Pro systems sep oct13 web

SOUTHERN AFRICA

September / October 2013

R35.00

AV System Integration | Installations | Live Events | Studio PRO Audio

Cover Sensations Story Innerspace //hapo Museum Freedom Park Infocomm 2013 Show Report Bop Studios Plasa 2013 Show Report Holy Rosary School Installation Animotion Video Mapping

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In This Issue Deputy Editor

CONTENTS

The latest issue of Pro Systems News you have before you is, in my opinion, one of our best issues yet and covers a wide range of stories across all of our verticals not to mention has one of the best looking covers we have produced. Truth be told, the AV Integration section has always been a challenge to fill in past issues but this time, as you will see, it is chock full! Stories ranging from the installation at the new medical sciences training facility at the University of Johannesburg Doornfontein campus to digital signage at the Dube Trade Port will keep you up to date with what local integrators are doing. Our syndication of a Commerical Integrator white paper will bring to light why projectors are still so prominent in this day and age. This issue we cover no less than two tradeshows – Infocomm and PLASA London – and bring you event reports of Sensations Innerspace, international event Way Out West festival in Sweden and an exciting new style of AniMotion video mapping. Of course, we carry on with the third instalment of my column on recording drums in the modern DAW and bring you an interesting look at the history of Bop Recording Studios, the long lost jewel of the South African recording industry.

Installations are always a big part of what we try to bring to your attention so don’t miss the inspiring story of the Freedom Park museum in Pretoria and the new audio, lighting and AV installation at the Holy Rosary School in Edenvale.

As the year comes to a close we wish you all a fantastic holiday season as we won’t be seeing you until January, 2014. Au revoir and happy holidays!

Greg Bester

NEWS

Installations

iLED new SA distributor of Symetrix............3

//hapo Museum Freedom Park:

Dolby pioneer

an interactive experience .......................26

dies age 80...................................................3

Equipping girls’ school for

Sonifex appoint Wild & Marr.......................3

drama and sports......................................30

Kearsney College lights up

Elevating your venue – big time..............32

after upgrade...............................................4

PLASA LONDON 2013

New international exhibitors sign up for Prolight + Sound Guangzhou..........4

PLASA London 2013 ‘ExCeLs’...................34

Prosound expands its

PLASA London Innovation Awards...........40

distribution portfolio.....................................4

PLASA London Rigging

Stage Audio Works to distribute

Conference 2013 highlights......................42

High End Systems.........................................6 Søren Storm joins Robe................................6

Live Events

Koen Claerbout is new CEO of

Sensations Innerspace...............................44

Apart–Audioprof..........................................6

Way Out West festival................................48

Questek resells Extron products..................8

Clay Paky Alpha Spot 1500......................50

InAVation Awards returns to Amsterdam

Martin Mac Viper Profile...........................51

Convention Factory.....................................8

Robe MMX Spot.........................................52

Gearhouse SA invests in

Varilite VL3500 Spot luminaire...................53

Martin and Robe........................................10

Party on through the ‘Redd Door’...........54 A world first for AniMotion video mapping.......................56

System Integration InfoComm 2013 reaches new highs........12

Studio PRO AUDIO

Why flat panels aren’t

Audio Technica

replacing projectors..................................16

under the microscope..............................58

Unleash the power of projectors.............17

Recording and mixing drums

Phil Lord Interview......................................18

in the modern DAW Part 3 – Tracking.....62

Connecting our learners

Bop revisited...............................................64

to a paperless classroom..........................20

Social

Local experts install robust signage at trade port................................22

TPSA 2012 Award Winners ........................67

Breathing life into

TPSA Awards 2012......................................68

UJ’s new medical facility..........................24

Neets Training.............................................68 Smaart Training...........................................68

Contributors Greg Bester | Musician and audio engineer – proficient in both the analogue and digital domains and has extensive experience mixing live music, setting up and configuring loudspeaker systems, monitoring and general stage management. He has mixed hundreds of events and is comfortable on large and small-format mixing consoles.

Louise Stickland | Professional journalist and photographer with huge passion and enthusiasm for technology and the production industry.

Louise initially worked and toured as a lighting designer after graduating from university. She has many years experience in the music and live event sector, and works closely with leading international designers, production companies and technology manufacturers.

Claire Badenhorst | Industry expert with eight years experience in event management, PR, marketing and advertising within the professional audio, video, lighting and staging sector. Claire has played an integral role in the development of the concept and content creation of Pro Systems and works closely with our advertisers and readers.

Paul Watson | After touring professionally with several bands in the UK and then the US, Paul went on to open his own commercial recording and rehearsal facility, where he was resident producer/engineer for six years.

For the last five years, he has been a regular contributor for a number of UK titles, covering live sound, studio sound, lighting, video, broadcast and post-production. He is also European Editor for one of the major US trade music publications.

Chanelle Ellaya | A Journalism graduate from the University of Johannesburg. Chanelle has experience in both the magazine and television industry. She has a keen interest in the Media in various capacities, as well as in music and technology.

Sarah Rushton Read | A co-founder of Women in Stage Entertainment; Chairman of the Knight of Illumination Rock Award and editor of the Association of Sound Designers magazine The Echo. She has previously lit a medal winning garden at the Chelsea Flower show, been employed as deputy editor on Lighting and Sound International, deputy lighting manager of Glyndebourne Festival Opera among others.

Publisher & Editor | Simon Robinson | simon@sun-circle.co.za Deputy Editor | Greg Bester | greg@pro-systems.co.za In-house Journalist | Chanelle Ellaya | news@pro-systems.co.za Sub-Editor | Tina Heron Advertising Sales | Simone de Beer | sales@pro-systems.co.za Design | Trevor Ou Tim | design@sun-circle.co.za Subscriptions | Albertina Tserere | data@sun-circle.co.za Accounts | Natasha Glavovic | accounts@sun-circle.co.za Sun Circle Publishers (Pty) Ltd | Tel: +27 11 025-3180 | Epsom Downs Office Park, 13 Sloane Street, Bryanston, Johannesburg | PO Box 559 Fourways North 2086, South Africa

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www. pro-systems.co.za

Publishers & Projects

news

iLED new SA distributor of Symetrix Symetrix has appointed iLED to looking forward to working with distribute all of its products, their dedicated team.” including the SymNet Edge and “We were looking to include a Radius Dante networked digital DSP-based product line in our signal processors throughout arsenal, and although there are South Africa. multiple brands out there to pick In the 12 years since it from, only a handful hold their own iLED CEO, Ivan Potter launched, iLED has earned its at the top end of the market,” says clients’ loyalty by providing expert advice Justin Mamulis, sales director with iLED. founded on a commitment to continual “Symetrix is at the head of the pack and education. iLED team members pride when the opportunity to distribute Symetrix themselves on the depth and range of their presented itself, we jumped right on board.

AV knowledge, including all the latest With this powerful new addition to our line advanced solutions, coupled with their card, we look forward to opening up ability to communicate that knowledge to additional opportunities for our other brands, clients. as well as presenting our offerings to a larger “iLED is focused on educating members of market. the AV community in South Africa,” said Mark “Now that Symetrix is leading the race to Ullrich, international sales manager for deliver effective, affordable solutions for the Symetrix. “The company started iLED growing teleconferencing market, we’re University in 2010 to offer free training on especially excited to distribute SymNet Edge products, concepts and techniques, and it and Radius AEC throughout the territory,” he has been a huge success. We’re really adds.

Dolby pioneer dies age 80 Dolby Laboratories (DLB) last month announced that Ray Dolby, the American inventor recognised around the world for developing groundbreaking audio technologies, died at his home in San Francisco, at the age of 80. Dr Dolby had been living with Alzheimer’s disease in recent years and was diagnosed in July of this year with acute leukaemia.

Dr Dolby founded Dolby Laboratories in 1965 and created an environment where scientists and engineers continue to advance the science of sight and sound to make entertainment and communications more engaging. Dr Dolby’s pioneering work in noise reduction and surround sound led to the development of many state-of-the-art technologies, for which he holds more than 50 US patents.

“Today we lost a friend, mentor and true visionary,” said Kevin Yeaman, President and CEO, Dolby Laboratories. “Ray Dolby founded the company based on a commitment to creating value through innovation and an impassioned belief that if you invested in people and gave them the tools for success they would create great

Ray Dolby

things. His ideals will continue to be a source of inspiration and motivation for us all.”

“My father was a thoughtful, patient and loving man, determined to always do the right thing in business, philanthropy and as a husband and father,” said David Dolby, son and member of Dolby Laboratories’ Board of Directors. “Our family is very proud of his achievements and leadership. He will be sorely missed, but his legacy of innovation will live on.”

Dr Dolby was known for his insatiable curiosity and attributed his success to a quest for education fostered by supportive parents.

Early in Dr Dolby’s career, while attending high school on the San Francisco Peninsula and then Stanford University, he worked at Ampex Corporation and was the chief designer of all electronic aspects of the first practical videotape recording system. Today Dolby Laboratories’ technologies are an

Sonifex appoint Wild & Marr

Eamonn Heffernan, Sales Manager for Sonifex and Joe Copans, Managing Director of Wild & Marr

Wild & Marr was recently appointed the sole distributor for Sonifex in South Africa.

Eamonn Heffernan, Sonifex sales manager for Africa, says: “We are pleased to have Wild & Marr on-board as our new face in South Africa. Their renowned specialist expertise in custom audio engineering, audio/video integration and acoustic analysis, will make them a significant force within the Sonifex team. We look forward to working together to promote the Sonifex brand in South Africa.” essential part of the creative process for recording artists and filmmakers, who continue to use Dolby tools to bring their visions to life.

“Though he was an engineer at heart, my father’s achievements in technology grew out of a love of music and the arts,” said Tom Dolby, son, filmmaker and novelist. “He brought his appreciation of the artistic process to all of his work in film and audio recording.”

In the 48 years since Dr Dolby founded Dolby Laboratories, the company has transformed the entertainment experience from the cinema to the living room to mobile entertainment. Tens of thousands of films and billions of products and devices with Dolby technologies have made their way to theatres, homes and consumers’ hands around the world. The industry has awarded Dolby Laboratories with 10 Academy Awards and 13 Emmy Awards for its groundbreaking achievements throughout the years.

“Ray was generous, patient, intellectually honest and fair-minded. Forever curious, unafraid and oh so persistent, whether we were driving overland from India, flying his planes across the Atlantic or driving the big bus around the National Parks, he not only gave us an exciting life, but was a fantastic role model for our sons,” said Dagmar Dolby, Dr Dolby’s wife of 47 years.

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news

Kearsney College lights up after upgrade

Kearsney College, situated on the edge of the Valley of a Thousand Hills in KwaZuluNatal, has an award-winning choir ensemble which was founded in 1994, and has picked up twelve gold medals since 2000 at the World Choir Games. The College is renowned for its arts and culture programmes, as well as for numerous sporting accolades.

When an opportunity arose to upgrade the school hall’s stage lighting system, its prestigious reputation and history was kept in mind and only world-class equipment was sourced to enhance the performance venue.

Nik Fairclough from Northwind Recording received the brief to supply a world class lighting system for Kearsney College that was simple to control events ranging from a weekly assembly, all the way up to a major school production. Northwind Recording

was appointed not only as the consultant but also project managed the complete installation.

Virtually the entire old system was replaced. Electrosonic KZN in conjunction with Bruce Schwartz from the Johannesburg branch opted to integrate as many of the advances in LED based technology as possible. Apart from their energy-saving benefits, the LED fixtures are small and unobtrusive.

The client did not want large fixtures cluttering the decor. Brand new cable-ways and new Electrosonic pre-wired bars were installed. An Electron dimmer and a complete DMX network were also installed.

The award-winning Martin Professional MAC Aura LED Wash was used as the workhorse fixture along with MAC 350 Entour LED Profiles. Versa-Light LED Parcans in both RGB and Amber White Versions were also used.

Atmosphere was created with a JEM Compact Hazer Pro. All this was controlled by the versatile and popular Martin M1 control desk.

Evan Lyle from KZN Electrosonic branch handled the training and was also on hand for their first show, a school play festival which was a resounding success, much to the delight of a very happy Kearsney College.

New international exhibitors sign up for Prolight + Sound Guangzhou The continued alliance between Messe Frankfurt and Guangdong International Science and Technology Exhibition Company (STE) is resulting in new international exhibitors and supporters for the 2014 edition of Prolight + Sound Guangzhou, which will take place 24 to 27 February 2014 in Area A at the China Import and Export Fair Complex, Guangzhou, China.

Representing Messe Frankfurt, Ms Fiona Chiew, Deputy General Manager of Messe Frankfurt (Shanghai) Co Ltd says: “We are working towards further developing and improving the show so that it becomes a global business platform for the pro audio and lighting industry. So far, we are already seeing some positive results. For example, several new international leading suppliers have signed up for the show and we have new international supporters which further strengthen our efforts to attract international

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buyers to the show.”

Among the new international exhibitors for Prolight + Sound Guangzhou are Beyerdynamic (Germany), FBT (Italy), Laserworld (Switzerland) and Maquinas (Portugal).

As part of the show’s objective to become a global platform, it has attracted new supporting association – ANAFIMA (National Association of Musical Instruments and Audio Manufacturers) from Brazil. ANAFIMA is the association for Brazilian musical instruments, accessories and audio manufacturers.

Prosound expands its distribution portfolio

Ian Blair (Prosound) and Lawrence Mao (PR Lighting)

PR Lighting has changed its South African distribution arrangements, appointing Prosound with immediate effect, as sole reseller for its extensive range of LED and automated discharge solutions.

With price sensitivity an ever increasing issue in today’s market Prosound were seeking a quality product range that could also meet the demands of the house of worship market.

Commenting on the decision, Prosound’s GM Ian Blair, says: “The PR brand has proven itself as one of the most respected Chinese manufacturers — the company has developed and maintained its reputation for quality over the years.”

PR Lighting’s SA sales manager Lawrence Mao, replies: “The South African market is very competitive and we believe that Prosound has the experience and contacts to promote PR Lighting in this market extremely well.”

The Johannesburg-based lighting specialists say the primary market for PR Lighting’s products are event hire companies and installations at venues where a quick return on investment is required.

Prosound’s technical support team have worked closely with their Chinese counterparts to ensure a seamless transition, enabling them to offer spares, service and product training. Product manager Daniel de Wet is planning a roadshow around the South Africa to introduce the range to selected potential customers.

Says Ian Blair: “We are delighted to welcome PR Lighting to the Prosound family and are looking forward to developing the brand further in SA. I have been very impressed by the quality of the products and the feedback received from the industry has been extremely positive.

“This is a great opportunity for both Prosound and PR Lighting to work together to supply exciting new products into an ever demanding market place.”

For more information about the show visit: www.prolightsound-guangzhou.com or email: plsgz@hongkong.messefrankfurt.com.

news

Stage Audio Works to distribute High End Systems Stage Audio Works is proud to announce a new distribution partnership with international lighting manufacturer High End Systems (HES). The distribution partnership will allow both companies to work together to bring pioneering digital lighting technology, LED lighting technology and lighting control to clients across Africa. Stage Audio Works will also offer demo facilities, training, technical support and service for High End Systems products.

Stage Audio Works CEO, Will Deysel commented that the partnership can only improve the industry standings of both organisations. “We have been searching for

a lighting brand to add to our portfolio for a while,” said Will, “and I am glad that we have been patient about it. High End Systems fits perfectly in completing our complete solution of world-leading brands”.

High End Systems pride themselves on their commitment to manufacturing and customer support excellence with key emphasis on product reliability.

“High End Systems is a well-established manufacturer that have pioneered digital lighting and offer excellent control solutions with the new Hog 4 range,”commented Gustav Barnard from Stage Audio Works.

“With four decades of experience as one of the world’s largest lighting manufacturers, High End has always collaborated closely with lighting professionals in the field to bring relevant products to the market. Their lighting solutions offer a benchmark that not only keeps pace with industry developments, but guides it”.

Stage Audio Works’ Gustav Barnard and Nathan Ihlenfeldt

Søren Storm joins Robe Søren Storm has joined Robe lighting’s executive management team as International Business Development Manager.

Søren’s experience includes 16 years of working in top management for a leading lighting manufacturer, during which time he’s built up a vast amount of contacts worldwide and an impeccable reputation for integrity.

At Robe, he will be working closely alongside International Sales Director and CEO of Robe Inc. in the US, Harry von den Stemmen together with all of Robe’s regional sales managers in The Americas, the Middle East, Africa and Russia and the CIS states.

Harry von den Stemmen comments: “Moving forward, Søren will remain living in Singapore, his home for the past 16 years,

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Robe’s Søren Storm

and will be travelling to help grow our business in all the EMEA regions as well as also assisting with product development.”

Koen Claerbout is new CEO of Apart–Audioprof

Koen Claerbout, CEO Apart-Audioprof

Koen Claerbout has taken over the role of CEO to further expand and grow ApartAudioproof together with its dynamic and motivated team.

Audioprof is a growing company which continuously invests in reinforcing its organisation and structures to support its customers and enhance innovation in our product portfolio. Due to the strong growth of Apart and the rapidly changing markets, it was necessary to free up time for Tom Gheysens, the company’s founder, to focus more on the strategic development and the vision of the company independently of the company’s day-to-day management.

Tom Gheysens will, with all his experience and passion for the audio industry, take up the role of chief strategy officer and focus on strategic challenges, opportunities and partnerships.

He will execute these tasks within his role as an important shareholder and board member.

“The complementary roles with Claerbout as CEO and Gheysens as CSO are a logical evolution in the sustainable growth path of Apart– Audioprof. We are ready to further strengthen our position in the fixed install audio market,” says Gheysens and Claerbout.

Storm says: “I’ve watched Robe over the past 10 years and seen the brand develop, grow and innovate. Established in installation markets for some time, the last two to three years has also seen serious inroads made into the rental / staging world, all with a constant stream of highly reliable and competitive products and an extremely good attitude to business. I am really excited to be a part of this.”

news

Questek resells Extron products Johannesburg-based AV integration and distribution company Questek recently announced that they would be stocking the very popular range of Extron products in South Africa for resale to AV integrators.

Extron products have only previously been

Questek’s George van Gils

available via import directly from Extron in Europe via the South African office. George Van Gils commented that this move allows AV integrators to buy stock locally in South Africa quickly and more efficiently in order to complete their projects. Van Gils also said that this will give them access to an organization that can streamline the ordering process and sidestep the otherwise time consuming process of ordering and importing these products directly.

Photo by Chris Taylor Photography

InAVation Awards returns to Amsterdam Convention Factory

The InAVation Awards will return to the Amsterdam Convention Factory on 5 February 2014.

The only international awards programme that recognises achievements in commercial AV will culminate in an awards ceremony and dinner held in Amsterdam during the ISE exhibition.

Now in its 8th year it continues to attract AV industry professionals – including vendors, integrators, consultants, distributors and end users – from around the world to celebrate, relax and enjoy unrivalled networking opportunities.

The event is held in Amsterdam on the evening of the second day of the ISE exhibition, one of the busiest events for pro AV on the international calendar.

This year new categories and a revamped entry process have made it simpler and easier to demonstrate technology innovation and integration excellence.

Project categories All entries to the project categories of the InAVation Awards 2014 must be submitted by 31 October 2013.

Projects completed between 1 October 2012 and 1 October 2013 and demonstrating integration of AV technologies in commercial spaces throughout the EMEA region are eligible for entry into sector-specific categories. Projects from outside the EMEA region should be entered into the International category.

Finalists and winners will be selected by

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the InAVation Awards judging panel who will be looking for innovative answers to installation challenges, use of sophisticated technologies and the delivery of AV solutions that have a positive impact on their clients.

Outstanding consultants and project managers can also be nominated for consideration in the dedicated Consultant of Project Manager of the Year category.

Finalists and winners will be revealed at the InAVation Awards Ceremony at the Amsterdam Convention Factory on 5 February 2014 Enter at www.inavationawardsonthenet. net/projectentry.aspx 2014 Project Award categories • Retail • Education Facility • Corporate Facility • Visitor Attraction • Public Sector Facility • Leisure & Entertainment Facility • Transport & Communications Facility • Live Event • International Technology categories All entries to the project categories of the InAVation Awards 2014 must be submitted by 11 October 2013.

Products, solutions and tools that are designed for the professional AV integration market and shipped between 28 October 2012 and 1 October 2013 are eligible for entry.

