KILLING TIME US act bans seating at Palace venue p07 GEARING UP Protec showcases its new tech inventory p12 BUYER’S GUIDE An essential guide to live sound monitors p35
THE YEAR THAT WAS 2009: A year to remember or a year to forget for the GCC live events industry?
THE DIRECTOR’S CUT Doha Tribeca Film Festival showcases stunning application of LED technology
FORMUL ASS
E C C U S F OR
iddle East M e th in ts n e v e e v li r raises the bar fo s e ri se rt ce n co F1 m Yasala
Vol: 3 Issue: 12 December 2009
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CONTENTS 16
December 2009 Volume 3, Issue 12 07 Regional News Killers call time on bench warmers; EV confirms UAE distributor shake-up; EMI launches post-gig download service.
10 The Director’s Cut Last month’s inaugural Doha Tribeca Film Festival showcased a host of cutting-edge LED technologies.
12 Gearing up Dubai-based rental company Protec displays the fruits of its latest tech investment.
16 COVER STORY: Yasalam F1 concert series We gain exclusive access to the production of the Middle East’s largest ever concert series event.
24 The year that was... Looking back on a memorable 12 months for the Middle East live events production and AV SI industries.
31 The Guide Hot products, conferences and events.
35 Buyer’s Guide Our essential buyer’s guide to the latest live sound monitors.
40 Backstage
10
12 24
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WEB LOG DPme.com
NOVEMBER’S TOP STORIES
MOST READ SOUND & STAGE NEWS STORIES
1 Killers call time on bench warmers
2 AV tech upstages Abu Dhabi F1 action
3 Dubai’s newest expo venue pitches for business
AV tech upstages Abu Dhabi F1 action
SOUND & STAGE EDITOR’S CHOICES
The Yas Hotel’s innovative LED shroud, containing 208,000 LEDs, proved a worthy distraction for spectators during the Abu Dhabi Formula 1 Grand Prix, particularly as the sun began to set and the lighting installation sprung to life. The main feature of the project’s design is a 217-metre expanse of sweeping, curvilinear forms constructed of steel and over 5,300 pivoting diamond-shaped glass panels which are illuminated via a sophisticated LED lighting system, providing an incredible combination of shades and colours. Elsewhere, spectators were treated to live video feeds and race updates on 14 high-resolution LED displays supplied by Belgian company Barco and worth a reported US$8 million.
1 twofour54 freelancer deal takes price war to Dubai
2 France approves threestrikes law for filesharers
3 Dubai precinct to house GCC’s largest LED screen
EDITOR’S CHOICES NEWS
IN PICTURES
STRANGEST MUSICAL COLLABORATIONS Last month’s Backstage proved a
YASALAM CONCERT SERIES The best images from this
big hit with DPme.com readers.
month’s cover story.
SPOT POLL
WHAT WAS THE MOST IMPRESSIVE EVENT STAGED IN THE UAE DURING 2009?
37.5%
31.3%
19.7%
ABU DHABI F1 GRAND PRIX
YASALAM CONCERT SERIES, ABU DHABI
COLDPLAY-ANDREA BOCELLI DOUBLE-HEADER LONG WEEKEND
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7.2% DUBAI DESERT ROCK FESTIVAL
4.3% DUBAI METRO LAUNCH
EDITOR’S COMMENT
Yasalam? Yas indeed! After arguably the toughest 12 months in the history of the GCC live events industry, it was fitting that last month’s Yasalam concert series – the largest of its kind ever staged in the Middle East – created headlines for all the right reasons. Steered by boom Abu Dhabi promoter Flash, the event brought together more than a dozen of the UAE’s leading live event organisations, including equipment rental companies, staging consultants, F&B suppliers, and lighting and sound engineers. The F1 concert series, which featured Kings of Leon, Beyonce, Aerosmith and Jamiroquai, in addition to various live events staged on the Abu Dhabi Corniche, showcased the combined talents of the industry to more than 500,000 punters and the world’s media, making a mockery of less stellar F1 concert events staged elsewhere. The sheer professionalism displayed by the production team, not to mention their camaraderie and good humour, is a reminder of what this industry can achieve when it puts its collective mind to it. With this month marking the conclusion of Sound & Stage’s third calendar year of publication, the success of the event was also a timely reminder of how far the UAE industry has progressed in this short space of time. From a relative backwater in 2007, the country’s
live events production sector has grown remarkably in terms of the technology and talent available, while Abu Dhabi and Dubai have consolidated their respective positions as destinations for world-class touring and one-off events. It’s also testament to just how far the commercial dynamics have shifted in the UAE, with the focus now squarely on Abu Dhabi, both in terms of live entertainment event production and multi-billion dollar AV systems integration projects. This month marks another bumper period for Abu Dhabi in terms of live events production, with US acts The Killers and Rihanna performing in the UAE capital respectively. The FIFA Club World Cup, which is set down for December 9 – 19, will also confirm Abu Dhabi’s growing reputation as a major stakeholder in world sport. The combined impact of these events means the UAE live events sector is well placed to enjoy a better than expected recovery in 2010, with many of the industry’s biggest players predicting Q1 to be their busiest period since the corresponding quarter in 2008. It’s highly likely the Abu Dhabi F1 and Yasalam will be remembered in the long-term as important catalysts for this recovery.
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THE BRIEFING
Killers call time on bench warmers EXCLUSIVE UAE music fans partial to tapping their feet from the comfort of stadium seating during concert events should avoid The Killers gig in Abu Dhabi on December 8, or wear comfortable shoes, event organisers have revealed. The US act has specifically requested the venue located at Emirates Palace be designed in a standing-room only configuration – a first for the outdoor arena which has hosted the likes of Coldplay and Christina Aguilera in recent years. “There won’t be any seats located in the venue whatsoever,” confirmed Lee Charteris, operations director for Abu Dhabi-
The Killers’ Abu Dhabi gig will be standing room only. based event promoter Flash. “They want everyone to stand up and they’re adamant about it. I think it’s great. It will be a different show to the likes of Coldplay. It’s in the same space but I think it will have a completely different vibe.”
Two days later, Flash will turn the venue around for the inaugural Creamfields dance music event, which will feature artists including Underworld and Calvin Harris. While production partners were yet to be confirmed by Flash at the time of
press, Charteris said the gigs, which come hot on the heels of the Yasalam concert series staged in conjunction with the Abu Dhabi F1 Grand Prix, highlighted Abu Dhabi’s budding reputation as the region’s top destination for live events. “I’m optimistic we’ll soon be producing major events monthly in the capital, and who knows where we’ll go from here,” he said. “There’s been a lot of talk about building an arena here, and I’m confident that will happen sooner rather than later.” “There’s definitely room for the live events market to grow in the UAE, particularly during the summer months.”
THE MONTH IN NUMBERS
155,000 255,000 200,000 TOTAL AUDIENCE FOR YASALAM F1 GP CONCERT SERIES
TOTAL AUDIENCE FOR YASALAM CORNICHE CONCERT EVENTS
ESTIMATED NUMBER OF VISITORS TO ABU DHABI F1 TRACKDAYS
NEWS BRIEFS
TRIANGLE INVESTS RODE RETURNS IN SHURE WIRELESS WITH $1 MIC DEAL Dubai-based rental company Triangle Entertainment Services has picked up a top-of-the-line Shure UHF-R microphone system for its live events business. The purchase also includes Shure’s PSM700 in-ear monitors. Triangle offers equipment rental services in the UAE and Lebanon.
