Entertainment Technology Asia January-February 2013 by Spinworkz Pte Ltd

January - February 2013

MICA [P] 008/09/2012 KDN: PPS 1663/08/2013 [022991]

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The Star Performing Arts Centre SGM’s Peter Johansen • Adamson ignites Defcon1 • Hendra Lie of Mata Elang

Powering up your stage HDX series Barco’s HDX series has been awarded as ‘Most InAVative Commercial Projector’.

Barco’s high performance HDX projectors are ready to bring supreme image quality to any screen and stage. Thanks to their Xenon illumination and their high contrast optical engine these three-chip DLP projectors reproduce superior colors. In this way your audiences experience crisp and vivid images on every occasion. What’s more, with their sturdy and compact design, the HDX are ready for the road in no time. And during performances you can also efﬁciently control the projector via your smart phone or tablet computer. With Barco’s compact and powerful HDX projectors, the future is here today. Find out more about the HDX series on www.barco.com/media_entertainment

Barco Pte Ltd No 10 Changi South Lane #04-01, OSSIA Building Singapore 486162 Tel: +65 6243 7610

www.barco.com

VIPER Coldplay, “Mylo Xyloto” European Tour Photo by Andy Rhymes

VERSATILITY! s 3TUDI s 3TUDIO READY 4OURING READY ss 4OURI s 4HEATRE READY s 4HEA The MAC V Viper covers it all

www.martin.com.sg w

CONTENT January - February 2013

NEWS 08 Essential news from the industry

44 80

ENNOVATIONS 34 A round-up of new products in the market SPECIAL FEATURE 44 The Star Performing Arts Centre SNAPSHOT 61 FOH Digital Consoles 62 Indonesia: Rental & Staging MANAGEMENT PERSPECTIVE 64 SGM’s Peter Johansen PEOPLE 66 Mata Elang’s Hendra Lie LIVE 68 Adamson ignites Defcon1 70 Clarity @ The Footy Show 72 Yamaha CL5 at the ‘Makanplace’

74 Christie rides the Subaru 76 DPA on ‘The Voice of China’ 78 Laservision’s Winter Wonderland 79 Arkaos does Hairspray 80 PR Lighting’s Dream Palace 81 Shure at GiMA 2012 82 JLO in Jakarta 83 Rock ‘N India 2012 INSTALL 84 Christie livens up Vietnam TV 86 DiGiCo decks out in Australia 87 Electro-Voice hypes up Dempsey Hill 88 Jands gets The Memo 89 Robe rigs out GH Hotel 90 Alcons at the Alexis 91 Medialon at Huis Ten Bosch 92 RCF at Summarecon Mal Serpong THE LAST PAGE 94 Lighting Designer Bernard Chew

FIRST WORDS January - February 2013

INDIA AND MIDDLE EAST EDITOR Ram Bhavanashi ram@spinworkz.com

Thomas Richard Prakasam

The Spinworkz team would like to wish each and everyone of you a Happy New Year. Hope you had a great start to the year. Time really flies and once again most of us will be busy with exhibitions, projects and so forth. But in the midst of all these, do remember to take a breather once in a while – it does wonders for your mind and body :)

WRITER Rosalind Tan rosalind@spinworkz.com

You will probably notice a change in the design of the magazine. Our objective was to make it more vibrant and reader friendly. We have also introduced new columns and we intend to provide interesting nuggets about the industry and trends in the coming issues. We start oﬀ with a little peak about the Rental and Staging industry in Indonesia. How much do you think it is worth? Read the article to see what the industry players think. This issue features The Star Performing Arts Centre in Singapore. It was a mega undertaking. It is so mega that we had to cater a number of pages to cover the venue. Many concert promoters and event organisers in Singapore were crying out for a 5000 capacity venue and this has now been fulfilled with The Star PAC. There was indeed much thought that had gone into the venue ensuring that it provided maximum flexibility to cater to all types of requests. David Foster took the honour of being the first artist to perform at the venue. I would also like to take this opportunity to inform you that you will be hearing more and more from our two young writers – Rosalind Tan and Elissa Nadine. After a few months of on the job training on understanding the industry and throwing them in the deep end of project write ups, they are ready to face the world. Please do oﬀer them a warm welcome. In fact this issue's cover story was written by Elissa and Rosalind was hard at work with the other editorials on top of handling our digital E-newsletters. Thank you for your continued support of the magazine and we look forward to a memorable 2013. Thomas Richard Prakasam Publisher / Editorial Director thomas@spinworkz.com

WRITER Elissa Nadine elissa@spinworkz.com

ADMIN & CIRCULATION Julie Tan admin@spinworkz.com

DESIGN AND PRODUCTION Jimmy Chin jimmy@spinworkz.com MEDIA REP IN NORTH AMERICA Broadcast Media International Michael Mitchell Tel: +1 631 673 0072 mjmitchell@broadcastmedia.tv

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

Disclaimer Entertainment Technology Asia is published 6 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.

08 A Tribute bu uttte elleen nce n ce to Excellence

NEWS January - February 2013

HARMAN acquires Martin Professional

PR-8150 LED SPOT 400

(L to R) Christian Engsted from Martin and HARMAN’s Blake Augsburger, with Jens Bjerg Sørensen of Schouw & Co.

International: Schouw & Co., parent company of Martin Professional, has entered into an agreement with HARMAN International Industries to sell Martin to HARMAN. The transaction is subject to customary closing conditions, including regulatory approvals, and is expected to close in Q1 2013.

acoustic & lighting system MALAYSIA Tel. +603 - 8075 8990 Fax. +603 - 8075 8266 Email. acoustic@alhq.com.my

HARMAN and Martin are convinced that their comprehensive oﬀering of audio, lighting and video solutions for the live stage and events, as well as permanent venues and installations, will provide new, exciting opportunities and will take customer satisfaction to even higher levels.

THAILAND Tel. +662 - 769 8199 Fax. +662 - 769 8195 Email. veera@alhq.com.my

Blake Augsburger, Executive Vice President and President of the HARMAN Professional Division shares, “Martin product lines are an excellent complement to our professional audio business. After the transaction closes, we will be able to oﬀer a full line-up of audio, lighting and video solutions for the live stage as well as permanent venues and installations.”

INDONESIA Tel. +62 - 21 29078968 Fax. +62 - 21 29078794 Email. edwin@acousticnlighting.com

Adding Martin to HARMAN’s USD $4.4 billion organization and combining two of

SINGAPORE Tel. +65 - 6423 0682 Fax. +65 - 6423 0683 Email. info@acousticnlighting.com

www.acousticlighting.com

the largest R&D budgets in the audio and entertainment lighting industry will enable the companies to grow and improve the lighting and video product oﬀering to the benefit of all existing and new customers. “We very much look forward to exploring the mutual benefits this change in ownership oﬀers and continuing to develop our business relationship with our customers and partners across the globe,” adds Christian Engsted, CEO of Martin Professional. The companies are confident that not only will they cement their respective positions in their industries, but will additionally and not least make their customers more successful by providing new, innovative and improved products, services and solutions in the future. Martin Professional will continue as an independent business unit within the HARMAN Professional Division, with the existing points of contact. www.harman.com www.martin.com

10 NEWS Top Indian DJs choose Xone January - February 2013

India: Allen & Heath's Indian distributor, Sun Infonet, has signed four of the country's top DJ's to endorse the leading Xone Series.

RCF D LINE

"Our new endorsers are all renowned DJs in India and respected for their technical competency and production talents. They have all chosen Xone products that complement their skills, from the awardwinning Xone:DB4 digital FX mixer to the industry-standard Xone:92. We are pleased to have them on board to further demonstrate the fantastic design qualities of the Xone brand," comments Sun Infonet's director, Neeraj Chandra. DJs Madhav Shori and Kohra are using the new Xone:DB4 digital mixer and Xone:K2 MIDI controllers, while Gaurav Malaker has adopted the Xone:4D hybrid mixer and controller, and Arjun Waghle is using the Xone:92. All DJs are also using the XD2-53 professional headphones.

up together. I use one channel for Ableton and the other three for analogue synths, an iPad, drumpad and the K2 controller, which is so simple to use and has an inbuilt soundcard so there's more room in the booth. The mixer has a lot of features, so there's always scope to delve deeper. I love the DB4's filters and the plethora of FX, plus it is easy to navigate." "In the last 5 years, India has grown into a big global player in the electronic music arena, with tons of good producers and home grown talent, plus the influx of international DJs performing across the country shows India is on the map. Most clubs where I have played in Europe have the Xone:92 or 62 in the booth, so I am familiar with the 92's superior sound quality and features. I am really proud to be bringing Xone to this emerging music scene - the 92 is compact and cleanly laid out and the filters and LFO are fantastic," Arjun Waghle adds. www.allen-heath.com

Madhav Shori comments, "The Xone:DB4 is a fantastic mixer and brings my live set

acoustic & lighting system MALAYSIA Tel. +603 - 8075 8990 Fax. +603 - 8075 8266 Email. acoustic@alhq.com.my SINGAPORE Tel. +65 - 6423 0682 Fax. +65 - 6423 0683 Email. info@acousticnlighting.com THAILAND Tel. +662 - 769 8199 Fax. +662 - 769 8195 Email. veera@alhq.com.my INDONESIA Tel. +62 - 21 29078968 Fax. +62 - 21 29078794 Email. edwin@acousticnlighting.com

www.acousticlighting.com

Arjun Waghle

Madhav Shori

NEWS January - February 2013

MIPRO wins 2012 National Invention and Creation Award World Trade Center and a press conference was held to showcase its R&D capability and an opportunity to be exposed to the public and foster commercialization.

MIPRO President, Solomon Chang accepting the prestige award from Vice President of Taiwan, Wu Den-yih.

Taiwan: The National Invention and Creation Award was set up to encourage those who pursue in inventions and creations. MIPRO has entered and won the category of Contribution Awards. Ministry of Economic Aﬀairs made the announcement on August 30, 2012 Winners' products were displayed at the

Up to 18 patents had been awarded within four years covering categories of microphones, wireless microphones, wireless portable PAs, and wireless tourguided products. MIPRO President, Solomon Chang comments, "I’m really thankful to the Intellectual Property Oﬃce for this award and their aﬃrmation in our products. MIPRO will continue to uphold high standards of innovative design and manufacturing superior wireless mic products." www.mipro.com.tw

GLP appoints new distribution partner for China, Taiwan and Macau International: German Light Products GmbH has appointed Guangzhou Ruisheng Lighting & Audio Equipments Co., Ltd as their exclusive distributor for China, Macau and Taiwan.

www.acousticlighting.com

Ruisheng with its oﬃces in Beijing, Shanghai, Guangzhou and Chengdu, will set course in bringing GLP products into their portfolio including the Impression Spot One and Wash One, the Volkslicht series as well as the new X4. “Since we started with GLP Asia 2 years ago, we could already win a lot of new customers all over Asia. Our products are now used on stage with some of the most famous artists in this region such as Leon Lai or Aaron Kwok. Together with Ruisheng, we are now looking forward to continuing this success in Mainland China,”

says Michael Münz, General Manager of GLPs Asia Oﬃce in Hong Kong. Will Chen, President and CEO of Ruisheng adds, “Our partnership with GLP will allow us to introduce innovative and top of the line products into one of the world‘s most promising markets.” www.glp.de

THE SKY IS NO LIMIT

As tall as you wish, as powerful owerful as you wish, as ﬂexible as you wish! The new VERTUS active line array is a skyscraper er of sounds, ideal for live performances and also ﬁxed installations

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s True line array modular technology in elegant enclosures with an aluminium extrusion design s An independent Class-D tri-ampliﬁcation system with DSP and switch mode power supplies allowing great dynamics and power s Long distance sound projection and even SPL distribution towards the audience s A dedicated active subwoofer with a bass-reﬂex design and birch ply enclosure s Professional Neutrik XLR signal links and POWERCONN sockets s A rapid latching system that doubles or triples the speaker column, allowing an increase of SPL and vertical directivity

Possible conﬁgurations CLA 604A (400+100W) Active Line Array Speaker CLA 208SA (600W) Active Subwoofer

INEERED

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NEWS January - February 2013

E&E installs largest cinematic sound system in South-east Asia SB284Z sub-woofers installed in the front and rear of the hall. To create a truly immersive sound, speakers were also installed on the ceiling. These were made of two rows of 12 units of independent EAW ceiling mounted MK2396, 600-watt 2 way speakers. The speakers were driven by 27 units of EAW CAZ 2800 and 16 units of EAW CAZ1700 power amplifiers. Singapore: Located at the flagship GV VivoCity cinema, Golden Village's GVmax features radial stadium seating for up to 602 viewers. GVmax also has the widest cinema screen in Asia, 22.4 meters, with crystal-clear 4K digital projection. With the installation of Dolby Atmos, GVmax becomes the first Southeast Asian cinema to introduce the revolutionary audio system, designed to create a more realistic movie experience for viewers. Electronics & Engineering (E&E) Singapore was appointed to integrate the sound system within the GVmax hall to meet the specifications of the Dolby Atmos sound format. To achieve that, E&E recommended and installed EAW cinema speakers system as they comply with Dolby Atmos requirements for speaker configuration and the positioning metadata of the audio stream to optimize 64.2 channels playback in the GVMax Hall. Working closely with the team at Dolby, E&E conceptualised the project over a period of five months. The implementation was carried out over a 4 day period whilst tuning and calibration took another three days to complete. The final configuration of the EAW speakers included installing 5 units of EAW CB523Z 3-way cinema speaker systems behind the cinema screen; 32 units of EAW CR72i surround speakers mounted on the side and rear walls with 4 units of EAW

“The biggest challenge for the installation was the tight time frame. Challenges included installing the speakers behind the large screen as well as the setting up scaﬀolding to mount the ceiling speakers,” says C.H. Khor, Senior Project Manager from E&E. Dolby Atmos is regarded as the most significant development in cinema audio since the introduction of surround sound in 1987. The new technology of Dolby Atmos takes a unique layered approach to sound design by giving content creators total control over the placement and movement of sound relative to the audience. Ronald Goh, Managing Director of Electronics & Engineering Pte Ltd comments, “The Dolby Atmos project is a great success. We are proud to have been part of the team that has made this installation possible.” Movie-goers to GVmax have begun to experience the cutting-edge Dolby Atmos auditory experience with the screening of the two-part action comedy Ah Boys to Men. Directed by Jack Neo, the production is the first Asian film to be mixed in Dolby Atmos. www.gv.com.sg www.dolby.com www.enepl.com.sg

NEWS January - February 2013

Robert Juliat packs a punch across Hong Kong

TOUCH THE

FUTURE TIGER TOUCH Hong Kong Cultural Centre Grand Theatre Auditorium

Hong Kong: Robert Juliat’s Hong Kong distributor, Pacific Lighting (HK) Ltd, is delighted to report an extremely healthy market across the region with a bumper crop of Robert Juliat sales over the last quarter. “The increased appetite for Robert Juliat profiles and followspots is very evident,” says Pacific Lighting (HK) Ltd director, Hugh Chinnick. “We have experienced almost unprecedented non-project sales in the last few months, with some very high profile venues choosing to replace their old lantern stock with Robert Juliat fixtures or augmenting their existing RJ inventory with further additions.” The Hong Kong Cultural Centre’s 1734seat Grand Theatre, which already boasts four RJ Cyrano 2500W HMI followspots, has replaced a number of fixtures in its main rig with forty-two RJ 710SX2 2500W tungsten zoom profiles. “The Grand Theatre’s front of house rig was in severe need of replacement and, having already had the experience of RJ 700 Series profiles and Victor followspots in the Concert Hall, the technical team chose to go with more of the same for the Grand Theatre,” says Chinnick. Robert Juliat followspots are also in high demand – the Hong Kong Academy for Performing Arts has invested in two RJ

Manon 1200W MSD short throw spots for its Drama Theatre. These come as additions to a number of Manon followspots already in the APA’s possession, two of which are used for teaching purposes and two more of which are located in the Hong Kong Jockey Club Amphitheatre. Three RJ Cyrano 2500W HMI followspots are also sited in the complex’s 1181-seat Lyric Theatre. The City Hall Theatre, which is equipped with RJ 600 Series 1200W tungsten profiles, has similarly expanded its stock with the addition of two RJ Aramis 2500W HMI followspots.

POWER CUBE

“The City Hall Theatre already has two short-throw RJ Flo 1800W MSR spots,” says Chinnick. “That the APA and City Hall have chosen RJ followspots again confirms the preference for Robert Juliat products within venues which rely upon high quality, reliable products to handle their very varied programmes of events.” “We are delighted with this development and pride ourselves on the level of our advisory and after-sales service to our clients. Robert Juliat, with Pacific Lighting, is here for the long run,” concludes Chinnick. www.robertjuliat.com

PEARL EXPERT TOUCH Avolites: +44 (0) 2089 658 522 avosales@avolites.com www.avolites.com

Total Solution: (+65) 6287 9878 sales@tsm-int.com www.tsm-int.com

NEWS January - February 2013

Thunder Production takes on largest CODA line array inventory company invested further on the CODA systems, purchasing 16 units of LA12 and 12 units of SC8 sub-woofers. “CODA audio oﬀers us good quality sound at competitive pricing. As our business mainly focuses on local concerts, corporate events and DJ parties, we were keen to upgrade our audio system and we felt that the CODA systems met our objectives perfectly,” said Hwe Hwe. Hwe Hwe (extreme left) and Rungu (extreme right) from Thunder Production with T.S. Phan (2nd from left) and Lucman Lie from PT Gracia Auvindo

YOU´ VE GOT THE SKILLS. SKILLS WE´ VE GOT THE TOOLS.

Indonesia: Thunder Production's first oﬃce was set up in Yogyakarta in 2000 followed by a branch oﬃce in Jakarta in 2003. The company specialises in the rental of sound, light and truss systems. Two years ago, owner, Hwe Hwe, purchased his first CODA audio systems which was their monitor speakers and 16 units of LA8. In August this year, the

The smaller LA8s are used for indoor events whereas the LA12s are used to support outdoor events catering to an audience size of 30 to 40,000. “The systems have performed really well and we hope to continue to grow our audio inventory in the near future,” he adds. The CODA systems were sold by CODA's Indonesian distributor, PT Gracia Auvindo. www.graciaauvindo.com

Clear-Com Tempest2400 takes to The Open Stage Australia: ASL Systems has supplied the University of Melbourne with a Clear-Com Tempest2400 wireless intercom system for use in their theatre named 'The Open Stage'. With its advanced RF circuitry, the Tempest2400 was the ideal solution because it is highly resistant to interference, even in the most crowded RF environments.

www.tsm-int.com Phone: +65-62879878 sales@tsm-int.com

www.coolux.com

Since its installation, the Clear-Com intercoms have made a huge diﬀerence in communication for the students and staﬀ. Public events and lectures are sometimes filmed at the University and Mark Richardson, Production Coordinator at the University has actually used the Clear-Com system more for this than theatre.

“Adding the wireless systems gives us a lot more flexibility,” commented Mark. “The feature of having two wireless headsets is really good, the product is robust and we haven’t had any issues. It’s nice to have a wireless system that just works – it was up and running quickly with no hassles!” The reliability of the Clear-Com Tempest system means that students can focus on the important tasks of learning and collaborating with each other instead of worrying about staying in contact. www.jands.com.au

NEWS January - February 2013

Barco joins forces with TechnoPro in the Middle East Middle East: Barco has signed a distribution agreement worth several million dollars with AV expert, TechnoPro LLC. TechnoPro will ensure the availability, delivery and support for Barco’s projection and image processing products, including the new range of ultra-bright HDX, HDFand HDQ-projectors, in the Middle East region, thus helping Barco Dubai keep up with the increasing demand. Nabil Bourgeili, Managing Director of TechnoPro LLC comments, “We are proud to partner with one of the giants in the entertainment technology industry. Barco has always been an innovative leader in designing and manufacturing state-ofthe-art equipment. The partnership with Barco will definitely help us fulfill our commitment.”

TechnoPro has also recently inaugurated a permanent exhibition showroom and training center in its Dubai headquarters to cater for live equipment demonstrations and technical training for Barco products. Headquartered in Dubai, TechnoPro LLC is one of the Middle East’s leading suppliers of technology for the entertainment market. Its over 12,000 m2 warehouses in Dubai, Qatar, and Lebanon house a large stock of state-of-the-art equipment, from over 25 manufacturers, including the lighting products of Barco High End Systems. www.barco.com www.technopro.me

ETC Gio the perfect fit for City Recital Hall Australia: The City Recital Hall Angel Place is a purpose built concert venue situated in the heart of Sydney with the capacity for 1230 guests seated over three tiers of raked seating. Acoustically designed for fine music and the spoken word, the hall emits an elegant beauty with its intimate layout and professional technical services, hence creating a perfect combination for annual general meetings, conferences, meetings and special events. The time had come to replace their lighting console with a more technically advanced model especially as the venue had recently acquired some moving lights. After a thorough research of the market, Technical Manager Cally Bartley found herself drawn to the ETC range of lighting control consoles.