Shortlists will be selected by the InAVation

Awards judging panel and winners selected by online votes from the international AV community.

Manufacturers can enter one product into each of the Technology categories except ‘Breakthrough Technology of the Year’, which will be selected by the judging panel.

This year is the first year there is a category dedicated to distributors. The Distributor of the Year category is open to all AV distribution companies operating within EMEA. Enter at www.inavationawardsonthenet. net/technologyentry.aspx 2014 Technology Award categories • Most InAVative Mounting Solution • Most InAVative Audio Product • Most InAVative Content Management and Playout Solution • Most InAVative Video Processing or Distribution Product • Most InAVative Projector • Most InAVative Display • Most InAVative Control Solution • Most InAVative Loudspeaker • Most InAVative Conferencing or Collaboration Product • Most InAVative Integration Tool • Breakthrough Technology of the Year • Distributor of the Year Key Dates: • Technology and Distributor of the Year categories close: 11 October 2013 • Project and Consultant of the Year categories shut: October 31, 2013 • Voting for technology categories shut: January 26, 2014 • Winners revealed at InAVation Awards Dinner in Amsterdam: February 5, 2014 More information can be found at www.inavationawards.com Or contact: inavationawards@imlgroup.co.uk.

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news

Photo courtesy Zoom Photography

Gearhouse SA invests in Martin and Robe

The new Martins in action at the Bidvest 2013 Chairman Awards

Gearhouse SA has made a substantial investment in new Martin and Robe moving lights in recent months, with the purchase of 72 x Martin MAC Vipers and 150 fixtures from Robe’s ROBIN series including Pointes, DLX, DLS and DLF and LEDWash 600s.

This is to service a busy ongoing show and event schedule heading into autumn. As a leading production company, Gearhouse is under constant pressure to keep pace with the technology on all fronts. Their strategy is always in tune with what international LDs visiting SA with their shows and tours are specifying as well as offer the most versatile and flexible options available for their own lighting designers and directors.

The equipment was delivered by the brands’ respective distributors, Electrosonic (Martin) and DWR Distribution (Robe).

Gearhouse MD Ofer Lapid explains that in the case of the Vipers, they were looking for a product that would continue the success of the Mac2K which has been a serious workhorse product for the company for several years. He comments that the Viper is extremely bright, lighter than the 2K and also robustly built.

In terms of capital investment, Lapid says they would expect a product to start appearing on riders on riders in the three to four years following its launch, to give them plenty of opportunity to recoup.

Lapid believes that Martin Professional – acquired by US audio and

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infotainment giant Harman International at the end of 2012 – is in a “turnaround situation” and he reckons that the new Harman infrastructure will give a very well-liked and respected brand the ability and freedom to continue developing and being at the forefront of manufacturing.

Gearhouse’s new Mac Vipers were utilised to great effect on the 2013 Bidvest Annual Business awards dinner, where they were put through their paces by lighting and visuals designer Tim Dunn – known for his extremely ambitious design concepts and for pushing every bit of technology on his rigs to the max. Dunn reportedly thinks they are excellent fixtures – powerful and dynamic.

The Vipers – 60 of which currently reside in GH Johannesburg with 12 in Durban – were also appreciated by Mumbai-based Lighting Designer Atul Sonpal, who lit the 2013 SAIFTAs event at the Durban ICC using these and other fixtures.

Electrosonic’s Entertainment lighting manager Bruce Schwartz says: “The sale is significant for us and for Martin Professional as a whole. It’s a clear statement that Gearhouse believes in the future of both companies.”

Gearhouse’s Lighting operation manager Stuart Andrews was instrumental in making the decision to invest the 150 Robe LED fixtures.

He was particularly looking for a solution for their corporate and

Photo by Pete Currier

news

The new Robe’s in action at So You Think You Can Dance

Image courtesy EPH Productions

special event work which offered quality light sources that consumed less power, were more eco-friendly and naturally adaptable and reliable.

Many LED fixtures on the market have not addressed the issues of smooth, even output and coverage and homogenized light-sources, but this is an area in which Robe has concentrated from the outset with all their technology, and in particular their ROBIN DL range, which offers the Spot (DLX), Wash (DLF) and Profile (DLS). These were developed with the performance and precision demands of theatre and TV in mind.

The DL units are all small in size and lightweight and as Andrews points out: “Ideal for small rooms and low ceilinged environments, offering excellent functionality and a nice quality of light.”

The full list of Gearhouse’s most recent Robe purchase is 54 x Pointes, 36 x LEDWash 600s, 24 x DLXs, 24 x DLFs and 12 x DLSs. The DLFs and DLXs went straight on to the current series of So You Think You Can Dance at SABC with lighting designed by Robert Grobler.

The LEDWash600s join Gearhouse’s existing rental fleet, Andrews comments: “You can never have enough.” Since their launch in 2010 Robe’s LEDWash has become one of the most successful products in its class, and they are also now routinely appearing on international lighting specs.

However, Andrews thinks it is the new multi-purpose Pointe that will become a real ‘star of the show’, again for its small size, light weight and huge versatility – it can be a Spot, Beam, Wash or FX unit. “All the LDs on upcoming shows who have been offered Pointes have really welcomed them,” says Andrews. “The small size again gives the unit a real edge and it’s something really different.”

Duncan Riley from DWR comments: “The decision to invest in LED technology on such a scale was a bold one for Gearhouse, but I think it’s a sign of the times and they have set some new standards and started the ball rolling! Any new bulb will look great initially but after about 200 hours it will start to degrade – so it’s a decision based on long term economic efficiency as well as being great for the environment.”

Over time it will preempt other cost reductions for the client as well, like smaller and fewer generators needed, consuming less fuel, and so on.

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System Integration SHOW REPORT

InfoComm 2013 reaches new highs

By Chanelle Ellaya

The annual ribbon cutting ceremony

InfoComm 2013, the annual conference and exhibition for professional audiovisual buyers and sellers worldwide, was held from 8 to 14 June in Orlando, Florida. InfoComm was visited by 35 126 professionals this year from more than 110 countries. This represents a 2.5 percent increase in attendance on InfoComm 2012.

There were 937 exhibitors participating at InfoComm this year.

Exhibitors occupied more than 470 000 net square feet of exhibit and special events space. Other news released at the show includes the release of the second edition of the CTS Exam Guide, the launch of InfoComm’s new TecnoMultimedia Brasil trade show in Brazil, improvements made to the InfoComm iQ online database and more.

InfoComm 2013 was sponsored by Blackmagic Design, Christie, Crestron, Panasonic, Samsung, Aurora and NEC.

What the manufacturers had to offer: “InfoComm is the ideal place to make AV purchasing decisions, connect with contacts and learn principles that will boost your effectiveness,” said David Labuskes, CTS, RCDD, executive director and CEO, InfoComm International®. “The marketplace strongly supports the InfoComm show and we are grateful for the attendee support and for the innovative exhibitors who are committed to making InfoComm a can’t-miss event on the industry calendar.”

InfoComm University™ provided practical training and attracted the industry’s best instructors and students. Attendees come to InfoComm for the diversity of courses on topics ranging from acoustics to video conferencing. Popular courses included Unified Communications and Collaboration, CTS Prep, EDID, HDCP, HDMI for Pro AV, Digital Signage Revolution in Retail and Future Technologies: The Inside Scoop from Silicon Valley.

This year, 237 AV professionals passed the Certified Technology Specialist™ (CTS®) exam onsite, a new record. Twenty-five professionals passed the CTS®-D exam and 14 earned the CTS®-I credential.

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Chauvet Chauvet booths at InfoComm 2013 housed a great selection of new luminaires, next to the already available CHAUVET® Professional Legend™ 230SR Beam moving yoke, Nexus™ 4x4 tour-ready wash light, Ovation™ series of theatrical luminaires, PVP™ S5 and PVP™ S7 high-definition video panels, MVP™ Ta8 Curve modular video panel, WELL™ 2.0 wireless wash light, Q-Spot™ 360-LED and Q-Spot™ 460-LED moving spot fixtures, wash lights from the COLORado™ Series and more.

Chauvet’s ILUMINARC® brand of architectural lighting was also represented by a variety of interior and exterior lighting solutions.

Distributed by www.audiosure.co.za

Crestron Electronics Crestron introduced AirMedia™, its new wireless HD presentation solution for small meeting rooms, at InfoComm® 2013. Using simple plug-andplay installation, AirMedia brings presentation, collaboration and content sharing capabilities to small conference rooms and offices that aren’t wired for an AV system. AirMedia allows anyone to walk into a room, connect to the existing display over WiFi®, and wirelessly present HD content from their personal smart phone, tablet or laptop.

Distributed by www.electrosonic.co.za d&b audiotechnik At InfoComm 2013 d&b showcased the inner workings of their latest ArrayCalc V7 on the stand and in the seminars they presented.

ArrayCalc V7, the latest incarnation of this system design tool from d&b includes functionality to perform acoustic simulations with a number of d&b point source loudspeakers, most notably the White range installation point source products from the xS-Series, as well as Black range Q, T and E-Series.

ArrayCalc V7 simplifies the process of creating remote control workspaces for line arrays as well as point sources, via an export function into the d&b R1 remote control software. Version 7 also offers a new print out section that includes the point source loudspeakers and an array collision detector. For a complete installation project the additional algorithms within V7 address the requirements for a sophisticated d&b style simulation and planning tool.

Distributed by www.stageaudioworks.co.za Panasonic Panasonic announced new additions to its wide range of professional audio visual technologies, including new projectors, professional displays and digital signage solutions at InfoComm2013. This year, additions include a new line of interactive plasma displays, the first Panasonic interactive ultra-short throw projector, the industry’s brightest WUXGA single chip DLP™ projector and a new outdoor-ready ultra-bright LCD display.

Distributed by www.p0ansolutions.co.za Peavey architectural acoustics Peavey® Architectural Acoustics® introduced its latest advancement in pro audio loudspeaker enclosures, the ElementsTM weatherproof loudspeakers. The new American-made, incredibly durable, reliable and versatile Elements weatherproof enclosures are a combination of innovative cabinet construction and proven, weatherproof components designed for direct contact with the elements in the most demanding climates.

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System Integration SHOW REPORT Surgex

SurgeX announced the new 1U Sequencer (SEQ 1U), a single rack unit power management product that provides surge protection, power conditioning and sequencing for audio, video, broadcast and computer equipment. The SEQ 1U offers advanced protection capabilities for any size AV or IT installation.

Loaded with proprietary SurgeX technologies, the SEQ 1U is outfitted with Advanced Series Mode surge elimination protection, a zero let through technology that stops all surges up to 6 000 volts / 3 000 amps without producing harmful side effects such as ground contamination or common mode disturbances. The unit also features common mode and normal mode Impedance Tolerant EMI/RFI filtering and COUVS (Catastrophic Over/Under Voltage Shutdown), as well as SurgeX ICE (Inrush Current Elimination) for a complete power conditioning solution.

Distributed by www.audiosure.co.za Tv One

TV One exhibited at InfoComm 2013 a display of real-time video manipulation with the new CORIOmaster mini.

The technological marvel, coined the ’Real-Time Video Windmill,’ features a rotating array of four 50” flat panel displays showing video that maintains a stable horizon even as the displays rotate 360o in

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real-time. Video sources will include live showroom floor video as well as compelling streaming media.

To showcase its full potential, the CORIOmaster mini will alternate between displaying a stable horizon while displays rotate, rotating video in sync with the displays, or counter-rotating video in the opposite direction of the rotating displays. Critical in the delivery of clean video rotation and many other exciting features of CORIOmaster mini is the product’s maximum video delay of two frames in any application or resolution.

Yamaha Commercial Audio

Yamaha Commercial Audio Systems, Inc. added a new 8-channel amplifier line to its Commercial Installation Solutions (CIS) product line.

The new amplifiers were shown at InfoComm 2013. The XMV amps are 8-channel versions of the 4-channel XMV amps and share the same features and power ratings of 140W and 280W per channel, available in either YDIF or Dante versions. The four new models also support low-impedance and 70/100V modes.

The Yamaha YDIF Cascade Bus provides a simple intra-rack connection utilizing inexpensive Cat5 cabling for an easy-to-use 16-channel bus, while Dante technology will allow CIS systems to share audio with up to 40 subnets (using the Audinate Netspander product) enabling Yamaha CIS systems to merge with other complex professional audio systems simply and efficiently.

Distributed by www.yamaha.co.za

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System Integration DISPLAY TECHNOLOGY

Do you think projectors are dead? Think again. This CI Solutions Series whitepaper outlines how video projection can breathe life into an integrator’s businesses and provide ample return on investment for commercial video customers.

Photo courtesy Electrosonic UK

Why flat panels aren’t replacing projectors

In the world of commercial video, the falling prices and rising quality of flat-panel displays has got a lot of recognition in recent years. Projection video, however, remains a vital part of 360 Mall Family Entertainment Centre in Kuwait commercial integration business because it offers value and addresses needs that flat panels simply can’t.

2. Existing structure As the quest to create standout commercial video solutions becomes more daunting, projection video offer integrators limitless I once had a contractor tell me: “We’ve hung more on less,” when I opportunity to create custom solutions and provide return on asked if the wall in question could support a 500-pound screen wall. investment for their clients.

That was not the answer I wanted when my company was liable for This CI Solutions Series whitepaper explains why integrators and the end result. I concede not all large format displays are extremely commercial clients should continue to focus on projectors. heavy. An 84-inch LED lit LCD is most likely 150 pounds, and there are external mounting options that supply vertical support and extend to Arguments for the longevity of projectors the floor to keep the weight off the wall in question. However, if you start to get larger than that, using multiple displays, or a 103-inch Yes, LCD panels are very popular right now. But projectors are here to plasma, you can bank on 500-600 pounds of potential hardware stay, says Mark Coxon. being attached to a wall that may end at the acoustic grid, and may I spoke to a major manufacturer of LCD panels last year who was not be attached at the top to any real structure. In cases like this, quite certain the projector would quickly become a relic of the past. engineering or adapting the wall to accommodate may not be an At that time I told him that I disagreed, and that the projector would option, and a light projection screen coupled with a projector is an continue to be a staple in many applications, and the only innovative attractive alternative. option in others. It’s a year later and amid all the large format flat panel display proliferation and 3D and 4K hype, the projector is still 3. Crosshair effect alive and well. I foresee that this will continue to be the case into the future, and here are a few reasons why.

LCD screen walls are an amazing sight. They are bright, crisp and immersive. In environments with high ambient light, they can be the 1. Dollars per inch only viable option for large-scale displays. They also offer higher pixel density as each display is 1 to 2 million pixels, meaning a 2x2 screen Even in the world of available discount pricing through merchants like wall with 55-inch 1080p screens offers a 110-inch diagonal at 8 million Amazon, a 103-inch plasma display is a minimum of $400 per inch of pixels. A 110-inch screen with a single 1080p projector would be a diagonal. With low-cost 6,000 lumen 1080p projectors available from 2 million-pixel alternative, but depending on the viewing distance companies like BenQ, when coupled with a nice screen, you can get and the light in the space, it may be a superior solution, especially if that cost down to $33 per inch of diagonal for the same size screen. you want to avoid having screen bezels interrupt your image.

Sure, you have to change some light bulbs, but $37 000 will buy you quite a few, especially when typical boardroom usage will mean 4. Mediatecture lamp replacement every two to three years. There are still a great number of spaces that will require screens above the high-end flat If you haven’t heard the term mediatecture, Google it and you will panel sizes of 84- to 103-inch in diagonal based on viewing distances see some amazing things. Projection mapping, using a server and at the back of the room. custom media to project images on existing 3D structures, is a new and exciting realm for A/V integrators. Many of us have seen events

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DISPLAY TECHNOLOGY System Integration that utilise this to tell a story on a historic building or arena or museum.

Obviously the market for that application is small, but if you watch the video for the Playstation Move project, seeing a white room and couch turned into a brick-walled, wood floored apartment that falls away, transforming the room into a space station, you may just rethink the relevance of projection mapping to areas like retail, nightclubs, restaurants, etc. Try doing that with an LCD screen.

5. Immersive environments Museums, engineering firms, and aerospace companies alike are all starting to use projection-based systems in concert with curved rooms or domed or spherical rooms. Projecting on these surfaces, edge blending the overlaps and using warp engines to adjust for the

curvature of the spaces, allow these venues to create an immersive virtual environment for tours, data analysis, and simulation, respectively. This is similar to the projection mapping argument above, but goes a little deeper, in that this scenario is not about providing a show for an audience or customer, but about creating an environment for work or exploration.

Large format LCD displays have changed the landscape of A/V in a lot of ways and have their own advantages. Integrators still provide value to their clients by helping them navigate the potential pros and cons of different technologies in their specific applications. An honest approach yields the answer that projectors, which have been around potentially since 1420 and were then called magic lanterns, are still relevant in the marketplace today, and will continue to be.

Unleash the power of projectors Catalyst AV board member Wally Whinna describes dramatic digital signage effects that can only be accomplished through video projection.

In December 2012, the industry learned of a new nationwide distribution network, Catalyst AV, which launched with 11 independent distributors to address the residential and professional A/V channels. With 16 locations across the United States, the Catalyst AV network will serve more than 10 000 integration companies.

In an effort to get to know the new distribution network, CI caught up with board member and principal of member company Allnet Distributing Wally Whinna for a conversation about the current role of projection systems in commercial integration.

signage network player allows the display of three events plus gaming or advertisements at the same time. Implementing this strategy on a 65-inch flat panel delivers four images less than 35 inches each.

When you use a projector solution with a 130-inch screen, you have four 65-inch images creating a viable advertising opportunity. Implementing this strategy also permits the display of one to four events at the same time. Sunday afternoon is four football games and Sunday night is the game of the week. You wouldn’t have the same flexibility with a flat panel.

Using a Quadview and digital signage network player also offers a new dimension in promotion of events and specials.

BrightSign has an easy to use content generator in its Brightauthor software. They also have scrolling content capability as well as offer provision for times events.

As an example, five minutes every hour a bar can promote upcoming entertainment, daily specials and special events without being obtrusive. This sure beats a flyer taped to the front door or conveniently placed in a visible location in the bathroom.

In retail applications, integrators can also install a projector with a motorized screen in the window. The business can advertise all evening then raise the screen during the day to restore the view into their store. That is an inexpensive way to promote their business in a dynamic fashion.

CI: In some ways, the role of projection systems has expanded to

CI: One of the manufacturers in your distribution network, Vivitek, emphasizes the 3D capabilities of its projectors for education markets. Does this focus reflect a trend that integrators ought to watch?

Whinna: From what we are hearing, 3D in education has had slow adoption but we believe it represents good sales opportunities as studies show that students are captivated by seeing programs such as biology, astronomy, architecture and geography in 3D, citing it enhances visual and hands-on learning in the classroom.

include new applications such as projection art and aestheticsdriven digital signage. Are you seeing that?

Whinna: Combining a projector with a Quadview and digital

WALLY WHINNA is a principal of Allnet Distributing and a board member of the new distribution network Catalyst AV.

CI: For years, increasingly large and affordable flat panels have chipped away at projection systems’ share of the market. Can you explain why projection is still being used?

Whinna: While flat panels have gotten less expensive, so have projectors. At the same time, projectors have gotten smaller, lighter and brighter. They are the best choice when you want to create the impact that only a larger-than-life picture can deliver. For event marketing, nothing beats a 100-plus-inch picture.

This article was originally presented by and used by permission from Commercial Integrator.

Find similar content on CommercialIntegrator.com.

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System Integration INDUSTRY EXPERT

Phil Lord Interview Phil Lord has been working with Christie Digital for over 13 years now, from England, to Durban, to Johannesburg and all over Africa.

Between his constant jet setting, Phil found a moment to sit down with Pro-Systems journalist Chanelle Ellaya and tell us a bit about himself and a lot about Christie.

Phil, you have an English accent, tell us how you landed up in South Africa?

Well I’ve been with Christie for 13 years now, I moved down to South Africa seven years ago because I was looking after Africa and the Middle East. So I moved down 50 percent for personal reasons as I have family here and 50 percent for the business.

And? Are you enjoying it?

What has been your personal highlight in terms of sales at Christie?

At the moment it would probably be the Ster-Kinekor deployment.

