LAVA Vol. 4 / 2015 by Lighting Audio Visual Asia

Issue 4/2015

COVER STORY

ANIMOTION SHOW

EDINBURGH FRINGE FESTIVAL

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Editor’s Note Hi readers,

Warmest greetings! I am Leron Heng, your new editor for LAVA magazine. This issue is humbly put up by me and this is officially my first interaction with all of you. I hope you enjoy flipping through the last volume for LAVA 2015 and we will anticipate more of LAVA as we unfold a new chapter for 2016 in a few months’ time! As Shakylla advances to her new career, my team and I would like to express gratitude for her contributions all these while. Good luck and soar high, Shakylla! In this issue, we have AniMotion as our cover story shining at the Edinburgh Fringe Festival 2015. The power of original painting created in real time to put into projection and showcasing live painting, digital art and music show at George Herriot’s School, they turned up the heat with special collaboration between artists, accompanied with live music on the go! Be sure to get awed by their showcase! In the two Special Feature stories prepared for you, one of them is close to my heart as it proudly took place in our homeland - NEXO STM makes a debut at the SEA Games 2015 in Singapore. With an audience of about 40,000 people, the ceremony was a huge success and the article will show you how their hard work and preparation were paid off to achieve an astounding result on that spectacular night. In addition, this issue is filled with Entertainment News ranging from The Script’s concert to Parklife 2015 and how DPA Microphones helped to capture the sounds in Mad Max: Fury Road. There are too many interesting articles hidden in this volume and I sincerely hope you enjoy reading it to the last page! With love,

Leron Heng (Editor)

CONTENTS 8

News Lighting Solutions • Audio & Visual Solutions

SPECIAL FEATURES

COVER STORY

ENTERTAINMENT TECHNOLOGIES

PRODUCT INNOVATIONS

SHOW REPORTS

• NEXO STM Makes A Sporting Debut At Sea Games, Singapore • dot2 Debut At Durham Cathedral

ANIMOTION Show Shines At Edinburgh Fringe Festival

• The Script Rock Croke Park With Avolites Providing The Full Package • Ayrton Magicpanel™-R And Magicblade™-R Cut A Dash With Take That • dbn Lights Parklife 2015 • DPA Microphones Help Capture The Sound On Mad Max: Fury Road • Fine Time for Fineline At Glastonbury 2015 • Capital And MLA Make Best Ever Barclaycard Bst At Hyde Park • Robert Juliat’s Lancelot And Aramis Party In The Netherlands • XL Video Brings A Glow To Red Rocks For Bassnectar • Elation SixPars Light New Stage Art Structure At Santa Monica Pier • Harman Martin Professional’s Mac Quantum At St. Paul Red Bull • More Than 70 PR Lightting Heads Support Beth Hart In Bucharest • SGM’s X-5s And P-5s Add Razzmatazz And Vibrancy To Melodifestivalen

Audio & Visual • Lighting

Show Preview • Prolight + Sound Guangzhou • Prolight + Sound NAMM Russia Show Review • AVL+M Thailand 2015

104

EVENTS & EXPOSITIONS / ADVERTISERS INDEX

PUBLISHER

Steven Ooi steven.ooi@tradelinkmedia.com.sg

EDITOR

Leron Heng lava@tradelinkmedia.com.sg Issue 4/2015

GROUP MARKETING MANAGER

Eric Ooi eric.ooi@tradelinkmedia.com.sg

MARKETING MANAGER

Felix Ooi felix.ooi@tradelinkmedia.com.sg

GRAPHIC DESIGNER

Siti Nur Aishah siti@tradelinkmedia.com.sg

HEAD OF GRAPHIC DEPT/ ADVERTISEMENT COORDINATOR

Fawzeeah Yamin fawzeeah@tradelinkmedia.com.sg

CIRCULATIONS EXECUTIVE

Yvonne Ooi yvonne.ooi@tradelinkmedia.com.sg

INTERNATIONAL MEDIA REPRESENTATIVES [CHINA/HONG KONG] Judy Wang t. +86-10 6463 9193 e. judywang2000@vip.126.com

CALL FOR SUBMISSIONS COVER STORY

ANIMOTION SHOW

EDINBURGH FRINGE FESTIVAL

On the Cover AniMotion Show at Edinburgh Fringe Festival Photo Credit Ross Ashton Cover Design by Siti Nur Aishah

OTHER TITLES BY TRADE LINK MEDIA PTE LTD Southeast Asia Building Southeast Asia Construction Security Solutions Today Bathroom + Kitchen Today Lighting Today

www.tradelinkmedia.biz

Press releases, proposals for stories, and product development literature should be submitted by email to the editor at:

lava@tradelinkmedia.com.sg

LAVA IS PUBLISHED BY: TRADE LINK MEDIA PTE LTD 101 Lorong 23, Geylang #06-04 Prosper House Singapore 388399 For interest in advertising and advertorials, please attention your query via: fax: +65 6842 2581 / +65 6745 9517 or direct call: +65 6842 2580 Printed by KHL Printing Co Pte Ltd MCI (P) 076/12/2014 ISSN 2345-704X (Print) and ISSN 2345-7058 (E-periodical) This publication is published four times a year and is available at no charge to subscribers in the professional entertainment lighting, audio, and visual solutions industries, who meet the publication’s terms of circulations control. For subscribers who do not qualify for free subscription, copies will be made available subject to acceptance by the publisher, for a subscription fee which varies with the requester’s country of residence in the following rate for annual subscription.

DISCLAIMER! All advertisers and contributors must ensure all promotional material and editorial information submitted for all our publications, must be free from any infringement on patent rights, copyrights laws in every jurisdiction. Failure of which, they must be fully liable and accountable for legal consequences (if any) that may arise. The editor reserves all right to omit, amend or alter press releases submitted for publication. The publisher and editor are unable to accept any liability for errors or omissions that may occur in this process, although every effort has been taken to ensure that all information is correct at the time of going to press. Edited articles or stories are returned to contributors for check on facts at the sole discretion of the editor. No portion of this publication may be reproduced in whole or part without written permission of the publisher. The editor reserves all rights to exclude or refuse submissions at any time without prior written or verbal notice if contributing parties do not provide complete text and supporting images at a minimum of 300 dpi in .jpeg and .tiff format.

NEWS

Lighting Solutions

AVOLITES TIGER TOUCH II SHINES AT SUMMER FESTIVALS FOR ANNA CALVI

ighting designer Tom Campbell is using an Avolites T iger Touch II on Anna Calvi's summer festival tour using V9 to create a subtle and evocative production.

A major part of the rig is the Chromlech Elidy - S Panels that are mounted in the 10K Fresnel along with a Robe 600.

Campbell is using his T iger Touch II for the UK shows and most European gigs, scaling down to a T itan Mobile for selected overseas performances.

"Key Frame Shapes allows me to get very subtle effects out of the Elidy without using a media server," Campbell explained. "I'm using Key Frame Shapes for dimmer and colour effects, with fantastic results - I love this new feature, it really is a powerful new addition to the T itan software."

"I've recently armed both my T iger Touch II and T itan Mobile with T itan V9, and it really is a great new operating system," said Campbell. "After using V9 for the first time a few months ago and experiencing what new features such as Key Frame Shapes could achieve, I immediately had strong ideas about how to utilise them for Anna Calvi's tour." Key Frame Shapes allows the designer to create spectacular effects from scratch. Using palettes or the programmer to define the frames, and powerful tools such as transition curves, phase and spatial direction, it is possible to create radically different looks for each channel in seconds. To realise his 'old vs new' lighting concept, Campbell is using some 'butchered' old 10K Fresnels and new LED moving heads, some Patt 2013s and Robe MMX Spots, BMFL Spots, 100 LED Beams and 600 LED Spots. The fixtures were supplied by Siyan, with Jez Johnston as the project handler.

Oct-Dec 2015

Calvi - whose two albums 'Anna Calvi' and 'One Breath' have sold hundreds of thousands of copies - plays music festivals across Europe during July and August including the Montreux Jazz Festival in Switzerland and Sonorama Ribera in Spain. She returned to the UK in late August to play dates including Moseley Folk Festival and David Byrne's Meltdown at the Southbank Centre in London. Avolites' new T itan V9 also features tools such as Align, to effortlessly copy values from existing fixtures to new fixture groups, either in a recurring pattern or a smooth fade. RGBW and ARGB colour mixing and Pixel Mapping has been added to get maximum punch and more accurate colours from your LED fixtures, thanks to new, four-channel pixel mapping and colour mixing. New Theatrical Functions in T itan now support MIDI Show Control, with many more useful options.

SCALE THROUGH MODULARITY

A SYSTEM THAT

BUILDS WITH YOUR BUSINESS

With NEXO, you can start small and grow big. STM is infinitely scalable, so rental companies can configure simple groundstacks, small, medium and large line arrays, and large-format festival systems â&#x20AC;&#x201C; all from a core inventory of four modules. Add in a highly musical audio performance, focussed coverage and one of the best power-to-size ratios in the industry, and the result is a system that builds with your business, delivering a return on investment that others simply cannot match.

www.nexo.fr

Thinking. Inside the box.

NEWS

Lighting Solutions

AVOLITES ART2000 DIMMERS CONTROL 792 PAR CAN RIG FOR KANYE WEST AT GLASTONBURY

merican rapper Kanye West's headline gig at this year's Glastonbury Festival has gone viral due to the incredible 792-strong par can rig controlled by 16 Avolites ART2000 48 way 16A dimmers and 2 Avolites Power Cubes. Lighting experts, Elstree Light & Power (ELP) supplied the rig and the dimmers for the huge rectangular array of par cans, which moved up and down during West's set as 135,000 revellers watched in awe at the Pyramid Stage. ELP's Chris Rand oversaw the delivery of the kit, reporting directly to Kanye West's 'people'. "Avolites is the preferred dimmer supplier for ELP, and we've been a long time fan of Avolites kit with a large stock of Avolites ART2000 dimmers and Power Cubes," said Chris Rand. "We came in rather late on this project and immediately tur ned to in-house Avolites dimmers - we regard them as the industry standard for robust, reliable Rock and Roll dimming, and so did the client." The ART2000 dimmers provide a complete solution to dimming, moving light power and data distribution. There's no need for separate mains distribution or

STARS DANCE PROLIGHT®

WITH

DMX splitters making set up times faster and lowering the number of individual components needed to put a show together. The ART2000 controls up to 48 individual channels using four plug in modules of 12 channels each. The 2 compact Avolites Power Cubes offer quick setup and boast 12 dimmer circuits at 10A each, 6 combined dimmer/fixed mains at 10A each, 6 fixed mains at 16A each and 2 utility CEE16 outlets at 16A each. "When Kanye came on to do his set, the lighting looked awesome and we immediately knew we'd hit the nail on the head - Avolites has always given us the support we need and we know their dimmers are built to withstand the festival environment," Chris continued. The rapper took to the Pyramid Stage at 10.15pm for an hour and a half set which became the top trending topic on Twitter during the performance. "It looks like the retro lighting theme is back - Kanye may have started a revolution in old school rock lighting!" Chris added. "Of course, this is something ELP is absolutely no stranger to - 800 par cans is what we were totally used to 30 years ago on some large Rock and Roll shows!"

BLACKTRAX

THANKS

he very first deployment of BlackTrax real-time motion tracking solution in Poland was achieved with Dancing with the Stars by specialist events supplier Prolight® Sp. z o. o. The prime time celebrity ballroom dance contest was broadcast live on Polsat TV. “Lighting is the very first thing that viewers see,” said Radoslaw Zacheja, Chief Technology Officer at Prolight. “It’s a challenge for broadcasters to change contestants, lighting, audio, judging and cameras and we’ve solved this by using BlackTrax to automate this process on stage and screen.” Working with Lighting Designer, Artur Szyman, Prolight attached discreet BTBeacons to performers and using BlackTrax’s user friendly interface and integrated them with a media server and lighting console. For light tracking they used ClayPaky Supersharpy, Sharpy and Robe Lighting LEDWash fixtures.

Oct-Dec 2015

“All production staff were really impressed with the set up time and accurate tracking provided by BlackTrax,” added Zacheja. BlackTrax precisely tracks movements, giving contestants freedom to perfect their on-screen performances. At the same time, production staff benefit from precise tracking and increased operator efficiency due to the automated tracking process. Igor Silva, Marketing Director said: “BlackTrax is a rock-solid platform and we’re delighted to see Prolight use it to its full capacity to create spectacular performances that amaze and inspire millions of viewers.”

NEWS

Lighting Solutions

ROBERT JULIAT FOLLOWS TAKE THAT ON THE LIVE 2015 TOUR

op international pop artists, Ta k e That, a re c u r re n t l y p ro m o t i n g t h e i r s e v e n t h s t u d i o album, III, on their Live 2015 tour with seven Robert Juliat f o l l o w s p o t s p l a y i n g m a j o r ro l e s in highlighting the artists and the many theatrical antics that s u r ro u n d t h e m . C re a t i v e d i re c t o r, K i m G a v i n , h a s devised a show that involves a h i g h d e g re e o f t h e a t r i c a l i t y w i t h acts, including aerial stunts, t a k i n g p l a c e a c ro s s a l a r g e s e t , d e s i g n e d b y M i s t y B u c k l e y, t h a t l o o p s o u t i n t o t h e a re n a f ro m a multi-level dynamic main stage. L i g h t i n g d e s i g n e r, T i m R o u t l e d g e w a s b r i e f e d t o p ro d u c e a d e s i g n with ‘a very theatrical look, but with a huge pop punch over the top’. His enormous lighting rig contains a large number of p o w e r f u l m o v i n g l i g h t f i x t u re s a n d L E D v i d e o s c re e n s . R o u t l e d g e t h e re f o re n e e d e d f o l l o w s p o t s t h a t w o u l d p u n c h t h ro u g h t h e s h e e r a m o u n t o f l i g h t i n g a n d v i d e o a n d c o p e w i t h t h e l o n g t h ro w d i s t a n c e s o n t h i s h u g e a re n a - s i z e d s h o w.

Photo © Kris Goodman - www.theflyinglampie.com

H e t u r n e d t o R o b e r t J u l i a t , c h o s i n g t h re e R J 4 0 0 0 W H T I L a n c e l o t f o l l o w s p o t s a s h i s m a i n f ro n t - o f - h o u s e f i x t u re s t o f o l l o w t h e t h re e m e m b e r s o f t h e b a n d . “Not only did the followspots need to be powerful enough to hold their own in the rig and be able to handle the distances involved, but because of the t h e a t r i c a l n a t u re o f t h e s h o w, I a l s o w a n t e d a u n i t t h a t h a d t h e f i n e s s e o f a t h e a t re f o l l o w s p o t . R o b e r t J u l i a t w a s t h e o b v i o u s c h o i c e w i t h f e a t u re s t h a t allow operators to use them with the subtlety of a t h e a t re s p o t w i t h o u t t h e c l u n k i n e s s t h a t a t o u r i n g spot can sometimes have.” The f ro n t - o f - h o u s e Lancelot followspots a re augmented by four RJ Victor 1800W MSR f o l l o w s p o t s s t a t i o n e d f ro n t - o f - h o u s e s t a g e l e f t a n d right. Routledge uses these to highlight the main t h e a t r i c a l i t i e s f ro m o t h e r p e r f o r m e r s , i n c l u d i n g s o m e f l y i n g a c t s , i n a d d i t i o n t o f i l l i n g i n o n t h e t h re e m a i n a r t i s t s f ro m r i g h t a n d l e f t . Routledge chose to call the followspot cues as well a s r u n t h e s h o w h i m s e l f : “ I t ’s a b u s y s h o w f o r s p o t c u e s a n d a re a l o p p o r t u n i t y t o s h a r p e n m y s p o t calling skills while running a major show at the same t i m e . I t ’s p ro v e d a re a l l y f a n t a s t i c t h i n g t o d o . Ve r y h e l p f u l l y, a n d a s u s u a l w i t h R o b e r t J u l i a t , I ’ m h a p p y t o s a y w e h a v e h a d n o p ro b l e m s w i t h t h e R J s p o t s at all.” T he Take T h at Li v e 2015 t our i s c urre nt l y t ou ri ng the U K bef ore cro s s i ng t o ma i nl a nd Europ e i n t he Autum n w ith a team led b y t our p rod uc t i on d i re c t o r, C hri s Vau gh an , as s is te d b y t e c hni c a l ma na ge r, P hi l B ro a d.

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Oct-Dec 2015

NEWS

Lighting Solutions

ETC CELEBRATES BIGGEST CUE CONFERENCE YET

ore than 200 people from around the world joined ETC in Madison, Wisconsin, for lighting education, console training and certification, networking and special events. The third professionaldevelopment conference ETC has hosted, this CUE event included the most classes and events and was attended by the largest group of lighting professionals and students representing several countries and all segments of the lighting industry. CUE kicked off with a keynote address by CEO Fred Foster, in which he talked about the growth of ETC over the last four decades, and the company’s focus on customer service and product innovation. Foster also unveiled new products, including the affordable ColorSource® Spot profile LED luminaire and console programming wings that will officially debut in July. Josh Allen, an award-winning lighting designer from Theatre Consultants Collaborative, and Al Crawford, lighting director for the Alvin Ailey American Dance Company and CEO of arc3design, also gave keynote addresses during CUE. Allen covered the history of electricity in an entertaining and enlightening presentation that featured influences from pop culture, on-the-street interviews, and little-known conspiracy theories. Crawford talked about his time touring with the iconic Alvin Ailey troupe, and how he and his tech crew have worked in a constantly changing array of theaters in many different countries. Both Allen and Crawford taught master classes to attendees. Allen partnered with GDS by ETC Product Manager Chris Patten to discuss easy ways to upgrade a theater with modern products like LED houselights. Crawford’s master class touched on lighting for nontraditional installations. To demonstrate the possibilities, Crawford used images from some of the projects arc3design has designed, including corporate events, weddings, and building exteriors. Emmy Award®-winning lighting designer Patrick Boozer also taught a master class at CUE about using the ETC Eos® console for live music events. Packed with footage from concerts, the class gave practical advice on busking, device management and other console features that are crucial to effective live-music lighting.

Oct-Dec 2015

ETC and media partner LSA expanded the reach of the CUE conference even further by live-streaming several of the sessions, including the three keynote addresses and Crawford and Boozer’s master classes. Hundreds of people around the globe tuned in to watch. CUE attendees had the opportunity to choose a specific track to follow at the conference, with console training and certification classes available to users of all levels, and a track designed specially for educators and students. The console track gave attendees the opportunity for hands-on learning with realworld simulations to improve their programming skills. “CUE is an incredible learning opportunity for both aspiring and experienced programmers. In programming 1, we were able to develop our own programming philosophy alongside current industry professionals. The instructors were extremely well prepared to oversee each course. Even after the all-day courses, employees of ETC and the featured guests of CUE happily shared their experiences and expertise,” described Alex Stevens, a CUE attendee from Carnegie Mellon University. Those who participated in the education track were able to take home new ideas and materials to use in the classroom. CUE also included a range of other classes on a variety of topics, such as pixel mapping, OSC control, maintaining a lighting system, and Magic Sheets. Throughout the event, a Product Showcase featuring a range of ETC products was set up for attendees to drop in and get demonstrations and experiment with new products. And ETC’s HR department had a stand with information for attendees about internship, externship and career opportunities with ETC in locations throughout the world. During breaks and meals, attendees had the chance to talk with ETC staff to share ideas and feedback on products, and to get to know the people who make the products they use every day. On Friday night, June 26th, ETC opened its headquarters for a picnic and entertainment. CUE attendees enjoyed a meal with ETC employees, and got tours of the iconic factory. They also went head to head with each other – and some ETC employees and Al Crawford – in a Tech Games competition, where they had to assemble a Source Four® fixture, put together a puzzle of Ion console keys, tie knots, hang and focus a fixture, and participate in a cable relay. The winners took home a Source Four Mini fixture as a prize. On the following night, ETC hosted a banquet at the Monona Terrace Community and Convention Center, complete with a chef-prepared meal and Crawford’s keynote address. The banquet also fell on the same night as Madison’s community fireworks display, and CUE attendees got a frontrow seat to the massive pyrotechnics show. “After attending all three conferences, this was the most diverse and most entertaining,” said CUE attendee Kearston Dillard-Scott, lighting supervisor and overhire manager for Virginia Opera. “The opportunity for learning was amazing and the certification classes were very informative. I will continue to attend the conferences and I look forward to what the conference may bring in the future.”

NEWS

Lighting Solutions

ETC HOSTS EOS-FAMILY TRAINING IN TAIWAN

TC and its service provider SMI hosted an Eos®family training featuring the Ion® lighting control console at the Experimental Theater in Taiwan’s National Performance Arts Centre (NPAC), a coorganiser of the event. ETC’s official dealer MingLi also presented LED luminaires, including the ColorSource® PAR and Source Four® LED Fresnel. Sixty lighting professionals and students participated in the training. Chien-Chung Kuo, senior technical specialist of the National Theater and Concert Hall, led the sessions, teaching attendees how to set up a networked system, to identify key elements of Ion’s hardware and user interface, and to program common effects on the console. Huai-Min Jen, lighting designer of GuoGuang Opera Company, provided hands-on training on how to custom-design the control interface using Magic Sheets. Jen led attendees through building a Magic Sheet and then provided instructions on how to create a mixture of lighting and palette layouts. Desmond Yim, regional sales manager of ETC Asia, also gave an LED demonstration of ETC’s latest innovations, including the ColorSource PAR luminaire and Source Four LED Fresnel and CYC adapters. “The training helped expand our knowledge of console programming, like how to control moving light, which is becoming more and more popular in the Taiwan region now,” said Hsiang-Sheng Lin, stage manager of the National Taichung Theater. “Many Taiwanese theater crews -- like theater technicians, stage managers and board operators -- have being using ETC consoles over the past decade and have already gotten used to the programming logic, such as Patch and Record Cue. So the training has helped enhance our operational level of lighting control.”

Xiao-Jun Huang, a graduate student from the Department of Art and Creative Design in Hsuan Chuang University, summarises the event: “I really enjoyed the training and lear ned a lot from the classes. The LED demo was amazing! I have admired ETC’s R&D for a long time, in particular the LED series. I have had a good experience using the LED luminaires, which are very convenient, user-friendly and practical.”

ETC MOURNS THE PASSING OF FULVIO COTOGNI

ne of the industry’s brightest lights dimmed on Thursday, when Fulvio Cotogni, ETC’s regional manager for Souther n Europe and the Middle East, passed away after a courageous battle with cancer. A funeral for Cotogni was held, where friends and family had the opportunity to share memories of him. ETC CEO Fred Foster gave a eulogy in which he noted: “I am incredibly honored to have known Fulvio for a couple of decades, and to have been his colleague for much of that time. My wife, Susan, refers to Fulvio as an ‘ancient soul,’ not because he was old, but because he had the wisdom and patience of the ages. It was in his eyes, it was in his rich voice and in his wry smile. Fulvio has taught us all more than we even realise.” Cotogni was known for his immense personality, sense of humor and infectious laugh. He began his career in lighting when he was 25 years old, joining Romebased broadcast lighting company Quartzcolor Ianiro as a salesman, where he stayed for 11 years.

Oct-Dec 2015

NEWS

Lighting Solutions In 1985, Fulvio and his wife, Assunta, founded Arri Italia. The company grew quickly under their direction, and they began selling the very first ETC controls, branded as Arri lighting products. Arri Italia eventually became one of the top broadcast lighting firms to gain a major foothold in the entertainment lighting market. Eventually Fulvio left Arri Italia and retur ned to Quartzcolor – which was under the Strand umbrella by then – where he worked for four years, ultimately becoming the general manager for the Italian market. F u lvio th en made t he d e c i si on t o w ork w i t h l o ng ti m e fr i en d M ar io De S i st i . In t ha t j ob , he w a s re sp o nsi bl e

fo r pro m o ti ng ET C pro duc ts i n I ta l y. J ust a co u p l e y e a rs l a te r, i n 1 9 9 9 , he o ffi c i a l l y j o i ne d E T C, o v e rse e i ng the o pe ni ng o f the c o m pa ny ’s R o m e o ffi c e . I n hi s ro l e a s re g i o na l m a na g e r, he ra n E T C I ta l y, a nd g re w the sa l e s te rri to ry i n So uthe r n E u ro p e a nd the M i ddl e Ea st. “Fulvio was a very dear friend,” said ETC Vice President of Sales Mark Vassallo. “He was one of the best salesmen I’ve ever worked with, and he cannot be replaced. Our hearts and thoughts go out to Assunta and [their son] Valerio. He will be missed and there will be a hole in our hearts from his passing.”

LIGHTING DESIGNER PETER RIECK INVESTS IN DOT2

ou th Af r ican l i ght i ng d e si gne r P e t e r Ri e ck i s the prou d o wn er of one of MA Li ght i ng’s ne w do t2 X L - F co n s oles . P e t e r, a n i nd ust ry p rofe ssi o na l fo r 1 5 year s an d o ne of t he c ount ry ’s l e a d i ng t e l e v i si o n l i gh tin g s pecialist s re c e nt l y l a unc he d a ne w c om pa ny, R i eck’s , h eaded b y hi mse l f. Ha v i ng b e e n a n M A use r for th e las t s eve n or so y e a rs, t he fi rst t hi ng the ne w v en tu re did was p urc ha se i t s ow n d ot 2. “ I t made comple t e se nse ” he st a t e d , “It ’s sm a l l a nd l i gh t en ou gh to e a si l y fi t i n my c a r or go o n the p lan e, an d po werful e nough t o run t he ma j ori ty o f the s ho ws o n wh ich I a m c urre nt l y w orki ng.” Hav i ng hi s o w n co n s ole me a ns he c a n a l w a y s ha v e hi s c o ntro l p latf or m o f ch oi c e . P e t e r w a s d e l i ght e d t h a t M A’s s m all an d h igh l y v e rsa t i l e d ot 2 w a s a l so wi thi n a re as on able pr ice ra nge . The c onsol e w a s suppl i e d v i a M A’s So u th Af r ica n d i st ri b ut or, D W R D i st ri b uti o n C C . “ I t’s th e eas iest d e sk I ha v e e v e r op e ra te d, ” he d eclared. Peter ha s ha d p ra c t i c a l e xp e ri e nc e w i th mos t o th er major c onsol e s. A s a fre e l a nc e de si g ne r, p rogr ammer an d op e ra t or, he st re sse s t he i mpo rta nc e o f bein g able to go on si t e a nd st a rt p rogra m m i ng i mmediately. “ S ch edu les are a l w a y s t i ght ” he e xp l a i ne d , a nd a s he i s als o lu cky en ough t o b e v e ry b usy, i t ’s c om pl e te l y l o gical th at h is cl i e nt s hi re hi m a nd t he b e st to o l fo r h im to complete t he j ob of p rod uc i ng a good sho w.