“I was interested in the Eos and Ion consoles but I was told there was a new console coming out that sits between them and would be ideal,” commented Cally. The ETC Gio consoles delivers Cally with the power of an Eos lighting system but in a smaller console, sized just right for her budget and space. “My technicians are certainly excited by group functions and the ability to map the faders,” reports Cally. www.jands.com.au

NEWS January - February 2013

Allen & Heath appoints new distributor in Taiwan "We see a lot of potential for the digital products and look forward to professionally supporting Allen & Heath as the brand grows in Taiwan," comments Douglas Chang, owner of Seapower Technology Co., Ltd.

Seapower pro audio sales and technical staďŹ&#x20AC;

Taiwan: Allen & Heath has appointed Seapower Technology as their new distribution partner in Taiwan. Seapower has close contacts with Allen & Heath's Chinese distributor, Sanecore, and therefore has access to a wealth of product knowledge and experience with the brand.

"We are very excited about this new relationship with Seapower. I've known Douglas for many years and I've been very impressed with his professionalism and his team's technical expertise. I look forward to a successful relationship," comments Bardy Hayes, Director of Global Market Management and Allen & Heath's regional sales manager. www.allen-heath.com

Messe Frankfurt teams up for ProSound + Light Guangzhou International: Messe Frankfurt has announced the signing of a joint-venture agreement with Chinese exhibition organiser Guangdong International Science and Technology Exhibition Company (STE), to work together on ProSound + Light Guangzhou. The 2013 edition of ProSound + Light Guangzhou will take place from 9 â&#x20AC;&#x201C; 12 March at the China Import and Export Fair Pazhou Complex, Guangzhou, China and is expected to attract more than 900 exhibitors in an exhibition space of 90,000 sqm. In 2012, the show attracted 757 exhibitors who displayed their products and services in 70,000 sqm. Held concurrently with Music Guangzhou, more than 43,257 people visited the show. "Since our first edition in 2003, we've been focusing on making the show the largest audio event in Southern China. Now to improve the show's international status,

we have established a strategic partnership with Messe Frankfurt to turn the show into a truly global business platform for exhibitors and visitors. We believe this will also encourage technical development and communication within the Chinese industry. We believe that Messe Frankfurt's international and domestic expertise will add tremendous value to our show's reputation," commented Hanrong Wu, Director of Guangdong International Science and Technology Exhibition Company. www.soundlight.cn

NEWS January - February 2013

Wireless done right!

Mubari expands Nexo inventory with first STM system in Asia broadcast media events, and government events. The addition of the core three modules of STM (Main, Bass and Sub) will undoubtedly provide the opportunity for Mubari to design a wide range of systems, from small events with audience of only 1000 to large corporate functions up to 100,000 audience. Encik Mubari and the sales director of Nexo group, Denis Baudier.

Malaysia: Mubari Group of Companies, which stands as one of the largest entertainment equipment rental companies in Malaysia, has recently signed a contract with Nexo through Concept Associates (KL) Sdn Bhd. The Mubari g.o.c services many major prestigious events including concerts, local

With 36 units of M46, 36 units of B112, 36 units of S118 and finally 9 sets of Nexo Nuar Digital Amp Rack with ethersound card – Mubari g.o.c will now hold the largest Nexo pro sound system among their competitors in Asia. The Nexo system is expected to be handed over by early 2013. www.nexo-sa.com

Graflex Inc introduces 3D holographic projections in India India: Graflex Inc, the AV division of J Davis Prosound & Lighting, is set to bring 3D holographic projections to India through their latest acquisition. “We have acquired the unlimited license to use and distribute a 3D holographic projection patent in all parts of India. We will assist our clients in content creation, which will then be outsourced to a competent content creation studio in India or overseas,” shares Anil Kumar, Partner & Technical Head of Graflex Inc.

“Our goal is to make 3D holographic projections accessible and yet aﬀordable to all clients in India. We will help conceptualize, design and execute requirements of any magnitude as per our client requirement,” adds Santana Davis, Partner Graflex Inc.

• Industrys most reliable wireless DMX/RDM system • Automated Cognitive Coexistence • Is not disturbed by and will not disturb other systems • Lowest latency in the industry at 5 ms • Link range: 500-1000 meters line-of-sight • Advanced 128 bit encryption • One button takes care of all setup

www.jdavisprosound.com

This opens up opportunities for Graflex to be involved in a wider range of projects including concerts, exhibitions, product launches, theme parks, as well as government projects.

For more information about LumenRadio’s wireless control products, please visit www.tsm-int.com

Scan for video

www.tsm-int.com • Phone: +65-62879878 • sales@tsm-int.com

They’re all grown and ready to hit the road.

NEWS January - February 2013

THE LITTLE ONES ARE NOW SHIPPING At less than 61 cm tall and only 20 kg, the VLX3 LED Wash boasts 6,000 lumens using 3 x 120W replaceable custom RGBW LED chipsets with a 10,000 hour source life, all with individual LED control. Coming in under 64 cm tall and only 25 kg, the VL400 Spot provides 9,000 lumens of output from a 400W MSR Gold 400 Philips MiniFastFit ůĂŵƉ ĂŶĚ ŚĂƐ ϭϰ ĮǆĞĚ ĐŽůŽƌƐ ŽŶ ƚǁŽ independent color wheels. Glenn Wong with Jimmy Turangan and Ayub Iskandar from Indopro.

All created under 64 cm tall and only 25.5 kg, the VL440, VL770, and VL880 Spot luminaires are complete with a 3-wheel CYM color assembly for rich, saturated colors. The VL440 uses a 400W MSR Gold 400 Philips MiniFastFit lamp to produce 9000 lumens of output, the VL770 has a 700W MSR Gold 700 Philips MiniFastFit lamp which produces 15,100 lumens of output, and the VL880 is complete with a 800W MSR WŚŝůŝƉƐ WůĂƟŶƵŵ ϯϱ ůĂŵƉ ƉƌŽĚƵĐŝŶŐ 19,000 lumens of output.

Indopro invests in Vari*lite VL880 Spots

For a complete list of product features visit www.vari-lite.com.

“Vari-lite has always been the industry leader in moving lights technology, and thus was the natural choice for us. I also love its overall compact size and great performance levels which are ideal for our applications. The VL880 Spot has all the familiar features such as rich colour mixing, very fast movement, clear and crisp patterns and smooth fades,” shared Jimmy.

Indonesia: Indopro (Indonesia Productions) has become the first company in South East Asia to invest in 18 units of Philips Vari*lite VL880 Spot moving luminaires.

most impressed by its high intense and powerful beam, which makes it a great lighting fixture for lighting designers due to its versatility and many creative lighting possibilities.”

Fronted by industry veteran Jimmy Turangan, who holds 20 years of experience in the industry, Indopro mainly services the professional lighting and staging requirements for the fast growing up-market corporate, product launches and concert touring segments in the region.

Jimmy also shared that the level of after sales service also played a crucial factor in their decision to go with the VL880 Spots.

“The field angle of the VL880 is also very wide and with the additional frost eﬀect, it can work as a wash fixture. I am www.tsm-int.com Phone: +65-62879878 sales@tsm-int.com

“We studied our options and strongly considered the level of after sales service available for all our product purchases. We knew from past experience that we can always depend on timely, reliable technical support and great service from TSM,” said Jimmy. Glenn Wong, Managing Director of Total Solution concludes, “We are delighted and honored that Indopro has chosen to be the first company in South East Asia to invest in Vari*lite VL880 Spots. This re-aﬃrms our belief to represent top quality brand products and continue to oﬀer our best customer service to all of our customers.” www.vari-lite.com www.tsm-int.com

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From PC Beam to very wide Wash projection

Head Ofﬁce: D.T.S. Illuminazione srl Via Fagnano Selve, 10-12-14 - 47843 Misano Adriatico (RN) Italy - Tel. +39 0541611131 Fax +39 0541 611111 - www.dts-lighting.it info@dts-lighting.it

NEWS January - February 2013

Yamaha and ITE College West reinforce new live sound curriculum visual foundations from the start. It cuts short the training time for the industry by gearing them up for production training, and eliminates the need to go through the basic foundation all over again.” “We don’t want the industry to think that the graduates only know about cabling and electrical works. Being able to experiment and work on the digital audio networking systems will definitely place them above the bar,” Lawrence added. Most recently, the students got to experiment with the Yamaha CL series before its oﬃcial launch date, at one of ITE’s in-house talent competition.

Singapore: Following an official signing ceremony on 30 October 2012, the two institutions have now partnered to develop a curriculum and training facility to encourage knowledge transfer and technical competency among ITE students and industrial participants in the field of Live Sound Reinforcement. Mr. Kazutoshi Sakabe, Managing Director of Yamaha Music (Asia) Private Limited and Mr. Aw Kim Geok, Director of School of Engineering, ITE College West cemented the signing of the agreement at Yamaha’s head office in Singapore. This exciting initiative will be a key component of ITE’s Nitec in Electrical Technology programme, which will see students undergoing a 2-year engineering course with specialization in Lighting and Sound, to gear them up for indoor and outdoor AV systems support. “Yamaha hopes to enhance and groom a pool of audio technicians to tackle the growing manpower shortage situation faced in this niche industry. With this new partnership, we want to add value to the existing curriculum by offering students a platform to further develop their system and knowledge skills,” shared Mr Lawrence Tan, Assistant General Manager of PA/CA Marketing for Yamaha Music Asia.

The collaboration will also engage students with the latest technology through Yamaha’s very own Yamaha-Digital Audio Creative Center (Y-DACC). Y-DACC Singapore was established in May 2005, with the objective to help pro-audio engineers transit to the digital arena without stumbling and to perform as a knowledge hub for various training programs such as the Yamaha Commercial Audio Training Seminars (Y-CATs).

“The collaboration at its best provides our students and staﬀ the opportunity to learn and to keep them competitive. In a live sound recording environment, it is important for them to experience and work with the equipment to integrate better with other software. Handling the equipment on-site also allows them to troubleshoot under higher pressure, which is what we hope to prepare them with for the future,” shared Kim Geok. sg.yamaha.com www.yamahaproaudio.com www.ite.edu.sg/college_west/index.htm

Commenting on how the partnership will create a competitive edge, Ms Chan Lay Lee, Course Manager/Electrical Engineering, ITE College West asserted, “Instead of being well-versed in solely electrical foundation, students now get to experiment on an integrated platform. They will become more productive as compared to the past where electrical technicians lack the audio and

Mr. Aw Kim Geok with Mr. Kazutoshi Sakabe.

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NEWS January - February 2013

SUPPORT

JPJ Audio’s Shure PSM 1000 excels at touring gigs Australia: Since acquiring their Shure PSM 1000 Personal Monitor Systems earlier in the year, JPJ Audio has sent them on a variety of tours with great success. Artists such as Pitbull, Macy Gray, Lady Antebellum, and most recently Delta Goodrem have all benefited from Shure’s personal monitoring at its most advanced level yet. Cam Elias, Delta Goodrem’s monitor engineer, is delighted with the performance of the Shure PSM 1000 systems on her recent Australian shows.

PROVIDING THE KNOWLEDGE TO LET

“It is essential that the nine-piece band is on in-ears, and the artist’s expectations are nothing less than perfection. JPJ supplied 14 Shure PSM 1000s including a mix for the lighting director and video director who operate from FOH.” Cam adds, “The RF signal has been rock solid every night so far. In total we have 24 radio systems including the UR series microphones and wireless instruments. Obviously, the PSM 1000s are a huge leap forward from the 600/700 systems of old, and a neat step forward from the 900s. I give the stage techs a pack in cue mix mode so they can listen to whichever mix they want. They are very easy to use and the headphone amp sounds good. The scan, sync and wireless workbench integration features are very handy. Delta and the band are very happy - as am I - to have them on my spec.” JPJ Audio will have Shure PSM 1000s out many gigs this summer including Harvest Festival, Santigold, Ben Folds Five and Blondie.

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“The Delta Goodrem live shows require high end production with quality results,” he remarked.

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NEWS January - February 2013

Total Solution brings Vari*lite to ITE College Central Singapore: Following its recent move to the striking new Ang Mo Kio campus, the Institute of Technical Education (ITE) College Central, has taken delivery of 20 units of Philips Vari*lite VL770 Spot moving lights fixtures. The VL770 Spots will be the key lighting equipment used for student technical production training during their 2 year Higher Nitec in Performance Production course. The course seeks to arm its students with relevant technical skills, authentic hands-on training and expose its student to the most up to date lighting technologies in order to prepare them for an exciting career in performance production. In addition to the Vari*lite VL770 Spots, Total Solution Marketing Pte Ltd was also contracted to supply other related training equipment for the course, which include Avolites, Philips Strand, Global Truss, Le Maître and Mobil Tech. Total Solution will also provide full support in terms of knowledge transfer – highlighting the latest industrial technology and prevailing market trends to the school for training the students.

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”Since 2007, we have fully backed the ITE’s initiative to train and expose their students to the relevant skill sets in our industry. In the past few years, we have seen a growing number of ITE graduates join the industry and this has helped to address the shortage of trained personnel. We believe that proper early education can help raise standards and improve the future of our industry,” commented Tevin Heng, Executive Director of Total Solution. “We also plan to work on students’ industrial attachment opportunities to further expose them to the ‘real life’ working environment in our industry,” he adds. www.ite.edu.sg www.tsm-int.com

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NEWS January - February 2013

Showtec Group expands ChainMaster hoists inventory Singapore: Singapore-based production company, Showtec Communications has grown its ChainMaster 1 ton electric hoists inventory by purchasing more than 90 pieces over the last 6 months. The purchases were concluded via ChainMaster Asia partner, Total Solution Marketing. Since first acquiring the ChainMaster hoists in 2011, Showtec has been continuously growing their ChainMaster inventory ever since. “The ChainMaster hoists have been a workhorse for us and its reliability is incredible. We like its lightweight design, compact size, safety features and low noise which are suitable for use not only for concert touring but also conferences and other events in smaller venues,” remarks Henry Ang of Showtec. “Together with the outstanding customer service from Total Solution, I will definitely consider to add more ChainMaster hoists in the near future,” he concludes. www.showtecgroup.com www.chainmaster.de www.tsm-int.com

SGM appoints Goshen Electronics for Indonesia

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Ole S. Eriksen CSO of SGM with Cunario of Goshen and Hanslee of SGM Asia

Indonesia: SGM lighting has appointed PT Goshen Electronics to represent its solutions for the Indonesian market. “As Indonesia is a primary market for SGM, I am proud to team up with Goshen and I am sure that together, we can support the needs of architectural and entertainment lighting solutions for the vibrant Indonesian market,” commented Peter Johansen, CEO of SGM. Goshen Electronics is a well established distributor based in Jakarta. www.goshenelectronics.com www.sgmlight.com

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NEWS January - February 2013

Christie powers up Megabox M2 Theatre

South Korea: Following the successful installation of the advanced cinema solution at M2 Theater, Megabox will add two more Christie Duo solutions to two of its large-screen theaters in its chain, which will be fully operational by mid December. With the three Christie Duo installations in place, Megabox anticipates to use the three theaters as a platform to premier the much-awaited 3D HFR (High Frame Rate) version of the movie, “The Hobbit: An Unexpected Journey”.

digital cinema projectors,” noted Lin Yu, Vice President of Christie Asia Pacific. “It’s very encouraging as more cinemas with large screen are adopting our Christie Duo solution in their projection systems. We’re confident that Christie Duo will further enhance the cinematic experience of moviegoers and in turn help to drive up the ticket sales of exhibitors worldwide.” www.christiedigital.com

Established in 2000, Megabox has won the hearts and minds of moviegoers with its motto of "the theater that's more exciting than the movies". Its cineplex at COEX Mall is the largest among all its properties – boasting 16 screens and more than 4,000 seats, of which the M2 Theater stakes its claim as the largest screen within the chain, measuring at 17.4-meters wide and 7.4-meters high. “As the cinema market becomes more competitive, exhibitors are focusing on the differentiation of the quality of cinema. As a leader in the cinema industry, we believe the differentiation comes from ‘3S’, that is, Screen, Sound and Seats. To realize this differentiation, we made our maiden move with the opening of M2 Theater last summer,” commented Kim Jin Hwan, Vice President of Megabox. “The success of our profit-generating M2 Theater proves that it’s a worthwhile investment. We look forward to deploying more Christie Duo solutions as we multiply the success of M2 Theater brand across our chain in the near future,” Kim adds. The projection system installed at Megabox M2 Theater consists of a Christie Duo integration kit and two Christie CP4230 Digital Cinema projectors, Christie’s latest and brightest 4K DLP offerings. Using a single-mirror configuration, one projector directly faces the screen, while the second projector is positioned at a right angle to the first projector. The mirror assembly allows the two images projected by the two projectors to be converged across the entire screen for a higher quality projection than normally achievable for large-screen venues. “We’re glad that the moviegoers at Megabox M2 Theater enjoy the cinema projection using Christie Duo with Christie CP4230

The first theatre in Europe with a complete LED rig chose LDR’s ALBA profiles Tartu, Estonia Vanemuine Theatre, The Grand Building '# d]Xcb ^U ;3Aµb 0;10 _a^½[T X]bcP[[TS LUCI DELLA RIBALTA SRL, ITALY WWW.LDR.IT

NEWS January - February 2013

Expo AV-Insync adds Coolux Pandoras to the mix Singapore: Expo AV-Insync Pte Ltd has recently taken delivery of the Coolux Pandoras Box Quad Server along with the Media Manager. The deal was concluded by Coolux’s exclusive distributor, Total Solution Marketing Pte Ltd. Gerard Rodriguez, Managing Director of Expo AV-Insync, shared that he went with the Quad Server because they deal with a lot of 3D and video mapping for their shows and the Pandoras Box was exactly what he needed. Together with his existing Barco HD projectors, it was ideal for projects that call for multiple outputs. “The ability to synchronize all video and audio sources in addition to on-site 3D rendering, composition and editing also make Pandoras Box the perfect choice for all our events,” shares Gerard. Gerard was also pleased with the technical and after-sales support team from Total Solution Marketing adding, “We knew from past experience that we can rely and depend on the great service and support from TSM. I will never regret buying anything from TSM.”

Terence Yee, Sales Director for Total Solution shared his delight, “Their selection of Pandoras Box is a strong aﬃrmation that the Pandoras Box is becoming the favourite choice Media Server for our industry.” www.eai.com.sg www.tsm-int.com

Ruifeng Audio LA312 PCC. Active Dsp appointed exclusive managed via software horn BEHRINGER loaded Line Array distributor China: Ruifeng Audio will assume responsibility for the wholesale distribution of BEHRINGER products across all areas of the People’s Republic of China through a network of authorized dealers, eﬀective January 1, 2013.

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“We are actively bolstering the quality and capability of our worldwide fulfillment partner network in preparation for the next stage of business development for our BEHRINGER brand,” commented Global VP of Sales, David O’Kelly. “Ruifeng Audio is precisely the kind of partner we look for — they are a technically capable, well-run and customer focused organization, with the resources to properly support the explosive growth of our digital and analogue products,” he adds. Ruifeng will also assume responsibility for customer service and support through their sophisticated technical sales and support infrastructure. www.MUSIC-Group.com

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NEWS January - February 2013

DIS at DIFF 2012

TSB Global brings in Dirty Riggers

also started carrying the Ladies 'Comfort Fit' range which, according to its slogan, is the 'rigger glove designed to fit hard working women's hands.'

Middle East: 2012 marked the 9th time that the annual Dubai International Film Festival took place. Several cinemas in the city screened the latest movies from all over the world, whilst famous stars from Hollywood & Bollywood were also there to hype up the event. The various events and galas held at DIFF were a blast, during which reliable translation equipment was called for. LOTUS Translation Services decided to bring in the DCS 6000 IR on a rental basis to the DIFF venues at Mall of the Emirates (MoE) and Madinat Jumeirah. At MoE, the brand new control unit CU 6105 was used, with positive feedback gathered from technicians of LOTUS who very much appreciated the comfortable handling via web browser. www.dis.cc

J.S.KAUR, CFO of Tsb Global Distributions with Matt Every of the Le Mark Group

Singapore: Formed on the 3rd of September 2012, TSB Global is a distribution company that aims to provide a new twist to the entertainment industry in Singapore. Their first major products to be carried are safety equipment by UK brand, Dirty Riggers. A brand under the the multiaward winning Le Mark Group, the company that brought us Magtape and Blacktak. TSB Global's CFO, J.S Kaur comments, “The entertainment industry needs Dirty Riggers products because it's made by riggers for riggers. It is made specifically for this industry and that is what makes it unique and a cut above the rest” TSB Global best-sellers include the Protector range of gloves with features such as genuine Kevlar covering, high density, motion-flexible knuckle protection and moulded rubber finger protection bands overlaying the back of the fingers. As the industry is seeing more female talent added to the mix, the company has

Oﬀering a great combination of protection and comfort with low profile palm and knuckle padding and heavy duty nylon double stitching for excellent performance, the Dirty Rigger XS Women's rigging glove is designed for maximum comfort and dexterity. TSB Global is well on its way of establishing itself as an innovative contender by thinking outside of the box on what the entertainment industry in Singapore is missing. And the response has been encouraging thus far as more industry kin are realising that there is a distributor in Singapore to cater to their needs rather than them having to purchase their items online. TSB includes freelancers, rental houses and even tertiary school students among their clientele. Though they have just been formed, TSB Global does not plan on taking things slow. By end of January of 2013, they plan to carry the full range of Dirty Rigger gloves and accessories. There are also plans afoot to branch out to other requirements of the industry work force and other countries in Asia by the end of 2013, but Mrs Kaur is quite reluctant to say exactly where or what. According to her, “You'll just have to wait and see”. www.tsbglobaldistribution.com www.dirtyrigger.com

NEWS January - February 2013

d&b adds flavour to Chinese live arts China: Established in 1953, China Broadcasting Performing Arts Group (CBPAG) is the amalgamation of five elements â&#x20AC;&#x201C; CB Chinese Orchestra, China Film Symphony Orchestra, CB Chorus, CB Talking-Singing Arts Group and CB Electronic Orchestra. Run by a fully professional management team funded through a special dispensation from the State Council of the People's Republic of China, CBPAG presents regional small scale performances that sustain fundamental Chinese arts on a local level with folk and humour. CBPAG undertook an extensive survey to determine the right PA system, travelling far and wide to judge and evaluate what audio systems were available, and which of them were establishing the highest standards. "Among others, we visited Sydney Opera House and the Grand Theatre de Quebec," shared Lv Haiping, Director of Stage Art Engineering department.

