PALM technology September-October 2017 by PALM AV-ICN Expo Magazine

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from the editor

Anil Shiv Raj Chopra

The Real Lighting Market

Audiovisual is a catalyst driving pro audio. PALM Technology is evolving to global trends. Starting with this issue Audiovisual product and technology editorial is included. Audiovisual is a catalyst driving pro audio. India is being built in a frenzy of projects driving consumption of the entire chain of pro-audio - specifically PA, conferencing, audio networking and more. India’s pro audio industry is maturing rapidly. Equally need to deliver the video equation; it’s necessary. PALM Technology PALM Expo’s unique content platform will deliver latest product in entertainment and information display- video monitors, videowall, LED displays, projection and tools like mapping, display automation and more. PT will be your source for AV integration. PALM Expo 2018 hosts audiovisual exhibit in Hall 1, in response to demand from the large system integrator community regularly doing the show. Install [sound] news section has been renamed AUDIOVISUAL - More juice on global trends in PA and install sound.

Lasers

Is show business in India at a very low denominator? I’ve spoken about missing music talent in PALM Technology, reason for absence of hit albums and singers and thus compromising music recording excellence. With missing talent, stage shows too must be at the same level and budgets for shows that do happen are budgeted tightly enough to obviate use of lasers, which market is sadly not as promising as one would wish. Check out the disturbing market reality on Top End Lasers Missing from Rental Portfolio investigated by Managing Editor, Smita Rai. Event industry please note. Entire lighting industry needs a mojo shot. Top end brands such as Robe, Clay Paky, Chauvet, SGM, Ayrton, retain faith that Indian market response will mature, yet hopeful, as potential is real. Major shows will always insist on world class quality. Lighting designers here have international exposure and adept at the tools and techniques, use the best lighting consoles. PT is tireless in motivating the market

The real lighting market

The action from Asian brands like YODN, PR lighting, Lightsky, Yeslight, Antari, Bestchamte- lasers, Silver Star, Yicheng, Nightsun, Fine Art, GTD lighting, Anmingli, nothing short of fantastic. Indian brands- JNR, Prolux, Satan, Shaina, Sova, LBT, Jia, Imax – too rock the market. Note Asian Brands means cost effective pricing, affordable pricing. What this really means is that consumption is actually huge - Great scope to go the whole hog with production and design in India. I am surprised to learn that the transition to LED is yet not 100%. Lighting results are so subjective old technology still works. Check out Product Focus on [page 68] – Moving Lights. In recent years combination fixtures capable of tight spots and wide floods have gained a foothold in the industry. Zoom focus optics allows the beam size to be controlled. LED tech allows to get these results with fewer fixtures. What comes to mind is Canara Lighting which has made a global name in LED studio lighting with innovation and electronics and engineering that is world beating. Reinventing production locally can easily be achieved for stage entertainment lighting.

Lighting puzzle on stage

The PALM Sound Light Awards which honours excellence in stage sound and lighting honoured Modern Stage Services Pvt. Ltd., Delhi with the ‘Innovative Projection Mapping’ award for the GVK Wedding in Hyderabad in 2017. From l-r: Gordan Payne - Asia Regional Director, ITE Asia Exhibitions Limited; Vibhore Khandelwal - Founder, Creative Factory, Mumbai; Pratik Vadhwa and Davinder Vadhwa of Modern Stage Service Pvt. Ltd., Technical Evangelist, Vijay Sabhlok; Manish Gandhi - COO & Director, ABEC Exhibitions & Conferences and Anil Chopra - Editor, PALM technology magazine

Par défaut or in plain ‘french’ by default the entire stage is packed with light. The IIFA award ceremony in New York is a perfect example. An Indian stage show whether in New York or Mumbai will prime in glitz and bling till you go dizzzy. So it is explained 90% are ordinary lights and only important or moving heads or intelligent lighting [some of them] are top quality. Premium brands thus have lost out on mass usage. The Lighting Design Showcase at PALM 2018 will explore a resolution of this haze.

Audiovisual - Projection Integration

Adiovisual is the mantra and PT provides in-depth understanding of multi-imaging projection, or mapping, as we know it. Vijay Sabhlok from Davinder Wadhwa’s Modern Stage stable does the Integration for Entertainment design at PALM Expo for the last many years. His piece - Art of Multi-Imaging production and techniques [page 40] is almost a white paper for wannabe ‘Visual Jockeys’. Don’t just read this one, my advice study it and you’re in business!! Just in case you get serious we have Mapping Glossary [page 72]

11 Questions

Eric Loader is Elated with the performance of his lighting brand in India. His interesting views on Immersive stage techniques and merging of lighting and video and future tech with laser phosphor diodes is a must read. Big Stage DJ is our next focus issue and the big DJ stage is all about lighting as much, PT will have a Product Focus on lighting consoles in the November-December issue which celebrates Christmas and the close of one more year of PT, the love of entertainment technology.

September - October 2017

Anil Shiv Raj Chopra - Editor

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Contents News 12

Sound & Stage Sun Infonet Launches AudioFocus; Live Mixing Classes with Robert Scovill; Digico Launches Pre-Amp Card for added connectivity on S-Series; Harman’s Touring Audio Seminar; Soundcraft debuts Vi-1000 Digital Mixing Console; Dynatech adds soul to Perfect Sound; Sennheiser’s XS1 Wired Microphone; Shure Debuts Super 55 Pitch Black Edition Mic; Mackie thump series gets complete redesign and expanded lineup; Mackie pushes the party DJ Neil; Pee Pee Sound & Lights Invests In Dynatech-Marani; Pioneer Pro Audio introduces the XY-3B and XY-2.

64 Roosevelt D’Souza’s designs have lighted the stage for many music awards and live musical concerts of many Bollywood singers like A.R Rahman, Adnan Sami, Atif Aslam, Ankit Tiwari, Asha Bhosle, Arijit Singh etc.

Audiovisual OHM Appoints Executive Director for APAC; CODA Audio Strengthens Its Marketing Team; NEXT PXH95 Mid-High Speaker with High Attributes; KV2 Audio appoints technical support director; Studiomaster Professional AiR Pro 18; GLX-D Advanced Digital Wireless Now Shipping; HARMAN India elevates connected enterprise with Audio, Video, Lighting and Control systems; Electro-Voice Broadens EVID family; Raise Your Glasses to Dinning Sky-high with Qbba Terrace; Shure ANIUSB-MATRIX and ANI22, now shipping; Studiomaster Professional XVP1810 1000W subwoofer; “Wireless Mastered Digital” by Shure and Sun Infonet; Harman Announces Workforce Consolidation; Bose Professional introduces new revolutionary products; Coretronic & Calibre Strategic Handshake; Bose Professional introduces new revolutionary products.

Columns

Lighting Star Dimensions Lights Historic Road to Ultra Show; PR Lighting extends waterproof range; Airstar APPOINTS New Export Manager; Ayrton first LED spot Ghibli Launched at PLASA 2017; David Stewart Joins GLP; Butterfly II Fixture shipping now; Chauvet Professional Maverick Series New Additions; Robe Deutschland HQ Inaugurated; Claypaky K-EYE HCR K-20 wins the Plasa Award; Elation Launches Artiste Dali Moving Head and Dartz 360 LED beam / spot fixture; Rosco & DMG Lumière Fuse Together to Create Excellence; ETC’s Unveils Upgraded Ion Series & Software; Robert Juliat introduces Dalis 862S and SpotMe; Robe’s launches MegaPointe Moving Light Fixture; Jerad Garza joins Ayrton’s sales team; Eaton expands Zero 88 FLX Lighting Console; High End SolaFrame 750 at PLASA.

Audio and Music Production

DJ Technology

The Bright Spark

SoundIdeaz

An Unequal Music

See The Light: Viraf Pocha talks about the evolution of lighting and transition to LED and the limitless possibilities that the future holds.

Music Producer: Pramod Chandorkar talks about the role of the Music Producer in today’s age while taking us back to how songs were composed and recorded, back in the golden days.

Rehash Recap: Dissecting the new mantra of rehashing old music; also featured is this month’s list of tracks making it to the top 10 on the music charts.

“

When projecting on shapes, like domes or even human beings, you cant have normal media which is made in any random pixel size and then assume that this is going to fit; it’s not. For that you need to create specifically pre-distorted media.

Meyer Sound’s Bluehorn Loudspeaker is Available Now; Rupert Neve Designs Introduces the 535 Diode Bridge Compressor; Yamaha MMP1 Studio Monitor: A Level Up; Royer Labs announce New R-10 passive ribbon microphone; LOUD Technologies acquired by Transom Capital Group; PMC launches result6 Compact Nearfield Monitor; Focusrite’s new 2X2 Dante interface & Red16line; IZotope ushers in the Next Evolution of Mixing and Mastering with Ozone 8 and Neutron 2; Focusrite and McDSP announce new bundle.

Pioneer DJ Introduces DDJ-XP1 Pad Controller & Rekordbox 5; Latest Pocket-Sized Dj Controller by Numark; RP-7000MK2 Professional turntable; reloop; Numark Ships new NTX1000 Professional-Caliber direct-drive turntable; Roland’s new Dj-505 and Dj-202 Controllers.

September - October 2017

Vijay Sabhlok

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Ahuja Radios, New Delhi

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Alphatec Audio Video Pvt Ltd, Kolkata

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Beyerdynamic India Pvt Ltd, Bangalore

Sennheiser Electronics India Pvt Ltd, Haryana

Bose Corporation India Pvt Ltd, New Delhi

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Calibre Sound Systems Pvt Ltd, Mumbai

SKE Audiotech, New Delhi

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Sonotone Audio LLP/JTS, Mumbai

Circle Pro LLP, Mumbai

Star Megatech, Ahmedabad

Dev Electronics, Mumbai

Sun Broadcast Equipments Pvt Ltd, New Delhi

Global Pro Audio Management, New Delhi

Sun Infonet Pvt Ltd, New Delhi

Harman International (India) Pvt. Ltd., Bengaluru

TOA Electronics India Pvt Ltd, Haryana

Trimac Products Pvt Ltd, New Delhi

IFC

Ultraacoustic, Mumbai

Hi - Tech Audio, Noida

Kiran Sales Corporation, Mumbai

Krystal Cables India Pvt Ltd, Haryana

46, 47

Vardhaman Megatech Private Limited

LBT Electronics Pvt Ltd, New Delhi

Video Wall India Pvt Ltd, Mumbai

Modern Stage Service Pvt Ltd, New Delhi

Yamaha Music India Pvt Ltd, Haryana

Narain Pro Audio Lighting Pvt Ltd, Mumbai PALM Expo 2018, Mumbai

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PLAN YOUR PARTICIPATION www.palmexpo.in September - October 2017

...yet still reach the congregation clearly.

AM-1 Real-Steering Array Microphone Placed flat and unobstrusively on the podium, the real-time steering array microphone tracks your voice and captures it clearly and uniformly. Equipped with a built-in sensor, the microphone detects sound sources and steers its beam angle automatically in real-time to focus on that source. This frees speakers to move back and forth in the vicinity of the podium, turn or tilt their heads to address different sections of the audience, or gesture naturally without concern for the location of the microphone.

We supply sound, not equipment. www.toa.co.in

TOAINDIA

Sound & Stage

Sun Infonet Launches AudioFocus at Bengaluru and Goa Sun Infonet, Delhi based distributors of Pro Audio and Pro AV has initiated campaign for promoting its latest brand acquisition Audio Focus. The Company recently made a big splash in the audio industry with the actual launch of the products at a specially devised programme in Bengaluru & Goa. Since the day, Sun Infonet added Audio Focus the Belgian audio maker to its portfolio in mid Indian summer this year – the

topped by a pair of FR-X15 units. In addition, also roped in a pair of CM 15 two-way stage monitor that is more or less similar specs as FR-X. “It comprised all those musical buffs that make and matter to musical entertainment not only Goa, and Western Ghats, but beyond,” ratifies Rohit Reddy, Manager Projects, Sun Infonet. “We were sure, anyway, of the Goa & enthusiasm,” explains Rohit, “yet, we wanted to test how these robust systems would be taken; and we

single operator can set up the full system of eight elements in about ten minutes,” says Felix Remedios, Managing Director of Reynolds Inc. “That’s just one beauty of the system; there are more.” The MTsub218 MKII units, similarly, are powerful state-ofthe-art subwoofers designed for a wide range of sound reinforcement applications from outdoor events and concert halls to theatrical venues where high-end sound quality and return on investment are crucial. Again, the unit’s Dual 18’’ Faital Pro brings in the efficiency of 106dBspl 1W/1m 2pisr and a wide bandwidth 40110Hz @-3dBspl. Power handling of the unit bass is 1400Wrms while its active version

The FR-X12, a very compact, 2-way self-powered enclosure featuring 12’’ neodymium speaker in a bass-reflex enclosure and one 1,4’’ ferrite compression driver coupled to a versatile AF horn. The unit operates over the nominal frequency range of 55Hz to 20 kHz. Its AF versatile horn generates 80° x30°asymmetric directivity pattern and is easy to rotate in a few seconds. The FR-X rigging system allows assembling a horizontal or vertical array with constant curvature. That the unit’s cabinet is made of first grade Baltic birch plywood, it stays sturdy and robust even in most challenging outdoor environments. “We wanted to test it, as a first measure, in front of our target buyers- which is why we chose this outdoor venue,” reasons Felix on the choice of the location for the occasion. “The systems are powerful, and more reasonably priced; we are

Sun Infonet Promotional Campaign for Audiofocus at Bengaluru announcement coming from the Show Floor of PALM Expo, that the company had been mapping the growth strategy for the premium audio brand.

Venues Detail

In line with the strategy, Sun Infonet had chosen Bengaluru as a launch pad for the ambitious programme, organized in association with Sun Infonet’s South India channel partner Reynolds Inc. at the White Petals Hall on the premises of Palace Grounds. The system set-up here comprised two sets of seven each ARES 8 line arrays hung from a vertical truss on either side of a central stack comprising eight MT218 MKII subwoofers, and topped by a pair of FRX 12 enclosures. As expected, Goa acknowledged as the musically charged city, chosen by Sun Infonet as their next destination of ‘Audio Focus’. This programme was organized in a scenic, luxury resort near Porvorim the tourist-potential capital of Goa, to a gathering of potential musical channel partners. Here, the set-up comprised a pair of four-each ARES 8 line arrays on either side, centred with a pair of two-each unit of Mtsub218,

September - October 2017

stand endorsed,” he says about the impact the event generated among music circles of the region. “We do intend to take the impact further, to other regions of the country, with a careful planning,” clarifies Neeraj. “We plan it in accordance with the flexibilities of regional partners,” he explains. “There is a tremendous enthusiasm about the brand; we want to make sure it stays, and true.”

The ARES 8, MTsub218 & FRX12 Features

The ARES 8 line arrays, said to bring all those benefits of real line arrays complying to the WST (Wavefront Sculpture Technology) criteria, suitable for a wide range of sound reinforcement applications from small scale concerts to large theatrical performances. The system’s Dual 8’’ Faital Pro handles low-mid frequency range while at the same time its 1,4’’ exit compression driver coupled to a waveguide does a smooth top end address. Compatible with Bi-amp and Powersoft, these systems come with plug ‘n’ play versions too where it is made with preset, DSPs and Amps from both of them. “It’s very compact, lightweight and equal to large conventional LAs; a

Sun Infonet Promotional Campaign for Audiofocus at Goa can reach up to 2000 Wrms- based on the high quality Powersoft Digital amplifier, tagged to it. The agnostic nature of the MTsub2018 MKII enables it work seamlessly with systems like Lake, XTA and Q-Sys, besides the preferred Powersoft amps that come with custom presets. Audio Focus’ Asia Business Director Nicolas Kirsch – who was on site to monitor the system specs and performance parameters – explained the set-up nuances while interacting with the programme participants on the ‘experience’ they were through.

glad we have a brand now, equal to systems of larger size and stacks, but low on price.” “Audio Focus is a brand renowned for premium performance,” explains Neeraj Chandra, Director of Sun Infonet, who was on site to ensure the first splash made the right impact. Visibly glad with the enthusiasm shown from the musical buffs around, the Sun Infonet Director said that they have planned for a series of similar programmes across the country for the aggressive promotion the brand.

Sound & Stage

Live Mixing Classes with Robert Scovill Ansata, the authorized representative of AVID professional audio products in India – joined hands with the leading audio brand to deliver a series of intense live mixing masterclasses in Mumbai and Bangalore, which was conducted by Robert Scovill. He is a decorated veteran sound engineer and a winner of 6 TEC Awards as best live mix engineer. He shared some invaluable pearls of wisdom in addressing a live production scenario. The masterclasses, which were conducted in Mumbai at Hotel Sea Princess – Regal, while in Bangalore on at The Chancery Pavilion hotel, were meticulously designed by team ANSATA and AVID to help users get the most out of mixing with the AVID Venue systems. Robert from his vast experience shares the mixing aesthetic values and nuances using his favorite console VENUE S6L and gave tips & techniques and stressed on making the most out of the digital console. In the session he made aware of how a master craftsmanship of sound Engineer should be, integrating and incorporating new technology, to better enhance and refine the arts of mixing craft. He brilliantly explained on VCA grouping strategies, effective use of matrix, analog vs. digital metering and share more intricate tricks such as the Abbey Road Reverb Technique, New York Compression and more. Robert also discussed aspects such as

delay compensation in the live world scenario and dealing with latency in digital consoles. The sessions in both cities enjoyed a rousing response, clocking approximately 120 attendees in total, with visitor profiles across both cities comprising serious participants from the realm of live sound encompassing aspirants, amateurs and professionals. Some of the country’s top engineers like Mujeeb Dadarkar, Ashish Saksena, K.J Singh, Lee Braganza, Hozaifa Sayed, Dwayne Das, Bruce Rodericks, Mark Thomas, and Sean Bout; along with noted industry professionals like Felix Remedios, Warren Dsouza, Manish Mavani, Anish Purao etc. who are the head honchos of some of India’s leading sound rental companies were also present. Reputed engineer Ashish Saksena (personal engineer to Farhan Akhtar, Shankar-Ehsaan-Loy), aptly shares personal views saying, “Every time Mr. Scovill comes down we learn something new and amazing. This time was no different; we had an awesome workshop on mixing workflows and console management for a large number of tracks, and the entire experience was very enlightening to say the least. An amazing experience indeed”. Hozaifa Sayed (senior faculty, department of sound at SeamEdu Media School) added to this saying, “It is always a pleasure to learn something new, and when it comes from a world renowned and respected engineer like Robert Scovill, the experience is just enhanced to

The live mixing masterclasses were meticulously designed by team Ansata and Avid to help users get the most of AVID Venue Systems. a whole new level. Getting to know the intricate details of the VENUE S6L system and learning the finer nuances of the craft of live mixing from Robert was enlightening on so many different levels. The way he incorporates real-world examples into his dissertation is absolutely amazing and makes the entire experience of learning so very relatable and memorable.” Jaigopal a.k.a Joe (director of Pondicherry based audio rental company Sound Garden) commended the session for being a holistic learning experience as he shared, “Not only is Robert an amazing engineer, he’s also a truly gifted teacher. This was not your typical masterclass which is usually only about the product and nothing else. Instead, Robert’s focus throughout the session was more on work ethic with an emphasis on understanding technology in a broad sense. That’s what made this session truly amazing, and a real masterclass in every sense of the word”.

Appreciation was reciprocated, as Robert praised the attendees, he commented “India is a very fertile ground filled with energy right now with regard to music and concert production. If I contrast this visit to my last visit just a few years ago, the amount of growth in both knowledge and of modern audio concepts and techniques is striking. There is a real and sincere hunger for insights in how the rest of the world works and they are putting that knowledge to use here. I am also thrilled by the amount of VENUE console adoption that has taken place in this region of the world. I’m so thankful to have a company the caliber of Ansata representing VENUE as well as other Avid products. Leslie (Lean) has enlisted and groomed a very well rounded staff at Ansata and they are positioned perfectly to positively impact the landscape of pro audio through intense dedication to education of users at every level of competency here in India.”

Digico Launches Pre-Amp Card for added connectivity on S-Series DiGiCo has announced the launch DiGiCo consoles are used on of a new DMI-MIC Pre-Amp Card for many of the biggest live sound its S-Series digital mixing consoles, tours and events around the world offering additional connectivity. The S-Series has already benefitted from an increase from 40 to 48 flexi channels as part of a recent update, and the new DMI-MIC PreAmp Card adds an extra eight mic inputs, connected via a 25-way D-sub, using the same pre-amps already found in the console. This allows for up to 40 mic inputs directly on the console surface. DMI-MIC Pre-Amp Card

September - October 2017

and the launch of a new, compact S-Series makes this pedigree of audio performance available to every part of the industry, with Stealth Digital Processing introducing a new standard of audio quality, power and flexibility. The S-Series multi-touch touch screens, break the mould for small format consoles, with up to 31 faders, 96 kHz processing, Internal FX

and bundles of I/O. With plug-in DMI cards the S-Series can operate in a wide variety of environments by adding extra I/O or connectivity options, including MADI, Dante or Waves SoundGrid. “The new DMI-MIC Pre-Amp Card shows our continued commitment to our products,” says DiGiCo general manager, Austin Freshwater. “To take advantage of this and our other DMI card options, we are running a Get Connected programme, so contact your local dealer for full details of the programme and get connected soon!”

Sound & Stage

Harman’s Touring Audio Seminar IMPARTS TRAINING TO EAGER ATTENDEES Harman Professional solution India experience with using Line Array recently conducted the Touring Calculator to measure the venue Audio Seminar, which was aimed while showcasing JBL VTX series at imparting hands-on insights and cabinets, the V20 and the G28, as specialized knowledge to industry well as the M22 and M20 stage professionals. From product overviews wedges. to a very special masterclass to The seminar was also graced by realistic practices in a practical the famed and critically acclaimed scenario, the seminar covered it all. Vijay Dayal, Chief Recordist at This seminar was a perfect case in Yash Raj Studios, who shared point. It was attended by a healthy numerous anecdotes from his long mix of attendees, all eager to gain and interesting journey, as well as an insider’s viewpoint into the snippets from his recent recording varied aspects of Touring Audio that ventures for big banner films. He included technologies and techniques, also touched upon his tryst with in addition to various tips and tricks Analog vs. Digital consoles. of the trade. The seminar ended with a Ashish Barje, Harman India’s fruitful Q&A session, during which national sales manager, broadcast the participants were able to take and lighting, kicked off the event with a product overview covering Soundcraft’s Vi1, Vi2000, Vi3000, Vi5000 and Vi7000 mixers. His presentation tackled topics such as compatibility modes, troubleshooting issues, I/O options and interfacing. Senior Application Attendees gain an insider’s perspective into the varied aspects of Touring Audio

Vijay Dayal, Chief Recordist at YRF Studios with HARMAN’s Senior Application Manager, Sunil Karanjikar Manager, Sunil Karanjikar then took over and discussed about system configurations and the best possible practices in the real world scenario. He spoke at length, even showcasing the advantages of working with specialized JBL software such as Performance Manager and Line Array Calculator. In fact, Sunil even gave a sneak peek at the file he had created for the Mumbai leg of the Justin Bieber Purpose World Tour! Mr Karanjikar wrapped up his sessions with a practical session, granting attendees hands-on

a closer look at the equipment on show. ‘Over the past few years, the technology in our products has grown by leaps and bounds,’ said Prashant Govindan, Senior Director, India and Sri Lanka at Harman. ‘We feel it is our duty to bring our partners and endusers up to speed with such developments. This seminar was a perfect gathering where the professionals learnt about the latest updates, and we were exposed to their views, suggestions and invaluable feedback.’

Sound & Stage

Dynatech adds soul to Perfect Sound Mumbai based Sonotone, exclusive distributors of Dynatech in India recently announced the purchase of the Dynatech CX-15 Stage monitor loudspeaker and Dynatech V-7000 power amplifier by noted sound rental company in the north-east - Perfect Sound. The ace rental company have been a big hit with musicians across the region, who claim that they prefer to work with the company mainly due to the high level of on-stage monitoring services that the artists enjoy, thanks to the rental company deploying a pristine stage monitoring solution from market leaders Dynatech, mainly comprising the versatile and efficient CX-15 loudspeakers, driven by the

ever dependable V-7000 power amplifiers. Atanu Mal – Director of Perfect Sound, comments “The Dynatech CX-15 is superior in performance and there’s no two ways about it. The speakers have an incredible frequency response and the tonality that it delivers is absolutely amazing. We’re the first rental company in the northeast to have purchased and deployed the CX-15 as the eminent stage monitoring solution across all our shows back then, it gives me great joy that these speakers have always lived up to every expectation, every single time. And when you have a world-class amplification solution like the V-7000 from Dynatech to power

Raise Your Voice with Sennheiser’s XS1 Wired Microphone Sennheiser, audio specialist is expanding its microphone portfolio with the wired XS 1 dynamic microphone an ideal vocal microphone that enhances the personality of the voice and stays true to it. This rugged, entry-level mic brings Sennheiser quality to the applications ranging from solo vocals to choir miking and speech. Sennheiser’s new wired dynamic cardioid microphone is the perfect fusion of excellent live sound and easy handling on a budget. It has been designed for first-time and casual users who appreciate simplicity, upfront vocal presence in the mix, and no complications. XS 1 comes in all-metal housing and therefore is a reliable companion on any stage. As a singer, presenter, or entertainer, the renowned Sennheiser live sound is perfect.

For music lovers and presenters

The XS 1 features balanced, fullbodied sound with a slight emphasis on the treble, which ensures that vocals will easily cut through high on-stage sound levels. Its cardioid pick-up pattern provides additional isolation from unwanted sound and

September - October 2017

these amazing stage monitors, the result is nothing short of magnificent. Clear output is what artists always desire, and that’s exactly what they get with the combination of the Dynatech CX-15 and V-7000!” The purchase was commissioned through Sound Control – the

authorized dealer for Dynatech products in the North East – affirms that several key players in the live sound circuit from across the region have purchased multiple units of the prodigious CX-15 multi-application loudspeaker from Dynatech as a key addition to their existing inventory.

Shure Debuts Super 55 Pitch Black Edition Mic

great feedback rejection. The capsule is shock-mounted to minimize handling noise, while the mic’s frequency response (55 to 16,000 Hz) filters out any structureborne low-frequency noise.

