ETA DEC 2018

THE NEW REFERENCE POINT

w w w . r o b e . c z

3

CONTENTS DEC. 2018

52

IN THIS ISSUE

34

VOL 19 ISSUE 12 DECEMBER 2018

04 FIRST WORDS 06 NEWS 24 VIDEO FILES 26 ENNOVATIONS

KNOWLEDGE HUB

INTERVIEW

46 All About Wireless: Noise in Analogue vs Digital Systems

34 Barco: Offering Technologies that Exceed Customer Experience 36 Total Solution Marketing: 20th and Counting 38 Pascal Miguet of SOMMER CABLE on the BASIC and BASIC+ series

48 Immersive or Not, and How About All Those 3D Audio Formats?

LIVE

EXHIBITION PREVIEW

49 VIETNAM: disguise Helps Tran Linh Multimedia with Historic 3D Video Mapping

40 ISE 2019 to Showcase the Finest in International AV

50 JAPAN: Theo Cox Designs Spectacular Arena Tour for Yumi Matsutoya

44 PL + S Guangzhou Achieves Sustainable Growth Amidst a Dynamic Industry Shift

52 HONG KONG: Outline Newton Clocks in at Clockenflap

43 EVENTS CALENDAR

54 MARKET PLACE

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

4

FIRST WORDS DEC. 2018

In my over 25 years of publishing for the sound, light and visual industries in Asia, I have had the pleasure of meeting many people from all walks of the industry. I had in one of my earlier years interviewed Rupert Neve. It was a face to face interview, and frankly, I was nervous.

Here was a man who is synonymous with the audio industry, a legend. It turned out to be an enjoyable interview, and Mr Neve was patient and humble. I bring this up because a couple of weeks ago I interviewed with Patrick Woodroffe. Another iconic figure but in the lighting industry. I came out of the interview gushing with how Mr Woodroffe was such a nice gentleman.

Again he showed patience, explained things clearly and was calm.

I find that people with real talent are genuinely humble and show humility — something that sometimes is amiss in the industry. As this is our last issue for the year, it is a great time to reflect on how we treat others. Positive actions create positive reactions.

Ram Bhavanashi Editor, India And Middle East ram@spinworkz.com

Julie Tan Admin & Circulation admin@spinworkz.com

Natalie Chew Writer natalie@spinworkz.com

Daniel Ngiam

MEDIA Rep for Spinworkz Pte Ltd Tel: +65 84410258 ďŹ rst_dm@hotmail.com

Shankar Venugopal ART / LAYOUT

shankar@creativecult.in

* ETA will publish our exclusive interview with Patrick in our ETA January issue.

CREATIVE

CULT

Thomas Richard Prakasam Publisher / Editorial Director

thomas@spinworkz.com

To subscribe to Entertainment Technology Asia click here: https://www.e-techasia.com/subscribe/ PUBLISHED BY

51 Bukit Batok Crescent, #06-10 Unity Centre, Singapore 658077. Tel: (65) 6316 2716 Fax: (65) 63162715, www.spinworkz.com ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Disclaimer : Entertainment Technology Asia is published 12 times a year. All rights reserved. No part of this magazine is to be reproduced, whether mechanical or electronic without the prior written consent of the publisher. Views expressed in this magazine do not necessarily reflect those of the editor or the publisher. Unsolicited contributions are welcome but the editor reserves the discretion to use them. Whilst every care is taken to ensure the accuracy and honesty in both editorial and advertising content at press time, the publisher will not be liable for any inaccuracies.

Please be informed that products and company names mentioned in this publication may be protected with tradenames, trademarks or registered trademarks of their respective owners. Our non inclusion of such symbols is not an indication of us not recognising the copyright but rather to have a common look across our articles. Misuse of tradenames, trademarks or registered trademarks is strictly prohibited. It is the obligation of our readers to check if company names and products are protected with tradenames, trademarks or registered trademarks.

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NEWS DEC. 2018

MALAYSIA

MD Events Asia Opts for Shure they had no hesitancy in opting for 20 channels of Shure ULX-D and 16 channels of PSM300 to be added to their extensive inventory.

“The ULX-D digital wireless system was the clear choice for our many needs as it provides exceptionally detailed wireless audio in widely diverse and demanding environments,” explained the Managing Director of MD Events, Jack Gill.

Jack Gill with the Shure ULX-D digital wireless system Having started operations in 2006, MD Events Asia Sdn Bhd has grown to become one of the leading players in the Malaysian professional sound, lighting, truss & LED screens business serving a large customer base in Southeast Asia. In addition, MD Events Asia also provides a wide range of professional and commercial products for sale, rental and fixed installations including international concerts, national celebrations, live TV broadcasting and corporate events.

The Kuala Lumpur-based company has continually turned to Shure for all its microphone needs. So when they needed to upgrade their wireless microphone systems and the personal monitoring system,

“On site, it’s vital that we can quickly and easily set-up our wireless systems. As ULX-D can be network controlled via the Workbench software, our working lives have been simplified. ULX-D offers High Density Mode, and it allows the user to use up to 560 channels in 72 MHz or 63 channels in a single 8MHz TV band. This is really useful for live performances as the RF environment can change a lot before the show starts. Furthermore, during relatively long events, we don’t need to worry about the battery life of Shure SB900, as the transmitters and receivers can operate for up to 9 hours of runtime.”

He also commented that PSM300 was chosen as it offers stereo monitoring on stage. One of the huge technological benefits of transmitting in stereo is that it allows them to offer MixMode functionally on the bodypack for the user to control while performing. mdeventsasia.com

JAPAN

Astro Spatial Audio welcomes Audio Brains as Japanese Solutions Partner As part of the renowned MSI Japan group, Audio Brains occupies a uniquely influential position in the Japan industry as well as that of the wider APAC region. With deep roots into the concert touring and theatre communities, the company has amassed a portfolio of prized brands such as Powersoft, AVID, Symetrix and Martin Audio – including the Sound Adventures immersive audio package, which is driven by Astro Spatial Audio.

ASA’s Bjorn van Munster with Audio Brains’ Fujii Shuzo and Osamu “Sam” Yamashita Astro Spatial Audio is proud to announce its entry into the Japanese market with the appointment of Audio Brains, one of the country’s most respected suppliers. As the official Japanese solutions partner for ASA, Audio Brains will provide training and support whilst spearheading the expansion of Astro Spatial Audio’s brand-independent immersive audio technology into the country’s powerful live entertainment sector.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

According to Audio Brains Director, Sam Yamashita, the company’s enthusiasm for Astro Spatial Audio partially stems from the system’s ability to work with every brand of professional loudspeaker. “Astro Spatial Audio can be used with any loudspeaker you choose, whereas other systems are made by specific manufacturers for use exclusively with their own speakers. It is the best solution for achieving a fully immersive audio experience while having the freedom to use the equipment you choose.”

The core of the Astro Spatial Audio solution is the SARA II Premium Rendering Engine, which facilitates the conversion of audio signals into

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NEWS DEC. 2018

audio objects. A 3U road- and rack-ready processor offering up to 128 MADI or 128 Dante configurable network pathways at 48kHz/24-bit resolution, it utilises extensive metadata attached to each audio object.

The result is a precise calculation, updated 40 times per second, of that object’s position within virtual 3D space, as well as that object’s acoustic effect on the virtual space around it.

The outcome is a truly three-dimensional audio canvas which can be easily and quickly scaled between venues, regardless of the loudspeaker brand, configuration or layout.

“We are both delighted and honoured to welcome Audio Brains into our global family”, enthused Astro Spatial Audio Managing Director, Bjorn Van Munster. “Few companies within our industry possess the experience or prestige of our new solutions partner, and I’m very confident that we will achieve great things together in Japan. I look forward to a long and fruitful friendship.”

While Astro Spatial Audio will receive its official Japanese debut at InterBEE 2018, taking place at Tokyo’s Makuhari Messe from November

14th – 16th, Audio Brains is already planning dedicated demonstrations and training workshops for early 2019.

“Our partners and friends will have the chance to experience Astro Spatial Audio in the first quarter of 2019,” confirmed Yamashita, adding that the list of invitees will include “not only sound engineers but also show producers, production companies, artist’s managers and the artists themselves”.

He concluded: “We believe that the style of live entertainment is changing to encompass more immersive productions, and more innovative uses of this technology. For example, in Japan, we have extremely popular concerts with virtual, animated characters, which can be projected all over the venue. If the visual presentation is that advanced, why shouldn’t the audio be just as impressive? With Astro Spatial Audio, it will be.” www.astralaudio.net audiobrains.com

AUSTRALIA

Cautech Invests in Acme Lighting the light output, making them together with Energy Pro Spots, a great workhorse fixture for Cautech’s flexible lighting inventory. Both luminaires are also very quiet, which was a must for the theatre productions and corporate events that Cautech mainly focuses on.

Cautech – a fairly new production company based in Melbourne – have made their first investment into Acme lighting. Adding 32 Acme fixtures into their lighting inventory was a decision Tony Lamplough, the owner of Cautech, made, based on a shoot-out against some of the other main brand fixtures available on the market in the class. The purchase included 8x CM-700Z LED washes, 8x Energy Pro Spots (XA-400Pro), 8x 5R Beam Spots and 8x ColorBar 16FC fixtures.

“These Acme lighting units fitted in with the spec of a tour I was about to undertake, Star Wogs, The Ethnics Strike Back. This is the latest show from Nick Giannopoulos,” comments Tony.

During the shoot-out, the CM-700 high powered LED washes outperformed all the compared lighting fixtures in the intensity of

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

(L to R): Simon Pentz (Technical Sales & Support at ULA Group) and Tony Lamplough (owner of Cautech) The 5R Beam Spots were selected for producing great in air effects and ColorBar 16FC fixtures added to the mix as they are versatile wash lights with pixel control option.

“The equipment performed faultlessly for the 36 shows on the tour”, confirms Tony. “The tour starred Nick Giannopoulos and Mary Coutas, along with a tri called Sooshi Mango. Alex Saad was the Lighting Designer, and I assisted as the co-designer”. www.ulagroup.com

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NEWS DEC. 2018

GLOBAL

RealMotion Now Integrates with Notch Creative So tware RealMotion has announced the market introduction of the next generation of its transformative RealMotion content generation and editing platform which now supports full integration with Notch software.

According to Director of RealMotion Geoffrey Platt, the second generation updates stem from user requests and research, and they underscore the company’s commitment to make the RealMotion platform the most powerful, flexible and creative content generation and delivery system available for entertainment purposes today.

within the RealMotion platform, optimizing workflows.”

Matt Swoboda, Founder of Notch, said today, “At Notch, we’re committed to making software for content creators that’s flexible and scalable. We enable our users to realize their creative and optimize their workflow, giving them the power of rendering in real-time without having to code. Ultimately, we’re putting the creator back in charge of the creative, and we are looking forward to seeing how the integration announced today will be used by RealMotion creators. RealMotion already has a great deal of power and flexibility which makes it really exciting, particularly in the fixed install space - and even more so when combined with Notch.”

The combination of performance, reliability, and flexibility separates the RealMotion platform from its competition. In terms of real-time power, RealMotion is designed for maximum speed and pixel throughput and is capable of The combination of performance, driving up to 12 FHD signals reliability, and flexibility separates the with crossfade RealMotion platform from its competition.

“We listen to our users,” Platt emphasized, “and we want to evolve RealMotion into a platform that optimizes workflows in the way that creative professionals work in entertainment today. By adding full integration support for Notch, we are directly addressing the industry’s need for the best tools that empower professionals to produce their very best work.”

In addition to the Notch integration, RealMotion now supports the NDI video streaming protocol, offering creators even more flexibility for every project.

The company is also adjusting its product catalog, evolving from performance-based configurations into versions designed for specific vertical market applications, beginning with fixed installations.

This new organization will provide end-users with the specific tools and capabilities they need for the work they do, and comes as a result of market needs.

“Ultimately, the new capabilities introduced today and the upcoming new product configurations will unleash a lot more power for creativity,” Platt added. “Anything we can do to make RealMotion more attractive to creators, we will do. That’s why we are working to integrate popular products creators are already using. Adding functionality allows more of the content creation process to occur

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

In terms of real-time power, RealMotion is designed for maximum speed and pixel throughput and is capable of driving up to 12 FHD signals with crossfade, video playback and interactive generative content layers while capturing two 4K signals. RealMotion also sets a new benchmark for reliable 24/7 performance and real-time monitoring — thanks to a design that empowers complex projects while allowing operators to be informed of hardware health status.

