audio and lighting technology exhibitions, will again be staged in conjunction with Europe’s premier music equipment industry forum Musikmesse, and systems integration (SI) event, Mediasystems. In 2009, Mediasystems and Prolight+Sound attracted more than 845 exhibitors from 42 countries in total, and according to organisers, this year’s combined event is on track to eclipse this figure, as evidenced by the incorporation of an eleventh hall that will host industry seminars and technology workshops. The P+S Media Systems Congress, which will celebrate its tenth year in 2010, will host more than 50 technical workshops over four days. The conference will also boast more than 60 keynote speakers from various technical fields. More than 33,000 visitors descended on Frankfurt for last year’s show, and organisers are confident this year’s event will attract at least the same number, if not more.
It will be interesting to gauge the response from visitors to the Frankfurt show compared to next month’s PALME exhibition in Dubai, which is historically a much smaller event, but no less relevant to the Middle East pro audio, lighting and live event production industries. This year’s PALME, which will once again incorporate the systems integration show Install Middle East and musical instruments industry event Musac Middle East, will also provide vital insight into the well-being of the local industry, which has suffered something of a delayed response to the economic downturn compared to international markets. In contrast to Europe, which is showing positive signs of recovery, many local industry identities remain at best cautious and at worse seriously concerned about the local industry’s fluctuating fortunes. The success – or otherwise – of this year’s show will provide cold comfort to those still reeling from the serious setbacks suffered in 2009. It will also do little to inspire those operating in live events production and SI markets that remain in a state of flux thanks entirely to an ongoing lack of liquidity, particularly in the Gulf states.
Registered at Dubai Media City PO Box 500024, Dubai, UAE Tel: 00 971 4 210 8000, Fax: 00 971 4 210 8080 Web: www.itp.com Offices in Dubai & London ITP Business Publishing CEO Walid Akawi Managing Director Neil Davies Deputy Managing Director Matthew Southwell Editorial Director David Ingham VP Sales Wayne Lowery Editorial Senior Group Editor Aaron Greenwood Tel: +971 4 435 6251 aaron.greenwood@itp.com Contributor John Parnell Tel: +971 4 435 6271 email: john.parnell@itp.com Advertising Commercial Director Fareed Dubery Tel: +971 4 435 6339 email: fred@itp.com Sales Manager Jennifer Marto Tel: +971 4 435 6150 email: jennifer.marto@itp.com Japan Representative Mikio Tsuchiya Tel: + 81 354 568230 email: ua9m-tcy@asahi-net.or.jp Studio Group Art Editor Daniel Prescott Art Editor Simon Cobon, Nadia Puma Design Lucy McMurray, Angela Ravi Photography Director of Photography: Sevag Davidian Chief Photographer: Khatuna Khutsishvili Senior Photographers: G-nie Arambulo, Efraim Evidor, Thanos Lazopoulos Staff Photographers: Isidora Bojovic, George Dipin, Lyubov Galushko, Jovana Obradovic, Ruel Pableo, Rajesh Raghav Production & Distribution Group Production Manager Kyle Smith Production Coordinator Matthew Grant Managing Picture Editor Patrick Littlejohn Image Editor Emmalyn Robles Distribution Manager Karima Ashwell Distribution Executive Nada Al Alami Circulation Head of Circulation and Database Gaurav Gulati Marketing Head of Marketing Daniel Fewtrell ITP Digital Director Peter Conmy ITP Group Chairman Andrew Neil Managing Director Robert Serafin Finance Director Toby Jay Spencer-Davies Board of Directors K.M. Jamieson, Mike Bayman, Walid Akawi, Neil Davies, Rob Corder, Mary Serafin
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THE BRIEFING
CSM pulls the plug on Dubai festivals EXCLUSIVE Dubai-based event promoter Centre Stage Management (CSM) has pulled the plug on its music festivals line-up, which have been staged in the emirate to mixed success annually since 2004. The festivals, which include Desert Rock, Desert Rhythm, Urban Desert and Back 2 School, have showcased various high-profile acts over the years, including the likes of Kanye West, Motorhead, Iron Maiden and Muse.
The decision would appear to be in line with CSM’s expansion into new markets, including its recent establishment of a television production division and its involvement in the opening and closing ceremonies of this summer’s FIFA World Cup in South Africa. Jackie Wartanian, CSM managing director, said: “This decision was not taken lightly and was well-thought-through with my team in my company’s best interest. “It marks the beginning of
Motorhead’s Lemmy on stage at Desert Rock ‘09.
a new era for CSM, a humansized yet international entertainment-specialised company, which I’ve chosen to grow beyond UAE boundaries... we will focus on our international projects and artist management until further notice.” Wartanian, who confirmed CSM’s headquarters will remain in Dubai, added: “Sorry for disappointing all of Desert Rock’s loyal fans. We would like to reassure you that our passion remains in organising top-scale events. The show will go on.”
ABU DHABI STADIUM TO SOLVE EVENTS CONUNDRUM UAE authorities have approved the development of the new 65,000-seat Khalifa National Stadium in Abu Dhabi. The stadium will be the first in the country to feature a retractable roof, which would make it the largest indoor venue in the Middle East, enabling large-scale live events to
be staged all year-round. The estimated completion date is the first quarter of 2013. “If the events industry had access to substantial indoor venues it would expand the season by three months,” commented Thomas Ovesen, MD of AEG Live Middle East.
NEWS BRIEFS
UNIVERSAL SCORES MEYDAN PUTS A QTEL CONTENT DEAL STING IN ITS TAIL Universal Music has signed a content distribution agreement with Qatari telecommunications provider Qtel. Under the terms of the deal, customers of telcos within the Qtel Group will be offered unlimited music downloads via mobiles and the internet. The company will also develop music themed communities and song-sharing applications for its subscribers and offer access to exclusive music events.
Sting has been confirmed as the first major artist to perform at Dubai’s new Meydan horse racing precinct. The former Police frontman will perform live as part of the Dubai International Racing Carnival’s Super Thursday on March 4. Meydan is expected to establish itself as one of Dubai’s premier locations for live music events during the winter months.
CRYSTAL SOUNDS FOR NMK AND EV
KSA MOCI GRANTS FM RADIO LICENSE
Dubai-based Electro-Voice (EV) distributor NMK Electronics has supplied Doha-based equipment rental company Crystal Studio with 16 cabinets of EV’s new Zx5 speakers and seven EV CP-4000S amplifiers. EV’s Zx5 is a 15-inch, two-way cabinet with a high-impact, composite enclosure, featuring an all-new DXV3150 500-watt, 15-inch woofer and two-inch neodymium ND2 compression driver.
