ETA FEB 2018 02

FEBRUARY 2018

For The Technical And Production Professionals

Changing The

Landscape AED Rent S.E Asia sets it sight on South-East Asia and beyond

LIVE

d8 Kept Busy With Backto-Back Events

THE ALEX SCHLOESSER COLUMN: What To Focus On When Setting Up A System THE LAST PAGE: Increasing The Odds With The Right Platform

w w w . e - t e c h a s i a . c o m

IN THIS ISSUE

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ETA - February, 2018

04

FIRST WORDS

54

LET'S TALK BIZ

Top 5 Reasons Why “The Customer Is Always Right” Is Wrong

06

NEWS

24

VIDEO FILES

26

ENNOVATIONS

55-57

LIVE

55 JPJ Audio On The Road With Sir Paul McCartney 56 GLP X4L On Test Duty With The British Lions Down Under 57 d8 Kept Busy

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THE LAST PAGE

Increasing The Odds With The Right Platform

40

SHOW PREVIEW

Live Entertainment Expo TOKYO: 630 Exhibitors Expected For Trade Show

42 - 49

60

KNOWLEDGE HUB

42 Power Ratings Use And Abuse 44 All About Wireless: Wave Propagation 46 3D Workflow Overview 48 Making Quick Decisions: What To Focus On When You Set Up A System 49 Building Your Audio System

50

FEATURE

Changing The Landscape: AED Rent S.E Asia sets its sight on South-East Asia and beyond

52

HACK MY WORK

Protec's Event Production Guide

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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EVENTS CALENDAR

FIRST WORDS

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Integrated Systems Europe (ISE) is proving to be a dominating show that encompasses all aspects of AV. This year's show has 1200 exhibitors spread over 15 Halls. With Chinese New Year being celebrated only about 5 days after the show ends, there has been a surge of interest from the region to attend the exhibition.

Almost every major Audio player is at the show and it has come to our attention that some are using this platform rather than PL+S Frankfurt. ISE also has a LED showcase galore and interestingly there has been a small but significant growth of lighting companies beginning to use the ISE platform. Most participate mainly to show their architectural lighting solutions though not exclusively as effects lighting are also expected to be at their booth. For starters Robe, GLP and DTS will be present at the exhibition.

Amsterdam, with its easy connectivity and cosmopolitan outlook is an easy draw for many ‒ especially for those from Asia. What ripple effect will it have on PL+S Frankfurt? I suppose we can only answer that when we visit the show in April.

On another note, the SLV Symposium that is to be held in Kuala Lumpur, Malaysia has already sold all its exhibition space. The show would have around 40 booths with renowned brands participating.

We are pleased to inform that we will be bringing the Dante level 3 training to Kuala Lumpur, during the event.

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 first_dm@hotmail.com

Shankar Venugopal ART / LAYOUT

Thomas Richard Prakasam Editorial Director / Publisher thomas@spinworkz.com

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Spinworkz Pte Ltd, 51 Bukit Batok Crescent, #06-10 Unity Centre, Singapore 658077. Tel: (65) 6316 2716 Fax: (65) 63162715, www.spinworkz.com

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shankar@creativecult.in

CREATIVE

CULT

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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Jands Becomes L-Acoustics Certified Distribution Partner For Australia Jands has a team dedicated to offering technical and design

AUSTRALIA: L-Acoustics has announced the appointment of Jands as its new certified distribution partner for Australia, with effect from 1st January 2018. Jands' distribution arm represents the best professional audio and lighting products, selected from the world's most renowned suppliers. Jands is set to provide L-Acoustics with an increased penetration into the Australian marketplace, whilst adding L-Acoustics to its roster further solidifies Jands' position as the go to distributor for premier brands.

“My first introduction to L-Acoustics was when, along with Peter Ratcliffe from JPS, I visited the factory in 2000,” says Paul Mulholland, Jands' Managing Director. “It was clear from our first introduction to the V-DOSC speaker cabinet that LAcoustics was destined to become a dominant force in live sound. JPS became the L-Acoustics rental network partner for Australia and I watched as the pioneers of line array continued to develop ever more innovative products. I am proud that Jands now represents L-Acoustics and excited that our company will be able to provide the best solutions to our customers in the fixed installation and touring market.”

support to its customers around Australia, along with product training for contractors and end users. The team comprises production and installed product specialists with decades of combined experience.

“We have recently appointed two business development managers who will focus on the touring production and live venue markets around Australia,” explains Mulholland. “Both BDMs have a background in the production industry and work with current and new Jands customers to discover ideal solutions for their needs.”

“We're delighted to have Jands join the L-Acoustics family,” says Tim McCall, L-Acoustics regional sales manager. “We have had considerable success in Australia over the last decade and aim to build on this strong base. We have a natural synergy with privately owned, technology and solution-focused partners. I think we now have that with Paul and his team. łs⁄¡?ƒ ‒ „K |‹\“‚fi ~ ›¢ ¤ •£ «i?¡„ƒ ⁄“\‹‒ |K •ʻ£ ¢ ›·~ «¤ ?¡\„ƒ ⁄‹‒ |›“£ ʻ~ «·?rkLh `M s⁄ƒ \‹¡‒ „‚“¢ ›|d fi ?«£ •ƒ ⁄¡‹\·‒ M ø\› www.jands.com.au

FIVB Beach Volleyball World Tour To Make Stop In Singapore SINGAPORE: The Federation Internationale de Volleyball (FIVB) Beach Volleyball World Tour 2018 will make its stop in Singapore as one of the host countries for one of the most anticipated sports event in the world. The FIVB Beach Volleyball World Tour 2018 is organised by the Volleyball Association of Singapore (VAS) and supported by Sport Singapore and Tote Board,. The sporting event will be held from 21 to 24 June at the Siloso Beach, Sentosa, daily from 9am to 6pm. Partnering the event are UnUsUaL Productions Pte Ltd, Sozo and Red Spade Entertainment.

UnUsUaL will be responsible for the sound, light and visual set-up for the venue.

To add to the tournament's adrenaline a number of events have been planned to transform the venue into a party zone.

Sozo develops entertainment experiences across the region with its key focus on Japan centric content.

The company will be organising together with VAS a Japanese Music Festival Night on 22 June and an Electronic Music Festival Night on 23 June 2018. The tour will culminate with a closing party on 24th June with the Sundown Live Party 2018 organised by Red Spade. Sundown is a renowned annual local music event that has had its roots in Singapore for a few years now. https://www.vas.org.sg/

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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Shure Takes Networked Audio Education On The Road SOUTHEAST ASIA: Shure has announced a series of seminars to bring its networked audio knowledge and application expertise to five cities across South East Asia. The audio manufacturer has hosted a one-day event in Thailand, and has more planned for the Philippines, Indonesia, Singapore and Malaysia to provide education on the basics of audio networking, and introduce its latest networked audio solutions for installed applications such as AV conferencing, presentation, and discussion.

The seminar details are: Ÿ Manila, Philippines - February 23, 2018 (Fri) Ÿ Jakarta, Indonesia - March 1, 2018 (Thu) Ÿ Singapore - March 8, 2018 (Thu) Ÿ Kuala Lumpur, Malaysia - March 14, 2018 (Wed) “Digital, networked technology has opened up new opportunities to deliver cost-effective, flexible, and easy-to-use audio solutions for a range of an organization's activities,” says Andy Wan, Director of Integrated Systems & Enterprise Sales at Shure. “While the technology is advancing rapidly, we want to make sure that AV and IT professionals who are new to this domain understand the benefits and implications of running

AV via a corporate network. More importantly, we want to provide users with application skills to support the audio needs of your organization and provide you with confidence to make the switch from analog to digital.”

Shure has been at the forefront of networked audio technology. As an industry leader, the company continues to push forward with new solutions to help create fully integrated meeting, conference and presentation spaces that are effective and user-friendly. In this seminar, AV and IT professionals will be equipped with audio networking basics and learn how to incorporate Shure networked audio systems into an optimally designed solution for any installed audio needs.

Among the technology highlights, Shure will introduce its new IntelliMix P300 Audio Conferencing Processor, which is available as of this month. The seminar will further offer application examples and best practice for the Shure Microflex Advance Array Microphones, as well as audio management solutions for Microflex Wireless and ULX-D Digital Wireless Systems. Addressing the increasing need for network security, Shure will also introduce its new Network Audio Encryption technology.

The seminars are hosted by the Shure Audio Institute with support from Audinate. Registration may be done here. www.shureasia.com

PLS Guangzhou Buyer Sponsorship Programme Now Open CHINA: One concern amongst Prolight+Sound Guangzhou visitors is that there isn't enough time to visit new suppliers ‒ the PLSG Buyer Sponsorship aims to solve that problem with a strategic, timeeffective opportunity for international top buyers within the entertainment industry to meet with leading global suppliers under one roof.

VIP buyers will also be entitled to a Club PRO membership, which allows them access to a range of complimentary benefits such as a complimentary welcome kit and gift, unlimited access to the VIP lounge, free access to fringe programmes and networking events, assistance in businessmatching services, and assistance in travel arrangements.

Manufacturers, import/export agents, distributors, dealers, retailers, wholesalers, system integrators, technicians, contractors and other industry professionals are all eligible to apply for the sponsorship programme.

Individual buyers are eligible to get travel sponsorship of up to RMB1000, with the sponsored amount calculated by the number of show days the buyer attends between 10 and 12 May 2018.

There are also basic, enhanced and premier group delegate packages catered to group buyers, with special rates that offer a more cost-effective way for coordinators and qualified buyers to attend the show. prolight-sound-guangzhou.hk.messefrankfurt.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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ETC's International Subsidiaries To Distribute High End Systems Products In EMEIA & APAC High End Systems general manager Becky Koester comments: “Since assuming the role of European master distributor several years ago, AED Distribution has made great strides in establishing High End Systems as a significant brand in the region. We appreciate their hard work and acknowledge all they have accomplished on behalf of High End. We move forward in partnership with AED, and they will continue to serve selected customers in Europe and provide sales services in the Benelux, France and UK.”

EMEIA/APAC: Taking the reins from the former European master distributor, AED Distribution, ETC Ltd and GmbH will now be responsible for the distribution of High End Systems products in Europe, the Middle East, India and Africa (EMEIA).

Meanwhile, ETC Asia will take control of distribution for the Asia Pacific (APAC) region.

ETC welcomed High End Systems into the family in April 2017 and has made significant investments in stocking, personnel and product support. This is set to continue, with a particular focus on EMEIA and APAC over the coming months.

David Lincecum, VP of marketing at ETC, adds: “ETC remains dedicated to providing a strong support structure for High End customers and dealers around the world. Establishing ETC international offices as the source of support for High End Systems further cements that commitment. Working in close collaboration with AED and our international High End Systems partners, we are very excited about what the future holds.”

The High End Systems dealer network remains unchanged and existing customers should continue to consult their usual suppliers. www.etcconnect.com www.highend.com

PR Shines Bright At Kankaria Carnival 2017 designer, Jay Joshi, the fixture has great abilities, with silent operation and great stability. The colours are extremely bright and their split gel functions impressive, while the Prisms and Gobo wheels were utilised to the maximum. The fixture also delivered an unfocused spot look which was used creatively in the show.

INDIA: The Kankaria Carnival 2017, which took place in the Indian city of Ahmedabad (Gujarat), between December 25-31, was brought to life by PR XR330 Beams throughout the seven days.

Local event production company Ananta Stagecraft updated their inventory with 100 XR330 Beams in time for the event. A special timecoded show was designed for the celebrations of Ahmedabad, which was declared India's first Heritage City.

Being a wireless DMX controlled fixture the XR 330 Beams can reach great heights and can be spread along venues without interfering with DMX signals.

“We are proud that we have invested in the right fixtures,” said Joshi of Ananta Stagecraft. “We have also invested in various other PR fixtures like the XR440 BWS, XR480 BWS and XLED 4022RZ. We look forward to developing great business opportunities with the investments we have made.” www.pr-lighting.com

The show's highlight was the XR330. Some 40 units were used in the show along with various other fixtures. According to ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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Audio Brands Australia Named Exclusive Distributor For Meyer Sound initial design proposals through ongoing technical support after the sale,” says McConnell.

“We are excited to have Audio Brands join as our distributor for the important Australia and New Zealand markets,” says Helen Meyer, Meyer Sound Executive Vice President. “We welcome Audio Brands to the Meyer Sound family.”

AUSTRALIA: Audio Brands Australia has been named as the exclusive Meyer Sound distributor for Australia, with the appointment also extending to New Zealand through a partnership with Pacific AV. Effective immediately, Audio Brands Australia will be responsible for sales, technical support and service of Meyer Sound products across all markets, including touring and AV rental, performing arts venues, houses of worship, hospitality, cinema and studio.

“In Audio Brands Australia we have found an ideal partnership for strengthening and extending the Meyer Sound presence 'down under',” says Antonio Zacarias, Meyer Sound Vice President of Global Customer Engagement. “Audio Brands Australia has a solid, strategic approach in the product lines they represent, as well as a proven track record of responsive service and support. The company principals have a close collaborative relationship with the consulting community, which aligns with Meyer Sound's growing emphasis on commercial installation. At the same time their personal experience in live performance and touring will connect with that key market.”

For Don McConnell, founder and director of Audio Brands Australia, the appointment represents a significant step forward for the company.

“With this appointment, Meyer Sound has recognized our company's passion for audio and our demonstrated success with other product lines,” says McConnell. “We certainly share Meyer Sound's commitment to product quality and customer support, and we have everything in place to take Meyer Sound to a wider audience in Australia and New Zealand. We sell solutions, not boxes. Customers know they can rely on us from ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

From left to right: Antonio Zacarias, Vice President of Global Customer Engagement, Don McConnell and Jeff Shoesmith of Audio Brands Australia, John McMahon, Vice President of Solutions and Strategy.