“ T he func ti o na l i ty o f the l a rg e r M A c o nso l e s i s al l the re ” he o bse rv e d, a ddi ng tha t i t e na bl e s hi m t o d o 3 D v i sua l i sa ti o n a nd ne tw o rk i ng , a nd the 8 uni ver s es o f D M X g i v e dy na m i c c o ntro l o v e r a g o o d s i zed l i g hti ng ri g . H e l i k e s the fa c t tha t do t2 XL- F ha s l o ts o f fa de r s f o r i nsta nt a c c e ss, w i ng s c a n be a dde d i f ne e de d, an d h e re a l l y l o v e s the thre e ti dy - si z e d to uc h- sc re e ns, w h i ch w o rk bri l l i a ntl y. I n 1 0 m i nute s – l i te ra l l y – “ I can b e runni ng a sho w o n i t” . H e ’s a l so c urre ntl y tra i n i n g a sm a l l g ro up o f o the r o pe ra to rs to a ssi st a nd w or k o n sho w s, a nd c o m m e nts tha t a fte r e v e n a bri e f o u t l i n e o f the ba si c s the y c a n sta rt pro g ra m m i ng . “ I t real l y i s tha t si m pl e a nd use r- fri e ndl y, ” he unde rl i ne d. At j ust o v e r 1 5 k g i t’s a l so c o m pl e te l y pra c ti cal f o r fl y i ng a nd i ts ne xt i nte r na ti o na l tri p w i l l be to K en ya. H i s fi rst So uth Afri c a n sho w w i th hi s do t2 w as a m usi c sho w ‘ C o k e Studi o ’s’ pro duc e d by G o o d n o i ze Pro duc ti o ns a nd w i l l be bro a dc a st o n E- T V, a c o l l a bo ra ti o n be tw e e n e sta bl i she d a nd ri si ng a r t i s t s pro duc i ng ne w m usi c , w hi c h w a s re c o rde d at t h e SAB C M 1 studi o s i n J o ha nne sburg . Ev e ry so ng ne e de d a ne w a nd di ffe re nt l o o k so t h ere w a s pl e nty o f pro g ra m m i ng i nv o l v e d to l i g ht 4 5 s o n g s i n unde r thre e w e e k s. “ I w a s a bl e to w o rk e xtrem el y qui c k l y a nd e ffi c i e ntl y o n the do t2 , ” Pe te r sa i d w i t h a bi g sm i l e .

HARMAN MARTIN PROFESSIONAL’S DYNAMIC LIGHTING FIXTURES STREAMLINE THE 2015 FIRST CHAMPIONSHIP EVENTS AND CONCERT

he 2015 FIRST Championship pitted 900 inter national youth teams against each other in an exciting, weekend-long event at the end of April. Using robots they had designed, built and programmed themselves, each team competed in a series of qualifying rounds focused on this year’s theme Recycle Rush. Staged across five venues, the championship’s main events were held at the Edward Jones Dome, home of the St. Louis Rams. New Orleans-based entertainment design and production firm, Solomon

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Group, was asked to light not only the ceremonies and competitions, but also the concert that capped off the weekend – which it did successfully with the help of HARMAN Martin Professional’s versatile lighting fixtures. FIRST (For Inspiration and Recognition of Science and Technology) hosts several events throughout the year that target elementary and high school students. The annual championship is the culmination

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Lighting Solutions of dozens of regional qualifying rounds throughout the world. Solomon Group also produced eight regional events in addition to the championship, which Matt Foucheaux, Solomon Group’s Director of Production Design, describes as much more dramatic than the relatively straightforward regional productions. “We mainly relied on simple PAR cans at the regionals, but our client wanted more pageantry at the championship, which introduced a new, Olympic-style event model,” said Foucheaux. “ Martin’s MAC Quantum Wash was our workhorse for the entire weekend. We put it on double-duty for lighting the competitions as well as the concert performers onstage.” For the competitions, Foucheaux’s primary concer n was finding a fixture that would be compatible with the robots’ sensors. Additionally, the lights were needed to make the competitions visible to everyone in the stadium while adding a sense of drama to the matches. The MAC Quantum™ Wash, like many Martin products, features a flicker-free LED bulb that did not interfere with the remote commands sent to the robots. Foucheaux praised the MAC Quantum Wash’s color temperature and bright whites, which he says were ideal for illuminating the eight playing fields in the stadium. “Once the competitions were finished, all we needed to do was flip the MAC Quantum Washes around toward the stage for the closing ceremony to soak the entire stadium in color and movement,”

said Foucheaux. “If we had used PAR rigs, we would’ve had to climb up and refocus everything manually.” The MAC Quantum Washes, which were hung about 40 feet above the ground floor, were complemented by a host of other Martin fixtures including the MAC Viper™ Profile, MAC Viper™ AirFX, MAC Aura™, MAC™ III Performance and the RUSH™ MH 3 Beam, which Foucheaux sees as vastly superior to similar products from other vendors. “We own a ton of RUSH MH 3 fixtures but I had never applied them on this scale,” said Foucheaux. “Out of the 76 used, we didn’t have one problem running continuously from Wednesday after noon to Saturday night. Their brightness, color and speed are remarkable.” Foucheaux says the event was a huge success with more than 18,000 students from 40 countries in attendance and performances from rock band Boys Like Girls. Foucheaux was more than satisfied with his team’s work to produce the FIRST Championship, helped in part by Martin’s fixtures. “As designers, we want to make sure it looks exactly as the client envisioned it, but it’s also important to have confidence that the gear will work the way it’s supposed to,” said Foucheaux. “W ith Martin’s lights, we didn’t have to worry about problems like fixture failures on a huge rig. Those little details mean a lot when you’re on a big job.”

THE PHILIPS VARI-LITE VL4000 SPOT FLIES HIGH AS A SWAT HELICOPTER SEARCHLIGHT

n a f i l m s h o o t , t h e l i g h t i n g e ff e c t s s e e n a re o f t e n c re a t e d o u t o f e l e m e n t s t h a t a re n o t n e c e s s a r i l y w h a t t h e v i e w e r b e l i e v e s t h e m t o b e . D i ff e re n t t r i c k s can be used to disguise the lighting instruments without any hint of what is actually up the designers’ p ro v e r b i a l s l e e v e . W h e n l i g h t i n g d e s i g n e r M a t t A rd i n e w a s a s k e d t o c re a t e t h e e ff e c t o f a h e l i c o p t e r f l y i n g o v e r h e a d w i t h a s e a rc h l i g h t , h e n e e d e d t o f i n d a h i g h - p o w e re d l u m i n a i re t o m a k e h i s s h o t s b e l i e v a b l e , s o h e c h o s e t h e V L 4 0 0 0 S p o t l u m i n a i re f ro m P h i l i p s Va r i - L i t e . “The setting of the video was a hostage scene in a 5 t h f l o o r a p a r t m e n t w h e re w e w o u l d b e d o i n g b o t h i n t e r i o r a n d e x t e r i o r s h o t s m i m i c k i n g a S WAT t e a m

h e l i c o p t e r f l y i n g o v e r h e a d w i t h a s e a rc h l i g h t , ” b e g a n A rd i n e . “ S h o w c a s i n g h o w a S WAT t e a m w o r k s , t h e s e a rc h l i g h t n e e d e d t o l i g h t b o t h t h e s t re e t a n d t h e window of the apartment, so in this application, we n e e d e d t o h a v e a b r i g h t s p o t f i x t u re w i t h p l e n t y o f p o w e r a n d a h a rd e d g e b e a m . T h e V L 4 0 0 0 S p o t l u m i n a i re w a s a p e r f e c t f i t . ” K n o w i n g t h a t re n t i n g a n a c t u a l h e l i c o p t e r f o r t h e e n t i re t y o f t h e 3 - d a y s h o o t w o u l d n o t b e p o s s i b l e f o r a n u m b e r o f re a s o n s , A rd i n e a n d t h e t e a m c o n c e i v e d a p l a n t o c re a t e t h e e ff e c t u s i n g a c r a n e a n d a V L 4 0 0 0 S p o t l u m i n a i re . H e e x p l a i n e d f u r t h e r, “ I f w e w e re t o re n t a re a l

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NEWS

Lighting Solutions S WAT h e l i c o p t e r w i t h a n a c t u a l s e a rc h l i g h t , i t w o u l d h a v e c o s t t h o u s a n d s o f d o l l a r s p e r d a y, p l u s a l l t h e re s i d e n t s w i t h i n a t e n b l o c k r a d i u s w o u l d h a v e h a d to live with a helicopter flying overhead during the s h o o t . M o s t D i re c t o r s o f P h o t o g r a p h y w o u l d s i m p l y p u t a 1 0 k b e a m p ro j e c t o r i n a c o n d o r c r a n e a n d h a v e an electrician wiggle it for hours, but our DP Larkin S e i p l e i s a l w a y s o p e n t o t r y i n g n e w t e c h n o l o g y. H e ’s a g re a t D P t o w o r k w i t h a n d h e a g re e d w i t h m y i d e a t o p u t a n a u t o m a t e d S p o t f i x t u re i n t h e a i r a s i t w o u l d be much easier to dim (without kelvin shift), zoom, i r i s , a n d d o re p e a t a b l e m o v e s w i t h t i m i n g . S o o u r s o l u t i o n w a s t o re n t a 1 2 5 - f o o t c o n d o r c r a n e a n d then attach the VL4000 Spot with truss underneath the carriage.”

l u m i n a i re a l s o f e a t u re s d u a l ro t a t i n g g o b o w h e e l s w i t h a re m a r k a b l e n e w c o l l e c t i o n o f o p t i m i z e d g o b o p a t t e r n s f o r b o t h a e r i a l a n d p ro j e c t e d i m a g e r y, a n d i t s d u a l a n i m a t i o n w h e e l s p ro v i d e d y n a m i c m o t i o n e ff e c t s s u c h a s t h e c h ro m a t i c a l l y t u n e d D i c h ro * F u s i o n e ff e c t .

T h e V L 4 0 0 0 S p o t f ro m P h i l i p s Va r i - L i t e i n c l u d e s a l l t h e t o o l s n e e d e d t o c re a t e d y n a m i c a n d u s e f u l l i g h t i n g a s e v e r y a s p e c t o f t h e l u m i n a i re h a s b e e n designed with performance in mind. The 1200W VL4000 Spot boasts 33,000 lumens as well as a quiet Studio mode which outputs 25,000 lumens. Its h i g h re s o l u t i o n o p t i c s e n s u re re m a r k a b l e c e n t e r- t o e d g e f o c u s i n g a n d a n u n p re c e d e n t e d c o n t r a s t r a t i o w h i l e a 5 : 1 z o o m c o v e r s a n a m a z i n g 9 t o 4 7 d e g re e s w i t h o u t s a c r i f i c i n g o u t p u t o r c l a r i t y.

On an outdoor video shoot, a number of factors can cause the lighting elements to fail, but during this 3 - d a y s h o o t , t h e V L 4 0 0 0 S p o t w a s re a d y t o p e r f o r m e v e r y t i m e t h e d i re c t o r c a l l e d f o r a c t i o n .

“For the apartment shots, I had the VL4000 Spot d i m m e d t o 3 0 % i n o p e n w h i t e a n d f o r t h e s t re e t s s h o t s w e h a d i t d i m m e d t o 7 5 % , ” a d d e d A rd i n e . “ T h e f i x t u re g a v e u s p l e n t y o f p o w e r a n d w e n e v e r e v e n h a d t o c r a n k i t t o f u l l s t re n g t h . T h e re w a s o n e s h o t w h e re t h e c a m e r a w a s i n s i d e t h e a p a r t m e n t a n d w e h a d t h e P O V o f l o o k i n g a t t h e w i n d o w. I n t h e s h o t , t h e c a m e r a l o o k s u p a t t h e V L 4 0 0 0 S p o t f ro m 4 0 f e e t a w a y a n d t h e f l a re o f t h e l i g h t i n t h e c a m e r a t r u l y l o o k e d l i k e a h e l i c o p t e r s e a rc h l i g h t . ” Along with the mechanical iris of the VL4000 Spot, i t s b e a m c a n b e f u r t h e r m o d i f i e d v i a t h e p re c i s e f o u r- b l a d e s h u t t e r s y s t e m , i n d e p e n d e n t p r i s m w i t h d i v e r g e n c e c o n t ro l , a n d t h e v a r i a b l e f ro s t . T h e I n f i n i t y C o l o r M i x S y s t e m o ff e r s C Y M c o l o r m i x i n g a l o n g w i t h v a r i a b l e C T O c o l o r t e m p e r a t u re c o r re c t i o n a n d dual five-position color wheels. The VL4000 Spot

A rd i n e c o n t i n u e d , “ O u r g ro u n d s h o t s t r i m m e d a t about 120 feet and the apartment window shots had a t h ro w d i s t a n c e o f a b o u t 4 0 f e e t . F o r t h e w i n d o w s h o t s , I h a d t h e z o o m d i a l e d i n t o 1 0 d e g re e s , a n d w h e n w e m o v e d t o t h e s t re e t s h o t s I z o o m e d d o w n t o 5 d e g re e s a n d a d d e d a n e ff e c t w i t h t h e i r i s a n d pan/tilt to give the beam a wobble movement for the re a l i s m o f a h e l i c o p t e r s e a rc h l i g h t o v e r h e a d . ”

“ O v e r t h e e n t i re t y o f t h e o u t d o o r s h o o t re l i a b i l i t y o f t h e V L 4 0 0 0 S p o t w a s n e v e r a n i s s u e , ” A rd i n e w e n t o n t h e s t a t e . “ We h a d t h e l i g h t a t t a c h e d t o t h e b o t t o m o f t h e c r a n e a l l d a y a n d t h e l u m i n a i re e a s i l y h a n d l e d t h e j o s t l i n g o f m o v i n g a ro u n d t h e s e t f ro m l o c a t i o n t o l o c a t i o n . T h e c r a n e d o e s n ’t n e c e s s a r i l y m o v e s m o o t h l y, a n d w e p ro b a b l y m o v e d i t f o u r t i m e s e a c h d a y t o d i ff e re n t p o s i t i o n s a n d i t s t r u c k e v e r y time.” Ve r s a t i l i t y o f t h e l i g h t i n g i n s t r u m e n t s i s a l s o a b i g advantage to a lighting designer on location during a s h o o t . I f a s i n g l e l i g h t c a n o ff e r m u l t i p l e c a p a b i l i t i e s , t h e d e s i g n e r c a n t h e n re l y u p o n t h a t l i g h t f o r t h e s h o t n e e d e d a n d t h a t ’s e x a c t l y w h a t t h e V L 4 0 0 0 S p o t d i d f o r A rd i n e . He concluded, “The VL4000 Spot worked perfect b e c a u s e i t h a s a t re m e n d o u s o u t p u t , a b ro a d z o o m range and the iris. A lot of times what we need in film shoots is a bright light that is very functional with the option of an iris and framing shutters, but not too large. The VL4000 Spot gives you all of this a n d m o re . ”

PHILIPS VARI-LITE VL4000 SPOT PROVES 'PERFECT' FOR THEATRE

he Gaertnerplatz theatre in Munich has set one of the 18th century's major works of French Literature, Les Liaisons Dangereuses, to music, with lighting designer Michael Heidinger choosing the award-winning Philips Vari-Lite VL4000 Spot for key depth and variety throughout the production. Set designer Rainer Sinells' concept was dark and seductive, making the most out of the small stage, which comprised a revolving platform against a black background. A curved staircase, a large gilt-framed, hinged mirror reflecting the action from above and an illuminated platform onto which a video wall generated images, were the only onstage elements.

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Lighting Solutions As the staging was kept simple, the 12 VL4000 Spots, supplied to the theatre by Philips Vari-Lite's exclusive distributor in Germany Lightpower, were integral for signifying transitions in time of day, venue and mood. "The versatility of the VL4000 Spot luminaires made them perfect for highlighting certain areas of the stage to completely change the venue for a scene," said Heidinger. The Vari-Lite VL4000 Spot includes all the tools needed to create dynamic and useful lighting for a range of applications. Its quiet Studio mode outputting 25,000 lumens makes it ideal for theatre without comprimising on brightness and its independent shutter blades deliver unmatched dimming abilities.

"I was also able to create a variety of moods and scenes with different colour thanks to their fantastic CMY colour mixing," continued Heidinger. The VL4000 Spot boasts an entirely new colour system that provides CMY colour mixing, variable CTO colour temperature correction and dual five-position colour wheels. As a result, the luminaire has incredibly smooth colour mixing whether operating in a slow fade or instant snap. The dual opposing fixed colour wheels achieve unique effects, providing a multitude of colour combinations.

PR LIGHTING’S TITAN PERFORMANCE

h en C u ltu r al Ce nt re House of Ar ts Dis tr ict 3 i n Buc ha re st p romoted a t w o-d a y summe r g arden par ty in t he Roma ni a n c a pital’s T itan P a rk re c e nt l y, Temple M edia Roma ni a w e re b rou gh t in to p rov i d e sound , l i gh tin g , L E D s cre e ns a nd st a gi ng. T h is in clu ded a numb e r of p re mi um d i s ch ar g e an d LED fi xt ure s from P R L ig h tin g, f or w hom t he y ha nd l e l ocal dis tr ibu tion. T h e even t was d e si gne d t o b ri ng t ogeth er Roma ni a n musi c a nd d a n ce o f var io u s ge nre s. From t he t radition al cos tume s a nd fol kl ori c m u s ic of th e op e ni ng d a y, he a d e d b y th e vio lin orc he st ra La ut a ri i Ch is in al to th e p op roc k l i ne -up headlin ed by Conne c t -R on d a y t w o , C r is tian S i mon’s i nsp i re d l i gh tin g des ig n for t he e v e nt d ubbed M u s ic & A rt i n T i t a n P a rk b rou gh t th e s et t i ng t o l i fe for a n a udien ce of u p to 10,000 p e op l e . S i mo n ’s s tag e d e si gn w a s b ui l t a rou n d 1 6 PR XR 200 Be a ms, 10 X LE D 1 061 Wash a nd 16 X LED 2 0 07.

The ul t ra - c o m pa c t XR 2 0 0 be a m i s e qui ppe d w i th Pl a ti num 1 8 9 W 5 R l a mp , p ro duc i ng a pe rfe c tl y pa ra l l e l , l a se r- l i k e be a m w i th a n i nc red i b l e out p ut . T he ful l y fe a ture d XLED 1 0 6 1 c o nsi sts o f 6 1 x 1 0 W RG BW 4 - i n 1 LED ’s to de l i v e r ra i nbo w e ffe c ts, a ni m a ti o n e ffe c ts a nd pul se s t ro b e, w hi l e t he m i ni RBG W XLED 2 0 0 7 ( 7 x 1 5 W m ul ti - c hi p LED s) i s a b l e t o rot a t e e n dl e ssl y. The t w o fre e e v e nts w e re funde d by the C i ty D i stri c t 3 . T he c o n cep t c ul t ura l pro g ra m m e w a s c o o rdi na te d by di re c to r Al i c e B a rb a n d t h e e v e nt w a s pre se nte d by T V sta r I ul i a na Tudo r.

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Lighting Solutions

ENTEC

LIGHTS

est London based rental company Entec continued their working relationship with darlings of the uniquely alter native UK ‘musique noir’ and trip hop Portishead, a band who have consistently produced interesting, different and intriguing music and performance, retaining a sense of mystique, cleverly balancing their popularity as live artists with critical acclaim. Entec first started working with Portishead through their previous lighting designer Tony Austin, who also originally asked current LD Niall Hannell to come on-board, initially as a programmer in April 2008. Niall took over as LD last year. This summer Entec supplied a floor specials, control and WYSIWYG package to Portishead’s three latest high profile shows at Montreux Jazz, Benicassim in Spain and Latitude festival in the UK along with a surprise bijou show at Cardiff University. The whole rig was a really tight design based around the innovative cinematographic work of video director John Minton. The band like it dark, stark and contrasty, a lighting aesthetic ideally suited to the overall look and feel they wanted to evoke, and the rig was also designed to be as simple and practical as possible.

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PORTISHEAD

SUMMER

Many of the specific video treatments were produced using feedback and luma key effects for which the light needed to be just right. Six washes and six spot luminaires on the deck formed the core of the touring lighting rig, with a first choice being Martin MAC Vipers and Robe LEDWash 600s - all easily integratable into the overhead lighting packages provided by the venue, for which 16 spot and 16 wash moving lights were requested. Entec further provided 12 x 650 Watt fresnels and a miscellany of grip accessories, magic arms, stands, clamps, etc. that could be assembled around the band’s backline, fitting in virtually anywhere. These provided excellent key lighting for the various cameras, so whatever the angle, there was a good – or an idiosyncratic - image onscreen. There was a large upstage LED screen and John utilised 10 cameras in his mix, a combination of fully operated, robo-cams and mini-cams, all fed into two big black boxes … out of which he produced his wizardry! There were also a number of quirky gizmos like mirrors attached to speakers connected to bass pedals, etc., dotted around, all bringing the stage action really alive onscreen and across to the audience.

SHOWS

Everyone could literally feel the movement – almost breathing - from the instruments and music. Niall toured a grandMA2 light console for control with a W ing for backup, also supplied by Entec. The handy size of the W ing meant he could use it for focusing onstage at the festivals. Niall has been working with Entec for around 15 years as a freelance and now as a client and commented, “It’s an absolutely wonderful, very friendly and efficient company. The service is excellent – nothing is too much trouble and it doesn’t matter what size of rig you’re taking out, everyone enjoys the same impressive standards”. He observed that as Entec also enjoys a good relationship with other hire companies, cross renting items as needed is rarely a problem. “They are always there for you and the whole team really cares about every aspect of a project with which they are involved”. Entec Project Manager Noreen O’Riordan said, “It really is a pleasure to work with all involved in Portishead including production manager Mick Brown. They are a tightknit team of creative professionals who have a lot of fun along the way, and we look forward to working with them all again soon”.

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Lighting Solutions

PLA ART DELEGATION MAKES FRIENDS MONGOLIA WITH HELP FROM PR LIGHTING

he art delegation of the People’s Liberation Army (PLA), comprising 106 members, recently held the first of three shows at the Ulaanbaatar Central Palace of Culture during a 10-day visit to Mongolia. The delegation consisted of people from the Song and Dance Troupe of the PLA General Political Department, the PLA Academy of Arts and the Acrobatic Troupe of the PLA Guangzhou Military Area Command (MAC). During their visit, the delegation carried out artistic exchanges with the song and dance troupe of the Mongolian military, where spectacular effects from PR Lighting were provided by the Chinese manufacturer’s Mongolian partner, D-light. This involved 36 pieces of XR 200 Beam and 36 XPAR 336. The lightweight and compact XR200 Beam is equipped with a Platinum 5R or Osram 230 HRI lamp, to provide a parallel, laser like ‘pencil’ moving beam with a brightness of 67,765 lux, usually achievable only with far greater wattages. This combined with the LED source of the fully featured XPAR 336, housing 36 RGBW LED’s, to provide high output efficiency and low power-consumption, making it ideal for a raft of applications. The head of D-lights, Mr. Davaa and Ms. Bolor, described the combination as perfect and the performances as “very successful”.

Zhang Qianyi, head of the Song and Dance Troupe of the PLA General Political Department, said that the carefully-prepared programmes — which also included shows in Darhan and a special show for the Mongolian troops — embody the characteristics of the Chinese military and also demonstrate the spirit of the Chinese people. The aim of the visit was to enhance mutual trust and friendship between the two militaries through these performances in Mongolia — and with the help of these shows, and their use of PR Lighting dynamics, it certainly succeeded.

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Audio & VISUAL Solutions

SYMETRIX DELIVERS EFFECTIVE PROCESSING, ERADICATES ECHO FOR BEIJING HIGH COURT

W i t h re s p o n s i b i l i t i e s t h a t i n c l u d e t h e l i v e t r a n s m i s s i o n / re c o rd i n g o f c o u r t p ro c e e d i n g s a n d t h e m a n a g e m e n t o f c a s e - re l a t e d d o c u m e n t s , i t s t a n d s t o re a s o n t h a t n o c h a n c e s c a n b e t a k e n w h e n i t c o m e s t o t h e AV i n f r a - s t r u c t u re o f t h e B e i j i n g H i g h e r P e o p l e ’s C o u r t . I n t h i s s p i r i t , t h e C o u r t – which is the most senior level of judi-ciary in the m u n i c i p a l i t y o f B e i j i n g – re c e n t l y p re s s e d a h e a d with an audio system installation in which Sy-metrix D S P s p l a y a n i n t e g r a l ro l e . I n d e l i v e r i n g t h e b e s t p o s s i b l e s o l u t i o n , t h e p ro j e c t e n t a i l e d c o o p e r a t i o n b e t w e e n t w o o f C h i n a ’s l e a d i n g s p e - c i a l i s t s i n p ro f e s s i o n a l t e c h n o l o g y. Whilst distribution heavyweight and long-running S y m e t r i x d i s t r i b u t o r E Z P ro w a s p r i m a r i l y re s p o n s i b l e for supply and system tuning, Beijing Jinqiao T i m e s C u l t u re D e v e l o p m e n t C o s e r v e d a s s y s t e m s i n t e g r a t o r i n c h a r g e o f p ro d u c t p u rc h a s e a n d s y s t e m specification.

Oct-Dec 2015

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Audio & VISUAL Solutions “ E Z P ro h a s a v e r y c l o s e re l a t i o n s h i p w i t h J i n q i a o T i m e s , ” re p o r t e d Z h a n g Ya n g y a n g , t h e c o m p a n y ’s sales manager for northern China. “When Jinqiao T i m e s t o l d u s t h a t t h e y h a d a p ro j e c t t h a t w a s i n n e e d o f re l i a b l e a n d f l e x i b l e D S P p ro d u c t s , w e re c o m m e n d e d S y m e t r i x – a n d i t q u i c k l y b e c a m e clear that their solutions could indeed meet the s u b s t a n t i a l re q u i re m e n t s o f t h e H i g h C o u r t ’s E x e c u t i v e C o m m a n d C e n t e r. ” With as many as 46 inputs and 14 outputs to manage, a n d f re q u e n t c h a n g e s t o t h e c o n f i g u r a t i o n , f l e x i b l e ro u t i n g a n d p ro c e s s i n g w e re c r i t i c a l . S u p p o r t f o r t h e s p e c i f i e d A u d i n a t e D a n t e n e t w o r k a n d p ro v i s i o n f o r re - d u n d a n t s e t - u p w e re o t h e r f a c t o r s t h a t u l t i m a t e l y l e d J i n q i a o T i m e s t o s p e c i f y t h re e S y m e t r i x S y m N e t R a d i u s A E C o p e n a rc h i t e c t u re D a n t e - s c a l a b l e D S P s . T h e s e a re u s e d i n c o n j u n c t i o n w i t h t w o S y m N e t x I n 1 2 e x - p a n d e r s t o e n s u re t h e re i s s u ff i c i e n t c a p a c i t y available at all times. “In the audio system, the large number of inputs m a d e f o r a r a t h e r c o m p l e x re q u i re m e n t f o r s i g n a l ro u t i n g a n d c o n t ro l , ” c o n f i r m e d B e i j i n g E Z P ro

s y s t e m s e n g i n e e r M r. F a n . “ H o w e v e r, w i t h t h e c h o i c e o f t h e S y m e t r i x p ro d u c t s , w e h a v e b e e n a b l e t o g ro u p t h e i n p u t s o u rc e s t h ro u g h t h e S y m N e t C o m p o s e r s o f t w a re , s i m p l i f y i n g t h e e n t i re o p e r a t i o n c o n s i d e r a b l y. ” The selection of the Symetrix DSPs has also had a n o t h e r i m p o r t a n t b e n e f i t w i t h re g a rd t o t h e i r i n c l u s i o n o f t h e AV i n d u s t r y ’s l o w e s t - l a t e n c y a c o u s t i c echo cancellation (AEC) algorithm. This functionality i s e s p e c i a l l y a d v a n t a g e o u s w h e n v i d e o c o n f e re n c e s a re t a k i n g p l a c e b e t w e e n t h e B e i j i n g H i g h e r P e o p l e ’s C o u r t a n d j u d i - c i a l b o d i e s i n o t h e r re g i o n s . “The AEC function eradicates distracting echo and obtrusive noise while delivering pristine full-bandwidth audio to both near and far ends. It’s a really great feature for this kind of application,” said Zhang. S t a ff a re re p o r t e d l y d e l i g h t e d b y t h e p e r f o r m a n c e o f the audio installation at the High Court, which also f e a - t u re s a n u m b e r o f o t h e r p re m i u m c o m p o n e n t s , i n c l u d i n g a n A l l e n & H e a t h m i x e r, M i s s i o n P ro p o w e r amplifi-ers and EAW column speakers.