They are currently converting over 400 screens to digital, a lot of them are 3D screens as well. We’re in the middle of the roll-out at the moment, and that’s not just for South Africa, it includes Namibia, Zambia and Zimbabwe. We’ve just landed another cinema deal in Botswana which is also pretty great and also we’ve just signed a deal with Tsogo Sun to upgrade 35 screens for them.

What can the industry expect from Christie over the next year in terms of market strategy?

Well we are very well established in South Africa so for this year we want to develop the business north of the border, in East and West Africa.

Yes I love it, this is home now.

How did you find yourself working for Christie?

Mmm, that’s a good question. I was previously working in video conferencing, I used to do training and demonstrations over video, so I was kind of in the audio visual industry. Video conferencing never took off back then, and the company I was working for was a bit shaky, so the opportunity arose to join Christie as an internal sales coordinator, and I took it and never looked back.

You were previously based in Durban, what prompted the move to Johannesburg?

I was working as a consultant for Christie based in Durban and I would come up here regularly. We opened the official ‘Christie Africa’ office here at Monte Casino just over a year ago. We then subsequently hired an office manager and engineers so it made sense to be here in Johannesburg and to be with the team.

From a single supplier, we as a manufacturer probably have the largest range of displays from a single source. So we can offer anything from a 4 000lumen boardroom projector all the way up to a huge 35 000lumen projector projecting onto buildings. I’d say probably where we’ve been really successful has been the M Series platform, which is very high performance and high quality range of projectors but the pricing is strategically placed. We’ve had a lot of success with the rental and staging community, they’ve really adopted that platform, as well as a lot of high end corporate fixed installations with MTN, Vodacom and banks as well. So I’d probably say the M Series is the hotbox at the moment.

What is your personal favourite technological innovation of the last decade?

Um…at the moment Jo’burg to be honest.

I would say anything that displays movie content, so whether or not it’s an iPad or a tablet or it’s your mobile phone, I think easy access to movie content is it for me, because I love movies.

I hear you’ve travelled into Africa extensively, what was that all about?

What’s on the cards for Christie moving forward? Any new technologies?

Within Africa the business is still very much relationship driven, you’ve got to get on a plane and you got to go there, it’s the only way to generate any real business and find the real opportunities. Personally I feel Europe is not like that anymore, Europe is very cut-throat and it’s all about price, whereas in Africa and to some extent the Middle East, it’s still people buying from people that counts.

We’ve just launched our Brio product and this is a collaborative way of sharing data. Gone are the days when you walk in with a laptop and have to plug and cable in, the Brio will allow you to walk in and wirelessly connect, share data and video and interact. So we’re not just investing in displays but also in the ‘add-on’ products, so we’re becoming more of a one-stop solutions provider. Within the next year we’re seeing laser as the new technology, you can achieve very high brightness, very big screens and pictures and you don’t have the cost of lamps. Laser is the future for us!

Jo’burg or Durban?

What’s the market like further into Africa? Has Christie been well received?

We’ve been developing the business a lot outside of South Africa; from this office we cover the whole of Africa and Israel, that’s our territory, all the way up to Egypt. Christie is very well known, and a lot of our branding has really been accelerated by the cinema industry.

Over the last few years the cinema market has just been amazing, so we’re very well-known globally in cinema.

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What Christie product do you think offers the best performance at the best price point?

What’s the strangest installation you’ve ever done?

I’d say the strangest or the most eccentric is probably one we did for a prince in Saudi-Arabia, where we sold a R1-million or $100 000 projector into his palace for his home cinema. Basically he just wanted to watch Titanic on it, which was his favourite movie… (we laugh).

LARGE PROJE VENUE CTOR S

Vivitek all inclusive Product App

System Integration CLASSROOM SOLUTION

Connecting our learners to a paperless classroom

By Greg Bester

At risk of sounding like an old fuddy-duddy, school isn’t what it used to be. When I was a boy during the Model C era we took good old pens, paper and textbooks with us and learned the traditional way. We were called pupils and not learners. The teacher used chalk and blackboards. The only method of projection was by way of the overhead (and messy transparencies), and technology didn’t go beyond the Media Centre, never mind the classroom.

Then again, they used to beat us with sticks and if you didn’t get with the otherwise rigid programme, you were left up the proverbial creek without a paddle. Seems quite primitive, doesn’t it? Now, thanks to 21st Century technology, all the residue of that bygone era is slowly eroding and Maragon Schools, an up-market private school in Ruimsig, is leading the way in 21st Century learning.

Maragon Schools is a place where the pen and paper approach is soon to be snuffed out of existence. To simply say they recently received a comprehensive connectivity solution upgrade would be somewhat of a half-truth and only barely touch upon the sheer magnitude of their goals at the school.

Maragon, the name derived from the Greek word for pearl, has rolled out a paperless system throughout grades seven to nine, aided by their school-wide WiFi network and implementation of iPads, virtual textbooks accessed via their own custom app, Apple TV, short throw projection and peripheral connectivity in the classroom.

Richard Jowett from Johannesburg-based Audio Visual Designs was responsible for the installation of the AV components needed to get the learning material onto the projector screen. AV Designs is a company that specialises in manufacturing custom electronic solutions for the corporate and institutional audio visual market and because of their history and experience in the field, they had just the expertise needed by Maragon to bring the project to fruition.

The overall concept at Maragon was to get rid of traditional textbooks and develop an app for iPad and Android tablets where the learners can not only read the material but interact with it as well.

The app is called Maramedia and is available as a free download from the iTunes App Store or on Google Play. In app purchase of textbooks can be made and, according to Dion Kotze, Head of Academic Research and Development at Maragon, they cost up to 45% less than traditional printed books. The app itself, impressively,

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was coded in-house by a team of 16 developers from the publishing arm of Maragon called Maramedia Publishing.

“We basically went from a paper environment to a more technological environment,” says Kotze. “And the whole idea behind that was to move with our IDMs – Interactive Digital Manuals. We had printed books up until then but realised that it was not enough to engage kids anymore; we wanted to move forward. We didn’t want a simple, flat environment in the app. We wanted them to be able to experience it and have it projected for them along with going on to the internet if they needed to do research. So we opened up the whole digital world to them.”

Obviously the advantages to a paperless, app-based learning system are myriad. Besides the long term saving on textbook costs, an app paves the way for multiple learning styles and can therefore cater to the unique needs of unique children who all have their own way of learning. The app and subsequent digital text book features all sorts of interactive images, video, audio and test materials needed to disseminate the lesson effectively.

One of the keys to this system is connectivity. A local network backbone was installed by Dimension Data that included a Meru MC4200 Enterprise wireless controller, HP Prolient servers, HP gigabit POE switches with fibre links to the various buildings and eight Meru AP320is managed wireless access points in each building, totalling 24.

This network backbone is the conduit through which the school’s new learning platform will be delivered.

AV Designs then stepped in to provide the necessary components needed in the classroom to project and share the lessons with the students. All in all there are 41 classrooms, each of which received an Apple TV, an Acer S5201M short throw projector with wall mount extension brackets and a Kramer wall-mounted patch point populated with HDMI, XGA and stereo audio inputs. Apple’s Airplay

CLASSROOM SOLUTION System Integration

technology is used to link the teachers’ iOS device to the Apple TV so that learning material may be projected onto the screen via the projector; a slick and stable option. This enables the teacher to guide the lesson while also enabling students to work at their own pace through the IDM. Kotze comments: “One thing that’s important to us is to not stifle the kids’ learning. Different children learn in different spaces. Some kids need to go ahead and some kids need more revision. What we do find, however, is that the kids walk into class and are ready to learn.

They are actually less distracted because of this system. We have blocked social sites like Facebook until after school hours so during normal school hours they can only access specific sites.”

AV Designs is also involved in fabrication so they were commissioned to custom build a security bracket for the Apple TVs. With 41 Apple TVs throughout the school, one could feasibly go missing at any point.

“We had to build a custom bracket for the Apple TVs so that it could be cradled and locked. However, we had to do it in such a way that it didn’t impair Wi-Fi connectivity so you can’t just cover it up. You’ll get

no reception. So we finally came to a design that allowed the Apple TV to be secure while still offering optimal connectivity,” says Richard Jowett.

Of course, with hundreds of little bodies walking around plodding around on their iPads, the WiFi network had to be robust. While each of the access points are managed to the point that the signal migrates from one to another as the students move around the campus, wired connections were used where possible.

“One of the things we did find was that it would probably be better to install a wired connection from the router to the projector,” Kotze said, “and that takes care of the bandwidth issues we were facing. It’s been split up into different areas now so the admin building is one section, the school is another section and the teachers are on a separate network so that has alleviated and organised the system nicely.”

The wrap After visiting Maragon Schools and seeing their system for myself my immediate thought was that my education had been short changed! The advance of technological progress has made the learning process more flexible to a far wider range of student types than ever before and that, dear country, is something I can believe in. The shortcomings of the past where students were forced to fit in with a rigid system or fail was clearly a mistake and the implementation of a system such as the one at Maragon Schools where the strengths of each individual child are nurtured is clearly a sure-fire path to a future we can be hopeful for.

C lea n, s uppo r t ive d i s t r i b u t i on. t ( + 2 7 ) 11 7 9 1 7 0 0 9

w w w w. t a d c o . c o . z a

e sales@t adco.co.za

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System Integration DIGITAL DISPLAY

Local experts install robust signage at trade port Dube Trade Port, an infrastructural development parastatal aimed at facilitating the import and export of manufactured goods to and from South Africa while promoting tourism, recently tendered the installation of four LED screens to System Solutions, the system integrations arm of the Gearhouse Group.

Dube Trade Port is a comprehensive trade portal between KwaZuluNatal and the world and is the only facility in Africa that combines an international airport (King Shaka International) a cargo terminal, warehousing, offices, a retail sector, hotels and an agricultural zone.

Positioned 30km north of Durban, it sits between Southern Africa’s two biggest sea ports and is linked to the rest of the continent by rail.

In the case of the screens installed by System Solutions, models of high specification were of paramount importance to ensure reliability.

Four previous screens had been installed by a different company which failed, causing Dube Trade Port to seek worry free replacements that would stand against the elements and supply robust operation for five to 10 years.

The screens of choice were Lighthouse Impact 12. These 12mm pitch LED screens are essentially the installation version of the DuoLED, which LEDVision, the LED rental supplier of the Gearhouse Group, has far-reaching experience with. This was a big motivating factor in pitching the product to DTP, according the Roger Feldmann, System Solutions’ general manager, along with ensuring forward compatibility with the ever-evolving and competitive advertising sector.

“The Lighthouse brand is one of the top five brands internationally,” says Feldmann, “and we have direct access to their products. We’ve been working with Lighthouse for many years. There are a lot of less expensive Chinese products on the market and to the layman they may look quite similar but there’s a huge price difference and a huge quality difference. However, when the level is raised and we’re comparing apples with apples on a high end scale, we are very competitive in that sphere. So, this job really suited System Solutions from that point of view because it was a high end application of outdoor LED screens.”

During the procurement process, System Solutions demonstrated the 12mm DuoLED screens in an on-site shootout with four other companies as they exhibited the same brightness and resolution as the Impact 12.

Once the tender agreement was signed, the project took four to five months to plan and in January 2013 rigorous negotiations around response times, uptimes and maintenance levels were concluded.

The project was given a go-ahead and handed over to Karen Blyth, project manager at System Solutions who would see out the installation to completion. The screens would be managed under a maintenance agreement with System Solutions which outlined a response and repair time within 48 hours in the case of a failure and would also include remote management and diagnostics.

Prior to the shipping of the screens, representatives from System Solutions and Dube Trade Port were flown to the Lighthouse factory in Huizou, China for a factory acceptance test where the performance

22

LED screen in KZN

of the screens were demonstrated for brightness, brightness control, viewing angles and contrast ratios. Automatic brightness control was a key safety specification from Dube Trade Port due to one of the screens being in a flight path and therefore at risk of distracting the pilot. For this reason the screens have been set up with automatic brightness control and a Lighthouse LCM-HDP processor was spec’d to manage video content, supply maintenance data and parameter control. The brightness controller of each screen – which are independently dimmable – were carefully placed to achieve results required by the client. Richard Baker, Director at LEDVision, has access to each screen via the Lighthouse LCM processor remotely where brightness, temperature and module and diode robustness can be monitored via network.

The 4992mm x 3849mm Impact 12 screens were shipped in two 40-foot containers and subsequently delivered to the site by road.

The screens were installed into the existing structures and all structural work and specialised fabrication was performed by a specialist

DIGITAL DISPLAY System Integration

contractor who worked in conjunction with the System Solutions team comprising of Charles Naidoo and Johan Jacobs, who managed signal distribution, rewiring and rust proofing. The System Solutions team was overseen by Karen Blyth and Stephen Woodroffe. LEDVision handled the commissioning and final configuration of the screens and electrical affairs were subcontracted to another specialist contractor.

In accordance with the high standards of System Solutions, a SAT (Site Acceptance Test) was performed at dawn, mid-morning, midday, mid-afternoon, dusk and night to monitor the performance of the brightness control in various conditions of daylight. Barring minor issues out of their control such as cable theft, the installation was concluded by the first week in July 2013 and the screens have been running since.

“Now that the install is up and running smoothly, we get to deliver the client’s requirement of five years of fail-safe service and that will be the trick that shows what sets System Solutions apart from the rest,” says Feldmann.

The wrap Given the market influx of many generic, low-cost LED screens, making the right purchase decision is probably more daunting than ever. Indeed, when such an investment is taken it is wise to make sure you’re not just purchasing the screens but also customer service, support and reliability. In the case of Dube Trade Port, the moral of the story was self-evident: forget about the cheap stuff and go for quality. System Solutions along with LEDVision are renowned continent-wide for their utmost attention to quality, detail and support and for the next five years at least, Dube Trade Port can enjoy stunning, trouble-free digital signage thanks to their team.

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System Integration CLASSROOM SOLUTION

Breathing life into UJ’s new medical facility

By Greg Bester

Paramedics and nurses are an essential component of any well-functioning society. They are most often the first port-of-call in a medical emergency in the pre- hospital or in- hospital environment and can certainly mean the difference between life and death. The men and women who take on this responsibility are indeed heroes and deserve our utmost praise and respect. Holding a position of such high esteem and engage in stressful situations that require elevated levels of control and swift action, it is absolutely critical that health science students receive rigorous and effective training.

When it comes down to the wire, they hold precious lives in the palm of their hands.

A training booth in the skills centre

The University of Johannesburg (UJ) is one of the country’s fundamental training centres for a variety of programmes falling within the health sciences domain. The Faculty of Health Sciences situated at the UJ Doornfontein Campus recently built a brand new Simulation Centre which will cater for the practical training and assessment of students registered for the various faculty programmes being offered. Local AV integrators Audio Visual Centre were commissioned for the bulk of the work. State of the art equipment was installed throughout the centre which serves to streamline the examination process, provides bio-clocking, audio and video distribution, examination and training surveillance as well as communication and audio video recording.

I met AVC sales executive and system designer Stuart Black at the UJ Doornfontein Campus to take a look at what has been installed and to get an idea about how the system will be used. Other personnel involved in the project were project manager David Hodgeson, head installer Timothy Hodgeson, and installation assistant Carlton Mafa.

The project brief From an installation point of view, the facility can be broken down into three areas: the skills centre, patient simulation rooms, and a clinical debriefing room. Simulation Centre Manager Geoff Petro explains: “In the health care training arena, particularly on the paramedic and nursing programmes, we have two different ways in which we conduct practical training for students. This is achieved through the performance of individual skills or patient simulations.”

The skills centre contains ten skills stations where students can practice and are tested on their performance of individual skills, for example, the insertion of an intravenous drip on a manikin arm. In the patient simulation rooms, real-world patient scenarios are presented.

The clinical debriefing room is where student performance is

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reviewed. This may incorporate the scrutinising of video recordings taken during assessments. All practical training and assessments for the programmes linked to the new facility is accomplished in different parts of the training wing.

The general goal at the Simulation Centre was to install cameras, microphones, projectors and displays throughout the facility to convey training videos, record practical procedures and assessments and distribute audio and video bi-directionally throughout. With each section of the facility having its own requirements however, each room had to be tailor-fitted with the new equipment to meet the needs of its modus operandi.

The skills centre The skills centre contains 10 work stations for skills training as well as the control room where the rack, control and AV equipment are housed.

Each booth received a 42” Samsung LED TV to display training videos and for video playback, a Hikvision CC431 IP camera to record the training and testing, a cosmos amplified microphone that links to the camera, and an Apart Audio CM20T 20W two-way ceiling speaker for distributed audio.

An impressive feature of the video recording system is that it can also record in infra-red. This is useful when students are required to perform skills in a low light setting, for example, the diagnostic assessment of a patient’s eye. A normal camera would obviously not be able to record in the dark so the infra-red recording feature sidesteps this hurdle.

State-of-the-art industrial-grade bio-clocking was also installed, not just in the skills centre, but throughout the entire training wing. All in all, 16 Virdi biometric fingerprint readers with LCD displays were installed. The Virdi readers can also assist the different programme heads keep track of student attendance by allowing statistics to be drawn on staff and student movement in and out of the facility.

CLASSROOM SOLUTION System Integration

Control room The control room contains the rack and master control station for addressing each zone. The entire facility is networked via CAT5/6 and is fully matrixed so audio and video can be sent and received to and from virtually anywhere in the facility. For video, a PTN MMX1616A modular 16 x 16 matrix was installed. The PTN matrix received a 4 x HDMI input card, a 4 x VGA input card and three 4 x HDMI over CAT6 output cards and each 42” Samsung display – all 12 of them – received a PTN TPHD402R HDMI over twisted pair cable receiver to convert video over CAT6 to HDMI. The rack itself contains, other than the PTN matrix, two 12-input, eight-output Apart Audio AUDIOCONTROL12.8 audio matrix with on-board DSP, two eight-channel Apart Audio PA8250 audio amplifiers (8 x 250w) and two Apart Audio eight-channel 100v line transformers for distributing audio to their respective zones, totalling 17. An Apart Audio DIMIC12 12-button paging microphone with the DIMIC125 12-button expansion unit was also supplied for paging each audio zone along with a USB PC timer with LCD screen for timing examinations.

A custom DVR rack- mount PC was supplied with 20TB of RAID storage.

Patient simulations The patient simulations portion of the facility is comprised of five rooms where students can train in real world situations using manikins to simulate actual patients. There are two rooms containing a simulated ambulance and high- fidelity manikin, one of which costs well over R1 million. A general purpose training room, simulated Emergency Department and a simulated hospital ward including an Intensive Care Unit (ICU) cubicle make up the other three rooms.

Emergency patient scenarios can be simulated in the general simulation room, two simulated ambulance rooms and/ or the hospital Emergency Department (ED) better known as the casualty to some Non-emergency scenarios can be run in the simulated ward.

Each bed in the ED and ward received the same IP camera and microphone combo for recording video and audio. The general purpose and ambulance simulation rooms each received one combo which was strategically placed in the corner of the room. In each ambulance simulation room, a separate combo was fitted in the corner of the ambulance platform allowing entire assessments to be conducted “in the back of an ambulance”. The ambulance rooms also received an additional 42” Samsung LED display and a Parrot magnetic whiteboard which was also included in the general purpose training room. Each Parrot magnetic whiteboard is projected upon by an eBeam®-enabled NEC projector and so annotations can be made by a companion wireless IR pen. A PC in the corner of the room feeds the projector.

The Clinical Debriefing Room The Clinical Debriefing Room at the Simulation Centre received a typical AV installation as you would find in a corporate boardroom. A 106” Grandview Cyber-series motorised screen was installed, along with a Sony VPL-SW125 short throw projector. The choice of a short-throw projector was made to ensure that it was kept at some distance from air conditioner nearby.

Signal distribution is handled by a PTN WP-19 presentation switcher with integrated scaler which can handle 12 inputs and three outputs on CAT6. This switcher/scaler includes the SC121D-T receiver. A PTN

Cameras above beds

PTNET programmable network RS232 controller interface was also installed along with a PTN 19-button programmable control panel with RS232 control interfacing for controlling the projector screen, input selection and volume control. The boardroom table includes four pop-ups which include points for power, VGA, HDMI and audio modules which are linked to the PTN presentation switcher.

Audio is handled by a PTN PA-2AB 2 x 20W mini amplifier which is currently the smallest amplifier available on the market. Two white 20W Extron SM3 wall-mount speakers were installed and were a perfect match for the PTN amplifier, which is also RS232 controllable.

