ETA JULY 2018

For The Technical And Production Professionals

TDC Shines at ViVid Sydney 2018

KNOWLEDGE HUB

Data Sheets and Other Fairytales ON THE JOB: Gearhouse Broadcast with Shure Axient Digital and Clear-Com CASE STUDY: Astro Spatial Audio at Tommy’s World New Production

w w w.e -techasia.com

J U L Y 2 0 1 8

THE NEW REFERENCE POINT

w w w . r o b e . c z

03

CONTENTS JULY 2018

60

58

IN THIS ISSUE VOL 19 ISSUE 7 JULY 2018

04

FIRST WORDS

06

NEWS

20

VIDEO FILES

22

52

LIVE

52 Robe MegaPointes are a Credit to Isracard Event 54 Bigger, Brighter than Ever: TDC Shines at Vivid Sydney 2018

ENNOVATIONS

56 HARMAN Professional at APRA Silver Scroll Awards

34

EXHIBITION REVIEW PALM EXPO India

58 Adamson Gets Shanghai Shaking at EDC China 2018

45

KNOWLEDGE HUB

60 The Claypaky Scenius Unico Provides Eye-opening Effects for Katy Perry’s Concert

45 Data Sheets and Other Fairytales

62

CASE STUDY

64

ON THE JOB

46 Media Servers Device Control 48 All About Wireless: Transmission Lines (Part Two) 50 Building Your Audio System – Configuring the Monitor System

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

62 Astro Spatial Audio Takes Audience Inside Tommy’s World for New Production of The Who’s Masterpiece

Gearhouse Broadcast at the Rugby Sevens and Tens

04

FIRST WORDS JULY 2018

Bringing the Cinema Experience to Live and Installa�on Surround sound systems which are fairly common in cinemas nowadays, were created to provide a more immersive experience for the audience. The opening of a door or a thunderstorm became more real as the sound system placement and audio dispersion made the audience feel that they were part of the scene. Consumers have of course re-created that experience with their home theatre installa�ons as well. Now this experience is going beyond the cinema and home theatre experience.

Over the last year many of us would have heard about Astro Spacial Audio (ASA). At ISE, Prolight + Sound and most recently at InfoComm USA, brands such as Alcon Audio and Mar�n Audio demonstrated how ASA together with their speakers can create an interes�ng immersive environment for the live market. The industry is always looking to up the game and ASA brings an interes�ng dimension to the live environment including performing arts theatres.

The heart of Astro Spa�al Audio, the SARA II Premium Rendering Engine harnesses Spa�alSound Wave (SSW) technology, developed by the Fraunhofer Ins�tute for Digital Media Technology IDMT, and makes fully object-based, sophis�cated immersive audio accessible for the end-user, regardless of it being used in a fixed installa�on environment or live spaces.

To be clear brands such as L-Acous�cs and d&b have their own 3D Spa�al Audio systems. ASA is however loudspeaker agnos�c. The performing arts spaces have recently been in the news of how they have used ASA to create experiences for audiences that might not have previously created the same impact.

Ram Bhavanashi

Editor, India And Middle East ram@spinworkz.com

Julie Tan Admin & Circulation admin@spinworkz.com

Natalie Chew Writer natalie@spinworkz.com

Daniel Ngiam

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

ETA has put up a case study of ASA being used at the new produc�on of Tommy’s World to share with our readers the possibili�es of bringing theatre produc�on to a new level. Enjoy the read.

Shankar Venugopal

Thomas Richard Prakasam Publisher / Editorial Director

CREATIVE

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ART / LAYOUT

shankar@creativecult.in

CULT

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

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

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NEWS JULY 2018

GLOBAL

10K Used Gear Auc�on Managing Director, Garry Nelsson commented: “Our research indicated the big auc�ons, that appear infrequently, have mixed success, so we developed a system that will allow anyone - from the entertainment technology industry through to financial liquidators - the ability to place their equipment on our auc�on pages. The difference between 10K and an auc�on house is we are only concentra�ng on the E-T produc�on business. We reach a targeted global audience. Clients can bid from anywhere in the world - they just need to be registered and approved through our website - with the certainty that the items won, will be delivered with the same exper�se we provide for our regular day to day orders."

10K Used Gear invites both their current and prospec�ve suppliers and financial administrators to contact them to discuss their par�cular disposal requirements.

The 10K Used Gear auc�on pages can be found HERE

10K Used Gear Limited, the people behind the rapidly expanding 10kused.com, have added an auc�on sec�on - believed to be the first such system to be integrated into a website, specialising in the sale of used produc�on gear.

www.10kused.com

INDIA

AVCL Joins Adamson Network as Exclusive Distributor for India audio market. We look forward to working with our new partners at Adamson to provide our clients with unmatched service, high-quality user educa�on, and top-�er audio performance.”

The new arrangement was announced during a press conference on May 30, 2018, one day prior to PALM Expo India in Mumbai.

Subsequently, Sonotone made its market premiere with Adamson on the trade show floor, exhibi�ng from May 31-June 2, 2018.

(L-R) Adamson’s David Dohrmann; Sonotone’s B.V. Nagpal; Sonotone’s Karan Nagpal; Vardhaman’s Kaushal Garg; Vardhaman’s Jeff Mandot; AVCL’s Sushil John & Vardhaman’s Dinesh Mandot

Adamson Systems Engineering has formally partnered with AVCL to bolster its presence in the Indian market. Adamson will be the first line distributed under the AVCL brand – a new premium sub-en�ty of distribu�on firm Sonotone aimed at the upper echelon of professional audio companies and users in India. Under the agreement, Sonotone itself will oversee the Integra�on Segment while Vardhaman has been appointed as the Authorized Partner for the Touring Market.

“Sonotone and AVCL are excited to officially join the Adamson network as the company’s exclusive distributor in India,” says Karan Nagpal, CEO of Sonotone. “We’ve watched closely as Adamson has gained serious trac�on in major global markets and recognized the poten�al that this elite brand and premium product would have in the growing Indian pro ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“The excitement surrounding Adamson in our exhibit at PALM has already been very encouraging,” Nagpal reports amidst the PALM Expo.

“Many of our exis�ng partners have shown interest, though we’re making plenty of new connec�ons on the back of Adamson’s growing reputa�on in our market and look forward to building on that even further going forward.”

Founded in 1978, Sonotone provides its clients with the best in technologically advanced products and services for a wide range of applica�ons, including major tours and fes�vals, produc�on rentals, sound for cinema, performance venues, clubs, hotels and restaurants, and more. The company’s dealer network spans over 20 states in India.

“We’ve been impressed with AVCL’s vision for Adamson in the Indian market since our very first mee�ng,” comments David Dohrmann, Adamson’s Technical Director for the Asia-Pacific region. “Sonotone has con�nually proven that its stellar reputa�on in the Indian market has been well earned and Vardhaman has gained a high profile in the touring segment. We look forward to working closely with their team to help build our profile and overall reach in this significant and promising marketplace.” www.adamsonsystems.com

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08

NEWS JULY 2018

MIDDLE EAST

IBS Group Restructures Everyone involved has more responsibility and freedom to shape their roles within the company both individually and collec�vely, and to engage in smart approaches that will improve all aspects of work and communica�on.

“The realignment has op�mised IBS and put it in a be�er posi�on to a�ain its long term ambi�ons,” commented Stany, adding that having a system in place with more clearly defined roles, func�ons, authority and apprecia�on of the scope of the work, means people working together can accomplish the more challenging “organisa�onal goals”.

The move brings a big smile to Samir’s face, “We are the same people at IBS who take intense pride in our work have a serious passion for con�nual improvement”.

(L-R) Stany D’Souza, Lorenzo Gempies, Samir Chikhodrawala, Nigel Smith, Terry Murtha and Scott Davis

The IBS Group in Dubai announces a major restructure, a move that sees a lively and energe�c new management team in place to run the opera�on day-to-day, they are all experienced and respected HODs from within the company.

Lorenzo is “happy to see how mo�vated the whole team has become immediately a�er the changes were implemented. Everybody is excited about their contribu�ons,” he enthuses.

This more inclusive approach will s�mulate innova�on throughout all departments – which include carpentry, pain�ng, aluminium and steel fabrica�on, electrical, dry hire and equipment rental, graphics, design and technical drawing … plus the essen�al office and warehouse suppor�ng infrastructures.

The team comprises opera�ons manager Lorenzo Gempies, HSE manager Samir Chikhodrawala and CFO Stany D’Souza. They will work in conjunc�on with four core directors who originate from the UK.

“All opinions are considered if they will make sense and be applicable in a company-wide context,” explained Sco�, and the idea is that departments working more harmoniously together in this way create a synergy that is valued and encouraged.

This set up and the fusion of European management truly embraces and the spirit and interna�onal flavour of Dubai, one of the most dynamic marketplaces at the heart of the Middle East region.

“The immediate results have been fantas�c and the feedback from our regular customers underlines my confidence that 2018 will be a very successful year,” he confirms.

Since 1996, IBS has gained a solid reputa�on as a leading enterprise for building ambi�ous bespoke stage and event sets, providing detailed and elaborate décor as well as specialist draping and so� goods.