Shure Incorporated has announced the release of a limited quantity of the Super 55-BLK Deluxe Vocal Microphone Pitch Black Edition, in time for the upcoming holiday season. The new Super 55 Pitch Black Edition is a modern take on the classic Super 55’s look and performance. This limited edition microphone features a matte black die-cast case, black foam, and smooth frequency response for natural vocal reproduction, and comes with an integrated, swivel stand mount base and microphone bag, perfect for any performance onstage and on-screen. The Model 55 Unidyne defines classic microphone design just as much today as it did more than 75 years ago when it made its official debut. For vocal performers, the Super 55 Pitch Black Edition’s eye-catching black-

In full control

The XS 1 provides great

ease of use, with a silent Mute switch that puts users in full control of their sound transmission. Whenever the switch is not needed, it can be securely locked in the “On” position. The microphone has been designed to be rugged enough to take on a life of performing – with an all-metal body and a hardened sound inlet basket to protect its capsule. The XS 1 cardioid dynamic microphone is delivered with a stand mount and a leatherette pouch for transport. XS 1 Technical data • Transducer principle: dynamic • Pick-up pattern: cardioid • Frequency response 55 … 16,000 Hz • Sensitivity (free field, no load, 1 kHz): 1.8 mV/Pa • Connector: XLR-3 • Min. terminatingimpedance: 1 kΩ • Nominal impedance: approx. 300 Ω (at 1 kHz) • Dimensions: approx. ⌀ 48 mm x L 180 mm • Weight: approx. 330 g (0.73 lbs) • Temperature range: 0 ° C ... +40 ° C (+32 ° F ... +104 ° F)

on-black design is a twist on the classic and adds a sleek style to production. The rigorously-tested supercardioid microphone cartridge rejects unwanted noise and prevents feedback. The shock-mounted cartridge and tough, die-cast case reduces handling noise and protects it from damage. “For vocalists, microphones are vitally important as they can make or break performances. Microphones need to have premium sound quality and finish as well as durability,” said Soren Pedersen, Product Manager at Shure. “The new Super 55 Pitch Black Edition is a tourproven, dynamic microphone delivering worldclass performance with a modern take on our classic design. We are excited to be able to offer this sleek, new design for the holiday season.”

Sound & Stage

MACKIE THUMP SERIES GETS COMPLETE REDESIGN AND EXPANDED LINEUP In August, Mackie launched the all-new completely redesigned Thump Series Powered Loudspeakers – Thump12A, Thump15A, Thump12BST, Thump15BST and Thump18S. The new 13000W Thump Series reportedly delivers more power and reliability than ever, plus a host of convenient features like built-in mixers, speaker modes and much more. Totally new for the Thump Series are two Thump Boosted models, the 12” Thump12BST and 15” Thump15BST. “Redesigned from the ground up, the new Thump Series speakers are our most flexible and powerful Thumps ever,” remarked John Boudreau, Mackie VP of Product Management. “With a choice of four full-range models, plus a companion subwoofer, it has never been easier to choose a Thump system that fits your needs and budget perfectly.” The Thump Series is equipped with custom-designed, high-output woofers and 1.4” titanium dome compression drivers plus an all-new ultra-efficient amplifier design with Dynamic Bass Response technology and next-generation system protection. So when you need maximum performance and chestpounding bass, Thump loudspeakers will always have the power on tap that you need. The 1300W Thump12A and Thump15A feature a built-in 2-channel mixer equipped with Vita preamps and Wide-Z technology that can easily handle mics, instruments and line level signals without any additional equipment or adjustments. Plus, with four application-specific speaker modes, you can optimize the system for your needs at the push of a button. Thump Boosted Advanced Powered Loudspeakers reportedly take Thump to a whole new level of versatility and control with the Thump12BST and Thump15BST models with advanced DSP, wireless control, linking, and streaming. They include a built-in 3-channel digital mixer that features two digitally controlled Vita+ preamps with Wide-Z technology, 3-band EQ per channel with variable highpass filters on Vita+ inputs, and six speaker modes. For convenient

September - October 2017

control and visibility, the back panel features a crystal clear, high-resolution colour display showing channel metering, levels, EQ, and more.

configuration. Three memory presets can even be saved to streamline setup at some other gig. Utilizing the latest Bluetooth technology, Thump Boosted loudspeakers can wirelessly link

In addition to back panel control, Thump Boosted gives complete wireless control over everything using the Thump Connect app available for iOS and Android devices. Quickly access levels, EQ, meters, and

directly to each other at up to 100 meters for music streaming applications plus give you wireless control over the entire system via the Thump Connect app. With options for stereo or dual-zone system

configuration, Thump Boosted is an incredibly flexible music playback system that is up and running in minutes. “Advanced DSP and wireless control in a PA system is now more attainable than ever with the new Thump series,” says Boudreau, “Combined with the rock-solid amplifier design, acoustic tuning, and gig-friendly hardware, Thump Boosted is a huge leap in versatility and capability in an ultraaffordable powered loudspeaker system. Thump Series loudspeakers continue to deliver class-leading performance and value with more flexibility and control than ever before. Whether you need the no-nonsense power and reliability of Thump12A and Thump15A or the advanced processing and wireless technology of Thump Boosted, the Thump series is ready to revolutionize the way you experience live sound.”

Mackie pushes the party in full throttle with DJ Neil Neil Hoskins also known as DJ Neil is a busy corporate executive by morning and a groovy DJ by sundown. Hailed as a distinguished performer in the local entertainment scene in Bangalore who renders comprehensive music and entertainment services for a variety of live events and gigs across the board, DJ Neil has recently invested into adding multiple units of the world’s favorite portable active loudspeaker system – the Mackie Thump – to his line of personal inventory. The purchase, as confirmed by DJ Neil, came as a direct result of a sharp increase in the number of gigs over the span of many months; and was sourced through Chennai based Ensons Electronics – the official representative of Mackie in the region. Neil comments “I play all kinds

of electronic music with my forte being commercial and retro. I’ve been doing this for quite a while now, and I’ve realized that electronic music deserves speakers with certain key characteristic sound delivery. Audiences react with more energy and enthusiasm if they notice the quality of sound is good – and as a DJ/performer that’s what you really want. I experienced that very difference personally when I started

using my new Mackie Thump15 loudspeakers with the Mackie Thump18S. As expected, people loved the music I played even more because of the quality of sound, and it was evident in their enthusiastic response. What I found was a whole new world of flexibility and efficiency with unparalleled control over the quality of my sound, and the gigs became livelier than ever before. The fact that events just keep pouring in should say it all. I am extremely pleased with my decision to go with Mackie!”

10MD26

12 MH32

15 NDL88

700W continuous program power capacity

800W continuous program power capacity

1400W continuous program power capacity

76mm (3 in) aluminium

76mm (3 in) copper voice coil

88mm (3 in) aluminium voice coil

80-4000 Hz response

50-3000 Hz response

45-3000 Hz response

100 dB sensitivity

101 dB sensitivity

99 dB sensitivity

18SW115

18TBX100

DE750TN

3400W continuous program

2400W continuous program power capacity

220W continuous program power capacity

power capacity

100mm (4 in) copper voice coil

2” horn throat diameter

116mm (4.5 in) split winding

35-1000 Hz response

75mm (3 in) aluminium voice coil

copper voice coil

97 dB sensitivity

Titanium diaphragm

35-1500 Hz response

500-18000 Hz response

sensitivi 97 dB sensitivity

sensitivi 107.5 dB sensitivity

35, Vijay Chambers, 1st Floor, Opp Dream Land Cinema, Tribhuvan Road, Oﬀ. Lamington Road, Mumbai- 400004, India Tel: +91 22 23881926/ 23887909 | Email: sales@premierprogroup.com | Fax: +91 22 23820932

Authorised Distributor

Sound & Stage

Pee Pee Sound & Lights Invests In Dynatech-Marani Pee Pee Sound & Lights, Siliguri, have confirmed that their success lies in the unparalleled performance of their comprehensive audio system which comprises a fine amalgam of world class products from market leaders Dynatech and Marani, with the reputed rental company’s loudspeaker setup hosting the state-of-the-art DLA212 line array system that’s juiced through multiple units of the powerful and efficient V series power amplifiers, and controlled through the ever reliable Marani DPA260P loudspeaker processors. The company confirms that this system is the backbone of their FOH line-up, and through practical

usage, has helped them reinforce and commission events of every scale and nature (ranging from live music events to DJ gigs and everything in between) thanks to the charismatic nature of the products. The products were purchased through Siliguri based The Sound Control – the official representative of Dynatech and Marani products in the region. Pritam Pradhan of Pee Pee Sound & Lights shares his comment on the purchase saying “There’s no doubt in my mind about the quality and performance of Dynatech products – be it the DLA212 or the V series amplifiers. And the same goes for Marani loudspeaker processors. The

DLA212 is a supremely powerful line array system that delivers crystal clear sound with great tonality, while the amplifiers deliver clean, impactful performance along with being extremely efficient in every sense. Plus, the use of an all Dynatech system controlled through the Marani DPA260P allows us to maintain a constant high quality sound signature that has now become

synonymous with Pee Pee Sound & Lights. All our clients are extremely happy, and so are we!”

Pioneer Pro Audio introduces the XY-3B and XY-2 – Speakers designed for fixed installations and full touring solutions for rental and festival use The next-level XY-3B was developed over the course of three years, with 3D printers used to help realise the concept of creating natural sound with high output. It’s been tested at numerous international festivals and outdoor events such as Xtrema Outdoor, Belgium and Netherlands; Lovebox, London; and Tomorrowland, Belgium, and it’s received enthusiastic feedback every time. In the XY-3B, an 8-inch cone driver delivers clean and precise mid-range frequencies using Pioneer Pro Audio’s X-Phase system. A 1-inch compression driver produces crystal-clear HF which,

thanks to the moulded Bi-horn, seamlessly blends with the mids. Two 12-inch cone drivers create tight, chest-pumping low end. The XY-2 speaker is the midhigh section of the XY-3B. Designed specifically for large-scale venues and stadia, the XY-2 can be used for PA applications, as a DJ booth monitor or as a down fill in an XY-3B cluster setting. The XY-3B will be available in midOctober. The XY-2 will be available in December. XY-3B three way full range loudspeaker

XY-2 mid-high loudspeaker

Soundcraft DEBUTS Vi-1000 Digital Mixing CONSOLE Soundcraft by HARMAN has announced the launch of the Vi1000 Digital Mixing Console. Representing the culmination of the achievements and rich feature sets offered by Soundcraft’s Vi Series, the new VI1000 is the most compact member of the Vi-000 family -- at just 86cm x 81cm

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(34” x 32”) in size -- yet it retains all the mixing and processing power of its two larger siblings, the Vi2000 and 3000. The Vi1000 is designed for live touring, music venue, and corporate AV customer with applications where a compact

and cost-effective, but powerful console is required. Employing Soundcraft’s Vistonics II channel strip user interface, together with FaderGlow, the console combines the operating principles and workflows from the Vi3000, 5000 and 7000 consoles with Soundcraft SpiderCore -- a powerful builtin DSP and I/O engine based on STUDER technology, offering 40-bit

(Continued on page 36)

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First proposed in 1958, Class D amplifiers started gaining increased popularity and acceptance in the early 21st century, with this technology ruling since over a decade, overriding the demand for bulky & energy inefficient linear amps. In this article LT COL JASBIR SINGH KABERWAL, (Retd) SC hints at a futuristic emerging trend which may see a comeback of linear audio with advancements in technology offering sonic quality and advancement in size and energy efficiency to the next level.

AMPLIFICATION TOPOLOGY

or over half a century, audio power amplification was solely dependent on vacuum tubes until transistors stepped in five decades ago. Initially, vacuum tube based systems were plagued with reliability issues. The major challenge being positive feedback leading to instability in amplifiers and high distortion until negative feedback was used to stabilise the operation of these amplifiers leading to a significant improvement in distortion levels. However, these systems were bulky with respect to the power output capacity thereby limiting the scale of Professional Sound productions, especially in large arenas such as Amphitheatre and Stadium reinforcement systems, Touring and Live Concert systems, Public Address Systems and Fixed Installation systems in Commercial Areas. Notwithstanding the inherent limitations of vacuum tube technology, this platform ruled for half a century until semiconductor based transistors ushered in the third major revolution in amplification technology. Advancements in the manufacture of solid-state transistors led to the introduction of integrated circuits consisting of multiple transistors being mounted on a single chip. However, the topology of amplification remained linear and dominated the industry until the turn of the millennium.

New Alternatives Advances in power electronics in 80s-90s provided new alternatives to the traditional linear-gain amplifiers by using power switching techniques to vary the pulse-shape of fixed amplitude signals, giving birth to commercially feasible Class-D amplification. By 2005, the global acceptance of class D and further refinements in manufacturing ushered in a new generation of lightweight and compact amplifiers that quickly began replacing older, bulky, power-hungry linear amplifiers.

Pros of Class D amplification Adoption of forced power commutation enabled higher dynamic power capability in a smaller form factor (1Rack Unit) contributing to lower setup costs (by reduction in number of amplifiers required) and reduced logistics costs. They also offer reduction in direct energy consumption contributing to lower power consumption for the same power output and reduced cooling loads leading to reduction in energy costs related to external cooling (air-conditioning). The advent of Power Factor Correction enabled the use of lower mains capacity for the same power output thereby

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reducing energy footprints especially in touring applications by lowering generator capacity requirements. A unique aspect of Class-D (with infinitely fast switching) is that efficiency is not degraded by the presence of reactance in the load. Moreover with a smaller form factor, Class D topologies have provided the advantage of being able to integrate On-board Digital Signal Processing to reduce external equipment requirements.

WILL THE LINEAR MAKE A REAL COMEBACK? Cons Current topologies used offer a tradeoff between power output and distortion. This is especially apparent with Class D implementations. It limits the actual usable power for shows focussing on better audibility and perceptibility of audio program. Non-linear behaviour in reproduction of sound is exhibited in all current implementations of topologies. Additional circuitry is added to limit this behaviour, but results in degraded performance and transient response. Efficiency figures for the amplifiers are claimed in best case scenarios with lab test conditions. All amplifiers including those from market leaders currently exhibit reliability issues in harsher weather conditions frequently encountered in touring conditions. Current topologies used are also limited in the power available over the entire audio frequency range. These power amplifiers require advanced signal processing equipment to extract maximum performance by feeding particular bands of frequencies whose gain is further processed to compensate the shortcomings of Class D topologies. Further degradations are observed as the audio- program frequencies approach 20 Hz or 20kHz with significant drops in power outputs followed by internal output limiting behaviour exhibited by all leading power amplifiers. This is noted in the increase in Inter-modulation Distortion and the loss of fidelity in complex audio-program. This phenomenon is exaggerated in genres such as Electronic and Trance music where artificially synthesis gives rise to a wider spectrum of frequencies in the audio program. Real-time energy efficiency figures

A 1955 1000 W amp by Philips

Amplifier Classes and Efficiency of amplifier topologies are lower than those projected using ideal scenarios. This frequently leads to overheating induced failures. Users tend to compensate this behaviour by using higher

rated amplifiers for the same desired power output thus increasing setup cost to ensure reliable operation.

(Continued on page 88)

ES Series Legendary Point Source System

Renowned for clarity, output and versatile capabilities that has amazed audio professionals around the globe. Arrange a demo of ES today and hear the KV2 Difference. www.cinetekk.co.in

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Audiovisual

OHM Appoints Executive Director for APAC Ohm appointed pro audio industry veteran Sushil John as executive director in the Asia-Pacific (APAC) area. In the past, John has headed Harman’s operations in India, as well as worked with ElectroVoice and Martin Audio, including his most recent role as business director – SAARC at QSC for seven years. ‘I started with Ohm in 1994 and 23 years later, life comes full circle. It is an iconic British brand, which

has been at the forefront of audio innovation. I look forward to leading Ohm in the next phase of its growth as a leading brand in the APAC region. It has formed a great team of professionals and has a solid pipeline of new product innovations along with some amazing projects with which to grow,’ said Sushil John ‘Sushil brings a record of exceptional leadership, growing companies and deep experience in the Asia Pacific regions,’ declared Krishna Hegde, CEO at Ohm. ‘We

look forward to working with Sushil. We execute the near-term growth strategy to become a leading brand in the APAC’s pro audio markets.’ ‘His industry knowledge and priority to customer experience, relationship management will be well complimented by Ohm’s Asia Pacific expansion plans,’ confirmed Gareth Coleman, Director – International Sales. ‘He has indeed contributed significantly to the pro audio industry within the region, building a strong reputation for himself.’

Sushil John, Executive Director, Ohm

CODA Audio Strengthens Its Marketing Team CODA Audio has announced the appointment of David “Webby” Webster to the position of director of global marketing. A comprehensive understanding of live performance and production, forged as a musician and sound engineer in his early years, was the springboard to sustaining a highly successful career, first with Klark Teknik and Midas, before he moved to co-found DiGiCo. Webster is a charismatic and renowned industry figure who further deepens the pool of expertise and experience in CODA’s already formidable team, having operated at the cutting-edge of audio throughout his working life. “I’ve spent many years in the audio industry and been closely involved in some very exciting and groundbreaking developments,”

David Webster, CODA Audio

September - October 2017

says Webby. “This is most definitely another. CODA is undoubtedly defining a whole new generation of systems that not only sound incredible but have advantages that translate into tangible benefits for everyone involved in using them. My first listen to a CODA system blew me away -- the quality is unbelievable -- but what is just as captivating is that the sound is being produced by systems so light and compact that, by virtue of these qualities, they open new doors for say, lighting, video, and stage show designers, as much as they do for audio engineers and road crew. It’s the same on the installation side, where reduced size and weight are crucial issues in, for example, heritage buildings or houses of worship.” “Paul Ward is someone I know well and have a huge respect for, so I’m very much looking forward to working with him and sharing ideas. The company already has an enviable infrastructure and is very much in control of its destiny. With those things in place, I see my role as working within an exceptional team to take CODA Audio forward and entrench the brand as a major global force in the audio world -- something I believe it very much deserves to be.” Paul Ward, director of global business development at CODA Audio said, “There is no question that securing Webby’s services is a great coup for CODA. He is a proven top-level operator whose success and longevity in the industry speaks for itself. Combining impeccable marketing credentials with a strong technical grounding, Webby also

possesses a genuine empathy with every stakeholder in the audio chain, from the stage to the front-of-house and with installers and production teams alike. He has a thorough

understanding of what is required to be successful in our industry and employing his considerable talents is sure to be of immense benefit to CODA Audio.”

NEXT PXH95 Mid-High Speaker with High Attributes The new PXH95 is the MidHigh Speaker by Next-proaudio to its PX system. It offers high SPL, reliability, an aesthetic design and high sound fidelity throughout the venue. PXH95 is designed for portable applications as well as small concerts. Side-fill or DJ monitoring are also one of the many applications that the PX System covers. In addition, PXH95 can be used for different installation projects, including sports facilities, performance spaces, auditoriums, or worship facilities. This new element was engineered to be a powerful medium/longthrow mid/high-frequency cabinet in a coaxial configuration. The frequency response range varies from 150 Hz to 19 kHz, with a precise coverage pattern of 90° H x 50° V over a frequency range from 400Hz–17kHz, ensuring equal sound within the coverage area. As the PXH95 cabinet is square based, it can be rotated to achieve 50ºH x 90ºV coverage pattern. To obtain the highest possible

on-axis sound pressure levels over long distances, the PXH95 mid/ high unit is entirely horn-loaded creating an additional sensitivity and improved pattern control. The HF range, from 1.15kHz upwards, is reproduced by a Neodymium 1.4” driver with a 3” voice coil and a Constant Q horn, whilst the mid-range, from 150Hz to 1.25kHz, is provided by a low power compression 12” driver loaded by a midrange horn. Wider horizontal coverage can be achieved using multiple PXH95, laterally stacked or flown. The PXH95 cabinet must be rotated by 90ºto avoid the combfilter effects.

Audiovisual

KV2 Audio appoints Technical SUpport DirecTOR FOR APAC KV2 Audio has appointed Angus Davidson, Australian Sound Engineer as Technical Support Director for Asia Pacific and North America. He will lead & support KV2 Audio technical team based in Melbourne. Angus has mixed for major international acts including Supertramp and Crowded House has had a long and diverse career within the audio industry. KV2 Audio CEO, George Krampera Jr. said, “We are excited that Angus is joining our International Technical Support

Team. His years of hands on experience in large scale sound reinforcement plus background in audio education will be invaluable in his role of developing a training and certification process for KV2 Audio users. We want to ensure that engineers and technicians understand how to correctly use our systems for the best possible results. This is especially important with the release of our new flagship Large Format Concert System VHD5.0; this system enters a market Angus is very familiar with.”

Studiomaster Professional AiR Pro 18 The Studiomaster Professional and mix & group routing on each AiR Pro 18 is a Professional channel along with a PFL switch. 18-input audio mixing console There’s also a mono sub output with 16 mic/line inputs + 1 stereo with crossover for low frequency output, 6 AUX channels (4 pre, selection, which delivers an added 2 post), balanced XLR & jack main outputs and a stereo AUX return; all of which in unison, enables users to mix together and shape the sound of multiple audio signals, with the AiR Pro 18 professional 18-input audio mixing console assurance of not sacrificing sound quality for affordability. edge of dependability. Most In addition to 3-band EQ on importantly, in terms of safety all stereo and mono inputs with and sturdiness, the AiR Pro 18 is an additional mid- sweep on the total package – with 100mm the mono inputs to make vocals faders, 100Hz low cut on each and instruments stand out in a mono channel, LED for Peak and mix, the mixer also sports onMute on each channel, and a 12V board provision to route EFX to lamp socket. monitors via AUX3 and AUX4, The AiR Pro 18 is a 18 channel along with built-in dual multiMixing Console with dual multi effects processor. There are 4 effects processor, designed for sub-groups with individual outputs, live, front-of-house touring and with inserts on mono channels, installation applications.

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Angus commented, “KV2 Audio’s unique technologies bring a whole new paradigm to sound reinforcement and represent some of the most intelligent and innovative audio design I have seen. When used properly, the results these systems produce are simply outstanding; I look forward to developing a training program that empowers KV2 users worldwide. Also being part of the team that brings VHD5.0 to the world is certainly exciting. I am sure this system is going to turn a lot of heads! ”

Angus Davidson, Technical Support Director, Asia Pacific and North America

GLX-D Advanced Digital Wireless Now Shipping Shure announced that its suite of GLX-D Advanced Digital Wireless products is currently shipping. Originally launched at the 2017 Winter NAMM Show, the new suite of products and accessories is the latest addition to the acclaimed GLX-D Digital Wireless line, and includes the GLX-D Advanced Frequency Manager, rack mount receiver system, remote antennas, and accessories. Whether used to outfit Houses of Worship, educational institutions, auditoriums, or event venues with multiple wireless system requirements, GLX-D Advanced Digital Wireless products provide the best-sounding, easiest multi-system wireless experience. GLX-D Advanced creates the opportunity for install customers to benefit from notable GLX-D features, including exceptional digital audio, automatic frequency management, and intelligent rechargeable batteries. Using the new Frequency Manager, GLX-D Advanced users can seamlessly and confidently operate up to nine

simultaneous systems in typical conditions (11 channels in optimal conditions). With a new rack-mountable configuration, GLX-D Advanced enables up to six GLXD4R receivers to be linked to a GLX-D Advanced Frequency Manager through the RF ports. To simplify installation, the Frequency Manager automatically assigns optimal frequencies to all six receivers using patented data communication through the existing RF cables. Linking two Frequency Managers together enables the use of additional rack mount systems.

aspire for more...

Audiovisual

HARMAN India elevateS connected enterprise with Audio, Video, Lighting and Control systems at InfoComm India 2017 This year, HARMAN Professional Solutions displayed the many ways in which AVLC technologies, can come together to create innovative solutions for a variety of markets. One of the important HARMAN capabilities being showcased was AV distribution and control over the network, which offers the ability for more flexible, scalable and seamless solutions. Since HARMAN is a provider of complete networked AVLC solutions, this opens up powerful

AMX Acendo family of conference room solutions including AMX Acendo Core – a complete meeting room solution that features direct integration with Microsoft Exchange scheduling, one-touch Skype for Business integration, native document viewers, email document sharing and more. AMX Acendo Vibe - new line of premium conferencing sound bars with a powerful feature set that includes JBL speakers, far-field microphones, a wide-angle camera and a modern office design aesthetic.

new opportunities for corporate, education, retail, hospitality and more. For the show, HARMAN had content distributed on many different products across the various brands, including videos, product information, case

AMX Acendo Book - scheduling touch panels build on the success of AMX RoomBook touch panels. The Acendo family products enable enterprise office teams to increase efficiency enhance collaboration and make optimal use of huddle spaces and small meeting rooms.

studies, etc., which are loaded onto AMX Enzo content-sharing devices. Video content displayed at the AMX Networked AV Demo Area are encoders, sending content over the network to decoders for each of the four Samsung UHF-E Series video wall displays. The demo includes newly launched Ultra HD over IP AMX N2300 &N2400 Series encoders and decoders that are industryleading video-over-IP solutions for distributing full-quality 4K content over Gigabit Ethernet networks with near-imperceptible latency. Other solutions that were showcased included: AMX Incite presentation switchers, new professional AV management devices that deliver powerful audio and video capabilities for a wide range of presentation scenarios, including classrooms, conference rooms and more.

HARMAN Connected PA, a complete, integrated ecosystem of audio products that allows AV specialists, educators, houses of worship, small venue owners and musicians to get professional results quickly and easily via HARMAN Connected PA app, regardless of their level of experience with pro audio equipment or traditional sound systems. The Connected PA product ecosystem initially includes equipment from Soundcraft, JBL, dbx and AKG, allowing users to create systems that suit their specific needs. Martin Exterior Projection 1000, The Exterior Projection 1000 is an unparalleled, powerful tool for permanent outdoor installations to integrate textures, patterns and graphics for limitless creative exterior lighting designs. “The technology we are displaying this year at Infocomm is a blend of the future of conferencing technology and connected enterprise.