RØDE Microphones has returned with its AU$1 mic deal, this time round offering customers a RØDE Blimp for the price of one Aussie dollar (US$0.90) with any purchase of a RØDE NTG-3 shotgun mic. Customers should log on to rodemic.com/ onedollarblimp for more info.
MENA FM RADIO SERVICES BOOM
A new AAG report has found stable growth in the Middle East radio broadcasting sector despite the recession. The report found that a total of 346 FM radio stations broadcast in 18 Arab countries, while private FM radio stations constitute 48% of the total local stations.
DUBAI SET FOR MASSIVE LED SCREEN
Work has commenced on a 300-seat amphitheatre and giant LED display screen which will form part of a mixeduse community project in Dubai. The LED screen will be housed in a steel airconditioned structure which, at 288 sqm, is about the size of a tennis court. DECEMBER 2009 SAS
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THE BRIEFING
Electro-Voice confirms UAE shake-up EXCLUSIVE Loudspeaker manufacturer Electro-Voice (EV) has attributed “rapid change” in the UAE pro audio market for its decision to part company with long-term distributor NMK Electronics in the UAE. The company revealed it would sever ties with NMK in April next year. Later in the month, it appointed rival Venuetech its new distributor in the UAE with immediate effect. Venuetech represents a range of well-known audio suppliers in the emirates, including L’Acoustics and Sennheiser. The development marks the end of a largely successful partnership between the partners, which peaked in 2006 with NMK being named distributor of the year by EV. The
Loudspeaker manufacturer Electro-Voice has appointed Venuetech its new distributor in the UAE. company also received the award in 2003, and was recognised with EV’s most improved sales award in 2005. “In the last few years, the pro audio market in the Middle East has changed significantly. In order to be able to continue to increase our market share with Electro-Voice we had to adapt our strategy,” said Klaus
Seitz, director of Sales Export for EV parent company, Bosch Communications Systems. While declining to delve too deeply into details behind the development, Chicco Hiranandani, NMK’s business development manager, said the companies’ respective strategies for the EV brand had “diverged” in recent months.
“As companies, we have different ways of seeing things,” he said. “They have their own long-term strategy for the region while we believed our strategy was working. We no longer think the same way so it makes no sense to keep knocking our heads together.” Hiranandani said the company had decided to reveal the split in an effort to avert adverse industry speculation. “In the five years I’ve been in this industry, brands have switched distributors many times – a situation which has generally led to a lot of rumours emerging,” he said. “My opinion is that regardless of whether it’s good news or bad news, if you are open and honest about it, it’s ultimately to your advantage.”
EMI LAUNCH PROMISES SENNHEISER CONFIRMS INSTANT GIG DOWNLOADS K+H INTEGRATION PLAN Music label EMI has launched its Abbey Road Live service, providing music fans the ability to download high-quality recordings of concerts just minutes after their conclusion. Produced and mastered via digital link by EMI’s legendary
Mute Records' Live Here Now service produced live concert recordings for groups including the Pixies.
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Abbey Road Studios, the recordings are available in formats including CD, DVD, USB or via download. Abbey Road Live is initially being launched in the United States and Europe, with other international markets currently under consideration. The service aims to build on the success forged by Live Here Now, a former offering from EMI subsidiary Mute Records, which produced instant live recordings for the likes of the Pixies, Depeche Mode and Blur.
Audio technology specialist Sennheiser has confirmed an internal shake-up that will see the rebranding and integration of its Klein + Hummel studio monitor and installed sound product range into the Neumann and Sennheiser portfolios respectively. “Neumann and Sennheiser are firmly established in the studio and installed sound areas and promise a much better market penetration than is currently possible under K+H,” said Sennheiser’s Volker Bartels. “Under these well-known
brands, we hope to increase sales of these products.” Established in 1945, K+H is recognised as one of Europe’s oldest pro audio specialists.
DOHA TRIBECA FILM FESTIVAL
The main screening area located at the Museum of Islamic Art.
DIRECTOR’S CUT The recent Doha Tribeca Film Festival showcased a host of cutting-edge event production technologies, with the highlight being an impressive LED ‘red carpet’ runway.
O
rganised by the Dohabased Museum of Islamic Art in conjunction with Qatar Museum Authority and New York’s Tribeca Film Festival, the Doha Tribeca Film Festival took in 11 separate venues across the city, each of which featured an impressive array of AV and event production technologies. Event organisers contracted Doha-based Creative Communication Group (CCG) and Dubai-based Creative Technology (CT) to supply the bulk of the kit required, which included HD projectors, LED displays and assorted pro audio and lighting tech.
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CT Dubai’s Mark Woodhouse was approached by production manager Sarah Whitmarsh and technical production manager Daryle Payne to provide video support for the event. CT ultimately provided 16 projectors from manufacturers including Christie, Barco and Panasonic, ranging from 10K HD to 30K HD. Each film screening was played back using Sony HDW2000 VTRs, which were also supplied by CT. CT Dubai supplied two Lighthouse 9x7 (49 m2) R7 LED screens, which were positioned at either side of the main stage located at the Museum of Islamic Art and were fed from an SDI source. Measuring 30m wide, 18m high and 32m deep, the stage featured a lighting rig consisting of Clay Paky Alpha fixtures supplied by CCG, which is also the Italian lighting manufacturer’s official distributor in Qatar. “The stage lighting rig was designed by LD Adam Bassett,” explains CCG managing partner Jalal Dudin. “Hundreds of Clay Paky units were installed in various venues across the city, including Souq Waqif and Doha City Centre Mall.”
Meanwhile, CCG’s significant investment in new pro audio and lighting technologies prior to the festival paid dividends for the company at the event. Expanding on the 148 Griven lighting fixtures already within its inventory, CCG purchased 12 Kolorado 4000s, four KolorGlobe MK2 7000s, six GoboStorm Plus’, 12 Parade D-RGB12s, 50 2k Fresnel lenses, 50 1k Fresnel lenses and 24 500W Fresnel lenses. “The architectural lighting installations located at the Museum of Islamic Art and Souq Waqif were powered by our Griven units,” says Dudin. In terms of audio, a full Dolby Surround Sound configuration utilising EAW loudspeakers was installed at the Souq Waqif and Museum of Islamic Art venues. “We installed EAW KF760s in a surround sound configuration at Souq Waqif and EAW KF730s at the Museum of Islamic Art,” explains Dudin. CT Dubai general manager Damien McGurn said the festival also presented an ideal showcase for the merits of HD projection and LED display technologies. “The outdoor displays located at the Museum of Islamic Art in particular proved a stunning platform for displaying the various films and live presentations during the event,” he says.
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Bright lights CCG’s rental division invested heavily in new lighting fixtures from Clay Paky specifically for use during the festival. Adding to its existing inventory of 300 Clay Paky Alpha Series fixtures, CCG purchased 22 Alpha Beam 1500s, 24 Alpha Spot HPE 1200s, 24 Alpha Wash 1200s and six Alpha Profile 1200s. The investment saw CCG become the largest rental supplier of Clay Paky fixtures in the Middle East. “During the past 12 months, our Clay Paky units have featured in a range of events staged in Qatar including the Vodafone IPO launch and the Qatar Gas2 LNG launch. For Tribeca, we cleared out our entire inventory of Clay Paky fixtures.”