Over the decades, Meyer Sound products and technologies have earned widespread acceptance in Australia and New Zealand, with a number of cutting-edge systems installed in recent years. Examples include the Telstra Customer Insight Centre in Sydney, Hamer Hall at Arts Centre Melbourne, Bee Gees Way in Redcliffe, Soundfirm cinema post in Melbourne, and the ASB Theatre in Auckland.

“Meyer Sound is highly regarded as the prestige, innovative brand,” observes McConnell. “We're enthusiastic about building on this reputation among existing users while at the same time introducing a new generation of Meyer Sound products to a wider audience of audio professionals.”

Other product lines represented by Audio Brands Australia include Earthworks, Rane, Univox, Mipro and Bosch Commercial Audio. www.audiobrands.com.au

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IRAA Awards Now Accepting Nominations!

Audio files accompanying the entries can be submitted to a dropbox link provided on the website.

The entry deadline is 30 April, 2018.

INDIA: In its 12th consecutive year, the Indian Recording Arts Academy Awards (IRAA) 2018 will be hosted alongside the PALM Expo 2018 at the Bombay Exhibition Centre. The awards will once again recognize exceptional skills in music, soundtrack recording and mixing in Indian music for albums and movies.

Soundtracks and albums released between January 1- December 31, 2017 are eligible for nominations and the list of categories which include Film as well as Non-film, are available on the IRAA website - www.iraa.in.

With the objective of recognizing the regional music industry, the IRAA awards has also retained 'Regional Awards' in the Audio Engineering, Audio Post Production and Music Production segments to honour talent outside Mumbai.

Spearheaded by IRAA Director Aditya Modi, the nominations will be screened by an 11 member Jury comprising the best in the Music recording, production and post-production industry. There is no voting and final authority is with Jury and their decision is binding on the nominees.

The winners will be announced at the IRAA award ceremony which will take place at the Bombay Exhibition Centre, Goregaon, Mumbai on 2nd June, 2018, 4 pm onwards.

Here's your chance to grab the limelight! Log in to http://iraa.in/Reg.aspx and send in your nominations now.

For more information contact: Ankita Bhadrawale; info@iraa.in; +91 8966812132 www.iraa.in

IAAPA Opens Regional Office In Shanghai gratitude to the Shanghai Municipal People's Government, Shanghai Municipal Tourism Administration, Shanghai Public Security Bureau, and Shanghai Shendi (Group) Co. Ltd. for their support in helping us successfully establish this office.”

CHINA: The International Association of Amusement Parks and Attractions (IAAPA) jhas announced the opening of a new regional office in Shanghai, China, expanding and enhancing the association's programs and services in the Asia-Pacific region. The opening of the new Shanghai office is IAAPA's first Mainland China Representative Office, and its second office in the Asia-Pacific region.

“China has been experiencing tremendous growth in the attractions industry and we are excited to open a regional office in Shanghai. This will allow us to further support our local participants and connect them with our global participants,” said Paul Noland, IAAPA president and CEO. “Our goal is to continue to provide exceptional levels of service in China, while remaining committed to the success of the region's thriving attractions industry. We would like to extend our thanks and ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Located in the Puxi, the historic center of Shanghai, the office will support the attractions industry in the Asia-Pacific region through education and professional development, information dissemination, research, education, advocacy, and networking events.

The Shanghai office becomes IAAPA's fifth regional office to service the attractions industry around the world, joining the existing operations for Asia-Pacific (in Hong Kong, China), for Europe (in Brussels, Belgium), Latin America (in Mexico City, Mexico), and North America (in Orlando, Florida, US).

Annually, IAAPA hosts Asian Attractions Expo ̶ the premier event in the Asia-Pacific region where industry professionals gather to exchange ideas and experience innovation. Asian Attractions Expo 2018 will be held in Hong Kong, China at the Hong Kong Exhibition and Convention Centre, 5-8 June. www.iaapa.org, www.avolites.com

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Avolites Announces The Appointment Of Paul Wong As Managing Director lighting consoles and a major innovator of new features which have transformed the visual experience of live entertainment. I am looking forward to working with a team who are busy working on incredible new products which will be greatly appreciated by the loyal Avolites fanbase, as well as new users.

Having been working in the company since November I feel terrific enthusiasm for the future."

Having held the roles of both Chairman and Managing Director for a number of years, Ric Salzedo will now retain the position of Chairman. Along with Steve Warren, he was both architect and overseer of many of Avolites' innovative products, and also guided the successful acquisition and integration of Avolites Media.

UNITED KINGDOM: London-based technology industry expert Paul Wong has been appointed Managing Director of Avolites.

Born and raised in sunny Southport, Paul is an experienced Business to Business managing director with a track record of strong growth in multiple industries with a focus on industryleading technological innovation.

He joins Avolites with a wealth of experience, most recently as MD at Bosch Security Systems Ltd and MD of Record UK Ltd. Paul is welcomed to Avolites as an addition to existing senior management - Steve Warren, Director of Business Development and Ric Salzedo, Chairman. "I'm thrilled to be joining Avolites at this exciting time for the company," says Wong. "Avolites has a great history as one of the pioneers of

Ric says, "As part of our long-term plan we have been putting young blood into the executive team, which started with JB and Koy joining the Board as Technical and Sales directors. The next step is Paul joining the company as Managing Director."

Sales Director, Koy Neminathan says, "The Avolites team are delighted to be joined by Paul who brings industry knowledge, a thirst for innovation and strong business experience to Avolites. His appointment comes as the company moves into the next level of technological advancements with a clear focus. We are extremely excited to have Paul steer this 'ship' towards its goal and achieve the great things for all our users, new and old, in 2018 and beyond!" www.avolites.com

Showtech Australia Invests In Kinesys Showtech Australia specialises in entertainment rigging, staging, automation, flying effects, technical and 'uncommon' services, applying expert knowledge and imagination to the intriguing world of motion control.

Tiny Good, founder of Showtech Australia, was already familiar with Kinesys products before he committed to the purchases, as they had been working regularly with Kinesys elements … “basically I knew the power and scope of the Vector system, so I was confident it was the right choice,” stated Tiny.

AUSTRALIA: Showtech Australia is one of a growing number of companies investing in and using Kinesys automation products regularly in both their day-to-day and custom work.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

They have been purchasing and utilising Kinesys products regularly for the last five years.

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As a busy production facility, it reached a stage where owning a reliable and flexible brand which could be used as standard for all projects made sense … and the first purchase was the Kinesys Velocity drives, Vector control and a Mentor E-stop interface, which they used in combination with their existing Zero Fleet AC winches.

Their Vector control system was installed in a bespoke console, complete with 15 inch touch screen, the Vector keypad, E-Stop and DMH, all incorporated in one easy to use and transport box.

Other subsequent Kinesys investments have included LibraCELLs, more Velocity Drives, DigiHoist , mini Array PDES, Vector console, Liftket 1 tonne motors and Elevation 1+ drives … “and there will be more coming” confirms Tiny.

Tiny reckons the DigiHoist is “one of the best and most powerful fixed speed controllers on the market and great value for money” with features like digital communications, limit monitoring, load and position feedback and group halt functionality.

Vector is “a great piece of control software that's powerful, user-friendly and straightforward to teach people in terms of operating a basic show, as well as being extremely stable and reliable”.

Showtech has proudly been engaged and worked with many producers within Australia and internationally to produce both complex and simple motion and aerial scenarios for shows and events with their Vector system.

Along with Showtech's growth of shows requiring automation and motion control comes the need for training new operators and Tiny has taught the system to several key personnel who are now operators in their own right.

LibraCELL and DigiHoist are regularly used by Showtech to ensure real-time monitoring of the hoist loads.

Tiny believes that LibraCELL and DigiHoist will become increasingly common in the concert, event and touring sectors, especially when video walls are concerned, which is something they are pushing to make mandatory in Australia, especially when involving more than three support hoists. The support they receive from Kinesys is “really great” despite the difficulties of being in an opposite time zone and together with recent expansions at Kinesys USA this has become “even easier”.

Tiny observes that flying and automation, be it a person, lighting, video or other production elements, is becoming more popular within Australia and Asia, and in fact across the world, live audiences are expecting more spectacle and WOW factors now than they did a decade ago. Producers therefore have more creative options for making live shows visually and physically exciting… with automation playing a massive part.

Automation is on the increase in theatres and venues due to enhanced safety and repeatability … and with all of this maturation, “we need more emphasis generally on automation as a technical skill. It's not something for which we can simply rely on stage managers or lighting operators to push the button on cue!”

The evolution of the motion control sector of the industry is a hot discussion topic in the rigging community right now and something that Tiny feels Kinesys addresses in its ongoing and forward thinking product development.

Tiny and Showtech are looking forward to the ongoing expansion of their Kinesys inventory and the exciting future of automation and motion control. www.kinesysusa.com www.showtechaustralia.com.au

ETG Staging Connections Announces Rebrand To Encore Event Technologies CHINA: Encore Event Technologies, a leading provider of inhouse event technology and production services, announced that it is expanding its global presence with the rebranding of ETG Staging Connections to the Encore Event Technologies brand.

VMWare event ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

ETG Staging Connections is China's leading provider of inhouse event technology and staging services. Adding the company to the Encore umbrella creates a global audio visual (AV) and event services company, that not only provides broader staging and event production service offerings with improved business performance for customers, but also

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bolsters the brand's competitive advantage in servicing premium hotels worldwide.

Hyatt Global Summit

Both Encore and ETG Staging Connections are part of Freeman, the world's largest brand experience company.

Commenting on the rebrand, Ken Sanders, President of Freeman Audio Visual, believes the adoption of the Encore brand is a positive reflection of the current landscape and will be the driving force to future success.

“The adoption of the Encore brand in China will provide our venue partners and clients with a single global resource that represents our unwavering commitment to elevate their brand experience in unique, creative and innovative ways. Our strengthened global offering provides clients with a blend of the best of what our two companies have to offer ̶ unmatched customer service, high quality technology solutions, a customer-first approach, industry and technical expertise, and the best talent. These are these driving principles that will position Encore to be the leading voice in the industry.”

Encore has already grown significantly through the Asia Pacific region with in-house AV services in Thailand, Singapore and the Philippines. This rebrand continues the company's evolution; the strength of the Encore name is reflective of the company's global footprint, investment and vision. This new chapter of the business will enhance the services and

2016 Junior Auxiliary Circus

technology available to current clients, and appeal to a whole new market in Australia and across the globe.

Tony Chamberlain, Managing Director for Staging Connections shared, “As we expand throughout the Asia Pacific region, we will continue to offer our network of partners and clients unmatched expertise, quality services and global resources. A single brand reflects the mutual values for both businesses and will enable us to truly function as the most valued partner with access to one of the largest AV and event production networks within the industry.”

In November 2016, the creative and event agency arm of ETG Staging Connections was also rebranded to align with the brand experience agency model under Freeman ‒ known as FreemanXP. www.freeman.com

Asia Music City Announces Its Ambitious Plans word know of its ambitious plans. Touted as Asia's first integrated lifestyle hub dedicated to Music, Sound, Lighting and Video lovers, Asia Music City is located at Quill City Mall, Kuala Lumpur. Quill City Mall is easily accessible with a Metro station directly linking to the Mall.

Philip Seah of AMC, addressing the media and partners

MALAYSIA: The 29th of January saw Asia Music City (AMC) hold its press conference at Zouk, Kuala Lumpur, to let the ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The space promises to be a haven for everyone who is into creativity and entertainment. Some of the features in the space include Malaysia's largest Recording studio which is over 7,000 sq.ft. There are also six rehearsal studios. Two Event Halls suitable for concerts, banquets, fashion-shows, exhibitions, product launches and corporate events will be up and running in April this year. There is also a Black Box and six furnished Seminar Rooms to complement the two event halls.

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The stakeholders of Quill City Mall and AMC

There is also a dedicated Superstar Radio Station where any radio broadcaster can use the space for interviews with Artistes. A Ticketing Hub is conveniently located for the public to purchase tickets for any event including those held at AMC. For those who want to feel the adrenalin rush of performing, an open solo stage is available for rent.

On the retail end there will be a dedicated Guitar Retail Showcase, Drums Retail Showcase, Keyboard retail Showcase, Piano Wholesale Centre, a DJ Equipment and Accessories space, Vintage Musical Instruments Showcase and one of the largest DVD and CD centre in Kuala Lumpur promising to be stocked with collectibles, rare music and movie albums for sale.

Some of the partners who will be involved in AMC

attention showcasing various LED brands to introduce and educate the public on LED technology. With this being Asia, it would be remiss if karaoke is missing from an integrated lifestyle hub and fittingly AMC promise to have the largest Karaoke Showroom in Malaysia that features individual equipment testing rooms with multiple brands of international karaoke equipment available.

AMC will open the different features in a staggered schedule.

One of the first to open are the Event Halls, Black Box and Seminar rooms and the first full-fledged event to grace the space will be the SLV Symposium held from 24 to 26 April 2018.

The media and partners at the Press Conference

A dedicated Professional Musical Instruments Repair Centre is also in the pipeline that includes servicing of sound, light and video equipment as well as fiber optic repair solutions.

Interestingly a LED Technology Hub will also fight for your

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

www.slvsymposium.com

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Epson Targets Rental & Staging Market With 15,000-Lumen High-Brightness Laser Projector

Edge blending demonstrated using two 12,000 lumens high brightness laser projectors with the latest ELPLX02 elbow lens SINGAPORE - Epson recently launched their new 15,000 lumens EB-L1755UNL laser projector during an open house targeting the rental and staging market. Held in collaboration with The Production People and Acoustic & Lighting System Pte Ltd, the event allowed Epson to show off its lens options and 3LCD high-brightness projector technologies.