DPA MICROPHONES BRINGS ITS BROADCAST MICROPHONES AT IBC 2015

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n show will be the new d:facto™ Interview M i c ro p h o n e , w h i c h w a s l a u n c h e d in April at NAB 2015 and is a l re a d y g a r n e r i n g m u c h p r a i s e f o r its ability to deliver exceptional audio, even in the most demanding and windy conditions. W i t h v o i c e c l a r i t y, l i n e a r i t y a n d low handling and wind noise that is far superior to other solutions on the market, this high-end h a n d h e l d re p o r t e r ’s m i c i s i n a class of its own in both outdoor or studio interview settings. The m i c ro p h o n e f e a t u re s an o m n i d i re c t i o n a l 2 0 0 6 V c a p s u l e , b a s e d o n D PA’s o r i g i n a l 2 0 0 6 , but with sensitivity adjusted down 12 dB to accommodate typical i n t e r v i e w m i c a n d w i re l e s s h a n d l e s e n s i t i v i t i e s . T h i s o m n i d i re c t i o n a l p a t t e r n i s p re f e r re d f o r h a n d h e l d i n t e r v i e w u s e b e c a u s e p re c i s i o n i s l e s s c r i t i c a l a n d n a t i v e re d u c t i o n s in wind and handling noise, which i s f u r t h e r l o w e re d i n t h e m i c b y a rubber suspension mount built into the d:facto™ head. D PA , i n c o n j u n c t i o n w i t h i t s D u t c h distributor Amptec, will also be s h o w i n g t h e re c e n t l y l a u n c h e d d : f i n e ™ I n - E a r B ro a d c a s t H e a d s e t M i c ro p h o n e . Ta r g e t e d a t b ro a d c a s t h o s t s a n d guests who use in-ear monitors to

Oct-Dec 2015

c o m m u n i c a t e w i t h t h e i r p ro d u c e r s b a c k s t a g e o r t o h e a r f o l d b a c k f ro m p e o p l e i n t e r v i e w e d o u t s i d e t h e s t u d i o , t h e d : f i n e ™ I n - E a r M i c ro p h o n e is built on the same state-of-the-art capsules and mechanical design t h a t h a v e m a d e D PA’s d : f i n e ™ r a n g e s o p o p u l a r a ro u n d t h e w o r l d . T h i s m o d e l i n c o r p o r a t e s t w o c a b l e s — m i c ro p h o n e a n d i n - e a r — t h a t r u n p a r a l l e l t o p ro v i d e a n e a t a n d c l e a n l o o k . E a r p a d s i n t w o d i ff e re n t s i z e s a re a l s o i n c l u d e d a n d g re a t c a re h a s b e e n t a k e n t o e n s u re t h a t t h e re i s n o a u d i o l e a k a g e b e t w e e n t h e i n - e a r d r i v e r s a n d t h e m i c ro p h o n e c a p s u l e , w h i c h c a n b e e i t h e r o m n i d i re c t i o n a l o r d i re c t i o n a l . A s t e e l s p r i n g c o n s t r u c t i o n a t t h e e a r h o o k o ff e r s q u i c k m o u n t i n g f o r a n y e a r size, while the cable to the integrated in-ear plug(s) can be lengthened o r s h o r t e n e d t o s u i t t h e u s e r. I t i s e a s y t o a d j u s t h e a d s e t m o u n t

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Audio & VISUAL Solutions size and, by choosing between left and right ear o r i e n t a t i o n , i t i s e v e n p o s s i b l e t o g i v e t h e b ro a d c a s t host a ‘camera blind’ side. A t I B C 2 0 1 5 , D PA w i l l a l s o s h o w i t s P o d i u m r a n g e , w h i c h i n c l u d e s t h e d : s c re e t ™ M i n i a t u re P o d i u m M i c ro p h o n e t h a t p ro v i d e s a n e l e g a n t , d i re c t i o n a l m i c ro p h o n e b a s e d o n D PA ' s re n o w n e d m i n i a t u re m i c ro p h o n e s . I n c o r p o r a t i n g s p e c i a l i n t e r f e re n c e t u b e t e c h n o l o g y t h a t e n s u re s e x c e p t i o n a l d i re c t i v i t y a n d o ff - a x i s re j e c t i o n , t h e d : s c re e t ™ M i n i a t u re P o d i u m M i c ro p h o n e f e a t u re s a m i n i a t u re c a p s u l e m o u n t e d on a delicate gooseneck that comes in several lengths for table mounting. It can even be used in a w i re l e s s c o n f i g u r a t i o n b y e m p l o y i n g t h e c o m p a n y ’s i n g e n i o u s a d a p t e r r a n g e , w h i c h i s a l re a d y u s e d f o r o t h e r m i n i a t u re m i c ro p h o n e s . D PA ' s P o d i u m r a n g e a l s o i n c l u d e s t h e d : d i c a t e ™ P o d i u m M i c ro p h o n e s , w h i c h f e a t u re m o d u l a r c a p s u l e s f ro m D PA ' s d : d i c a t e ™ R e c o rd i n g M i c ro p h o n e s . T h e s e a re a c c l a i m e d f o r t h e i r e x c e p t i o n a l l i n e a r f re q u e n c y re s p o n s e s , h i g h S P L a n d s u p e r i o r g a i n b e f o re f e e d b a c k .

The company will complete its IBC 2015 line up by s h o w i n g i t s f u l l l i n e o f d : s c re e t ™ M i n i a t u re , d : f i n e ™ Headset and d:vote™ Instrument solutions, as well a s t h e d : f a c t o ™ Vo c a l M i c ro p h o n e , w h i c h i s p ro v i n g popular with FOH engineers for artists such as Stevie Wo n d e r, S t i n g , E l l i e G o u l d i n g a n d P a l o m a F a i t h .

DPA MICROPHONES TEACHES HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING

o w n e r s G ro v e N o r t h H i g h S c h o o l ( D G N ) , h o m e t o a n a c t i v e t h e a t re - f o c u s e d s t u d e n t b o d y t h a t h o s t s v a r i o u s e v e n t s t h ro u g h o u t t h e a c a d e m i c y e a r, re c e n t l y k i c k e d o ff i t s s p r i n g t i m e m u s i c a l , H o w t o S u c c e e d i n B u s i n e s s W i t h o u t R e a l l y Tr y i n g . F o r t h i s a n d e v e r y p ro d u c t i o n , D G N re l i e s o n D PA M i c ro p h o n e s ’ d : f i n e ™ S i n g l e - e a r D i re c t i o n a l a n d S i n g l e - e a r O m n i d i re c t i o n a l H e a d s e t M i c ro p h o n e s to support on-stage talent, favouring the durability a n d s u p e r i o r a u d i o o f t h e c o m p a n y ’s m i c ro p h o n e s c o m p a re d t o o t h e r l e a d i n g b r a n d s . “ B e f o re s w i t c h i n g t o D PA , o u r p re v i o u s m i c ro p h o n e s w o u l d b re a k o r c r a c k o v e r t h e e a r, t h e c o rd s w o u l d g o b a d , o r t h e y j u s t d i d n ’t h o l d u p w e l l , ” e x p l a i n e d B i l l M i l l e r, f i n e a r t s m u s i c t e a c h e r a t D G N . “ W h e n w e u p g r a d e d o u r s o u n d s y s t e m , D a n a K i r k e g a a rd , w h o i s a w e l l - k n o w n a c o u s t i c i a n a n d a l s o a p a re n t t o o n e o f o u r s t u d e n t s , s a i d , ‘ y o u k n o w, y o u re a l l y n e e d t o u s e D PA’ a n d g a v e u s t w o m i c s . We a re re a l l y fortunate and thankful for that.” S i n c e b e i n g i n t ro d u c e d t o D PA , t h e s c h o o l o f m o re t h a n 2 , 0 0 0 s t u d e n t s h a s g ro w n t o re l y o n t h e d : f i n e s to fit the changing needs of the events hosted in the C l a re n c e J o h n s o n A u d i t o r i u m . F ro m c h o r u s c o n c e r t s a n d t h e a t re p e r f o r m a n c e s , t o o u t s i d e c o r p o r a t e e v e n t s , t h e c o m p a n y ’s d : f i n e h e a d s e t m i c ro p h o n e s compliment all of the needs of the students and f a c u l t y, f ro m q u a l i t y b u i l d t o e a s e o f u s e . “ I ’ m a f a n o f D PA m i c s , t h e y s o u n d f a n t a s t i c a n d t h e d u r a b i l i t y i s a g re a t b e n e f i t , ” c o n t i n u e d M i l l e r. “ We try to give our students the experience of working as p ro f e s s i o n a l s , a n d t o b e a b l e t o g i v e t h e m t h i s k i n d of equipment to use first-hand is important to us. The students notice how easy the d:fine is to put on, especially when they need to quickly switch the mics

between performers. With some of our students who m a y b e h a d a s u p p o r t i n g ro l e i n t h e p a s t , w h e n t h e y h i t t h e b i g t i m e a n d u s e t h e D PA s , t h e y c o m m e n t , ‘ w o w, t h i s i s s o m u c h e a s i e r t h a n t h e o t h e r m i c s ! ’ ” W h e n i t c o m e s t o h e a d w o r n m i c ro p h o n e s , D PA’s d:fine headsets have a leading position in the i n d u s t r y, o w i n g t o t h e c o m b i n a t i o n o f p r i s t i n e a u d i o quality with unique and simple mechanical solutions. With its very high SPL capabilities, one can both s p e a k a n d s i n g w i t h n o h i n t o f d i s t o r t i o n . F u r t h e r, b y ro t a t i n g t h e b o o m , t h e m i c ro p h o n e c a n b e m o v e d f ro m l e f t t o r i g h t e a r f o r a u s e r ’s o p t i m a l p o s i t i o n . Av a i l a b l e i n b o t h o m n i d i re c t i o n a l a n d d i re c t i o n a l v e r s i o n s , t h e D PA d : f i n e a l s o f e a t u re s s i n g l e - o r dual-ear mounts, with the latter dedicated for e v e n t h e m o s t r i g o ro u s a n d e n e r g e t i c p e r f o r m a n c e applications. D o w ne rs G ro v e N o rth H i g h Sc ho o l i s pa rt o f C o m m u n i t y H i g h Sc ho o l D i stri c t 9 9 , w hi c h ha s g ro w n fro m o n e sm a l l bui l di ng to tw o l a rg e m o de r n c o m pre he n s i ve hi g h sc ho o l s, pro duc i ng m o re tha n 1 , 4 0 0 g ra d u at es e a c h y e a r. D i stri c t 9 9 de v e l o ps g o a l s a nd de t ai l ed a c ti o n pl a ns i n i ts c o nti nuo us que st to i m prove o n i ts c o re m i ssi o n: to pro v i de a c a ri ng a nd c ha l l e n g i n g e nv i ro nm e nt w he re a l l stude nts de v e l o p a s l i f el o n g l e a r ne rs to be c o m e c o ntri buti ng , re spo n s i b l e m e m be rs o f a c ha ng i ng w o rl d. Miller joined the Community High School District 9 9 m u s i c f a c u l t y i n 1 9 9 5 . H e c u r re n t l y t e a c h e s a variety of courses at North High School and serves a s t h e d i re c t o r o f t h e D G N J a z z L a b B a n d a n d Tro j a n M a rc h i n g B a n d . A d d i t i o n a l l y, M i l l e r i s t h e a u d i t o r i u m m a n a g e r o f t h e s c h o o l ’s 1 , 2 0 0 s e a t C l a re n c e J o h n s o n A u d i t o r i u m a n d t h e l i g h t i n g a n d s o u n d d i re c t o r o f s e v e r a l p ro d u c t i o n s e a c h y e a r.

Oct-Dec 2015

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Audio & VISUAL Solutions

SENTINEL KEEPS AN EYE OUT ON ALCONS SYSTEMS

h e remar kable a ud i o q ua l i t y of Alco n s ’ pro- ri b b on t e c hnol ogy i s makin g s ig n if ic a nt i nroa d s i n t he p rof es s ion al s o und re i nforc e me nt m ar ket. Bu t in ord e r t o ge t t he v e r y bes t f rom the i r sy st e ms, e v e ry c ompo n en t of the si gna l c ha i n ha s t o co n s is ten tly d e l i v e r. It i s w i t h t hi s i n min d th at Alcons ha s d e v e l op e d S e n tin el, a r ange of a mp l i fi e d l o u ds peaker c ont rol l e rs t ha t p recis ely match t he re q ui re me nt s o f its lou ds peake rs. T h e gen es is o f S e nt i ne l c a me from A l con s en g in eers d oi ng t horough, c a libr ated 1:1 l i st e ni ng t e st s b e tween th e comp a ny ’s c urre nt A LC s er ies ampl i fi e d l oud sp e a ke r c on tro ller s an d t he p rod uc t s from v a r iou s leadin g a mp l i fi e r b ra nd s. “We co mpared sound q ua l i t y on stereo imagin g, d e p t h, w i d t h a nd res olu tio n ,” sa i d A l c ons c ofou n der, To m Ba c k. “Most p e op l e i n th e pro au dio w orl d w oul d t hi nk t hat each ampl i fi e r of a gi v e n r a tin g is th e s ame , b ut w e found t hat th ere are l a rge d i ffe re nc e s b e tween each mod e l a nd t he v a r iou s tech n ol ogi e s use d . O f c ou r s e, we did furt he r t e st i ng on o u tpu t, th er mal b e ha v i our, use r i nter f ace, in tegra t e d p roc e ssi ng p l atf o r ms an d s e rv i c e a b i l i t y, w hi c h a l s o revealed lot of d i ffe re nc e s. O v er all, with s u c h hi gh-re sol ut i on t r a n s du cer technol ogy a s A l c ons p ro- r ibbo n , th e d i ffe re nc e s w e re t oo big f or u s to i gnore .” T h e co mpan y coul d ha v e ma d e a n O EM agreemen t w i t h a n e xi st i ng a m plif ier man ufa c t ure r, b ut t o a c h ieve a u n it t ha t w oul d a l l ow i t s s ys tems to d e l i v e r e v e ry t hi ng m o der n au dio p rofe ssi ona l s d e man d with a b sol ut e l y no l oss o f au dio qu ality, A l c ons d e c i d e d t o develop its ow n, p rop ri e t a ry p l atf o r m. T h e Sen tin el f e a t ure s 4-i n/4-out

Oct-Dec 2015

i np ut matri x ro uti ng , w i th i nte r na l 96kHz sa m pl i ng ra te . D ue to the c ust om-de si g ne d sa m pl e - ra te c onv e rsio n, Se nti ne l a c c e pts a ny si gna l be tw e e n 4 4 . 1 up to 1 9 2 k H z d i gi t a l A ES3 fo rm a t. The fut ure - upg ra da bl e po w e rful DSP eng i ne e na bl e s m i ni m a l l a t e nc y duri ng pro c e ssi ng of e v e n t he m o st c o m pl e x ( I I R, FI R) a l gori t hm s. D S P fe ature s i nc l ude pa ra m e tri c e q ua l i se r a nd de l a y pe r c ha nne l , fa c t ory pre se ts fo r a l l Al c o ns sy st e ms a nd c o nfi g ura ti o ns a . o . The “l i n e a r” pre se t e na bl e s the S e nt i ne l to be use d w i th thi rdp a rt y sp e a k e rs, w hi l e m a i nta i ni ng ful l D S P func ti o na l i ty. The 4 i nde pe nde nt, pa te ntp e nd i ng C l a ss D a m pl i fi e r sta g e s a nd 2 re dunda nt sw i tc h- m o de p ow e r suppl i e s a l l fe a ture a mi c roc o ntro l l e r, a l l o w i ng all p a ra me t e rs to be m o ni to re d a nd gui de d via the i nte r na l c ommun i c a ti o n ne tw o rk . T hi s me a ns m a xi m um o pe ra ti ng e ffi c i e ncy ( e v e n w i th o ne po w e r sup p l y s hut do w n) a nd e xte nsi v e st a t us/a ppl i c a ti o n l o g g i ng c a n be ma i nt a i n e d a t a l l ti m e s. The modul a r c o nstruc ti o n no t onl y fa c i l i ta te s future ha rdw a re up gra d e s fo r i . e . m o re po w e rful p roc e sso rs, but a l so o ffe rs e a sy “i n-t he -fi e l d” se rv i c i ng , bri ng i ng p ot e nt i a l do w nti m e to a n a bso l ute mi ni mum . The S i gna l I nte g ri ty Se nsi ng ™ ( SI S) c i rc ui t dy na m i c a l l y c o m pe nsa te s i mp e d a n c e e ffe c ts i n l o ng spe a k e r c a b l e s and c o nne c to rs, re sul ti ng i n a t i ght sub a nd ba ss re spo nse , ma t c hi ng the fa st- tra nsi e nt re sp onse o f the pro - ri bbo n m i dhi gh f re que nc y re pro duc ti o n. Thi s c i rc ui t do e sn’t re qui re a ny ma nua l pre se tti ng , but o pe ra te s

dy na m i c a l l y, o n SI S™ pre - w i red sy ste m s. T he Se nti ne l i s o pe ra te d b y a Li nux- ba se d main c o nt ro l l er, thro ug h a l a rg e , i ntui ti v e co l o u r 4 8 0 x 2 7 2 pi xe l T FT to uc h s creen a nd RG D - LED ro ta ry e nc o de r. R e m o te c o ntro l re qui re m e nt s are se rv e d by ALC o ntro l ™, Al co n s pro pri e ta ry ALC c o ntro l so f t w are pro to c o l , to c o ntro l i ndivi d u al o r c l uste rs o f Se nti ne l s, t o b e o pe ra te d fro m bo th M a c an d PC pl a tfo rm s; Al so c o ntro l f ro m m o bi l e de v i c e s i s po ssi bl e th ro u g h a VN C a pp. Spa re m o dul e sl o ts a nd tw o R J 4 5 c o nne c to rs e na bl e o pti o na l a u d i o o v e r- ne tw o rk c o ntro l . Se nti ne l c o m e s i n a 2 u r ack m o unt pa c k a g e i n tw o fo rm a t s : 4 x 7 5 0 W ( Se nti ne l 3 ) a nd 4 x 2 5 0 0 W ( Se nti ne l 1 0 ) o utput, w e i g hi n g j u s t 8 , 8 k g / 1 9 . 4 l b a nd 1 1 , 6 k g / 2 5 .5 l b re spe c ti v e l y. “ T he m a i n fo c us i n the de v e l o p m en t o f the Se nti ne l ra ng e w a s to ob t ai n an ‘ a udi o phi l e - g ra de ’ s i g n al pa th a nd a surpl us o f he a d ro o m unde r a ny c i rc um sta nc e , t o g et the m a xi m um pe rfo rm a nc e o u t o f Al c o ns so und sy ste m s, ” s ai d B a c k . “ I t i s de si g ne d to o ffer t h e hi g he st po ssi bl e so und qua l i t y an d m o st re a l i sti c so und e xpe r i en ce, a t a ny so und pre ssure l e v e l , i n an y a ppl i c a ti o n. “ I t ha s m e a nt tha t o ur R & D p at h to o k l o ng e r tha n the ‘ sho r t cu t ’ o f a n O EM a g re e m e nt, b u t i t ha s de fi ni te l y pa i d o ff. We can trul y sa y tha t the c o m bi na ti o n o f Al c o ns so und sy ste m s a nd t h e Se nti ne l pl a tfo rm ra i se s the b ar f o r m a xi m um o bta i na bl e so und q u al i t y i n so und re i nfo rc e m e nt. I t se t s n ew sta nda rds o f H i - Fi so und a t c o n cer t SPLs. And, m o st i m po rta ntl y, i t ’s a future - pro o f i nv e stm e nt! ”

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Audio & VISUAL Solutions

STUDIOTEC INTEGRATES HARMAN’S MARTIN PROFESSIONAL LED VIDEO COMPONENTS WITH HOCKEY RINK

n a u n i q u e a p p ro a c h t o i n d o o r a re n a l i g h t i n g , F i n l a n d ’s H a r t w a l l A re n a f e a t u re s a n i n n o v a t i v e L E D video system integrated with its ice hockey rink. The a re n a , w h i c h i s h o m e t o t h e J o k e r i t o f t h e K o n t i n e n t a l H o c k e y L e a g u e ( K H L ) a n d F i n l a n d ’s N a t i o n a l M e n ’s H o c k e y Te a m , w a s re c e n t l y m o d e r n i s e d t o e n h a n c e the fan experience with significant upgrades to its lighting, video displays and digital signage. As p a r t o f t h e a re n a ’s m o d e r n i z a t i o n i c e h o c k e y r i n k e q u i p m e n t d e s i g n e r, m a n u f a c t u re r a n d s u p p l i e r, I C E P R O O Y, c re a t e d a c o n c e p t t o i n t e g r a t e l i g h t i n g w i t h i n t h e s t a n c h i o n s s u p p o r t i n g t h e r i n k ’s g l a s s s a f e t y d i v i d e r s . To re a l i z e t h e i r v i s i o n I C E P R O O Y worked with Finnish A/V Integration firm, Studiotec, t o d e v e l o p a l i g h t i n g d e s i g n t h a t i n c l u d e d m o re t h a n 9 4 0 o f H A R M A N ’s M a r t i n P ro f e s s i o n a l V C - S t r i p L E D v i d e o f i x t u re s . T he s ys tem is bui l t i nt o t he st a nc hi ons b e t w e e n the g l as s divider s of t he ri nk a s a n e xt e nsi on of t he a re na ’s b an n er an d 360-d i sp l a y sc re e ns a nd c a n run the sa m e con ten t as all the ot he r d i sp l a y s. To a c c omp li sh thi s, Stu dio tec n eede d t o ov e rc ome se v e ra l c ha l l e ng e s t h at in clu ded sp a c e a nd re sol ut i on l i mi t a t i o ns. I n additio n , th e proj e c t , w hi c h b e ga n i n Ma rc h 2 0 1 4 ha d t o be completed i n t i me for t he op e ni ng ga m e o f the K HL s eas on on S e p t e mb e r 4, 2014. “ Th e s tan ch io n s p rov i d e d onl y 27x27 mi l l i m e te rs o f s p ace, wh ich is q ui t e a sma l l a re a t o i nst a l l a v i de o fa çade,” s aid Ta p i o Jä rv i ne n, P rod uc t Ma na g e r, Stu dio tec. Jär vi ne n ha s w orke d w i t h Ma rt in si nc e j oin in g Stu dio tec i n 2011. “We ne e d e d a so l uti o n t h at was able t o fi t w i t hi n t he sp a c e w hi l e a l so p ro vidin g en ou gh re sol ut i on t o run t he sa me c o nte nt as th e oth er dis p l a y s t hroughout t he a re na . M a rti n’s

VC - Stri p w a s the na tura l c ho i c e , no t o nl y fro m a l o g i sti c a l sta ndpo i nt but a l so be c a use the i r su p p o r t i s i nc re di bl e . Yo u k no w y o u c a n re l y o n the M ar t i n te a m to w o rk w i th y o u w he ne v e r y o u ne e d supp o r t .” I nte g ra te d i n a l l 1 1 8 sta nc hi o ns a ro und the r i n k , J ä rv i ne n’s de si g n c o nsi ste d o f 9 4 4 ( e i g ht p er sta nc hi o n) VC - Stri p fi xture s w i th 2 5 m m pi xe l p i t ch to ta l i ng m o re tha n 1 4 , 0 0 0 pi xe l s. Ea c h sta n ch i o n fe a ture s a tw o - si de d i nsta l l a ti o n w i th fo ur VC -S t r i p s fa c i ng the a re na ’s se a ti ng a nd a no the r fo ur fi x t u res fa c i ng the i c e . To c o ntro l the de si g n, J ä rv i ne n re l i e d o n M a rti n ’s P 3 Sy ste m C o ntro l l e r a nd P3 Po w e rPo rt 1 5 0 0 d u e t o the hi g h- qua l i ty i m a g e pro c e ssi ng c a pa bi l i ti es an d e xtre m e l y e a sy se tup/ c o nfi g ura ti o n. Ac c o rdi n g t o J ä rv i ne n, i f the y ha d use d D M X- si g na l to c o ntro l t h e sy ste m , the y w o ul d ha v e ne e de d 8 3 se pa ra te D MX uni v e rse s. W i th the M a rti n P3 Sy ste m C o nt ro l l er, the re a re a bo ut 4 0 l i ne s fro m the Po w e rPo rt t o t h e ri nk , w i th o ne c a bl e fo r e v e ry thre e sta nc hi o ns . “ T h e M a rti n P3 Sy ste m C o ntro l l e r i s qui te uni que i n i t s si m pl i c i ty to i nsta l l a nd c o nfi g ure , ” sa i d J ä rv i nen . “ I t w o ul d ha v e be e n a n e xtre m e l y c o m pl i c a te d sys t em ha d w e use d o the r o pti o ns. Fro m the pro c e ss i n g t o the po w e r/ da ta di stri buti o n to the v i de o façad e, M a rti n’s P3 sy ste m s a re e a sy to c o nfi g ure a nd f as t to i nsta l l . ” O v e ra l l , J ä rv i ne n c o nsi de rs M a rti n hi s to p c h o i ce. “ We ’ v e be e n a di stri buto r o f M a rti n e qui pm en t f o r a bo ut fo ur y e a rs a nd the l e v e l o f suppo rt w e’ve re c e i v e d o n o ur pro j e c ts ha s be e n o utsta ndi ng,” h e sa i d. “ I w o ul d c ho o se M a rti n o v e r a ny o the r so l u t i o n o ut the re . ”

Oct-Dec 2015

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Audio & VISUAL Solutions

ILIVE MANAGES FOH FOR CLASSIC QUADROPHENIA AT THE ROYAL ALBERT HALL

llen & Heath’s modular iLive digital mixing system was employed to manage FOH for the recent production of Pete Townshend’s Classic Quadrophenia, taking place at the Royal Albert Hall in London. A classical reworking of The Who’s 1970s album, Quadrophenia, Townshend’s production featured the Royal Philharmonic Orchestra, the London Oriana Choir, and guest singers Billy Idol, Phil Daniels and Alfie Boe. “The brief was to emulate the Quadrophenia studio album, and provide clean, open sound, so I knew I had to choose iLive because it fits the bill exactly - it has a very open, clean sound, great audio processing, is super flexible, networkable, and is customisable so I can make it work for me, rather than the other way round. W ith an 80-strong orchestra, 90-strong choir and various guest celebrity singers, there was a lot going on, so iLive is just what I needed,” explained FOH Engineer, Ian Barfoot. The PA was provided by Capital Sound, and the iLive system comprised two modular iDR10 MixRacks installed on stage and linked using ACE, with an iLive-112 control surface at FOH position linked to the racks using fibre optic and cat5 working in tandem. The system needed to manage a total

of 128 inputs, with approximately 12 outputs, 16 DCAs, and providing orchestral stems to the monitor board, left and right to the main venue system, and recording feed to the mobile broadcast trucks. “The iLive-112 surface has a compact footprint which is ideal for theatre situations but the impressive thing is that I can run the console as a 224 strip surface, using the soft keys to recall different control strip configurations as scene recalls, greatly expanding the scope of what I see in my layers. By programming various soft keys to provide completely different control strip setups for different parts of the orchestra, I can instantaneously recall a different channel configuration all at the touch of a button. In fact, I could multiply up to 9 times the 112 channels… but that’s madness!” said Barfoot. Barfoot also used a laptop running iLive Editor as an extra meter bridge so the System Technician could monitor the first 50 microphones, mainly the string section, where most sound reinforcement problems occur. He also used an iPad with the app as a remote control during rehearsals.