DTFF executive director Amanda Palm er pictured on the red carpet.
NOT YOUR AVERAGE RED CARPET… CARPET The inaugural edition of the Doha Tribeca Film Festival kicked off on October 29 with the premiere of celebrated filmmaker Mira Nair’s film Amelia. DTFF rolled out a high-tech red carpet comprising 155,000 LEDs and constructed a 24-metre screen — the largest ever erected in
the Gulf country — for the festival. International film industry identities including Martin Scorsese, Ben Kingsley, Youssrah, Patricia Clarkson and Jeffrey Wright, attended the event. More than 5,000 Qatar residents turned out for the open-air screening of Amelia.
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KITTED OUT
GEARING Dubai-based Protec has invested more than US$2 million in new staging, AV, audio and lighting technologies in recent months as it looks to shore up its position as one of the UAE’s leading equipment rental companies.
Encore! Encore! One of the highlights of Protec’s AV investment upgrade is its new Barco Encore vision switcher. “It’s an awesome piece of kit, for sure,” says Protec’s AV technician, Kyle Woodroffe. “We’re primarily using it for widescreen blending in multiscreen configurations.”
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UP
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Stage stars
Staging flexibility
Like many professional rental companies, Protec boasts a number of second-hand staging technologies in its inventory, which it uses for oneoff events and special client requests. Highlights of this inventory include a stage riser and other kit used on Kylie Minogue’s Showgirl tour of 2005.
“Many production managers in this region take a very traditional approach to staging. Most of the time, stages erected for gigs here are square or rectangular,” says Robert Turner, Protec’s head of staging and special effects. “But because we have such a vast range of components, we can mix and match to create unique staging designs as per the client’s request.”
Trussed up The company recently purchased 500 metres of Total Fabrications SMD trussing, complementing a similar quantity of powder-coated black and silver XO trussing already within its inventory. The trussing is designed to accommodate a new roofing structure also purchased recently.
Clear as a bell We’ve also recently begun investing in Clear-Com technology,” says Ross. “We already had a large stock of Telex and RTS but all the products are compatible.” The Clear-Com intercom system includes a number of headset speaker stations, beltpacks, headsets, a telephone interface, two-way radio interface and a host of other accessories.
Broadcast boost Protec has substantially expanded its video production capabilities in recent months, picking up a raft of Sony professional broadcast products, including digital cameras, PPUs, and ScreenPro controllers. The equipment has been put to use at various events in Q4.
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KITTED OUT
V-Dosc champions From an audio perspective, the highlight of Protec’s spending spree is a comprehensive roster of L’Acoustics V-Dosc kit. “The V-Dosc combined with our existing [JBL] Vertec line-arrays puts us in the market to handle two or three major rock ‘n’ roll shows at once,” explains Protec’s head of audio Edward Ross. “We’ve purchased 32 V-Doscs – 24 subs and complementary DVs – which means we have enough equipment not to have to hire in additional kit for major concerts or events.”
Desk master Protec picked up a new DiGiCo D5 mixing desk prior to the summer. “We’ve done a lot of orchestral work in the past year, which the D5 is perfectly suited to,” says Edward Ross (pictured above). “It’s really easy to use and the sound quality it produces is incredible. We also used it during the summer break and it was very reliable.”
PROTEC NEW EQUIPMENT INVENTORY Staging Equipment and Security: 4km of Heras fencing, including pedestrian access gates and vehicle access gates. 200 metres of black Total Fabrications Serious medium duty truss. 300 metres of black Total Fabrications XO truss. Total Fabrications roof, 18m x 12m with 9m. PA/Video wings all in black truss complete with wall panels.
Audio: 32 x L’Acoustics V-Dosc speaker enclosures. 12 x L’Acoustics DV-Dosc speaker enclosures.
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Visual: Full-spec Barco Encore presentation system, consisting of large and small controllers. 3 x VP 3ME and 4 x VPX 3ME processors. RGBHV, DVI and STI matrix. Screen pro 2 with blend pro and screen pro 2 controller. Sony camera PPU system. 4 x Sony D55 (16:9 and 4:3) cameras. 2 x Sony BRC-300P Dome cameras with a controller. 300 x Pixeline 1044 and 110 LED battens.
COVER STORY
REDLINE
FEVER
With the eyes of the world focused on Abu Dhabi last month as the UAE capital staged the country’s first ever Formula 1 race, leading event production companies headed by Flash took the opportunity to showcase the industry’s collective talents by staging the region’s biggest ever concert series, Yasalam. Aaron Greenwood reports.
B
ig names, landmark venue, cutting-edge tech. Three key factors that combined to generate the significant hype surrounding Yasalam, the Middle East’s biggest ever concert series staged in conjunction with the inaugural Abu Dhabi Formula 1 Grand Prix. But behind the scenes, the success of the massive production, which was headlined by Beyonce, Jamiroquai, Kings of Leon and Aerosmith, relied on the cooperation of a bevy of UAE-based event production technology and service suppliers, technicians and crewing companies. Abu Dhabi-based event promoter Flash recruited a veritable who’s-who of the UAE production services industry to stage the concert series. Dubai-based equipment rental companies Protec, Creative Technology (CT), Delta Sound and Techno Pro supplied pro audio, lighting and AV technologies; Al Laith Scaffolding, CEM, Byrne Rentals, WTF Rentals and Harlequin supplied venue and staging infrastructure; while safety, security and catering personnel requirements were met by Spark Security Services, Gulf Crewing and The Event Safety Shop. At least seven other companies combined to provide an assortment of associated services. “The driving force for us in putting together these events was showcasing the talent and professionalism of the local production industry,” says Flash operations di-
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rector Lee Charteris, who assumed the role of event director for Yasalam. “From the outset, I was determined to use local suppliers, not only because it meant I could get more for my dirham, but I also wanted to prove to the bands and their crew that the technology available in this region is world-class. To put on shows of that stature four days running is proof of our capabilities as an industry. Part of our remit at Flash is about encouraging its development at a grassroots level. “I’ve worked with Protec many times before, not to mention Al Laith, CT and Delta. Andy [Jackson, Delta Sound Dubai director] is the most experienced sound technician working in the UAE. We had a meeting in the months prior to the show where I explained what we were trying to achieve, and everybody was very supportive of our vision. “I’m really thankful to all the suppliers – I said to them this was the best opportunity all of us would ever have to showcase our talents to the world, and they all chipped-in in that respect.” Planning for the massive event commenced in July, when the construction of the Yas Marina Circuit and Ferrari World theme park – the site of the concert venue – was still in full swing. In fact, the racetrack itself wasn’t officially completed until the beginning of October, while the theme park was still under construction just weeks before the concert.
“Three or four months ago when I first visited the site it was pretty much a construction zone and I was really concerned about how we would pull it together,” says Charteris. “But once we got access to the site in October, everything came together fairly quickly and painlessly.” Ferrari World’s imposing structure provided the perfect backdrop for the outdoor
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Kings of Leon (top) performed on the penultimate night of the series, while Aerosmith rounded out the final night’s event.
More than 150,000 people attended the four-day concert series.