Features include: Ÿ

4K enhancement technology ‒ pixel scaling technology shifts each pixel diagonally by 0.5 pixels to double the resolution to 3840 x 2160, surpassing full HD quality

Ÿ

Auto image calibration ‒ equipped with a built-in camera, the EB-L1755UNL is capable of calibrating and adjusting colour, uniformity and white balance automatically

Ÿ

Flexible projection ‒ projector can be rotated 360º in any direction for off-axis positioning, and is fully tiltable for maximum flexibility for installation in any location

Ÿ

Innovative performance features for seamless projection on surfaces include edge-blending, curve projection, corner wall projection, point correction, quick corner and others.

Ÿ

Advanced connectivity ‒ projectors come with HDBaseT support and network projection

c·‒ ƒ ‹£ ?⁄¡fi ›|K d ~ \•¢ ƒ £ ⁄?ʻ‒ ‹¡fi ›|~ “·\«T K O Q ?M `‹|¡£ ʻƒ fi “›·~ ‒ \«K ¢ •?‹£ P Q O ¡⁄ƒ ʻ“\‒ fi ›|d ko w ?•‹M ¡

The range of lenses that Epson has to offer, including the ELPLX02 elbow lens ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The new EB-L1755UNL laser projector www.epson.com.sg

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Beam Alignment - Cameo D FORCE 3000 Cameo's D.FORCE 3000 RGB has a high output of 3,000 mW, and with its pure Diode construction in the colours red, green and blue, it is superior to other DPSS lasers. The red 638 nm Diode has considerably improved visibility over a conventional 650 nm Diode, making the D.FORCE 3000 RGB perfect for high-level professional laser shows.

Elation Professional - Chorus Line Series It's ONE SINGULAR SENSATION ‒ well, not quite!

Elation introduces its CHORUS LINE 16 and CHORUS LINE 8, both pixel bar wash luminaires featuring 40W 4-in-1 RGBW LEDs, motorised 4º ‒ 40º zoom and 220º tilt, as well as full pixel control.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Live Entertainment Expo TOKYO Held at Makuhari Messe in Tokyo, the 5th Live Entertainment Expo will showcase LED display, audio and lighting for professional use as well as special effects and other staging technologies. Expo visitors will gather with industry professionals to learn more about the marketplace and gain exposure to unique ideas and expertise.

SLV Symposium The organiser of SLV Symposium, Teamgrey, has put out a 30 second video to capture the essence of what the exhibition will be about. The exhibition is being held in Kuala Lumpur, Malaysia, at the Quill City Mall Convention Centre from 24 ‒ 26 April 2018.

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Yamaha CL/QL StageMix Version 7 For iPad Ready For Download The Yamaha CL StageMix and QL StageMix iPad applications are popular with CL and QL series digital mixing console users everywhere for the flexible wireless setup and control capabilities they provide. Version 7, with expanded features and capabilities, is now ready for download.

The StageMix application was originally developed to provide flexible, efficient wireless setup of monitor mixing. After several updates, it has become an invaluable tool not only for monitor setup, but for wireless mix fine tuning from anywhere in the audience seating area, mixer display expansion via a wired connection, and more.

The Yamaha QL Stagemix.

receivers that are not Dante compatible (AXT400, QLXD4, and ULXD4).

Rob Fuhlbrugge, Senior Director of Engineering and Product Development at Shure says: “We are always working to offer innovations and refinements that satisfy our customers' needs.

By providing CL and QL StageMix control and monitoring capability for Shure network wireless products, including the Axient, QLXD4, and ULXD4 receivers, the benefits of those products become available to a wider spectrum of users.”

The Yamaha CL Stagemix.

With Version 7, both CL StageMix and QL StageMix acquire a new “CUSTOM” meter area and more flexible fader area layout capability. The input patching function added in Version 6 has been expanded in Version 7 to include a multi-channel input patch function that allows multiple consecutive input channels to be patched as a group. And, thanks to ongoing collaboration between Shure and Yamaha since 2013, control and monitoring support has also been added for Shure wireless

Yamaha pro audio business unit director Yoshi Tsugawa notes: “In Version 7, StageMix evolution takes another step forward, keeping pace with our digital mixing consoles with improved usability as well as benefits derived from in-depth cooperation with Shure Incorporated. The updated StageMix applications enhance the usefulness of the CL and QL series digital mixing consoles, and will contribute to our customers' creative capabilities in many ways.

Version 7 of the CL StageMix and QL StageMix applications can be downloaded from the App Store free of charge. www.yamahaproaudio.com

New Control Products From Elation Professional Ease Lighting Communication Elation Professional is pleased to offer three new lighting control products designed to ease communication, optimize functionality and increase compatibility of intelligent lighting systems.

4CAST DMX BRIDGE The 4CAST DMX BRIDGE is a compact 4-universe wireless device which seamlessly bridges WiFi, ArtNet, sACN, and E-FLY (Elation's wireless DMX solution) signals to ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

wirelessly control compatible DMX devices, an ideal solution for small production events, nightclubs, bars or any event or venue which requires hidden data cables. The 4CAST DMX BRIDGE creates a private standalone 2.4 GHz DSSS (Direct Sequence Spread Spectrum) WiFi network, which coexists in busy RF environments alongside other wireless technologies.

No existing network infrastructure is required, or it can connect to an external network. The device sends constant and reliable wireless DMX signals to compatible DMX devices via DMX-512, Art-Net, sACN, or E-FLY. Using the 4CAST iOS app installed on an iOS compatible device provides additional easy control of compatible DMX devices.

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eNode2 POE The eNode2 POE is a compact 2-universe Ethernet-DMX node powered over Ethernet (POE) that supports Art-Net compatible DMX control systems utilizing a single RJ45 auto-switching 10/100Mbps Neutrik etherCON input and two multiconďŹ guration 5pin Neutrik DMX data outputs. Features include DMX bilateral conversion support, a 4-button control panel, an OLED system menu display and 3 LED status indicators. Compact and made of lightweight diecast aluminum, it includes a mini omega bracket for easy clamp/truss mounting. No external power supply or cord is needed.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

IPC415-DMX Power Control Center

The IPC415 is an intelligent DMX power control center featuring 4x powerCON outputs (15A max each), 4x 5pin XLR DMX outputs, 1x 5pin XLR DMX input, and 1x 5pin XLR DMX thru-put. Power to the powerCON outputs can be scheduled to automatically switch ON/OFF via an internal scheduler when the DMX signal is lost or when a speciďŹ c cue is triggered from a DMX console. The IPC415 can be mounted in a standard 19inch rack space using the included rack ears, or truss mounted using a clamp (not included) attached to the M10 rigging point in the center of the unit. It includes a multi-voltage universal auto switching power supply (100-240v) for use anywhere in the world. www.elationlighting.com

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ADJ Lighting's Vizi CMY300 Is Company's Most Advanced LED-Powered Moving Head to Date temperature to be altered from the cool white of its LED lightsource to a warm white that emulates older lamp-based fixtures.

Two separate GOBO wheels allow a huge amount of creative potential when it comes to shaping the fixture's beam. The first is loaded with eight versatile fixed GOBO patterns + open. This includes a dedicated beam reducer which can be used in Beam Mode to create an extremely narrow razor-sharp beam that is ideal for mid-air sweeping effects. The second wheel features six replaceable rotating GOBO slots + open. Provided pre-loaded with six general-purpose patterns, this wheel allows the use of custom GOBOs with a size of 26.8mm and a viewable diameter of 20mm.

ADJ Lighting has announced that its new flagship LEDpowered hybrid moving head fixture, the Vizi CMY300, is now shipping. The award-winning unit offers a whole host of professional features, including CMY colour mixing, twin GOBO wheels, motorized focus, zoom and iris, wireless DMX and two rotating prisms.

Sitting at the top of ADJ's popular Vizi Series of moving heads, the Vizi CMY300 sets a new standard for what can be achieved from an LED-powered fixture with an attainable price tag. Since its debut at PLASA London back in September, it has garnered interest from lighting designers and installers across the globe and was recently presented with the Best New Club Light title in PLSN magazine's inaugural Gold Star Awards at LDI 2017.

The Vizi CMY300 has a specially-designed 300W LED engine that generates an incredibly powerful beam of light, making it suitable for installation in big venues as well as for large-scale tours and one-off events. As a hybrid fixture, it can function interchangeably as a beam, spot or wash luminaire, allowing designers to achieve maximum effects from one fixture without having to crowd truss in an installation with multiple units. It also allows for less fixtures to be packed in a truck for production events, reducing setup times as well as logistic costs.

As its name suggests, the signature feature of the Vizi CMY300 is its full CMY colour mixing ability. This gives users the freedom to select from a much wider palette of colours than a regular colour wheel. Independent cyan, magenta and yellow colour paddles ‒ which allow variable intensities ‒ can be mixed together to create almost any colour imaginable. In addition, the fixture still incorporates a standard colour wheel which allows easy selection of popular colours including UV. This also features a 3200K CTO filter, which allows the beam colour

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

To ensure that GOBO patterns appear sharp regardless of the projection distance, the Vizi CMY300 offers motorized focus. It also features a motorized zoom function which allows the beam angle to be altered between 8- and 46-degrees, allowing for tight beam effects as well as wider GOBO projections. In addition, the fixture offers an in-built Frost filter which switches the beam from a hard-edged spot to a soft-edged wash.

Finally, the fixture is also equipped with a motorized iris which can be used to reduce the beam intensity to anywhere between 100% and 5%.

Offering even more creative potential, the Vizi CMY300 also features two separate multi-faceted rotating prisms. Both the 3-facet circular and 6-facet linear prisms can be used independently, but can also be layered together to create unique and complex projections. These are ideal for adding interest to a stage set or the walls/ceiling of a venue as well as for creating impressive mid-air beam effects.

With variable speed as well as fine pan and tilt control, the head is capable of both smooth slow sweeps and fast precise movements. It has a pan range of 540-degrees and a tilt range of 270-degrees, making it capable of covering a wide area wherever it is positioned on a stage or within a venue.

A professional-caliber fixture, the Vizi CMY300 boasts a modular design which allows for straight-forward servicing and on-the-road repairs. Easy access to the inside of the head also makes for simple and quick GOBO replacements, while a built-in USB socket means that future firmware updates will be extremely easy to apply. This is facilitated by a large backlit full color display screen which also makes mode selection and DMX addressing very simple.

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Both 3-pin and 5-pin DMX sockets are provided and the fixture offers a choice of three control modes using 21, 24 or 26 channels. It is also fitted with a built-in antenna for ADJ's WiFLY EXR wireless DMX system that transmits a signal up to 2,500 feet / 700M (line of sight). This means that the Vizi CMY300 will easily integrate into any existing lighting setup, either cabled or wireless, and can also be used to setup a new WiFLY system.

The Vizi CMY300 supports an input voltage of 100-240V at 50/60Hz, which means that it is suitable for international use and therefore worldwide touring duties. It is also fitted with locking Seatronic powerCON input and output sockets, which allow the power for up to 4 fixtures (at 120V) and 8 fixtures (at 230V) to be daisy-chained together from a single mains socket.

With measurements of 14.75” x 12.75” x 24.5” / 370 x 325 x 619mm, the Vizi CMY300 has a smaller footprint than most other moving heads in its class. At 51 lbs. / 23 kg. it is also relatively lightweight, making it easy to carry and rig. For touring and event productions applications, ADJ's DRC16RX road case is perfectly sized to protect, store and transport a pair of the fixtures along with accessories such as clamps, safety cables and power cords.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Combining a potent 300W LED light-source with an extensive collection of motorized beam-shaping tools, including full CMY colour mixing, the ADJ Vizi CMY300 is ideal for a wide variety of applications including concert tours, theatre productions, festival stages and large church installations. Despite offering an expansive feature set and excellent build quality, it has a more compact footprint and lower price tag than other fixtures in its class, making it the ultimate LED-powered hybrid moving head. www.adj.com

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BroaMan Expands Repeat48 Range With Repeat48-2Fiber In addition, Repeat48-2Fiber supports transceivers up to 12G, and can thus be used for 12G video or 10G IP systems; it is also possible to use SFPs with direct SDI, HDMI or RJ45 connectivity.

BroaMan has added to its popular Repeat48 range of media interfaces for 3G/HD/SD-SDI or AES10/MADI signals, converting video or digital audio between coaxial and optical connections.

Following the Repeat48-2IN-3G, Repeat48-2OUT-3G and Repeat48-1IN/1OUT-12G modules which fit the Repeat48 and Repeat48WDM frame, the company has announced the Repeat48-2Fiber module. Equipped with two SFP cages, it can be used to convert from multimode to singlemode fiber or to/from any CWDM or DWDM transceiver.

Individual Repeat48 or Repeat48WDM devices can be equipped with from one up to 12 Repeat48-2Fiber modules. It is also possible to have a mixture of up to six Repeat48-2Fiber modules with up to six SDI-Fiber converter modules.

Stated BroaMan Technical Sales Manager, Maciek Janiszewski, "The new module complements the Repeat48 and Repeat48WDM series, making it fully flexible for literally any type of signal. Due to the fact that really high bandwidths are supported, it is now possible to fully integrate 12G video with IP video workflows and run all on the same fiber infrastructure ̶ even on single fiber.

“As a result of the open SFP standard, the number of different signal combinations achievable is countless, which makes Repeat48 and Repeat48WDM devices perfect for any application."

The new module is shipping now. www.broaman.com

D.A.S. Audio Expands The Event Series Of Line Arrays

D.A.S. Audio has expanded the successful Event series of line arrays and bass systems with two new powered models, the Event-212A line array and the Event-121A subwoofer. The new products are aimed at providing Event Series users with the tools needed to handle an even a wider range of applications.