"Both houses have a d&b J-Series system and it impressed us a lot." d&b China arranged a J-Series for trial presentations and CBPAG subsequently made a purchase. "We were impressed by how the real sound reproduced naturally with rich layers and its

extraordinary dynamic bandwidth, which are important factors to look out for in traditional Chinese classical compositions. The system also has an impressive power capability and extended headroom, which are perfect for CBPAG as we tour extensively," concludes Lv. www.dbaudio.com

ENNOVATIONS January - February 2013

Allen & Heath: AES option for iLive series

Alcons Audio: QR24 line-source array column

A unique precision piece of test equipment, i-Switch SUB is the newest addition to Australian based designer and manufacturer, ARX Systems's Reference Series of signal processors. It is able to individually send a choice of two program sources up to 12 stereo pairs of powered loudspeakers and a choice of 4 mono powered sub-woofers. The i-Switch SUB allows for instantaneous comparisons of complete powered loudspeaker systems, making it ideal for demonstration or batch testing applications precluding the requirement for messy re-patching mid-demonstration or testing. A front panel MUTE ALL switch and associated flashing Red LED allow users to mute all audio when answering questions or discussing comparisons without losing level settings and the front panel Mini Jack (3.5mm) input provides easy connection of "i-everythings" as well as other portable media devices.

The QR24 line-source array column is a modular 2-way column loudspeaker to be used as a vertical array system, for both permanent and (limited) portable applications. Combining a perfectly natural, dynamic sound reproduction with superb intelligibility and throw without the need for DSP-based beam shaping. Due to its modularity, throw and low-frequency directivity (“near field”) can be increased just by extending the array length and multiple individual mid-high frequency lobes can be made by using the QM low-mid fill columns. The QR24 measures a mere 66cm / 26” tall in length, and is fitted with 4x 6.5” woofers and two purposebuilt 12” pro-ribbon drivers, specifically for this system. The “RBN03” pro-ribbon platform was developed to offer Alcons’ renowned non-compressed HiFi sound quality with absolute lowest distortion possible, but with less mounting depth. This accommodates a co-axial driver arrangement with the LMF transducers, which are, at the same time, actively cooling the RBN drivers for further power compression reduction. By using only two 12” RBN drivers, the system’s active frontal radiation is close to 90%, the resulting vertical dispersion offers a SPL-independent, intelligibility over distance, without the necessity of DSP-based beam-shaping. The projection pattern in the horizontal / noncoupling plane is 80-degrees (-6dB) and in the vertical / coupling plane, it is 6-degrees (single column) and each purpose-designed 12” RBN driver has a peak power handling of 2000W (200 msec), creating a virtually infinite system headroom of 4.000W from 1kHz up. Together with the high acoustical sensitivity, the system enables high-SPL sound-reinforcement performance. The frequency response is -3dB flat between 74Hz - 20'000Hz, which easily match an accompanying subwoofer system, catering for a relatively simple bi-amped, three-way system. Powered and controlled by the Sentinel amplified loudspeaker controller, the product offers QR24-specific drive processing with optimal response and reliability. The Signal Integrity Sensing pre-wiring also ensures complete cable/connector compensation between the QR24 and ALC. Thus offering a 1:1, undistorted natural sound reproduction, regardless of cable length and amplifier impedance load (system damping factor >10.000 down to 2 ohms).

www.arx.com.au

www.alconsaudio.com

Customers are now able to order an iDR-16, iDR-32, iDR-48 and iDR64 fixed format MixRack or the xDR-16 expander unit, fitted with an AES Digital Output Option, providing two AES3 digital 2-channel outputs in place of four of the analogue line outputs. Supported by the V1.9 firmware, the option is also available as a retro-fit kit for existing customers, allowing single or multiple AES Digital Output options to be fitted. The launch comes in response to engineers and installers who want to keep the connection to the PA in the digital domain. Previously only an option on the flagship modular iLive systems, the new AES options will place fixed format iLive systems in the running for new applications, such as cost-sensitive broadcast installations www.allen-heath.com

ARX Systems: i-Switch SUB

ENNOVATIONS January - February 2013

KLOTZ A.I.S: SpeakerLink speaker connection system Replacing conventional speaker cable adapters and significantly simplifiying speaker cabling for stage or rigs, SpeakerLink features Neutrik NLT8MP and NLT4MP SpeakON panel mount connectors and is bi-directional. As the 'input box' behind the amps, it adapts up to four diďŹ&#x20AC;erent speaker channels to an 8-pin SpeakON panel connector. This enables up to four speaker channels to be transmitted by a single speaker multicore (e.g. KLOTZ L84YSMF020, 20m). On the speaker side, KLOTZ SpeakerLink acts as an 'output box' and adapts the speaker channels to four (passive LS) or two (2-way active) NLT4MP. A circuit diagram printed on the SpeakerLink housing provides the sound crew with an immediate overview of the SpeakerLink's key technical details. Based on the rugged KLOTZ StraightLink series, the housing of the KLOTZ SpeakerLink consists of a base tray and superstructure in 1.5 mm aluminium with charcoal black finish. The housing has eight holes to attach safety cables while the base has an M10 screw thread for a clamp. Four non-slip rubber feet ensure the KLOTZ SpeakerLink stands securely.

Martin Professional: Martin M-Sync The M-Sync is a USB device that allows SMPTE timecode to be input directly into any Martin M-Series console such as the M1, M2GO, M2PC, M-PC, or Cerebrum. Device allows the Martin M-Series software to read Linear Timecode (LTC) signals for perfect cue synchronization with external devices like sound or video playback systems. Possessing two 3-pin XLR connectors for timecode In/ Out supporting LTC timecode @ 24, 25, 29.97 and 30 frames per second, it can be connected to any USB port on a PC or M-Series console. www.martin.com

www.klotz-ais.com

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ENNOVATIONS January - February 2013

Martin Professional: MAC III AirFX At 1500-watt, the luminaire is an extremely bright and highly versatile lighting fixture with a new concept that combines hardedge, mid-air effects and a wash field in one luminaire. Capable of projecting a dense, hard-edge beam with stunning mid-air aerial effects, the MAC III AirFX’s unique optical system allows it to adjust from a tight beam to a radiant wash instantly for greater design flexibility. Nearly 60,000 lumens, the MAC III AirFX is powerful enough to cut through light from even the most powerful LED screens. With an aerial effects wheel that houses a set of 4 exceptional gobo designs, interchangeable and indexable effects that can be continuously rotated. Utilising an enhanced CMY colour mixing system, it showcases a wide range of vibrant colours and uniform pastels. A fixed colour wheel houses 7 interchangeable slots for broader colour range, allowing users to create colour bumps and splits and colour blending with split colours. The MAC III AirFX is equipped with a 1:5 zoom with auto-linked focus and gobo effects that hold focus through the entire zoom range and at varying throws. Beam gobos can adjust along the entire zoom and unlike other fixtures, light output is constant throughout the entire zoom range with no visible beam jump from tight to wide. By using a special 9” precision PC lens, it possesses an eye-catching and distinctive fat beam look with less spill than micro-Fresnels. Lastly, it has a smooth dimming system with a choice of four dimming curves and fades that are completely uniform across the beam all the way to blackout. It also includes a separate shutter for fast and punchy strobe effects as well as a total front lens blackout. www.martin.com

PR Lighting: XRLED 300 Spot – white and RGB.

The white and RGB versions of the XRLED 300 Spot are equipped with high-power 300W Butterfly white and RGB LED module respectively. Both products oﬀer seven indexable rotating gobos and seven fixed gobos a beam angle of 13°-34° (linearly adjustable); iris and dimmer (0-100%); electronic strobe (0.3-20fps); 1 x 3-facet prism (bi-directional, rotatable, indexable) and 540° (pan) and 270° (tit). With auto position correction, speed adjustable and lock mechanisms for each version, the 300 Spot-RGB includes linear RGB colour mixing plus macro and linear CTO (10,000-3200K) while the 300 Spot-W oﬀers seven dichroic colour filters (plus white). www.pr-lighting.com

Red Lighting: Red MX With six DMX universes directly on the controller, the RED MX desk has 3072 freely configurable channels, a powerful graphics interface for easy programming and the ability to control up to 576 cue lists with a maximum of 999 cues each. It has 12 keys for direct access to playback and programming functions, a 7” TFT touch screen colour display, LCD digital keys and a 4 encoder wheel. RED Lighting has also proposed RED MX E, the new “wing” module to expand the desk and make it a control system with increased performance and versatility. www.red-lighting.com

ENNOVATIONS January - February 2013

Robe: ROBIN DLS Profile The latest product in the DL range of luminaires that use the Robe RGBW LED module. The DLS adds a system of 4 fast, smooth, framing shutters within the optical path design of the proven DLX Spot format. There is individual control of each shutter blade position and angle, together with rotation of the complete framing module. Providing a sharp precise or soft frame for the projected image, the system produces a new series of eďŹ&#x20AC;ects through preprogrammed shutter blade shape and movement sequences. Snappy blades of the framing module overlap each other on almost the same focal plane which allows the designer to create polygons or triangles, as well as other shapes, while staying in focus and always precisely come back to the pre-programmed position. As with all models in the Robe DL luminaire range, the multiple shadows normally associated with an LED source have been eliminated. www.robe.cz

QSC: AcousticPerformance Line AcousticPerformance line of professional, two-way, full-range loudspeakers, has just been launched and are ideal for a variety of installed sound reinforcement applications which require higher SPL and a stylish enclosure. All models feature a 3-inch voice coil, high power-capacity compression driver combined with high-output woofers to deliver exceptional full bandwidth reproduction. All AcousticPerformance loudspeakers feature Directivity Matched Transition (DMT) which matches the compression driver to the natural coverage angle of the woofer in the cross-over region, when combined with their axisymmetric waveguides, AcousticPerformance loudspeakers deliver a flat power response with smooth and accurate sonic reproduction and remarkably consistent coverage both on and oďŹ&#x20AC;axis. All models may be used in passive (full-range) mode to minimize amplifier channel count or bi-amp mode for greater control and performance. www.qsc.com

ENNOVATIONS January - February 2013

Columbus McKinnon Corporation: Explosion Proof Option

Kramer Electronics: VP−790 ProScale digital scaler/switcher

Columbus McKinnon Corporation, a leading designer, manufacturer and marketer of material handling products,has made its popular Yale Global King electric wire rope hoist available in an Explosion Proof Option. The Explosion Proof options include special enclosures, metal clad (MC) electrical cable and sealed fittings, intrinsically safe control stations and explosion proof rated motors (available as specified). The Explosion Proof hoist models are available in a variety of capacities with both underhung and top-running trolleys. Ideal for Division 2, Class 1 (Group B, C & D) applications. The upgraded 3-year warranty oﬀered during the launch of the Flex-48 Global King program continues to be oﬀered as a standard on the Global King hoists. The warranty change is a reflection of the hoist exceeding expectations and providing one of the lowest costs of ownership over its 10-years in the market.

Incorporating 3G HD−SDI signal processing and genlock capability for use in live events, the unit takes one of the inputs, scales, warps and edge−blends the video and outputs the signal to the computer graphics, DVI/HDMI and 3G HD−SDI outputs simultaneously. The HQV (Hollywood Quality Video) scaling engine ensures incredible image quality. The VP−790 represents the state-ofthe-art video processing technology, with its high quality de-interlacing (with 3:2 & 2:2 pull down), noise reduction, and scaling performance for both standard-definition and high-definition signals. Accepting signals of up to 3Gbps (3G HD−SDI), it is HDTV compatible and HDCP compliant. It also oﬀers multiple aspect ratio selections of full, overscan, underscan, letterbox & panscan. The built−in ProcAmp includes colour, hue, sharpness, noise, contrast, and brightness while the unit’s non− volatile memory saves the final settings. The VP−790 also features a wide variety of flexible control option and a variety of inputs and outputs including the Genlock input and fully flexible Picture−in− Picture feature.

www.cmworks.com

Greater than the sum of its parts

Image depicts components from 6.2 litre V8 engine from a 2009 Chevrolet Corvette ZR1. Not included with PLM Series, unsurprisingly.

*Output into 2.2 – 3.3 ohms; 4400 W into 4 ohms. Software-controlled bridging also enabled in the PLM 14000 and PLM 10000Q.

www.kramerelectronics.com

Built for serious driving, the flagship PLM 20000Q Powered Loudspeaker Management system is a classic example of a whole that far exceeds the entirety of its parts. It starts with sheer muscle power combined with Lab.gruppen’s SH[LZ[ LMÄ JPLU[ PUUV]H[PVUZ PU WV^LY Z\WWS` [VWVSVN` -V\Y IYPKNLHISL > V\[W\[ JOHUULSZ WHJR > VM Å L_PISL WV^LY PU[V H < platform together with two Lake Processing modules. And everything is precisely managed by the industry renowned Lake Controller interface. Take to the road with PLM Series.

WWW.LABGRUPPEN.COM

ENNOVATIONS January - February 2013

Martin Audio: VUNET MLA control software The VU-NET 1.2.0 represents a major upgrade to the real time control of MLA systems, adding features to improve connectivity and a number of key processes including the firmware updater. It also contains bug fixes and a large number of improvements. With an intuitive graphical interface, the software enables MLA arrays to be remotely controlled from a PC or wireless tablet. The VU-NET control software is already a low latency, redundant ring, fault-tolerant protocol for control and monitoring of data. Up to 254 devices can be linked and controlled by VU-NET and — for even more ambitious systems — VU-NET can control multiple U-NET rings, each comprising up to 254 devices and also monitor the input to, and output from each amplifier module and its temperature. www.martin-audio.com

Audio-Technica : System 10 Digital Wireless System

Operating in the 2.4 GHz range and immune to TV and DTV interference, System 10 oﬀers accurate sound and extremely easy operation with instantaneous channel selection, sync and set-up. Up to eight channels may be used together without any frequency coordination problems or group selection issues. Ensures clear communications by providing three levels of diversity assurance including frequency diversity, which sends the signal on two dynamically allocated frequencies for interference-free communication; time diversity which allocates the signal in multiple time slots to maximize immunity to multipath interference; and space diversity which, by using two antennas on each transmitter and receiver, maximizes signal integrity. The single-channel system includes the ATW-R1100 single-channel receiver , a digital receiver which oﬀers volume control along with AF Peak and Pair indicator lights, and either a body-pack transmitter or handheld microphone/ transmitter. www.audio-technica.com.sg

D.A.S Audio: Aero 50 preset update V5.5 The update of presets for the control and digital processing of the Aero 50 systems have includes all major technical features. A modification of the systems HPF cut to 80 Hz, similar to the LX-218 subwoofers which are intended as flyable subwoofers for the Aero line array system. Modification of the cross-over slope between the 15” and 8” oﬀers higher definition for the mid-bass zones while also protecting the 8”. An increase in the 8” HPF cut to 200 Hz, also provides higher definition and component protection. Compression drivers have been given a new EQ, optimizing energy to further reduce distortion and control protection limiters. Updated presets are completely compatible with the three main platforms: D.A.S. DSP-2060A/4080, Powersoft K-6 and Lake LM26/PLM. www.dasaudio.com

Aero 50 Line Array

ENNOVATIONS January - February 2013

Behringer: XENYX QX Series mixers Behringer has collaborated with sister-company Klark Teknik, in the development of the new XENYX QX Series mixers. The 8 new models feature custom-designed FX engines from Klark Teknik with 32 studio-grade presets, dual addressable parameters, tap function and storable user settings, plus "wireless-ready" integration with Behringer's upcoming ULM Series digital wireless microphones. With configurations ranging from 10 to 24 inputs, QX Series mixers feature Behringer's XENYX mic preamps, "one-knob" mono channel compressors, built-in USB/audio interfaces, +48 V phantom power and "British" 3-band EQs, which provide warm and musical sound shaping across a broad tonal spectrum. As an added bonus, a free recording/editing software download is available from behringer.com, turning any Mac or PC computer into a complete, high-performance audio workstation. All models are covered by Behringer's 3-year limited warranty program. www.behringer.com

size + sound = ESM26

tiny size â&#x20AC;˘ big sound â&#x20AC;˘ exceptional quality Compact in size, the ESM26 Stage Monitor delivers incredible clarity and high output that defies its small dimensions. Quite simply, the twin sixand-horn configuration of the ESM26 provides superb vocal reproduction. The ESM26 incorporates KV2â&#x20AC;&#x2122;s unique analog delay line technology, incorporated into the speakerâ&#x20AC;&#x2122;s crossover network.

With perfect time alignment and phase correction built-in, there is now no need for expensive external processors and bi-amping - reducing your amp requirements. Through innovative engineering with real-world applications in mind, KV2 has produced a world-class stage monitor at an affordable and accessible price.

4JOEP &YQPSUT 1UF -UE r $IJB 1JOH 3PBE r +VSPOH *OEVTUSJBM &TUBUF r 4JOHBQPSF 5FM r 'BY r TJOEP !TJOHOFU DPN TH r XXX TJOEPFYQPSU DPN

Frequency Response: 70Hz to 16kHz -3dB _____________________ Maximum SPL: 126dB _____________________ Dimensions: H340mm x W374mm x D455mm _____________________ Weight: 15Kgs

ENNOVATIONS January - February 2013

DYNACORD: CMS 600-3 The youngest and smallest member of the famous CMS mixer family, the CMS 600-3 is light and compact with an intuitive, user-friendly mixer section that has a 4+4 channel configuration. In addition to the classic six mono + two stereo analogue inputs, the CMS boasts two stereo digital inputs via USB. These inputs – when occupied – are automatically routed to channels 5-6 and 7-8. This means four fully-featured stereo channels are available. Microphone inputs 1-6 are each equipped with a Gain control and switchable phantom power, whilst channels 9/10 and 11/12 have a Trim control. Channels 1-4 possess a switchable low-cut filter that intervenes at 80 Hz. Each channel offers three sends: FX (post fader), AUX (switchable globally pre-/post-fader) and Monitor (pre-fader). The master section features, aside from the dual L/R master faders, FX1, FX2, Aux and Monitor Return controls – with a 9-band master EQ and a digital effects device with 200 presets and 40 user memories. Two different effects (FX1 and FX2) can be used simultaneously and edited with the aid of a large, clear display. www.dynacord.com

KLOTZ A.I.S : iceRock

The white high-end microphone cable with exclusive white Neutrik connectors is available now. It is based on the MY206 Professional Microphone Cable, tailored to the tough requirements of day-to-day stage and studio routine. Featuring a rubber-like special PVC jacket that stays flexible even in extreme temperatures, with added cotton fibres that maintain consistent capacitance of 60pF/m under all conditions and avoid interference. An extra-dense spiral shield also delivers eﬀective screening protection. The exclusive hand-soldered white connectors not only match the cable colour, but are also ultrarugged and guarantee high-quality signal transmission. www.klotz-ais.com

Allen & Heath: iLive OneMix The latest addition to a family of control options for the iLive digital mixing system, the OneMix iPad app gives musicians wireless control of their personal monitor mix. Derived from the iLive MixPad app, OneMix locks control to a single Aux mix, providing instant access to a customised easy-to-use monitor mix environment. Multiple iPads can be set up by an admin user to give numerous musicians personalised monitor control without aﬀecting each other or the FOH main mix. A musician’s own aux monitor mix is locked into the ‘My Mix’ layer, and a selection of input splits dedicated to the individual musician can be added. All other instrument send levels can be assigned to any of the three extra layers, allowing personal monitoring configuration. Range of accessible settings is defined by custom permissions for each layer. Depending on application and performer’s technical knowledge, the layout and level of access can be kept minimal or extended to a more complex mix. Notably, the mix can be tweaked and listened to by both the user on stage and the sound engineer at the desk, enabling easy interaction between the two. Up to 16 iPads running OneMix can be connected to an iLive system. www.allen-heath.com

THE PRO AUDIO MIXER AMONG MIXERS

CMS 600-3 We have put all our emotion and passion into our latest mixing desk. Through the use of ďŹ rst class components and the legendary DYNACORD quality, the CMS 600-3 mixer achieves a unique level of pro audio performance without equal in its class.

www.dynacord.com

Ideal for all professional applications up to 8 channels. Also on board are two editable digital effects units with 100 presets each, as well as a professional 4xIN / 4xOUT USB digital interface. For further information visit www.dynacord.com

SPECIAL FEATURE January - February 2013

By Elissa Nadine

Envision a venue that was built for an entire industry. After 8 years and half a billion dollars' worth of planning and building, that vision has turned into The Star Performing Arts Centre (The Star PAC). The mid-sized concert and performing arts venue fills a void for a flexible space in Singapore's live concert scene. With award winning architecture by Andrew Bromberg of leading international architectural firm Aedas, the state-of-the-art venue is located above The Star Vista, a shopping mall outside of Singapore's city centre. Designed by Artec Consultants Inc of New York, the centre spans from the 3rd-11th storeys of the building and occupies 38,000 sqm. Although the highlight of the venue is the 5000-seat theatre, there is more than meets the eye when it comes to The Star PAC. It consists of an open terrace, a gallery that is able to split into 5 smaller rooms, a rooftop reception area and 7 supporting rooms which have a varying capacity of 60 -120.