A word from the facility manager Geoff Petro “We are really excited about the audio-visual equipment that has been installed throughout the facility. The camera system for instance will enable us to record activities like facilitator demonstrations, student training sessions as well as formal assessments across the entire facility at the same time. This is definitely not something that we have been able to do within any of the health sciences’ programmes at UJ to date. The audio- visual equipment will definitely enhance the entire learning experience for our students. This equipment together with the layout of rooms within the new facility will allow us to set up realistic patient scenarios. We will then conduct integrated training sessions and assessments utilising students from different health science disciplines namely Emergency Medical Care which is the paramedic degree, Medicine, Nursing, Radiography and even Biomedical Technology. In the past, students were not exposed to this type of training in the classroom environment. To date, most students only got to experience these types of scenarios during their clinical practice shifts on the road in the case of paramedic students or in a hospital for others. This situation will now change.”

The wrap As education in South Africa moves forward it is paramount that institutions move along accordingly with the march of technology.

Every day brings with it new and exciting opportunities for growth and grasping onto them is the only way our society can progress beyond the redundant and into excellence. The Simulation Centre at the University of Johannesburg’s Doornfontein campus is a prime example of the Latin phrase carpe diem and given what Audio Visual Centre installed there, I’m sure we’ll be seeing many more lives being saved by better trained emergency and general medical personnel in the coming years.

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Installations MUSEUM SOLUTION

Photos by Gavin Olivier

//hapo Museum Freedom Park: an interactive experience

The ramp from Earth epoch leading to Ancestors

The recently completed //hapo museum forms the primary entrance to Freedom Park – a heritage destination in Pretoria, South Africa, that stretches over 52 hectares. Built to serve as a place of remembrance, its narrative is one of humanity, freedom and ecological responsibility, Sarah Rushton-Read reports . . .

Renowned artist Clive van der Berg handled the exhibition design, while the technological aspects of the project were conceived and managed by Digital Fabric’s Gavin Olivier. He called on some of South Africa’s leading integrators including: TDC Africa and DWR Distribution for lighting and audiovisual collaborators Dimension Data and Sonic Factory.

“Principally our challenge was to create a technological system that was operationally simple and sustainable, yet equally, would deliver a feature rich experience for visitors,” says Olivier.

A journey through seven epochs of South African history South Africa – The name //hapo means ‘dream’ and has been drawn from a Khoi proverb “//hapo ge //hapo tama /haohasib dis tamas ka i bo,” that translates: “A dream is not a dream until it is shared by the entire community.” //hapo’s vision was clear: to create an interactive exhibition space where the story of southern Africa, dating back 3.6 billion years, will unfold in an engaging narrative and visual form.

Designed by a collaborative team of South African architects from Mashabane Rose, MMA and GAPP, //hapo sits at the base of Pretoria’s Freedom Park and is reminiscent of a huge outcrop of fallen rock.

Inside, the spaces are brought to life by evocative sculptures, artefacts and information pieces, which are complemented and supported by a carefully prescribed audio, lighting and video infrastructure.

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It begins with ‘The Earth’, which explores an African story of creation.

Next, ‘Ancestors’ considers historical generations from both a physical and spiritual perspective. ‘Peopling’ tackles the changes experienced by pre-conquest societies in Africa. ‘Resistance and Colonisation’ tell the story of the major historical forces that gave birth to modern South Africa. ‘Industrialisation and Urbanisation’ moves to the story of large-scale exploitation of minerals during the period of colonisation and its impact on the indigenous industries and settlement patterns. ‘Nationalisms and Struggle’ focus on the contesting forces of white state formation and the struggle for a democratic society as the backdrop to the birth of a new South Africa. Finally ‘Nation Building’ and ‘Continent Building’ engages with the story of the reclamation of the myriad of different freedoms that is ensconced with the Constitution of South Africa.

MUSEUM Solution Installations Visitors are guided by the technology within each area – led by their own curiosity and some automated cues – engagement and interaction are key vehicles for the journey.

Olivier explains:

“Every area has a digital storyteller – in the absence of a human guide, it’s the person who contextualises the narrative of that space for you.”

The highly sophisticated control system comprises Alcorn McBride and Crestron platforms, facilitating the summarisation of hundreds of control processes into an understandable user interface with automatic daily scheduling for all AV and lighting functionality.

The audio-visuals range from simple 19” LCDs embedded into set works to large, multi-projector blended and warped projections onto a range of surfaces and set works. The introductory Earth story is played out as a square format, utilising two Christie HD6KMs stacked and blended, offering a massive five-metre high image to visitors as they enter the exhibition. In each following Epoch a key film is played via a number of mediums including four projector wide screens and monitor trees plus projection onto art installations and wall surfaces.

“What is significant,” says Oliver, “is that none of these items could be mounted using standard metalwork, each item had to be designed from scratch requiring several hundred custom designed mounts, bezels and housings. The results show in the final product, with every item sitting comfortably in its surrounding – its not always about hiding technology away, but rather ensuring that it looks like it’s meant to be there.”

The technology is crucial and in this case lighting has a number of roles to play as Olivier explains: “Given the large role that media plays in the overall narrative, the highly visual and textured exhibition design and build also demands a creatively theatrical approach to lighting.”

Indeed lighting is used to evoke the feel and atmosphere of each scene that //hapo presents.

TDC was awarded the lighting tender in 2009 and partnered with DWR Distribution, which managed the project on TDC’s behalf.

Theatre lighting designer Declan Randall was engaged by Digital Fabric to offer his creative thinking when it came to fixture positioning and focus decisions. In addition well known TV and music lighting designer Joshua Cutts of Visual Frontier contributed to the final focus sessions.

Randall assisted in specifying fittings and allocating units to each zone, ensuring they had enough flexibility, precision and control, and also specified the colour filters and gobos.

“Some of the areas called for low-level accent lighting on the displays, others featured graphic panels that required even illumination,” explains Randall. “We therefore required a large number of fittings offering precision optics, energy efficiency and cost-effectiveness. There were very few opportunities for any dynamic effects, so we had to ensure that we chose colour, gobos and focus very carefully.”

“It was the longest period I’ve ever worked on a project,” comments DWR’s Robert Izzett, who along with Eazy Moeketsi, headed the lighting installation. “This was even more so for Gavin, who dreamed up concepts a couple of years before the actual tender was compiled. He worked a total of six years on the project.”

For the permanent exhibition DWR supplied and installed 72 fibre optic display case lighting systems. Manufactured to spec by Universal Fibre Optics, Digital Fabric’s Alex Sanfilippo spent time in the UK factory ensuring that the custom parts would work in the locally constructed cases. “Each showcase has one or more LED engines,” comments Izzett. “The showcases vary in size, and while some have 12 fibre ends, the larger showcases have an excess of 300 fibre ends.

Each fibre end has an adjustable beam angle so we can control the spread of each one.”

DWR /TDC also manufactured more than 580 metres of internally wired lighting bars. Designed by Digital Fabric to minimise installation time, the lighting bars featured flexible connection points that mated to the building infrastructure with minimal adjustment. Olivier comments: “When it comes to delivering custom items for projects, the experienced and diverse team at DWR is excellent. They take pride in developing technical solutions, on time and to spec. It’s extremely rewarding to see our designs delivered as required and with such a no-nonsense approach.”

Augmenting these bespoke solutions was an extensive stock of Philips Selecon fixtures – namely 66 Philips Selecon Display 25˚-50˚

The mixture of exhibit elements in the Ancestors epoch, from raw artefacts to multi-screen digital

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Photo by Gavin Olivier

Installations MUSEUM Solution

The Praise Poets exhibit in the Nationbuilding epoch, with multiple synchronised screens

Zoom Profiles, 54 Philips Selecon Display 15˚-35˚ Zoom Profiles and 118 Philips Selecon Wing – Asymmetrical floods. “The compact, clean look of the Selecon fixtures made them ideal for the job,” explains DWR founder, Duncan Riley.

LD Randall agrees: “The team chose the Selecon display profiles because they are bright and have fantastic optics. The flat field of the beam is really useful and especially helpful when lighting graphic panels. The framing shutters are great and the locking mechanism on the shutters is crucial in ensuring the focus of the fitting remains true for as long as possible. The range of beam angles available is also really useful as it meant we could specify the right beam angle for each job without losing too much light by being forced to adjust the zoom optics too wide. They’re also easy to focus and their elegant design makes them ideal for most applications.”

Because of the high number of metal halide lamps, Digital Fabric specified minimal dimming in the museum, requiring fittings that would be bright enough to light the exhibits but not be too overpowering in the space. “The Selecon range enabled us to keep the same design of fittings throughout the space,” explains Oliver, “but at the same time we could opt to change the power of the light sources as required.”

A further 470 lighting fixtures have been supplied and installed, including 232 Custom WAC LED Zoom Profiles, 160 Par 16 LED Birdies, 38 ETC Source 4 Zoom 15˚-30˚ Profiles and 40 ETC Source 4 Zoom 25˚-50˚ Profiles.

Lighting is controlled by zone using DMX dimming and switched contactor circuits, controlled by the AV control system.

Asked about the importance of reliable, low-maintenance lighting equipment in this kind of environment, DWR’s Izzett states: “It’s crucial.

Some of the areas are pretty difficult to access and the lighting is running for long periods of time. Low maintenance is paramount.”

It was experience, too, that helped shape the museum’s audiovisual elements, which were addressed in a joint venture between networking giant, Dimension Data and integration specialists, Sonic Factory. Gavin Olivier explains: “Their combination of resources, skill and experience is what made the installation possible. Sonic Factory has a long history with Digital Fabric, having worked together on more than 30 museum and exhibition projects and this close working relationship made many of the complicated processes much easier to achieve.”

Digital Fabric, worked with Dimension Data and Sonic Factory to design bespoke solutions for the unique audiovisual needs of each area, using a variety of loudspeakers including JBL Control Contractor, Panphonics Soundshower and Stealth Acoustics’ architectural speakers, which have been deployed for the large

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screen in The Earth.

“Stealth Acoustics architectural speakers are not the usual flat panel speakers,” says Olivier. “I’ve tried many different kinds and on the whole they tend to sound overly thin. However we found these and they’re superb for a flat panel product.”

Crown amplification and BSS Soundweb London provide power and control for the audio systems with override panels in each area for audio levels and stop/start functionality. Each exhibit epoch features concealed ambient sensing microphones, allowing audio levels to be continuously adjusted to suit visitor numbers during the day.

The video system delivers more than 70 channels of HD video and 19 interactives across Opticom fibre transceivers. All video is derived from Alcorn McBride HD Binloops with the exception of a large projected landscape that required extensive warping and blending across three projectors. For this exhibit Digital Fabric specified a BSM Media Server. Projection consists of a range of Christie and NEC projectors – the DS+750 and HD6KM handle the larger screens – with NEC’s PA500U, PA750U and PX750U projectors and V-Series LCD screens filling in the smaller requirements. The touch screens are from Screenvision driven by Apple Mac Minis.

The collective result is both absorbing and inspirational. //hapo represents the creativity, inventiveness, resilience and spirit of the South African people. For those who have contributed to its creation, there is obvious pride. Its physique and lasting statement are undeniably huge, but it’s also the project journey, with its twists, turns and extensions that have helped to deepen the impression left on people like DWR’s Robert Izzett. “It was a privilege to work with Gavin Olivier,” he says. “His knowledge of history and museum systems, and his passion is awesome. Big museum projects like this don’t come along often. A museum of this scale is the largest we at DWR have ever worked on. They only come by a few times in your lifetime. It’s a legacy for us.”

The wrap Turning challenges into opportunities, Olivier has undoubtedly helped to create something that he believes is very special: “I love the way that the narrative takes visitors on a journey that starts with very broad concepts of creation and gradually narrows down to the knife-edge of our recent history, all within an African perspective. It’s a different take to most other museums.”

Installations SCHOOL SOLUTION

Equipping girls’ school for drama and sports

By Greg Bester

The Holy Rosary School in Edenvale, a Catholic day school for girls, recently erected a brand new hall – the Bishop Shanahan Hall – at the old bowling club sports grounds purchased by the school and now called Shanahan Park. The hall was built to be multi-purpose as an indoor sports arena, a theatre and general events venue for the school as well as an outdoor amphitheatre, located to the rear of the building.

Local audio and lighting distributors and installers Prosound were commissioned from the onset of the initial planning to install state of the art audio, lighting and AV systems there under the auspices of Prosound Project Consultant Lindsay McGuire and Holy Rosary Business Manager Bryony Williams.

The brief Prosound, who came highly recommended to the school, worked with architect Nicolette Gammon from the planning phase of the project, which started in November 2012.

“Nicolette called me,” says McGuire, “because we had come highly recommended having installed systems at many schools. The brief was for a full, multi-purpose application. Obviously they wanted to do theatre productions, school plays, etc, along with a sports hall so we worked with the architects from the beginning. Also, they wanted to have an amphitheatre at the rear of the building behind the stage. With Prosound’s background in theatre and schools we were able to offer them the full solution.”

Additionally, screens, projectors and flat panel displays were installed and extensive sound treatment was installed by Dave Ter Steege from Hammerhead Sound. Despite having no audio background, Gary Cook, who works as the head of IT at the school, took on the role of managing the newly installed sound, lighting and AV systems at the hall. By way of his own research and training by Prosound, he has come to a surprisingly comprehensive grasp of the systems there.

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Audio The FOH audio system centres on two-way, 600W 15” Electro Voice ZX5s with dual-18” TX2181 subwoofers. An LCR (left, centre, right) system was spec’d with two ZX5s in a centre cluster and a single ZX5 on either side of the stage. Two TX2181s were supplied; one per side.

When asked why a point source system was the preferred approach, McGuire says: “Going point source at the end of the day, in a venue like this, is a lot easier to handle. A lot of people go for line array because it looks good and that’s the trend but there is much more room for disaster with a line array. Even if they bring in a big rock concert the infrastructure can handle it. We made sure that if artists want to bring in extra sound that the infrastructure is there. There are analogue and digital mults, DMX points, etc, for them to supplement the system.”

In addition to FOH, a full delay system was installed not only for those sitting in the balcony at the rear of the hall but also for under the balcony. Four two-way 300W 12”EV SX300Es were installed for the balcony and eight five-inch, two-way EV S40Bs were installed under the balcony. For the amphitheatre two further EV ZX5s on stands were supplied.

The FOH console of choice, of course, was a Midas PRO1 with the standard touring package of 40 channels and 27 buses and loaded with 24 local mic/line inputs, 24 analogue outputs, two AES3 inputs and three AES3 outputs. Further i/o in the form of a Midas DL251 fixed format i/o unit was installed that includes 48 remote controlled mic/ line inputs and 16 outputs, connected to the PRO1 via Midas Cat5e cable. A 24 input/8 return analogue microphone snake was also

SCHOOL SOLUTION Installations supplied to use when needed, configured as two 12x8 stage boxes on either side of the stage.

Amplifiers used in the system were all EV. The following list outlines what amplifier was used for each system component: FOH: 2 x EV Q1212 dual-channel 1200W @4Ohms Balcony Top: 1 x EV Q66 dual-channel 100V output Balcony Below: 1 x EV Q66 dual-channel 100V output Amphitheatre: 1 x EV Q1212 dual-channel 1200W @4Ohms A variety of microphones and accessories were supplied and included: 2 x EV RE2-410 wireless systems with RE410 radio mics 2 x RE2-BP belt packs 2 x DPA d:fine single-ear directional headsets 2 x DPA DAD6030 adapters for EV CSB-1000 (RE1/RE2), TELEX 4 x EV Polarchoice-12XLR podium mics 2 x EV N/D 468 instrument mics 2 x EV N/D 767A vocal mics 4 x Klark Teknik DN100 DI boxes In addition to and independent from FOH, a distributed audio system was installed for the foyer over-fill. Six EV Evid C8.2 eight-inch coaxial 100W ceiling speakers were supplied, powered by a DV PA1250 single channel, 100V output amplifier. An EV R300-HD handheld system with PL22 radio mic was also supplied along with a Rolls MP322 media card reader/player and a Rolls MX51 Mini Mix II, which features two ¼” and three RCA inputs.

For monitoring, eight MyMix networked personal mixers and audio recorders were spec’d and a MyMix IEX-16 hub that accepts 16 analogue inputs and coverts them to the AVB audio over Ethernet protocol. The MyMix will also be used as an educational tool in the school’s music department.

A full five-point coms system was installed throughout the hall, centred on a Prosound PRS-1 paging/run-of-show control unit and Prosound Commset 1 microphone headsets.

Lighting Lighting control at the Bishop Shanahan hall is accomplished by an ETC Congo Kid 256 channel console paired to two flat-panel monitors. Two Zero 88 Chilli 24-10i dimmers handle dimming and were installed on the wall of the left hand stage wing.

The following fixtures where installed: 18 x LED Par 64 (10W RGBW 45”) 18 x ETC Source Four parnel with supplied colour frame 18 x ETC S4 with 7” barndoor 12 x ETC S4 Profile fixed focus An Enttec DMX/RDM eight-way isolated splitter was also supplied.

The house lights in the hall are linked to the lighting system via an iLight source controller and can be controlled via the Congo Kid console. However, a seven button control panel was also installed that allows cleaning personnel to turn the lights on in the hall when needed. The panel is overridden by the lighting console when it is in operation.

Finally, four movable lighting trees were supplied for general purpose positioning, particularly when the amphitheatre is being used and lighting is required.

AV AV systems in the Bishop Shanahan Hall comprise of two 200” Elite Screens VMAX electric projection screens; one for each side of the stage, two NEC NP-P420X networkable projectors and two 46” PVision M46985-LED Lite commercial displays positioned at the rear of the hall for the balcony audience.

The wrap The Bishop Shanahan Hall for Holy Rosary School students is a fantastic environment for children to express themselves and thrive in sports and the performing arts. The state-of-the-art equipment installed there by Prosound not only enhances the experience of both the performers and the audience but also provides a wonderful space for young girls who are interested in the technical aspects of production to learn and train.

“This project just goes to show how we (Prosound) can offer a full solution from start to finish. We had Ian Blair assisting on lighting design, Boy Magnussen and his install team were great and Mark Malherbe and Chenn de Wet presented training to Gary and eight of the girls from Holy Rosary to close it all off. With everyone’s help everything just ran so smoothly,” says Lindsay.

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Installations VENUE SOLUTION

Elevating your venue – big time

By Greg Bester

There seems to be a steady emergence of new and up-market night clubs in the Johannesburg nightlife scene and the Elevate Venue on the 16th floor of the Reef Hotel downtown is no exception. This cosy, elegantly decorated venue offers wonderful night time cityscapes while patrons enjoy cool drinks set to the sound of smooth tunes. Of course, smooth tunes require a sound system that can deliver smooth sound across not only the dance floor, but throughout the club, giving each and every person an equal experience.

Local audio installers Tadco were recently commissioned to install a discrete, high power, high quality sound system in Elevate to keep the beats pumping and that’s exactly what was done, under the direction of Francois ‘Nigel’ Booyse, technical sales manager at Tadco.

The brief The main concern at Elevate was to supply a system that wasn’t cumbersome and was out of the way. Elevate isn’t the largest of clubs so while the system was spec’d to be small, it was also required to give the DJ and subsequently the club-goers what they need: big sound.

The club is part the Taboo, Cocoon and VIP Room (which we have covered previously in PSN) consortium of owners and so exhibits a similar up-market décor sensibility and vibe. The overall look is funky, sleek and quirky with plush, avant-garde furniture adorning all three sections of the club: the bar area/dance floor that steps down into a lounge with an industrial feel due to red pipes garnering gold valve wheels stretching from the ceiling to the floor; a chandelier-lit VIP lounge covered in darker earthy tones separated by glass on either side; and a covered outdoor ’beach-side terrace’ section with clear Perspex ball chairs that hang from the ceiling and accompanying white couches. There is also a balcony that runs along the north side of the club where patrons can survey the inner city as they sip their cocktails.

The gear As mentioned, a discrete, minimalist approach was the order of the day at Elevate so putting in a large point source system or a line array was completely out of the question. For this reason a combination of compact NEXO and Quest Engineering speakers were installed.

For the main inside section encompassing the bar, dance floor and the countersunk lounge, four NEXO PS8 loudspeakers were installed.