The Saudi Ministry of Culture and Information (MOCI) has granted the country’s first private FM radio broadcasting licence to Alf Alf. The radio broadcaster spent $20m beating 10 rivals to secure the licence, including Prince Alwaleed’s Rotana AV and pan-Arab network ART. Under the terms of the deal, Alf Alf’s new service must cover 30 regional centres across Saudi Arabia, with 15 mandated by the Saudi MOCI. MARCH 2010 SAS
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THE BRIEFING
Cirque du Soleil ‘good investment’ for Dubai World EXPANSION Cirque du Soleil, the Canadian-based circus dance troupe which is part owned by Dubai World subsidiaries Istithmar World and Nakheel, is not up for sale, the company’s CEO has confirmed. “To me, it’s still a rumour,” Cirque du Soleil’s CEO Daniel Lamarre told the Montreal Gazette last month. He noted the company was still 80 percent owned by the troupe’s founder Guy Laliberté. “They [Dubai World] can’t sell us to anybody without Guy Laliberté’s approval,” Lamarre added. A spokesperson from Cirque du Soleil said the company had “no indication or discussions” with Istithmar World or Nakheel regarding the sale of the Dubai companies’ stake. Lamarre said that Cirque du Soleil would be prepared to
Cirque du Soleil CEO Daniel Lamarre has refuted claims Dubai World is set to sell its stake in the show. buy back their Dubai partners’ 20 percent stake but that the offer had not been made. “It’s not a conversation right now. We were talking to them [Dubai World] two weeks ago and it was not on the cards. “As far as I’m concerned, it’s still not on the cards because
we’re a good investment for them,” he is quoted as saying in the Canadian report. In August, Nakheel and Istithmar World acquired a 20 percent stake in Cirque du Soleil, in a deal reportedly worth $600m. The Quebec-based act was set up in 1984, has twenty
shows currently operating around the globe and generates annual revenues of around $810m. It recently introduced its seventh Las Vegas show, Viva Elvis, at the Aria Hotel, which is located within the Dubai World-financed CityCenter development.
I-PIX TIES WITH DLC FOR ME DISTRIBUTION
PROTEC APPOINTS NEW DUBAI SALES MANAGER
UK-based LED lighting manufacturer i-Pix has appointed DLC Dubai its new Middle East distributor. This follows an increasing awareness of and interest in i-Pix’ BB range of products in
Dubai-based equipment rental firm Protec has appointed John Shanlian to the newly created position of sales manager. In his new position, Shanlian is responsible for pursuing new business opportunities on behalf of the company, which is one of the region’s largest equipment rental houses. “The economic downturn has seen a contraction in the number of major contracts available, so we’re looking to pursue new areas of business
08 SAS MARCH 2010
the region over the last two years, together with their use and specification on several high profile projects overseen by leading lighting designers including Svend Pedersen, Mark Cunniffe and Billy Aidie. DLC Dubai will offer the full i-Pix range – including the newly launched BB1, alongside the popular BB4 and BB7 units – for sale and rental. i-Pix also intends to launch a new architectural lighting range in 2010.
in the region,” Shanlian said. “There is a misconception that Protec is only available to work on massive equipment rental projects, which is actually far from the case. My job is to ensure the right message gets out to the market.”
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AUDIO PRODUCTION
FUNK MASTERS FunkGurus, the UK Music Services Company with offices and recording facilities in Egypt, recently opened the doors to its new recording and music production facilities located on the Red Sea.
F
unkGurus is one of a small band of audio production specialists finding success in the Middle East. Having maintained a presence in the region for the past six years, the company – led by business partners Julie Potter and Craig Hume – took the decision to open its new Red Sea facility in a bid to snare new business, particularly in the booming Egyptian audio post-production market. The company’s new studio facility, located in the Red Sea resort town of El Gouna, is a fully digitised operation primarily running Apple Logic Studio Pro 9 for recording, editing and mixing tasks. Studio engineers also have access to Apple’s Soundtrack Pro and Final Cut for industry standard mastering and synchronisation projects. The facility boasts an extensive range of industry standard condenser microphones and 'MOTU' interfaces and pre-amps for voice-overs and recording projects. A 40-input 18-bus Yamaha 01V96VCM digital mixer is the primary desk used for studio recording and production, while monitoring is handled by Yamaha and JBL reference monitors. To enable broadcast quality production, the studio utilises the latest recording industry signal processors for EQ, compression and limiting, in addition to various mastering tools to ensure their projects are complete before being sent to clients for their approval. FunkGurus counts a number of highprofile organisations, including Akeel Saatchi & Saatchi and Pinewood Studios, among its clients.
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Remote access FunkGurus works with an extensive list of well-known session musicians, including Grammy Nominee Miles Gilderdale of Acoustic Alchemy fame, acclaimed saxophonist Snake Davis (Eurythmics and Mpeople) and Blues legend, Johnny Mars. Each artist collaborates remotely using Apple Logic, explains Hume (pictured left). “We email a Logic project file to a musician who then records their own tracks before sending the completed files back to us here in Egypt,” he says. “This technology means you can be located pretty much anywhere in the world. “We have even received ideas for projects from musicians while they are in the middle of a long-haul flight – composed on the musician’s laptop and then emailed through once they’re on the ground. The possibilities are truly limitless.”
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Glory days Craig Hume, who has been working as a sound engineer since the late-1980s, vividly recalls the days when manual SMPTE code ‘striping’ of multi-track tape was required and engineers often used numerous hardware sequencers and time code generators just to ensure the recorded audio would sync to the video footage. “It would often ‘fall out’ and require endless ‘fixing’,” he explains. “One of the biggest problems with that way of working was that you had to manually switch the noise reduction off on the multi-track tape in order for the SMPTE to record properly. “Then of course you had to remember to switch it back on afterwards before the next project! Not to mention the huge and obtrusive 22-inch television that sat in between the monitors in the control room, obscuring the view into the live studio area.” These days, Hume receives a QuickTime video clip, imports it into Logic 9, the system identifies the cuts and away he goes. “It’s a highly creative and fast-paced way of working, especially with the added benefits provided by Logic’s templates – bringing everything into one screen project, at the touch of a button that a composer could wish for in order to start work.”