Photo ÂŠ Jimmy Chin

unequalled imaging, crisp pattern projection and a bright, even field. Completing the lighting for the balconies of the theatre are 16 Robert Juliat 711SX2 Profile Spotlights where at 2500W, they are able to deliver a smooth flat beam, with an extremely narrow lens that is meant for long throw distances with no out-sized lens tubing. For the stage rigs, the most as mentioned were ETC's Source Four, but the venue also included 48 of Philips Selecon Arena High Performance Fresnels, a 250mm / 10-inch diameter lens that delivers 25% more light than industry standard. 24 x ETC's Selador Vivid-R completes the stage rigging and with the colour and intensity as well as the low heat output of the Selador Series, it is able to withstand the long duration of the many events in the theatre.

Lighting up The Star Theatre ith an ample stage and intimate auditorium that marked the first of its kind in audience capacity and stage technology in Singapore, the theatre is equipped with the latest technology tailored towards pop concerts, musicals, dance, pop orchestras, and meetings. The 5000-seater is wrapped in an unconventional design of slanted columns and facades. Tucked discreetly into the architectural design from level 5 to 10, and used to illuminate the six-storey-high bow truss around the theatre bowl that runs between the core walls, are 36 Martin Professional Exterior 200 colour changers. The purpose of the Martin lights are to illuminate the theatre bowl so that it becomes visible through the glass cladding by night. The eﬀect intended is a glow from within the building and with the dimming and colour changing capability it is able to reflect the activities within the venue. The lit structure is curved at the bottom with 26 units placed on the bow truss and the remaining 10 at a lower level. Lighting control is from a Martin PC-based LightJockey with cues triggered from a Lutron control system.

Within the theatre, the first eye-catching aspect is the lighting. A unique feature of the space, the dimmers are double the amount of a normal venue. The thinking behind the feature was mainly for broadcasting which

was a major requirement during planning and construction as the audience would need to be lit up for award shows, etc. The ceiling of the 3-level theatre is littered with 1600 ETC sensor 3 dimmers consisting of 3kW true power, 3kW and 5kW dimmer and relay modules overhead, all controlled by GrandMA 2 Light consoles with fader playback wings. The reason behind choosing the GrandMA 2 Light for the venue instead of a GrandMA full size was, according to Technical Director, Daniel Loh, “Because the GrandMA 2 Light is more compact and because it is a third smaller, it allows us to fit into our sound mix booth. Or get it into areas where the full size would cost us one or 2 seats just to fit in the bigger console.”

For the theatre's cyclorama and ground rows, a total of 16 Selecon Aurora 1250W were used. The luminaire is meant to evenly illuminate 9m high cycloramas,scrim or back cloth from a throw distance of 3m. The beam is well-controlled with no spill to cause distracting highlights on scenery or the stage dressings. Rounding up the vast amount of lighting for the theatre are 3 Robert Juliat Cyrano 2500W Spotlights providing a narrow beam and fairly long throws for events and shows. The glass progressive frost filter and dark blue dichroic filter give even more subtle design possibilities. And like the motorised dimmer shutter and the lamp on/oﬀ function, the progressive frost filter can be DMX-controlled for perfect synchronisation.

ETC's Source Four makes up the lighting for the FOH boom box positions and catwalks, and most of the balconies and stage rigs. Combining the energy-saving power of the patented HPL lamp, with a dichroic reflector and opticalquality lenses Source Four's revolutionary technology provides a clean white beam for Martin Professional Exterior 200 colour changers

SPECIAL FEATURE January - February 2013

hoists that come with variable speeds and are able to take loads of between one tonne and one and a half tonnes. All chain hoists are BGV C1 rated which are the highest German standard for chain hoists. Daniel explains, “For certain shows like concerts, artists may want to fly in their own mother grids or their own truss so instead of using flybars, we'll fly down our chain hoists and then rig it up. Like the LED wall which is on a chain hoists because the LED wall is too heavy for flybars. Senior Consultant at Artec, Lars Klein, who was in charge of the rigging commented that the concept for the stage was, “To be as versatile as possible” so they could bring in a big tour where there is the option of doing both the flybars and chain hoists. Lars adds,“ A lot of roadhouses will have one or the other and most of the time it is very diﬃcult for them to make the setup but over here it has been relatively easy for crews to come in and setup”.

The Stage Another innovative trait of the theatre is its entire stage. Senior Consultant at Artec, Andrew Morgan explains, “The front of the stage has removable panels which contain plug in points which are about 0.5m deep and the panels are replaceable, allowing artists/hirers to place plexi glass over it. Hence if you want to put a video screen that the performing artist can see, it can sink in under the stage or you can put a grate in to hold your monitor speakers. Again, its just a choice of what the hirers need.”

He adds, “The whole stage has removable trap platforms so each of the stage panels can come out, providing you the choice of having scenery at multiple levels or you can create an eﬀect that something is coming up through the stage. So the whole stage floor is highly adjustable.” The stage also features motorized flybars that are controlled via a centralized control system as well as a full complement of chain

How about if an artist were to choose to go 'solo' and use their own lighting all together? Andrew answers, “Yes they can. They can just bring what they need to and we have designed everything to be flexible. For example, if a road crew brings in their own trussing, they can drop chain hoists down from strongpoints. We have also supplied 1-tonne rings so they can hang their road truss all over the catwalk without actually using the catwalk to do their show”.

L-ACOUSTICS WST® technology is now packaged in two enclosures perfectly arrayable into a constant curvature line source with no destructive interference typical of trapezoidal cabinets. Treat yourself to just one pair, first. And as your appetite for coverage grows, you can come back for seconds, thirds, or more, adding slice by slice, until you’re sound-full. Serve your audience the legendary L-ACOUSTICS sonic signature and rider friendliness. The icing: the price is tailored to medium-sized productions. They say you can’t have your sound budget and your acoustic system, too. We say you can. Give it a taste at www.l-acoustics.com

SPECIAL FEATURE January - February 2013

Audio @ The Star Theatre The monitors on stage consist of L'Acoustics 12XT, high performance coaxials, which have an integrated rigging system for distributed SR applications and the L'Acoustics 115XT HiQ biamped stage monitors that produce a tight coverage pattern and exceptional immunity to feedback complemented with two units of SB18 subwoofers.

The acoustics of the theatre was a bit tricky as the team wanted to achieve aesthetic excellence without compromising sound quality. Artec Consultants first did the design of the theatre with one question in mind, 'what does it need to do?' Even though aesthetics played an important part, Andrew says; “We also wanted the audience to experience diﬀerent things, for example, when they walk into the room, we want them to be awed by the space but when the lights go down, then all the focus is on the stage and the show. We want to capture the multiple components of their whole experience”. To choose the best product for the theatre, the team carried out an intense 'shoot-out' between diﬀerent brands and though it came close, in the end it was L'Acoustics that won them over. A full L'Acoustics line array system consisting of 24 K1 large format WST line source speakers with the new 'K' transducer configuration for smooth horizontal radiation pattern were configured for the left and right of stage. Complementing each array, are 5 x L'Acoustics KARA's which are compact and lightweight with 110° horizontal directivity for downfill coverage. For the centre cluster, Daniel explains, “we have 14 L'Acoustics KARAs in the center cluster so the L-R cluster is primarily to serve the whole auditorium while the center is primarily for vocals as its configured as a L-C-R system”. “At the end of the day its what they sound like, and those are great speakers and they are very

clear crisp boxes. One of the top priorities was to do the cardioid subwoofer pattern and L'Acoustics makes that one of their base options and they're good to work with. Their design department was also very helpful. We have worked with them on a couple of projects and we have a very good relationship with them”, Andrew adds.

“Perfect for acoustics and a great way to connect to the audience”. -Chaka Khan Subwoofer duties are delegated to the L'Acoustics SB28s which feature progressive vents for increased peak SPL and minimal turbulence noise. 8 units of SB28's are placed each on the left and right of stage as ground stack arranged in a cardioid mode which as Andrew explains,“means that all of the low end energy is aimed at the audience rather than on stage whereas with traditional subwoofers, you end up with a lot of lowend energy on stage and it actually drives the monitor levels through the wedges on the floor so they have to get louder and louder to get the low-frequency information. Hence being able to keep the low-frequency information out there for the audience gives us a much quieter stage so it helps all the artists hear each other and perform better. Especially with rock concerts, we had to consider as things get louder, the artists would just be awash on stage. So we wanted it to be able to get out there and not hang around here.”

Sound quality was one of the main concerns especially with such a large space. Artec’s project sound system designer, Sten Severson, says, “We had to make sure that the coverage was even, meaning highfidelity sound at high levels. And the idea Photo © Jimmy Chin

Photo © Jimmy Chin

For the FOH mix, Andrew spoke to us about how they built the FOH area with a very specific consideration in mind. “We built in a permanent depression for the FOH so the sound guys can actually be mixing and hearing what the audience hears. So many venues especially big ones, you always end up all the way back and the mix usually suffers from it. We wanted the sound engineers to be where they're actually hearing what the majority of the audience is hearing. We sunk them down a little bit so they won't impede sightlines and they're right in the middle so they can do the best mix possible, he says. And for the best mix possible, the DigicoSD7 was chosen after the 'shoot-out' and also according to Daniel, “its extreme rider friendliness”. A rider is a list of requirements for different artists and their shows. The SD7 is the only console used in the theatre though Daniel has said that they have backups should the artist request for a different console. And thanks to the design of the infrastructure, different consoles can be used without affecting the sound quality.

L'Acoustics SB28

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SPECIAL FEATURE January - February 2013

Photo © Jimmy Chin

its ability to detect and avoid interference. The system is complemented with 2 diﬀerent types of Shure personal monitoring systems: 28 channels of the new Shure PSM 1000 fullrack, dual-channel, networkable transmitter and 12 channels of the Shure PSM 900 with the patent-pending CueMode allowing sound engineers to monitor diﬀerent stage mixes with the touch of a button. While the entire theatre utilises Shure Axient wireless microphone systems, the venue also has 24 Shure UHF-R+ that incorporates automatic frequency selection, transmitter sync and smart menu-driven system functionality for fast, intuitive setup and 20 channels ULX-D wireless microphones complete the requirements. Bringing the grand total of wireless channels to 124.

Electronics & Engineering Pte Ltd(E&E) was responsible for the supply and installation of the first 40 channels of Shure Axient wireless system in Singapore. Axient is designed to ensure uninterrupted wireless transmission through a suite of technologies, most notably

E&E was also responsible for providing leading manufacturer Riedel

The theatre utilises 3 in total with 2 concentrating on 64 ports and 1 based on 128 ports that can be accommodated in a single frame and up to 100 frames can be connected to a redundant dual fibre optic ring resulting in a maximum matrix size of 1,024 x 1,024 non-blocking intercom ports. With such a large space, problems are bound to occur. This landmark would be showcasing an array of diﬀerent hirers almost every night, events could range from concerts to seminars to things in between like circuses and even ice shows. How did they manage to make their audio system flexible enough to take on multiple styles? The solution? Having Stagetec's NEXUS STAR audio-router system control the entire infrastructure backbone of the venue. A versatile digital audio network and routing system meant for controlling and distributing

Photo © Jimmy Chin

that there has to be clear and high quality sound everywhere was the motivating factor”. The walls of the theatre are primarily made of wood which was an aesthetic decision, however, all the wood is perforated, enabling the sound to pass through the panels. The batting behind the walls absorb the sound and as Sten explains, “we worked very carefully with the architect when it came to choosing the wood to see exactly what the level of perforation was. The upper walls of the theatre are made of black metal and again this was an architectural decision but we worked it to help the acoustics as well. So those metal walls are also perforated and we have batting and mineral wool behind those to absorb a lot of sound”.

“As a multiple venue performing arts centre, they needed a system that was scalable and yet robust and reliable and able to manage the complex RF environment,” said Gary Goh, Deputy Managing Director of E&E.

Communications' sophisticated ARTIST Matrices network infrastructure based on highly modular matrix mainframes. The individual Artist matrix mainframes can be equipped exactly as needed.

L'Acoustics K1 and KARA Systems

audio sources, E&E provided it as the choice installation due to it being able to accommodate up to 16 boards each with 256 inputs and 256 outputs. Full redundancy for show performance and broadcast quality was a critical design that Artec Consultants had implemented from the very beginning and the system allows for routing a maximum of 4,096 inputs to 4,096 outputs, resulting in more than 16 million cross points. If more I/O resources are required, multiple NEXUS STAR units can be cascaded and any input can be freely routed to any output, so point-topoint lines as well as point-to-multipoint sets can be created. And in having the NEXUS, Daniel says, “If an artist chooses not to use our consoles we can transfer audio to their consoles via the Stagetec's NEXUS. If a hirer brings in an analogue console and plugs it in on stage it can come out analogue into their console so they don't need to run any more infrastructure or wires”. If by now, you think, The Star PAC could handle almost any act, well you could be right. They even have a plan for artists that trust only what they know. Daniel explains, “if they don't trust our digital infrastructure, there is also our analogue audio infrastructure because we have XTA splitters that split back into actual physical tielines so it means that we have the best of both worlds with digital and analogue infrastructure. He continues, “We also have our own console infrastructure so we have a few infrastructures that are already laid out so whichever hirer comes in, whether with their own console equipment, we are able to meet their needs without making too much of an eﬀort as almost everything is plug and play”.

“The Star will blow your mind, it is truly stunning” -David Foster

David Foster

Rentals For shows in the theatre, eﬀects and displays can be created with fixtures that can be rented per request. This includes Vari*lite's VL3000Q Spot luminaires, that are powerful 1200W luminaires with a noticeable reduction in noise output from the original Series 3000 and the newest member of the Vari*lite Series 3000 family, the VL3500 Wash. With an output that exceeds 50,000 lumens, as well as varied new options for colour and beam control, the designers have provided hirers with the ability to have positions anywhere so each lighting design will be unique to each show. Both of the luminaires were used for the inaugural concert at The Star PAC, 'David Foster & Friends'. A stunning concert featuring artists such as the legendary Chaka Khan and singer-songwriter Kenny 'Babyface' Edmunds. The artists were out in full force for the 2-night concert which also introduced Fernando Varela; a young tenor who impressed David Foster after posting a video of himself singing on the popular social media website, 'YouTube'. The concert was also the first time the theatre used its Daktronics 6mm pitch LED

Wall, a double wide 17.752m x 4.754m screen with a 32:9 format. Controlled by the Barco Encore System which allows for the division of the screen into two, creating a 'double but different effect'. The system allows the engineers to play around with the graphics where sometimes there may be 2 different sets of graphics on one screen or they are able to meld the images together to form one. And if an LED wall is not required for use, events such as conferences can rent the theatre's 2 Christie 3-chip DLP projectors which come as a package with the 12m x 6.9m projector screen in 16:9 format. As Daniel says, “the projectors shoot onto a fast fold screen so we can set up the screen then fly it. Since there are no fixed projection screens, we also have a 29m wide drape that is adaptable to different projection surfaces. If the hirer chooses to use a backdrop, like a very large cyclorama, for example, they can screen a movie but with the backdrop, make it look like a cinema. We can project it and though we may not fill the whole screen, it will serve its purpose as a backdrop.”

SPECIAL FEATURE January - February 2013

Broadcast Solutions For the broadcasting aspect, which was a serious consideration during planning, The Star Theatre is equipped with the latest Sony HD cameras and switcher systems. The cameras range from Sony HDC -2400L with 75x Canon zoom lenses on pedestals for long close up shots, to Sony HDC-2400L on 15’ Jib. There are also 3 robotic pan tilt heads, a televator and a 15m track mounted at the ceiling of circle 2 by Telemetrics, all spotting Sony HDC-P1 cameras equipped with 22x lenses. The camera retains the operational feel of the Sony HDC-1000 Series cameras while equipped with a 1920 x 1080 2/3-inch 2.2-megapixel CCD to deliver extremely high picture quality. Up to 15 camera inputs can be fed into the front end of Sony’s MVS-7000HD 4ME switcher with a Miranda NVision router system as well as a Miranda Kaleido-X multiviewer system being at the heart of the entire broadcast system. All camera controls, input routing and additional processing are housed in a state- of-the-art broadcast control room at the back of house. Individual camera feeds can be recorded onto an Editshare Geeves server system for playback or even for post production with the in house Final Cut Pro systems. This allows the venue the ability to oﬀer a full HD quality recording should hirers want to produce a DVD at the end of their concert. The multicamera hybrid fibre infrastructure can also facilitate broadcast OB vans which can be

parked in the loading dock of the building for larger scale award shows or events if necessary. Along with the Broadcast Video infrastructure, the fully equipped Star Recording Studio also boasts a list of vintage analogue gear along with the latest Pro Tools

“Collaboration is key to venue design, whether it be concert halls or opera houses, it all starts from an idea of what is it used for.” - Tateo Nakajima

HDX and Logic Pro systems for use along side the Broadcast Video. From the SSL Duality console, to staples like the Universal Audio 1176 LN, LA2A and LA3A compressors, Martech MSS-10 and Neve 1073 preamps, the recording studio is capable of covering the variety of genres that come through The Star PAC for concerts. The Focal SM9s 2.2 studio reference monitor system allow for engineers to listen to their mixes, and not listen to a “speaker box” with it’s pristine audio reproduction capabilities. Not many performing art centres have a recording studio backstage but The Star PAC surprises once again. The recording studio enables everything on stage, up to 128 channels of audio to be recorded in the studio at the same time. Another check on the list of flexibility.

SPECIAL FEATURE January - February 2013

Photo © Jimmy Chin

The Star Terrace For an outdoor experience, the team at Aedas designed an outdoor amphitheatre for community shows, artists signings and other small events. Named The Star Terrace, the amphitheatre, which is located on the third floor, can sit 300 guests. The building's structure flows with the terrace as Andy Bromberg who led the Aedas team says he, “wanted to dissolve the barriers between public and private views” and to provide “natural wind currents, so guests can fully enjoy the view” of this magnanimous building. The trusses are made up of mesh and are very indiscreet giving the terrace a truly 'open' look.

“In order to achieve what we have, you have to understand the intimacy and the connection you’re trying to achieve” - Tateo Nakajima

Daktronics outdoor LED Wall

LED Wall that can be positioned to face the audience or swiveled to face venue visitors when they arrive on level 3. According to Daniel, “Daktronics has a strong reputation, quite a few of the screens used at Times Square in New York are Daktronics screens. They are one of the top manufacturers for LED walls in the US.” An important requirement for all brands used in the venue was that they needed to have oﬃces based in Singapore for after-care of equipment. This applied to JR Clancy who were indispensable for the rigging of the theatre. The requirement was also one of the main reasons why Daktronics recently set up an oﬃce in the sunny city of Singapore.

Photo © Jimmy Chin

For the lighting, the team has used simple systems such as PAR cans and Spots. Though there are plans to upgrade to permanent installations in the future, to be fixed onto the flybars that are discreetly tucked into the terrace's ceiling. Another unique feature at the Star Terrace is a custom precision built pivot arm by J R Clancy on the structural column for the 10mm Daktronics outdoor

All audio equipment for the amphitheatre are portable and this includes 8 L'Acoustics KARA loudspeakers and 4 SB18s. These have already been tuned to the terrace and are set up specifically for shows and events at the terrace. The team went with the Digico SD9 for the console which they will place at the highest point of the terrace which was specifically designed for engineers to control and mix audio. For even more flexibility, crew has the option of controlling the mix from their laptops. And if it rains? Well, all the IP67 rated, 16m cee-form powerpoints and audio, video and lighting infrastructures are covered by weatherproof stageboxes in anticipation of bad weather.