The D.A.S. Event-212A is a powered, 3-way line array which employs two D.A.S. 12-inch loudspeakers in a dual band configuration where each speaker operates in a specific frequency range. The D.A.S. loudspeaker units have been teamed up with a single M-75 compression driver and purpose-designed injected aluminum high frequency waveguide to provide unmatched performance, sensitivity and coverage in both the 90º and 120º formats offered.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The Event-212A line array incorporates the DAScontrol™ interface that offers a quick and hassle-free set-up of the systems in arrays and easy alignment with the Event-218A and Event-121A subwoofer systems. Presets for the number of units of the array, HF compensation for throw distances, and correction for the splay angle of the array can be selected by way of DAScontrol and the LCD screen located on the back of the cabinet. The powerful digital signal processing of the Event-212A includes Finite Impulse Response (FIR) filters providing linear phase response and precise impulse response which, in terms of performance, results in added clarity, defined attack in percussion and overall, a more natural sound.

Along with the new line array, D.A.S. launches the Event-121A, a direct radiating rear-loaded powered subwoofer system which incorporates a single 21-inch neodymium loudspeaker to provide "earth-moving" low-frequency reproduction for the Event Series line arrays. The combination of direct radiation and rear-loading provides a high output, tight and accurate subbass response.

The Event-121A employs the new D.A.S. 21LFN loudspeaker which offers impressive features such as a 4-inch sandwich split winding voice coil, a powerful FEA optimized neodymium magnet assembly and a FEA optimized suspension system with

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double silicon spider. The result is a loudspeaker with exceptional sensitivity, high power handling capacity and a quality suspension design capable of withstanding the stress and mechanical fatigue of today´s high-power pro audio systems.

An aluminium demodulating ring benefits lower distortion and effective forced ventilation of the voice coil gap provides for a high thermal rating, and reduced power compression.

The Event-121A electronics package includes a 3200 Wpeak Class D amplifier and 24-bit high-end DSP for top quality audio reproduction. On the rear panel, controls can be found for gain, polarity and a continually variable low-pass filter that ranges from 63 Hz to 100 Hz. A unique "cardioid preset" button simplifies the use of subs in cardioid configurations, making setup of two to three units a snap without the need for an external DSP. The Event-121A is phase response coherent with the Event-208A, Event-210A and Event-212A active tops offering precise alignment. Two balanced inputs with stereo filtered outputs, which can be switched to pass-through connections, are provided.

As with all D.A.S. professional systems, the enclosures are manufactured using birch plywood and finished with the protective D.A.S. ISO-flex coating, which makes the cabinet extremely roadworthy. The robust rigging hardware of the Event-212A has been designed to provide rapid deployment, precise aiming and durability for years of demanding use. The Event-121A has reinforced handles located on either side as well as on the top of the enclosure. Two wheels located on the lower rear of the cabinet make moving the unit easier.

Optional accessories include rigging bumpers, steel bases for securing the Event-212A line arrays to the Event-121A or Event-218A subwoofers in stacked applications as well as transport dollies and protective covers. www.dasaudio.com

ATTACHES IN SECONDS. LASTS A LIFETIME.

Rip-Tie Pte Ltd 114 Lavender Street CT HUB2 #05-92 Singapore 338729 Tel : +65 6702 5278 Mobile : +65 9825 8670

www.riptie.com

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Beyerdynamic TG Wireless Manager: Professional Software Management For Wireless Systems Additional information that is independent of the actual name (e.g. the routing of the radio channel on the stage box) can be stored in the software as an add-on.

beyerdynamic is introducing a new software program called TG Wireless Manager that can centrally monitor and control wireless systems with a network interface. The clearly structured, intuitive user interface, combined with meaningful feature naming, makes it particularly simple to use.

In addition to the remote control, the TG Wireless Manager enables the calculation of intermodulation-free frequency setups ‒ not just for beyerdynamic systems, but also regarding products from other market players. beyerdynamic systems can also be configured offline, allowing multi-channel setups to be created easily prior to an event. Useful user groups can be configured for beyerdynamic wireless systems such as the TG 1000 digital premium product.

The RF environment conditions can be monitored continuously during live applications with the TG Wireless Manager thanks to an integrated scan function. The radius of action that can be covered reliably can be determined conveniently by means of a “walking test”.

The TG Wireless Manager's discreet design offers a clear overview and allows for quick navigation, even in low-light environments. The “Layout” menu item allows users to adjust the display of individual channels to individual needs. Each channel can be assigned its own colour and a freely selectable image, thus allowing you to organise the work interface even more efficiently.

By using different tabs, users can create different displays that meet individual preferences ‒ for example, important and less important channels can be separated. TG Wireless Manager also supports drag-and-drop technology and includes common file management options.

Channels can be given individual names and each channel's settings (frequency, transmission power, etc.) can be adjusted.

After preparing in offline mode, a project created with the TG Wireless Manager can be activated using the “Go Online” button. Settings can either be transferred from the project to the connected devices or, conversely, they can be transferred from the devices to the project. As soon as a transmitter is switched on, all the information about the transmitter in use that is required for monitoring, is displayed on the channel interface, including the HF and AF level, battery status, transmitter type (handheld/beltpack), the name assigned to the channel and the transmission frequency.

The HF coverage can be tested easily on-site by means of a “walking test”. This function is displayed in a separate window, which can be positioned anywhere on the screen. After selecting the desired channel, walk around the required radius of action with the relevant transmitter. The software records the HF level of both antennas, making it immediately clear if there are individual positions where there is no satisfactory radio coverage.

The TG Wireless Manager offers the option of scanning the HF spectrum to detect possible interference (for example due to DVB-T). The frequency range and desired resolution are to be determined before starting the scan. Users can carry out either a single scan or a continuous scan. Scanning can be stopped at any time. The “Save” button saves the result, either as an image or as an Excel file. The scan data can also be used to perform a frequency calculation.

A multi-channel frequency setup can be calculated under the “Frequency calculation” program tab. All beyerdynamic wireless microphones will be recorded in the software along with their frequency parameters, and can be used directly.

Third-party systems can either be set up on their own or else are already available. Every setup can be calculated with a balance between the highest possible number of channels and the maximum transmission reliability across three security levels. Potential interference, for example caused by DVB-T, can be stored in advance or based on scan data, meaning that a reliable setup is always calculated.

The TG Wireless Manager is available free of charge for Windows computers and is available for download from the beyerdynamic website. A macOS version will also be available as a free download soon. asia-pacific-india.beyerdynamic.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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Penn Elcom Launches Cross 3 scissor lifts, mobile cranes and other mechanical handling devices, tractors, all-terrain vehicles, golf buggies and a wide selection of tracked and wheeled site vehicles that's virtually everything on wheels, plus, naturally humans and animals keeping crew, artists, the public and equipment safe.

All elements of the Cross 3 product ‒ top and base ‒ are fire retardant and compliant to DIN EN 13501-1.

Cross 3 offers a 110cm (43.3 inches) as standard, so that's over 10 cm more than other cable crossovers and a fantastic valueto-coverage ratio. The sections are 29 cm wide (11.4 inches) with an unobtrusive low-profile height of 5.5 cm (2.2 inches).

Multiple sections of Cross 3 can be neatly and robustly conjoined using an innovative interlocking pin system.

The cover hinges open from the base for quick and easy access for laying cables over walkways, roads, pathways, arena floors, etc.

Cross 3 is a brand new ground-breaking, high-performance cable protection product launched by Penn Elcom, which is tough, durable, fire-retardant, aesthetically pleasing and infinitely useful for any festival, concert, show, event or exhibition environment ‒ indoors or outdoors!

Cross 3, the first product in this new series was revealed to the public earlier this week at the CUE 2018 expo in Rotterdam, the Netherlands, a biennial trade show for events, installation and entertainment technology where it was extremely well received.

Cross 3 is a three channel 'crossover' product manufactured from Thermoplastic Polyurethane (TPU), chosen for its strength, high resistance to abrasion, flexibility and recyclability.

Each of the three Cross 3 cable channels has a 33 metre diameter, so ideal for accommodating multicores, mains, all types of data, TRS, fibre, copper etc.

These standard sections each weigh an expedient 7.5 Kgs (16.53 lbs), and the hinged lids can be supplied in a range of striking hi-visibility colours or smart black to blend in with the base sections, offering bespoke solutions for different applications.

Quick fit anti-slip / sliding pads are available for the hexagonal base structure to ensure it grips efficiently to multiple surfaces ‒ from grass to trackway to concrete. These are attached via removable pins to assist quick and efficient assembly. Custom logos can be applied to the top (visible) sides of the base for customisation and easy identification.

Penn Elcom has been developing Cross 3 over the last year based on extensive research and communication related to event industry demands for portable cable protection.

Serious weight capacity ensures that all type of vehicles ‒ including a standard 44 tonne artic ‒ can safely drive over Cross 3. This also includes vans, cars, bikes, forklifts, cherry pickers, ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

www.pennelcomonline.com

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Amate Audio Launches Best-In-Class “Smart” Active Compact Loudspeaker Series system control technologies, with advanced electroacoustic design optimisation techniques, to achieve exceptional levels of sonic quality, power, performance and versatility.

Feature highlights include premium components and the company's universal switching mode power supply. Integral 'plug & play' power and control technology includes optimized DSP presets for near instantaneous setup and system configuration. Rear mounted control panels feature proprietary SensitiveTouch weatherproof capacitive sensor keypad technology. A selectable ECO mode automatically powers-down the system in the absence of any signal.

Amate Audio launched Nítid, its latest high-performance, ultracompact active loudspeaker series. Meaning bright, glistening or lustrous in Latin, Nítid will establish a new performance paradigm for compact sound reinforcement, attaining higher SPLs and standards of sonic reproduction from cabinets of this size, at a competitive budget point.

This groundbreaking compact, 'smart', active speaker series, aggregates latest generation digital power amplification and

Exclusively designed lightweight speaker grilles provide robust protection and improved sound quality, with the best perforation coefficient in the market. Polyurea finishes ensure durable protection for the birch-ply cabinets, and electronic circuits and controls are smartly protected against moisture.

Recessed handles and custom flying points are designed to aide handling, portability and rapid deployment.

Nítid will be publicly debuted at ISE 2018, at booth #X228 in Hall 7. www.amateaudio.com

VUE h-Class Additions Extend Ultra Premium Performance Product Line VUE Audiotechnik has introduced two new models in its premium h-Class family of high definition powered systems.

The hm-108A is a precision slant stage monitor packing the full arsenal of VUE's most advanced technologies into a compact, fidelity-first monitoring system. Also new is the h-8N, a narrow dispersion sibling to VUE's h-8, the most popular model in VUE's h-Class family.

The h-8N, with its narrow 60-degree coverage, adds another level of versatility to the h-Class range, while dramatically expanding applications for VUE's flagship technologies. The driver complement is identical to the h-8, with a precisionengineered 8-inch transducer that's combined with a neodymium compression driver capable of unparalleled highfrequency performance thanks to the Truextent beryllium diaphragm at its core.

Also new is the hm-108A, an ultra-compact stage monitoring system that benefits from the same 8-inch transducer and

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

beryllium-infused compression driver as the h-8 and h-8N. Designed specifically for maximum transparency, the hm-108A is ideally suited for critical foldback applications including legitimate theatre, choir, orchestra, or anywhere that absolute fidelity trumps raw, unbridled horsepower.

Both models of the h-8, as well as the hm-108A, feature powerful onboard VUEDrive electronics benefitting from a state-of-the-art digital signal processor that's explicitly

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programmed for each unique transducer/cabinet combination. In addition, dual-channel, high-efficiency Class D amplification deliver ample power while eliminating the need for noisy cooling fans.

The VUEDrive electronics also enable SystemVUE networking technology. With SystemVUE, users can quickly create a fully accessible, acoustic ecosystem by combining any VUE DSPenabled model via a wired or wireless Ethernet connection to an iOS enabled device, as well as Windows or Macintosh computers. Once connected, SystemVUE Software provides access to a broad selection of network and device-level control and monitoring functions.

Drivers and electronics for all h-Class models are housed in a robust birch enclosure with extensive interior bracing for resonant free operation. Like the h-8, the new h-8N also incorporates M10 rigging points and an integrated polemount for both portable and fixed installation applications.

Both new models feature the distinctive h-Class aesthetic, with grill and handle surrounds that benefit from a two-part finish that lays a coat of transparent candy-apple red over a black base for a deep hue that's uniquely VUE. The signature look is completed with a heavy aluminium rear panel/amplifier assembly with machined “VUE” logo integrated into the heat sinks.

“The h-Class is all about quality, leveraging the best technologies to claim a new performance 'high ground,' regardless of size and application,” explains VUE CEO Ken Berger. “With more customers experiencing what h-Class systems can do, h-Class sales are increasing exponentially. As a result, we're finding more opportunities to expand the line as devoted customers identify more applications for our 'no compromises' approach to sound.”

h-8N Highlights: Ÿ

Narrow coverage sibling to VUE's extremely-popular h-8 High Definition system

Ÿ

Neodymium HF compression driver with Truextent beryllium diaphragm for exceptional high-frequency clarity and response beyond 25kHz

Ÿ

Dual-channel, high-efficiency amplifiers for outstanding transient response, low ambient noise and efficient operation without cooling fans

Ÿ

Integrated DSP with SystemVUE network control and monitoring

Ÿ

Versital input capabilities including analog, AES digital and built-in Dante network audio

Ÿ

Pole mount, integrated hanging points and optional rigging hardware for deployment as a main system, within multicabinet arrays, or in a variety of support configurations

hm-108A Highlights: Ÿ

Ultra-compact design for monitoring applications where absolute fidelity and transparency are essential

Ÿ

Neodymium HF compression driver with Truextent beryllium diaphragm for exceptional high-frequency clarity and response beyond 25kHz

Ÿ

Integrated DSP with SystemVUE network control and monitoring

Ÿ

Versital input capabilities including analog, AES digital and built-in Dante network audio

Ÿ

Integrated DSP with SystemVUE network control and monitoring

www.vueaudio.com

Beyerdynamic FOX USB: Pristine Sound Quality For Recording And Podcasting beyerdynamic's new FOX USB microphone allows users to capture music in any place and at any time, effectively bringing the studio to wherever they are. The FOX guarantees excellent sound quality, be it for recording vocals or speech, for a performance with an acoustic guitar, a regular podcast/ gaming or Let's Play videos on YouTube.