Over the last 22 years IBS has become a benchmark for quality work and maintaining the highest standards in the UAE live event Industry.

Lorenzo, Samir and Stany will oversee the busy facility and 80 full �me staff based at IBS’s large purpose built premises in Dubai Investment Park 2, purchased and constructed in 2013.

With the changes, the company is an even stronger collec�ve of professionals and crea�ve and technical prac��oners who are moving forward and working together both internally and with a diverse client base … for the benefit of crea�ng and producing superla�ve live events.

Director Sco� Davis explained, “Directors Alan Scoley, Terry Murtha, Nigel Smith and I decided that a non-hierarchical management team was the way forward rather than appoin�ng a general manger from outside. When we considered the talent, experience and commitment we have on-board … it was a straigh�orward decision”.

Known for its imagina�on and flair, IBS is also fully commi�ed to the health, safety and welfare of its workforce. A set / scenic provider in the Middle East to be cer�fied OHSAS 18001 is very rare, if not unique, and being registered in Abu Dhabi is also another benefit allowing IBS the freedom to operate legally in both of the UAE’s main events market hubs.

Each of the three new management team are long term IBS employees and are already invested in the company’s values, vision, opera�on and

www.ibs-group.com

future enterprise, each has an in-depth knowledge and a unique understanding of how this very specific business runs.

The move has already brought a new dynamism to the workplace.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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10

NEWS JULY 2018

INDIA

Mar�n Audio Appoints PTC as new Indian Distributor Mar�n Audio has appointed Mumbai-based Pree� Trading Corpora�on (PTC) as its new distributor in India. The family-owned company has been in opera�on since the start of the new millennium with a goal to become the leading AV residen�al and commercial installa�on company in the sub-con�nent.

PTC co-directors Vijay Dhingreja and Kamal Dhingreja

Ra�onalising the decision to approach Mar�n Audio, managing director Kamal Dhingreja said, “All our dealers carry out installa�ons as well, and had been dependent on tradi�onal brands. So we decided to make Mar�n Audio available as a performance product, which sets them apart from regular integrators.”

He said that Mar�n Audio’s brand value was well recognised in India. “It is highly regarded for its sound quality,” he said. “We have taken the ini�a�ve in working with the top integrators on their projects, and also to reach the best business houses on the Indian map through our sales team.”

PTC will be looking to establish the CDD installa�on series at an early stage, along with BlacklineX, while they will also address rental staging requirements through their regional channel partnerships.

A�er making the products available for major integrators, PTC will be planning demo spaces in dealer stores and par�cipa�ng in exhibi�ons, such as the recent PALM Expo India.

Speaking of the appointment, Mar�n Audio’s APAC Account Manager, Andy Duffield, stated, ”Mar�n Audio has a long-established reputa�on in India for innova�on, sonic excellence and build-quality.

“As Mar�n Audio’s product range expands to encompass a wider range of applica�ons and price points, it has become clear that we needed a distribu�on partner with a wide access to dealer channels across India in order to maximise market penetra�on across all ranges, throughout the country. Pree� Trading Corpora�on provides that capability. We are excited to welcome them to the Mar�n Audio family and are confident that, with their help, Mar�n Audio’s successes in India will go from strength to strength.” www.mar�n-audio.com

MIDDLE EAST

tarm Showlaser Highlights Extraordinary Truck Launch in the UAE

The new Mercedes-Benz Actros and Arocs trucks launched in the Middle East and Africa in magnificent style with Germany-based tarm Showlaser GmbH. The regional launch of the new genera�on of heavy-duty trucks – the new Mercedes-Benz Actros and Arocs – was celebrated in an evening of extraordinary style in the sea, just off the Dubai Marina and Jumeirah Beach Residences on 7th March. A�ended by more than 300 VIP customers and media from the Middle East and Africa, and hosted by Daimler’s Commercial Vehicles Regional Office, the drama�c reveal of the new models included a stunning off-shore laser show display in proximity to Dubai’s new iconic Dubai Eye Ferris Wheel.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Within just 8 days tarm Showlaser´s team created this striking show with a total of 10 sophis�cated high-power full-colour laserprojectors and a 360 degree smoke-installa�on with a total of 18 fog/haze-generators with fan. tarm Showlaser´s Managing Director Ralf Lo�g about this result: “We only had one single night for rehearsal in Dubai and in such a case only a very thorough prepara�on is the key to success. So we visualized the whole show in our studios under realis�c condi�ons in 3D.“ Check out the video HERE www.tarm.de

Photo: Paul Gärtner

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NEWS JULY 2018

QATAR

Airstar Illuminates Losail Interna�onal Circuit

Located in the heart of the desert outside the capital of Doha, Losail

Circuit Sports Club. “We know and work with Airstar for three years

Interna�onal Circuit is among the best motor racing circuits in the

now, they are part of our MotoGP event.”

Middle East. This world class venue hosts the Grand Prix of Qatar every year, one of the flagship events of the MotoGP season. In 2008, the

For this first race of the 2018 MotoGP season, the Airstar Middle-East

race became the first one to take place at night, at a more

team deployed 50 Pixocom balloons. Measuring three meters in

advantageous �me for television broadcasts but also in order to benefit

diameter and with a power of 9kW, the Pixocom – like all Airstar

from milder temperatures.

Balloons – provided a glare-free, efficient and aesthe�c light to the 32,000 spectators. This glare-free aspect is par�cularly appreciated by

Thanks to a permanent and ground-breaking ligh�ng system, riders can

riders who are not disturbed during their race.

ride on the 5.4 km track as if they were in daylight. Since 2016, the Losail Circuit Sports Club team relies on Airstar, the French

Despite restric�ons around the transporta�on of goods due to the

manufacturer and world leader of ligh�ng balloons, to light up the

loca�on of the event, the Airstar and Losail teams both worked

paddocks where teams prepare and adjust their motorcycles.

�relessly, comple�ng the installa�on in just four days. "We worked day and night" remembers Hicham Lalmi, Managing Director of Airstar

The Airstar balloons have also provided ligh�ng for the Public Area,

Middle East. "But thanks to the professionalism of the circuit team, we

where addi�onal entertainment and a�rac�ons are offered to visitors,

were able to work in very good condi�ons to deliver the project on

such as camel riding, falconry, or tradi�onal Arabic coffee making. This

�me. It has been a pleasure and an honour to work with them again.”

year, the Losail Interna�onal Circuit also had the honour of receiving the Emir of Qatar Sheikh Tamim Bin Hamad Al Thani, who was

"With Airstar’s ligh�ng balloons in place, spectators, just like the riders,

a�ending the event for the first �me.

were able to fully enjoy and immerse themselves in the race. The Airstar team was ready and willing to help us throughout the event and

“The Grand Prix of Qatar is the only MotoGP race that is held under

we look forward to con�nuing the collabora�on in the years to come,"

floodlights. However, the ligh�ng has to be perfect to ensure the safety

concludes Juan Baquero.

of the riders, as if they were riding in day �me. In addi�on, we wanted to give a nice and pleasant atmosphere to the place, and that is exactly what Airstar balloons offer”, comments Juan Baquero, CEO of the Losail ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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NEWS JULY 2018

AUSTRALIA

Event Technologies Illuminates the Biggest Stages in Australia with HARMAN Professional Solu�ons Event Technologies needed a versa�le fixture that could shine in any situa�on—something compact enough to fit on small stages, yet powerful enough to illuminate an arena. They also needed a fixture that could produce sharp gobo projec�ons at a variety of focal lengths, without genera�ng any noise or heat. Event Technologies were surprised to find that the MAC Quantum Profile was capable of all that and more.

“Event Technologies thought the MAC Quantum Profile was too good to be true, but a�er visi�ng our office and experiencing it for themselves, they quickly realized it was the perfect fixture for their needs,” said Keith Bradshaw, Technical Sales VIC, Show Technology.

Event Technologies recently updated their inventory with Mar�n by HARMAN MAC Quantum fixtures, provided by Show Technology, to deploy for concerts, musicals, corporate func�ons and more.

Event Technologies is a leading AV produc�on company that delivers professional audio, video, ligh�ng and staging solu�ons for theatres, corporate func�ons and events on the biggest stages in Australia. Event Technologies also provides solu�ons for other AV produc�on companies—and MAC Quantum Profiles by HARMAN are in high demand. In order to meet the needs of their customers, Tom Bayford, Technical Director at Event Technologies visited the Show Technology office in Melbourne to see the MAC Quantum Profile fixtures in ac�on.

“The MAC Quantum Profile �cked all the boxes for me,” said Bayford.

“Mar�n lights are known as the workhorse fixture in Australia, but the range and the dimming curve of this fixture really impressed me—especially at low intensi�es. Whenever we rent the MAC Quantum Profile to clients the feedback is always overwhelmingly posi�ve.”

"The lightweight Quantum Profile is easy to transport and convenient to install at events,” added Bayford. “Their ability to work in low-power setups allows me to deploy them in any venue, including those that don’t have a three-phase power supply. It’s versa�le enough that it can pack a punch on the biggest of stages, or be used unobtrusively in a small black box space on low fan mode."