The Star Studio Rooms Directly across the Terrace, though you may not notice, are the incognito Studio Rooms. 7 studios divided into 2 levels which range in capacity from 60 to 120. Each room is a diﬀerent size and are perfect to be used as breakout rooms for conferences or seminars as they all have Panasonic display screens, Daniel explains, “we chose displays because we didn't want to frost the glass. Instead we used film so that some of the natural sunlight can be blocked but the view on the outside can still be seen. Thus we went with the displays as they overcome the ambient light better than a projection solution”. The rooms were made to be used by endusers hence, Crestron panels were installed in each room for ease of use. The Crestron panels control the Panasonic displays and audio systems. Purpose-built for end-users

Photo © Jimmy Chin

Digital signage

Photo © Jimmy Chin

meant that the team had to ensure the rooms would be equipped with the most flexible of technology. To make things simpler, most of the systems used are portable. But what needed to be permanent and what didn't? That was the main question on everyone's mind. Aside from the Crestron panels, Panasonic displays, built in Community D8 ceiling speakers and of course the cabling infrastructure, there are no other systems installed. Consoles, lights and audio will be brought in per request of the hirers. “It stands alone from the theatre but it can be an overflow room. All systems are connected so they can pump video and audio from the theatre to the rooms. But the primary purpose is to link it to the gallery so if they have a seminar in the gallery, the studios can become a breakout room”, says Daniel.

21” Nexcom screen

Walking around The Star Pac, you can't help but notice the broadcast standard digital signage system. Designed by Canadian Company, X2O media, all the entrances of the theatre utilise 21'' Nexcom screens with show relay displays to allow latecomers to watch the shows from the outside. Along with the 21” Nexcom screens, Nexcom compact PCs and a range of Panasonic displays including the newly launched TH-55LFV50 slim bezel professional LCD displays serves to display upcoming shows, show timings, room scheduling, lift directories and way finding signage.

Photo © Jimmy Chin

Crestron panel

SPECIAL FEATURE January - February 2013

Photo © Jimmy Chin

L’Acoustics 12XTi

The Star Gallery Meant for a range of different events, The Star Gallery, looks like a very simple large room. However, upon closer inspection, you will find the beauty behind the gallery with its in-built portable walls which are used to divide the space into 2,3, 4 or even 5 separate smaller rooms. What about spillover? Andrew explains, “All rooms are sound-rated, so you won't get sound from one room to the next even if you have events in each of the 5 rooms.” Looking up, you will see The Gallery's MR 16 dimmable halogen house lights, which give the room that 'starry effect' and it makes you feel as though you are looking at the night sky. To help with the visuals of the room, Selecon's Acclaim Fresnels with a beam angle range of 6°- 60° and Selecon's Rama 7°-50° Fresnel with a tilt and focus scale that allows accurate WSIYWYG implementation are installed along with ETC's Source 4 Profiles. If the night sky is not enough, Clay Paky's Alpha Spot HPE 700 provide a graphic system with 15 gobos + 1 rotating prism and the Alpha Wash 700 with 2 adjustable beam shapers can be rented to provide further effects.

We really believe that the way to keep world class results is to spend the proper time at the beginning of the process to really plan it out

where each of the rooms have speakers facing the adjacent rooms for separate events to be held at one time. There are 2 separate sets of L’Acoustics 12XTi’s used for the diﬀerent orientation, which means the speakers do not need to be moved when the orientation changes.

To handle the lighting of The Gallery, the Avolites Pearl Expert Titan is the trusted console. Daniel explains, “If we have a request for an event that wants to use moving lights, we will bring the Avolites console in, so all the lighting can be programmed onto the console and even the end-user can use it. Meaning, if a client wants to create a chase eﬀect for the lights we can configure simple presets for them and let them take the reins.”

The idea behind it is a distributed audio system and to achieve this, audio is controlled via BSS London series processors that allow the rooms to split, then sends the audio to each room. BSS will do the processing and then link to the Crestron panel to which you can set up to 20 preset room configurations. As Andrew explains, “Crestron control panels can control anything from house lighting to production lighting to the sound systems. If you want to do something basic that just involves mics, all you need to do is plug it into the wall and use the touch screen”.

The Gallery comes in 2 major orientations, the first being the 'Long room' configuration where the speakers face the audience for meetings and product launches and the second is the 'Wide room' configuration

For hirers who require something more complicated, The Star Gallery has its own control room that houses the Digico SD9 console and SD5 as well as SD8 for more demanding events. This came in handy

- Lars Klein

when the gallery was used for The Star PAC's Grand Opening Gala Dinner, where diﬀerent musical acts were distributed around the room. Proving his point, Andrew adds, “With the gallery, you can go from something very simple that anybody could do to something very complicated”. The L'Acoustics KARA's and SB18 subwoofers are again the main choice for the gallery. This time the stage monitors include the L'Acoustics 108p and 112p self powered coaxials with FOH, fill, and of course, monitor versatility and the L'Acoustics SB15P -self-powered LF extensions- which oﬀer low thermal power compression and low distortion. One of the key uses of the gallery is for broadcasting; this is why there are points for cameras that link to the Central Equipment Rack Room on level 7. And it is also the reason a green screen was installed for filming. It's a perk in the venue thanks to the space and with the gallery's pipe grid, lighting can be hung anywhere without having to set up standing lights. Each of the 5 dividable rooms are also equipped with Christie DHD800, 8k Lumens 1 Chip, DLP Projectors while the main room also has the Christie HD 10K-M,10k Lumens 3 Chip DLP Projector. All

of which come with projection screens that are on a motorized system allowing them to be lowered and raised as per needed. If you still can't picture the beauty of the gallery, Daniel can help, “The easy way to look at it is like a hotel ballroom but it is super charged on steroids. Because we have a pipe grid where we can hang lights and speakers, etc. So this space is really multi-

purpose in a sense that we can do a concert or theatre shows and yet do seminars, product launches or dinners. Furthermore, we have a full set of draperies unlike a hotel ballroom where they have a regular ceiling with rigging points but basically all these pipe grids can take about 45kg per linear metre so it can easily accommodate 2 small moving lights per metre. This gives us a lot of flexibility to do a lot of diﬀerent events”.

SPECIAL FEATURE January - February 2013

Photo ÂŠ Jimmy Chin

Meyer Sound UPJ-IP compact VariO Loudspeakers with Vutec portable screens

The Star Loft The last stop on our tour of the venue, The Star Loft aka the VIP room, has a connecting rooftop reception area, and is located at the highest point in The Star PAC. A very cosy room that provides a breath-taking view of the surrounding area. The atmosphere is calm and intimate with natural light flowing through the glass windows. With the Meyer Sound UPJ-IP compact VariO Loudspeakers providing just the right amount of audio for the room without disrupting the feel and pop-up motorized screens from American dealer, Vutec, which are portable as well. There is no dispute that this venue is an impressive structure, that it has seen its share of blood, sweat and tears goes without saying. What's even more impressive, is the team behind it. We spoke with many members of the project, from Jack Ho, Chief Operating OďŹ&#x192;cer and Daniel Loh, Technical Director of The Star PAC to Tateo Nakajima, Artec's Principal Auditorium Designer and Andrew Morgan, the Senior Consultant in charge of the project, you can see the pride and joy in their eyes when they speak of

the venue. And who can blame them? After almost a decade, their vision and hard work has come to fruition. The Star Performing Arts Centre has earned its title as an iconic landmark in Singapore and we are very sure it will continue to shine in the years to come. www.thestar.sg

Photo © Jimmy Chin

AT A GLANCE THEATRE

Broadcast

Lights

Sony HDC -2400L with 75x Canon zoom lenses Sony HDC-2400L on 15’ Jib Sony HDC-P1 cameras with 22x Canon zoom lenses Sony’s MVS-7000HD 4ME switcher Miranda NVision router system Miranda Kaleido-X multi-viewer system Editshare Geeves server system Final Cut Pro systems SSL Duality console Universal Audio 1176 LN, LA2A and LA3A compressors Martech MSS-10 Neve 1073 preamps

ETC sensor 3 dimmers GrandMA 2 Light consoles with fader playback wings ETC Source Four Profiles Robert Juliat 711SX2 Profile Spotlights Philips Selecon Arena High Performance Fresnels Philips Selecon Aurora 1250W Robert Juliat Cyrano 2500W Spotlights Philips Vari*lite VL3000Q Spot Philips Vari*lite VL3500 Wash Audio L’acoustics K1 large format speakers L’Acoustics KARA speakers L’Acoustics SB28 subwoofer L’acoustics SB18 subwoofer L’Acoustics 12XT high performance coaxials L’Acoustics 115XT HiQ active stage monitors DigicoSD7 console Shure Axient wireless system Shure PSM 1000 personal monitoring system Shure PSM 900 personal monitoring system Shure ULX-D wireless microphones Shure UHF-R+ wireless microphone systems Riedel Communications ARTIST Matrices network infrastructure Stagetec NEXUS STAR audio-router system Visual Daktronics 6mm pitch LED Wall Christie 3-chip DLP projectors

TERRACE

10mm Daktronics outdoor LED Wall Digico SD9 console L’Acoustics KARA loudspeakers L’Acoustics SB18 Subwoofers

STUDIOS

Community D8 ceiling speakers Panasonic display screens Crestron control panels

GALLERY Lights MR 16 dimmable halogen house lights Philips Selecon Acclaim Fresnels Philips Selecon Rama Fresnel ETC’s Source 4 Profiles Clay Paky’s Alpha Spot HPE 700

Clay Paky Alpha Wash 700 Avolites Pearl Expert Titan Avolites Titan Mobile Audio L’Acoustics 12XTi’s BSS London series processors Digico SD9, SD5 and SD8 consoles L’Acoustics KARA loudspeakers L’Acoustics SB18 subwoofers L’Acoustics 108p and 112p self powered coaxials Visual Christie DHD800 DLP Projectors Christie HD 10K-M DLP Projector Crestron control panels

LOFT

Meyer Sound UPJ-IP compact VariO Loudspeakers Vutec pop-up motorized screens

DIGITAL SIGNAGE

21’’ Nexcom screens Panasonic TH-55LFV50 LCD display X2O digital signage software

ARCHITECTURAL LIGHTING

Martin Professional Exterior 200 colour changers Martin PC-based LightJockey triggered via a Lutron control system

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SNAPSHOT January - February 2013

FOH digital consoles The good folks at Midas let us in on what is happening at the FOH front. As many know, Midas is now part of the Music Group.

What is the current trend with FOH digital consoles?

The current trend for FOH digital consoles is to become increasingly compact, feature ever-more input channels, and also to include a digital snake system of some type in order to do away with heavy, cumbersome analogue cabling. For example, the HyperMac snake system used by many Midas digital consoles can carry 384 channels of 24-bit, 96kHz digital audio down a single CAT5 cable, with an astonishing 0.07ms latency. This trend is set to continue, in the future, the audio processing will take place in hardware located on or even behind the stage, with just a small user-interface located out in the house.

In your opinion do you see the conversion of users from analogue to digital as being significantly increased over the last few years? If yes, what could be a few of the reasons for the uptake in digital console users?

The transition from analogue to digital is now almost complete, in that from a manufacturing perspective, no-one is continuing to build large-format analogue mixers. Most of the existing products will continue to be used for the next 5 years or so, after which they will become too old and unreliable to be of service. With the exception of a few cherished examples, there will be no large analogue consoles on the road by the year 2018. The reasons for this are many: Cost, logistics, convenience, the broader scope and capability of digital processing.

What is your most recently released FOH console models and what are some of its key features?

The latest Midas digital FOH console is the PRO1, which features a lightweight aluminium frame, 15â&#x20AC;? daylight-viewable full colour TFT screen, 48 input channels, 27 time-aligned mix busses, 24 onboard MIDAS mic inputs and 3 AES50 network ports for I/O expansion and console networking. PRO1 also features the same VCA and POPulation group navigation as the larger PRO series consoles, despite itâ&#x20AC;&#x2122;s highly competitive price point. www.midasconsoles.com

Midas PRO1

62 SNAPSHOT The Rental and Staging Business in Indonesia January - February 2013

artistes, the venue has already seen the likes of JLO, popular Korean bands and Sting performing at the stadium. Hendra estimates that he has spent around USD18 million to build the stadium and equip it with the latest lighting and audio solutions. A major Clair Brother inventory holds fort at the stadium. Hendra expects to continue to invest in venues and working towards bringing more international artistes to Jakarta.

The rental and staging business in Indonesia is booming – that we have no doubt about. Considering the population and the fact that 50% of that population is under the age of 30 it should not come as a surprise. In our (ETA) recent visit to the country we chatted with a few of the key players as well as those who are up and coming. All of those we interviewed were positive about the industry and all of them have expansion plans, so that definitely augurs well for the industry. The BIG question we put to them was what did they think was the possible revenue for the rental and staging business in Indonesia in a calendar year. Here the answers varied. Our estimate is that it is worth about USD35 million in the lower scale to USD50 million in the higher scale. On the inventory end all the companies continue to invest which has created a rippling eﬀect for distributors and manufacturers. The rental and staging business in Indonesia is expansive and caters to a wide variety of events: corporate events, government events, festivals, weddings (which apparently is becoming a big business), local and foreign concerts, religious events, events of local recording artistes and events run by TV stations. There are about 41 TV stations in Indonesia and many of their games, variety and talent competition programme see the stations outsourcing their sound and

light requirements. One company that has captured a large part of this market in the lighting segment is Mata Elang Productions. Hendra Lie of Mata Elang confirms that he has cornered the TV station market. The 26 year old company has a huge inventory that requires a number of warehouses to store them. Hendra feels that the key to be successful in the business lies on being a venue owner. He already owns a couple of venues which have been used for TV show productions but his biggest commitment to date is the building of the indoor Mata Elang International Stadium that has a 20,000 capacity. Targeted at complying with international standards to cater to foreign

Tommy of One Production has taken a diﬀerent route to the business. He established his oﬃce in Kalimantan in 2009. Kalimantan is located in the north of Java in Borneo island. Now not many would even consider setting up a rental and staging business in Kalimantan. However Tommy to say the least is a visionary. Kalimantan is quickly growing to become an industrialised area and most of the events that are held there get support from the much smaller rental companies there or from the bigger players based in Surabaya or Jakarta. “The standards were not on par to events held in the bigger cities so I saw an opportunity and took the plunge by investing in a high end audio system to change the face of the rental business in Kalimantan,” says Tommy. Tommy purchased a d&b Q systems consisting of 12 units of Q1, 12 units of Q-subs and D12 as well as 4 units of Allen & Heath T112 iLive console with iDR40 Mixrack, when he first started out. He also feels that there is demand for lighting and visual solutions as most of the request exceeds what is available in Kalimantan. Of course, Tommy has plunged into that area as well.

with Yamaha, Midas and lots of DiGiCo consoles. “We love DiGiCo. We feel like we are part of the family with very good support from Team 108 (the Singapore based distributor of DiGiCo consoles) as well as from James of DiGiCo,” says Andre. Indeed they seem to have the entire DiGiCo console range from the big to the smallest. “As an audio company, we invest in the top of the line brands. Our Meyersound and d&b speakers are high quality, our EAW range gives us the best value for speakers and our KV2 VHD is almost like a plug and play option and has never given us a single problem,” says Andre.

Our estimate is that the rental and staging business is worth about USD35 million in the lower scale to above USD50 million in the higher scale. Tommy recently invested in RCF TTL systems to cater to outdoor events. His inventory now features 16 units of TTL55A and 12 units of TTL56A and further investments in A&H iLive consoles. Part of his business strategy is to become a promoter and organiser on top of production support and he recently fulfilled his dreams by bringing in Kenny G in his capacity as promoter.

He most recently invested in further Coda Audio systems to enable him to handle both indoor and outdoor events (please see News page). He too reckons that he invests about 5 billion rupiah a year and already highlights that he will be further investing in audio systems in the coming months.

Tommy gathers that he invests between 3 to 5 billion rupiah (Around USD310,000) a year on equipment.

Indopro's Jimmy set up his office in Jakarta in the year 2000. The company offers staging, lighting and trussing solutions featuring brands such as Vari-Lite, Clay Paky, FineArt and Weifa trussing as well as ChamSys and Avolite consoles. In the latter part of 2012 he further purchased 18 units of VL880s, 36 units of Clay Parky Sharpy as well as 2 units of ChamSys consoles. Jimmy says that the company handles 4 to 5 big events a year supported with many smaller events. He feels that there is much opportunity in the lighting side of the business and has 3 full time lighting programmers. “I will continue to invest in lighting as I believe it is a good business to be in,” says Jimmy. The company currently has 20 full-time staff in their 4000sqm office cum warehouse space.

Wei Wei of Thunder offers sound, light and truss solutions to the industry. He first established his office in Yogyakarta in 2000 followed by another office in Jakarta in 2003. His company mainly handles local concerts, corporate events and DJ parties. With a team of six comprising between 8 to 12 personnel per team, the company has been kept busy. His audio inventory features Midas, digidesign and Yamaha consoles with Coda Audio being his main loudspeaker inventory.

Sumber Ria is an established name when it comes to audio. Established 25 years ago by Andre and partners, the company has an in-house production crew of 80 in Jakarta and 16 in their Bali oﬃce, excluding administration staﬀ. Sumber Ria also has its own recording and mixing studio in Ancol, Jakarta, that was designed by renowned acoustic designer Sam Toyashima. The rental audio inventory is an envy of many. EAWs, Meyersound, d&b speakers complemented

One production has also expanded and in May of 2012 he set up an office in Surabaya to handle jobs in Bali, Semarang, Malang and Yogyakarta and in the later part of this year (2013) he plans to open an office in Manado. How does he keep his competitive edge? “We maintain good relationships and more importantly we keep training our staff so that they are more productive and also we pay careful attention to maintaining our systems so that they perform at optimal level.”

Sumber Ria mainly provides production support for concerts and is well known within the concert promoters and organisers circle. The company averages 35 shows a month. Quality of equipment aside, its people are key to its success. “In our midst we have senior sound engineers, systems engineers as well as monitor mix engineers and FOH assistants. We strongly believe in continuous education and we implement that within our organisation. We invite lecturers from SSR to help upgrade the knowledge of our staff and of course when working with foreign engineers, we get the staff to observe and learn from them as well.” Future plans include purchasing an OB Van to support broadcasters and on-site recording specific to audio. Andre also reckons that he invests about USD500,000 a year on equipment. Official Country Name: Republic of Indonesia Capital: Jakarta Population: 242,325,638 as of 2011. 50% are under the age of 30 Languages: Bahasa Indonesia, English and Dutch Literacy Rate: 83.6% Real GDP Growth: Estimated to be 6.1% in 2012 Interesting facts: • Indonesia has the world's largest archipelago consisting of 17,500 islands. • Indonesia is the 4th most populated nation in the world. • Indonesia has the largest economy in South-east Asia and is considered an emerging market economy in the world. • Indonesia is a member of the G-20.

MANAGEMENT PERSPECTIVE January - February 2013

Italian icon SGM

resurrected with Danish expertise by Thomas Richard

It is fair to say that in its heyday, SGM was considered an Italian pedigree in the lighting world. Established in 1975, the company was bought by the RCF Group in 2009 as it saw its fortunes slide. RCF, understanding that its expertise lied more in the audio field, quickly identified and brought in Peter Johansen, an industry icon in the lighting world, to head its R&D department. 2 years later, Peter Johansen together with key employees and investors, bought out the company from RCF. A bold move indeed in a competitive market. ETA caught up with Peter to get his take on SGM and its future. o start oﬀ, I must say that it was a delightful conversation with Peter. His sense of humour interspersed with his almost Confucius like questions to my questions and more importantly his steadfast belief that SGM will prevail beyond expectations came through clearly in our conversation.