“[The L’Acoustics V-DOSC array] is a world-class [PA] system and it sounded amazing in the venue, particularly with the delay stacks. All the crews were happy using it.” - Andy Jackson, Delta Sound Dubai director. venue. The design of the stage was unique compared to anything else previously constructed in the UAE. While the building’s southern wing span provided overhead coverage, two thrusts, located left and right of stage and mirroring the shape of the roofline, expanded the central stage area considerably. “We had this spider design in mind. I wanted to construct a stage that all the artists would be impressed by and happy to perform on,” says Charteris. “The stature of the acts performing meant we faced the likelihood of each them coming to us with separate demands if the venue wasn’t
up to scratch. So, we had to ensure any doubts they may have had were dispelled by the design we presented to them.” The design of the stage and venue itself fell to production designer Steve Shipman, a partner in Dubai-based CleanEdge Events. Shipman says the initial brief from Charteris specifically stated the design should be “unconventional”. “Lee didn’t want a roof or a front truss – he was specific in that he wanted a massive stage and backdrop equipped with loads of LEDs,” says Shipman. “Because it was Flash’s event, it was my first real opportunity to get involved in de-
signing the venue, which is something I have been involved in at many shows in the past,” adds Charteris. “When you look at some of the really big shows by the likes of Genesis, U2 or the Rolling Stones, they don’t really use conventional boxed roofs anymore. “Steve was a great person to get involved in the design process. That was probably the most satisfying thing about this particular event – the fact Steve and I drew this design on a piece of paper and three months later there it was for all the world to see.” Following his initial discussions with Charteris, Shipman contacted Dubai-based Digilight, which took his initial designs and developed them further “to include the funky shape of the wings and stage thrusts”, he says. “The guys at Digilight do a lot of really clever work in regards to visual mapping and projecting images on to odd shapes,” Shipman explains. “Many of the design elements changed as and when we began SAS DECEMBER 2009
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COVER STORY
Start your engines!
While the Yasalam concerts proved a worthy distraction off the track, the spotlight remained firmly on the inaugural Abu Dhabi Formula 1 Grand Prix, with a capacity crowd of 55,000 flocking to the final race on the F1 calendar. While Red Bull’s rising star Sebastian Vettel took the honours on the day (pipping S&S’ favourite Queanbeyan-lad-donegood Mark Webber), the Yas Marina Circuit, cloaked by the hugely impressive Yas Hotel and marina, remained the stunning centrepiece of the entire event. The Yas Hotel’s hugely impressive LED shroud, containing 208,000 LEDs, proved a worthy distraction for spectators perched at the marina end of the track, particularly as the sun began to set and the lighting installation sprung to life. The LED array was conceived by architect Hani Rashid of Asymptote New York and designed in conjunction with Dutch firm Arup Lighting. The technology used
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in the project was sourced from UK-based architectural lighting firm Cooper Lighting and LED manufacturer Enfis Group. Highlights of the design include a 4.2 billion colour palette, with two-way communication providing real-time monitoring of fixture temperature, colour and energy consumption, as well as DMX remote control. The main feature of the project’s design is a 217-metre expanse of sweeping, curvilinear forms constructed of steel and more than 5,300 pivoting diamond-shaped glass panels which are illuminated via a sophisticated LED lighting system, providing an unlimited combination of shades and colours. More than 5,800 Enfis LED arrays were sourced for the lighting installation, predominantly consisting of Enfis four-channel UNO Plus arrays and control drivers integrated into custom-designed IP65-rated stainless steel stanchions. Elsewhere, spectators were treated to live video feeds and race updates on 14 high-
resolution LED displays supplied by Belgian company Barco and worth a reported US$8 million. The 10mm and 14mm SLite LED outdoor displays, which are fitted in air-conditioned surrounds, were scattered about the Formula 1 racetrack. “Barco’s outdoor LED has extremely good viewing angles. [They] displayed the live action perfectly even in the bright Abu Dhabi sunlight,” comments Mohammed Al Mubarak, CCO of Aldar Properties. Off the track, Dubai-based IBS Décor designed and constructed VIP amenities for Philip Morris and another on behalf of Dubai-based events company, HQ Creative. “Everything went well even despite a few last-minute issues,” says IBS Décor chief Alan Scoley. “It was difficult getting site access prior to the event which made things a little challenging. “However, considering it was totally new territory for all of us, it was amazing how smoothly the event ran on race day.”
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Do you want a ‘Rubber Box’ or a box made out of rubber?
Pictured (l-r): CT GM Damien McGurn, CleanEdge’s Steve Shipman, CT’s Anna Cattaneo, Yasalam production manager Malcolm McInnes, Al Laith’s Jaco Trichardt, Gulf Crewing director Nigel Beaton, Yasalam event director Lee Charteris, Delta Sound director Andy Jackson and Protec’s Rick Wade.
“In the end, it was a brilliant success, but even after 30 years in the business, I look back on each gig and think I could have done something differently. But that’s what keeps the job interesting for me.” - Lee Charteris, Flash operations director/event director, Yasalam. installing the PA and taking into account some of the other design elements.” The end result incorporated more performance technology than any other temporary venue previously constructed in the Middle East. “We committed to installing a massive amount of video tech, more lights than any previous gig we’ve ever staged, delay stacks and delay LEDs towards the rear of the amphitheatre,” says Charteris. “However, for me personally, the stage thrusts were the highlight, given how they mirrored the overall design of the Ferrari World awning. The best vantage point probably would have been from one of the helicopters that hovered over the venue before and during the event. “We tailored the venue every day slightly for each act on the bill, just to keep things fresh. For example, some bands
brought along their own monitors, while others were precise in terms of where they wanted the LEDs to be set up on stage. But within reason, everyone was happy with the basic set-up.” Delta Sound Dubai supplied a full-scale L’Acoustics V-Dosc line-array to the event, complemented by Yamaha desks, despite each act discounting Jamiroquai bringing along their own control systems. Protec chipped in a number of its own brand new L’Acoustics stacks, which were located in delay towers positioned to the rear of the venue providing fill. Despite the seemingly hectic surrounds, ever laidback Delta Sound Dubai director Andy Jackson described the load-in and preproduction as “quite relaxed”. “It was relatively fuss-free,” he says. “Once the boundary fencing went up we were pretty much self-contained.”