Finally, RealMotion is distinguished by its flexibility. It is an intuitive, time saving solution made by media professionals for media professionals. Well documented, easy to learn, quick to operate and agnostic of most inputs, outputs and content assets, RealMotion is designed to interface with other technologies and provide support throughout the entire project workflow.

The idea for the RealMotion platform came from real-world design experiences of the Float4 studio team who were working on creating compelling digital experiences within physical spaces for forwardthinking clients like the Sofitel Baltimore Paris Hotel, the Hotel Mere in Canada, eBay’s corporate headquarters, the Seneca Buffalo Casino, and the Liberty Lights Mall in Cincinnati, Ohio, among others. www.realmotion.com

12

NEWS DEC. 2018

CHINA

Prolyte Group Space Roof System Debuts in Asia Pacific Region In addition, the structure complies to all latest western regulation for temporary demountable structures.

“Having a space roof system available in the Asian market will give a new mindset and new opportunities for producers and organisers of Asian events,” says Ruud de Deugd, product manager at Prolyte.

Following its initial investment in Prolyte’s Mammoth ground support range of equipment, NeuroTech Asia has become the first owner of the Prolyte Space Roof System in the Asia Pacific region.

NeuroTech provides comprehensive AV and staging services in China and throughout the Asia-Pacific region to international clients including BMW, Givenchy, and Air France as well as concert tours and traveling productions. Responding to client demands, NeuroTech first contracted with Prolyte in early 2018 to purchase staging systems with high load capacity that could be built in different configurations and would comply with international standards. Prolyte delivered its Mammoth Ground Support System to NeuroTech and the stage system performed flawlessly in April 2018 at a live show for the auto industry.

Based on this initial success, NeuroTech began receiving more staging requests from large European companies for reliable and safe structures with tremendous load capacity. Seeing an opportunity to augment its structural offerings throughout the Asia-Pacific region, NeuroTech increased its commitment and purchased Prolyte’s Space Roof system. The Space Roof is a modular roof system based on a space frame structure. The aluminum profiles combine with unique node points to create a roof structure of any desired size or shape. The specially designed top canopy guarantees efficient water drainage and the ballast is an integrated part of the system, creating a reliable, safe and efficient way to add a counterweight to the structure.

The roof can be suspended from standard Prolyte CT towers and can be built up to 37 x 22 meters in size, offered a loading capacity of 30t UDL + 2x 4T PA which was easily installed, which helps meet the needs of touring artists. With reducing the stage opening (standard 31m), the loading capacity can be easily increased up to 50t. The space roof structure can also be easily adapted in size every 2.072m in width and depth. With maintaining the structural integrity of the system.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The Space Roof is the only structure of its kind available in the Asian market. When NeuroTech purchased the Space Roof structure, Prolyte supplied all of the parts and components, lifting and control equipment, continuous engineering support and customer service in their language.

In addition to this, a vital part of Prolyte’s services includes buildup training to ensure the safety of workers and the accuracy of the construction. For NeuroTech’s Space Roof, the safety training and test build structure was assembled in Tianjin, China. Working with engineers from Prolyte, Neurotech’s large, experienced crew had the roof structure up in 24 hours and incident free.

Until this time, there was no such structure in the Asian market. The requested structure needed quite a few adaptations to fulfill the needs of the show. Pre-rigs, extra steel beams, and extensions were used on the space roof and allowed for 1m square rigging points, which saved time during the rigging of the show allowing the full extended roof to be installed in 2 days, including stage and ballast.

Lambert Bouwmeester, Prolyte Group, CEO stated, “Prolyte is convinced the Chinese market is getting ready for Prolyte’s quality products.”

Space Roof Specifics: • Modular roof/ space frame structure with extremely high load-bearing capacity • Every 1x1m square a rigging point • Supported from any Prolyte D75T or C52T towers • The modular roof that can be adapted to any size or shape • By increasing components the roof can increase in size from 37 x 22 • Guarantees efficient water drainage • Measurements comply with standard scaffolding systems • The structure needs a minimum amount of diagonals for easy creation of corridors underneath.

• Requires minimal machinery to construct (1x forklift + 2hour a crane of 40t) www.prolyte.com

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NEWS DEC. 2018

MALAYSIA

Robert Bosch Announces Partnership with Mahajak Trio Electronic Mahajak Trio’s dealers, end-user, consultants, suppliers and system integrators. MTE will hold distribution rights from RBSB covering a wide array of Pro Sound loudspeakers and electronics with familiar brands like EV (Electro-Voice) and Dynacord.

Robert Bosch Sdn Bhd (RBSB) recently announced a new partnership with MAHAJAK TRIO ELECTRONIC SDN BHD (MTE).

The announcement was made during their Partner Appreciation Dinner at Four Points at Sheraton Malaysia which was attended by Minister of Communication & Multimedia, Mr. Gobind Singh Deo s/o Karpal Singh,

MTE carries a wide and comprehensive range of professional sound equipment such as loudspeakers, audio mixers, amplifiers, signal processors, microphones, video-audio control systems and entertainment lightings. MTE also provide consultancy services, technical advice and conduct training on sound solutions, as well as testing and repair services. MTE’s coverage of the market is extensive, providing every conceivable audio solution for every sector. They range from recording, broadcast, performing arts, concert halls, stadiums, convention centres, shopping malls, education, corporate & government complexes, hotels & casinos, restaurants & bars, houses of worship, theme parks, stage & tour performances, and even home entertainment. www.bosch.com.my

GLOBAL

Bradley Watson Promoted to New International Sales Director Role at Martin Audio Martin Audio is pleased to announce the promotion of Bradley Watson to the new position of International Sales Director.

One of the company’s longest serving executives, Watson was instrumental in building domestic sales during the first decade of the millennium before leaving in 2010, but maintaining a close relationship in his capacity as an installer.

Presented with the opportunity to re-join the company in September 2016, and assume the new role as Sales Manager EMEA he described the opportunity as “a perfect scenario”.

Speaking of the latest promotion, Watson said, “Since my return to Martin Audio I have been proud to be part of a team that’s been instrumental in bringing over 30 new products to market in just over 24 months. As EMEA Sales Manager, I inherited many long standing relationships and distribution partnerships that my predecessor and good friend Martin Kelly worked hard to forge prior to his retirement, and I have greatly enjoyed the role to date.”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

However, he notes that the market has changed considerably in recent years, with Martin Audio pioneering a number of key technologies to assume a leading position in the pro audio industry. “With the advent of Scalable Resolution, in the form of Wavefront Precision, we have experienced well managed growth over the two years, with an exciting product roadmap that will provide even greater opportunity to explore new market sectors.

“The new role as International Sales Director will offer greater scope, as part of the new Martin Audio family, to further influence and develop our business in these segments, alongside our territory managers throughout the UK, EMEA, APAC and LATAM.” Dom Harter, Managing Director, added, “Brad has been instrumental in driving sales growth in EMEA and fostering strong relationships throughout the territory. As Martin Audio has grown around the world, the need to introduce an International Sales Director role is prudent to help plan and execute our next wave of commercial success, and Brad is perfect to take on that responsibility.” martin-audio.com

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16

NEWS DEC. 2018

GLOBAL

EAW Promotes Jim Newhouse to VP of Global Sales Eastern Acoustic Works (EAW) is proud to announce the promotion of Jim Newhouse to Vice President of Global Sales. Newhouse has served the company as North American Sales Director since 2015.

Before joining EAW, he worked as a Regional Sales Manager at Bose Corporation and owned and operated AV systems integration firm Clear Signal. As EAW North American Sales Director, Newhouse established a strong direct sales team, dramatically increased installation market revenue, and initiated a highly successful dealer incentive program.

“The key to winning is building a great team, person by person, and key to any successful team is an extraordinary leader,” comments EAW

president T.J. Smith. “Jim has repeatedly demonstrated his ability not only to create relationships and sell but to rally the best out of those around him. I am pleased to welcome Jim to the executive leadership team at EAW.” “When given the opportunity to build and lead the EAW North American sales team, I was determined to surround myself with the strongest team,” declares Newhouse. “Our North American sales team understands our customers’ needs and continually rises to the occasion. We all continue to grow together; iron sharpens iron. Our goal is to make sure that our international customers and team are as tightly connected as our North American team.”

Newhouse’s promotion is effective immediately. He can be reached at James.Newhouse@eaw.com www.eaw.com

SINGAPORE

LTA Organises Rigging Safety Awareness Seminar This seminar was organised in conjunction with Prolyte Asia Pacific (PAP) and was conducted by technical manager Jasper van der Sluis.

It was for the first time this kind of seminar was presented, and although it was under the “Prolyte campus” umbrella, Colin Quek owner and managing director of LTA stated, “Although we are the Prolyft Service Point for Singapore and dedicated dealer for Prolyte, Doughty and Protos load measuring systems we believe that it is important to show as many aspects of safe rigging in general regardless of the brand or country of origin.

By listening to the Singaporean entertainment industry and boosted with an ongoing awareness of rigging safety in this industry, Loud Technologies Asia (LTA) took the lead in organising as what was named “Rigging safety awareness” seminar in their brand new showroom and training facility which was opened only recently and was used as seminar room for the very first time.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

And making people from our industry aware of important day to day rigging which can result in unexpected outcomes. Among others it was shown by using load cells how load(s) can react on a truss which is suspended from 3 chain hoists and by moving the load over the truss, which can easy happen when e.g. hoist are not running at the same speed (which can happen when old and new hoist are used mixed) or have different loads to carry (e.g. cable cantilever) these and other factors are all creating drastic loading variations and which can result in overloading the hoist and truss.” www.prolytepap.com www.loudtechnologiesasia.com

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NEWS DEC. 2018

AUSTRALIA

VuePix Infiled Cleans up at Spilt Milk The Stage 1 featured two IMAG screens, consisting of 33 VuePix Infiled ER4.6 outdoor panels each. The visual centrepiece of the stage was created by additional 45 VuePix Infiled ER4.6 panels, set up to compliment the various artists performing at the stage. The content was managed and optimised by 2 Novastar MCTRL 4K Senders and 2 RGBlink X1 Scalers.

Elite Event Technology provided a complete AV production solution for the five stages and various activations of the Spilt Milk Festival, held mid November in Canberra. The VuePix Infiled screens dominated the production with over 290 LED panels being used across the two main stages.

This has been the third year that the Elite Event Technology team has provided production for Spilt Milk. The festival draws audiences from all over Australia, with an impressive track record of completely exhausting all tickets in 18 minutes for 2016, followed by a recordsetting 9 minutes for 2017. This year’s line up of the sold out monster event featured both Australian and overseas acts like Angus & Julia Stone, Peking Duk, Young Monks, The Wombats, Vera Blue, RL Grime and many more innovative music and visual artists.

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The main screen on Stage 2 consisted of 90 VuePix Infiled E12 panels, creating perfect visual backdrop for the acts. The IMAG screens set up on each side of this stage featured additional 90 ER4.6 panels in total.

The content was controlled by Novastar MCTRL 4K Senders, a VuePix Infiled T7e Sender and three RGBlink X1 Scalers. The lighting on Stage 3 was controlled by ChamSys MagicQ Stadium console. The Acme lighting IP rated MultiPARs 400Z were used on the Bacardi activation stage.

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INDONESIA

Prolyte Indonesian Road Show 2018 Following the successful “awareness” seminar in 2016 in Jakarta, in which the selected audience (mainly purchasers and decision makers) was made aware of rigging safety versus budget, Rajawali Productions organised in early November their latest educational seminar series in close cooperation with Prolyte Asia Pacific.

Under the name of “Prolyte Road-show 2018” Jade Bunny owner and President of Jakarta based Rajawali productions, Prolyft Service Point and distributor of Prolyte and Doughty organised together with his team four consecutive days road-show which kicked off in Bali on November the 5th followed by Surabaya, YogJakarta and the last one in Indonesia’s capital Jakarta on the 8th of November.

In each city the seminar kicked off with an introduction to Prolyte followed by general topics such as; Lifting over the head of people, ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

M

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NEWS DEC. 2018

basic rigging and calculations, risk assessment and awareness, prevention, use of chain hoist and basic information certification and codes such as Eurocode and SIL. Instructor Jasper van der Sluis finalised his part with additional product information from Doughty, Admiral and Protos the new load measuring system. Yee Hing Loong, International account manager of PAP closed each 4 hour session with an open discussion about why to invest in Prolyte followed with the usual question and answer session. www.prolytepap.com

SINGAPORE

AED Rent Officially Opens Office and Warehouse Remo Martufi Senior CCO of AED Group in his speech made it a point to highlight to guests that AED is not a production company and only rents out equipment to other professional AV companies. “In this way, AED is a neutral player in the market, helping AV rental companies to grow their business.”