"For a company that delivers excep�onal AV solu�ons on stages across Australia, a dynamic fixture like MAC Quantum Profile is a perfect fit," said Ramesh Jayaraman, VP & GM HARMAN Professional Solu�ons, APAC. "By demonstra�ng the outstanding features of the product proficiently, Show Technology were able to help Event Technologies make an informed decision they could be confident with. Although bias, we’re very pleased that Event Technologies chose Mar�n products to advance their ligh�ng inventory, we’re confident they will be able to transform any atmosphere with class and refinement. We hope to con�nually provide them with the best audio and ligh�ng technology to further their business." h�ps://pro.harman.com

EVENTS CALENDAR - 2018 Aug 22 – 24 Integrate Venue: ICC Sydney, Darling Harbour August 23 - 25 PALMEXPO China Venue: China Na�onal Conference Centre, Beijing, China Sep 05 -07 InfoComm China Chengdu Venue: Western China Interna�onal Expo Center

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NEWS JULY 2018

INDONESIA

Mar�n Audio Moves its Indonesian Distribu�on There are certainly untapped markets within the vast area of the Indonesia archipelago. It is my inten�on to build a network and channels to reach out into these places and establish Mar�n Audio presence there.”

Another factor in the transi�on, he emphasised, was “the mutual understanding between [Mar�n Audio’s] Andy Duffield and I, ever since he took responsibility for the Indonesian market. I believe it’s the trust that’s been established between us that cemented the founda�on for my new company taking over distribu�on.”

Long �me reseller of Mar�n Audio solu�ons in Asia, Eric Haslim has set up P.T Rhema Mul� Perkasa (PT RMP) to market the brand in Indonesia.

Mar�n Audio had previously worked with Haslim over a number of years, when he was with previous distributor, P.T Citra In�rama.

Speaking of the transi�on, he said, “From the day I realised that a premium product like Mar�n Audio required a specific sales and marke�ng strategy, my inten�on was always to set aside a specific team of people that were passionate and competent in handling all aspects of professional audio.

“Since P.T Citra In�rama was first trusted to represent Mar�n Audio in the 90s, the market has changed and evolved. As we enter the age of internet, the tradi�onal business model of distribu�on no longer can sustain the compe��ve world we now face.”

A�er witnessing numerous changes during the 14 years of handling Mar�n Audio as part of the family business, the transi�on from P.T Citra In�rama to P.T Rhema Mul� Perkasa was rela�vely smooth and painless, he says, “as the idea of taking Mar�n Audio out of the family business and running it independently has always been something that Leo Saleh (my uncle) discussed on many occasions.

Hence, at the start of 2018, when we both decided that I’d take the brand and give it a fresh breath of air by running it independently, it was simply a case of formalising the change and acquiring the approval of Mar�n Audio top management.”

Mar�n Audio in turn knew that Eric Haslim’s passion for its signature sound extended right back to the days of EM series and Blackline.

“We now intend to provide an outlet that’s fully equipped and dedicated in promo�ng Mar�n Audio’s brand existence by building a larger market share in Indonesia, with the independence to do so.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Haslim is certainly op�mis�c about the future. “We have seen the surge in the Mar�n Audio line of products over the past four years. Thanks to the advances in social media communica�on, we are now able to see latest project installs in the likes of Twi�er, Instagram and so on.

However, having handled three major launches of Mar�n Audio products personally, I know nothing beats seeing the audience expression when they hear the products at workshops, seminars and demos.”

And taking into account the current market situa�on in Indonesia, he foresees great things for CDD and Blackline X in the wider commercial fixed install market. “At the same �me, we are of course con�nually eyeing large important installs such as auditorium, clubs as well as poten�al rental companies willing to invest in Mar�n Audio WPM and WPC.” h�ps://mar�n-audio.com

“We now intend to provide an outlet that’s fully equipped and dedicated in promo�ng Mar�n Audio’s brand existence by building a larger market share in Indonesia, with the independence to do so. There are certainly untapped markets within the vast area of the Indonesia archipelago. It is my inten�on to build a network and channels to reach out into these places and establish Mar�n Audio presence there.”

18

NEWS JULY 2018

SOUTH-EAST ASIA

myMIx Appoints PAVE ‘Our market coverage now includes Singapore, Malaysia, Indonesia, Thailand and Vietnam. In addi�on to myMix, we also distribute AtlasIED, ClearOne, Epson and Visionary Solu�ons, with further announcements pending.”

‘I picked PAVE because they are ac�ve in many of the markets where myMix is being sold,’ said myMix Managing Director, Mathias von Heydekampf. “Also, what I didn’t realise, was the fact that they had already installed many myMix systems and had always wanted to get their hands on the brand. With them covering Malaysia, Vietnam and Thailand, as well as Singapore, I found an ideal partner because I was looking for distribu�on in those countries as well.’

Mr Teo notes that both Mr von Heydekampf and PAVE managing director Jeffrey Lim are confident that the agreement will provide great results. He also demonstrated how PAVE’s experience with the products will give the company an edge when marke�ng them.

PAVE Senior Sales Manager Stephen Teo (L) with colleague Gilbert Tan and myMix Managing Director, Mathias von Heydekampf PAVE System Pte Ltd has been appointed as the official distributor of myMix personal monitor mixers for Singapore, Malaysia, Vietnam and Thailand. Be�er known for its Systems Integra�on capabili�es, PAVE has in recent years expanded into distribu�on as part of its business plan.

“Over the years PAVE has established the distribu�on business and has been working closely with resellers to support them with engineering services when required,” said PAVE Senior Sales Manager Stephen Teo.

“We are most glad to have myMix aboard our distribu�on arm,” said Stephen Teo. “myMix is not just about in-ear monitoring; the system can be used for many applica�ons including mul�track recording, audio distribu�on and communica�ons. We found in our past projects that the set up of the system was surprisingly easy and now, with the myMix web browser control interface, users can easily monitor the system and communicate with the stage performers. Also, with the Dante and MADI interface solu�ons, installa�on is even easier.” www.mymixaudio.com www.pave.com.sg

CHINA

NEXT-proaudio Reinforces Hardwell and W&W in CreamFields Creamfields Tour Changsha took place at the Interna�onal Conven�on and Exhibi�on Center in Changsha on May 1st.

Creamfields Fes�val is one of the world's leading dance music fes�val series from the UK. Boas�ng of more than 20 years history, it has travelled across 22 countries. In early 2018, from its landing in China, Creamfields has become extremely famous in the Chinese market.

Real Music Acous�cs, the local distributor for NEXT-proaudio, provided the technical support for the fes�val.

The FOH complete system comprised 24 x LA212x and 24 x LAs418. The en�re setup was powered and managed via LA Powerso� touring racks with X8 Amplifiers.

A large number of top interna�onal DJs, such as Hardwell, W&W, Slander, NGHTMRE, Brohug, Kill The Buzz, Maurice West etc., took to the stage at the Creamfields Fes�val 2018 in Changsha, China.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“The main system, NEXT LA212x, delivered a premium sound at Creamfields 2018 Changsha to all spectators allowing everyone to have a perfect music experience,” said Richie Wang, Real Music´s CEO.

www.next-proaudio.com

19

NEWS JULY 2018

MALAYSIA

Prolyte Asia Pacific Conducts Product Manager and Service Point Training

Ini�ated in 2007, Prolyte Asia Pacific recently organised the Product

In another update, Prolyte decided to go paperless, favouring digital

manager and Service Point update training for the 8th �me. 28 industry

product informa�on and flyers over printed media.

professionals from 11 countries in the Asia Pacific region were welcomed in Kuala Lumpur and updated on developments within

New for the training session was the presenta�on of the en�re Admiral

Prolyte Structures, Systems, StageDEX and Proly� by trainers Eric

product line exclusive to the Asian market, each product was explained

Laanstra, brand manager of Prolyte structures and Systems and Jasper

and demonstrated. The complete range of “staging essen�als” was on

van der Sluis Technical manager of Prolyte Asia Pacific.

display in the Malaysian office.

Recenty launched Prolyte products such as the BGR-70 truss, LSU LED

As grand finale the a�endees were treated to the worldwide launch of

stack system, D75 tower, Verto truss and Polygon XII roof were

the brand new PROTOS wired and wireless Load Cell Systems. This

explained in detail and where possible, were demonstrated.

newly developed force measuring system is focused on the entertainment industry and offers high quality, intui�ve products for an

For Proly�, a broad range of topics were covered, but extra a�en�on

incredibly compe��ve price. Their standard load cell shackles are 3.25

was given to the inspec�on and re-cer�fica�on process, thanks to a

and 4.75 tonnes. The free so�ware offers extensive awareness on

comprehensive hands on sec�on. Helpful �ps and tricks were

overloads through configurable warning and logging op�on. All of this is

exchanged among the gathered Service Point a�endees.

made easy thanks to configurable layouts and math func�ons. The wind speed meter, which can be integrated within the Load Cell System, is compa�ble with the same so�ware that the load cells use. The wireless receivers have a range of 800 meters that can be further extended with the PROTOS signal extender. With this and many accessories PROTOS can provide accurate readings for every set up. www.protos-one.com www.prolyte.com

PROTOS wired and wireless Load Cell Systems ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

20

VIDEO FILES JULY 2018

CHAUVET Professional Ova�on Fresnels: F-915FC, F-265WW, F-915VW

Claypaky Axcor Profile 900t

Introducing CHAUVET's high-performance 8-inch LED fresnel equivalents - engineered with energy-efficient op�cal systems in Full Color, Warm White, and Variable White versions, each unit is capable of crea�ng perfectly balanced stage washing for truly immersive environments by projec�ng so� fields of light with seamless transi�ons from one pool of light to the next, sa�sfying the diverse needs of ligh�ng designers.