GUVERA BRINGS DATA SAVING TO SINGAPORE

u s tr alian - o w ne d musi c st re a mi ng se rv i c e G uv e ra h as an n ou n c e d i t w i l l e xp a nd i t s d a t a sa v i ng fun ction to all 20 ma rke t s i t op e ra t e s i n g l o ba l l y, al lo win g u s er s to si gni fi c a nt l y re d uc e t he i r d a ta usa g e w h ile s treamin g musi c . Wh en u s er s lis te n t o a t ra c k t hrough G uv e ra , the y w i l l h ave acces s to ad v a nc e d a ud i o b uffe ri ng t e c hno l o g y, t h u s s ig n if ican tly re d uc i ng t he d a t a i mp a c t of pl a y i ng t h e s on g ag ain i n t he fut ure . G u ver a C E O Da rre n He rft sa i d t ha t t hi s d e c i si o n h as been made t o e nsure c ust ome rs ha v e unl i m i te d acces s to Gu ve ra ’s musi c l i b ra ry a nd c ura te d p laylis ts , with o ut b e i ng re st ri c t e d b y e xc e ssi v e da ta co n s u mptio n .

Oct-Dec 2015

“ G uv e ra i s fo c use d o n pro v i di ng c usto m e rs w i t h t h e m usi c the y l o v e , o n the i r te rm s. D a ta i s a n i nc re a s i n g l y i m po rta nt c o m m o di ty a nd o ur da ta sa v i ng fun ct i o n e nsure s w e a re m e e ti ng the ne e ds o f m usi c l o ver s .” In terms of functionality, as users navigate through Guvera, they will see a green arrow next to songs after they have been streamed once. This arrow indicates that when streamed in the future, data will not be used. “ Fo r c usto m e rs w ho stre a m ho urs o f m usi c ever y m o nth, the a bi l i ty to sa v e da ta c o ul d ha v e a h u g e i m pa c t o n the i r m o nthl y ( pho ne ) bi l l a nd he l p t h em k e e p m o re m o ne y i n the i r po c k e t, ” M r H e rft s ai d . G l o ba l l y, G uv e ra ha s m o re tha n 1 1 m i l l i o n use r s an d i s a v a i l a bl e i n o v e r 2 0 m a rk e ts.

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Audio & VISUAL Solutions

THE CARDIGANS TOUR WITH GLD CHROME a Chrome GLD-80 on monitors. The band’s monitor set up is mixture of wedges, and wireless and hardwired in-ears. An AR2412 remote IO rack is installed as a stage box, with two 2 AR84 racks in another rack containing a multi-track player/recorder and the band’s and techs’ in-ear monitor system. This is connected by running two Cat5 cables between monitor/stagebox and the rack. A double CAT5e/6 connects monitor and FOH, and the monitor GLD-80 sends rack inputs to the FOH GLD-112 through a redundant ACE card setup.

enowned Nordic rock band, The Cardigans, are currently touring with Allen & Heath’s GLD Chrome digital mixing system, supplied and managed by Swedish PA company, Parashoot. “We have been using Allen & Heath’s iLive systems on The Cardigans since the revival tour in 2012, and more recently, I used the GLD system on the Nina Persson’s Animal Heart solo tour, so it felt natural to move to the GLD Chrome for this summer tour. Nina’s vocals in particular sound so wonderful through GLD, I was confident about making the switch,” said Parashoot’s Oscar Söderlund. Parashoot selected a Chrome GLD-112 for FOH, with

“The speed of GLD makes it very easy for us to drag, drop, add or lose channels on the fly. This is particularly useful when, for example, guest musicians or new instruments are added during sound check or even line check,” said Söderlund. “At FOH, I use the onboard FX and dynamics. It’s fantastic that the same FX that I used on iLive also work and sound great on the GLD. I always use the classic A&H channel compressor, and am loving the new 16T and 16VU they sound great and very much like the real deal. The Transient Controller is amazingly good, and so are the new delays!” Parashoot has also established a simple stage communication system, enabling FOH and Monitors to talk to each other through the PFL buses, plus the ability to talk to just the backline staff, or the band during sound check. “In my opinion, Allen & Heath is leading the way in digital sound - it’s ground breaking stuff,” concluded Söderlund.

ILIVE INSTALLED IN NEW OUTDOOR THEATRE IN CHINA

llen & Heath’s iLive digital system has been installed as the FOH mixer in the central theatre at the New Yuanming Palace of Zhuhai. A reproduction of the Old Summer Palace in Beijing, which was destroyed in 1860, the popular tourist attraction covers an area of 1.39 square kilometers, and includes an imperial garden, lake, pagodas and a new central outdoor theatre to stage theatrical performances. The theatre is a multi-functional venue with a 10, 000 square meters seating area that can accommodate 6,000 people, and hosts regular cultural performances and festival events. The FOH system comprises an iLive-T112 Control Surface with iDR-48 MixRack, fitted with an M-DANTE network card to support 64 channels of multi-track for live recording and playback.

“iLive provides flexible control and extensive operational capabilities, including live recording, which means our sound system can easily manage the varied and diverse programme of activities.

The sound quality of the system is extremely high, making every performance very special,” said Mr Huang, Project Manager at the New Yuanming Palace’s theatre.

Oct-Dec 2015

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Audio & VISUAL Solutions

FAIRLIGHT ANNOUNCES KEY APPOINTMENTS TO BOOST SERVICE AND CUSTOMER SUPPORT with them, along with a t h o ro u g h understanding of Fairlight technology a n d i t s a b i l i t y t o i m p ro v e workflows. Fairlight is also expanding i t s P ro f e s s i o n a l S e r v i c e and Support Contracts and has boosted its incountry re p re s e n t a t i o n in key territories. In the U K a n d I re l a n d , S y n t h a x Audio has been appointed as channel partner â&#x20AC;&#x201C; a move that will significantly enhance local customer support.

Taylor Latour

Inder Biant

wo new Business Development Managers have been appointed in the USA a n d E u ro p e , w h i l e i n t h e U K , I re l a n d a n d A s i a P a c i f i c , a g re e m e n t s w i t h n e w channel partners have been signed. A s p i o n e e r s i n d e s i g n i n g h i g h - e n d l i v e a n d p o s t p ro d u c t i o n s y s t e m s f o r b ro a d c a s t e r s a n d s t u d i o p ro f e s s i o n a l s , F a i r l i g h t â&#x20AC;&#x2122;s o n g o i n g c o m m i t m e n t t o i n n o v a t i o n h a s re s u l t e d i n a n e w g e n e r a t i o n o f s o l u t i o n s t h a t u n l e a s h c re a t i v i t y a n d m a k e b i g g e r p ro d u c t i o n s e a s i e r a n d m o re c o s t e ff e c t i v e t o d e l i v e r. A m o n g t h e s e i s F a i r l i g h t ' s s e c o n d g e n e r a t i o n C r y s t a l C o re ( C C - 2 ) p o s t p ro d u c t i o n audio engine, which is capable of delivering up to 1000 tracks, enabling c o n t e n t p ro d u c e r s t o t a c k l e c o m p l e x p ro d u c t i o n s , m e e t d e m a n d i n g d e l i v e r y re q u i re m e n t s a n d p re s e r v e c re a t i v e f re e d o m r i g h t t h ro u g h t o t h e f i n a l m i x . F a i r l i g h t h a s a l s o a d d re s s e d t h e g ro w i n g n e e d f o r c o n t e n t c re a t o r s t o d e l i v e r 3 D i m m e r s i v e s o u n d b y l a u n c h i n g 3 D A u d i o Wo r k s p a c e ( 3 D A W ) . W i t h f u l l 3 D o b j e c t o r i e n t a t e d a n d i m m e r s i v e a u d i o c a p a b i l i t y, y o u c a n m i x o n c e a n d u s e 3 D A W t o o u t p u t t o f o r m a t s s u c h a s A u ro - 3 D , D o l b y A t m o s , a n d D T S M D A . In addition to these exceptional developments, the company has launched a c o m p re h e n s i v e r a n g e o f c o n v e r g e d c o n s o l e s t h a t c o m b i n e L i v e a n d P o s t c a p a b i l i t i e s i n a s i n g l e u n i t . D e s i g n e d f o r t h e m o s t d e m a n d i n g l i v e p ro d u c t i o n s , this versatile range - soon to be further enhanced with the launch of Fairlight's V 5 . 1 o p e r a t i n g s o f t w a re - f e a t u re s a n e w 2 0 0 + c h a n n e l L i v e P ro c e s s o r f o r l a r g e s c a l e e v e n t s , f l y - i n F X t o e n h a n c e p ro d u c t i o n s a n d e x t e n s i v e c u s t o m i s a t i o n tools including optional lighting integration. P h i l i p B e l c h e r, F a i r l i g h t ' s C E O , s a i d : " F u t u re p ro o f i n g o u r t e c h n o l o g y h a s a l w a y s b e e n a t t h e h e a r t o f o u r b u s i n e s s p h i l o s o p h y, a n d w e a re n o w a p p l y i n g t h e s a m e v i g o ro u s p ro t o c o l s t o t h e w a y w e m a r k e t a n d s u p p o r t o u r p ro d u c t s . I n d u s t r y re s p o n s e t o o u r l a t e s t i n n o v a t i o n s , e s p e c i a l l y 3 D A W, h a s b e e n p h e n o m e n a l a n d w e a re d e l i g h t e d w i t h t h e Aw a rd s a n d p o s i t i v e f e e d b a c k w e h a v e re c e i v e d . O u r p r i o r i t y n o w i s t o e n s u re t h a t c u s t o m e r s g e t t h e l o c a l service and support they need as they adopt these new solutions." To t h i s e n d , F a i r l i g h t h a s a p p o i n t e d t w o n e w B u s i n e s s D e v e l o p m e n t M a n a g e r s - Ta y l o r L a t o u r, w h o i s re s p o n s i b l e f o r U S A , C a n a d a a n d M e x i c o , a n d I n d e r B i a n t , w h o i s re s p o n s i b l e f o r E u ro p e i n c l u d i n g U K . A l re a d y w e l l k n o w n a n d re s p e c t e d w i t h i n t h e i r o w n t e r r i t o r i e s , b o t h b r i n g a r a f t o f i n d u s t r y e x p e r i e n c e

Oct-Dec 2015

M a r t i n Wa r r, M a n a g i n g D i re c t o r o f S y n t h a x A u d i o , s a i d : " We a re d e l i g h t e d to have been appointed Channel Partners for such a p re s t i g i o u s b r a n d . T h e re a re obvious synergies w i t h o u r e x i s t i n g p ro d u c t portfolio, including RME a n d F e r ro f i s h , b u t w e a re p a r t i c u l a r l y e x c i t e d about the possibilities our distinctive style of c u s t o m e r c a re w i l l b r i n g to the large established customer base, as well as n e w c l i e n t s i n t h e f u t u re . " I n t h e A s i a P a c i f i c re g i o n , Fairlight has appointed S R S G i n I n d i a a n d C D A . P ro Audio in Cambodia, Laos, Philippines, Thailand and Vietnam. Fairlight customers in Indonesia, M a l a y s i a , a n d S i n g a p o re will also have enhanced local support thanks to the appointment of SSL A s i a , w h i c h w i l l re p re s e n t F a i r l i g h t P o s t p ro d u c t s i n these territories. " We a re a l s o v e r y c l o s e t o appointing a new channel partner in the USA," Philip B e l c h e r a d d e d , " a n d a re speaking to a number of other channel partners i n E u ro p e w h o h a v e t h e c a p a b i l i t y t o p ro v i d e I n country language sales, s u p p o r t a n d p ro f e s s i o n a l services to complement our existing signed partners."

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Audio & VISUAL Solutions

PMC SPEAKERS HAS SURROUNDED IN SOUND

he University of Hull has recently completed work on a new state-of-the-art 5.1 recording studio, part of a larger multi-million-pound expansion of music facilities in the School of Music, Drama and Screen, designed to ready the University for Hull's year as the UK City of Culture in 2017. PMC supplied all the reference monitoring in the new studio, including a pair of IB2S XBD-As and AML2s to handle the 5.1 audio. The University began a programme to unite its traditional on-site music facilities with its Creative Music Technology studios two years ago, the aim being to provide facilities for musicians of all kinds on the main Hull campus, whether in the tradition of classical or contemporary music, or performing arts. Prior to this, all music technology courses were taught on the University's Scarborough campus, over 40 miles from Hull. As part of the move, the existing Salmon Grove music studio in Hull was refurbished last year in collaboration with audio consultants The Studio People, and two new studios were planned and built from scratch: an Ambisonics studio and the 5.1 facility now containing the PMCs and an SSL Duality mixing console. Working with direction from Dr Andrew King, the University's Senior Lecturer in Music & Technology, the Studio People were also responsible for executing the design and construction in the two newly built studios. This is the first time PMC monitoring has been installed at Hull. "We have many kinds of speakers here," explained Andrew King. "We try to give our students access to as many different types as possible, and we wanted something new. Also, we had made the decision to put our funding into a small number of very highspecification facilities rather than spreading it thinly over a larger number of studios. We already had one studio with an SSL console in, for example, and we decided we'd have another, the Duality. And then Mike Banks

HULL

UNIVERSITY

of SSL recommended we try some PMCs to go with it." Dr King contacted PMC and asked to audition some speakers, which resulted in Ian Downs bringing up a pair of AML2s. "I tried them in one of our existing studios, replacing a pair of monitors that I had never been happy with," continued King. "They sounded superb, so we then went down to Metropolis Studios to hear some of the larger monitors. The level of detail is the first thing you notice, both with their smaller and larger speakers. They just seemed to have such life and clarity to them." Following the Metropolis session, the University elected to install the full-range IB2S XBD-As as main monitoring in the surround studio, with the AML2s providing the 5.1 monitoring in conjunction with an SB100-A subwoofer. Everything was installed by The Studio People and tuned by PMC once in situ. "We are very happy with our choice," concluded Andrew King. Meanwhile, Peter Keeling, Managing Director of The Studio People, was so impressed by the sound of the new studio at Hull that he recommended that PMC speakers accompany another SSL console at another installation his company were just starting work on, which became the recent installation of PMC's innovative new QB1 largescale reference monitoring at Westminster University, London. Following completion of the Ambisonic and Surround studios at Hull, the next phase of upgrades in the School of Music, Drama and Screen is getting underway, involving a comprehensive refurbishment of the Middleton Hall auditorium, including further mixing and live rooms, state-of-the-art cinema, film and TV production facilities, and learning and teaching space. Once complete, students will have access to the music studios 24 hours a day, seven days a week. The work is scheduled to be completed in Summer 2016.

Oct-Dec 2015

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Audio & VISUAL Solutions

RAI'S MADE IN SUD BROADCASTS LIVE WITH DPA MICROPHONES

ith mo re t ha n 40 a rt i st s playin g s e v e ra l c ha ra c t e rs d ur in g a th ree hour l i v e t e l e v i si on sh ow – n o t to me nt i on a t l e a st 1 2 0 cos tu me ch a nge s – RA I sound e ng in eer, Giac omo Ra ma gl i a , k n ew h e wo u ld ne e d a v e ry d ura b l e m icroph o n e to c op e w i t h suc h a p un is h in g regim e . G i v e n t ha t t he p rogr amme, M ad e i n S ud , a t t ra c t s o ver 2.5 million v i e w e rs e v e ry w e ek, s ou n d qua l i t y w a s a l so a n i m po r tan t con s ide ra t i on. "I n my o pin io n, sound q ua l i t y sh ou ld always be t he fi rst c ri t e ri a w hen it co mes t o c hoosi ng a m icroph o n e," Gi a c omo Ra ma gl i a said. " DPA's d :fi ne ™ He a d se t Microph o n es w e re p e rfe c t for t his s h ow beca use t he y d e l i v e r e xception ally h igh q ua l i t y a ud i o." R amag lia was fa mi l i a r w i t h D PA m icroph o n es h av i ng use d t he m o n previo u s te l e v i si on p roj e c t s, b ut it was th e c omp a ny 's It a l i a n d i s tr ibu to r M . Ca sa l e Ba ue r t ha t su gges ted u s in g D PA 's d :fi ne ™ Heads et M icro phone ra nge . P rodu ct man ag e r S a l v a t ore Z oc c o said: " It made se nse b e c a use

Oct-Dec 2015

d :fi ne H e a dse t M i c ro pho ne s a re e xtre m e l y dura bl e a nd e a sy t o f i t , a nd a re the re fo re i de a l fo r fa st c o stum e c ha ng e s. T he y a re a l so ver y c omfort abl e to w e a r, so w e k ne w the pe rfo rm e rs w o ul d be ha ppy w i t h t he m." Ra ma gl ia c ho se si ng l e e a r o m ni di re c ti o na l d: fi ne s fo r a l l of t h e p e rformers a nd fo und the m v e ry e a sy to se t up, w hi c h w a s a n o t h er i mp ort a nt c o nsi de ra ti o n. " T he y ha v e pro v e d v e ry ro bust a nd re l i a b l e an d w e a re m o re tha n ha ppy w i th the i r pe rfo rm a nc e , " sa i d R a m a g l i a .

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Audio & VISUAL Solutions Made in Su d is a p ri me t i me c a b a re t -st y le sho w p e r f o r med by c ome d i a ns, w hi c h i s b roa d c a st l i v e e v er y week f ro m t he hi st ori c a l RA I A ud i t ori um , a l a rg e t heatre in N aple s. The si xt h se a son ha s b e en a i re d o n RAI 2. R amag lia, wh o is a l so p a rt of t he Te c hni c a l a nd Audi o Man ag emen t te a m i n RA I's P rod uc t i on D i v i si o n, a d ded: " We h av e use d d :fi ne He a d se t Mi c ro pho ne s si n ce th e ver y fi rst se ri e s a nd ha v e b e e n de l i g hte d w i th th em. Th ey a re now p a rt of our re gul a r e qui pm e nt l i st an d I s ee n o re a son t o use a ny t hi ng e l se . Al l the a rtis ts love th em . The y a re so e a sy t o use t h a t m o st o f th e pres en ters a nd c ome d i a ns c a n fi t t he i r o w n m icroph o n e without a ny he l p from t he sound te a m

( w e ha v e tw o m i c ro pho ni sts a nd fo ur e ng i n eer s w o rk i ng o n thi s pro g ra m ) â&#x20AC;&#x201C; a nd the y c a n sti ll act , si ng a nd da nc e w i tho ut fe e l i ng tha t the m i c ro p h o n e i s i n the w a y. " T he N a po l i Pro duc ti o n C e nte r o f R AI ha s be e n w i d el y usi ng D PA m i c ro pho ne s o n suc c e ssful T V d r am a pro j e c ts l i k e La Squa dra a nd U n Po sto a l So l e. F o r the se , the y ha v e c ho se n D PA d: sc re e t M i n i at u re M i c ro pho ne s be c a use the y c a n e a si l y be hi dd en i n the a c to rs' ha i r a nd c l o thi ng w i tho ut c o m pro m i s i n g so und qua l i ty. "I'm now hoping to try out the latest DPA release â&#x20AC;&#x201C; the d:fine In-Ear Broadcast Microphone," Ramaglia added.

EXTRON ANNOUNCES ALL IN1608 SCALING PRESENTATION SWITCHER MODELS NOW SUPPORT DTP 330 SIGNAL EXTENSION

x t ro n E l e c t ro n i c s i s p l e a s e d to announce that all IN1608 scaling p re s e n t a t i o n switcher models now support DTP twisted pair signal extension up to 330 f e e t ( 1 0 0 m e t e r s ) . E x t ro n h a s added this extended distance c a p a b i l i t y t o t h e s t a n d a rd I N 1 6 0 8 , IN1608 SA, and IN1608 MA 70 m o d e l s , w h i c h a re n o w s h i p p i n g . The IN1608 is a highly versatile, e i g h t i n p u t , s c a l i n g p re s e n t a t i o n switcher that includes four HDMI inputs, two universal analog v i d e o i n p u t s , a n d t w o E x t ro n DTP inputs. It also includes dual HDMI outputs, one DTP output, a n d a n i n t e g r a t e d 1 0 0 w a t t s t e re o or mono Class D audio power a m p l i f i e r. T h e D T P i n p u t s a n d output work together with DTP endpoints to extend video, audio, a n d b i d i re c t i o n a l c o n t ro l s i g n a l s o v e r s h i e l d e d C AT x c a b l e . T h e I N 1 6 0 8 p ro v i d e s t h e c o n v e n i e n c e o f s u p p o r t i n g l o c a l a n d re m o t e s o u rc e s a n d d i s p l a y s , w i t h f a s t a n d re l i a b l e s o u rc e s w i t c h i n g , a n d a high performance scaling engine f o r H D M I a n d a n a l o g s o u rc e s . T h e IN1608 also includes a host of a u d i o s w i t c h i n g a n d p ro c e s s i n g f e a t u re s . "The IN1608 has been popular w i t h i n t e g r a t o r s , p ro v i d i n g a n all-in-one solution with powerful integration capabilities such as AV s w i t c h i n g , s c a l i n g , t w i s t e d pair signal extension, and audio amplification," said Casey H a l l , V i c e P re s i d e n t o f S a l e s a n d M a r k e t i n g f o r E x t ro n . " T h e enhanced distance capability

o ff e r s t h e f l e x i b i l i t y t o c h o o s e b e t w e e n a w i d e v a r i e t y o f D T P 2 3 0 a n d D T P 3 3 0 e n d p o i n t s t o m e e t t h e AV c o n n e c t i v i t y a n d t r a n s m i s s i o n d i s t a n c e re q u i re m e n t s o f e a c h s y s t e m . " T h e I N 1 6 0 8 p ro v i d e s t h e c o n v e n i e n c e o f s u p p o r t i n g l o c a l a n d re m o t e d i s p l a y s . I n t e g r a t o r s c a n c h o o s e f ro m a c o m p l e t e l i n e o f D T P 3 3 0 S e r i e s t r a n s m i t t e r s a n d re c e i v e r s f o r t r a n s m i s s i o n d i s t a n c e s u p t o 330 feet (100 meters) or DTP 230 Series endpoints for up to 230 f e e t ( 7 0 m e t e r s ) , t o a c c o m m o d a t e d i s t a n c e re q u i re m e n t s o f s p e c i f i c a p p l i c a t i o n s . T h e I N 1 6 0 8 c a n a l s o re m o t e l y p o w e r e a c h o f t h e D T P e n d p o i n t s o v e r t h e s a m e C AT x c a b l e , s t re a m l i n i n g s y s t e m d e s i g n a n d i n s t a l l a t i o n . I n a d d i t i o n , t h e I N 1 6 0 8 f e a t u re s a n a d v a n c e d s c a l i n g e n g i n e t h a t c a n s c a l e H D M I , R G B , c o m p o n e n t , a n d s t a n d a rd d e f i n i t i o n v i d e o s i g n a l s t o a c o m m o n h i g h re s o l u t i o n o u t p u t . I t p ro v i d e s h i g h performance deinterlacing of all interlaced signals up to 1080i, and D e e p C o l o r p ro c e s s i n g t o d e l i v e r o p t i m a l i m a g e q u a l i t y. W i t h E x t ro n e x c l u s i v e E D I D M i n d e r, K e y M i n d e r, a n d S p e e d S w i t c h , i n t e g r a t o r s c a n e a s i l y c o n n e c t s o u rc e s a n d d i s p l a y s w i t h p l u g - a n d - p l a y s i m p l i c i t y, automatic device negotiation, and nearly instantaneous switching. The IN1608 can serve as the central component for audio system integration. It includes eight-input audio switching, two mic/line inputs, HDMI audio embedding and de-embedding, and several audio p ro c e s s i n g f e a t u re s f o r m i x i n g , d u c k i n g , t o n e a d j u s t m e n t s , a n d m o re . I N 1 6 0 8 S A m o d e l s f e a t u re a 2 x 5 0 w a t t C l a s s D s t e re o p o w e r a m p l i f i e r, while IN1608 MA models include a 100 watt Class D mono power a m p l i f i e r.