Lighting is in Peters blood. When I asked him what motivated him to buy out SGM from RCF, he asked me in return why does a man who does not need anything go out and buy an antique car? The challenge, the thrill and the adrenalin flow is certainly one reason. But from the logical perspective, he was already with the brand for 2 years additionally, despite its earlier pitfalls, there was strong brand recognition and of course ready assets. There was no need to start from scratch as the opportunity was right in front of him. When I enquired about the vision for the company and brand, Peter once again goes into his Confucius state. If you asked Muhammad Ali why would he want to get into the ring again he would say he has been number one in the world and would want to do it one more time. Peter is obviously in the same frame of mind when it comes to lighting. His mission in short is to regain market position as the leading company within the entertainment and architectural lighting segment. SGM Lighting is now a fully owned Danish company with its headquarters based out of Aarhus, Denmark. Peter highlights: “The expertise and the people that I want to work

with and be part of SGM all live in Denmark and thus it was an easy decision for us to set up our HQ in Denmark.” The Denmark HQ features other than the R&D department their logistics centre, warehouse and testing facility. Other than the OEM facility in China, there is an SGM oﬃce in Thailand, which oversees two sub-contractors who are appointed to assemble some of the components for their products. Focusing on innovation and experimenting with emerging technologies, SGM has gathered one of the most experienced R&D teams in the world. It would also have occurred to many that the company is betting heavily on LED technology. Peter highlights that there are two core competencies in SGM currently. “We, as in me and my old R&D team have been out of the lighting industry for over 10 years. However during that time we spent a lot of time researching LED. I sincerely feel that we are the best in the world when it comes to LED technology. We have come up with core technologies that focus on driving and cooling LEDs. The LEDs themselves are available to anyone but we have worked hard on making our LED solutions work better and more eﬃciently. There are intricate aspects like the stepper motor, the electronics involved, drivers etc. The drivers are key to our solutions and I believe our R&D team has perfected our LED solutions with knowledge ot a very high level.” We go back a little. So what brought about the downfall of SGM before RCF's takeover? “Unfortunately they made a huge mistake. They thought that the future in lighting was to manufacture cheap products from China. There was no quality control and it was all downhill from there. Even when I joined RCF, they were following that same principle. I cancelled all the contracts. We are still in China but now only 15% of our solutions are OEM in China with a QC department based in China to ensure quality control. 85% of our products are manufactured in Denmark.” With 85% of your solutions being manufactured in Denmark, can you still be competitive in pricing? “This is a huge misconception. The R&D team has 25 years of experience. We work smarter and

We aim to be the number one LED lighting manufacturer for the rental, TV and theatre segments.”

SGM X-5 Strobe

more effi fficiently. i tl We W are iindustrialising d t i li i our products from the very beginning meaning we are developing tools and principles that allow us to manufacture products optimally thus keeping our costs down. This helps us keep our products competitive.” How has your takeover affected SGM's distributors? “We actually fired 80% of the distributors. To be frank many did not qualify to be distributors. Most of the distributors we have now are new distributors of SGM. Fortunately many of them knew the old SGM and its quality and of course many knew me from my earlier years in the lighting business. This has helped us in appointing more effective distributors. It's not finished yet as we are continuously looking for distributors who will add value to what we are trying to achieve.” You have clearly established that your focus will be on LED solutions but what about the market segments? “We are relatively doing well in the Theatres and TV studio segments but have lost out on the rental & staging segment. But with my involvement in the company now, we are going for a big push in that segment. It is also important to note that we have deliberately relatively limited our range of products. Rather than having many models we are keeping it more focused.

Peter once again comes back to his team's R&D expertise. “We recently won a shoot out with our P5 wash light against discharge lamp competitors. With our LED linear control we can maintain the correct colour temperature. Manufacturers who do not have total control of the electronics behind the LED will face problems. We have introduced pulse density modulation that solves colour shift and spectrum issues. This means the computer (chip) must know the characteristics and issues that are integrated within the product to be able to resolve those issues and we have managed to get that done.” The momentum on targeting the rental segment is already seeing fruition. “We are already on a number of tour riders. I am delighted to let you know that a major event originating out of USA next year, will feature only SGM solutions for its entire lighting requirements.” This momentum has been made possible because Peter's team has been in deep discussions with the big rental and staging companies across the world to understand their needs and demands. As we approach Prolight & Sound would any of those discussions with the rental & staging companies see you introducing anything new? “We currently do not have LED based moving heads so at Frankfurt we will be introducing the G-Spot. It will be a powerful moving head with an IP65 rating. Rental companies are in a situation where they are using moving heads in humid conditions which aﬀects the performance of the lighting fixtures - and the G-Spot will resolve that issue. I am proud to say that we

have already had big orders for the product even before the official launch.” From a geographical view what would be SGM's involvement in Asia? “I would say that Asia is a big part of our plan. We have in fact opened SGM Asia in Singapore already. We intend to grow that office to handle sales, service and warehousing for Asia. We are also looking into client financing issues to be handled from that office for that region.” As we wind down our conversation I ask Peter if there is any particular SGM product that he is most excited about. He asks me back:- “if you had children would you pick just one of them as your favourite?” Point taken. He does however emphasise that when they were determining the new SGM strategy, they had decided to produce products that are not available in the market. As a parting shot are you pleased with the progress of SGM thus far? “Yes I am absolutely pleased. It is pure passion that is driving me and the team on. My only wish is that it would have been great if I was 15 years younger.” Not to worry Peter, I read somewhere that with passion and adrenalin flowing you will never feel old. www.sgmlight.com

Apart from being the brightest, the P-5 is also waterproof

SGM at Sensation

Sensation organised by ID&I is a spectacular dance and music event that moves around the world each year. It started oﬀ in Amsterdam in 2000 and returned to its original home in 2012. More than 40,000 people partied at this year's event. Enabling the event to come to live were amongst other lighting solutions, customised LED solution from SGM comprising 600 DMX controllable strips in three diﬀerent lengths. “SGM provided the brightest and most powerful solution and was able to deliver on time for the show more than 1.5km of high power DMX controlled LED strip, matching the very specific requirements of the organisers,” said Peter Johansen of SGM.

PEOPLE January - February 2013

Hendra Lie: From humble beginnings to major rental & staging player by Thomas Richard Prakasam

There is little doubt that when it comes to the rental and staging business in Indonesia, Hendra Lie is a household name. In fact when it comes to lighting, he is the first stop for many brands that want to get their products into his inventory. Not many will argue that he has the largest lighting inventory in Indonesia with a few warehouses needed just to store them. Hendra is the owner of Mata Elang Productions. Translated to mean Eagle Eye in English, not surprisingly he has an eagle eye when it comes to business. Starting oﬀ small in 1986 the company has grown immensely over the years. endra, you can say, “grew” with the industry. He knows concerts like the back of his hands and is very familiar with all the production needs that go into the shows. He loves hard rock and was a drummer for a band in the 60's. Setting up sound systems and running sound checks have become a second nature for him. In 1972, when he was in his early 20's he became the group manager of the legendary Indonesian band God Bless. God Bless became one of the biggest bands in the region, attracting around 30,000 spectators each time they played. Hendra racked up his experience during this time and eventually left God Bless to pursue his own interest. This saw the start of Mata Elang – a company engaged in light and sound rentals. Though his forte was in sound, he ventured into lighting to oﬀer a total package as he also saw the opportunity to up the standards where lighting was concerned.

Hendra Lie is known to be a perfectionist and he continuously performs trial and error till he gets the systems and his business to work to his expectations. This has led to the company being trusted to handle the lighting for many international concerts as well as major events. His foray into the international scene was only established in the last couple of years as he had initially provided the services for the local industry. “We have provided lighting for Phil Collins, Bon Jovi and most recently for the opening and closing of the SEA Games that was held in Palembang, Indonesia last year. But one of my best memories was a three consecutive days event that we handled for Reverend Benny Himm that saw as many as two million visitors.” Mata Elang also handles almost all the TV station jobs that include concerts, game shows and special events. In fact it is not too far fetched to say that Mata Elang is the single biggest provider of lighting solutions for the TV stations in Jakarta.

Mata Elang International Stadium

At 59, Hendra is still very much involved with the business and does not show any sign of slowing down. In fact in 2010, Hendra embarked on building a stadium that would meet international standards. The

Mata Elang International Stadium (MEIS)

Mata Elang International Stadium (MEIS) stands on 58,000 square metres of land and is able to accommodate 20,000 spectators. Completed in 2012, MEIS features a Clair Brothers sound system with lighting technology worth Rp 100 billion (about USD10.4 million dollars). The stadium has already seen Super Junior, Roxette and Sum 41 perform as well as most recently, Jennifer Lopez. There are more stellar artistes lined up to perform at MEIS in the coming months. Property Business Hendra's foray into building the stadium is actually a natural step for him as he has been delving into properties since 2006. The Twin Plaza Hotel located at Slipi in Jakarta is owned by Hendra. The hotel features 300 rooms and has a ballroom that is able to accommodate 1500 guests. He is also involved in two huge projects. The Oceania project consisting of five apartment towers and hotels and the Marina Bay project which is a mixed development featuring shopping centres, hotels and apartments. Both are located at Ancol, Jakarta. No Slowing Down Talking to Hendra, you get the sense, he feels that he has still much to be accomplished. Looking down from his oďŹ&#x192;ce at the Twin Plaza he highlights that he has just purchased the land beside the hotel and is planning to convert it into an exhibition hall that is able to accommodate events including smaller concerts. He then reveals that he still owns acres of land within the Ancol area and plans to develop them slowly hopefully culminating into an integrated area oďŹ&#x20AC;ering all the necessary lifestyle amenities. At 59, he does not look it. To be honest other than a slight paunch he definitely does not even look his age with his steady built. He puts me to shame. Till today he remains humble. He dresses simple, eats simple food, enjoys company and continues to be passionate about what he does. I am sure we will continue to hear more about Hendra in the coming years.

A TV station game show being held at one of Mata Elangâ&#x20AC;&#x2122;s venue

Highlights of Mata Elang Lighting brand inventory Clay Paky lighting fixtures Vari-lite lighting fixtures Robert Juliet lighting fixtures Avolites consoles MA Lighting consoles

LIVE January - February 2013

Australia

Adamson ignites

Defcon1 Dance

ydney International Regatta Centre in Penrith Lakes, Australia, hosted one of the most successful outdoor dance party events of its kind in 2012. The outdoor festival featured 7 stages spanning over the island, with the main stage, also known as the 'Red Stage' hosting 22,000 people who came to dance to the beats spun by well known acts such as Wildstylez, Headhunterz, Max Enforcer, S Dee vs Hektic, and XDream. The event, hosted by MC Villain and produced by Matt Chromatic, saw Norwest Productions provide complete sound production, staging and lighting.

The audio system design was executed by the event FOH Engineer Scott Harrison, on the brand new Adamson Blueprint AV Software, enabling the plotting of the 4 hangs plus a front fill, “The prediction really matched

well with what we experienced on the day. It was great being able to plot all four hangs at once, giving us a great idea of our coverage, and our expected SPL.” The main E15 hangs per side and were made up of 16 boxes in each, outer hangs had 10 Y18 boxes and the subwoofer extension was provided by 3 clusters of 8 T21 Subs arrayed in a 2 high 4 wide configuration at each location. Front fill featured 3 stacks of 3 Y10’s, and for DJ Monitors, EAW’s SB730 with KF730 subs were used. “With an area of 80m (260ft) wide x 100m (330ft) long to cover, including a VIP viewing deck at the100m mark, we needed something that was going to have the ability to make it all the way to the back, without sacrificing clarity and SPL. We have used

the Y18 in previous years, so we knew an Adamson solution was going to do the job. From all reports about the Energia system, I was very excited to get hangs of sixteen boxes out – and give its legs a stretch,” comments Harrison. ‘It was the first time I've flown the E15, and after getting back from lunch, we decided to hit the two main clusters. It was System Tech, Jonathon Warren and I, and we had a 16 box hang flown to trim in 25 minutes; and most of that time was spent getting the boxes into place inside the scaﬀold towers. The E15 is easily the fastest and easiest rigging system I've seen.” he continues. Given the width of the area they needed to cover, the sub design was also a challenge, “From an engineering and design point of view, we wanted to achieve fairly even

Party with Energia E15

coverage everywhere, but to have plenty of it for those up-front and center. In previous years (and at other events), we have used a single center cluster, however once you go over 4 subs wide, the horizontal pattern really narrows up, and that wasn't going to work for the width we needed. So we went with the three cluster design, which helped us to achieve that coverage, and with a bit of DSP magic, reduced the destructive interference between the clusters.” All processing was provided by Lake LM Series, and amplification was Lab.Gruppen totaling in 4 racks of 6x FP6400 for the Subs, 8 Racks of 4x FP6400 & 2x 10000Q for all the Adamson tops, and 2x PLM10000Q’s took care of the DJ monitors. For a FOH mixing console, a DiGiCo SD8 was chosen because of its Optocore link, allowing them the 90-odd meters to the FOH position without having cable joins in the run. ‘It was great to get the E15 out and have a listen to what everyone has been talking about. I was impressed by the speed that the rig went up, and how the PA sounded like it was right in front of my face, even when it was 100 meters away,” concludes Harrison. www.adamsonsystems.com

LIVE January - February 2013

Australia

The Footy Show Grand Final

Clarity scores @ The Footy Show

he Footy Show is an award-winning Australian sports television program dedicated to the Australian Football League(AFL). The grand finale of the show is annually broadcast live from Melbourne’s Rod Laver Arena in front of a crowd of 12,000 on the Thursday night before the AFL Grand Final. This year, the show saw the likes of Good Charlotte, Grinspoon and Ricki-Lee perform live, as well as the AFL Players Revue, where players dress up and dance to themes.

Lighting designer Rohan Thornton had no qualms about using a full range of LSC Lighting’s Clarity for such a prestigious televised event. His control package comprised of a LX600 console, two LX300 consoles, a LSC Clarity for Mac, a LSC VX20 Wing and two Nexus 5 Nodes for control merging. “I have been a very happy, long time user of Clarity for PC-Mac and I was delighted when the LX range of consoles became available,” commented Rohan. “Finally the search for a replacement for our faithful Compulite Vector consoles was at an end!”

The LX600, operated by Megan McGann, utilized 6774 Channels over 19 Universes via Artnet and controlled the moving lights over the stage area. The first LX300 was operated by Shane O’Dwyer and ran 6482 Channels over 19 Universes. This console operated all of the conventional fixtures and the automated fixtures over the audience. The second LX300 console, operated by Lynden Gare, had control of 3746 channels over 9 universes. It was in charge of the seven Pandora’s Box Media Servers and back up. The Clarity for Mac and the VX20 ran a ten universe merge controlling some of the elements of Shane’s console.

The LX600 operated by Megan McGann

Clarity was also in control of over 500 moving lights from Martin, Clay Paky and Vari-Lite as well as heaps of LED fixtures and over 100 conventional fixtures. “The consoles worked flawlessly during the show and as it was a learning process for all of us, hardly fifteen minutes went by without the discovery of a fabulous new feature in the already extensive list of features!” remarked Rohan. “The experience certainly solidified my long term commitment to the console. www.lsclighting.com.au

Lynden Gare with the LX300

HIGHLIGHTS ʇ Powerful and compact ʇ 19 RGBW LEDs ʇ Zoom 7-50 degree ʇ Fast and precise movement ʇ No light spill ʇ Narrow beam effect ʇ Weight only 7 kg

“The Wash One is a real all-rounder, you can use it to create crunchy beam colours, but also clearly-selected areas on the stage can be illuminated.” Jerry Appelt (Light Designer)

"In a nutshell, the two lamps are compact, powerful and extremely flexible — and thus are made for such a job." Thomas Gerdon (Set Designer - MayDay 2012)

Become a fan facebook.com/GLP.German.Light.Products

www.glp.de

GLP German Light Products Asia Ltd. Tel: +852 3151 7730 Fax: +852 3151 7731 Email: asia@glp.de

LIVE January - February 2013

Singapore

Nostalgia mixes with dependability

epublic Polytechnic's 10th Anniversary was recently celebrated over 3 consecutive days with many staﬀ and students enjoying the festivities. The last day of celebration was the Musical and Partners Appreciation Nite 2012, which saw guests being treated to traditional delicacies of Singapore's past and present. The lobby was filled with lush smells and good company, so much so that everyone could not help but be in a good mood. As the sun began to set, it was time for guests to take their seats in the Polytechnic's theatre where they were treated to Singapore's very first original musical 'Makanplace' which was revived specially for the event, after almost 24 years.

With so much riding on the performance and the Guest-of-Honour, Singapore's President Tony Tan, sitting in the audience, it was not only the actors and dancers that were feeling the heat. At the back of the theatre, behind all the watchful eyes and tapping feet, former student turned Audio Engineer, Mark Spencer, was in charge of pulling oﬀ the night without a glitch, and he did just that with the help of Yamaha's CL5 console. Once all was said and done, we had a chance to have a chat with Mark, who is relatively new to the industry, to find out what he thought about the CL5. Even though he is new to the industry, Mark admitted outright that he was slightly bias as he is a “really big fan of Yamaha” and “you get a lot more than you actually pay for” when it comes to their products. However, as much as he trusted Yamaha to deliver, the musical was the first time he would be using the CL5 console. Operability was not a

problem though, Mark quickly bonded with the CL5 as he felt it somewhat resembled the M7CL concept which also uses a Centralogic control interface. With the stagebox I/O racks being small, setup time was much faster and with a three-section fader layout for eﬃcient hands-on control, Mark was able to run the show solo, even though friend and secondin-command, Audio Engineer, Utha Kumanan was there to back him up. Released earlier this year, the Yamaha CL Series is a Dante network–based console featuring remote I/O rack for a faster, more responsive Yamaha system solution. All three CL models in the series are only diﬀerentiated by frame size and input capability and feature 24 mix buses, 8 matrix buses, plus stereo and mono outputs, and 16 DCAs. With Yamaha's VCM technology, plug-ins are not needed, Premium compressors and EQ are more than enough. So the final result? An excellent play with excellent sound quality. Crisp and clear even with someone who only had 2 hours to learn the controls before starting technical runs. Entertainment Technology would like to congratulate Mark and Utha for a job well done!

(L-R) Mark Spencer and Utha Kumanan

LIVE January - February 2013

Australia

Virtual car ride w “Whenever we use Christie projectors, we’re impressed with the image quality, the flexibility of use and most importantly, the security of ensuring that it works.” Leon Minervini, SOTA Creative

stablishing itself as a popular car brand in Australia, Subaru has made the country one of its best selling markets in terms of market share. Its Australian arm, Subaru Australia, approached SOTA Creative, a Sydney-based experiential brand and business marketing agency, with a challenge: to launch its two cars, the Subaru Impreza and Subaru XV, with a business message for its network of dealers and partners from around Australia, all within a day.

For this particular launch, the two cars shared many similarities in terms of components, engineering and design style but they targeted very diﬀerent market segments. The Subaru Impreza was designed more for city driving on tar roads while on the other hand, the Subaru XV has a more rugged appeal to drive to the beach and mountains for adventurous activities. “The brief from the client was very simple. They wanted a big screen experience,” recalled Leon Minervini, Managing Director, SOTA Creative. “We wanted to do something

different. So… we created a full 360-degree environment for the audience to sit in. The original idea was to immerse the audience as if they were in the car. The first launch started off with a dark screen with the audience completely surrounded by the screen. When the screen lit up, they were inside the car, parked in a nice part of Sydney with beautiful music.” At the end of the projection, part of the screen dropped and the real car was unveiled and driven into the Hordern Pavilion, a classic event venue in central Sydney, where the launch took place. In the second part of the launch for the Subaru XV, SOTA Creative used the 360-degree screen to tell the story of the heritage of Subaru cars in a time-lapse style, showing the evolution of the different models of Subaru cars. For the projection, SOTA Creative approached Haycom AV for its technical expertise. “There’re several parts of the show when the screen had to be moved away to showcase the presentation. As that required floor to ceiling projection, we’d to get the projectors high enough in the air but we couldn’t use rear-projection. We ended up

with Christie with an octagonal thrust up in the roof set about a meter above the screen. We used 12 projectors to create the 360-degree projection. There’re also another two projectors we used for back-up,” said Stuart Gregg, General Manager, Haycom AV. “With 14 projectors running above us, noise was going to be an issue. We chose to use Christie Roadster HD10K-M. They didn’t really generate any level of noise for the audience,” Gregg added, “My choice of using 10Ks for this event was also for its beauty in using Christie’s unique TWIST technology.” “It’s an incredible experience for the audience. I’d be surprised if anyone has experienced that kind of 360-degree experience in the past. The resolution is quite special. It’s full HD all the way round and it’s quite confronting that once you get used to it, it’s quite engaging,” adds Minervini. “Car dealers rarely get very emotional reactions. Seen it all, done it all. They’re quite cynical about it. During and after the show, the feedback from the audience was extraordinary. 'How beautiful, it’s as if I’m in a car along the beautiful coast road south of Sydney,… driving up the curving mountain'. So that said, the technology was invisible. The technology was eﬀective.” The biggest challenge for this launch event was finding 12 matching lenses. Gregg elaborated, ”We said we’re short of lenses

and we wanted some hot spare on site and VR Solutions helped with that. Haycom’s been with Christie for over 10 to 12 years now. Over the last three to four years, VR Solutions has become a local-based distributor and support agency (of Christie). I very much enjoy our working relationship with VR Solutions. They’re very supportive.” Minervini summed up the entire experience simply, “The goal on behalf of Subaru is to create a really immersive experience… From a production and technical level, the key is to make sure we could create truly high quality immersive contents to show the car, the car’s brand value and the car’s market value with the right quality engagement. We’ve to make sure the creative content is delivered to the screen in a way that’s completely

comfortable to the audience. If we didn’t have high quality and secure projection, that wouldn’t have happened. And Christie in a way brought our screen material to life so that we could achieve that goal for our client.” www.christiedigital.com www.haycom.com ww.vrs.com.au

LIVE January - February 2013

China

DPA helps China find its Voice

udges and artists on the phenomenally popular TV talent show ' The Voice of China' depended on DPA Microphone’s hand held d:facto Vocal Microphones for their live performances and in turn the microphone made its debut on Chinese television when it was used extensively during the production.