Studio-quality microphone technology The beyerdynamic FOX features a highENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

quality microphone capsule, as found in professional studio microphones around the world. This large-membrane condenser microphone provides high sensitivity compared to common dynamic microphones. This means that even quiet sounds and the finest nuances can be captured perfectly. The cardioid polar pattern shields against rear-incident noise, providing ideal protection against background noise. The elastic suspension on the microphone capsule prevents structure-borne noise ‒ eliminating footsteps and fret noises.

No complicated assembly: One of the great strengths of the beyerdynamic FOX is its simplicity. Microphone recordings normally require a preamplifier and an AD converter as well as

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a microphone. If you then want to listen to the recording, you'll need a DA converter and headphone amplifier or loudspeakers. Not so with the FOX: A USB cable, a computer and a pair of headphones like the DT 770 are all users need to make first-class productions quickly and easily. The engineers at beyerdynamic have managed to fit all the components you need for professional recording into the compact FOX. Integrated Cirrus Logic converters offer up to 24 bit at a sampling frequency of 96 kHz. However, setup is simple ‒ a single USB cable links the microphone to a computer, and the headphones plug directly into the microphone.

Range of functions: The beyerdynamic FOX combines a microphone, preamplifier, converter and headphone amplifier ‒ and is still accessible and easy to use. An adjuster on the front controls the volume for the powerful headphone amplifier. Another adjuster sends the microphone signal to the headphones, giving you instant control. A button on the back of the microphone regulates the gain and enables use of the FOX for especially loud sources. A mute button makes it easy

to, for example, cut the sound of a cough during live online transmissions. beyerdynamic supplies the FOX with a range of accessories for immediate use. A pop shield prevents disruptive popping noises when talking, a base allows you to position the microphone on a table or lectern, and a clamp allows you to mount it to a microphone stand. An orange USB cable sets an additional highlight, as well as a thread adapter 5/8-3/8, which is also included.

Studio quality on the move: Another advantage of the ultracompact beyerdynamic FOX is the system's portability. Instead of requiring a microphone, preamplifier, converter and a variety of connecting cables, the compact microphone and USB cable are all that are for perfect recordings when on the go. FOX is even compatible with mobile devices on iOS and Android if the right adaptor is available. This makes it easy to record with the highest sound requirements anywhere and with minimal effort. europe.beyerdynamic.com

Bose Professional Debuts Powerful T8S And T4S About the T8S ToneMatch Mixer: ToneMatch Stereo Mixers The performer-focused and compact eight-channel T8S ToneMatch Mixer is intuitive to operate, with illuminated, stage-friendly tactile controls, an easy-to-read display and scene recall. ToneMatch processing presets with the powerful and advanced DSP engine (including studio-quality effects and Bose zEQ equalization, which redefines low, mid and high ranges for each ToneMatch preset) making it easy for musicians to take control of their music. When used with Bose® L1® and F1 systems, the T8S provides full end-to-end tonal optimization.

Bose Professional has extended the ToneMatch audio engine series with the powerful new eight-channel T8S ToneMatch mixer and the four-channel T4S ToneMatch mixer, representing the next generation of the ToneMatch line and offering unprecedented connectivity with intuitive control.

Compact and portable, both the T8S and T4S are gig-ready.

Craig Jackson, Product Line Manager for Bose Professional, remarks, “Typically you need to invest in larger, more complicated consoles to get the audio quality and powerful effect engine in the new ToneMatch mixers. Performers value audio quality and options, but we know that in-performance usability, portability and reliability are just as important.” Their rugged enclosures have a protective, magnetically-coupled cover to protect controls and connectors. A chassis-bottom insert allows the use of standard mounting accessories to keep the mixers in reach during performances.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Each T8S channel has dedicated ToneMatch, EQ, dynamics and effects. The T8S effects includes compressor, limiter, de-esser, noise gate, chorus, flanger, phaser, tremolo, delay and reverb functions. Tap tempo delay and a chromatic tuner are built-in.

Aux send 1 has a dedicated reverb of its own while a master output EQ helps compensate for venue acoustics.

The T8S offers high-density connectivity unparalleled in a small digital stereo mixer. Eight high-quality audio preamps with XLR-combo jacks accommodate microphones or instruments, with switchable phantom power. Two Aux inputs allow for additional source inputs. Outputs include four aux sends, balanced quarter-inch TRS and XLR stereo outputs and an independent headphone output. USB-A and USB-B connections allow for USB drive playback or PC/Mac interface.

The T8S includes a ToneMatch power supply. Dimensions: 8.4” x 12.25” x 3.25” (214 mm x 311 mm x 83 mm).

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About the T4S ToneMatch Mixer:

45-Day Better Music Guarantee:

The four-channel T4S offers most of the same features as the T8S, except for the following differences: the T4S features an Aux send count of two, and outputs to either quarter-inch TRS balanced stereo or dual ToneMatch links ‒ designed to send digital audio to L1 Model 1S/II systems while receiving power on the same provided ToneMatch cable (note: when not used with an L1 system, the T4S can also be optionally powered by an accessory ToneMatch power supply). The final difference between the mixers is the T8S exclusive output meter.

Dimensions: 8.4” x 7.25” x 3.25” (214 mm x 184 mm x 83 mm).

To make it convenient for customers to experience Bose T4S/T8S mixers in their own environment with their specific gear, Bose has included the products in its 45-Day Better Music Guarantee. Exclusive to Bose direct sales channels, users can buy and try a system, and if for any reason they are not satisfied, they may return it for a refund. Optionally, customers can easily try out the mixers at participating MI retailers.

The T8S and T4S will be available late February 2018 with U.S. MSRP's of $899 and $599, respectively. www.bose.com

PR Lighting To Release New XLED 6019 Finally, other useful functions include: Pixel Control; Bidirectional and continual rotation of the front lens panel; Colour touch screen and brightness-adjustable; Pan and Tilt Speed adjustable (and invertable); Firmware upgraded via DMX interface and XLR cable; Over temperature protection.

All effects are contained in a high-temperature, engineeringplastic moulded IP20 chassis, and net weight is 29.5 Kg. www.pr-lighting.com

PR Lighting has announced the release of the new XLED 6019 wash luminaire, which will make its debut on the world stage in April at Frankfurt Prolight+Sound.

Containing 19 high power Osram 60W RGBW (4 in one) LEDs, with linear colour temperature change from 2700K-10000K, it is capable of producing mid-air parallel beams to create a uniform wash and variable built-in dynamic effects.

This fully-featured moving head offers unlimited RGBW colour mixing, with macros and 0-100% dimming, linearly adjustable.

Beam angle (1/2 peak) is θ1/2 and Linear Zoom 3.3° 〜60° .

Additional features include: Electronic strobe 0-25fps; Motorised zooming linearly adjustable; Rainbow, Wash, Beam, Profile, Effect Modes (Kaleidoscope, Swirl), with multiple macros; Head movement: Pan 0 - 540° and Tilt 0 - 180° , with auto position correction; 19-channel operation in standard mode, 92 channels in extended mode. It also includes preset memory, user memories, wireless DMX control.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Key Features: Ÿ Light Source: OSRAM 19x60W LEDs(RGBW, 4 in 1), 2700K~10000K, 50,000 hrs Ÿ 100V~240V AC, 50/60Hz Ÿ Power consumption: 1400W@220V Ÿ Mechanical dimmer 0-100% linearly adjustable Ÿ Electronic strobe, 0-25 F.P.S, preset pulse strobe effect Ÿ Light Angle: (1/2 peak)θ1/2 linear zoom: 3.3° ~ 60° Ÿ Pan 540º, tilt 0~180º with auto position correction, speed adjustable. Pan tilt swap and invert function Ÿ International DMX512, 5 pins interface Ÿ Channels: 19 in standard mode and 92 in extended mode, master-slave mode, stand-alone mode, self-test mode, static scene mode Ÿ Pixel control, each color of RGBW of a LED lamp controllable Ÿ Color touch screen and its brightness adjustable Ÿ Over temperature protection Ÿ Wireless DMX control function Ÿ Housing: High temperature Engineering plastic, Ip20 Ÿ Ambient working temperature: -20° C~40° C Ÿ Net weight: 29.5kg

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Live Entertainment Expo TOKYO: 630 Exhibitors Expected For Trade Show

The 5th Live Entertainment Expo TOKYO will be Japan's largest trade show for the live and entertainment industry.

The show will showcase a perfect line of LED display, audio and lighting for professional-use, as well as special eects and other staging technologies needed for concert halls, theatres, and outdoor event venues.

Held at Makuhari Messe from 21-23 February, the expo is expected to gather 630 exhibitors and 30,000 visitors from inside and outside of Japan, to function as a business area where professionals source and order innovative solutions and services.

Attendees will come together with industry-renowned speakers for unique days of ideas to draw expertise, learn the marketplace and grow fan bases, with case studies from industry leaders in the ďŹ elds.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Visitors trying out the various products shown at the Live Entertainment Expo.

The Conference this year will welcome Seiichi Saito, a founder of Rhizomatiks: Japan's leading creative collective renowned for the Tokyo 2020 Presentation during the Rio

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Olympics Closing Ceremony. He will focus on the roles of art and entertainment for the cultural maturation. At the same session, Marc-Andre Baril, a creative director of Moment Factory, will take to the rostrum and address the key ingredients to multimedia entertainment experiences.

The Montreal-based multimedia entertainment studio is well acknowledged for the world-class attractions and unparalleled visitor experiences they propose with their advanced technologies and interactive approaches.

Welcoming more global leaders such as Kenji Kitatani from Anschutz Entertainment Group, Michael Gandler of FC Internazionale di Milano, and Takao Toshishige from City Football Japan, the Conference aims to offer the best opportunity for all attendees to learn more about the industry at the global level. http://www.live-event.jp/en/

The crowd at the previous Live Entertainment Expo.

Conference Programmes: Date/Time

21 Feb (Wednesday) 12:30pm – 2pm S-S1 Marketing Strategy of Worldclass Sports Teams

21 Feb (Wednesday) 3pm – 4:30pm L-S2 Interactive Entertainment Technology

23 Feb (Friday) 10 – 10:45am L-S5 Live Entertainment Worldwide

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Topic

Speaker

FC Internazionale di Milano's strategy for developing brands and increasing engagement

Michael Gandler Chief Revenue Ofcer, FC Internazionale di Milano

Successful marketing approaches by Manchester City FC & New York City FC

Takao Toshishige Managing Director, City Football Japan

Urban x Entertainment x Technology – Creating a place where people can all connect

Seiichi Saito Creative Director, Technical Director, Rhizomatiks

From stage to forest, interactive environment that connects

Marc-André Baril Creative Director, Moment Factory

Evolution and the state of global live entertainment business

Kenji Kitatani EVP, Asia & Executive Director for Japan, Anschutz Entertainment Group Professor & Director, KIT Toranomon Graduate School

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FROM THE VAULTS OF SYNAUDCON

Power Ratings Use And Abuse by Pat Brown Is a power rating for the sales force or for the system designer?

“One number” power ratings for both loudspeakers and amplifiers are now accepted at face value and seldom questioned. Large numbers are tossed around, often without details as to “why” the product has a particular rating. This has caused an escalation in rated values that in some cases are laughable. It is a good exercise to walk through an example case to better understand how to interpret a loudspeaker power rating.

The Method It was determined by measurement that the maximum input voltage Emax to a loudspeaker is 20 Vrms (IEC noise) for 3-minutes duration. This is a “limit” rating, and can be taken “as is” or expressed as a power rating. There are two equations for determining the power rating (Fig. 1). The first requires knowledge of the voltage and the impedance (simplified to an equivalent resistance). The second requires knowledge of the voltage and the current.

The average impedance (Zavg) is 10.2 ohms.

Which impedance should be used to calculate the rated power?

Using Zmin the power rating is 91 watts.

Using Zrated the power rating is 72 watts.

Using Zavg the power rating is 40 watts.

Equations 1 and 2: Power calculations from voltage, current, and resistance Figure 1 (top plot) shows the impedance magnitude (Z) curve for the loudspeaker. The bottom plot shows the 1/3oct average as displayed in the Common Loudspeaker Format viewer. What is the value of the impedance? There are three possibilities.

Figure 1: The impedance plots of the loudspeaker The minimum impedance (Zmin) is 4.4 ohms, occurring at 157 Hz. The rated impedance (Zrated) is 5.5 ohms. This is Zmin times 1.25.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Power Based on Current Draw Next, I used a current shunt to measure the actual current flow at Emax. Figure 2 shows both the measured amplifier output voltage (20 Vrms) and the voltage across the current shunt (194 mV) at Emax. The shunt resistance is 0.1 ohms.

From ohm's law (I = E/R) the current is 1.9 amperes. The power rating, using the second power equation, is 40 watts.

So, for broad band program material, the amplifier sees the average impedance of the load. For a narrow band signal, such as a sine wave, the amplifier can see any value on the impedance curve. The purpose of Zrated is two-fold: 1. To simplify the impedance curve to a “one number” rating

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Figure 2: Time domain plot showing Emax and Eshunt (10 seconds of 180 seconds) 2. To prevent the manufacturer from over-stating the loudspeaker's impedance. If a 4 ohm loudspeaker is given a Zrated of 8 ohms, the user may be inclined to drive two in parallel from a single amplifier channel.

margin, which means that the amplifier will need to be able to pass 80 Vrms for signal peaks. The sine or burst test rating for such an amplifier would be nearly 400 W into 8 ohms.