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AUDIO PRODUCTION
Craig Hume CV Hume boasts more than 15 years experience in music performance, media composition and event management. Initially, he trained and qualified as a sound engineer and has played saxophone professionally, working with The Justin Hayward Band (Moody Blues), Mike D’Abo from Manfred Man, The Johnny Mars Band (USA) and numerous other professional artists. Hume launched UK based ‘Meantime Artist Management’ in 2003, creating a roster of performers and entertainers. Amongst others, his artists have performed before luminaries including HRH Prince William of Wales; Gerhard Schroder; Oscar Lafontaine; Ronnie Wood; Planet Hollywood Berlin; Elton John; GQ Magazine; The British Film & TV awards; Garrards Jewellers. Working in the Middle East, Hume has produced music for advertising agencies including Akeel Saatchi & Saatchi and Tihama, and worked on various projects for Coca-Cola, MBC, Kelvinator and La Vache Kiri. Hume holds a Ba (Hons) in Business Management and a Diploma in Media Composition from the Film Music Institute of Los Angeles.
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Recent media projects include music si and voice-over work for corporate web videos and pre-recorded radio prow grammes for both commercial and corpogr rate radio stations. Hume says the organira sation is currently working on a 30-second sa spot for a well-known motorcycle manufacturer, recording numerous tracks, foley & sound effects and voice-overs. The advertisement will be mixed in Dolby 5.1 surround sound. Through extensive music industry contacts and an affiliation with the largest music industry and events recruitment agency in Europe, they are also able to provide experienced and qualified freelance and permanent personnel for both live events and media projects.
INTERVIEW
VISUAL MEDIUM
Dubai-based rental company Creative Technology is carving a successful niche supplying cutting-edge video technology and know-how to events production and corporate clients across the GCC region. Aaron Greenwood recently caught up p g manag Damien McGurn in Dubai. with general manager
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Sound & Stage: How’s business? Damian McGurn: Business is really great at the moment. We’ve got a couple of massive projects on the boil, the most important being Meydan [racecourse in Dubai]. It’s a massive development and we’ve been given a number of opportunities to supply kit to both the Dubai World Cup racing carnival and associated events throughout the city. Certainly the last five months has been the best period of business since we started, which is brilliant given the current economic circumstances.
S&S: Why do you think this trend has emerged? Mark Woodhouse. Damien McGurn and
DM: We’ve W worked really hard to educate educa clients to use specialised service providers, rather than full service pro companies. Obviously, there’s a marcomp ket for fo the full-service guys, but certainly, tainly with some of the big projects we’ve we’v been involved with, the project proje manager knows what they want wan and knows what’s required to get the best value and service for their thei budget.
S& Do you think this is S&S: because there are more be qualifi ed project managqu ers er based in this region nowadays than a few n years ago? y D DM: Absolutely. There is definitely a greater number of spen cialised operators in the market c who w know what they want and who w to work with to get it. The industry has matured a great deal indu in Dubai in recent years. We’re lucky in terms of how many projects we’ve got and the big clients we work with, such as Flash in Abu Dhabi. Because CT also has offices worldwide, we quite often pick up work via our international partners.
S&S: You also source kit when required from your international partners, don’t you? DM: Yes, that’s a bit of a unique capability of ours, in that we can source kit from different divisions of CT located worldwide.
CT has supplied video tech to a range of high-profile events, including Yasalam (pictured above and main).
For example, with the Meydan gig, we’re working with CT London and a couple of other divisions to meet the client’s select demands for kit. What we’re finding now is most of our business is coming from incoming production managers and what they tend to do is broker the deal, then we’ll have to deal with the end-client in terms of billing and payment, which is challenging at times given that we may not necessarily be privy to information regarding the deal.
S&S: Did you ever consider expanding CT’s remit outside professional video services? DM: We did toy with the idea of being a full-service rental company when we first started the business, but we fast realised it would be more beneficial specialising in video than trying to take on existing businesses and treading on too many toes. We’re forging a successful niche as a video supplier, and we’re finding other niche operators in this industry are enjoying similar levels of success.
S&S: Are you investing in new kit at the moment? DM: There’s been a massive increase in demand for LEDs from clients in recent months. This region is still fairly seasonal, so what we don’t want is for kit to be sitting in Dubai not being used. So, as an organisation we buy kit and then the various divisions can use it as required. In saying that, our new warehouse facility stores around 150 sqm of Lighthouse LEDs. We’re also looking to invest in high definition. The demand’s not quite at the point where we can justify buying a massive number of HD projectors, but most of our data switching tech is HD-ready, so it’s increasingly making commercial sense for us to update our inventory to HD. We’re looking to invest in a number of Christie HD projectors, as we see strong demand for the brand in this region.
S&S: Do you have enough equipment locally to keep up with demand? DM: In terms of what’s happening here, MARCH 2010 SAS
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INTERVIEW we’re currently pitching to be inw volved in more than 10 separate vo projects in Qatar over the next four pro months, which are primarily govmo ernment funded events. The Qaern tar Foundation is really pushing the country to the forefront in this recou gard. gard
we can certainly grow the business, but at the moment we’re running at 100%. That’s why it’s so important that we maintain access to this equipment inventory that being part of a much bigger group provides us with.
S&S: How long does it take e to source the required kit? DM: It depends where it’s coming from and whether it needs to be air freighted. Obviously, we make the client aware of the costs involved if it’s an urgent request, and if they’re happy to cover these costs we’re happy to source the equipment. We’re pretty flexible and we can discuss the options with the client.
S&S: Which clients are requesting HD equipment? DM: We recently supplied HD kit to the FIFA Club World Cup in Abu Dhabi.
large- scale We also provided some large projectors to the Future Energy Summit Awards. Corporate clients are increasingly demanding HD equipment.
S&S: You mentioned Qatar as a major source of new business. Can you elaborate? DM: Qatar’s proving one of our best markets in the GCC at present. We supplied a range of video equipment to the Doha Tribeca Film Festival last year and we’ve also been involved in a host of corporate projects in the country over the past 12 months. To give you some indication,
S&S: So, where do you see your business heading over the next 12 months? DM: Well, I’m confident it will keep growing exponentially over the next year. We’re involved in a great number of events scheduled over the next couple of months and we’re confident this trend will continue well into next year. We’re not interested in doing really small corporate events. We’re pitching for big business, and hopefully the momentum we’ve enjoyed in recent months will sustain us well into the next period of growth.