The Axcor Profile 900 is the first Claypaky spotlight to use a LED light source, instead of a tradi�onal discharge lamp.

Claypaky has chosen to use a white LED engine with high luminous efficiency, total power of about 900 wa�s and luminous flux of 46,000 lumen (24,000 lumen output), and couple it with a system of dichroic filters to create the colours. Thanks to its considerable light output, the Claypaky Axcor Profile 900 goes straight in at the top of its category.

Ela�on Professional - Ar�ste Picasso (Projec�on Demo)

dBTechnologies VIO L212 full scale line array system

Ela�on shows what you can achieve with the Ar�ste Picasso, its full-featured theatrical-grade luminaire featuring a new 620W 6,800K Cool White LED engine with advanced op�cs that deliver over 23,000 total lumen output, ultra wide and fast 7° to 55° zoom. It also has a full CMY colour mixing system producing a full spectrum of shades from pastels to rich saturated colours, linear CTO colour correc�on and a full 360° bi-direc�onal anima�on wheel.

The VIO L212 is dBTechnologies' first full-scale line array module designed for large touring sound reinforcement applica�ons, concurrently providing mighty output capability, op�mized coverage behaviour, alongside with rapid and easily configurable rigging solu�ons. With VIO L212, dBTechnologies makes the most of its approach to sound reinforcement solu�ons.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Element 2 The Eos family’s accessible, hands-on console gets an update. Meet Element 2. It’s sleek, modern and – with the same programming surface as its larger Eos siblings – it brings professional control to any venue.

visual environment technologies | etcconnect.com

22

ENNOVATIONS JULY 2018

Brand New GrandVJ v2.5 Launched •

Improved Art-Poll based node discovery in the LEDMapper: Makes it easier to iden�fy fixtures that are available on the network.

• Auto-unicast for easier and op�mized Art-Net network setup: Using unicast (one sender, one receiver) rather than broadcast puts less pressure on all fixtures that are available on the network.

• Support for Dra� Devices in the Kling-Net Mapper to prepare shows offline: Shows with mul�ple fixtures can be prepped in advance, a great advantage for challenging �meframes All applica�ons run in 64 bits: for speed, minimal latency and seamless real�me opera�on.

ArKaos has launched GrandVJ 2.5 - a brand new version of its hugely popular GrandVJ so�ware designed for fast intui�ve control of video sources by VJs, and video operators working in all ‘live’ scenarios – from concerts to fes�vals to clubs.

Good video and media visuals are integral and vital to the visuality of most events and entertainment environments – from corporate presenta�ons and par�es to the largest concerts and fes�val performances.

ArKaos’s core philosophy has always been to ensure that users and fans of the pla�orm have the most flexible and powerful tools to create poten�ally spectacular shows. Right at their finger�ps.

The launch of GrandVJ v2.5 follows intensive research and development from the ArKaos team, wizards of crea�ve video, and has been comprehensively tested and approved by a number of ArKaos aficionados and enthusiasts.

Says ArKaos’ Managing Director, Agnes Wojewoda, “We have listened extensively to what our VJ and video operator community has been reques�ng and taken that valuable feedback and their wish-lists on-board in developing this version of GrandVJ”.

GrandVJ 2.5 takes this concept to another level with a host of new features on the pla�orm including: •

Spout output in both Instant and VideoMapper modes: Using Spout allows GrandVJ to integrate and share both inputs and outputs in real-�me with a large number of other applica�ons.

• DMX Merger in the LEDMapper with GrandVJ XT: Allows a VJ / operator to interact with a ligh�ng designer and merge the generated video content with controls such as pan and �lt which are created by a ligh�ng console. In the reverse direc�on, it enables the LD to apply effect like strobe over the content being displayed / created by the VJ. • Support for complex DMX fixtures like moving heads: Enabling users to easily and crea�vely include pixel-based moving light fixtures in their shows.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

GrandVJ 2.5 will also help op�mise func�onality of the host of pixel-based LED fixtures and media products constantly coming on to the market, as well as for exis�ng ‘conven�onal’ video surfaces like LED and projec�on screens.

There is improved support for DPI display scaling and for interna�onal characters, as well as faster movie playback for ProRes on Mac and Windows and more rapid YUV colour conversion for all Mac codecs.

The v2.5 LED Mapper now has the facility to merge the Art-Net input with the LEDMapper output, and an Editor has been added to create fixtures with any format of DMX pixel-mapping including channel gaps.

DMX Merger in the LEDMapper ul�mately enables LDs and VJs to work more harmoniously and crea�vely together in one mutually coherent visual space filled with a fusion of poten�ally shared and treated effects.

The se�ng of constant values for some DMX fixture channels is now possible and there is a new op�on for automa�c Unicast through ArtPollReply discovery. UI and MIDI control func�ons set the blending mode and intensity of the DMX Merger, and the whole mapping of file opera�ons with Import, Export and Save is clearer and more concise.

The upgraded Spout version 2.006 offers increased texture sharing compa�bility.

With all v2.5 applica�ons now in 64 bits - as Apple does not provide 64-bit QuickTime - GrandVJ now uses FFmpeg to read all QuickTime codecs. There is no longer any need to install QuickTime on Windows (like previous versions of GrandVJ where QuickTime was used to play ProRes encoded videos).

GrandVJ automa�cally sends output through spout video frame sharing, but the applica�on will now only perform a transfer if a Spout receiver is listening. www.arkaos.net

switch it up Introducing the latest in our Video Format Conversion technology: the HDMI 2.0 VFC card, enabling users to run 4K resolutions at 60 fps from any pro or gx server. disguise’s industry first VFC card allows users to output DisplayPort, DVI, SDI and now HDMI without changing the system, as well as mix signal formats and resolution types in the same project, with guaranteed frame synchronisation and near-zero latency.

www.disguise.one/vfc

24

ENNOVATIONS JULY 2018

Ayrton Ghibli LED Spot Since its launch at PLASA 2017, Ghibli, Ayrton’s first LED Spotlight, has taken the industry by storm.

Compact, elegant and lightweight, Ghibli is factory-equipped with a framing system and delivers an impressive 23,000 lumen output from a 600W source with an incredible 80% efficiency, which makes it powerful enough for large scale arenas. An op�onal High TM30/CRI Mode can be implemented for situa�ons demanding even higher quality light output. The incredibly high quality of its output offers a crisp, clean and uniform beam with no hotspot, and fantas�c centre-to-edge uniformity across its whole field and delivers a fat, even beam, meaning Ghibli is at home as much in theatre as on the touring circuit.

Ghibli boasts high output, ultra-efficient op�cs and an 8:1 zoom from 7° to 56° pu�ng it in a class of its own. Designed to offer ligh�ng designers unlimited crea�ve possibili�es without any compromise, its wealth of

features include CMY colour mixing, variable CTO, and a complete effect sec�on including two gobo wheels, a prism, an anima�on wheel, two frosts, and a rota�ng framing system that allows a full wipe, all housed in a most compact, compe��vely-priced, package with a classy, sleek, industrial design.

Ghibli is the smallest and lightest, yet extremely powerful, fixture in its class compared with both LED and metal halide products, and gives the best performance to size and weight ra�o of any available LED hard edge fixture - and metal halide product - in its class.

“Ayrton’s new line of wash and spot fixtures has a�racted immense interest, and Ghibli in par�cular has taken customers by storm as they truly start to engage with the unique poten�al of this mul�-purpose, mul�-talented fixture,” says Michael Althaus, Ayrton’s Global Sales Director.

Watch a presenta�on of Ghibli HERE Ghibli can be seen in full performance mode with more new Ayrton products in the Prolight+Sound 2018 lightshow designed by Stephane Migné HERE www.ayrton.eu

PR Ligh�ng Launches Polaris With the summer outdoor season now in full swing, PR Ligh�ng has announced the �mely release of an impressive, all-weather LED wash luminaire called Polaris (PR-6805).

With its IP67 ra�ng, Polaris has at its source 7 x 15W RGBW 4-in-1 SMT LED lamps, with a colour temperature of 3200K-10000K. Each pixel is independently controllable.

Other features include: electronic strobe (0-25fps, with preset strobe pulse effect); Dimmer (0-100% linearly adjustable); Effects: Rainbow, Wash, Beam Spot modes (swirl, kaleidoscope), with many macros and unlimited mixed colours; Light angle 4°-40°; Bi-direc�onal and

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

con�nuous rota�on of front lens module; 14 channel control (standard mode), 39 channels (extended mode); DMX wireless control func�on; Over temperature protec�on.

