Eric HOLOPrydz: Live
Ushuaïa Dubai
The Ibiza superclub opens its
The Earthshot Prize
Town hosts
Welcome to TPiMEA
Peter Iantorno Editorial Director
As a dad to a four-year-old, it’s fair to say that I have watched my fair share of Disney films in the past couple of years. So, when I found myself at Cape Town’s Artscape Theatre on my first evening in the city watching the homegrown production of Disney: The Magic Box, I must admit that it felt like something of a busman’s holiday. However, as is so often the case while working for TPiMEA, after speaking to some of the creative and technical minds behind the magic, I gained a whole new sense of respect and admiration for the skill and precision required to put on a show of this calibre. Read my full write up on page 46
A night at the theatre wasn’t my only assignment during my trip to South Africa. I also managed to pop my head into the site of The Earthshot Prize, which was being hosted in the continent of Africa for the first time in its history. Ahead of the landmark occasion, I caught up with Executive Producer, Glenn van Loggerenberg (page 32). The venue for the show was one of In2Structures’ distinctive domes, and I also travelled to the company’s HQ in Johannesburg to learn more about the operation (page 84).
My air miles received a further boost during this issue cycle as I also travelled to the Middle East, heading to both Dubai and Riyadh on a whistlestop trip that somehow involved me being away for five days and only getting one night’s sleep in a bed. The night flight marathon was worth it, though, as it allowed me to see the subject of our cover story for this issue, as Eric Prydz brought his HOLO Live show to the region for the very first time (page 38). I also caught up in with the BEAST ED team in Riyadh to hear about MDLBEAST’s revolutionary free education programme aiming to get young Saudis into the country’s burgeoning industry (page 70).
Also in this bumper issue, we profile the launch of Ras Al Khaimah’s exciting Seven Wonders calendar of events (page 58), we have in-depth interviews with NMK Electronics’ Dino Drimakis (page 10), and d&b audiotechnik Middle East’s Brad Maiden (page 82), we hear from Gallowglass Chairman, Paul Grecian (page 76), and much, much more.
Enjoy the issue.
First Look
10 Costandino Drimakis
NMK Electronics' Dino Drimakis reflects on his journey into the industry and shares the key to maintaining the family ethos as the company grows.
Event Focus
20 Ushuaïa Dubai
The Ibiza superclub opens its UAE outpost in style.
24 Türkiye İş Bankası 100th Anniversary Concert
A Turkish institution celebrates its centenary with a Pink Floyd-inspired floating stage spectacular.
32 The Earthshot Prize
A momentous occasion in the history of South Africa.
36 Saudi Games 2024
The skies of Riyadh are illuminated for the Kingdom's largest annual sporting event.
Production Profile
38 Eric Prydz: HOLO Live
The electro pioneer brings his iconic 3D masterpiece to the Middle East for the first time.
46 Disney: The Magic Box
A magical musical born in Argentina and South Africa and now touring the Middle East and beyond.
58 Seven Wonders RAK
Armin van Buuren's Pillars of Creation is the headline attraction as Ras Al Khaimah's ambitious Seven Wonders programme is launched.
70 Feedback
MDLBEAST's ground-breaking BEAST ED free educational programme; and the SKYMAGIC team discuss the potential applications of indoor drones.
Interview
76 Paul Grecian, Gallowglass
The company's latest training initiative helping young Saudis smash the glass ceiling.
78 Creative Events Collective
The dynamic duo behind The Grotto discuss the ins and outs of bringing festive fun to the Middle East.
In Profile
82 d&b audiotechnik ME
A new era begins for the audio giant in the region.
84 In2Structures
The structure supremo behind the world's most iconic dome venues.
88 Encore UAE
A peek inside the company's new Dubai facility.
90 Gear Heads
Shure's new Axient Digital PSM; and the new event tech SaaS from 7 Dwarfs, SnowWhite.
94 Regional Round-up
The latest news from the Middle East and Africa.
Editorial Director
Peter Iantorno
Tel: +44 (0)161 476 8360
Mobile: +44 (0)7763 233637 e-mail: p.iantorno@mondiale.co.uk
Contributing Editor
Stew Hume Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk
Contributing Deputy Editor
Jacob Waite
Mobile: +44 (0)7592 679612 e-mail: j.waite@mondiale.co.uk
Staff Writer
Alicia Pollitt
Mobile: +44 (0)7508 441986 e-mail: a.pollitt@mondiale.co.uk
Commercial Director
Fran Begaj
Mobile: +44 (0)7852 336728 e-mail: f.begaj@mondiale.co.uk
Account Manager
Matilda Matthews
Mobile: +44 (0)7413 555978 e-mail: m.matthews@mondiale.co.uk
Account Manager
Sheelan Shah
Mobile: +44 (0)7401 690960 e-mail: s.shah@mondiale.co.uk
Account Manager
Tom Dyson
Mobile: +44 (0)7306 505230 e-mail: t.dyson@mondiale.co.uk
Digital Content Manager
James Robertson Mobile: +44 (0)7725 475819 e-mail: j.robertson@mondiale.co.uk
Marketing and Event Manager
Alice Clarke Mobile: +44 (0)7752 392465
e-mail: a.clarke@mondiale.co.uk
Marketing and Event Assistant
Charlie Moore e-mail: c.moore@mondiale.co.uk
Chief Executive
Justin Gawne
Mobile: +44 (0)7768 850767
e-mail: j.gawne@mondiale.co.uk
Mondiale Group Chairman
Damian Walsh
Graphic Design & Production
Dan Seaton: d.seaton@mondiale.co.uk
Jez Reid: j.reid@mondiale.co.uk
Accounts
Lynette Levi / Sarah Miller: ar@mondiale.co.uk
Cover Photography
Eric Prydz HOLO Live courtesy of Artes
Printed By Buxton Press www.buxpress.co.uk
www.tpimeamagazine.com www.tpimeaawards.com www.tpimagazine.com www.tpiawards.com
@T PiMEA_Magazine
/T PiMEAMagazine
@tpimea_magazine /co mpany/tpimeamagazine
Costandino Drimakis, Director of Strategic Development, NMK Electronics
Costandino Drimakis shares his inspirations and discusses how NMK Electronics, a Midwich Group Company, retains the family ethos that has seen it thrive over the years while simultaneously transitioning into a more corporate but agile structure.
Some people are destined to work in the industry, and in the case of NMK Electronics’ Costandino Drimakis, that couldn’t be truer. While his school friends were out at shopping malls, the beach, or playing football, a young Dino was busy learning his trade in the family business.
“I grew up in this industry,” he began. “Being Greek, my parents made me do what Greek parents do, and that was work in the business from an early age. I started making coffees and doing filing, then progressed to handling a few small demos and sales. It felt like a very organic thing to do.”
Drawing on a solid grounding that taught him the value of hard work and dedication from an early age, Drimakis went on to become a mainstay of the AV industry.
Catching up with TPiMEA following NMK’s successful exhibition at GITEX, Drimakis spared some time from his hectic schedule to look back on his career to date, speculate on the future of the distribution model, and share the plans for his activities in 2025.
How did you progress to your current role?
After earning a bachelor’s degree in Business Administration and Marketing from California State University, I returned to Dubai in 2010 with a free-spirited and adventurous outlook. Over the next few years, I worked as Sales Manager for Melody House and then as Business Development Manager for MEI, before rejoining NMK in 2014
as Operations Manager to support the exponential growth of the business in the region. In this role, I was tasked with strengthening existing relationships that were thriving and building new ones to drive the company’s growth.
On e such relationship that has been a cornerstone of our success from the early days is with Shure. What I admire most about working with Shure is their active involvement in shaping our business. They provide a clear blueprint for success, sharing what drives their growth and setting clear expectations, which we then take forward.
With the solid structure provided by partners like Shure, we gained entry into multiple market segments, paving the way to expand our portfolio and bring on board many other exceptional brands.
In 2017, I moved to Qatar to support the opening of an office there, which went on to become Edge Electronics. With the World Cup around the corner, we saw it as a market full of opportunities. I worked closely with Maleeha Riaz, our Marketing Manager, who has been instrumental in making it happen. I’ve always been someone who enjoys exploring new opportunities, so when the markets slowed down, we saw it as the perfect time to invest. We brought on board the incredible talent of Pratap Singh, equipping him with the resources and support to take on the role of General Manager at Edge Electronics.
At the end of 2020, we were acquired by Midwich Group. Following this transition, Nicolaos Kyvernitis stepped
away from the business, and the existing leadership team, comprising Alex Kemanes and I, took over with a clear focus on driving expansion across the Middle East.
How did the Midwich acquisition change NMK?
We have learned from each other. They were extremely helpful in providing a structure that would allow NMK to grow and fulfil its potential. We’ve gone through changes and taken learnings along the way.
Th e change from a family business to a corporate structure has been a blessing for me. I’ve seen both sides and I believe that the key to success is to take the best elements of both – if we can retain the speed and agility required to thrive in this fast-moving market, along with a people-first approach, and underpin it with a proper corporate structure, the company is bound to be stronger as a result.
How do you retain that family-style approach as the company grows and becomes more corporate?
The key for us is building a strong middle management team, setting clear expectations, and having the confidence that they can deliver. As the company grows and becomes more corporate, it’s important to stay agile, which is one of the benefits of being a family business. We try to maintain that agility by surrounding ourselves with good people who have the best interests of the business at heart.
Cu lture fit is critical in this process, as we want to ensure everyone aligns with our core values. It’s easy to unknowingly drift away from those values, so I focus on
hiring individuals who are better than me, those who can fill in the gaps and bring skills I may not have, and people from whom I can learn. This approach helps us retain that family dynamic while also supporting our growth.
What are some of the main changes from the early days of NMK to now?
In 2021, we moved into our beautiful new facility in Al Quoz. At the time, many questioned the decision, particularly as the industry was still recovering from the COVID-19 pandemic. However, this was a vision that Alex Kemanes, Regional Director for the Middle East, and I had been working towards for 10 years, and it was Nicolas Cox, Managing Director of NMK, who helped bring it to life.
For us, the goal of the new facility was to create a communal space where we could build a true sense of community. It is just a five-minute walk from the Dubai Metro, making it more accessible to a wider range of people. This is a space where anyone is welcome to visit, feel comfortable, and participate in regular training sessions and seminars – both hosted by our team and with the help of external experts.
Our aim is to help build the community, enable people to develop their skills, and raise the overall standards throughout the industry.
What inspires you and drives you to succeed?
The passion and love I have for the company, which have always been at the core of what I do. I believe that if you genuinely care about the industry, your business, and your
Join our colour revolution
Be spirited away to a magical wonderland at Waddesdon. To book tickets to see Christie HS Series in action visit waddesdon.org.uk
people, and you consistently do a great job, good things will follow. It’s all about following the process and staying true to the fundamentals – honesty, respect, trust, and humility. These principles help build a strong reputation and lead to long-term success.
I’m also inspired by the vision of Dubai and its leadership, as well as the city’s dynamic energy. Each city has its own unique charm, but there’s something special about Dubai’s ambition to be a global player in the market. The multicultural environment here makes it very easy to connect with people from diverse backgrounds, which is truly inspiring.
Ad ditionally, I’ve been fortunate to be surrounded by incredible people who have supported and inspired me throughout my journey – people like Andy Jackson, Andy Reardon, and Mark Brown, to name just a few. My mother, Christina Drimakis, has also been a key source of inspiration, helping me develop and succeed in both my personal and professional life.
What do you look for in brands?
The formula from the start has always been very simple: we look for manufacturers who serve multiple market segments and share the same ethos as NMK’s vision. This approach has worked very well for us, allowing us to build strong, lasting relationships over the years.
By diversifying into multiple market segments, we reduce our exposure to risk. We’ve experienced several economic downturns in the region over time, but this approach has helped us navigate through them.
What’s your approach to competition in the region?
One of the founding pillars of NMK has always been education, which is why we established the NMK Academy. It places education at the heart of our mission, ensuring that industry professionals are equipped with
the knowledge and skills to advance their careers. I also believe in maintaining good, direct relationships with all our competitors. I have no negative words to say about any of them, as each one contributes something valuable to the industry. Building a business with longevity isn’t easy, and if someone isn’t doing good work, it doesn’t take long for that to be recognised.
That said, healthy competition is inevitable. While we may not always be best friends, the competition remains good-natured and honest. This diversity of companies, and people, creates a rich tapestry that defines our industry.
What are your biggest threats?
One of our biggest threats has always been disruption in the supply chain, which we saw firsthand during the COVID-19 pandemic. When the supply chain breaks down, it’s not just an inconvenience – it’s a fundamental issue that can halt business entirely. During that time, some vendors took advantage of the gap by lowering prices significantly. While these lower-priced products may meet immediate needs, they’re often of inferior quality, which can create a shortterm fix at the cost of long-term value.
Another threat is the ongoing trend towards commoditisation in the industry. As competition grows, especially with price-driven solutions, the market can become less focussed on quality and service, and more on cutting costs. While this makes products more accessible, it can undermine the long-term sustainability of businesses that are committed to offering value through quality and customer service. The challenge for us is to continue differentiating ourselves in a price-sensitive environment while staying true to the standards we believe in.
Will the distribution model continue to be relevant?
Yes, I absolutely believe the distribution model will continue to be relevant in the future – otherwise, I wouldn’t be here
Alex Kemanes, Nicolas Cox, and Dino Drimakis.
today. The term ‘distributor’ can be misleading, as it often implies that the role is limited to simple box selling. Whereas in reality, we go far beyond that and play a crucial role in the ecosystem, which brands recognise and value.
Pe ople are what truly makes the difference. Many of our team members have been with us for years and have built strong, trusted relationships with clients. This trust is essential when clients are deciding on making important purchasing decisions.
Ad ditionally, many clients prefer a turnkey solution, which is something that single vendors often can’t provide. In addition to offering a strong presence and market longevity, brands understand the complexities of selling directly.
Knowing that we are on the ground, consistently listening to market demands, and working hard to generate business
for them holds far more value than the extra margin they might make by selling directly.
Where are your biggest opportunities for growth?
We are currently exploring multiple markets, with India and Southeast Asia standing out as regions with significant potential. India, with its 1.4 billion people, is a rapidly growing market that offers exciting opportunities, but it’s still in the early stages of development. We see an opportunity to bring our expertise and help accelerate growth in the region, especially given the strong synergy between India and the UAE.
Similarly, Southeast Asia is an area that we are watching closely. The region is evolving very quickly, with rising demand across several sectors and a growing interest in more sophisticated, integrated solutions. This creates the potential for us to apply our experience and offer tailored services that meet the region’s emerging needs.
For both markets, the key for us is to enter strategically, just as we did in Qatar and the Kingdom of Saudi Arabia (KSA). Our experiences there have taught us valuable lessons, and we’re applying that knowledge to ensure we establish a solid presence and grow successfully in these new regions.
How do you switch off outside of work?
Outside of work, I’ve always been passionate about sports. Over the years, I’ve played everything from basketball and football to rugby, American football, and padel – pretty much everything except golf! I find that sports are a wonderful way to stay active, clear my mind, and maintain a healthy balance.
Experiences are also incredibly important to me. I’ve been fortunate to travel extensively, both for work and pleasure, and I love immersing myself in new places, cultures, and meeting people from different walks of life. It broadens my perspective and keeps me energised.
Ultimately, my most precious commodity is time – it always seems to fly by. Looking back, it’s been an exciting and fulfilling journey so far, and there’s still so much more to experience and achieve.
Photos: NMK Electronics www.nmkelectronics.com
Below:
INSPIRING EXPERIENCES, MEMORABLE MOMENTS
Ushuaïa Dubai Harbour Experience
With a show-stopping opening night headlined by Calvin Harris followed by a blockbuster performance from electro duo Adriatique, Ushuaïa’s Dubai outpost launches in style.
UAE clubbers have not been short of options in recent years, with many an Ibiza megaclub making the country its second home, from Blue Marlin to Pacha. Adding its name to the UAE’s Ibiza club lineup is Ushuaïa Dubai Harbour Experience – an epic new residency created by The Night League and Studio A by Addmind Hospitality, which promises to deliver ‘an openair musical spectacular unlike any the region has ever seen’. And the venue has certainly set out on the right foot, with its opening month seeing enormous shows from both Calvin Harris and Adriatique.