Sound Foundations
T: +971 4 375 7668 E: enquire@deltasound.ae www.deltasound.ae 16 SAS MARCH 2010
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INTERVIEW
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Setting New Standards in Professional Lighting
See Us At Prolight & Soun d (Hall 11.1, Stand A47) & PALME Midd le East (Hall 4, Stand 4C 50)
Chroma-Q™ LED products are renowned worldwide for delivering high levels of performance, reliability and value. Concert & Touring
Theatre
Film & TV
Events & Exhibitions
Corporate
Architectural
Photo credits. L-R: Kaiser Chiefs UK Tour, Color Block DB4, © Louise Stickland, Prism Lighting, LD Richard Larkum. Elaine Paige UK Tour, Color Web 125, © Robert Hollingsworth. Britain’s Got Talent ITV1 Show, Color Web 250. World Series Of Poker Europe (WSOPE) 2009, Color Block 2. BRDC Clubhouse, Silverstone, Color Punch, Color Block & Color Web 125, © Jakob Ebrey. Brighton Dome, Color Span.
For dealer opportunities and more information: sales@chroma-q.com +44 1494 446000 www.chroma-q.com Artistic Licence is the designer and manufacturer of Color Web. All Chroma-Q LED products are licenced by Color Kinetics. Chroma-Q and all associated product names are recognised trademarks, for more information visit www.chroma-q.com/trademarks. The rights and ownership of all trademarks are recognised. The information contained herein is correct at the time of printing, however as we are constantly refining our product range we reserve the right to change the specification without notice. E&OE.
COVER STORY
FUTURESHOCK:
THE TOP TECH OF 2010 2010 is shaping up as a watershed year for technological innovation in the pro audio, lighting and AV presentation sectors. Aaron Greenwood previews the top 10 technologies set to change the way you do business through 2010 and beyond. 20 SAS MARCH 2010
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INTERACTIVE HOLOGRAPHIC DISPLAYS ALTERNATE REALITIES Undoubtedly the coolest AV technology yet imagined, prototype interactive holographic projectors were first previewed at SIGGRAPH 2008. Dubbed the Ultrasound Tactile Display (UTD), the technology employs ultrasound technology to enable ‘touchable’ holograms, making the realms portrayed in films from Blade
Runner to Minority Report an entirely tangible reality. The technology, developed by researchers at the University of Tokyo, utilises a 3D projector and mirror reflector, which radiates high-fidelity pressure on to the user’s hands, providing a degree of tactility when interacting with the holographic images. In a research paper published to coincide with the UTD’s debut, the Japac nese research team revealed it was n working to develop the technology w for f applications ranging from gaming to stereoscopic 3D displays. “It is also expected that by superimposing the acoustic radiation pressure p onto the 3D graphic objects presented on with stereoscopic displays, it will effecw tively enhance the reality of the 3D virtiv tual objects,” the report concluded. tu How cool is that?
NEXT-GENERATION AMPLIFIERS Power amplifiers have improved remarkably in recent years, but recent advances in amplification technology promise to change the way the pro audio game is played entirely. Infinitely smaller microprocessors will not only enable a host of applications in previously unheard of products – everything from mobile phone loudspeakers to active studio headphones – they’ll also support new, expansive wireless networks of active speakers in large-scale live audio environments. Improvements in class D amplifier design have opened up the market to powerful amps with little if any latent power loss, ensuring greater operational efficiency (around 40% on average) compared to class A or B products. According to Sergio Sanchez Moreno, an audio engineer with coldamp, the theoretical maximum efficiency of class
LIGHTING TRENDS INTELLIGENT LEDS The future is bright… The lighting technology for now and the foreseeable future, light emitting diodes (LEDs) have found favour in every corner of the lighting industry, from architectural to stage effects design. The technology’s future prospects hinge on two main areas of development: improved brightness providing for spotlight applications and intelligent design incorporating a range of visual media facets, including digital projection and interaction with other LED fixtures. The rapid development of these fixtures is mirrored by the emergence of highly capable media servers and switchers managing output and control of multiple fixtures in large-scale lighting rigs. Combine this hardware with superquick microprocessors and advanced software control, and the future looks bright for LED lighting fixtures capable of projecting pure white light, multimedia content and a variety of gobos, all from the one device. Stepping into the light The limitations of LED lighting technologies to project a pure white beam of light has ensured the continued popularity of halogen fixtures in the live events market. However, things are changing rapidly in this regard.
D designs is 100%, “although more than 90% is regularly attainable in practice”. “This efficiency is high from very moderate power levels up to clipping, and it is higher as the power increases, due to some fixed losses in the control and gate-drive circuitry,” he says. “In class B, around 50% efficiency is achieved in practical use with music signals.”
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COVER STORY
QUANTUM DOTS CONNECTING MORE THAN FOUR One of the most exciting discoveries of recent years in terms of commercial lighting applications relates to the quantum dot. In 2005, Michael Bowers, a graduate student at Vanderbilt University in the United States, discovered a new application for minute quantum dots – crystals only a few nanometres big that contain anything from 100 to 1000 electrons – when he shone a laser on the collection during an experiment. Quantum dots generally produce a vibrant colour when a regular analogue spotlight is shone on them. But with the laser, the electrons reacted to create a bright white light reminiscent of a regular halogen lamp. Bowers then extended his research, coating LED nodes with a collection of quantum dots, only to find the fixture gave off a pure white light that shone twice as brightly and lasted twice as long as a regular 60W bulb. Quantum dots offer huge potential not only in the lighting sector but also
the digital display market. US company QD Vision has led the pack in this respect, developing QDLED displays in addition to a Quantum Light optic for a new LED lamp developed by Nexxus Lighting that is claimed to combine the warmth and colour of incandescent bulbs with the efficiency of LED technology. The commercial potential of the technology is evident in the interest shown by investors in the company in recent months, despite ongoing economic difficulties in the US. At the time of writing, the company had attracted more than $15m in the previous six weeks alone in seed funding, as well as official commendations from the Obama administration. “We believe that quantum dot-based materials have physical properties that can help display and lighting makers reach the holy grail of breakthrough performance in mass production with competitive consumer prices,” says QD Vision CEO Dan
DIGITAL DISPLAY TRENDSETTERS 3D PRESENTATION SCREENS While a host of consumer electronics manufacturers have released 3D television displays in recent months, commercial applications of the technology have remained limited, mainly due to the difficulties to date of integrating the technology in large-scale high-resolution displays. However, the situation recently took a quantum leap forward with the debut of a massive 280-inch 3D LED display manufactured by Sony at Japan’s International Broadcast Equipment Exhibition (IBEE) in November. The screen itself consists of 70 LED displays measuring 28-inches in diameter and requires users to wear polarised glasses to view the stereoscopic images on display. Sony is also working on a true
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360-degree stereoscopic display that allows a 3D figure to be viewed from any angle inside a LED ‘tube’. While the prototype technology boasts a limited 96x128 pixel, 24-bit colour display, Sony is said to be working on an interlaced version that is said to provide enhanced picture quality.