Polaris weighs only 8.4kg, and first batches have been shipping since mid-June. www.pr-ligh�ng.com

26

ENNOVATIONS JULY 2018

Dynacord TGX amplifiers – the New Flaship for Live Sound Amplifica�on the most challenging opera�ng condi�ons the amplifier con�nues to perform at highest possible level. In addi�on, Dynacord’s digitally regulated Power Factor Correc�on (PFC) provides peace of mind. Even with fluctua�ng main power supplies, TGX amplifiers will remain stable and efficient. Junc�on Temperature Modelling (JTM) technology ensures the highest possible output power and tour-grade performance without any shutdown or loss of audio quality. Dual network ports and automa�c fall-back provide an extra level of redundancy and system reliability.

Following the award-winning ISE debut of IPX power amplifiers for fixed installa�on, Dynacord has unveiled the new TGX power amplifiers.

Engineered and manufactured in Germany, these power amplifiers are built as the ul�mate amplifica�on solu�on for medium to large-scale live performance sound applica�ons. TGX was launched at this year’s InfoComm at the Las Vegas Conven�on Center.

Unparalleled Power Featuring two models with 4 x 2,500 wa�s and 4 x 5,000 wa�s, Dynacord TGX power amplifiers offer an unparalleled 4-ohm power density of 10 kW and even 20 kW from a single amplifier with all channels driven simultaneously.

The TGX system rack

Smart system rack solu�on The Dynacord TGX system rack is a modular solu�on designed and built for touring professionals, by touring professionals. The single 10 rack unit TGX system rack is pre-configured with three TGX20 amplifiers plus two independent network switches for glitch-free opera�on. It offers a variety of professional features such as integrated sliding rack doors, customizable I/O op�ons and a reversible moun�ng for the power distribu�on. The TGX system racks can be ver�cally stacked and locked together to give up to 180 kW of output power in the same compact footprint as a conven�onal amplifier rack.

Comprehensive Supervision and System Control So�ware

The TGX20

Superior networked audio Dynacord TGX power amplifiers are equipped with Dante networking capabili�es as well as AES and analog inputs. Each TGX amplifier features the industry’s most advanced 96 kHz DSP with FIR (Finite Impulse Response) Drive technology. The combina�on of each amplifier’s market leading ultra-low latency with up to 118dB signal-to-noise ra�o, offer an unrivalled level of audio quality.

A new system so�ware allows the user to design, tune and operate an en�re sound system from one piece of so�ware. Developed in-house, this cross-pla�orm so�ware offers intui�ve and streamlined workflow guidance to save both �me and effort. It is designed to interface with loudspeaker aiming and predic�on so�ware packages such as EASE Focus and live measurements in real �me with SysTune with plug-in op�ons. Using a light and dark color scheme, the graphical user interface adapts to increase visibility in high and low ligh�ng condi�ons.

Alterna�vely, TGX power amplifiers can also be operated via IRIS-Net so�ware, which offers numerous op�ons for the most complex sound system configura�ons.

Flawless reliability

Model Overview *

Dynacord TGX power amplifiers incorporate a number of unique patent-pending technologies designed to deliver a reliable and stable system performance. The show will go on – without clipping or shutdown. TGX’s advanced protec�on package monitors more than 200 parameters to assure that even under

TGX10 (4 x 2,500 W @ 4 Ω) TGX20 (4 x 5,000 W @ 4 Ω) * Measured with all channels driven

The TGX10 ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

www.dynacord.com

Perfecting the Art of Live Sound Official Yamaha Pro Audio Instagram Account

@yamaha_proaudio_official

www.yamaha.com/proaudio

28

ENNOVATIONS JULY 2018

Alcons Introduces the VR5 Mini Versa�le Monitor The VR5 is a 2-way mini versa�le loudspeaker, specifically designed for near-field applica�ons where ul�mate fidelity response needs to be projected with wide horizontal and ver�cal coverage.

The system brings the typical clear, dynamic and ultra-low distor�on Alcons signature sound of the larger systems in a very small and unobtrusive package, for both portable and permanent applica�ons.

waveguide technology. In further extending our line-up in point-source solu�ons, this has been a major breakthrough to enable any dispersion pa�ern from our pro-ribbon mid/high frequency drivers. We plan to further implement this in our upcoming new products."

Tom Back, managing director: "Although the VR5 concept, as our smallest pro-ribbon system ever, was already previewed at this year’s ISE and as product introduced at the Prolight+Sound, we s�ll had thoughts about taking "the next step" in the low frequency transducer.

As we’ve been doing with most systems, as recently the 8" of the LR18 line-array, we consistently co-develop and implement the most-advanced technology on the cone-drivers, to have the best match with the pro-ribbons.

The VR5 consists of the RBN202 pro-ribbon driver for HF and a dedicated-designed 5" mid-bass for extremely low-distor�on LF reproduc�on. The VR5 HF sec�on has an 400 W peak power input, enabling a 1:16 dynamic range with up to 90% less distor�on from 1 kHz to beyond 20 kHz.

So, we decided at the show to inves�gate implemen�ng a new ac�ve coil technology on the 5"; A technology we’ve been using on a number of design-studies for some �me now. The beta-tes�ng of the samples proved our ideas right, leading us to re-design the VR5 with this new technology."

The patented (90-degrees) horizontal and patent-pending (60-degrees) ver�cal dispersion of the revolvable waveguide, offers a wide and consistent coverage up to the highest frequencies; Very important for the imaging in stereo or immersive systems.

Tom concludes: "We can truly say, that the VR5, with the combina�on of the 5" with significantly further reduced distor�on on the LF and the RBN202 pro-ribbon on the 90x60 waveguide is se�ng new standards for ultra-low distor�on, superb-imaging near-field sound reproduc�on."

Due to the "compression-less" principle of the pro-ribbon transducer technology, the system has a fully linear response at any SPL, for an intui�ve 1:1 "input=output" performance.

www.alconsaudio.com

For full system performance, the VR5 needs to be driven by an ALC amplified loudspeaker controller, delivering maximum sound quality with increased headroom and utmost opera�on reliability and flexibility.

The Signal Integrity Sensing™ pre-wiring ensures dynamic cable/connector compensa�on between the VR5 and ALC, significantly increasing response accuracy, regardless of cable length and system impedance, with a �ght and accurate mid and bass response as result.

The combina�on of the asymmetric mul�-angle enclosure, the revolvable waveguide and the ACO™ color op�on provides for inconspicuous low profile stage-, stand-, wall- or ceiling posi�oning. The 5 M10 moun�ng points enable swivel bracket, shoulder eye bolt and mic stand deployment.

Typical (short to medium throw) applica�ons for the VR5 range from reference monitor, low-profile stage-lip/front-fill, stage monitor, under-balcony system up to a nearfield main PA system, in combina�on with a separate subwoofer, if required.

Phil "Dr. Phil" De Haan, head of Alcons R&D: "following the recently introduced CRMSC-SRHV surround for cinema, the VR5 is the first pro-audio system that incorporates our patent-pending ver�cal-control ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

*

RBN202 pro-ribbon HF driver with excep�onal intelligibility and dynamic output.

*

Patented “Real-90” horizontal and patent-pending ver�cal dispersion.

*

1:1 non-compressed linear sound reproduc�on, with up to 90% less distor�on.

*

SIS™ pre-wired for very high damping and further reduced distor�on (with ALC Ultra-compact, mul�-angle enclosure provides versa�le deployment.

*

All Neodymium drivers for excellent performance-to-weight ra�o.

*

Passive filtering for easy opera�on and economical powering.

*

Durotect™ scratch-resistant coa�ng

array CURV 500 ISUB

CURV 500 S2 CURV 500 IAMP

CURV 500 SLA

CURV 500 SERIES ®

INSTALL SOLUTIONS

W FO AVE R AH SE E AM AD ® LE T SS EC AR HN RA OL EA Y C OG W SY ITH S ON Y C FIG TH AL E ‘ AB UR SL IL AT ID ITY IO EN A FU ND TH LL -L OC AN IN K’ KS STA ME TO LL CH TH FL AN E S EX ISM MA IBIL 1U ITY R TL 4- 1 CH 9” IN K® AN RA AD NE CK AP L D MO TE SP UN R AM T UP PL W TO I FIE ITH R ON 24 C E I UR AM V 5 P A 00 MP SP IN LIF EA AN -DE IER KER D PT S PR H ES DS ET P S SE TT IN P GS SY ASS ST WO EM R D PR OT EC TE D

reinvented.

Great sound can also be installed – combining unique design and modularity, ease of integration and professional audio performance, the CURV 500® series now features dedicated products for the professional install market. Now you can create fully integrated distributed systems with up to 24 CURV 500® speakers. Set yourself apart from the competition, give your customers more than what they want – inspire them!