The Voice of China, a show produced and screened by Zhejiang Satellite TV, has topped nationwide ratings and is based on the same concept as American NBC’s The Voice. Following the original, the Chinese show features four judges/coaches who use blind auditions to identify teams of singers they want to work with during the series. Heading up sound production for the show was Jin Shao Gang, a famous sound designer and one of China’s most important sound engineers who during an extensive and illustrious career, worked with many of the country’s top recording artists and was also heavily involved in the opening ceremony for the Beijing Olympics in 2008.

Jin used two DPA d:facto Vocal Microphones for the singers and also specified them for the judges when they sang with their teams. He says: “I knew that DPA microphones were among the best in the world so I was very keen to try the new d:facto microphone. We tested two d:facto capsules with our Wisycom wireless systems and I was so satisfied with the results that I decided to use them for this show. The sound quality was exceptional – clean, natural and with splendid high frequency response and awesome ambient noise restriction. I was very happy with their performance.” The show judges included renowned musician Liu Huan, who sang the Beijing Olympics theme song You and Me with Sarah Brightman; pop diva Na Ying; top A-Mei

Chinese artist Yang Kun and Harlem Yu, a singersongwriter from Taiwan. DPA’s d:facto was also used by Taiwanese singer A-Mei, who was the guest artist in the show’s finale. Pike Xin, Product Manager at DPA’s Chinese distributor DMT Pro that supplied all of the DPA microphones used during the show, says: “As professional musicians, the judges are familiar with many diﬀerent microphones but they all really liked working with the d:facto. Indeed, Na Ying was so impressed that she went on to use a d:facto for her own concert, Na 20 Years, while Yang Kun has expressed an interest in buying one.” To comply with Zhejiang TV’s brief to deliver the best sound quality, Jin also specified DPA cardioid headset microphones for the judges to wear while they were making their comments on the artists’ performances. Pike Xin adds. “ Jin also

Jinshao Gang and Ken Kimura DPA Regional Sales Director Asia Pacific

specified a number of DPA d:vote 4099 Instrument Microphones which have been used to mic piano concerts by two of the artists taking part, Lang Lang and Li Yun Di.” The Voice of China finals were broadcast live and in 5.1 surround sound. To ensure that the excitement of this spectacular finale was transmitted to the viewing public, Zhejiang TV audio engineers used a DPA 5100 Mobile Surround microphone, which was positioned in the middle of the audience so that it captured the entire ambience.

Voice of China Judge Yang Kun with contestant

The Voice of China was so successful that it grabbed higher ratings than any other Chinese music show last year, and even managed to beat foreign format shows like American Idol and You’ve Got Talent. Chinese commentators are now hoping that The Voice of China will lead the way for more Chinese adaptations of popular western TV shows – and ultimately a successful homegrown reality/talent show format. www.dpamicrophones.com

LIVE January - February 2013

Macau

Winter Wonderland Wow

arking the beginning of the 2012 festive season, Laservision transformed the iconic, The Venetian Macau resort, into a Winter Wonderland for the ‘Winter in Venice’ event, one of the world’s largest architectural 3-D light and sound shows spanning over 4000sqm (2.2 Hectares).

Engaged by the leading developer and operator of integrated resorts in Macau, Sands China Ltd, the event provides audiences with over 500 spectacular shows throughout the festive season. Taking audiences through a journey of the 4 seasons evoking the joy and wonder of Summer, Autumn, Winter and Spring, “The Magic of

the Seasons” portion captivates through stunning imagery, an orchestral sound score that is a blend of instrumentation from both East and West and a plethora of special FX have been incorporated into the show to increase the ‘The Magic of the Seasons’ spectacular including sound FX, architectural illumination, rolling fog, and one of Macau’s biggest Christmas trees. The unique architecture of The Venetian Macao’s façade when amplified with light across the lagoon creates a stunning vista for patrons to enjoy. Over half a million lumens of light power is projected onto The Venetian’s façade, provided by 26 high definition projectors, using the latest

generation projection platform which incorporates liquid cooled DLP technology and quad-lamp reliability, all seamlessly edge-blended to create a single, mammoth dynamic piece of art. To truly create a Winter Wonderland experience, additional attractions have been provided to entertain audiences including an outdoor ice-skating rink and a number of live performers including magicians, dancers, contortionists and an operatic duo singing an original sound score inspired by Vivaldi's “Four Seasons”. www.laservision.com.hk

Australia

Hairspray + Arkaos MediaMaster Pro 3

= ultimate beta test Given the large number of projection surfaces to be mapped, the large amount of artwork involved and a small technical production window in the theatre, the majority of the surface mapping and media server programming was completed in BAAC Light’s pre-production studio. This was achieved by loading CADs into the Video Mapper as background images which showed the projection surfaces to be mapped for each scene in their correct positions. From there, over 90 individual projection surfaces were created.

rior to the recent release of ArKaos’ MediaMaster Pro 3 at PLASA 2012, the team at BAAC Light in Australia, gave the new software – complete with its new Video Mapper extension - the ultimate final beta test. An amateur production of ‘Hairspray the Musical’ brought to life by one of Victoria’s largest non-professional musical theatre companies, PLOS Musical Productions, set the stage for the test due to the requirement for a fully projected set. Large moveable set pieces constructed from polystyrene called for a media server solution capable of individually mapping over 90 diﬀerent projection surfaces as the set pieces were moved into numerous configurations for each scene.

BAAC Light co-founders Andrei Chlebnikowski (Projection Designer) and Brad Alcock (Lighting Designer) opted to upgrade their MediaMaster licenses prior to the oﬃcial release in order to have access to the newly

developed Video Mapper extension that was still in beta. The setup for the show consisted of three MediaMaster Servers running on fully spec’ed Mac Mini’s with dual solid state drives outputting to four projectors. The first two servers were a pair of main and backup machines running the MediaMaster Pro 3 beta along with the Video Mapper Extension. Using Matrox dual-head-to-go graphics adaptors, these machines provided coverage for all the stage elements to be mapped. The third server ran MediaMaster 2.2.6 (as no mapping was required for the final two projectors to which this server was outputting). Two large TV set pieces positioned on either side of the stage had live camera feeds from on-stage projected onto them during the numerous “TV Studio” scenes as well as pre-show TV commercials from the Hairspray era.

BAAC Light then, for the first time, used MediaMaster Pro in Simple Mode, which moves the assignment and manipulation of images away from the lighting console and performs it within the MediaMaster application itself. Given the amount of preproduction work, all that was required when each set piece was positioned during the plotting sessions was for the mapping of each surface to be quickly fine-tuned to the actual physical surface. Operating in Simple Mode still allowed for lighting console control over the intensity of each individual projection surface and for all projection cues to be incorporated into lighting cues to allow for single ‘GO’ button playback of all cues. All the hard work and risks paid oﬀ with both BAAC Light and the audience who enjoyed the production, commenting on how they were extremely impressed with the performance of the new features of MediaMaster Pro 3 www.arkaos.net www.baaclight.com.au

LIVE January - February 2013

Cambodia

PR Lighting, fit for a Palace C

ambodia is the latest, where a number of automated heads and architectural LED colour-mix FX are being used in a high standard production of 'Dream Palace', a programme which features leading singers and musicians from around the country. The show is screened by Hang Meas HDTV — the first High Definition TV station in the country — and takes place in front of a live theatre audience every Saturday night. And with their their rich featureset, discreet form factor and quiet operation, PR Lighting’s broad portfolio of fixtures were specified for the production. Complementing the regal backdrop, with performers entering the stage down the palatial stairs, are 24 of PR Lighting’s versatile, compact XL Beam 300 moving heads which oﬀer three

beam angle options while the fixture itself uses the Phillips Fast Fit MSR Gold lamp and superior optics to provide an output of 22,000 lumens. 12 x XL700 Spots which use

a 700wts short arc discharge lamp as well as a DMX controlled, 2m~ infinity, linearly adjustable focus and 16 of the newlylaunched Arc LED 3108 fixtures.

These are designed for wireless DMX transmission, with an advanced RGBW colour mixing system and automatic environmental brightness adjustment. With its IP67 rating the Arc LED 3108 is also ideal for outdoor use and with DMX mode, setting status, operation mode and user's memories, data can be transmitted by synchronous control PR Lighting is increasing its prominence on television shows around the world from Algeria and now to Cambodia, thanks to their first-grade innovative products and service. www.pr-lighting.com

Manager greatly simplified the complex RF environment during the performance, “The Spectrum Manager is an amazing RF management tool. It constantly monitors frequencies in use and ranks backup frequencies. You don’t have to worry about scrambling to find a clean frequency.” To deliver uncompromised sound quality, the live production team also relied on UHF-R Wireless microphone systems with UR2 handheld transmitters, as well as Shure MX412 and MX418 gooseneck mics for the podium set-up. A variety of Shure microphones—including SM58, SM57, SM81LC, KSM44 and Beta series—captured the instruments on stage to round out the evening mix of performances. www.shure.com www.axient.net India

Shure takeover at Global Indian Music Awards he 3rd Chevrolet Star Global Indian Music Awards (GiMA) attracted world-class artists who gathered at the Yash Raj Studios in Mumbai to recognize more than 20 winners in both Film and NonFilm categories. A pillar which has become synonymous with the Indian music fraternity, the GiMA 2012 program aired via broadcasts by Star TV Network and its aﬃliates and reached viewers in India, Middle East, South America, U.K., and even U.S.regions.

Dedicated to honoring Indian music and musicians, the 2012 ceremony was hosted by Saif Ali Khan and Parineeti Chopra, and featured a talented lineup of chart-topping artists. Selected as the wireless microphone manufacturer of choice, Shure Axient powered the audio behind all artists stepping onto this year’s elite stage. The live music mix was handled by Osie Pinto, Head of Operations at Performance Audio, whose team provided onsite technical support during the event along with all the production gear. Shure distributor in India, Sun Infonet Pvt Ltd was also present to assist with frequency coordination and in order to capture the musical performances and award presentations, the team relied heavily on the Axient Wireless Management Network. This included several Shure products such as the AXT400 dual channel receivers which

features the ShowLink Remote Control, for real-time wireless transmitter adjustments and Frequency Diversity for seamless dualfrequency switching. The AXT600 Axient Spectrum Manager, the unique rechargeable battery technology that delivers wide-band UHF spectrum scanning, spectrum analysis and compatible frequency coordination, and the AXT200 Axient handheld frequency diversity transmitters, were controlled and monitored through Shure’s Wireless Workbench 6 software. “The Axient system’s dual channel capabilities exceeded expectations,” commented Pinto. “During an awards show event, we only have one chance to get it right, so we needed a workflow that we could trust. Additionally, Axient allowed us to remotely adjust the transmitter’s audio gain setting on the talents’ beltpacks in real-time during the show, which ensured that we didn’t clip any input signals.” Vijay Sinha, Applications Engineer at Sun Infonet added that the Axient Spectrum

82 LIVE JLO @ Mata Elang International Stadium

Indonesia

January - February 2013

Robert Cruz and Bernard Chew

“I

Bernard Chew and Sean Burke

Celebrated lighting designer Sean Burke was on hand with dramatic lighting for the entire tour. Burke – who has designed lighting for the likes of Seal, Miley Cyrus and The Cranberries – created an energetic and dramatic design using 70 units of VL3000 Spots together with other fixtures. Having consistenly worked with the VL3000s, he says, “The VL3000 Spots are extremely versatile fixtures. The bright beams go from narrow to wide with consistently smooth operation.”

Professional Atomic 3000 DMX high-impact strobes also made an appearance with pre-programmed special eﬀects unique to the concert. Lighting controls were handled by 2 Highend Flying PIG road hog 3 units. All the fixtures as well as technical support was provided by Mata Elang Productions. Bernard Chew of BLD Lighting Design acted as lighting fixture adviser on behalf of Mata Elang to support Burke and JLO's production team. In his original design Burke used other than the VL3000 Spots, the VL3500 Wash but as it was unavailable in Jakarta, Bernard recommended and replaced the fixtures with the Fineart 2500 Wash. Lighting programming duties was handled by Robert Cruz with the lighting technical team headed by Donny, who are both with JLOs' production team. Hassan and Deddy from Mata Elang provided additional lighting technical support. To deliver the power that is equivalent to any JLO concert, responsibility for the audio went to JLOs' production team sound engineers, Rick Camp and Vish Wadi with a main system consisting of Clair Brothers speakers including the i-218 line arrays with 90° H x 10° V Coverage and iS-218 low frequency subwoofers.

Aside from the main VL3000s, backup eﬀects and lighting was provided by a vast array of fixtures including Master and MX Prime LEDs, 300W Sky Beams and F4-4K Xenon Followspots and Fineart 2500 Wash luminaires. Powerful and rugged Martin

Outfills and delay system duties were handled by i-212s' equipped with integrated rigging while front-fills consisted of Clair Brothers FF-2 compact speakers that measure just 8 inches high and less than 22 inches wide. All the speakers were driven by Lab.

’m just a simple girl from the Bronx with a humble beginning,” said mega-superstar Jennifer Lopez, during her first ever concert in Jakarta at the Mata Elang International Stadium. The concert however, was anything but humble. Jointly promoted by Dyandra Entertainment and Stellar Indonesia, Lopez's Dance Again World Tour wowed the thousands of fans with the star taking the time to interact with the audience and even making a lap around the stage to ask an audience member how to say “I love you” in Bahasa Indonesia.

gruppen PLM amplifiers. Digidesign VENUE Profile consoles with VENUE's FOH rack and stage rack processing and I/O system were employed for the mix. Additional technical support was provided by Clair Brothers system engineer Wayne Grosser, ably supported by Tony Subarkah and Sugeng eko Prasetyo of Clair Brothers Indonesia. Local production support for the sound system was provided by Julie Valda and Hohan Barazing of JV Production. The American singer's electric concert was successful in making the Indonesian crowd move their hips with the 90-minute show that saw an explosion of colour, eﬀects and crisp sound filled with intricate, heartpounding choreography. www.mataelang.com

India

Rock 'N India 2012

graphic system consisting of 20 gobos on 3 wheels, PR Lighting's Beam 300 which oﬀers three beam angle options and MX Prime LED Washes with RGBWA outputs of over 4500lm. And to complement the main lighting, the team went with 20 Acme Strobes and 12 ETC Profiles. Putting it all together, were the Avolites Pearl Expert and Pearl 2010, which is a cosmetically updated version of the Avolites Pearl 2008. The festival was produced and conceptualised by DNA Entertainment Networks Pvt. Ltd, in conjunction with Nous Productions. www.jdavisprosound.com www.rockinindia.com

ndia's only international music festival Rock 'N India is an annual festival, which delights music enthusiasts with its unique one of a kind concert area and a carnival area comprising of various stalls and activities. It is a daylong festival which extracts over 10 hours of non-stop live music and fun.

Held at the new Bhartiya City, an integrated city spanning 125-acres near Hebbal in Bangalore, the only way to reach the venue was by trekking a vast journey to reach a reward with lush trees and grey skies as a backdrop and the soundtrack of Black Sabbath blasting over the speakers. The 2012 festival was also the first time that thrash metal act, Slayer took to the stage in India. J Davis Prosound & Lighting was responsible for providing technical services for the legendary band. The team deployed a L-Acoustics rig with a system that comprised of 12 per side L-acoustics VDOSC line array components with 6 per side SB 218 subwoofers. 4 SB 218's were used as centre subs along with 4 L-Acoustics Arcs for the centre fills. Requiring a heavier and more robust set, 6 per side L-acoustics Arcs were used to cover the extreme corners of the venue to give an even coverage while the left and right delay system comprised of a JBL Vertec 4889 4 per side, which was powered by Crown IT Amplifiers. FOH comprised of a Midas Heritage 3000 analogue console which oﬀers a unique and easy to use, three position switching system

that changes the consoles output functions according to the application. Combined with an Avid SC 48 console to support opening acts – Inner Sanctum & Brahma. The dynamic rack comprised of the Drawmer DS 404, ideally suited for use over a wide range of input signals, ranging from drums and other percussive instruments through to vocals, pianos and even complete mixes as well as BSS DPR 504 Noise Gates and DPR404 Compressors. The MOH comprised of a Yamaha PM5DRH digital mixing console which features a full digital SR mixing system along with a cuttingedge user interface. Stage monitors consisted of 8 active/passive, low profile, high power, differential dispersion LE2100s. Along with 8 Martin Audio LE1500s which combine high output and controlled dispersion with discreet design and feature a15” (380mm) low frequency drive unit and a 1.4” (35mm) exit compression driver mounted on a differential dispersion horn. Though the band carried their own set of microphones, Shure UR4D dual-channel UHF wireless receivers with 2,400 available frequencies and control software, together with the Shure Beta 58 Capsules were added to the mix. A mixture of of Shure, Senneheiser & AKG Microphones were used for the opening acts. To create a 'Slayer-like' effect the team went with Clay Paky's Alpha Spot 1200 with a

INSTALL January - February 2013

Vietnam

Christie livens up Vietnam TV Another single Christie FHD551-X flat panel also takes on a prominent position on the newscaster’s desk as a support display unit to show the logo, date and program title.

Both sides of the video wall are lined with two sets of Christie MicroTiles set in a column array of one unit by six units. “The flat panels and MicroTiles form the hardware for the news studio. What connects all the diﬀerent display units is the magic of Christie Spyder X20 video processor,” says Lee. “The Christie Spyder enables a single operator to coordinate the content for all of these diﬀerent technologies as if it were one very high resolution, interactive display.” Lee adds, “From the point of signing the contract with our partner to commissioning the project, the installation was completed in a record time of three weeks. This happened during the peak holiday season towards the end of 2011. To be exact, it started one week before Christmas and VTV was hoping to complete the installation three days before TET, the Lunar New Year.”

hristie FHD551-X flat panels, Christie MicroTiles and Christie Spyder X20 video processor have combined to create a dynamic backdrop for VTV news programs.

Established in 1970, Vietnam Television (VTV) is a household name in Vietnam, attracting more than 70 million viewers daily. The VTV news studio in Hanoi is currently used for Thoi Su 1900 (or 1900 News in English), the main daily news and one of VTV’s prominent programs which airs at 7pm. The news is broadcast across all the free-to-air channels available in Vietnam. VTV took the lead in breaking away from the norm of a monotonous backdrop to set up a more dynamic studio setting. “Besides having an illustrious track record in news studio installation, Christie was chosen (by VTV) for the three-year warranty which is a very attractive feature in its product offerings,” says Yian Kian Lee, Regional Manager for Vistron Vietnam. “What tops up the offering is the local support from our office in Vietnam. As a reliable partner of Christie products, we’re always there for our customers. We’re a useful resource they can count on.”

After accessing and matching their needs with Christie’s products, VTV went with Christie FHD551-X flat panel for its minimal seams, full HD resolution and a highly energyeﬃcient LED backlight. Christie MicroTile was also chosen for its DLP technology and maximum image quality in demanding indoor, high ambient light environments. Another Christie product on VTV’s choice list was the Christie Spyder X20 that unifies the content across all the displays with 20 megapixel video processing, matrix switching and integrated source monitoring. The main video wall of the VTV news studio is flanked by 12 Christie FHD551-X flat panels set in an array of two units by six units.

To make things work well, assistance was sought from Christie’s headquarters to speed up the delivery process. As the local systems integration partner has no prior experience with such installation, Vistron’s technical team from Singapore and representatives from Christie’s technical support oﬃce from Singapore were flown in for the set-up, supervision, programming and training. The result: Satisfaction with an attractive, eye-grabbing set. www.christiedigital.com

WHAT’S INSTALLED? •Christie FHD551-X flat panels •Christie MicroTiles •Christie Spyder X20 video processor

INSTALL January - February 2013

Australia

DiGiCo SD9 decks out

at the end of the Wharf

ydney Theatre Company's new bar, aptly named 'The Bar at the End of the Wharf', is a busy little hot spot for Sydney's inner city crowds in the know. As the name neatly implies, the bar is found at the end of the Wharf just past the Wharf 1 Theatre. It is now the proud owner of a new DiGiCo SD9 console.

With the 500+ capacity bar now being an extension of STC’s operations it is capable of hosting any number of acts and performances such as opening nights, season launches, media calls and monthly live gigs. When the time came to choose the front of house console that could be utilised in both the bar and the Wharf 2 theatre, STC’s Head of Sound, Ben Lightowlers, was quick to go with DiGiCo, based on his prior experiences with the two SD8 consoles in use at Sydney Theatre. With both the SD9 and SD8 featuring the same audio processing and software interface, users could move back and forth between the venues with confidence. "When the console first arrived, the Bar was still under construction. I seized the

opportunity to take the SD9 with me in my capacity as operator for our touring production Bloodland, which was travelling to Adelaide Festival Centre and QPAC in Brisbane, so I could see how it stood up on the road,” says Ben. “Putting the SD9 up for use in Theatre mode really gave me the chance to embrace its full capabilities. It seems to be common practice that you'll end up using all the available outputs, so it is handy to be able to tailor the number of Busses and Auxiliaries when setting up the board." With the SD9 capable of 48 stereo channels (96 channels total) as well as the ability to

create up to 16 stereo busses in addition to the LCR Master buss; any number of diﬀerent setups can be accommodated. That is in addition to the true theatre style matrix. "Choosing the DiGiCo SD9 for this venue was rather easy,” adds Ben. “I was already familiar with DiGiCo’s versatility as we had just upgraded the 850-seat Sydney Theatre across the road with two SD8s, so I couldn't wait for an excuse to buy one for the bar. Having the SD9 set up in this room also oﬀers my crew more opportunity to train up on the DiGiCo console." www.digico.org

Singapore

Senses awakened at 22 Dempsey wned by Starworth Pte Ltd, 22 Dempsey is the latest lifestyle and dining destination located on Dempsey Hill. On the ground floor, restaurants like Carnivore, Beets Modern Vegetarian and Addictions Café are there to satisfy one’s gastronomic cravings, whilst the second floor houses the Still Bar where patrons can enjoy quality live music and the occasional cocktails.