One moment that particularly captured the public imagination, garnering not only a huge reaction from the crowd on the opening night but also massive attention on social media, was the sight of Ushuaïa’s iconic Colibri bird emblem formed by drones rising above the stage before bursting into flames and dropping towards the ground. Keen to find out how this unique effect was created, TPiMEA caught up with Groupe F’s Drones Project Director, Etienne Compain.
“It all started with a conversation with High Scream’s Romain Pissenem. Driven by a shared passion, having beautiful technology in our hands for a unique event, ideas came fast,” he commented, sharing the inspiration for the eyecatching spectacle. “With the opening of Ushuaïa Dubai Harbour Experience, it’s not just a brand being exported, but an entire universe travelling and crashing spectacularly into Dubai. This is precisely the idea that we wanted to illustrate through this creation.”
Th e artistic project was co-developed between the High Scream and Groupe F teams. “We took the time to define the message we wanted to share and how to communicate it,” he recalled. “We began by putting our ideas down on paper. We were aiming for a short and intense show, minimising boring transitions.”
Af ter finalising the storyboard, the concept was realised in full 3D simulation. “From that point on, the details were refined all the way to the dress rehearsal on-site, just one day before the event,” he added.
A fl eet of 500 drones was deployed, including custom-made pyrotechnics products, which had been specially manufactured and
shipped from Europe for the event. “It’s a system that we use frequently, and its reliability has been proven time and time again,” he commented. “When technology fades into the background to only work on creativity, that’s when the real challenge becomes exciting. It took us a long time to reach this level of confidence in our technological systems.”
Discussing the main challenges of the project, the Drones Project Director noted the importance of safety procedures and constant concentration. “Even today, drones remain complex electronics devices with many critical systems. Achieving a perfect flight requires a lot of work and concentration,” he stated.
“W ith this being the first pyrotechnic drone show in Dubai town, the flight authorisations were an initial challenge,” he added. “Once on-site, my main concern was safety zones. Everything that flies can fall. So, to integrate a fleet of drones, let alone pyro drones, into a show involves risks. That’s why safety zones are so important.”
While the flaming Colibri gag was the major viral success of the show, the Drones Project Director had an alternate favourite part of the show: “My personal favourite was the show opening,” he noted. “We had a perfect drone line break the Dubai sky, while an unknown object fell from the sky to ignite the line and gradually reveal the iconic arch, all synchronised perfectly with an amazing soundtrack.”
He a dded: “Here in Ushuaïa Dubai Harbour Experience, we had an event that was highly awaited, sold out with a high media exposure. Thanks to an amazing team and the support from Addmind Hospitality, it went smoothly.”
‘Magnitude and precision’
Supplying a turnkey technical solution for the opening shows at Ushuaïa Dubai Harbour Experience was SLS Production. The company’s Project Manager on the production, Karl Choueiri, talked TPiMEA through the brief for the Adriatique show. “The brief was very simple: to produce the biggest show that Adriatique had ever done,” he stated. “It was a pleasure to work with the ambitious designs that were presented to us. There was an emphasis on creating a majestic glow coming from the monolith and creating the impression of a world hidden behind it.”
SLS worked closely with High Scream, which was the creative lead and overall show designer, along with Al Laith, throughout the project. “We had to work systematically together with our partners to build the skeleton structure for us to place our LED screens and lighting fixtures,” Choueiri recalled. “The design demanded a pixel perfect and millimetre precision to the distance between the LED walls and monolith structure as well as a complete blackout of the sides of the monolith to achieve a glow effect.”
SLS d edicated a total of 1,000 sq m of outdoor LED screens to the project, including 500 sq m of INFiLED GX2 4.6mm outdoor LED panels, and 500 sq m of Gloshine Vanish Plus 3.9/7.8mm. NovaStar H15 and 10 CVT-M fibre converters and a total of 500m of 12-core fibre was used, with Analog Way Aquilon RS4 and Zenith 200 used for screen management and Resolume Arena preferred to manage playback graphics on all the screens.
Th e audio system was a rig of L-Acoustics K1, K2 and KARA II, along with KS28 ARC subs.
The system was integrated via AVB through a Luminex GigaCore 30i switchers network. The entire system was powered with LA12X amplifiers, while P1 processors were used to process the rig, enabling an even coverage throughout the venue at 110 dB. Control came via a DiGiCo SD12 console.
The lighting rig meanwhile comprised a combination of moving heads to provide dynamic effects, beams, and spotlights with pan/ tilt capabilities; wash lights to add broad, even lighting for large areas or stages; and strobes to create dramatic, high-energy effects.
Th e inventory featured Ayrton Cobras, a range of Robe fixtures including MegaPointes and Tetra2s, Luxibel B BLAST PROs, as well as CHAUVET Professional Color Strike M and Color Strike 4C, with an MA Lighting grandMA3 Full Size used for control.
“Knowing we were delivering the biggest and most ambitious production that Adriatique was performing was a massive motivating factor,” commented Choueiri, reflecting on the achievement of the project.
“As Project Manager, I was happy to see that my team at SLS was not intimidated by the magnitude and precision of the designs presented. The results speak for themselves.”
Photos: Groupe F, SLS Production www.ushuaiadubai.com www.thenightleague.com www.addmind.com @studioaofficial www.high-scream.com www.groupef.com www.slspro.net
Türkiye İş Bankası 100th Anniversary Concert
A Turkish institution celebrates its centenary with a star-studded spectacular set on a floating stage at the Rixos Tersane on Istanbul’s Golden Horn.
From the outside looking in, the anniversary of a bank would hardly be worth a second mention in TPiMEA. However, in the case of Türkiye İş Bankası – commonly known as İşbank – the company represents so much more than simply a place to deposit money. “It’s not just a bank; the fortunes of İşbank are intertwined with those of the Turkish Republic,” stated Cem Görk, founder of event agency CPMistanbul. “It’s much more than simply a financial institution; it supports the arts, sports, charities and plays a major role in the development of the country.”
With such an important institution marking its 100-year anniversary, CPMistanbul was entrusted with producing a grand celebration befitting the occasion, and as soon as Görk got the green light for the project to take place, his first call was to his close friends and long-time collaborators, the husband-and-wife team behind Imagina Productions, Işıl Evgin Gündüz and Sedat Gündüz.
“This was an extremely emotional project for us, because everyone in the country has grown up with İşbank and benefitted from its support,” commented Evgin Gündüz, who oversaw content direction and creation. “There’s a huge amount of public respect for the bank, and the fact that it is so connected with the arts meant that the show was very artistic in its nature.”
Drawing inspiration from Pink Floyd’s 1989 A Concert for Europe performance in Venice, Director Görk envisioned a floating stage set on Istanbul’s very own iconic waterway, the Golden Horn. “The absolute minimum requirement was that the production would be unique and spectacular,” Görk explained. “Aside from the artistic reasons, building the stage on the water also allowed us more space on the land for a larger audience capacity.”
As well as the performance stage, the floating platform also encompassed a huge backstage area, complete with bathroom and catering facilities as well as dressing rooms for
each of the 15 famous singers, as well as the Duende Global Symphony Orchestra and Dance Company, who performed throughout the night.
“Looking back, this was always a crazy idea,” laughed Production Director, Gündüz, recalling the extensive calculations required to ensure the platform would be fit for purpose. “The open-air floating stage brought all kinds of challenges, from the need to check the weather constantly to monitoring the boat traffic. I’m not sure if we’d do this again, but it was all worth it in the end.”
With a marine-grade structure to build upon, the production didn’t hold back when it came to
technology, utilising 600 sq m of LED screen, an extensive lighting rig and a comprehensive audio system fit for any large-scale concert.
“We didn’t have to worry about weight – the only real challenge was ensuring that the barge remained balanced as we built,” Gündüz recalled. “If we built something on one corner of the barge, we had to add counterweights to the other side to ensure the load was distributed evenly. We took it step by step, which meant the build took around two weeks to complete.”
Th e video deployment comprised 600 sq m of 3.9mm outdoor LED supplied by EMN
Technologies, with a large central backdrop flanked by three screens either side, plus left and right IMAG screens. Content was handled through four Dataton WATCHPAX 60 servers with an Analog Way Aquilon Cmax screen management system, supplied by SK Pro. Li ghting Designer, Çetin Tükmenli of Timecode Mafia, as well as Operators, Burhan Sezer, Umut Şahin, oversaw an impressive lighting rig, which was supplied by Dark Technical Production. It included: Martin MAC Viper Performance and Profile fixtures, Robe iFORTE, CHAUVET Professional Rogue Outcast
2 Beam, Acme NEOZONE LED Wash and Gemini, FOS Technologies Cyclone PRO D2 and ADJ Jolt Panel FX solutions with control coming via MA Lighting grandMA3 full size and light consoles.
Automation was utilised extensively, with Bolt Stage Automation providing a Kinesys system that Automation Operator, Fatih Köroğlu used to move two custom made chandelier set pieces, and two circular trusses equipped with Elation SŌL I blinders with custom bowls/domes and Astera LED Titan Tubes. These custom set pieces were designed by Architect, Sait Aktay, with lighting fixtures supplied by Bolt Lites.
Th e PA of choice meanwhile was a d&b audiotechnik KSL system – also supplied by Dark Technical Production – with 48 KSL8s, eight KSL12s and 24 KSL-GSUBs, all mixed by Audio Engineer, Erim Arkman using a Yamaha CL5 console and Rio 32/24 stage box.
Al arga was the maritime logistics coordinator, DETEK provided docking and vessel management, the stage and structures were managed by Giga Solutions, while scenic production was handled by Karizma Reklam. LND Energy provided power generators,
F5 Production oversaw the broadcast, and Cyberdrone delivered the closing drone show.
Th e wider team included: Executive Producers, Emrah Ersoy, Doğuş Bitecik, Duygu Tekin, and Zafer Çeçen; Production Managers, Kemal Özdemir, and Mert Şahin; Musical Director, Begüm Başbuğ; Assistant Musical Directors, Edin Lozana, and Onur Kadıoğlu; Composers and Arrangers, Serdar Yalçın, and Murat Cem Orhan; Musical Conductor, Serdar Yalçın; and Orchestra Director, Damla Varnalı.
Al so playing a key role were: Content Art Director, Nila Dedeoğlu; Content Creators, Motioncraft Studio; Scenic Production Managers, Murat Sezer, and Sait Aktay; Stage Manager, Basri Gamsız; Stylist, Tuğçe Ülkümen; Sea Operations Manager, Okan Avcı; Backstage Manager, Fahranaz Bozkurt; Backstage
Coordinators, Yağmur Gökçelik, and İlknur Ateş; and Artist Liaisons, Ahsen Çamlıca, Ayşe Ege Su Kısaoğlu, Neşe Deniz Demirdöven, Aysu Elif Genç, and Şevval Öztay.
Loo king back on the achievement, Görk reflected on the scale of the feat, assembling 15 of the country’s biggest stars on stage during a 90-minute show. “It was a huge achievement and very difficult to pull off, because each of these artists is used to being the main attraction,” he concluded. “I’ve been in the business for more than 25 years as a creator and stage manager, and this production is my life’s work. I’m extremely grateful to all the amazing people who came together to make this a reality.”
Photos: Emre Dörter www.cpmistanbul.com www.imagina.com.tr
Above: The bespoke chandelier set piece was designed by Architect, Sait Aktay.
ET-FMP50 series - Panasonic Media Processors Supports a Maximum Content Resolution of 4096 x 4096/60p
Introducing Panasonic's New Media Servers: The ET-FMP50 Series
Simpler but better: The ET-FMP50 Series streamlines multi-projection with camera-based blending, black-level adjustments, and 4K playback. Create e cient, resource-saving setups e ortlessly.
Simplified Layout Flexible Design
Choose from box or function board types—the function board streamlines your system with a single LAN cable, boosting e ciency and cutting costs.
Software
User-friendly software lets you warp, blend, manage playlists, and schedule playback with ease—no separate license needed. Easy to Master Intuitive
Workflow Game-Changer Auto Calibration
Camera-based calibration automates blending and black-level adjustments, simplifying workflows on-site—no extra licensing required.
Holistic Ecosystems Stable & Reliable
Seamlessly integrated with Panasonic projectors, the FMP50 Series delivers a unified ecosystem for greater stability and quick recovery.
The Earthshot Prize Cape Town 2024
Glenn van Loggerenberg, Executive Producer and Founder of Don’t Look Down, reflects on the collaborative achievement of putting on a momentous event in the history of South Africa.
Taking place in Africa for the first time ever, The Earthshot Prize rolled into Cape Town in early November, with Prince William leading a weeklong celebration of innovation in environmental solutions. The culmination of the event was a star-studded and spectacular ceremony that saw five incredible innovators recognised for their achievements and awarded grants of £1 million each to accelerate their initiatives.
With the eyes of the world focussed on the project, event producer Don’t Look Down assembled an outstanding cast of creatives and technicians to ensure that the event was a worthy showcase of the very best that the South African production industry has to offer.
We lcoming TPiMEA on site in Cape Town during rehearsals a day before the big show, Executive Producer and Founder of Don’t Look Down Glenn van Loggerenberg discussed some of the intricacies that went into the creation of
such an historic production. “This has been an incredibly complex project, with Don’t Look Down responsible for designing not only the show but also the campus and the event infrastructure to suit the very specific requirements of The Earthshot Prize as well as our strategic partners, Multichoice Group and the City of Cape Town,” van Loggerenberg began.
Wh en executing a campaign with multiple stakeholders, a clear strategy and concerted team effort is essential. “As well as designing the beautiful creative, our team had to consider the running order of the programme, the talent, content, and interfacing with all parties who have an interest in the script, including the team who work on the Prize,” van Loggerenberg revealed. “My role in this is chief troublemaker, with ultimate accountability. I’m essentially a cheerleader for the A Team of South African production talent, which we have assembled on this show. I’ve worked with everyone at HOD level on this
show for at least 15 years. They’re all veterans of running this kind of production. My job is to tell them the plan, then leave them to be the experts at what they do.”
De scribing the project as “the sum of many years of mistakes in making live broadcast TV”, the Executive Producer explained how each element of the show is a response to an issue that has been identified in the past, giving the example of the central LED screen, which is calibrated at exactly the right height, so it is as large as possible without the graphics appearing distorted on the broadcast.
“I ’m very focussed on the democratisation of what we present. We have a huge public representation, so it’s vital that we have the cameras look everywhere in the room,” he explained. “When you take on staging as ambitious as this, it’s not only about technical workflow; we’re really making a show about people. The technical solution must be robust
Top: In2Structures deployed a Supa Dome and Midi Dome to form the show venue; Above: Executive Producer, Glenn van Loggerenberg.
because people’s emotions and sentiments are volatile and it’s easy to make people feel uncomfortable if anything was to go wrong or overwhelmed if they’ve been pushed too hard.”
Talking of the broadcast specifications, van Loggerenberg outlined the project’s vast footprint. “We’re in a broadcast facility, which is operated by the sporting arm of the Multichoice Group, SuperSport,” he stated.
“We have the latest, most beautiful 4K UHD OB van, which is usually reserved for rugby and other major sporting events. Then there’s a satellite news gathering link, as well as redundant links in C band a KU band in different profiles relative to the weather. We’re backlinked to the international control room in Johannesburg, which shifts the signal to the master control for multiple channels across the DSTV consumer platform owned by Multichoice.”
With the programme broadcast live throughout Southern, Eastern and Western Africa and syndicated to the free-to-air UHF broadcasters including SABC in South Africa, the target was to get the attention of as many eyeballs as possible.
“The Earthshot Prize has a partnership with Google, so we’re livestreaming the programme to the Google platform worldwide,” van
Loggerenberg added. “We’re also carrying a YouTube-only linear stream of Green Carpet activity with press and talent on the same channel as the lead-up.”
Th e final piece of the puzzle is the “sophisticated clipping scenario” that exists between the OB van, the Green Carpet technical production team and London-based agency, Little Dot. “We use a system called Grabyo, which chops every piece of content that comes out of the linear feed, brands it and puts it into syndication buckets,” the Executive Producer explained. “Digital teams and broadcasters can then take it from there.”
A key element of the production was its venue – a gigantic Supa Dome for the main show alongside a smaller Midi Dome, which was used for the Green Carpet and media area, both from custom portable venue specialist In2Structures.