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Conferencing in India is going through a paradigm shift with the development of shared workspaces and connecting with smaller groups across continents, we call them Huddle Spaces,” said Prashant Govindan, Sr. Director – HARMAN Professional Solutions, India. He further added, “We are very excited to be the Platinum partners with Infocomm India this year. The show is very promising as Infocomm Society has gone a step further in their approach and are now actively participating in the public forums to shape up the future policies for the ICT industry. We are hoping to engage with many more customers from this platform, which is not just the enterprise side but also public

bodies. Our key mission this year is to have the public bodies come experience the future of connected AV technology which will truly transform our country into SMART India.”

Electro-Voice Broadens EVID family

Electro Voice, recently added the EVID-S series, the latest member of the EVID (EV Innovative Design) family of commercial loudspeakers for installed applications. All the aspect of this series has been designed from the ground up to ensure efficient installation for the contractor and excellent results for the end-user, says the company. The series includes 4-inch, 5.25-inch and 8-inch 2-way models with matching dual-10-inch and single 12-inch subwoofers,

quality, low-profile looks and robust reliability for a wide range of indoor and outdoor applications. These include retail environments, hospitality settings such as bars, lounges, patios, pool areas and restaurants; conference and meeting rooms, fitness clubs, performing arts and sports venues and houses of worship. The series offers true weatherproof construction for outdoor spaces, confirmed by extensive and rigorous testing

making it easy to select a suitable model a specific space – a new go-to solution for distributed sound systems. Every EVID-S models offer Electro-Voice-engineered components for superior sound

above and beyond industry norms. All models are paintable and IP54 certified for weather resistance; an IP65 weatherproof version is available for the 5.25-inch loudspeaker cabinet and the 10inch subwoofer models.

DT 770 Pro DT 880 Pro DT 990 Pro –

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Audiovisual

Raise Your Glasses to Dinning Sky-high with Qbba Terrace The new Qbba Terrace situated in the suburb of Mumbai, known for its excellent ambiance, drinks and food is now all set to deliver some wonderful musical experience to its customers, courtesy the LD systems Curv series. Having been recommended through word of mouth based on other projects carried out nearby, the place enlisted Apex Audio to design and integrate the new system, which was supplied by Kei HiFi.

that we would make sure that the subwoofers cannot be seen and that they’d get the same thump from the bass that they’d get in a regular nightclub. When it was all finished we saw a lot of happy faces in all six of the partners. The ones that didn’t know me beforehand were very keen to know how I’d done it. One of the partners has three or four of his own hospitality businesses across India as well as a big multinational company. This project has already led to several

Project & CHALLENGES ‘I have a lot of friends that know the owner, and they had all seen the work that I had been doing in a lot of other clubs,’ recalled Yash Parwani from Apex Audio. ‘One of the owners told my friends that they were opening a new club but they weren’t sure who to give the contract to, because they’d never dealt with any kind of system for this purpose before. I was confident it could provide them with the required performance at a budget that suited them. I suggested LD Systems over some other brands that the owner had in mind and he completely trusted my opinion as the service provider.’

more installations for us.’ Qbba Terrace, Mumbai, integrated with LD systems’ Curv series Aware of the potential sonic challenges when moving outdoors, the owners also gave Apex strict instructions concerning the lower frequencies. ‘They were aware that a lot of the LF would be lost when moving outside but they wanted customers to experience just as much bass as they would in an indoor nightclub and didn’t mind how I achieved this. They were also spending a lot of money on the interior. They wanted the main speakers to match that look and didn’t want to see the subwoofers

whatsoever.’ Having convinced the venue management of the virtues of the LD cabinets, Apex installed Curv 500 arrays with the PES (Power Extension Set) for increased low frequency output, together with 15-inch Curv 500 PV subs. System processing comes from the German manufacturer’s DPA 260 6-channel loudspeaker processor, while the DJ position has been treated to a pair of Pioneer CDJ-2000 Nexus turntables. ‘I was adamant from day one

While the system design itself may not have tasked Mr Parwani’s technical skills to their full extent, the project was not without its challenges. ‘The biggest challenge for us was introducing a new brand to the territory. The other part of our business is for home audio, and in home audio there are millions of products a customer can choose from to meet their tastes. When it’s commercial you have to tick certain boxes. A lot of people here are inclined to stick with what they know. It’s a challenge convincing them of the benefits of other manufacturers.’

Shure ANIUSB-MATRIX and ANI22, now shipping

Studiomaster Professional XVP1810 1000W subwoofer

Shure has announced that two of its newest audio network interfaces, the ANIUSB-MATRIX and the ANI22, are now available for shipping. Originally announced at the Integrated Systems Europe (ISE) 2017 show in Amsterdam, the audio network interfaces are designed for use with Shure’s premium AV conferencing microphones. The

Studiomaster Professional’s new XVP1810 1000W subwoofer provides the ultimate in lowfrequency reproduction for the budget conscious segment of both indoor as well as outdoor sound reinforcement. The sub-woofer features an impressive world-class quality 18” Low-Frequency (LF) transducer

ANIUSB-MATRIX and the ANI22 provide simple connectivity for Shure’s Microflex Advance and Microflex Wireless systems to integrate into existing AV/IT infrastructures. This high-quality Shure audio solution ensures ideal compatibility for audio/ video conferencing installations in

September - October 2017

small and medium-sized meeting rooms. The ANIUSB-MATRIX connects four Microflex Advance or Microflex Wireless microphone channels via Dante to a room’s audio/video conferencing system or a PC-based soft codec through USB or analog. This is ideal when a premium microphone is desired and acoustic echo cancellation of an AV conferencing codec will be used. Offered in XLR and BLOCK variants, the ANI22 can bring up to two line/mic signals into—or out of—a Dante network for easy audio routing and convenient browserbased remote control. The ANI22 features a compact form factor for easy mounting without an equipment rack, and Power-over-Ethernet (PoE) eliminates the need for an outboard power supply.

along with an incredible array of professional features that allows it to produce extreme levels of lowend punch, with the definition and clarity typically reserved for much larger systems. The XVP1810 subwoofer is capable of extremely high sound pressure levels: 128.6 dB (Full Space, 1 W @ 1 m), with a frequency range of 32 150 Hz; and features two speakon connectors, which in parallel allows daisychaining of additional enclosures. The nocompromise all wooden trapezoidal design with black carpet finish and heavy duty perforated grille means you get the assurance of supreme quality, while ensuring amazingly-deep, chestpounding bass.

Audiovisual

“WIRELESS MASTERED DIGITAL” BY SHURE AND SUN INFONET From the live performance to theatre, corporate conferences to international summits; wireless systems are everywhere. Despite their prevalence, wireless audio remains one of the more complex and misunderstood areas of sound. Riding on the success of the previous seminar series and also part of educational programmes, Sun Infonet in association with its local partners Just Audio and Principal, Shure, conducted a day-long seminar on wireless microphones entitled “Wireless Mastered Digital” at Goa. The training, conducted by Shure Technical Support Engineer, demystified the world of wireless by providing Sound Engineers, AV Technicians and Production Professionals with the knowledge and confidence to operate reliable, secure wireless microphone. Recent spectrum allocation changes were discussed together with Wireless Workbench software and the other tools to scan and monitor the environment. Mr. Neeraj Chandra, Director, Sun Infonet thanked the Team of Shure, MEA as well as all participating

sound engineers andrental partners for their support in making the seminar a big success. In India our industry is developing at the speed of light -commented Andrea Granata, from Shure Audio Institute – and, as a manufacturer, we are committed to support this growth. It’s great to see so much interest and participation for our educational program and we look forward to many more successful events with Sun Infonet in the region.

Sun Infonet in association with Shure and its local partners Just Audio, conduct a day-long seminar on wireless microphones

Harman Announces Workforce Consolidation

Dinesh Paliwal - ‎President & CEO, HARMAN International HARMAN Professional Solution is cutting off 650 employees, equals to a significant proportional of its professional audiovisual workforce, as part of a major workforce transformation.

September - October 2017

In addition, there will be several facility closures over the next nine months, including its Harman Signal Processing facility in Utah, as well as operations in Indiana and smaller sites throughout Europe. Harman took many of these sites on as part of various company acquisitions during the past 10 years. Notice has reportedly been given to the employees affected. ‘To be clear, the changes we announced are the culmination of a transformation that the Professional Solutions Division has been undergoing for the last two years to better serve our customers, increase our competitiveness, and accelerate new product innovations,’ explained David Glaubke, Director of public relations, global professional solutions at HARMAN International. ‘We have given our employees advance notification of the changes we will make over the next year to assist with the transition and will

do our best to mitigate the impact to our employees and their families. Importantly, we also will ensure that the process is completely seamless for our customers.’ Samsung’s acquisition of Harman was driven by its presence in the automotive and consumer sectors, the automotive sector accounting for approximately 65% of Harman’s US$7 billion of reported sales at the time. Samsung stated its intentions upon completion of the purchase to retain the Harman workforce, headquarters and facilities, as well as all of its consumer and professional audio brands. Also, the company mentioned that it will now enter a “rebuilding” mode and form three “Centers of Competency”: Northridge, CA for acoustics; Richardson, TX for electronics, DSP, and video and control; and Aarhus, Denmark for lighting. “These centers will allow the company’s engineers to focus

on critical product differentiations instead of requiring them to develop motors, mechanical structures, and other supporting elements. The job of converting these technologies into competitive products will be for our newly formed New Product Innovation (NPI) teams.” “We have given our employees advance notification of the changes we will make over the next year to assist with the transition and will do our best to mitigate the impact to our employees and their families,” Glaubke said. “Importantly, we also will ensure that the process is completely seamless for our customers.” Furthered he added, “I want to emphasise that decisions like this, while necessary, are not easy to make. We are very excited about the future of HARMAN Professional Solutions and believe that, with these changes, we are now aligned and structured to serve our customers better and to return to stronger profitable growth.’

YEARS EXPERIENCE IN LED DISPLAYS

Audiovisual

BOSE PROFESSIONAL INTRODUCES NEW REVOLUTIONARY PRODUCTS AT INFOCOMM INDIA 2017 Bose Professional introduced a series of products at Infocomm, India 2017, Mumbai. The lineup included- the EdgeMax in-ceiling premium loudspeakers, Control Space EX conferencing solution and Bose Amp Link digital audio transport, among all.

THE EDGEMAX IN-CEILING PREMIUM LOUDSPEAKERS WITH PHASE GUIDE TECHNOLOGY EdgeMax in-ceiling premium loudspeakers feature proprietary Bose PhaseGuide technology, which provide room filling coverage while improving overall sound quality compared to the performance of conventional ceiling loudspeakers. Designed for mounting near wall boundaries, EdgeMax loudspeakers project high-frequency sound throughout rooms up to 65 feet (20m) wide using only perimeter mounting locations, and can effectively cover an area that would require up to four conventional conicalcoverage models. Thus, EdgeMax loudspeakers can eliminate the need for conventional ceiling speakers mounted in the centre of rooms, or surface-mount speakers mounted on walls. And because of their unique design pattern, EdgeMax loudspeakers enable installers to move efficiently through the installation, creating a great-looking and greatsounding end result. Additionally, Edgemax loudspeakers produce superior intelligibility to speech and full frequency response for music, making it ideal for retail, commercial, industrial, institutional and residential applications. Some of the key features are as follows: • Phase Guide technology produces unique asymmetrical vertical pattern for room-filling sound • EdgeMax EM90 provides nominal 90° horizontal coverage from room corners • EdgeMax EM180 provides nominal 180° horizontal coverage from center ceiling-wall locations • Full-frequency range60– 18,000Hz(-10dB) • Maximum SPL upto119dB continuous and 125dBpeak

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• 2-waysystem combines Bose1.3”diaphragm compression driver and 8” woofer • Passivecrossover with8Ωor70/10 0Vtransformertaps • Newauto-hold,spring-loaded mountingarmsforfast,easyin stalls;Shipswithtilebridge • UL1480listingforairhandling(plenum) spaceinstallation • Magnetically attached white grille for quick access to wiring and tap settings EdgeMax in-ceiling premium loudspeakers are available with two different horizontal coverage patterns i.e. EdgeMax EM90 and EdgeMax EM180. Both models feature 75-degree asymmetric vertical coverage, which is optimized for ceiling heights between eight feet and 20 feet. The EdgeMax EM180 Taking a look at the EdgeMax EM180 loudspeaker, Bose says the speaker employs a high-frequency compression driver, along with an 8-inch woofer. Internally, the EdgeMax 180 loudspeaker incorporates a two-way passive crossover with a 70v/100-volt transformer, as well as an auto-hold, spring-loaded mounting

system to aid integrators during the installation process while security locking the speaker into its desired location. The UL1480A listed speaker provides a rated frequency response of 45Hz to 20kHz, and it produces

a nominal 180-degrees of horizontal coverage. Bose Professional EdgeMax EM90 The EdgeMax EM90 offers similar performance to the EdgeMax EM180 through a similar driver array, including the 8-inch woofer. The UL1480A listed speaker also includes magnetic grilles that attach easily, along with the auto-hold springloaded mounting system.Also like the EdgeMax EM180, the EdgeMax EM90 model features a two-way passive crossover network and 70v/100-volt transformer. According to Bose the EdgeMax EM90 delivers SPL levels as high as 118dB, and it also produces a

and under table end point system designed to stream line audio conferencing design and implementation with the purpose built hardware that dilivers microphone integration, connectivity and time-saving software algorithms. It includes the ControlSpace EX1280C conferencing signal processor and three ControlSpace EX Dantebased under-table endpoints (EX4ML, EX-8ML and EX-UH).

Operation & Features Once it starts at the conference room table, the three low-profiles under table boxes (UTB) with integrated Dante and PoE allow multiple microphones and codec connections from the table to the rack with just one Cat 5 cable. The EX-8ML and EX4ML analog microphone endpoints support eight- and four-channel microphone inputs respectively, with 48V phantom power, built-in Dante audio conversion, daisy-chainable PoE, and onboard 12V power and multiple Bose EdgeMax EM90 & EM180 loudspeaker GPIO per-channel. The frequency response of 70Hz to 16kHz EX-UH adds USB and handset +/-3dB. audio for expanded codec options and convenient plug-and-play CONTROLSPACE EX CONFERENCconnectivity at the table for BYOD ING SOLUTION applications. The Control Space EX conferencing solutions is a Dante-based processor (Continued on page 36)

AUDIO TECHNOLOGY & EXCELLENCE COMES FULL CIRCLE IN INDIA

Dual Channel True Diversity Wireless Receiver and Transmitter CPA 9300

info@circleproaudio.com

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Audiovisual BOSE PROFESSIONAL INTRODUCES... The EX-1280C processor includes USB, VoIP, analog telephone, and Dante connectivity, eliminating the need to choose from different DSP models for different applications. The 1RU design features 12×8 balanced analog I/O, 12 routable acoustic echo cancellers, 64×64 Dante audio networking, twoline VoIP, a USB port for PC soft codecs, PSTN for analog telephone connections, eight-channel Bose

(Continued from page 34)

AmpLink output, serial control via RS232 and UDP, and a convenient frontpanel interface with OLED display. ControlSpace EX components are configured and controlled with Bose ControlSpace Designer 5.0 software. Onboard microphone preset configurations make designing with native Dante microphones easy, while new conferencing-specific algorithms, the Conference Room Combiner and Conference Room Router, offer

time-saving presets and setups for standard conference room installations. ControlSpace Remote 2.1 has been upgraded to support the new EX and includes a dialer for creating a complete tablet-based user interface for conference rooms. Drivers for popular control systems are also available.

BOSE AMP LINK DIGITAL AUDIO TRANSPORT Bose Amp Link provides a digital

audio connection from supported Control Space processors to Amp Link-equipped Bose amplifiers. Daisy-chainable Amp Link uses standard RJ-45 connectors and CAT 5 cables to transport up to 24 channels of low-latency, uncompressed digital audio. It’s available on the Control Space EX-1280C processor, new amplifier models and a new Power Match expansion card.

Coretronic & Calibre Strategic Handshake Coretronic Corporation, Taiwan has completed the acquisition of Calibre, a privately held British image processing technology manufacturer based in Bradford, Yorkshire, UK. Coretronic Corporation was established in Hsinchu Science

Park in 1992. They manufacture the largest number of DLP® projectors in the world, and the ODM supplier to the majority of the world’s Tier 1 DLP projector brands. Coretronic generated US$1,768.7 million in sales revenue in 2016 and now has about 17,000 employees throughout its global

Soundcraft DEBUTS Vi-1000... floating point processing for classleading audio quality. The Vi1000 also comes into its own as an additional remote-control surface for any of the larger consoles in the range, using their Mirroring feature. In addition to gating and compression on all 96 channel paths, audio processing functionality includes the acclaimed BSS DPR901ii Dynamic EQ and Lexicon multi-effects via an insertable processing pool -- plus the ability to insert up to 64 external devices. STUDER vMIX automatic voice mixing is built-in and BSS 966 graphic EQs are available on all output busses. The Vi1000 comes with rear

September - October 2017

operations spreading across Taiwan, Mainland China, the United States, and Europe. The acquisition of Calibre expands Coretronic’s technology capability by the addition of Calibre’s compelling range of class leading HQ Ultra image processing technology and in-house R&D capabilities. “It reflects Coretronic’s strategy to strengthen its leading position in display and image processing technology with a rich set of capabilities afforded by the Calibre team. This will help Coretronic Group with its plans to further advance in the pro-av markets as well as assisting with entry into the rapidly expanding direct-view LED display markets,” enthused SY Chen, President at Coretronic, Taiwan. “The acquisition will accelerate the company into new markets as well

as to help Coretronic continue to drive its move to being an all-round display systems provider. In particular Calibre will leverage Coretronic Group’s wide reaching sales coverage and growing pro-av channel sales, particularly in Asia, North America and Europe.” Former Calibre CEO, Tim Brooksbank will lead as Managing Director of Calibre UK Ltd, now a wholly owned subsidiary of Coretronic. “We’re delighted to become part of the Coretronic family. We share a common entrepreneurial ethos driven by market development, innovation and above all customer satisfaction. This opens up new opportunities for Calibre’s technology, products and staff as part of the worldwide Coretronic Group,” said Brooksbank.

connection via Ethernet to any Windows or Mac-based recording software, or allows the Vi1000 to integrate into an existing Dante network. The associated optical MADI interface allows an alternate record feed to MADI-equipped storage devices or connection of the Soundcraft Realtime Rack Plug-in engine, adding the power of Universal Audio UAD-powered plug-ins to the console’s expansive sonic palette. The Vi1000’s built-in monitoring support for AKG, Shure, and Sennheiser wireless microphone systems makes it easy to check battery power, RF levels, and

frequencies, plus audio level and clipping status of the attached wireless microphones -- right on the channel strip that controls each mic. Andy Brown, soundcraft product manager, comments on the company’s new Vi1000, “The Vi1000 represents all that we’ve learned over the years with our Vi line and channels that knowledge and experience into a new desk that delivers superior audio performance and a world-class feature set -- now delivered in the most compact form factor we’ve achieved so far.” The new Soundcraft Vi1000 will be available in November.

(Continued from page 20)

panel local I/O featuring 16 HQ mic/line inputs, 16 line outputs, and two 64 channel expansion slots that allow up to two MADIbased Stageboxes to be connected, or alternatively the slots provide access to an extensive range of D21m I/O option cards, that address all industry standard audio formats. Four channels of AES/EBU I/O plus USB and MIDI connections complete the back panel. The total I/O count of the console is 212 in x 212 out. As is standard with all Vi000series consoles, a built-in 64x64ch Dante/MADI interface provides direct recording/playback

LIGHTING SPECIAL

MARKET REPORT

Top end LASERS missing from Rental Portfolios

s the lighting industry learns to keep pace with the most demanding requirements and expectations of the Live Stage Events industry in India in terms of lighting design and display, laser lighting applications at concerts, music festivals and other live stage events seem to have witnessed a steady rise. Or have they? Every lighting professional in India seems to have his own laser epiphany.

Experts View According to lighting designer Alankar Shanker of SSL Lights, lasers are not really big in demand, but are utilized if absolutely necessary. “I don’t consciously try to incorporate a lot of laser lights in my lighting designs, but I do use it whenever it is required,” he says. According to Jay Mathuria of Star Dimensions, official distributors of Elation Lighting in India, “Lasers were popular years ago, but now there is very limited application for laser light as such. I mean

September - October 2017

India has been witness to some astonishing

it’s not a new concept in India anymore for the end user, hence now it’s not that much in demand.”

laser light extravaganzas at EDM events in the recent past, however a survey done by PALM

Laser Lights or Conventional Lights Laser Light proponents believe that Laser applications at live outdoor stages can extend the reach of the stage lighting effects dramatically because of their ability to cover very long distances, which otherwise is hard to reach with conventional lighting. However, many professionals do not accept this theory and despite several instances of usage of lasers in several stage shows and entertainment venues in India, most agree that demand is not as much. “According to me, the laser doesn’t do anything other than giving a little bit of a spectacular break. It can just be used once or twice in the show. It has no other use and that’s perhaps a limiting factor. But moving lights and smoke effects etc. can be used more

technology indicates that as a general rule, lasers are missing in action and top quality brands are not afforded by event and rental companies. Though lasers are missing in action in show business, there is a huge opportunity and potential for renting lasers given that laser use is still in its nascent stage. Smita Rai reports on the ground reality. than once,” says ace lighting designer Viraf Pocha. According to Pocha, the event organizers and production teams normally shy away from incorporating lasers into their budget, the minute they realize the high-embedded costs.

Lack of Knowledge & Strong Growth of Chinese Market “Utilization is still in its infancy and has not reached the peak, in the manner stage lighting has. There is too much

cost cutting, when it comes to production and rental companies and most of them are using products from China as they feel that they are good and they are getting a great deal. Even bars and nightclubs like the cheapest possible laser because they are unaware of the

Laser Lights & EDM in India

effect lasers can have if properly utlised. They just feel it is a light and you turn it on and then you turn it off. There just isn’t proper programming or proper guidance on how the laser should be used and when it should be used,” says Arun Kalra, Director of Laserworld India. With the key to profitability being in pushing larger volumes at competitive

made reasonable strides in India in the recent past, with laser lights being primarily used to integrate spectators to the show. EDMS in India specifically employ a multitude of conventional lighting effects like moving heads along with laser lights and audiovisual elements like LED screens. In the recent years India has been witness to spectacular laser displays on high profile EDM shows featuring top EDM artistes from across the globe. As part of the Sunburn Arena stages, early this year Grammy Award-winning DJ David Guetta rocked the India Capital- Delhi and India’s economic capital – Mumbai with his performance. Highlighting the event were the retro visuals and the laser webs on stage. Adding to the high energy ambience was an LED screen, flashing titles of Guetta’s hits accompanied by a synthesis of multi-colored intoxicating laser lights that matched each tune. When unflagging waves of lasers made their way to the Circuit Grounds for the Electric Daisy Carnival and when Swedish DJ and producer Eric Prydz (whose electric stage shows are known for their hypnotic laser displays and visuals) made his Asian debut in India, by headlining the first day of LIVE Viacom 18’s annual music festival Vh1 Supersonic 2017, Indian fans got a taste of some mesmerizing laser shows. While the market for lasers in India remains a little conservative, with proper dissemination of information on the product, in time Indian live event companies may soon catch with their Western counterparts in adopting the latest products.

While the market for lasers in India remains a little conservative, with proper dissemination of information on the product, in time Indian live event companies may soon catch with their Western counterparts in adopting the latest products.

pricing and the lack of knowledge about laser usage, seems to have helped many Chinese Laser manufacturers to enter the market. “There are good brands like Kvant in the market and we do stock Kvant for rentals, but then there are hundreds of Chinese lasers available in the market. No one really cares about the laser brand in India and so these Chinese lasers are more in demand,” says Jay Mathuria. “There are lots of European and American laser brands in the market but many people still use the Chinese products due to the costs,” echoes Alankar Shankar.

Though laser lights, have been a little behind the curve, we probably can’t count them out just yet, as laser lights on live stage shows have

AUDIOVISUAL-PROJECTION INTEGRATION

In the last couple of years, jaw-dropping visual experiences at live entertainment events and venues, courtesy 3D projection mapping, motion graphics and augmented reality have made their presence felt in India. Tailor-made three-dimensional projection mappings have altered sound stages, building facades and architecture and even human figures in real time, creating interplay between real and virtual space with the help of cutting-edge technology. The PALM Conference and Seminar 2017 witnessed Technical Evangelist – VIJAY SABHLOK, touch upon the topic of Multi-Imaging using different technologies. Conference delegates got an opportunity to learn about the tools and techniques of creating MultiSensational Events and Installations, while also getting insight into new interactive technologies like Augmented Reality and Virtual Reality. PALM technology presents highlights of this session. The PALM Conference & Seminar session can be viewed on the PALM expo YouTube channel.

he focal point of Vijay Sabhlok’s presentation was “the tools and techniques for multi-Imaging”, the new vogue of the Audio Visual Industry. He spoke about different parameters which play an indispensable role while creating extravaganzas for the entertainment & install industry. A strong believer that visual technologies will rule the roost for years to come, Vijay’s presentation revolved around different mapping and multi-imaging techniques like edge blend, pixel mapping and scaling, geometric correction, 2D & 3D mapping, as also the importance of marrying right techniques, the right thought and right tools to create an enduring event. Beginning his session with a video from the 2016 IPL opening which bent all the rules by employing all forms of multi-imaging, he went on to explain the true meaning of the word, “When I talk of multi-imaging it refers to all forms of imaging and actually we should refer

ART OF

PRODUCTION September - October 2017

to it as multi-sensory since audio is also involved. So I’m basically talking about all aspects of multimedia which we can put together to create a visual extravaganza – be it an event or a permanent install. It’s all about the experience that we deliver to the audience”. Excerpts from Vijay’s session are as follows:

DIGITAL MEDIA Digital Media encompasses every form of media format that can be used, but what is crucial for creating multimedia extravaganzas is the aspect ratio, resolutions, video encoding and decoding, frame rate etc.

APECT RATIO & RESOLUTIONS Though Aspect Ratio and Resolution go hand in hand, they are two different things. A 16:9 aspect ratio does not necessarily give you a screen resolution

of 1080p or 1080i. It may actually be a much lesser resolution. One may have a 16x9 screen, but it does not matter because it is actually the resolution that is supposed to be in HD.

VIDEO ENCODING & DECODING Encoding and decoding totally depend upon the format being used. Today is the advent of media servers. In media servers there are so many production tools that are used to create something spectacular.