Oct-Dec 2015

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Audio & VISUAL Solutions

PMC SPEAKERS HELP DELIVER THE TRUE SOUND OF MICHAEL JACKSON

i e r k s S t u d i o s i n C o l o g n e â&#x20AC;&#x201C; t h e f a c i l i t y w h e re M i c h a e l J a c k s o n re c o rd e d h i s 1 9 9 7 h i t B l o o d o n t h e D a n c e F l o o r - re c e n t l y p l a y e d h o s t t o I n The Studio With MJ, an unusual series of seminars h i g h l i g h t i n g t h e e x p e r i e n c e o f re c o rd i n g w i t h t h i s legendary artist. O r g a n i s e d a n d p re s e n t e d b y B r a d S u n d b e r g w h o spent nearly 18 years working with Michael Jackson a s a s o u n d e n g i n e e r a n d t e c h n i c a l d i re c t o r, t h i s f o u r d a y e v e n t a l s o i n c l u d e d i n s i g h t s f ro m B r a d B u x e r a n d M i c h a e l P r i n c e , b o t h o f w h o m w e re p a r t o f J a c k s o n ' s re c o rd i n g t e a m . T h e t h re e p re s e n t e r s gave in-depth and highly personal accounts of w o r k i n g w i t h M i c h a e l J a c k s o n i n v a r i o u s re c o rd i n g s t u d i o s a n d a t h i s N e v e r l a n d Va l l e y R a n c h w h e re h e h a d h i s o w n re c o rd i n g f a c i l i t y. "Since Michael's death in 2009, I have been p re s e n t i n g t h e s e s e m i n a r s i n v a r i o u s c i t i e s a ro u n d t h e w o r l d , i n c l u d i n g t h e U S A , E u ro p e , R u s s i a a n d the Far East." Sundberg explained. "The concept w a s b o r n o u t a d e s i re f ro m M i c h a e l J a c k s o n â&#x20AC;&#x2122;s f a n s t o k n o w m o re a b o u t h o w h i s i n c re d i b l e p ro j e c t s came to life. People want to go back to the music, t o w h e re i t a l l b e g a n - i n t h e s t u d i o . D u r i n g e a c h s e m i n a r, g u e s t s a re t a k e n o n a j o u r n e y o f m u s i c , s t o r i e s , u n s e e n s t u d i o f o o t a g e a n d m e m o r i e s f ro m my days of working with Michael. Most of my guests a re n o t s t u d i o p ro f e s s i o n a l s , s o t h i s i s a c h a n c e f o r them to be in a studio, feel the 'vibe' of a studio, and most importantly hear music the way I am used to hearing it. For many people, this is truly a highlight." At Sundberg's re q u e s t , British loudspeaker m a n u f a c t u re r P M C s u p p l i e d M B 2 S 3 - w a y m o n i t o r s t o D i e r k s S t u d i o s t o e n s u re t h a t t h e m u s i c , s o u n d e ff e c t s a n d v i d e o s p l a y e d d u r i n g s e m i n a r s w e re h e a rd w i t h a b s o l u t e t r a n s p a re n c y.

Oct-Dec 2015

"When I was working with Michael, we usually relied on massive Westlake SM-1s, Augspurgers or Boxers for our main monitoring requirements and it wasn't until several years later that I first heard PMC speakers," Sundberg explained. "As soon as I did, I loved them so much that I actually became a dealer for them. Now I use them for my seminars whenever I get the opportunity because they delivered all the clarity, punch and bottom that I need, plus they have a very open and airy top end. This makes them much easier to listen to for long periods of time than a horn-loaded system." Sundberg added that guests often comment on the audio they hear through PMCs, especially those who are not used to hearing music through professional monitors. "I can't tell you the number of times that my guests have told me that they have never heard Michael's music sound that way before. These are people that listen to MJ music every day, so that is very high praise! Listening to Michael's amazing music, including uncompressed, raw mixes from the studio, on PMC's incredible speakers helps elevate my seminars far beyond what a pair of PA speakers could ever do. I am always proud to have PMC on either side of me when we launch into a seminar weekend." Having completed his seminar programme in Germany, Sundberg is now hosting similar events in Spain over the summer. "Michael Jackson's creative process was unlike anything I have ever been a part of, and if I can give people just a glimpse of what it was like, that's very rewarding," he explained. "From studio production to tour prep to Neverland Valley Ranch, I was there and I am very happy to share technical information as well as my own personal memories and stories."

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Audio & VISUAL Solutions

THAI RESTAURATEUR INVESTS IN SYMETRIX DSP FOR NEW RIBS MANN VENTURE

h e o u ts tan di ng q ua l i t y a nd v a ri e t y of i t s c ui si ne h as lo n g mad e Tha i l a nd a d e st i na t i on fo r fo o dl o ver s f rom aro und t he gl ob e . But i n a ne w l y c re a te d v e n u e lo cated in t he p op ul a r t ouri st ha unt o f K ha o Yai, th is atten tion t o c ul i na ry d e t a i l ha s b e e n m a tc he d b y a pain s takin g foc us on p rov i d i ng t he b e st p o ssi bl e a udio equ ipmen t t o re l a y l i v e a nd b a c kgroun d m usi c t o patron s . Created by wel l -e st a b l i she d re st a ura t e ur Pa ti rup P a n piem, Ribs Ma nn i s sp re a d ov e r t hre e spa c i o us fl o or s . Ban gkok-b a se d d i st ri b ut or a nd sy ste m s i nteg r ator F u zion Fa r Ea st w a s e nl i st e d t o e nsure a qu ality s ou n d e xp e ri e nc e , a nd a s p a rt of i ts re m i t w or ked on an a ud i o p roc e ssi ng a nd d i st ri buti o n c on f ig u r atio n s ui t a b l e for l i v e a nd non-l i v e m usi c a c ros s 14 zo n es. Familiar ity with the p ow e r a nd fl e xi b i l i t y of t he Sy m N e t R adiu s 12x 8 op e n a rc hi t e c t ure D a nt e -sc a l a bl e D SP q uickly led F u z i on Fa r Ea st i n t he d i re c t i o n o f a S y metr ix - bas ed sol ut i on. “The c ust ome r w ante d to b e able to s en d a ud i o t hrough t he ne t w or k e a si l y a nd eff icien tly ac ross a l l t hre e fl oors, a nd w e k ne w w e cou ld ach iev e t ha t w i t h t he Ra d i us,” sa i d Fuz i o n g en er al man ager S i ri Wongka mol c hun. “We a l so a dde d S y mN et x Ou t 1 2 e xp a nd e rs t o e a c h fl oor, a l o ng w i th A RC remotes f or st ra i ght forw a rd a d j ust me nt o f k e y

pa ra m e te rs. I n a ddi - ti o n, w e ha v e m a de i t po s s i b l e fo r the c l i e nt to a dj ust the v o l um e v i a ARC - W E B o n the i r sm a rtpho ne , sho ul d the y re qui re i t. ” T he re sul t i s tha t sta ff c a n sw i tc h be tw e en l i ve a nd ba c k g ro und m usi c w i th no fuss. T he Sy m et r i x D SP’s suppo rt fo r D a nte m e a ns tha t Ri bs M an n i s a l so be ne fi ti ng fro m the sta bi l i ty a nd re l i a bi li t y o f the Audi na te m e di a ne tw o rk i ng te c hno l o g y, w h o s e tra nspo rt to a nd fro m e a c h fl o o r i s a c hi e v e d v i a t h e Sy m N e t xO ut 1 2 e xpa nde rs. N EXO a nd G e ne l e c l o udspe a k e rs, a l o ng w i th C am co a m pl i fi e rs, w e re a l so spe c i fi e d duri ng the fi t - o u t , w hi c h ha s m e t w i th a n e nthusi a sti c re spo nse f ro m the R i bbs M a nn te a m . As fo r i ts l o ng - te rm usag e o f Sy m e tri x D SPs, M r Wo ng k a m o l c hun re po rte d that “ w e ha v e be e n usi ng Sy m e tri x pro duc ts fo r a l m o st ever y j o b. I n the be g i nni ng , w e a dde d Sy m e tri x D SPs t o o u r pro j e c ts be c a use the re a re m a ny be ne fi ts w i th t h em , suc h a s AG C , l i m i te r, EQ , fe e dba c k de stro y e r an d s o o n. N o w a da y s, Sy m e tri x ha s be c o m e a re qui re m en t , be c a use by a ddi ng the i r D SPs to a pro j e c t i t i s po ssi bl e to a c hi e v e a n i m pro v e m e nt i n so und q u al i t y fo r the e nti re sy s- te m . T he AR C re m o te s a nd Sy m Vu e c o ntro l a ppl i c a ti o n a l so m a k e i t e a sy fo r c l i e n t s t o c o ntro l the i r sy ste m s, so the y a re a g re a t c ho ice o n tha t l e v e l to o . ”

Oct-Dec 2015

NEWS

Audio & VISUAL Solutions

NEXO RECRUITS BROUARD FOR CHINA

E X O i s re i n f o rc i n g i t s s a l e s team with the welcome addition of industry sales h e a v y w e i g h t M i c h e l B ro u a rd . To b e b a s e d i n H o n g K o n g i n t h e n e w l y - c re a t e d p o s i t i o n o f G re a t e r China Business Development M a n a g e r, M i c h e l w i l l p l a y a c r i t i c a l ro l e i n i n c re a s i n g t h e p re s e n c e and success of NEXO in the Asia P a c i f i c a re a . A well-known name in sound re i n f o rc e m e n t c i rc l e s , M i c h e l i s an industry veteran. Beginning h i s c a re e r i n p ro j e c t m a n a g e m e n t in his native France, he has been m o s t p ro m i n e n t i n t h e ro l e o f International Sales manager for L’ A c o u s t i c s , w h e re h e w o r k e d f o r 1 6 y e a r s . M o s t re c e n t l y, h e h a s been part of the sales team for I t a l i a n c o m p a n y K - A r r a y. M i c h e l s a i d , “ I a m re a l l y p l e a s e d to join NEXO, one of the most i n n o v a t i v e a n d re s p e c t e d F re n c h p ro - a u d i o c o m p a n i e s . Although

I ’ l l b e w o r k i n g i n a t e r r i t o r y I k n o w v e r y w e l l , t h i s w i l l b e a n i n t e re s t i n g n e w c h a l l e n g e f o r m e , b u t I k n o w t h a t t h e re i s g re a t p o t e n t i a l t o b u i l d o n N E X O ’s e x i s t i n g f o u n d a t i o n s i n C h i n a , a n d l e v e r a g e t h a t s u c c e s s i n o t h e r p a r t s o f t h e re g i o n . ” M i c h e l B ro u a rd w i l l b e w o r k i n g a l o n g s i d e N i c o l a s K i r s c h , S a l e s M a n a g e r A s i a , a n d D e n i s B a u d i e r, S a l e s D i re c t o r o f N E X O .

SENNHEISER EXTENDS REACH IN THE AUDIO EDUCATION SECTOR WITH THE NEW ITESENNHEISER SOUND ACADEMY IN SINGAPORE

ennheiser E l e c t ro n i c Asia ( “ S e n n h e i s e r A s i a ” ) re c e n t l y signed a Memorandum of Understanding (“MOU”) with the I n s t i t u t e o f Te c h n i c a l E d u c a t i o n (“ITE”) to spur knowledge transfer i n t h e f i e l d o f a u d i o t e c h n o l o g y. The t h re e - y e a r collaboration will facilitate the transfer of p ro f e s s i o n a l audio technology knowledge for ITE students in the a re a o f l i v e s o u n d re i n f o rc e m e n t . As part of the a g re e m e n t , Sennheiser Asia will support an estimated S$415,000 worth of equipment, services, and display c o n t e n t s t o I T E t h ro u g h o u t t h e partnership period. T h e p a r t n e r s h i p a l s o f e a t u re s the establishment of the ITESennheiser Sound Academy fitted with top-end specialised Sennheiser audio equipment. This will serve as the key

Oct-Dec 2015

t r a i n i n g f a c i l i t y w h e re I T E s t u d e n t s w i l l b e a b l e t o a c q u i re p r a c t i c a l , h a n d s - o n k n o w l e d g e a b o u t S e n n h e i s e r ’s a u d i o e q u i p m e n t t h ro u g h t u t o r i a l s e s s i o n s . T h e M O U a l s o p ro v i d e s t r a i n i n g a n d d e v e l o p m e n t o p p o r t u n i t i e s w i t h S e n n h e i s e r A s i a t h ro u g h w o r k a t t a c h m e n t s f o r

NEWS

Audio & VISUAL Solutions I T E s t u d e n t s a n d s t a ff , a s w e l l a s b o o k p r i z e s a n d scholarships for ITE students.

p ro g r a m m e s t h a t a re c o n d u c t e d b y S e n n h e i s e r A s i a t r a i n e r s a n d I T E s t a ff .

In addition to equipment sponsorship for the ITES e n n h e i s e r S o u n d A c a d e m y, o t h e r h i g h l i g h t s o f t h e MOU include the joint development of curriculum a n d c o n d u c t i n g o f c o u r s e s i n re l a t i o n t o v a r i o u s p ro f e s s i o n a l a u d i o a n d l i v e s o u n d t e c h n o l o g i e s f o r c u r re n t a n d f u t u re i n d u s t r y p ro f e s s i o n a l s . T h e curriculum developed will be incorporated into ITE courses. Following, both organisations will certify participants who have completed training

“ We a re v e r y p l e a s e d t o c o n t i n u e o u r w o r k w i t h I T E . T h i s c o l l a b o r a t i o n s t re n g t h e n s S e n n h e i s e r ’s c o m m i t m e n t t o t h e l o c a l p ro f e s s i o n a l a u d i o e d u c a t i o n s e c t o r. T h e I T E - S e n n h e i s e r S o u n d A c a d e m y w i l l a l l o w u s t o p l a y a n a c t i v e ro l e i n g ro o m i n g t h e n e x t g e n e r a t i o n o f a u d i o p ro f e s s i o n a l s b y s h a r i n g o u r a u d i o e x p e r t i s e w i t h t h e c u r re n t a n d f u t u re c o h o r t s o f s t u d e n t s h e re , ” s a i d M r N g C h e e S o o n , P re s i d e n t & M a n a g i n g D i re c t o r o f S e n n h e i s e r A s i a .

MARTIN AUDIO NEW ZEALAND

APPOINTS

JANSEN

artin Audio has appointed Auckland based Jansen P ro f e s s i o n a l A u d i o & L i g h t i n g as its new distributor for New Z e a l a n d , w i t h i m m e d i a t e e ff e c t . J a n s e n d i re c t o r S i m o n A d a m s confirmed that the company will also be handling sales to the P a c i f i c I s l a n d s , i n c l u d i n g F i j i . “ We a p p ro a c h e d M a r t i n A u d i o o n c e we knew the brand was available b e c a u s e w e re c o g n i s e d t h a t i t h a d huge untapped potential. In fact we have had our eye on Martin Audio for some time.” As the oldest sound company in New Zealand Jansen has maintained a re p u t a t i o n for d e l i v e r i n g h i g h q u a l i t y, re l i a b l e audio and lighting solutions since 1949 — and in their capacity as installers have specified and fitted Martin Audio solutions in the past. Wo r k i n g a c ro s s all market segments, and with other leading brands such as Allen & Heath i n t h e i r p ro a u d i o d i s t r i b u t i o n portfolio, the move is logical for b o t h p a r t i e s . S t a t e s A d a m s , “ We h a d t h e a b i l i t y t o p ro v i d e a r t i s t to-audience coverage — with the exception of the final part of t h e e q u a t i o n , w h e re t h e re w a s a large hole … and now we have the loudspeakers!” His aim is to extend the visibility t h a t M a r t i n A u d i o a l re a d y h a s i n t h e b a r m a r k e t i n t o c h u rc h e s , auditoriums, outdoor work and s c h o o l p e r f o r m a n c e s p a c e s w h e re h e b e l i e v e s t h e re i s h u g e p o t e n t i a l . “ T h e c h u rc h m a r k e t i n N Z i s h u g e , w h i l e m a n y s c h o o l s a re i n v e s t i n g heavily in auditoriums that can do double duty as public performance spaces,” he stated.

A n i m m e d i a t e p r i o r i t y w i l l b e t o g i v e e x p o s u re t o t h e m a n u f a c t u re r ’s n e w C D D r a n g e o f i n s t a l l a t i o n s p e a k e r s , l a u n c h e d t o w i d e s p re a d a c c l a i m i n F r a n k f u r t t h i s s p r i n g , b y s e t t i n g u p d e m o a re a s a t t h e i r f a c i l i t y. “ We will invite system integrators and installers along to experience it for t h e m s e l v e s a n d w e w i l l a l s o t a k e t h e C D D r a n g e o n t h e ro a d , ” A d a m s confirmed. T h e J a n s e n d i re c t o r s a y s t h a t h e c o u l d n ’t b e m o re o p t i m i s t i c a b o u t t h e f u t u re re l a t i o n s h i p . “ T h e re s p o n s e b a c k f ro m o u r c u s t o m e r d a t a b a s e h a s b e e n 1 0 0 % p o s i t i v e a n d w e l o o k f o r w a rd t o re p re s e n t i n g M a r t i n A u d i o t o a w i d e r a u d i e n c e t h a n i t h a s b e e n a b l e t o re a c h i n t h e p a s t . I t h i n k w e w i l l a l l b e s u r p r i s e d a t t h e g ro w t h . ” H i s o p t i m i s m w a s s h a re d b y M a r t i n A u d i o ’s A PA C A c c o u n t M a n a g e r, A n d y D u ff i e l d , w h o s t a t e d , “ I n l o o k i n g f o r a n e w d i s t r i b u t o r f o r N e w Z e a l a n d , o n e o f t h e m a i n c r i t e r i a w a s t h e n e e d t o p ro v i d e t h e e x i s t i n g a n d p ro s p e c t i v e l o c a l c u s t o m e r b a s e w i t h a p ro a c t i v e , k n o w l e d g e a b l e a n d e n t h u s i a s t i c p a r t n e r a b l e t o m e e t t h e m a r k e t ’s n e e d s a n d e x p e c t a t i o n s i n b o t h p re - a n d p o s t - s a l e s s e r v i c e a n d s u p p o r t . “Jansen brings a wealth of experience both as a distributor and installer in New Zealand and further afield, thanks to their work both with Martin Audio and other complementary brands. Their ability to service p ro d u c t s l o c a l l y w i l l a l s o b e e x t re m e l y b e n e f i c i a l t o M a r t i n A u d i o ’s m a n y u s e r s i n N e w Z e a l a n d a n d w e a re e x c i t e d b y t h e p o s s i b i l i t i e s t h i s n e w re l a t i o n s h i p o p e n s u p . ”

Oct-Dec 2015

NEWS

Audio & VISUAL Solutions

PMC'S TWOTWO.8 SPEAKERS GO WAY IN WEST

h e in depen d e nt We st O ne Musi c G roup i s o ne of th e UK 's most suc c e ssful p rod uc t i on m usi c c ompan ies , co mp osi ng a nd c re a t i ng hi gh - qua l i ty m u s ic at bewild e ri ng sp e e d i n a l most a ny ge nre fo r us e in almo s t any me d i um, i nc l ud i ng t e l e v i si o n, fi l m s, c or po r ate pres e nt a t i ons, a d v e rt s a nd ga mi ng. M usi c i s main ly recorde d i n-house , e mp l oy i ng t he c re a m o f t he UK 's per f o r mi ng t a l e nt a nd se ssi on mu si c i a ns, utilis in g s tu dios i n t he b a se me nt of t he c o m pa ny ’s S oh o H Q wh en sp a c e a l l ow s. For l a rge r l i v e se ssi o ns, o th er lo cation s a re use d , suc h a s t he Ca d oga n H a l l a nd AIR Stu dio s . Mo s t of th e out p ut of We st O ne Musi c G ro up' s v a r iou s produ ct i on musi c l a b e l s i s a l so mi xe d a nd m as tered in th ei r ow n st ud i os, a nd i t i s he re tha t t he PM C twotwo.8s ha v e b e e n i nst a l l e d , a s C hri s B rown ex plain ed . Chri s i s He a d of P rod uc ti o n a t Wes t On e M u s i c G roup 's Fi re d Ea rt h Music l a be l , w hich s pecialis e s i n musi c for Hol l y w ood fi l m tra i l e rs. "E ver yth in g come s t hrough our P e rc y S t re e t H Q fo r q uality con trol; w e p ri d e ourse l v e s on onl y putti ng o u t releas es th at ha v e b e e n c a re d for b y us a l l the w a y th ro u gh prod uc t i on a s fa r a s ma st e ri ng . We have lar g er s offi t -mount e d ma i n sp e a ke rs he re , b ut we wan ted some ne a rfi e l d s for c ri t i c a l l i ste ni ng w hen mix in g and ma st e ri ng. We a ud i t i one d v a ri o us m o n itor s . I was ke e n t o t ry t he t w ot w os, a s I ha v e b e en a PM C f an for a w hi l e ." Ch r is previou s ly w orke d for a sp e l l a t Ha ns Zi m m e r' s R emote C o n tro l P rod uc t i ons i n Los A nge l e s, a nd g o t to h ear PM Cs i n t he st ud i os t he re b e l on g i ng to

Oct-Dec 2015

B ri ti sh fi l m - sc o re c o m po se rs H e nry J a c k m a n an d D o m i ni c Le w i s. " H e nry a nd D o m i ni c w o rk o n I B 2 s , a nd I j ust sta rte d to no ti c e the di ffe re nc e w he n ever I w e nt i n the i r ro o m s. I t' s l i k e ta k i ng a bl a nk e t off t h e spe a k e rs. Yo u he a r e v e ry thi ng ; i t' s j ust a j o y. " T he o the r pl a c e C hri s re g ul a rl y ra n i nto PM C speak er s w a s a t Fl ui d M a ste ri ng , We st O ne M usi c G ro up 's g o to o ut- o f- ho use m a ste ri ng e ng i ne e rs. Fl ui d use b o t h tw o tw o ne a rfi e l ds a nd a l so the m i g hty PM C B B 5 XBD - As. " We ha ndl e m o st o f o ur m a ste ri ng h ere,” c o nti nue d C hri s Bro w n, “ but w he n so m e thi ng real l y c ha l l e ng i ng c o m e s up, w e g o to T i m D e bne y a t F l u i d . We ' v e w o rk e d w i th hi m fo r a w hi l e a nd he a l w ays unde rsta nds w ha t w e ne e d a nd ho w to de l i v e r it . A n d tho se B B 5 s a re so m e o f the be st l o udspe a k e r s I 've e v e r he a rd! " T he tw o tw o . 8 s a t We st O ne M usi c G ro up a re n o w run i n, a nd C hri s i s e nj o y i ng w o rk i ng o n the m . " O u r o the r spe a k e rs he re a re g re a t, but y o u do have t o dri v e the m , a nd i f y o u l i ste n to e v e ry thi ng l o ud, i t can be i nc re di bl y fa ti g ui ng a fte r a w hi l e . T he PM C s o ff er so m e thi ng v e ry di ffe re nt. M o ni to ri ng o n the m l o w i s g re a t. Yo u c a n l i ste n a t a l m o st no v o l um e a nd s t i l l b e a bl e to he a r the de ta i l , the de fi ni ti o n i n the ba s s t h at y o u ne e d w he n m i xi ng . So no w w e use the m ai n s t o pl a y tra c k s l o ud to c l i e nts w he n the y v i si t, a n d u s e the PM C s fo r m o st o f the c ri ti c a l stuff w e do . " Al l i n a l l , w e ' re v e ry ha ppy w i th the PM C s, " c o ncl u d ed C hri s. " I j ust w i sh w e c o ul d ha v e so m e l a rg e r o n es i n he re ! "

NEWS

Audio & VISUAL Solutions

XL VIDEO SUPPORTS NORDOFF ROBBINS FOR 40 TH O2 SILVER CLEF AWARDS ANNIVERSARY

L V ideo con tinue s i t s re l a t i onshi p w i t h t he N o rdo ff Ro bbin s mu si c t he ra p y c ha ri t y, sp onsori ng the Ar tis t F ilms f o r t he O 2 S i l v e r Cl e f Aw a rd s fo r the t h ird co n s ecu tiv e y e a r, a nd b y sup p l y i ng the l i v e v i deo pro du ction a nd t e c hnol ogy for t he 2015 a w a rds even t. At th is year ’s awa rd s, w hi c h honoure d musi c a rti sts i n clu din g Iro n Ma i d e n, Il D i v o, D ura n D ura n, R i ta O ra an d M ar k Ro n s on, re p re se nt a t i v e s from X L V i de o ’s mu s ic tou r in g t e a m a t t e nd e d , a nd w e re j o i ne d by t h eir n ew co lleague s from P RG for t he fi rst t im e . Wo r kin g clo s ely w i t h t he Nord off Rob b i ns e v e nt t eam, an d th eir p rod uc e rs, P re mi e r P R, XL V i de o Pro ject M an age r, Ma rk Roone y, c re a t e d a v i de o s olu tion in clu ding mul t i -sc re e n p roj e c t i on, fo urch an n el camer a sy st e m, LCD house re l a y sc re e ns, an d s creen mana ge me nt sy st e m for t he gl am o ro us 4 0th An n iver s ar y e v e nt a t Lond on’s G rosv e no r H o use H o tel. T he cen tr al, 9 m w i d e , d ua l -b l e nd e d p roj e c t i on sc re e n, fl own abo ve th e st a ge , w a s fl a nke d on e i t he r si de by an IM AG pro jecti on sc re e n. A l l t hre e sc re e ns we re fe d b y eigh t of XL’s Ba rc o HD X -W 14 p roj e c t ors, do ubl e s t acked f or br ight ne ss. F o u r So n y H XC -100 c a me ra s w e re l oc a t e d a ro und t h e ballroom, to c a p t ure t he a rt i st s a s t he y c o l l e c te d

the i r a w a rds, a nd the se fe e ds w e re m i xe d by Neal La w usi ng o ne o f XL’s Pa na so ni c AV- H S4 5 0 PP U s . Pre - re c o rde d c o nte nt, i nc l udi ng l o g o s, l i v e a u ct i o n i nfo rm a ti o n, a nd i ntro fi l m s w e re suppl i e d v i a o n e o f XL’s C a ta l y st m e di a se rv e rs, a nd the c o m bi na t i o n o f pre - re c o rde d c o nte nt a nd l i v e c a m e ra s w a s o ut p u t t o sc re e n usi ng XL V i de o ’s Ba rc o E2 sc re e n m a na gem en t sy ste m . To e nsure the a udi e nc e o f o v e r 1 , 1 0 0 a tte nde e s h ad a g o o d v i e w o f pro c e e di ng s thro ug ho ut the G ro s ven o r H o use G re a t R o o m , XL V i de o a l so suppli ed a num be r o f LC D re l a y sc re e ns. D uri ng l unc h, t h es e a l so di spl a y e d i nfo rm a ti o n a bo ut the v a ri e ty o f l o t s a v a i l a bl e to bi d o n i n the si l e nt c ha ri ty a uc ti o n. XL V i de o U K M a na g i ng D i re c to r, Le e Sp en cer, c o m m e nte d: “ We ’ re v e ry pro ud to suppo rt N o rd o ff Ro bbi ns a s o ne o f o ur c ho se n c ha ri ti e s. As XL V i d eo g re w i ts busi ne ss fro m the c o nc e rt to uri ng i nd u s t r y, suppo rti ng a c ha ri ty w hi c h pro v i de s pe o pl e w i t h m usi c the ra py re a l l y fe e l s l i k e w e ’ re g i v i ng so m et h i n g ba c k . “ We ’ d l i k e to se nd m a ssi v e c o ng ra tul a ti o ns to No rd o ff Ro bbi ns fo r re a c hi ng thi s m i l e sto ne a nni v e rsa ry f o r t h e O 2 Si l v e r C l e f Aw a rds, a nd fo r the fa nta sti c a m o u n t o f o v e r £ 7 0 0 , 0 0 0 ra i se d o n the da y. We ’ d a l so l i k e t o c o ng ra tul a te a l l the w i nne rs o n the i r a w a rds! ”

Oct-Dec 2015

NEWS

Audio & VISUAL Solutions

HENLEY REWINDS BACK TO THE 80s WITH MLA

even year s a ft e r i t s i na ugura l even t at He nl e y -onT hames , th e R e w i nd Fe st i v a l ha s mu s h ro omed in to t hre e e v e nt s — w ith Rewin d N ort h ( i n Che shi re ) an d Rewin d S c ot l a nd i n P e rt h fur th er celebr ating t he sound s of t h e ‘8 0s (an d the gl a morous a t t i re t h at accompan ies i t ) . Providin g th e PA sy st e m from t he v er y begin n in g ha s b e e n Ca p i t a l So u n d. B ut wh ile th e si t e s t o t he nort h h ave been prob l e m fre e i n t e rms of sound p rop a ga t i on, t he H en ley lo cation a t Te mp l e Isl a nd M eadows , Reme nha m Fa rm, ha s al ways been n oi se se nsi t i v e , a nd u n til 2 013 elicite d c omp l a i nt s from t h e lo cal g en tr y. 2 01 3 proved to b e t he w a t e rshe d y ear, wh en acoust i c s c onsul t a nt s Van g u ardia were b rought i n b y t he p romoter, Impre sa ri o Fe st i v a l s’ D avid H ear tf ield , a nd sugge st e d a g u ar an teed me a ns of c uri ng t h e pro blem was t o d e p l oy Ma rt i n Au dio ’s award w i nni ng MLA M u lti- cellu lar L oud sp e a ke r A rra y s olu tio n . C apital So u n d se ni or p roj e c t man ager, M ar tin Connol l y, re c a l l s t h at th e event ’s p rod uc t i on man ager K eith Morri s w a s a l re a d y aware o f M L A’s sup re me c ont rol ch ar acter is tics , a nd t he re sul t w a s t h at f or th e f ir st t i me p rod uc t i on w as able to r un t he sy st e m i n ex ces s o f 100 d B( A ) a t t he sound d es k, droppin g t o w e l l b e l ow t he 6 5 dB(A) o ff s ite t hre shol d . Speakin g of th e t ra d i t i ona l d i l e mma fa ced at H en ley, Morri s c onfi rms, “ Th e bigges t is s ue w i t h our l i c e nse i s th e pro x imit y of Re me nha m V illag e, as th e ne a re st p rop e rt y i s les s th an 5 00 me t re s t o t he r i g h t o f th e ma i n st a ge , a nd t he l o cal au th or ity req ui re s us t o ke e p t h e level below 65 d B( A ) on a 15 min u te aver ag e at t ha t p rop e rt y. I n an y even t Connol l y b e l i e v e s t h at f or th e bu lk of 80s a c t s, w ho t h is year drew a c row d of 30,000 ( man y in co lo u rful fa nc y d re ss) , 1 00 dB(A) prov i d e s more t ha n en o u gh h eadro om for a rost e r of ch ar t topper s f rom y e st e ry e a r — i n clu din g OM D, Bi l l y O c e a n a nd K i m W ilde on th e S a t urd a y, Huma n L eagu e, Selecte r, Ba na ra ma a nd So u l II Sou l o n t he S und a y.

