ETA JAN 2018 01

JANUARY 2018

For The Technical And Production Professionals

Protec Handles

Unique Challenges At Sensation

Seamlessly

KNOWLEDGE HUB

The Difference Between A Sound System Operator And Designer

ON THE JOB: Michael Chan and Kinetic Programming At The SkyCasino INTERVIEW: Disguise – What's In A Name Change?

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

IN THIS ISSUE 04

FIRST WORDS

38

28 WORK HACKS

The Cable Mess

06

NEWS

20

VIDEO FILES

22

ENNOVATIONS

27

INTERVIEW

d3 to disguise ‒ What's In A Name Change?

28

ON THE JOB

40-50

40 Protec Creates A Sensation In Dubai 44 Mandylights Light 2 Kilometres Of Mountain Range For Parrtjima 46 Adamson Covers Every Seat At Beijing's Famed Bird's Nest Olympic Stadium 47 HARMAN Professional Solutions Bring Premium Sound And Lighting To The Sufi Route Festival 48 ZoukOut Roars With D8 Group 50 Beatbox Battles Choose MIPRO MM-59B Beatbox Microphone

51

THE LAST PAGE

52

EVENTS CALENDAR

Michael Chan and Kinetic Programming At The SkyCasino

30 - 37

KNOWLEDGE HUB

30 The Difference Between A Sound System Operator And Designer 34 LED Screen Rigging, Lethal Factor Or Professional Approach?

35 Introduction To The Alex Schloesser Column 36 All About Wireless Brought To You By SHURE: Waves and Spectrum

38 4 Tips For Managing Customer Expectations

LIVE

LET'S TALK BIZ

46

FIRST WORDS

4

ETA - January, 2018

Taking A New Direction Ram Bhavanashi

Happy New Year to all of you from the Spinworkz team. We wish all of you a great year ahead. From 2018, ETA will be taking a slightly new editorial direction. No, I am not having amnesia ‒ I did broach this subject in the December issue but I felt it was important to reiterate our objectives.

We are transforming ETA into a platform that is fully dedicated to the needs of the technical and production crew and supporting disciplines. We have always pride ourselves of continuously evolving ourselves ‒ not for the sake of evolving but rather to ensure that we stay relevant to the industry we are serving. We reached a point where we felt that we needed to reposition ourselves.

Over the past few years, we had got ourselves involved with organising knowledge sharing events and this actually was our main inspiration to tweak the editorial direction for ETA. We already reach thousands of technical and production crew and we felt that maybe we could do more for these professionals. ETA's hope is to bring more knowledge sharing articles to these community. Articles to help them further upgrade their knowledge, share know-how, understand what their peers are up to and seize opportunities. A magazine dedicated to creativity and technology coming together to provide an exceptional experience to all involved.

Technical and Production crew are critical to the success of any event.

We hope to be the platform for Sound Designers, Sound Operators, Riggers, Stagehands, Technicians, Lighting Designers, Lighting Programmers, Production, Stage & Event Managers, Projection Designers to Technical Directors. Our ambition is to reach out to the volunteers operating systems for Houses of Worship to the Hotel in-house AV support team to the technical teams in performing arts, the sound engineer at an entertainment venue and of course the rental & staging production teams.

We welcome your feedback and comments to help us become the platform for the technical and production crew.

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

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Editor, India And Middle East ram@spinworkz.com

Julie Tan Admin & Circulation admin@spinworkz.com

Natalie Chew Writer natalie@spinworkz.com

Daniel Ngiam MEDIA Rep for Spinworkz Pte Ltd Tel: +65 84410258 first_dm@hotmail.com Design

CREATIVE

CULT

To subscribe to Entertainment Technology Asia click here: https://www.e-techasia.com/subscribe/ 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 12 times a year. All rights reserved. No part of this magazine is to be reproduced, whether mechanical or electronic without the prior written consent of the publisher. Views expressed in this magazine do not necessarily reflect those of the editor or the publisher.

Unsolicited contributions are welcome but the editor reserves the discretion to use them. Whilst every care is taken to ensure the accuracy and honesty in both editorial and advertising content at press time, the publisher will not be liable for any inaccuracies.

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

Misuse of tradenames, trademarks or registered trademarks is strictly prohibited. It is the obligation of our readers to check if company names and products are protected with tradenames, trademarks or registered trademarks.

NEWS

6

ETA - January, 2018

Solid State Logic Joins Group GLOBAL: Audiotonix has announced the acquisition of Solid State Logic (SSL) as part of its expanding Group that already includes leading audio brands DiGiCo, DiGiGrid, Calrec and Allen & Heath. The deal brings together the top flight of the world's mixing consoles companies.

James Gordon CEO of Audiotonix comments: “We are growing the Audiotonix Group with professional audio brands that have exceptional technology, committed people and a real passion for what they do. With their incredible history and reputation, their enthusiasm and loyal customer base, SSL is ideally placed to be the next partner in the group. The whole group will benefit by having SSL as an integral part of the team going forward.

Having their help to further expand our international reach, technology and customer base will be a lot of fun.”

Antony David, MD of Solid State Logic, added: “I am very proud of the achievements our team have made to date with the expansion of SSL. To reach our full potential we need the support and resources of a larger group to help us achieve our aspirations. In Audiotonix we have found a partner that is as fiercely obsessed about audio, products and customer service as we are. Audiotonix' success in

investing in and nurturing similar audio focused businesses was crucial to us. Once we got talking, we quickly discovered that this was something we both wanted to happen.”

Peter Gabriel, the majority shareholder in Solid State Logic, becomes an investor in Audiotonix as part of the transaction. He added, “My relationship with SSL began as a user, a customer and then as part owner. SSL has always made wonderful innovative equipment that encourages creativity and I got involved because I never wanted to imagine a world without SSL. It is obvious with this sale that there are many in this growing Audiotonix group that are as nuts about new tech and good audio as we are. Each manufacturer has their own particular markets, strengths and idiosyncrasies but through collaboration, there will be a lot of opportunities to spread knowledge and skills to benefit the group as a whole. I am also excited by what could be created by all these new potential synergies so I have chosen to use a chunk of the sale money to invest in this newly expanded version of Audiotonix. I wish Audiotonix and all who now sail in her, every success.” www.audiotonix.com

G'Day, Mate ‒ ShowTex Goes Down Under Joining the ShowTex Australia family will be Managing Partner Alan Scoley, who has over 30 years of experience under his belt ‒ he first got to know ShowTex and its products while he was CEO of IBS Group, ShowTex Middle East's first and long time customer.

“When I first met ShowTex at the Palme Middle East trade show, I was already interested in becoming a distributor. Now, 14 years later, my ShowTex dream is finally coming true!”

AUSTRALIA: ShowTex has grown again and is now expanding towards Australia ‒ the new office will feature a newlyrenovated 650m² warehouse with full-scale stock and workshop, ready to serve the market. On top of that, the roof of the warehouse is packed with solar panels, making this the first ShowTex office fully running on green energy.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

ShowTex Australia is centrally located just outside Sydney city centre, with the famous opera house being only a 30-minute ferry or car ride away. The team at ShowTex has expressed their excitement at hitting the ground running, with their first orders already coming in thick and fast. www.showtex.com

NEWS

8

ETA - January, 2018

Analog Way Acquires Finnish Media Server Manufacturer Picturall GLOBAL: Analog Way has acquired Picturall, a wellestablished manufacturer of high performance media servers based in Finland. Analog Way is an internationally renowned manufacturer of high-end video processors, dedicated to premium niches in commercial audio-video presentation markets. This acquisition brings together two innovation champions of the Pro AV industry, with aim of merging their synergistic core competencies into new and exciting turn-key solutions for their staging and fixed installations customers.

With the acquisition of Picturall, Analog Way adds heavyduty media servers to its current product portfolio of high- end real-time video processors and thus strengthens its position as market leader in the design and manufacturing of mission critical high-performance presentation solutions.

With more than 10 years of experience in the development and manufacturing of advanced media servers, and an impressive number of first-in-kind products and technologies in their field, Picturall today offers leading solutions in terms of media playback performance and I/O management capabilities. Based on a rock-solid Linux software platform, Picturall media servers are famous for their outstanding reliability and the user-friendliness of their control interfaces. Picturall media servers have a proven track record of numerous successful installations worldwide and offer the perfect tools for premium AV playback missions and largescale display control.

Picturall media servers being used in an event.

Adrien Corso, Analog Way's CEO, states “We are pleased to welcome Picturall's team in the Analog Way group. They are young veterans of the media server industry and genuine experts of media management technologies. We are proud to expand our product portfolio with Picturall's media server

solutions. Their reputation for reliability and high performance perfectly aligns with our product development philosophy. Complementarity between our product platforms and applications shall offer us tremendous opportunities to better serve our customer base”.

“Picturall's acquisition is not merely expanding our product portfolio, it will ultimately enable us to deliver unparalleled audiovisual experiences across multiple AV sectors”, adds Jay Gonzalez, Analog Way President of the Americas.

“These are exciting times for our company. We are delighted to become part of the Analog Way team.” says Samuli Valo, co-founder and CEO of Picturall “We have known Analog Way for a long time and have always been impressed by their technical excellence and inspiring professionalism. Our teams share the same human values and passion for technology: this is key for long-term success“.

“Picturall media servers will benefit from Analog Way's reputation, expertise and investment capacity», adds Vesa Laasanen, Co-founder of Picturall. “Analog Way's sales and service network shall afford us access to markets not currently being tapped or highly underserved. Our engineers are already envisioning a plethora of ideas for new products. Joining Analog Way will most certainly allow us to jump to the next level”.

With immediate effect, Analog Way, their business partners and major distributors will progressively start promoting Picturall products and technologies as a new part of their core offering. www.analogway.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

NEWS

10

ETA - January, 2018

Bose Announces Increased Adoption Of Professional ShowMatch Systems GLOBAL: Bose has announced that numerous sound and AV rental company owners around the world have chosen the new Bose Professional ShowMatch compact line array system with DeltaQ variable-coverage technology as their go-to solution for their rental inventories.

In the United States, Total Production Group (TPG) of Cerritos, California, is an example of a full-service A/V rental company that has adopted ShowMatch. Owner/partner Steve McAllister said going with a ShowMatch system was an easy decision.

“I was very impressed by the coverage and clarity of the Bose ShowMatch system. ShowMatch is a great system for our company because it allows us to scale the rig for anything from a small corporate gig all the way up to stadium-size shows ‒ it's small and compact, and it's just as capable of handling a symphony as it is for EDM shows ‒ simply by reconfiguring the boxes. We're finding lately that there is more interest in smaller, mid-sized systems that are scalable, because it gives us and our clients flexibility and easier logistics for moving the system from show to show.”

Across Europe, ShowMatch systems are in use by over two dozen rental companies helping to fulfil production contracts for product launches, business conventions, jazz festivals, civic ceremonies and rock shows.

In Asia, integrated audio-visual rental firm Really A/V (Shanghai, China) recently acquired 24 ShowMatch line array modules and 12 SMS118 subwoofers. Vincent Gu,

Sound Supervisor for the Shanghai Chinese Orchestra, recently mixed on the ShowMatch system.

“This group is very much like western symphony orchestras, but with special musical instruments unique to China,” noted Gu. “The Bose system was extremely clear, with welldefined coverage for our concert in the Shanghai Opera House. I look forward to seeing this system becoming more available in local rental inventories”.

In Australia, FOH engineer Anatole Day recently mixed his show on a Bose ShowMatch system, in a ground-stacked configuration, with artist Guy Sebastian in concert at the Newcastle Civic Theater. “This was definitely the bestsounding show on the tour,” noted Anatole. “ShowMatch delivered high quality audio for the quieter songs as well as the louder ones.” pro.bose.com

Sennheiser Trade-in Promotion SINGAPORE: The Info-communications Media Development Authority had announced a few years back that the 700 MHz spectrum will be occupied by cellular services. This would mean that current wireless microphones operating in this frequency range may be affected.