Ruben also told the guests that he is well aware of the challenges faced by production companies, having been involved on that side of the business. His hope was in helping production companies meet the expectations of their clients through the solutions provided by AED Rent.

Feroz Mya Aye, Ruben James and Remo Martufi Senior AED group with headquarters in Belgium had announced early this year the opening of a regional office in Singapore. Heading the Singapore office are Ruben James in the Managing Director role with Feroz Mya Aye holding the position of Commercial Director. Since the announcement, the duo of Ruben and Feroz have been busy with identifying a location for the office and warehouse, interacting with potential clients and of course communicating with HQ to ensure that all procedures meet the HQ standards. All that paid off when the AED Rent Southeast Asia office and warehouse was officially opened on 23rd November.

The five-story building occupies approximately 1,250sqm space. The ground floor not only ensures smooth loading and unloading processes but also holds big ticket items such as trusses and chain-hoists. Level 2 holds the storage and servicing for audio solutions, Level 3 similarly for lighting fixtures, Level 4 features the administration office space and a walk-in “AV supermarket” space for professionals who want to purchase gaffer tapes, wireless microphones and more. The 5th level provides space to hold seminars and training.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

A traditional lion dance performance to inaugurate the office opening Ruben adds, “AED Rent prides itself in ensuring that our inventory is well serviced and maintained so that it will be a seamless experience for companies who rent from us.”

The company has already seen demand for its services with inventory out to Macau and Thailand. www.aedrent.sg

21 DEC. 2018

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NEWS DEC. 2018

DUBAI

CT Celebrates 10-year Partnership with European Tour was here where CT’s 21sqm outdoor screen was situated to ensure all spectators in this area never missed a second of the tournament. The driving range was also a popular place for fans as they got to watch pro golfers warm up and practice whilst both golfers and fans kept up to date on CT’s 10sqm outdoor screen. The 18-hole course had high footfall around the 18th green which is why CT strategically placed two screens here, one 21sqm outdoor screen faced the 18th hole grandstand and one 60sqm outdoor screen was directly opposite the 18th green and hospitality areas.

A first for the touring event was the 11sqm Absen A3 Pro indoor screen located in the championship hospitality chalet. The hospitality chalet houses the key sponsor lounges and the hospitality terraces. Adding the indoor screen this year gave all VIP guests a fantastic HD experience.

The 11sqm Absen A3 Pro indoor screen located in the championship hospitality chalet On the 15th November 2018 golf fans from all over the world came together to watch the duel between the two Ryder Cup teammates Francesco Molinari and Tommy Fleetwood as they raced to become Europe’s No 1 at the DP World Tour Championship in Dubai. The fourday event, held at Jumeirah Golf Estates marked the 10th anniversary and the final stop of the tournament.

Creative Technology (CT) were honoured to deliver all video aspects for the world-renowned event for the 10th year running on behalf of European Tour Productions.

CT supplied 4 x ROE CB5 outdoor screens to ensure spectators could follow the event no matter where they were. CT’s Dubai Project Manager, Barry Collins explains “The ROE CB5 is a great product, the high refresh rate and high NIT levels makes it ideal for outdoor viewing, even in daylight. The custom detachable touring frames are specifically designed with outdoor applications in mind and has been wind rated to provide structural rigidity while providing a lightweight solution.”

The fun filled family event had live music performances in the Champion Village where attendees could relax, enjoy the performances, eat and drink from various vendors and even get a free golf lesson. It

CT’s London’s account manager, Richard Smith adds “The indoor screen in the hospitality chalet has never been done on any touring event before and it was a great success. We have received nothing but positive feedback”.

In the media center, CT provided a 21sqm Absen A3 Pro indoor screen to allow the press to follow the action in real time whilst providing a customised scoring graphical wrapper.

59 IP TV’s ranging from 15” – 65” were strategically placed in various locations and used to display CT’s customised Tournament Television Programme (TTV) comprising of live feeds, highlights, interviews, scoring, player information, stats, social media and sponsor advertising.

For the first four hours of each event day CT also supplied Sony HDC 1500 camera channels to offer coverage of every shot on the first hole, to provide a live feed for the TTV programme before the World Feed went live.

Smith adds “This year’s event as always was a great success, with crew and kit coming from both the Dubai and London offices, it’s a real global team effort and an event I always look forward to”. www.ct-group.com

ROBE Lighting Asia Pacific’s New Contact Number ROBE Lighting Asia Pacific based in Singapore, has a new contact number. The number is +65 69581480. Do update your contact list.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

BRINGING EVENTS TO LIFE The leading exhibition for show-stopping innovations ISE is the European destination for the global AV industry - discover the concepts, products and solutions that will help to shape future events and shows.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

REGISTER NOW

DEC. 2018

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VIDEO FILES DEC. 2018

Barco Medialon Manager 6.7.0

An Introduction to Audioversity

Find out more about the new features introduced in Barco’s new Medialon Manager 6.7.0, with the help of Eric Cantrell - Sales Manager, A/V Control Experience and Show Control at Barco. He walks you through how to use the various features to get the most out of the new update.

Find out more about the Audioversity Initiative, created by Yamaha Pro Audio Education and Training to create better connections between devices and people. The new Yamaha Audioversity banner symbolizes a new, more deeply involved era of education and training that will lead to increased satisfaction and confidence for customers as well as a brighter future for the pro audio industry as a whole.

Soundscape stage at WOMAD 2018 Claypaky Axcor 300 Range Demo Show

The d&b Soundscape stage at WOMAD Festival offered an immersive audio experience, featuring an eclectic mix of artists. Front of House Engineer, Ben Findlay, talks about his experience mixing in the d&b tent, discussing the creative possibilities created by d&b Soundscape, and how he was able to create an enveloping ambient experience for the WOMAD audience.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The new AXCOR 300 family of moving LED fixtures brings Claypaky’s no-compromise quality and performance to the low-power category, with unlimited use opportunities. An interesting point to remember while watching this is that this show was made using ONLY Axcor 300 luminaires!

InfoComm Southeast Asia 2019 15-17 May 2019 Bangkok International Trade and Exhibition Centre (BITEC), Thailand www.infocomm-sea.com

WHEN SOUTHEAST ASIA ROARS TEN DYNAMIC COUNTRIES, ONE HUGE BUSINESS OPPORTUNITY With a collective gross domestic product of $2.6 trillion in 2016 and a 630 million-strong population, Southeast Asia is a majestic global economic force to be reckoned with.

Slated to become the world’s fourth-largest economy by 2050, its ascent is driven by capital infusions and collective efforts by the Association of Southeast Asian Nations (ASEAN) to stimulate intra-ASEAN trade.

On this journey of progress, technology is a critical enabler. With increasing prosperity and living standards, people and businesses in Southeast Asia are on the prowl for the latest AV and Integrated Experience innovations.

Join InfoComm Southeast Asia 2019. Now is the time for astute businesses to leverage the growing might of the region.

Organized by:

A project of:

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ENNOVATIONS DEC. 2018

Altman Lighting Introduces the AP-150 RGBW LED Par Luminaire Weighing only 11 pounds, the AP-150 replicates the soft output of a traditional par wash light with control states from 8 Bit, 16, Bit, RGB, and HSIC. Its factory and custom color presets allow for the quick selection of the most widely used entertainment color choices, and it also adds the ability to record color presets directly to the luminaire for custom color playback.

Celebrating their 65th Anniversary as one the industry’s most trusted lighting solutions providers, Altman Lighting is proud to introduce the new AP-150 LED Par luminaire. As the next generation Altman Par, the AP-150 is a compact and lightweight, 135-watt RGBW LED wash which produces deep, saturated colours and soft, delicate pastels, while maintaining a smooth, uniform beam throughout the entire motorized zoom range.

“Since our inception in 1953, Altman Lighting has always been a leading provider of quality and affordable lighting solutions, and we are proud to continue that tradition with introduction of the AP-150 LED Par,” said Julie Smith, Altman Lighting General Manager. “Knowing the challenges lighting professionals often face when selecting the ideal wash luminaire, we have included a number of new features into the AP-150 Par that will undoubtedly accentuate any lighting design.”

“As we discussed the design behind the AP-150 RGBW Par luminaire, we always had the mindset of the designer at the forefront,” added Pete Borchetta, Altman Lighting Product Innovation. “With that idea leading the way, we are very excited to be launching our next generation Altman Par which provides a superior output and performance to other LED Par luminaires currently on the market.”

In conjunction with its colour output, the AP-150 also offers a variety of strobe options ranging from pulse and fade, to a 30 Hz strobe rate. With the motorized zoom which produces a beam spread between 12-65 degrees, the luminaire also has built-in stops at five different set points ensuring precise beam spread repeatability. Additionally, should a technician need to locate the luminaire while in the lighting rig, the AP150 includes the new “Tech Identify” option which flashes the fixtures LED’s without disrupting focus. www.altmanlighting.com

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Barco Updates Medialon Show Control been improved so that scripts can communicate directly with devices on the network or using Medialon resources, making it possible for device drivers to have internal logic. Low Level Communicator drivers and Scripts can also be shared with other Medialon users on the Medialon Driver Hub.

Barco has released an update to their A/V Show Control product Medialon Manager 6.7.0, with a full stack of features to simplify user experience and allow show control programmers to create intuitive user interfaces for non-technical end users. New features include enhanced Windows 10 compatibility, an updated look and feel, streamlined workflows for finding and writing device drivers, and dynamic Graphical User Interface properties.

Modern Interface Design Medialon Manager’s device drivers and resourceful files have been moved to a file location that keeps the drivers together in one easily accessible place, instead of buried in read-only directories that require administrator access to edit or update.

Harmonized “New Device” Creation Wizard With the New Device creation wizard, Low Level Communicator and Medialon Script drivers are presented alongside MxMs, saving steps and putting all your drivers in one interface. MxM Medialon Script has also ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

It’s All About User Experience Show Control systems are typically a “hidden” technology with end users only familiar with the custom user interfaces the programmers create for each project. Medialon Manager V6.7.0 enhances the programmers’ creative options with the addition of dynamic properties to user screen elements. Buttons, sliders, gauges, text displays, text edit fields, and LEDs can now be modified dynamically while the show is running, making it possible to change the color of text or backgrounds, disable elements interactivity, or hide elements altogether. Medialon Manager V6 has always provided lots of information about the devices it controls through variables, and with version 6.7.0, new variables have been added to provide information about the PC or virtual machine running Medialon Manager, such as CPU usage, memory load, host name and IP addresses. Now programmers can see not only how many WebPanels have active connections from client machines, but also the IP addresses of the devices viewing the WebPanels. www.barco.com

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ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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ENNOVATIONS DEC. 2018

Kinesys at LDI 2018 Following a very successful LDI last year and substantial growth in its American market, Kinesys returned to LDI this year to meet industry influencers, decision makers and movers & shakers.

The Kinesys Apex hoist system Kinesys highlighted its new Apex hoist system, as well as its industry standard Elevation 1+ system, and got interactive with visitors allowing them to control both Apex and Kinesys converted CM Lodestar hoists running with Elevation 1+, side by side. This was designed to provide a real hands-on and tactile experience, so people would be able to appreciate what the two different systems offer in terms of performance and smoothness of operation. It also aimed to provide an authentic comparison between these two versatile platforms of chain hoist control.

Apex incorporates the best of Kinesys’ extensive knowledge and practical experience of working with variable speed chain hoist technology to create a range of safe, reliable and rock-solid hoists and controllers - designed to maximize creativity for show, stage and environment designers and operators in all entertainment sectors.

Central to the Apex system is a versatile hoist controller and two chain hoist options, all specified and built to Kinesys’ exact specifications.

The Apex range includes both 500kg and 1250kg hoists with maximum speeds of 30m/min and 12m/min respectively along with true zerospeed capabilities. The Apex hoists feature integral SIL3 loadcells, silent dual monitored brakes, absolute and incremental encoders, on-board data logging, and meets the requirements of prEN17206, EN61508-SIL3 and DIN56950.

The drive units can be either rack or truss mounted for maximum adaptability relevant to the application. Pass-through connections for both power and data make cabling as simple and easy as possible, and standard power and Ethernet cables offer full flexibility. A clear touchscreen display provides operators with essential feedback and allows manual control of the hoist from the controller itself.