FRAME RATE What started with 25 frames per second has today gone up to 60 frames per second. It’s very crucial to know what the frame and bit rate you are using is, in this advent of servers, because there is only so much that a server, hard drive and processor can take. It’s preferable to run everything on uncompressed files.

One of the biggest mistakes that people make is thinking that an uncompressed file is a very heavy file; it may be a large file but it need not be a heavy file. In fact, for a server to run cool and smooth, it’s easier to run uncompressed than it is to run on compressed. The compressed format takes a lot more server and computing power, because the processor must un-compress everything and then work at it. One of the best formats to use is Hap Q.

ALPHA CHANNEL AND COLOR KEYING Tools used to create layers in your video production.

PRE-DISTORTED MEDIA When projecting on shapes, like domes or even human beings, you can’t have normal media which is made in any random pixel size and then assume that this is going to fit; no, it’s not. For

that you need to create specifically predistorted media. It is very important to know and use the various software tools available to artistically and technically design and create media that needs to be projected. So today when you plan an event or an install it’s not only hardware driven, it’s mostly concept driven, and you need to marry the brief given by the client to the hardware, software, thought process, concept and creativity to create something that is holistic and creates a wow factor.

TOOLS AND TECHNIQUES FOR CREATING MULTI-IMAGING EXTRAVAGANZAS Today, because of technology advancement, very fast computers, better projectors, digital file formats, streaming media, faster processors, fantastic networks etc. are available for networking. These are all the tools used to create

MULTI-IMAGING

AND TECHNIQUES

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understanding that the surface for mapping on is just plain 2D. In very simple term, 2D mapping is flat media, it can be a building or a flat screen etc. But that doesn’t mean 2D mapping is not creative. In the eighties, there were instances when mapping was done without video projections; it was done with slide projectors. 3D mapping is taking an object and mapping it from all the sides, for which you need things like the projection surface, object, floor, backdrop etc. The object needs modeling, multiple numbers of projectors are required, you need to make the grid, content and side A seven-minute live, immersive performance was shown every half hour for three days of the PALM expo expo. Officially surfing; we need to use software like titled a “Stereoscopic 3D-Augmented Reality Experience with Live Interaction,” its subtitle – “The Kaleidoscope of Life” STUDIO MAX or MAYA to create the — more accurately described how it looked and felt emotionally. To view the show, which was projected within a domed, model. Today people also use cinema custom-built stage, attendees donned 3D glasses and entered a sensual virtual word inhabited by a lone dancer who 4D, so there are lot of software availbecame enveloped within the different fantasy environments we created. Within these, another layer of visual elements – swaying lanterns, moving particles – were added to create a 3D effect against the 2D background. The dancer’s movements able to do 3D mapping content. were choreographed to appear as if she was interacting with these worlds. All this put together is 3D. Most people think they are doing 3D mapping, but it is not so. Most of the mapmultimedia extravaganzas. There are All this is what makes mapping “hapin projections. ping which happens is usually 2D. Until also tools like show control software pen”. Mapping is not something that the surface is not three dimensional and Video Mapping or Spatial Augavailable which allow multi cueing can be taught. You need to just connect if you are not mapping it on x, y, and the mented Reality: Spatial is related to and communication between multiple whichever media server you use to a z axis, you are not really 3D mapping. space and augmented is imagined. But equipment which enhances and creates projector, put a shape and play with spectacular events.

Setup for Multi-imaging It can be any number of displays, resolution and size and anything can be projected. They can be overlapped or separate; can have angles or shapes, can be distorted, dome or inverse dome. With the new servers with their sure amount of geometric correction, it’s almost like bending light.

Pixel mapping, Pixel Scaling & Geometric Correction • Pixel Mapping: Exactly map the pixels onto a surface. • Pixel Scaling: If you have displays of different sizes and resolutions you will need your content to scale on any given surface really well. This scaling is done with the help of the servers. • Geometric correction: This is what allows us to make everything look really funky. We can use keystone which is the simplest application of image geometry correction. Keystone correction capabilities are included in most projectors currently available on the market, allowing users to move the image both vertically and horizontally. Some of the projectors have inbuilt software, for instance, CHIRSTIE has TWIST and Barco has its own software. On the server side, it’s crazier because the server can correct every small point and bend and shape the image.

the geometric corrections and you will learn it by yourself. At the end of the day it is not the technology that does it, it’s the creativity and the thought process which does it. Technology plays an important part but at the end of the day you really need to marry the right technology with the right creativity. If your server is not powerful or if your content is not optimized for what you want to achieve, it will not work. It is a learning curve. You need to know the basics of mathematics and basics of geometry which are extremely important in understanding how these things work along with being a master

mapping is very real. To simply define mapping – it’s a technology used to turn objects, often irregular shaped, into display surfaces with video projections. It’s the coming together of content, predistorted media, media server, shape, projectors, alignment etc., coming from a creative brief onto reality. The objects can be anything - Buildings, landscapes, theatrical stages etc.

2D and 3D mapping This is always a subject of debate. Very few people know the difference between 2D and 3D mapping. Everybody wants 3D mapping without

Stereoscopic 3D This is another fascinating subject and it is a technique for creating or enhancing the illusion of depth. It’s completely a newfangled technology. We are going away from the advent of the silver screen but still it’s an expensive technology. In the future, we will see a lot of auto stereoscopic where you don’t even need glasses, but that is still in its infancy stage. So, in future the industry will be using 3D stereoscopic a lot more because 3D does create a massive and immersive experience. After movies like AVTAR people have enjoyed it and

The 2016 IPL opening bent all the rules by employing all forms of multi-imaging

September - October 2017

dwelled a lot into 3D. To further showcase the capabilities of this technique, we (my partners & I) at the PALM Expo of 2014, managed to immerse a live dancer within a 3D setup to create an atmosphere of amazing interactivity.

HOW TO CREATE A MULTIMEDIA SENSATION For this you firstly need a client with a budget and an idea. Next you need to marry this design idea and budget into your creativity and technology. Once that marries, you are good to go. Essentials are: • A Producer who understands from the creative, technical and business perspective and sells it to the client. • The hardware and the staging and installation company. When we talk about staging and Installation company, we are talking about anybody who is in the media – from the rental guys to rigging and trussing, audio, video and lighting companies. You need them to come together to achieve this. • The technology is the most important. Your choice of technology can either open up or limit all the possibilities So in every project there has to be a symbiosis between the above components. Today, every second client you meet will probably say that they need interactivity, but their definition of interactivity may differ from yours. So somewhere down the line we must educate them on the possibilities and limits of technology and creativity. Today technology has really advanced and with the help of the tools and techniques mentioned above we can mix stills, graphics, animation, videos. Production is extremely flexible and we can do quick changes and edits on the fly.

Show Control Software Triggering off media cues and sequences is all done with show control software’s like Medialon or Alcorn McBride. This is the one piece of machinery which will bring everything together, talk to video, lighting audio and trigger everything at the right time and right space.

Vijay Sabhlok at the 2017 PALM Conference & Seminar Programme; Vijay Sabhlok, whose main focus is on new technologies like Virtual Reality, Artificial Intelligence, Augmented Reality and Humanization of Technology with Interactivity and Immersive based experiences in Events and Installations, describes himself as Technical Evangelist who believes in being dynamically multifaceted and values service by providing access to high-end technology and solutions to create a “wow” factor, unprecedented in the entertainment and install industry. His mission is to deliver memorable events and multimedia install solutions by using art, architecture, energy & technology to transform spaces into environments & experiences. He has been actively involved in all aspects of production & technical solutions for almost 25 years and is one of the leading technology solutions providers to the events and install industry. He was the technical advisor on some very large scale Museum Projects and corporate experience centers around India, namely Viraat e Khalsa Museum (which has, to its credit, one the most technical AV based museums in Anadpur Sahib in Punjab), Jaquar Taps Experience Center at Manesar, DS Group Experience Center and the Golden Temple Plasa at Golden Temple Amritsar to name a few. He is also Technical Advisor on a few permanent mapping installations around India. provides one view; you are part of that. Virtual means you are not a part of it. Augmented just blurs the line between what is real and what is computer generated by enhancing what we see. Pokemon Go was a great form of augmented reality where you were immersed in a computer-generated image. Ultimately whether augmented or virtual, at the end of the day it is an idea. It is the idea which is going to click and work. Technology is important to create the idea but what you do with it is most important, as to how you will immerse people into that environment and they come back with a wow feeling. That multimedia sensation needs to be created. Speaking from my personal experiences, we have been doing some

awe-inspiring weddings where we have been mapping on statues, on horses; we have been doing things with animatronics, wherein with just a click of a button things move. We have made stages that convert themselves using all the elements like show controls and zero volt triggers for motors. For me all those are also part of multi-media sensation.

Virtual Reality Virtual reality comes, naturally, from the definitions for both ‘virtual’ and ‘reality’. The definition of ‘virtual’ is near and reality is what we experience as human beings. So the term ‘virtual reality’ basically means ‘near-reality’. Virtual reality uses headsets and Oculus is the number one brand. So

Augmented Reality There is still some confusion between augmented reality and virtual reality. Augmented is when there is a real-life situation and you are putting a mask to create an augmented reality. So basically it is a technology that superimposes the computer generated image on a user’s view of the real world and it

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When you plan an event or an install it’s not only hardware driven, it’s mostly concept driven, and you need to marry the brief given by the client to the hardware, software, thought process, concept and creativity to create something that is holistic and creates a wow factor.

just wear the headsets and live through the complete experience. Even in this, there are people doing it in single dimension. To really enjoy VR, the media should be shot completely in 3D, 360 degree in all axis. The beauty and biggest USP of VR is, if two people are using the same headset at a time, even then they will have different experiences. It all depends upon where you want to move your head. It’s got nothing to do with the sets. A lot of this has been used in the gaming industry and in the advertising medium, and is now being used by architects and builders to showcase their work to prospective buyers.

Future Scope Mapping is all set to take a leap now. Interactivity in mapping is going to the next level because here you are immersing a person into the mapping frame. So whether it’s AR or VR, touching only these points with one sensor like only visual or hearing doesn’t make sense. Today it’s important to include all these multi-imaging techniques to use all the five senses and create holistic events.

NLT4FX

NLT4FX-BAG

NLT4MX

NLT4MX-BAG

NLT4FP

NLT4MX-BAG

NLT4MP-BAG

INCLUDES BOOM ARM WITH DOUBLE THREAD FITTINGS

METALLIC ADJUSTING SYSTEM

Ref.STA-03

Aluminium ST-113 + STA-03 Aluminium INCLUDES CABLE CLIP

ROSCA 3/8" y5/8" 3/8" & 5/8" THREAD FITTINGS

Ref.ST-113

Kiran Sales Corporation 52, C/A Jyoti Estate, Chottani Building, Proctor Road, Mumbai - 400 007. Tel:+91-22-23862749/23876147 Fax:+91-22-23800818 | Email: biren@kiransales.com | Website: www.kiransales.com

Manufacturing & Innovating.... ....to Deliver Value

Cables

Connectors

Krystals Cables India Pvt. Ltd. Plot No. 261, Sector-6, I.M.T. Manesar, Gurgaon, Haryana - 122050, INDIA Ph. : +91-(0)124-4367005, Mob : 9810399876, 9910078183 E-mail : manuraj@krystals.in | aman@krystals.in Web : www.krystals.in

Interconnects r ed fo t i c i l So ia ries i h Ind u t q u o En nS ers i l a e D

Actual site photograph of KWIK TRUSS installed at Madhya Pradesh Diwas by Phoenix Networks. Size 100 x 100 x 45 feet with 8 pillars.

When Trussing becomes a work of art Winch Stand

Aluminum Stage

India World n i e e Mad for th

Lighting

Star Dimensions Lights Historic Road to Ultra Show in Mumbai with Elation Lighting The Ultra Music Festival cemented its place as the world’s premier electronic music festival years ago. Held in Miami each March during Miami Music Week, Ultra is one of the biggest dance music festivals on the planet and consistently features Elation Professional lighting on its stages. The iconic music festival hits the road as well, under the moniker Road to Ultra, and in September played two highly anticipated shows in India, one of which included Elation Professional lighting gear supplied by Elation partner Star Dimensions India Pvt Ltd. Road to Ultra Mumbai, which took place at the Mahalakshmi Racecourse in Mumbai on Sept 7th, was an historic event as it marked Ultra’s first show ever in India. While the main festival in Miami sees multiple stages and hundreds of artists, the Road to Ultra events are organized on a smaller scale with fewer artists

and follow an arena format with one stage. Still, the entertainment technology that backs the production makes for a powerful experience not to mention the music lineup, which was quite impressive. Duo sensation “The Chainsmokers” headlined, along with a cast of The Platinum Beam 5Rs were used for mid-air gobo effects supporting artists, many of which brought an Indian flavor on stage and towards the audience here in India and they have a into their sets. while the Platinum Beam 5Rs were performance to value ratio that is Star Dimensions handled lighting used for nice mid-air gobo effects,” hard to beat. Road to Ultra was and trussing for the event and turned Ashish Mehta explains. “We rigged a great opportunity for us as well to 12 Elation Platinum SBX hybrid many 5R Beams across the stage as the EDM scene in India and moving heads and Platinum Beam and sound tower extension and their Indian EDM lovers were naturally 5R beam effect moving lights for sharp narrow beam created a larger eager to immerse themselves in the what Ashish Mehta, Director of Star than life look.” experience.” Ashish Mehta and Star Dimensions, described as an “out of Star Dimensions has regularly had Dimensions also provided technical the box” design. “We had the SBX their inventory of Elation lighting out support for the show, along with fixtures on both a front bar and back on many of the top music events in Syam Gopinath, who executed the bar truss, creating mesmerizing effects India, including Justin Bieber’s 2017 trussing and lighting plot.

The Elation SBX fixtures on front bar and back bar truss created mesmerizing effects on stage

shows, David Guetta’s 2017 Mumbai show, Sensation India, A State of Trance and many others. “We have used Elation products for years and find them to be very reliable,” Mehta stated. “They stand up well to the tough conditions we often experience

The Road to Ultra event, brought to Mumbai by Percept Live, might not have included the entire Ultra package you’re used to seeing at Ultra Miami, but there wasn’t a dull moment throughout the show. Mehta sends a special thanks to everyone from Percept Live, especially Percept Live’s technical head Yogesh Malhotra, who stated, “We’ve handled a lot of EDM events and DJ concerts in which Elation has been a part of the rider - fixtures like the Platinum Beam 5R series, Platinum SBX and Elation LED Par lights and we have found them to be outstanding products.”

PR LIGHTING EXTENDS WATERPROOF RANGE PR Lighting Ltd, the market leader in China, has engaged in a wide range of professional lighting solutions, announced a new addition to its successful IP65-rated AQUA range, which has enjoyed a spectacular launch at key trade shows around the globe this year. This waterproof and dustproof Aqua 350 Beam moving head features a 350W lamp (6800K color temperature), and thanks to its

September - October 2017

advanced optical system delivers a precise, tight and powerful 2.1° parallel beam. This makes it ideal for all outdoor situations, particularly where an outdoor searchlight and big air looks are required. PR Lighting’s Aqua 350 Beam includes 12 dichroic colours, featuring CTO and White, 2 Gobo Wheels and 3 prisms. A fixed wheel contains 16 gobos plus open and rotating wheel 12 interchangeable

gobos plus open. The 3 prisms offer 8-facet, 16-facet and linear, with bidirectional rotation plus CTO, Frost and Open. The fixture is also built with an individual frost filter and double shutter blades 0.3-20fps while movement consists of 540°pan and 270°tilt, with auto position correction. The product is now in full production and already shipping.

DL1608

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Sonotone 102, Savoy Chambers, Above Mini Cooper, Linking Road Opp. Masjid, Santacruz (West), Mumbai 400054, India Tel: +91-22-66439999, Fax: +91-22-66439900 Email: info@sonotone.in, Website: www.sonotone.in

Digital Processors

Lighting

Airstar APPOINTS New Export Manager Airstar has appointed Clément Guittet as Export Manager in order to strengthen its international presence. With 80% of its lighting turnover generated abroad, the company is focused on supporting and growing its global network. Commented Xavier Ponson, Airstar sales director, “Our brand is already represented in 40 plus countries through 12 subsidiaries and over 70 independent distributors. This role has been created to help nurture our existing relationships and further boost our international presence.” Based in Airstar’s Headquarters near Grenoble (France), Clément will be responsible for Africa, the Middle East, Central Asia, Russia, India and Switzerland, with the aim of supporting the existing Airstar international network and developing the company’s presence in the event, construction, industry, security,

architecture and cinema sectors. Clément graduated in International Business Law in 2002. With twelve years of experience in international business development for the industrial, telecommunications and first response industries, Clément has a deep knowledge of international sales. “Airstar’s international success is very impressive for a SME, and is part of its DNA. I am looking forward to bringing my business development knowledge and experience to the table at this pivotal time for the company as it enters new markets and sectors” Clément enthused. While Clément will manage and expand the existing Airstar business network, his role will also be to find new distributors and sales partners. Clément adds, “This newly created position is a dream job and the Airstar team has made me feel very welcome. The quality and

performance of Airstar products is undisputed; no other company in the world is capable of delivering this type of user-friendly lighting solution, with a highly efficient, 360° , non-glaring light – so it’s an exciting proposition for me to work with.” The breadth of applications in which Airstar products can be found means that Clément’s work is incredibly varied: “The versatility of Airstar solutions is staggering. From lighting requirements for the most exclusive fashion show in Dubai, to working on a major Bollywood production in India and first response needs with a fire brigade chief in Switzerland – Airstar products are being deployed in all kinds of environments and scenarios.” “We are very excited to welcome Clément on board; he is the perfect fit for the job. With him on board, we can better plan our growth

Clément will be responsible for Africa, the Middle East, Central Asia, Russia, India and Switzerland with the aim to reinforce Airstar’s reputation in Sub-Saharan Africa and Maghreb and conquer the Indian, Russian and Central Asian markets”, concluded Xavier Ponson.

Ayrton first LED spot Ghibli Launched at PLASA 2017 Ayrton launched three new products at PLASA, which included Ghibli, MiniPanel-FX, and WildSun K25 TC. “Ayrton is committed to providing the lighting designer with a complete range of lighting tools to suit every purpose and size of venue,” says Ayrton CEO, Chris Ferrante. “Our new releases

are indicative of the breadth of our product range which constantly evolves to meet the requirements of our creative client base.”

GHIBLI

Ghibli is Ayrton’s first LED spot luminaire and marks an expansion of Ayrton’s Automated Lighting range. Compact, elegant and light weight, Ghibli boasts high output, ultraefficient optics, an 8:1 zoom from 7°to 56° and a selectable high CRI mode amongst its wealth of features, all housed in a most compact, competitivelypriced, package with a classy, sleek, industrial design. “Ghibli is the smallest and lightest fixture in its class compared with both LED and metal halide products, and gives the best performance to size and weight ratio of any LED hard edge fixture available - and metal halide product - in its class,” confirms Ferrante. Ghibli - the smallest and lightest fixture in its • Output and Quality class compared with both LED and metal halide Ghibli uses less than products

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900W of power in total, yet delivers an impressive output of 23,000 lumen, which renders it powerful enough for large scale arenas. In addition, its output is of an incredibly high quality, offering a crisp, clean and uniform beam with no hotspot, and fantastic centre-to-edge uniformity that delivers fat beams across its whole field, meaning Ghibli is at home as much in theatre as on the touring circuit. • Ultra-Optical efficiency This magnificent beam quality and output is due to Ghibli’s superb 80% optical efficiency which ensures there is no compromise between the two. “The higher colour temperature and spectral make-up of the Ghibli is great for concert touring applications, yet the flat beam and whisper-silent operation also makes Ghibli very suitable for theatrical users,” says Ayrton’s Global Sales Director, Michael Althaus. • Massive Zoom Range 13 high quality lenses including a 137mm frontal lens deliver an 8:1 zoom ratio with a beam aperture of 7°- 56° . “The revelation was a real eye-opener to those who saw it and we were very happy with the approval and many compliments it received,” says Ambersphere’s Sales Director, Philip Norfolk.

• Selectable High CRI Mode Ghibli is fitted with a very special filter for optimizing the colour rendering index. This ‘mode’ increases the CRI and can be activated remotely in situations demanding even higher-quality light output. “Visitors were quick to see the advantage of using a CRI filter over versions which alter the LED engine to achieve higher CRI values,” explains Norfolk. “The new filter system loses less light and means more versatility, compared to using a different light engine or even offering different versions of the same product to the market. Rental Houses clearly prefer to have just one solution that does it all perfectly.” • Unparalleled Feature Set Despite its compact size, Ghibli does not hold back on its feature set and offers one of the fullest ranges of options on the market, including CMY colour mixing, variable CTO and full field framing. The complete effect section includes two gobo wheels (one rotating, one static), a fixed colour wheel, a prism, an animation wheel and two frost filters, in addition to focus, iris, electronic dimming,

(Continued on page 52)

A - One Building, Proctor Road, Off. Lamington Road, Mumbai - 400007 | Phone: +91 22 2380 0286 Email: dev_electronics@hotmail.com | Website: www.develectronics.com

Lighting

Lighting industry veteran, David Stewart Joins GLP as Sales Manager in UK office

Stewart’s immediate goal will be to further develop the market for GLP’s burgeoning portfolio GLP has continued to strengthen its UK operation, with the announcement that the hugely experienced David Stewart has

been recruited as Sales Manager. An industry veteran with nearly 30 years’ service, he spent the previous decade with Martin Professional, where he built up a powerful network of key specifiers, lighting designers and rental companies. Starting his career as a Vari-Lite operator, after working freelance for 10 years he then enjoyed stints with Stage Electrics, Fusion and Spirit Design before joining Martin Professional. Finding himself ready for a change, he said that GLP had been

an obvious move. “The brand is very well known and they were at the forefront of LED moving head technology with their impression series.” Aside from their excellent reputation and branding I liked the idea of working for an independent company where I can make a difference and have a more handson approach to developing the next technology.” He also looks forward to being reunited with Mark Ravenhill, who heads up GLP Inc in the States, with

whom he previously worked at Martin Professional. “Mark has been a huge influence and I have huge respect for him. We have kept in touch at trade shows and when he approached me about the Sales Manager role the timing seemed perfect.” Through his many contacts and networking skills David Stewart’s immediate goal will be to further develop the market for GLP’s burgeoning portfolio, and at the same time seek feedback from key end users.

Butterfly II Fixture shipping now PR Lighting recently previewed the new Butterfly among a suite of new products at the Prolight+Sound Show in Frankfurt, Germany. Although it was well received, the company decided to supercharge it by adding five small plates on the central disk, containing 15 x 1W LEDs, to the 6 x 40W Osram R/G/B/W 4 in 1 LEDs already existing. It is now known as the Butterfly II. The new deluxe fixture is thus now composed of 11 independently

Ayrton first LED spot Ghibli...

controlled or grouped LED engines all in one unit. The fixed center 3.5°RGBW beam is surrounded by the five individual identical RGBW beams, all with tilt control, creating a flapping butterfly effect. This fixture contains five white LED clusters that can be individually controlled or can work together to create either a white blinder strobe or random strobing effect. The entire unit can pan 540°and tilt 270°while the entire head can spin

continuously through 360°and the outer LEDs can tilt 180° . The LCD touch screen and WDMX control make operation and connection easy and intelligible. This colorful and dazzling lighting fixture, which is now shipping is suitable for concerts, clubs or any setting that requires precise movement, enables the lighting designer to provide perfectly even wash coverage from a truly multipurpose unit.

(Continued from page 50)

strobe and engine animation control Ghibli’s ultra efficient thermal airflow is directed over the heat sink its sealed LED engine means less capabilities. The full field framing design means less maintenance at the rear of the fixture and avoids maintenance or chance of failure. This system is rotatable to 60°and allows and lower servicing costs. The main passing over the optical train, and results in fewer cleaning interventions each frame to be positioned with which is an obvious benefit precision on a 100% surface area to rental companies. in all positions, even capable of a “Visitors were able to full wipe, to give lighting designers understand for themselves countless creative possibilities. how the combination of • New Gobo Designs the dissipation of heat Attractive new custom-designed through Ghibli’s die cast gobo patterns have been created base, and the liquid cooling in collaboration with lighting system for the engine in designers to meet the needs of the head were innovative the entertainment industry: “We ways to manage heat,” were very happy with the positive explains Norfolk. “These in feedback to the news designs,” turn allow Ghibli to have a says Ferrante. “Designers are always smaller footprint while the looking for something fresh, and liquid cooling system for the with applications so varied across engine in the head reduces the markets, it was very gratifying the number of cooling fans to hear this level of response to by half. The result is whisper our new designs.” silent operation which is an Ayrton also launched the MiniPanel-FX (l) and WildSun K25 TC (r) at the Plasa show • Innovative Cooling System extremely desirable feature.”

September - October 2017

destination for AV industry CALLING ALL MANUFACTURERS & DISTRIBUTORS OF AUDIOVISUAL + DISPLAY PRODUCTS & TECHNOLOGIES

Product displayed at the AUDIOVISUAL segment of PALM LED Video Display Cinema Projection Video Projection Digital Signage Digital Cinema

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SOUND Stage Sound Concert Sound Installed Sound Cinema Sound PA Systems Studio Equipment Microphones Music Production & Broadcast Audio for Video DJ Gear

LIGHT Light + Laser Laser & Effects Lighting Design & Installation Stage Lighting Stage Machinery Stage Technology Truss / Rigging

Lighting

EmpowerING Creativity with Chauvet Professional Maverick Series New Additions Chauvet Professional Maverick series has turned up at an even wider variety of applications with the introduction of the Maverick MK2 Profile and Maverick MK Pyxis.