Users rely on wireless equipment for every performance and Sennheiser wants to make sure you can continue to do so for years to come. Don't risk problems with the changing frequency landscape. Sennheiser has been one of the most trusted partners in wireless technology for decades, and

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

wants to partner with you to keep your performances sounding as good with zero compromise.

Act now to ensure your wireless equipment is ready for the future, Sennheiser is running a trade-in promotion from 1 Jan 2018 to 30 Jun 2018 where you can get up to S$2,500 rebates per set!

For full details on how to redeem please visit: https://en-sg.sennheiser.com/700mhz-tradein-program

NEWS

12

ETA - January, 2018

54th Taipei Golden Horse Film Festival And Awards Relies On JTS Professional UF-20 Wireless Kara Hui for the box office busting crime drama The Bold, the Corrupt and the Beautiful.

Ensuring that every word spoken on the red carpet was heard clearly, the JTS UF-20 performed flawlessly, with a combination of UF-20TB belt-pack transmitters and JSS-20 handheld transmitters used by the stars being interviewed.

TAIWAN: Each November, the attention of the movie making world turns to Taiwan for the annual Golden Horse Awards, which draws together a who's who of directors and producers to celebrate the best of Chinese language cinema.

The recent 54th edition of the Awards was no exception, with an abundance of famous faces appearing on the red carpet during the ceremony, including two time Oscar winning director Ang Lee. With so many VIP guests arriving, the technical team had to be certain of achieving pristine and dependable audio throughout, for which it turned to wireless microphone specialist JTS Professional, and its ruggedly reliable UF-20 UHF solution.

Often compared to the Academy Awards in terms of its influence, the Golden Horse Awards was established in 1962, rapidly becoming the most prestigious event of its kind in the Chinese speaking world. Taking place on November 25th at Taipei's Sun Yatsen Memorial Hall, with accompanying television coverage on TTV, the 54th edition of the Awards saw Ang Lee and US actress Jessica Chastain present the Best Actress statuette to

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

A UHF true diversity solution, the UF-20 delivers flawless coverage over a distance of 200m to 480m, with extremely low companding noise, cascadable power and antenna distribution, plus an optional slide-in rechargeable transmitter station. Users benefit from a maximum of 2400 to 3000 selectable frequencies across 60 to 75 MHz operation, plus built-in equalisation and 15 preset groups, each incorporating up to 63 compatible channels, and six user programmable groups of up to 63 compatible channels. Intuitive use is assured with a free-space scan function and one-button synchronisation between the transmitter and receiver. In addition, real-time updates on system performance are available on the receiver, including alerts for mute, low battery, RF signal drops and more.

"The Golden Horse Awards is a very important event that holds a special place within the Chinese language film world and beyond, so we are honoured to have played a role in making it such a tremendous success this year for everyone who crossed the red carpet," commented Dowson Yu of JTS Professional. "The UF-20 is the trusted choice of professionals around the world, and its use at the Golden Horse Awards once again demonstrated the reasons why ‒ absolute reliability in the most demanding of circumstances, and such ease of use that it can be setup in minutes." www.jts.com.tw

NEWS

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ETA - January, 2018

“d3 is now disguise” Networking Event

Guests mingling at the Singapore event

SINGAPORE /THAILAND: 12th December saw disguise together with its Singapore sales partner, Acoustic & Lighting System hosting a networking event at the Vibanti studio. More than 30 industry professionals including rental companies, system integrator partners, content designers, visual artist and freelance video operators across Singapore joint the event. Other than taking the opportunity to introduce the new name, the event saw the presentation and demo of the gx range.

The gx range, launched earlier this year, took home the Live Design Award for 'Best Debuting Product Projection'. The Excellence in Live Design Awards celebrates quality projects in the entertainment design and event production industries. Live Design described gx as a 'premium hardware platform designed for Notch, with toptier professional and gen-lockable graphics cards that provide power for any live application.ʼ

the community who are making that happen and for continuing to use our technology, to bring their big ideas to life,” said Kevin Li, technical sales manager APAC, disguise.

Three days later the disguise and Acoustic & Lighting team from Thailand held the Visual Controls Worshop in Bangkok at the SAE Institute. Featuring disguise solutions as well as the Avolites lighting control console, over 50 professionals from TV stations, system integrators, designer and rentals attended the workshop.

Kevin Li, technical sales manager APAC, presented the disguise history, workflow, projection mapping features, as well as the disguise application around the world. While Malcolm Fooh, product specialist of Acoustic & Lighting System, gave a hands-on projection mapping demo on a tesla car model to the guests.

The gx range also won the PLSN Gold Star award for Best New Media Server, a respected industry prize chosen by the editors and writers of the industry publication. Luke Malcolm, Notch founder, adds: 'Supercharged by powerful real-time rendering, Notch empowers creators with gamechanging visual creation tools to revolutionize the creative process. We work with disguise because they share our passion for delivering revolutionary products. I know first hand the high demands of this market and how eager clients are to create ever more incredible experiences. The gx range and Notch deliver to this high standard.”

Designed to help creatives and technologists push the boundaries of live show design, offering Gold support for Notch and a 2-year Notch playback license, the gx range is being used on some of the biggest and most complicated shows around the globe. “We'd like to say a huge thanks to ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Guests at the Thailand Workshop. www.disguise.one www.acousticnlighting.com

NEWS

16

ETA - January, 2018

Show Technology Melbourne Expands Facilities For Professional Lighting Solutions Managing Director at Show Technology.

Emmanuel Ziino and his family flew down from Sydney to celebrate the event, with a special ribbon cutting ceremony, done by the women in his family (as usual!) to welcome the new site.

Melbourne branch Manager Paul Nicolaou says “I encourage all lighting professionals to drop in and have a look at what we have done here, we make great coffee and have plenty of space to relax and explore the latest technology. If you need an excuse to visit, look out for our new training and event calendar that will be released early next year, we'd love to meet you.”

AUSTRALIA: Show Technology recently kicked off the festive season at the opening of their brand new facility in Port Melbourne. It was a fantastic evening with over 150 clients, partners and friendly faces in the industry in attendance, entertained with typical Melbourne trendiness featuring food trucks, lots of laughs, music and festive holiday spirit that celebrated the opening of their newer, bigger building.

Their new location is three times larger than the previous office and still conveniently located in Port Melbourne, close to the city's major Event and Cultural Centres; where many major events, shows, tours and functions happen. This keeps Show Technology easily accessible and flexible for any urgent or last minute runs when their production partners are out on the road or venues have last minute requirements. The expanded space has allowed the Melbourne facility to increase their stock holding, as well as adopt new service facilities.

Guests enjoyed a tour, but it was definitely the showroom where all the true lighting lovers stayed and had a play. Though the night was not a product launch event they did sneak in a preview of the latest products from Claypaky, Martin, and Ayrton that we can look forward to in 2018, all of which were very well received.

“Having a showroom much bigger than the last has allowed us to put all the latest gear and gadgets on full display and when customers and partners come through the office they are able to get full demonstrations of what we have to offer as well as gain an experience” said Emmanuel Ziino, ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Members of the greater Show Technology team were also present including General Manager Harold Hassapis, Technical Director Vince Haddad, NSW Technical Sales Michael Gearin and Operations Manager Chris Durrant from Sydney, as well as Gino Lombardi the Branch Manager from Perth, to assist with the event and to warm the new Melbourne home.

“Not only were the staff proud of what we have accomplished but even guests were raving about the levels of support offered daily by our local team of Brandon, Keith, Jason and Marty - a team that will soon expand as we hire additional industry specialists,” Paul continued.

Emmanuel mentioned, “Victoria is a vibrant and continually expanding market for us and we are striving to provide the best standard of service we can. We first opened here just before the Commonwealth Games in late 2005, so we have been physically present here for a long time. This new facility is a big commitment for us and we appreciate the loyalty of our customers not only in Melbourne but also South Australia, Tasmania and regional Victoria; which we also service from our Melbourne location.”

The night ended on an incredibly positive note and they are excited to see what these new facilities will help them accomplish with their clients into the future. www.showtech.com.au

NEWS

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ETA - January, 2018

Eighteen Sound Sale Completed group, and we look forward to offering both brands access to more resources. We can now blend our knowledge in manufacturing and development, helping to offer an improved product range, build quality and overall customer experience.", says B&C CEO Lorenzo Coppini.

Ron Tizzard, Director of Sales for B&C added "These are two great brands that each have a strong culture and legacy that we hope to build on. Both Eighteen Sound and Ciare already have many dedicated OEM customers, and a well developed distribution network that will require few changes."

GLOBAL: B&C Speakers SpA is pleased to announce that the purchase of the premium quality transducer manufacturer, Eighteen Sound, was completed on Monday December 11,2017.

"We are proud to add Eighteen Sound and Ciare to our

The B&C, Eighteen Sound and Ciare brands will be presented together for the first time at the upcoming NAMM Show, happening in Anaheim, California from January 25-28, 2017. www.bcspeakers.com

NEXO STM Series Line Arrays For India's Teen Bands Battle INDIA: NEXO and Yamaha systems come together on stage in New Delhi for Yamaha Music India's grand finale of Teens Rock: The Battle of the Bands Initiated in 2014 by Yamaha Music India Pte. Ltd, TEENS ROCK: THE BATTLE OF THE BANDS is a bold initiative for promoting music playing and performance amongst teenagers. The idea is to provide a platform to teenagers to showcase their talent and interest in music which often goes unnoticed. The 4th Edition of Teens rock battle of Bands saw the participation of schools from Delhi, Gurugram, Jaipur, Chandigarh, Lucknow, Indore, Kochi, Bengaluru and Kolkata.

The Grand Finale of the 2017 event took place at DLF Place Saket in New Delhi, with 11 school bands. In front of an audience of 2000+, the MD of Yamaha Music India Hitoshi Mochizuki hosted some accomplished professional musicians as judges ‒ well-known drummer Gino Banks, Subir Malik from Parikarma, and Rahul Ram from Indian Ocean.

Sound systems for the event were absolutely premium, provided by Yamaha Music India, with support from the Daedal Prodigy rental company. For the main PA, a NEXO STM M28 system was deployed. The L/R arrays included 2x STM B112 bass modules, 2x STM M28-90 and 1x STM M28-120 modules. Four STM S118 subs were groundstacked just in front of the stage.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

On stage, all the monitoring was NEXO, with PS15s for most positions and a pair of 45*N-12 line monitors for the centre of the stage.

The show was mixed on a Yamaha CL5 digital console, with RIO3224-D. The Winner for 2017 Teens Rock The Battle of the Bands 2017 is Sacred Heart Plus Two Thevera, from Kochi. Runners up were Gopalan International School, from Bengaluru, and home-crowd pleasers Amity International School Saket, from New Delhi.

“We are continuously trying to make Teens Rock The Battle of Bands bigger and better every year,” said Mr Mochizuki in summary. “The zonal finales and the number of entries we received this year are a proof of how much popularity this competition has gathered since its first edition.” http://in.yamaha.com/

VIDEO FILES

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ETA - January, 2018

Yamaha CL/QL Series: The StageMix V7's Best Bits Yamaha gets right into it, showing some of the best new features to be found on the StageMix V7 app catered towards Yamaha CL and QL series mixing consoles. The StageMix app has had 500,000 downloads and the latest version offers more features that sound engineers will be thrilled with.

Allen & Heath dLive C Class Overview Nic Beretta, Allen & Heath's Head of Product Marketing, runs through some of the key features and benefits of the dLive C Class digital mixing system. dLive C Class presents dLive's phenomenally powerful XCVI Core, DEEP processing suite and Harmony UI in a compact, portable format.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Cameo MOVO BEAM Z 100

An ultra-fast moving head, the Movo Beam Z 100 takes the MOVOBeam 100 one step further, with a powerful motor zoom and zoom range of 4-30 degrees. Driven by two high-speed, high-torque motors, the Movo Beam Z 100 provides endless pan and tilt rotation with smooth precision, and sports a bright 2.5” TFT display with touch-sensitive buttons for convenient configuration.