Bearing in mind the coastal location and unpredictable Cape Town weather, van Loggerenberg had no doubt of what approach to take. “I have asked Otto [Wijnberger, Director, In2Structures] to construct this dome many times over the years, but I believe this is the biggest one ever built in Africa” he commented.
“My consideration in selecting this approach was because of the highly customised nature
of the strategy and the need to manage such intricate requirements,” he added. “My choices were to either construct a smaller dome and a more complex artist village, or alternatively embrace the challenge, put everyone under one roof, and create a single operational area, which I feel is energetically better.”
Describing the temporary venue as “incredibly robust”, he elaborated: “Otto’s designs are exceptional and Ernest [Phethla, Project Manager] is the man on the ground and doesn’t miss a beat. Constructing one huge dome is not easy, but when you add in a second, smaller dome, the challenge increases. The team worked day and night in all weathers to ensure the structures were up on schedule, and we could move in with decking, grandstands, to start building the stage and hanging kit.”
Reflecting on the project, van Loggerenberg was delighted with the level of buzz it achieved. “It has a million positives,” he stated. “The whole town is talking about it. People are climbing hills and peering through the fences to get an idea of what’s going on here.”
Photos: Roy Pottergill, Wayne Reiche, courtesy of The Earthshot Prize www.earthshotprize.org www.dontlookdown.tv
Saudi Games 2024
Lighting and Stage Designer Steve Wary creates a dynamic design to illuminate the skies of Riyadh.
Held in early October, the third edition of Saudi Arabia’s largest annual national sporting event, the Saudi Games, saw more than 9,000 athletes competing in 52 sports. With the opening ceremony taking place not in a traditional stadium but in Riyadh’s Boulevard City, Lighting and Stage Designer Steve Wary was charged with creating an aesthetic to get the games off to a dynamic start.
The location presented a great opportunity to use the LED screens already present on the buildings, which served as the backdrop for a centrally positioned stage big enough to host the impressive parade of athletes captured for broadcast by two drones.
The games’ symbolic flame needed to be a key feature of the design, and Wary had to create a lighting device that could add depth and substance to the production without obstructing the LED screens. To achieve all this, Wary designed a stage consisting of two overlapping rings, 36m by 18m in diameter, with a slope of 7°. At the top centre of the stage, he integrated the flame’s cauldron along with a flat area for speeches and the ceremonial portion of the
event. Wary distributed the lighting across four levels at stage height, including laser beams on the floor, eight rounded towers for beams and back spots and three more towers behind the stands for FOH spotlights and 24 Claypaky B-EYE K20 washes. He mounted 50 Skylos on the rooftops in the background of the show.
“The Skylos created beams of light in the Riyadh sky, which is very favourable for this purpose since there is haze all year round that creates a nice mist,” noted Wary. “The B-EYE K20 washes on the main FOH tower helped create an even area to emphasise the FOH up close. They proved their worth since we needed a powerful light output and a good beam angle to assist the FOH projectors in areas we couldn’t reach.”
The Saudi Games marked the first time that Wary used Skylos, which he described as, “the ideal choice for this kind of large-scale show”. He added: They are made for outdoor use, and I knew they would withstand the high temperatures. Despite the lens treatment and their ability to endure extreme temperatures, we still planned a head-down position in the console to protect the lenses during the day.”
To create large beams in the sky, he mounted the Skylos atop rooftops, giving texture to the Riyadh sky. “The power of Skylos quickly got everyone on the same wavelength, and there were exclamations of ‘wow!’ everywhere as I turned them on and people looked up,” he said.
Wary reported several “major advantages” of the Skylos: “First, there were excellent choices on the colour wheel, making it clear that each colour was chosen to lose the least possible power in light output, particularly the amber colours that are generally hard to bring out in a large beam – on Skylos these colours were impressive,” he stated. “Another pleasant surprise came from the prism. It was also designed to lose minimal light output once it entered the beam, allowing me to magically texture the sky with the prisms and add another dimension to a simple beam.”
LA B2580 handled the show production with the lighting provided by LabLive and SLS Production. Jean-Yves Orcel was the Lighting Director. The Lighting Operators were Steve Wary and Jerome Claude.
Photos: LAB2580 www.claypaky.com
Eric Prydz: HOLO Live Dubai
The electro pioneer brings his iconic 3D masterpiece to the Middle East for the first time with a spectacular show at Expo City Dubai to close GITEX GLOBAL in style.
When it comes to incorporating cutting-edge technology into a live show, very few can even come close to Eric Prydz. As well as being one of the world’s most popular electronic music DJs, the pioneering producer is thoroughly committed to pushing the boundaries of what is possible in the live experience, employing bespoke, state-of-the-art 3D projection technology, coupled with dazzling lighting and lasers, to create his signature HOLO show.
Following the artist’s appearance at Sónar, Barcelona, for the festival’s 30th anniversary in June 2023, Eric Prydz once again linked up with the Sónar team, this time bringing HOLO to the Middle East for the first time ever. A collaboration with Sónar and local promoter M Premiere, the show took place at Dubai’s Expo City and fittingly served as the closing party for one of the biggest tech events on the planet, GITEX GLOBAL.
Tasked with transforming the Expo City site into Eric Prydz’s famous Holosphere was Artes, which supplied audio, video, lighting and SFX, along with ES:ME Entertainment Services, which took care of rigging, and All Events Services (AES), which designed and built the impressive stage structure.
For Nelson Mendes, General Manager at Artes, the project was very much a labour of love. “There was an extremely competitive tender process for this project, and we had to be not only very quick but also accurate with our response,” he told TPiMEA, during a chat at the Artes office in Al Quoz a few days prior to the show. “This is a hugely impressive production and an important moment for Dubai, bringing Eric Prydz’s HOLO to the region for the first time ever. Everyone on the team was delighted to take on the task and there has been a real buzz of excitement around the warehouse that runs from top to bottom.”
While the early planning stages saw no shortage of design tweaks and fine-tuning, one thing that was never in doubt was that a very large staging structure befitting of a typical Eric Prydz spectacle would be required.
Louis Webster, Project Manager at AES, took up the story: “The client needed a large staging solution that could accommodate the impressive AV components that make up the famous HOLO show, and the AES Bespoke Asterix Roofing System was perfect for this.” After the initial contact, the AES team got busy on designing the
structure to meet the client’s requirements. “We worked closely with Artes and ES:ME to provide a roofing system engineered to carry the client’s production capacity,” he said. “Once the design was confirmed and the engineering process completed, final drawings made and engineering proved, we set our schedule for the build.”
Bu ilt with a Layher scaffold system, the AES Bespoke Asterix Roofing System offered a performance area of 12m by 29m. “Built on top of this was the AES Curved Asterix Roof, installed 17m high and with a clear span of 30m,” Webster noted. “T82 and SB62 truss sections were used to support the main and side fill PAs”.
Th e main challenge for the AES team revolved around making sure that the large AV weight loads were accommodated and supported properly. “The AES engineering team, Artes and ES:ME had a great open line of communication to make sure we all achieved the end result safely and efficiently,” he reported.
In fact, this close communication between all parties proved vital, as deadlines were typically tight. “All parties worked together excellently to deliver on a tight schedule. Meeting our deadlines set by the client safely and successfully was very
pleasing as we had a short window to build and couldn’t delay the other suppliers coming in after us,” he added. “The final result speaks for itself as it was an amazing show. Well done to all involved – it was a pleasure working with them.”
‘A spectacular effect’
ES:ME was appointed to handle and install all rigging aspects of the project, including but not limited to the 24m by 11m main screen and the spectacular HOLOscreen. Technical Project Manager, Max Bagehorn explained how the company approached the task. “Artes provided us with a stage plan, and we accommodated all AV elements within the given Asterix structure provided by AES,” he stated. “Load calculations were verified by us and executed accordingly.”
Ju nior Project Manager, Winnie Orines expanded on the process. “First, we received the briefings and initial documents from Artes, before we had a technical meeting with the client and AES to align and address all our questions. The meeting went well, and we successfully delivered the final drawing, which was subsequently approved by all parties.”
According to Orines, while there were challenges along the way, the team managed to overcome them with each other’s support. “Effective communication and a presence of mind were key tools that helped us navigate everything, and the show went off without a hitch,” she added.
With the main LED screen weighing around 8,000kg and the accompanying HOLOscreen weighing in at around 5,500kg, nothing was left to chance when it came to lifting them into position. “The two main screens as well as the left and right IMAG screens were lifted with D8+ double brake hoists, and individual load monitoring per lifting point was utilised to ensure safe and even load distribution within the structural parameters of the main stage roof,” Bagehorn revealed. “PA lifting was achieved with two-tonne double-reeved ChainMaster hoists.”
While a simple mesh screen is nothing new in the live events world, for both Bagehorn and Orines, the fact that it was being used for Prydz’s famous HOLO show was something to be proud of. “The combination of both the main and HOLOscreen made for a great show and a spectacular effect for the audience,” he reflected.
“The expertise and professionalism of our team on this project was truly noteworthy. We at ES:ME are well-known as a reliable partner for such comprehensive installations in the field of rigging and event engineering. Our professionalism shines through in how we handle all challenges in a calm and proper manner.”
‘Teamwork is the key’
Since its formation in 1999, Artes has been entrusted with hundreds of large-scale live shows, from the likes of Carlos Santana, John Legend and Ricky Martin to the Dubai Jazz Festival, but according to General Manager Nelson Mendes, supplying the technical solution for Eric Prydz’s HOLO show is a challenge unlike anything the company has ever faced before.
“The deployment of technology is on a whole new level with this show,” he commented.
With nothing less than production perfection required, Mendes explained how important it was for his HODs to step up to the plate. “We took the approach of splitting the project into
the individual disciplines, and each head of department was entrusted with coming up with a solution that not only works for his department but the project as a whole,” he commented. “Teamwork is the key. everyone is motivated to do what is required, and each department is empowered to do what is needed to push the project through to completion.”
A lo ng-time Meyer Sound house, Artes was the first company in Dubai to invest in the PANTHER line array system through local distributor, Venuetech, and there was never any doubt that the full force of the PANTHER would be unleashed on this project. “When it comes to weight-to-power ratio and quality of sound delivered, PANTHER is one of the best systems I have ever come across,” stated Mendes. “The quality is mind-blowing.”
Fo r HOLO, Artes deployed 36 PANTHER-L and four PANTHER-W loudspeakers, split evenly stage left and right, along with nine 2100-LFC subs per side, flown in a cardoid formation.
Twenty 700-HP subwoofers were groundstacked in a central arc to provide a hefty dose of low end, with six ULTRA X-40s covering front fill,
16 MILOs for out fill, and a further 16 MICAs on the delay towers.
“PANTHER can throw up to 70m without any issue, so we just used the MICAs to cover the very outer areas of the arena where the food and beverage outlets were located,” Mendes noted.
DJ b ooth monitors, meanwhile, were covered by six ultra-compact M’Elodie loudspeakers, two 700-HPs and two MJF-212As.
Two DiGiCo Quantum 338 consoles were stationed at FOH – one main and one mirror backup – with an SD-Rack and Rupert Neve Designs Portico II Master Buss processor.
Six further Meyer Sound Galileo GALAXY 816 network processors were used in the management of the system, along with a Galileo Callisto 616 for the DJ booth monitors.
With the Artes team keen to go the extra mile in the use of technology for this show, the decision was made to incorporate the Milan AVB protocol into the system – a first for the company. “We challenged ourselves to incorporate the very latest technology into the production, with Milan AVB being the biggest part of that,” Mendes explained. “We purchased
all the equipment including Luminex 30i and GigaCore 12 switches, and we made everything up in-house.”
Naturally for an Eric Prydz HOLO show, video was a crucial aspect of the delivery. Mendes explained how the requirement grew from an initially proposed 24m by 8m screen to a larger surface measuring 24m by 11m. “This meant the whole structure had to change to accommodate the extra weight, and lots of extra calculations had to be done, but anything is possible in the world of live events, and the whole team pulled together to make sure that it was delivered exactly as requested,” he commented.
Th e 24m by 11m central main screen was made up of Esdlumen 4.8mm LED, with a further 24m by 11m transparent screen made up of INFiLED Titan X8 suspended in front to help create the unique 3D HOLO effect. Titan X8 LED was also used on the left and right IMAG screens, which measured 10m by 11m.
Wh ile the specifics of the technical wizardry that make the iconic three-dimensional video effects a reality are a closely guarded secret, one aspect of the setup that is common knowledge
is its use of HIVE media servers, as Eric Prydz Video Director, Liam Tomaszewski – AKA Punkette – confirmed to TPi in September 2023. “HIVE solves a problem that has plagued the AV industry for the longest time,” he commented. “Perfect playback under immensely demanding conditions, without the need for huge, heavy media servers. It’s a total game changer.”
Co mplementing the spectacular video effects was a dazzling light and laser show, delivered by a stacked rig including: 46 Robe MegaPointes, 50 Claypaky Tambora Batten Squares, 52 GLP JDC1s, 44 ACME Pixel Line IPs, four SGM P2s, 30 P10s and six P5s, along with 40 LED Par RGBW fixtures.
A total of 90 Martin VDO Sceptron 10s and 80 Claypaky Stormy CCs were placed on audience towers, while 14 30W RGB lasers were on Wahlberg Motion Design Winches, adding an extra layer of dynamism to the aesthetic.
Atmospheric effects were provided by a selection of Antari hazers including HZ-1000, HZ500 and HZ-350, as well as eight Look Solutions Viper 2.6 fog generators, while SFX included cold pyro and cryo jets.
The visual feast was controlled on an MA Lighting grandMA3 console running in MA2 mode, with a complex Luminex fibreoptic system routing 48 universes over Art-Net, avoiding the need for any DMX cabling and enabling FOH to remain clutter-free.
Lo oking back on the project, while he was delighted with the event delivery, what Mendes was particularly pleased about was the longterm implications it could have for the company.
“M y way of thinking is, of course, we want to make this event the very best that it can be for the client and for the audience, but at the same time I am thinking about the future. I like to think about how a project helps to build the company for the future and show the best of what we can do,” he reflected. “We decided early on that this is the kind of project that is worth investing in, and the systems we have put in place to handle this production will stand us in good stead for the years to come.”
Asi de from the technical challenges, the chosen venue of Expo City also requires extensive regulatory knowledge – something that Artes’ Director of Business Development,
Dave Cattanach, has in spades following a long and successful career running Irish Village, part of Dubai Duty Free.
“I have prior experience working with Expo, so we knew what to expect and the demands of completing an ambitious project like this in a venue like Expo City,” he commented, adding his confidence in the Artes team. “I used Artes as a technical supplier for many years in my role at Dubai Duty Free, and I know that when the team here takes something on, they will do everything required to make it happen and always deliver over and above expectations.”
Wh ile the Eric Prydz camp now heads Stateside for a series of US shows, Expo City Dubai is entering a busy time of its own. With a massive show from Green Day and The Offspring set to take place at the end of January, the increasingly popular and versatile venue is certainly proving its worth as a legacy project of Expo 2020 Dubai. www.ericprydz.com www.artesme.com www.aes.ae www.es-me.net
Transform performances from everyday to epic with Axient® Digital PSM.
Unparalleled transmission quality and flexibility, check.
Complex productions that push creative boundaries, check. Up to 28 channels in a single 6 MHz band, check. Simpler, quicker setup that frees up more time for mixing, check.
Axient Digital PSM checks all the boxes, setting the new standard for wireless, in-ear monitoring. Built on Shure’s extraordinary legacy, it delivers a balanced, clear mix in any venue, any time.
Disney: The Magic Box
Born in Argentina and South Africa, this innovative production sweeps audiences away on a mystical journey into the wonderful world of Disney. Now performing in Johannesburg, the show is getting ready to embark on an international tour, featuring South African talent. After catching the show in Cape Town, TPiMEA speaks to some of the creative and technical minds behind the magic.
Whenever a new Disney show is developed, elite levels of production are the minimum requirement, and for Disney: The Magic Box – which launched in Buenos Aires, Argentina, before being re-imagined for South Africa ahead of its international tour – only the very best would do.
“O ne of the remarkable features of our ‘Magic Box’, and one that always makes me proud is how we managed to assemble such a stellar team of talent from across continents,” commented Felipe Gamba, who conceived, co-wrote and produced the show. “While our glorious cast is entirely South African, and testament to the amazing talent there, the creative and design team that I was able to get together is global.