The Maverick MK2 Profile The Maverick MK2 Profile, features a four-blade framing shutter system with rotation and dual axis movement for each shutter. It also allows users to shape and size beams with great precision. The fixture’s iris, threefacet motorized rotating prism and motorized frost provide added beam control. “We designed the Maverick MK2 Profile to excel in a variety of applications,” said Albert Chauvet, CEO of Chauvet. “Our goal was to give designers maximum flexibility.” In adding to this flexibility is the Maverick MK2 Profile’s CMY + CTO colour mixing system and colour wheel, which can be used to produce a rainbow of rich and realistic hues. Opening even more creative options are the fixture’s dual rotating and indexing open gobo wheels, which offer continuous scroll at variable

speeds. The Maverick MK2 Profile also features 16-bit dimming of master dimmer for smooth control of fades, a 3:1 motorized zoom, a color temperature (at full) of 5883 K, a CRI of 90, electronic dimmer, a pan and tilt of 540° /270°and selectable PWM (Pulse Width Modulation) for flickerfree operation. Control of the new profile fixture is easy via DMX, WDMX, sACN, and Art-Net. The Maverick MK2 Profile also converts TCP/IP to DMX for shorter data cable runs and offers RDM control over DMX for remote access reporting. “Our customers asked us for a profile fixture that offered a variety of control options and was also powerful, flexible and user-friendly,” said Chauvet. “We feel that with the Maverick MK2 Profile, we’ve delivered what they wanted, and more.”

The Maverick MK Pyxis True to its celestial moniker, the newest member of CHAUVET Professional’s Maverick family can produce an endless array of out of this world looks, thanks to a unique

Chauvet Maverick MK Pyxis design that includes an outer ring of RGBW LEDs, a powerful zooming center pixel, 360°continuous pan and tilt movement and a host of other performance features. “The Pyxis blazes a new path in design possibilities by incorporating a variety of different design features in ways that have never been done before,” said Albert Chauvet, CEO of Chauvet. “Designers who we’ve shown Pyxis to have been shocked that one fixture can produce so many

Robe Deutschland HQ Inaugurated Robe Deutschland officially celebrated the opening of its new HQ in Ismaning near Munich last week in an event which also showcased Robe’s brand new, just launched MegaPointe moving light to assembled guests and media. The guest from lighting /

visual industry, technicians as well as professionals from various venues, could tour the new office, warehouse and Light Lab facilities, then experience a specular lightshow designed, programmed and operated by top Swiss LD Ronald Huber, illustrating the many features and functionality of the new Mega Pointe

and fixtures from Robe’s current ranges. “We are extremely happy that all our German customers have direct access to our brand via this highly talented, experienced, wellconnected and enthusiastic team” stated Robe CEO Josef Valchar, who led a contingent from the international sales and project team attending the office inauguration and MegaPointe launch event. Robe’s Sales Director Harry von den Stemmen added, “This event was a great success, the office and the MegaPointe were extremely well received and we look forward to a positive and proactive future in Germany with plenty of business opportunities”.

The Team at Robe Deutschland - a wholly-owned Robe subsidiary

September - October 2017

Chauvet Maverick MK2 Profile SD500 different looks.” The centre of the Pyxis is a 60W RGBW LED with a fixed 3°beam angle. Surrounding this pixel is an outer ring made up of 9 15W RGBW LEDs with a 7° -45°zoom angle. Working together, the centre pixel and outer ring are capable of creating a dizzying variety of captivating beam, wash, atmospheric and set piece effects. A built-in virtual gobo wheel with background colours can be used to make the outer ring appear as if it’s spinning. This effect combined with the retractable motion of the centre pixel and the 360° continuous pan and tilt movement can fill a stage of any size with dynamic high energy looks. The Maverick MK Pyxis also acts as a double and triple duty wash and beam light, with a combined center pixel and outer ring illuminance of 27,560 lux at 5 meters. “We see the Pyxis as being a valuable addition to rigs of all sizes,” said Chauvet. “Its versatility and multi-functionality will help touring LDs create a wider variety of looks without increasing their budgets or taking up more space in the trailer. Thanks to its speed and variety of movements, this fixture can also be used to create some stunning wall and set piece displays at arena concerts. This versatility should make it a popular rental fixture.” The Maverick MK Pyxis works with DMX, W-DMX, SACN, Art-Net, and Kling-Net. The fixture is RDM enabled for remote addressing and trouble shooting, converting TCP/IP to DMX for shorter data cable runs, including a battery backup touchscreen display with auto rotate depending on fixture orientation.

Lighting

Claypaky K-EYE HCR K-20 wins the Plasa Award FOR Innovation The Claypaky K-EYE HCR has won the Plasa Award for Innovation, one of the most renowned and distinguished prize in the entertainment lighting industry. The award is assigned by a strict jury made up only of expert professionals in the field, who carefully analyze the various products. It is a highly significant prize specifically because it places great emphasis on product innovation, which is one of Claypaky’s underlying key values, around which all the company’s design efforts and products revolve. The jury gave the following motivation for the award: “A LED wash light that delivers a new approach to accurate colour rendering starting at chip level rather than manipulating existing sources.” Pio Nahum, Claypaky’s CEO, welcomed this acknowledgement with great pleasure and illustrated

the original specifications behind the K-EYE’s design: “For years, our most demanding customers felt the need for a light that differed from the others not so much for the number of special effect devices, but also and especially for the ‘quality’ of the light it produced. This is a very difficult parameter to define, since it relates to Francesco Romagnoli of Claypaky with Philip Norfolk of Ambersphere Solutions Ltd - the perception: it is the exclusive UK sales, support, service and training centre for Clay Paky sum of multiple factors such as diffusion uniformity, colour temperature, colour The K-EYE HCR is suitable for use Pio Nahum added: “On behalf control features, and most of all a in all professional fields of application of the whole company, I would high colour rendering index. To meet where great brightness, a wide like to congratulate the entire these requirements, Claypaky and range of colours, and a high CRI R&D team, which has created a Osram have developed a technology are particularly appreciated: theatres, winning product that rewards the named HCR, used in the K-EYE range television studios, showrooms, joint efforts of Claypaky and our and in ADB’s Klemantis.” exhibitions, and fashion shows. colleagues at Osram.”

Elation Launches Artiste Dali Moving Head and Dartz 360 LED beam / spot fixture Elation Professional’s has added two products to its list of innovations. The lighting major launched the Artiste Dali, a full-featured moving head with state-of-the-art LED / Laser Phosphor light engine and the second luminaire in Elation’s Artiste series. The second world premiere product is the new Dartz 360, a full colourmixing LED beam/spot fixture with gobos and effects that gives all new projection possibilities from a narrowbeam luminaire. Both luminaires have been nominated for a PLASA Award for Innovation.

Artiste Dali The new Artiste Dali is a fullfeatured moving head with innovative LED / laser phosphor light engine that gives greater spot and beam capabilities from one luminaire. The unique hybrid light engine combines a 300W LED source and 100W laser phosphor source for improved spot/beam functionality. The laser phosphor source produces a denser beam with a level of brightness not

possible with LED alone. By combining the two sources, users get a spot with extra punch (15,000 lumens) in an energy-efficient solution. Features include eFly wireless DMX, CMY+CTO variable color mixing, color wheel, rotating and static gobos, prisms, animation, zoom, and frost. Combined with the powerful new LED/laser phosphor engine, the Artiste Dali provides the latest technology and professional performance to fit into a variety of applications and designs.

Dartz 360 The new Dartz 360 is a unique, full color-mixing LED beam/spot fixture with gobos and effects that gives all new projection possibilities from a narrow-beam luminaire. A single-source 50W RGB LED engine produces a powerful and tight 3-degree beam for smooth, color-mixed beam effects similar to

Elation Dartz 360 a discharge lamp. Extremely bright for its wattage and size, a combined LED engine source/optics package provides better field and brighter output than previous multi-chip LED

Elation Artiste Dali “beam” solutions. The Dartz 360 is also compact and phenomenally fast with continuous 360-degree pan and tilt movement added to the gobos, dual prisms, frost, and remote focus.

September - October 2017

Lighting

Rosco & DMG Lumière Fuse Together to Create Excellence Leading manufacturer of lighting solutions for the entertainment industry Rosco Laboratories, announced acquisition of French LED specialist DMG Lumière in a deal concluded at IBC. The acquisition represents a ‘win-win’ situation for both companies, as well as the businesses themselves, through increased customer-driven innovation, expanded global product support capabilities and greater in-house expertise. DMG Lumière’s technology and talent will further develop the Rosco LED Lighting product range, while at the same time Rosco’s global sales, marketing, distribution and customer service teams will provide customers easier access to the DMG product-range worldwide. DMG Lumière is a company growing with rapid speed and has experienced great success that was founded by the de Montgrand brothers; Mathieu, Nils and Jean, and their partner Nicolas Goerg. The partners include an LED lighting developer, a gaffer and a renowned cinematographer; together creating a team who

are perfectly suited to develop customer-driven LED solutions for film production and broadcast lighting. The versatile Switch range is recognized for its impressive power to size and weight ratio, making it ideal for use in filmmaking where lighting tools need to be as mobile, robust and power-efficient as possible. This acquisition will make it easier for customers to access the Switch range of LED lights, leveraging Rosco’s established worldwide distribution channels, as well as giving them greater access to Rosco’s comprehensive support network. DMG Lumiere’s Nils de Montgrand & Rosco’s Stan Miller signed the official Mark Engel, Rosco CEO, said: deal at IBC 2017 “DMG Lumière is the perfect partner that our LED technology can bring as we look to grow our business, and as we met, and by combining our expertise, vision and technology, we to lighting film and television sets. we’re delighted to welcome them will be able to offer our customers Rosco has been a world leader into the Rosco family. a wider, specialized range of LED in color and lighting for more “With both companies focusing on lighting to better bring their creative than a century, and we have total delivering customer-driven solutions, visions to life.” admiration for its history, brand we share similar values in terms of DMG Lumière’s general manager and market position. It’s rare to a dedication to innovation, a passion Nils de Montgrand added: “This find a partner that has such a for encouraging our customers’ is a very proud moment for our similar ethos when it comes to creativity and a commitment to business, and it gives us a great technology, developing products support and develop our talented opportunity to move forward quickly that solve customers’ needs and people. The chemistry between the and further develop the advantages cultivating its people.” two businesses was evident as soon

ETC’s Unveils Upgraded Ion Series & Software ETC recently launched two new control surfaces to its popular Ion lineup of lighting control products, the Ion Xe Consoles & ColorSourceCyc fixture with it’s to be unveiled Cobalt software version 8.0. The new Ion Xe and Ion Xe 20 consoles with compact footprints and fullfeatured Eos software will bring awardwinning programming power to smaller venues. Since the new consoles feature the same backlit keyboard layout as their larger Eos family siblings, workflow can transfer seamlessly from desk to desk. Ion Xe desks support up to external two multitouch monitors, so you can take full hands-on advantage of color tools, Magic Sheets, Direct Selects and more. Ion Xe consoles feature full main

September - October 2017

playback controls, fader controls, level and rate wheels, four rotary parameter encoders and support for up to five USB-connectable wings and devices. Ion Xe consoles are available in two output counts: 2K (base) and 12K (expanded), providing

control for a wide variety of rigs. For extra security and flexibility, ETC has also released a new Ion Xe RPU (Remote Processing Unit), which can serve as a backup, remote programming station, or primary

controller for your system. “The Ion brand is much loved for its compact footprint and powerful feature set at a very attractive price,” explains Eos family Product Manager Anne Valentino. “We wanted to ensure its replacement maintained those attributes, while providing a more consistent hardware design with the larger products in the family. Ion Xe is a powerful addition to a product line-up that covers a broad cross-section of the market.” The new Eos Fader Wing accessories provide 20 or 40 nonmotorized faders in handy, USB-connectable modules that match – and are compatible with – all the latest Eos family hardware. The wings share the profile of the Ion Xe and Eos Motorized Fader Wings, and they can be used with

all Eos family products (with the exception of Element). Fader wings make it easy to customize Ion Xe to the specific needs of the show; it can be connected to three motorized or non-motorized fader wings to any Ion Xe desk. The Ion Xe 20 model also streamlines your control booth setup with a built-in bank of 20 page-able, non-motorized faders.

ColorSourceCyc The upcoming ColorSourceCyc fixture, slated for release later this year, is a purpose-built cyclorama light which is bright, compact and affordable. It’s also the first ColorSource fixture to add a fifth colour to its LED array, incorporating indigo with the RGB-L mix to achieve rich, theatrical hues. The Cyc will be joining fellow family members on stand J30, including ColorSource Spot and PAR fixtures, ColorSource AV control desk, and ColorSource Relay wireless power control solution.

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Lighting

Robert Juliat INTRODUCES DALIS 862S and SpotMe Robert Juliat’s officially launched two new products at the PLASA The Dalis 862S and the SpotMe.

Dalis 862S Dalis 862S is a new variant of Dalis 862 Footlight. At 50cm in length, Dalis 862S is a shortened version of the original 1m model. Dalis 862S has been created at the request of lighting designers who need precise footlight coverage on curved and non-standard shaped stages where its smaller form factor can be a big advantage in delineating stage edges to perfection. The mini-battens are designed to be totally inconspicuous

from the audience viewpoint while its size perfectly fits with the stage monitors in front of the artist.

SpotMe SpotMe, Robert Juliat’s new advanced, real-time, 3D tracking system for followspots, will be demonstrated in the UK for the first time. Very easy to understand, simple to install and use, and extremely cost-effective, SpotMe turns Robert Juliat followspots into an interactive solution that gives the position of performers on stage without the

DALIS 862S

need for emitters and/or cameras. The followspot is equipped with sensors which send signals to the server and communicates all the positions and beam size parameters to the lighting console through PSN and DMX protocols. The parameters

can then be used by the console to control any automated or static lights. Any moving light can therefore also become a followspot at any time during a show. Designed to be accessible to everyone and all budgets, SpotMe’s master and slave technology opens up a whole new range of control options for the designer.

Robe’s LAUNCHES MegaPointe Moving Light Fixture Robe recently launched its allnew MegaPointe multi-purpose moving light designed to take the original concept of all-in-one fixture to a whole new level by utilizing an exclusive 470W short-arc light source. Key Features include: • Robe’s MegaPointe optics produce bright parallel beams that can be paired with spot gobo projections, quick movement, smooth CMY color mixing, and a multitude of effects available for splitting and shaping the light in Spot, Beam or Wash modes.The zoom ranges from 1.8 to 21 degrees in Beam mode and goes from three to 42 degrees in Spot mode with crystal clear high-clarity output through a 150 mm diameter

front lens, with a total lumen output of 20.375 and a CRI of over 80. • The in-air projections can be created using the new Effects Engine, pre-loaded with 12 dynamic beam and flower effects, and can be further finessed using the beam shaper which can emulate framing shutter effects and create rectangular shapes as well as being rotatable and indexable. • Utilizing the ‘light’ and medium’ frost filters with any combination of colours from the CMY mixing system produces a smooth, even wash coverage.There is a static 14slot plus open gobo wheel fitted with glass gobos for precision surface projections and exciting

in-air impressions, and a second wheel contains nine rotating gobos that rotate and can be indexed. • These can be combined with a variable speed, bi-directional animation wheel which can be used in conjunction with any of the gobos or on its own to enhance or produce subtle and detailed effects and projections. • A remote adjustable hot-spot control can further influence the appearance of the lightsource, and there is more versatility with a series of pre-programmable ‘random’ strobe and pulse effects.In keeping with Robe’s commitment to smaller-brighter-lighter fixtures, it weighs only 22Kgs. • MegaPointe is perfect for live concerts, festivals, EDM and dance

Jerad Garza joins Ayrton’s growing sales team Ayrton has announced the appointment of Jerad Garza as the latest member of its growing International Sales Team. Originating from Texas, Garza entered the industry as show technician with Gemini LSV in Dallas where he spent 17 years learning all aspects of show production, before progressing to the position of Sales Director and Project Manager. Roles in European & International Sales followed, firstly with Solaris and, most recently, with High End Systems. Garza now brings this wealth of technical, sales and global experience

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with him to Ayrton. Based in South Germany, Garza’s role will be to focus on supporting Ayrton’s existing international clients, in addition to establishing and growing new ones, and will have additional responsibility for selling demo and excess stock worldwide. “Now is an exciting time to join the Ayrton team, and I cannot wait to meet our partners and contribute to their growth and success,” he says. “Ayrton is a brand with a great reputation and I am looking forward to playing my part in upholding that.” “Jerad has a great understanding

of the needs of the international market, an exceptional technical knowledge, and a great affinity with the tenets at the heart of Ayrton,” says Ayrton Global Sales Director, Michael Althaus. “The energy and enthusiasm he brings to Ayrton and his determination to ensure our customers receive the best service, means he will be a great addition to the Ayrton team. We are looking forward to having him on board.” Based in South Germany, Garza’s role will be to focus on supporting Ayrton’s existing international clients

Robe’s MegaPointe Moving Light Fixture events, TV productions, outdoor spectaculars and all types of live events and permanent installations.

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LIGHTING / TRUSS / SOUND / VIDEO / INTEGRATION

Lighting

Eaton EXPANDS Zero 88 FLX Lighting Console Eaton expands its award-winning Zero 88 FLX range with two powerful, all-new lighting control consoles designed for applications where space, time, ease of use, and flexibility are key factors.

for the user to understand DMX or even think about patching. “Guidance” helps the user through key features of the console, allowing them to learn and refresh their skills at their own pace.

hugely popular and familiar to the majority of console operators or by applying automatic movement effects such as “figure 8,” “rainbow,” and “fly-in.” For speed, convenience, and familiarity, regular functions have dedicated buttons rather than “soft” unlabelled buttons that keep changing, and there is a master GO button for theatrical style playback. Free apps for iOS and Android are an integral part of the overall FLX S package. Tablets act

FLX S48 FLX S24 and FLX S48 are affordable, easy to use and fun. They control 48 and 96 fixtures respectively to bring the power, simplicity, and cost-efficiency. Recognizing that programming time continues to become evertighter and more precious, Zero 88 has streamlined key elements of FLX S to assist with all the prep work, getting the user ready to operate even quicker. “RigSync,” nominated for a PLASA Innovation Award later this month, keeps FLX S fully synchronized with the lighting rig, without any need

“Colour” is at the core of the operating architecture, providing quick and accurate control of color changing fixtures via the four encoder wheels and the 7” multi-touch display -- offering Zero 88’s award winning FLX S24 color and image picking interfaces and access to “mood boards by LEE Filters.” Moving lights can be intuitively controlled using the multi-touch pan / tilt grid or the encoder wheels

as wireless touchscreen monitors, while smart phones act as remotes, providing wireless control of the rig and allowing the user to manipulate, control, and playback their shows.

High End SolaFrame 750 at PLASA High End Systems launched their new SolaFrame 750 automated luminaire at the recently concluded Plasa. The Sola Series range of products, which includes the Spot, Frame, Wash and HyBeam lines, is touted as the most fully realized offering of Bright White LED automated fixtures available. Being compact yet extremely full featured; the SolaFrame 750 offers many of the effects capabilities of the company’s flagship White Light LED products, making it a perfect fit for theaters. Delivering 11,300 lumens, the SolaFrame 750 includes a full framing shutter system, CMY/CTO linear color mixing, and replaceable fixed color wheel systems, rotating gobo wheel plus rotating animation, frost, iris, 6 to

September - October 2017

50-degree zoom, and a three-facet rotating prism. Sola Series product manager Matt Stoner commented: “For some time now, users have asked for a fullfeatured fixture designed for their small to medium venues. That is why we designed the SolaFrame 750 with every feature a professional needs to completely immerse their venue in light. With a full complement of framing, gobos, animation and prisms plus an incredible zoom range, this fixture has all of the features of the big boys, but with a size designed for tighter spaces.” “We continue to focus on our customers,” added High End Systems general manager Becky Koester. “We want to be a full business partner with a product offering that

addresses all enduser requirements. With the continued success of the Sola Series, we felt it important to broaden our offering with the addition of a smaller footprint fixture. The diversity of our markets and the unique demands from the end-user reinforce our commitment to providing a broad range within this line of fixtures.” High End Systems SolaFrame 750

Apple Watch users can also benefit from using their device as a focus tool. Enhanced connectivity includes two USB ports, an Ethernet / networking port, both five-pin and three-pin DMX outputs, and for FLX S48, an external monitor. Both consoles are available in either oneor two-universe versions out of the factory, or with the option to upgrade easily online after purchase. FLX S’ two extremely compact and lightweight control solutions with tidy footprints are ideal for touring, traveling, or fixed installations. FLX S24 has been built to fit within a 19” rack enclosure. The range is designed for universal appeal, and is manufactured in the UK. It is especially suitable for fringe theatre productions, education, community venues, houses of worship, corporate events and presentations, concerts, rental applications, fashion shows, festivals, holiday parks and themed attractions, cruise ships, television, and many more.

PROFESSIONAL FOCUS: LIGHTING DESIGNER

Bringing LIFE through LIGHTS Highly experienced lighting designer Roosevelt D’Souza is rarely restricted in his art. Best known for his work on Music Concerts and festivals, Roosevelt is actually a full service special event lighting professional, also specializing in designing & executing light effects for theatre production, brand launches, music concerts & festivals, fashion shows, film shoots, award ceremonies & ambience lighting. In this interview, he talks to PALM technology about his journey to becoming the “Master of Special Event Lighting.”

Roosevelt D’Souza at the console

Lighting the Stage for Shreya Ghosal

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aving been in the industry for over 15 years, Roosevelt’s experience has taken him to several countries, giving him hands on knowledge about special lighting & designing, however he is effusive in his praise for his mentors under whose guidance he believes started his journey to becoming one of India’s most sought after lighting designers. “All appreciation and thanks go to my mentors Sam Kerawala, Kaivan Mistry, Praladh Upadhya and Jules Fisher. Sam Kerawala and Kaivan Mistry were the ones who got me involved in lighting. The first project I worked on was the musical “Sound of music”. I got a scholarship to learn the art at Broadway lighting in New York with Jules Fisher, Donal Holder and Mrs Pegge,” says Roosevelt. “Thanks also to all my technicians and designer colleagues,” he adds. Besides designing the lighting for music awards and live musical concerts of many Bollywood singers like A.R Rahman, Adnan Sami, Atif Aslam, Ankit Tiwari, Asha Bhosle and Arijit Singh, to name a few, Roosevelt’s illustrious career has involved lighting the stage for major fashion shows for well-known designers and brands like Aalya Khan (America), Levis, Manish Malhotra, NIFT, Pantaloons, Provogue & Shoppers Stop.

Talking about his work on big stage live events like Music Concerts and Festivals, he says, “I work with a select few artistes and music festivals. Working with good artistes, automatically brings out the best in me. It is a give and take and at the end of the day it’s the respect you receive. Currently I am on tour with the legend Mr. Gurdas Maan and it is an honour to work with such wonderful human beings.

FOLLOWING INSTINCT Music Festivals are always a challenge and I love them. There always are diverse acts following each other on stage, each with different instruments and placing. You have no clue what kind of music they are performing. Here I follow my instinct and go with the flow of the music. For instance, I was doing a music festival for Mood Indigo couple of years ago and well renowned drummer Mike Portnoy was performing along with his band. I had no clue what the music was like. I met him before the show and asked if he had any cues for me or if he wanted anything special during the performance. He just said “Please do your best.” Post the show, he was so happy and appreciated my work so much that he asked me if I wanted to go on tour with him.”

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Lighting up Armaan Malik and Kapil Sharma. Roosevelt’s designs have lighted the stage for many music awards and live musical concerts of many Bollywood singers like A.R Rahman, Adnan Sami, Atif Aslam, Ankit Tiwari, Asha Bhosle, Arijit Singh etc.

HARMAN’s Martin Lights, he says, “My

Roosevelt however admits that he is slightly biased towards theatre. “I enjoy what I do and every event is a challenge for me, but more than Rock n Roll, I like theatre. That’s where it all began and it teaches you so much”

THE ART OF LIGHTING For Roosevelt, lighting is not just about illuminating the stage, but also about understanding the artist. “My lighting plot is a universal one. I make the plot after I have understood what the artist is looking for. I try and get both our creative ideas to work and make it interesting,” he says. He however rues that India does not have too many good performance venues. While planning shows or live events, deciding the venue is key and

September - October 2017

having a good performance venue can enhance the scope of work. “We have few venues to work. 75% of the concerts are held outdoors, which increases the cost for the organizers. Everything has to be built from scratch.” Also with each changing venue, the approach is to be changed. “When you have an open air venue a lot is involved. Safety is of utmost importance. For indoors there is much less amount of work involved indoors, because everything is in house, but for install, you need to plan with the architect, get approvals from the client and most importantly, the gear has to be branded so that it lasts for a long time,” he says.

CAREER MILESTONE Talking about his association with

connection with HARMAN began with Abishek Gupta who now heads the Dubai Branch. As a lighting designer, the industry was not the way it is today. It wasn’t as structured, advanced or even as outlined as it is now. We had very little to work with, limited technology and limited resources. However, we trudged on. Then came the point in my journey where I got associated with HARMAN Professional India by way of Martin lights. That was one of the most important moments in my career. These guys, with their outstanding products, have always given me more to work with, more to play with, more to ideate with. What I love about being associated with Harman Pro is that the relationship is a two-way street. They see to it that I am exposed to the latest products and controllers, and I see to it that my feedback is always given.” He says. “It’s a healthy give and take relationship. I say it’s healthy because I strongly believe that this is exactly how great brands stay great; by staying relevant, by involving professionals and heeding their inputs, by adapting and evolving. This is how a strong product ecosystem is built in the industry, by means of mutual growth. I for one, am forever lying in wait to see what Martin has up its sleeve next. They seem to always have something for every scenario! I always have been and always will remain excited to be associated with these guys.”

Having worked in the lighting industry since almost two decades Roosevelt has seen many developments in lighting technology over the years. “A few years ago we did not have intelligent lights and had to make do with only conventional lights. Then we started getting copies of intelligent lights, fixtures and lighting desks. The lighting industry found it to be a reasonable cost to invest in, but for the long run it was not advisable. Few vendors wanted to invest in quality gear so that they are recognized in the international market because of which we today have access to intelligent lighting.” With the Indian lighting market further opening the door of creativity for lighting designers and programmers with new lighting gear, Roosevelt says that he prefers working with certain premium brands. “Though I can work with any brand, I try and use only lights and fixtures from brands like Martin, Vari-lite, Robe and Clay Paky. I make a lighting plot along with the lighting inventory. There are some fixtures I like to use and I insist on having that. In small cities, of course we have to make do with what is available,” he says. “Every day, there is new technology coming out and that is something I have to keep abreast about and learn. I use my skills and talent and draw inspiration from all my senior designers,” he adds.