GLP LDI 2017 Show GLP proudly presents its award-winning lightshow ‒ presented at the recent 2017 LDI in Las Vegas. This show won the company the Best Product Presentation Award. Matt Shimamoto of Volt Lites again programmed another brilliantly choreographed production that featured over 650 GLP fixtures in total.

ENNOVATIONS

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ETA - January, 2018

WATCHOUT 6.2 Now Available For Download Other features include improved sound support with up to 24 channels ASIO or WASAPI, plus support for camerabased auto-calibration.

Dataton has just relased a new version of WATCHOUT, the company's multi-display software ‒ the release adds new features for audio and video, as well as over 100 fixes and tweaks to focus on giving more solid performances.

Key new features include support of video-over-IP with NewTek NDI ‒ introduced in WATCHOUT 6.2, NewTek NDI is a free protocol for video-over-IP and is designed to allow distribution of live professional video across the network, reducing costs and deployment time.

The reworked audio renderer in WATCHOUT 6.2 supports Steinberg's ASIO and Microsoft's equivalent WASAPI, giving low latency, fully synchronized audio playback up to 24 channels per server with individual volume and routing. www.dataton.com

CHAUVET Introduces New Ovation E-930VW Variable White Ellipsoidal Powered by 91 3W LEDs, the Ovation E930VW delivers a robust output at all colour temperatures. Each colour group of LEDs in the fixture's 6- colour engine can be controlled independently. This allows a splash of colour to be added to an application when necessary.

CHAUVET Professional has introduced its first variable white LED ellipsoidal fixture, the Ovation E-930VW. Featuring a groundbreaking and unique 6-colour LED system, the new fixture can perfectly match ambient natural light at different times a day, making it ideal for broadcast applications that are exposed to sunlight.

With colour temperature presets from 2800 K to 8000 K, the Ovation E-930VW produces a flat even field of light with a very high CRI (88-92) and CQS. Each colour temperature produced by the fixture can be further adjusted +/- green to fine tune the light.

“We engineered the Ovation E-930VW to give designers tighter control over colour temperature, because the more precisely you can dial into the colour spectrum with white light, the better people will look on camera,” said Albert Chauvet, CEO of Chauvet. “The Ovation E-930VW will excel when used for film, television, pop-up studios, churches or any application that requires realistic lighting on camera, especially those that are exposed to sunlight.”

Adding to the fixture's performance as a broadcast light are its virtually silent operation and its adjustable PWM (Pulse Width Modulation), which avoids flickering light on camera.

Smooth 16-bit dimming also enhances the performance of the Ovation E-930VW on and off camera.

Compact, user-friendly and flexible, the Ovation E-930VW works with DMX and RDM protocols. It has Neutrik powerCON power input and output, plus 3-pin and 5-pin XLR data connectors. The versatile fixture works with all industry standard lens tubes and accessories.

“The Ovation E-930VW will fit right into the lighting professional's current inventory of fixtures,” said Chauvet. “It offers all of the performance that you expect from an Ovation fixture -- and it's designed to excel in broadcast applications.” www.chauvetprofessional.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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ETA - January, 2018

ENNOVATIONS

Studiomaster's New Professional XR-80 Wireless System With a cardioid polar pattern & frequency response of 40Hz16KHz, the XR-80 wireless system allows for two microphones to be used at the same time, and can be set up easily with Infra-Red. The system presents individual XLR channel output with level control with a ¼" jack mix output, in addition to a back-lit display that aids in frequency identification. The handheld & bodypack transmitters require a nominal 2 units of 1.5V AA batteries, while the receiver operates through an AC adaptor which is supplied with the set.

With 80 selectable channels, the new Studiomaster Professional XR-80 duet UHF wireless microphone system forms the epitome of uncompromising audio delivery; assuring superior vocal and speech reproduction even amidst high pressure and extreme conditions of live events or installations.

Available in two configurations, HH (handheld + handheld) or HL (handheld + lapel), the XR-80 wireless system has been designed with simplicity and ease-of-use in mind, so much so that it can be operated to perfection by users of all levels of expertise. www.studiomasterprofessional.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

ENNOVATIONS

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ETA - January, 2018

GIS Extends LP Electric Chain Hoist Series For Entertainment Industry to wear parts. All shaft-hub connections are designed in a self-centering polygonal design. This means disassembly and assembly during maintenance work is carried out faster and without special tools, which reduces service costs.

In the year of its 60th anniversary, Swiss electric chain hoist manufacturer GIS AG has launched LP1000, the latest model in its new LP series of electric chain hoists developed and adapted to the needs of the entertainment industry.

The LP series was introduced at the start of 2017 with the successful launch of the LP500 model, and replaced the LCH series. The LP electric chain hoist series offers a low dead weight at 12kg only for 320kg lifting capacity, quiet running at 65 db and a built-in motor that offers a speed up to 32m/min. A 60% increase in lifting capacity with one chain fall (D8 hoist) is offered across the LP series, alongside a substantially increased life cycle compared to the corresponding chain hoist with the previous lifting capacity, up to four times depending on the application.

The LP series is available as BGV D8, D8 Plus and C1 versions, or in country-specific or customised variants.

Incremental and absolute encoder for distance measurement, load sensor, external limit switch, carrying handles and further accessories can be added without difficulty to the standard D8 version. The second independent DC spring-loaded brake for the D8 Plus and C1 models can be mounted on the existing shaft.

IP65 protection is included as standard and guarantees dust tightness and protection from water jets.

LP1000 has a lifting capacity of 1.6 tons with one chain fall (D8 hoist), an increase of 60% but with the same service life and switching frequency as the previous model.

The self-contained, helical-cut, three-stage gear with permanent lubrication ensures considerably quieter operation. The powerful built-in motor with high reserve capacity guarantees excellent synchronising in group rides.

The motor features permanent grease lubrication, while there is a proven DC spring-loaded brake and dry-running slipping clutch.

The whole chain thread is equipped with a static security factor of at least 8 (ISO M5/FEM 2m). This reduces the wear of the components and extends their life cycle. In comparison with a conventional round steel chain, the case-hardened and manganese-phosphated profile steel chain offers an increased lifting capacity of 15% with the same nominal diameter.

During development, particular attention has been given to modularity and low maintenance with good accessibility ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

All GIS LP series electric chain hoists come with an extended warranty of up to three years.

Addressing successes since the launch of the LP series, Erich Widmer, GIS AG sales and marketing manager, says: “LP500 has been received excellently by the market due to its outstanding features. We have new distributors who have won larger projects or sold bigger numbers of electric chain hoists to rental companies.”

To match high demand for the new LP series of electric chain hoists, GIS AG increased its production capacity by 20% in 2017 and will increase it further in 2018. www.gis-ag.ch

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ETA - January, 2018

ENNOVATIONS

Christie Introduces Crimson Series Of 3DLP Laser Phosphor Projectors The new Christie Crimson Series of 3DLP laser phosphor projectors delivers up to 25,000 ISO lumens, 60Hz processing, and Christie BoldColor Technology in a compact and rugged package with a low cost of ownership for rental, staging and ďŹ xed installation customers.

For further cost savings, customers can upgrade from their existing Christie M Series and Christie J Series to experience the lamp-free technology of the Christie Crimson WU25 and HD25 without needing to purchase new lenses.

Users will appreciate the ultra-fast processing of Christie TruLife electronics and built-in warp and blend capabilities of Christie Twist. Moreover, by adding Christie Mystique, users will reduce multiple projector calibration times from hours to minutes, saving both time and labor costs.

built-tough and is easy to ship, handle and install thanks to its compact form factor, quiet operation and 360-degree orientation. Featuring an IP5X sealed, solid-state laser light source, Crimson projectors provide years of reliable, low-cost, and virtually maintenance-free operation while delivering vibrant, lifelike colours in theme parks, indoor and outdoor arenas and stadiums, entertainment venues, mega events, public spaces, and more.

Using an almost identical chassis as the bestselling Christie Boxer and featuring 20,000 hours of long life light, Christie Crimson Series can withstand the rigours of the road and highusage applications. For customers needing higher frame rates, and up to 120Hz for 3D visualization or simulation applications, the new Christie Mirage HD25 and Mirage WU25 ďŹ t the bill.

Christie Crimson ships in February 2018.

Designed with the technician in mind, the Crimson Series is www.christiedigital.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

ENNOVATIONS

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ETA - January, 2018

ADJ Expand Popular AV Series With IP Outdoor Rated LED Video Panel ADJ has expanded its AV Series of modular LED video panels with the introduction of the new AV4IP. Offering an IP-rated enclosure design, this high-resolution panel is ideal for both indoor and outdoor use due to its impressive brightness and color contrast.

With the release of the original AV6 panel, ADJ disrupted the LED video market by introducing a system that offers unrivalled affordability and usability. Since then the range has expanded to include the higher resolution AV3 and both models have proved extremely popular both for fixed installation in venues ranging from clubs to churches as well as for use by production companies supplying tours and one-off events.

The new AV4IP inherits the simple setup and keen pricing of the other panels in the range, but with the added advantage of a weatherproof IP-rated casing. The front of the screen is designed to comply with the IP65 standard, while the back of the unit is IP54 compliant. This means that the surface of the screen is fully protected against rain, snow and dust, while the back panel is protected against splashing water but isn't completely dust tight. The screen is therefore ideal for use at temporary events in the open air and can also be used as part of a permanent outdoor installation as long at the rear of the panels are protected from the elements.

With a pixel density of 104 x 104 per panel (43,264 dot/m2), resulting in a pitch of 4.81mm, the AV4IP uses a configuration of 3-in-1 RGB SMD1921 LEDs to generate high resolution video images with a brightness of 4,000 NITs. It offers a wide viewing angle of 140-degrees, 0-100% brightness adjustment and 14-bit processing. Each panel features an internal Novastar data receiving card which

means that multiple panels can be linked together using standard ethernet cables connected to one of ADJ's range of video processors.

Power for multiple panels can also be linked together and each will draw a maximum of 180W and an average of 60W. Weatherproof True1 powerCON and etherCON input and output sockets are provided, to protect the connections from water splashes and the panels can accept an input voltage of 100-240V 50-60Hz, meaning that they are suitable for use worldwide and therefore capable of global touring duties.

Each panel measures 19.75” x 19.75” x 4” / 500 x 500 x 100mm and is divided into two separate 250mm x 500 modules. This, along with quick-release power supply and receiving card modules, allows for easy serviceability and simple repairs out on the road. Weighing in at 20 lbs. / 9kg, and fitted with a retractable carrying handle, the individual panels are easy to lift and rig, with up to 15 able to hang in a vertical drop from a single ADJ AV3RB1 rigging bar. ADJ's AV3FC road case can also be used to store and transport up to 8 panels with ease, making the AV4IP a convenient solution for touring productions and one-off events.

The AV4IP is available now, both as single panels and complete packages (AV4IP 4x2 and AV4IP 5x3) that include video processors, software, cabling, rigging bars and flight cases. www.adj.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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INTERVIEW

d3 to disguise - What's In A Name Change? also think disguises are pretty cool - who hasn't wanted to be the master behind the mask at some point?

How have partners and customers reacted towards the name change so far? I understand the new name was unveiled during this year's LDI. We announced the new name on the first day of this year's LDI and the reaction has been really positive. It's been an exciting year for our team and community, we've also rebranded our look and feel, Lee Juck's "RESONATE" concert used three d3 servers to control illuminations, LED screens and projectors which included a brand new website. Any change can take a period of adjustment time, d3 Technologies recently announced their new name ‒ but we're still the same company at heart and as we grow, disguise. The new name wraps up a momentous year of key we're even more focused to maintain the same values that changes and growth for the company which finds an got us here, offering the same level of support and expanding international community using their technology innovation. at the heart of some of the world's most exciting cultural experiences, in verticals including concert touring, broadcast, theatre, fixed installs and, most recently, film.

ETA had a quick chat with d3 about the name change. d3 Technologies is a very established name in itself, so what was the reasoning behind this sudden name change?