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COVER STORY
KIT LIST, YASALAM F1 CONCERT SERIES, ABU DHABI DELTA SOUND SUPPLIED Audio System 46 x L’Acoustics V-Dosc 18 x L’Acoustics DV Dosc 40 x L’Acoustics 218 Subs 4 x L’Acoustics ARCs 12 x L’Acoustics XT112 14 x Audio Analyst 12FR 80 x L’Acoustics LA48a Amps 4 x L’Acoustics La4 Amps 12 x Crown 1202 Macrotech Amps 2 x XTA DP448 8 x XTA DP226
Control 1 x Yamaha PM4D RH 1 x Yamaha M7CL V2 4 x Yamaha PW8000 PSU 1 x Digidesign Profile x/w Protools 8 1 x Yamaha O1V Mixer 2 x Denon CD players 4 x BSS160 Blu Soundwebs 1 x JBL Smaart system c/w DBX Analyser
PROTEC SUPPLIED Stage 30m x 16m Layher stage at 2.2m high 2 x thrusts 10m long each at 1.2m high
32 x 3m Total Fabrications 18” tower section black 8 x Total Fabrications sleeve blocks black 12 x 2m Total Fabrications 18” tower truss 4 x 1m Total Fabrications 18” tower truss 14 x 0.5m Total Fabrications 18” tower truss 10 x 6 way 18” corner block
Main stage lighting 46 x Clay Paky Alpha spot HPE 1200 watt 44 x Clay Paky Alpha wash 1200 watt 52 x Diversatronics 3K strobe 20 x 7K space canon 20 x Clay Paky Alpha beam 300 watt 34 x 8 lite Thomas Molefay 22 x 1044 Thomas pixelline 4’ battens 308 x Par 64 long nose black par cans 20 x 2500 watt city colour
Audience lighting 264 x Par 64 long nose par cans 24 x 2500 watt city colour
Follow spots 2 x Strong Super Trouper 2 4 x Strong Gladiator 3
WYSIWYG 1 x Grand MA full size console 1 x WYSIWYG software
Rigging 50 x 1 tonne lodestars 52 x 3m Total Fabrications Serious Medium Duty black truss 10 x 2m Total Fabrications Serious Medium Duty black truss 2 x 1m Total Fabrications Serious Medium Duty black truss 16 x 3m Total Fabrications Extra Heavy Duty black truss 4 x 2m Total Fabrications Extra Heavy Duty black truss 2 x 1m Total Fabrications Extra Heavy Duty black truss
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Grass Valley digital PPU BAL Prisim 8-input multiviewer SDI/composite RTS BP325 & Beyer DT108/109 RTS PS15 wired comms PSU
Camera channels Sony DXC D50 camera channel Sony BVP-E30 digital camera channel
Lenses Vinten Vector 750 tripod Canon J70 x 9.5 telephoto zoom
Record playback GVG Turbo iDDR disk recorder system (HD) GVG Turbo clip recall box Samsung 203B 20” 14500x1050 TFT monitor DVI/D
Accessories Zandar DX 16 multiviewer Fibre Barco/Folsom image PRO c/w SDI (HD) Procon six-way 400MHz RGBHV CSI 3150 HDSDI fibre transmitters CSI 3151 HDSDI fibre receiver 150m 2 core fibre optic cable Kramer 4-way DVI DA Snell & Wilcox six-way comp VDA Toshiba IK UM51H miniature camera system Panasonic WV-CD 130L minicam
Control 2 x Grand MA full size lighting console 3 x Grand MA Media server
CREATIVE TECHNOLOGY SUPPLIED Centre-stage LED screen: 12 x 9 Lighthouse R7ER panel Front of house: 6 x 5 Lighthouse R7 ER panel
MAINS Mains distro kit 63a 1ph MDU 63a 3ph to 3 x 63a 1ph mains converter 63a - 63a mains 1ph (15m) 125a - 125a mains 3ph (10m)
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Jamiroquai headlined the second night of Yasalam, following on from Beyonce’s hugely popular opening night performance (right).
Jackson also says his team’s task was made easier by the fact that the assembled international production crews were entirely happy to use the V-Dosc installation. “It’s a world-class system and it sounded amazing in the venue, particularly with the delay stacks,” he says. “All the crews were happy with it.” Charteris agrees with this assessment. “I did have a few concerns prior to the event in terms of the sound quality, given the size of the venue and the shape of the roof, but all the engineers were really happy with it,” he adds. Events manager for rigging contractor Al Laith Scaffolding, Jaco ‘JJ’ Trichardt, said his team’s job was aided by Ferrari World’s high-quality design and construction. “We had all the scaffolding installed within three or four days,” he explains. “It was a relatively simple process. The Ferrari World building itself is beautifully constructed and exact in terms of the dimensions we were provided by [Ferrari World master developer] Aldar. The calculations we made prior to the concert series proved spot-on.” While the event marked the first major outing for Protec’s L’Acoustics system, it also represented one of the first significant applications of the company’s new allblack trussing, manufactured by UK-based Total Fabrications. “It made such a difference in terms of the stage’s overall visual impact,” says Protec operations director Rick Wade. “It also ensured the audience’s attention remained largely focused on the LED backdrop, and of course the artists themselves.”
The vast majority of the LED display technology used during the concert series was supplied by Creative Technology. The sheer scale of the LED installation was memorable for more reasons than one, says CT general manager Damien McGurn. “While it wasn’t a particularly challenging install for us, it’s important to note that up until a year or so ago, most of the LED display technology used at the event would have had to have been flown in. “However, in the past 12 months we’ve invested a great deal in expanding our LED inventory locally, and a lot of it has been used in this production. “Having the kit based in Dubai has been working really well for us. Effectively, in the past two months, we’ve had 600 sq metres of LED screen located in the emirate.” Ultimately, Yasalam’s success was evidenced by the overwhelmingly positive response of the 150,000+ punters who attended the concert series. “The event’s lasting success is testament to the commitment of all those who were involved in making it a reality,” says Charteris. “That even applies to the guys at Aldar. Many months ago, [Aldar Retail and Theme Park development director] Phil Richardson suggested to me what a great place [Ferrari World] would be for a concert. He’s a visionary, for sure, because at that point in time there was nothing here.” “In the end, it was a brilliant success, but even after 30 years in the business, I look back on each gig and think I could have done something differently. But that’s what keeps the job interesting for me.” Importantly, Charteris believes the conSAS DECEMBER 2009
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COVER STORY
The venue, shadowed by Ferrari World.
YASALAM F1 CREW CREDITS Promoter: Flash Event Director: Lee Charteris
Concert Staff Production Manager – Malcolm McInnes Production Designer – Steve Shipman (Cleanedge Design) Site Coordinator & Stage Manager – Nigel Beaton Backstage Manager & Artist Liaison – Jane Martinez Production Coordinator – Katie Maddison Site Assistant – Gavin Johnston Site Assistant - Gordon Vaz Assistant Stage Manager – Candice Diezel Production Runner – Mohammed Asif, Forth Dimension Ground Transport Assistant – Matt Lecuyer
Production & Site contractors Staging & Lights – Protec Video – High res – Creative Technology Video – Low res – Techno Pro
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Sound – Delta Sound Dubai Power – CEM Scaffolding/Fencing/Plant hire – Al Laith Cabins/Stage Barrier – Byrne Rentals Stage Barrier / Buggies – WTF Rentals Tents – Harlequin Furniture – Catertainment Signage – Col Arts Concert Banners – Thin Red Line Ground Transport – Travel Tec Backstage Catering ADNEC – Kate Lee Production & Site crew – Gulf Crewing Company Security – Spark Security Services Ushers & Merchandise Sellers – Vibes Health & Safety – The Event Saffety Shop – Tim Roberts Freight / Logistics – EFM – Chris Lumb
c series’ lasting legacy will be to cert cchange perceptions internationally of Abu Dhabi and Dubai as cashed-up oneA off destinations for major Western artists. o “Historically, most shows here have been destination concerts, and many of be these guys have come here solely for the th money, but things are changing,” he says. m “Now, we’re finding a lot of acts who are on their way to Australia or Asia are looking to put on shows here, and if this trend increases all promoters and their production partners in the UAE will benefit.” Charteris is also cautiously optimistic about the opportunities available in the market through 2010 and beyond. “Looking forward, I’m optimistic we’ll soon be producing major events monthly in the capital, and who knows where we’ll go from there,” he says. “There’s been a lot of talk about building an arena in Abu Dhabi, and I’m confident that will happen sooner rather than later. There’s definitely room for the market to grow in the UAE particularly during the summer months.”