These compact speakers feature an eight-inch low frequency driver and a one-inch high frequency compression driver coupled to a rotatable, asymmetrical waveguide for either vertical or horizontal orientation. The PS8s can pump out an impressive 125dB max SPL. For handling the low end of the system, two Nexo LS500 subwoofers

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were installed; one in the corner of the countersunk lounge and one at the base of the DJ booth. These single excursion single-15” subs extend all the way down to 43Hz and can put out a max SPL of 134dB. For a small club such as Elevate, they were the perfect pairing to the PS8s.

In the VIP room, you can understand patrons are looking for a lower-key space to relax and enjoy themselves without having to shout over the music. Two all-weather wall-mount Quest MS801s were installed to keep the music flowing in high fidelity. The MS801s feature an eight-inch low frequency driver, a one-inch silk membrane dome tweeter and can produce 114dB max SPL. The low end extends all the way down to 55Hz. In the outside terrace area, two Quest MS601s were installed. These speakers are very similar to the MS801s but feature 6.5-inch low frequency drivers and a max SPL of 110dB. They incorporate the same one inch silk dome tweeter, however, and extend down to 60Hz. The system is powered entirely by Quest Engineering amplifiers. Two Quest QA3004s and a single QA1004 were installed. These stereo amplifiers deliver 660W and 290W per channel at four Ohms, respectively. System management comes courtesy of a Symetrix Jupiter 4 digital signal processor, a four input/ four output unit. An ARC-2e wall-mount controller was also installed for easy access to zones and for volume, mute, source and preset selection.

The wrap Many of the upmarket clubs I have reviewed often go for earthshattering sound to pound their patrons into submission. However, when you can’t hear yourself think over the music, particularly in a smaller venue, things start to get uncomfortable. What Tadco has done at Elevate is the perfect example of a high-fidelity, discrete loudspeaker system that can thump when needed but still offer clear, quality audio at lower volumes while staying out of sight. As the summer sun goes down over the city, I’m sure patrons at Elevate will bathe in that light and move to the sounds of music meant to soothe instead of sear.

PLASA LONDON 2013 SHOW REPORT

PLASA London 2013 ‘ExCeLs’

Since its debut in 1977, PLASA London has been the world’s premier platform for stage, lighting and pro audio technologies. This year’s event was held for the first time at London’s prestigious ExCeL Centre from 6 to 9 October 2013.

PLASA London 2013 was a great success for both exhibitors and visitors at its new home at ExCeL London. More than 11 000 visitors attended the show this year, of whom over 3 000 visited on multiple days. The show attracted high international interest, with more than 2 200 visitors from 84 countries. Stand re-bookings for next year’s show are up on last year, and several major companies that did not make the move to ExCeL have either already signed up for 2014 or are seriously contemplating their return.

Chris Toulmin, head of events, PLASA London 2013, says: “The response we’ve received to PLASA London 2013 has been overwhelmingly positive, both from visitors and exhibitors. They have embraced the new venue and also enjoyed the new features such as the AudioLab Arena, Theatre and Interactive. The PLASA team has worked very hard to get to this point, and while we acknowledge that we have more work to do, we feel it has provided a great starting point for the future development of the show and are excited by the possibilities before us.”

Feedback from major exhibitors has been reassuring to PLASA organisers not only in terms of the industry’s commitment and belief in the show but also in terms of the move to ExCeL. James King, director of marketing, Martin Audio, says: “We enjoyed a very good show, with anyone that was interested in Pro Audio flocking to our stand.”

Mick Hannaford, managing director, Robe UK, says: “The venue is a massive improvement - the outside space and cafes by the river were

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paramount to the overall feeling of the show and the customer experience, and visitors also commented on the accessibility and easiness. The show floor looked really good, it was easy to navigate and signage was much more concise, and there was a constant stream of people to the booth. We are really happy and have already rebooked for 2014.”

Almost 5 000 visitors witnessed demonstrations of the latest technology, including the first public showcase of Pioneer’s new club speakers, in the purpose-built AudioLab Arena, which was sponsored

by Medialease and supported by Roland as Technical Partner. The brand new AudioLab 2013 feature was a huge success and a big drawing card for audio professionals. The AudioLab Interactive sessions attracted more than 600 visitors, while the AudioLab Theatre welcomed over 1 000 visitors to some eye-opening sessions on a variety of sound issues.

The Professional Development Programme saw record-breaking success. Visitors enjoyed case studies on large-scale events including Eurovision 2013, Glastonbury’s Arcadia Stage and the Super Bowl Half-Time Show. There was a behind-the-scenes look at the staging of the new production of Charlie and the Chocolate Factory and an interesting discussion on the ‘revolutionary times’ of the National Theatre, celebrating its 50th anniversary, as well as practical sessions on entertainment technology.

The show floor was kept constantly buzzing by the 275 exhibitors with everything from interactive demonstrations, dancing balls of light and even an animatronic camel!

The 4th annual Rigging Conference which ran alongside PLASA London 2013 on 7 and 8 October was a great success, with 140 delegates in attendance representing 15 countries. The conference was opened by a truly engaging key-note delivered by industry legend Robin Elias of Unusual Rigging, and for the first time ever the event covered structures as well as rigging issues.

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PLASA LONDON 2013 SHOW REPORT Audio HARMAN’s Soundcraft showcased its complete line of Si Expression and Si Performer digital consoles, delivering world-class audio quality (including lighting control with the Si Performer) at an affordable price.

All Si Expression and Si Performer consoles are available with the Soundcraft Multi Digital card that provides users with a multi-channel, multi-format interface for live and studio recording to DAWs and other recording systems.

Distributed by www.wildandmarr.co.za Shure Distribution UK (SDUK) showed three of their distributed brands on their PLASA stand this year. Specific displays focussed on some of the most recently introduced products from the SDUK stable, including Shure’s new SE846 quad driver earphones, QSC’s new CXD and PLD amplifiers, and new interfaces from Radial Engineering.

Distributed by www.wildandmarr.co.za DPA Microphones DPA Microphones’ award-winning d:facto II Vocal Microphone was just one of a number of high quality microphones dedicated to the live stage that were on show at PLASA 2013. Visitors also had the opportunity to see DPA’s new MMC4018 modular supercardioid condenser capsule that is an integral part of the d:dicate™ Recording Microphone range. The MMC4018 offers a highly directional pattern and an extremely controlled off-axis response.

Distributed by: www.prosound.co.za HARMAN’s JBL Professional HARMAN’s JBL Professional showcased the PRX700 Series portable loudspeakers and 3 Series studio monitors at PLASA 2013. The next generation in JBL’s market-leading PRX portable PA line, the PRX700 Series offers improvements in power, SPL and

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connectivity; while the 3 Series is the first studio monitor line to incorporate JBL’s patent-pending Image Control Waveguide and is designed to deliver exceptional imaging and detail in any listening environment.

Distributed by www.wildandmarr.co.za Martin Audio presented all their front-line installation and touring products including their award-winning MLA and OmniLine solutions at PLASA this year.

But the star of the stand was the newly-launched MLA Mini, which was enjoying its first official outing in the UK. MLA Mini’s ultra-compact footprint provides far greater user access to the ground-breaking MLA control technology with broader application appeal (from smaller portable touring to install) as a result of the reduced size and weight.

Distributed by: www.audiosure.co.za XTA showed DS8000D, the new version of the DS8000. The DS8000D adds even more distribution possibilities to the DS8000 – giving not only two electronically balanced and two transformer isolated outputs from each input, but also offering a pair of AES digital outputs for each input. Offering selectable sample rates from 48k up to 192k or can be synchronised from an external word clock with sample rate conversion from 32kHz upwards.

Distributed by: www.audiosure.co.za TC Group returned to PLASA London this year and showcased their recent product launches. Lab. gruppen was this year’s main focus, with the new affordable amp range, IPD Series, appearing alongside the brand new decentralised install amplifier solution LUCIA. The flagship PLM 20000Q was also on show on the stand.

IPD Series is a compact, 1U, 2-channel amplifier range targeted towards smaller applications and more budget conscious users, albeit those still looking for the Lab.gruppen hallmarks of exceptional build quality, flexibility and reliability. it is available in two power configurations (2 x 600 W & 2 x 1200 W).

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PLASA LONDON 2013 SHOW REPORT Lighting Martin Professional presented products from their portfolio of award-winning solutions, including new RUSH by Martin installation effect lighting products.

Martin showed the full range of award-winning MAC Viper family luminaires and high performance lighting fixtures in the MAC III family.

Other innovative products on display included the new VC Series creative LED video solutions, the state-of-the-art M6 lighting console and new Jem atmospheric smoke solutions.

Distributed by: www.electrosonic.co.za Robe Robe’s new products included the Pointe, MiniMe, CycFx 8, Cyclone and MMX Blade.

Newly launched at PLASA this year was the Parfect 100, a static version of the massively successful, handbag-sized and very bright LEDBeam 100.

All of Robe’s popular ROBIN Series products were prominent on the stand, including the LEDWash, MMX and DL ranges, however it was the Pointe multi-purpose fixture that was again the star of the show!

Distributed by: www.dwrdistribution.co.za Key to this year’s ETC stand was the company’s newest LED lighting fixtures – the Source Four LED CYC and the Desire D22.

The CYC is an accessory which can be attached to any Source Four LED fixture engine, producing the powerful beam that the Source Four family is known for.

The ETC Cobalt family was launched at this year’s PLASA London show. The new system is designed to offer a complete set of lighting design tools with a short command, direct access style of operation.

In addition to the Cobalt 20 console, ETC launched the Cobalt Light Server and Cobalt Nomad. The Cobalt Light Server is a rack-mountable version of the Cobalt, designed for use as a back-up.

The Cobalt Nomad product, meanwhile, is the PC version of Cobalt, limited to up to four universes of output total.

Distributed by: www.prosound.co.za Avolites launched a range of wings to extend the capabilities of all of its Titan consoles – the Sapphire Touch Wing, Sapphire Media Wing and the Titan Mobile Wing. The Titan Mobile Wing gives direct access to items that are always needed, such as Shape Overlay Cues blinders, house lights, smoke machines or performer key lights for TV productions.

Distributed by: www.dwrdistribution.co.za

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Prolyte Group dedicated one stand to their new ProLyft Aetos range. This product line, comprising chain hoists and controls, is fully equipped to meet future demands in lifting equipment. PLASA 2013 visitors had the opportunity to see the hoists in action for the first time in the UK. Distributed by: www.dwrdistribution.co.za

LumenRadio exhibited its revolutionary new SuperNova 3 software. Utilising the Art-Net and RDM management protocols, SuperNova 3 enables system-wide control of the entire lighting infrastructure.

Distributed by: www.dwrdistribution.co.za Robert Juliat introduced a new motorised yoke as an accessory for its range of Fresnel lanterns. The first prototype motorized yokes were on the stand at PLASA this year and are due to roll out across the RJ Fresnel range in the coming months. Robert Juliat also showed the diversity of its product range with a selection of LED fixtures and by dedicating a section of the stand to tungsten light sources.

Distributed by: www.dwrdistribution.co.za

This year’s PLASA witnessed the birth of the new SGM G-Spot supercharged 850W high power RGB LED light source. Measured against other market leading moving heads the blue registers up to 20% brighter, the red is 400% brighter while the green matches the best in class, says SGM. The upgraded solution still boasts the unique characteristic of being IP65-rated and maintenance free as part of a fully-featured package.

Clay Paky showcased A.LEDA B-EYE, a fixture that is simultaneously, a LED wash-light, an amazing “beam-light” and a projector for totally unseen graphic effects.

Primarily A.LEDA B-EYE is a perfect wash-light, generating vivid colours and featuring an impressive, wide 6° to 70° beam aperture. The zoom however can be closed even further, down to as little as 4 degrees thus switching the light from a wash diffusion into a narrow and parallel beam. In this operating mode B-EYE becomes a “beamlight”, whose beam consists of an array of nearly indiscernible, individually controllable little beams.

Distributed by: www.dwrdistribution.co.za

PLASA LONDON 2013 SHOW REPORT AV

band performed on the stand throughout the show, and this showcased the full range of Roland products working within a live application.

Roland Systems Group (RSG) exhibited a full range of audio and video solutions for live performance, production, HD web streaming, recording and conversion at PLASA London this year.

PLASA also saw the latest addition to the popular Roland VR Series, the Roland VR-50HD HD Multi-Format AV Mixer and the VC-1 range of portable converters which made their debut to the UK market. A live

PSCo partnered with Samsung to showcase a total of 38 displays, encompassing models from the UE, UD and ME Series in sizes ranging from 22” up to 95” with a special preview of the 95” officially launching in December 2013..

Visitors at PLASA had the unique opportunity to view the entire suite of professional ultra large format displays and video wall solutions available from Samsung, in one place.

PLASA London Innovation Awards On the second day of PLASA London 2013, a packed audience gathered in the AudioLab Arena to witness the winners of the PLASA Awards for Innovation, sponsored

by Lighting & Sound International magazine.

The PLASA Awards for Innovation recognise products that advance the industry by demonstrating a new style of thinking, improving technical practice or taking a key step forward in terms of safety.

During the show’s opening two days, 45 new products were judged ‘live’ by an independent panel of expert judges who viewed each product presentation on the show floor.

PLASA 2013 Awards for Innovation winners

Clay Paky for the A.Leda B-EYE K20 The judges said, “The B-EYE had a “wow” factor. It’s an innovative look and a modern retake on a classic effect. It’s also a fully-functional and versatile luminaire.”

SGM for the G-Spot LED The judges said, “It’s the first fully weatherised automated profile spot.

It’s an elegant and aesthetically pleasing fixture that will be able to withstand any show in any environment, and be able to withstand even the British festival season.”

QSC Audio for the PLD/CXD Amplifier The judges said, “This is an incredibly flexible amplifier that can be used in almost any situation. It can sub-divided and reconfigured, and will work well in installations or as hire stock.”

Flare Audio for the SB18C The judges said, “This product uses a truly innovative approach to an age-old problem. It takes the concept of reducing materials to a whole new level and the technologies that have been adopted offer exciting possibilities.”

Bleasdale for the Interactive User Manual The judges said, “This is the first user manual that people will enjoy

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using. It has a lot of potential not just as a reference book but also as an interactive training resource. It provides a green solution that will save resources, and it solves the age-old RTFM problem.”

Line 6 for the StageScape M20d The judges said, “We were impressed with the simplicity of the user interface. It fits a point in the market where technical ability is secondary to usability, yet maintains a layer that is more familiar to a pro user. It’s a totally different way of thinking and it encourages a conceptual approach to sound.”

Robe for the Mini-Me The judges said, “It’s the first to bring a new form factor to digital luminaires. It’s conservative in its use of channels and it’s a digital moving light with the simplicity of a conventional automated fixture.”

The final award is shared between two products of similar purpose and equal merit: LumenRadio for the SuperNova3, and Artistic Licence for eSense The judges said, “They both solve data management problems eloquently and practically. They will create new ways of understanding the massive data produced by shows and installations in an efficient and understandable way.”

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PLASA LONDON 2013 SHOW REPORT

PLASA London Rigging Conference 2013 highlights

It was in 2010 that Chris Higgs first approached PLASA and said: “I have an idea” – thankfully the association sat up and listened; fast forward three years to the 4th PLASA Rigging Conference, which took place from 7 to 8 October at London’s ExCel exhibition centre in the hub of the city’s financial district, with Higgs now assuming the role of conference content consultant, reports Paul Watson.

This year’s PLASA Rigging Conference event was sponsored by Unusual Rigging, Outback Rigging and Yutree Insurance; and featured eight separate sessions.

One of the key presentations was an initiative to create the template for an international guidance document, which came courtesy of PLASA’s Lori Rubenstein and Michele Enright. According to Higgs, this is something that has been in the pipeline since the conference’s inception.

“It’s a combination of things that PLASA has been fielding for years, to be honest; the initiative is now starting to look like a template for people who are thinking about making a code of practice, and if you imagine the ideal list of headings, it’ll be rigging, work at height, lifting

42

safety, the list goes on,” he explains. “The idea is that each one will be presented in simple terms and simple language, and should be included in any rigging code of practice; if you compare three regions of the world: Europe, North America and Australasia, then that will obviously take time. There will be a team in each region, each of which will compare what comes into the other regions; they’ll reference all the standards they can think of and part of the process is that they will then support the decision and it will go into a bibliography.

“You end up with commonalities, of course; if you do a load-in in Jo’burg or Seoul, for example, it will be pretty much the same: you wait for the people to make their marks in chalk. But at the same time, in a developed area of Greenfield in say, India, the crew are probably going to be farmers; therefore you’re not going to have that same infrastructure or experience.”

Higgs admits there was a slight undercurrent of “why are we reinventing the wheel?” in the room, which he says he can understand to a certain extent.

“One guy represented the European Arenas Association (EAA); he was very proud of the work and probably won’t change anything, but when it comes to review, they could use this international guidance to check they haven’t missed anything or that some legislation that came out in Belgium is the same as it is in Holland, which could cause confusion.”

In 2010, the call for a standard “was a bit of a novelty”, Higgs says; then in year two there was a genuine call for a standardisation, particularly in Europe; and because the US hasn’t been keen on change, it then became a case of: “OK, let’s look at the common

areas and do something about it.”

“It’s essentially designed to be the framework document for rigging; it would inform venue managers, employers, training courses and enforcing authorities, and the idea is to have at least a draft version completed by the 2014 Rigging Conference,” he adds.

When asked about attendance, Higgs was honest in that although it was well attended in general, he’d have liked to have seen more riggers on the floor.

“We did a conference at PLASA Focus earlier in the year and we got a great cross-section of riggers and rigging managers; it was so well attended, more-so than this one,” he reflects. “I think perhaps it was a mix of the dates clashing with other events and the fact that it cost money to attend; despite the fact that a lot of these guys are based in London, the turnout wasn’t what it could have been.

Perhaps it’s because the PLASA Focus one was free – I’ll have to look into that for next year! But on a positive, it’s moved forwards great strides since 2010; despite the fact that PLASA’s sources are clearly going to be limited given that it covers all facets of the Pro AV and lighting industries, they listened to me from the start, and we’ve evolved together since.”

Another session of particular interest took place on day two of the conference and surrounded construction and the new CDM Regulations. HSE’s Gavin Bull first explained the potential impact these regulations could cause within the entertainment field and then announced that the consultation process has been delayed.

“For whatever reason it might be, the fact that the consultation process seems to have really slowed down is disappointing, but as CDM is about coordination between contractors and suppliers on construction projects, it’s important that things don’t get in the way of absolute safety,” Higgs says. “Much of the discussion was about hours of work, and how some production managers will screw people down in the name of economy; cutting corners was extremely prevalent in the industry in the 70s and 80s – not allowing sufficient contingency for welfare and safety – so HSE is now looking hard into making sure that doesn’t happen again.”

Higgs says the definition of construction is “as scary as hell as it exists”, and reveals that even painting and pipework can be construed as construction. So where does it end?

“We don’t want to make too much noise about it as we don’t want to make a rod for our own back, but it’s a shame, as the majority of properly run projects are doing everything right already; the thing we don’t have is a formal layout that constructors are very familiar with now. I think it will feel to us like it did to the builders in the 70s and 80s.

These regulations initially came out in 1992, and we are all supposed to be working under the same rules; but I can tell you now that if you watch a project being run in south Italy, it won’t nearly be the same as one that is run in Dubai!”

Higgs is confident that HSE has done a good job, and the regulations are due to come out in October 2014. There will be changes, yes, but not necessarily for everyone in the industry.

“If you’re putting up a PA system or lighting system, it’ll really be no different at all; just join the queue. But if you’re a big festival like Roskilde, Glastonbury, or V – basically anything Europe-wide – then they will make some considerable inroads as to how you manage your project,” states Higgs. “It will have to be notifiable and you will have to register, but whether you’ll get a visit, as such, I don’t know.

Will we see people from local authorities turning up? Probably not, as there are not enough of them and if they’re responsible for all of this, then the next thing you know, the local village fete could be classified as construction! They may well cherry-pick and go for the big ones – we don’t know the scale of it yet – but what I am personally hoping for is for there to be a simple check list; that would be the sensible move.”