VISIT OUR SHOWROOM IN SINGAPORE

DESIGNED & ENGINEERED IN GERMANY

Adam Hall Asia Pte Ltd · Singapore 737853

LD-SYSTEMS.COM LD Systems® is a brand of

SOUND TECHNOLOGY

LIGHT

TECHNOLOGY

11 Woodlands Close 01-12 · Phone +65 3152 9345 · asia@adamhall.com a subsidiary of the Adam Hall Group Germany

STAGE EQUIPMENT

HARDWARE FOR FLIGHTCASES

share the experience at

adamhall.com

30

ENNOVATIONS JULY 2018

ADJ’s New IP65 Rated LED HEX Pars Offer More Colours in More Places feature outdoor-rated powerCON TRUE 1 power input and output sockets as well as weather-proof XLR data input and output sockets.

They can be used with water-proof power and signal cables, however when the fixtures are used indoors standard XLR and powerCON cables can also be used. All four connec�ons feature rubber covers, which can be fi�ed to prevent moisture entering them when a plug isn’t connected, and the units also feature water�ght four-bu�on LED menus for mode selec�on and DMX addressing.

ADJ has announced the expansion of its popular HEX series of LED pars with the introduc�on of three durable new fixtures that all feature a tough weatherproof casing design. The 7P HEX IP, 12P HEX IP and 18P HEX IP combine the wide colour pale�e of HEX LEDs with the flexibility of a robust all-weather IP65 rated casing to create truly versa�le professional wash fixtures.

Each of the new pars feature powerful 12-Wa� hex colour RGBAW+UV (red, green, blue, amber, white + UV) LEDs which allow for a huge gamut of colours to be created. These include both cool and warm white, for stage illumina�on, as well as UV-infused hot pink, lime green and electric blue. The inclusion of the UV element also means that the fixture can create the classic ‘black light’ effect that causes white and neon-coloured surfaces to glow brightly. The LEDs are flicker-free, therefore suitable for filming applica�ons, and offer an impressive opera�onal life of approximately 50,000 hours.

All three fixtures have a 30-degree beam angle, which makes them suitable for a wide variety of du�es including stage washing, dancefloor illumina�on and architectural up-ligh�ng and down-ligh�ng. The 7P HEX IP incorporates seven LEDs, for a total output of 84W, and has a compact casing design that makes it ideal for situa�ons where space is at a premium. The slightly larger 12P HEX IP features twelve LEDs, giving it a total power ra�ng of 144W, meaning that it is suitable for situa�ons were increased brightness is required but a rela�vely compact casing is also desirable. Finally, the largest fixture in the range – the 18P HEX IP – features eighteen LEDs, genera�ng a potent total output of 216W, and is ideal for large events and applica�ons that require extremely bright color washes.

A dis�nc�ve all-metal casing design is common to all three models. This incorporates a flexible and robust scissor yoke, which can be locked securely into place using convenient bar-shaped handles and used either as a floor stand or hanging bracket. The casing also has an IP65 ra�ng, which means that it is protected from rain, snow and dust, and therefore suitable for use at temporary outdoor events. The fixtures

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

All three models are pre-programmed with 63 colour macros and can be used in any of five opera�onal modes: Sta�c Colour, RGBAW+UV Dimmer, Program, Sound Ac�ve and DMX Controlled. For DMX control they offer a choice of six different channel modes (6, 6+, 9, 9+, 10 and 12) and are also compa�ble with the RDM (Remote Device Management) protocol that allows compa�ble DMX control systems to set a fixture’s DMX address remotely.

Using DMX control, the fixtures offer variable speed pulse and strobe effects as well as 0-100% digital dimming. They also offer a choice of five different selectable dimming curves suitable for a variety of different applica�ons: standard, stage, TV, architectural and theatre.

Despite their heavy-duty casing design, all three fixtures are rela�vely lightweight and compact. The 7P HEX IP weighs 7.5 lbs. / 3.3 kg and measures 10” x 6.5” x 9.25” / 256 x 161.7 x 232.5mm (L x W x H), while the 12P HEX IP comes in at 10.5 lbs. / 4.7 kg and 11.75” x 7.85” x 10.5” / 298 x 199.5 x 264mm (L x W x H), finally, the top-of-the-range 18P HEX IP has a weight of 13.5 lbs. / 6.1 kg and dimensions of 13.25” x 9.25” x 11” / 336 x 233 x 279mm (L x W x H).

“The original 5P HEX, 12P HEX and 18P HEX have been really successful for ADJ,” comments ADJ USA’s Na�onal Sales Manager, Alfred Gonzales, “but we wanted to take the range a step further, which is why we’re pleased to be launching the 7P HEX IP, 12P HEX IP and 18P HEX IP. Not only do these durable fixtures offer an IP65 outdoor ra�ng, but they also all share a compact design with nice extruded aluminum cases that are extremely sturdy. This means they are perfect for outdoor use – whether for install or produc�on or even if you want to put them in rental, they are so robust that they will be able to take the banging back and forth – pu�ng in and out of cases – which is inevitable for rental stock. With their 12W HEX LEDs, they are also extremely powerful making them ideal for all kinds of situa�ons – both indoors and out – which require potent color washes.”

All three fixtures are available now from ADJ USA, and will be available at the end of June from ADJ Europe. www.adj.com

32

ENNOVATIONS JULY 2018

Penn Elcom has the Power The Circuit B outputs offer 8 x Schuko style sockets which are compa�ble with plug types C, E & F for usage within Germany, France, Belgium, Poland, Slovakia, Czech Republic and Russia, with a maximum combined load of 16A. PDU16-PC has a panel moun�ng 32A 240V IP44 C-FORM input socket as Penn Elcom has launched its new PDU16 range of premium rack-moun�ng power distribu�on: the PDU16-UN, the PDU16-EU, the PDU16-PC and the PDU16-AV. Newly designed as core products in a versa�le range of professional, industrial and commercial racking op�ons offered by the UK manufacturer.

The innova�ve 2U high horizontal moun�ng PDU16 series has been developed to offer more flexibility and well-engineered solu�ons in response to customer demand in the highly compe��ve 19-inch rack market, where Penn Elcom is a key player and currently enjoying robust business. Features include a high-clarity, back-lit LCD monitoring display on the front of each unit showing essen�al opera�onal feedback and data including voltage, current, power in wa�s and energy level.

This convenient monitoring func�onality includes a visible Overload Alarm, aler�ng users as to when the level (in Wa�s) of power being drawn is / or is about to be exceeded, the value being displayed will flash on and off.

The wa�age power level threshold can be user-defined and pre-set, and

the main in/out on Circuit A, feeding through to a 16A IP44 C-FORM output socket via illuminated circuit breaker Circuit B outputs have 8 x Neutrik powerCON sockets rated for a maximum combined load of 16A … so perfect for audio and media servers and other pro AV kit.

PDU16-AV is ideal for home audio visual installa�ons and mul�media applica�ons from live music venues to theme parks and museums. The main input is a 20A Neutrik powerCON, complete with a 2nd order EMI filter and a GDT / VDR protec�on circuit to deal with lightning strikes and local power surges.

Channel A of this PDU features a 4-way IEC C13 Outlet Strip with max. combined load of 10A, plus 2 x dual USB 5V 1.8A charger modules; Channel B has five universal socket outputs which can accommodate plugs from the UK, US, Europe and Australia, with a maximum combined load of 10A, through the standard illuminated circuit breaker protec�on for addi�onal safety.

this data will be stored when the unit is powered off.

All these products come with Penn Elcom’s renowned quality assurance

The PDU16 series offers a variety of different outlet socket formats to

the distribu�on of AC power in the worlds of professional AV,

cover a dynamic range of applica�ons including all types of AV, audio and ligh�ng installa�ons - from clubs to museums - to touring, rental &

and are designed to provide straigh�orward and adaptable hook-ups for mul�media, theatre & television produc�ons and concert touring.

staging.

All four models of PDU16 have illuminated circuit breakers for overload

PDU16-UN (universal) main in/outs on Circuit A are a panel moun�ng

rack moun�ng ear posi�ons.

32A 240V IP44-C-FORM input socket feeding through to a 16A IP44

protec�on, M4 earth studs for rack ground con�nuity and adjustable

C-FORM output socket via an illuminated circuit breaker.

PDU16 is a great addi�on to Penn Elcom’s already popular ranges of

Circuit B has 8 x universal socket outputs – which can be used with

next step in developing a dynamic range of reliable and stable choices

plugs from most regions including the UK, US, Europe and Australia, with a maximum combined load of 16A. (Schuko type sockets / plugs

power distribu�on products for home-office and studio, and are the for the world of professional audio, rental & staging.

have a 2 pin connec�on only)

PDU16 is also the most comprehensive set of power distros that Penn

The PDU16-EU main in/outs on Circuit A are a panel moun�ng 32A

and ability to react quickly to market demands and take on-board

240V IP44 C-FORM input socket feeding through to a 16A IP44 C-FORM output socket via an illuminated circuit breaker.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

has designed and delivered to date, and illustrates the company’s agility extensive client / user feedback.

www.pennelcomonline.com

33

ENNOVATIONS JULY 2018

ADB Releases Enhanced and Updated Hathor So�ware Recently, ADB has released version 2.0 of its renowned ligh�ng so�ware, with the following main new features: • Over 10,000 templates with bi-weekly updates independent from so�ware updates • Fixed faders in submasters, not included in page management, like Playbacks with IN & OUT • Grand Master, Independents, and Fields • Innova�ve HSI colours handled by a Colour Picker • The exclusive Park Func�on, by Device or by Parameter.