An amplifier with this rating would be capable of destroying the loudspeaker, since its output voltage could easily exceed 20 Vrms with highly compressed program material.

In an attempt to get the customer to buy an appropriately sized amplifier, the manufacturer gives the loudspeaker a power rating of 200 W, and suggests that they buy an amplifier twice that size ‒ which produces a perfectly justifiable end result. Thinking the loudspeaker is rated at 200 W continuous, the user blows up the loudspeaker.

Scenario 4 In addition to the power rating, the manufacturer publishes Emax. When the system is commissioned, the technician configures an RMS limiter in the amplifier to engage just below this value. The maximum possible SPL is achieved, and the loudspeaker is in no thermal danger.

Voltage ‒ The Common Denominator Note that the common denominator between the power calculation methods is Emax. It is measured precisely and cannot be disputed. Expressing it as a power rating ushers in ambiguity. A loudspeaker power rating is only useful if Emax can be calculated from it (Equation 2). There is marketing pressure to publish the highest possible power rating. There is a penalty in the marketplace for publishing a conservative power rating. This can lead to some major problems for end users. Let's consider some scenarios.

Equation 2: Calculating Emax from a power rating Scenario 1 The manufacturer uses Zmin to calculate the power rating (91 watts) and rounds Zrated to the nearest common value (8 ohms). If the end user calculates Emax from these two values they will get 27 Vrms. This will exceed the loudspeaker's thermal limit and likely result in damage.

Scenario 2 Zrated is used to calculate the power rating (72 watts). The power amplifier GUI allows the power output of the amplifier to be monitored in real time. The end user drives the loudspeaker to 72 watts. This puts 27 Vrms across the loudspeaker, again exceeding Emax.

Scenario 3 The Emax of the loudspeaker is 20 Vrms. If it is necessary to drive the loudspeaker to this RMS voltage, a much larger amplifier will be required. 12 dB is a reasonable peak room

Conclusion The loudspeaker in this study can handle 20 Vrms of IEC noise for 3-minutes. Regardless of the power rating, the Emax is 20 Vrms. Converting the Emax to watts requires the use of an impedance value. Since the impedance is somewhat arbitrary, so is the resultant power rating.

Incorrect assumptions on the part of the end user can easily result in overpowering the loudspeaker.

Loudspeaker power ratings at face value have little practical use beyond selling the loudspeaker. It is very dangerous language to say that a loudspeaker can “handle” X watts or an amplifier can “put out” X watts. A meaningful loudspeaker power rating will allow the determination of Emax, which can be easily monitored and regulated to protect the loudspeaker. This will also allow the selection of an appropriate amplifier to drive the loudspeaker, given the peak room requirements for the application.

The power rating for an amplifier or loudspeaker is a concise way of representing the performance characteristics of a product. Both involve voltage, current, impedance, and time. The power equations allow these parameters to be expressed concisely as a single wattage value. This is fine, so long as sufficient information is given to run the math in reverse to harvest the original voltage, current, and impedance values from the rating. This is seldom the case, and the result is a ratings arms race to sway the buying public. We will continue to lobby for good engineering practices for establishing meaningful power ratings for audio products. www.prosoundtraining.com

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ALL ABOUT WIRELESS BROUGHT TO YOU BY SECOND INSTALLMENT:

Wave Propagation by Hayden Leiper Welcome to the second instalment of All About Wireless, brought to you by SHURE. In this issue, we will focus on Electromagnetic wave propagation, covering the concepts of wavelength, reflection, diffraction, absorption and polarization.

Unlike acoustic waves, Electromagnetic waves do not require a physical medium such as air in which to propagate. In fact, they propagate most efficiently through the vacuum of space. Propagation velocity in space is the speed of light, or 3 x 10^8 meters per second. This velocity value is important to remember in wireless microphone and IEM engineering applications because we can use this to derive wavelength at any given frequency.

According to the wave equation, which states that wavelength is equal to velocity divided by frequency, one wavelength at 500MHz equates to 0.6m. Similarly, one wavelength at 600MHz equates to 0.5m. You will notice that that higher the frequency, the shorter the wavelength, and this point is significant when we come to consider the effect of obstacles in the propagation path.

As Electromagnetic waves are propagated away from the transmitting antenna, they are influenced by the physical environment through which they travel. In a similar fashion to acoustic waves, Electromagnetic waves are subject to free space propagation losses at a rate determined by inverse-square law. The inverse-square law states that for a perfect omnidirectional point source, the signal power present twice the distance from the source will have decreased by a factor of four. This is the major factor limiting the range of a transmitter in ideal 'line of sight' conditions.

Electromagnetic waves may also be affected by the size and composition of obstacles in their path. They are particularly ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

sensitive to the presence of metallic obstacles, as a reflection of the wave will occur if the dimensions of the obstacle are longer than the wavelength of the signal. The angle of reflection is equal to the angle of incidence, and the phase of the reflected wave is shifted by 180 degrees.

Reflecting obstacles will usually cause an RF shadow behind them, which can create 'dead-zones' in the coverage area.

Interestingly, if a reflecting metal object is porous, and the pore dimensions are smaller than the signal wavelength, the surface will act as if it were solid. Screens, grids, bars and other metallic arrays can therefore reflect Electromagnetic waves even though there may be a clear line of sight through the obstacle itself. If the obstacle pore dimensions are larger than the signal wavelength, the electromagnetic waves will pass through the array unaffected. This is a key reason why it's important to have an understanding of the approximate wavelength of the frequencies you are using ‒ this knowledge will help you to assess the RF environment, identify potential points of signal reflection, and minimise the creation of 'dead-zones' in the intended coverage area.

Non-metallic substances do not reflect electromagnetic waves, but tend to absorb a portion of their energy as the wave passes through them. The amount of signal attenuation is a function of both the thickness and composition of the material, as well as signal wavelength.

Dense materials tend to absorb more energy, and high frequencies tend to suffer greater signal absorption. In a similar fashion to reflective metallic obstacles, very dense absorptive materials can attenuate signals severely enough to create an RF shadow that degrades reception of the signal in the area beyond the obstacle.

The human body, for example, made up primarily of salt water, is an effective absorber of RF energy. Positioning a human body between the transmit and receive antennas can cause degradation in RF performance due to absorption of the RF signal. The graph depicts the difference in RF signal strength measured in a 360-degree

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range around a human body at two different frequencies transmitted by a belt pack transmitter. Transmitted signal strength is reasonably consistent from 100 to 260 degrees as the signal propagating in this direction does not pass through the human body. Transmitted signal strength is far less consistent from 260 to 100 degrees due to the influence of the human body. There is a general attenuation of approximately 6dB caused by the body's absorption of the signal. Additionally, strong nulls exist at approximately 355 and 40 degrees in this test. It is important to note that, in practice, the beamwidth and total attenuation of these nulls would vary depending on the person, and where the belt pack transmitter is positioned.

Interestingly, the more body fat a person has, the more RF energy is absorbed.

polarized. The received signal will be strongest when the polarization of the transmit and receive antennas matched.

In practice, if the polarization of the transmit and receive antennas is orthogonal, or offset by 90-degrees, the voltage induced in the receive antenna may be attenuated by as much as 20dB. Considering this polarization loss is in addition to propagation losses, and the fact that antenna polarization mismatch is easily avoidable, the importance of matching the physical orientation of transmit and receive antennas is clear. We will discuss antenna positioning best practices in a later issue.

Next month we will look at the design characteristics and performance features of the various antennas most commonly utilized in wireless microphone and IEM applications.

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. https://www.shure.com/asia

The strength of an Electromagnetic wave arriving at a given location is therefore equal to the strength of the original source transmission minus the total amount of attenuation caused by propagation distance and environmental influences. Because propagation losses vary wildly as transmitters are moved around a space, dynamic range of the signal can be as much as 50dB. It's therefore crucial to ensure the signal detected by the receive antenna is as strong as possible. This is why it's also important to consider the Polarization of the Electromagnetic wave.

Polarization refers to the electric field orientation of the Electromagnetic wave. A vertically polarized Electromagnetic wave is produced when the transmitting antenna elements are positioned perpendicular to the Earth. If the antenna elements are positioned parallel to the Earth, the Electromagnetic wave will be horizontally ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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THIS COLUMN IS BROUGHT TO YOU BY

3D Workflow Overview It is important to understand why some media servers require knowledge of the 3D workflow before starting a project with them. disguise features a 3D real-time simulator for visualising venues and video displays including LED panels, projection surfaces, DMX fixtures, or any other video display technology.

To simulate a pixel-perfect screen in disguise which is complex in shape, for example a building or a car, a fundamental understanding of 3D modelling and UV mapping techniques is required.

UV Mapping One of the most important parts of the 3D workflow that any media server that uses a 3D environment needs, is UV mapping. UV mapping is the process of generating a 2D representation of a 3D object. This 2D representation is constructed from UV coordinates, which are commonly known as texture coordinates. U represents the horizontal axis and V represents the vertical axis. Each UV coordinate has a corresponding point in 3D space called a vertice. Together vertices form edges, edges form faces, faces form polygons, and polygons form surfaces. The image below shows how a small object can be flattened out to form a UV map.

A UV map can be generated automatically by a 3D application, for example 3ds Max, Maya, Cinema 4D and Blender, but normally the UV map requires editing manually. It is possible to tell if a 3D object file (.obj) has a UV map or not by opening it as a text file. If it has a UV map, it will have UV coordinates and if it does not then it wont. See image below.

In your 3D based media server, all meshes used for displays such as LED screens or Projection surfaces will likely require a UV map to function.

A UV map tells the media server how to translate back and forth between the 2D source content and the mesh's 3D polygons for visualisation and to enable 3D content mapping & projection mapping capabilities.

A UV map does not specify the aspect ratio or resolution of the mesh. UVs are defined in what is called 'normalised coordinates', which means they must have values between 0 and 1 on both the U and V axes, and there should not be any gaps left at the edges of the UV 'box'.

This normalised property of UV maps enables you to select the appropriate resolution and aspect ratio based on artistic and technical requirements from within the media servers visualiser. The aspect ratio of the display is usually defined by the position and size of the 3D geometry of the mesh, while the resolution is determined based on the LED product or projector type and positioning within the 3D space, depending on the display technology used. Aspect ratio is determined by the ratio between the horizontal and vertical dimensions of the display resolution.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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For example, if the media server is started with a standard 'rectangle' mesh on a display, the mesh has 4 vertices in each corner with normalised UV coordinates at (0,0), (0,1), (1,0), and (1,1). The display is set to 1920x1080 resolution. The media server will sample source content 1920 times across each of the 1080 lines stretching across the mesh polygons. If the media server wishes to know the 3D location of the second pixel on the second line, the UV coordinate (0.0005, 0.0009), or (1/1920, 1/1080) is found, and the server calculates the corresponding 3D location.

The UV Map as the content template

Ÿ

The template's aspect ratio should match the UV map's to enable square pixels. This requires knowing precisely how the UV coordinates have been mapped to the 3D model. If the aspect is calculated incorrectly the rendered content may appear stretched across the projection surface.

Ÿ

The template's pixel density should match, or preferably exceed, the projector's to enable a 1:1 pixel density. This requires knowing precisely how many pixels produced by the projector will hit the projection surface. If the density is calculated incorrectly the content may appear pixelated across the projection surface.

As we have discussed, the UV map determines the output to the connected display devices. However, preparing UV maps for projection surfaces requires a slightly different workflow.

Normally the projection surface is unwrapped into a texture that the content creator can generate video content from, in a similar way to how artists texture 3D models in the video games industry. The UV map is rendered into a content template to be placed as a background in Adobe Photoshop, Illustrator, After Effects or any other image / video editing application. The template's resolution is calculated from two variables: aspect and density.

A leader in the audiovisual sector in Latin America, Brazil-based Hoffmann uses the disguise 3D application to create projection mapping.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

www.disguise.one

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THE ALEX SCHLOESSER COLUMN

Making Quick Decisions: What To Focus On When You Set Up A System One of the things that I have encountered every day of my professional life, is the need for quick decisions. This might sound trivial, but when you get onto the jobsite, you will have to decide, how to go about your job and there are a million ways to do that. This is important, because we all work under very constrained conditions all the time. So how do I go about it?

1.

Never bring exactly what you need. I will always have extra or spare gear if possible, so that I have a chance to react to any unforeseen requests. This will also allow me to shine, when I am prepared for the unexpected. I will also never run a system at nominal levels, if possible.

2.

Prepare well: Planning and preparing the job is about 70 % of your work, because you will go through many of the problems that might occur and then have solutions for this already. Be proactive and take ownership of this.

3.

Timing is everything. I watch my clock and the crew clock all the time. If the setup time is limited, then I will not measure long or not measure at all, but still make sure that all my gear is functional and in perfect working condition before it “goes up”. If I end up with more time later, I can still use this, once the basic setup is good.

4.

Communicate well and clear. I will let people know how I want to go about my job and get more opinions and communicate with other departments. When your communication is clear, then you avoid a lot of trouble later.

5.

Prioritize what you do. If everything goes as planned, I will have sufficient time to tune and measure and to relax, but then nothing ever goes as planned.

Most important is to get the gear up and be ready when the doors are opening. This will drive my decisions during a working day.

Worst case this means no catering for me.

6.

Check everything and then check it again! My experience from past work is: “Assumption is the mother

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of failure!”. Assuming, that the power socket works well might kill your gear. Assuming, that what came off the truck is working fine, might cost you your job. I could write a book about Murphy's law and so could you.

7.

Bring your toolbox. There are a few tools, that everyone should have with them all the time: AC/DC Voltmeter, Pink Noise Generator, fresh batteries, Leatherman, Swissknife or similar. Electrical tape and Sharpie. This is all in my personal toolbox.

8.