YEAR IN REVIEW
2009 A year to forget?
Despite the recession dominating the headlines and commercial sentiment, 2009 remained a landmark year for the live events production industry. Here, we look back on the best and worst aspects of the year that was… he year that was… Following on from arguably the most successful year in the history of the GCC live events production industry, the ominous clouds of recession rolled into sight in January. Despite many believing the region would be sheltered from the full effects of the economic downturn, those in the know began planning for the worst. Ironically, while previously exuberant Dubai took the full brunt of the recession, Abu Dhabi cast off its traditional conservatism to stage worldclass entertainment events culminating in last month’s hugely successful and equally impressive Yas Island F1 Grand Prix and Yasalam concert series. In the process of this transformation, Abu Dhabi has managed to steal the
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mantle from Dubai as the region’s top live events destination, and is set to consolidate this position with further major events planned in 2010. Staring into the crystal ball, it’s easy to predict Dubai will find itself in the uncustomary position of playing second fiddle to the UAE capital for years to come, particularly if the Abu Dhabi government’s pledge to spend more than $1 trillion on infrastructure investments – including cultural and entertainment facilities – over the coming decade is realised. Despite this, the industry’s fate in both emirates remains intrinsically entwined, as evidenced by the sheer number of Dubaibased technology suppliers, rental companies and production personnel benefiting from the boom in business in Abu Dhabi. Elsewhere in the region, massive con-
struction projects including King Abdullah Economic City in Saudi Arabia, The Pearl and Education City in Qatar and the upcoming $7 billion Water Garden City in Bahrain are positioning the GCC region as a world leader in the development and implementation of cutting-edge AV infrastructure technology. Indeed, professional AV systems integration projects have remained the lifeblood of the regional entertainment and communication technologies sector during the economic downturn. With economic sentiment improving in the final quarter of 2009, our industry can look to 2010 with cautious optimism. The trials collectively endured this year will ultimately deliver a more resilient – and stronger – professional community all stakeholders stand to benefit from.
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TOP 5 MIDDLE EAST AV PROJECTS OF 2009
DUBAI MALL, DUBAI, UAE An S&S Award winner for 2009, the Dubai Mall features one of the largest commercial installations of LED lighting and presentation technology in the world. A fittingly OTT installation for the largest shopping mall on the planet.
EDUCATION CITY, DOHA, QATAR The massive Education City precinct in Doha is home to the largest single concentration of higher education institutions in the Middle East. Each facility is kitted out with the latest AV technologies, including realtime telepresence solutions. Beam me up, Scotty!
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YAS ISLAND, ABU DHABI, UAE Abu Dhabi’s $36 billion mixed-use development was officially launched last month, with the inaugural Abu Dhabi F1 Grand Prix showcasing the precinct’s undeniably impressive infrastructure, including widespread use of cutting-edge LED technologies.
TOP 5 LIVE EVENT PRODUCTIONS OF 2009
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YASALAM CONCERT SERIES – FERRARI WORLD, ABU DHABI, UAE, NOVEMBER Easily the biggest concert series of the year, the Yasalam F1 Concerts showcased first-rate headliners Beyonce, Jamiroquai, Kings of Leon and Aerosmith. Staged beneath the massive arch of Yas Island’s Ferrari World, the gigs were truly world-class and confirmed Abu Dhabi’s arrival as the region’s top destination for live events.
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MEYDAN, DUBAI, UAE When completed in Q2, 2010 Dubai’s massive Meydan development is set to be one of the world’s most advanced equestrian facilities. Boasting a full media-matrixed network linking multiple facilities including a 60,000 seat grandstand, Meydan is also a showcase for the latest AV technologies on the market.
KING ABDULLAH UNIVERSITY OF SCIENCE & TECHNOLOGY, JEDDAH, SAUDI ARABIA Saudi Arabia’s first co-ed university is also a landmark development for the Kingdom in regards to AV infrastructure. The fully networked campus is one of the most advanced in the world, with multiple telepresence technology implementations.
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COLDPLAY/ ANDREA BOCELLI, EMIRATES PALACE, ABU DHABI, APRIL Coldplay’s first concert on Middle East soil coincided with the wildest weather seen in the UAE capital for years. Yet, the freak storm failed to dampen the spirits of the 15,000strong crowd. The success of both gigs was a triumph for the locally sourced event production team, led by Flash’s Lee Charteris.
2 CELEBRATE LIBYA, TRIPOLI, LIBYA, SEPTEMBER Dubai-based Al Laith Scaffolding combined with UK-based Serious Stage and Atlantic Enterprises to construct one of the largest temporary stages ever erected for this controversial event celebrating 40 years of rule by Colonel Muammar Al Gaddafi. Stage Stats Capacity: 5246 sq metres; width: 122m; depth: 43m; height: 27m.
DESERT ROCK FESTIVAL, FESTIVAL CITY, DUBAI, UAE, MARCH Inspired by the raucous promise of Motorhead, a crowd of 10,000 turned out for this year’s Desert Rock Festival in Dubai. The event showcased Al Laith’s recently acquired allsteel monster stage, whose 50 tonne capacity came in handy for supporting the massive lighting rig consisting of more than 100 pars, as requested by Lemmy and Co.
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GULF BIKE WEEK EXPO/DEEP PURPLE, DUBAI MEDIA CITY, UAE, MARCH Featuring a headline performance by rock legends Deep Purple, this year’s Gulf Bike Week Expo was the biggest instalment of the event to date. Organiser Live Nation drafted in more than 14 UAE-based event management companies to ensure the success of the expo.
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YEAR IN REVIEW
As time goes by… Economic woes aside, 2009 was still a top year for live events.
JANUARY The year’s first cover story featured George Michael rocking Abu Dhabi while the rest of the issue included comprehensive wrap-ups of December events including the Dubai Sevens and the Abu Dhabi Jazz Festival.
MARCH With the full impact of the recession being felt in the major markets of the UAE, Qatar and Saudi Arabia, S&S surveyed key industry stakeholders to uncover what strategies they were implementing to ride out the downturn.
MAY UAE-based event production gurus Rick Wade (Protec), Lee Charteris (Flash) and Jaco JJ Trichardt (Al Laith Scaffolding) discussed tthe challenges presented by the unseasonably wild weather that iimpacted the Coldplay – Andrea BBocelli double-header weekend in AAbu Dhabi.
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FEBRUARY The production of Freej Folklore snared the February cover, while architectural lighting technologies and design techniques dominated the remainder of the issue, with local projects including Tehran Azadi Tower featuring prominently.
APRIL A Returning R to our rock roots, the April ccover featured Motorhead living llegend Lemmy Kilmister performing att tthe annual Dubai Desert Rock Festival.. TThe rock theme continued with inddepth coverage of the Gulf Bike Expo aand Deep Purple gig in Dubai.
JUNE The Sound & Stage Award winners for 2009 dominated the June issue. Standout AV design projects included the Dubai Mall for its widespread use of LED presentation tech, while individual winners included Lighthouse’s Terry Miranda for lighting designer of the year and Delta Sound’s Martyn Ward for sound engineer.