Designed with Theaters and Opera House in mind, HATHOR has always been offering a user friendly and comfortable programming environment, with an impressive mul�-users networked architecture, a unique drag’n drop func�on along with right-click contextual menus, an advanced track window with extensive overview of recorded intensi�es and moving light parameters, that makes immediate edi�ng possible.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

In addi�on, ADB has released WILY! An exclusive so�ware for HATOR. Wily! synthesizes the best of hardware and so�ware in an elegant and prac�cal virtual console. Mobile, scalable, and modular, Wily! gives you access to a level of control over Hathor ligh�ng so�ware never achieved before. The Wily! console can be used alone or as an extension of a conven�onal console. Wily! interfaces with a compu�ng unit that runs the Hathor so�ware. It is a computer that can be found in several forms: independent tower, laptop or included in a hardware console.

Once connected to the compu�ng unit, Wily! behaves like the front panel of a classic ligh�ng console. www.adbstagelight.com

34

EXHIBITION REVIEW JULY 2018

Palm Expo 2018 - Exploring Horizons; Expanding Opportuni�es

PALM 2018 – the 18th successive edi�on of Southeast Asia’s largest tradeshow and Conven�on for Pro AV, Ligh�ng and Music industries – organized at the Bombay Exhibi�on Centre from 31 May-02 June, while eleva�ng itself to further highs up the professional fare, apparently sought to expand its offerings as well exploring newer horizons of ‘conven�ons.’

The PALM Expo in a nutshell struck a different note this year, even as did everything it’s been doing every year. Not just the brands and numbers it churned out, which has more or less become common for the event, but also for the offerings it brought to fore.

The pleasantly newer things began right at the entrance where a grand signage is posted seeking to impose a strong signature iden�ty popping out from the matrix of an expansive LED wall of different promo�onal signages. Ge�ng inside, for one it would look pleasantly quiet- not because it didn’t have noise-making foot falls and reverbera�ng sound systems from the booths but for the strong imposi�on of ‘no-noise policy’ for the second consecu�ve year which was, of course, well-received.

The event’s prideful mo�o ‘delivering business’ appeared to be ge�ng fulfilled in much reassured fashion this year compared to its preceding edi�ons in that the show floor was abuzz with exhibitors and their poten�al clients. If the beelines at the registra�on and in front of the demo cubes served an indica�on of the ensuing ac�vity inside the halls, the products showcased, and the exuberance displayed by the

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Expo Stats Unique Visitors Rise in % Increase in exhibi�on area Total No. of Visitors Rise in % Number of exhibitors Rise in % New Exhibitors Rise in %

: 23,436 : 20 per cent : 19.23% : 31,935 : 17 per cent : 254 : 21 : 93 : 74

Seminar A�endees : 150 Rise in % : 15 Soundscape A�endees : 500 Rise in % : 10 Rigging & Trussing Workshop: 1500-plus

exhibitors and their prospec�ve clients showed the intent and content as well: ‘delivering business.’

As if to live up the expecta�ons of the industry, as also to spring some more en�cing offerings, the PALM organizers this �me brought on some interes�ng modifica�ons to the event conductance.

•

One-Reloca�on of Line Array Demo to Indoors; and

addi�on of Compact Indoor Line Array Demo, in realis�c indoor condi�ons • Two- Award to every compe�ng DJ, as a token of apprecia�on for enriching the pla�orm • Special characteriza�on of India Recording Arts Academy Awards • AND more…

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MALAYSIA SINGAPORE THAILAND INDONESIA

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

36

EXHIBITION REVIEW JULY 2018

PALM – The Pla�orm of Trust The global industry has realized that PALM is an evolved pla�orm and the one that truly honours global industry by promo�ng their brand and protec�ng their IPR, and unlike any other show in the world it can be relied upon not just to give lip service but show in ac�on by ensuring no copy/counterfeit products gain access to the show floor.

This has become one of the strong and important iden�ty factors for PALM to expand its interna�onal brand por�olio year by year- which is also why most interna�onal brands – when they cannot gain a breakthrough in Indian market – take to the PALM Show Floor as a sure-fire channel to genuine market.

-Ramesh Chetwani, Exhibition Director

In what is claimed to be the first-of-its-kind in the world styliza�on, PALM event this year created in Hall No. 7 an indoor line array demo that showed some top of the line Small to Medium format LAs and sound systems. While hearing line arrays indoor in live condi�ons seemingly spread an exhilara�ng experience to visitors, the Organizers have understandably invested a fair amount of energy and money to achieve the required acous�cal ambience around the space. The par�cipa�ng exhibitors were reportedly impressed too with the experiment.

Interes�ngly, PALM conducted a survey on Indian live sound industry, before ini�a�ng the bold move. “Specifically, we inves�gated the market for large outdoor line array vis-à-vis compact indoor line array and learnt that compact indoor line array market was larger than large outdoor line array,” said Ramesh Chetwani, Exhibi�on Director at PALM. “We no�ced the demand has been growing for this product at a higher percentage; and a majority of rental companies requested a demo for this product segment,” Ramesh revealed. “Therefore, this compact line array demo contributed greatly to the cause of not only the show, but the industry as a whole.”

Sun Infonet, besides its regular principals, brought its latest addi�onMeyer Sound to PALM Expo 2018

According to him, the move comprised some important market indices. The number of LA systems sold in the last 12 months indicated that the compact LAs represented the mass of the live sound market; there has been an explosive growth in crea�on of auditoriums with installed sound fi�ed with Compact LAs; an increased preference for these systems amongst the solu�ons providers.

“The management at PALM took a falcon view of smallest movements on the Pro Sound ground,” Ramesh said. “Their vision guided in realizing this unique feature.” According to him, product managers of major brands felt impressed with the reloca�on move and ‘did not expect such a high level of investment on the ini�a�ve.

The PALM DJ Championship programme, into its eighth consecu�ve edi�on had its own new offering this �me- moving one more step up, it had each of its compe�ng DJ returning with an honour. Unlike the earlier edi�ons where only the topper used to be honoured with the Championship �tle, this year’s event increased its quality quo�ent by extending the honours to everyone who took to the stage.

“The Championship has come a long way since its incep�on seven years ago, and has cemented its place as an important element of DJ culture in India,” opines Ramesh. “At the PALM, the pla�orm is characterized by its ability to provide equal opportunity to talented DJs from across the country.” According to him, the Championship Finale this year has been a tremendous success with the 10 talented DJs compe�ng the grand �tle and prizes.

Olivier Pastor of Beglec Hitmusic Group flanked by India Partners Raju Datla (left) and Sundar Raj(right) of Synq Audio Research India ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

23 – 25 September, 2018 Dubai, United Arab Emirates

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38

EXHIBITION REVIEW JULY 2018

PALM – An Iden�ty in Itself “PALM is an open and neutral pla�orm and there is no conscious brand India iden�ty. Our vision is mo�va�ng the market and pu�ng technology in place.

Our mo�o of ‘delivering business’ has always been our top priority. We tune it to driving value to our exhibitors and, we will con�nue to strive hard to contribute to the growth of our industry with our essen�als.”

-Anil Chopra “Like any other compe��on, wining is not the only thing to be honoured or celebrated; it’s the spirit of par�cipa�on that is to be celebrated” opined Ramesh. “The management felt that effervescence needed to be supported so that it can blossom brightly,” he said. “It’s a new direc�on, and took off so well.”

The event had as its prizing partners Reloop, Akai, Alesis, Ali Merchant, MX, Numark, Roland and TSM – in associa�on with Point Blank – pu�ng up DJ consoles, mixers, headphones, synths, DJ Courses and more such prizes.

The Mumbai sensa�on DJ Braden beat the odds to triumph over some of the strongest compe��on and come out on top, winning the coveted PALM DJ Championship �tle 2018. DJ Altrax from Surat, secured his spot in the top three winning the first-runner up posi�on followed by DJ Shubham from Mumbai who came a close third.

Another important aspect at PALM which actually began last year is the separate pavilion – Hall No. 5 – for Ligh�ng and Trussing. Adding to that is the Workshop for Trussing where experts from the domain share their knowledge with the aspiring trussing professionals from the region. Explains Akhil Varma, Project Head-Sales: “PALM always has this feature simply because the percentage of rental companies a�ending the show in quite sizable, and we, as organizers of the show, believe these a�endees need to be imparted with right knowledge on this core factor in their business. All of this is explained in great detail to the visitors at this feature.”

IES promoting HK Audio, its recent addition, through digital signage on its booth.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

According to him a large number of individuals and groups of enthusiasts visit the show keeping this feature as their prime focus, and take great interest to interact with the professionals sharing knowledge. That helps them gain first-hand informa�on and knowledge on how to handle trussing and rigging and prepare a be�er stage and performance. “PALM believes in raising the standard in India for stage sound and ligh�ng industry.”