Work clean and label properly. We have all seen the “Spaghetti Salad” Pictures of larger jobs and troubleshooting will be next to impossible or get extremely time consuming, if you don't know which is which. I label and prepare as much as I can prior to the job and make sure everything is clearly identifiable for all crew members.

As we go forward with this column I would like to discuss more sophisticated topics, but at a lot of productions, I see things from the list above ignored. This makes me think, that I need to remind myself and my colleagues of this all the time.

If you want Alex to touch on a particular topic you can get in touch with him at alex@asaudio.de

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HARMAN EDUCATIONAL SERIES

Building Your Audio System Sound and music changes an environment and atmosphere. A space can make use of white noise to create an atmosphere of emptiness, or simply have background jazz to allow people to feel relaxed. More often than not, we neglect the importance of an audio system, until we have experienced the worst. We at HARMAN Professional Solutions are privileged to provide an end to end solution for any of the spaces and elevate experiences of our customers and their customers. For this very reason, HARMAN Professional Solution is partnering Entertainment Technology Asia (ETA) to present a series on the importance of a good audio system and what forms the entire ecosystem of a PA audio system for use by a band.

A quality PA audio system is and should be a crucial part of every event company's arsenal. If the vocals cannot be heard distinctly by the audience, and if the performers can't hear themselves onstage and at rehearsals ‒ it can negatively affect the performance and the experience. Often, many performers and companies try to get by with subpar, thrown-together sound systems. While this may save them some money in the short term, it hurts their potential and image in the long run.

For the first part of Building Your Audio System series, we will look at a macro view on why you should get the best PA you can, and in upcoming posts, we will delve deeper into what are the different areas we need to take note of to build a fantastic PA system.

Microphones The microphone (mics) is the first step in the chain, and it is crucial that it is of good enough quality to do the job accurately. A lousy mic going into a good loudspeaker system, will still sound like a lousy mic. Period.

In a small system, you will probably only need vocal mics.

However in a larger setup, you will need mics for music instruments such as drums and more. Almost all vocal mics made for stage use are of the dynamic (moving-coil) variety.

Dynamic mics are less fragile than the other most common variety, condenser mics, and thus better suited for the greater level of physical “abuse” they are likely to be subjected onstage. Condenser mics tend to be more fragile, and require external (aka “phantom”) power, which dynamic mics do not require.

Mixer Once we have the pick-up (mics) for our source, we look into the mixer ‒ which is the hub of our PA system. This is essential as it is where all the input signals are combined, processed, and sent on to the amplifiers and speaker. Getting a quality mixer is important both for maintaining good sound and for ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

providing you with the flexibility you need for connecting a range of gear: mics, instrument ‒ and line-level sources and DIs on the input side, and powered speakers or amplifiers for the mains and monitors on the output side.

Amplifier Depending on your usage and purposes ‒ for portability, it is always better to get a powered speaker or powered mixer, with built-in amplifiers, as compared to buying a separate amplifier to run passive speakers.

Depending on the type of act one may host, you will also need to put into consideration for monitor speakers, so your performers can hear themselves while on stage.

Practice Makes Perfect A good-sounding PA system is not only important for an event and the actual gig, but it is also crucial for rehearsing. The better you can hear each other during rehearsal, the easier it is for the emcee and performers to prepare themselves for the actual show.

Even though it is a portable system you are using, but you would want to replicate a great experience from a club, to wherever your event brings you. Conversely, if you have a cheap little system that is not loud enough or sounds distorted, rehearsing will not be as enjoyable and it is harder to get in the creative zone. Therefore, may lead to a bad show.

Another advantage to a good system is that it will be able to replicate the sound conditions at a venue closely. Of course, the acoustics of your event space will differ from those at a club, but if you have got a crisp and full monitor sound, the experience will be more similar than if you're using a subpar system.

A Lot of Benefits Your budget will dictate your PA-buying decision to a large degree, but if you can swing it, getting a quality system will be a worthy investment for your act. While most clubs these days have sound systems, you'll benefit with a good system for rehearsals, thus leading to a better actual act.

To summarize, the benefits of a quality PA: Ÿ Your audience will be able to hear better sounds and announcements Ÿ Your performers will be able to hear themselves better Ÿ During rehearsals, your performers will be able to prepare themselves better Ÿ Resulting in a better show being hosted and set up by you Stay tuned for part two of this series to learn how to get the right microphone, for your different needs.

For details on trainings and learnings, please write to HPro.APAC@harman.com

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Changing The Landscape AED Rent S.E Asia sets its sight on South-East Asia and beyond

How long as the rent division of AED been operating and in which countries?

We, of course logically kicked off in Belgium in 1985, then we set up our Rent division in France in 1993, followed by the Netherlands in 1995, Germany in 2006 and in 2010 in the United Kingdom.

What in your opinion is the proposition (advantage) AED is bringing to the market?

The advantage we bring to the market is that we are not a competitor as we are not a production company. We actually enable the industry as we rent out quality equipment to the production companies. In this way we are helping the AV rental companies grow their business as their outlay will be more controlled.

Our business is based on the 7 values/cornerstones of AED:

ETA has a conversation with Filip Van Vlem, International PR & Communications Manager about AED's foray into Asia. In the past many of the production companies built loose alliances with each other to provide support when required, especially, when there is a shortfall of equipment for large events. AED's entrance offers a unique proposition to the industry.

1. Discretion and respect towards clients 2. Transparant pricing and business structure 3. Efficient and clean warehouses 4. Respect for equipment 5. Customer driven 6. Fast response on offers 7. Procedures: strict but correct

AED Rent was established in Belgium in AED offers AV Business Tools to the “AED group wants to be a 1985 as a dry-hire rental company for professional market: Sales - Rent - Lease - complete, neutral and reliable lighting and sound equipment. At the Second Hand - Repair - Store - Pay Per moment, the AED group (AED Rent, AED partner for every AV Use. Display, AED Distribution, AED Store, AED

professional” Lease, AED Second Hand and AED How has the rent aspect of AED's Studios) is one of the major players on the business been performing? audio-visual market in Europe, employing more than 250 workers in five countries (Belgium, the Netherlands, Germany, AED group manages 60.000 rentals per year, serving France and the United Kingdom). The AED group aims to meet equipment through the AV professionals from small the professional AV users' needs for lighting, sound and video productions to world-leading events (eg World Championship equipment, including accessories, that are offered to rent or for sale (new and second hand) and also supplies the corresponding repair and leasing services. To comply with the various needs of its customers, AED group holds an impressive range of high-quality equipment in stock. This way, AED group wants to be a complete, neutral and reliable partner for every AV professional.

Filip can you let us know what is the business model when it comes to the rent division of AED? 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, integrators and resellers to grow their business.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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soccer, Eurovision Song Contest, World Expo, international car shows…). The Earnings before interest, tax, depreciation and amortization of the group is around 25 million EURO's.

What made AED consider Asia?

Asia is a large and interesting market in which AED wants to make its first steps.

Why Singapore?

Singapore is the perfect gateway to serve the South-East Asian countries as well as other nearby countries in the region. It's a modern, prosperous and stable country and it owns the second largest port in the world.

When will the Singapore office go fully operational?

The Singapore office is in the works and will be fully operational by end first quarter to early second quarter of this year.

The Singapore office key executives are no strangers to the production industry, having been involved in operating a production company themselves. Ruben James is the appointed Managing Director with Feroz Mya Aye holding the position of Commercial Director.

Watch the corporate movie of AED that illustrates their unique position on the market:

In addition by having a local partner, it's easier to get a grip on the local market and region. There is also a huge opportunity to launch our own managed AV brand Luxibel into this market (rental and fixed install).

May we know what are the services that Singapore will provide and which countries will the Singapore office serve?

AED Rent S.E Asia, will have AED Rent, AED 2nd hand, AED Store and in time to come AED Repair as well.

The Singapore office will serve all the South East Asian Countries as well as Australia, Japan, Korea and India.

www.aedrent.sg

EDITOR'S NOTE Changing the Landscape. You would have noticed that that is our headline to this story. ETA feels that the dynamics in the industry will see a change. It is possible that production companies will be able to offer more to their clients with the confidence of knowing that equipment will be available to them. I am also wondering with AED in the market, will it level the playing field for the smaller companies as they do not need to invest in too many inventory. Is it also possible to run a production house with key personnel but with no equipment?

According to Filip, AED Rent will not service companies that do not own inventory - Kudos to them on sticking to this principle.

(L-R) Feroz Mya Aye, with Glenn Roggeman who is the CEO of AED Group and Ruben James.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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Protec's Event Production Guide For this issue we are privileged with a contribution from Protec based in Dubai on how they go about delivering memorable experiences.

Sound and AV are no longer being used as just event support services but as a crucial link to providing that experience of immersion perfectly. Lighting, projection, spatial audio that you see and hear, wind and smoke that you feel and smell…are all co-ordinated together to trigger an emotion or to tell the story you want to share. Sound, AV and other stage Special Effects are being used to activate imagination and immersion, two elements that form the heartbeat of the delivery of a successful event experience.

As a technical & staging company, this is the core of our delivery for a majority of the events we provide solutions for at high standards without cutting any corners.

1. Pick a great production partner Don't settle for an AV partner that can't add value to your production. Base your choice on the quality of the crew's experience & expertise and not just the equipment available. If you have the right team on your side it will make the planning process as well as your event run like a dream. The stronger your relationship is, the more you will be able to depend on your AV partner for both ‒ strong deliveries and good deals.

2. Design your event with your AV partner If you have got an idea of how you want your event to look, talk with your AV partner at the planning stage to make sure you get the best visual experience for your guests. There are tricks good AV companies have, that could possibly enhance your creative vision and experience, using the latest technologies and equipment you may not be familiar with.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

3. Use the Project Managers wisely Your Project Manager should be your main point of contact from the very start; guiding you through all the ins and outs of kit lists, quotes and set visuals, making sure you have exactly what you need and bringing the latest technology to your event. On-site they should oversee the team, during the buildup of the event and the live day(s) themselves.

4. Get straight answers Have you ever been bombarded with a list of equipment from your AV company, half of which you don't understand, but go with anyway, only because they say so, then end up busting your budget? With greater involvement of your AV partner right from your concept stage, you will have a much better understanding of the equipment and technology proposed.

Always talk with the AV company and try understand the quote as well as the jargon (not just the price), so you don't end up paying for a production, that costs twice as much as you should have paid.

5. Health & Safety With a spate of accidents the events industry has seen in the last couple of years ‒ some fatal, it is hard to fathom that with all the knowledge, experience and easy access to Health & Safety requirements and standards, companies still choose to ignore them and end up with unpleasant experiences.

Accidents like these come at a great cost ‒ reputation being just one of them. Choose an AV company that already has this in place and make sure that strict control is adhered to not just protect yourselves but also the entire industry. www.productiontec.com

LET'S TALK BIZ

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Top 5 Reasons Why 'The Customer Is Always Right' Is Wrong

By Alexander Kjerulf The phrase “The customer is always right” is typically used by businesses to convince customers that they will get good service at this company and convince employees to give customers good service. Ironically, it actually leads to worse customer service.

Note that it was not even a matter of a financial calculation ̶ not a question of whether either company would make or lose money on that customer in the long run. It was a simple matter of respect and dignity and of treating their employees right.

4: It Results in Worse Customer Service Here's why:

1: It Makes Employees Unhappy Gordon Bethune is best known for turning Continental Airlines around “From Worst to First”. He wanted to make sure that both customers and employees liked the way Continental treated them, so he made it very clear that the maxim “the customer is always right” didn't hold sway at Continental, and in conflicts between employees and unruly customers he would consistently side with his people.

Rosenbluth International, a corporate travel agency since bought by American Express, argues that when you put the employees first, they put the customers first. Put employees first and they will be happy at work. Employees who are happy at work give better customer service because: Ÿ Ÿ Ÿ

What Bethune did was to trust his people over unreasonable customers. What I like about this attitude is that it balances employees and customers. The “always right” maxim squarely favours the customer which is a bad idea, because it causes resentment among employees.

Ÿ

Of course, there are plenty of examples of bad employees giving lousy customer service but trying to solve this by declaring the customer “always right” is counter-productive.

Ÿ

They care more about other people, including customers They have more energy They are happy, meaning they are more fun to talk to and interact with They are more motivated

On the other hand, when the company and management consistently side with customers instead of with employees, it sends a clear message that:

Ÿ Ÿ Ÿ

Employees are not valued Treating employees fairly is not important Employees have no right to respect from customers Employees have to put up with everything from customers

2: It Gives Abrasive Customers an Unfair Advantage Using the slogan “The customer is always right,” abusive customers can demand just about anything ̶ they're right by definition, aren't they? This makes the employees' jobs that much harder when trying to rein them in.

When this attitude prevails, employees stop caring about service. At that point, genuinely good service is almost impossible, and the best customers can hope for is fake good service ‒ courteous on the surface only.

Also, it means that abusive people get better treatment and conditions than nice people.

5: Some Customers Are Just Plain Wrong

Most businesses think that “the more customers the better”.

But some customers are quite simply bad for business.

The fact is that some customers are just plain wrong, that businesses are better of without them, and that managers siding with unreasonable customers over employees is a very bad idea, that results in worse customer service.

Danish IT service provider ServiceGruppen proudly tells this story:

So any business needs to put its people first ̶ and watch them put the customers first.

One of our service technicians arrived at a customer's site for a maintenance task, and to his great shock was treated very rudely by the customer. When he'd finished the task and returned to the office, he told management about his experience. They promptly cancelled the customer's contract.

Alexander Kjerulf is the author of Happy Hour is 9 to 5: How to love your job, love your life and kick butt at work. He is also a speaker, consultant, and author with a global following of millions. He runs a consultancy firm offering lectures, workshops, and leadership training with focus on happiness at work for clients including IBM, Hilton, LEGO, HP and Ikea.

