THE NEW DEAL Avid acquires Euphonix in landmark deal p07 BRIGHT LIGHTS Getting to grips with the DMX-512 protocol p24 BUYER’S GUIDE Top video conferencing technologies p33
‘SAY YOU WANT A REVOLUTION?’ How Apple’s iPhone is revolutionising pro audio engineering
PLATINUM ROCK
NEW HORIZONS
The Palladium gears up for busy summer season
Al Laith targets events market with new division
Vol: 4 Issue: 5 May 2010
An ITP Business Publication 1 Licensed by Dubai Media City
Elaine Paige UK Tour
Kaiser Chiefs UK Tour
Britain’s Got Talent ITV1 Show
World Serires of Poker Europe (WSOPE)
BRDC Clubhouse, Silverstone
Juno Awards, Canada
Noxx Nightclub, Belgium
Brighton Dome, UK
IBS Group Takes Stock With Chroma-Q LED
Scampo Restaurant, US
The O zone, Odawa Casino Resort, US
Killers Day & Age World Tour
UB40 UK Arena Tour
Harrods James Bondow Window Display, UK
Stereophonics Homecoming Concert, UK
Massive Attack Collected International Tour
The Human League Synth City UK Tour
Photo credits. Top row L-R: Photo 1 © Robert Hollingsworth. Photo 2 © Louise Stickland, Prism Lighting, LD Richard Larkum. 2nd row: Photo 1 © Jakob Ebrey. Photo 2 © Robert Sondergaard. 3rd row: Photo 3 © Nick Valdez, Siyan. Photo 4 © THC Design. 4th row: Photo 1 © Melvyn Vincent. Photo 2 © Louise Stickland. Photo 3 © UVA.
U.A.E. Sales Enquiries: IBS DECOR LLC P.O. Box 23566, Dubai, United Arab Emirates. Tel: +9714 339 3459 - Fax: +9714 339 3784 - Web: www.ibsdecor.com - Email: sales@ibsdecor.com
Vol: 4 Issue: 5 May 2010
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An ITP Business Publication 1 Licensed by Dubai Media City
Proclick is a new concept in temporary flooring and is a light, hardwearing and versatile solution for conference rooms, events, dance floors, stages, catwalks and exhibition stands to name just a few. Quick and easy to install, the modular design allows for an infinite combination of designs and dimensions. No tools are required, and Proclick can be laid over an existing surface without the need for other materials. Laying a Proclick floor is so easy that no training is required, and after a little practice, one operative can lay as much as 20 m2 in only 5 minutes. Environmentally friendly, the Proclick flooring system is a re-usable product which, at the end of its lifetime, can be recycled. IBS Stagesets, based in Dubai are sales and rental agents for the UAE and, as such, hold a large rental stock in Dubai. Due to the versatility, re-usability and affordability of the Proclick system, we have seen keen interest from both event and stage rental companies within the region. The low initial investment and multiple use aspect, ensures an excellent ROI for any rental business using Proclick. To find out more about pricing and delivery options, please email nick@ibsdecor.com
CONTENTS 14
May 2010 Volume 4, Issue 05 07 Regional News Avid acquires Euphonix in landmark deal; NMK confident despite ClearCom buyout; Riedel and Digico confirm tech partnership.
11 Platinum Rock Raymond Gaspar discusses The Palladium’s forthcoming events season.
14 COVER STORY: iPhone apps galore The best new pro audio and events production industry applications for Apple’s iPhone.
20 New horizons Jo Marshall and Co discuss Al Laith’s ambitions for its new events production division, based in Dubai.
24 Tech talk: DMX-512 Getting to grips with one of the top innovations in lighting control.
29 Hot products Part II of our P+S 2010 tech wrap.
33 Buyer’s guide Showcasing the best videoconferencing technologies in the business.
40 Backstage
11
20 24
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WEB LOG DPme.com
APRIL’S TOP STORIES
MOST READ NEWS STORIES OVERALL
1 GrassValley to shed quarter of its staff
2 Al Jazeera to broadcast World Cup in 3D
HM Electronics seals Clear-Com takeover deal California-based wireless intercom systems specialist HM Electronics (HME) last month confirmed its acquisition of Clear-Com Communication Systems from The Vitec Group. The deal will help HME, which is best known for supplying digital wireless intercom solutions to the
hospitality, sports and pro audio sectors, expand its operations into the wider broadcast market. ClearCom will continue as a wholly-owned subsidiary of HME with no immediate changes expected to be made to its product portfolio. www.digitalproductionme.com/news
3 ADFC announces short film funding comp MOST READ SOUND& STAGE NEWS STORIES
1 UFC and twofour54 link for new documentary
2 HME acquires Clear-Com 3 Time to say goodbye
EDITOR’S CHOICES NEWS
NEWS
S&S EDITOR’S CHOICE AWARDS
BUYER’S GUIDE: MIXING CONSOLES
Last month’s cover story proved a hit with punters online.
The latest and greatest audio mixers available on the market.
SPOT POLL
IF YOU ATTENDED PROLIGHT+SOUND 2010, WHAT WAS YOUR IMPRESSION OF THE EVENT?
43.7%
28.4%
17.5%
10.4%
IT EXCEEDED EXPECTATIONS
FLAT BUT STEADY BUSINESS
BEST INSTALMENT YET
POOR COMPARED TO PREVIOUS YEARS
2 SAS MAY 2010
EDITOR’S COMMENT
iPhone mania proves the times they are a’changing
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
This month’s cover story, which showcases some of the best pro audio-specific applications designed for the Apple iPhone, perfectly illustrates just how far audio technology has progressed in recent years and just what a dramatic impact this trend has had on the industry itself. In less than 20 years, digital circuitry has literally revolutionised the way audio is produced, whether it be in the studio or in the round. While many old-school techies originally lamented the shift – largely due to the comparatively unsophisticated (read cold) nature of digitised sound – modern advances mean that digital audio products generally eclipse their analogue forebears in every way imaginable. Digital desks are now ubiquitous, as are wireless mics and fibre-optic connections. The added benefit of this trend is that once prohibitively expensive technologies are becoming more affordable, which is putting their expansive capabilities within the reach of mere mortals. This in turn is creating new commercial opportunities for manufacturers of these technologies around the world. The fact that something as innocuous as an iPhone can now be used to control a vast range of audio production technologies demonstrates just how far we’ve come. While some apps remain a novelty, others have become indispensable to the world’s leading audio engineers, riggers, and other production specialists.