The legendary Elevation 1+ variable speed chain hoist control system is one of the most popular and well respected on the market for international shows and events wanting to safely, smoothly and reliably move objects of any type at varying speeds.

Elevation1+ removes the need for large quantities of cabling, allowing multiple motors and controllers to be run via single power and data cables. Together with customized versions of the most popular models of chain hoist – Liftket, EXE, CM Lodestar etc. – it is the most flexible and reliable variable speed ‘open system’ available on the market.

Attendees also checked out the Kinesys’ DigiHoist fixed speed chain motor controllers and the LibraCELL / Libra NODE load monitoring system, an invaluable tool for any rigging scenario to ensure that loads – static and dynamic – are constantly and accurately monitored in real-time.

DigiHoist control offers digital communications, limit monitoring, load and position feedback and group halt functionality in a compact package. At the core of the system is a digital communications link enabling multiple units to be ‘daisy-chained’ together and channels automatically assigned according to their position in the daisy-chain.

A high-resolution display offers comprehensive channel feedback including channel number, status and load cell information.

At the heart of Libra system is the Libra shackle load cell, which incorporates the famous Crosby safety bow shackle. This inventive design means there is no loss of headroom as the load cell is built right into the shackle as a direct replacement for the renowned ‘red pin’. The Libra shackle maintains a The Kinesys LibraCELL safety factor of 5:1 up to the full rated load stamped on the side of the bow.

Built into the load cell is a clear, highly visible LED display showing the live load. A Tare value can be entered, and the display can quickly be switched between kilograms and pounds using a straightforward menu system.

LibraNODE is a new device that allows 3rd party analog load cells to be integrated into a Kinesys Libra system, the DigiHoist controller and more. This enables a company’s existing stock of wired load cells to be used with the Kinesys control formats and load cell systems. www.kinesys.co.uk

The Kinesys Elevation 1+

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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ENNOVATIONS DEC. 2018

Peavey Unveils SP 2P Powered Speaker System Like other units in Peavey’s SP Series, the SP 2P has a 15” Black Widow BWX series woofer, but now with a long throw voice coil for even stronger low frequencies. The 2” RX22CT titanium diaphragm compression driver is coupled to a quadratic throat waveguide and has a coverage pattern of 100° horizontal by 50° vertical.

The back-panel of the SP 2P is sure to satisfy a range of pro-audio needs. Two independent mixed input channels each offer a balanced input to the preamp/EQ electronics and a level control. Each channel has one combo female XLR and 1/4” TRS phone jack, switchable between mic-level and line-level sensitivity. Additionally, channel 2 has an added 3.5 mm media jack.

A line-out section has male XLR connectors, and the Thru outputs allow linking of additional speaker systems or feed of the signal to a powered Peavey proves that two are better than one in the new SP 2P Powered subwoofer. A rotary knob allows the user to select Speaker System. Expanding on the popular SP Series for rockand choose menu options, such as the dynamic solid live audio performance, the SP 2P is comprised of The dual power bass boost and 9-band EQ, on the LCD two switching power amplifiers that provide a high display screen. The SP 2P is fan-cooled for amplifiers in the SP 2P level of technological sophistication, as well as maximum reliability. system are low-distortion professional grade speaker components that deliver clarity and impact beyond conventional powered switching units that provide 1000 Speakers in Peavey’s SP Series are enclosures. lighter and more compact, making With the Peavey SP 2P, users will find a reasonably priced loudspeaker system capable of up to 130 dB peak SPL, ideal for a variety of applications, including sound reinforcement, public address, side fill system, karaoke and musical playback.

W peak available power into the them easy to pack in a van or install nominal 4 ohm load of the woofer, in the club. Weighing in at just and a 500 W peak available power about 60 lbs and measuring 30’’ high by 20’’ wide by 20’’ deep, the into the nominal 8 ohm load SP 2P is constructed from plywood of the tweeter augmented with internal braces and

The dual power amplifiers in the SP 2P system are lowdistortion switching units that provide 1000 W peak available power into the nominal 4 ohm load of the woofer, and a 500 W peak available power into the nominal 8 ohm load of the tweeter.

The power supply for both amps is a switch mode type for low weight and high efficiency. Both amps have Peavey’s DDT compression, which virtually eliminates audible power amplifier clipping.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

covered with a textured black painted finish.

The trapezoidal unit has a full-length coated perforated steel grille, offering an attractive yet durable powered speaker system.

A four-way handle on each side provides ease of transport, while multiple fly points are provided to allow overhead rigging. A pole mount is also included. peavey.com

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ENNOVATIONS DEC. 2018

ArKaos Introduces TrackDJ in the new GrandVJ 2.6 The new GrandVJ 2 comes with a new interface, making it even more user friendly and straightforward, while integrating new functionalities in it.

• • • • •

New key features include: TrackDJ source to synchronize visual playback to external DJ controllers Support for Timecode over Art-Net More precise beat synchronization of visuals Improved support for spans to split output in the VideoMapper Better software responsiveness

There is no more need to install QuickTime on Windows. In the previous versions of GrandVJ, QuickTime was used to play ProRes encoded videos. Since all applications are now in 64 bits and Apple does not provide QuickTime in 64 bits, GrandVJ now uses FFmpeg to read all QuickTime codecs. GrandVJ 2.6 also introduces TrackDJ, a

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

new synchronization protocol that makes it so that DJ software and controllers can automatically communicate all information about the sound track playing: the time in the track, the artist and track name, the BPM and the beat information. Track DJ allows users to: • Automatically follow the music the DJ is playing • Be precisely in-sync with the music (lip-sync, subtitles, etc.)

• Automatically and precisely loop visuals on the beat of the music • Give DJ immediate control on the visual performance by changing track, BPM and executing loops TrackDJ also drives the beat of GrandVJ. Both BPM and the Beat information in the toolbar will be updated from the track playing on the source. This means that if a visual is played in Beat mode it will automatically pulse with the music controlled by the DJ. Any change in rhythm done on the DJ controller will automatically be reflected on the visuals. So far, sources compatible with TrackDJ include Mixxx Open Source VJ Software and Pioneer CDJ or DJM Controllers with ProDJ Link and ShowKontrol, with more to be added soon. www.arkaos.com

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ENNOVATIONS DEC. 2018

Penn Elcom Gets to the Nuts & Bolts with New Castor Plate Speed is of the essence in the esoteric and wonderful world of flight case manufacturing. The method by which the wheel is attached to the case is pivotal to the whole process, so flight case accessory specialist Penn Elcom has designed and machined two ingenious new solutions to make this quick and straightforward!

Penn presents its brand-new Castor Plate series (W0098-FM) offering some truly revolutionary features to speed up the fitting of wheels.

‘Wheeling’ a flight case typically consists of fitting a board, four plates, 16 screws and 16 nuts – and is an arduous and time-consuming task!

The Penn Castor Plate puts an end to all of that! It offers two practical solutions - with the choice of either a top-down or a bottom-up style which come with bolts or nuts already attached respectively, so the case builder can choose to suit the case design and application!

The new Penn Castor Plate is made from Zintec and weighs just 187 grammes. It has a sleek and streamlined appearance and removes the need for heavy wooden caster boards when building flight cases … significantly reducing the weight of the overall case.

The wheels bolt directly through the flight case panel utilising the Castor Plate’s integrated threads, so there is also no need to use T-nuts.

Quicker, less fiddly and more secure: both these key features reduce the overall costs of building flightcases and speed up the fixing time.

The new system is robust and ideal for automated production of any type or style of flightcase. Penn offers a complete Castor Plate Kit (W9970-KIT) containing everything needed for efficient and costeffective flight-case wheel assembly. The kit comes with universal wheel plates, and the current product is suitable for use with 100mm / 4-inch castors, one of the most popular sizes. This has been developed to meet the increasing demand for quality flightcase materials, from both rental and production companies with their own in-house flightcase facilities and specialist case manufacturers.

The neat and nifty Castor Plate allows machining to be optimised and a reduction in the weight of the finished flightcase in addition to accelerating the build process. Penn has been manufacturing high quality flightcase components and accessories since the 1970s and has a reputation for invention and trailblazing. The Castor Plates are the first in a series of reinventions for the worlds of entertainment, leisure and commercial technology where good flight-casing is essential. www.penn-elcom.com

WATCHOUT 6.3 Released objects. It may also be used in expressions and for conditional show programming providing great flexibility.

WATCHOUT now supports the real-time motion tracking (RTTrPM) protocol. As a free upgrade for version 6 users, this version also comes with several improvements and fixes.

This update contains the following fixes: • Hardware acceleration of H.264 video is disabled for WATCHMAX 2 models WX7100 and WX9100 due to incorrect handling in MainConcept codec which may cause frame corruptions.

• NDI has been updated to version 3.7.2.

Fixed an issue with the Network window where non-Dataton media servers were listed incorrectly.

• Fixed memory leak when importing audio files.

This version introduces new features, including real-time motion tracking, as well as improvements and fixes. Live motion tracking using the RTTrPM protocol is a new type of input. This multi-variable input enables media cues to mimic the position and rotation of real-world

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

More new features include: • It’s now possible to select which MIDI device to use for input.

Choose from among those connected to the system.

• You can now select which audio device you want to use for timecode input, including ASIO or WASAPI audio devices.

• It’s possible to download log and dump files from media servers, through the Stage menu.

• A menu item has been added to open the GPU control panel on selected Dataton media servers (requires a disk image update).

• You can now lock the width/distance ratio of projectors when calibrating.

• A compatibility mode hint has been added to address problems with dropped frames on some capture devices. This setting is available through a checkbox in the live video dialog.

• Basic support for audio in RTSP streams has been added.

• Support for WATCHMAX 2 (WX7100 & WX9100) has been added. www.dataton.com

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ENNOVATIONS DEC. 2018

Mackie Announces Availability for All-New DL16S, DL32S Wireless Mixers, and Releases Master Fader 5.0 Mackie has announced immediate in-store availability of the latest DL Series digital mixers, the 16-channel DL16S and 32-channel DL32S Wireless Digital Live Sound Mixers with Built-In Wi-Fi for Multi-Platform Control.

Delivering the proven performance and intuitive control that the DL Series is known for, the DL16S and DL32S offer an all-new affordable, Built-Like-A-Tank stagebox form factor with built-in Wi-Fi.

Fader - Mackie is continuing to bring professional quality and intuitive control to price points that make sense for users of all levels.” Both models make it easier than ever to get mixing right out of the box with built-in Wi-Fi networking and multi-platform support on the industry-leading Master Fader control app. With Onyx+ mic preamps, fully loaded DSP on each input and output plus 4 FX processors, DL32S and DL16S deliver the mixing power users need to sound great every night. They also get a whole new suite of FX like chorus, flanger, rotary, auto-filter, and much more.

Master Fader 5.0, the next major update to the powerful control app for their popular DL Series digital mixers, is also available today. In this update, a heavily requested feature by DL users, Android support, is now a reality. Master Fader 5.0 will be available for iOS and Android with support for DL16S and DL32S. Support for other DL Series models, as well as Mac and PC control, is coming in Master Fader 5.1. “The DL Series was the first to bring 100% wireless control and revolutionized the compact mixer category. These new mixers are the next evolution,” remarks Mackie Product Manager, Matt Herrin. “With rock-solid, great-sounding hardware and the most proven control app, Master

Popular among DL32R users, DL16S and DL32S feature full multi-track recording via USB to create stunning live recordings and even play them back into each channel for an easy virtual sound check. Not only is this great for recording performances, it’s also great in the studio when you need a high number of inputs for recording. The Mackie DL16S and DL32S now available worldwide at participating dealers.

Sold individually, the US MSRP pricing is $999.99 for the DL16S, and $1819.99 for the DL32S. The Master Fader 5.0 app is also available as a free download on iOS and Android devices. mackie.com

evolution wireless G4 Evolving with you

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MALAYSIA SINGAPORE THAILAND INDONESIA

+603 8075 8990 +65 642 30682 +662 769 8199 +62 21 8082 1480

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INTERVIEW DEC. 2018

Barco: Offering Technologies that Exceed Customer Experience ETA had the pleasure of a quick sit-down chat with Olivier Croly, Senior Vice President APAC, Barco about Barco’s projection technologies. Olivier Croly has been Senior VP - APAC at BARCO N.V. since 2017. Prior to joining Barco, he held top positions at GE Healthcare & Philips, leading businesses across EMEA & Asia. see projects taking place in more natural environments as well such as mountains, waterfall, etc. instead of pure building mapping.