Oct-Dec 2015

“In t he da y s w he n w e use d a c o nv e nti o na l l i ne a rra y — w hi c h i nc l u d ed t he Ma rt i n Audi o Lo ng bo w — w e w e re o nl y e v e r a bl e to run a t 9 6 d B ( A ) t o a c hi e v e the o ffsi te l e v e l s. B ut si nc e M LA ha s be e n a do pte d as t h e sy st e m of c ho i c e w e ha v e m i xe d sho w s a t o v e r 1 0 0 dB( A) a nd c o m for t ab l y b e e n w e l l w i thi n the l i m i t o ffsi te — a t the sa m e ti m e de l i v e ri ng stu n n i n g fi d e l i t y a nd tra nspa re nc y fro m the sy ste m . ” By D a y Tw o thi s y e a r, w he n sy ste m e ng i ne e r To by D o no v a n c a rri e d o u t h i s ow n p ro pa g a ti o n te st ( to v e ri fy re a di ng s) , the o ffsi te so und ha d dro p p ed c onsi d e ra bl y be l o w the m a xi m um thre sho l d, w hi l e sti l l m a i nta i ni n g 1 0 0 d B( A ) i n the bo w l ( fo r So ul I I So ul ) . H e ha d e a rl i e r m a ppe d the s i t e t o op t i mi se the so und usi ng the g e ne ri c pre se ts a do pte d fo r the H y de P ar k c onc e rt sta g e a s hi s ba se te m pl a te . O nc e a ga i n the m a i n PA ha ng thi s y e a r c o m pri se d 1 5 M LA a nd 1 x ML D D ow nfi l l pe r si de w i th thre e de l a y po i nts c o nsi sti ng o f fi v e M LA a n d o n e MLD . A l l 1 9 M LX subw o o fe rs w e re de pl o y e d usi ng the pro v e n c a rd i o i d b roa d si de a rra y pri nc i pl e . S i nc e t h e si te i s a sy m m e tri c no si de ha ng w a s re qui re d sta g e l e ft ( o n l y a sma l l g ro und sta c k o f W 8 LM M i ni Li ne Arra y s fo r ne a rfi e l d c o v e r ag e) ; how e v e r sta g e ri g ht w a s tre a te d w i th a c o nv e nti o na l si de ha ng o f n i n e W 8LM Mi ni Li ne Arra y — se t 4 5 ° to the m a i n ha ng — to pro v i de o u t f i el d c ov e ra g e o n thi s fl a nk , a nd thus e nsuri ng e v e n a nd c o nsi ste nt c o ver ag e for a l l spe c ta to rs, w he re v e r the y w e re si tua te d. Ke i t h Morri s w a s m o re tha n pl e a se d w i th thi s y e a r’s e v e nt, c o nfi r m i n g , “O n S unda y ’s sho w w e w e re a bl e to m a i nta i n a l e v e l be tw e e n 9 8 – 1 0 0 d B( A ) a t the m i x po si ti o n w hi l e sti l l k e e pi ng be l o w the 6 5 dB ( A) thre s h o l d a t t he p e ri m e te r. “I d on’t be l i e v e thi s w o ul d ha v e be e n po ssi bl e w i tho ut M LA' s a bi l i t y t o foc us t he a udi o fi e l d so w e l l . ”

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SPECIAL FEATURE

SPORTS TECHNOLOGIES

Oct-Dec 2015

SPECIAL FEATURE

SPORTS TECHNOLOGIES

NEXO STM MAKES A SPORTING DEBUT AT SEA GAMES, SINGAPORE It was a night filled with spectacular lights, audio and visuals for the audiences watching live at the South East Asia (SEA) Games. About 40,000 people came together on 5 th June 2015 in Singapore’s National Stadium. Organised by the Singapore Southeast Asian Games Organising Committee (SINGSOC), the SEA Games centered around the Singapore Sports Hub. The sold-out Opening Ceremony was a three-hour spectacle, where the audience watched more than 5,000 performers and volunteers participating in a breathtaking show at Singapore’s National Stadium, integrated with vibrant multimedia and lively displays of audio performances in different acts. For several years, Singapore-based The Show Company (sound rental provider) has used NEXO PA systems for its prestigious events. The National Stadium equipped throughout with NEXO sound reinforcement, including the STM Series modular line array. NEXO’s line array met the requirements perfectly for this ceremony. It all started with

NEXO PS15s in 1996, and soon followed with Alphas, GEO S, GEO-T, GEO-D-, the CD subbass series, and lately the new modular line array STM Series, which were delivered in December 2014 and debuted on the ZoukOut Moon Stage rave party in Singapore. It was also December 2014 when The Show Company initially approached Shah Tahir, the sound designer from the SEA Games committee, to express their interest, identifying the perfect occasion to push the new STM Series modular line array into the Asian limelight. W ith the NEXO STM M28 compact cabinets coming onto the market in the 4th quarter of 2014, The Show Company was able to propose a complete system solution and arranged a speaker demo to the committee. NEXO’s David Hochstenbach and Nicolas Kirsch assisted The Show Company design team of Desmond Fong (Project Director), Jon Sim (Audio Project manager/Chief Systems Engineer), and Jerome Soh (Chief Field Engineer RF Systems).

Oct-Dec 2015

SPECIAL FEATURE

SPORTS TECHNOLOGIES

The Show Company had to work with the existing acoustic challenges because of the structural issues of the stadium especially its domeshape roof, and there was no quick solution to this. The team used NEXO’s NS-1 proprietary software design and modeling software to achieve precise positioning and an optimum result, as NEXO’s Nicolas Kirsch confirmed, “the sound is clear and detailed even though that huge dome shaped roof gives a 7 sec reverb time. STM is soooo precise.” The stages consisted of a Field of Play which encompasses practically the whole field as one big stage, a Music Stage for bands, and a Robot Stage for performances. The Show Company’s responsibility for delivering high-quality audio resulted in an overall design involving flown and groundstacked STM Series modules, with additional point-source PS Series speakers for holding areas and stage monitor redundancy. In the roof were 10 flown clusters, each with 9x STM M46 main modules s, 9x STM B112 bass, 4x STM S118 subs and 2x NEXO Universal Amp

Oct-Dec 2015

Racks (NUAR) each, with the NUARs flown behind the clusters to keep speaker cables short and lightweight. These covered the top 2 tiers of seating and VIP balconies. Trackside, there were 12 groundstacks of 3x STM M28 mains, 2x STM B112 bass and 2x STM S118 subs to cover the first tier of seating. These clusters provided same detailed and clear powerful sound but with more vertical splay. The STM groundstacks proved to be a vital element in this stadium configuration as they allowed coverage for the seats under the balcony, not covered by the flown array. Another 6 ground stacks of 2x STM M46 mains and 2x STM S118 subs focussed on the performers area, to be used as a ‘foldback system’ in case the wireless in-ears of MCs and performers failed.

SPECIAL FEATURE

SPORTS TECHNOLOGIES

All that seemed easy enough to handle, but there were complicating issues with rigging the system, as Jon Sim, Head of Audio at The Show Company, explained, “We were given fixed rigging points due to roof loading which didn’t work in favour of flying arrays. The points were situated on a straight horizontal beam, making it difficult to adjust vertical tilt angles and horizontal aiming.” He continued, “after much research, we managed to offset our rig points on the straight beam to allow us fixed horizontal angles and also solved our array tilt angle.” The challenge was not only technical but logistical. To bring so many systems together, some systems had to be shipped in from outside Singapore. And the setup requirements were to provide and commission the sound system at least 2 months before the Opening Ceremony, enabling the performers to have ample time

to rehearse. The Show Company was able to provide 48x M46 systems (total 144 modules) and 24x M28 systems (total 48 modules) but that was still short of the 320 modules required. After an introduction to ENGINEERING IMPACT LTD, NEXO’s STM partner in Hong Kong, the two parties quickly agreed to cooperate and, within weeks, the 36x additional M46 systems from ENGINEERING IMPACT LTD set sail for the 3-month job in Singapore. Jon Sim and The Show Company’s team was duly impressed with the STM system and how it performed. “Overall we were very happy with the results of the system. We have plenty of headroom in the system and the direct sound clarity is amazing even with a reverberation time of 7 seconds.” The installation has resulted in remarkable sound performance and high intelligibility of speech for the stadium.

Oct-Dec 2015

SPECIAL FEATURE

WORSHIP TECHNOLOGIES

DARKNESS TO LIGHT: DOT2 DEBUT AT DURHAM CATHEDRAL

As venues go, The Cathedral Church of Christ, Blessed Mary the Virgin and St Cuthbert of Durham is about as venerable and august as they come. Designated a World Heritage Site, the present cathedral dates from 1083 and plays a central role in the cultural life of the city and its surrounds. Durham Cathedral hosted ‘Darkness to Light’, an event of words and music, to commemorate the 70th anniversary of the liberation of Bergen Belsen. In 1945, the Durham Light Infantry formed part of the forces that liberated the camp. Presented by InterOpera, the concert included readings by Dame Esther Rantzen, actor Kevin Whately, poetry recitals from Emma Hignett and first hand accounts from some of those veterans who were present on the day of liberation. Musically, there was a broad range of performances: from the local, award winning, Reg Vardy Brass Band and a 120 strong choir to operatic excerpts sung by soprano Penelope Randall-Davis and tenor James Edwards. A specially commissioned piece by local composer W ill Todd, with lyrics added by Ben Dunwell completed the evening. The task of lighting this unique event, effectively, sensitively and on something of a restricted budget fell to Graeme Sewell of Vortex Lighting. “This is such a wonderful space to light but for an event such as this, we needed to provide lighting

for many different types and sizes of performances and our budget was unexpectedly reduced at the last moment so we had to be imaginative. We had just taken delivery of our new MA console – the dot2 XL-F – from Ambersphere Solutions; I believe we were the first customers in the UK and this was the very first time the desk was used. It was the ideal choice; I needed something small and inconspicuous but powerful enough to make the most of the lighting fixtures we had rigged. In addition to that, I’m happy to admit that I’m no longer a regular board operator, in fact I’ve done very little in the last decade, but I found the dot2 XL-F really comfortable to work with which was a huge bonus at such an auspicious event.” Sewell’s baptism of fire proved a resounding success. From an operator and programming perspective it demonstrated that it more than qualifies for its place in the MA console family. As a company owner though, Sewell has other factors to consider, “MA control comes with a pedigree that is second to none. A good deal of our market is dry hire and I’m confident this little package will be in demand for many years to come. It will feel very familiar to anyone that has used MA in the past and with its intuitive interface is easy for most operators to programme – as I discovered! All the quality of MA but at a price that will be within the reach of a much wider audience makes the dot2 a really intelligent investment for us. I would definitely consider buying another board.”

Oct-Dec 2015

COVER STORY

ENTERTAINMENT

ANIMOTION SHOW SHINES AT

EDINBURGH FRINGE FESTIVAL T

he latest AniMotion live painting, digital art and music show is presented by Aurora Nova at George Herriot’s School as part of the 2015 Edinburgh Fringe Festival.

– which becomes part of the world renowned Festival, famous for showcasing new, innovative and thoughtprovoking works.

The power of original painting created in real-time and projected onto stunning architecture accompanied by live music is a special collaboration between projection artist Ross Ashton, virtuoso percussionist Dame Evelyn Glennie and acclaimed visual artist and painter Maria Rud.

Ross said, “We are extremely excited to be performing at the Fringe and exceptionally fortunate that Dame Evelyn was also available so that we could all work together on crafting another special and ground-breaking AniMotion work”.

The location for this magical outdoor experience - Venue 316 of the Fringe Festival - is the quadrangle at George Herriot’s School. The high impact art is being projected onto the side wall, of the beautiful 17 th century chapel

Ross created a projection map for the side of the chapel building which provides the detailed canvas - including all the architectural quirks and nuances which is laid over a lightbox onto which Maria paints live.

Oct-Dec 2015

COVER STORY

ENTERTAINMENT

Oct-Dec 2015

COVER STORY

ENTERTAINMENT

The images captured by the camera are fed into a laptop running Millumin, a software originally developed for VJs which can edge blend and map, and which also provides a number of other useful and cool functions that Ross has custom manipulated to produce elements of the AniMotion magic. The content is fed out to two Panasonic PTDZ21K projectors, beaming a blended 25 metre wide by 18 metre tall projected image of the painting process onto the side of the chapel. Maria initially experimented with a number of ideas and established which shapes and colours worked best with the dynamics of the building. Then for each performance, the creation of the final eight painted works is entirely improvised â&#x20AC;&#x201C; and slightly different â&#x20AC;&#x201C; for each show. 46

Oct-Dec 2015

COVER STORY

ENTERTAINMENT

Oct-Dec 2015

COVER STORY

ENTERTAINMENT

Oct-Dec 2015

COVER STORY

ENTERTAINMENT

The AniMotion concept has been developed by Ross and Maria, an evocative fusion of technical wizardry and highly organic art which is completed with the additional resonance of live music. For the Edinburgh shows, Dame Evelyn performed a series of modern classics including “Michi” by Keiko Abe and “Prim” by Askell Masson. The music and the rhythmic style and strokes of the painting finding its own distinctive harmony, in turn creating a highly emotional engagement with the audience. The one hour performance at Edinburgh has a capacity of 300 people, and they have been extremely fortunate with the weather!

Oct-Dec 2015

COVER STORY

ENTERTAINMENT

Oct-Dec 2015

COVER STORY

ENTERTAINMENT

The projectors are being supplied by Alastair Young of War Productions from Edinburgh, the cameras are from Ian White and Progressive Broadcast, and the d&b sound system is delivered by Warehouse Sound, co-ordinated by Ann Sullivan. Also integral to the production team are Evelyn Glennie’s sound engineer Andy Cotton and Ranald Nielson who is co-ordinating the video production. Ross commented, “The fluid nature of the performance is something audiences really seem to embrace. The idea is to eliminate walls between the audience and the creative space, so anyone watching is encouraged to become closer to us via the work process and as they see and appreciate the mechanics of what we are doing. We want their movements to be as free as possible which ensures that no two shows will ever be the same. The reaction on social media has been a great testament to how effective this approach can be.”

Oct-Dec 2015

ENTERTAINMENT

TECHNOLOGIES

THE SCRIPT ROCK CROKE PARK WITH AVOLITES PROVIDING THE FULL PACKAGE

Oct-Dec 2015

ENTERTAINMENT

TECHNOLOGIES

The Script performed in front of a jam packed crowd of over 80,000 people at Croke Park in June, for their biggest show of the year. Mirrad’s Jamie Thompson and Dave Cohen made full use of Avolites Titan range, with two Sapphire Touch consoles, two Tiger Touch II consoles, a Quartz, four Titan Net Processors, and ART2000 dimmers. The show was absolutely bursting with energy, and as the sun set, the captivating lighting and visual show took over, with Thompson using the Sapphire Touch consoles as main and back-up to control the main rig of fixtures including Super Sharpys and Mythos and B Eye K20s from Clay Paky, PRG Best Boys, and GLP Impression X4S fixtures. “The Sapphire is a great control surface,” said Thompson. “It offers quick access to everything and thanks to the large dual screens it is easy to program and view all of your palettes. I love to use Titan because of its reliability, especially in networking and for its exceptional work flow.”

Jeff Brown, who has been programming and operating the video for the Script’s world tour used his expertise to power the stunning visual content, created by Tom Wall of blinkinLAB and Light Surgeons, to a huge LED wall, using two Avolites Ai S8 media servers and four EX4s. Cohen took charge of Robe BMFL and Pointe TV lights with the Tiger Touch II consoles, also as main and backup. Avolites’ compact-yet-powerful Quartz console was also employed to control B-stage lights. “Don’t let its size fool you, the Quartz is very powerful, and was completely solid,” said Thompson. “It certainly packs a punch!” Jeff Brown, who has been programming and operating the video for the Script’s world tour used his expertise to power the stunning visual content, created by Tom Wall of blinkinLAB and Light Surgeons, to a huge LED wall, using two Avolites Ai S8 media servers and four EX4s. “Ai really showed off its powerful software and hardware combination on this show,” said Brown. “We ran all of

Oct-Dec 2015

ENTERTAINMENT

TECHNOLOGIES

the camera signals from the switcher through the Ai so that we could use the entire LED wall as a surface for content. The parts of the LED wall that are traditionally thought of as I-Mag screens were included into our content. We were able to send graphics over the entire 3168x768 resolution of the screen.” “We had some specific requirements for the show, which needed special tools. After getting in touch with Avolites, these were made possible!” Brown continued. Avolites’ Arran Rothwell-Eyre developed a patch for Ai to send out camera signals as PIPs to various parts of the wall. “This kept everything in sync and the frame delay was minimal. I believe that patch alone saved me several hours of programming time.”

Oct-Dec 2015

ENTERTAINMENT

TECHNOLOGIES

“Having used Ai as the media server for The Script’s last two tours, it has been exciting to watch the development and evolution of the Ai software. I really believe that the Ai team is heading in a direction that can change the way we do these sorts of shows,” Brown concluded. The Avolites consoles and servers were connected via four Avolites Titan Net Processors, running 32 universes. Avolites ART2000 dimmers were on stage for all the generic fixtures, including all the blinders and key lights. The Script concluded their world tour with appearances at T in the Park and V Festival. For more information, please visit http://www.avolites.com/.

Oct-Dec 2015

ENTERTAINMENT

TECHNOLOGIES

AYRTON MAGICPANEL™-R AND MAGICBLADE™-R CUT A DASH WITH TAKE THAT

Photo © K ris G oodman - w w w.theflyinglampie.com

Oct-Dec 2015

ENTERTAINMENT

TECHNOLOGIES

Lighting designer, Tim Routledge, has employed a quantity of Ayrton MagicBlade™-R and MagicPanel™-R LED fixtures on Take That’s Live 2015 tour, which is currently travelling the UK in promotion of their seventh studio album, III, before crossing to mainland Europe in the autumn. One hundred and twenty-eight Ayrton MagicBlade™-R LED fixtures and fifty-four MagicPanel™-R units play a vital role in Routledge’s design where they form an inherent part of the rig, delineating the outlines of production designer Misty Buckley’s creative set design and providing a spectacular and versatile backdrop to the band centre stage. Creative director, Kim Gavin, devised a show that exhibits a high degree of theatricality with artists performing across a large multi-level main stage that loops right out into the arena. Routledge’s brief was to produce a very theatrical look in keeping with the design but overlaid with a huge ‘pop punch’. ‘The MagicBlades certainly gave me this,” he said. MagicBlade-R is a unique linear fixture which presents seven individually controllable 15W RGBW LED emitters in-line with a tight 4.5° beam and continuous double rotation on the pan and tilt axes. These combine to pack a powerful punch and some unique design possibilities. Routledge outlined the outer edges of four bespoke scenic pylons – which act as upstage lighting trusses with a total of 80 MagicBlade-R fixtures. At the top of the show these throb into ‘life’, supposedly powered up by a performer on a bicycle. From then on in they are used heavily in many numbers, for example, the anthemic Get Ready for It, where the MagicBlade-R units move in unison in dramatic tumbling rotation. “I also used the MagicBlades to emphasise middle eight drop in certain numbers and created night sky sparkles and shooting stars on Rule the World to replicate the content on the central video screen,” said Routledge. A further 60 MagicBlade-R units are rigged around the inside edge of the undulating runway which loops out into the audience like a rollercoaster track. Routledge uses the MagicBlade-R fixtures like a light curtain, running travelling chases along them to add movement and enhance the impression of travel along this epic sized set.

Routledge first spotted the MagicBlade™-R fixtures at PLASA 2014 where, he said, their continuous pan and tilt capability set them ahead of anything else. “I trialled them on the Jonathan Ross show in November and again on Take That’s promo show. They fitted the bill perfectly. They look so different from anything else and really have that ‘wow’ factor. “I find the MagicBlade-R produces very interesting effects and really gives something new,” he continued. “The design possibilities they bring mean they have real longevity as a lighting tool. They are superbly reliable – for the kind of thing they do and the amount of work we put them through, it is amazing we have never had any problems with them!” Forming an illuminated backdrop to the centre stage area are 54 MagicPanel™-R fixtures. MagicPanel-R is a panel of twenty-five 15W LED RGBW sources arranged in a 5 x 5 matrix, which also exhibits the continual pan and tilt capability for which Ayrton is renowned. Routledge positioned these behind the band in a curved wall, 3 units high by 18 wide, and mounted on the front of nine box lifts. These are used both as lighting fixtures and to run video content, where they act as audience blinders and provide interesting backdrops and undulating effects behind the band. “I wanted to map video across the MagicPanel-R units to, for example, replicate the jellyfish content during Said It All from the video wall onto the LED emitters of the MagicPanel-Rs, and run the same video content across them all. I was able to achieve this quickly and easily using the GrandMA 2 running new VPU software. This made it really easy to use the MagicPanels as both lighting and video fixtures. “The Ayrton MagicPanel-R and MagicBlade-R units were a very big deal for us because they were so new, but Ambersphere really got behind us with this and worked closely with Neg Earth on supplying and supporting this huge rig.” Tour Production Director for Take That Live Tour 2015 is Chris Vaughan and Technical Manager is Phil Broad. For more information, please visit http://www.ayrton.eu/.

Photo © K ris G oodman - w w w.theflyinglampie.com

Oct-Dec 2015

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TECHNOLOGIES

dbn LIGHTS PARKLIFE 2015

Oct-Dec 2015

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dbn Lighting returned to Heaton Park in Manchester to supply lighting to five out of the eight stages and video to two of those - for the popular Parklife Weekender music festival with which they have been involved since its inception in 2010. The crew - which peaked at 24 technicians, programmers and operators - was led by dbn’s Pete Robinson, and they started their various get-ins across the site on the Wednesday. There were a few logistical curved balls thrown into the mix for good measure, including a Friday night concert by the Courteeners which was slotted in by promoters SJM on Stage 4. While dbn were not lighting this, the licensing restricted access to other areas which therefore had to be ready ahead of time. Stage 1 The main stage this year was up-scaled to a 24 metre Space roof from Serious three weeks before the event to accommodate the two headliners - Disclosure and Rudimental. As both artists were bringing in substantial lighting and video packages, dbn’s ‘house’ lighting design was kept straightforward and based around accommodating this. Disclosure’s requirement was also that the entire house

rig be gridded out so their complete show could be rigged ‘underneath’. dbn installed three straight trusses which could be flown out into the roof for Disclosure, and then back in again to provide lighting for the rest of the two day line-up. These were accompanied by drapes, masking and a full cable management system, all designed to make the process, safe, smooth, sensible and streamlined. For moving lights 12 of dbn’s brand new Clay Paky Mythos took centre stage - having been delivered just in time. Joining them were four CP Super Sharpies, 16 x Robe Pointes, 16 x Sharpy Washes and 12 brand new Stormy LED strobes from CP, plus the usual array of festival must haves like 2, 4 and 8 lite blinders and Atomic strobes. As soon as Disclosure’s set finished on Saturday, dbn and the Rudimental advance crew rigged as much as possible of their production, including three circular trusses and an upstage projection screen, with two projectors hung on the front truss which was also clad with a scenic London railway bridge covered in graffiti art and CCTV cams. The scenic elements all arrived from the new Wild Life sister festival in Brighton at 7 a.m.

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Sunday morning, so it was a gruelling session for all involved. Rudimental also used the house rig as part of their show. dbn added their own daytime floor package for certain artists comprising 12 x ColorForce 72 LED battens horizontally rigged on upright trussing sections, together with six Patten 2013s which was really effective in plugging the black holes upstage! The house lighting console was a Pearl Expert Pro with Touch Wing. Stage 2 The stages were numbered clockwise from the main stage and this one was a 54 x 74 metre 6 king pole big top primarily with a DJ line up, and headlined by Fatboy Slim.

dbn also supplied LED screen with 45 square metres of their standard 12.5 mm E-Star product configured in one big block. Stage 3 This was a slightly smaller big top, with dimensions of 48 x 70 metres and six king poles. All the production again stayed at the stage end, where dbn installed a six legged ground supported box truss structure over the stage and PA wings. Three trusses were hung underneath each another at the back, and a grid of lights was rigged to these, spaced out according to a precise plan prepared by Stephen Barnett.

dbn built a four legged ground support system cantilevered out from the stage at the front which provided all the lighting positions and rigging points for the two main PA hangs.

This involved 16 x Alpha Spot QWOs, 16 x Alpha Wash 700s, 12 x A.leda K10s fitted with B-eye lenses, 20 active Showtec Sunstrips, 8 x Atomics and 28 x Showtec Spectral Zoom PARs.