The handset’s versatility is only set to increase further in the coming months, as the next generation iPhone and Apple’s much-hyped OS 4.0 operating system make their debut, providing more memory and power to support an ever-increasing number of industry-specific applications. Elsewhere in this issue, the guys at Dubai-based Al Laith Scaffolding discuss their latest venture, Al Laith Event Services, steered by local industry identity Jo Marshall, formerly of HQ Creative. The new division has successfully made its mark on the UAE live events scene, providing production services and support to a variety of gigs in recent months, including Sting at Meydan in Dubai and Il Divo in Abu Dhabi. Meanwhile, Raymond Gaspar of The Palladium discusses the Dubai-based indoor venue’s prospects for the coming summer events season. Gaspar claims the facility has a bumper roster of events lined up through to 2011. We also reveal the best videoconferencing technologies available on the market, get to grips with the DMX-512 lighting control protocol and showcase some more top products released at Prolight+Sound 2010. Happy reading!
CEO Walid Akawi Managing Director Neil Davies Managing Director ITP Business Karam Awad Deputy Managing Director Matthew Southwell Editorial Director David Ingham VP Sales Wayne Lowery Editorial Editorial Consultant Aaron Greenwood Tel: +971 4 210 8795 aaron.greenwood@itp.com Contributor John Parnell Tel: +971 4 210 8665 email: john.parnell@itp.com Advertising Commercial Director Fareed Dubery Tel: +971 4 210 8381 email: fred@itp.com Sales Manager Jennifer Marto Tel: +971 4 210 8685 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 Nadia Puma 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 Deputy Production Manager Matthew Grant Managing Picture Editor Patrick Littlejohn Image Retoucher 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
Editor soundandstage@itp.com
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THE BRIEFING
Avid acquires Euphonix in landmark deal EXCLUSIVE Avid confirmed at last month’s NAB exhibition in Las Vegas it had acquired legendary mixing desk manufacturer Euphonix. Following the announcement, the company also revealed it would continue to support and sell both Euphonix control surfaces and its existing ICON solution. “This acquisition will expand our portfolio of workflow solutions, targeting independent producers creating music in their home studios to broad-
Euphonix is one of the world’s top mixer manufacturers.
casters preparing segments for national broadcast,” said Gary Greenfield, chairman and CEO, Avid. “We remain committed
to driving interoperability and modularity across Avid and third-party creative hardware and software solutions.”
Avid confirmed plans to further develop an open standard protocol designed to increase compatibility between the Euphonix control surfaces and a wide range of Avid and thirdparty audio and video applications, including Media Composer and Pro Tools. For existing Euphonix customers, Avid will continue to support EuCon – the Euphonix high-speed Ethernet protocol that ensures its control surfaces can easily interface with thirdparty software.
ULTIMATE MONEY-SPINNER A capacity crowd of 11,000 descended on Yas Island for the first ever Ultimate Fighting Championship staged in the Middle East. Fans from across the globe attended the showpiece event with gate takings reaching an
impressive AED 12.8 million (US$ 3.5 million) and merchandise sales on the night amounting to AED 448, 000 (US$122,000). The event was also broadcast to an estimated half a billion homes around the world.
NEWS BRIEFS
NMK SIGNS SOUND ROBE DEBUTS 11 DISTRIBUTION DEAL PRODUCTS AT P+S Dubai-based distributor NMK Electronics has signed a new distribution deal with US pro audio manufacturer Sound Devices. Based in Wisconsin, Sound Devices supplies a range of products including mixers, digital recorders, preamplifiers and computer interfaces. The company has confirmed it will provide NMK customers with service and technical training support.
Lighting manufacturer Robe launched 11 new fixtures at the recent Prolight+Sound exhibition in Frankfurt, Germany. Highlights included the ROBIN 600 Series Spot, Wash & Beam fixtures and the company’s new budget line, the ‘Classic’ 300. Robe also debuted the latest addition to its AT Series, the ColorBeam 2500E AT.
UFC & TWOFOUR54 BINGO FOR ROBE TEAM FOR DOCO New Egyptian event production firm, twofour54 intaj and the Ultimate Fighting Championship (UFC) teamed up to produce a 45-minute, behind-thescenes documentary showcasing the UFC 112: Invincible event staged at Abu Dhabi’s Yas Island last month. The doco focuses on the build up, staging and aftermath of the UFC 112 mega-event, which was one of the largest staged anywhere in the world.
BINGO, has invested in a raft of Robe DigitalSpot 3000 DT lighting fixtures. The company, which is a subsidiary of ZAD Group in Cairo, specialises in the design & management of turn-key corporate events, training seminars and multimedia solutions. BINGO has initially invested in eight of the Robe fixtures, with further acquisitions slated for 2011. MAY 2010 SAS
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www.digitalproductionme.com
THE BRIEFING
NMK confident despite Clear-Com buyout EXCLUSIVE Dubai-based distributor NMK Electronics has expressed confidence that it will continue to distribute Clear-Com products in the Middle East, despite the recent takeover of the company by HM Electronics (HME). “HME’s existing products are designed for budgetconscious customers while ClearCom solutions are in the mid- to high-end range of the market. [As a result, the deal] does not affect our distribution agreement in any way,” said Richie Hiranandani, marketing manager for NMK Electronics. However, NMK’s business development manager, Chic-
Chicco Hiranandani, business development manager for NMK Electronics.
co Hiranandani, expressed greater caution following the deal, stating that things could change in the future if recent trends provided any indication. “For example, when Bosch bought Telex, Telex management insisted that the new arrangement would not alter existing sales channels. After a few months, however, Bosch took over many of the sales channels directly around the world – including in India and Singapore,” he noted. ”Mergers and acquisitions will be a recurring issue in 2010 and we expect to see more deals of this type in the near future. This [shift] will
eventually have an impact on the ground with distributors like ourselves. Will it be instant? In most cases, probably not, but there will certainly be an effect because people change, relationships change and eventually so does business,” he added. The merger, however, has not affected the sale of ClearCom products in the region. NMK recently secured a deal from rental firm Almoe Rentals to supply the new ClearCom Tempest wireless intercom system. The deal includes two four-channel base stations with ten belt packs and relevant accessories.