“This speaks to one of the highest virtues of humankind: when we get together, we can make the world turn,” he added. “The specific world of our show turns around the talent, passion, commitment and excellence of our astounding design and technical team.”
Entrusted with delivering a turnkey technical solution for the entire international run was South African theatrical equipment rental specialist, Splitbeam, part of the Gearhouse Group. “We
were thrilled to be awarded this tour, as a full technical supply – lighting, rigging, audio and video,” stated Splitbeam Managing Director, Alistair Kilbee. “As a South African company, it is always great to be in contention for an international tour, of this size. We had to increase our stock holding to supply the full spec for all departments due to the nature of this production, and this was a great opportunity to purchase some of the latest technology.”
Te lling the story of its main protagonist, Mara, who embarks a journey into the ‘Magic Box’ to discover a world of imagination packed with timeless Disney songs and stories, the production combines classic theatrical techniques with striking visual effects.
Af ter taking in the show at Cape Town’s Artscape Theatre Centre, TPiMEA caught up with some of the key creatives behind the production to find out the secrets behind the magic.
“I b elieve that the process of designing the lighting for a show always begins much earlier than having a concrete project in hand,” began Lighting Designer, David Seldes, explaining his process. “The design always has some origin or is a derivation of an accumulation of all the
visual experiences we live in life; in art such as plays, films, paintings, and in natural or artificial light, when we find ourselves at a sunset by the sea, under a storm, or in a late-night restaurant illuminated by a flickering tube.”
The lighting design for Disney: The Magic Box began when Seldes read the text of the play, which already came with some visual ideas from the authors. “This written foundation, with some lighting concepts already present, greatly helped in starting to imagine how the lighting would later appear on stage,” he recalled.
“The creative meetings were moments of great joy, where playing with ideas and references while collaborating as a team was not only enjoyable but essential to create ephemeral content that we collected in a ‘box of ideas’ from which many of the subsequent decisions in the design would later emerge.”
Seld es described the “unique stylistic characteristics” of The Magic Box, which fused high technology and striking visual effects with the analogue theatrical experiences, more associated with independent theatre, which evoke a certain nostalgia today. “Those of us who come from off-theatre tend to experiment
with very low-tech light sources, knowing that the strength of light lies not so much in technology but in the possibilities of storytelling,” Seldes proffered. “I am always interested in the storytelling of light, and in this case, the design aimed not to illustrate each story presented in the show – of which there are dozens – but to evoke what those stories awaken in those of us who experience them.”
He a dded: “The music and the stories act as the support that anchors the visual elements. The stories were the anchoring points, and the music and lighting served as the vehicles to traverse those emotional landscapes.”
A significant part of the design process was deeply connected to analysing Disney’s iconic colour palette in detail. “The goal wasn’t necessarily to replicate it literally but rather to capture its essence and play with it in different scenes,” Seldes explained.
Previsualisation was a fundamental part of the lighting team’s creative process, allowing communication between stakeholders to take the form of images rather than words alone. “We had sketches on our monitors to share and discuss with the rest of the design team and creatives,” he recalled. “These tools allowed us to explore some germinal possibilities that had the potential to give rise to ideas that would later develop throughout the project. The previsualisation images were not previews of finished cues; they were intentionally designed to serve as triggers for future possible images.”
According to Seldes, one of the foundations of the lighting design was to firmly stage the contrast. “I believe the choice of fixtures was crucial to achieve this,” he stated. “On one hand, the nostalgia of the analogue, and on the other, the exclamation of the ‘sharp and crisp’ image of new technologies.”
In the original lighting plot for Buenos Aires, the LD wanted to create mise en place with halogen moving lights, not only to achieve a high colour reproduction index but also to illuminate skin not with emulations of theatrical warm light, but with genuine theatrical warm light.
“Thus, there was a combination of moving lights with halogen lamps and moving lights with discharge lamps,” he explained. “I felt that the best decision was to bring this duality into a literal situation regarding the choice of the technology of the engines of these fixtures.”
Wh en rethinking the lighting plan for the first time for the Cape Town version of the production, it was decided to modify it to 100% LED fixtures that could embody both characteristics – wash fixtures with warm LED lamps and spots with cold LED.
“I have yet to see fixtures that have cold engines – that work with subtractive colour mixing – which can emulate good warm light, not even using CTO filters,” he stated. “I believe there are very good fixtures that have recently hit the market that offer excellent colour reproduction and, above all, very good versatility regarding whites when they are fixtures that work with additive colour mixing instead of subtractive.”
The fixtures in question comprised several ETC fixtures including Source 4, ColorSource Spot LEDs with Lens Tubes in both 19° and 50° field angles, and Source 4 LED S2 Lustrs. Also on the rig were Robe Tetra2s and ESPRITE
Fresnel TGW 850W with Fresnel lens modules, Aryton Rivale Profiles, and Longman RGBAW-
UV LED parcans, with followspot duties covered by Robert Juliat Aramis HMI followspot 2.5Ks. Atmospherics were provided by Martin JEM AF1 DMX fans, MDG Atmosphere APS hazers, a BeamZ LF6000 low fog machine, and Chauvet Professional Geyser P7s.
With availability and familiarity in mind, Seldes selected an MA Lighting grandMA2 light console. “We decided to work with MA consoles, simply because in Argentina, where the original production was made, that remains the bestknown board with the most access to available programmers and operators,” he stated.
De scribing the set as “unique, quite minimalist, and neutral”, Seldes discussed the biggest challenges of lighting the show’s set piece ‘Magic Box’. “It was always the same object, which, although it folded, unfolded, rotated, and moved, would always be the same set,” he explained.
“At all times, I had a certain awareness of the idea that we always had to keep the set ‘enchanted’ lighting-wise; it always needed to
be enveloped with the greatest density of magic possible so that it never flattened and turned into a repeated object.”
It was crucial to have various possibilities of lighting angles to separate the characters from the background. “When lighting, it is important to consider that the light should highlight the actors without the white background predominating,” Seldes commented. “If the same light is used to illuminate a face as to illuminate the white set, the background can always capture more attention. Therefore, it was a task that required a lot of precision, using a lot of side lighting and different angles that would impact the set as little as possible. Thus, we could treat the characters and the set differently.”
Reflecting on the project, Seldes shared his thoughts on what makes a lighting scheme effective. “I believe there is a dimension in which one can think of light on stage in terms of visibility or invisibility. That is, sometimes light is effective when it makes itself visible, and the spectators
can observe that it is light that is operating on that state, but light is also effective when it operates from its invisibility, making everything else visible except itself,” he commented.
“I b elieve that the greatest power of light is when it blends within the scene, and one does not know what is causing the state being experienced because what is perceived operates as a ‘whole’, where what matters is the weaving of all the languages of the scene,” he added.
“My satisfaction lies in that, in having been able to work with a phenomenal team where there was active listening that allowed us to share our desires and concerns, and to understand that each of the departments works better when they work hand in hand with the others.”
‘A poetic fusion between animation and reality’ Video plays an integral role in the aesthetic of the production, with a Barco UDX-U40 projecting dazzling imagery to create an ethereal, otherworldly effect that transports the audience
into the magical land of Disney’s ‘Magic Box’. Maxi Vecco, Video Content Designer, took up the story: “From an artistic standpoint, the challenge was to create the illusion of an old movie projector, like a magical machine that turns ‘The Box’ into a window to the memories and emotions of Disney,” he explained. “In this way, images are displayed that evoke the Disney imagination throughout its eras, from fragments of classic cartoons and iconic textures to backgrounds from its beloved films.”
With the show including sequences of interaction between the actors, the set, and the projections, Vecco aimed to produce a “magical fusion between the present and nostalgia”.
He a dded: “To achieve this effect, we used a Barco UDX-U40 projector with 40,000 lumens in combination with a scrim for transparent projections, creating visual layers that integrate with the box in real-time. This setup is controlled from the Resolume Arena server, which allows for mapping. We also use QLab as a control and synchronisation system.”
On the production level, the production employed Blender for 3D modelling, Adobe After Effects for composition and effects, and Unreal Engine for simulating projections in a virtual stage
environment. “This blend of tools ensures that each visual is carefully integrated with the stage, elevating the visual narrative to an immersive experience rich in detail.”
Ve cco recalled the creative origins of the project, explaining how his process began by dedicating time to deeply understand the visual and emotional identity of the Disney universe.
“Together with my team at Estudio MV, we worked alongside visual artist Johanna Wilhelm and conducted a research workshop focussed on integrating traditional animation, live action, and animated puppets,” he stated, noting the importance of accessing the Disney archive to extract key elements in the creation of many of the original backgrounds and sequences.
“It was a process that involved a collage of techniques and resources, uniting classic and contemporary styles to create a new visual world
that paid tribute to Disney while also allowing us to tell our own story.”
From the artistic aspect, Vecco’s biggest challenge was capturing Disney’s visual identity and transforming it into a new narrative that maintained its essence but reflected the unique story. “We wanted each projection to evoke the emotion and visual enjoyment characteristic of Disney while ensuring that this new visual language conveyed our own tale,” he explained.
“From a technical standpoint, the challenges focussed on coordinating real-time dynamic mapping with changes in the morphology of the box and the positions of the projectors in each city, which required adaptations and precise synchronisation with the automated scenic movements,” Vecco noted.
He highlighted three “standout moments” of the show that he is especially proud of. “First,
the scene of ‘The Forest’, where the trees and leaves seem to come to life through animation, completely transforming the atmosphere,” he began. “Second, the sequence of ‘Clock Cleaners’, where the intricate mechanical movements of the clock are perfectly reflected in the visuals of the box and the scrim. Finally, the scene of ‘Drip Drops’, where the raindrops poetically transform into ink strokes, symbolising the magical touch of the artists at Disney Animation Studios. This sequence, projected transparently onto the scrim, creates a poetic fusion between animation and reality.”
‘A job well done’
According to Audio Designer, Gaston Briski, the main purpose of the sound design is to connect the audience to the story being told. “It’s a bit of a paradox, but it means we use a lot of equipment
to appear as not present even though we are,” Briski quipped. “I like to define it as ‘transparent’, so what is heard by the audience is 100% true to the story. This doesn’t mean little amplification, but rather understanding what the content is and deliver it in a way it feels a natural language for the audience to connect. It is when sound amplification is unnoticed that people can truly ‘reach’ the performers, and therefore the story. When that happens, it’s a job well done.”
All speakers for the South Africa production are Meyer Sound, with the main system comprising LEOPARDs with 900-LFC subwoofers, M1Ds for under-balcony coverage, UPM1P for front fills, as well as X20s and X40s for surrounds and foldback. “The whole sound design is conceived to connect a story to an audience, so sourcing becomes a great priority,” Briski explained.
“To be able to manage almost 100 speakers, we use DiGiCo SD7T and four Meyer Sound Galaxy 616s. This allows precise matrix routing to mix different signals or combination of signals to every output available giving full control of gain, EQ and time,” he added, noting that the show runs more than 150 sound effect cues composed out of 600 sound sources.
Th ere are 40 wireless systems for performers managed by Sennheiser DX EM 2 Dante, with Clear-Com FreeSpeak II and Sennheiser IEMs connected to self-powered speakers for some sound effects-specific sourcing.
“We run SFX on QLab 5 with 24 outputs, and music on QLab 5 with 56 outputs, both on triple redundancy,” Briski added.
Fe lipe Gamba summed it up: “As a creator, I acknowledge and embrace that technology gives us many wonderful tools to play with – and I welcome them all. However, what was truly remarkable about the process of creating this show is that wizards like David, Maxi, and Gaston, each in their field, were more than open and receptive to celebrate the hand-crafted nature of theatre. This was very important for me and for my co-creator, partner-in-crime and director, Thaddeus McWhinnie Phillipps.
“We cannot compete on stage with other media, like film or streaming – neither should we try to do it,” he added. “While embracing technology, Thaddeus and I share the belief that theatre has a mandate to do what it does best: engage the audience’s imagination, much like literature, and entice audiences to complete the picture. And our stellar design and technical team understood that and made it soar.”
Af ter the Johannesburg season, the production travels to the Middle East, starting with an arena-spec version at Abu Dhabi’s Etihad Arena, before further shows in as yet unannounced cities in the region, then heading to Asia. “We hope for a long and very successful tour,” Kilbee concluded. “As Disney: The Magic Box entertains audiences and takes people back to their youth with all the amazing Disney classics, Splitbeam is proud to be playing our part in the journey.”
Photos: Little Fresh Productions www.disneythemagicbox.com www.splitbeam.co.za
Seven Wonders Ras Al Khaimah
RAK Hospitality launches its ambitious Seven Wonders series of events with an audiovisual spectacular at the Ritz-Carlton Ras Al Khaimah Al Wadi Desert, headlined by Dutch DJ and producer, Armin van Buuren, who brings his iconic Pillars of Creation show to the region for the first time.
The recent news that Wynn Resorts has been granted the UAE’s first ever commercial gaming licence for an integrated resort on Al Marjan Island has catapulted Ras Al Khaimah into the global consciousness, with the northern emirate suddenly becoming a hotbed of international investment and development.
Aiming to position Ras Al Khaimah as a premier events and entertainment destination, RAK Hospitality partnered with some of the world’s leading event organisers – Backbone International, TWOFIFTYK, and Tribe Company – to launch Seven Wonders: a series of seven events, with seven artists, set to take place over seven weekends in 2025, across seven spectacular locations showing off the very best that the emirate has to offer.
To announce the extraordinary Seven Wonders initiative, RAK Hospitality hosted an exclusive launch event at the Ritz-Carlton Ras Al Khaimah, Al Wadi Desert on 24 October, with 1,000 lucky attendees treated to an immersive four-hour audiovisual experience, culminating in a spectacular finale featuring renowned DJ Armin Van Buuren’s Pillars of Creation live performance.
Catching up with TPiMEA after the dust had settled on the opening event, RAK Hospitality COO Donald Bremner recalled the origins of the project and explained the rationale behind it.
“The entry of Wynn Resorts into Ras Al Khaimah
is set to have a monumental effect, transforming RAK from a predominantly all-inclusive tourism location to a destination that welcomes high discretionary spend customers who will expect a variety of dining, cultural and entertainment options,” he commented. “Hosting world-class events not only amplifies our marketing capability and allows us to promote the emirate to a wider global audience, but it gives us a greater platform to build the infrastructure required to deliver these experiences.”
With precious little experience in delivering large-scale events, Bremner realised immediately that expert guidance would be required if the organisation’s goals were to be achieved. “We knew that we needed production capability and to bring people in who understand how to build the infrastructure required for events,” he explained. “My dear friend and colleague, Thijs van Rhoon, who has been running this project with me, had prior experience of working with Backbone International, so he introduced me to Pieter [Lubberts, Managing Director Europe, Backbone International] and from the very first meeting, he and his team were awesome.”
Bremner recalled how the project took shape, with Lubberts advising against an initial idea to host a significantly larger launch event, instead favouring a much more measured approach. “I gave Pieter the grand speech about our plans
to host massive events as soon as possible, and he wasted no time in telling me all the reasons why that wouldn’t work,” he laughed. “Of course, we have ambitions to have 20,000-capacity events and it is possible, but without the proper infrastructure, it would be no more than a flash in the pan that leaves no legacy.”
Lubberts concurred: “We love taking on crazy challenges and producing the biggest and best events all over the world that have never been done before, but before I take on any project, I must see that it is serious and being done for the right reasons,” he stated. “I explained to Donald that organising events at scale is a totally different ballgame, and to go massive straight away without any proper infrastructure would be a recipe for failure and of no benefit for the longterm goals.”
Happy with this more long-term approach, RAK Hospitality engaged Backbone International not only for this launch show, but to come up with an overarching strategy for its calendar of events. “We had some extremely constructive conversations with Donald and Thijs, and the vision of RAK Hospitality is a beautiful one that I believe in,” Lubberts stated. “They’re creating an entire hospitality ecosystem, and that is going to take time.”
Backbone International joined forces with TWOFIFTYK and Tribe Company, and together
Production that powers possibilities
Experience remarkable quality and service. Whether it’s a polished conference, an immersive showcase, or a spectacular concert, we fuse imagination, expertise, and cutting-edge technology to create unforgettable events.
LEARN MORE
the consortium wrote a long-term event strategy, which kicks off with the Seven Wonders concept. “We are extremely comfortable on all technical aspects of events, and we love to work with creatives to produce a turnkey solution,” Lubberts commented. “The creativity of both TWOFIFTYK and Tribe Company were vital to the success of this project.”