Button. “The key issues facing lighting and display manufacturers – lifetime, colour, power efficiency, manufacturability and scalability – are being addressed by this technology.” KEY FEATURES OF QUANTUM DOT TECHNOLOGY High efficiency: More light with less power. Colour purity: Highly saturated, precisely tunable colour. Stability: Inherent material reliability and colour balance stability. Design flexibility: Thin, flexible structures that can be used for any size area and with any printing or coating method.
IPHONE APPS Apple’s iPhone has unexpectedly emerged as one of the most useful and versatile tools available to pro audio engineers, with a huge variety of applications being developed for the handset by some of the industry’s top manufacturers. While most are available for nominal download and licensing fees, some of the best can be found for free, such as AKG’s free wireless audio monitoring application released last month. Other apps, such as the Sound Trends Looptastic Producer 3, enable users to track recordings on the fly, bringing new meaning to the term ‘rough mix’. For a comprehensive list of dowloadable applications, check out www.apple.com.
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PRO AUDIO TRENDSETTERS DIGITAL KILLED THE ANALOGUE STAR The impact of digital technology on the ďŹ eld of professional audio engineering â&#x20AC;&#x201C; from audio capture and playback to advanced networked studio environments â&#x20AC;&#x201C; has opened up a whole new realm of commercial opportunities both for product manufacturers and the clients who employ them. According to preeminent industry institution the Audio Engineering Society (AES), one of the greatest single developments made possible by this seismic shift has been digital signal processing (DSP). Widely in use since the mid-1990s, DSP has â&#x20AC;&#x153;signiďŹ cantly improved the ďŹ&#x201A;exibility and scalability of sound reinforcement systemsâ&#x20AC;?, according to a recent AES research paper on the subject. â&#x20AC;&#x153;It became possible to infuse facilities such as theme parks and stadiums with hundreds of individually processed audio signals, and thus, the need arose for a ďŹ&#x201A;exible, optimised distribution system for these signals. Since audio was now processed in digital format, logically the distribution system should be digital as
well. Live sound applications were the last to adopt digital technology. However, with the introduction of digital consoles and distribution systems targeted to live sound applications, this has changed. â&#x20AC;&#x153;The present marketplace for digital audio networking might be described as fragmented, with multiple technology providers. This is the result of disparate performance requirements, market forces, and the nature of technology development.â&#x20AC;?
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CLOUD COMPUTING
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The concept of cloud computing â&#x20AC;&#x201C; working over a network and storing content on a remote server that can be accessed and worked on by others concurrently â&#x20AC;&#x201C; is increasingly ďŹ nding favour in high-tech organisations. The technologyâ&#x20AC;&#x2122;s applications are also pertinent to the audio production sector, particularly as more and more audio professionals choose to work in remote locations far removed from the traditional recording studio. Combining this capability with the latest pro audio recording and production software â&#x20AC;&#x201C; the likes of Pro Tools or Appleâ&#x20AC;&#x2122;s Logic Pro Studio 9 â&#x20AC;&#x201C; is set to create signiďŹ cant commercial opportunities while rationalising the cost of production services for clients.
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TOUCHY-FEELY VISUAL DISPLAYS UK-based company Peratech recently signed a $1.4 million deal with Japanese ďŹ rm Nissha Printing and South Korean CE giant Samsung to commercialise its pressure-sensitive Quantum Tunnelling Composites (QTC) touchscreen display technology. While the technologyâ&#x20AC;&#x2122;s application is currently limited to 3.5 x 5.5 inch monitors, Phillip Taysom, joint CEO of Peratech, says the company is working to adapt the technology to ensure it is compatible with large-screen commercial AV displays. QTC technology has no moving parts and requires no air gap between contacts. Peratech claims the low-power application enables the design of interfaces with no start resistance, meaning
that without pressure, the t switch draws no power s and a passes no current. â&#x20AC;&#x153;Importantly, when pressure is applied, the p resistance drops in proporre tion to the amount of presti sure which allows sophistisu cated interface designs that react to variations in pressureâ&#x20AC;?, Peratech says. Taysomâ&#x20AC;&#x2122;s fellow CEO Chris Lussey believes the technology will pave the way to the creation of 3D user interfaces that are truly intuitive to touch. â&#x20AC;&#x153;Using products with an embedded QTC switch, consumers could search deeper into a ďŹ le structure simply by pressing harder on the screen, control an avatarâ&#x20AC;&#x2122;s movement through a gaming interface more naturally or create the thin or thick lines which are vital to Far Eastern language characters,â&#x20AC;? he explains.
NEXT BIG THINGS LASER PHOSPHOR DISPLAYS (LPDS) Developed by US company Prysm, LPD is claimed to use up to 75% less power than rival large format visual displays. The technology employs a series of solid state laser diodes and a patterned array of phosphors. According to Prysm, in order to cover the screen pixel array completely the collection of laser beams are reďŹ&#x201A;ected by mirrors to create the necessary number of lines. The company likens the approach â&#x20AC;&#x153;to the mechanisms used in laser printers to generate images on the printing drum and paper. However in the LPD display, the image is refreshed rapidly resulting in high quality videoâ&#x20AC;?. The technology is ideal for large-format outdoor display applications.
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THE
PROLIGHT+SOUND SPECIAL
GUIDE
INSIDE This month’s hottest product releases set to debut at PROLIGHT+SOUND 2010
MANUFACTURER: Martin Professional WHAT’S THE DEAL?