ECLIPSE SUPPLIES AV TECH FOR GUETTA GIG
RIEDEL AND DIGICO TIE FOR TECH PARTNERSHIP
Dubai-based AV rental company Eclipse combined with Al Laith Scaffolding to supply a raft of technology to the David Guetta concert extravaganza staged at the Dubai World Trade Centre last month. Eclipse provided 80 sq metres of Martin Professional’s 2140 LC plus see-through LED backdrop; a Martin P3 Video Processor; four Sanyo 12K projectors; 76 Martin Mac 2000 moving heads, wash and spots; 16 Martin LED 301 and 401 moving heads; 12 Martin Atomic strobes; 16 Clay Paky Alpha Beam 1500s and four Fastfold projection screens. For control, the compa-
Riedel Communications and mixing console manufacturer DiGiCo have confirmed plans to collaborate on the development and integration of a range of new digital audio technologies. “Riedel, as a leading developer of signal distribution solutions, is a partner who interests us in many aspects,” said James Gordon, MD of DiGiCo. The partners have confirmed they will commence work immediately on integrating their respective technologies. “We’ve always seen our products as an open platform. Integration with other manufacturers always results in benefits for our customers.
08 SAS MAY 2010
ny supplied an MA Lighting GrandMA 2 light and a Wholehog Roadhog console. An assortment of lasers also featured in the inventory, including a 25-watt whitelight diode, two 10-watt 532nm laser diodes and a five-watt 532 nm laser diode. Al Laith Scaffolding supplied rigging for the venue’s VIP stages, in addition to other staging support.
Therefore we’re proud to welcome DiGiCo as our newest technology partner,” said Andreas Hilmer, Riedel director of Marketing & Communications. DiGiCo’s SD8 is currently serving as the main mixing console in Riedel’s set-up for the Red Bull Air Race world championship. The event’s signal distribution for HD video, audio, intercom and data is based on Riedel’s fibre network solution MediorNet.
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QUICK FIRE Q&A
PLATINUM ROCK
Raymond Gaspar, the general manager of Dubai’s first dedicated indoor concert venue, The Palladium, discusses the facility’s prospects for the coming summer events season.
Sound&Stage: How is business shaping up over the next 12 months? Do you feel the Palladium is well placed to capitalise on the upcoming summer season? Raymond Gaspar: Business is shaping up very well for the coming year, with October and November almost fully booked and many dates in December blocked. The summer months are also filling up nicely with a
good selection of conferences and concerts already scheduled.
S&S: What standout projects/ events do you have coming up during this period? RG: We are planning a mix of concerts suitable for the many nationalities living in Dubai, as well as several conferences and awards ceremonies. Our conference and training facilities will be very busy catering to smaller events. We recently welcomed the Laughter Factory to the venue as part of its ongoing tour of the UAE. MAY 2010 SAS
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QUICK FIRE Q&A Akon at The Palladium.
S&S: Do you feel the venue has performed to your expectations considering the economic pressures associated with the recession since its opening? RG: We have exceeded our expectations and we are very happy with the support from the UAE events market and we have a lot of overseas interest for events at the end of 2010 and the beginning of 2011.
S&S: Would you consider appointing a third-party venue management company such as AEG Live in the future as has been the trend in Western markets in recent years? RG: Considering that many of the present management team were involved right from the early stages of the design and build of the venue, we feel that third-parties may not fully appreciate the concept or functionality of the building and so appointing a third-party at this stage in our development is not under consideration.
RG: I feel it would be unfair of m me to comment in regards to an iindustry colleague.
S&S: How challenging is S it competing for events with outdoor venues durw ing the cooler winter in months? m
PAST EVENTS AT THE PALLADIUM Akon Flo Rida Backstreet Boys The Twelve Tenors Dubai Lynx Awards The Merchants of Bollywood
The Palladium.
S S&S: How confident are you of success looking towards o tthe next 12 months?
S&S: What are the biggest challenges facing your business at the moment? RG: There is nothing in particular but obviously the current economic climate is providing business challenges for all of us.
S&S: What do you feel are the biggest challenges facing the industry in Dubai and the wider region at present? RG: The business climate is challenging but more specifically with regard to our industry, sponsorship is proving to be more difficult to obtain than it used to be. So event organisers have to be more business-like in their approach to ascer-
12 SAS MAY 2010
RG: It’s not a challenge at all beRG cause we offer so much more than ca outdoor venues. We can present ou concerts, DJ nights, small stand-up con comedy shows, large scale theatricom cal events as well as conferences, exhibitions, dinners and award ceremonies. We have even hosted a fashion show. The venue’s infrastructure, ranging from permanent lighting, sound, staging, retractable seating, box office facilities, dressing rooms, wardrobe facilities and production offices, make it second to none in Dubai. With all of these facilities it in place, our venue can be used all year round, guaranteeing a huge cost y saving for promoters. s
taining whether events are potentially viable or not.
S&S: Do you feel the focus has shifted from Dubai to Abu Dhabi? RG: No, I believe that there is a good balance of concerts and events being staged throughout the UAE.
S&S: How challenging is it competing for events given the might of Abu Dhabi promoters such as Flash?
RG: There may not be as many events aas there were in 2007/2008, but the number and scope of events happening across the whole of the UAE is still interesting and culturally diverse. I believe we offer great opportunities for international ‘West End’ productions planning to come to Dubai. Indeed we are actively promoting Dubai as a stopover between Europe and Asia and I am confident that we will see an increase in the volume of events over the next 12 months.
S&S: Do you think the Dubai industry will ever recapture the spirit of 2007/08? RG: As I’ve just said, Dubai will at some stage recapture the glory days of this period. But more importantly for us, it is the quality of events in Dubai that the Palladium aims to improve. It is an integral part of our mission statement.
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COVER STORY
BRAVE NEW WORLD The massive popularity of Apple’s iPhone has created a thriving third-party application development industry, with many of the pro audio sector’s top names jumping on the bandwagon. Here, we showcase the top iPhone applications that you soon won’t be able to live without. SAFETY FIRST! Something out of left field this one. The Royal National Institute for Deaf People’s (RNID) new iPhone application is ideal for hard-working live sound engineers concerned by hearing loss. The free app is the latest version of RNID’s popular Hearing Check software and has been downloaded more than 500,000 times since its release. The Hearing Check application measures a person’s ability to hear someone speaking when there is background noise, similar to being in a crowded room. The app is free to download and is a convenient way for people to check their hearing is within the normal range.