As our technology is increasingly placed at the heart of the world's biggest corporate events, concert tours, theatre, opera, broadcast, fixed installs and film projects, we wanted a name that works for a tech brand and for the cultural brand we're growing into. Disguise is a neutral word that's not trying to sell you an idea or an emotion. It's openended, so it's determined by our community who shape how our products are used. The word disguise better represents the way we tell their story.

What is the significance of the name disguise? What does it mean?

The word disguise has connotations of changing appearances. We like to think of our community as a secret society of superheroes, our technology the 'cloak' that helps them to 'disguise' the reality they're trying to conceal. We

www.disguise.one

Ed's Note: The name change is timely as Google searches feature another company also named D3 Technologies with a slight difference in the D being capital compared to disguise previous name which is a smaller cap d:)

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

ON THE JOB

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ETA - January, 2018

Michael Chan and Kinetic Programming At The SkyCasino Resorts World Genting, owned by Genting Malaysia Berhad, is a popular destination especially amongst regional visitors.

Located 45 minutes from Kuala Lumpur, Malaysia and 6,000 feet above sea level, the resort offers cool weather where temperatures at day time are below 20 degrees Celsius.

The lush green surroundings that includes the natural environment of a 130-million-yearold rain forest is a sight for many a weary city dweller.

But more than the weather and nature, Resorts World Genting features dining, leisure and entertainment experiences for guests.

The resort embarked on a rejuvenation programme that includes refurbishment of some of its spaces, as well as opening of new hotels and casinos and the soon to open Twentieth Century Fox World Malaysia theme park at its doorstep.

As part of the rejuvenation programme, the new SkyCasino opened its doors in late March 2017. The SkyCasino is located within a a new mall that features retail shops and F&B outlets. Genting decided to use the atrium space in front of the entrance to the SkyCasino to create an experience for guests through a sound, light and visual show.

Dubbed the SkySymphony by Resorts World Genting, the atrium transforms into an alternative world for spectacular visual storytelling. The free-to-public performance showcases an extraordinary orchestra of audio, visual and motion graphics programming. For the initial showcase three different stories were planned titled Goddess, The Forest and Urban Symphony.

The spellbinding stories are told through a dynamic transformation of 1,001 winch balls suspended from a fourstorey high ceiling. Each performance is accompanied by larger-than-life cinematic visuals and original music mix.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Enabling the immersive experience are five large scale video walls that span three floors, 1,001 LED orbs on kinetic winches that hang from the ceiling and a full suite of Martin LED lighting fixtures. Nexo speakers enhance the aural experience.

It took as expected a full creative team to bring the different elements together for the storytelling. All the different elements paid a crucial role Michael Chan with the kinetic winch balls in bringing the taking the shape of a Lotus in the Goddess story. storytelling to life but there was one particular element that was crucial and that was the 1,001 winch balls.

Brian Gothong Tan, the Creative Director together with CraveFX who were responsible for the Animation footage screened on the video walls and Michael Chan who was the Lighting and Kinetic Designer/Programmer spent countless hours in coming up with the ideas to achieve the objectives set by Genting for the atrium space and bringing to “life” the winch balls to complement the visuals.

Michael Chan of Lighting Insomnia, who is based in Singapore, is a lighting designer who is also well accomplished in lighting programming. Since 2001, Michael has worked on a myriad of events - from live performances in an 80,000 seater stadium, outdoor and indoor shows to theatre showcases and installations in an intimate setting.

Michael was not only involved in the design aspect but was also responsible to programme the Kinetic winches, as part of the show. “What is unique about this attraction is that instead of just using the kinetic winches as a background feature, we are using them to create recognizable creatures (bird, flowers, elephant, etc) and other shapes, and using that ability to tell stories,” said Michael. The control of the lights and kinetic is done through a MA2 lighting console whilst a Coolux server runs the video wall with a Qsys being at the heart of managing the entire show.

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ETA - January, 2018

ON THE JOB

Michael created personality files for each of the LED ball movement. Every single ball was patched individually for individual control “That is 1,001 addresses,” stressed Michael. Each show had 20 different shapes which meant a large number of cues altogether.

The kinetic winch balls taking the shape of a clock in the Urban Symphony story.

The first show concept featured three full length animation stories written specifically for the attraction. The kinetic winches, lights and sound design are all linked to the visuals shown on the videowalls via timecode, and make for an immersive show which is fully automated.

The challenge according to Michael is that creating distinct shapes is no longer lighting programming but rather animation programming. The programming took Michael a few months of working long hours as the shapes were challenging. “The Bird's wing movements was a very big challenge but I managed to find a way to get it done. I hope you donʼt mind but I am keeping that trick for myself,” said a pleased Michael.

“I created an accurate to space 3D environment to preprogram all of the Kinetic and Lighting cues. The kinetic winches and LED balls were all fully and accurately rendered in the 3D.” Michael continues “The 3D feature in the MA2 was essential as we could work on the concept whilst the systems were being installed. This helped us as we had a very short time between completing the programming, testing and the official first show.”

This was a first for Michael ‒ programming kinetics to create shapes. “I had to go through a long process. To kick off I cut the shapes to have a visual, then I had to figure out how to angle it and how to make it move seamlessly. I even watched videos on the bird movement just to be sure that my programming will make the movements as realistic as possible.”

For Michael it was a learning process but the end result is an achievement he can be proud off.

To see the kinetics in action visit: https://www.lightinginsomnia.com/kinetic Creative and Technical Team: Brian Gothong Tan - Creative Director CraveFX - Animation Don Richmond- Sound Designer Jeffrey Yue - Sound Engineer.

Melvin Lee - Technical and Coolux Manager.

Michael Chan - Lighting and Kinetic Designer/Programmer Thisbe Goh - Production Manager (Zhao Wei Films) Genting Group: Jon Champelli - System concept Mac Chan - Technical consultant https://www.rwgenting.com/attractions/SkySymphony/ www.lightinginsomnia.com

Quick Facts Ÿ

SkySymphony is the largest permanent winch installation in Asia.

Ÿ

SkySymphony is the first multimedia winch attraction in Asia.

Ÿ

The three inaugural shows are Forest, Urban Symphony and The Goddess.

Ÿ

1,001 winch balls are suspended from a four-storey high ceiling

Ÿ

The fastest programmed winch speed is 17.5 meters in six seconds

The kinetic winch balls taking the shape of a flying bird in the Forest story.

The Bird's wing movements according to Michael was a real challenge.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

KNOWLEDGE HUB

30

ETA - January, 2018

FROM THE VAULTS OF SYNAUDCON

The Difference Between A Sound System Operator And Designer

by Tim Hamilton Understanding the roles of the sound system operator and designer and the benefits of working together.

In my day job I work as a system designer. I love the challenge of coming up with quality, effective designs while matching those designs to a client's budget and needs. This job offers an endless variety of potential problems and potential solutions. On occasion I also enjoy the opportunity to return to my roots as a tech director and jump behind a mixing console to run a show or a service. I find it both fun and valuable to keep familiar with what it's like to be “in the techie trenches”. But operating a system is not the same as designing a system, and designing is not the same as operating. Just because you can do one, doesn't mean you are good at the other. And vice versa.

A great designer must first conduct an accurate assessment of the system needs. Then, s/he works to develop potential solutions to meet the system needs, including assessing whether those solutions fit the project budget. Effectively and clearly explaining the solutions and budget implications to the person(s) buying the system (and probably a large design team as well) is also a must. A great designer must also document all the system components and how they connect together and then coordinate effectively with the installer to make sure everything is installed correctly and that the buyer is properly trained on the system. There are a lot of tools and people to work with in this job, which can sometimes make it tough, but also a lot of fun.

Strengths of the Operator Designer or Operator?

The other day I was talking with some members of a church leadership committee who were looking to make some system upgrades. At one point in the conversation I was told that the church had just hired someone to run all their technology on Sunday mornings and that they were thinking to just have that individual “put it together” and install it. For small, simple systems this approach is usually no problem, but for larger more complex systems it can be trouble! I've seen numerous organizations try to acquire new systems in this manner, but it's only usually effective at saving money in the short term. In the long run it tends to result in spending too much money for a system that under performs.

A great sound system operator not only builds a great mix (a must for anyone running systems) but also sports a host of other talents at the same time. These talents include personal skills to handle the demands of the band, patience with well-intention “advice” from people on what doesn't “sound right” in the mix, and confidence and knowledge that it really does sound good. A great sound system operator is also cool under pressure when things don't go exactly right, an effective troubleshooter, and flexible. On top of all this, s/he has to know the equipment they're using and apply it at the correct time and place, which requires lots of skill and experience. At times it's a tough job but it's also a fun one.

Strengths of the Designer ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Not only are the roles of operator and designer different, but the extra time and burdens of a large system design and installation can take a huge toll on staff if they don't have the tools and expertise for the job. Employing a system operator to design a system can also end up being much more expensive if things don't go well and an outside party must be brought in to fix issues. That's a cost and liability that can be very expensive.

We must keep in mind is that these roles don't need to be in competition. When they work together they can combine to form a team that brings wisdom and insights from many different angles and perspectives. At times in our industry it feels as if there is some tension between operators and

31 designers. Operators who set systems up and take them down every day can sometimes come to believe that system design is simple and easily performed. A couple of weeks ago I was in a design meeting when the system technician for the venue told me that he had already selected the new mixing console that they intended to use for the new system. He clearly indicated that “most of the hard design work” was now completed and that my remaining work was minimal. I took a few minutes and walked the team through all the remaining system design elements that needed to be addressed and completed. At the end, the technician readily agreed that he didn't want to do all of that work and was glad I was there to handle it!

At the same time, designers can undervalue the experience and knowledge gained from years of live sound work. There have been times when I have had to put together a system design without having the benefit of discussing all the needs/uses with the end user or operator. The resulting conversation at the end of the project can be very enlightening as the operator finally gets to share why a particular product would have been a better choice for the operational needs. Had I been able to access their knowledge and expertise we could have delivered a better final solution.

The truth is that most sound operators (with some exceptions, of course) know gear and they know how to use it. That's their job. They know how to tweak it and maximize the functions to squeeze everything possible out of it. When it comes to the “user interface” items (the stuff we actually put our hands on and move/tweak/adjust), they tend to know which stuff is “good” and which stuff is “bad”.

Operators have a very good grasp on what brands and particular products work/function well in different applications. Many go to trade shows, read trade magazines, and attend seminars or events on how to do their job the best that they can. But, the further away we move from the gear that is used on a daily basis, the more that knowledge and experience fades as well. In other words, the components that make up much of the infrastructure of an installed system may not be as familiar to the sound operator, and the tools required for things like predicting loudspeaker coverage may not be ones that a sound operator has used.

Here is where it is important for the Operator to join forces with the Designer.

A great sound operator knows how to get a great mix and they know all the complex facets to make that happen. They are also wise to know when a project scope moves beyond what they can effectively do as part of their job. Knowing when to rely on a third party system designer can help avoid many potential pitfalls and problems and allows the operator

ETA - January, 2018

KNOWLEDGE HUB

to focus on the mix and the show. Large scale system design uses different tools, products, and approaches to solve problems. Not only does the system designer use these products and tools on a regular basis, but the designer brings additional experience and value to the design. S/he uses their understanding of a space and the available technology to design a system the end user (i.e., the sound operator) can use to support the purposes of that space.

A good designer has to be able to use modelling tools to place loudspeakers for even coverage throughout the room while also having a minimum of interactions between the speakers. It is also crucial to fully understand the space in which the loudspeakers are going to be placed ‒ for existing buildings this means being able to perform a site survey to assess and quantify the existing RT and any other acoustic conditions that may compromise the sound system performance. While modelling the loudspeaker coverage, the designer also works to assess and predict intelligibility of the loudspeaker system. Once the loudspeakers are selected the designer must also designate a properly sized amplifier so that the system runs efficiently and optimally.

Document It!

But the loudspeaker modelling and selection is only one step.