MANUFACTURER: Christie Digital Systems WHAT’S THE DEAL? Christie will showcase its new M Series range of three-chip projectors at Prolight+Sound 2010. The professional range, which consists of six digital projectors, is based on a duallamp, mercury platform with extreme feature-rich functionalities.
The projectors range from 5,000 ANSI lumens (dual lamp, 200W) to 9,500 ANSI lumens (dual lamp, 350W) and include two resolutions: SX+ (1400 x 1050) and HD (1920 x 1080). Each of the high brightness (350W) models operates at a maximum of 1320W – providing higher lumens while using less power.
P+S 2010 STAND LOCATION Hall 8, Stand K 85
MANUFACTURER: Philips Lighting WHAT’S THE DEAL? Philips Lighting will debut the latest additions to its FastFit range, which include the MSD Gold 300/2 MiniFastFit and MSR Gold 700/2 MiniFastFit. The low-watt lamps feature Philips patented MiniFastFit design, which consists of a smaller lamp base, making it deal for compact applications. P+S 2010 LOCATION Hall 9, Stand A 71
Martin Professional will return to P+S 2010 with a showcase of its latest product range, spearheaded by the EvenLED RGB LED panel technologies. Each EvenLED module consists of 16 evenly spaced and individually controlled 6-watt RGB LEDs, capable of projecting a field of light onto cycloramas and other backdrops. Martin claims the modular system ensures greater evenness of field and a longer operational life time. Power consumption is also reduced. DMX controllable and capable of extremely smooth dimming, each colour features smooth 16-bit resolution. Each lightweight module is approximately 1 x 1 meter square, is built tough and is easy to assemble.
P+S 2010 LOCATION Hall 9, Stand B 35
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PROLIGHT+SOUND SPECIAL
MANUFACTURER: A.C. Entertainment Technologies WHAT’S THE DEAL? A.C. Entertainment Technologies’ stand will showcase the company’s latest LED lighting, video and control systems. The Chroma-Q Color Force 72 / 48 range of LED battens offers super bright, uniform light output up to 8m. The Color Charge portable LED light source combines RGBA 600 lumens output with wireless control and an
MANUFACTURER: Klotz AIS WHAT’S THE DEAL? Christie will showcase its new M Series range of three-chip projectors at Prolight+Sound 2010. The professional range, which consists of six projectors, is based on a dual-lamp, mercury platform with extreme feature-rich functionality.
28 SAS MARCH 2010
NiMH rechargeable battery. The InnovaLED TP825 25mm pitch panel features a bright (3200 nits) output, rugged design, intuitive software set-up and a unique auto-locking system. Aussie lighting console manufacturer Jands will also preview a major upgrade of its Vista lighting control system at the show.
P+S 2010 LOCATION Hall 11.1, Stand A47
The projectors range from 5,000 ANSI lumens (dual lamp, 200W) to 9,500 ANSI lumens (dual lamp, 350W) and include two resolutions – SX+ (1400 x 1050) and HD (1920 x 1080). Each of the high brightness (350W) models operates at a maximum of 1320W – providing higher lumens while using less power.
P+S 2010 STAND LOCATION Hall 8, Stand H16
MANUFACTURER: Yamaha Commercial Audio WHAT’S THE DEAL? Yamaha Commercial Audio will showcase its new M7CL48ES digital mixing console at Prolight+Sound 2010. The console, which is the latest addition to the M7CL family, is designed for use with the SB168-ES EtherSound stage box, providing state-ofthe-art system layout and signal routing capabilities. The console will join Yamaha’s comprehensive mixer lineup, which includes the PM5D, LS9, DM2000, DM1000 and 02R96 mixers, in a showcase stand located on the P+S showfloor. Since its release in 2004, the PM5D has become a mainstay of many live audio production companies in the Middle East. Yamaha will also demonstrate its full range of processors, power amps, speakers and interfaces during at this year’s show.
P+S 2010 LOCATION Hall 8, Stand F50
VISIT WWW.SHOWTEX.COM decorative fabrics, precision curtain motion and drop systems, ShowLED starcloth, Blue key, Chroma key, extra wide panoramic front and rear projection screens, and custom made innovations for your next show or special event.
ShowTex Belgium info.be@showtex.com T +32 3 236 84 40
ShowTex Netherlands info.nl@showtex.com T +31 35 693 86 92
ShowTex Middle East info.me@showtex.com T +971 6 557 9800
ShowTex Hong Kong info.hk@showtex.com T +852 2727 7558
ShowTex France info.fr@showtex.com T +33 3 20 63 73 60
Specifically designed for use with SB168-ES EtherSound Stage boxes, the M7CL-48ES replaces the 48 internal Head-Amps of the M7CL48 with 2 EtherSound ports that provide plug-and-play connection to up to 3 units of SB168-ES.
YAMAHA MUSIC GULF FZE
www.yamahaproaudio.com
JAFZA 16 - 513 P.O. BOX 17328 Jebel Ali Free Zone - DUBAI U.A.E. E-MAIL : ymgfinfo@gmx.yamaha.com
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PROLIGHT+SOUND SPECIAL MANUFACTURER: Allen & Heath WHAT’S THE DEAL? British mixing console manufacturer Allen & Heath will showcase its newly launched iDR-16 3U MixRack and iLive-R72 rackmountable control surface, which together provide a space saving, lightweight and affordable digital live mixing system. The company will also demonstrate new features in the latest version of its iLive software v1.6. Allen & Heath will also launch its new club installation product, the Xone:PB. The Xone patchbay is a 1U rack size, passive interface box, designed to simplify the task of connecting encoded vinyl replay systems to installed mixers, without the need to re-patch. The company will also launch its Xone:XD40 headphones, which feature a closed cup design providing good isolation from ambient noise, and minimal bleed.
MANUFACTURER: Alcons Audio WHAT’S THE DEAL? Alcons Audio will showcase its CRMS 3-way reference cinema sound system for the first time in Frankfurt. Designed to meet increased interest in Alcons’ pro-ribbon sound systems for sound-for-picture applications, the Cinema Ribbon Monitor System is a reference-quality sound reproduction technology, with fully matched loudspeaker, processing and amplifier components. Other show highlights will include the VR8 compact monitor and the BF151 bass system.