SOUND CLOUD REMOTE App Store > Medical > RNID We like: Handy tool for those rocking a little too loudly. Could be better: A little temperamental in noisy environments (funnily enough). $$$: Free!
The development of the SoundCloud (a quasi professional version of MySpace Music) platform proved a revelation for A&R types and aspiring musicians looking to score recording contracts with major labels. This application allows producers and label managers to access tracks sent to their SoundCloud account and listen to them directly on their iPhones. They can even email the tracks via their iPhones to potential clients or present them during meetings. Clever stuff.
We like: Simple but effective interface; ability to send tracks via email addresses stored in iPhone. Could be better: Only available via Wi-Fi connections, which makes it a little sketchy in the Middle East. App Store > Music > SoundCloud $$$: Free!
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AKG AKG’s eponymous iPhone app is one of the newest and best released to market. The app provides a graphical interface allowing users to browse, monitor, and control their wireless microphone and IEM systems using their iPhones. The app uses a Wi-Fi link to access Harman’s HiQnet protocol and can be
used to monitor wireless system parameters and radio frequency connections on stage for 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. Users can easily browse through the entire wireless system within the device list, monitor each device and its param-
eters separately within the stripe view, or use the RF monitor for checking the radio frequency connection of each wireless device.
App Store > Productivity > AKG Acoustics $$$: Free!
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COVER STORY
SIGNALSCOPE PRO, FABER ACOUSTICAL SignalScope Pro for iPhone OS devices is a real-time analysis toolset, suitable for use in areas such as acoustics, audio, electronics, and vibration. SignalScope Pro includes tools for dynamic signal analysis, as well as a signal generator for producing test signals. SignalScope Pro also turns your iPhone or iPod touch into a platform for data acquisition, storing acquired data in ASCII text files, MAT-files, or images for later retrieval from the device. Input signals can be acquired from the built-in accelerometer, or from the current audio input path (the iPhone OS automatically selects the audio input path according to which external audio devices, if any, are connected to your device). Different engineering units, including Volts, Amps, pascals, Gs, and IPS (inches per second) can be assigned to input channels of the dock connector audio input or the headset input (not available on 1st generation iPod touch devices). Sensitivity calibration can also be performed for any audio input device or input channel. Really impressive piece of kit, even despite the lofty price tag.
App Store > Utilities > Faber Acoustical $how me the money: $74.95 Fast fact: Check out www.youtube. com/faberast for video demos.
16 SAS MAY 2010
AUDIOTOOLS, STUDIO SIX DIGITAL Studio Six Digital’s AudioTools is a suite of professionalgrade audio and acoustic analysis apps bundled into one package, with additional modules available for purchase. The range of standard modules includes a faithful reproduction of a classic analogue SPL meter including A and C weighting, and Fast and Slow ANSI decay modes. All filters meet or exceed ANSI. A real time analyser (RTA) provides features including a touch-GUI range control, a cursor, max/min bars, and noise curve overlays; a sine wave, square wave, white and pink noise generator; line levels; and an audio scope.
VERDICT: Brilliant and compared to the SignalScope, remarkable value. App store > Music > Studio Six Digital $how me the money: $19.95
www. digitalproductionme.com
TOP FREE TRAINING APP WINKSOUND WinkSound presents users with original music production videos and tutorials featuring popular and widely used software such as Ableton, Logic, Pro-Tools, Reason, Cubase and others. WinkSound’s curated video library also features videos focusing on music production techniques such as mixing, mastering, recording audio, beat making and Djing. WinkSound.com currently hosts more than 5,000 videos, with hundreds more added to the service each week.
VERDICT: Handy training portal. App store > Music > MobBase
BEST TOUCHPAD CONTROLLER PROREMOTE, FAR OUT LABS Far Out Labs claims its ProRemote software is the world’s first 32-channel touch sensitive control surface designed for the iPad and iPhone. ProRemote allows users to control a range of audio applications over Wi-Fi, providing basic remote control of ProTools, Ableton Live, Apple Logic or Soundtrack Pro; XY control; and pro MIDI pads.
VERDICT: Perfectly suited to garage engineers or aspiring producers. App store > Music > Far Out Labs $how me the money: $89.95.
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TOP APPS FOR RIGGERS ITRUSS, XTREME STRUCTURES
TOP FREE RECORDING APP BLUE FIRE
The quickest and cheapest way to calculate load, span or trussing required for staging gigs in the field.
Blue FiRe is a simple to use professional quality stereo field recorder application designed specifically for the iPhone and iPod touch and optimised for the Mikey CD-quality stereo recorder. Manufactured by Blue Microphones and Audiofile Engineering, the simple but useful app provides high-fidelity recordings in stereo, while allowing users to see the accurate audio waveform in real-time.
App Store > Productivity > Xstreme Structures POWERCALC, WEST SIDE SYSTEMS PowerCalc performs basic electrical power calculations accounting for watts, volts, amps, and motor power factors. It works in DC, AC Resistive and AC Inductive modes.
App Store > Productivity > West Side Systems
VERDICT: Brilliant, and free, free, free. App Store > Music > Blue Microphones
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SAS MAY 2010
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PROFILE provided the Meydan’s massive AV screencert e. perfect backdrop for the con stag
ured right). with Jo Marshall (pict Tony Nobbs (centre)
The temporary roof constructed at Meydan.
NEW HORIZONS Dubai-based staging specialist Al Laith Scaffolding has launched a new dedicated events division steered by former HQ Creative director of production Jo Marshall. the s’ first major gig was Al Laith Events Segervidceat Dubai’s Meydan racetrack. Sting concert sta
20 SAS MAY 2010
A
l Laith Events Services is a new company launched in Dubai with a mission to provide innovative staging and roofing systems and solutions for a range of events. It is the fifth division of Al Laith Scaffolding, formed in 1995 by Tony Nobbs, an enterprise already well established as a major provider of scaffolding, access and seating elements to events and construction projects in the region.