INTEGRATING LIGHTS WITH IMMERSIVE CONTENT Display is a critical element of stage events and with most stages now becoming immersive with vivid visual content either on a led wall or through 3D mapping, Roosevelt is not averse to using them in his designs. “LED backdrops and 3d mapping is fantastic and gives a new look to the performance. But sometimes we do face problems when the client wants the led BRIGHT. It washes away the entire performance you can’t even see the lights or the artist because of the intensity,” he says

INDIAN LIGHTING MARKET While talking about the scope of the lighting market in India in terms of stage lighting, in the next five years, especially in Tier II and Tier III cities, Roosevelt says, “I see the lighting market growing in numbers and in quality. Safety is also growing as the hotels are now insisting on observing standardised health and safety standards. The small cities are growing and we can easily pull off a good show.”

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Product Focus

Moving Heads

Moving Innovations sprucing stage shows Moving heads, one of the most vital segments of stage lighting are being re-invented. Having new technologies on board, their future looks bright & colourful. Here, we assemble some of the latest (2016-2017) additions to moving heads collection. Utilization of these, newly invented moving lights allow the lighting designers to bring excitement and energy to their audience.

ADJ VIZI CMY300 The ADJ Vizi CMY300 is hybrid LED moving head lighting effect with a powerful 300w LED engine that provides a huge output making it suitable for large venues and events. It acts like a beam, spot and wash, all in one. With a massive zoom range, allows designers to obtain maximum effects of an accessory without having to agglomerate in an installation with multiple accessories. Tech Specifications: Light Source: • 300W Cool White LED Engine • 50,000 Hour Average LED Life Color: • Color Wheel: 9 + Open (Including: CTO 3200K & UV) • Full CMY Color Mixing GOBOs: • GOBO Wheel 1: 8 Fixed + Open (1 Beam Reducers Beam Mode) • GOBO Wheel 2: 6 Rotating/Replaceable + Open (Size: 26.8mm; Viewable: 20mm) • Modular design for easy servicing and GOBO replacement Effects: • Zoom Range: 8 ~ 48-degrees • Iris: Motorized 5-100%

• Focus: Motorized • Frost effect • Prism 1: Rotating 3-facet Circular • Prism 2: Rotating 6-facet Linear Rotating • Prism Layering Connections: • Power Input: powerCON • Power Pass through: powerCON @120V or 220V • USB firmware update port Control: • Control Channels: 21, 24 or 26 • DMX Modes: 3 • Control: 3-pin and 5-pin DMX • Full color display menu • Pan / Tilt Correction: Automatic • Pan / Tilt Lock • Pan / Tilt Range: 540˚ / 270˚ • Fine Tilt • Pan/Tilt Speed: Fast to Slow • Dimming & Fine Dimming: Electronic Electrical: • Input Voltage: 100-240V 50Hz/60Hz (Auto Sensing) • Daisy chain max: 4 fixtures (@120V); 8 fixtures (@230V) • Power Draw: 398W (3.31A @ 120V; 1.8A @ 220V) Dimensions/Weight: • Dimensions (LxWxH): 14.75” x 12.75” x 24.5” / 370 x 325 x 619mm • Weight: 51 lbs. / 23 kg

Blizzard Lighting G-MIX 200 The G-Mix 200 CMY, feature packed spot moving head fixture, combines an exceptionally sharp white beam together with the rich color transitions of CMY color mixing. Smooth color transition and vibrant fixed colors can be applied from the G-Mix 200’s unique system of three color wheels, plus rotating or static gobos can be added for

September - October 2017

projections and mid-air effects. Its smooth linear zoom can go from 42° at its widest, down to 5° to produce a piercing beam that can be trimmed with its ultra-fast steeples iris for really sharp output. It also features variable frost to create a gentle wash-like output or dynamic background projections. Main Features include: • 200W OSRAM white LED light engine • Smooth CMY color mixing system • 9 Dichroic color filters + open • Rotating gobo wheel: 7 rotating, indexable and replaceable slot-n-lock glass gobos + open • Static gobo wheel: 7 metal gobos + open • Linear motorized zoom (5° - 42° ) • 3/8-facet bidirectional rotating prism • Motorized linear iris and frost • Linear electronic focus + auto focus • Strobe effect with variable speed (max.15 flashes/sec.) • Smooth dimmer from 0 - 100% • 25/30-channel standard & extended DMX modes Technical Specification: • Luminous Intensity:  Distance: 3m  Narrow (5° ): 122,613 Lux  Wide (42° ): 2,472 Lux  Distance: 5m  Narrow (5° ): 48,988 Lux  Wide (42° ): 849 Lux

 Distance: 10m  Narrow (5° ): 11,200 Lux  Wide (42° ): 245 Lux  Power:  100-240VAC, 50-60 Hertz  Power consumption: 334W, 2.7A, PF: .99  Optical:  200W OSRAM® white LED light engine  Beam angle: 5° - 42°  Color temperature: 6500K, CRI=80  Movement Range:  Pan: 540° /Tilt: 270°(8-16 bit resolution)  Control:  Protocol: USITT DMX-512  25/30-channel DMX modes  Standalone, master/slave, auto mode  3/5-pin XLR male / 3-5-pin XLR female  5-button LCD control panel  Weight & Dimensions  Width 16.4 inches (417 mm)  Depth 11.4 inches (288.6 mm)  Height 25.5 inches (648.3 mm)  Weight 41.9 lbs. (19 kg)

Claypaky Axcor Profile 900 The Axcor Profile 900 is the first Claypaky spotlight to use a LED light source, instead of a traditional discharge lamp. Claypaky has chosen to use a white LED engine with high luminous efficiency, total power of about 900 watts and luminous flux of 46,000 lumen (24,000 lumen output), and couple it with a system of dichroic filters to create the colors. The Axcor Profile 900 goes straight in at the top of its category and features the best in modern technology in every parameter: the characteristics of the white and colored light it produces, its ability to f o r m perfectly sharp projections, and the precision micromechanics of its exclusive beam shaping system.

Main Features include: • High wattage moving head LED spotlight • 880W white LED engine with custom lens solution: - Lumen: 46,000 (24,000 lumen output) - Colour temperature: 7000 K - CRI >70 • Optional 880W white LED engine: - Lumen: 34,000 (17,500 lumen output) - Colour temperature: 5600 K - CRI > 90 • 7° - 40°linear zoom • Focus tracking system • Color system: 16-bit CMY + linear CTO + 6-color wheel • 6 HD interchangeable gobos • Animation wheel • 4-facet rotating prism • Variable “soft edge” frost • Variable flood frost • Iris with multiple macros (random, pulsing...) • Electronic linear dimmer, 16 bit + electronic strobe • Framing System, 4 focal planes • Framing system, 90°rotation • Protocols/Functions: RDM, Web Server and ArtNet • Weight 45 Kg (99.2 lbs)

Elation Rayzor 360Z The Rayzor 360Z is a compact beam/wash moving head in its Rayzor Series of compact and high-speed LED lights. Main features: • Compact Beam Moving Effect Luminaire with Zoom • (3) 60W Osram™ RGBW LEDs • 8°to 77°Motorized Zoom and Pixel Control • Fast and Precise 16-Bit Continuous 360° Pan/Tilt Rotation • Linear Color Temperature Presets (2,700 8,000K) • Adjustable Refresh Rate Frequency and GAMMA • DMX, RDM, Art-NET, sACN Support

 545 LUX 51 FC @6.6’ (2m) (77°Max Zoom) Full ON • EFFECTS  8°- 77°Beam Angle Zoom  Linear Color Temperature Presets (2,700 - 8,000K)  RGBW Color Mixing and Pixel Control  8 Color Presets and 8 Chase Macros  Electronic Strobe and Variable Dimming Curves • COLOR  RGBW • CONTROL / CONNECTIONS  (3) DMX Channel Modes (20 / 26 / 32)  360°Continuous Pan and Tilt Movement  Adjustable Refresh Rate (900-25,000 (Hz)  Adjustable Gamma Brightness (2.0, 2.2, 2.4, 2.8)  (6) Button Touch Control Panel  8 / 16 Bit Resolution Adjustable Movement  Full Color 180°Reversible LCD Menu Display  5pin XLR DMX In/Out  RDM (Remote Device Management)  RJ45 etherCON In/Out (Art-NET, sACN)  powerCON TRUE1 Power In/Out • SIZE / WEIGHT  Length: 11.0” (280.6mm)  Width: 7.9” (199.5mm)  Vertical Height: 16.6” (422.1mm)  Weight: 17 lbs. (7.7 kg) • ELECTRICAL / THERMAL  AC 100-240V - 50/60Hz  300W Max Power Consumption  5F to 113° F (-15° C to 45° C)

Tech Specifications: • SOURCE  (3) 60W Osram™ RGBW LEDs  50,000 Hour Average LED Life • PHOTOMETRIC DATA  28,020 LUX 2,603 FC @6.6’ (2m) (8°Min Zoom) Full ON

September - October 2017

PR Lighting’s Phantom Phantom is an upgraded version of the XR 440 BWS, contains a full designer’s toolkit in a single unit. Utilizing an Osram Sirius HRI 440W discharge source combined with PR Lighting’s advanced optical system, the fully featured fixture brings a number of advantages. These include a fixed gobo wheel with18 fixed gobos plus open, a rotating gobo wheel with seven rotating gobos plus open; a prism wheel, with 8-facet prism and 4-facet linear prism as well as an independent 8-facet prism; an independent frost filter; an interchangeable animation wheel, bi-directionally rotating at variable speeds.. Main features include: • Lamp: OSRAM SIRIUS HRI 440W (7000±300K, 1500 hours) • Voltage: 100V~240VAC, 50/60Hz • Power consumption: 650W@220V • 1 Fixed gobo wheel with18 fixed gobos plus open, 1 rotating gobo wheel with 7 rotating gobos plus open • 1 Prism wheel with 8-facet prism and 4-facet linear prism，1 individual 8-facet prism • 1 Individual frost filter • 1 Interchangeable animation wheel:bidirectionally rotating at variable speeds • Dimmer: mechanical dimmer 0-100% • Double shutter blades,0.3-25 F.P.S • Motorized linear focus and zoom • Beam angle: ~ 2.8°linearly adjustable Beam mode: 0° ~ 60°linearly adjustable Spot mode: 5° ~ 60°linearly adjustable Wash mode: 5° • Head movement: Pan 540º and Tilt 270º with auto position correction • Control: DMX512, 3 pins and 5 pins interfaces • Channels: 23 in short mode, 31 in stan-

September - October 2017

dard mode and 36 in extended mode • Modular structurefor easy maintenance • Wireless control function • Housing: high temperature Engineering plastic, IP20 • Net weight: 25Kg

Philips VL1100 LED PPhilips VL1100 LED luminaire, is a LED moving head spotlights for stage and television applications. This has been specifically designed to offer high quality, consistent colour reproduction and a perfect tungsten colour shift emulation. These characteristics are all delivered by an exclusive new 3200K Philips LED light engine which succeeds in making the VL1100 LED the first moving head framing profile fixture to offer a true alternative to the traditional tungsten source. Main Features include: • Exclusive low-energy Philips LED engine • Color reproduction consistent with existing VL1100 • Hybrid liquid / forced air cooling system • 4-blade framing system (S version) • CMY color mixing system • Super zoom angles to 70° • High CRI light output • Tungsten red shift emulation during dimming • User definable control of output/noise ratio • 16-leaf Iris (I version)

• Continuously variable zoom range 19° -36° : super zoom angle of 90 degree Technical Specification: • Source : LED • Lamp cap: N/A • Wattage 445W LED Lamp / 650 total power • Lumen output (boost mode): 11300 • Color temperature: 3200-2700K • CRI>91 • Beam angle: 19° -36° -70°(super zoom mode) • Pan I tilt : 540°I 270° • Controls: DMX • DMX channels - Standard I Classic Control Iris: 19 Stan- dard (I version) - Enhanced Control Iris: 21 Enhanced (I version) - Standard I Classic Control Shutter: 27 Standard (S version) - Enhanced I Classic Control Shutter: 29 Enhanced (S version) • Color system: CMY • Gobo I effects: 1 x 5 + open rotating interchangeable • Independent rotating prism: No • Independent frost: Variable • Dimmer: 8 -bit 1 16-bit • Framing shutters I beam shaping: Yes (S versions) • Iris: Yes (I version) • Color calibration: N/A • Accessories: N/A • Operating voltage: 100-240VAC, 50/60Hz • IP rating: IP20 • Operating temperature: o-50 c (32-122° F) • Construction: Metal frame, engineering plastic covers • Finish: Black • Dimensions L x H x W: 445 X 876 X 660mm (17.5 X 34.5 X 26.0in) • Hanging centers: 635mm (25in) • Weight: 34.5kg (76lb) • Warranty: 2 years • Cooling: Hybrid liquid and forced air cooling system • Noise levels - Standard mode (Measured in an anechoic chamber@ 19.5dBA sound floor): Maximum lumen output boost: 40.8dBA; Match to VL1100 tungsten output: 26.5dBA • Noise levels -enhanced control mode: Variable control output ‘v’ sound level control <26.5-40.8dBA

GLOSSARY

PROJECTION MAPPING Glossary Like every industry, mapping Industry also has its own set of “hard to understand” terms. PALM Technology is presenting an exhaustive list of Glossary used in projection mapping along with concise definitions of the technical terms, to aid in better understanding mapping concepts.

3D Projection Mapping: Also known as augmented reality, it is the art of creating projected visual effects, by altering and distorting content, to fit on not only smooth surfaces, but three-dimensional objects like buildings, screens, cars etc. The projection can be static or dynamic. 3D visualization: The process of creating computer-based video content for stimulating a lighting project, leading to a realistic impression. Architectural Mapping: Projection mapping on exteriors such as buildings, containing content designed to highlight the building’s architectural features like outlining windows, bricks, etc. Activation: A commonly used event industry term to describe projection mapping displays/ installations. Beamer: Slang for projector. Cartography: Cartography or mapping is defined as the mediation and visualization of spatial information for different media with digital and analog technologies. Content: The ideas or media being projected during a mapping display. Content, Abstract: Also referred to as “stock effects” or “filler effects”, it is visual content not specially designed for a particular surface. Design Surface: The area covered by the design during a projection mapping. DMX / DMX512: A Digital Multiplex, it is the standard used for traditional lighting effects. Projection mapping software can be integrated into a DMX512 “universe” to coordinate visuals to lighting. Digital Visual Interface: Frequently called DVI, it is a

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measurement of projector brightness. An average projector is ~3,000 lumens. Most largevenue projectors used in projection mapping are 20,000 lumens or brighter.

common kind of HD-ready connection and cable used in projection, mostly used in professional applications. Edge Blending: Also called Blending Technology, it is a technology which lets you project an image onto a surface using multiple projectors, if one projector is not efficient to cover the screen size, without creating an overlap effect. This can be achieved with the help of projectors which are equipped with edge blending function or by using special software that allows this effect.

Media Server: A stand-alone projection mapping system which includes a mapping software and for content mapping and is designed for consistent playback. Can also refer to a computer optimized for playback of video content in high resolution. Its main parameters are: powerful graphic card and corresponding digital connections for video output.

Fog Projection: Projecting on an indoor or outdoor screen made of fog, to create a 3 dimensional effect.

Mapping Display: Usually refers to a one-time projection mapping show. Mapping Software: A software that can create mapping effects by altering and distorting projection content in real time.

Globe Projection: Projecting an image onto a spherical object, to create a three-dimensional visual highlight without image distortion.

Imagery: An interplay of shapes and colors, to create or convey a new perspective.

MIDI: MIDI or Musical Instrument Digital Interface is a kind of digital interface that allows external “controllers”, such as piano keyboards or lighting consoles, to interact with projection mapping software.

Interactive Projection: An interactive projection wherein a floor, a wall, or even a table becomes an experimental area allowing the viewer to interact with the projection as an active moving part of the installation.

Projector: The equipment that projects images onto a surface with rays of light. A projector includes its own light source, an imaging plane and a lens that allows the imaging plane to be sharply displayed on the screen.

Large Venue Projector: A broad term used to describe high-brightness projectors, generally over 12,000 lumens in brightness. The three most common brands of projectors used in large venue applications are manufactured by Christie, Barco, and Panasonic.

Projection Mapping Installation: A mapping display intended and designed for semipermanent or permanent application and use.

Large-screen Projection: A projection in image sizes of up to even 100 meters using ultrabright projectors.

Resolution: Refers to the number of pixels that compose an image. The number of pixels affects the image sharpness or level of detail of the

HDMI: A common kind of HighDefinition Multimedia Interface used in projection.

Projection Template: An object located in a projector and displayed on to a projection surface.

Lumens: A standard

image perception. Higher the resolution, sharper the image. Scaler: A standalone device used to convert unusual video signals in a signal flow. Screen Gain: Refers to the measurement of the screen’s brightness when projected upon. Higher gain screens offer better brightness, while lower gain screens offer better image fidelity. Short Throw Projector: A projector with a lens designed to be used short distance from a projection surface and normally creates a much larger projected image than other projectors at the same distance. Surface: The body that is being projected onto during a projection mapping display. This can include buildings, screens, objects, etc. Spatial Augmented Reality: Refers to projection mapping. Due to use of 3D surfaces, the projection seems to be an “augmentation” of physical space. Throw Ratio: The measurement of the width of a projector’s image. VGA: VGA or Video Graphics Array is an outdated cable used for older model projectors and cannot carry HD images. Video Mapping: Refers to projection mapping. VJ: Refers to a Video Jockey who mixes video sources in real time to create a new kind of show staging. Projection mapping using 2D and 3D elements is a key part of the sets of Modern VJ’s. Window Treatment: A surface treatment applied to glass windows to allow them to be used as a projection surface, which is not possible otherwise.

‘ SEE THE LIGHT ‘

od Said - ‘Let there be light’ and suddenly we could all “See Stuff”.In all its subtlety, we saw colours in many shades, we saw curves and appreciated their geometry. The world was colourful and fun. Years ago, some smart guys figured out how to light up the night; first with flame and after many years of burning themselves, with electricity and a filament. The lines between day and night divided by spectacular sunrises and sunsets blurred. Lights were used to attract, call attention to stuff. Luminous Fixtures are now active participants in the world clamouring for attention and distraction. Neon Signboards in impossible proportions cast odd glows over entire neighbourhoods. Light pollution became a thing town planners began to consider as complaints mounted. ‘How much was too much?’ In our Theater World of artificially darkened spaces, all kinds of instruments and ideas were played with, to create an ‘atmosphere’. Sometimes to replicate reality and sometimes to alter our sense of reality beyond anyone’s wildest imaginations. On stage, we struggled to recreate natural looking twilight or long shadows, to make a scene more real. The Rock Music Guys used every trick they could think up to let fans see the hallucinationary effects conjured up not just by the music in our minds - but right up there on stage. Lighting and our approach to it became more sophisticated. Specialties took root. I met a guy who specialised in designing lighting only for Bridges; another for Medical Theatres, a third for Malls. Malls? Yup, you heard me right - he had a computer model to show how effective lighting increased sales across the malls. In the altered shopping habits, I wonder what the future of that specialty is? Then the juggernaut hit us - LED. We grew up depending on tiny diodes built into things to indicate if they were switched on - on our TV’s, in our kitchens, in our cars. Useful, but who gave them a second thought. Until some smart geeks figured

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out that those tiny blips could be combined to create mayhem in the Lighting world. Over time their collective research has dealt with all the challenges of visual fatigue, low luminosity, inability to focus light and so on.... The world allowed them this space due to its very low cost to maintain. Today LED is everywhere. It has replaced almost every other source of light. Even the purists who could not wrap their heads around the technology’s limitations grudgingly accept its inevitability. So change has come in. Let’s embrace it and figure out how to make the best use of it. Up to this point - Artificial Lights basically, fell into two distinct categories - Display & Directional (My terms). Display lights forced our attention to its source, like neon, or marquee bulbs etc. Directional light were everything else - they pointed us in the direction we wanted to go, from our car headlights, to streetlights, to our garden lights and on into our bedrooms. Today the same LED lights with tiny adaptations can do both things. Their versatility open to be harnessed by any application we can think up for them. In our industry, all of us have seen surprising ways that LED enabled installations have captured our sight, if not our imaginations. We all saw the blue cast of empty computer or TV screens casting ghostly glows in our homes. The doomsday guys would have us believe that this glow causes fatigue and bad health. Technology did not withdraw, but stood up and adapted. Today those same doomsayers who are saving the planet are demanding we install the adapted TV Screen to our streetlights and homes to ‘Save Our Planet’. That was a quick turnaround. Both sides amply supported by science and fact. Don’t blame you for thinking if some manipulation and skewing of science has happened here. All this only to illustrate that LED is an amazingly adaptive technology. If somebody says some nasty things here, chances are he will have to deal with a red face sooner or later as his ‘Reservations’ have been overturned - and often made into advantages. Now - in my opinion, our suc-

cess as Lighting Designers depends on how we perceive our projects through our audience’s eyes. Very often, we are brought down to earth when what we feel was an important breakthrough - our audiences met with a huge yawn. To make up for the disappointment, our reputations are solidified by something audiences latch onto that we feel were ordinary ideas. It is important to take a step back and see our work through our audience’s eyes. Today’s audiences are demanding of Visual excitement. They want to SEE the lighting. When we went to lighting school our teachers would shudder if we ever committed the cardinal sin of ‘Showing’ the lighting. It was a huge NO NO. Lighting was supposed to be subtle. Only Queen & the Rolling Stones - those uncouth heathens with that electronic noise were forgiven for being Loud and Brash. Good sense would prevail. But at 76 Mr. Jagger fathered a child and continues to Rock. Another myth destroyed and a legend created. The New Order was here. Subtle was out. Moving Lights were the new Standard. The bigger the better. Even Brighter, Even Better. At some point the Larger Stadium Concerts consumed more electricity than City neighbourhoods. This set a new standard in Entertainment. As our culture matured into pleasure seeking people looking for greater diversion and bigger thrills, this new look was adopted by many commercial ventures, all vying to add entertainment into their mix. Hotels, Shopping Malls, sometimes, entire streets converted into light emitting hubs as they tried to dazzle up some new business. Nightclubs, Theme parks, exhibition centres all hurriedly re tooled to attract business. What started as a ‘SPOTTY’ technology due to the distance between each diode in the older panels some 6 millimetres separating the matrix, quickly bunched up so that today LED screens from even a few feet cheat our eyes into believing that its one seamless picture. Not Just the diodes, even the panels began to take on newer avatars. The earlier Metal Black Box into which each diode was embedded (in tiles of more manageable sizes) was made easier to transport and assemble with the use of innovative material.

At one time creating curves and rounds looked like a huge breakthrough, until those Chinese geniuses started folding and rolling and opening LED screens like they were made out of paper. Today the possibilities seem limitless. Creative people leaped in with so many dazzling applications of this technology. Advertising, Nightclubs, Hotels, Malls and leisure centres. LED and the accompanying computer processing that allows you to control millions of pixels in real time has made all of these experiences louder, brighter and flung them even harder in your face. You wonder if people will ever tire of this heightened stimulus? To the LED guys it does not matter. Cause you will need your LED enabled car starters (NO keys anymore) to find your cars parked in LED lit parking bays. Your LED panelled car cabins will remind you how to start the car, the LED dashboard screen will guide you safely out of the garage, LED headlights will light the road. Other LED panels will help you select the music you want, the address you need to point towards, and set the car air-conditioning system. Under LED streetlights, you arrive safely home. Your day done, you review the LED lights settings on each gadget to confirm that they are set to welcome you the next morning (today’s kitchens look like Control Centres). You hit the goodnight switch, and through the window come the LED glow of some neighbourhood activity that will stay buzzing past your bedtime. You asked for it. You got it buddy. Quit complaining and stay awake to figure out newer and more innovative ways to make a living off the technology. Me? I did all this at the crack of dawn today. I wrote this on my LED Monitor, finding the keys on my keyboard with a soft LED glow, so that my wife wont wake up and yell at me. Good Morning! To a life that does not sleep. (The views expressed by the author are his own personal comments and the magazine does not subscribe to them).