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Photo courtesy G&G Productions

LIVE EVENTs CONCERT REPORT

Sensations Innerspace

Inner Space, to me, was a fantastical movie from the eighties starring Martin Short and Dennis Quaid where a man inside an exploration pod was shrunk down to a minute size and injected into a human body. It brought another world to our minds with lights and sounds we had never before seen, hidden beneath the human skin.

In many ways, the Samsung-sponsored dance event, Sensations Innerspace, which took place at the Coca Cola Dome on 7 September 2013, shared a lot in common. It was fantastical. It involved cutting edge technology. It was other-worldly, and all participants found themselves changed for the better at the end, injected with excitement. Indeed, South Africa has not seen a dance event of this size, conceivably, in its entire history with 18 000 dance fanatics congregated in one space – an inner space – to pound their feet, gyrate their hips and throw their hands in the air in unison.

The theme of the Innerspace event was, like most Sensations events – white. The Sensations brand is now a staple in the dance arena and travels the world over to bring its philosophy of carefree spiritual enlightenment through dance and unity to the masses. While they ship a lot of their own equipment such as the lotus-flower shaped set, the suspended internally-lit balloons, lasers and peripheral lighting fixtures, etc, there is still a long tech rider that has to be sourced locally. Given the size of the event there was only one company that promoters G&G Productions and production company Mushroom Productions had in mind: Gearhouse South Africa, the largest supplier of event gear in South Africa.

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By Greg Bester

Gearhouse supplied complete technical support for Sensations including rigging, audio, lighting, trussing, structures and power, contracted at the behest of Strike Productions and consulted by technical production manager Dave Tudor. Mushroom Productions handled the overall local production of the event. Project manager Anthony Banks was Gearhouse’s ’man on the ground‘ and handled the technical aspects on-site with the assistance of Madelaine Whitehead.

When asked about Gearhouse’s involvement in the event, Tudor says: “Greg Welsh (from G&G) has had a relationship with Samsung for quite a while and the company that has done most of their work previously was Strike Productions. Now, obviously the scale of an event like this brings challenges from a sheer quantity point of view. I then said to G&G that the only way they’re going to do something on this scale is if they bring in Gearhouse and Mushroom productions.”

Rigging One of the greatest challenges of the event was rigging which turned out to be the largest rigging operation Gearhouse has ever performed. A total of 136 motorized rigging points were secured to the roof of the Dome, coordinated by rigging operations manager Kendall Dixon and his crew of 14 riggers. Eight riggers were roofbound while six were stationed on the floor. In addition to the 136 motorised points, the total number came to 272 points due to bridling.

Dave Tudor comments: “Rigging in the Dome is quite a complicated process. The sheer weight was in excess of 30 tons so it has to go through the Dome’s approved structural engineer who works for a company called WSP. Kendall had to work out all the bridles and submit the calculations, along with working out the floor loading. At the Dome the floor is split in half; one side is solid and one side is suspended so there is a difference in weight distribution so

CONCERT REPORT LIVE EVENTs

based on his calculations and the recommendations of the structural engineer, we have to make a call. The Sensations crew wanted an additional eight and a half tons of audio flown but because of budget constraints relating to recalculation and resubmission to the structural engineer, the decision was made to stack it all.”

Audio The audio system for the event was configured in two concentric circles with the main lotus set positioned in the centre. Senior audio technician Llewellyn Reinecke was responsible for the configuration of the system and on the audio requirements for the event, he says: “For starters, instead of playing to one end as the venue is traditionally configured for large music events; the sound system needed to cover the entire floor space. Two PA rings were needed for this ‘in-the-

round’ sound coverage.” In close collaboration with the client’s designer, L-Acoustics SOUNDVISION software was used to design the system, overseen by Reinecke as well.

All PA installed in the venue was L-Acoustics, the main ring comprising of eight stacks of L-Acoustics V-Dosc paired to their matching 6 x 8 L-Acoustics SB28 subs. This totalled 48 fullrange and 48 sub boxes. The secondary ring was comprised of a combination of 12 Kara and 60 KUDO boxes, paired to SB18 and SB118 subs.

Following cutting edge trends in audio routing and distribution, the entire system was linked via a 10Gbit fibre network with Neutrik OpticalCon Quad fibre-optic with six Lake LM44s running the Audinate DANTE protocol. The console employed was a Yamaha PM5D, operated by sound engineer Bas Rijsdijk of Noizboyz, a Dutch live sound production and solutions company.

A total of 24 channels were fed to front of house comprising a left

45

LIVE EVENTs CONCERT REPORT and right main and backup feed of each DJ console. A stereo booth feed was sent to six L-Acoustics 115 HQ monitors paired to four SB18 subs powered by two LA8s and four Shure UR2/SM58 wireless handhelds were spec’d transmitting to two Shure UR4D dual receivers.

One of the more interesting parts of the audio system was that the dancers who emerged from the set later on in the show each had their own set of Sennheiser 300 in-ear monitors and were directed by the choreographer via a remote microphone.

The resulting system was the largest of its kind that Gearhouse had utilised in any South African indoor venue.

Lighting Lighting was a huge part of the Sensations experience but brought its own challenges. Lighting operations manager Stuart Andrews said that due to the extensive technical rider received from the international production team, cautious preparation was the order of the day.

While the audio systems were, to put it lightly, large, the lighting was no different. No fewer than 240 sections of Prolyte H 30V trussing (close to a kilometre) was adjoined into a master grid, which was suspended from the main grid at the Dome. The signature internallylit ball system was then suspended from this grid by winches, which were brought by the Sensations team. The balls were the highlight of the event and could move vertically in unison or individually, which presented the illusion of floating in space.

Gearhouse supplied the majority of the rest of the effect lighting which included 60 Martin Mac 2000 profiles and 32 washes, 24 Robe Robin 600 LEDs, 48 Martin Atomic strobes, 16 Acclaim 500W Fresnels, 16 Tomcat PAR16 Battens, four LED PAR64 Shortnoses and all necessary cabling. This totalled 212 fixtures. For fog and hazing, four MDG Max3000 fog generators and four High End F100 smoke machines were commissioned. The Sensations team brought along with them the Hog4 lighting control and lasers in addition to the ball system. A total of 26 lighting personnel worked around the clock in shifts to complete the lighting rig.

One of the main challenges emerged when determining where to place the dimmers. Placement under the main stage was the final course of action, the challenge being very long cable runs which consisted of 18 metres up to the truss where it then traversed more than 50 metres before reaching the first lighting fixtures.

Staging The 14-metre wide lotus stage was brought along by the Sensations team but assembled and installed by structures operations manager Anton Hattingh’s personnel. Simultaneous completion of lighting systems and structures was achieved due to the stage being

46

constructed on castors. This enabled the team to setup the stage, lighting and trussing at the same time albeit in different locations in the Dome. The stage was then rolled into place when the lighting rig was completed. This was a tremendous time saving exercise.

A further circular stage of nine metres wide and 1.5 metres tall was built atop the main stage that included a revolving section, which was also supplied by the Sensation team. This ensured the DJs were visible to the audience the entire time.

Two supplementary ‘B’ stages were constructed that contained water fountains and pyrotechnics. These also served as dance platforms for dancers and were placed on opposite ends of the stage. Sensations also supplied the décor to cover the stages so building them to specification was paramount.

All in all according to Hattingh, it took about 25 tons of scaffold and 12 tons of crowd barrier to erect the structures.

AV The only AV components of the Sensations event were two circular projector screens positioned on opposite sides of the Dome and four 18K Christie Roadster projectors. Each screen received two doublestacked projectors to relay a live feed from camera and to announce the DJs. Control gear, screens and cameras were all supplied by the Sensations team.

Power Gearhouse supplied external power to the event under the auspices of operations manager Antony Sackstein. Two 300KVA and three 500KVA blimped generators provided power for all audio, lighting, AV, motors and hoists. Cable runs of between 120m to 200m were rolled out throughout the venue.

The wrap Sensations Innerspace was an event that I’m not usually accustomed to attending so I didn’t quite know what to expect upon arrival. Donning my all-white outfit, I was surprised at the sort of bewildering wonderland they had created; the overall décor literally transporting you to another planet populated by white-clad inhabitants. The sound, lighting and rigging was clearly exceptional and even from the balcony area overhead the sound could be heard and felt. Viewing the spectacle there in its entirety, it was obvious that Sensations Innerspace at the Dome was an event of international calibre worthy of recognition as were all the technical personnel who made it happen.

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LIVE EVENTs CONCERT REPORT

Photos by Paul Watson

Way Out West festival

Way Out West might just be the nicest festival on the planet: set in the most beautiful of parkland settings, this KRAV-certified event is ubersustainable; and thanks to a sizeable Meyer Sound LEO system on the main stage, it sounds just as good as it looks, writes Paul Watson.

KRAV-certification is a pretty big deal: KRAV develops and maintains regulations for ecological agriculture, and Way Out West was the first festival in Sweden to be recognised by the organisation; as a result, its waste management is impeccable, and rather than settle for organic food vendors, it made the bolder decision to ‘go veggie’ in a bid to further reduce its carbon footprint.

Impressive, certainly – and so was this year’s line-up, which included Alicia Keys, Public Enemy, The Knife, James Blake and almost Neil Young... He cancelled just minutes before he was due to take to the stage as his guitarist broke two fingers coming out of the tour bus.

Ordinarily, I’d have expected a mutiny at such an announcement, but not at Way Out West – although disappointed, the audience simply took it in their stride and were all rewarded with a full weekend pass as a result. I told you it was nice here!

All audio, lighting and staging was provided by leading Swedish rental house, Starlight, which is quite the one-stop-shop. According to the company’s production manager, Hakan Axlid, all kit is driven by demand, which is why they invested in LEO. “This is the second year we’ve had LEO on the main stage, and the clarity of the system at 120-metres is totally flabbergasting; in addition, because we’re flying the 1100-LFC subs for the first time this year, we’ve been able to eliminate all of our delay towers,” Axlid reveals, adding that in previous years, a Meyer Sound M3D system has been at the helm on the main stage and remains the choice for the

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Alabama Shakes stage

festival’s second stage. “We have restrictions of 100dB LEQ and 115dB peak here, but with LEO, even up to the barriers of stage two, we have totally pristine coverage without pushing the system at all.”

Starlight’s CEO, Hakan Alfredsson, concurs; despite closely monitoring the competing systems, the company’s long standing Meyer Sound working relationship combined with the quality of product made the decision to invest in LEO. “A complete no-brainer,” he says.

“There are a lot of good systems out there, of course, but LEO offers great power as well as astonishing quality of sound; everything just fitted into place, especially as we’ve worked a lot with Meyer Sound in the past,” Alfredsson explains. “Having a system that is easy to use and set up means the overall planning becomes much easier.”

As far as system tech, Oscar Meijer is concerned LEO is a great step forward from previous Meyer Sound models, mainly due to its high-end definition.

“The sparkle is the really strong side for me; it sounds like an enormous MINA, which is a very good thing to my ears! We use Galileo as a master matrix, then we have (four) Callisto for the LEO arrays and the 1100-LFC subs,” he says. “The whole system is very exact and it also flies quickly; I’m also fond of the pull-back possibility to make the array stay angled as you wish, no matter if you’re taking it upwards or downwards. That’s very cool.”

Sixteen LEOs were hung L/R with two MICAs for the down fill, with nine 1100-LFCs flown next to each respective hang. In addition, there was a four-row end-fired configuration of 700-HP subs which stretched all the way around the stage.

Having the hung sub worked “fantastically well” for Marcus Agnesund, FOH engineer for renowned Swedish act, Daniel AdamsRay. This was his first time mixing on LEO. “The experience was great, as there’s just so much headroom and clarity in the box, which meant fewer things to worry about at my

end. The really nice thing is you get a completely constant EQ; unlike many other systems, it doesn’t change when you turn it up, which is fantastic,” he explains. “The configuration here meant a lot of thump at the bottom end, which was really good; Daniel Adams-Ray is very vocal-heavy – it was all compression and doublers on the voices – and this system made it sound great; on this showing, I’d recommend LEO to all engineers.”

For the main stage Starlight deployed a Yamaha PM5D at FOH and a chunky old Midas H3000 for monitors; and for stage two, a Midas XL4 and another H3000 were brought in.

The lighting rig consisted of 120 Martin Professional 2000s and 30 of SGM’s new X-5 strobes for the main and second stages – a combination which works perfectly, according to the festival’s organiser Fredrik ‘Matazz’ Holmstedt.

“Every part of Way Out West has to be top notch, and the LED lights specifically continue to get better and better, and are now accepted by touring LDs; for us having the X-5s is a real bonus, of course, as they use around 10 percent of the power of our previous strobes.”

Calle Brattberg is lighting director for Swedish headline act, Hakan Hellstrom. In general, he says, lighting operators are really starting to reap the benefits thanks to the ever-evolving innovations in LED technology.

“We get less and less time on stages these days but our postproduction is longer, which means the industry is going the right way; new gear, like the X5, is getting much better and much more efficient, and as a result, we operators are no longer doing the graveyard shifts – the better the kit gets, of course, the more possibilities we will continue to have,” he explains. “The X5 is also an extremely bright strobe; I mean, we only have 15 on each stage here at Way Out West, but it’s more than enough; they’re becoming very popular, and for good reason.”

In addition console technology is way ahead of where it was years ago, Brattberg insists, adding that in Sweden the Grand MA is at the top of the tree.

“It’s all about the Grand MA here. At a festival, have to be very dynamic, which is so easy on the console; we use five universes here, and once we’ve set it out, we can do all colour cloning and positioning very, very easily on this console,” he explains. “It’s just such a great tool; even if you’re restricted on time, an hour is more than enough time to prepare a good show, as it’s got everything you could possibly want and more.”

“This festival is ultimately driven by me being crazy,” Holmstedt reflects with a smile, as he ushers my attention to the large jellyfish hanging next to the speaker arrays which he had made for this year’s event. Fair point, I conclude.

“Way Out West has a different face each year and this year we went for jellyfish; it was my idea, so I shall have to see how that pans out! Ultimately though, we evolve every year – it’s about staying ahead of the game with regards to technology and going with customer demand, which is so important,” he says. “This is why we work with the likes of Starlight – they’re a great company and always deliver above and beyond what we want. LEO certainly isn’t a cheap box, but it’s been worth every penny here, as the audience experience is so much better with it than it ever was without it.”

The main stage

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LIVE EVENTs Moving Heads Round-up

Pro-Systems takes a look at some of the popular moving head fixtures available in today’s market What the manufacturer has to say: The Alpha Profile 1500 is a cutting-edge professional beam shaper that combines the high output power of a 1 500W lamp with an exclusive framing system (patented by Clay Paky) capable of any shape. It features an astonishing 1:9 ratio zoom, with a breathtaking speed, that makes it suitable to both short and long distance applications. It is extremely bright, very silent and has advanced electronics and software. It comes with a comprehensive range of graphic effects, the innovative Stay-Sharp-Zoom function allowing automatic focusing and the smart Zoom-Tracking-Diffuser for a linear beam softening.

The Alpha Profile 1500 is a valuable resource for designers working in demanding lighting environments.

Clay Paky Alpha Spot 1500

Key Features: •

Combines the high output power of a 1 500W lamp with an exclusive framing system

•

Innovative Stay-Sharp-Zoom function allowing automatic focusing and the smart Zoom-Tracking-Diffuser for a linear beam softening.

•

7°-60° electronic zoom

•

1:9 ratio zoom

•

Stay-Sharp-Zoom function for automatic focusing

•

Zoom-Tracking-Diffuser (frost filter synchronized with zoom plus flood filter)

•

Special 16-blade mechanical iris

•

Patented framing system, adjustable over 90°

•

‘Total curtain effect’ with single blade

Kevin Rieck, head of lighting at Johannesburg-based MGG Productions has been using Clay Paky products for the past two years an likes the Alpha Profile 1500 among others.

He rates the “prenominal optics” for gobo work, particularly when combined with the Dyna-Cue Creator – a macro channel allowing fast access to a library of fluid and impressive pre-programmed gobo animations and special effects that utilize the auto-focus mechanism.

Other features topping his agenda include the Auto-Focus, sharper blades (shutters) and the huge zoom (7 – 60 degrees), but especially he likes the gobo effects that can be created utilizing the auto-focus in combination with the Dyna-Cue Creator.

Recent events on which MGG has used its CP Alpha profiles include a show for PBB Standard Bank at Sandton Convention Centre; 50

and also for Destiny Magazine at the Hilton Hotel in Sandton where they made up custom gobos from the company’s logo and combining auto-focus and the Dyna-Creator, layered this across 200 metres of set. Another recent project was for Skyy vodka where they used an Alpha Profile 1500 to project onto a building two blocks away.

“It’s a monster of a light with fantastic optics, rich colours and features,” concludes Kevin.

Another keen Alpha Profile user is Christopher Bolton, Production Director from Keystone Productions in Johannesburg, which specialises in corporate launches and events and also has plenty of experience in the theatre.

He first used Clay Paky products in 1998 back in the glory days of the Golden Scan which was a firm favourite for lighting rave parties of that era!

He likes the Alpha range for many reasons, a main one being the optical system “something that CP had right since the beginning across all their fixtures.”

He says the Alpha Profile 1500: “is a special fixture with many incredible features,” of which his favourite is also the Dyna-Cue Creator.

The wide focus and the prism make it good for upstage applications, but it’s “Equally amazing” on a front truss or advanced bars to cover a set with gobos of tightened right down and colour corrected for a band or performance ‘special’.

He recently used Alpha Profiles on a gala event for Nestlé and also on the South African Business Awards, both lighting schemes designed by himself.

Moving Heads Round-up LIVE EVENTs

Martin Mac Viper Profile

What the manufacturer has to say: The MAC Viper Profile is a new breed of highoutput profile luminaire with an exceptional feature set, superior light quality and a highly efficient optical system. It outperforms all market-leading profiles in the 1 200-watt range and is even an alternative to 1 500-watt fixtures.

The Viper Profile is not only brighter, it is also a faster and more compact solution. With its 1 000-watt HID source, the Viper consumes less power, making it over 50% more efficient than its 1 200-watt rivals.

Key Features: •

26 000 lumens – Excellent light quality with a very flat and uniform field

•

1:5 zoom – Fast zoom with auto-linked focus

•

FX wheel – Patent-pending FX wheel provides an additional four fixed gobos and 135° animation effect

•

Linear CTO – Daylight to tungsten CCT control and expansion of the CMY palette

•

Soft frost – A light frost leaves gobo artwork visible with a beautiful soft edge. Includes a linear focus blurring option

•

Aerial wheel: five interchangeable aerial effects + open, indexing, continuous rotation and shake

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Breakup wheel: five interchangeable texture/breakup gobos + open, indexing, continuous rotation and shake

•

FX wheel: Interchangeable static gobo and gobo animation effects

For lighting designer Ryan Dunbar the Martin MAC Viper is currently his moving light of choice. Ryan’s industry experience has been in theatre, TV and concert touring and he is currently working for Gearhouse South Africa.

He’s been using Martin products for over 10 years and says of the Viper: “They are sexy, nice and clean and modern looking.” He likes the tight, crisp optics which “Make for lovely gobos and beams” and he’s also impressed by the light output and the menu scroll wheel.

The fact that they look great on camera are one of the features he likes best: “I recommend them for any live show that’s being recorded for TV.” One of India’s leading LD’s Atul Sonpal recently used 28 MAC Vipers for the South Africa India Film & Television Awards (SAIFTA) at Durban ICC. The fixtures were chosen for their gobo beam definition and for those big gobo projection looks into the camera. The colourful, lively star studded event that celebrated the eclectic mix of culture and talent from both countries and was recorded for SABC. Brent Thompson from Eden Electronics is another fan of the MAC Viper and has been using Martin products in his work for the past 14 years. He says he’s found the Viper to be “The most robustly and

well-built fixture in its class with enormous versatility.”

He particularly likes its enormous zoom and the ”well thought out” optical system which gives it the functionality of swapping instantaneously between a beam, spot or wash fixture. “I’ve learnt quickly that the Viper has no limitations,” he confirms adding that it’s “Perfectly suited” for live concerts and the touring market.

Theo Papenfuss from Stage Effects has been in the lighting industry for 15 years and using Martin for around 12. He likes the Viper for its compact size, bright output, light weight, excellent zoom and general performance.

Colors, gobos and the zoom top the list of his favourite features together with speed of the parameters and the menu features. Stage Effects initially invested in Vipers for their concert and live work, but have found the units to be invariable for all types of corporates.