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All Laith h Events SServices h harnesses the h impressive resources of Al Laith, which includes 2.5 million cubic metres of scaffolding, as well as a range of design and engineering capabilities. Jo Marshall previously worked as production director and executive producer for HQ Creative, a leading Dubai-based event production company. “I enjoyed five very happy years at HQ during which we worked on some of the most unique live events and presentations in the Middle East,” says Marshall. “I wanted to find new challenges and horizons,” he explains, adding that through his work at HQ Creative, he was also able to identify a gap in the market for the type of services and products offered by Al Laith Events Services. While the economic downturn hit Dubai hard, reining in some of its hitherto hyperactive construction programmes, Al Laith’s turnover in 2009 was only just short of what it achieved in 2008. The company has maintained its 1200 staff and a healthy order book as Dubai has adjusted to a deceleration that has also seen other areas of the Middle East experience growth. When Marshall approached Nobbs with the idea of Events Services, he was confident not just because of the available plant and skills resources, and the fact that events – albeit not in such a fully integrated and specialised context – were already familiar territory to Al Laith. Another timely element of this new equation fell into place when an initially informal partnership between Al Laith and
UK-based Serious St Stages evolved l d iinto t a full-scale business plan. f ll l b l Serious’s MD Steven Corfield wanted to expand the company’s focus internationally, and already had tie-ups with Butler Hire in Australia and Atlantic Enterprises run by Shane McCarthy in London. During one of their visits to the UAE, Corfield and McCarthy had shortlisted
some ‘‘potentials’ t ti l ’ tto approach h iincluding l di Al Laith, on the recommendation of S&S regular Lee Charteris, operations manager at Abu Dhabi promoter Flash. The pair also met with Marshall who gave Al Laith the thumbs up, and to cut a long story short, they struck a deal. Serious/Atlantic agreed to send a quantity of their Orbit, Space Roof and Black
MEYDAN’S STING IN THE TAIL Al Laith Event Services’ first major production staged in Dubai was anything but ‘standard’. The company was contracted to supply and install a massive roof and stage at Dubai’s new Meydan racecourse that incorporated the track’s impressive trackside LED presentation screen for Sting’s recent concert in the emirate. After careful consideration, a 19.5m x 25m cantilevered flat roof was installed, d, which had to be rigged over the top of the 100m x 11m multi-million dollar permanently installed LED screen, leaving a 16.5 metre depth of usable roof space above the stage. Events Services and Serious Stages designed an elegant stage venue which ensured that audience members – those immediately in front of the stage, plus several thousand more packed into the new grandstands a few hundred metres back – had clear sightlines along the full length of the video wall for the entire proceedings. The roof ‘bird-cage’ support structure had to be dovetailed perfectly into
a very tight space, fitting in around the numerous power and services buildings behind the screen – whilst leaving access to all of them for maintenance and in case of emergencies. The Sting concert is just one of many major events the division has been involved in in recent months. In addition to playing a key role supplying staff and kit to the Wakestock wakeboarding festival in Abu Dhabi, the company was also involved in the Ultimate Fighting Championships at Yas Marina, where it delivered a large steel ground support system and roof. It also supplied equipment to the Il Divo concert staged at Emirates Palace.
MAY 2010 SAS
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PROFILE Deck systems, plus Luna and other PA towers to Dubai. With the convergence of these almost serendipitous developments, Marshall thought it an ideal time to pitch his commercial ideas to Nobbs. “I had been Al Laith’s client pretty much since starting with HQ,” explains Marshall, “The company provided manyy production elements for our events, so I knew the calibre of their offering, which is why I wanted to work with them.” Al Laith has built a myriad of scaffolding ng stages in its time, but having Serious’s spepecially engineered, modular designed, high h weight loading and wind-tolerant systems in the portfolio has taken them into a completely different category of event services provider. Al Laith’s facilities and ability to custom-build a range of staging equipment – in steel or aluminium – also makes it well placed to meet the more
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Meydan. Sting on stage at unusuall and idiosyncratic ded idi ti needs d off a d manding and highly competitive market such as the GCC. Marshall currently oversees 300 staff coordinated by four project managers – Jaco ‘JJ’ Trichardt, who also runs the office and operations, and Freya Downton, Jacques Smalberger and Ross Cameron.
Part of the deal with Serious Stages involves sending specialists from the UK to work on the larger systems. These specialists are also responsible for training the Al Laith crews to work on their stages and roofing systems. The plan is to ensure that stage/venue engineering and design consultancy is another service offered either integrally or as a stand-alone facility by Al Laith Events Services, maximising their knowledge of what’s possible and practical – and what isn’t – and how to deliver it. Marshall is considering expanding his team further over the summer in readiness for what he believes will be a busy autumn season. He also aims to ensure that Events Services becomes a self-supporting and top performing division of Al Laith, in the process undergoing a gentle contemporary style branding exercise to give the new division its own identity.
TECH TALK
LIGHT UP YOUR LIFE What is DMX-512? DMX-512 is the predominant theatrical lighting control protocol used in theatrical and architectural lighting control devices worldwide. DMX-512 has been in use since 1990. The protocol is so common that most dimmers produced today are manufactured DMX-512 compatible. There are dozens of manufacturers producing DMX dimmers from simple single channel 500-watt dimmers all the way up to 96 channel dimmers that can control over 200Kw of lighting load. DMX512 can simultaneously control up to 512 channels of lighting control - this group of 512 channels is generally referred to as a ‘DMX universe’. DMX-512 signals are traditionally car-
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ried by RS-485 twisted pair cables from transmitting devices to receive devices. DMX is transmitted at 250Kbaud with a maximum update rate of 44 times per second with 512 channels. DMX-512 transmitting devices are mainly theatrical memory consoles with manually operated faders used to program presets that are recalled by button press or automated sequence. DMX-512 receiving devices are mainly lighting control dimmers, RGB LED fixtures or moving light fixtures that read the DMX-512 transmitted signal and interpret the information as lighting levels, color hue or fixture position.
Wireless Control of DMX The term wireless DMX usually refers to
When it comes to professional lighting control, the predominant protocol is DMX-512. Historically, wireless methods of interfacing with DMX-512 have proven complex and costly, but with the use of energy harvesting technologies, a simple and effective control method has been implemented, write Brian Aikens of Echoflex Solutions and Bruce McIntrye of Luella Enterprises.