With the Barco large venue projectors and built-in blending and warping capabilities and our screen management system, the audience can really enjoy an immersive and memorable projection mapping experience.

Olivier Croly, Senior VP - APAC, BARCO N.V. ETA: Please highlight to us some of the key technological advances that Barco projectors have achieved.

OLIVIER: Over the years, we have introduced Barco Pulse as one consistent electronics platform for our projectors. It is a Single Step Processing that provides high-quality warping and blending on 4K images with an intuitive user interface.

On top of this we are also leading the trend for 4K high end laser projector. Our projectors offer power and quality. For instance our XDL 4K75 projector offers 75k lumens resolution which are great for Planetariums or Domes. We also provide Auto Alignment feature which makes setting up projection systems fast and efficient.

ETA: How have the above advances contributed to the success of Barco projector sales?

OLIVIER: Our Pulse electronics to warp and blend 4K resolution without loss of quality, enables our customers to offer unbeatable viewing experience with 4K high quality image. Moving from Xenon Lamp to Laser has also enabled our customers to lower their total cost of ownership and ease of maintenance. The key to our success is our offering of solutions and technologies that exceed the expectations of our customers.

ETA: Projection Mapping is growing at a rapid pace in Asia. What is next for projection mapping and how will Barco continue to ensure its relevance in the segment?

OLIVIER: We see the increase in high resolution content and also customers are looking for fast installation such as auto-alignment. We

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

ETA: Projectors are part of a signal chain - please can you highlight the other solutions that Barco offers as a holistic approach to the chain and how it helps the clients?

OLIVIER: Barco also has powerful presentation switchers and screen management systems to support a large quantity and variety of formats and resolutions for both inputs and outputs. It enables our customers to have ease of control and work seamlessly across the whole chain.

ETA: Relating to live events are projectors seeing strong competition from LED displays especially in concerts? Or is this a matter of what technology to use for specific events?

OLIVIER: Both projectors and LED have been heavily used in concerts for many years and it can be a mixed environment. It typically depends very much on the application and also environment, such as space and live camera. For Corporate event, projectors are a much better choice due to the changing layout requirement of the ballroom room size. If you are looking for a 360 degree immersive environment, projectors would be the natural choice as weight is a huge factor for LED. ETA: What is next for the projector industry in terms of technology or new applications?

OLIVIER: Customers are looking for 4K, better colour uniformity and better contrast level. We are more than capable of offering the technology needed. The new application moving forward will be AV over IP that users can control with a fingertip over the network.

ETA: LED display seems to be making small inroads into the cinema business. Is this a real threat for projectors or is it about living side by side?

OLIVIER: Indeed, we see LED is being used in the cinema space and we also see other manufacturers start moving in. Currently, there is limited size of LED screens in the cinema. There is still a lot of work required to fulfill the WOW cinema experience such as audio, weight and serviceability. These are not main show stoppers but actually are obstacles to overcome. www.barco.com

Looking at the current state of the market and the want - and need - to push more pixels, the ImagePRO-4K is the logical step.

Don Gaskill, Owner, Rentex

Whatever quality videos you want to use – and 4K is the way to go these days ImagePRO-4K can handle them without loss of quality.

Create shows that run perfectly every night. Ensure that everything scales, converts and switches the way you intended. Slice and dice LED. Switch and scale signals up to 60p 4:4:4 10-bit with 12-bit internal processing and ultra-low latency. Think big.

ImagePRO-4K No Barco, no show.

www.barco.com/imagepro4K

ENABLING BRIGHT OUTCOMES

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INTERVIEW DEC. 2018

Total Solution Marketing: 20th and Counting Talking to the founder and managing director of Total Solution Marketing, Glenn Wong, you can sense the passion and desire that got him to where he and the company are today, still burning bright. Celebrating its 20th anniversary in style at a venue facing the Marina Bay, the location in a way reflects the company’s footprint in Singapore. From the spot, the Marina Bay Sands and the Esplanade are visual focal points and more importantly key clients of the company. network and found an amplifier brand that was not represented in the region and more importantly met the needs of my contact. I needed to set up a company for proper invoicing, and thus the company was registered. The very first brand that I represented were Kind Audio amplifiers from Italy.”

Very soon he was approached to represent XTA audio processors. “Even though I was a one-man operation, Mr Gaston Goosens, then the XTA representative for Asia felt that I would dedicate my time and effort for their solution as I had just started”. Glenn also ensured that he had an inventory of the solutions he represented to provide quick delivery and quick service should there be a need to replace any of the equipment.

Glenn Wong founder and MD, Total Solution Marketing Glenn proudly highlights that he had registered his company on the 1st of May 1998. In the region, 1st of May is a Public Holiday relating to Labour Day. “My message then and even now is that while you rest, I will still work for you and help resolve any issues you are facing.” This idealism and conviction are what is driving the business till today.

Glenn got into the business in 1989 fresh out of having finished his compulsory military service in Singapore. Working for a few companies including two distributors and a regional manufacturer office, he suddenly found himself with out a job in January of 1998.

“In the nine years since I got into the business, I had the good fortune of learning the business and building a network of clients and industry professionals who trusted me. My philosophy was simple. I am here to resolve any issues you might have. I was available 24 hours for my client, and I walked the talk. That helped my clients have faith in me.

Though in the 9 years I was an employee, I did not have a mindset of an employee as I wanted to ensure that I added value to the company.”

Those who became aware that he was jobless got in touch with him requesting his help on an adhoc basis. “My break came when someone who was distributing speakers requested my help to find complementary amplifiers. I did my research, got in touch with my

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“I then realised that I had the signal chain but no source, so I took on Denon Professional players, which did decently well for me.”

In 2001, Glenn started his first lighting product distribution by taking on Vari-lite. Glenn was of course no stranger to lighting solutions as in his earlier years he was selling audio and lighting solutions and had sufficient knowledge. This was quickly followed by the representation of Avolites in 2002 and in 2004 he added Robert Juliat. Expanding into media servers and hoists, Glenn represented Coolux and ChainMaster in 2005.

2003...a year to remember 2003 was a significant year for Glenn in more ways than one. He met new investors who soon became shareholders of the company. From being a one-man operation, he now had the luxury of shared resources concerning office space and administration staff. He even employed two technical sales professionals.

2003 was also a year of turmoil in Singapore due to the country being hit by the SARs virus (Severe Acute Respiratory Syndrome). The public did not want to go out other than to work for fear of being inflicted by the virus. Many businesses had a tough time staying open. “Thankfully at that time, my business was doing very well in Indonesia. It is fair to say that 70% of my business in 2003 was from Indonesia. That saved us.”

2003 was also the year Glenn faced a personal tragedy, He was diagnosed with a nose tumour and was on medical treatment and rest.

“Thankfully my staff continued to helm the boat.”

A lesson learnt In 2004 the company decided to go into LED rental and sales representing Panasonic and Barco. “The business potential was there

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for the taking, and there were also intangible benefits being associated with two renowned brands.”

we offer a total solution, and if cannot meet deadlines we must find an equitable solution for our clients.”

“All went well, but we decided to give up on the LED business around 2009. One reason was due to the rapid change of LED technologies, and the other more critical reason was that our rental was affecting our distribution business as we were competing with our customers. We vowed never to do that again. ”

During the interview, Glenn keeps coming back to training and knowledge upgrading. “I tell my staff to invest in themselves. Be immersed in what you are doing and continue to learn to improve yourself. It can be on anything, for example, how to do things better or more effectively. This will keep them in good stead even when they leave the company.”

Another critical year The Lehman Brothers debacle in 2008 had a profound effect across the globe and Singapore, and the region w as not spared either. “The latter part of 2008 and 2009 was critical. We had to make some hard decisions and re-strategi se. After much consideration, we decided to drop all our audio product representations. We basically streamlined our portfolio to represent only lighting, rigging and media server solutions.”

“The staff and I also agreed to take a pay cut of 5 to 20% and forego any bonuses. It was a decision agreed by all to help ensure that the company was kept afloat.”

It took almost 18 months before the company got back into its groove.

“During the period we continued to engage our clients with training and seminars and even participated in exhibitions. I am a big believer of knowledge sharing and all the effort that we had put in during the lull business period, helped us gain ground once the crisis let up.”

There were a few hard decisions that had to be made during these 20 years – toughest being the need to retrench staff due to economic and downsizing reasons; another was to move away from the audio business that affected relationships that we had fostered with suppliers over the years and of course difficult decisions to replace brands that we had been distributing for many years.

Some of these unpopular decisions caused us to lose some customers but I guess these are part and parcel of running a business that I must live with and hopefully seek the understanding of the people it affected.

The company philosophy “Our key guiding philosophy is that we must respond to our clients quickly and effectively. We must ensure that we meet deadlines. This industry is such that there is no such thing as 9 to 5 working hours.

Whenever we have a new employee, we drill into them that they are expected to work irregular hours and tend to the needs of the customers. The customers always come first.”

“From the beginning, we, and I personally have set a high standard and clients now actually expect us to maintain that standard. I tell my staff,

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Training does play an essential role in the company. “We get our principals to come down to train our staff regularly – as many of them. We need to ensure that we are competent in the solutions we represent.”

What’s next?

2018 in a way is a watershed year for the company as it set-up its first overseas office in Bangkok, Thailand. “The Bangkok office is staffed by locals who provide pre and post service promptly.”

Currently, Total Solution Marketing has a staff strength of over20 including the staff from the Thailand office, who provide sales, service and support.

“We need to keep ourselves in the race continuously. It does not matter whether you are first or second as long as you are in the race – at least you get to be in the heats,” says Glenn.

According to Glenn, continuous engagement with clients and the industry, dedication to the business philosophy and upgrading of knowledge is the way to keep being in the race.

Glenn adds that as part of the company philosophy, product trainings are open to anyone, even if they are not a client. “We are okay to open up our training because unless they experience and understand our solutions, they will not know what we are offering. We do not consider the training as revenue generators but rather as knowledge sharing opportunities.”

Parting words “It is important that we do our best to give back to society, be humble and be truthful. I strongly believe in these and I do my best to live up to these principles.”

As for the future of the company, Glenn adds, “I hope the next generation of people does better than me. There is only one way, and that is up. I hope they will take on responsibilities and try to do it and learn from mistakes made and continue to abide by the company’s philosophy.” www.tsm-int.com

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INTERVIEW DEC. 2018

Pascal Miguet on the BASIC and BASIC+ series Pascal Miguet is the Distribution and Product Manager at SOMMER Cable. The company recently releases low-priced cable connections. The interview delves on the why and the company’s objectives Finally you did it … what has made SOMMER cable offer low-priced cable connections?

After all, SOMMER cable is known for producing high-grade cables – how can the Basic cable series keep up in terms of quality?

We originally came from the broadcasting and professional media engineering sector; the sound reinforcement and the MI market divisions were driven forward only in the Pascal Miguet subsequent years. Initial steps were taken Distribution & Product Manager, back in 2000, when SOMMER cable took over SOMMER cable the ZECK Audio company from Waldkirch.

And those who closely monitored our development can imagine that we were already permanently busy enough and had to cope with huge growth spurts, i.e. regarding storage capacity and logistics we were often working close to our limits.

products in the long run without know-how in the upmarket quality segment. On the other hand it’s much easier for a premium supplier to deliver quality also in the low-budget price segment. Simply because he can generally evaluate a lot better above what level it’s indeed a highquality product and how it can be made at an affordable price. To what extent this can be produced at even lower costs is mostly just a matter of quantity.

Why wait until now? What was the catalyst, why did you suddenly change your mind?

SOMMER cable or HICON, respectively, is known for working in the field of development and as an OEM manufacturer for competitors or intermediaries, too. Anyway, for several years we received countless inquiries and requests from intermediaries telling us that we should by all means build up brands in the lower price segment.

During these talks – in this case with a rather stubborn customer – Only after buying the neighbouring building, the construction we had time and again reasons for suspecting that these of a state-of-the-art warehouse and the automation low-budget brands were not exactly intended as an At SOMMER of our cable assembly we could further expand added value for our or his customers, but rather cable the majority the product range for the MI market and reduce to destroy existing brands and markets. Actually, delivery times even more. Today we carry one hadn’t really thought about the question of our employees are almost 25,000 products in our portfolio, and whether the musician – i.e. the end user – musicians. Which means from this point of view such a strategy and needed that at all; instead one had rather the new launch of such a brand really need to focused on gaining market shares or simply that we use to reflect be well-considered. So we didn’t want to be on getting one’s own back on a competitor already in our own disrespectful towards customers with a thinner by undercutting him. But as we all know, interest which products wallet, but so far our situation simply hasn’t personally the customer doesn’t care about allowed us to take care of such a project. those running battles among suppliers. He just and markets could wants to get the best possible value for his money. make sense Don’t these low-budget products have a bad effect on And that’s perfectly alright. the image of a quality manufacturer?