P+S 2010 LOCATION Hall 8, Stand G50
P+S 2010 STAND LOCATION Hall 8, Stand C22
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THE GUIDE
BUYER’S GUIDE DJ EQUIPMENT
TECH TALK
SCRATCHING THE DJ ITCH The increased affordability of high-end DJ hardware has seen an explosion in demand for professional DJ equipment in the prosumer market. S&S surveys the pros and cons of digital DJ technologies.
OLD-SKOOL! GUIDE TO VINYL TURNTABLES DIRECT DRIVE VS BELT DRIVE Direct drive has a better torque, providing greater control over how fast the record will start and stop. Cheaper belt drives offer less control because they can lose torque in the transfer of power from the belt to the plate. Simply put, the more control the better.
TONE ARM The tone arm has a long neck with a shape arm located at the end where the cartridge is connected. At the base of the tone arm is the height adjustment mechanism. Use this to adjust your tone arm up or down in conjunction with the anti-skate mechanism for correct balance.
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ANTI-SKATE At the base to the right of the tone arm, you will find the anti-skate mechanism. It provides the tone arm with enough balance to prevent it from skipping.
COUNTERWEIGHT The counterweight is located at the end of the tone arm and is used to give the proper balance to the tone arm itself, so as not to damage the needle when playing vinyl.
PITCH CONTROL Adequate pitch control is a must because the 33 and 45 RPM (revolutions per minute) settings alone are not enough. Your pitch control should be on the right-hand side and have a +/- range of eight percent.
DIGITAL TURNTABLES: REVOLUTION OR FALSE DAWN? Digital turntables enable you to convert analogue audio tracks and store them as digital music files within the turntable’s central hard-drive. The turntables also work with USB memory sticks and other plug-‘n’-play devices. Key benefits include the ability to easily simulate a variety of DJ techniques, including scratching, via an associated DJ software programme. Typically, digital turntables have not been able to replicate the warm authentic audio tones provided by vinyl recordings, however sound quality provided by the more notable brands has improved significantly in recent years, with improved circuitry, sophisticated software and advances in sound card design combining to deliver decent improvements.
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DENON DEBUTS SCALED DOWN DN-X1700 Denon DJ has launched a scaled down version of its flagship DN-X1700 flagship mixer, the DN-X1600. Sharing the same genealogy as its flagship sibling, the DN-X1600 features Alps channel faders, extensive USB connectivity (it’s Windows and MacOS compatible), matrix input assignment with DVS mode, 32bit internal digital processing, simultaneous MIDI operation – expanded to provide wide ranging control of PC based DJ software with an exclusive MIDI controls and user interface section, 14 onboard digital effects, and 3-band EQ with full kill on each band. The mixer is also the world’s first to feature Roland V-LINK protocol for VJ mixing. Other features include an ergonomic control surface featuring high-qualityy rubberised knobs, 60mm long throw channel faders and a 45mm FLEX crossfader (with A/B Cut Position adjustment), large VDF display screen, and 16 dot high resolution level meters. The DN-1600 also features four stereo USB inputs, assignable to each channel via the matrix input assignment; an additional USB channel is assignable to each channel providing the DN-X1600 with even greater USB functionality than the DN-X1700. Denon DJ and Native Instruments are also working together to obtain Traktor Scratch Certification for both the DNX1600 and DN-X1700.
SOFTLY, SOFTLY NATIVE INSTRUMENTS TRAKTOR PRO Traktor Pro allows you to mix digital files on four decks, using the highquality internal mixer or external hardware, and an impressively broad effects suite. Key features include 21 professional effects, auto loop, and a full-featured 4-channel mixer that emulates the Xone: 92, real-time track management, and support for multiple MIDI controllers and assignments. Meanwhile, Traktor Scratch Pro closes the gap between digital and analogue DJing. The control signal
is formatted onto special CDs and vinyl at 2kHz carrier frequency, offering twice as much tracking information as competing digital DJ systems with vinyl control. www.native-instruments.com
DIGI-TURNTABLE STAR PIONEER CDJ-900/-2000 The successor to Pioneer’s legendary CDJ1000 series turntables, the CDJ-2000 is one of the company’s first to accommodate music inputs from multiple sources, such as CD, DVD, USB storage devices and SD memory cards. It also comes with the impressive rekordbox music database management software for DJs. Rekordbox allows DJs to prepare tracks prior to live performances, store them on a memory stick and then upload them during a gig. Music files and database information stored on a single USB or SD device can also be shared simultaneously by up to four players connected via LAN (local area network). Pioneer claims the CDJ-2000 also offers the best sound quality of any turntable it has manufactured to date, thanks to an improved audio output circuit, a new audiophile-pleasing Wolfson DAC processor, and a built-in 24-bit/48 kHz sound card. Pioneer has also released the CDJ-900, a scaled back version of the CDJ-2000 that still features rekordbox, the Wolfson DAC processor, as well as a slip mode enabling looping, reversing or scratching, a quick return scratch feature and an advanced auto beat loop for improved performance.
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THE GUIDE
NUMARK BIO: Incorporated in the late-1970s, Numark is recognised as one of the industry’s most-respected professional DJ equipment manufacturers. Quality products characterised by sophisticated feature sets and slick interfaces makes Numark one of the best. HOT PRODUCT: Numark X7 (aka ‘the most advanced mixer ever developed by Numark’ – see boxout below). DJ ENDORSEMENTS: Coldcut, Amon Tobin. www.numark.com
BEHRINGER BIO: Founded by Uli Behringer in 1990, the German pro audio manufacturer has diversified its product range in recent years to include speakers, amps and microphones. It now rates as one of the biggest manufacturers in the business. DID YOU KNOW? Behringer recently swallowed up respected rivals Klark Teknik and Midas.