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DMX-512 FAST FACTS • The DMX-512 communications standard covers digital multiplexed signals. • DMX-512 was created in 1986 by the United States Institute for Theatre Technology (USITT). It was revised and refined in 1990. • It is the most common standard used in theatre and architectural lighting control applications. • As the name suggests, DMX-512 provides up to 512 control ‘channels’ per data link. • Serial data can be transmitted at distances up to 4000 feet over microphone-like cables. • DMX-512 data is transmitted at 250,000 ,000 bits per second using the RS-485 transmission i i standard d d over two wires. i
DMX-512 is suitable for controlling lighting and laser applications.
replacing the exl i th isting RS-485 DMX cables with a suitable wireless RF link. This requires a continuous RF signal usually utilising spread spectrum techniques. There are a number of manufacturers that already produce this type of wireless RF DMX link. However, a wireless RF DMX trans-
mission i i lilink k iis nott what h t we’re ’ referring f i to in this article. What has been implemented here is a method of DMX-512 ‘translation’ using the wireless UHF EnOcean protocol via the PTM based telegrams from momentary contact switches, though all EnOcean telegrams can be supported by this RF interface. This system has two main components:
the wireless interface/controller and the PTM switches. The PTM switches transmit standard wireless EnOcean telegrams which are received and processed by the interface, which then translates the received information into an industry standard DMX-512 data stream. The DMX data is then connected to any industry standard DMX device (usually a dimmer) where the DMX signals are interpreted and output as lighting levels. SAS MAY 2010
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TECH TALK industry standard DMX-512 controller or console can store ‘snapshots’ of scenes set up by the DMX controller for recall by PTM control stations. These scenes are repeatable lighting ‘looks’ created by adjusting DMX lighting control channels to create the desired combination of lights and levels. The number of DMX control channels per scene can be up to 512 channels. The fade time between scenes is a fixed three seconds (the fade time is factory adjustable). Scenes can be modified live by an up/down master PTM switch in 10% increments.
DMX-512 DEVICES There has been an increasing number of DMX-512 devices being released to market in recent years. The protocol has also been adopted by various industry organisations as an official standard, including the International Laser Display Association, despite the fact DMX-512 controlled laser products remain scarce on the market.
Specifications
Established technologies leveraging the DMX-512 protocol include: • Lighting dimmer packs • DMX to analogue converters • DMX-to-TTL and DMX-to-relay converters • Intelligent lighting fixtures.
Functionality of the Control Interface Current controllers have three modes of operation: a basic up/down dimming mode, an economical pre-programmed preset recall mode and the programmable ‘snapshot’ mode. Up/down dimming mode: this is the simplest Interface mode. The PTM switches function as manual dim up or dim down wn controls when pressed. Each press of the button smoothly dims up or down the pre-configured DMX control channels in increments of 10%. Each button can control up to 48 DMX channels. Pre-programmed preset
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recall mode: this is the most economical Preset Recall mode. Factory programmed scenes (combinations of lights and levels) are stored in the Interface and recalled by PTM pushbuttons with a three second fade between scenes. Each button can control up to 48 DMX channels. Programmable DMX snapshot mode - the Interface when used with any
PTM control stations are available with two, four or eight scenes. Multiple DMX ‘universes’ are possible using separate interface modules. The DMX interface has fully bi-directional communication capability for future use with RDM compliant devices. The interface is available in high and low voltage (class 2) versions.
Benefits A benefit of using wireless technology is that the information sent by devices is accessible anywhere in a room or space, not just along the wires. So components can be optimally positioned without concern for existing wires or the difficulty in getting wires to certain locations. It also allows a simple and cost effective method of upgrading and expanding current DMX based lighting control systems which are often located in large and extremely hard to wire buildings. Combining a wired DMX system with EnOcean wireless components allows an installation to benefit from both technologies.
Where do we go from here? W The addition of more wireless signal sources will allow for a wider variety of lighting control scenarios implementing devices such as photo sensors, occupancy d ssensors and time-based devices. T This research paper is kindly reproduced with permission from the Enocean Alliw aance. For more information check them out online at www.enocean-alliance.org o
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THE
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GUIDE
INSIDE This month’s hottest product releases, buyer’s guide and classifieds
K&F LOOKS TO REASSURE THE MARKET
MANUFACTURER: Adamson Systems HOT PRODUCT: Eklipsa horizontal arrays Released at P+S 2010, the Eklipsa array is available in 12-inch and 15-inch bi-amped versions respectively. Both arrays boast Adamson’s Advanced Cone Architecture together with its patented High Frequency Wave Shaping technology. Both transducers feature a progressive Kevlar cone geometry that reduces modal behaviour and provides an improved and linearised pass-band throughout the vocal range. The High Frequency Wave Shaping sound chambers ensure a uniform
wave front that does not interfere with the adjacent enclosures in the array. Each waveguide is loaded with a four-inch diaphragm neodymium compression driver providing what Adamson describes as extremely high output. Eklipsa also offers a very tight 18 degree x 60 degree horn pattern, ensuring multiple cabinets can be flown in a vertical array to further enhance Eklipsa’s flexibility. Adamson claims Eklipsa is primarily designed for touring companies, theatres, nightclubs and live performance venues that do not require the longer throw of a line source system. www.adamsonsystems.com
Kling & Freitag not only received plaudits for its raft of new products at P+S, but also for its new booth concept, which debuted at the show. The stand was marked by high columns and a huge elevated platform, and was designed to demonstrate the company’s resilience in the face of the recession, claimed sales manager Stefan Lenke. “We are proud to send the right signals [given] the present market situation. The booth visualised the current evolution at Kling & Freitag,” he added. The company debuted three new products at P+S: InstallSound, SONA SUB and NOMOS XLC. SONA SUB is a new subwoofer designed for the SONA 5, while NOMOS XLC is a cardioid 3 x 18“ subwoofer.
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MANUFACTURER: RER: Alcons Audio PRODUCT: L24 linearray Dutch loudspeaker manufacturer Alcons Audio created a major buzz on the showfloor with its new LR7 micro pro-ribbon line-array and LR7B micro line-array bass unit, as well as its Cinema Ribbon Monitor System (CRMS) threeway reference cinemaa sound array, which was previewed at thiss year’s ISE Show staged ed earlier this year. However, the most noteworthy product on display was the new LR24 pro-ribbon line-array system, which is a major development for Alcons and marks an important advance for the company within the
concert touring and conc large-scale installation larg market. Designed to mar deliver the same SPL deli prodas equivalent e ucts in the mid-size uct line-array category, line but bu with 15dB less distortion, the LR24 dis comprises a mid-size co three-way line-arthr ray and features an all-new pro-ribbon al mid-high transducer m platform; the LM24 pl low-frequency lo array-extension; a BQ211 high-imB pact sub; BC543 p crew io The Alcons Aud self-contained cars with the new sub array. dioid sub and the d ALC A Sentinel - a powerful four channel DSP-based controller with full Class D amplifier stages included onboard. The line-array is expected to ship later this summer.