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SEPTEMBER Our UAE AV installation showcase not surprisingly proved one of the most popular cover stories of the year, given the sheer volume of work on offer to tech suppliers and systems integrators in the country. Elsewhere, a mild revamp saw a host of new sections incorporated into the magazine. Rock on!
JULY The S&S crew tossed the black t-shirts, frocked up and headed to Dubai’s ultra-bling $35 million Cavalli Club for July’s cover shoot. Elsewhere, we sought out key stakeholders to discuss mandating event safety practices developed for the industry by the industry. AUGUST With the summer lull effectively putting pay to live events, we headed to Dubai’s newest nightclub Sanctuary for the August cover, showcasing the venue’s extensive use of LED technology. Our annual Glastonbury production showcase returned for another year, thankfully without the controversy that followed the 2008 review. Don’t mention the war…
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DECEMBER Fairly self-explanatory if you are holding this month’s edition of S&S! The sheer volume of projects set to fare in the next couple of months would suggest the industry is set to enjoy a resurgence in Q1, 2010.
OCTOBER The launch of the Dubai Metro led coverage in the October issue, while our special investigation into the state of the live events industry in Dubai proved a sleeper hit with readers and a controversial addition to the digitalproductionme.com slate.
NOVEMBER Our special Qatar country focus, ocus which showcased the country’s rapid transformation into one of the region’s most advanced AV SI markets, dominated the November issue, while interviews with Nervecell and AES luminaries kept the rock spirit alive.
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STEP INTO DIGITAL DJÂ’ING
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THE
THE GUIDE
GUIDE
INSIDE This month’s hottest product releases, buyer’s guide and upcoming events
ALL ABOUT… Mixed up Peavey XR series
HOT PRODUCT: MSC1 monitor system controller MANUFACTURER: JBL WHAT’S THE DEAL?
downloads corrective filter coefficients to the MSC1 and balances the primary speakers and subwoofer within a 1/4 dB of each other. Following calibration, the MSC1 operates as a stand-alone unit without the need for connection to a computer.
Essentially, the MSC1 is JBL’s compact answer to complex room monitoring tech typically found in large mixing consoles. Since acoustic issues can compromise the quality of the mix, the MSC1 includes JBL’s third-generation room mode correction (RMC) technology that tunes the monitor system to overcome low-frequency room problems that can affect the overall quality of the mix.
MULTITASKER:
HOW DOES RMC WORK? During the RMC calibration, the software analyses the studio dynamics, calculates and
The MSC1 offers users the ability to monitor up to three two-channel input sources, such as a mixing console, computer workstation, and personal music player, while controlling the overall volume of the monitor system and connected headphones. The MSC also provides connections for two sets of speakers and a subwoofer. ON SALE: Now VERDICT: Nifty and quite the bargain at US$375.
Peavey has introduced two new mixers to its XR Series poweredmixer line, the XR 1220 console and rack-mountable XR 1212. Both consoles feature dual 600 watt, class D power amplifiers that can be configured into five operating modes: left & right; left & right with subwoofer; main & monitor; main & monitor with subwoofer; and monitor 1 and monitor 2. The power amps deliver maximum wattage to each side in all modes, and those modes with a subwoofer option have a built-in fourth-order crossover that sends all frequencies below 100Hz to the sub output and everything above 100Hz to the internal power amps. VERDICT: Worthy additions to the XR range.
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THE GUIDE
PRODUCT: Yeti MANUFACTURER: Blue Microphones STUPID NAME. WHAT’S THE STORY? Yep, the name smacks of marketing tosh, but look beyond that and the technology featured in the Yeti makes
PRODUCT: B4-SUB MANUFACTURER: d&b audiotechnik THE STORY SO FAR… In 2008, d&b audiotechnik’s patented design of a unique cardioid technique using only one amplifier channel found its way into the B4 subwoofer. Being the first utilisation of this patented technique the B4-SUB is really quite unique. TALKING TECH: The B4-SUB enclosure houses two long excursion neodymium drivers: a 15 driver in bass-reflex design facing to the front and a 12 driver in a two chamber bandpass design radiating to the rear. The design reduces unwanted levels behind the cabinet by more than 15dB over its entire operating bandwidth and provides strong lowfrequency reproduction extending from 40 Hz to 150/100 Hz.
APPLICATIONS: The B4-SUB is specifically designed for ground stack
32 SAS DECEMBER 2009
sense. The first THX-certified microphone to hit the market, the mic is being pitched by Blue as “the ultimate USB microphone for professional recording”. WHAT’S THE SECRET? The technology itself is relatively simple. The mic features four patterns (Omni, Cardioid, Stereo, Bidirectional), a zero-latency headphone output with volume control for direct monitoring, adjustable microphone gain control and a mute button. The Yeti’s mic angle can be adjusted for recording via its custom-designed desk stand. INSTALLATION: Following suit with the rest of Blue’s desktop products, the Yeti features driverless installation and works on PC and Mac platforms. VERDICT: Neat, affordable, and ideal for home recording.
use only; an M20 threaded flange in the top panel accepts a loudspeaker stand, while two runners extend from front to rear of the bottom panel and fit to correspondingly shaped recesses in the top to greatly aid stacking. Weighing 44 kg and producing 128dB SPL and 131dB SPL when driven with the D6 and D12 respectively, the cabinet has a pair of handles, four wheels and an optional transport lid all in an enclosure measuring 476mm x 580mm x 800mm. VERDICT: Innovative technology redefines sub design.
FLYING BELOW THE RADAR
M ti P Martin Professional f i l has teamed up with Wybron to offer an innovative lighting feedback system based on the industry-standard feedback protocol Remote Device Management (RDM). Called Martin RADAR, an acronym for Remote Access Diagnostics and Reporting, the information feedback and monitoring system enables users to communicate with lighting fixtures by gathering lighting fixture data remotely and sending it to operators for immediate attention. It allows troubleshooting and fixture repair to be completed in minutes instead of hours, cutting down on expensive repair time and increasing productivity and ROI. For further information check out Martin online at www.martin.com
Lighting control in your fingertips wherever, whenever.
Oasis Enterprises LLC offers the iPod Touch Remote Upgrade Package which includes: • iPod Touch Remote complete with wifi access point • iRFR software – the revolutionary application which provides similar functionality to an ETC Net3™Radio Focus Remote unit, working with the EOS, ION, and Congo line • Discover new features from the 4 hour console training session • Pre-installed ETC training videos- real time operating video tutorials Also included:
iGobo for iPod Touch Containing the entire Rosco gobo library of more than 2300 images, iGobo makes it easy to browse, compare and select steel, glass or effects gobos, black and white or colour, no matter where you are..in your studio, at the tech table, in a design meeting or even in transit.
P.O. Box 93, Dubai, U.A.E Tel: +971 4 2821337, Fax: +971 4 2822617 P.O. Box 35807, Abu Dhabi, U.A.E Tel: +971 2 6217043, Fax: +971 2 6217042 E-mail: info@oasisppd.com, Web site: www.oasisppd.com To know more of this upgrade , Please contact Oasis Enterprises at +971 4 2821337 or send an email to info@oasisppd.com iPod is trademark of Apple Inc., registered in the U.S. and other countries.