‘A one-of-a-kind creation’
With the official sign-off coming in June, the team was left with just four months to put together the launch event, transforming the empty desert site into a fully fledged show venue. This meant finding the right technical suppliers who could meet the high expectations was crucial.
“There is plenty of quality available in the Middle East, but it’s important to put the right processes in place to find the best partners who can deliver for each project,” Lubberts explained.
Af ter an extensive tender process, Backbone International went with Al Laith for the infrastructure and PRG to supply the technical solution. “It was an easy working relationship with both Al Laith and PRG,” Lubberts reported. “We are very exacting in our way of working and
include an extremely high level of detail in our technical designs, which can be difficult to deal with if a supplier isn’t used to such precision. However, everyone was very open to our way of working and happy to receive feedback, which made the dynamic very smooth.”
Al L aith’s brief was to provide comprehensive support in constructing the main infrastructure, collaborating with the Backbone International team to turn its vision into reality, and supplying all the necessary equipment and infrastructure to bring the ambitious concept to life.
Al L aith’s Production Manager on the project, Yana Alexandrova, described the company’s process: “Once we received the initial designs, we began by developing detailed technical designs and creating working, or ‘shop’, drawings. These were essential for translating the creative vision into actionable construction plans,” she explained. “From there, we went through a rigorous engineering process, particularly because this project pushed the boundaries of traditional scaffolding design. The unique circular layouts required us to innovate and adapt beyond standard scaffolding practices.”
Af ter the engineering was approved, the Al
Laith team prepared the materials and procured the custom, project-specific items. “Mobilisation to the site followed, where we conducted highly accurate mark-outs,” Alexandrova stated.
“Unlike traditional scaffolding, which thrives on right angles, this project demanded precision in circular layouts, requiring base jack placements before construction could commence.”
During the build, collaboration was required to navigate the challenges of constructing in a desert environment. “The soft sand made it difficult to manage heavy equipment like forklifts and truck deliveries, requiring us to plan logistics carefully and adjust operations to suit the terrain,” Alexandrova recalled.
Another significant challenge was the engineering of the towers surrounding the main arena. “Typically, scaffolding follows a general guideline where the base width and depth are proportional to the height. However, these towers had much smaller bases and were fully clad, creating additional challenges due to wind loads,” she explained. “Achieving a safe wind speed rating of 25 metres per second was particularly difficult in this scenario.”
To overcome this, the Al Laith team had
VELOCE PROFILE the ultimate
Veloce Profile is a versatile luminaire that shines in all conditions—indoors, outdoors, even in salty environments. Defying conventions, Veloce Profile boasts a cutting-edge sealed monoblock 850 W high-efficiency LED module, calibrated at 6500 K. This trailblazing module delivers a luminous flux of 43,000 lm, perfectly aligned on the black body curve for unrivalled light neutrality. Weighing in at just 40.5 kg, Veloce Profile is the lightest luminaire in its class.
Flux
lm
Series 850 W Beam Aperture
Front Lens
mm
to think outside the box. “Solid connections between towers were not an option, as they would detract from the striking aesthetics of the event’s design. Instead, we used thin steel cables to connect the towers at the top. This solution provided the necessary rigidity, strength, and stability without compromising the visual integrity of the event. The cables were nearly invisible, maintaining the sleek and unique design that the client envisioned.”
Equipment utilised on the project included ring lock structures, Al Laith’s proprietary LionDeck system, steel truss delay towers, platforms, and custom-designed elements, as well as VIP guest bathroom facilities. “Each element was deployed with precision to match the challenging desert environment and the unique event design,” explained Alexandrova.
“The ring lock system formed the structure, providing stability and flexibility, while the LionDeck system ensured durable and reliable decking. The delay towers were strategically positioned to optimise sound distribution, and the DJ booth was custom built to complement the event’s high-profile production standards. The VIP toilets were installed in accessible locations, maintaining the luxurious feel of the event.”
Once the structures were completed, a thorough inspection was conducted to ensure everything met stringent safety standards. “The structures were then handed over to the client, ready to bear heavy loads like LED screens, PA systems, and scenic elements,” she said, noting that the Al Laith team remained on standby to maintain the integrity of the structures and provide support for any client needs.
“After the event concluded successfully, we dismantled the equipment, ensuring every component was carefully packed into stillages and returned to our yard for future use. This practice not only streamlines our operations but also aligns with our commitment to sustainability.”
Th e Production Manager was particularly pleased with the overarching completion of the entire structure. “Even though we had worked extensively with detailed 3D technical construction drawings, it was impossible to fully grasp the scale, uniqueness, and impact of the design until it was physically built,” she described.
“O nce everything came together – the scenic elements, LED installations and technology integrated into our structures – it was breathtaking. What stood out the most was how the final structure far exceeded the look of even the best renderings.”
Alexandrova continued: “Seeing it realised onsite brought a sense of awe and accomplishment that no digital visualisation could capture. It was a one-of-a-kind creation that embodied the spirit of innovation and imagination, and we were proud to have been a part of bringing it to life.”
Al L aith’s Operations Director is Michael Clark, with Jozef Hrinko serving as Project Manager. Draftsman, Jay Son, played a pivotal role in translating the design into actionable plans, while further Structural Engineers, Malcolm Wynn-Reese and Wynand McKenzie provided the expertise needed to ensure the integrity and safety of the structures.
“We were truly honoured to be part of this unique and groundbreaking project,” Alexandrova concluded. “We extend our heartfelt thanks to Backbone International for their unwavering trust and collaboration, and
also to Ras Al Khaimah and RAK Hospitality for the opportunity to contribute to such an extraordinary event. We look forward to continuing this partnership and working on more innovative and inspiring projects in the future.”
‘An incredible experience’
Upon receiving the initial brief from Backbone International, the PRG team began evaluating the most suitable equipment for the project while considering the unique challenges posed by the environment. Project Manager, Terence Collings talked TPiMEA through the early stages of the project. “During our initial onsite meeting with Backbone International, we gained a clear understanding of the obstacles we would face, including the logistics of building a large-scale event in a barren desert,” he commented. “At the same time, it was inspiring to envision the transformation of the space into the vibrant arena outlined in the brief.”
Following the site visit, significant logistical planning was undertaken. “This included organising the transportation of equipment to the site, devising efficient methods for constructing the LED structures, and determining the optimal
setup for cabling to ensure seamless operation,” Collings specified. “The Backbone International production team provided a precise site plot with GPS coordinates for the orientation of the event space. This level of detail allowed us to install the equipment with pinpoint accuracy.”
To e nsure a smooth workflow, the PRG team implemented a staggered deployment schedule, beginning with rigging, followed by lighting, and finally completing the video and audio setup. “This structured and collaborative approach allowed us to overcome challenges and deliver a successful, visually stunning event,” Collings said.
Th e concept was based on an outdoor arena enclosed by 46 LED towers. The design included 22 towers measuring 10m high and 1m wide, along with 24 towers measuring 6m high and 1m wide. At the centre was a main screen, standing 10m high and 6m wide, while the entrance to the arena was lined with 12 LED towers, each 6m high and 1m wide, arranged with six on each side.
“E ach tower featured an LED screen on the front, while the other three sides were clad with printed fabric provided by Backbone International, enhancing the overall aesthetic,” Collings recalled, noting that the company
deployed its Atlas 4.9mm LED product to fulfil the creative brief.
“B eyond their visual impact, these towers also functioned as lighting structures, adding both functionality and ambiance to the arena.”
The lighting setup featured what Collings described as “a robust range of highperformance fixtures” that aided in the production of “dynamic and immersive visuals”.
This included: IP65-rated Astera AX7 SpotLites, CLF Lighting Ares Washes, SGM Q-7s, GLP impression X5 IP Bars and X4s, and Ayrton Cobra, Domino Profile and Domino LT fixtures, all controlled via an MA Lighting grandMA3 console.
Au dio meanwhile was delivered by an L-Acoustics K-Series system, with a main PA including K1s, K2 down fills, KARA II side fills, and KS28 subwoofers, with SYVA and SYVA Low covering DJ fills. DiGiCo consoles were at both FOH and monitors, with an SD12 handling the former and an SD7 taking care of the latter. “The audio setup was tailored for exceptional clarity and coverage, meeting the demanding requirements of Armin van Buuren’s performance,” Collings noted.
“This integrated AVL solution ensured that
every aspect of the event – from visual effects and sound clarity to lighting dynamics – met the highest production standards, creating an unforgettable experience.”
Ac cording to the PM, the environmental conditions provided the biggest challenge. “The intense heat took a toll on the crew, affecting stamina and efficiency. Additionally, the vast, uneven terrain of the site made moving gear and equipment logistically difficult,” Collings shared.
“H owever, once coordination was established between the various suppliers and internal departments, operations became much smoother. Clear communication and a wellstructured plan facilitated the transportation of gear to the site and the efficient rigging of the LED panels onto the scaffold structures. This collaborative approach ensured the project stayed on track despite the very challenging outdoor conditions.”
Having worked closely with the Backbone International technical team throughout the project, Collings described the collaboration as “a pleasure”. He added: “Their professionalism and in-depth industry knowledge ensured a smooth and efficient process. This project was an incredible experience to be part of.”
Reflecting on the transformation of the site from a barren stretch of desert to a fully realised,
vibrant event space, Collings was delighted with the achievement. “It was a privilege to work alongside such a strong and dedicated team at PRG, both onsite and in the office,” he summarised. “The final event was not only visually stunning but felt like it was naturally integrated into its surroundings, as if it truly belonged in the desert. Seeing the vision come to life and witnessing the impact of our collaborative efforts was immensely rewarding.”
‘Something magical is happening in RAK’
Special effects and lasers were provided by AVM-SFX, which has a long history with the event producers. “As we know Backbone International and TWOFIFTYK very well, we instantly understood that they wanted something spectacular, something next level,” recalled AVMSFX co-founder, Emerson Wellens.
“We knew from the beginning that good planning and mutual agreements and understanding was needed. There was a lot that had to be done in a tight time window, and we managed this perfectly.”
The company’s experience of working with the artist was also beneficial. “We often do Armin Van Buuren shows and we know how much he likes to embrace the crowd,” Wellens stated. “That’s where the idea to place the flames on the
pillars all around came from. Having flames on both the inside and outside pillars gave the whole setup more depth as well,” he added.
“Also, their idea to integrate the lasers seamlessly in the video content was totally out of the box and was a magical combination.”
Flash Art also brought its expertise in pyro to the event. Working in close collaboration with AVMSFX, the team combined modern technology with advanced special effects, creating a unique and immersive visual experience. “Positioning the effects in a 360° closed pattern surrounding the audience made for an extremely powerful, impressive, and impactful show,” stated Managing Partner, Jakub Michalik. “It was a pleasure to be involved in such an important and exciting project for Ras al Khaimah.”
MTD provided wastewater management solutions for the event. “MTD is incredibly proud to have supported the Seven Wonders event at Ras Al Khaimah with our wastewater management solutions and provision of VIP and VVIP restroom facilities, stated Jesse van den Boomen, Account Manager Middle East for MTD. “Collaborating with Backbone International, we ensured quality and reliability for our valued guests in this stunning desert setting. We’re excited to see what wonders lie ahead in this series.”
FLOW was entrusted with providing a robust
OLA MELZIG
PRODUCTION MANAGER
M&M PRODUCTION MANAGEMENT
I just love the new generation of the Artist user interfaces. The SmartPanel‘s intuitive workflow and its very visual layout are simply fantastic.
I can customize it in any way I need, which is absolutely crucial for the big live events I typically work on.“
ARTIST INTERCOM
Professional and reliable live communications. Seamless integration of Riedel‘s SmartPanel and Bolero wireless intercom. Easily scaling from 16 to 1024 ports with flexible licensing.
Photo by Ralph Larmann
temporary power solution to support the event, including power for all AV and stage elements, as well as BOH operations. “Our team ensured seamless power integration, enabling smooth production across all facets of the event,” stated Brian Marshall, Head of Commercial, FLOW, explaining the company’s brief for the project. “The vision for this project was ambitious and inspiring: to contribute to making Ras Al Khaimah a global entertainment hub,” Marshall commented, looking back on the feat.
“Set against the backdrop of Al Marjan Island, near the upcoming Wynn property, this event aligns with Backbone International’s long-term vision for transforming the entertainment landscape in RAK. This partnership not only enhances the events industry across the region but also has significant potential for boosting the economy and attracting more tourism.”
Reflecting on the project, Marshall praised the collaboration. “It was a pleasure working with Backbone International, a true leader in high-end
production. Their global experience and expertise were instrumental, and together, we were able to introduce innovative technologies and ideas that elevate the region’s standards for event production,” he concluded. “The future of events in RAK is incredibly promising. With the emirate’s ambitious goals and strategic developments, both the industry and audiences can look forward to world-class events and entertainment experiences. It’s an exciting time to be part of this journey, and we’re thrilled to help bring such dynamic projects to life.”
Backbone International’s Lubberts shared Marshall’s enthusiasm. “We’re working on the 2025 Seven Wonders shows already,” he said. “The RAK Hospitality team are very enthusiastic, they have a great vision, and they want to move forward. Something magical is happening in RAK and it’s a great honour to be a part of it.”
For RAK Hospitality’s Bremner, the opening event achieved its goals. “This first event was all about demonstrating that we have the
capability to host world-class events here in Ras Al Khaimah,” he stated. “We drew a total global reach of 45 million across all platforms, making it 10 times more visible than any other event in the history of RAK.”
Bremner concluded with a look to the future: “By building the Seven Wonders series, we are aiming to fulfil our medium-term objectives, but looking further ahead, events are a cultural creation, and I would love to provide a platform and the inspiration for the people who are living in RAK to get more involved in the arts and boost the homegrown interest in this sector.”
Photos: UNFOUND, courtesy of RAK Hospitality www.rakhospitalityholding.com www.backbone-international.com www.allaith.com www.avm-sfx.com www.prg.com www.mtd.net www.flashart.com www.flowsolutions.me
BEAST ED
As MDLBEAST launches its ground-breaking free educational programme to bring through the next generation of Saudi events talent, TPiMEA heads to the inaugural Soundstorm Job Expo in Riyadh to find out more…
Ever since Saudi Arabia emerged as an international event-hosting nation, the subject of Nitaqat – or Saudisation – has been a hot topic among those with a vested interest in the development of the country. As easily the biggest driving force in the Saudi Arabian live events industry, it’s no surprise that MDLBEAST is once again at the forefront of the issue, with its recently launched BEAST ED initiative aiming to develop the next generation of Saudi events professionals.
“We are determined and dedicated to the task of putting young Saudi talent into the right positions to take us forward,” began MDLBEAST Director of Events, Michael ‘Curly’ Jobson, explaining the motivation behind the BEAST ED initiative. “We have a duty not just to come in and put on shows, but to build up the industry to a point where it is being run by the next generation of young Saudi talent.”
Af ter two successful terms of BEAST ED’s Career Path Programme in August and September, the organisation recently held its inaugural Soundstorm Job Expo in Riyadh, with more than 1,200 people descending on the festival’s site in Banban to introduce themselves to a selection of MDLBEAST partners and suppliers in the hope of breaking into the industry. Welcoming TPiMEA to the event and
explaining more about the initiative was Melanie Lemnios, Senior Producer and MDLB Lead at TAIT, who has played an integral role in delivering the BEAST ED Career Path programme this year.
“O ur mission is to build the local workforce here in Saudi Arabia,” she stated, plainly. “With more and more large-scale live events taking place here, it makes sense on every level to create a large base of local talent that can service these events rather than have companies flying in talent from all over the world.”
Promising to provide Saudi-based participants with “the knowledge, skills, and network to secure a job in the growing field of events and live entertainment”, the end-toend Career Path Programme is designed for learning to be completed within a single one-month term, with all lessons taking place in-person, in English and at various locations around Riyadh, including the MDLBEAST head office, Soundstorm festival site, and other regional facilities and event spaces.
The curriculum begins with a two-week core foundation course taught by the Academy of Live Technology (ALT), which covers the basics of events production. From there, students enter a more focused segment of study depending
on their area of interest and skillset, with specialised courses on everything from site management, security, and health and safety, to stage production, audio, IT connectivity, and event logistics, delivered by a selection of MDLBEAST’s partners. “It’s been incredible to see how everyone in the ecosystem has pulled together to bring this emerging industry forward,” commented ALT KSA General Manager Matt Glynn.