MANUFACTURER: Martin Professional PRODUCT: MAC III Performance Martin has released the MAC III Performance, a flexible, high-output profile moving head with a new interleaved framing system with full crossover of each blade. The fixture also features the industry’s first continuous rotation for new and unlimited projection, framing and effects possibilities. Capable of creating a greater variety of shapes than competitive products, it is available as a standalone fixture or as a cost effective upgrade that installs in minutes on any existing MAC III Profile. The MAC III Performance includes Martin’s pioneer gobo animation system which allows for the projection of effect simulations such as rising flames, drifting clouds, driving rain, turbulent water and much more. The easy-to-swap module consists of a framing system with continuous rotation, shutter, iris, rotating gobo wheel (5 gobos), animation wheel and colour wheel. Additionally, a frost filter is supplied to replace the prism. www.martin.com
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'*-. '*-. $IFDL DJOFNB $IFDL DJOFNB UJNJOHT BOE SFWJFXT UJNJOHT BOE SFWJFXT GPS BMM UIF DVSSFOU GPS BMM UIF DVSSFOU SFMFBTFT JO %VCBJ SFMFBTFT JO %VCBJ
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BUYER’S GUIDE Sound & Stage brings you the full rundown of the best videoconferencing products on the market.
VIDEOCONFERENCING TECHNOLOGIES
FAST FACT
POLYCOM REALPRESENCE Polycom’s RealPresence Experience High Definition (RPX HD) telepresence system is undoubtedly one of the most impressive videoconferencing technologies available today, despite its premium price tag. The system is custom-designed as per individual client requirements and combines high definition video technology with a stereo surround-sound system. The unit is modular and is easy to install
and can be moved between different facilities as required. The 24:9 aspect ratio of the RPX 200 is designed to offer users the greatest visibility of the remotely location. As users enter the suite, colleagues can be seen in full view at the remote location. Even if they move to the second or third tiers of the presentation area, users remain in full view. Middle East Polycom distributor: FVC (UAE, Lebanon, KSA, Egypt, Morocco).
Polycom’s RPX HD is becoming increasingly popular with academic institutions and major corporations operating in the Middle East. The Qatar Foundation-associated Georgetown University School of Foreign Service was the first organisation in the region to install the videoconferencing system in early-2009. In the interim period, five more examples have found their way into regional organisations, despite the technology’s extravagant price tag.
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THE GUIDE SONY Despite the decision by Sony Japan to close its videoconferencing business in Europe in 2009, the technology division has retained its presence in the Middle East and Africa. Combining 1080i high definition capabilities and a high frame rate of 60 fields per second, Sony’s PCS-XG80 videoconferencing system offers impressive live video quality. The system is back-compatible offering users the flexibility to choose to connect with HD video quality through high bandwidth connections or by using their existing legacy SD systems over IP and/or ISDN. The PCSXG80 also features BrightFace technology, which is designed to improve video quality in poorly lit environments as well video annotation and RF remote features. The PCS-XG80 is an expansion of Sony’s current HD PCS group systems range and incorporates many of the functions and features of the PCS-HG90. From PowerPoint and animations to live DVDs, it allows users to share PC data in HD at 30 frames per second.
A dual stream functionality enables users to send two separate streams of live HD data in parallel. This allows the live camera view and a second data stream, such as a PowerPoint animation, to be displayed simultaneously in HD on two different screens or projectors at the remote site.
With the six-site multipoint conferencing capability, users can call up to five additional sites at any one time. The system also features multi-language support for 20 different languages allowing users to easily navigate through the menus. Wide-band stereo audio also enhances the overall meeting experience for users, delivering crisp and clear sound. Distributor: Sony Broadcast and Professional Middle East.
CISCO-TANDBERG Following the finalisation of Cisco’s takeover of Tandberg last month, the two companies revealed plans to integrate their respective videoconferencing technologies and streamline their product lines, leveraging their strengths under a new business division known as the Cisco TelePresence Technology Group. Cisco has confirmed it is developing an open architecture that will provide greater interoperability with Tandberg and third-party systems. This integrated architecture will extend standout features such as One Button to Push and Continuous Presence, as well as integration with leading unified communications platforms. These developments spell good news for customers of each company and
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should ongoing speculation h ld address dd l Cisco was planning to withdraw certain Tandberg products from the market following the takeover. The Cisco TelePresence System 3000 series, including the Cisco TelePresence System 3000/3010 and Cisco TelePresence System 3200/3210, will remain at
the t top of the new product pile, while p Tandberg’s mid-marT ket k personal systems will w continue to be made available, as m will w its Profile Series of o meeting room technologies. t Tandberg’s Cseries MXP codecs, set-top systems, PC video and highdefinition cameras willll serve as the basis for the new open h b platform. These offerings will continue to be available to integrators and their customers who choose to purchase customised systems that interoperate with current and future Cisco, Tandberg and third-party systems. www.cisco.com
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While the fate of the existing Tandberg-Barco high-definition videoconferencing platform remains uncertain given Cisco’s aforementioned takeover of the former company, industry speculation suggests Barco will most likely embrace Cisco’s open platform architecture, which is currently under development (see previous page). In the meantime, customers still have the option of purchasing the Tandberg-Barco developed 1080p HD tele-collaboration solution. The platform enables multiple desktop applications and productivity software, such as SAP, to be integrated with telepresence to deliver complete situational awareness. The videoconferencing package consists of Tandberg’s C90 Telepresence Engine and HD cameras, integrated with Barco’s user-friendly XDS Control Centre software suite. The multi-windowing software runs on a variety of Barco platforms, including LCD panels, projectors and single- or multi-channel projection systems. The latest of these is the XDC-3000, a single-projector 10 megapixel display system that allows users to visualise multiple sources simultaneously in their native resolution. www.barco.com
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MAY’S MUST-ATTEND EVENT PALME China 20 – 23 May China International Expo Centre Beijing, China Following hot on the heels of last month’s PALME Middle East event, PALME China returns to Beijing for its 18th installment. The pro audio, lighting and live event production industry forum is staged in conjunction with China Entertainment Technology Association (CETA) and China Technology Market Management & Promotion Centre (Sinotechmart).