A big part of the design process includes documentation of the design. The value of quality project documentation is often underestimated and the larger the scale and scope of the project, the more critical it is that documentation be not only accurate but also shareable. Many large systems quickly move out of the realm of “napkin sketch” diagrams and into a sophisticated software package for all the details and documentation. A good system designer should know these software systems and how the information in them will be shared with the larger design team.

Hand in hand with the design documentation process is the need to have documents that potential contractors (and project managers) can look at, review, and understand so ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

At times in our industry it feels as if there is some tension between operators and designers. Operators who set systems up and take them down every day can sometimes come to believe that system design is simple and easily performed.

“

“

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ETA - January, 2018

that the construction aspects of the system and the space can be coordinated between different trades. Of vital importance is the need to also have accurate As-Built drawings at the end of the project. Unless a quality designer has been employed to provide the system design and documentation, it is very difficult to get accurate close-out documents. Anyone who has worked on a project that has been installed for some time should appreciate the need for good system documentation because it is hard to work on a complicated system that has no documentation of what wires connect to what components. This is especially true when trying to trouble shoot problems (usually under a tight deadline!) without having good documents. I have worked on designing many system upgrades that were made far more difficult because of the lack of documentation. As it's all being installed and put together it all makes perfect sense to the installer, but in 5 or 10 years no one will remember where all the conduits run and what wires go to which equipment. If the system is clearly documented at the time of construction, it becomes much easier to look back at the drawings and figure things out when troubleshooting, upgrading, or renovating.

One of the projects I'm currently working on is a school district's Performing Arts Center that was built about 20 years ago. The technology is ready to be upgraded and as we reviewed the original installation documents from 20 years ago it was wonderful to be able look at the conduits and boxes in the space, correlate them to the original installation drawings, and then be able to easily verify where the conduits run. Being armed with this information not only simplified the task of identifying the conduits, it also saved the owner thousands of dollars in potential new conduit because we already know where everything goes so we can begin to think about and design necessary upgrades.

Championing sound While the “End of Project” documents are critical for future years, good documents are equally critical for a current installation. Interfacing with a design team (architects, engineers, interior designers, etc.) requires the sound system designer to work with people who don't necessarily understand sound and don't necessarily have a high priority for making sure the sound is done correctly. Many times there is no one else in the project who will champion the sound system and associated necessary infrastructure ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

beyond the sound designer. If the sound designer doesn't clearly and repeatedly articulate the sound system needs to the team and also document those needs in drawings and specs, then the potential for crucial elements to be missed or forgotten rises significantly.

Having important elements of infrastructure get missed is a bad situation. Perhaps equally problematic are situations where the technology elements to be installed in the space were not well understood by the building designer/architect.

Talking recently with a frustrated architect I heard him express his frustration that he had designed a beautiful space only to have somebody come along at the very end and hang some big black speakers and suspend a projector from the ceiling. In his opinion, these elements had “ruined” the space. Of course these were essential elements to the operation of the space, so they had to be there. The problem was that no one had done an effective job of communicating how the technology elements would impact the space and what the final “look” was going to be. Had these things been well discussed with the architect they perhaps could have been better incorporated into the space. At a minimum the architect would have been prepared for the technology and then would not have been surprised when it suddenly “appeared” at the end of the building construction.

Working Together

“

The truth is that most sound operators (with some exceptions, of course) know gear and they know how to use it. That's their job. They know how to tweak it and maximize the functions to squeeze everything possible out of it.

“

KNOWLEDGE HUB

The goal of all of this is to have great sounding systems that meet the needs of the space/venue. System operators and designers both have areas of specialty and both have great wisdom and insights for how to get things “right”. There are many crucial steps in the process from the start of the project to the end and if we miss steps along the way the end product cab become compromised. When we work together in our areas of expertise, system designers and system operators both become champions of sound, which results in a well-designed and well-operated system that makes owners, end users, and audience members happy.

This article rst appeared in the SynAudCon website in 2016. We thank SynAudCon and Tim Hamilton for allowing us to republish this article. www.prosoundtraining.com

KNOWLEDGE HUB

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ETA - January, 2018

RIGGING AND SUCH, A SERIES OF BLOGS BY RINUS “RHINO” BAKKER

LED Screen Rigging, Lethal Factor Or Professional Approach?

LED-screen data in the Risk Assessment When rigging of LED screens is planned, it is mandatory to do a Risk Assessment. In order to reduce any possible or foreseeable risks, we need all available data of the equipment involved. Obviously when talking rigging for LED-screens the optics and electronics are of less importance, but the strength and stability - as well as the applied design factor are.

This could be a problem, if not much data on the structural design of the screens is available. Manuals often fail to give such information, although weight, size and placement of top-brackets can be found. To get more data, I normally perform some tests on a top bracket, equipped with one big eye bolt and two smaller ones plus an empty module frame. The bracket would be on top of a 12 LED-modules high row. In this instance the bracket and frame held out well, yielding only a “WLL x 2” a force equivalent of 24 modules.

However, it's hard to find out whether all manufacturers design their brackets as lifting equipment or not. The most outrageous combinations of using many or just very few eye-bolts can be found when doing a quick look in Google image. So be sure and check before use.

As a result of that, the slings in the centre will have more slack than on the outer ends. This is completely opposite to what we know! The outside lifting points will get more load than the centre lifting point. By how much? That's difficult to tell, when truss type, load type, position and sling length variations all can play their own role.

To compensate for deflection, each lifting point could be equipped with a turnbuckle, but how can we check if the tension is identical in all of them? Tightening one means loosening the neighbouring two…

Rigging solutions 1. Use a clearly bigger truss that has lesser deflection. In this case the best assumption is to verify the truss for a TPL load and check if those eye-bolts on the screen would still be loaded safe.

2. Set up a system of LED-Screen brackets that have a static determinate system, which will result in a true TPL. 3. Make sure the slinging is positioned in the node points of the truss.

The only thing consistent is the fact that the LED-screens are very rigid within the plane of the structure. The type of load that is transferred to the truss is completely different from sets of drapes, lighting fixtures, etc. at identical spacing. A truss span loaded with a LED-screen will give puzzling read outs in load cells, much different from what is to be expected in a statical indeterminate distribution.

Riggers only have the truss data Looking at allowable truss loading and the resulting deflection, in combination with a LED screen that is more rigid than the truss from which it is supported, will have an issue.

The result will be that the centre of the truss span is closer to the LED screen top side than outer ends of the truss span.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

No, this is Not caused by the Lens If you have any rigging questions send it to editorial@spinworkz.com and we will get them answered by industry experts

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ETA - January, 2018

KNOWLEDGE HUB

THE ALEX SCHLOESSER COLUMN

An Introduction My name is Alex Schloesser, I am 53 years old, born German, Sound Engineer by profession and education and I have lived in Asia for seven years now. I have mixed roughly 13.000 shows for TV, life Sound, Rock & Roll touring, Musicals and many others. In the past seven years I have met many enthusiastic and passionate Sound Technicians and Sound Engineers in the region. I have also had a chance to speak and teach at various institutions from within the Entertainment industry throughout Asia and through my encounters with all of you, I have found out a few very exciting things.

First, the passion and enthusiasm for what we do is global and I have seen this passion and the drive on all five Continents that I was able to work in and the colleagues that I have met.

On the technical side I have recognized that in most events, when you get to exchange with the audience, they are looking for simple answers and recipes to solve their problems. This almost sounds like the Sound Engineer Boyscout's handbook

with the answers to all questions. Sadly, this does not exist and this is not what I would like to share.

The thing that I would like to bring to everyone's table is to help you develop your own toolbox of solutions and understanding and approaches, so that you are able to get through your working day successfully. There is no 'one size fits all' and there is no solution that fits all problems. As a professional in the pro audio industry you will have to develop your toolbox and knowledge, so that you are able to handle any challenge that is thrown at you, with a variety of possible solutions. This makes our professional life very difficult, but also keeps it very exciting.

You are very welcome to keep this interactive and to share what you want to hear about and which topics you want to see addressed. Please send your queries to: alex@asaudio.de With this mini introduction of myself and what the column will be about, out of the way, I will kick start the column proper from the February issue. Till then enjoy the beginning of the year and let us share and develop together.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

KNOWLEDGE HUB

ETA - January, 2018

36

ALL ABOUT WIRELESS BROUGHT TO YOU BY

Waves and Spectrum by Hayden Leiper As governments around the world gradually sell off portions of the spectrum available for wireless microphone and IEM use, it is becoming increasingly important for audio engineers to have a thorough understanding of wireless microphone and IEM system design and configuration. For this reason, SHURE have partnered with Entertainment Technology Asia to present a 12-part series covering RF Engineering theory and best practice. The intention is to provide readers with the knowledge required for the successful configuration and operation of their wireless systems.

The series will cover topics such as RF wave propagation; antenna types and positioning guidelines; signal distribution techniques; transmission line theory; sources of noise and noise mitigation techniques; mixing for IEM systems; analogue Vs. digital wireless systems; spectrum management and frequency coordination. In this first issue, we will begin by looking at what Electromagnetic waves and the Electromagnetic spectrum actually are, and why we need to modulate signals for wireless transmission.

An electromagnetic wave consists of two oscillating fields, an electric field and a magnetic field. There are two key characteristics that define the Electromagnetic wave.

Firstly, there is no phase shift between the electric and magnetic field waveforms. Secondly, the polarization of the electric and magnetic fields, and the direction of propagation, are all orthogonal, or at 90° angles to each other. Additionally, electromagnetic waves do not require a medium through which to travel. Unlike acoustic waves, electromagnetic waves propagate most efficiently through the vacuum of space.

Image 1: EMWave

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The Electromagnetic spectrum is simply the frequency range over which Electromagnetic waves are propagated.

One interesting point when considering the Electromagnetic spectrum is that different frequency ranges often accommodate different types of signals, often with very different purposes. AM radio, for example, is typically broadcast from 550kHz ‒ 1640kHz, while FM radio usually operates on frequencies from 88MHz ‒ 108MHz. Visible light is simply electromagnetic radiation from 429THz ‒ 750THz. The human eye is sensitive to electromagnetic radiation in this frequency range, which allows us to perceive light and color. Humans are also sensitive to the range of frequencies just below visible light in the Infrared range, which we perceive as heat.

The most commonly used frequency ranges for wireless microphone and IEM operation are the UHF band from 450MHz to 698MHz, the DECT band at 1.9GHz and the 2.4GHz band, though there may be region-specific restrictions on which parts of these ranges can be used legally. There may be additional slices of VHF or UHF spectrum available for use, such as 902MHz to 928MHz for example, but the legality of operating on these frequencies is, again, region-specific.

Operation in each of these ranges presents its own challenges. The 450MHz to 698MHz range is generally preferred for high channel count systems, or systems requiring more than about 30m operating range. The challenge here is that this range is also typically used for land mobile radio, public safety and television broadcast, the transmit power of which typically far exceeds that of wireless microphone and IEM systems. Wireless microphone and IEM systems must therefore be coordinated around these existing services, which can be challenging in locations where available spectrum is limited.

Recently, the 2.4 GHz band has attracted some interest for wireless microphone use. Potential advantages of this band include the use of smaller antennas, the lack of other highpower transmitters that may cause interference, unlicensed availability across most parts of the world, and the lack of government imposed bandwidth and modulation restrictions. Unfortunately, these same features have already attracted a considerable volume of traffic from Bluetooth and Wi-Fi devices, in addition to ISM (Industrial, Scientific, and Medical) users. At face value, the 2.4GHz

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Image 2: Spectrum

spectrum sounds like an excellent alternative to the 450MHz to 698MHz range; and in certain applications, it is.

However, in most countries the 450MHz to 698MHz range represents the largest contiguous block spectrum, so although special 2.4GHz modulation schemes may mitigate the risk of interference to some extent, the 450MHz to 698MHz range remains the most suitable for high channel count systems.