“We’re a specialist higher education institution from the UK, expanding into Saudi, so to get this level of traction we’ve needed and appreciated the full participation of the partners. With massive projects such as Soundstorm demanding bigger workforces, we look forward to being part of the solution to deliver the local workforce vision.”
According to Lemnois, the curriculum was carefully crafted to produce graduates who were immediately employable. “When we designed the curriculum, we talked to the suppliers and asked what skills they are looking for in their applicants,” she explained. “We ensured that as many of those skills as possible were included in the course so we can say confidently that students who come out of BEAST ED are qualified and ready to work in the industry.”
The first two terms held in August and September saw an intake of 33 students each, with 65 graduating the course. “One of the reasons why I believe the pass rate has been so high is the level of detail we built into the application screening,” Lemnois commented, revealing that more than 700 people applied for the course in its first year.
“Every applicant had to go through several stages including written essay questions and a series of phone interviews where we found out what kind of a person they were. We weren’t necessarily looking for people who had any experience or knew anything about events, but we needed people with that ‘special sauce’ that all good events people have.”
One BEAST ED graduate who has already benefitted from the course is Abubaker ‘Fifty’ Mohamed. “I’ve always followed anything that MDLBEAST has done, so as soon as I heard about the BEAST ED programme, I knew that I had to be involved,” he told TPiMEA at the Job Expo. “The course is amazing – especially the modules from ALT and Special Projects; I can’t believe that we get this quality of education for free. I feel very fortunate to have been part of the programme.”
A standout performer in this year’s intake, Fifty has already been hired by ALT to work as Lead Trainer for the incoming Soundstorm 2024 crew. “It’s a massive opportunity that I’m going to make the most of,” he beamed, adding that his long-term ambition is the become a creative director or a producer. “I hope to travel, collaborate with great people, and achieve a lot of things amazing things along the way.”
The buzz is off the charts!
Fifty was one of more than 1,200 people who attended the Soundstorm Job Expo to meet the event’s impressive roster of industry exhibitors, including: Academy of Live Technology, ARGA, Colour Sound Experiment, Clair Global, Creative Technology, ER Productions, ESM Operations, Event Lab, FULLCYCLE, Lowe Rental, Rock-it Cargo, Safe Events Global, Spendlove Group, TAIT, THA Staffing, and Zen Studio.
“It’s amazing to see so many of the students out there among the job seekers today,” said Lemnois. “As well as it being a chance for people to show off their skills, it’s also an opportunity for the employers to meet their potential new employees. It works both ways.”
Colour Sound Experiment’s Haydn Cruickshank described the Job Expo as “fantastic”. He added: “It’s been very busy; we’ve got a great stack of CVs and met some brilliant people. We love the concept of BEAST ED. As one of those companies that committed to Saudi Arabia early, it’s brilliant to see a local workforce developing here. We supplied equipment for this year’s courses, and we would love to get involved in the training next year.”
Creative Technology KSA General Manager, Martin Hall, was also full of praise for the initiative. “We were very keen to get involved, give our support and introduce ourselves to the people who are the future of the events industry,” he commented. “ALT did their training in our Riyadh warehouse, and we are now looking at that intake of students to see if they could be AV techs of the future.”
Clair Global’s Stuart Wright also gave his two cents on BEAST ED. “I can’t believe how well attended this event is –the buzz is off the charts! The place has been rammed since it opened, we’ve met hundreds of potential applicants, and already hired two people,” he revealed.
Wright continued to extol the virtues of the initiative, explaining how it helps to solve not just a local issue, but also a global one. “We’re building a fully functional Saudi company, which will eventually be able to stand up completely on its own two feet,” he commented. “This is an untapped market, and the people who we bring through here will not only service the local market but also move through Europe and North America according to the seasons, helping to address the global talent shortage.”
Safe Events’ Paul Budden was similarly impressed. “BEAST ED has given so many people opportunities to get involved in different aspects of events that they might not have even considered otherwise,” he stated. “We’ve invested in that process with the courses we delivered, and this Job Expo is the next step where we find out who could be the right fit to work for us in the Kingdom.”
TPiMEA also caught up with Bob O’Brien of Rock-it Cargo. “It’s been excellent to have all these aspiring young people here in one room. There’s no shortage of talent here – the key is finding the right people and guiding them to realise their potential,” he said. “I love what BEAST ED is doing. Traditionally each of the vendors would try to train their own people, but it’s great to see a course that provides an overview that includes the whole industry.”
For Wayne Haxton, General Manager at ER Productions KSA, the Job Expo came at an opportune moment. “We have various positions available here in Saudi Arabia, and I’m hopeful that some of the people we have met today will be the right candidates to fill those positions,” he commented. “I have been very impressed with the quality of candidates coming through so far.”
Another placing his hope in the process was Timothy Hocks of temporary kitchen supplier, Lowe. “We’re not necessarily the most eye-catching aspect of a live event, but the projects that we work on are incredible, so to get the chance to meet so many enthusiastic young people and show them what we do is invaluable. We’ve already had some very interesting applications,” he said.
De scribing the Job Expo as “great for us as a business”, ESM Operations’ David Dymitrow gave his thoughts on the programme: “BEAST ED is fantastic,” he added. “Training and investment in local workforce within the Kingdom is essential, and seeing what MDLBEAST has put into it is super impressive.”
Event Lab’s Rula Humsi also reported “lots of potential” in the attendees at the Job Expo. “Some have extensive experience in the industry, and some are fresh graduates,” she described. “I interviewed four of the people who took part in Event Lab’s BEAST ED modules on site today – they all meet our criteria for staffing and I’m looking forward to seeing them get started.”
Lo oking to the future, Lemnois and the BEAST ED team are already planning for 2025.
“We’re collecting the metrics and data from the first two terms, and based on that, we will reflect on what worked well, what we can do better, and where we can grow and add to the curriculum,” she concluded. “MDLBEAST has done a great job of setting the standard for the quality of events in the region, and our goal is to do the same with education in the events industry.”
Cu ry had the final word: “We have already seen an incredible number of people from all over the region –both Saudi nationals and people born in the Kingdom to non-Saudi parents. We have placed 30 of them around the different disciplines on Soundstorm this year, which is an incredible return after just a single term,” he stated
“O ur CEO, Ramadan Alharatani, has given this project his blessing and his full support, which makes it all possible,” he concluded. “BEAST ED is all about finding our new team of the future. The talent is here – it’s all about finding it, nurturing it, and building a skilled and experienced workforce for Saudi Arabia’s thriving live events and entertainment industry.”
Photos: Mujahed Salah, TAIT www.mdlbeast.com
MADRID
twincamPro International
Calle Margarita Salas, 6 Parque
Tecnológico Leganés 28919 Madrid +34 91 298 80 50
In just one year, we’ve set the stage for iconic, unforgettable events. From PRIMAVERA SOUND, SONAR FESTIVAL, COCA-COLA MUSIC EXPERIENCE , LA VELADA IV, ROCKFEST, FEID, O GOZO FESTIVAL, THE LOOP MADCOOL, SOUTH SUMMIT, CAMILA CABELLO, BRUNCH BARCELONA , BOILER among many others.
EUROPE | MIDDLE EAST | ASIA es@twincampro.com
BARCELONA twincamPro International
Avinguda Número 2, 7 Parc Logístic de la Zona Franca 08040 Barcelona +34 93 300 22 88
The magic of indoor drones
SKYMAGIC’s Sammy Gooch and Scott Gibbons explain how drone shows can raise the level of indoor productions and democratise the audience experience.
While the drone show is still a relatively new development in the overall historical context of live events, the massive growth in popularity of the medium in recent years has seen it become almost de rigueur at major festivals, opening ceremonies and even corporate events all over the world – with the Middle East proving to be a particularly fertile breeding ground for the most advanced examples of the technology.
So far, the most common form of drone show has been a large outdoor spectacle, with a massive fleet swarming to produce incredibly detailed and often animated images as well as stunning effects. However, according to SKYMAGIC’s Scott Gibbons, the next step for the technology is to bring it indoors. “SKYMAGIC started doing large outdoor drone light shows in 2015, and since then we’ve been constantly developing the technology and innovating to the point that we’re now able to create much more intimate indoor drone shows, alongside our outdoor offering.”
SK YMAGIC’s first major demonstration of indoor drone technology came at the Venice Biennale in 2022 with the Social Sacrifice artwork by DRIFT.
De livered by SKYMAGIC alongside Drone Stories, commissioned by Aorist and featuring music from Don Diablo, the immersive piece saw a swarm of 50 of the company’s indoor drones navigate through the historic Chiesa di San Lorenzo in mesmerising motion, depicting a school of AI-powered fish encountering a predator and
leading spectators on an interactive journey around the building. “Since the Venice Biennale show, we have done some more innovation and pushed the limits of what indoor drones are capable of,” Gibbons revealed.
“We are at a stage now where we’re looking to make indoor drones a bigger part of our offering, alongside our already well-established outdoor solution.”
As anyone who has been a part of a large outdoor drone show will attest, the medium requires extensive operational, logistical and health and safety parameters to be considered. However, while health and safety is always top priority, indoor drones are a completely different proposition – due in part to their small size, light weight and covered propellers. “They’re extremely lightweight and they fit in the palm of your hand,” Gibbons stated. “We’re always working hard to make sure that the technology is safe, and everything we’ve done in terms of development helps us fly them around objects and people indoors safely.”
Indoor drones also open a range of opportunities in the Middle East during the summertime, when the region’s scorching temperatures mean that events tend to take place inside. “This is just one of the reasons why we see the technology working well in the Middle East,” he declared.
The smaller size and lighter weight of indoor drones also leads to huge differences when it comes to how they’re used creatively – a subject that SKYMAGIC’s Creative Producer, Sammy Gooch, could talk about all day. “Creating
an indoor show is very different to an outdoor show,” she explained. “Outdoor shows often have a scene-by-scene narrative, almost like a chapter of a book. With indoor drone shows, it’s more like choreographing a dance. There’s less of a chapter-by-chapter approach and a more seamless integration with music.”
While this switch in approach provides a challenge, it’s one the SKYMAGIC team enjoy taking on. “It’s a nice challenge because you must think very creatively about how the drones are morphing, moving and creating different forms constantly. It’s so fluid, organic and intimate,” she commented.
Th e next step could be to further explore how indoor drone technology can be integrated with other technologies to create immersive sensory experiences. “We’re always pushing ourselves with our technology to make sure we’re able to collaborate with other elements. With our outdoor shows, we’re already collaborating with sound designers, audio designers, pyrotechnics, choreography, and I think it’s about taking that and working it in a different environment to create something truly immersive and engage people to connect in a sensory way.”
This collaboration could also incorporate the artists, with joint choreography between dancers and drones just one of almost limitless possibilities. “I would love to create a piece where drones and dancers work symbiotically on stage,” the Creative Producer stated. “Those kinds of areas of exploration are something that we’re very keen to start moving forward with quickly.”
As far as potential uses for the technology, the everincreasing levels of production present at opening ceremonies lends itself perfectly to the use of indoor drones. “We’re thinking about effects like how the drones can give the illusion of lighting ceremony flames or accompanying hero speakers or hero performers. How can they rise behind screen areas and become an extension of the set? It’s such an exciting medium to play with.”
Photos: SKYMAGIC www.skymagic.show
SKYMAGIC’s Sammy Gooch and Scott Gibbons.
Helping Saudis smash the glass ceiling
Gallowglass Chairman Paul Grecian discusses the company’s latest training initiative that is set to revolutionise the Saudi Arabian workforce.
In its 28 years in the business, Gallowglass has recruited and trained more than 15,000 live events industry personnel in the UK and around the world, and with its latest venture in Saudi Arabia, that figure is set to rise exponentially. The company has partnered with Saudi Government organisation Sawaeed to develop a comprehensive training programme aimed at enabling young Saudi nationals to participate in the country’s growth in the events industry.
“The future of events in Saudi Arabia is poised for significant transformation, driven by the country’s ambitious Vision 2030, which aims to diversify the economy away from oil dependence by promoting sectors including tourism, entertainment, and manufacturing,” began
Gallowglass Chairman, Paul Grecian, explaining the rationale behind the initiative. “This will create job opportunities across a wide range of industries, including those that require low to moderate education levels, which some sectors of the events industry fall under.”
Grecian anticipates that the revolutionary training programme will introduce thousands of young Saudis to the event market workforce in the next three years. “For these Saudi youngsters, the key to long-term job security in our industry will be the ability to learn skills, gain qualifications and have a future,” he commented. “Gallowglass is set to offer them just that.”
Like many initiatives that have been launched over the past few years, the idea for the programme evolved during lockdown, when Grecian and colleagues used the enforced downtime to develop a concept that he believes will not only dial into an untapped resource of young Saudi talent but also offer unique opportunities to many who wouldn’t otherwise receive them. “We are making a far-reaching commitment to offer young Saudis an exciting future in the events industry. To succeed, they will need to take advantage of the available upskilling programmes.”
Initially, the project will call on the experience of UK crew chiefs. After a short transition period, the training will then be delivered by Saudis. “The Saudi workforce does not currently have the required experience to deliver training inhouse,” he commented. “However, we anticipate that within a relatively short timeframe, there will be numerous Saudis in middle management positions, who will ultimately move into senior levels of management, thus creating room at the bottom of the pyramid for the process to continue.”
For Grecian and Gallowglass, after 28 years and thousands of trainees successfully introduced to the industry, the proof of concept is already there. “We have shown that the process works here in the UK; our challenge now is to repeat that in Saudi Arabia,” he concluded. “The future employment prospects for young people in Saudi Arabia face several challenges but at the same time offer great potential due to the country’s ambitious Vision 2030 and continued economic diversification. Our offering is unique and perfectly complements the ambitions of the Saudi Arabian leadership.”
Photo: Gallowglass www.gallowglass.com
The Grotto: festive entertainment for a five-star crowd
With the latest offering from the Creative Events Collective set to raise the standards of festive entertainment throughout the Middle East, TPiMEA catches up with the company’s founders, Amy Morris and Robyn Isherwood, to find out more…
Robyn Isherwood and Amy Morris joined forces for the first time amid the COVID-19 pandemic, when the former booked the latter as one of the entertainment partners at the world’s first socially distanced festival, held at Gisburne Park in the UK. What followed was a meeting of minds – and, perhaps more crucially, energy levels –that resulted in the formation of a new shared company, Creative Events Collective (CEC), with the aim of elevating entertainment experiences worldwide.
With Isherwood’s company Encore Lifestyle specialising in luxury events and Morris’s Pop Up Global known for providing top-level entertainment, the duo combined to form a formidable team.
Unsurprisingly, CEC was swiftly awarded its first major project, The Grotto – a first-of-its-kind premium festive experience that took place in the Trafford Centre, Manchester, UK, throughout December 2023. The project was a roaring success – so much so that not only is it being repeated in Manchester this year, but CEC is also launching the concept in Dubai, with The Grotto taking residency in Dubai Mall throughout December 2024.
“H aving launched in the UK last year, combining both of our expertise in theatrical production and performance with our knowledge of global ticketing and luxury events, we wanted to offer a premium and authentic grotto differing from the norm,” explained Morris, speaking to TPiMEA ahead of The Grotto’s Dubai debut.
Is herwood added: “Our focus is on the quality of every aspect, from the set design to the talent and the bespoke costumes, we really transform and take our customers on a magical journey to remember.”
Pop Up Global, now based in Dubai, has a pool of international talent including West End and Broadway performers who are cast specifically for each role. “With a
The duo behind Creative Events Collective, Amy Morris and Robyn Isherwood.
focus on the quality and the bespoke costumes, this sets us apart from anything else currently in region,” Morris stated.
Encore Lifestyle’s team meanwhile are behind the design and delivery of the entire event, with focus on the “minute details”, “intricate build expectations” as well as the “production and seamless execution” of the event.
According to Isherwood, projects of the standard of The Grotto “can and will” change the mindset of clients in the Middle East when it comes to the levels of quality they expect. “We feel that The Grotto will highlight the appetite for quality and experiences of this level, which is expected in Europe, but has been somewhat lacking in the UAE,” she stated. “The ticket sales have been incredibly strong, and we are exceptionally excited to deliver on our promise this year and in the future.”