A bad quality is bad for the image. And it’s also bad for the image One should also know that at SOMMER cable the majority of our when the customer feels that you don’t put all your heart and soul into employees are musicians. Which means that we use to reflect already your work or pursue developments for strictly commercial purposes. in our own interest which products and markets could make sense.

First and foremost success will come upon those products where the And that approach of winning market shares through a price battle customer recognizes that we do this for him and not just for ourselves. didn’t seem goal-oriented to us. Under no circumstances did we want to waste our energy and resources by simply importing some Chinese And regarding image: an image is not merely created by some friendly standard product from one of those few “genuine“ manufacturers, put marketing, it also involves the general dealings with the customer, the a sticker or a label on it and later resell it blindly. In our opinion this was delivery capacity, a reliable product quality, an accommodating service if too destructive and boring, and at that time other companies could something does go wrong, comprehensive brochures, in-house know-how simply do it better than we could. We wanted by no means to lower our and potential in the product development, and so on and so forth. The established quality just to “stir up“ the market a little. customer doesn’t just buy a product, in a sense he buys a whole package.

One of the most important aspects for our decision was that we have As is well known, it’s almost impossible for a low-budget supplier to today a very tightly knit pan-European dealer network with a large sell a quality product if these basic conditions are not met. You don’t number of resellers, among them very dedicated retailers and wellbelieve that this vendor is indeed capable of establishing high-class made online and electronics shops. They literally implored us again ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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and again to also offer products for the low-budget market so that they could reduce the number of suppliers in the future. Which is basically a very sensible way if the previous basic conditions and the delivery capacity fit in.

second-hand music instruments, provided that the classified ads can be trusted.

How do the BASIC and BASIC+ series differ and what are general features of the Basic series?

For years we asked ourselves the question “Do we really want that?“, and each time we made another attempt and discussed the pros and cons. Eventually we would break up after a meeting, determined to do it maybe some point down the line, whenever we saw a chance to transfer the quality of our premium brand with only a few restrictions into the lower price segment. But there was no deadline and no internal pressure, either; we simply wanted to wait for the right time.

Believe it or not: just when were about to say good-bye again to this project mentally, one of our most dependable OEM manufacturers (who, among other things, also produces very high-quality metal parts for the HICON connectors for us) called in telling us he had bought a new machine park for some project. Which enabled him to produce high-grade overmolded multi-compound connectors as they are e.g. used in medical engineering as well. This message really put us all into a state of euphoria. Because we understood that we could use components and parts of our high-quality HICON connectors also in this basic brand and wouldn’t have to fall back on those standard pins, which are most often only made of sheet metal and have no strain relief or where, due to different plastic compounds, plasticizers will sooner or later creep into the cable.

The BASIC series

For the BASIC series we use high-quality, non-slip and compact plasticcoated connectors almost exclusively. These are made of an impact resistant and cold flexible two-component plastic. The pins used are pretty solid and have an elaborately designed receptacle which serves as a strain relief and also as a fixation. This means that the pin receptacle is not held and fixed in place during the plastic extrusion – as is usual with low-cost products – by needles through which moisture can penetrate afterwards; instead we use a special self-centering inlet, which also doubles as a strain relief and is both water and moisture repellent.

So that was very good news, for we had thus achieved one of the desired unique selling points. The other benefits were that we could process our own bulk cables and use our own connectors and their colour codings.

Another reason to think about a Basic series was spurred by a new product category: small and desktop synthesizers such as the KORG VOLCAS or the ROLAND Boutique. Instruments which almost seem to be lighter than the cable connections themselves and where there’s a risk of the cable pulling the hardware off the table. DJs are facing the same problem with those miniature mixing consoles.

So the cable weight must also be taken into consideration, and plasticcoated connectors definitely make sense in such an environment.

Moreover, many musicians reported us that they were making or producing music on their computer or with a small keyboard during flights or long train rides and just didn’t want to lug around heavy looms.

I also had to move already several times within our living room with my synthesizer studio, and each time I was pushing my keyboard and effects rack along the corridor, I was thinking: “Uhhh … cables are really damned heavy!“ J. And it has happened to me more than once that solid connectors levered the fragile PC boards with the flush-mount sockets from the synthesizers, provoking circuit board breakages or loose contacts. This is, by the way, one of the most frequent defects in

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Basic-plus-HBP-XF6S With the BASIC+ series we’ve actually managed to integrate the inlets, pins and strain reliefs of our HICON quality connectors. Thus the customer gets an absolutely reliable product at a highly favourable price. The contacts are soldered and not crimped, the wires and screens are fully insulated against each other, as is also standard with our premium and broadcast products.

What’s the clientele for the BASIC series or what level does the typical target of the Basic series have?

The BASIC series is the perfect cable connection for DJs, keyboard players, home recorders or the ambitious musician with little space or also for the beginner who’s on a budget, but still wants to get a great product without having to compromise too much. www.sommercable.com

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EXHIBITION PREVIEW DEC. 2018

ISE 2019 to Showcase the Finest in International AV All the connections you need at the world’s largest systems integration exhibition

The 2019 edition of Integrated Systems Europe is set to be the largest in the show’s history, with more exhibitors, more floor space, more visitors and more events than ever before.

ISE 2019 takes place at the RAI Amsterdam from Tuesday 5 to Friday 8 February 2019, preceded by conferences and the Opening Address on Monday 4 February. The five days are expected to attract over 80,000 registered attendees and 1,300 exhibitors. In response to the increasing demand for exhibition space, there will once again be 15 halls on the floor plan; in addition, Hall 5 will be extended, increasing its size by a third.

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To help attendees to locate the products, services and companies of greatest interest to them, there will be six Technology Zones on the show floor: Audio and Live Events, Digital Signage & DooH, Education Technology, Residential Solutions, Smart Building, Unified Communications.

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EXHIBITION PREVIEW DEC. 2018

Another new addition for 2019, the full-day HTNG The conference and education programme at ISE 2019 is Insight Summit ISE will discuss current issues The conference being presented with the tagline ‘Learn, Discover, Be and cutting-edge research findings from the Inspired’. For the first time, ISE will be extending its and education world of hotel and hospitality technology. It reach beyond the RAI throughout the show, with programme at ISE 2019 is is organised by ISE and trade association the nearby 5-star Hotel Okura playing host to Hospitality Technology Next Generation. five conferences over four days. Free shuttle being presented with the buses will operate between the RAI and the tagline ‘Learn, Discover, Be And on the Friday morning, Okura throughout each day.

Inspired’. For the first time, AttractionsTECH by blooloop will be dedicated to exploring the latest The XR Summit will explore the latest ISE will be extending its technologies, solutions and business B2B technologies, solutions and business reach beyond the strategies that are transforming the opportunities around Augmented, Virtual and theme park and attractions business.

RAI throughout Mixed Reality.

Digital Signage Summit ISE will give unparalleled insights into trends and strategies of the digital signage industry’s brightest, most talked about and controversial minds.

The new half-day Digital Cinema Summit, organised in conjunction with Digital Cinema Report, will explore how digital technology is revolutionising how we produce, distribute and experience films.

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the show

At the RAI, the Smart Building Conference, returning for its ninth edition, will take the theme ‘Making Buildings Smart, Making Smart Buildings’ – exploring the twin themes of retrofitting smart technology into existing buildings, and creating the most sophisticated and intelligent new buildings.

Taking place on the Monday, it will be followed by the ISE Opening Address.

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An innovation for 2019 is the Main Stage, located in Hall 8, which will be a specially designed theatre and presentation space. It will present free sessions produced by ISE, CEDIA, AVIXA and AV Magazine as well as hosting a number of special events.

Returning to ISE for 2019 will be the Closing Keynote. Taking place on the Friday morning, it promises to inform, educate and entertain. The identity of the speaker will be revealed in a few weeks’ time.

Visitors to the RAI Amsterdam now have an additional choice of transport to and from the venue. The newly opened metro line 52 can convey passengers between the RAI and Centraal station in just eight minutes. Trains run every six minutes for much of the day. stopping at.

Europaplein station, which is just a few metres from the front of the RAI. Other exciting initiatives will be added to the programme over the coming weeks. Attendees and exhibitors can look forward to updates in ISE’s RISE newsletters, as well as RISE magazine, which will be published in December.

At the RAI, the Smart Building Conference, returning for its ninth edition, Mike Blackman, Managing Director of Integrated Systems Events, said: “We’re delighted to offer will take the theme ‘Making such a full programme at ISE 2019. We have a Buildings Smart, Making Smart packed schedule, from the Monday before the ISE co-owner AVIXA will host two halfBuildings’ – exploring the twin exhibition opens to when we close our doors day ‘What’s Next’ conferences, looking on the Friday afternoon. We’re looking forward themes of retrofitting smart to opening the doors to the home of systems at AV integrated experiences in higher education and enterprise environments. technology into existing integration and giving attendees their best ISE The education conference, on the Tuesday experience yet.” buildings afternoon, will explore innovative ideas and Organised by Italian media brand Connessioni, Audio Forum will once again bring together the pro audio and installation business communities, with a focus on integrated technologies and workflows.

best-case examples in the design of learning and collaboration spaces. It is jointly organised by AVIXA, SCHOMS and EUNIS. AVIXA’s enterprise conference, on the Wednesday afternoon, is once again produced in partnership with the AV User Group. It will explore how focusing on the customer experience can create real value in organisations.

Travel and Accommodation Booking Travel and accommodation booking are now open, with exclusive discounts available from ISE’s partners. RAI Hotelservices is ISE’s official accommodation agent; they can help you find the ideal place to stay to meet your needs – and by booking directly through them you can enjoy the best prices. You can email hotelservices@rai.nl or go to the ISE portal on the RAI website (https://book.raihotelservices.com/ EventPortal/Information/ISE19/WELCOME.aspx).

The association will also be hosting Flash Tracks throughout ISE 2019 – free 20-minute education sessions, designed for AV professionals of all experience levels, focusing on hot industry topics.

Registration for ISE 2019 is now open at www.iseurope.org. Admission on the door is €150 but you, as a reader of Entertainment Technology Asia, can register FREE using our special invitation code 406635.

CEDIA, ISE’s other owner, will present a full professional development programme across the four days of ISE 2019. Delegates wishing to attend multiple sessions may consider purchasing an All Access Pass, which will enable them to attend as many sessions as they wish.

On its stand, the Association will be hosting CEDIA Talks – 20-minute sessions in which some of the custom installation industry’s best minds will offer insights into emerging trends and new technologies.