Now we have a basic understanding of the frequency ranges commonly used for wireless microphone and IEM operation, the first question most audio engineers ask is why ‒ why do we need to convert an audio signal into a high frequency RF signal to transmit it wirelessly? There are two equally important reasons. Firstly, transmitting audio signals at their native frequencies, that is from 20Hz to 20kHz, is essentially impossible because the antennas required for efficient propagation would be miles in length.

Secondly, even if the antenna size wasn't a limiting factor, radio frequencies transmitted at 20Hz to 20kHz would be destroyed by interference. Use of a high frequency carrier for wireless transmission allows for smaller antenna design and provides the opportunity interference avoidance.

'Modulation' is the term given to the process of superimposing baseband information onto a high frequency signal for the purpose of efficient wireless transmission. In an IEM system, for example, the transmitter takes an audio input signal, modulates this onto a high frequency carrier, then via the antenna, radiates the signal

as an Electromagnetic wave. The opposite process occurs at the belt-pack receiver; the high frequency Electromagnetic wave is detected by the receive antenna and is demodulated to recover the original audio signal.

There are a multitude of modulation schemes available, both analogue and digital. While we won't examine the details of any particular modulation scheme as part of this tutorial series, we will look broadly at the pros and cons of each.

Next month we will dig deeper into Electromagnetic waves, defining the terms 'wavelength' and 'polarization'. We will also learn about propagation losses and look at the effects various obstacles can have on wave propagation.

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

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LET'S TALK BIZ

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4 Tips For Managing Customer Expectations When providing your customers with exemplary service, managing their expectations is essential. By following these four tips, you will be able to establish a rapport with the customer, determine their wants and needs, and ultimately set realistic goals to leave them satisďŹ ed.

We thank Dale Carnegie Training for allowing us to republish this article. www.dalecarnegie.com

TIP

TIP Cushion with empathy

Acknowledge the customer's issue and relate to their emotions through empathetic listening. Use cushion statements such as "I hear what you're saying and what you're saying is important" to demonstrate that you understand and care about their feelings.

TIP Under-promise and over-perform Set realistic expectations with customers. Make sure you can consistently achieve and exceed. It's better to set reasonable goals and exceed a customer's expectations than to promise the world and under-deliver.

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Understand the priorities

Ask questions to make sure you and the customer are on the same page in regards to their needs.

Determine their expectations from you as well.

TIP Check for agreement

Ensure that the customer understands the next steps and when they can expect a resolution.

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The Cable Mess One of the most frustrating part of setting up and tearing down for the production team is the cable aspect.

It can be resolved easily with proper LABELLING of the cables so that you need not waste your time figuring out which cables to bring or which cables fit which equipment on site.

Labelling will do the trick. Everyone knows that. But what information do you need to put on the label? By proper labelling, you could indicate on the label if the cables are tested and checked for it to be in working order before they are used for the site. Saves time in trouble-shooting at the site, where set-up time is crucial.

By labelling , you will know which cable should belong to which Flightcase or Equipment group. This would mean for example: All cables associated to Lighting Equipment Flightcase Box A, could be be labelled as “Lighting Kit A” (see sample label below). So when you open a box all associated cables for that Lighting is found within the box, and if you happened to see a cable your crew will know which box this cable is supposed to be So it will be placed in.

What information needs to be on the label: - Cable length.

- Cable type (for mic or dmx…)

- Cable size (for electrical cables especially) - Barcode (option to help make life smoother)

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DUBAI Protec Creates A Sensation In Dubai The 4th edition of Sensation held at Dubai's Meydan Racecourse had its own unique challenges for Protec

Celebrated DJs, Acrobats, dancers, pyrotechnics, lasers and fireworks synchronized with music across an unending sea of white. Organizers filled the atmosphere with stunning structures, unique elements and beautiful light-shows which illuminated the crowds in a white oasis. The acts united people from all over the world to create a great vibe, while the crowd embraced the “Celebrate Life” theme.

This was Sensation which is not just one of the most popular EDM concepts around the globe but also has a special standing in the Middle East which is known for awe inspiring shows. Sensation is the most travelled electronic music event in the world and has been to all continents, 35 countries and 43 different cities and welcomed well over 2 ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

million site visitors worldwide over nearly two decades.

The party implemented an all-white dress code as a tribute to Miles Stutterheim, one of Sensation's founding members who died in a car accident, and to signify the unity of the 'dance music family'. It was this 4th edition of Sensation, held at Dubai's Meydan Racecourse, for which Protec, the Middle East's largest and most comprehensive technical and staging solutions company, provided a full production infrastructure.

Many world-famous artists have appeared at Sensation.

Tiësto played at the very first event in the year 2000, and almost all DJs now heading the Top 100 DJ lists have

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Lighting, Backline, Stage & Set elements and full rigging services.

played at Sensation somewhere in the world: Armin van Buuren, Martin Garrix, Hardwell, David Guetta, the former members of the Swedish House Mafia, to name only a few.

This year's Dubai event featured Mr. White, Sam Feldt, Danny Avila, Don Diablo, Sunnery James & Ryan Marciano and Steve Angello.

Tasked with project managing the event for Protec was Simon Travis, interfacing with Envie Events, Backbone International and the Sensation crew from Holland.

Protec were well aware of the high production values set by producers, organisers and promoters, Envie Events, with whom they have worked closely on events in the past.

Responsible for some of the most spectacular, immersive and innovative dance music events in the Middle East, they put high store in state-of-the-art lighting, pyrotechnics and sound design.

Travis said: “Meydan is very different from the usual kind of dance music venue, particularly because it's a race track so we had to consider the horses stabled there, in terms of noise levels. We had restricted time slots where we could carry out the work. The noise was very strictly controlled as they didn't want to freak out the horses, though they did move them off site for the show day.”

Organisers and Producers - Envie Events, is the brainchild of two Belgian entrepreneurs who moved to Dubai in 2011 with goals of transforming the electronic dance music industry of the Middle East. Barry Pavic, an ambitious promoter in mind, joined forces with long-time friend and innovative marketeer, Nicolas Vandenabeele, to come up with a brand that has transformed the nightlife and music scene in Dubai - home to people of over 187 nationalities and a melting pot of diversity.

The team from Envie Events added, “Meydan is a great venue with more than 8,000 parking spots, exceptional infrastructure facilities and perfect distance from downtown Dubai. Makes it a very attractive venue for a global series like Sensation. Working on Meydan does bring its challenges and having an experienced partner like Protec really makes the difference”.

Having hosted the first world exclusive openair edition of Sensation in Dubai in 2015, two Mega Night Club operations in Europe and various annual partnerships with globally-renowned concepts such as Sensation, Tomorrowland, WMC Miami, and Summer Clubbing Ibiza, Envie Events is well on track to become the ultimate destination of choice for events and concerts in Dubai ‒ attracting the entire MENA Region and beyond.

The company's Managing Director, Barry Pavic says, “Attracting a global clientele and elevating the overall guest experience completely from Entrance to Exit”, is the ultimate goal ‒ which translates into shows that fans want to keep returning to. “We strive to make sure that everyone has a good time.”

With such a strong reputation to preserve Protec combined their resources to provide industry standard Video, Audio,

When asked to detail Protec's involvement, Travis continued, “The audio was fairly straightforward. We provided 32 flown LAcoustics K2's on the main hangs, above which were two K1 subs on each of the hangs ̶ all powered by 11 LA-RAKs containing 18 LA8 amps. For the front fills they set four positions of 12 L-Acoustics Kara enclosures, powered by the LA8 amps. Subwoofers comprised 30 SB28s ̶ 15 a side. L-Acoustics amps and speakers were also used for DJ monitors and wedges which comprised three Kara elements per side on top of a pair of SB18 subs.”

The company used a DiGiCo SD10 as their FOH mixing desk with all amplifiers networked so they could be close monitored, with signal transmission via Neutrik fibre optics.

Processing comprised Antelope Audio lsochrone OCX Clock, Lab Gruppen Lake LM44 processors, MAC laptops controlling playback and processing (including Smaart), and DIs for DJ equipment.

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Protec fielded 16 Sennheiser G3 receivers and a transmitter as wireless monitoring for the dancers so they could work with the music and receive feeds from their choreographer.

A couple of hand held radio mics meanwhile covered DJ requirements.

Ancillary coverage was required in two VIP lounges which were serviced variously by a compact Bose PA system and L-Acoustics Syva ‒ which is equally slick and compact.

Comms were taken care of by Clear-Com HelixNet, which was used for their nine wired positions, and Freespeak II for their eight wireless.

Commented Protec senior audio engineer, Dan Dignan, who was supported by Ed Ross and William Morrison, “The Sensation guys were great to work with, particularly Niels from [Sensation's] NoizBoyz audio production team. He took care of the desk whilst I took care of the system. The guys from Backbone were also great, Tom and Roden especially. The benefit of a good team was an amazing production.”

Protec Lighting department, in the shape of Aaron Russ ‒ the company's Lighting HOD and Paul Coopes, provided a mixture of their frontline Robe, Martin and Clay Paky fixtures. This included 45 Robe Pointe fixtures mounted on the triangular backdrop set, both on stage left and stage right screens, and also on the main triangle for the main stage.

Inside the scaffold structure was a combination of 37 Clay Paky K10 B-eyes and seven Clay Paky K20's, which were positioned in various parts of the scaffolding structure for uplighting effects, giving the scaffold a funky industrial look.

A further 28 Martin Atomic strobes were positioned on the floor, the walkways where the dancers were performing and within the set itself. Another 50 Par36 single par pinspots were mounted onto the structure as well as onto the bars above the Robe Pointe fixtures to create a tremendous blinding effect, while along the front edges of the stage 28 Clay Paky show battens lit up the dancers.

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42 All were brought to life by a combination of Le Maître and MDG hazers with all lighting dynamics under the control of three grandMA full-size consoles at FOH, (including spare), and two grandMA NPUs. Popular SGM low-profile LED fixtures were also involved in the shape of P5's for the VIP decks and Q7's to light up the bars.

For the front of the DJ riser, Protec chose 16 Jarag lights, all DMX controllable, so they could be programmed to have words flashing through. This provided an extra dimension to what was already a really well-lit set.

At FOH Protec also placed Clay Paky Scenius Unico fixtures ̶ little spots that served as various lighting positions for the dancers.

Finally, for the entrance, Protec featured 12 x Clay Paky Super Sharpies to create a welcoming effect, controlled from a ChamSys MagicQ MQ60 desk.

Under the direction of Scott Walker Protec's Video HOD, the company deployed three screens on stage ‒ stage left and stage right, for which they used their 6mm Mambo LED panels (13 panels wide x 7 panels high, 10 metres x 5.5 meters high) in a triangular shape. For the main screen they used their 9mm panels (21 panels wide x 11 panels high, 16 metres x 8.5 meters high) also in triangular shape. These were controlled from NovaStar VX4S processors, fed from the media servers of the Sensation production team.

Three Panasonic remote cameras were focused on the DJs, which could be controlled from a single remote at FOH, and were vision mixed through a Roland V1200HD. Signals were run from FOH to the LED control backstage via Protec's Lightware 220pro fibre transmitters and receivers and three 150m Neutrik fibre cables. Lightware MX DVI-PRO matrixes were used at FOH and backstage to control the signal routing and switch between main and

43 backup signals. The live footage was mixed to the screens and overlaid with content provided by Sensation, operated by the touring LD. Because of the triangular shapes of the screens Protec were unable to hang the screen from truss so instead had to ground stack, which because of the size of the screen presented them with rigging challenges, all overcome easily enough though. All panels had to be safely secured to a scaffolding structure at the rear of the screens.

Rigging was managed by the tech team from Sensation. All external runs were rigged using Protec's Total Fabrications XO truss system. The black XO truss took care of the external runs of the set to form the straight runs, so they could also attach the lighting poles and the set panels. On the larger triangle this had to be craned up because the Protec team pre-rigged the entire truss structure with all the cables which was then set in place and locked off.

For the main rig the smaller triangles were set flush against the layered scaffold but for the outer triangle it was in at the bottom but hung out at the top for which they used their Tomcat Superbeam truss which enabled it to be attached throughout the structure and provide really strong points which they used as their spreaders.