Those who attended either SLS Expo or Saudi Event show earlier this year in Riyadh will no doubt have seen and met the CEC team, with the company exhibiting at both tradeshows and, according to Morris, the Kingdom is very much on the radar when it comes to the future of The Grotto. “While some people may feel that entering Saudi Arabia with a festive product is bold, we are exceptionally excited with the talks we have had and the forward-thinking nature of KSA,” she commented.
“As a female-founded company, we couldn’t have had a warmer welcome and the interest to showcase Saudi as ‘open for all’ is honestly refreshing. We are excited to work directly with key players to enhance and bring their 2030 Vision to life and be the first to offer The Grotto to the Kingdom of Saudi Arabia.”
Photos: Creative Events Collective www.thegrotto.me www.popup-global.com www.encore-lifestyle.com
Fira de Barcelona | Gran Vía
4 - 7 Feb 2025
RECONNECT WITH WONDER & WOW
Ready to challenge your senses with one BIG, virtually impossible experience? Bring an open mind, eyes and ears and you’ll see and hear the unthinkable. Hold the future of tech today and feel the possibility of tomorrow. Get a taste of the cosmopolitan capital of the world and the sweet smell of success. Reconnect with all six senses at ISE 2025
d&b audiotechnik Middle East
A new era begins for d&b audiotechnik, as the company launches its Middle East subsidiary. TPiMEA catches up with General Manager, Brad Maiden, to find out more…
The Middle East is a region that d&b audiotechnik has had its eye on for quite some time, and in recent years the German manufacturer has stepped up its interest with a series of new strategic partnerships aimed at increasing its presence in the territory. With the foundations now firmly in place, the company has taken the logical next step by formally opening its new regional subsidiary, d&b audiotechnik Middle East, headquartered in Dubai.
Heading up the operation is Brad Maiden, who joined the company as Vice President of Business Development and now assumes the role of General Manager with the formation of the new branch. “I’m delighted to be able to formally announce the official launch of d&b audiotechnik Middle East,” he told TPiMEA.
“The launch of the new company has been a considered process. We were determined to ensure that everything was done properly to allow us to achieve our goals for the region, which include offering enhanced education and technical support, so we took our time and made sure that the foundations were strong.”
While he only joined the company in March 2023, Maiden has a long history of working with d&b audiotechnik, both inside and outside of the Middle East. “I had my own design consultancy specialising in entertainment venues where we worked closely with d&b on multiple projects, and prior to that I worked at the Sydney Opera House where we put J-Series in the Concert Hall, and later one of the first d&b Soundscape systems in the Joan Sutherland Theatre,” Maiden recalled, looking back on his relationship with the manufacturer. “So, when d&b got in touch and presented the opportunity to lead their Middle East project, there was no doubt in my mind.”
Th e early stage of Maiden’s remit was to lay the groundwork for the new Middle East subsidiary. “We looked to extend the partner network, form new partnerships, develop the market, and play to our traditional strengths to make the most of the outstanding opportunities in the region,” he stated. The company has wasted no time in putting this plan into effect,
with the onboarding of several new sales, rental and integration partners, complementing the regional representation of long-term d&b audiotechnik distributor, 7Hertz.
“The market is expanding in a massive way – not just in the GCC, but also Egypt. So, it was never a doubt that we would look to expand the partner network,” Maiden said. “It was all about building on the work that had been done, and adding complementary partners into the region. The focus was on expanding our reach and making sure that we’re in all the right places.”
The company now has four sales partners across the region – 7Hertz, ProVision AVL, Southby Middle East, and Egypt-based KAR – plus several integration and rental partners including AVI-SPL, Creative Technology and Quality AV in Egypt. “All the partners hit the ground running,” Maiden reported. “We are very happy with where we’re at, and there’s so much potential and opportunity to grow further.”
As well as Maiden, the Middle East team also includes regional industry veteran Kassim Salim, who was the Territory Manager for Bose before joining the team at d&b audiotechnik. Also onboard is Richard Fenton, who first worked with Maiden back in 2008 at Sydney Opera House. “Rich has come in as Senior Education Application Support, so he leads the education programmes, and supports clients with technical design and commissioning across the region,” Maiden highlighted.
Education is a crucial pillar of the company’s mission in the region. “With high-quality products such ours, the importance of training and education cannot be overstated. We must put in that extra effort to relay the products’ value proposition,” Maiden explained.
“We run numerous training modules, from a technology-agnostic course on the fundamentals of electroacoustics to tutorials on using specific d&b products such as ArrayCalc, and d&b Soundscape sessions where users get the opportunity to familiarise themselves with how object-based mixing works.”
On e such training course that was extremely well received recently was the result of a
Opposite: Brad Maiden, Richard Fenton, and Kassim Salim.
cooperation between d&b audiotechnik Middle East, Coca-Cola Arena and Creative Technology Middle East. “We were delighted to complete our first SL-Series training at Coca-Cola Arena, where we had a large-format KSL system and offered line array training for some of the region’s best FOH engineers,” Maiden recalled.
“We had fantastic feedback and it’s certainly something we are looking to roll our regularly. The SL-series is our signature line array system, and I think fair to say that with d&b’s longstanding commitment to broadband directivity control, it has taken the world by storm, with three of the top four tours last year all using SL-Series.”
On the topic of d&b Soundscape, Maiden is excited about the potential applications for the technology in the region. “It has endless potential,” he beamed. “The creative element
to how people are using d&b Soundscape has taken on a life of its own. In some cases, it’s being used as its own instrument where people are pushing the 360° nature of the system. d&b Soundscape is already in several venues across the region such as Dubai Opera, King Fahad Cultural Centre and AVI-SPL’s The Cave, in addition to the demo facilities at Provision AVL and 7Hertz, and with the region’s approach to innovation, technology and creativity, I’ve no doubt that demand will continue to grow.”
Taking a more global outlook, the GM is pleased to see d&b on the riders of some of the world’s top performers. “We’re seeing globally that d&b has really become the sound system of choice for many the world’s top artists,” he commented. “We’ve got some great bands such as Coldplay touring on d&b in the region in
January – exactly the type of show the region needs to thrive. Our mission is for d&b to become the sound system of choice, synonymous with entertainment across the region.”
Lo oking ahead, Maiden is certain that the Middle East is set to go from strength to strength. “It’s an amazing region,” he concluded.
“Some of the world’s leading entertainment infrastructure and live event projects are here, and we have the best people in the world designing them, working on them and providing services and supplying to them. These projects are always going to require the very best in professional audio. Sound gives emotion to an experience, and we are excited to be here to provide that emotional impact.”
Photos: d&b audiotechnik Middle East www.dbaudio.com
In2Structures
With its distinctive dome venues hosting countless impressive events over the past 20 years, In2Structures is a mainstay of the events industry. TPiMEA heads to South Africa to learn the story behind this structure supremo.
If you’ve been at enough concerts, conferences or corporate events in South Africa, Saudi Arabia or the UAE over the past couple of decades, there’s a decent chance that you’ll have found yourself inside an In2Structures venue. With a wide range of benefits, the company’s distinctive domes have become a popular choice for event producers and organisers all over the region, and as the company celebrates its 20-year anniversary, the industry demand for its offering is showing no signs of slowing down.
Th e origins of In2Structures can be traced back to long before it got its current moniker.
Founded by husband-and-wife team Otto and Linda Wijnberger, the first iteration of the
company was known as Art of Light, which launched as a rock ’n’ roll lighting supplier in 1985. By 1999, the company had pivoted to staging and set construction, then five years later, thanks to a partnership with Gearhouse, In2Structures was established, specialising in the design, manufacture and rental of custom structures and staging for music and theatrical projects.
With the Wijnbergers now managing the company from their home in Cape Town, the In2Structures Johannesburg headquarters is staffed by Design and Workshop Liaison Manager, Adriaan Janse van Vuuren, as well as Administrator, Sheila Mazibuko, with Project Manager, Ernest Phethla heading up the on-site delivery team. The company remains part of
the wider Gearhouse Group, which has grown steadily under the leadership of Joint Managing Directors, Ofer Lapid and Nasser Abbas since its formation in 1991 to now include a range of complimentary businesses that combine to form a true turnkey solution that can deliver every single aspect of even the most comprehensive projects in house.
In2Structures’ early creations included the Maxi and Flat truss dome structures, which were later followed by the Midi Dome (a compact, high-strength solution for smaller events), Maxi Lite (a versatile structure delivering the same load capacity as the original Maxi but with a 40% smaller freight footprint), and the flagship Supa Dome, measuring 36m wide, 17m to the apex on
the exterior and 15.4m on the inside of the truss arch apex, and with the capacity to be extended to an almost unlimited length.
On e of the biggest selling points of the company’s structures is the impressive weightloading capabilities they offer, with rigging capacity far exceeding what would be possible in a typical tented structure, which allows productions to create bigger and more ambitious shows than was previously possible in temporary indoor venues.
Another point to note is that In2Structures can deliver much more than just a shell, with the company considering all related services that transform the structure into a fully functional venue, such as site layout of kitchens, ablutions, tensile surround structures, landscaping, and parking facilities.
“This can be done in conjunction with the client’s architects or directly,” Otto stated. “We also advise or partner with their local suppliers regarding the installation of air conditioning, working lights, emergency signage, and internal fire extinguishers.”
The company also offers a comprehensive after-sales service, with on-site training for build-up and breakdown as well as maintenance. “Where a structure is ordered for touring purposes, it is delivered with transportation stillages and packaging to promote easy truck loading and minimise damage to equipment,” Otto added.
Wh enever In2Structures develops a new venue, all engineering and analysis is verified by consulting engineers. “Our modus operandi is to test build the arches of a new structure and apply a series of load tests,” Otto explained.
“These results are compared with the finite analysis supplied by the engineer and, once certified, we continue with full production. When a structure enters service, a comprehensive installation, loading, assembly, and maintenance manual is prepared.”
While the widespread rental success would indicate that the domes are predominantly
designed to be a temporary solution, such is their sturdiness, it’s well within the realms of possibility that they could be used as semi-permanent structures. In fact, TPiMEA witnessed a prime example of this firsthand at Cape Town’s Zip Zap Circus – a Flat truss dome structure that has stood in the same place adjacent to the city’s Artscape Theatre since it was purchased by the organisation in 2007.
While it’s been used for more than its fair share of high-profile projects both in South Africa and overseas in recent years, In2Structures’ largest venue, the Supa Dome, was recently deployed in perhaps its biggest show yet, with the venue utilised for the recent Earthshot Prize Awards in Cape Town (page 32). This brought into focus the company’s sustainability credentials, which are being enhanced constantly.
“We select our materials from reputable suppliers who form part of a chain where the steel, aluminium and PVC coverings are recycled if they are no longer serviceable,” Otto stated. “We also stay abreast of the advances made in painting and corrosion protection to avoid spirit-based formulations in favour of waterbased, non-toxic coatings,” he added. “We now
avoid hot-dipped galvanising in favour of Nano, water-based coatings that can be dipped. This negates the huge amount of energy required to keep a bath of zinc at 480°C.” The company has also began introducing solar power to its factory and is considering electric forklifts in an effort to further reduce its carbon footprint.
What’s next for In2Structures? According to Otto, the next step is to creat a bigger and better Mega Dome measuring a cavernous 50m wide. “Made to order, the Mega Dome would take around six months to complete, including a full test build for viewing, and be ready for shipping. All structures are designed for easy transportation in containers and on stillages for trucking,” he stated.
With groundworks for a semi-permanent Supa Dome installation in a prime spot outside Johannesburg’s FNB Stadium already underway and several other exciting projects in advanced planning stages, In2Structures is continues to build on its longstanding success.
Photos: In2Structures, Roy Pottergill, DarkWing Aerials
www.in2structures.co.za
www.gearhouse.co.za
Above: In2Structures Project Manager, Ernest Phethla, and Founder, Otto Wijnberger, on site at The Earthshot Prize in Cape Town.
Encore UAE
With a string of successful events, international recognition in workplace culture, and a brand-new facility, Encore UAE is a company on the up. TPiMEA catches up with General Manager, Martin Lubach to find out more…
While most companies in the region would claim to be a great place to work, not many have the empirical evidence to back it up. However, Encore UAE can legitimately claim this title, with the company once again achieving year-on-year engagement certification in the Great Place to Work survey for the third consecutive year. “This remarkable achievement is a testament to our unwavering dedication to creating a workplace where everyone can thrive, feel appreciated, listened to, and respected,” commented General Manager, Martin Lubach. “It reflects everything we stand for as a business, especially in our local operations.”
With Encore UAE scoring highly in a range of factors that go into an organisation being dubbed a Great Place to Work, including Hospitality (84%), Camaraderie (82%), and For All Leadership (82%), the results were validation for the company’s commitment to consistently improving its employee experience. “We are also proud to report that the survey participation rate in the UAE is at an outstanding 93%, the highest across
Encore globally,” Lubach added. “This high level of participation underscores the commitment of our team members to contribute to the continuous improvement of our workplace.”
Th e Encore UAE employee experience was even further improved recently with the opening of a brand-new office and warehouse facility in Dubai Investments Park. “As we step into a new era of innovation and teamwork, our newly established office and warehouse stand as a testament to our commitment to fostering a collaborative environment and enhancing operational efficiency,” Lubach explained.
“D esigned with the future in mind, this stateof-the-art facility encapsulates our vision for a workspace where integration and synergy drive success. From the unification of our team under one roof to the strategic layout that promotes seamless operations, every aspect of this new space has been meticulously planned to support our mission in creating events that truly transform,” he added. “With Encore being a globally recognised leader not only in the venue services business but also in its high-
end technical production capabilities, it is even more critical for the new warehouse to offer seamless operations, ensuring that our events are executed with precision and excellence.”
One of the most significant advantages of the company’s new centralised warehouse is the fact that the Encore UAE team is now all together under one roof. “This unification fosters a sense of community and belonging, which is essential for cultivating a cohesive workplace culture,” commented Richard Bearpark, Warehouse Director. “No longer separated across two adjacent locations, our team members can now easily collaborate, share ideas, and support one another, leading to a more harmonious and productive work environment.”
A significant innovation in the new facility is the strategic placement of heads of departments side-by-side. “This arrangement is transformative for our decision-making processes,” the GM explained. “By positioning our leadership team in proximity with each other, we can facilitate faster and more effective communication and collaboration. Decisions that once required
lengthy meetings and extensive coordination can now be made swiftly and efficiently.”
Th e new facility benefits from a centralised loading and unloading area, which enhances the branch’s logistical efficiency significantly. “This area is designed to maximise the smooth flow of goods and materials, reducing bottlenecks and minimising delays,” Lubach described. “By centralising these critical functions, we can ensure that our supply chain operates with greater precision and reliability.”
Also, Encore’s ongoing commitment to sustainability and environmental responsibility through eco-friendly initiatives is evident in integrating energy-efficient technologies and achieving ISO 20121 certification in its brand-new state-of-the-art warehouse.
Along with the new facility, Encore UAE has also welcomed some exciting new talent to the team, with Marta Avelar and Ibrahim Rostron joining as part of a six-month internship programme that is set to run until 31 March 2025. “We are excited to have Marta and Ibrahim on board and look forward to the fresh perspective and energy they will bring to our team,” Lubach stated. “Since 2015, our internship programme
provides students and graduates with a unique opportunity to gain practical experience in their field of work under the direct supervision of experienced and specialised coaches. This programme has been highly successful, with many interns going on to build successful careers in the events industry.”
Having recently facilitated a string of high-profile events including the Million Dollar Round Table Global Conference at DWTC, Martin Garrix concert at Atlantis The Palm, and Commemoration Day, and with Lionel Richie’s New Year’s Eve show set to round out 2024, the live events side of the business is thriving. “As we continue to deliver outstanding events and provide exceptional service, our resolve and strength as a company have only grown,” Lubach concluded. “We are proud to demonstrate to the market that Encore is here, stronger than ever, ready to take on new challenges and seize opportunities. Our robust collaboration between Production and Venue Operations ensures that we remain at the forefront of the industry, consistently delivering events that transform.”
Photos: Encore UAE
www.encore-emea.com
Top left: Warehouse Director, Richard Bearpark; General Manager, Martin Lubach; Regional Operations Director, Michael Shandy. Above: Interns, Ibrahim Rostron and Marta Avelar.