Having inherited all the old systems previously installed at the venue, Dempsey faced problems with faulty systems – some that didn’t work at all. Therefore, they sought to revamp their sound systems and introduce a security surveillance system in the property. After a series of product demos and price comparisons, the team decided on the EV sound systems due to its user-friendly interface. The high sound quality of the EV systems enhanced the quality of the live music, creating an excellent environment not only for the performing bands, but also the patrons as well.

Programmable EV remote wall stations for the NetMax allowed staff to easily select any of the four audio sources and volume levels at the five different zones around the venue. As each zone setup is very different, and the zones were very near each other, the NetMax offered an easy operation solution as it allowed individual zone EQ to be tuned accordingly via a PC whenever needed. Seven EV EVID c4.2 and twenty pairs of EVID 4.2T ceiling speakers were also installed throughout the restaurant areas to provide background music, driven by four EV PA2400T amplifiers. The Still Bar, which can be subdivided to provide a smaller DJ lounge, features an installation of two ELX112P two-way speakers and two ELX118P subwoofers from EV’s Live X range, a ZXA1-90B two-way speaker as stage monitor, a EV DC-One sound system processor, two R300-HD hand held wireless mic systems, a Cardinal cardioid condenser mic for lead vocals with mixing duties assigned to a CMS-1000 Dynacord Mixer.

The entire system setup was configured, controlled and signal processed with an Electro-Voice N8000 NetMax digital matrix controller.

AT A GLANCE Installer: Yatai Security & Communications Pte Ltd

MIXER CMS-1000 Dynacord Mixer

SPEAKERS EVID c4.2 ceiling speakers EVID 4.2T ceiling speakers PA2400T amplifiers ELX112P two-way speakers ZXA1-90B two-way speakers EV DC-One processor ELX118P subwoofers Electro-Voice N8000 NetMax digital matrix controller

MICROPHONES EV R300-HD hand held wireless mic systems EV Cardinal cardioid condenser mic EV N/D767a super cardioid mic SURVEILLANCE Bosch Advantage Line WZ14,VDC-250 and VDC-260 cameras Bosch Advantage Line DVR 650 recording and storage system

“We received a lot of feedback about our good sound system. It fits the criteria of providing good sound quality yet allowing our customers to still hold a conversation,” shared Tania Lim, F&B Director of Starworth Pte Ltd. Dempsey also needed a complete security surveillance system to monitor their premises and ensure the safety of their assets, as well as their employees and customers. Surveillance solutions from Bosch Advantage Line were deployed to secure the entire premises of 22 Dempsey. WZ14, VDC-250 and VDC-260 cameras provided high quality images even in dark environments while the DVR 650 provided an easily operated solution for recording and storage. www.boschsecurity.asia

INSTALL January - February 2013

Australia

Jands gets The Memo ealesville’s newly refurbished Memorial Hall is now known as ‘The Memo’, a new cultural focus for the Healesville and Yarra Valley region. It has a contemporary art space, a 300-seater performing arts facility and 3D digital cinema. The program includes professional touring theatre, live music performances and art house cinema.

Significant upgrades have been made to the stage and backstage facilities whilst the foyer and auditorium have been upgraded to improve the public experience, all under the watchful eye of theatre consultants, Marshall Day Entertech. Jands worked closely with Marshall Day Entertech to supply a comprehensive staging system including a Gala Spiralift motorized stage platform 3.6m x 10.0m. The Spiralift, the world's most compact lifting system, employs a coiled, flexible, flat steel spring (slinky) that expands with the insertion of a thin, vertically-oriented spiral steel band. The result is a stable, fully adjustable column formed of continuously integrated, I-shaped sections. The entire Hall floor and stage presents as a continuous flat surface but thanks to the Spiralift system, the stage area forward of the proscenium can be lowered below the auditorium floor and moveable seating modules can be wheeled on to the motorized platform from a storage area under the stage. “In conjunction with the hall’s retractable seating system, you then have continuous raked seating that gives the impression that the stage is elevated,” commented John Alekna, associate at Marshall Day Entertech.

“The Gala Spiralift gives the venue flexibility for functions and performances.” A lot of coordination was required at the front of the stage due the close proximity of a curtain track, cinema screen, lighting bar, and the cinema speakers which are suspended from Jands supplied tri truss. Jands coordinated and installed seven of their H500P-VX winches which are ready to be used “out of the box”, featuring a minimum 500kg lifting capacity, provision for 6 x 5mm wire ropes and 14.0m of drift. “The Jands H500 winches don’t take up much room, are reliable and the control system they provide is easy to use,” remarked John Alekna. The aforementioned controller was the Jands SAX-P1 single axis controller that can also be used with installed Jands equipment such as motorised curtain systems, custom hoists, and other motorised applications such as revolves. Another Jands H500P-VX hoist was added for the cinema speakers which can be raised out of the proscenium when the screen isn’t being used.

including eighteen Jands JLX PRO lighting bars. Lighting infrastructure included 150 stage lighting outlets and eight Jands HPC Series dimmers located in a central location under the stage with the patch panel. A Pathport system allows more flexibility and gives the venue the opportunity to exploit the potential of Ethernet and extend the useful life of their existing and future DMX equipment. “Pathport is a definite plus in these types of venues,” Peter Grisard adds. “When we’ve installed Pathport into venues such as this, they have always been very grateful as it’s much more flexible than installing a traditional DMX-based infrastructure.” After discussions with the venue’s Technical Manager, the decision was made to install an ETC Element console. A quantity of lighting fixtures was also provided by Jands. “It’s an ambitious little venue that has brushed up really well,” concluded Peter Grisard. www.jands.com.au

Jands supplied the front of house and stage lighting bars

AT A GLANCE Consultant: Marshall Day Entertech STAGE Gala Spiralift motorized stage platform WINCHES & HOISTS Jands H500P-VX Jands SAX-P1 single axis controller LIGHTING Jands JLX PRO lighting bars Jands HPC Series dimmers Pathport system ETC Element console

Australia

Robe DLXs rigs out GH Hotel person using their Chamsys lighting control system.

He really appreciates the smooth iris and speed of the DLX’s versatile 10 – 45 degree zoom, and uses both these features extensively in his shows, together with almost all of the other features oﬀered by the units. He also likes the super-sharp gobo selection. The DLXs are positioned all around the main stage area on ladders above the upstage LED screen and on the FOH gantry – giving full coverage all around the room. Adding the DLXs and their impressive brightness to the rig has made it infinitely easier to light the stage action without having to reduce the brightness of the LED screen as the DLX output easily rivals the luminosity of the 6.5 mm pitch video surface! andmark Australian live music and performance venue The GH Hotel in St Kilda, Melbourne has recently taken delivery of twelve Robe DLX Spot moving lights - which have been added to the lighting rig in the main room.

These were specified by Technical Manager Jason Rooney and join an 16 existing Robe ColourSpot 250E AT moving lights, which were added to the rig in an upgrade of the whole lighting system earlier in the year. The idea is that the GH Hotel can offer the best quality technology and production values for all its shows, and averts the need for any visiting artists and performers to bring in their own lighting and sound equipment. The GH opens five nights a week offering a lively schedule of entertainment. This currently includes production-tastic, highenergy stage shows like Boylesque and Saturday nights with ‘The Classics’, together with DJs, dance events, bands, acoustic performances and Superstar Karaoke. It is also available as a hired event space. The lighting rig is designed to take this versatility into account and offer the best looking and most flexible solutions to anyone playing at the GH. Once Jason and the technical team at the GH saw the DLXs in action - demonstrated by Robe’s Australian distributor The ULA Group

- they knew that these were the right moving lights for the venue. “We wanted a TV friendly moving light around the stage that had real power and punch for the reds, blues and deeper saturates – the DLX is a huge step forward and the output is incredible,” he states. Jason handles lighting design and production for all GH’s events and operates many of the shows himself, alternating with one other

“Truthfully I can’t think of a single DLX feature that I don’t utilise,” he continues, even though they have not been installed for that long …. he is loving it! “The output is fabulous, and the power usage is very expedient. They start up fast and there’s no waiting time while the lamp powers on or oﬀ.” www.robe.cz

INSTALL January - February 2013

Malaysia

Alcons delivers the Alexis experience stablished in 1995, Alexis Group has five premises in Kuala Lumpur, Malaysia. There are a variety of elements that make the Alexis experience so special: stylish interiors; warm hospitality; delicious food; and the finest jazz music in town.

Nestled in Kuala Lumpur's commercial and embassy district, Alexis Ampang’s acclaimed programme of jazz performances on weekend nights showcase internationally renowned musicians and local legends. "The installation of Alcons systems has certainly fine tuned the premise's in-house live acoustic, which met the musicians' demands for superb sound and delivered listening pleasure for its audience," says Eleen Ng, manager of Alexis. The system comprises two VR8 pro-ribbon full-range loudspeakers and two BF181 long-excursion 18” subs, controlled by two ALC2 amplified loudspeaker controllers of 2x 1kW output each, with SDP speaker drive processing modules. Featuring an Alcons proprietary RBN401 4” pro-ribbon driver, the VR8 combines

remarkable clarity and intelligibility with high SPL. The unit includes dedicated filtering, with system equalization done by the ALC, which means the power capacity of the speaker components is fully utilized. Signal Integrity Sensing (SIS) pre-wiring ensures complete cable/connector compensation between the VR8 and ALC, while the asymmetrical enclosure design provides for very flexible mounting options. Meanwhile, the BF181 features a deep-tuned cabinet, vented double-spider frame and SIS pre-wiring, delivering a high quality, tight and accurate sub-bass response. This makes the BF181 the ideal complement to the VR8 for high fidelity reproduction of jazz, acoustic and classical music. “We needed a system that was compact but could produce the Hi-Fidelity audio quality that we required at both low and high sound pressure levels,” says Eleen. “The Alcons pro-ribbon technology delivers superb sound and its precise dispersion pattern reduces the acoustic diﬃculties that we previously experienced.” www.alconsaudio.com

WHAT’S INSTALLED? • Alcons Audio VR8 pro-ribbon full-range loudspeakers • Alcons BF181 long-excursion 18” subs • Alcons RBN401 4” pro-ribbon driver • Alcons ALC2 amplified loudspeaker controllers

Japan

Medialon sets sail with One Piece The Medialon MAS PRO 32 CobraNet channels audio server controls the audio tracks and eﬀects. “Mr. Junichi Nakahara and Mr. Tatsuya Ifuku felt that using Medialon was highly valued for real-time programming,” Usami Kouichi, General Manager at Mileruntech Co. Ltd asserts. “They appreciated the fact they could use Showmaster Editor Software from anywhere in the attraction’s building, by using the Wifi and a laptop. It allowed them to make changes in their program and to test them in real time,” he adds.

uis Ten Bosch is a theme park in Nagasaki Prefecture, Japan, which recreates a Dutch town. The spacious resort is suﬀused with a European atmosphere with its picturesque canals, iconic windmills, gardens and architecture.

The theme park houses various amusements and rides, including 3D technology theatres, a haunted house, a replica of the Domtoren (Dom Tower) of Utrech, a boat ride related to the hit comic series ‘One Piece’ and a new indoor ride based on ‘One Piece’ characters and story. Tokyo-based TV & Event Lighting company, Fuji Lighting Technology’s Designer Junichi Nakahara and Kyushyu region-based Tatsuya Ifuku from Stage Lighting company Kyushyu Stage, selected Medialon Show Control system technology to be part of ‘One Piece – For the new World’, the new indoor ride at Huis Ten Bosch theme park.

The show programming was mainly made by Tatsuya Ifuku, and Mileruntech Co Ltd., Medialon’s products distributor in Japan, helped for the show programming, and also trained the staﬀ on Medialon Control System. Mileruntech Co Ltd. also designed a userfriendly Graphical User Interface for Huis Ten Bosch’s staﬀ. The interface allows them to easily monitor the show remotely. All the AV devices are controlled and synchronized thanks to one Medialon Showmaster PRO embedded show controller, which controls 1 x Medialon MAS PRO 32 channels audio server, 1 x BSS/BLU -800, 3x BSS/BLU 160, 3 x Panasonic Projectors PTD6000, 1 x NEC Projector, 17 x Media Players, 2 x DMX Recorder, the ride lighting and shooting system control and the rack power control.

“Medialon’s ability to control a wide variety of products using Low Level Communicator (that allow to control any devices of your choice by easily creating your own serial, TCP/IP or Midi driver), even for non-standard brand of media players installed on the ride, was really reassuring for both programmers and designers’ of One Piece attraction,” concludes Kouichi. www.huistenbosch.co.jp www.mileruntech.com www.medialon.com

WHAT’S INSTALLED? • Medialon Showmaster PRO embedded show controller • Medialon MAS PRO 32 CobraNet channels audio server • Panasonic PTD-6000 projector • NEC projector

Control Room

INSTALL January - February 2013

Main stage

Indonesia

Audio at the Summarecon Mal Serpong The Summarecon Mal Serpong (SMS) is a shopping centre located in greater Jakarta, Indonesia. This family orientated mall currently occupies an area of 65,000 sqm with plans to further develop the area within the next 10 years to occupy a staggering 200,000 sqm. SMS is part of a master plan to create an integrated business and commercial centre in the vicinity that is planned to support 2 hotels, 2 service apartments, 3 residential apartments and one oﬃce tower. The mall will be the iconic structure in the area and will be the heart and soul of the vicinity.

regularly to enjoy the various events and make an outing of it. The stage areas are an integral part of the overall atmosphere of SMS. There is a full dedicated technical team just for the stage areas to ensure that all the equipment is maintained and work to their optimum level. The technical team also has the expertise to help with sound mixing if and when required as they are trained professionals. Heading the technical team is Rully Noviyanto. “The stage areas at SMS are very popular and are always fully booked over the weekends. It is not unusual to have

The current mall consists of 3 floors featuring food and entertainment concepts with integrated fashion. SMS has a unique concept of “The Downtown Walk” which features a cozy alfresco atmosphere in an open space with a tropical garden completed with beautiful water features. The area has become part of the exterior that accentuates the beauty of SMS and its characteristics. “The Downtown Walk” also features three stage areas that are spread out to cater for outdoor events. The stage areas have become a focal point for Television events, concerts, live screening of soccer games and other promotional activities. The popularity of the stage areas is evident with bookings for the space made well in advance. Residents from within the vicinity gather

The Downtown Walk

diﬀerent events at all three stages at the same time. As they are far apart there is no fear of sound spillage. Our technical team is definitely kept busy and their sole purpose is to take care of all the equipment and provide technical support for these areas.” The first and older stage was completed when SMS first opened its doors. The Main stage and the Broadway stage came online later featuring mainly RCF and Mackie solutions.

Mackie monitors

The main stage which is in the Unity segment features the bigger RCF systems. Hung on the left and right of the main stage are 8 units each of the RCF TTL33-A active speakers. The TTL33-A is a compact, wide dispersion, 3 way active line array module that oﬀers the highest performance from a small size line array. The incredible high output and dynamics, together with the extreme accuracy and high frequency extension plus the compact size makes the TTL33-A the ideal tool for outdoor sound reinforcement. The line arrays are complemented with 4 units of TTS28-A subs ground-stacked on each side of the stage. Front fill duties are assigned to 2 RCF TTL31-A speakers placed on stage and which oﬀer wide dispersion. Side-full coverage is handled by 3 units of RCF TTL31-A on the left and right of stage. Six Mackie SRM 450s placed horizontally on stage act as monitor speakers. Mixing is handled by an Allen&Heath T112 iLive console with iDR48 MixRack. The Broadway Stage features a huge LED wall as backdrop and is able to accommodate a band with sound reinforcement provided by 3 units of RCF NXL23-A, compact, active two-way line array loudspeaker modules complemented with a RCF NXS21A high

EAW UP2199

power sub-woofer placed each on the left and right of stage. A further two RCF NXS21As are placed at the front of the stage. Mackie SRM 450s placed horizontally act as monitor speakers. Mixing duties are handed over to an Allen and Heath iLive-T80. An iDR-32 MixRack works in tandem with the iLive system, housing the DSP, most of the I/O, networking and control interfaces. The iDR-32 sits in the middle of the fixed format range with 32 Mic/Line inputs and 16 XLR line outputs. “The Downtown Walk” also features EAW UP2199 water-resistant speakers that are installed as ceiling installed configurations and act as a distribution audio system along the path. This enables music or announcements to be carried across the busy path where higher audibility is required as it is an open area. Lab.gruppen C Series amplifiers help drive the EAW systems.

The audio systems have enabled SMS to ensure the vibrancy of the venue with live entertainment matched with equally clear and crisp sound. The RCF, EAW and Mackie systems were supplied by PT Kairos Multi Jaya. www.kairosmultijaya.com

(L-R) Leo from PT Kairos, Lars from RCF, Rully Noviyanto from SMS and Tanto from PT Kairos

WHAT'S INSTALLED?

Broadway Stage

•RCF TTL33-A •RCF TTS28-A •RCF TTL31-A •RCF NXL23-A •RCF NXS21-A •Mackie SRM450 •EAW UP2199 •A&H T112 iLive console with iDR48 •A&H T80 iLive console with iDR32

THE LAST PAGE January - February 2013

Bernard Chew Lighting Designer. Jakarta, Indonesia

Born and bred in Singapore, Bernard Chew has been involved in the Entertainment industry for over 25 years. Over the years Bernard has been involved in concerts, major events and festivals. 17 years ago he had to make a decision to either move to Hawaii or Indonesia and he decided on Indonesia and does not regret making that decision. "There is so much opportunity in Indonesia and it is only going to get better," says Bernard.

4. What are you most happy about with your current work?

back in the early 80’s he could design such a great lighting show for Pink Floyd and that is how I got inspired to go into Lighting. Another person is Steve Rawlins from Intelligent Lighting Design Singapore. Steve guided me along my lighting career path in the early years which helped me tremendously.

I get to travel and I get to learn from lighting designers from around the world.

9.What are your favourite tools of the trade?

5. What advice do you have for those joining the entertainment industry?

There are two favourite brands that I use. Avolites Tiger and Sapphire and MA Lighting console from Full-size to ONPC wing. The MAs are great consoles. Easy to use, powerful with 3D design which enables me to present to my clients the outcome of the lighting design of the stage and frankly are also worth every penny.

held in Indonesia. My only regret is not being involved in my own country’s SEA games. Hopefully I will be called upon for the coming SEA games in Singapore to be held in 2015.

1. When did you first get involved with the Entertainment industry? When i was working as a Disc Jockey in 1987 at a club called ‘Celebrities’ at Orchard Towers in Singapore, one of the competitor’s owners (Mrs Yeo) requested that I join her company as a Lighting Technician. I’ve never regretted that decision till this very day. Later in 1989, i joined and helped set-up the lighting for Zouk Singapore followed by Fire, Spark, Music World, Body Shock, Europa Chain...and the list goes on.

2. What thus far has been the most memorable aspect of your work? The 1997, 17th SEA games in Jakarta and the Java Jazz festival in 2005 in Jakarta, as well, where I got to do the lighting design for James Brown’s full 1.5hrs concert.

Be humble. Learn as much as you can. Respect your seniors while they are teaching you along the way in this industry. And always remember that hard work pays of some day in your life.

6. If you were not in this job or industry what do you think you would be doing? Opening a Cafe or Restaurant in Bali ..... and hopefully as an add on being a lighting consultant for clubs in Jakarta or Bali.

10.What would you like to achieve in the coming years? To be recognized as the best Lighting Consultant in the region and also I want to enjoy my life after all these years of hard work.

7.Do you have any hobbies? Taking picture in concerts, playing soccer and watching the English Premier League. (Ed: Not many know this but Bernard did have a bright future as a soccer player. During his teenage years, he was part of the MILOS team in Singapore. Those days a fair number of players moved on from the MILOS team to the National team levels.)

3. What has been the greatest challenge?

8. Is there any particular person in this industry that you admire most?

The two SEA games in 1997 (the 17th edition) and in 2011 (the 26th edition) that were both

The person I admire most is Marc Brickman, Lighting Designer of Pink Floyd. Just imagine

Bernard can be reached at bernard_bld@ hotmail.com