When they came to make the Viper investment, a 1 200W series fixture was what they were ideally looking for … they heard there was something coming and were keen to stick with Martin because in Theo’s experience, it’s a brand most often specified by international LDs on their riders.

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LIVE EVENTs Moving Heads Round-up What the manufacturer has to say: The Robe MMX is a new technology discharge fixture that has similar light output to most existing 1200W luminaires. The unit is based on the all new Robin advanced technology design that provides Brighter, more efficient, physically lighter and smaller fixtures than

Robe MMX Spot

previously possible.

Key Features: •

QVGA Robe touch screen with battery backup gravitation sensor for auto screen positioning

•

Dual Graphic Wheel: 8-bit

•

CTO: 0–100%

•

Hot-spot control: Hot-or-not-spot

•

Dual Graphic Wheel

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Fixture total lumen output: 26 141 lm

•

Weight: 25.5kg

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Stand-alone operation

•

Ethernet port: Art-Net protocol, ready for ACN

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Gert Smit of busy rental company MJ Event Gear declares that

Christiaan Ballot MD of Centurion based Blond

Robe’s MMX Spot is “An AMAZING fixture,” adding that he reckons it’s on par with most 1200W series fixtures on the market right now in terms of brightness and the rich array of colours, “I will even go as far as to say that the fixture projects better and brighter with colour then most of the other units I have worked with,” he declares Like many, he appreciates the smaller physical size and lighter weight – which are at the heart of Robe’s current design philosophies, “This means that I can load my trusses with more – and brighter – fixtures, which can be closer together to make up some great effects ….and still keep the riggers on my side. LOL!” The thinks the MMX Spot gobo designs are really cool, and that they work equally well for projecting onto sets as break ups and for creating excellent beam style effects. The Dual Graphics Wheel “Is also a great addition” to the unit and “Perfect for making some nice effects on sets and the surfaces of buildings.”

Gert recently used 10 Robe MMX Units at the Annual South African Guide Dogs Charity Ball at the Montecasino Ballroom. The 10 fixtures were all placed on the floor, five either side of the stage, and used primarily for gobo projections onto the draping and ceiling and for producing rich textures for each part of the gala evening. They were also used for aerial beam effects when the band and DJ kicked in.

Productions has been using Robe products for the past eight years, mainly in the television industry, which is one of the areas in which they specialise, and comments: “We have had almost zero problems with them.”

The MMX is one of his favourite units of the moment because of its “Brightness, the effects wheel and the custom beam gobo kit” and he thinks they are best used as effects lights and for tasks that utilise gobos.

Recent shows on which Blond has employed MMX Spots include Money Drop for SA and Nigeria – both series were recorded at Kew Studios in Johannesburg (LD Peter Reick) where they were used as back light firing directly into the cameras. Twelve units were used at Sasani Studios for Big Brother Africa 2013, another Peter Reick lighting design. The MMXs were used as top lights over stage, producing gobo effects on the stage floor during performances.

Moving Heads Round-up LIVE EVENTs What the manufacturer has to say: The VARI❋LITE VL3500 Spot luminaire maintains the same high standards for imagery, beam control, colour and brightness set by the original VARI❋LITE Series 3000 Spot luminaires, but with the added feature of a four-blade shutter mechanism that allows the blades to be operated independently or in unison on two planes for a clear and crisp image.

Varilite VL3500 Spot luminaire

Key Features: •

Zoom optics: A 13-element 6:1 zoom optics system, covering a range from 10° to 60°.

•

Shutter control: A four-blade shutter mechanism that allows the blades to be operated independently or in unison on two planes for a clear and crisp image. The entire mechanism can rotate 50º in either direction.

•

Intensity control: Full field dimming designed for smooth timed fades as well as quick dimming effects.

•

Variable beam focus to soften edges of gobos or spots. Remarkable depth of field capability.

•

Allows morphing effects between all pattern and effects wheels.

Joshua Cutts from Johannesburg based design company Visual Frontier is one of SA’s best known lighting designers. His 20 years of active industry service have seen him light Idols for the last four years, the SAMAs in 2013 and 2013, the Channel O Awards and Skouspel for the past eight years to name but a few.

The Vari*Lite 3500 is one of his favourite moving lights, and he’s used Vari*Lite products in his work since 2010, when DWR Distribution supplied the first VLXs in the country to the SuperSport Soccer World Cup Studio in Randburg.

Attributes he likes on the V*L3500 include the great framing, which makes them ideal for using on a front truss where you can precisely pinpoint performers with tight key lighting. He also really appreciates is the great optics which enable the fixture to become a richly textured wash across a stage or set. He used both V*L 3000s and 3500s on this year’s Skouspel event at Sun City Superbowl.

He thinks the zoom on Vari*Lite products offers much more latitude than others and he also finds it really quick and maintains super-bright bright whatever function it is being used for. “Like all Vari*lite products, the luminaires are impeccably matched and very reliable – it really is a premium brand lighting fixture.”

These sentiments are shared by Gearhouse Splitbeam’s MD

Alistair Kilbee. Alistair has over 20 years’ experience in theatre and has worked on most of the major musicals staged in SA over the past 15 years.

When he started Splitbeam in 2010, they made the largest single purchase of Vari*Lite’s in the country to date. Vari*Lite has always been his ‘fixture of choice’ for the theatre and he’s actually wanted to own V*Ls since he was an aspiring young lighting tech … and now he’s living the dream!

He thinks the V*L3500 is a “great workhorse spot fixture”, and with the addition of the shuttering system adds a whole layer of dynamics.

The gobos are “very usable” and he likes the fact that the 3500 matches perfectly with the 3000. “The colours are great and like all V*Ls, you can mix in very nice pastel hues which are often absent from other moving lights.

He also likes the 10 to 60 degree zoom, “There is no other fixture on the market that can shutter as well, and focus clearly on all four shutters.” He adds that the indexing is also excellent, so cues and effects can be repeated hundreds of times over and still be millimetre accurate.

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LIVE EVENTs SHOW REPORT

Party on through the ‘Redd Door’

By Greg Bester

Following on the 2012 Ultimate Redd Door Experience, one of South Africa’s most unusual and buzz-inducing parties, Redd’s cider once again brought the titillating, star-studded event to a lucky 1 000 ticket winners in Exhibition 1 at the Sandton Convention Centre in August 2013. Needless to say, expectations ran high as to whether Redd’s could not only deliver the same quality of event of the previous year, but raise the bar.

According to the reaction to the event, the answer is a resounding YES.

But what makes a good party? Well, first you need a set that’s out of the ordinary. Check. Then you need chest pounding sound and thrilling lights. Check. A little, ok a lot of, projection mapping might help bring the party into the 21st Century. Check! The Redds party had it all, helped in no small part by local technical production and rental stalwarts, AV Unlimited.

AV Unlimited, headed by brothers Arnaud and Guillaume Ducray, has been in the business for over 21 years and specialises in technical production and out of the ordinary audio visual experiences, which made a perfect match for what was required at the Ultimate Redd Door event. First class sound, lighting and projection mapping was the order of the day and AV Unlimited handled the technical aspects of the event in its entirety including staging, set design, sound, video and lighting.

Being that the event was staged at Exhibition 1 at the Sandton Convention Centre, there was a lot of room to fill. Besides the sound and lighting, which we’ll get to later, the focus on the show was an abundance of screens which needed the mapping of video content to them. This formed the backdrop to the stage and formed part of the set to either side of the stage.

AV Unlimited custom made the entire set beforehand to accommodate the desired projection mapping effect. Two Coolux Quad LT servers were employed to map the video onto the set via six Barco FLM HD14s and four Barco RLM W8 projectors.

“We custom made everything. The event was designed before we had a venue so we had to adapt it to work within this venue,” says

54

Guillaume. “The whole set was designed internally. We pitched the design, which we won, and a company called the African Motion Picture Company were contrated to created the content. The event was managed by a company called 24 Carrots and the video was conceptualised by them.”

On why AV Unlimited prefers Coolux as a brand, Guillaume explains: “We’re a one hundred percent Coolux company. We wouldn’t entertain anything else; as an investment at least. Obviously there are certain shows where we may be forced to use a different server but when it’s our design, Coolux is what we depend on.”

The basic workflow when designing a set such as this that requires projection mapping is, in the case of AV Unlimited, to design the 3D model of the set in-house and then send to it to the content creators who then can use that as a base for their design.

The set itself basically consisted of 16 vertical screens at the rear wall to either side of an angled, 3D centrepiece with three dimensional block-formation structures on either side of the stage.

The structures that hold the screens were custom made by AV Unlimited and fabricated from scaffolding with panels clipped into what amounts to a frame. Because of their use of quad servers, each projector received its own feed. This resulted in two projectors for the three dimensional portions of the set to the sides and in the middle of the stage and a single projector per four panels hanging on the back wall. 12 projectors were used in total.

On the topic of video mapping, Guillaume has strong opinions on the distinction between 2D and 3D mapping. He explains: “3D mapping requires you to hit an object from multiple light sources.

Using one projector to ’map‘ on a three dimensional object is not 3D mapping. For me, the best way to describe it is by contrast of hitting an object with one light source, which causes the light to stretch around the curves. 3D mapping is a multiple light-source operation.

Having 3D content in your video does not make it 3D mapping either.

Once you have more than one projector hitting a 3D object from multiple light sources, we can start talking about 3D mapping.”

While AV Unlimited custom designed almost all the elements in the set and stage, the stage itself was supplied by Dream Sets, the draping by SA Draping and the projection screen material by Showtex in Cape Town.

The audio provided was a combination of Soundcraft and Alcons Audio kit. The main console was a Soundcraft SI Compact 32 paired with a SI Compact 16/32 stage box, interconnected digitally over CAT5 cable. The loudspeaker system was an Alcons Audio LR16 line array with nine boxes per side, paired with a total of six LR16B subwoofers. The system was powered by a combination of six Alcons Audio ALC2 and three ALC4 amplifiers. Another four Alcons Audio BF362 subwoofers were employed, powered by two ALC6 amplifiers.

For monitoring, four Alcons Audio VR12s were utilised, powered by two ALC2 amplifiers. Microphones used were all Shure: four WL-184 lavalier microphones paired to four ULXD-1 beltpack transmitters, transmitting to two Shure ULXD-4DE dual receivers. Four more ULX-2 handhelds with SM58 capsules were spec’d.

Lighting was not skimped on, either. The heart of the system revolved around a MA Lighting Grand MA2 with an extra fader wing.

Automated fixtures included 24 Martin Mac 101 LEDs, 16 Martin Mac700 profiles, 12 Robe Robin 100 LEDs, 12 Martin Mac700 washes and 12 Vari-Lite VLX LED washes. LED fixtures included 24 Longman Colourme 011A stage bar and 24 Versalite LED Wall Wash. As if this otherwise diverse combination of some of the best brands around wasn’t enough, 12 more industry standard ETC Source 4s were also implemented. To bring it all together in a fine haze, a Le Maitre MVS hazer was the go to choice.

Prolyte, Litec and VUSA trussing was used throughout the event.

The wrap A party such as the Ultimate Redd Door Experience is not one to be taken lightly. A huge amount of planning takes place to get a successful party such as this off the ground and a variety of expertise are required to bring that planning to fruition. The 21st Century has brought a vast new array of options to our fingertips to give the party-goer a new experience, not only through aural but visual stimulation. It is no longer acceptable to have a stack of speakers and a few parcans. AV Unlimited is clearly a company that knows what they’re doing in technical production arena and they equally have a keen eye for using quality equipment that makes the otherwise spurious challenges of the job easier to contend with, not to mention bring a modern, heightened sense of fun to the party.

info@ephproductions.co.za www.ephproductions.co.za 012-345 5303 082 924 9046

How would you like us to go?

For all your LED Screen requirements to the Rental & Live Event Market.

We also supply Sound - Lighting Audio-Visual - LED Screens - Stage Structure - Generators - Crew - Creativity…

55

LIVE EVENTs Video Mapping

Photo by Louise Stickland

A world first for AniMotion video mapping

By Louise Stickland

Dark Matter painting projected onto the library of the Institute of Astronomy

In a world where ‘mapping’ is often over-used, misunderstood and mis-applied, projection and digital art specialist Ross Ashton collaborated with Russian artist Maria Rud to present something completely different.

Dark Matter was a dynamic ‘AniMotion’ live performance that featured live painting projected in giant format on to – in this case – the Institute of Astronomy library in Cambridge, UK. The event embraced painting, music and proper projection mapping (a technique that Ashton has been using for years long before it ever became digital!) … all in one truly magical live experience.

It was the world-wide launch of this new presentation concept, complete with live music from flautist David Heath, vocalist Fay Fife and DJ / producer Dolphin Boy (Andy Levy).

The one off event also coincided with the launch of the 2014 e-Luminate Festival in Cambridge – which in February will celebrate the fusion of lighting and technology to show the city literally ‘in a different light’ – with a fundamental emphasis on eco-sustainability.

Ashton was approached by Rud, who had heard about his work and wanted to take AniMotion to a different level.

Ashton immediately saw the potential of her painting live onto buildings via projection, bringing the specific qualities and grain of real materials and genuinely hand-painted 3D images to cover a surface, plus the raw emotion and edge of images unfolding in front of the audience’s eyes.

“I am hugely excited about the possibilities – this is a completely new style of live art,” says Ashton, adding that the “…analogue quality and rich texturing brings great depth and detail to the work that engages on many levels … and looks absolutely spectacular!”

Rud paints directly onto a light-box. Ashton has devised a way of mapping the building architecture, which he then gives to her as her canvass.

“As soon as we started to discuss the process,” says Ashton, “I knew that I could make this work and give Maria the freedom she needed

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to create her art. It has been a very satisfying intellectual journey and I think that the results speak for themselves. Nothing is hidden, the audience are encouraged to watch the painter as she develops and redevelops the work.”

Before the live show, Rud experimented with a number of ideas and established which worked the best in relation to the building details and features. They discussed the colour palettes she might use in advance, but on the night, the creation of the final three works rested almost entirely on improvisation.

During the show, the painting surface is evenly top lit and a mini-cam placed directly overhead, the output of which is fed into a laptop running Millumin – a software originally developed for VJs which can also edge blend, map and has a number of other useful and cool functions. This was fed via the DVI out to a single Panasonic DZ 21K WUXGA projector.

The use of live music added synergy to the piece, and for Dark Matter, Maria collaborated with the three Edinburgh based musicians who composed three pieces of music – An Improvisation on Debussy’s Syrinx by Heath; The Sound of Sleat by Fife and Levy, and Dark Matter performed by all three.

Says Rud: “By uniting music and painting through the art of projection, AniMotion immerses its audiences in a world of transcendence. By dissolving boundaries between art forms you reveal a whole new world and in the process … a new art form.”

Panasonic sponsored the event, supplying both the projector and the camera and is also a major sponsor of the e-Luminate festival.

Locally-based technical solutions provider Anagram supplied all the other technical production, which included lighting and the sound system.

The building – the library of the Institute of Astronomy – provided a fantastic setting, and after this success, it is hoped to be able to produce another AniMotion work on a different building for e-Luminate 2014 of which Ashton is the Creative Director.

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Studio PRO AUDIO PRODUCT REVIEW

Audio Technica under the microscope

By Greg Bester

Japanese microphone manufacturer Audio Technica, while not necessarily considered in the upper tier of microphone brands like Brauner or Neumann, has been producing some very well regarded and high performing mics since 1962. With headquarters in Tokyo, their microphones have not seen the ubiquity in South Africa as in other countries which is unfortunate because while competing brands offer mics at a similar price point, Audio Technica has a large assembly of pro and novice followers alike who swear by them, particularly their 40 series and other well-knowns like the ATM350 and AE series.

That’s not to say Audio Technica don’t make some top class microphones. Their new AT5040 is as high quality as anyone could expect and stands up against any of the large diaphragm condensers two or three times the price. In a word, Audio Technica delivers quality of a boutique brand at a price Joe Soap can afford.

Audio Technica has been in the audio business for over 50 years and, while they are probably most famous for their microphones, they manufacture other audio products including headphones, magnetic cartridges for turntables, USB turntables, and have pioneered technologies such as ‘Uniguard’, a 13 patent technique that eliminates radio frequency interference due to cell phones, Bluetooth devices, wireless computer networks and walki-talkies. 50 current microphone models have been upgraded with this new RFI-resistant technology.

Here at home, Prosound was recently awarded the Audio Technica distributorship and I was fortunate enough to receive three of their models for a comparative review: the AT4047MP, the AT2050 and the AT4080; two large diaphragm condensers and a ribbon, respectively.

For this review I went along to Playsound Studios in Craighall Park owned and run by Garrick Van Der Tuin, a well-known music producer and sound engineer for Hugh Masekela to check them out and do a few comparisons. Before we get to that, however, let’s check out the specs and features of each microphone.

AT2050 The AT2050 is a multi-pattern, dual diaphragm LDC (large diaphragm condenser) microphone and is at the top end of the 20 series, the entry level tier of the Audio Technica LDC range. It boasts a typical frequency response of 20Hz to 20kHz as we see in most LDCs, a low self-noise of 17dB SPL and a sensitivity of 7.9mV/Pa. It can handle a sizeable 149dB SPL maximum input level and this increases to 159dB SPL with the -10dB pad initiated. It has a dynamic range of 132dB, 1kHz at max SPL. Probably the most useful feature of the AT2050 is the fact that it is multi-pattern selectable.

Three patterns are offered: omnidirectional, cardioid and figure-ofeight. Whether you want to accomplish an M/S or Blumlein Pair

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recording, this mic can do it (provided you have two!). As mentioned, the AT2050 also includes a -10dB pad, which extends its max SPL handling. Finally, it integrates an 80Hz high pass filter for a gentle low end roll off. Included with the AT2050 are an elasticated shock mount and leather carry case.

AT4047MP In the Audio Technica LDC line, there are only three microphones more expensive than the AT4047MP: the AT4050ST, the AT4060 valve mic and the flagship AT5040.

The AT4047MP is a multi-pattern large diaphragm condenser; hence the ’MP‘ suffix at the end of its model number and contains what Audio Technica terms an “externally-polarised (DC bias) condenser” element.

The selectable patterns, just like the AT2050, are omnidirectional, cardioid and figure-of-eight. The frequency response of the AT4047MP comes in at 20Hz to 18kHz but do not be fooled, this is not a bad thing. Audio Technica 40 series microphones are hailed for their natural top end that lacks the hype of cheaper modern condensers. The result is a mic that responds better to EQ and has a smooth top end that isn’t brittle.

Like the AT2050, the AT4047MP includes an 80Hz low frequency roll-off with a 12dB/octave slope. Another feature it shares with the AT2050 is the exact same sensitivity: 7.9mB/Pa. This means that it should provide a similar output level under normal conditions. That being said, the AT4047MP trumps the AT2050 on almost all other fronts. The maximum input sound level is a mammoth 155dB SPL and that increases to 165dB SPL when the -10dB pad is engaged.

It has a self-noise of 14dB SPL and a dynamic range of 141dB measured with 1kHz at maximum SPL. The AT4047MP comes standard with a robust elasticated shock mount and a sturdy dust cover.

Studio PRO AUDIO PRODUCT REVIEW AT4080 Given the recent resurgence and revived popularity of ribbon microphones, it’s no surprise that Audio Technica decided to deliver their own offering as well. The AT4080 is an active ribbon microphone, which means that, unlike traditional ribbons, it requires 48V phantom power. However, unlike condensers, it is not to charge the element but rather to power the built-in preamp that boosts the output of the microphone to a more usable level, requiring less preamp gain. Traditional ribbons were notoriously low output so it was common to pair it to a very quiet and high gain preamp to get the most out of it, particularly for quiet sources.

Like all ribbons, the AT4080 features a fixed figure-of-eight polar pattern. The frequency response is 20Hz to 18kHz, which hints at the fact that it has a slightly higher high frequency extension than traditional ribbons, which generally taper off around 15kHz. It has a sensitivity of 11.2mV/Pa and can handle a whopping 150dB SPL maximum input level. The AT4080 is a little noisier than its condenser counterparts, coming in at 22dB SPL, resulting in 128dB of dynamic range but this is more than enough for most sources and nothing to worry about.