The design was inspired by Fatboy Slim’s lighting scheme, and the moving lights comprised another 8 x Mythos, four CP Alpha 1200 HPEs, 16 x Sharpies and 16 x Alpha Wash 575s.

These were all mapped by Stephen onto an Avo Tiger Touch II with a playback wing. He spent several weeks pre-programming so he could get to know the console, and the results looked amazing! He was joined by dbn’s Chris Phillips on operating duties.

The generics included 16 x Atomics and 24 x ColorForce 12s which were used as audience blinders, together with more 2 and 4-lite Moles. Control was an Avo Pearl Expert run by Nick Buckley and Paul Sheard. Pete Robinson completed all the truss

layout and fixture placement, with the overhead lights arranged across six ‘finger’ trusses.

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Stage 5 A tri-span structure was created by three saddlespan structures arranged in a little cluster with the three mouths facing one another, which on the site plan resembled a large set of genitalia.

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A ground supported circular truss was rigged in the middle to provide front lighting positions, together with a straight truss hung in each of the three stage mouths, plus a selection of loose fixtures made available for the stage. The kit included 16 x CP Alpha HPE 300s, 8 x Alpha Beam 300s, 8 x Alpha Wash 300s - all picked for their compact sizes – along with 12 Atomics, and 10 x 5 way Chroma-Q db4 battens rigged vertically across the back of the stage for general eye candy. A new Avolites Quartz controlled everything operated by Paul Crompton. Stage 6 A custom Serious Stages structure was erected in front of Heaton Park’s famous Colonnade (once part of the old Manchester Town Hall) structure and was a small stage with just 4 metres of headroom, yielding an intimate 8 metre wide playing space with a small arched roof. Another late change of spec here added a reasonable amount of production. Onstage, the lighting comprised 12 x MAC 250s, eight Alpha Wash 575s and six Atomics. A ground stacked 9mm LED video wall was put in at the back - supplied by dbn via YSLV - in one block, complete with a smaller section of the same screen used to face the front of the DJ booth. On each of the two PA delay tower structures - also added - six Alpha Beam 700s were positioned, and another clutch of lights and effects were positioned behind the stage on the scaffolding structure built

around the Colonnade to protect it. This amounted to 12 x Alpha Beam 700s, 30 x Chauvet Nexus 4x4 panels, 12 x active Sunstrips and six Atomic strobes. Control was another Pearl Expert Pro - as with all these smaller Avolites consoles - an absolute favourite for festivals. The Nexus panels and the Sunstrips were mapped on the desk by operator Anthony Owen which allowed him to create some great funky and mesmeric effects to wow the crowds. All the stages were equipped with a full atmospheric package - a mix of Jem smoke generators, DF 50 foggers and Look Solutions’ Unique hazers. Some of the boutique stages were also supplied with effects lighting, including The Smallest Club in the World which is in a garden shed, and the Africa Stage which was visually enhanced with an assortment of disco effects and LED PARs. The main challenges were incorporating all the late changes. “We know from our past experience that being flexible and prepared to be adaptable is a key to this event running smoothly for lighting,” commented Pete, adding that this year they incorporated a full 40 ft. artic’s worth of extra gear which was loaded up at the warehouse and dispatched after they were all working on site. “You have to be really organised with your logistics, but once again, it was an excellent event that everyone enjoyed working on as well as doing a great job in delivering to the characteristically enthusiastic audiences”. For more information, please visit www.dbn.co.uk.

Oct-Dec 2015

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TECHNOLOGIES

DPA MICROPHONES HELP CAPTURE THE SOUND ON MAD MAX: FURY ROAD

Oct-Dec 2015

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After a wait of 30 years, Mad Max fans are revelling in the release of Mad Max: Fury Road, the fourth in this exceptionally successful action adventure film series starring Tom Hardy, Charlize Theron and Nicholas Hoult, and directed, produced and co-written by George Miller. Award-winning Production Sound Mixer Ben Osmo chose DPA’s d:screet™ 4063 Miniature Microphones with low sensitivity and low voltage to record dialogue during the shooting of action scenes that involved fast, furious and bumpy chases across the Namibian desert. He also used DPA d:screet 4062 Miniature Microphones with extra low sensitivity for cabled recordings of various vehicles, and these were held firm inside each vehicle by DPA magnet mounts. Osmo, who has won numerous awards for his work, says the choice of DPA microphones was an easy one to make as he had used them many times in the past and always been happy with their durability and their sound quality. “I love DPA mics because they have a transparent sound and are the best for wind noise,” he said. “For this film, Leon Hart at DPA’s Australian distributor Amber Technology, suggested I use d:screet 4063 Miniature Microphones because they matched the voltage outputs of my Lectrosonics SMV and SMVQ transmitters. I have been using DPA lapel mics for many years because they have the most transparent sound of any lapel mic currently on the market.” On Fury Road, vehicle noises often drowned out the dialogue, particularly if actors were in the vehicles or standing near them, so Osmo close miked everyone to get usable guide tracks. “We used low sensitivity d:screet Miniature Microphones for the eight principle cast members who were inside the War Rig cabin and these provided all dialogue and all transmitted sound FX,” he explained. “At the same time we placed a lot of hidden DPA d:screet mics in the cabin for FX and for catching the action. We also positioned them around the engine bay, near the

Ben Osmo on Mad Max Fury Road exhausts and transmission and up on the top of the War Rig, and they were used in other vehicles and on the vast supporting cast.” Costume ‘genius’ Andrea Hood was responsible for placing the DPA Miniature Microphones inside the actors’ costumes so they remained invisible. “She was an immense help because she sewed the mics into costumes and made small pouches on the key costumes, especially those worn by the wives and Furiosa,” Osmo said. “We came up with a couple of interesting positions to place them in Max’s jacket and inside his t-shirt. We couldn’t tape them to his outfit because it was covered in oil and dirt, so Andrea sewed them into the back of his shirt. Location Assistant Brendan Allen and Andrea came up with suggestions of where we could place the DPAs in his jacket and we trialled them all, with me listening for rustle and wind noise. Finally we decided to place two Miniature Mics on each side of his jacket so that when he turned around he would still be on mic. The high wind fluffies were also used and these were instrumental in keeping the wind at bay.” Filming an action movie in a place as inhospitable as the Namibian desert did present some issues for the sound equipment, but Osmo got round this by placing most of the hardware in temperature controlled road cases or inside his van. But the radio mic transmitters and DPA and Boom mics were always out in the elements, all being hidden inside costumes or blimps. “We never lost a mic due to the environmental conditions – they performed very well,” he said. “Overall, the DPA d:screet 4063 Miniature Microphones were definitely the best choice for dialogue. I’ve been using them for a few years and they are fantastic. In fact, since finishing Fury Road I have used DPA mics to record two television mini-series in Australia – Return to the Devil’s Playground and The Kettering Incident. Both these projects have required minimal ADR. The feature film, The Sapphires, also had live vocals blended with playback and the mics worked very well at capturing this.” After his recent hectic film schedule, Ben Osmo is currently happy to be working on TV commercials before he gets started on his next project later this year. For more information, please visit www.dpamicrophones.com.

Oct-Dec 2015

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FINE TIME FOR FINELINE AT GLASTONBURY 2015 Glastonbury Festival of Contemporary Performing Arts (Glasto to regulars), arguably the world’s best known and highest profile festival presented another fantastically diverse melting pot of music, performance, entertainment, culture and fun from around the globe descending on the massive Worthy Farm site at Pilton in Somerset. Bristol based lighting and visuals specialist Fineline Lighting renewed their excellent and fertile long term working relationship with the event – at least 24 years to date – and supplied lighting for the Acoustic Stage, Astrolabe Theatre, Cabaret and Circus venues and also the WOW stage in the Silver Hays dance area featuring some of the best underground DJs. Said MD Rob Sangwell, “We all love working on Glastonbury and imbibing the spirit of the festival, and are very proud of our history with the event. I have seen many changes over the years, all for the better. The excellent line-ups plus the clamour to perform and be part of the community makes it even more special” The Acoustic Stage also yielded one of the most civilised and chilled backstage areas in a very convenient location right at the heart of the action!

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Acoustic Fineline has built up the décor element of this stage over the years and especially more recently to include lush red drapes, and masking around the stage and in the ceiling, which really enhances the theatricality of the space. This year, the Fineline team designed and custom fabricated a special chandelier with 40 spiral filament lamps to complete these deco elements, which looked very cool. With an impressive line-up of both established and breaking artists keen to show their talent in an acoustic environment, stage lighting was designed by Rob and Fineline site crew chief Stu England based on three trusses spanning the 40 x 22 ft. ground support system also installed, trimmed at a decent 9.5 meters. This was rigged with 10 bars of PAR 64s and some ACLs, together with Martin MAC Quantum Spots on drop bars on the back and mid trusses. Quantum Wash moving lights on the mid truss were used to create the general stage washes, while MAC 101s on the back truss served as effective tab ‘warmers’, highlighting the sumptuous red drapage.

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Oct-Dec 2015

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On the mid truss MAC Aura XBs and XB Plus’s provided the beam work and rear key lighting, supported by Robe LEDBeam 100s for effects. The overall lighting reinforced the desired theatrical style ambience, although all genres of music were embraced over the weekend, from rock to blues, jazz to soul, folk to funk! Avolites dimming and a Sapphire Touch control completed the lighting package, and joining Stu and Rob on the crew were Callum Ostell and Sam Kenyon. They also accommodated guest LDs and caught up with a lot of industry friends who passed through this popular venue. Lighting in the Astrolabe theatre tent was co-ordinated by Hal Himsworth, resident LD for several years, with a great line-up of eclectic artists – from dance to physical theatre. With numerous specific requirements for various acts, the pace was relentless and virtually non-stop for 12 hours between performances and rehearsals. A substantial amount of trussing was rigged in the roof to create a usable theatre grid and most of the base washes were created by static LED wash lights. The rig incorporated all the performer specs, together with specials and extras as needed and featured about 80 fresnels, profiles, floods and PARs which were re-worked and often refocussed and re-gelled between acts – true theatrical style. An Avo Pearl Expert with a Wing ran the lights, with Avolites dimming throughout. Circus Lighting designer James Loudon (Judge) is another Glasto regular who has weaved his magic in this space for close to 20 years. Another vibrant line up saw a host of aerial artists, pole, trapeze, hoop and silk acrobatics, balancing acts etc. The idea was to make the venue almost in the round, so lighting had to fill 12 metres of headroom and a 3D space about 8 metres square. The upstage truss was horizontally hinged at approx. 45 degrees along the sides to form an arc around the stage, supported from this truss, at the mid stage ends, and were vertical trusses for side lighting positions.

Oct-Dec 2015

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Additional lights were on the floor and rigged to the tent king poles and flown trusses suspended from the king poles and cupola. A mix of Robe 600E Spots and Chauvet Rogue R2 wash lights on the deck were combined with LED battens serving as knee kickers. These were joined by a good selection of generics – PARs, profiles and fresnels. All the shows ware rehearsed, preprogrammed and cue-stacked on the console – in another gruelling schedule - so everything triggered at the right times, with an Avo Sapphire Touch console and Avolites dimming. James was joined by techs Charlie Denny and Johnny Westall. Cabaret Just across the field in the single king pole square shaped Cabaret tent, Fineline’s Wingnut designed lighting and was joined by Alex Shenton, Ben Desousa and Croat. Fixtures were rigged on a 4 x 2 mere box truss built around the king pole to give FOH and audience positions, and on two trusses over the stage, with two vertical trusses on the downstage edge for booms. Fixtures compromised about 60 PARs, 20 Source Four profiles for gobo projections plus fresnels. The moving lights were 10 x Chauvet Rogue R2 Beams and eight Rogue R2 washes. Wingnut also created some really cool custom paper globe lanterns internally lit with special LED rods which were strung up throughout the space adding depth and a bit of visual scenery to the otherwise black void above the audience. These look set to become a regular Glasto feature! He also produced a bespoke mirror ball installation at the rear of the stage. The Wow Stage lighting was designed by James “Chimpy” Harrington one of the creative mainstays of Motion, Bristol’s most cutting-edge clubbing experience. He used a variety of kit including 10 x Chauvet R2 beams, six Robe LEDBeam 100s, eight 2-lites, Atomic strobes and Chauvet Nexus 7x7 panels, PARs and ACLs and also lit the exterior of HMS Wow with PARs and MBIs and ensured the funnel billowed with smoke curtesy of Gem Roadie smoker below! For more information, please visit www.finelinelighting.com.

Oct-Dec 2015

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CAPITAL AND MLA MAKE BEST EVER BARCLAYCARD BST AT HYDE PARK

Previous to 2013, Hyde Park concerts had been dogged by offsite noise pollution leading to neighbourhood complaints and the need to reduce sound levels on site — meaning that the audience couldn’t hear the performances. Famously after a Blur headline gig in 2012 there was uproar from the audience and media criticising the poor sound quality. Despite resounding successes since 2013 with the introduction of AEG, Capital Sound and MLA to the site, there remained a lingering perception in mainstream media that Hyde Park was still a sound challenge. So what better way than to dispel the myth once and for all than for Blur to return this year with a blistering

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headline set, in addition to other headliners The Strokes, The Who, Kylie Minogue and Taylor Swift, all of whom received stellar reviews from the music and general press, regularly citing ‘loud and clear’ sound levels for the audience. So what about those offsite noise complaints? Vanguardia principal consultant, Olly Creedy cofirmed that complaints on site had been “significantly reduced” again, believed to be their lowest ever levels. He reported that, “The sound has been consistently over 100dB for the headline acts and [for The Who headline show] there was 30dB of attenuation in view of the wind, which we’ve never seen before at Hyde

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Park. This would enable sound levels of up to 105dB to be achieved at the desk while still restricting to 75dB offsite limits.” A n d pro moter Ji m Ki ng, S e ni or V i c e P re si de nt, Live E ven ts , at A EG a d d e d hi s ow n e nd o rse m e nt t o Barclaycard p re se nt s Bri t i sh S umme r T i m e Hyde Par k, s ta t i ng, “We a re p l e a se d t ha t e v e n i n c h allen gin g wind c ond i t i ons w e w e re st i l l a bl e to oper ate at level s uni ma gi na b l e t hre e y e a rs a g o . To a ch ieve th is and re d uc e l oc a l re si d e nt c om pl a i nts for th e th ird yea r runni ng i s a huge suc c e ss fo r the e ven t. Th e wo rk und e rt a ke n b y Ca p i t a l a nd M a rti n A u dio h as again st re ngt he ne d Hy d e P a rk’s po si ti o n

a s the be st o utdo o r v e nue i n the w o rl d. ” And so with the site layout now firmly established in order to minimise neighbourhood noise pollution, Capital Sound were able to deploy a similar set-up as in 2014, with minor tweaks to the delay towers and a raising of the main sidehangs to 12.5m from the stage. For the main stage, the PA inventory comprised two hangs of 16 x MLA and 1 x MLD Downfill per side, with 12 x MLA and 1 x MLD Downfill for the sidehangs. The sub array consisted of 21 x MLX in a broadside cardioid array, with a further 11 enclosures back facing. Additional W8LM Line Array enclosures provide front

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fills, while an array of LE1500 floor monitors were also provided for artist monitoring. Capital’s Martin Connolly, project manager for the main stage, commented, “Although the decision to raise the trim height was made late in the day, one advantage was that [Martin Audio application engineers] Andy Davies and Chris Pyne could look at predictions and optimise this in the software, without needing to make any physical changes.” The area behind the FOH tower and barrier positions had been changed to improve sightlines, necessitating changes to the delay design. This was extended to four lines of in non-concentric arcs (occupying nine positions). The main nine delays comprised 7 x MLA and a single MLD Downfill, supported by a total of 12 MLX subs — whilst delay positions 10 & 11 each deployed

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eight MLA Compacts. Connectivity to Martin Audio’s VU-NET/Ethernet control network, running the dedicated Merlin matrix processor, was via an Ethernet tunnel over Optocore. System engineer Toby Donovan was full of praise for the new 1.2.5 version of VU-NET and the improved latency. “The new version of VU-NET lets you monitor every amplifier channel and allows you to send more data over the network. I can see every channel in real time and it’s really accurate.” In fact this ‘Master Overview’ function provides a customisable screen giving level and limiting information for every cabinet in every array alongside quick access to key functions (unlike previous versions). In Hyde Park this feature was running with over 150 connected devices spread over the vast Ethernet network.

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At the source were two rack PCs and laptop sitting on the Ethernet network, connected to a pair of Avid Profile digital mixing consoles which could flip-flop with a DiGiCo SD11. Any input or group of inputs could be routed to any output with VU-NET providing full control of Merlin via an intuitive GUI running on the PC. Martin Audio systems were also provided for two other stages. On the Barclaycard Stage, eight MLA Compacts were flown on each side with 16 x WS218X subs in a broadside cardioid array, with four W8LC providing front fill sound reinforcement. The only indoor stage was the intimate 200-capacity Sony Unlimited Tent, which was serviced by Martin Audio’s tried and trusted package of four pole-mounted MLA Mini enclosures per side, atop an MSX power plant, covering the low end.

Capital Sound also fielded a front line crew of 17 personnel, with Malcolm Giles as main stage crew boss. Others included the experienced system tech Toby Donovan and the FOH console techs were the equally accomplished Chris Pyne and Trevor Gilligan. “After three years, we have now evolved a successful formula to optimise the audience experience [at Barclaycard presents British Summer Time Hyde Park],” summarised Paul Timmins of Capital Sound. “Thanks to the unique functionality of MLA, historic problems with noise escape are now a thing of the past and what FOH engineers can focus upon and enjoy is their mix in perfect clarity while their artists fully entertain every one of the 65,000 crowd.” For more about Martin Audio, please visit www.martin-audio.com.

Oct-Dec 2015

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ROBERT JULIAT’S LANCELOT AND ARAMIS PARTY IN THE NETHERLANDS

Robert Juliat’s Grand Range of followspots are the ones to call on when you want to party on a big scale. Robert Juliat’s Aramis and Lancelot long-throw models have been out in full force in the Netherlands for two of the countries most exuberant parties. Lighting designer Martin Beekhuizen used no less than sixteen RJ Aramis 2500W followspots on Amsterdam’s biggest party night of the year as huge audiences flooded into the Amsterdam Arena for the 11 th Toppers in Concert extravaganza.

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Billed as ‘the singalong festival of the year’, the annual event filled the massive arena – home of Amsterdam’s Ajax football team – for five nights at the end of May 2015. Audiences of over 70,000 people per night – dressed in white with ‘a colourful touch of summer’ - sang along with Dutch superstars, Gerard Joling, Jeroen van der Boom and Rene Froger, and special guest stars Danny de Munk, Edzillia Rombley, Andre and Roxanne Hazes, David Bisbal and Village People, at this bright, bold and colourful Crazy Summer Edition. Clearly followspots as bold and bright were required to highlight the stars.

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“The show is performed in the round and the followspot positions are located at a distance of 80m from the stage,” explained Beekhuizen. “I needed something with the muscle-power to handle those super-long throw distances, power through a very bright lighting rig and cope with the fact that the first half of the show was in daylight hours. It was also important to have sixteen uniform followspots of the same model, output and quality – which is no small requirement!” Ampco Flashlight provided Beekhuizen with the sixteen RJ Aramis units and an experienced team of operators, which he was very happy about having worked with both the RJ Aramis and the spot team before. “I was confident we were in good hands for this mammoth event and I knew the Aramis would be up to the job. Robert Juliat followspots have really good lenses, a great output and are extremely easy to colour-correct. The company takes good care of its reflectors during production by maintaining consistency of the coating which results in a uniformity of colour across every followspot. This makes my job as a lighting designer so much easier especially when we are recording the show, as we were on Toppers, where any discrepancy would be picked up by the camera.” Meanwhile, in the Philips Stadium in Eindhoven, eight Robert Juliat Lancelot 4000W HTI followspots were used by lighting designer Marco Driessen to illuminate Guus Meeuwis’ anniversary show Groots met een zachte G. The fast moving, energetic show celebrated ten consecutive years at the stadium for the Dutch star and has been dubbed the biggest annual music event by a solo artist in the Netherlands. Over five nights in June, 175,000 visitors and 1,300,000 viewers saw the Lancelot followspots in action. One of the largest and most versatile of Robert Juliat’s

followspots, Lancelot’s 4000W powerful output is backed by a fine 2°-5° variable zoom and a superb optical train which minimizes the size of the fixture. A unique cooling system allows the incorporation of modular accessories to adapt it to become the most powerful long-throw effects projector ever built. “For the Jubilee edition of Groots met een zachte G, I again deliberately chose the Robert Juliat Lancelot followspots,” said Marco Driessen of The Art of Light. “This year for the first time in history we were broadcast live on Dutch television, and the Lancelots once more gave the decisive output, colour temperature and reliability for which I had chosen them. “It was a small effort for the Lancelot to cover the distance of between 60m and 120m to the stage and put Guus and his bandmates in full light, even against the powerfully strong lighting rig and video back wall. The output of the Lancelot remains impressive, and the design features make it an easy job for the spot operators to deal with. “Next year for the 11th edition of the show one thing is already clear - the Lancelots will be back in action!” All Robert Juliat Lancelot and Aramis units were supplied by Dutch rental company, Ampco Flashlight: “Ampco Flashlight is known as a full service rental company for theatre, broadcast, live events and concerts,” said account manager, Juan Neele, “The reason we use Robert Juliat is because they guarantee good performance in all these different areas. The output and reliability of the RJ spots on shows such as Toppers and Guus Meeuwis is great – they are truly plug and play units with a big performance!” For more information on Robert Juliat, please visit www.robertjuliat.com.

Oct-Dec 2015

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XL VIDEO BRINGS A GLOW TO RED ROCKS FOR BASSNECTAR Photos by Darsak Patel

Oct-Dec 2015

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Continuing their work with some of the world’s highest profile EDM artists, XL Video worked with DJ/Producer Bassnectar to light up Colorado’s legendary Red Rocks Amphitheater with an abundance of LED, as well as supply control systems and crew for two shows in late May. This year marks the 5th year Bassnectar has played at the renowned outdoor venue and Production Manager, Marc Immerman, contacted XL Video to ensure the video for the show would match the spectacular surroundings. XL Video’s Touring Projects Director, Gareth Jeanne

worked with Bassnectar’s team to specify over 300 tiles of XL’s ROE Visual MC-7 high resolution LED for the multi-surface stage design. Mimicking the shrinking perspective of the venue, LED columns were arranged each 2 tiles wide, and 9, 8, 7 and 6 tiles high on each side of the stage. Surrounding the performers, a 16x8 tile LED screen was flown upstage and topped with a convex curved LED header flown above the stage. XL Video built a custom dolly for Bassnectar’s curved LED DJ booth which allowed it to be easily wheeled into place for the headliner’s set.

Oct-Dec 2015

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With a venue of this size and arrangement, it was important that the control system created a seamless link between front of house, stage control and the onstage riser. XL Videoâ&#x20AC;&#x2122;s team, led by onsite Project Manager Norvin Maloney and Crew Chief Eric Escujuri installed a solution using Lightware MODEX TX/RX kits which transferred the signals from the clientâ&#x20AC;&#x2122;s own media servers at front of house. These were coupled with a Lightware 16x16 Matrix which fed the LED processors. To enable Bassnectar, his VJ, Max Chang from V Squared Labs and his backline engineer to easily monitor the on-screen content, XL Video utilized a Barco ImagePRO-II scaler/converter to pull out a region of interest on the back screen which was then converted to SDi and transmitted to displays on the DJ riser, and to the team at front-of-house.

Oct-Dec 2015

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This ensured all the crew were completely in sync with the visuals and the music across the huge venue. This was backed with Fiber networking, using Cisco Managed Network Switches between stage control, front of house and the DJ riser. Gareth Jeanne commented: “Red Rocks is an iconic venue, but it does also present some interesting challenges for live video production. Our crew - Eric Escujuri, Julian Ruiz and Darsak Patel – more than met the challenge; collaborating with Bassnectar’s team through four days of rehearsals in Denver and then installing our smart control set-up and outdoor LED screens at Red Rocks. The resulting shows delighted the assembled audience across both nights!” For more information, please visit www.xlvideo.com.

Oct-Dec 2015

ENTERTAINMENT

TECHNOLOGIES

ELATION SIXPARs LIGHT NEW STAGE ART STRUCTURE AT SANTA MONICA PIER Santa Monica Pier hosts one of LA’s favorite summer concert series, the Twilight Concert Series, as well as a host of other events. This year, the Pier boasts a new stage with unique overhead structure; a remarkable work of art illuminated using Elation Professional SixPar 300IP color changers. The custom stage is the creation of design and technology integration company Stereobot, an innovative building components firm that does many of the displays for Coachella and other events. Live event production company Pacific Coast Entertainment collaborated with Stereobot on the lighting design for the stage and art piece.

Oct-Dec 2015

The one-of-a-kind structure with sweeping cantilevered spans envelops the stage and reaches to a height of 36 feet. The open structure creates a three-dimensional experience that allows for visibility from all sides and is something that can be admired even when not in action. Its truss frame is wrapped in a stretch scrim fabric and illuminated internally by SixPar 300IP color changers, one in a series of indoor and outdoor PAR color-changing lights from Elation Professional. Pacific Project tasked internal

Coast Entertainment’s Tim Hemrich serves as Manager for Stereobot collaborations and was with selecting and installing the structure’s lighting system. Installed and exposed to the

ENTERTAINMENT

TECHNOLOGIES

Oct-Dec 2015

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Oct-Dec 2015

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elements for twelve weeks, the system needed an IP65 rating to ensure safe and reliable operation. For this project, PCE turned to the bright SixPar 300IP, which houses a 6-color RGBWA+UV LED multi-chip for a nearly infinite range of color choices with the possibility to express any mood or emotion. “We use 12 SixPar 300IP fixtures mounted inside the custom truss,” Tim commented. “It is an impressively bright and reliable instrument.” Capable of strobing and smooth dimming, the SixPar 300IP consumes a low 220W of max power and has an LED life rating of 100,000 hours. Having led the design and installation team for Hotel Irvine’s architectural lighting display, Tim knew the Elation fixture well. “Having installed the instruments for the property’s grand opening and with a planned operation of 30 days, the instruments have now been in constant use for nine months without requiring any servicing,” he said. Santa Monica Pier’s lighting system required that same level of reliability, but with the added feature of shared lighting control. During periods of non-use, the stage lighting is controlled from playback, via an Elation DMX recorder. During shows, lighting control is transferred to the show’s lighting console.