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THE GUIDE
BUYER’S GUIDE Live Sound Monitors
S&S’ essential guide to the latest live sound monitoring technologies.
THE LOWDOWN + S&S ROADIE VERDICTS IN-EAR MONITORS (IEMs) Pioneered by Kenny G/Michael Bolton-types in the 1980s, in-ear monitors have slowly infiltrated the mainstream as the cost of production came down and the technology behind them improved. S&S roadie rating: Lilly Allen (popular, mainstream, questionable talent in isolation).
Stage wedges The industry standard, stage wedges remain by far the most popular tool for live sound monitoring during live production. Their size and profile also make them the ideal choice for leg-up lead guitar solos. S&S roadie rating: Iron Maiden (old-school favourites arguably past their use-by date).
Stand-mounted
I can’t hear you! While in-ear monitoring (IEM) has become quite the rage in recent years among musos including Green Day’s Tre Cool (pictured), the technology still has limited applications outside vocal monitoring. Stage monitors, fills and IEMs often prove a more worthy combination than a uniform application of just one of these technologies.
The favoured choice of rich kid garage bands, standmounted monitors can be placed on mic stands and positioned close to the performer on stage. Handy and easily portable, but not as brilliant as some fans of the technology might have you believe. S&S roadie rating: The Strokes (derivative, uninspiring, ultimately irritating).
Side-fills Particularly useful for smaller shows where volume output is restricted and the artist benefits more from an immersive sound experience. Best used in conjunction with stage wedges. S&S roadie rating: Jeff Buckley (Live at Sine era, ie: low-key, quiet achiever). SAS DECEMBER 2009
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THE GUIDE
S&S HOT PRODUCTS WIRELESS MONITORING SYSTEMS
S&S HOT PRODUCTS STAGE WEDGES
High-end Sennheiser SR2050IEM
High-end Yamaha CM15V
The SR2050IEM ranks as one of the best – and most expensive – IEMs on the market. The powerful, rackmountable transmitter comes complete with Sennheiser’s Wireless Systems Manager software, an integrated 5-band EQ, backlit display, infrared receiver sync, and switchable RF output power. It has 20 fixed frequency banks with up to 32 presets, providing for up to 3,000 frequencies at 75MHz switching bandwidth.
One of the best wedges on the market, the recently redesigned CM15V 15” floor monitor boasts larger enclosures for improved lowfrequency performance, improved drivers for higher power handling, redesigned crossovers, stronger grilles, and dual Speakon and 1/4” connectors.
Entry-level Shure PSM200 Shure’s most-affordable in-ear monitoring system is also one of its most popular. The package includes a dual-function receiver that operates as a wired and wireless bodypack; a built-in limiter to aid hearing protection; LED indicators for power, RF (radio frequency) signal strength, frequency, limiter, and battery level; and a ¼-inch line input jack.
Mid-range Mackie SRM150 The SRM150 combines Mackie’s mixer and SRM active loudspeaker technologies to create a powerful three-channel PA system that is ultra-compact, versatile and expandable.
S&S Hot Shots Galaxy Powered Hot Spot Delivering an impressive 100 watts of power and a maximum SPL of 114dB, the Powered Hot Spot offers considerable bang for the buck. Equipped with a Neolite Neodynium driver, the PA features 1/4-inch and XLR inputs, each with its own volume control. Both inputs can accept microphone or line level inputs, maximising the signal-to-noise ratio of virtually any input source. Other features of note include a three-band graphic EQ, SmartALIC circuitry, class H power supply configuration and built-in compressor/ limiter circuitry controls. Verdict: Monstrous power output from a relatively lightweight, compact standmounted monitor.
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Entry level Samson Resound Each Resound Speaker features two-way passive design, dual 1/4” and Speakon connections, and 1-inch compression drivers with a 1.5” titanium diaphragm. A decent foldback for those on a budget.
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THE GUIDE
Hitlist
The
ESSENTIAL INDUSTRY GUIDE PLASA (www.plasa.org) Based in the UK, PLASA is a leading international professional audio and lighting industry organisation representing the interests of individual and corporate members in countries ranging from Canada to The Netherlands to Australia. The organisation recently agreed to merge with the United States’ preeminent industry body ESTA, creating the world’s largest pro audio and lighting association.
COMING UP IN NEXT MONTH’S ISSUE…
The Killers, Live in Abu Dhabi event production exclusive!
We go behind the scenes and talk tech with The Killers’ production crew.
CONFERENCE CAPERS NAMM 2010 Anaheim Convention Centre, California, USA January 14 – 17 The US music technology industry’s top event, NAMM will provide a vital gauge of the industry’s fortunes in 2010. The exhibition will feature more than 1,500 booths displaying musical instruments, lighting technologies and professional audio, sound, and staging equipment.
ALSO CONSIDER… MIDEM 2010 Palais des Festivals, Cannes, France January 24 – 27 MIDEM is to Europe what NAMM is to North America. Still, give us the south of France over Orange County any day.
SAS DECEMBER 2009
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BACK STAGE BEST OF BACKSTAGE AWARDS 2009 of public brawling between the siblings, Gallagher the elder quit Oasis in October, leaving Liam to launch – of all things – a fashion label. The break-up obviously hit Liam harder than he let on.
THE THIS IS IT – WHAT WAS THAT? AWARD
“Mike asked me how long he would be in the UK. I told him, ‘Probably long enough to get a British passport.” – Or not. AEG Live CEO Randy Philips’ prediction in April about the outcome of Michael Jackson’s planned 45-night run at London’s O2 Arena. As we’re all only too aware now, Jacko died before Randy’s naturalisation plans could be realised.
THE BITTERSWEET REVENGE AWARD
“Noel’s got an old man vibe going on, our kid. Big woolly jumpers and cardigans… Terry Wogan, Val Doonican stuff.” – Liam Gallagher on brother Noel. After years
girls. Something about that really appealed to me.” – Former Darkness singer Justin Hawkins hits the nail on the proverbial head. He also provides the perfect lead-in to our next gong…
THE REAP WHAT YOU SOW AWARD
“I used to pick up the phone and it was Celine Dion or Tina Turner, and now Charles Manson is trying to get hold of me.” – Former uber-producer and latter-day convicted killer Phil Spector talks down his celebrity-stalker status among certain fellow inmates.
THE NEVER ADMIT YOUR ROOTS AWARD
“I used to throw around 4x4s and get paid for it. It was great fun.” – S&S’ old mate Rick Wade snares this year’s dubious honour after revealing his first roadie gig involved hauling gear for Birmingham schlock-rock outfit Wrathchild in the early-1980s. We’re still not entirely convinced that isn’t young Rick pictured on the right standing in for drummer Eddie Starr.
THE NEVER FORGET YOUR ROOTS AWARD
“I was drawn to ‘80s rock because I loved the fact that it was ugly men trying to look like girls and subsequently being popular with
THE MISS LIST
Taken in 2005, this preacher’s son was way ahead
of his time.
Five worst Michael Jackson impersonators We’re guessing someone got lost on their way to the Cher convention.
If there was an award for the shortest Michael Jackson impersonator, this guy would be a shoe-in.
40 SAS DECEMBER 2009
There’s a father-of-three, bearded accountant lurking beneath his wife’s sheer stockings, here.
not Owning two cabinets adorned with blank CDs does
guarantee instant credibility.
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