ACOUSTIC CONSULTANTS YOU SHOULD KNOW

Ultracoustic THE IMPORTANCE OF ROOM ACOUSTIC TREATMENT ing too much bass with EQ and compression to compensate. Even the finest of the speakers in room would be of very little values if the room is bare and reflective. The solution of course is bass trapping. By placing bass traps such as the Ultra Trap, Modal Trap or the Decimus Bass Trap from Ultracoustic in the corner of your room, the low frequency response becomes much flatter and tighter and also dips less around the room. A typical rectangle room has 12 corners: 4 where each wall meets another wall, 4 where each wall meets the ceiling, and 4 where each wall meets the floor. It’s not necessarily have to treat all the corners presented above. One would notice changes by just using bass traps to the 4 corners where one wall meets another and hear the difference in sound. Room Orientation & Speaker Placement: In any standard rectangular room, its best to orient the mix position along with room’s longest dimension so the speakers are firing the longer way down the room. It’s always a good practice to not be closer to the facing wall and not to have the mix position in between the room. This improves the response at low frequencies as well as mid and high frequencies. Primary & Secondary Reflections: Another common mixing problem that one faces is poor clarity and imaging by the primary and secondary reflections. Sound from the speakers travel directly to ears but a few milliseconds later, reflections that are bounced of the side walls and ceiling arrive. This is known as comb filtering as in time smearing. Comb filtering is a specific type of frequency response error that creates a series of peaks and dips. To tame these frequencies, one can treat the room with acoustic panels like the Horizon, Ultra Wood or the U Square Premium acoustic panels from Ultracoustic on side walls, behind monitors and ceiling. Once treatment is applied at these points one will notice a sudden change and can easily hear EQ changes and very small changes in left-right panning. Beauty Of Diffusion: Diffusion helps avoid standing waves, damaging flutter echoes and comb filtering cause by the primary and secondary reflections off the walls around, while keep the natural ambience and air of the room unlike absorption. The best type of diffuser is called a QRD Diffusers, which stands for Quadratic Residue Diffuser. It is not mandatory to understand the math behind a QRD Diffuser to appreciate the clarity and the sound it brings than any bare reflecting wall. Diffuser also brighten up a dry-dead room and takes care of early reflection from the wall behind. Once can look at diffusers like the Ultra Fuser or Primo 7 diffuser from Ultracoustic. Unfortunately, good diffusers cost more than good absorbers because of the precision and the high-end material it requires to be built. If the room and budget

Ravi Iyer’s Studio, Mumbai

ost of the gear that is been produced these days are easy on the pocket and are of very high quality, that can create professional grade music which sounds as if it was recorded in a professional studio or anything that is being played on radio. Many producers, artists are yet unhappy with the quality of their productions and wrongly blame their gear. Without a doubt equipment’s matter but so does having the right acoustics in your room. This article explains the basics of acoustics in a way everyone can easily understand and follow. All the information presented here also applies to audiophile, home theaters or office I school spaces. Bass In Place: Low Frequencies are without a doubt the most difficult to tame, especially in small rooms that lot of people use to produce, record or mix their music. The most common problem everyone faces is mix that sounds great in the room, may not sound the same else and could sound muddy or too bassy. The culprit here are the resonant low frequencies that bounce off the back wall, creating reflections and making deep nulls at one’s listening position creating a response which may lead to wrong judgment. For example, one hears less bass than it really is in the track, it might lead to add-

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Pic Courtesy: Tosief Shaikh Studios are both small, placing acoustic absorptive panels on reflective wall surfacesworks well. But when cost is not an issue then diffusion is the key! A NO! NO! To Room EQ: If one is trying to use an equalizer to fix the acoustic problems of the room it is advised to stop as it does not work! Every location in a room has a different response and no single EQ curve can help everywhere. Even if one is trying to correct the response at mix/engineer position, it is impossible to counter nulls and room modes. For example, a 35db dip at 63Hz, adding boost with EQ will only increase low frequency distortion in the speakers. At other places where 63Hz is too loud, the EQ makes the problem worse. EQ does reduce peaks by a fraction but it does not reduce the extended decay time that accompanies with most peaks. Professional Acoustic Treatment= Professional Results: Don’t even think of blankets, rugs, egg cartons, non-acoustic foam and carpet! All the mentioned do not work, its just another Internet myth. Egg cartons are too thin to absorb low frequencies which is needed for most rooms, maybe 50 cartons put together could absorb some, maybe! On the other hand, non-acoustic foam that is used by the mattress industry or the packaging industry is not suitable because all the foam mentioned above are closed cell foam, and for absorption you require open cell foam. Rigid Styrofoam panels that are used for insulation are not much of use but some EPS Diffuser might work in 2000Hz to 5000Hz range. The best Acoustic Panels & Bass Traps are made of high-density materials like the ones Ultracoustic offers. Inch for inch, the high density material absorbs more and to a lower frequency than any other material available. Recording Studios, Home Theaters, Auditoriums, Listening Spaces etc: Acoustics don’t necessarily come into play only at professional studios or home theaters. Poor acoustic surrounding can damage one’s intelligibility and reflect

Pic Courtesy: G.C.C. International School negatively on the productivity. Longer reverberation time may amplify disturbing the mental peace required at work place. Similarly, in restaurants, call centers, lecture halls and auditorium. In conclusion, with help of proper acoustic we benefit our hearing, promote mental peace and most important exponentially increase our listening experience.

Get in Touch Email: info@ultracousticin.com I Phone: +9122 6560 6002; +91 99673 04749 Web: www.ultracousticin.com

Studio Analogue

usic Producer - one of the most attractive posts for every music enthusiast in today’s time. Every one wants to become a music producer. So in today’s article let’s learn what music producers do, or where this term derived from. To understand it really well, lets go back and understand how it used to happen in the good old days. A musician is the one who plays some instrument, be it a percussive instrument or a melodic

Pramod Chandorkar

- Founder, SoundideaZ Academy

Music Producer!!! Chandorkar offers expert tips on achieving a good recording with details about room dynamics, good microphones and their placement, and more.

E: pramod@soundideazacademy.com

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instrument. A professional musician is the one who plays his specific instrument with a high level of proficiency and for which he is paid to perform. Rather that’s what he does to make his living. Now who will be willing to pay a musician and hire his talent for a specific time? It can be the one who values his art and will be willing to pay him to perform either live, or record his performance. Generally, a Composer, who has composed a song and needs to record his composition for a film or an album. So what does it take a musician to be a professional? It takes years of dedication and practice to hone his art and master physical control on the given instrument. A musician generally can master instruments from similar categories in a minimum time of one decade if not more. When a musician masters his instrument, he is now aware of the different sounds that specific instrument can produce and he has the physical control on playing that instrument. What does a Music Composer do? A music composer has spent enough time in understanding and learning music, which can be either an instrument or vocals. In our country, the commercial music scene has always been dominated by film music and a composer can be hired to compose music for a film. When a scene is shot, based on the story, it needs some kind of dramatic music support to enhance the effectiveness of the scene and help the scene translate in to an emotional experience for the viewer. This task is of the music composer, the one who composes a musical melody or piece, which effectively supports the scene. In Indian cinema, songs have played a very important role in moving the story ahead in a faster pace. For example, to show a scene wherein, a boy and girl fall in love and eventually get married, it may take 20 minutes to convey this to the audience whereas a romantic song can convincingly convey the same in maybe 3 minutes? This is how songs were made in the yesteryears; they used to take the story ahead. Hence as per the need of the story a lyrics writer would write words, which could be composed into a song (musical melody). These words would specifically be apt for the story of the film and would also make a lot of sense if heard independent of the film. Once the words are finalized the composer is supposed to create a hummable tune, which will have these words fit in to it. The composer has to also take in to consideration the meaning of the words, their feel and the mood of the scène in the film. The tune is finalised when it matches all of the above while also sounding pleasing to the listener’s ears, and has the potential to be simple hummable tune for the common listener. Once the tune is finalised it needs the support of the musical instruments. Now what will the musicians play? They need to have a beat, melody lines, harmony charts etc. to play. This complete design of the musical screen behind the song has to be also supportive to the film scene, as the story needs to move ahead. Also whatever melody lines will be played by the musicians

need to be simple, musical and memorable to the common people. It’s again an equally complicated task to design the musical screen, which would be apt for the tune composed, words written, feel of the scene and the lyrics, while being supportive to the story, which moves ahead during the song. The person who can understand all these aspects and convert them in to music via the sound of the musical instruments with the help of professional musicians is called an Arranger. The arranger has to have full knowledge of all the orchestra instruments, their musical ranges, their beauties, and their drawbacks., while also understanding, Music, Poetry & Sound balance, Frequencies and dynamics. In the old times there was no technology for recording or even playing music. An orchestra of 100 odd musicians would assemble in a large studio with their instruments. They were handed sheets of music written by the Arranger. He would have composed this music sitting at home, using a piano or a harmonium. Different musical and rhythmic notes were divide to different musicians and they all played that music in sync, to create a huge sound. This is the first time the film director, music director and others would listen to the sound of the song, which was only in the arrangers head till now. Till now every one was imagining and visualizing the music and the scene. After hearing this music, the studio engineer would place microphones to capture this music. There was no technology available back in the golden days. Limited amount of microphones were available to capture the huge orchestra. Once the placement was done the arranger and the composer would hear that sound in the control room via the Studio monitors. Now if some tweaking, like Eq or dynamic tweaking was required, the musicians did it themselves, as there were no gadgets available. Here the arranger would use his audio knowledge and tweak musically on his sheets. Not to ignore the process of singing done by the singers while using there own dynamics and Eq within their throats. And finally the music would be recorded on one single mono track. In today’s time the music producer is the one who does the job of everyone mentioned above but the singer and the composers (mostly). Most of the times they themselves compose and sing it too. Now with the help of technology you can have the tools to recreate the sound of an instrument, tweak it up to your satisfaction, but how can we get the human feel of that musician who played it? Do we really understand the feel of that musician or do we even know that all the above is needed to make a music piece? Technology manufacturers proudly market products with - “our technology you can create your own track”. But what about the experience and the emotions? Are they lacking? Do we have a plugin for them? Are we lacking soul in the music we hear today? Is that the reason why we still feel fresh when we hear old classics? These questions arise in my mind; I am still looking for answers.

YAMAHA MUSIC INDIA PVT. LTD.

Email : support_in@inquiry.yamaha.com www.yamahaproaudio.com; in.yamaha.com

Audio & Music Production

Meyer Sound’s Bluehorn Loudspeaker is Available Now Meyer Sound has announced availability of the Bluehorn System, a technology breakthrough that for the first time achieves flat amplitude and phase response from 25 Hz to 20 kHz in a largeformat loudspeaker. Bluehorn is the result of more than six years of intensive research, applies advanced proprietary algorithms to cancel out the non-linearities inherent in all mechanical transducers and loudspeaker cabinets, resulting in breathtakingly transparent aural neutrality. Complete Bluehorn Systems are available in either stereo or LCR configurations, with each channel comprising a two-way mid-high loudspeaker, a separate low frequency element, and dedicated digital processing. High-Resolution Monitoring, Upgraded HF Driver & Low-Frequency Cabinet Bluehorn is designed for high-

resolution monitoring applications in mid-sized rooms for music recording, cinema post-production, music mastering or other applications requiring the highest accuracy in sound reproduction. Externally, Bluehorn shares the same cabinet footprint, driver dimensions and waveguide configuration as Meyer Sound’s Acheron Designer loudspeaker. On the inside, however, Bluehorn utilizes an upgraded HF driver and new amplifiers with ultra-low noise and distortion.

Absolutely unique to Bluehorn is the dedicated processor that sits in front of both the mid-high loudspeaker and the companion low-frequency cabinet. The systemspecific correction algorithms hosted by the processor were developed by meticulously analyzing all physical and electrical non-linearities throughout the entire system, from 25 Hz to 20 kHz, in order to bring acoustic output — at any level — into absolute phase and frequency alignment with the input signal. Essentially, the processing nullifies the non-linearities of drivers and

enclosures, resulting in a phasecoherent response previously achieved only by open-air electrostatic headphones with their extremely low mass diaphragms.

Expert Comment Among cinema professionals John Powell is the first one to take the delivery of a Bluehorn System. He installed an LCR Bluehorn System in his private recording and mixing facility (dubbed “5 Cat Studio”) in Pacific Palisades, California. “We initially brought the Bluehorns in on a temporary basis for a specific project, but we wouldn’t let them leave the building,” says Powell. “For the work that I do, I need monitor loudspeakers that do not flatter the music at all. I need to hear exactly what is going on in an unbiased way. I have no time when working to enjoy what we did right; I need to hear when things are wrong so we can fix them, and I can hear those problems better The Bluehorn System achieves a flat amplitude and phase response from 25 Hz to 20 kHz in a large-format loudspeaker with the Bluehorns.”

Rupert Neve Designs Introduces the 535 Diode Bridge Compressor for the 500-Series Format Rupert Neve Designs has announced the 535: 500-Series Diode Bridge Compressor. Based on the dynamics circuit of the company’s acclaimed Shelford Channel, the punchy and versatile 535 captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities. The 535, which is now shipping worldwide, is also outfitted with custom transformers and class-A output amplifiers, all tailor-made for the 500-Series format. According to Rupert Neve Designs, “By understanding the limitations of the original 2254

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topology, painstaking effort was taken to reproduce its unique tone while improving the noise floor, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, widening the range of threshold and ratio controls, and raising the headroom of the diode bridge itself.” Almost 50 years after Mr. Rupert Neve created his first diode bridge compressor designs, the 535 reimagines the larger-than-life personality of these classic circuits with new levels of precision and adaptability, helping virtually any track shine through a mix. The Diode Bridge Where the VCA compressor found in the 543 and Master Buss Processor

provides unmatched clarity, the weighty, harmonically rich tonality of diode bridge compression can be essential in pushing key sources

like vocals, electric guitars, bass and drums to the forefront of a mix. Mr. Rupert Neve’s original diode bridge compressors like the 2254 served as an inspiration for the design of the 535. By understanding the limitations of the original 2254 topology, painstaking effort was taken to reproduce the unique tone of the 2254 while improving the noise floor, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, widening the range of threshold and ratio controls, and raising the headroom of the diode bridge itself. Delivering the powerful sound of these classic designs with enhanced flexibility for the modern age, the 535 is a dynamic tool equipped to make a statement on virtually any track.

Audio & Music Production

Yamaha MMP1 Studio Monitor: A Level Up

Yamaha has announced the international release of its MMP1 studio Monitor Management System possess advanced audio routing capability and DSP features that are highly suitable for configuring and managing monitor environments from stereo up to complex immersive audio configurations, the MMP1 will play a major role in music and post production studios around the globe. Monitoring is a vitally important element of the production environment, and it directly affects the quality of the final product. The advent of immersive audio formats has raised the bar higher than ever, increasing the capability for precise sound field reproduction while bringing up new monitoring challenges. The

MMP1 Studio Monitor Management System flexibly adapts to the diversity and complexity of monitor and communication needs in the most efficient way. Much more than a monitor controller, it is a comprehensive package of essential studio functionality that offers optimum support for in-the-box mixing workflows. The MMP1 features a 40 x 36 matrix(*1) for monitor source mixing that supports formats from stereo to immersive audio, including Dolby Atmos. Eight stereo cues and flexible talkback allow easy communication between multiple artists and directors. The monitor matrix is followed by a 32 x 32 speaker management matrix(*2) with crossover filters for bass management on all channels, allowing much greater freedom for

speaker layout than the common practice of providing a limited selection of preset patterns. Precision FIR bass management filters are provided in addition to IIR types, making it possible to maintain flat phase characteristics between channels for optimum sonic clarity and imaging. Time alignment delay and EQ are included too, for comprehensive speaker output control. In addition to eight analog and sixteen AES/EBU inputs and outputs, built-in Dante audio networking provides extra I/O expansion and system scalability. Because a studio’s monitoring environment is critical to final quality, reproduction fidelity and spatial precision must be as close to perfect as possible. Meticulous attention has been paid to selecting each and every component for the MMP1, as well as to even the smallest circuit design details. Repeated testing and evaluation by “golden-eared” designers ensures optimum tuning of the entire system. The overall result is unprecedented sonic quality. Eight channel strips are included, each with four selectable EQ types (Precise, Aggressive, Smooth, and

Legacy) that offer a comprehensive range of response shaping options, plus a number of analog vintage effects modeled at the component level using acclaimed Yamaha VCM technology for professional grade processing capability. Commentary (cough) functionality is also provided, allowing microphones to be muted from external controllers connected via a GPI interface, with current status monitoring available via the MMP1 Controller app. Two software applications contribute to stress-free MMP1 setup and operation. The MMP1 Editor for Windows and Mac computers provides all-function access for everything from system design through file management to day-to-day operation. A setup wizard makes setup fast, easy, and precise. When the system is up and running the MMP1 Controller app for iPad offers convenient, intuitive control of essential parameters. The powerful matrix mixers, functionality, flexible signal routing, and stunning sonic quality provided by the MMP1 make it easy to set up ideal monitor environments for a diverse range of applications.

Royer Labs announce New R-10 passive ribbon microphone Burbank based microphone company, Royer Labs, one of the foremost manufacturers of ribbon microphones have announced a brand new passive ribbon microphone – the R-10, which uses the same element found in the acclaimed R-121 active ribbon mic and is designed for studio and live use. According to the product description the mic that is hand-built in Royer’s Burbank California factory, can handles SPLs of up to 160 dB @ 1 kHz. The R-10’s compact size and mounting system allows for flexible, unobtrusive positioning. Other main features of the microphone reportedly include: - The R-10’s 2.5-micron aluminum ribbon element is formed with Royer’s patented direct-corrugation

process and is protected by a 3-layer windscreen system and internally shockmounted ribbon transducer. The ribbon transducer is wired for humbucking to reject electromagnetically induced noise. - The R-10’s builtin windscreen provides superior protection from air blasts and plosives. It also reduces proximity effect (bass buildup from close miking) so guitar cabinets and acoustic instruments can be close-miked with less bass buildup. The R-10’s internally shockmounted ribbon transducer isolates the ribbon element from shocks and vibrations, increasing the ribbon element’s durability. - The R-10 utilizes a David Royer custom designed transformer for high overload threshold,

minimizing saturation at even extremely high sound pressure levels. You’ll never overload an R-10! The mic’s open grill design minimizes standing waves and associated comb-filtering effects and its smooth frequency response, phase linearity and lack of self-distortion make it ideal for all digital recording and live sound formats. - The R-10 shows some of its best stuff on studio and live electrics, capturing all the low end, midrange warmth and punch guitarists and engineers have come to expect from a Royer. If you want more bite in the highs but don’t want to multi-mic (particularly on live stages where blending microphones can create phase-related problems), the R-10 takes EQ beautifully and we suggest experimenting with your favorite EQ unit or plugin. - The R-10 is excellent on brass

and can handle close-miked trumpets, trombones and other brass instruments. Brass records naturally on an R-10, as bright as the musician plays but without the added sizzle or harshness commonly experienced when condenser mics are used on brass instruments. - Drums are full bodied with realistic (not over-hyped) transients response, and the R-10’s figure-8 pattern conveys superb ambience and depth when used for room miking applications. A compressed R-10 in front of the kit sounds huge and punchy. - R-10 recordings of violins, ukuleles, steel-stringed and nylon-stringed acoustic guitars, banjos and other stringed instruments are warmth and natural and fit into mixes easily. “Airing out” the recorded track by opening up a bit of 12K with an EQ often gives surprisingly good results.

September - October 2017

Audio & Music Production

LOUD Technologies acquired by Transom Capital Group Transom Capital Group has announced the acquisition of all brands from LOUD Technologies, Inc., including the Mackie, Ampeg, EAW, and Martin Audio brands. The new company will be called LOUD Audio, LLC (“LOUD”) and be led by the executives of LOUD Technologies, ensuring continuity with product development, distribution and the supply chain but with new capital to enable growth across all brands. “This transaction presents a great opportunity to work with the LOUD team to achieve the next stage of growth for these iconic brands,” said Ty Schultz, managing partner of Transom Capital. “These brands are positioned well with major retailers, installers and production companies

and bring with them an outstanding legacy of innovation and categorydefining product introductions. We have been working closely with LOUD’s leadership to ensure continuity of the supply chain, channel relationships and LOUD’s employee

base. We look forward to realizing the compelling growth opportunities for these brands both in the retail and professional audio spaces.” With operations in the U.S.,United Kingdom, Canada and China, LOUD

engineers, markets and distributes a wide range of professional audio and musical instrument products worldwide. Its product lines include sound reinforcement systems, analog

and digital mixers, studio products and guitar and bass amplifiers. The transaction will enable LOUD to invest in innovative product development and expand into

adjacent markets. “This transaction is the first step in a broader strategic plan to enable and grow each of our iconic brands. Our brand and product strategies are greatly enhanced going forward as each will be working from a vastly improved financial structure and with access to growth capital,” said LOUD CEO Mark Graham. “Transom is an exciting partner as they have experience in our industry and a great track record of building brands. Further, they share a commitment to our core values of customer focus and product innovation, and we are looking forward to working together to make our brands even more valuable to our partners and customers.”

PMC Launches result6 Compact Nearfield Monitor at AES 2017 British loudspeaker manufacturer, The Professional Monitor Company Limited, better known as PMC unveiled result6, a brand new compact nearfield reference monitor, at the 143rd International AES convention in New York. The new two-way active result6 loudspeaker reportedly delivers on every level as it combines all the attributes for which the company’s pro reference monitors are internationally renowned. These include high resolution and detail, accurate and extended bass, consistent tonal balance on all levels and wide dispersion and sweet spot — all distilled into an affordable nearfield reference with the emphasis on elegant simplicity. The two-way design features a 27mm soft-dome tweeter with dispersion grille and a mid/bass unit composed of a doped natural fibre, both custom-designed for the result6. The LF driver was developed using a groundbreaking laser-based measurement system, recently introduced into the design process at PMC, which determines the electromechanical performance of the driver with extreme

September - October 2017

accuracy and allows the bass driver to be perfectly integrated with the Advanced Transmission Line — the proprietary bass-loading system at the heart of all PMC products. The built-in dual amplifiers supply 65W and 100W of power to the HF and LF drivers respectively. Extremely efficient, low-distortion and highdamping-factor Class-D designs, they provide plenty of headroom and ensure the result6 has a generous dynamic response given its compact

suit the precise requirements of the chosen listening environment. A distinctive aspect of the result6’s physical design is its finned HF driver surround. The D-Fins, as PMC call the HF diffraction fins, deliver two significant sonic benefits: they widen

the loudspeaker’s already generous sweet spot to give excellent off-axis response over a larger area, and also block cabinet edge effects to ensure the result6’s HF response remains razor-sharp and free of smearing.

FOCUSRITE’S NEW 2X2 DANTE INTERFACE & RED16LINE In a move to make networked audio even more approachable for home studio recordists, Focusrite has launched the RedNet X2P. The new unit is a compact, robust 2-in, 2-out Dante audio interface featuring two Red Evolution mic pres, stereo line out and a stereo headphone amplifier. The RedNet X2P can be used as a desktop audio interface connecting to your computer with a single Ethernet cable — no power supply required — but it really comes into its own when added to a larger Dante audio-over-IP system. RedNet X2P quickly adds I/O to Focusrite Red interfaces or any Dante audio-overIP system. The two digitally-controlled Red Evolution mic pres provide plenty of gain along with stereo linking, individual phantom power, a high-pass filter and phase reverse. In addition, they include Air mode, emulating the sound of Focusrite’s classic transformer-based mic preamps and provides audio

dimensions. The elegant, pure analogue crossover, which was also designed specifically for the result6 using circuit-modelling techniques, keeps both drivers working at peak efficiency, while non-invasive limiting protects the LF and HF units from damage without adversely affecting their sound. Finally, simple rear-panel trim controls allow users ±10dB of amplifier output level adjustment to

conversion with over 118dB dynamic range. The converters have been expertly selected and calibrated, to provide the best balance of sound quality, dynamic range and conversion latency. The RedNet X2P also features a crossfader to enable control of the level of local inputs versus network inputs that feed either the line outputs or the headphone outputs. Focusrite Red 16Line The new Red 16line from Focusrite is another addition to their Red series of interface with 64x64 All-In-One Interface, ultra-low latency A-D/D-A conversion, Red Evolution mic preamps, up to 121dB dynamic range, and expansion over Ethernet for networked audio. Since Red 16Line provides both DigiLink connectors and Thunderbolt connections, it’s now easier than ever to switch from Pro Tools | HD to other audio applications, without the need to reconfigure option cards in the interface. (Continued on page 85)

Audio & Music Production

iZotope Ushers in the Next Evolution of Mixing and Mastering with Ozone 8 and Neutron 2 Machine learning and inter-plugin communication bridge the gap between mixing and mastering Massachusetts based audio technology company iZotope, Inc., have announced the release of Ozone 8, Neutron 2, and Music Production Suite. The Advanced versions of Ozone 8 and Neutron 2 feature ground-breaking technology, including the ability to communicate with each other through the new Tonal Balance Control plug-in. This new level of inter-plugin communication puts more power in users’ hands, allowing them to achieve tonally balanced, professional mixes and masters that sound great in any listening environment. Ozone 8 now features machine learning technology with the introduction of Master Assistant, allowing music professionals to reach an optimal starting point for the master in seconds. Version 8 also includes Track Referencing, a Spectral Shaper to tame problematic frequencies, improved signal processing, and refinements to the user interface and workflow. Neutron 2 includes new signal processing, including

a Gate with Hysteresis for a smoother gating response, and improvements to Track Assistant and Neutrino modes to help you get to a better starting point. Neutron 2 also features an intuitive Visual Mixer that allows you to mix on a soundstage by controlling pan, gain, and width of audio busses. The new Mix Tap plug-in now allows you to route any track to the Tonal Balance Control plug-in, Visual Mixer, and Masking Meter, even if you are not using any iZotope plug-ins. Bringing these two powerful products together is a new plugin called Tonal Balance Control. This visual analysis tool measures the distribution of energy across frequencies, comparing your audio to targets created from analysis of tens of thousands of commercially available tracks spanning a variety of musical styles to help you achieve better tonal balance. Tonal Balance Control can also compare your audio to a custom upload

to inform how you shape its sonic profile and across listening environments. Also new within Tonal Balance Control is inter-plugin communication, a technology that allows communication and interaction with any Equalizer instance of Neutron 2 or Ozone 8 in your project. Inter-plugin communication allows you to fix issues from one location in the mixing stage that could hinder mastering, and provides a visual guide for more tonally balanced mixes and masters throughout your production workflow. “We see Tonal Balance Control

Focusrite and McDSP announce new bundle Focusrite, international leader in audio interface design, and Emmy Awardwinning plug-in developer McDSP have partnered to deliver an unprecedented interface and plug-in bundle. All registered customers of a Focusrite Red 4Pre, Red 8Pre or Red 16Line Thunderbolt and Pro Tools | HD audio interface will receive a free 12-month subscription to McDSP’s All Access HD plug-in pack. Including 24 of their industryacclaimed plug-ins for AAX DSP, AAX Native, AU, VST and VST3 applications, McDSP’s All Access pack features dynamics, EQ, reverb, virtual tape machines and modulation plug-ins to help you deliver the finest sounding, professional quality

can be said about McDSP’s plug-ins, with support for every major DAW whether native- or DSP-based. It’s this synergy that Red Product Manager Will Hoult highlights is key. “I’ve long admired the McDSP plug-ins particularly since the products were expanded to include AU and VST support. The fact that we can now offer our clients the combination mixes. It’s the ideal package for the engineer who needs a wide palette of powerful plug-ins to effortlessly get the sounds they are looking for. It even includes the SA-2 Dialog Processor that McDSP just received an Emmy for. Focusrite’s Red interfaces offer the utmost flexibility with connectivity to Pro Tools | HD via DigiLink, and Core Audio via Thunderbolt, all without the need for option cards. The same

of a superb interface with a classleading plug-in pack, both of which are transferable between software applications, is amazing”. Colin McDowell, McDSP CEO added: “Focusrite has a long history of bringing high quality pro audio products to the market, and McDSP is delighted to partner with them in this bundle. We look forward to expanding our market reach together!”

as the missing piece between mixing and mastering,” says Dan Gonzalez, Product Manager at iZotope. “Mixing, and mastering especially, can often be difficult to understand, and getting your songs to sound like commercial releases can often be a struggle. With Tonal Balance Control, we created a new analysis tool that helps educate users on why their mixes and masters may be lacking in certain areas. And more importantly, we offered them the tools to help fix those issues, with communication and control between the mixing and mastering plug-ins.” Ozone 8 Advanced and Neutron 2 Advanced will also be available as part of iZotope’s new Music Production Suite.