Shure Axient Digital PSM
Following a glitzy launch event in Dubai, Shure Senior Marketing Manager, Marwan Nasr, discusses the company’s brand-new in-ear monitoring system…
What are some of the key features of the Axient Digital PSM?
Axient Digital PSM delivers a rich blend of technologies that combine to provide the most comprehensive and scalable in-ear monitoring system ever made. Some of its key features include superior performance and digital RF, exceptional audio quality with digital inputs, management and remote control with ShowLink and Shure’s Wireless Workbench software, flexible and scalable with widetuning transmitters and receivers, and four powerful and future-proof transmission modes, including WMAS capabilities.
With this extraordinary combination of features, Axient Digital PSM elevates flexibility, scalability and reliability to unprecedented levels and allows RF and monitor engineers to adapt the system to what they require in each production, giving them more creativity to meet their working needs.
What kind of R&D process went into the creation of the product?
We work really close to our customers and users to understand their main needs and challenges. When creating a new product, we have structured processes that ensure both the product’s development precision and alignment with customers’ requirements.
Ou r market development teams transfer their knowledge and feedback to the product and designing team so they can implement it when ideating a new product. Understanding the struggles of performers but also monitor engineers, RF engineers and rental houses has been essential to create our new digital in-ear monitoring system.
We’ve built Axient Digital PSM with a customer-centric mindset and to address the biggest pain points they face in top-tier touring acts and large-scale productions. It takes the legacy of PSM 1000 and brings digital wireless to the Axient Digital franchise.
Why is the product well suited to rental houses in the Middle East?
With Axient Digital PSM, rental houses will have a powerful in-ear monitor system that will allow customers and end users to be creative and decide what’s best in each specific production. With its four transmission modes – multi-channel wideband (WMAS), narrowband, analogue FM and Axient Digital standard (point-to-point), engineers can select the mode that ensures the best use of spectrum and rock-solid reliability depending on the situation, the performers, and the state of the spectrum.
Ad ditionally, the larger tuning bandwidth of Axient Digital PSM offers significant advantages for simplifying inventory management. It provides greater flexibility in frequency allocation, making it easier to find available frequencies in various RF environments and thus reduces the risk of signal interference.
This flexibility ensures efficient frequency management without the need for complex coordination. With a broader tuning range, organisations can reduce inventory requirements by stocking fewer models that suffice across different regions and applications, thereby streamlining stock management, lowering overhead costs, and minimising capital investment.
What are some of the potential applications for it in the region?
Axient Digital PSM will be used for stadiums, indoor venues and even broadcast studios. We are excited to see it being used in the biggest shows and events in the region.
Axient Digital PSM will be available in early 2025. For more information in the Middle East, customers can reach out to our sales representatives in the region.
Photos: Shure www.shure.com
7 Dwarfs SnowWhite
7 Dwarfs co-founder, Rudi Buchner introduces the new software aiming to improve work-life balance in the events sector by elevating efficiency.
What is SnowWhite, and what industry need does it address?
SnowWhite is an EventTech SaaS – a piece of cloud-based software that encapsulates the variety of work processes that surround the production of an event from the perspective of the organiser. It is a software that serves as a common platform for all the needs of those planning and producing events.
What are the main benefits to the end user?
SnowWhite brings superior efficiency to an industry that is still lagging behind many others when it comes to use of technology behind the scenes. It’s widely known that the events industry is one of the worst when it comes to work-life balance, with massive burnout rate. One way to achieve a better work-life balance is by making the working environment more efficient. So, we are aiming to elevate efficiency not only for the sake of a more economically sound model, but also for the sake of wellbeing in the industry.
Where did the idea come from, and how was it developed?
The idea came about while we were running back-to-back virtual events for months during the COVID-19 pandemic. We went from sitting in a room together and working things out to suddenly requiring a lot of data exchange through remote channels, and we had trouble managing the flow of information.
Coming out of the pandemic, we reflected on the projects we had done and realised that we had developed more efficient methods and workflows with one downside being that they lived in generic office software. We realised that the tech we used was the biggest hurdle on the way. Two years of fiddling around later, we now have a functional wireframe prototype ready. We demoed this prototype to potential users in the Middle East, Europe and USA and got super-encouraging feedback.
What issues could SnowWhite improve?
There are many. However, using the example of booking talent for an event, SnowWhite streamlines all manner of processes, from talent booking, travel arrangements, to hotels, catering, plus ones, technical requirements, stage setups, freight, logistics, and special requirements. All these things are consolidated in one data set and integrated into the event budget, which leads into the accounting system. All the data is archived, meaning that next time the same speaker is required, there’s no need to go through endless emails to dig up old information.
Every aspect of a gig is incorporated, so when one thing changes, there’s no need to waste time maintaining Excel structures and manually looking for possible impacts and loose ends. Everything from ideation to planning and from organisation to production is covered. We are approaching this in an onion-like model coming from generic event information to venue, talent, crew, suppliers, guests, logistics, travel, agenda, running order, setup, rehearsals, rundown, derig and audit. This includes sales and procurement processes linking back to accounting software as well as a huge emphasis on collaboration and work management. All these aspects
are linked, so if there’s a change on one point, everything below the line will be updated automatically, or the user will be alerted to ‘loose ends’.
Are there any potential barriers to success?
People have got used to their way of working, even if it is inefficient. SnowWhite is a comprehensive software package that is made to be as simple as possible for people to operate, but there’s always going to be a learning curve, and it will take time for users to learn how to utilise it best for them and their company. That makes it crucial for us to offer customisation services and training as part of the package when a client purchases the software as well as support services after rolling out.
The other more immediately pressing matter is the fact that SnowWhite is now at wireframe stage, and we’re seeking investment to fund the next stage of the project, which will allow us to onboard users in around a year’s time after programming. This is atypical for startups, which are usually on the market as quickly as possible. However, we want to achieve a high level of functionality and stability before going to market because we understand that we are providing a business software that clients will need to rely on from the start.
What is the long-term ambition for the company in the future?
That is connected to where we started. We spend an immense amount of time trying to understand the data structure and complexity of planning and producing an event, and with SnowWhite, we now have a structure that will in time allow us to work in a context of sector-specific and private AI. Once we have accumulated enough data, it can be used for machine learning and developing a better AI solution that fits the sector and is specific to the company, possibly the user. Within three years, we want to have an event AI module up and running that works on this level.
Photo: 7 Dwarfs www.7dwarfs.net www.snowwhite.pro
CT goes XL on LX
Fresh from a massive investment, Creative Technology Middle East’s Lighting department is going from strength to strength.
It’s no secret that Creative Technology (CT) has historically been known as a video specialist. However, as we discovered at the recent CONNECTME24 event at the company’s brand-new Dubai facility, CT has made huge strides in building out its other departments to become a true 360° supplier. One aspect of this development that has garnered particular attention recently is the Lighting department, which has been the beneficiary of massive investment in both people and equipment.
“Creative Technology’s Lighting division was a planned expansion, tailored to advance our regional goals and deepen our commitment to clients,” stated Managing Director, Andy Reardon. “For years, we’ve had requests from clients who need professional lighting services that integrate seamlessly with their projects. Recognising this demand, I felt the timing was right to establish a dedicated division capable of not just meeting but exceeding these expectations.”
Leading the department is Head of Lighting – and TPiMEA Awards 2024 Lighting Designer of
the Year – Sam Connolly. “At Creative Technology, we are proud to announce a significant investment in the latest lighting technology, underscoring our commitment to innovation and excellence in the region,” he commented.
“This large investment has resulted in the addition of more than 2,000 fixtures from some of the most respected brands in the industry, including Ayrton, Astera, Chauvet, Cameo, Elation, GLP, and Robe. These new tools are not just additions to our inventory – they represent a strategic enhancement of our capabilities, designed to meet the evolving needs of our clients and the increasingly complex demands of modern event production.”
Among the standout fixtures in this investment are the Ayrton Rivale Profile and Rivale Wash, both of which are set to become cornerstone tools in CT’s lighting arsenal. The company has also invested in the Ayrton Cobra, Elation Pulse Panel FX, GLP JDC2 IP, Robe iFORTE and iBolt as well as significantly expanding its wireless and battery-powered solutions with
additional Astera Titan Tubes and AX5 TriplePars.
These advanced fixtures are supported by an expanded inventory of MA Lighting grandMA3 consoles, now totalling 13 different versions.
“This comprehensive investment not only enhances our operational flexibility but also reinforces our reputation as the go-to provider for innovative lighting solutions in the region,” Connolly stated. “By integrating these stateof-the-art fixtures into our operations, Creative Technology is well-positioned to deliver extraordinary experiences and meet the highest expectations of our clients in 2025 and beyond.”
The investment isn’t limited to fixtures, with CT also boosting its networking capabilities.
“Our recent investment in Luminex LumiNode 12, LumiSplit 2.10, and GigaCore 20t pushes our stock over 100 units, reflecting our dedication to reliability and performance,” Connolly said. “We’re also thrilled to announce a major investment in distribution boxes from INDU-ELECTRIC.”
The Head of Lighting explained that CTME’s technology investments align with
regional demands. “An advanced networking infrastructure supports complex projects, and our selection of high-output fixtures from premium manufacturers is a showcase of our commitment to both performance and reliability – crucial factors in the Middle East’s competitive events market,” he stated, adding that the company prioritises “innovation, reliability and performance, versatility, scalability, integration and compatibility, as well as support and service” when making its purchasing decisions.
Managing Director Reardon concluded: “CTME’s Lighting division is focused on delivering world-class lighting solutions that support our clients’ creative visions and amplify the impact of their events. With a team of skilled professionals and state-of-the-art equipment, we ensure each lighting setup is crafted to be as dynamic and refined as our clients expect. By expanding into the lighting space, Creative Technology can now provide comprehensive AVL services, contributing more effectively to our clients’ successes and our regional objectives –fulfilling a long-standing demand for end-to-end audiovisual and lighting solutions.”
Photos: CTME www.ct-group.com
Managing Director, Andy Reardon, and Head of Lighting, Sam Connolly.
Procom becomes zactrack distributor
The company will represent the tracking brand throughout the GCC and Lebanon.
Procom Middle East has partnered with zactrack, becoming the company’s official distributor for the GCC and Lebanon.
“We are excited about joining forces with Procom and we are looking forward to this partnership,” commented Stephan Saremba, Managing Director of zactrack International. “Both companies have a clear focus on providing high-quality products, excellent customer service and solutions to address customer needs in the various markets we are active in. With the commitment and expertise of Procom, we are aiming to strengthen relationships with existing zactrack users as well as to expand into new markets,” he added. “We are thrilled to welcome Procom to the zactrack family and jointly grow the Middle East market with zactrack solutions.”
Ra mi Harfouch, General Manager at Procom Middle East, was delighted with the new
partnership. “We have seen the demand for tracking solutions precede the product offerings available, and we are happy to make it accessible in the region,” he commented. “I am especially excited about the zactrack mini kit, which offers affordable tracking for everyone.”
As the official zactrack distributor for the GCC and Lebanon, Procom Middle East will offer the PRO, SMART, and mini track kits.
Th e distributor now has responsibility for sales, after-sales service, technical support, training, and marketing for zactrack products throughout the region and will also showcase the capabilities of zactrack’s tracking systems in its dedicated display area and showroom in Dubai Investments Park.
Photo: Procom Middle East www.procom-me.com www.zactrack.com
Paxt expands MEA team
The distributor adds key team members in the UAE, Kenya, and Nigeria.
Music technology and audiovisual distributor Paxt is growing its in-territory sales team with key hires in Dubai, Nairobi, and Abuja.
“W ith a young and vibrant demographic, rich musical heritage and global investments on the rise, Africa’s time is now,” stated Tim Pollard, MD and owner of Paxt. “With music and pro audio professionals on the ground, supported by an experienced and growing team in the UK, Paxt is poised to meet the needs of Africa’s music and sound communities, making the most of the greatest growth opportunity the industry has seen in a decade.”
Anticipating a step change across Africa, Paxt made its first local hire in Nairobi early in 2022, bringing onboard Alvin Otemba, a DJ and sound engineer boasting a successful retail and pro audio integration career in Kenya.
In O ctober 2024, Paxt also brought on Adetokunbo Kola Adebunmi in Abuja, Nigeria, and Nisal Jayasinghe in Dubai, UAE.
Ad ebunmi is responsible for developing retail sales across West Africa, as well as developing a
growing roster of premium installation projects, while Jayasinghe is an established electronic music producer and DJ with experience in both Dubai-based MI retail and export logistics via Jebal Ali Freezone.
Su pporting all three from Paxt’s UK headquarters is International Marketing Coordinator, Ili Brooks. Under the guidance of music industry consultant and coach, Giles Orford, Brooks is developing ‘Paxt Relations’, a new division of Paxt, dedicated to promoting brands in sub-Saharan territories where demand is high and the community vibrant, despite go-tomarket solutions remaining in their infancy.
“It’s an exciting time to be leading the way for music and AV tech in sub-Saharan Africa,” Pollard said. “I’m very proud to be leading our growing team of local experts, representing the very best that our industry has to offer to Africa’s burgeoning creative talent, both today and in their bright and promising future.”
Photo: Paxt www.paxt.com
The Italian audio manufacturer expands is distribution network with the addition of MIFA Musique.
Powersoft is further expanding its distributor network by welcoming MIFA Musique as its new distributor in Morocco.
“We are excited to have Powersoft in our portfolio,” stated Karima Khireddine, Business Unit Manager at MIFA Musique. “Powersoft holds a reputation in excellence and reliability in high-performance audio amplification and energy efficient technology. Having the brand in our portfolio will help us differentiate from competitors, attract new business opportunities and build credibility in hospitality, live events and other verticals that require reliable, highperformance audio solutions.”
As the Powersoft distributor in Morocco, MIFA Musique will focus on driving sales,
Powersoft welcomes new Morocco distributor Plug & Play upgrades Martin Audio inventory
expanding market reach and establishing a robust presence in Morocco. The company aims to do this by identifying new opportunities, managing relationships with current customers, as well as providing after-sales support, organising training sessions and workshops for customers, retailers and professionals to ensure the customers understand the full capabilities of Powersoft amplifiers.
The company also aims to showcase Powersoft products at key industry events such as GITEX Morocco, further enhancing brand visibility and customer engagement.
“We are extremely proud to add such a high-value brand in our portfolio,” Khireddine commented further. “Working with Powersoft
will enable us to respond efficiently to the needs of our customers and enhance the level of professional audio installations in Morocco to meet the highest standards.”
Powersoft’s EMEIA Sales Manager, Varun Jagger, added: “This partnership positions both Powersoft and MIFA Musique for long-term growth in Morocco, as we collaborate to grow the professional audio landscape and provide unmatched audio products for Moroccan customers seeking the highest standards in sound quality. We are thrilled to have the MIFA Musique team on board.”
Photo: MIFA Musique www.mifamusique.com www.powersoft.com
The company invests in a WPC line array to deliver major festivals in Namibia.
Namibia-based event rental house Plug & Play Event Solutions has reenforced its Martin Audio inventory with the purchase of the manufacturer’s flagship WPC line array, supplied by Martin Audio’s South Africa distributor, Audiosure.
Ru n by the father-and-son team of Jared and Guy Geyser, Plug & Play has a long history with Martin Audio, first purchasing Blackline XP12 and XP118 active subs, then a TORUS system and now its latest acquisition, 24 WPC boxes with 12 SXH218 subs.
While Namibia also has a vibrant dance music component, it’s the festival, carnival and band work that has proven to be the more sustainable part of Plug & Play’s activities. “Hence the reason we have now invested in WPC and a lot of additional backline,” Jared explained. Plug & Play’s WPC purchase almost fell through due to the company losing the event
they had originally been quoting it on. “However, we felt committed to Martin Audio, and although we naturally had reservations about moving ahead, we were persuaded to go for it – and we’re so happy we listened to that advice,” Jared stated. “It really moved us up a gear.”
Th e system debuted at The Deep Dive Seafood & Wine Festival in Windhoek. “We had a lot of bands from South Africa and the guys who mixed them said the sound was phenomenal –among the top three in the world.”
With the WPC came three iKON touring racks, each plugged with three iK42 process controlled amps. The full array – 12-a-side – will be on regular duty during December, with several major seasonal events ranging from EDM to festivals, with up to 8,000 attending.
Photo: Plug & Play Event Solutions www.plugandplay.co.za www.martin-audio.com