Comparison As mentioned, I took the three microphones to Playsound Studios in Craighall Park for a comparison test, aided by studio owner and audio guru Garrick Van Der Tuin. The plan of attack was simple. We would set up all three microphones as close to one another as possible in front a drum kit and then simply record the kit being played. Then we would switch between the microphones to get a feel for their strengths and weaknesses.

In addition, the next step was to set up other studio standard microphones in similar classes to compare against the Audio Technicas. The mics we chose were an AKG C414 and an AEA R92 ribbon as they would give us a good indication as to how the Audio Technicas performed against tried and tested standards.

We used a Focusrite ISA828 to pre-amplify the microphones, fed into a Lynx Aurora 16VT AD/DA converter and then monitored back through an Audient 2802 console. The signal chain, as you can see, was top notch.

After faffing about with the formalities of the setup, the fun could begin. We recorded a few simple beats with the three Audio Technica microphones placed coincidentally about six feet in front of the drum kit. Next, we listened. All microphones, except the AT4080 of course, were set to cardioid.

On its own, the AT2050 sounded decent enough. There was a fair amount of top end coming off the cymbals and the lower midrange seemed a bit polite, which reduced the ‘thud’ of the kick drum.

Without switching to another microphone, however, it was difficult to make a call as to whether this was a good or bad thing.

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After switching to the AT4047MP, we knew exactly what we were missing with the AT2050. The top end rolled of a little, which revealed the AT2050 to be, for want of a better word, a little bit brittle in comparison. This also caused the midrange to sound a little hard in the AT2050 because it was exposed due to the reduced lower midrange and upper midrange presence peak. Not to say that the AT2050 is a bad sounding microphone, but rather that it exhibited the same hyped top end as other condensers in its price range. This provided a fairly stark difference to the AT4047MP. The AT4047MP was warmer and more forgiving in the midrange. Think ‘smooth’. It was a little darker at the top but that was what my ears wanted to hear. The kick drum came through with more low-end and the chest kicking frequencies were back. Comparing a $1 000 mic to a $250 mic, however, one has to expect a fair amount of improvement and that’s exactly what was evident.

Switching to the AT4080, we were immediately met with the famous top end roll off and fantastic low end that ribbon mics are famous for.

I always find ribbons to exhibit a ‘honk’ in the midrange around 1.4kHz but the AT4080 seemed subdued in this range. The midrange was buttery but also exhibited a rugged sound that I wager would sound fantastic on electric guitars, drum overheads and intimate vocals, particularly female.

Plugging in the AKG 414 and the AEA R92, we compared them to the Audio Technicas. The 414 was surprisingly close to the AT4047MP but a little brighter. Neither was better than one another; just different in tonality. They both had a fantastic, unobtrusive sounding midrange and didn’t get too sibilant when we spoke into them. Truthfully, I preferred the sound of the AT4047MP because of its slightly darker tonality which gave off a warmer impression.

The AEA R92 is a traditional ribbon microphone not requiring phantom power made by AEA, a company that prides themselves on their ribbon pedigree. They make some of the most faithful recreations of the classic ribbons of old such as the RCA 77 and 44 so comparing the AT4080 to it would be somewhat of a benchmark.

The R92 was unabashedly ‘ribbon’. It had a pronounced honk in the 1kHz to 2kHz region with a dip in the spectrum thereafter that peaks a little bit once again at 10kHz and then rolls off. This gave the illusion of a pronounced bottom end ribbons are famous for.

The AT4080, by comparison, was a lot more linear. The low end was there, no doubt, and the honk in the midrange was limited to a slight bump between 1kHz and 2kHz. There was definitely an extended top end compared to the R92 and overall I felt the AT4080 was flatter and probably usable on a wider range of sources.

The wrap The latest range of Audio Technica mics are indeed winners.

Admittedly, I have been waiting a long time to hear them due to very little availability in South Africa and after reading so many positive reviews on the interwebs about them, I am pleased to say that the reports are true. The AT4047MP is a fantastic microphone that, in my opinion, trumps most LDCs in its price range in terms of sound quality and the AT2050, while more affordable, is well worth the money despite the slightly hyped top end and reduced lower midrange punch. The AT4080 is a stellar ribbon mic that takes the application of the ribbon sound to new dimensions, adding to its versatility for a broader range of sources. Overall, I am glad to see Audio Technica taking a step forward in South Africa and I hope to encounter them more and more in my audio travels. Au revoir!

Yeongnam University, Cheonma Art Hall, South Korea

+27 (0)11 791 5761 www.matrixsound.co.za For more information, visit www.alconsaudio.com or www.wymiwyg.info

Studio PRO AUDIO STUDIO TIPS

Recording and mixing drums in the modern DAW

By Greg Bester Part 3 – Tracking Tracking, to me, is the most important stage in the recording process and requires the majority of your attention. I cannot stress this point enough. The only secret to great recordings is that your sound is only as good as your source. A well overused cliché, I know, but there is a reason for that. When you listen to your favourite album you might think you’re listening to something that has a fair amount of processing and enhancement. Well, it may sound that way but chances are it’s probably just a well-crafted recording. Be that as it may, the tools we have to manipulate audio have purpose and would not be here if we didn’t need them.

This is for two main reasons: •

To correct an inconstancy

•

To supply an effect

In my experience the better the quality of firstly the performance and secondly of the recording during the tracking phase, the less of a degree of processing is needed and the easier it is to reach excellent results during mixing. An even, consistent drummer is a lifesaver to a mix engineer and a pleasure for workload, not to mention the mix itself. It is just another aspect of the ‘everything counts’ ideal that needs to be great in order to sound great.

The next aspect of a great drum sound is ambience, as touched on previously. Back in days of old when major commercial studios were the only gateways to professional audio a lot of attention was paid to the construction of the performance rooms, or stages, as they were called, where the acoustics and therefore the ambience was finely tuned to supply a luscious and natural reverberation to recordings.

Great sounding ambience can add immense depth and space to a drum kit and is almost essential if not because of the advent of digital reverb and now high precision convolution reverbs which make it possible to record drums in a relatively ‘dead’ environment and add convincing ambience later.

A major consideration here is that the shape of a room can highly influence the response and quality of a recording, even while being ‘dead’. If you are recording in a room with parallel walls the room will have certain frequency resonances called standing waves that will accentuate certain frequencies in an unnatural way at certain parts of the room called antinodes. Because of the average dimensions required to accomplish a simple recording, these frequencies are often most prominent in the low or bass end of the spectrum and will cause the recording to become ‘boomy’ or ‘muddy’. The inverse of this is that often there is a lack of low end in certain parts of the room.

Simple alterations to room shape by way of corner functional bass traps, baffles and diffusers can greatly relieve this problem.

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Tracking levels The first thing I would say when tracking drums is to track them dry, without EQ (unless you know exactly what you’re going for), and keep your levels relatively low (Note: good mics and good mic pres are a must here. I can’t stress the front end enough, especially if you’re working in a DAW). Peaks topping out at -12dBfs should do the trick. If you think it’s too soft, simply turn up your control room volume.

Modern analogue to digital converters may seem relatively the same but they’re not and some perform better than others. It’s also somewhat true that low to mid-level converters can perform better at higher sample rates but this is a topic of fierce debate on the interwebs. The old adage of ‘keep your levels as hot as you can before clipping’ is now advice from a bygone era and should be avoided completely.

Back when 16-bit audio and therefore narrower dynamic range was the norm, ‘getting the most out of your bits’ by way of maximised levels was preached as gospel. However, with the advent of 24bit audio it is no longer required (or advisable) to drive your levels anywhere near the 0dBfs (digital clipping) region. The reasons for this

Louder is definitely not better so trust your ears or use a trusted RMS meter to match the average levels. Both used together can be very powerful tools in processing and correcting inconsistencies.

are simple. The first is that it’s not necessary, so why do it? In the 24-bit domain you have a theoretical dynamic range of 144dB (closer to 120dB in reality due to thermal noise generated by the analogue ends) and that’s more than enough considering the signal to noise ratio of even the quietest mic preamps don’t usually exceed the 100dB mark.

The second is that as the voltage reaching your AD converter rises to full scale a phenomenon called “inter-sample peaking” occurs. In the simplest terms, this is due to the fact that peaks occurring between digital samples can actually be higher than the sampled audio and when reconstructed at the DA, clipping may occur. Digital peak metering only reflects the instantaneous sample level and not the reconstructed DA signal so these peaks slip by un-noticed like ghosts but are, in fact, a reality. That being said, the main advantage of keeping your levels low is that you preserve the full dynamic range of the recording whilst making sure your converters are operating at their optimal level. If there is no obvious noise at these levels, then there’s no problem.

One more worthwhile thing to know when it comes to levels in general is that on most AD/DA converters, 0VU (Volume Units, the industry standard metering scale for decades) is -18dBfs. This is not to be confused with the dBu or dBv scale found on most analogue equipment, such as mixing consoles. Just so you can correlate how these levels relate, this is the general breakdown:

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0VU = -18dBfs =+4dBu Depending on the calibration of your AD converter, 0VU – in the broadest sense – can be seen by the input meter as anywhere from -12dBfs to -22dBfs but the generally accepted value is regarded as -18dBfs. These are regarded as standard nominal levels in a professional audio system. This means that when the input level of your mixer’s microphone preamp is hitting +4dBu on the output peak meter, it should be seen as -18dBfs on your AD converter’s input meter1, and 0VU on a VU meter (well, with a sine wave; complex waveforms exhibit different behaviour). Note that an average mixer’s meter could top out at anywhere between, say, +18dBu to +28dBu (and more). This is an indication of where the mixer’s internal circuitry will clip, or in laymen’s terms, distort.

So, if you subtract +4dBu from, say, +18dBu, the resulting number – in this case 14dB – is the amount of headroom you have to work with. Therefore, if your highest peaks are hitting -18dBfs at your AD converter, you have 14dB of headroom before the audio will experience clipping at the mixer.

Simple, right?

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Internal levels I don’t recommend going above -6dBfs on any channel at any time. Keeping your levels conservative ITB (In The Box, ie. inside the DAW software) is the best approach when mixing, and processing should be auditioned in relation to the original source at a nominal level, ie. the same level. Sometimes it’s easy to think you’ve done something really great to a track when in actual fact you’ve only made it louder and therefore appealed to the ears’ equal loudness curves.

Reference is the key word here and all processing you attempt should always be in relation to the original sound. In other words, when you affect a sound with a processor, you should always A/B the processed signal at the same perceived volume. How else are you going to know if what you’ve just done actually sounds better? Louder is definitely not better so trust your ears or use a trusted RMS meter to match the average levels. Both used together can be very powerful tools in processing and correcting inconsistencies.

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Studio PRO AUDIO STUDIO RETROSPECTIVE

Bop revisited

By Greg Bester

Studio 1 at Bop Studios

On the outskirts of dusty Mafikeng, Northwest Province lays the jewel of the South African recording industry: the world famous Bop Recording Studios. A massive, purpose-built triple-studio facility, it is a place of legend and intrigue that many audio engineers living and working here only speak softly of in passing, speculating about its fate and contemplating its demise. Indeed, this facility in its prime was state of the art and after Abbey Road in London and Ocean Way in Los Angeles, it was ranked third among the top studios in the world. But alas, the studio now sits practically defunct; its story as heart-breaking as it is wondrous and it’s façade as imposing as it is desperately calling out for someone, anyone, to bring it back to life.

I, for one, have always wanted to travel to Mafikeng to see Bop for myself. One just simply cannot believe the sheer gravitas of a place like this and when you see it for yourself, it’s difficult to believe that it even exists in such a small, if not random little town in Northwest Province.

Stepping into its reception area the scale of its cost is immediately presented. Hardwood floors, infinitely high ceilings, austere concrete fasciae and dated furniture from the 1990s tells an interesting tale without uttering a single word. It’s almost as if the facility is a time machine that warps us back twenty years; its accolades only hinted at by the paltry-few homages of past successes on the wall.

Not to say the studio didn’t produce anything noteworthy. It did.

The Lion King soundtracks, Laura Branigan, Indecent Obsession, Ray Phiri, Miriam Makeba, Hugh Masekela and Springbok Nude Girls were

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all recorded here with great success. It’s just that it never got the chance to truly flourish and the time when its halls bustled is now but a memory.

Prime Nestled on four hectares of prime land next to the Mmabatho Palms Casino and the Leopard Park Golf Estate, the studio itself also includes its own resort set in a tropical garden complete with full service chalets, a pool, a restaurant and a bar. To the average musician and production crew, this place is a Disneyland of sorts. What an amazing idea it is to be able to come to one of the best recording studios in the world, check in and stay for a few weeks, take game drives, get creative and

STUDIO RETROSPECTIVE Studio PRO AUDIO record. This is truly the ultimate African recording experience.

However, upon arrival the big questions start to emerge, the most pressing being: “what happened here?”

The history In the late 1980s, in the time of the Bophuthatswana government, the idea of the Bop Recording Studios was conceived. Bophuthatswana, which translates to “gathering of the Tswana people”, was classed by the apartheid government as a ‘tribal homeland’ with a scattered patchwork of borders in what then was the Western Transvaal, Cape Province and Orange Free State. It was an autonomous state with a parliamentary democracy and a president – Chief Lucas Manyane Mangope at the time – as its head of state.

After having established the Mmabana foundation for the arts, culture and sports, former Bophuthatswana president Chief Lucas Mangope came up with the idea of bringing people together through music and building a recording studio. This idea was then mooted around to the relevant decision makers and after building the Bophuthatswana Broadcasting Corporation buildings nearby, an erstwhile recording studio was established there as a trial run.

Identifying that there was indeed a niche demand for such a studio, Mr Mangope solidified his pursuits. Indeed, even US musician Isaac Hayes, an acquaintance of Mr Mangope, had an influence on his decision as they had met and discussed the matter during a paths-crossing. In the mind of Mr Mangope, the building of the studios was to go ahead.

Originally, Mafikeng was not the only place considered to build the studios. Sun City via negotiations with Sol Kerzner was considered along with other cultural hubs such as Soweto.

However, considering the infra-structure that Mafikeng had already established such as the Broadcasting Corporation, the Mmabatho Stadium, the Mmabatho Convention Centre and the Mafikeng Airport, and the fact that it was, at the time, the capital of Bophuthatswana, it was finally selected as the prime position.

One of the main objectives in building the studios was to attract foreign artists and projects so in order to do that it was decided that the facilities would offer the best industry has to

offer. To say that the planners were thinking large was an understatement, considering what they built. Funding, however, was required.

The Sefalana Employees’ Benefits Organisation, a pension fund contributed to by employees from various sectors of the economy including civil servants, was then mandated by Mr Mangope to fund the venture. According to a reliable source, the final costing figure to purchase the land, build the studios, buy the equipment, and erect the resort was around $40 000 000.

In terms of the studios, only the best was good enough. For starters, world-renowned acoustic designer Tom Hidley and architect Thomas Rast were commissioned to design and build the studios while Shozo Kinoshita handled the design and installation of the custom monitoring system. These three men had a huge hand in what became Bop Recording Studios, arguably one of the best acoustic recording spaces in the world. Three studios were built with identical control rooms albeit with live rooms of differing sizes. Studio 1 has the largest room – enough to accommodate a large orchestra – while Studio 2 is slightly smaller. Studio 3 has a small booth for overdubs since it is considered better suited to mixing.

Of course, the equipment installed was nothing but state of the art. All studios included the Kinoshita RM-7V Infra-Sonic system that extends all the way down to 9Hz – a world first. Each studio received an enormous 96-channel analogue console from Focusrite (Studio Console, one of 10 ever made, Studio 1), Neve (VRP96, Studio 2), and Solid State Logic (4000G+, Studio 3).

Multi-track recorders included a Studer A820 2” 24-track tape recorder, two Studer D820 48-track DASH digital recorders, a Sony 3348 DASH recorder, and a Mitsubishi X-880 32-track digital DASH recorder. Two-track recorders include a Mitsubishi PD8620 digital master recorder and two Studer A820 ½” analogue master recorders.

Of course, the comprehensive list of all the equipment is too vast to list here but suffice it to say that names like API, Focusrite, Neve, Manley, Urei, Eventide, AMS and Drawmer are found all over the studios. Also, Studio 1 and 2 received 9-foot Fazioli pianos for their live rooms and a number of custom made microphones were purchased. For a complete list of all the gear at BRS visit: www.boprecordingstudios.co.za.

Studio 1 at Bop Studios: (left to right) Phil Dudderidge, Schalk Janse Van Rensburg, Shawn Taylor, Chris Mayes-Wright, David Stride, Dewald Visser and Hugh Robjohns on keys

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Studio PRO AUDIO STUDIO RETROSPECTIVE

The more things change…

Today

Shortly after the studios were completed in 1991, Nelson Mandela was released from prison. As a result of this, the dynamics of the country changed and this affected Bop in a profound way. All of a sudden, because Bophuthatswana was absorbed into the Republic of South Africa, there was a dispute as to who actually owned the property. That, combined with many challenges the country faced in terms of change of leadership, put the fate of the studio on hold. In short, the government’s hands were full dealing with other matters.

Additionally, those that had come to BRS from foreign lands to work there suddenly found themselves out of status and were therefore forced to leave. Eventually, the Public Investment Corporation (PIC) inherited all SEBO assets and became the overseers of the studios for the time being. As a result of all of the red tape involved in this, the studio was then shut down before it even started.

In 1994, after South Africa’s new democracy was established; the SABC leased the facility from the PIC and then subsequently sub-leased the facility for various projects. This continued from 1994 to 2003. There was then a fall out between the PIC and SABC which resulted in a termination of their relationship. The fate of the studios once again hung in space.

Thereafter rumours abounded that the PIC was going to sell the studios because it did not fit into their portfolio of investments and because they lacked the expertise to keep it running.

Subsequently, the Department of Arts and Culture decided to attempt a purchase of the facility but were in breach of their agreement due to non-payment. The agreement was then terminated.

The response of PIC to this was to identify specific entities to tender for BRS and it was then that current owner Mr Saj Chaudry and his consortium at that time was selected for tender consideration along with four other groups. After a long decision making process based on the conditions of the tender, vision, business plan, personal backgrounds and business acumen, Mr Chaudry and his consortium were selected as the preferred buyers and subsequently became the owners in 2006.

In 2009, Mr Chaudry bought out his partners and became the sole owner.

Today BRS is laying in waiting. When Mr Chaudry took over the resort it was in a state of disrepair so many renovations were indeed carried out but there is still work to be done. However, a full audit has been concluded on both the studio and resort and, according to Mr Chaudry, an immediate amount of R10m has been identified in order to finance the recapitalization process. The studios, however, are still currently in a less-thandesirable state with only Studio 1 in relatively good working order. Nevertheless, rumours of anthills growing in the control rooms, thankfully, are untrue. In reality the Neve Control Desk in Studio 2 requires a complete overhaul. The SSL in Studio 3 is in a good working order but requires power supplies as well as attention to its monitoring system’s amplifiers.

Between August 2003 and 2005 most of the microphones were stolen along with a few amplifiers that need to be replaced. This means, combined with two broken consoles and nothing to record on, the studio has a long way to go before it is able to comfortably generate revenue. The only saving grace of the studios will be the recapitalisation process Mr Chaudry assures me they are in the process of, which will bring the studios once again to an operation state.

When asked about the future of BRS, Mr Chaudry had this to say: “As our complex stands, we have the resort side and we have the studio side. It is not just a recording studio. We have a restaurant, a bar, and a conference centre. But, on the studio side we are at an advanced stage of negotiating with the government, SETAs, universities, etc, to have an academy that would cater for sound engineering training for the industry. The other thing is the Rhino record label that belongs to us where we hope to sign and promote artists. We hope to make this a hub of arts and culture for the country, and eventually to the globe. I think with very little financial input we can suddenly bring the resort and studios back up to the five stars that it should be.”

The Bop Studios building

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The Wrap So for now, the fate of BRS is to sit quietly in the dusty Northwest until Mr Chaudry’s business plan is executed. I, for one, am in complete in support of such a move and encourage potential partners and investors in South Africa, on the continent and globally to take interest in the project. If I were in such a position I surely would be because to someone who is passionate about audio, I would be proud to know that, as a South African, we hold such a gem in our crown. There’s no doubt that such a massive icon of our recording heritage needs preserving and I’m sure with the right direction, it will have no trouble attracting investment and support. Bring back Bop Recording Studios!

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