For Backline, Protec provided their industry standard Pioneer DJ equipment ̶ including Pioneer DJM 900 Nexus, Pioneer DJM 2000 Nexus and eight CDJ 2000 Nexus; this allowed them to have two complete DJ set-ups plus spare.

Summing up the event, Simon Travis said that the unique race-track venue had presented its own challenges. “There were a lot of horses which we had to watch out for in terms of noise levels. We also had restricted time slots where we could carry out the work. The noise was very strictly controlled as they didn't want to freak out the horses but they did move them off site for the show day.”

The event itself had been fantastic, he said. “This was due to the combined efforts of Envie Events, Backbone International who were hired by Envie Events to help coordinate the technical production, the Sensation crew and Protec. We worked together as a great team to ensure we could get everything built and the show delivered to the plan that had been designed.”

Commenting on the production and working together with Protec, Envie Events said, “Protec has extended experience in AV technology in the region and that it's very pleasant to work with professionals of the industry on

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projects like Sensation and Tomorrowland ‒ which the two companies recently worked on together as well. The Protec team always has a solution ready for every obstacle during build up and thinks along with the promotor to satisfy the needs of the customer and the overall show experience.

Working together with Protec is an easy job since they have all knowledge and equipment to make them the perfect partner for the technical production for Sensation any many other shows.”

They added, “Dubai is one of the world's greatest cities in terms of tourism traffic including entertainment, lifestyle, shopping, nightlife, fashion, music… This has not only been the main reason why we started operations here, but also why we think the future is so much more bright with this market expanding exponentially sue to its immense potential to attract the foreign and global population throughout the year. As for the venue ‒ Meydan, it brings its challenges but having experienced partners really makes the difference. From the account manager to the stagehands on the floor and everyone in between, they all are very professional and always try to work towards the best solution.”

Travis responded on the challenges, “We thrive on these challenges and it's always good to be able to come up with innovative and creative solutions. What resulted was a fantastic show for an audience with great energy.”

Nicolas Vandenabeele, Director of Envie Events concluded, “It's been an absolute roller-coaster with Sensation this year.

I loved the sky-rocketing energy and innovations that were in the show, and all of it would not have been possible without the support of all our partners.”

EDITOR"S NOTE Protec has once again showcased its immense capabilities by handling the entire sound, light, visual and staging requirements for Sensation. Providing a mix of top end equipment, Sensation lived up to its name.

www.productiontec.com

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AUSTRALIA Mandylights Light 2 Kilometres Of Mountain Range For Parrtjima 80 Robe BMFL Spots helped to project lights onto the mountain at ridiculously long throws of between 400 metres and one kilometer

The Parrtjima Light Festival is held in Alice Springs, Central Australia, and showcases the oldest continuous culture on earth through the newest technologies.

Through a spectacular world of light and sound, contemporary and traditional Indigenous stories and artwork are brought to life under the night sky on an unprecedented scale.

Illuminating the epic 300-million-year-old MacDonnell Ranges and spilling into Alice Springs Desert Park, Parrtjima is a breathtaking outdoor gallery experience presenting local artwork, culture and stories, with interactive installations the whole family can enjoy.

The sheer scale of the lighting on the MacDonnell Ranges makes Parrtjima Australia's longest-ever light show installation stretching for two kilometres.

Mandylights were contracted by AGB Events, creative consultants and producers of Parrtjima, to tackle this incredible light installation and they worked closely with the local indigenous Arrente people to ensure its success.

“We wanted the entire two kilometres of content to be as animated and moving as possible,” explained Richard Neville, Managing Director of Mandylights. “We also wanted ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

the event to be more theatrical than the previous year, consequently we designed a six and a half minute long light show that moved from lighting positions around the localized viewing areas, then up into projected images across the ranges and finally across fixtures that we scattered over the sides of the mountains which were able to shoot back towards the viewers.”

With such an enormous canvas and a ridiculously long throw of between 400 metres and one kilometer, fixture choice was paramount. After testing a few contenders, Richard decided upon eighty Robe BMFL Spots to project

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colour palette but that kept the show looking really smooth creatively.”

Mandylights retrofitted a 20ft shipping container as a new, interactive control space. During the time the show wasn't running, the local people could enter the control room and control the Robe BMFL's with simple hand movements.

Within the container there was also an area where the MA Lighting MA2 light console sat with a couple of large screens so that people could see how the control worked.

onto the ranges along with twenty Robe Spiiders placed on top of the ranges to project light back onto the viewing areas.

The installation process was not easy with day temperatures over 40° C plummeting to -1° C at night. Dust and wind was a constant leaving the lights full of red dust at the end of the event.

“Basically we were up against every possible environmental condition you could imagine!” said Richard. “We worked with MPH Australia out of Melbourne as they have a really good Robe inventory and Matt Hansen and his team absolutely smashed the entire project. We couldn't have done it without their support … even when asked to walk lights hundreds of metres into snake and dingo-infested scrub.”

The rich red of the rock and the dark green of the foliage doesn't make the MacDonnell Ranges the best projection surface but fortunately there had not been much rain beforehand so much of the grass was bleached almost white.

The lights were choreographed to an aboriginal soundtrack so it was necessary to create meaning with the projections and to represent the culture.

“It wasn't just a matter of throwing lights and patterns onto a mountain, we really went out of our way to communicate the concept that the local people and Rhoda Roberts, the curator, wanted to convey in the show,” added Richard.

“Obviously there are some colours that read really well and others not so well, so we ended up with quite a limited

“It was a really cool experience to bring the lighting control element into the festival,” remarked Richard. “While people were waiting to have a go at controlling the lights, they could look at the console to see how the cues were running and how the lights were moving. So it wasn't just a case of 100 lights off in the distance doing a light show, people got to see the timecode working and how the interactive control worked. It was a very rewarding experience to see heaps of aboriginal children entranced by this.”

As well as lighting the ranges, Mandylights lit the scrub and saltbush in the foreground immediately around the viewing areas. The festival site featured many light artworks with Mandylights on hand to assist the artists.

Parrtjima means the shedding of both light and understanding on a subject, something that Mandylights successfully achieved.

EDITOR"S NOTE The Robe BMFLs acquitted themselves very well by showcasing their long throw prowess whilst maintaining strong and bright colours and in handling the harsh temperatures.

www.mandylights.com

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CHINA Adamson Covers Every Seat At Beijing's Famed Bird's Nest Olympic Stadium With a capacity of 80,000 it was imperative that every seat had an enjoyable audio experience

Beijing National Stadium

Taiwanese artist Huang Guolun recently brought his “No Impossible” show to China's Beijing National Stadium, better known as the Bird's Nest from the 2008 Summer Olympics' opening ceremonies, and it was an expansive system comprised of Adamson's E-Series and S-Series loudspeakers that ensured high-quality, even sound coverage for every seat.

Yongjun “Park” Li of Le'er Culture & Art Studio was the system designer and FOH engineer for the performance at China's largest stadium ‒ with a capacity of 80,000 ‒ and explains that his choice to deploy Adamson for both the main house system and the delays covering the upper bowl was based on a few key factors.

“Adamson's E-Series is very widely applicable, from studios and theatres to major indoor and outdoor stadiums, and I've found it excels in any application,” shares Li. “The ESeries has an incredible throw, with smooth highs, powerful mids, and low end that seemingly has infinite power. The system is very dynamic; it feels like there's always power to spare, even in productions of this scale.”

Sourced through Adamson's Chinese distributor, Real Music, Li's system included main hangs of 18 E15 three-way, true line source enclosures per side, plus eight flown and eight ground-stacked E219 subwoofers per side. An ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

additional 15 E15s per side were deployed as side hangs, and small complements of four E12 three-way, true line source enclosures handled both front infill and outfill on each side of the stage.

Additionally, eight arrays of between 9-12 S10 two-way, full range enclosures were flown from the roof overhangs to cover the entirety of the upper bowl.

“Both the pleasing look of the speakers and their very straightforward rigging design, as well as their low weight, made this project very easy and quick to install, which was very important considering the size of the venue and production,” adds Li.

“We've been very pleased with the way Adamson has been adopted for major events, tours, and venues throughout China, and now that includes a system in one of China's largest stadiums ‒ and one of the most famous in the world,” says Real Music's Owner, Zhen “Richie” Wang. “We look forward to serving many more world-class clients with world-class solutions from Adamson going forward.”

EDITOR"S NOTE The E-Series has an incredible throw, with smooth highs, powerful mids, and low end and together with the S-Series enabled the audio to reach all the seats at the Bird's Nest Olympic Stadium seamlessly.

www.adamsonsystems.com

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INDIA HARMAN Professional Solutions Bring Premium Sound And Lighting To The Sufi Route Festival India's rst folk, poetry and Su music festival deploys JBL Professional speakers and Martin lighting to deliver an exceptional audience experience “Martin lights created the ambience, while JBL sound solutions rendered music exactly the way artists intended for their audience. The Sufi Route was also made accessible to hearing impaired attendees including children, which is even more heart-warming.”

The HARMAN audio system was comprised of 24 JBL VTX V25-II

The Whirling Dervish Ceremony from Turkey performs at The Sufi Route.

HARMAN Professional Solutions recently partnered with HARMAN Global Brand Ambassador and Grammy Awardwinning artist A.R. Rahman to produce The Sufi Route̶India's first folk, poetry and Sufi music festival.

HARMAN Professional Solutions was the official technology partner of the concert, which was held on November 18, 2017 at Qutub Minar, one of New Delhi's most iconic and historic monuments. The lineup featured legendary artists such as Javed Akhtar, Nooran Sisters, Hans Raj Hans, Mukhtiar Ali, Kamna Prasad Sood, Fouzia & Firoz, Dhruv Sangari and a Whirling Dervish ceremony from Turkey.

The Sufi Route and HARMAN partnered with The Kailash Satyarthi Children's Foundation to make the show accessible to 35 students with hearing loss, in support of the organization's

The Nooran Sisters performing at the festival.

loudspeakers, 4 clusters of Vertec VT4888 loudspeakers, 9 VTX G28 subwoofers, and 6 VTX S28 subwoofers. In addition to the main system, the venue deployed VRX932LA-1 loudspeakers for out fills, STX835 loudspeakers for side fills, and VRX915M speakers for stage monitors. Crown I-Tech 12000HD and I-Tech 4x3500HD amplifiers provided power for the entire system, and JBL Performance Manager software was used for configuration and control.

The performances were mixed on two Soundcraft Vi3000 consoles and a Soundcraft Vi6 console. Artists relied on AKG microphones for vocal and instrument reproduction, including the DMS800 Vocal Set, Drum Set Premium, D40, C518, C5 and D5. The Martin lighting rig for the main stage included 36 MAC Quantum Wash fixtures, 48 MAC Aura LED wash fixtures, 12 Rush MH7 Hybrid fixtures and 12 Mac Axiom Hybrid fixtures.

EDITOR"S NOTE Punjabi singer Hans Raj Hans.

“A Billion Acts for Peace” campaign. Students from the Centrum GRO Advanced Skill Training Center for the Deaf enjoyed the performances using four translators and vibrations from JBL speakers.

“HARMAN Professional is proud to be associated with a concert of this genre and scale,” said Prashant Govindan, Senior Director, HARMAN Professional Solutions, India & SAARC.

Hearing impaired students from the Centrum GRO Advanced Skill Training Center for the Deaf enjoyed the performances using four translators and vibrations from JBL speakers.

www.harman.com

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SINGAPORE ZoukOut Roars With D8 Group L'Acoustics makes maiden appearance at the Main stage

The Nooran Sisters performing at the festival.

ZoukOut saw 40,000 partygoers drawn to the dusk-to-dawn event, over two days, on the 8th and 9th of December 2017.

Headlined by acts such as DJ Snake, Marshmello, Rich Chigga and Higher Brothers, the 17th edition of this iconic electronic music festival saw Digital Aid Projects (D8 Group) from Malaysia, being handed responsibility for production support for the first time in ZoukOut's history.