3: Some Customers Are Bad for Business

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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AUSTRALIA

JPJ Audio On The Road With Sir Paul McCartney Avid Venue S6L console and Clair Brothers speakers help relive the moments “It's very powerful and has massive capability,” remarked Pab. “My vocal chain for Paul is fairly straightforward; I'm using a Sonnox Oxford EQ and Avid Pro compressor. For effects there are some general reverbs (short, medium and large), a little bit of delay ADT and that's it. There's no playback or inputs from anywhere else, it's all live.”

Plug-ins that are used sparingly include Smack!, ReVibe II, ReVibe I on drums and Mod Delay III. JPJ Audio supplied the crew and gear for the tour including their Clair Brothers' Cohesion Series for PA. At the Sydney show indoors at Qudos Bank Arena, Pab had sixteen CO12 L+R, fourteen CO12 LL+RR, twelve CO12 LLL+RRR, six CP218 Subs flown per side, three CP218 Subs per side ground stacked and twelve CO8 for front fill.

“It's absolutely the PA of choice for me,” said Pab. “I find it very flexible, light, and simple to manage. It delivers great results and is very accurate.”

Joel Larson, Alex McCormack, Tim Seconi, and Andrew Dowling SE from Clair Global. Front row: Tech Sean Baca, FOH engineer Paul “Pab” Boothroyd, monitor engineer John “Grubby” Callis, and monitors system engineer Paul Swan

Two-time Rock and Roll Hall of Fame inductee, 21-time Grammy Award winner and recipient of The Most Excellent Order of the British Empire Sir Paul McCartney brought his acclaimed long-running One On One Tour to Australia this December, his first Australian tour since 1993's The New World Tour more than 24 years ago.

The show featured nearly three hours' worth of the greatest moments from the last 50 years of music, dozens of songs that have formed the soundtracks of our lives. FOH engineer Paul Boothroyd ‒ known more commonly in the industry as Pab ‒ has been with Sir Paul for a fair portion of this journey.

“I first started working for him in 1989,” said Pab. “As well as being on stage for three hours, he also does a one hour sound check every day. With line checks and system checks as well, I'm probably behind the console twiddling knobs for five hours so it's quite an extensive day technically.”

That FOH console was an Avid Venue S6L which Pab has used ever since it was released and he describes it as one of the best consoles on the market. Pab's S6L carries dialed-in snapshots for more than 100 songs.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The stage is fairly loud with only Wixy (musical director/multiinstrumentalist Paul “Wix” Wickens) wearing IEMs. The rest of the band opts for Clair R4 sidefills with ML18 subs and SRM wedges. Monitor engineer John “Grubby” Callis uses an analog Midas Heritage H3000.

“It's very old-school rock and roll,” says Pab. “It's loud sidefills and wedges up there because he likes to rock out.”

Microphones were a mixed bag with Pabs never swayed by fashion or freebies preferring to apply the correct microphone to suit the job.

“I like Audix on the drums and Shure for the vocals,” he added.

“Paul's very happy with the SM58A because he's used to it ‒ there may be a better microphone to suit his vocals these days but he is very used to what he has had for the past thirty years.

So why change?”

Having not toured Australia for a good few years, Pab says he was very pleased to be greeted with such a professional JPJ team, a very happy team who just dealt with anything that was asked.

“Thanks JPJ for the fun and hard work, greatly appreciated,” he added. www.jpjaudio.com.au

EDITOR'S NOTE FOH engineer Paul Boothroyd describes the Avid Venue S6L as one of the best consoles on the market with massive capabilities

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AUSTRALIA

GLP X4 L On Test Duty With The British Lions Down Under Deployed by Oceania for All Blacks rugby matches in New Zealand looks. I particularly liked the straight lines and V shapes of the pixels, and the randomised strobes using macro mode.”

He said his company had needed some mid sized LED wash for some time as their previous fixtures “ran out of puff at around 8 metres”. But none of the other options were inspiring him until he and designer Jeremy Fern ran into the impression X4 L at the November's LDI Show in the States in 2016.

Earlier last summer Oceania invested in 24 x X4 L LED heads from GLP, which went out the same day they arrived to support the British & Irish Lions' rugby tour down under. Over six weeks they were ever present on all regional games and the three All Blacks tests.

At Auckland's Eden Park, also New Zealand's national sports stadium, the company supplied all technical rigging, lighting, vision and sound equipment, technical management and crew, both in the venue spaces and the large fine dining 1200 and 2000-capacity party marquees on the practice ground, measured a colossal 400sqm and 350sqm respectively, requiring a lot of truss and expertise.

“The GLP X4 L and X4 Bars really impressed us both,” confirmed Oceania general manager, Simon Garrett. “The X4 L offers both workhorse and bling modes. A fast, very compact wash light with a source range from low to very high 10,000K colour temperature, giving some beautiful cold variation in straw, steels, lavenders etc. as well as some bling, with a myriad of

Oceania also supplied the same range of technical services at the Queen's Wharf Auckland Fanzone Activation. This provided the Auckland hub for the DHL New Zealand Lions Series and the nationwide Rugby 2017 Festival, with live match screenings, free entertainment, live performances and exhibitions.

The 24m DHL Dome was animated using just 12 of the GLP fixtures. “This look had six 'dots', which gave the beams a pretty hard edge, and a further six in Wash mode as a backing colour,” continued Garrett. “As the DHL Dome was pretty opaque it would have required between 24-36 compact LED washes to have animated this as successfully.”

Although it's still early days he says they are delighted with their choice so far. “The 12 onstage provided a really big look, taking a six-channel distro feed. With their small footprint, they were delivered quickly to site in three cases, rigged easily and took up very little 'musician and backline' space.”

So successful did they prove on their first major outing that Jeremy Fern turned to them again more recently, using them on a major Darts tournament, “where they really filled the camera periphery shots,” according to Oceania.

Summing up Simon Garrett said, “It's hard being the first adopter in any territory, and even harder on new product as it's not yet on specs or available as a sub-hire resource. But to date we are extremely pleased with the investment.”

EDITOR'S NOTE The X4 L Impression shows its versatility by offering from low to very high 10,000K colour temperature. , Oceania General Manager, Simon Garrett adds that the fixtures gave some some beautiful cold variation in straw, steels, lavenders etc. as well as some bling, with a myriad of looks.

Chris McKenzie (left) and Simon Garrett (right).

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

www.glp.de

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MALAYSIA

d8 Kept Busy Three back to back events handled with aplomb

December 2017 proved to be a busy period for the Digital Aid Sdn Bhd team or more commonly known as d8. The team was involved with three consecutive events that was thankfully held in the same venue ‒ KL Live. Renowned household name in the EDM and Trance scene, Tiesto took to the stage on 8th December. This was followed on 9th December with the performance of Asia's leading Hip Hop Ensemble, 88 Rising comprising Keith Ape, Higher Brothers, Rich Chigga and Joji.

Both events were organised by Future Sound Asia. 10th December saw another name that has burst into the EDM scene and risen quickly ‒ Marshmellow. d8 was appointed the main contractor for all three productions. The production for Tiesto and 88 Rising broke a record for using the most number of LED panels ever at KL Live for an event that saw a crowd 2500 each. “The wow effect was definitely there as all the panels were concentrated on just one stage area. There was a total of 458 panels in that one small space,” said a d8 spokesperson.

One challenge the team faced was the limited time frame for set-up. “We only had a 16 hours set up time. We adhered to the rider requirements as specified by the DJ, we did not cut corners on our equipment so as to get the best show possible.

We did replace certain lights with the consent of the performers production team.”

The other challenge was in relation to manpower. Running there shows back to back was definitely a challenge, more so many key people from the team were in Singapore for the production of ZoukOut. “We were stretched in terms of crew but we pulled through with no issues whatsoever, many of the team members were handling dual responsibilities,” said Shalini Sugupathy, Head of Production, Digital Aid Sdn Bhd. Considering the type of music that was being played, d8 had deployed the the Waves MaxxBCL Hardware Dynamics Signal Processor. This 2-unit rack mountable digital signal processor is intended for live sound reinforcement, stage monitoring, webcasting, broadcasting, studio recording, mixing, and mastering. It is a hardware version of a Waves software-based mastering signal chain featuring the Waves Renaissance compressor, the Waves MaxxBass bass enhancement processor, and the Waves L2 Ultramaximizer limiter.

“This is the first time we used the MaxxBCL and it is an amazing piece of technology. The unit made the sound quality so much more livelier and made sure the audience could feel the full impact,” added Shalini. www.d8projects.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

THE LAST PAGE

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Increasing The Odds With The Right Platform

For this issue we have decided to share a blog post from Marcel Fairbairn, President / CEO of Gearsource. Marcel highlights what sets Gearsource apart from other similar platforms.

And we listen! Many of our greatest features and updates have come by way of suggestions made by power users who dreamed of better methods and we agreed!

In 2001, when I started this company, you really didn't have other options. You basically died with whatever gear you purchased, unless you were able to find a local school, church, or theater who might want it. Rental companies certainly wouldn't sell to other rental companies, and the internet was still young, there wasn't even Facebook!!

In addition to the tools, we have invested in our people. You won't find a more professional, caring and dedicated team ANYwhere. Many of these people have been with GearSource more than 10 years and have 20+ years industry experience.

Not to mention, no one else has offices and people in the USA, Europe and Asia. Did you know that when you list an item for sale here in the USA, we may also put it up for sale in Uzbekistan, Cambodia, Denmark, and Australia?

Today is much different. You have many options when it comes to the disposal of used gear. You can post an “ad” on eBay, add some pictures and maybe even prices to your Facebook page, or even use one of our many, smaller competitors. We have recognized and embraced these technology and social changes along the way, and we have adapted.

Based on a foundation / platform that we call G-Suite, we have created selling tools that empower you and arm you with knowledge. We have a nice little tool called GSiQ that offers you pricing suggestions based on REAL sales of the same or similar items. We have a Listing API, allowing you to tie our system and yours together, providing automated listings updates (when an item is out on a rental, it is not available for sale on our site, and when it returns - it is back up and listed).

We have an offer system where - once your item has not sold for a period of time, our site will automatically begin accepting offers. This tool alone has produced numerous sales on stale or difficult to sell items. We have a full-time team of technical experts who are always looking for ways to improve our platform and bring more sales to your gear.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The bottom line is this. We REALLY care about selling your gear, and unlike ANY other method you might consider, we care about the price you get as well. We want you to get top dollar, as long as you are offering top gear. Quality does matter when it comes to used gear, and people buy from us because they trust our people, our process, and our products.

We realize the many choices you have when it comes to disposal of your gear, and we promise to ALWAYS provide you with the best option right here at GearSource. So give it a shot… Reach out to one of our Business Development “GearHeads” today!

Your Inventory Is Your GoldMine. To put your listings get in touch with listing@gearsourceasia.com www.gearsourceasia.com

EVENTS

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60

2018

Feb 06 ‒ 09 | Integrated Systems Europe 2018

May 31 ‒ 2 June | PALM Expo India 2018

Venue: Amsterdam Rai, Amsterdam, Netherlands

Venue: Bombay Exhibition Center, Goregaon East, Mumbai, India

Visit Site

Visit Site

Feb 21 - 23 | Live Entertainment Expo Tokyo

Jun 06 ‒ 08 | Conference Programme starts on Jun 02

Venue: Makuhari Messe, Tokyo, Japan

InfoComm International 2018

Visit Site

Venue: Las Vegas, USA Visit Site

Mar 21 ‒ 22 | IoT Asia Venue: Singapore Expo, Singapore

Jun 06 ‒ 08 | Conference Programme starts on Jun 05

Visit Site

IAAPA Asian Attractions Expo 2018 Venue: Hong Kong Convention and Exhibition Centre, Hong Kong

Apr 09 ‒ 12 | NAB Show 2018

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Venue: Las Vegas Convention Center, NV, USA Visit Site

Jun 09 ‒ 12 | Guangzhou International Lighting Exhibition 2018 Venue: China Import and Export Fair Complex, Guangzhou, China

Apr 10 ‒ 13 | Prolight + Sound Frankfurt 2018

Visit Site

Venue: Frankfurt am Main Visit Site

June 26 ‒ 28 | ConnectechAsia (BroadcastAsia 2018) Venue: Suntec, Singapore

Apr 11 ‒ 13 | InfoComm China (IFC) 2018

Visit Site

Venue: China National Convention Center (CNCC) Visit Site June 26 ‒ 28 | ConnectechAsia (CommunicAsia 2018) Apr 24 ‒ 26 | SLV Symposium

Venue: Marina Bay Sands, Singapore

Venue: Quill City Mall, Kuala Lumpur, Malaysia

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Visit Site Jun 28 ‒ 30 | Summer NAMM 2018 Apr 25 ‒ 27 | SecutechAsia

Venue: Nashville, TN

Venue: Taipei Nangang Exhibition Centre, Taipei, Taiwan

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Visit Site Aug 22 ‒ 24 | Integrate May 08 ‒ 11

Venue: ICC Sydney, Darling Harbour

Guangzhou Entertainment Technology (GET) Show 2018

Visit Site

Venue: Poly World Trade Centre Expo, Guangzhou, China Visit Site

August 23 - 25 | PALMEXPO China Venue: China National Conference Centre, Beijing, China

May 10 - 13 | Prolight + Sound Guangzhou 2018

Visit Site

Venue: Area A, China Import & Export Fair Complex, Guangzhou, China

Sep 05 -07 | InfoComm China Chengdu

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Venue: Western China International Expo Center Visit Site

May 10 ‒ 12 | LED Expo Thailand Venue: IMPACT Exhibition and Convention Center, Bangkok, Thailand Visit Site

Sep 18 ‒ 20 | InfoComm India 2018 Venue: Bombay Exhibition Centre, India Visit Site