VIDEO GUIDE Avid ProTools Instrument Expansion Pack Those friendly folks at Avid have released an explanatory video providing a step-bystep run-through of its latest instrument expansion pack. The humungous 55 GB pack features versions of five virtual instruments — Structure, Strike, Velvet, Transfuser, and Hybrid. To view the video, visit Avid’s YouTube homepage, located at www.youtube.com/user/avid
OR TRY THIS
The PAL Show May 16-17 Direct Energy Centre Toronto, Canada Canada’s largest annual trade event showcasing pro audio, lighting, mu sic entertainment, audiovisual and tech system s integration solutions.
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COMING UP IN NEXT MONTH’S ISSUE… PALME 2010 wrap-up All the news and views from this year’s PALME Middle East Convention and Exhibition in Dubai.
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BACK STAGE
I’m with stupid The following collection of quotes prove beyond doubt that some rock ‘n’ roll stars burn brighter than others...
“ am “I Classic C Rock R Revisited. R I revisit iit every waking w moment m oof my life because b spirit and it has the sp the attitude and the fire and the finger. I am Rosa Parks with a Gibson guitar.” Ted Nugent – better known for his lairy threads than his intellect.
“ lot “A oof rock bands are b truly a t legend in le their th own minds.” m B Backstage Old Boy David Lee Roth comes through with the goods yet again. w
“If you’re listening to a rock star in order to get your information on who to vote for, you’re a bigger moron than they are.” Alice Cooper – pure brilliance.
“If I saw an alien I’d tell it to **** right off because whatever planet he came from they wouldn’t have the Beatles or any decent ****ing music. So they can **** right off, I ain’t going nowhere with them.” Liam Gallagher at his diplomatic best.
“W are ffour artists “We i that know how to play our instruments and approach our instruments as true artists with the intent of enlightening other artists on how to approach their instruments.” Annoying Californians and thrice-hit wonders Incubus.
“Some scientists claim that hydrogen, because it is so plentiful, is the basic building block ck of the universe. I dispute that. I say there is more stupidity than hydrogen, and that is the basic building block of the universe.” Rock ‘n’ roll’s original genius Frank Zappa.
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“ I knew I “If was gonna w lilive this llong I would have taken h better care b oof myself.”
“ “Who wants to w hear our h opinion on o politics? p We’re W idiots!” id
Original Wildman Keith Richards.
KKiss’ Paul Stanley hits the nail on the head.
“W “We’re more m popular p than th JJesus.” John Lennon on The Beatles’ ubiquitous popularity in the ‘60s.
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ADVERTORIAL IBS GROUP
IBS GROUP TAKES STOCK WITH CHROMA-Q LED The LED division of IBS Group, a one stop supplier of cutting edge lighting and video solutions for the entertainment industry, has been appointed as the exclusive U.A.E. dealer for the award-winning Chroma-Q™ range. Chroma-Q LED products have gained a reputation worldwide for delivering high levels of performance, reliability and value. The brand has continued to set new standards in LED lighting since it introduced the revolutionary Color Block DB4 multi-purpose fixture in 2004. Whether it’s for concert and touring, theatre, film and TV, events and exhibitions, corporate or architectural projects, the Chroma-Q™ range of LED solutions provides users with an unrivalled choice of creative possibilities for all types of lighting applications. A demonstration of the latest Chroma-Q line up at the recent PALME Middle East show convinced IBS Group that it was the right brand to invest in for the future of this type of lighting technology. IBS Group Partner, Alan Scoley, commented: “Our aim is to provide the region’s largest, most up to date and diverse stock of leading LED products available today. We were impressed by the Chroma-Q brand as it has a proven track record through innovative products such as the Color Web and Color Block. It’s also continuing to push the creative possibilities for designers with new products such as the Color Force. It was therefore an obvious choice to
add Chroma-Q to our portfolio.” The new generation of Chroma-Q LED models feature advanced RGBA colour mixing and control management technologies. Together these provide a radically increased colour palette, a high CRI of at least 90 and theatrical grade dimming, all in the same fixture. Launched at the PALME Middle East show, the new Chroma-Q Color Force™ 72 / 48 range of 12,000 / 8,000 hot lumens LED battens is a super bright fixture which provides an extremely smooth, uniform coverage for washing areas up to 26ft / 8m high.
Also previewed was the new Chroma-Q Color Charge™, a 600 hot lumen, battery powered, wireless DMX fixture which is ideal for any indoor
temporary lighting application where wiring is a challenge or where install speed is critical, transforming a venue in minutes.
In addition to the LED range, IBS Group will support the full Chroma-Q line-up. Products include the Magic Box™ 19” rack mount range of EtherSwitch 7™ gigabit network switches and other data distribution products, playback devices, colour changers, gobo rotators and associated lighting accessories.
For more information on Chroma-Q products, please contact: IBS DECOR LLC (U.A.E. Sales) Tel: +9714 339 3459 Email: sales@ibsdecor.com Web: www.ibsdecor.com
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
Chroma-Q Email: sales@chroma-q.com Web: www.chroma-q.com
product range we reserve the right to change the specification without notice. E&OE. For further press information please contact James Molony, PR & Advertising Executive on +44 (0)1494 838321.
Editor’s note: The Chroma-Q brand has been innovating new standards in professional lighting products and accessories since 1996. The brand is renowned worldwide for delivering high levels of performance and reliability at an affordable price. The range includes award-winning LED lighting and visual effects products, as well as lighting accessories designed for entertainment and architectural lighting applications.
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IBS GOUP REPRESENT THE FOLLOWING COMPANIES: Proclick Event Flooring: Re-usable and fast to install. J&C Joel: Theatrical drapes and fire resistant fabrics. GTEK LED: Video Floor, Video Curtains & Video Screens. Chroma Q: Color Web & cutting edge LED theatre and event lighting.
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Setting New Standards in Professional Lighting Chroma-Q™ LED products are renowned worldwide for delivering high levels of performance, reliability and value. The new generation of models feature an RGBA radically increased colour palette, a high CRI of at least 90 and theatrical grade dimming, all in the same fixture.
Color Block 2™
Color Punch™
Color Split™
Color Charge™
Color Span™
Color Force™
Color Web™
Concert & Touring · Theatre · Film & TV · Events & Exhibitons · Corporate · Architectural For more information on the full range of Chroma-Q lighting products and high profile applications, visit www.chroma-q.com U.A.E. Sales Enquiries: IBS DECOR LLC P.O. Box 23566, Dubai, United Arab Emirates. Tel: +9714 339 3459 - Fax: +9714 339 3784 - Web: www.ibsdecor.com - Email: sales@ibsdecor.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.