HOT PRODUCT: VMX1000 7-channel rackmounted mixer. The VMX1000 features state-of-the-art phono preamps, a dual auto-BPM counter, Behringer’s proprietary XPQ surround-sound processor, adjustable cross-faders and a three-band kill EQ. DJ ENDORSEMENTS: DJ Lucca (Spain), Kevin Hedge and DJ Flawless (USA). www.behringer.de
FUTURE PRODUCT NUMARK X7 CLUB MIXER
TECHNICS BIO: The king of turntable brands, Technics is also one of the oldest and most-respected DJ equipment manufacturers operating today. HOT PRODUCT: SL-DZ1200 digital turntable. DJ ENDORSEMENTS: Just about every DJ worth their salt. Particularly popular with rappers and house artists. RIP: In a move that shocked purists and signalled the deathknell for analogue turntables, Technics discontinued its legendary SL-1200 and SL-1210 vinyl turntables last month. www.panasonic.com
34 SAS MARCH 2010
Previewed at NAMM 2010, Numark’s X7 24-bit, four-channel digital mixer is designed as a companion to the company’s V7 motorised turntable software controller. However, in practice, it’s a lot more than that. X7 contains two USB interfaces, which enables two DJs to connect their computers simultaneously. This capability enables multiple DJs to perform at the same time, aids in seamless transitions between performers and opens the door to innovative new dual-laptop-performance possibilities. X7 can even sync the tempo between the two available laptops. With a familiar and easy-to-use interface, the mixer comes complete with a range of beatsynced effects and filters. Numark describes the X7 as “the most advanced mixer we’ve ever developed”. Good enough for us. The X7 will be available worldwide next month. www.numark.com
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THE GUIDE
IN THE XONE Another NAMM 2010 debutante, Allen & Heath’s Xone:DX is a 20-channel USB 96kHz/24-bit USB 2.0 soundcard that integrates with the new four-deck Serato Itch software, providing the ability to send up to 168 individual MIDI control messages. With two dual layer deck simulators, RIAA/phono inputs for external decks, as well as a central four-channel mixer selection which directly manipulates the DSP mixing within the computer, the Xone:DX is definitely worthy of consideration.
STANTON BIO: Founded in 1946, Stanton Magnetics is an industry leader in the design and manufacture of professional audio products for club and mobile DJs and turntablists.
HOT PRODUCT: The ‘DaScratch’ SCS.3d controller, which was named ‘Best Compact DJ MIDI Controller’ at the 2009 DJmag Technology Awards. DJ ENDORSEMENTS: Roni Size, Faust< Alien Tom and DJ Omni. www.stantondj.com
proligVisit us at ht+so und rt am
Frankfu
Hall: 1 Main, 24.–27.03.20 1.1 Stand: 10 C23
DENON DJ BIO: Established in 1992, the company found success with its first product, a dual-rack player. Since then, it has become the brand of choice for technically-minded DJs with a craving for complex technology with high-end capabilities. HOT PRODUCT: DN-HC5000 rackmount digital DJ system The DN-HC5000 is developed specifically to work with Serato ITCH, an innovative software/hardware
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solution which lets users DJ music from their computer. Using this purpose-built ITCH hardware unit, the DN-HC5000 allows DJs to create a high performance portable music system that allows internal mixing and platter-style playback control.
DJ ENDORSEMENTS: Fans include American DJs Henry Knowles, Blaze (Kevin Hedge and Josh Milan) and Japanese DJs Jazztronik and DJ Juri. www.denondj.com
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THE GUIDE
Hitlist
The
MARCH’S MUST-ATTEND EVENT Digital Studio Awards 2010 Sound & Stage’s sister publication presents the region’s most respected content production industry awards this month, with a gala ceremony set down for March 3 in Dubai. Limited tickets were still available at the time of press. For more info, check out our online home, DigitalProductionME.com.
COMING UP IN NEXT MONTH’S ISSUE…
Sound & Stage Editor’s Choice Awards 2010
A new format and exciting new categorie s are the highlights of this year’s S&S Awa rds. Keep an eye out for the full list of winn ers in next month’s issue.
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CONFERENCE CAPERS CABSAT 2010 Dubai International Convention & Exhibition Centre, Dubai, UAE March 2 – 4 This year’s instalment of the world’s third-largest annual broadcast exhibition will provide an important gauge as to the health of the industry as it emerges from the worst recession in living memory.
ALSO CONSIDER… Prolight+Sound 2010 Messe Frankfurt, Germany March 24 – 27 Europe’s premier pro audio and lighting tech fair returns to Frankfurt for another round of wheeling and dealing.
BACK STAGE
Chilled out entertainers 1. You treat me like chocolate Something you shouldn’t touch between meals Instead of having it Simply express the way you feel. 2. Little while later I see a cowboy crying, “Hey buddy, what can I do?” He says “I lived a good life, had about a thousand women.” I said “Why the tears?” he says “‘cause none of them was you.” 3. Pretty girl on the hood of a Cadilac, yeah.... She’s broken down on freeway nine. I take a look and her engine’s started, I leave her purring and I roll on by....bye bye. 4. Out in the garden Under the stars I’m dreaming of her laughing And driving a fast car. A 5. Red hair deep blue eyes My baby gets me so good M SShe got the franchise.
Please take me back Oh bleak is my love. 7. A rose, you never used your thorns, The ones you loved abandoned b d d you, Your angel face made hearts so warm, You helped the sick but who helped you? 8. I know you’re a good lookin’ honey baby Blind man could see You better take a look at your personality Fore you start hanging sh*t on me. Answers: 1. Crowe 2. Brent 3. Brent 4. Crowe 5. Crowe 6. Crowe 7. Brent 8. Crowe
You may recall a recent Backstage column where we drew comparisons between Russell Crowe’s musical talents (or lack thereof) and those of Ricky Gervais’ alter-ego David Brent. After reviewing their respective song sheets, we’ve discovered the likeliness goes beyond mere physical attributes. So for the very first time in these hallowed page(s), we’ve decided to throw up a test for you, dear readers. Guess which of the following verses was written by each of our unlikely duo and feel smug in the knowledge that even otherwise talented actors (Crowe) more often than not make for rubbish songwriters. (Answers can be found at the bottom of the list).
6. Oblique is my love Take me in
OFF THE RECORD BRIT AWARDS SPECIAL “She’s won every international award apart from International Male!” BRIT Awards host Peter Kayy introducing whacky-racer-rof-the-minute Lady Gaga too the stage. Visions of Alan Partridge and Bangkokk Chickboys spring to mind. “Michael, Michael, Michael...”
40 SAS MARCH 2010
“If they’re gonna give it to us then I’ll play the game and turn up. Now can we go and take loads of Class A drugs?” Liam Gallagher cuts short a backstage interview at the BRIT Awards after Oasis’ What’s the Story (Morning Glory)? was named the best album of the past 30 years. True to form, Liam not only failed to mention estranged brother Noel during his acceptance speech, but also threw his microphone – and the award – into the crowd.
“Whoa, Whoa it’s about time! Big up to all the Dirtee Stank family, Big up to all the fans!” Dizzee Rascal accepting his BRIT Award. His parents – and record label – must be proud.