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Show opening hours: Monday, 4 February 2019

Pre-Show Events and Conferences

Tuesday, 5 February 2019

10:00 – 18:00 hrs

Wednesday, 6 February 2019

09:30 – 18:00 hrs

Thursday, 7 February 2019

09:30 – 18:00 hrs

Friday, 8 February 2019

09:30 – 16:00 hrs

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EVENTS DEC. 2018

EVENTS CALENDAR 2019 Jan 24 - 27 NAMM Show 2019 Venue: Anaheim Convention Centre, Anaheim, USA Feb 05 – 08 Integrated Systems Europe 2019 Venue: Amsterdam Rai, Amsterdam, Netherlands Feb 21 – 23 LED China 2019 - Shenzhen Venue: Shenzhen Convention & Exhibition Center, Shenzhen, China Feb 24 - 27 Prolight + Sound Guangzhou 2019 Venue: Area A, China Import & Export Fair Complex, Guangzhou, China Feb 27 – Mar 01 Live Entertainment Expo Tokyo Venue: Makuhari Messe, Tokyo, Japan Mar 27 – 28 IoT Asia Venue: Singapore Expo, Singapore Apr 02 – 05 Prolight + Sound Frankfurt 2019 Venue: Frankfurt am Main Apr 06 – 11 NAB Show 2019 Show starts on April 09 Venue: Las Vegas Convention Center, NV, USA Apr 10 – 12 InfoComm China Beijing 2019 Venue: China National Convention Center (CNCC)

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May 08 – 10 SecutechAsia Venue: Taipei Nangang Exhibition Centre, Taipei, Taiwan May 08 – 11 Guangzhou Entertainment Technology (GET) Show Venue: Poly World Trade Centre Expo, Guangzhou, China

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May 15 - 17 InfoComm Southeast Asia 2019 Venue: Bangkok International Trade and Exhiition Centre (BITEC), Thailand

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May 30 – 1 June PALM Expo India 2019 Venue: Bombay Exhibition Center, Goregaon East, Mumbai, India VISIT SITE

May 30 – 1 June Audio Visual-Integrated Systems Expo 2019 Venue: Bombay Exhibition Center, Goregaon East, Mumbai, India

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Jun 12 – 14 Conference Programme starts on Jun 08 InfoComm International 2019 Venue: Orange County Convention Center, Orlando, USA Jun 12 – 14 Conference Programme starts on Jun 11 IAAPA Asian Attractions Expo 2019 Venue: Shanghai New ternational Expo Centre in Shanghai, China

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June 18 – 20 ConnectechAsia (CommunicAsia and NXTAsia 2019) Venue: Marina Bay Sands, Singapore Jun 27 - 29 LED Expo Thailand Venue: IMPACT Exhibition and Convention Center, Bangkok, Thailand Jul 18 – 20 Pro AVL Indonesia in conjunction with Toursim Technology Asia and Broadcast & Media Technology Venue: Jakarta International Expo, Jakarta, Indonesia Jul 18 - 20 Summer NAMM 2019 Venue: Music City Centre, Nashville, TN

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Jun 09 – 12 Guangzhou International Lighting Exhibition Venue: China Import and Export Fair Complex, Guangzhou, China

June 18 - 20 ConnectechAsia (BroadcastAsia 2019) Venue: Suntec, Singapore

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Aug 27 – 29 Integrate Venue: Melbourne Convention and Exhibition Centre, Melbourne, Australia Sep 18 – 20 InfoComm India 2019 Venue: Bombay Exhibition Centre, India Nov 18 - 24 Exhibition starts on Nov 22 Live Design International (LDI) Venue: Las Vegas Convention Centre, USA

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EXHIBITION PREVIEW DEC. 2018

Prolight + Sound Guangzhou Achieves Sustainable Growth Amidst a Dynamic Industry Shift

With 1,300 exhibitors and 75,993 professional buyers and industry players worldwide attending the most recent edition, Prolight + Sound Guangzhou 2019 (PLSG) is set to be yet another phenomenal industry event to kickstart the year in Asia from 24 – 27 February 2019 at Area A of the China Import and Export Fair Complex.

The show will present 13 thematic halls and the Y-Channel demonstration area, with a technology-oriented fringe programme on event planning and organising, AoIP and innovative stage design and technical implication concepts for Pro AV and IT sectors.

Across the 130,000 sqm of exhibition space, the focus will fall on an unmatched range of products that are not only for professional users in the entertainment technology field, but also for those in corporate

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and residential sectors including installers, contractors, consultants and retailers.

After favourable response on the refreshed approach at the 2018 edition, and with the aim to capture the growing opportunities in media technologies and system integrations, the show’s signature Audio Brand Name halls will have a new arrangement this year, spanning across Halls 2.2, 3.2, 4.2 (Communication and Conferencing) and 5.2 (Media Systems and Solutions).

Ms Judy Cheung, Deputy General Manager for Messe Frankfurt (Shanghai) Co Ltd, reflected her optimism on the show’s growth spurt: “The positive trends encourage Prolight + Sound Guangzhou to stay ahead of the market trends, and strengthen its position as a sourcing

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tracks, Maintaining and Modernising Performance Venue and Overview of AoIP Networking and Media System Integration.

Among these will be the Dante Certification Training, a presentation on audio networking protocol ‘AES67 Network’, a panel discussion on AV-IT and more. Visitors can expect to discover a panorama of product intelligence embedded within devices, and the automated use of pro audio and lighting equipment throughout the whole fairground. Visitor registration is now open and can be completed here:

hub in China during the peak sourcing season. We are riding the wave of technological convergence in the entertainment and media system sectors.”

Hall 4.2 will feature communication and conferencing products with an enhanced setting.In light of a report by the China Government Procurement Network, the revenue in the conferencing sector in the first quarter of 2018 reached RMB160 million. This opens up the market opportunities in seamless communication and collaboration across various business environments.

Meanwhile, new technologies are opening up more avenues for entertainment experiences such as streaming content, multiscreen engagement and much more on customised solutions. As such, a number of high-quality karaoke systems, mini home theatres, smart digital AV and system integrations will be featured in the Y-Channel of the Complex, Theatre K. Pub, supplementing the KTV hall (Hall 1.2).

Reaching out to premium buyers from around the world To secure high attendance of top quality buyers from across the globe, the show’s Club PRO programme specifically targets global premium buyers from the entire industry chain, including top management from manufacturers, importers, distributors and agents for PLSG and its event counterpart, Prolight + Sound Shanghai. A host of concessions will be provided to enhance their visiting experience.

On top of this, PLSG has formed strategic tie-ups with various industry associations in Brazil, China, Egypt, Germany, Japan, Korea, Russia, Taiwan, Thailand, the UK and the USA, inviting industry experts as well as high quality buyers and enhancing PLSG as an international industry networking and information sharing platform.

With extensive and rich network resource, various roadshows in China, Germany, Japan, Korea and the USA are also underway to leverage the opportunity with brand global presence and give a market update.

Prolight + Sound Guangzhou is organised by Messe Frankfurt and the Guangdong International Science and Technology Exhibition Company (STE). For more information, visit www.prolightsound-guangzhou.com or email to plsgz@hongkong.messefrankfurt.com Prolight + Sound Guangzhou 2019 24 – 27 February 2019 Area A, China Import and Export Fair Complex, Guangzhou, China Registration: http://portal.messefrankfurt.com.hk/services/vor/ registration_form.aspx?exhibition_id=2639

On the education side, PLSG Annual Training Course will feature a range of sessions with inspirational speakers from across the audio, lighting, event management, system integration and AV technology sectors. Set to deliver a more diverse range of industry insights inside the regime of entertainment technology, it has been reorganised into two thematic

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Social media: Facebook: Prolight and Sound China LinkedIn: Prolight and Sound China Wechat: @prolight-sound

46

KNOWLEDGE HUB DEC. 2018

ALL ABOUT WIRELESS BROUGHT TO YOU BY

TWELTH INSTALMENT

Noise in Analogue Vs Digital Systems Welcome to the twelfth instalment of All About Wireless, brought to you by SHURE. In this issue, we will compare the ingress of noise in analogue and digital wireless microphone systems. We will then examine some noise mitigation techniques implemented in digital systems that improve audio quality, extend operating range, and increase operational stability.

A key difference between analogue and digital wireless systems is the way in which the demodulated audio is impacted by the RF carrier-tonoise ratio (CNR). Analogue systems exhibit a fairly direct relationship between the RF CNR and the audio signal-to-noise ratio (SNR). There will always be some amount of noise present in the demodulated audio of an analogue wireless microphone or IEM system.

Analogue receivers are designed to minimise the impact of a poor RF

In analogue systems, noise ingress on the carrier will always impact the demodulated audio SNR to some extent CNR on the demodulated audio signal, but they cannot eradicate noise completely. Whilst the noise present in the demodulated audio signal may be almost inaudible under optimal operating conditions, the audio SNR degrades as the RF CNR degrades so the signal will become noisier as operating conditions worsen. The ingress of noise will eventually render system performance unacceptable and this is where the squelch point is typically set.

In digital systems, the baseband audio signal is processed by a manufacturer specific codec, the output of which is a series of binary symbols. This digital audio bitstream is then used to modulate the

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carrier by means of a manufacturer specific modulation scheme. Each receiver model is designed specifically for the modulation scheme and codec used by the corresponding transmitter model so that the carrier waveform can be demodulated to reproduce the original digital audio bitstream.

The carrier in a digital system is subject to the same noise ingress as an analogue carrier. The key strength of a digital wireless microphone system is that there is an innate immunity to a reasonable level of carrier noise. The original digital audio bitstream can be accurately recovered in poor CNR conditions as long as the noise is not so severe as to cause the receiver to incorrectly demodulate a symbol value.

In digital systems, noise ingress on the carrier will only induce errors in the demodulated digital audio bitstream if it is severe enough to cause the receiver to demodulate incorrect symbol values Unless some form of error detection is incorporated into the digitally transmitted bitstream, the receiver won’t know when an error has occurred. The error detection scheme must be designed for high accuracy, minimum latency and maximum spectrally efficiency. Shure digital systems employ a Cyclic Redundancy Check (CRC) process that meets these requirements and enables the receiver to detect 99.95% of transmission errors once the CNR falls below a pre-determined threshold.

The CRC process begins in the transmitter. Repetitive binary divisions are performed on each block of data and the remainder values are

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KNOWLEDGE HUB DEC. 2018

transmitted along with the digital audio signal. The process is repeated at the receiver and the remainders calculated are divided by those values sent by the transmitter.

If the result of the CRC division is zero, no errors will be present in that block of demodulated data. The decoded digital audio signal will therefore be an exact noise-free replica of the original audio signal. If carrier noise becomes severe enough that errors are detected, a Shure proprietary algorithm will control a receiver muting process according to the severity of the noise. No clicks, pops, or other audible artefacts are ever perceived – the system will simply mute. This process, combined with highly efficient and robust modulation schemes, enables Shure digital wireless microphone systems to deliver clean audio in RF environments where most analogue systems would be unusable due excessive noise in the demodulated audio signal.

single channel output. If RF interference or dropout occurs on one frequency, the receiver automatically uses the other frequency. DSP controlled routing between channels when interference occurs is seamless and inaudible.

Frequency Redundancy is implemented in the Shure GLX-D and GLX-D Advanced Wireless Systems. The GLX-D and GLX-D Advanced microphone transmits on three unique frequencies, repeating the most important data such that one frequency can be compromised by interference without causing errors in the demodulated audio bitstream. The GLX-D and GLX-D Advanced systems can then replace the compromised frequency by automatically hopping to a clean backup frequency.

Many Shure digital wireless systems also feature AES256 encryption.

It may not be immediately obviously how or why encryption may be regarded as a noise mitigation technique in digital systems. In addition to the clear security benefits, encryption also ensures that a receiver will only demodulate audio from a linked transmitter. Similar to the pilot tone in analogue systems, encryption prevents unwanted audio, artifacts, and noise from being demodulated when the linked digital transmitter is powered off or is out of range. To optimize the process for low latency, counter-mode key stream ciphering is the method used to encrypt the transmitted bitstream bit-by-bit.

The combination of Shure’s advanced audio codecs, spectrally efficient modulation schemes, and robust noise mitigation techniques result in digital wireless microphone systems that exhibit far greater audio quality, operating range, and operational stability compared to older analogue systems.

The CRC repetitive binary division process enables remainder values to be compared between the blocks of data transmitted and received to facilitate the detection of noise induced errors The risk of strong interference severely compromising the carrier cannot be completely mitigated in fixed carrier digital wireless microphone systems. For enhanced operational stability in challenging RF environments, Shure manufacture frequency agile wireless microphone systems like Axient Digital. In these frequency agile systems, the error detection process is so effective that the system can hop to a clean carrier frequency to avoid interference before any audible artefacts are perceived.

Frequency Diversity is a Shure technology implemented in ULX-D and Axient Digital Wireless Systems whereby the same signal can be transmitted simultaneously on two separate frequencies to a dual or qual channel receiver. ULX-D and Axient Digital receivers set to Frequency Diversity mode continuously analyse the incoming signal quality, using both signals to provide an optimized audio signal on a

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Next month, we will cover some recommended practices regarding site evaluation and frequency coordination planning. We will look closely at the Shure Wireless Workbench software to highlight ways in which the application can assist with RF spectrum planning and the monitoring of wireless microphone and IEM systems.

Hayden Leiper is an Electroacoustic Engineer with 15 years’ experience in the professional audio industry. Currently employed as a Technical Consultant with Shure Asia Limited, Hayden’s current responsibilities include wireless and audio systems Applications engineering support; authoring, editing, publishing, and presentation of educational materials for the Shure Audio Institute; and support of training seminars, webinars and educational programs conducted by Shure Asia’s channel partners. www.shureasia.com

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KNOWLEDGE HUB DEC. 2018

THE ALEX SCHLOESSER COLUMN

Immersive or Not, and How About All Those 3D Audio Formats?

I saw that a few of you got excited about the 3D Audio topic and I thought we dig a little deeper into this here. In Pro Audio’s urban dictionary, the word IMMERSIVE stands a good chance of becoming the word of the year and I thought we should shine some light and try to debunk some of the myths about all this.