When asked how they managed to snag such a project, D8 Group said: “When the Genting group took over Zouk, they implemented a three-company tender for ZoukOut ‒ three companies were invited to pitch (for the event). We have had a good track record of doing events at Genting's The Ranch, where we have done the Good Vibes Festival for the past few years, and we are proud to say we won the pitch based on our creative design and world-class equipment.”

Although this is the second time the professional audio and Punjabi singer Hans Raj Hans. lighting agency has worked on an event in Sentosa (they had previously worked on a smaller event at Sentosa's Wave House), this was the first time D8 Group worked on ZoukOut, and accredited the festival's success to their local supporters: Stage 4 Production, who provided lighting and LED support as well as ran site management for the Star Stage; Titan AVL, who provided structural and roof support

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for the Star Stage; Harman Professional APAC, who provided audio support with their new JBL speakers; and Alpha Manpower, who were the riggers for audio and lighting.

While Stage 4 busied themselves with the Star Stage, D8 Group took responsibility for the set-up of ZoukOut's main stage ‒ the Moon Stage.

With gear brought in from Kuala Lumpur through multiple 40-foot-tall trailers, set-up began on the 20th of November for the base plates and layer structure.

The main stage concept aimed to be the festival's “mane” attraction, and D8 Group delivered: the 18m-tall and 34mwide lion head that spanned the entirety of the Moon Stage was meant to represent Singapore's iconic Merlion, and was also the first time that 3D props had been used for a stage, in ZoukOut. However, setting up was a challenge from day one. One of the downsides to working on an outdoor set- up was the unpredictability of the weather and difficult environmental conditions ‒ the team had to work on sand, and the

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weather was no help, with rain pouring every day right up to two days before the start of the festival. D8 Group took it all in their stride, though, and shares that with patience and teamwork they worked into the early hours of the morning and managed to pull it off.

Featuring in the Moon Stage as Front of House speakers were the L'Acoustics K2 Speakers. This was the first time L'Acoustics speakers had made their presence at a ZoukOut festival. D8 Group believed the L'Acoustics speakers were best suited for the venue, with the SPL at 98dB throughout the whole venue which measured approximately 100m length and 50m across ‒ this could have gone higher but D8 Group shares that they were asked to keep the sound levels reasonable so as not to affect the numerous hotels in the area.

“We also had to make sure the sound did not bleed into the Star Stage ‒ the K2 has proven itself to be a powerful system which can go much further, but we had to be wary with our boundaries... We had to take into consideration the placement of the speakers and how the array came down.”

SPEAKER CONFIGURATIONS Moon Stage:

LIVE

LIGHTING CONFIGURATIONS Moon Stage: · CLAY PAKY ALPHA SPOT 1500 HPE

28 Units

· CLAY PAKY SHARPY

41 Units

· ROBE BMFL BLADE

8 Units

· SGM SIX PACK

26 Units

· SGM Q7

28 Units

· PR X-LED

28 Units

· GRAND MA FULL SIZE

1 Unit

· GRAND MA LITE

1 Unit Star Stage:

· CLAY PAKY - B EYE K10

6 Units

· ROBE SPIKEY

38 Units

· CLAY PAKY 700

6 Units

· EK PUNCH LIGHT

8 Units

· MARTIN ATOMICS STROBE

8 Units

· GRAND MA LITE

1 Unit

· L'Accoustics K2 x 32 units (Main Hang) · LA'coustics K2 x 4 units (Front Fill)

d8projects.com

· L'Accoustics SB 28 x 32 units · L'Accoustics K1SB x 8 units · L'Acoustics Kara x 6 units (DJ Monitor) · L Acoustics SB 18 x 2 units (DJ subs) Star Stage: · JBL VTX A12 x 16 units (Main Hang) · JBL VTX V20 x 3 Units (Front Fills) · JBL G28 Subwoofers x 12 units · JBL VTX F35 x 2 units (DJ Monitor)

EDITOR"S NOTE One of the downsides to working on an outdoor set- up was the unpredictability of the weather and difficult environmental conditions. D8 Group took it all in their stride, though, and shares that with patience and teamwork they worked into the early hours of the morning and managed to pull it off.

· JBL S25 Subwoofer x 2 units (DJ Subs) The entire infrastructure for the Moon Stage ran on AES, while the FOH console ran on Avid Profile with Waves plugins.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

LIVE

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ETA - January, 2018

TAIWAN Beatbox Battles Choose MIPRO MM-59B Beatbox Microphone 50 contestants from 18 countries battled it out for the “Asia Champion” trophy MIPRO also took the chance to show off its new microphone, the MM-590. The first-of-its-kind, condenser/dynamic microphone was first introduced in April, and is designed for users who need a premium vocal condenser microphone in venues without phantom power supplied by mixers.

The jury members of the Asia Beatbox Championship.

Held on 18 and 19 August, the recent 2017 Asia Beatbox Championship gathered a thousand spectators in Taipei, eager to watch as contestants battled it out for the “AsiaChampion” trophy. In order to establish the Asia Beatbox Championship as one of the biggest international beatbox tournaments in the world, the host Twbeatbox.com invited seven jury members from the U.K., France, Singapore, Switzerland, and Russia. The championship's scale was also elevated to three competitions: Solo Battle (one-to-one), Tag Team Battle (pair-to-pair) and Loopstation Battle.

Thanks to the exclusive circuit design, the MM-590 powered by a built-in battery exhibits the same professional characteristics as those condenser microphones which require external 48V phantom power.

Twbeatbox.com made a commercial film for MM-590 and played it during the competition ‒ the commercial film showed the MM-590 being used in various situations, such as a dynamic mic for street performances or in the recording studio as a condenser mic for recording.

The MM-590 CF.

Over the course of the two days, four teams were selected from each competition on the first day, then semi-finals and finals on the second day. The international jury members Ball-Zee, Dharni, Mad Twins, Faya Braz and Reeps One also presented their showcases, receiving rousing applause from the fans.

MIPRO sponsored the Asia Beatbox Championship for the second year, with the MM-59B beatbox microphone retaining its place as the competition's official microphone.

The MM-59B has won praise from beatboxers since it was launched at the Asia Beatbox Championship last year. “The MIPRO MM-59B is really amazing for beatboxing because it captures a lot of details of the sounds and especially the fullness of the bass. Also, it's very convenient to clean the dome of the mic compared to other mics.” said Dharni, 2013 & 2014 Grand Beatbox Battle Champion.

Zede, Beatbox Battle World Champion 2009, added, “As a technical beatboxer, a microphone should create very clear sounds and the low frequency are very important too. The MIPRO MM-59B has this clear sound and lows, also the way it handles the high frequency is awesome.”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

EDITOR"S NOTE As Beatbox is all about the vocals, it is imperative the microphone is able to capture all the sound clearly. The MIPRO MM-59B has certainly proved itself in this field as it is able to capture all the details. The added bonus is that it is easy to clean the dome of the microphone. www.mipro.com.tw

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ETA - January, 2018

THE LAST PAGE

Stuff Too Good To Keep To Ourselves

An Agence France Presse report highlights the growing interest in Electronic Dance Music in Myanmar. The 808 Festival Yangon held in early December attracted 12,000 fans. Admission cost is kept low as the country is considered under-developed, so organisers need to attract large crowds to ensure that it is profitable. The same report highlighted each year EDM nets about US$7.4 billion globally and about US$1 billion is contributed from the Asia-Pacific.

According to the Musicmagpie website, the highest grossing concert tour of all time is U2's 360° Tour. Their tour to promote the album No Line on the Horizon took in an eye-watering $736.4 million at the box office, covering 110 shows across Europe, the Americas, Oceania and Africa. It's also the highest-attended tour with more than 7.2 million tickets sold. The report was dated October 2017.

We have heard that AED Group will be setting up its Rent office and warehouse in Singapore in 2018.

Personnel have already been appointed but official work will commence in 2018. AED rents only to AV professionals, and never to 'end users'. The latest technology in the field of professional audio, light, video and rigging equipment and accessories can be hired from their extensive product portfolio. AED Rent, annually supplies 60,000 shows and events with audiovisual material according to the 'Dry hire' principle.

This should significantly increase with the set-up of the Asia office.

According to AVIXA's 2017 Industry Outlook and Trends Analysis (IOTA) report, the global market for pro AV products and services used in live events was projected to reach US$20.8 billion in 2017 and grow to US$27 billion through 2022. That is a compound annual growth rate of 5.4 percent.

In the Asia-Pacific region, the market for pro AV products and services used in live events is projected to reach US$6.7 billion in 2017 and grow to US$8.8 billion hrough 2022 for a CAGR of 5.6 percent.

In 2017, the market for products and services for live events represented 10.4 percent of the overall AsiaPacific pro AV market.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

EVENTS

CALENDAR

ETA - January, 2018

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2018

Jan 14 -16 | CABSAT 2018 Venue: Dubai World Trade Centre, Dubai Visit Site

May 31 ‒ 2 June | PALM Expo India 2018 Venue: Bombay Exhibition Center, Goregaon East, Mumbai, India Visit Site

Jan 25 - 28 | NAMM Show 2018 Venue: Anaheim Convention Centre, Anaheim, USA Visit Site

Jun 06 ‒ 08 | Conference Programme starts on Jun 02 InfoComm International 2017 Venue: Las Vegas, USA Visit Site

Feb 06 ‒ 09 | Integrated Systems Europe 2018 Venue: Amsterdam Rai, Amsterdam, Netherlands Visit Site Feb 21 - 23 | Live Entertainment Expo Tokyo Venue: Makuhari Messe, Tokyo, Japan Visit Site Mar 21 ‒ 22 | IoT Asia Venue: Singapore Expo, Singapore Visit Site Apr 09 ‒ 12 | NAB Show 2018 Venue: Las Vegas Convention Center, NV, USA Visit Site Apr 10 ‒ 13 | Prolight + Sound Frankfurt 2018 Venue: Frankfurt am Main Visit Site Apr 11 ‒ 13 | InfoComm China (IFC) 2018 Venue: China National Convention Center (CNCC) Visit Site Apr 24 ‒ 26 | SLV Symposium Venue: Quill City Mall, Kuala Lumpur, Malaysia Visit Site Apr 25 ‒ 27 | SecutechAsia Venue: Taipei Nangang Exhibition Centre, Taipei, Taiwan Visit Site May 08 ‒ 11 Guangzhou Entertainment Technology (GET) Show 2017 Venue: Poly World Trade Centre Expo, Guangzhou, China Visit Site May 10 - 13 | Prolight + Sound Guangzhou 2018 Venue: Area A, China Import & Export Fair Complex, Guangzhou, China Visit Site May 10 ‒ 12 | LED Expo Thailand Venue: IMPACT Exhibition and Convention Center, Bangkok, Thailand Visit Site

Jun 06 ‒ 08 | Conference Programme starts on Jun 05 IAAPA Asian Attractions Expo 2018 Venue: Hong Kong Convention and Exhibition Centre, Hong Kong Visit Site Jun 09 ‒ 12 | Guangzhou International Lighting Exhibition 2017 Venue: China Import and Export Fair Complex, Guangzhou, China Visit Site June 26 ‒ 28 | ConnectechAsia (BroadcastAsia 2018) Venue: Suntec, Singapore Visit Site

June 26 ‒ 28 | ConnectechAsia (CommunicAsia 2018) Venue: Marina Bay Sands, Singapore Visit Site Jun 28 ‒ 30 | Summer NAMM 2018 Venue: Nashville, TN Visit Site Aug 22 ‒ 24 | Integrate Venue: ICC Sydney, Darling Harbour Visit Site August 23 - 25 | PALMEXPO China Venue: China National Conference Centre, Beijing, China Visit Site Sep 05 -07 | InfoComm China Chengdu Venue: Western China International Expo Center Visit Site Sep 18 ‒ 20 | InfoComm India 2018 Venue: Bombay Exhibition Centre, India Visit Site