FOCUSRITE’S NEW 2X2 DANTE... (Continued from page 84) The Red 16LIne sports audio converters boasting over 118dB dynamic range A/D and 121dB dynamic range D/A (A-weighted). Also, for those used to having to build two different mixes – one using input monitoring to overdub, the other using the DAW for playback – the good news is that now, one is enough. According to Focusrite, the low latency performance is such that mixes can be built on the DAW and used whether overdubbing (monitoring the input being recording with the Focusrite Control software mixer) or playing back, with all plug-ins in place, all the time. Red 16Line features 16 line inputs on D-sub, coupled with 16 line outputs and two main monitor outputs, and the outputs can be ganged for surround monitoring applications.

September - October 2017

Rehash Recap

nother issue of the maga-

movie Baadshaho once again starring

records of songs from Deewar, and

movie Ghar starring Rekha and

zine and we are back to our

Ajay Devgan. Soulful music in Ustad

the mechanical reproduction rights

Vinod Mehra.

mundane activity of analysing

Nusrat Fateh Ali Khan’s voice. Oh

for this limited purpose. According to

‘THE’ top 10 songs that are ruling

wait! Isn’t this the same Mere Rashke

Trimurti Films, the right to use the

sung by Rahet Fateh Ali Khan,

the charts as we go into print. You

Qamar which was first performed in

sound recording or the underlying

with lyrics by Priya Saraiya

ask why “mundane”? Cause this task

1988 by Ustadji and made popular by

work, including lyrics and the tune,

is composed by Sachin-Jigar,

is obviously becoming just a reflec-

him and his nephew Rahat Fateh Ali

for any other purpose whatsoever,

recorded by Julian Mascarenhas

tion of the routine music that has

Khan several times in various con-

remains with them.

@Enzy Studios and Mixed and

been trending on music charts in

certs? Well Tanishk Bagchi did after

the last couple of months.

all add his own touch to this song

defendant, as per the 1974 agree-

Bina’, also penned by Priya Sa-

making it a chartbuster all over again.

ment, rights to the song were sold to

raiya and composed by Sachin-

to be, “why create new music,

Further pushing the nostalgia and

Polydor, and Super Cassettes procured

Jigar, has been recorded at

when we can just rehash the old

recollection quotient is the recording

the rights to use sound recordings in

White Noise Studios and mixed

junk and turn it into a nationwide

of the song in a female solo version

Baadshaho from them. The original

and mastered by Abhishek

anthem yet again.” We’ve said

by Tulsi Kumar as well as a ‘remix

song and the version used in Baadsha-

Khandelwal @Yrf Studios.

it before and we are saying it

version’ by DJ Chetas.

ho was played in court and the court

The new mantra definitely seems

again – talent has gone for a toss.

Speaking of originality, the Bombay

According to the counsel of the

said the rights sold to Polydor could

While the new ‘Lag Ja Gale’

Mastered by Eric Pillai, ‘Tere

‘Nazm Nazm’ from the Kriti Sanon and Ayushmann Khur-

And lapping it all up like kids in

rana starrer Bareilly Ki Barfi with

a candy store are all the national

music by Arko hints at originality

radio stations who are more than

but for some strange reason the

willing to pass it on “discerning”

tune instantaneously reminds you

Bollywood music fans, day in and

of the ‘Main Rang Sharbaton Ka’

day out.

song. This probably is because

Varun Dhawan, Jacqueline

of the “So used to rehash that

Fernandez and Tapsee Pannu

everything sounds familiar” syn-

gyrating to ‘Chalti Hai Kya 9 Se

drome. Vocals & Guitars recorded

12’ and ‘Oonchi Hai Building’ has

by Aditya Dev and mixed by

definitely appealed to the current

Aditya Dev, and mastered by Sha-

generation in the way it did the

daab Rayeen, the song finds itself

90’s generation, as both make it

a spot in the top 10.

to the top 10 on the charts.

Rising to the top of the music

Also on the charts is the title

charts on the strength of its lyrics

song from Golmaal Again and any similarity to the title songs of the several prequels is not “inspiration”. After all the franchise needs some semblance of continuity. The other song from Golmaal Again, which is also in

is ‘Meri Pyaari Ammi’ from the

The new mantra definitely seems to be, “why create new music, when we can just rehash the old junk and turn it into a nationwide anthem yet again.”

the top 10 is ‘Maine Tujhko

movie Secret Superstar. Produced & Arranged by Amit Trivedi, the song has been recorded at AT Studios, Mumbai & A M Studios, Chennai by Abhishek Sortey assisted by Urmila Sutar & Firoz Shaikh (AT Studios) and Siva Kumar, Pradeep Menon, Manoj Raman

Dekha’, which is an “inspira-

High Court did restrain Super Cas-

at the most be termed as sound re-

& Srinath (A M studios). Mixed by

tion”. Recorded by Rahul Sharma

settes Industries Private Limited from

cording rights, which are distinct from

Shadab Rayeen at A T Studios and

(AVM Studios) and Mixed &

releasing Baadshaho with the song

literary or musical rights. This by no

New Edge, Mumbai, the song has

Mastered by Eric Pillai at Future

‘Keh Doon Tumhe’ which was inspired

stretch of imagination would permit

been mastered by Donal Whelan at

Sound Of Bombay, the song is

from the 1974 movie - Deewar. The

Universal Music India to allow Super

Masteringworld - U.K.

a “recreated” version of ‘Neendh

court allowed Super Cassettes to re-

Cassettes to use the lyrics or music of

Churayi Meri’ from Golmaal Star

lease the film only after removing the

the song in Baadshaho, it said.

Ajay Devgan’s 90’s film Ishq,

“infringing” song.

also starring Aamir Khan, Juhi

Trimurti Films Private Limited,

Coming back to our top ten, we

The other song making it to the top ten is ‘Single Rehne De’ from the film Simran. Once again com-

at least have five spots for original

posed by Sachin-Jigar, the peppy

music.

‘Single Rehne De’ has been mixed

Chawla and Kajol. The song

which holds the copyright to the

licensed from Sony Music India

song, since April 3, 1974, when it en-

was originally composed by

tered into contract with lyricist Sudhir

Ja Gale’ from the film Bhoomi and

with Abhishek Sortey as assistant

Anu Malik and penned by

Ludhianvi and composer R.D. Bur-

‘Tere Bina’ from the film Haseena

mix engineer.

Rahat Indori.

man, had approached the High Court,

Parkar. No! Don’t jump your guns just

seeking an injunction on the release

yet (won’t blame you though if you

the ‘rehash recap’ and leaves us

– we still have six more slots

of Baadshaho, citing infringement. On

did!)! It’s not the same ‘Lag Ja Gale’,

with one burning question - How

on the top ten for creativity

January 2, 1974, the company had en-

composed by the late Madan Mohan

many more rehash recaps will we

and originality.

tered into an agreement with Polydor

and sung by Lata Mangeshkar, nor

have to do, before Bollywood pulls

of India Limited (now Universal Music

is it the same ‘Tera Bin Jiya Jaye na’

up its sleeves and give us more

on the top 10 in the form of

India Pvt. Ltd.), granting Polydor the

sung by the singing legend in the

than just repeat remix?

‘Mere Rashke Qamar’ from the

right to make and sell gramophone

Let’s look at the bright side

We have a rocking number

September - October 2017

Also trending on the charts is ‘Lag

and mastered by Shadab Rayeen

That brings us to the end of

11 QUESTIONS WITH

Eric Loader

Director of Sales, Elation Professional Lighting, Inc. From having established Light Force, Towards 2000’s import / distribution, to growing sales for American DJ’s moving light products, to pushing sales at Martin Professional for 12 years and eventually heading up sales at Elation Lighting, Eric Loader’s long history in the lighting industry and passion for lighting has seen Elation slowly creating its own identity, away from ADJ in the last couple of years. Here Loader talks about his three decade journey, Elation products and his perception of the lighting industry vis-àvis technology, trends and the Indian market. Tell us about your three decade journey in the lighting industry? What have been some of the highs and lows? Well, it’s certainly been a fantastic journey all along the way for me and I am very fortunate to be where I am today. Beginning in the industry as a DJ, I found myself attracted to lighting more than sound from the beginning. While I appreciate a great sounding system, the lighting “makes or breaks” an event or venue’s success. From concerts to nightclubs, I always found myself “looking up” at the lighting in the rig. Moving lights were just coming into existence when I started back then and computercontrolled or automated lighting quickly got my attention. Even during my first jobs doing lighting for Pegasus Productions or Towards 2000, I used to stay late after work and on the weekends to play in the showroom and programs lights. I enjoyed getting hands on by installing and building up productions but since I was studying business marketing in school, I quickly got more into the sales / distribution side of the business during my second year of college. Like any business or career, it’s the relationships you develop and hold on to which measure your success. The lows are when you move on from working with colleagues to accept new opportunities. But knowing you will always be friends gives some solace. Having worked on the manufacturing side for some of the largest companies in the industry (American DJ, Martin Professional and now Elation Professional) the one thing you can always count on is change and progress. You have to always keep moving forward but respect where you have been along the way.

After nearly 30 years what excites you about lighting technology and the lighting industry today? Technology is moving very fast. Although it’s been 30 years, the time has flown by as new products come out year after year that push the technology envelope. The merging of lighting and video has also been a great achievement and the immersion of audiences into the stage or venue design has come a long

way. Ultimately, seeing what the products can do at an event you attend and how they can enhance the experience is what I enjoy the most. Hearing the crowd go “WOW” when a specific lighting cue is executed, or seeing the lights make people rise out of their seats or onto the dancefloor, gives me a great rush!

What were the main factors that helped Elation develop international identity, recognition and respect? Having the right team of people with the vision and dedication towards our goal of offering the best performance / quality / value ratio in the professional lighting markets has been the key. At the end of the day, you have to offer a good product and some innovation to set yourself apart from the rest. We take a lot of input from the market, talking to lighting designers and business owners on what their needs are and how we can help them achieve their vision on projects or build on their success.

What according to you was the first lighting innovation that identified Elation lighting as a major brand? And in which year did Elation launch this innovation? It actually started before I got to Elation with the Design Spot 250 in 2005. It was one of the first “pro” grade moving heads at an affordable price with all the features LD’s wanted and they quickly made their way into rental companies and installations around the world. Elation was also one of the first entertainment lighting companies to use LEDs in traditional theatrical PAR design with our Opti RGB Par unit in 2006.

The merging of lighting and video has also been a great achievement and the immersion of audiences into the stage or venue design has come a long way.

How much is Elation Lighting invested into Research & Development? We have a dedicated team working on sourcing the latest key component technology in optics, lighting sources and electronics. With our engineering staff located here at our World Headquarter in Los Angeles, California, as well as key members at our office in Europe, we work with key component manufacturing partners around the world to bring the best quality components into our product designs. Combined with our product marketing team that takes feedback and industry knowledge from many sources, our product pipeline is planned anywhere from 12-36 months ahead. A lot of new technologies we use come from other industries, military or the consumer market that pays for a lot of the big R&D costs to make new technology available to our small entertainment industry. Most of the key improvements and big developments in recent years has been around LED and HID lamp technology. In the big picture, we work in a very small industry compared to consumer or military technologies.

From your vantage position, what do you think is going to be the next biggest innovation in lighting after LED? Laser phosphor engines seem to be what is driving development in other industries – when you look at auto headlights and video projectors. I think this technology, which offers improved efficacy and performance, will make its way into our industry. We have already been working with this technology for the past 12 months and are very close to putting a product

September - October 2017

out on the market that uses it.

Is demand for lighting in entertainment more challenging in the US and Europe, than in countries like India or China? The demands are certainly higher today mainly because of the budgets on projects in the US and Europe which seems to drive a lot of the new product development. As the budgets for projects grow in India and China, so will the demand for the latest technology and solutions.

Is there any Chinese lighting brand that has reached European or American levels in terms of quality? If yes, which is that brand. Yes, sure – in fact, some of those “brands” have been building OEM for many EU/US brands for years. Our products are made in China but designed in California so, at the end of the day, it comes down to the product’s design, specification, quality control, support and service you get from your brand supplier, regardless of where the products are made. Elation prides itself and builds into our products an extra level of quality to ensure long term performance. Many China brands can make their products cheaper by changing features or key components or using sub-par raw materials to meet their market price. Because we offer a 2-year warranty on our products – we cannot lower our quality standards, just to meet a market “price point”. As you know, there are many iPhone clones in China but like Apple (another successful California-based company) the engineering and

WILL THE LINEAR MAKE... (Continued from page 24) Power supply efficiencies vary greatly with output demands and show significant degradation in performance under heavy load. This limits the performance of amplifiers in low frequency audio program leading to reduced “Bass” performance commonly termed as “Bass Sags”. Power supply efficiencies vary greatly with output demands and show significant degradation in performance under heavy load. With diminishing efficiency at higher output, heat dissipation issues force manufacturers to limit the continuous power output capabilities of the power supplies, rather relying on burst power capabilities by using capacitor banks to store energy for short discharges. With the increasing domination of audio genres such as Electronica and Trance which are traditionally rich in artificially synthesized “bass”, users have resorted to using higher number of amplifiers to drive the same number of loudspeakers to ensure higher energy availability for such audio program. While the sonic experience from the good old linear amplifiers was pure, rich and fulfilling, logistics associated with their use ensured the rise of class

September - October 2017

Laser phosphor engines seem to be what is driving development in other industries – when you look at auto headlights and video projectors. I think this technology, which offers improved efficacy and performance, will make its way into our industry.

quality control that goes into their products is second to none and Elation is working towards this goal as well.

What is your perception of the global market for professional lighting products and how do you think India fits into this global scenario? India has an amazing market and appreciation for live events and experiences. Elation has enjoyed continuous success with our products in India thanks to our innovation and value. Elation, which started in the US 25 years ago, has steadily grown into a global brand expanding our success in the US to Europe the past 10 years and now to other parts of the world. As we expand around the globe with strong local

D – especially for the touring. Though linear amplifiers continue to be the connoisseur’s first choice for a range of applications including those with closed spaces such as clubs, premium cinema theatres and auditoriums, a study reveals that most professionals are resorting to the cost and energy effective class D for such applications too. An evident compromise is made by professionals on the fidelity of sound reproduction at the requisite power levels, in order to achieve the desired Sound Pressure Level thereby introducing harmonic distortion into the output (ranging between 1% and 5% on field). Professionals resort to extensive processing of sound to over-compensate the lack of fidelity. This also leads the frequency response to be limited (an inherent drawback of extensive signal processing) even with the use of active crossovers resulting in a loss of particular frequency bands which compromises the audio experience noticeably, especially in fidelity intensive applications. With these class D amplifiers, the trade-off between power output and fidelity is very apparent. Power specifications are typically stated at 1% THD (and lower figures for a minimum of 0.1% THD). This effectively means that conventional

partners, our model proves to continue to work in other countries. We recently opened a facility in Mexico and have enjoyed quick and rapid growth. With our strong distribution partner in India, I am sure we can continue this growth there.

Tell us about your engagement with the Indian market and what strategies is Elation adopting to market or further popularize the Elation brand in India? Star Dimensions has been distributing Elation products in India for the past 5 years. Despite lots of “china brand” competition, our sales continue to grow as customers realize the added cost for Elation quality, pays off for them in the long term. While our products are still typically 25-30% less than the other top Western brands, we are still often 25-50% more than China brands because of the features and quality we build into our products. So this takes time to prove to the market that the extra investment in Elation will bring a better ROI to the consumers.

In India, in which segment (fixed install, rental etc.) do you see most potential for Elation lighting? So far, it’s been in rental / production, where we have seen the most success. Rental companies appreciate our quality and ROI they get with our products and because lighting designers specify the Elation product on riders, they are able to give them what they want when they travel to India.

amplifiers cannot be driven to their stated maximum ratings without loss of fidelity, thereby increasing the number of units (and consequently investment costs and maintenance costs) required for a given setup. Total signal processing equipment requirements also increases due to the higher number of amplifiers being driven which means greater performance to cost ratios. The experienced professionals, even at the cost of losing business still swear by the age old linear amps for clients who appreciate fidelity. The ease of access to high quality music now means that a consumer’s demand for a truly engaging sonic experience extends beyond the realm of theatres and nightclubs to music festivals and concerts produced in large stadiums. However, the rampant use of Class D for high power amplification inherently limits the fidelity of sound reproduction. To achieve the fidelity of Linear Topologies and power capacity of Non-linear topologies, it is theorized that Linear amplification be explored further to harness its true capabilities that can lead to shrinking an amplifier from the bulky 4RU/3RU size, having the same electrical efficiency as of class D with the ability to deliver KWs of power from that form factor.

The next milestone invention in proaudio The Nov-Dec issue of PALM technology will feature part 2 of “WILL THE LINEAR MAKE A REAL COMEBACK” with case studies of this technology already in place in several venues across India But is that a pipe dream – an apparent impossibility? Interaction with some experts in the field suggest that this has already commenced with the gross transformers and capacitor banks disappearing from amplifier chasses with modern day superefficient drives that take the sonic experience to a whole new level. We hope that this technology when inducted into the market is not exponentially priced. Indications of the linear coming back to the crest of professional amplification are very high and realistic and those like us who have always wished for uncoloured audio experience of our home hi-fi audio racks at concerts too. The Nov-Dec issue of PALM technology will feature part 2 of “WILL THE LINEAR MAKE A REAL COMEBACK”.

DJ Technology

Pioneer DJ Introduce DDJ-XP1 Pad Controller & Rekordbox 5 Pioneer DJ has released the latest version of music organizing and library software Rekordbox with a new piece of hardware DDJ-XP1 to get the best out of the new features. The DDJ-XP1 has a total of 32 multi colored performance pads (16 for each deck) as well as 2 touch strips for FX control along with standard controls for track browsing and loading. The pads can be used for hot cues, loops, pad fx, beat jump or the sampler as well as the new keyboard

and Key shift modes. The new pad editor lets you assign different pads to different modes so you can have one row to trigger hot cues and another to play samples. Its key shift mode allow you to mix any two tracks in harmony by shifting the key to match or use Key Sync to change to Key to match the master track. Keyboard mode lets you take a cue point on one pad and use the other 15 to play it in different semi tones to add an amazing new dimension to your sets

which would normally require a separate synthesizer. All these features make DDJ-XP1 a great and complete hardware for users of RekordBox DVS too, working perfectly alongside any mixer and the RekordBox Interface 2 or with the

Pioneer DJM-250 mk2 or DJM-450 mixers.

LATEST POCKET-SIZED DJ CONTROLLER BY NUMARK Numark has announced the introduction and immediate availability of its new DJ2GO2 pocketsized—but full-featured—DJ controller. Boasting a built-in sound card and Serato DJ Intro, the DJ2GO2 is the smallest full-featured DJ controller around. It fits easily on a laptop without taking up any unnecessary space, so users are ready for action in no time. It’s perfect for performing small gigs, prepping for gigs, and it makes a perfect backup for those “just in case” moments. A built-in sound card with master gain, headphone output for cueing and channel gain knobs makes DJ2GO2 the ultimate portable

pocket DJ controller. It has two channels with a cross fader and pitch faders for easy blending. Its pad modes provide access to performance controls typically only found on larger controllers.

The design and functionality of the DJ2GO2 makes it ideal for every type of DJ. Traveling DJs will enjoy having the critical elements on the go to practice, prep, and adjust their set. Mobile DJs can use it as a back-up or for a small gig with a minimal setup. All the controls are at the DJ’s fingertips: simply plug in the headphones and connect the speakers through the master output. DJ2GO2 comes pre-mapped with Serato DJ Intro and is upgrade-ready to Serato DJ. Play blends, mixes and transitions on the fly. Control with

quick access to cues, auto/manual loop, and sampler. DJs also map the DJ2GO2 with other popular DJ software. • Portable two-channel DJ controller for Serato DJ Intro (included) • Control the music with play, jog wheels and fader • Built-in audio card with headphone cueing to create the perfect mix • Song navigation and channel and master gain control • Perfect for performing or prepping your DJ set playlist and cue points • Standard midi mapping for use with other popular DJ software • Fits perfectly on top of your laptop • 1/8-inch Headphone output • 1/8-inch main output

RP-7000MK2 Professional turntable; reloop Reloop has announced the new RP-7000MK2 direct-drive turntable - an update to Reloop’s RP-7000 turntable which caters to the to the high demands of professional DJs and modern nightclubs Meant for DVS and vinyl use, the RP-7000, with its powerful direct drive motor and rugged construction has a studier build in a reinforced housing, a new tonearm base and a faster startup. What makes the RP-7000 MK2’s housing more reinforced and heavy is a combination of metal, rubber and synthetic materials, results in extreme resistant to vibrations and the turntable’s shock-absorbing feet help

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to further improve isolation.

Key Features Include:

BALANCED S-SHAPED TONE ARM WITH UPGRADED TONE ARM BASE The tone arm base provides improved stability and adjustable height/vertical tracking angle (VTA). DUAL START/STOP BUTTONS, PRECISE MOTOR CONTROL AND REVERSE FUNCTION - The newly developed aluminium LED target light is freely moveable with an additional start/ stop button has integrated to facilitate a vertical setup and by using the buttons on the top panel to switch between the three motor speeds (33 1/3, 45 & 78 rpm).

HIGH-RESOLUTION PITCH SECTION WITH DIGITAL FADER - This feature can adjust the platter speed in the classic turntable pitch range +/-8%. However, the RP-7000 MK2 is also cable of a wider, DJfriendly +/- 16% pitch range and a massive +/-50% ultrapitch. HIGH-QUALITY CONNECTIONS AND INTEGRATED PHONO PRE-AMP With recessed rear connection panel the RP-7000 MK2 can be mounted easily and seamlessly positioned next to other DJ gear. The switchable integrated phono pre-amp makes it is possible to use the gold-plated RCA

connectors for both phono and line output signals. POWERFUL MOTOR WITH EXTENSIVE ADJUSTMENT POSSIBILITIES The quartz-driven motor operates at a starting torque of 2.8kg/cm upto 4.5kg/cm max. Also, the turntable break speed can be adjusted from 0.2 – 6 seconds.

DJ Technology

NUMARK SHIPS NEW NTX1000 PROFESSIONAL-CALIBER DIRECT-DRIVE TURNTABLE NUMARK announced the immediate availability of its new NTX1000 Professional Direct-Drive Turntable.

Recognizing a critical need in the marketplace for a professional turntable that capitalizes on the resurgent popularity of vinyl for DJ gigs, while also being mindful of the need for both versatility and value, the NTX1000 directdrive turntable has all the features and performance demanded by the professional DJ. It has incredible start-up torque (4kg), an S-shaped tone arm with height adjustment, damped cueing and antiskate controls that ensure

accurate tracking and precise song selection. DJs can customize their performance with an adjustable start/ stop control. The variable pitch range of ± 8, 16 and 50% (Ultra-pitch) enables any DJ to create the perfect effect. Plus, the NTX1000’s special isolation design easily resists feedback and external vibrations, even in the loud, bass-heavy environment where the professional DJ lives. • Full-size 12-inch 2.5-lb platter ensures rock-steady speed accuracy • Professional 4.0 KGF/CM hightorque motor • 2-speed: design: 33 1/3, 45 RPM • S-shaped tonearm for accurate tracking

• Damped cueing and anti-skate control • Adjustable pitch range ±8%, 16%, 50% (Ultra-pitch) • Start and stop brake controls • Dust cover included • Switchable power, 100~230V, 50~60Hz “This is a no-excuses, professionallevel turntable was uniquely built for performance, versatility and rugged design,” said Chris Roman, Senior Product Manager for Numark. “Pro DJs will especially love its amazing start-up torque and adjustable pitch. The performance, features and value are unsurpassed—meaning everyone can just concentrate on the fun!”

ROLAND’s NEW DJ-505 and DJ-202 DJ CONTROLLERS Roland’s DJ Controller Lineup Expands with the DJ-505 and DJ202, two new DJ controllers for Serato DJ. Equipped with features derived from the popular DJ-808 DJ Controller, the DJ-505 and DJ-202 both offer onboard Roland TR drum sounds, dual low-latency platters, Serato DJ integration, vocal FX, and more. With the newly expanded DJ-series lineup, DJs and music producers can now choose from three Roland DJ controller models to suit the needs of different setups.

ROLAND DJ-505 The DJ-505 is a two-channel, four-deck

Serato DJ controller that comes with the complete Serato Tool Kit. With its portable design, pro-grade build, and advanced feature set, the DJ-505 is ideal for mobile applications, club DJing, live performance, and music production. Two large, low-latency platters on the DJ-505 provide responsive, lag-free performance for turntablestyle scratches, while eight pads with 13 modes offer dedicated controls for Serato DJ. Also included are built-in drum kits from Roland’s classic TR-808 and TR-909 drum machines, and each kit contains eight sounds that can be played on the performance pads and triggered from the onboard TR-S sequencer. The sequencer has a

dedicated TR-style interface, and TR drum sounds and

Serato samples can be adjusted in real time using panel knobs. The DJ505’s mixer is Serato DVS Upgrade Ready, and can be used standalone with multi-players or turntables connected to the line and phono inputs.

ROLAND DJ-202 The DJ-202 is a forward-thinking Serato DJ Intro controller that gives DJs the features and layout of a full-size pro controller in a rugged mobile unit. Its

lightweight design and easy-grab handles provide convenient portability for all types of events, including house parties, club rocking, beat battles, and more.

Like the DJ-505, the DJ-202 includes two low-latency platters, a built-in drum machine with TR-808 and TR-909 sounds, and eight dedicated pads. A 16-step sequencer accessible via the performance pads controls Serato DJ Intro’s sampler for on-the-fly beat creation. Both the DJ-505 and DJ-202 function as USB audio/MIDI interfaces with 24-bit/48 kHz fidelity and high-resolution digitalto-analog converters. Each model also includes a MIDI output for controlling and

syncing external devices, and a ¼-inch mic input with gate, hi-pass, reverb, and echo FX.

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YAMAHA MUSIC INDIA PVT. LTD.

Email : support_in@inquiry.yamaha.com www.yamahaproaudio.com; in.yamaha.com