Generally Immersive has nothing to do with any format, but it only means how engaged (immersed) and surrounded you are in the event and the sounds that you are attending to. This can of course come in many different formats and as you may know by now, I am a still big fan of stereo and I do think that a stereo experience can be quite immersive already. In the spirit that more sometimes is better, more speakers and the ability to create a true cloud of sound around yourself with a decent localization is an interesting concept.

I guess it is clear to all of you that 5.1 and 7.1 are no 3D audio formats and reproduction only happens in one plane, but if this experienced in a space with a frontal screen, the experience is quite good already. DOLBY ATMOS wishes to increase the ability to locate sounds around you and to add some four overhead channels to a 7.1 setup with a total of up to 128 channels of audio around you and with the right mixing software, you will be able to place sounds appropriately in a half sphere around you.

will need to find a way to mix all of this in a way that later allows a good reproduction and third you will need to determine a reproduction system which allows a most accurate localization of the sounds within the space where you will reproduce. Reproduction happens with decoding systems All this gives credit to the genius of Michael Gerzon, who is the inventor of Ambisonic and today Ambisonic is one of the most important formats in 3D audio. The beauty of Ambisonic is that it provides a solution to all three challenges and it allows you to mix between different methods. You can for instance record in first order Ambisonic and reproduce in third order and it will work. Ambisonic is a format that helps us with moving in between the challenges, that capturing, mixing and reproduction present to us. However, you do not require a first order Ambisonic microphone to capture 3D audio and you can turn other recording formats and solutions, which are even better equipped for recording 3D Audio into a Ambisonic encoded signal and format.

On the reproduction side, we see more and more offerings by manufacturers, but then again you do not require a turnkey solution, because freely available Ambisonic plugins allow you to decode the mix and signal into any decent number of channels and the type of loudspeaker is not critical if you use good quality systems. In general, the quality of the reproduction goes higher with the order of the reproductive system and this provides much better localization.

DOLBY ATMOS wishes to increase the ability to locate sounds around you and to add some four overhead channels to a 7.1 setup with a total of up to 128 channels of Depending on your room size, you can get very good results with eight audio around you and with the right channel decoding already and on the mixing software, you will be able resolution, the number of loudspeakers and your budget are the limit. If you to place sounds appropriately are interested, then the entry level is not in a half sphere really very expensive and I would encourage around you If you ever intend to involve yourself in 3D you all to try this out and find out for yourself if audio, you will face three main challenges. One is that you want to capture the audio source into a true 3D audio format and there are not so many real choices for this if you want to go about this in a decent and correct way. This is called the encoding part of the audio sources. Second you

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and how much you like this. Maybe you will share my view that all this is great, but Stereo is still far from dead.

Alex can be reached at alex@asaudio.de

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LIVE DEC. 2018

VIETNAM

disguise Helps Tran Linh Multimedia with Historic 3D Video Mapping The Hall of Wishes at Vinpearl Land Nam Hoi An was transformed into a replica of the Co Loa Citadel

“Using conventional methods, Vietnam-based Tran Linh Multimedia were able to cover three tiers with one projector. we would have had to selected a disguise 2x4pro media server To be honest, I was not really confident this for the stunning 3D video mapping could be done until I saw the results, which cover each step with a separate of the Hall of Wishes at Vinpearl amazed me!” projector, but with the help of Land Nam Hoi An, Vietnam’s largest disguise we were able to cover entertainment complex.

Duc was using the third-party Mapping three tiers with one projector. To be Matter software to do their projection studies The project features a replica analysis. “Its coordinates could be input honest, I was not really confident construction of the Co Loa Citadel, a manually into disguise, and that helped me a this could be done until I saw fortified settlement and archaeological lot for configuring the projector in the media the results, which site, which was an important political server,” he says. centre of the Vietnamese people until the amazed me!”

10th century. Tran Linh, which has done many 3D video mapping projects in Vietnam, was charged with mapping the curved, tiered replica citadel with stylised landscapes and seascapes that tell the traditional Vietnamese story of the historic landmark. The 3D video mapping show plays nightly to an audience of approximately 2,500 people.

“When we were mapping the Hill of Wishes the biggest problem we had was the many steps and different levels of the structure,” says Duc Nguyen. “Using conventional methods, we would have had to cover each step with a separate projector, but with the help of disguise we

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“disguise then acted as the master playing the LTC tracks to synchronise lighting and laser elements,” Duc explains.

“We chose disguise for its well-designed user interface, the fact that it was easy to learn and its ability to simplify configuration and quick projector calibration for any rush events that might come up.”

“We appreciate the support we received from disguise,” Nguyen adds.

“We are very happy with the results of this project!” www.tranlinh.com.vn www.disguise.one/en

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LIVE DEC. 2018

JAPAN

Theo Cox Designs Spectacular Arena Tour for Yumi Matsutoya

Multimillion-selling Japanese singer Yumi Matsutoya’s ‘Time Machine’ arena tour has kicked off in spectacular style with a stunning lighting design

by Theo Cox

Theo Cox Designs Spectacular Arena Tour for Yumi Matsutoya Multimillion-selling Japanese singer Yumi Matsutoya’s ‘Time Machine’ arena tour has kicked off in spectacular style with a stunning lighting design by Theo Cox Cox, who during his 25-year career has created epic lighting for an eclectic mix of top international artists, was invited by Matsutoya’s team to create an impactful experience designed to fill Japan’s largest live music venues with wonder and joy.

“It’s a marvellously quirky show – Yumi materialises on stage riding a life-sized animatronic elephant, later there is an ‘underwater’ scene of ethereal jellyfish with aerial performers in shiny silver suits – it’s bonkers, Japanese style,” says Cox. “It’s an in-the-round spectacle, with silks and flying performers, motorised turntables and lifts, and is as much a theatrical show as a pop concert. The project gave me the opportunity to draw on my diverse experience in designing lighting from a wide range of disciplines, from multi-media spectaculars to themed environments, as well as live music and TV.” Matsutoya is a national treasure in her home country, selling more than 40 million records and racking up 21 chart-topping albums over her 45-year-career. Her ‘Time Machine’ tour is not only a three-hour celebration of her most memorable songs, but also a deeper reflection on time and the relationship between past and future.

The ambitious creative vision for the tour was masterminded by Yumi’s husband ‘Manta’ Masataka Matsutoya. Cox was challenged with bringing this vision to life with light.

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“I love that it is not just a stage performance, but also a highly creative, theatrical experience,” Cox continues. “The many staging elements gave me great creative scope and inspiration for the lighting looks to help build up the rich visual texture of the show.

“Manta wrote a beautifully descriptive document for me, explaining his vision for the show and offering an insight into his interpretations of feeling and concept. This was extremely helpful in determining the look of songs not only by the music, but also with an understanding of the meaning and lyrics - which are of course mostly in Japanese. My ultimate aim is always sympathy and synergy with the performance and the music, whilst remembering that the artist is the ‘raison d’être’.”

The lighting rig is designed around concentric truss circles upon which huge motorised gauzes hang, the outermost encircling the entire stage

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area to give a massive 360-degree projection surface. Robe Washbeam BMFL’s make up the majority of the rig (the ‘EV’ model, with a second gobo wheel instead of the animation wheel). Other fixture types in the rig include GLP JDC1, Martin Mac Aura, Vari-Lite VL3000 Spot and Robe Pointe. Lighting infrastructure, kit and crew were provided by ‘Hayashi Office‘.

arrangements and moves that work when viewed from any audience position,” Cox explains.

Cox’s design was programmed by Jonathan Rouse on a MA Lighting grandMA2. With the exception of only a handful of manual cues, the complex show is entirely timecoded.

“The production team is extremely happy and know they have a great show. I was delighted to receive a heartfelt email from Manta, written by him in English, which included the line: ‘Thank you for amazing work for a long time’. It’s a privilege to work on a show that demands such a complex composition of light theatre. It’s also especially exciting to work with a pop star such as Yumi and a visionary like Manta and his superb team. It’s the stuff a lighting designer’s dreams are made of!”

Cox says: “One of my favourite lighting moments is during the song ‘Esper’ when the ring of Pointes fly in low over Yumi on her raised podium, light beams stabbing out like a demented mind-control machine as she sings the tag-line: ‘E.S.P.- I send you my power’.”

“An in-the-round show presents interesting challenges – a member of the audience may only see a quarter of the lighting rig ‘as intended’ at any one time, so it is a creative teaser to devise beautiful aerial beam ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The audience is given ‘Fre-Flow’ wristbands, which are choreographed with the stage lighting. “Seeing the whole arena rocking along in sync is a special experience,” he continues.

The ‘Time Machine’ tour continues to perform across Japan until April 2019. www.theocox.com

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LIVE DEC. 2018

HONG KONG

Outline Newton Clocks in at Clockenflap Audio system designer Davide Linzi swears by Newton’s versatility and flexibility

Clockenflap is one of Asia’s biggest multi-genre music festivals, held each year in Hong Kong. Now ten years old, the festival is a firm favourite in the region, with its extensive programme of music, art, film and other activities.

In addition to a line-up of internationally renowned artistes - which this year included Erykah Badu, David Byrne, Khalid, Roni Size, Interpol, Caribou, Anpu and The Vaccines - the festival also offers a platform to local talent, helping them reach a wider audience.

For the 2018 edition of the festival (9-11 November), the main (Harbourflap) stage and second stage were managed by Alto Stage Management, who called in Davide Linzi of Mister X Service as audio system designer for both and FOH engineer for the main stage (assisting productions with their own sound engineer).

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Linzi explains why he took Outline’s Newton multi-source audio processor with him for the important event.

“I decided to take Newton to Clockenflap because I needed a fast versatile unit that enabled me to create a matrix of inputs and outputs that was fast and effective to manage and control. My workflow required 10 independent inputs always connected with the L-RSUB-Front fill of the main S6L console, L-R-SUB-Front fill of the guest console, L-R of a production mixer handling walk-in music, publicity audio and emergency and MC mics; the outputs on the other hand involved independent control of L-R-SUB-Front fill-L/R Outfill, L/R Delay, a stereo feed for streaming, a reference signal for Smaart and a pair of Dante signals for L/R recording if requested. The major EQ settings carried out during PA tuning were done on Newton, as were any modifications request by artists’ sound engineers.

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routing and the amount of signal transport required to interconnect several units: having the possibility of processing 16 inputs and 16 outputs simultaneously in a single rack unit, which I configured in less than 5 minutes once Dashboard (Outline’s control software) was connected greatly streamlined by work.

Nowadays, it’s quite common to tour using in-house PAs, with a freestanding EQ or PA management system, to be completely independent when tuning a system. Newton is an extremely versatile unit, rapid and easy to use, and it’s versatility that wins in the long run.”

So, one of Newton’s strong points is routing, according to Linzi, something he’d never do without, “With the same computer Newton at the heart of Clockenflap connected via CAT5 for control, I can do quick L/R recordings for artistes directly via Dante Virtual Newton wasn’t a casual choice: the fact of For the 2018 Soundcard, without the settings made to the PA being the core of such a complicated system on the output. Then thanks to the EQ on the edition of the festival and having two independent redundant inputs, it is possible to carry out individual EQ (9-11 November), the main power supplies was a safety factor that settings for each engineer, without changing reassured the festival’s producers, who (Harbourflap) stage and second the basic tuning on the outputs.” are very demanding as far as reliability stage were managed by Alto Stage criteria and the sound quality of the Linzi concludes, “Newton is definitely an Management, who called in stages is concerned. excellent investment for whoever is looking Davide Linzi of Mister X Service Another fundamental aspect in certain for a product that is versatile, easy to use, contexts is the enormous flexibility as audio system designer for technically advanced and ready to open up of the matrix and the ease with which to hundreds of software upgrades that can both and FOH engineer numerous I/O can be controlled without only make it even more interesting. Newton for the worrying about incorrect clock settings, as has all it takes to redefine users’ workflow limits: the unit takes care of ASRC automatically. main stage nowadays, for an event, a festival or a show, what’s needed is the same concept of sharing as the social-web In the past, I frequently had problems not so much world: the greater the number of connective channels that with finding user-friendly systems able to handle such a large can be set up in a network the more the message will be usable, and amount of signals, but finding users able to provide me a laptop ready simplicity is the right way to do this.” to run and the equipment configured: previously, I always used another newton.outline.it brand, which I consider a top grade unit, but one is often limited by the

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MARKET PLACE DEC. 2018

* PRICE MIGHT DIFFER AT WEBSITE DUE TO DYNAMIC PRICING MECHANISM ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com