Oct-Dec 2015

ENTERTAINMENT

TECHNOLOGIES

HARMAN MARTIN PROFESSIONAL’S MAC QUANTUM WASHES LIGHT UP DOWNHILL ACTION AT ST. PAUL RED BULL CRASHED ICE WORLD CHAMPIONSHIP

Oct-Dec 2015

ENTERTAINMENT

TECHNOLOGIES

Even in the depths of January, Red Bull’s Crashed Ice event in St. Paul, Minn., drew more than 100,000 people to a weekend of after-dark competitive ice cross downhill skating. Spread out over three square miles of the city center, the massive track and viewing area required hundreds of HARMAN Martin Professional fixtures to be properly lit. Lighting Designer Paul Guthrie of Toss Film + Design Inc. was brought in by Red Bull to lead the layout and design of all the lighting fixtures for the event. Crashed Ice takes place four times a year in world-class cities such as Helsinki, Belfast and Edmonton. Skaters compete in heats of four on temporary 1,500-foot long ice tracks featuring steep turns and high vertical drops erected in these urban environments. The track in St. Paul was set up in front of a cathedral – a backdrop made all the more impressive by high-quality lighting. Guthrie, whose expertise lies in concert lighting design for acts such as Fleetwood Mac, Sheryl Crow and Nine Inch Nails, usually operates lighting cues during a performance. While Crashed Ice was an unusual project for Guthrie, the ease-of-use of the Martin fixtures provided a sense of familiarity in a new territory. “Our main workhorse for lighting the area was the MAC Quantum Wash™, which I had only previously seen in a demo,” said Guthrie. “We had 108 of them, and they worked flawlessly, especially considering this was one of the first times we’d used them outside in winter.” Guthrie cites the MAC Quantum Wash’s color rendering, beam punch, and low weight as major factors in his

decision to deploy Martin’s new fixture. Primarily used for audience lighting, the MAC Quantum Washes were mounted on towers along the track to set the tone of the event. Conversely, the MAC Viper Wash DX™ units were instrumental in filling in dark sections of the tracks, making the high-speed races more photogenic. “The Vipers added a splash of tungsten to reach into tight corners,” he said. “We also stationed 52 MAC 2000 WASH XBs™ at the base of the cathedral to emphasize the cathedral’s dramatic façade and deployed Atomic 3000™ strobes at the beginning and end of the tracks to draw the audience’s attention.” Guthrie’s crew had only 10 days to mount more than 800 fixtures across the huge event area. While it’s a tremendous undertaking, Crashed Ice is a boon to St. Paul’s tourist economy. “After hosting for four years, the city really loves the crowd that Crashed Ice appeals to,” said Guthrie. “Martin Professional was just as instrumental in making sure that the event was a spectacle for the audience as well as a success for the city.” Martin Equipment • MAC Quantum Wash, 108 x pcs • MAC Viper Wash DX, 22 x pcs • MAC 2000 Wash XB, 52 x pcs • MAC Viper Profile, 8 x pcs • Atomic 3000 DMX, 8 x pcs For more information, please visit www.martin.com.

Oct-Dec 2015

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TECHNOLOGIES

Oct-Dec 2015

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TECHNOLOGIES

MORE THAN 70 PR LIGHTING HEADS SUPPORT BETH HART IN BUCHAREST

More than 70 high power discharge and LED fixtures from PR Lighting were on duty when Beth Hart’s Better Than Home European tour arrived in Bucharest recently. The Los Angeles-based singer songwriter appeared at the Palace Hall — before an audience of 3,000 and performing under a lighting rig dominated by PR Lighting pieces. These were provided to lighting designer Cristian Simon by Romanian distributors (and event specialists) Temple Media — part of an impressive concert spec sound and lighting package.

Oct-Dec 2015

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Simon, who has worked with PR Lighting fixtures at many high profile performances in the past, chose 20 fully featured XR 200 Beams, with the impressive 189W Philips MSD Platinum 5R lamp), 10 XLED 1061, housing an incredible 61 4-in-1 bright linear colour mix LEDs, 20 high output XR 230 Spots, with their variable linear zoom, and 24 ultra compact XLED 2007 Beams, featuring seven 15W 4-in-1 LED colour mixing modules, as the basis of a high impact rig. “All the lighting was designed by us, as the artiste was not accompanied by her own lighting designer,” confirmed Temple Media CEO Dan Chiorcioiu, “We proposed a simple and effective lighting solution, taking into consideration the fact that the location did not allow much set-up time (only around four-to-five hours). “Our lighting solution was accepted by the artiste and agreed by the local promoter — and everyone was more than satisfied with our solution.” For more information, please visit www.pr-lighting.com.

Oct-Dec 2015

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Oct-Dec 2015

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SGM’S X-5S AND P-5S ADD RAZZMATAZZ AND VIBRANCY TO MELODIFESTIVALEN 88

Oct-Dec 2015

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“The X-5s were scattered around the lighting rig downstage to add glitter and bursts that would penetrate the air through the set and give more energy in the camera shots. We mainly used the segment feature with fast randomly chases to add that extra razzmatazz during choruses and such.” “The P-5s were brought in for a specific act to be used as a strong color signature and as uplight through a glass floor for a custom made transparent podium. They were purely used in a strong and vibrant red that became a very strong signature look for that act. The band and the creative group really liked the P-5s for that particular song.” Jönsson is indeed an experienced LD, who has carried out the lighting design for Melodifestivalen on tour for all of its now 14-year lifetime with 444 songs in total on his resume. When asked if he would consider using SGM fixtures in other applications, he replied: “Love the P-5s. It was my first time using them and I will for sure specify them again in future projects.” He chose them due to their output and great colors: “I also like the actual physical look of the luminaire and it was very suitable for

the mood in the act we used them in”. He also highlights the fact that the SGM fixtures are LED as an important aspect in terms of output and power consumption: “I don’t have unlimited electrical power access on the tour, so the X-5s keep the amps down and give me the punch I need.” The X-5 strobes were specified for their ability to do chases in segments within the luminaire. Jönsson

Oct-Dec 2015

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Oct-Dec 2015

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described them as being very powerful: “A key feature when you want an effect to punch through everything else lit on that stage. The levels can be very intense at times to say the least,” Jönsson exclaimed. He continued: “The strobes were rigged so that fast chases from side to side were extremely efficient and gave us great bang for the buck. Most of the acts and crowds really loved those energy boosts.” The popular Swedish music event ran over a six-week period with six live broadcasts from February to midMarch. The finals were held in the Friends Arena in Stockholm, where approx. 30,000 spectators attended the show and 3,770.000 followed the TV broadcast, whereas the semifinals attracted 7,000-8,000 live spectators and approximately 3,100.000 television viewers. Adding to that, there were also well-attended runner-up shows. The 2016 tour will be the 15 th anniversary of Melodifestivalen on tour – as it will be Fredrik Jönsson’s 15 th year as part of the crew and at least 28 new contesting songs will need a creative lighting design. With Måns Zelmerlöw’s popular song “Heroes”, Sweden ended up winning the international Eurovision Song Contest this year, and they will therefore be the host country for the big event next year. For more information, please visit www.sgmlight.com.

Oct-Dec 2015

PRODUCT INNOVATIONS

AUDIO & VISUAL

CDD Loudspeaker Management System and EASE® Data By Martin Audio www.martin-audio.com

Each input and output is loaded with a huge range of digital processing including flexible EQ, crossover, delay and limiting solutions. It delivers everything needed to professionally optimise loudspeaker systems of nearly any size. The DX0.5 utilises high-end 24-bit AKM® AD/ DA converters with 120dB dynamic range for classleading sound quality. With 24 memory locations users can recall CDD pre-set files via the front panel, or using the free software application and front panel USB users can define and store their own settings. With simple I/O routing and configuration, the DX0.5 is an ultraflexible processor, ideal for a wide range of portable and installed applications.

TOA VM-3000 By TOA Corporation www.toa.jp

The VM-3000 is an integrated system, incorporating a paging matrix/ mixer with DSP, digital messaging, a priority microphone and zoneswitchable power amplifier section. An easy-to-use GUI programming interface (MS Windows™) provides simple setup and configuration via Ethernet. Designed to suit small to medium sized applications such as schools, office buildings, industrial facilities and shopping centers, the VM-3000 can expand to cover as many as sixty paging zones with a maximum of 2000 Watts for Mass Notification and can even broadcast high-quality announcements and background music. The VM-3000 system also allows for integration with various fire alarm control panel and life safety systems, redundant power, speaker line-supervision and includes multi-level priority override from local or remote paging sources. Already bearing the European EN 54-16 certification, the VM-3000 and its associated products, including power supplies now carries the UL 2572 and CAN/ ULC-S576 certification, which complies with new NFPA 72 code governing Mass Notification Systems. Upgrading an existing fire alarm system to a Mass Notification System can be achieved by simply adding the VM-3000 with TOA’s UL 1480 UUMW and ULC-S541 listed loudspeakers, offering an incredibly reliable and affordable voice alarm solution.

Oct-Dec 2015

PRODUCT INNOVATIONS

lighting

FINE 600L SPOT By FINE ART www.fineart-light.com

FINE 600L SPOT is a LED spot moving head light using 600W LED module as its light source. It combines the latest technology of intelligent fan control, encoder positioning, Gamma correction dimming, unique optical design and the wide optical lens diameter of 180mm to output uniform spot light, which reaches the light efficiency of 1500W halide lamp with luminous flux exceeding 26,000lm. Owning the great advantages of long life span and low power, it saves the power consumption cost greatly and reduces the loss for replacing the lamp when compared with the halide computer light. It is suitable for the TV stations, theatres, stages and large-scale performance places.

FINE 1519 PIXIE By FINE ART www.fineart-light.com

FINE 1519 PIXIE is an innovative LED moving head luminaire with functions of Beam and Wash. With high-quality Osram RGBW 4 in 1 LED lamp as its light source, each can be controlled individually. Zoom range is from 4째 to 60째 and the beam and wash function can be changed at random. Unique rotatable dual optical lens can create beautiful dynamic effects. Light Source: 19pcs of 15W RGBW 4 in 1 LEDs Life Span: > 50,000 hrs Beam Angle: 4째~60째 Light Efficiency: 15 lm/w Luminous Flux: > 4,500 lm Color macro and color gradual change Control Channel: 21/78/97 control channel mode Protocol: Standard DMX512, Art-Net, wireless DMX for option Menu Display: LCD display Power Source: AC100-240V 50/60Hz Input Power: 300W

Oct-Dec 2015

PRODUCT INNOVATIONS

lighting

Elation Colour Pendant™ By Elation Lighting www.elationlighting.com

Elation Professional has launched a new luminaire in its Colour Series™ of color-changing LED luminaires, the Colour Pendant™, a highly versatile wash light that allows for dynamic control of stage or house lighting levels in an energy-efficient intelligent downlighting fixture. The Colour Pendant houses 36 long-life 3W RGBW LEDs for fully blended color transformations or projections of variable shades of white light. The RGBW LED is capable of emitting a wide palette of colors from saturates to more subtle pastels, making the Colour Pendant an excellent color matching unit. Its uniform flat-field output, 3,100 lumens of power and 41° beam angle make for a highly effective wash luminaire whether flooding a stage or studio in hues of color or functionally washing a house of worship or other venue in shades of white light. Full range dimming with selectable dimming curves, strobe and color macro effects enhance its dynamic capabilities. The Colour Pendant is controllable via 11 DMX channel modes (1 / 3 / 4x2 / 5x2 / 6x2 / 7 / 8 / 10 channel) and is RDM (Remote Device Management) protocol capable. It houses an internal E-Fly extended range wireless DMX transceiver for easier setup with less cable mess. The fixture comes with a host of other standard features like 5-pin XLR connections, as well as powerCON in/out connections. A 4-button control panel with LCD display makes for easy navigation through DMX and manual settings and an auto-sensing power supply covers worldwide voltages and frequencies. The Colour Pendant is compact, measuring 14.7” x 9.9” x 12.0” / 374mm x 252.5mm x 308.8mm and weighs only 12.0 lbs. (5.4 kg). It offers all the benefits of LED like greater reliability, less maintenance and increased energy efficiency (only 110W max power consumption) for a lower cost of ownership.

U-Frame and U-Top By Global Truss Corp. www.globaltruss.cn

Global Truss now offers a highly flexible and completely modular solution for suspended lights. The light weight system enables a theoretically infinite configuration of single and double suspension as well as ladder systems for various lights – both suspended and upright mounted. A combination of the two modules can carry a point load of max. 48 kg. By the functional security fasteners of each side of the U-Frame, it diverse types of lights and can be mounted. For ladder configurations up to 10 U-Frame / U-Top combinations can be mounted one below the other, without further rigging actions. The suspension can be made by the supplied ring eyes or with swivel couplers. U-Frame (weight:3.2 kg) and U-Top (weight:2.0 kg) were developed by Global Truss for quick and easyto-use application in a variety of event environments. U-Frame and U-Top are available as standard in silver and black.

Oct-Dec 2015

PRODUCT INNOVATIONS

lighting

Glamor Moving Spot 150™ By Taurus Light Co,. Limited www.tauruslight.com

GMS150 brings innovation with its value, offering a rotating 3-facet prism to create stunning visual and aerial effects, plus a motorized iris and motorized focus for easy beam shaping. GMS150 features two gobo wheels, one fully rotating/indexing with interchangeable gobos to fit custom needs, and one wheel with fixed gobos that is fully and variably scrollable. LED Source: Single 150W high power LED • DMX Channels: 16 • Pan and Tilt: 540°/270° • Shutter/Strobe: Electronic • Prism: 3 Facets, motorized, rotating • Power Input:AC100-240V 50-60HZ • Dimmer: Electronic • Power Consumption: 160W • Focus: Motorized • Carton Size: 520x370x430mm • Iris: Motorized • Gross Weight: 16.5kgs

MAC Quantum Wash By HARMAN’s Martin Professional www.martin.com

The MAC Quantum Wash features tight beams, beautiful wash fields, a market-leading color palette, and uniform mixing that combines to accommodate the most demanding applications, offering brightness and perfection. Combining an impressive 750 watt of RGBW LED power with Martin’s market leading optical system ensures that the 1:6 zoom on the MAC Quantum Wash operates with maximum output and superior performance. • RGBW LED color mixing with unique and expressive Colorganics™ system for superior default white and deep saturated colors • 1:6 zoom for tight beams and even washes • Beam twister effects: Rotating front lens for stunning mid-air and projection effects

JEM™ ZR Series By HARMAN’s Martin Professional www.martin.com

JEM ZR is a family of powerful fog machines designed to deliver superior and uninterrupted performance in demanding professional applications. Equipped with 1,150–2,000 W heat exchangers they deliver large amounts of fog and excessive peak output, ideal for venues of all sizes in both install and rental markets. The JEM ZRs feature variable output control for more subtle effects and are fully upto-date with digital remote, DMX and RDM. The entire JEM ZR range is compatible with a wide range of JEM Pro fog fluids. As machines designed and built to last, the JEM ZRs will continue to perform with great output and low consumption.

Oct-Dec 2015

SHOW

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he fourth edition of NAMM Musikmesse Russia, an international fair for musical instruments, sheet music, music production and music business connections and Prolight + Sound NAMM Russia, an international fair of technologies and services for events, installation and production, are starting at the beginning of September 2015.

to appreciate an extensive fringe program of the shows.

Leading brands of music, light, audio, theatre and show-technologies industries will display their products at ECC Sokolniki, Moscow. Visitors and exhibitors of NAMM Musikmesse Russia and Prolight + Sound NAMM Russia 2015 will be able

A bit more than a month is left before the start of the Fair for Musical Instruments, Sheet Music, Music Production and Music Business Connections, NAMM Musikmesse Russia 2015 and the International Fair of Technologies and Services for Events,

show PREVIEW 96

Oct-Dec 2015

Theatre Forum 2015 – a special project of Prolight + Sound NAMM Russia – will unite heads and leading specialists of theatres, Cultural and art institutions from all Russian regions.

10th – 12th September 2015

Prolight + Sound NAMM Russia Sokolniki Exhibition and Convention Centre Moscow, Russia

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Installation and Production, Prolight + Sound NAMM Russia 2015. As the last year Sokolniki Exhibition and Convention Centre, Moscow, Russia will house the best international and domestic manufacturers and distributors of leading brands to introduce new products and modern technologies to industry specialists at 10-12/13 September. Companies showcasing their products include: Bose, Martin Professional, Show Atelier, SiM, MuzTorg, OKNO-Audio, MS-Max, LTM, Sofitlight, Asia Music, Stagemarket, Robe, Clay Paky, Contactica, Syntez-Audio, MixArt, AV Stumfl, Chainmaster, Multimedia Club, Roland, Artimusic, Invask, Muzimport, D`Addario, Universal Acoustics, BBS, GTD and many more. Sennheiser became the General Partner of Prolight + Sound NAMM Russia in 2015. This year technical partners of the shows are MF group and EuroShow. The Culture Committee of the State Duma of the Russian Federation, the Moscow Ministry of Culture and the Moscow Department of Culture supports the 2015 tradefairs. The Moscow Conservatory, the Bolshoi Theatre, the Russian Guild of Theatre Managers, the Russian Union of Theatre Workers, the Russian state musical TV center “Orpheus,” the Association of Musical Theatres, and many other public and private organizations became partners of NAMM Musikmesse Russia and Prolight + Sound NAMM Russia. Traditionally an exposition of NAMM Musikmesse Russia, held September 10-13, will be divided into two zones in 2015 to devote one of them to classical and acoustic music products and instruments at Pavilion Classique and the other - to electronic music products and instruments, including synthesizers and electronic keyboards, guitars and drums. Held September 10-12, Prolight + Sound NAMM Russia will be also thematically divided into different areas for exhibitors and visitors` convenience. A special project arranged within the framework of

the show – Theatre Forum - will be held in hall 4.2. In keeping with previous years’ popular tradition, NAMM Musikmesse Russia 2015 and Prolight + Sound NAMM Russia 2015 will offer dozens events, including professional development sessions as well as entertainment opportunities for public visitors. As last year`s shows, the organizers of NAMM Musikmesse Russia and Prolight + Sound NAMM Russia will build three stages in conjunction with the technical partners. • Acoustic Stage devoted entirely to classical and acoustic concerts and performances will be located inside the Pavilion Classique. The best musicians among whom are teachers and students from the Moscow Conservatory and a cello virtuoso George Gusev’s Cello Drive project will perform at the stage. • For all lovers of live performances, musical festivals, shows and competitions featuring popular acts, Live Music Stage will be organized in front of the Pavilion 11. • In addition, an open-air platform in front of the Pavilion 2 will demonstrate all capabilities of the concert equipment – different linear arrays and acoustic systems. Follow us at social media groups in Facebook and Vkontakte. For more information about the shows, please visit the official fair websites www.namm-musikmesse.ru and www.prolight-namm.ru.

Oct-Dec 2015

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show PREVIEW 98

Oct-Dec 2015

29th February â&#x20AC;&#x201C; 3rd March 2016 Prolight + Sound Guangzhou 2015 Shanghai New International Expo Centre Shanghai, China

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Prolight + Sound Guangzhou sets 2016 show dates and expands show’s scale 2016 focus: Internationality and comprehensive product variety After months of negotiation, China’s leading pro audio and lighting show, Prolight + Sound Guangzhou, has nailed down its 2016 show dates. Being held from 29 February to 3 March next year, the show will be even bigger and occupy the entirety of Area A in the China Import & Export Fair Complex, Guangzhou. The show’s organisers explained how decisions were made in close cooperation with the industry. “We talked to many exhibitors and visitors from the last show and received different opinions about the show dates, and we are highly committed to providing the best solution for everyone. Combining the comments and possibilities, we are happy to announce the new 2016 show dates and it will be held during the peak sourcing season of the industry,” said Ms Fiona Chiew, Deputy General Manager for Messe Frankfurt (Shanghai) Co Ltd. To fortify the position as China’s largest marketing platform for the pro audio and lighting industry, the key focuses of the 2016 show are internationality and comprehensive product variety. The first step is to expand Prolight + Sound Guangzhou by using all 13 halls and the entire outdoor space in Area A of the venue, plus a new exciting component this year. “As we always emphasise, we aim not just to grow big but strong. So the second piece of good news for the 2016 show is, we will have the debut of international pavilions from Italy, Korea and Taiwan. This is a successful result of resources integration between Messe Frankfurt and our local partner the Guangdong International Science and Technology Exhibition Company,” Ms Chiew added. In addition to the newly added international pavilions, the halls will be categorised into Audio Brand Name Halls, Pro audio Halls, Lighting Halls, KTV Hall and Enping Microphone Halls. In order to provide an all-inclusive platform for show attendees to source, network and learn, the organisers have partnered with famous industry associations worldwide such as the Professional Lighting & Sound Association of Germany (VPLT) to host educational forums and seminars that bring first-hand market insights to the industry. Further details of the fringe events will be announced in upcoming press releases. Prolight + Sound Guangzhou is organised by Messe Frankfurt and the Guangdong International Science and Technology Exhibition Company (STE). For details and information about the show, please visit www.prolightsound-guangzhou.com or www.prolight-sound.com.

Oct-Dec 2015

SHOW

review AVL+M Thailand 2015 finished on a very high note with overwhelming response from the entertainment industry AVL+M Thailand 2015, Thailand International Exhibition on Pro Audio, Visual & Lighting + Music, received an overwhelming response during the course of three days of full intense activities, the exhibition attracted 391 overseas visiting professionals from 31 foreign countries and has an overall count of 4,437 visitors. They have dealt with more than 100 brands on display from the 10 participating countries, spread out over a total area of more than 5,000 sqm. within the exhibition complex

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Mrs. Atchaka Sibunruang, Permanent Secretary of Ministry of Industry said, Thailand is growing rapidly in both infrastructure and urban development with massive investments from government and private sectors. This is driving the growth of Pro Audio, Visual, Lighting and Music business in the entertainment sector. AVL+M Thailand 2015, the international exhibition on Pro Audio, Visual, Lighting + Music is the key part to further stimulate the development and growth of Thailand’s entertainment industry.” The 2nd Thailand International Exhibition on Pro Audio, Visual, Lighting + Music attracted over 100 major global brands from over 10 participating

AVL+M Thailand 2015 22nd – 24th July 2015 Hall 4, IMPACT Exhibition Centre Bangkok, Thailand

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review

countries such as Thailand, China, Japan, Germany, Sweden, Finland, Malaysia, Singapore, Taiwan, USA and 4,437 visitors out of which 391 overseas visitors from 31 countries such as Australia, Bolivia, Belgium, Bhutan, Botswana, Cambodia, Colombia, Denmark, Hong Kong, India, Iran, Italy, Japan, Malaysia Maldives, New Zealand, Norway, Philippines, Peopleâ&#x20AC;&#x2122;s Republic Of China, Republic Of Korea, Republic Of Poland, Republic Of South Africa, Singapore, Sri Lanka, Sweden Syria Arab Republic (The), Taiwan, Thailand, Union Of Myanmar, United Arab Emirates, United State Of America and Vietnam and many more! The leading brands have showcased their products & technology including Pioneer Electronics (Thailand) Co.,Ltd., Epson(Thailand) Co., Ltd., ICE-LED Co., Ltd., Total Equipments Co., Ltd., Advance Digital Synergy Co., Ltd., D Connect Plus, TME Malaysia, Niconthai Sales and Service Co., Ltd., Jiangmen Boway Sound Equipment Co., Ltd., Guangzhou Eagle Stage Equipment Co., Ltd. Dignitaries from trade councils, government bodies, policy makers, decision makers, industry players, end users and a varied spectrum of visitors attended the show. Many attractive activities have taken place during AVL+M Thailand 2015. Some of the biggest highlight was the speaker demonstrations of the latest sound systems and DJ demonstrations from Pioneer. Theyâ&#x20AC;&#x2122;ve shown new and latest DJ techniques, live product demonstrations from the most well-known and leading brands around the world, showcasing their most innovative products & technology, such as Dot ll - the Lighting Control Solution, live music performances from prestigious universities and music academies and free exclusive conferences, organized by the Electrical and Electronics Institute. In addition, Free Flowing beers were served during Happy Hour allowed exhibitors and VIP trade buyers to have a more intimate & friendly networking during the event. To find out more information, please visit www.avlmthailand.com.

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Ahmedabad City, Gujarat state, India

INSIDE

SINCE 2002

Issue 3/2015

COVER STORY

The Theatre at Solaire Resort and Casino The Philippines

SINCE 2013

1 year (4 issues) Singapore S$32.00 Malaysia / Brunei S$65.00 Asia S$80.00 America, Europe S$130.00 Japan, Australia, New Zealand S$130.00 Middle East

S$130.00

1 year (4 issues) Singapore S$32.00 Malaysia / Brunei S$65.00 Asia S$80.00 America, Europe S$130.00 Japan, Australia, New Zealand S$130.00 Middle East

Show Previews / Reviews Lighting for Facades + Landscapes Lighting for Interior Spaces

Lighting Audio Visual Asia

Southeast Asia Building

(Please tick in the boxes)

S$130.00

1 year (4 issues) Singapore S$32.00 Malaysia / Brunei S$65.00 Asia S$80.00 America, Europe S$130.00 Japan, Australia, New Zealand S$130.00 Middle East

S$130.00

Please commence my subscription in _____________________ (month/year)

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I am sending a cheque/bank draft payable to: Trade Link Media Pte Ltd, 101 Lorong 23, Geylang, #06-04, Prosper House, Singapore 388399 RCB Registration no: 199204277K * GST inclusive (GST Reg. No: M2-0108708-2) Please charge my credit card (circle one): Amex / Diner’s Club Card Number:

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Oct-Nov

Feb-Apr

InfoComm Middle East & Africa 2015,

Integrated Systems Europe 2016,

Dubai World Trade Centre, Dubai, UAE www.infocomm-mea.com

Amsterdam RAI, Amsterdam, Netherlands www.iseurope.org

Integrated Systems Russia 2015,

Prolight + Sound Guangzhou 2016,

Expocentre, Forum, Moscow, Russia en.isrussia.ru

China Import & Export Fair Complex, Guangzhou, China www.prolight-sound-guangzhou.hk.messefrankfurt.com

Visual Expo Asia 2015,

Prolight + Sound Frankfurt 2016,

Suntec Singapore Convention & Exhibition Centre, Singapore www.visualasiaexpo.com

Frankfurt am Main, Frankfurt, Germany pls.messefrankfurt.com

Inter Bee 2015,

InfoComm China 2016,

Makuhari Messe, Tokyo, Japan www.inter-bee.com/en/

China National Convention Centre, Beijing, China www.infocomm-china.com/en/

OCTOBER 19 - 22

OCTOBER 28 - 30

NOVEMBER 5 - 7

NOVEMBER 18 - 20

FEBRUARY 9 - 12

FEBRUARY 29 - MARCH 3

APRIL 5 - 8

APRIL 13 - 15

Index Of Advertisers EPSON OBC GLOBAL TRUSS IFC GUANGZHOU CHAIYI 5 INFOCOMM 2016 IBC INFOCOMM CHINA 2016 42 ISE EUROPE 2016 37 NEXO 9 PENN ELCOM 11 PROLIGHT + SOUND GUANGZHOU 2016 3 PROLIGHT + SOUND SHANGHAI 2016 1 SECUTECH 2016 102 VISUAL EXPO ASIA 2015 7

how Guide.indd 1

Back in Las Vegas for 2016!

! E T A D E H T E V A S Conference: June 4-10 Exhibits: June June 8-10 4-10 Conference: Las Vegas Convention Center Exhibits: June 8-10 Las Vegas, Nevada Las Vegas Convention Center

Las Vegas, Nevada

infocommshow.org

5/20/15

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