It was interes�ng to see that the numbers at these programmes have been growing and it was pleasant see them ge�ng more and more inquisi�ve on the show floor, interac�ng with the presenters of the programmes, trying their hand or leg with the instruments in the demo cubes, or making serious business enquiries based on the specifica�ons, and not just price.

There have been new alliances, new regional launches, and even training/system trial rooms on the Exhibi�on show floor. Some of the prominent alliances that came to the fore on the show floor have been Harman launching new Brand Ambassadors, besides new product ranges; Hi-Tech Audio Systems brining on ETC; IES brining on HK Audio; new entrant Sennheiser launching the G4 Wireless Series for the India market; new entrant Synq Audio launching iLine Series columnar speakers through their partner Audiophony; besides the regular majors bringing on their Principal ranges following from their ProLight+Sound ou�ngs.

These included Sun Infonet showing up Shure, Allen & Heath, and

Vipin Pungalia of Sennheiser India explaining its G4Wireless systems launch in India.

IT‘S THE PERFORMANCE THAT MATTERS.

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40

EXHIBITION REVIEW JULY 2018

Hall No. 5 housing Lighting and Rigging exhibits had thronging crowds all through the show. It was pleasant to see Indian Rigging solutions providers showing their strengths

Audio Focus, along with their latest addi�on Meyer Sound ranges; Vardhaman showing up OHM new ranges; IES demonstra�ng Powerso� new verson module, besides its major Mar�n Audio, Ansata showing up d&b audiotechnik and DPA Series, besides many other distribu�on market players.

the evolu�on of the PALM Expo. "Our vision is mo�va�ng the market and pu�ng technology in place; our mo�o of ‘delivering business’ has always been our top priority," he vouches. "We tune it to driving value to our exhibitors and, we will con�nue to strive hard to contribute to the growth of our industry with our essen�als.”

From the OEM/Manufacturing segment, the Show floor had Bose demoing its ToneMatch solu�on, Epson launchings its new laser projector; QSC coming on its own, and demoing its WideLine Series speakers; Harman launching the JBL 3 Series MkII Studio Monitors etc.

Technical Sessions:

Electro-Voice, taking the Demo Cube route instead of presen�ng on the show floor, demonstrated a diverse range from its por�olio. Those shown for live demo at the Demo Cube included X-Line Advance arrays, high performance portable systems; new L & C series of amplifiers from Dynacord.

According to Santosh Kumar, Deputy Manager-Marke�ng, they had a good number of visitors to the show who were provided a structured demonstra�on from the product experts. “It was a sa�sfying experience for the team as they got their visitors to listen to the products and took the experience to a whole new level,” he vouched.

“PALM is an open and neutral pla�orm and there is no conscious brand India iden�ty, as such" explains Anil Chopra, the name so entwined with

The two Technical Sessions at the event – PaLM Conference & Seminar programme and PALM Soundscape programme appeared more varied and wide-ranging than what they seemed before.

The PALM Conference and Seminar Programme, which took place in the Interna�onal Lounge of Hall 1, covered three dedicated themes – Stage Sound & Light, Audiovisual and Music Produc�on, across all the three days of the show bringing a galaxy of experts and enthusias�c knowledge seekers together. The topics at these programmes sought to touch almost every aspect of the industry, and majorly included Measuring And Aligning Subwoofers, Using Dante For Live Sound Events, Acous�cs In Auditorium Design; Dolby Atmos Mixing Concepts And Techniques, among others.

Interes�ngly, the display of ‘Dante Spoken Here’ on the booths of most exhibitors showed the popularity and command the standard has been gaining across the industry in the region.

The PALM Live Arena, as usual was pulsa�ng with illustrious musical personali�es and brand ambassadors mesmerizing the thronging audiences with those high-performance technology systems and numbers as well.

Life�me Achievement Award to Sridhar (Posthumous): While the 12th edi�on of India Recording Arts Academy Awards (IRAA) marked a grand celebra�on of the event a�ended by stalwarts of Indian Music industry, the day-three evening when the programme was scheduled, had an air of remembrance and tributes ran�ng all over- for a very par�cular reason.

Renowned sound engineer of yester years late H. Sridhar was chosen for Life�me Achievement Award for his outstanding work in the field of recording. India’s celebrated musical composer A. R. Rahman presented the posthumous award Life Time Achievement in Sound Recording to Sridhar’s son Vinay Sridhar.

New product launches in the Lighting and Rigging section (in Hall No. 5) ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The evening was also marked by honouring musical personali�es such as Sonu Nigam, Ehsaan Noorani and Loy Mendonsa, and legendary percussionist Sivamani.

41

EXHIBITION REVIEW JULY 2018

Yamaha Demo 'Cubed' Cadence - A Musical Transcendence

Yamaha Music (India) Private Limited – PALM Expo 2018’s Pla�num and Sound Partner – made a scin�lla�ng demonstra�on of its signature presence at the event. Occupying a major part of Hall B, opposite the main exhibi�on hall, the musical major, in line with its style, had two components to its PALM-presence.

The CXS/DXS series speakers on demo were also accompanied by Nexo complete range of speakers to complete the demo

The product display component had an eclec�c combina�on of systems from the Japanese musical major, while the Stage component had an even exci�ng blend of performances some of which have virtually transcended the audience into rapturous realms.

The Yamaha Stage: The Yamaha Stage at the facing wall end, while it had an illustrious ‘band’ of musical greats on its panel for the three-day programme, an arguable cynosure of the programme was the child wizard Lydian Nadhaswaram who visibly cap�vated the audience through a course of roughly 25-minute ‘Absolute Drum’ing exhilara�on. The Chennai-child’s wizardry with the s�cks appeared to have stumped everyone watching him play the musical magic.

The veritably eclec�c product exhibit ranges comprised CXS, CZR, DXS, DZR series powered and passive speakers; subwoofers; Rivage PM 7 mixer; processors; WXC Series controls aimed at Pro Audio and Pro AV; and Arranger Worksta�ons; Trans-Acous�c Guitars; Digital Pianos and many more aimed at musical entertainment industry.

There was yet another ‘Rhapsody’ of fusion ensemble tuned in by Chirag Ka� and co transcending the second day audiences by means of a seeming intricate performances on sitar. The journey through fusion delights had its crescendo with the legendary Louis Banks crea�ng waves with ‘Ganga Shakti’ performance.

One of the highlight of the demo sec�on was the Rivage PM7 – which was presented in all its feature-richness by Andy Cooper, Yamaha UK’s Manager for Pro Audio Applica�on Engineering. The way the Briton explained the high performance factors of the feature-rich new model of Rivage only added to the excitement generated from the specially created desk.

The Yamaha Stage this year was actually a nice blend of solo and band performances. The solo performances had geniuses like Nise Merun, and Salim Merchant on day one, and Vishal Mehta on day three, the band performances included those by Sumit Sen Chronicles, Chirag & Friends, Gino Banks – who filled the day two with some pulsa�ng numbers in associa�on with Rhythm Shaw and Louis Banks – and Ranjit Barot tuning in his rhythms with Gulraj Singh and Rhythm Shaw.

While classical pianist Nise Meruno tuned in his exper�se with Yamaha digital piano, churning out some very crowd-pleasing numbers, Salim Merchant – showing his genius with Yamaha Montage – provided a very knowledgeable exposi�on on essen�als of playing chords while crea�ng enjoyable music.

The speciality product demo was also characterized by a workshop set-up on Nuendo 8 – the new audio-to-picture so�ware standard developed by Steinberg – a new addi�on to Yamaha’s musical solu�ons range added by its German concern.

Sums up Harisha G N, Yamaha India’s AGM-PA Sales & Marke�ng: It was a great show. The quality foo�all has always been an edge for our par�cipa�ng in Palm show. It always provides a unique pla�orm for product launches, technical informa�on sharing, opportunity to meet industry stakeholders and compare notes with major suppliers of products and services.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

42

EXHIBITION REVIEW JULY 2018

HARMAN Live@PALM 2018: New Endorsees, New Enthusiasm

HARMAN Professional Solu�ons launched a new range of JBL 3 series

•

The 6" 306P MkII is perfect if you need even more volume and bass response while maintaining a compact footprint.

•

The 8" 308P MkII is the largest and most powerful of the three models in the series, offering impressive low end, high output and excellent dynamic range.

MkII studio monitors at PALM Expo 2018. HARMAN’s also signed on popular Indo-Canadian singer and performing ar�st, Jonita Gandhi and percussionist, composer Taufiq Qureshi as its newest brand ambassadors.

The 3 Series family design of MkII leverages over 70 years of JBL acous�c exper�se to create refined studio monitors, which deliver outstanding value. These monitors offer next-genera�on JBL transducers, tailored sound to fit any studio and offer consistent performance. JBL’s ground breaking Image Control Waveguide has impressive detail, ambience and depth in the mixes. This patented innova�on ensures an acous�cally seamless transi�on between the low- and high-frequency transducers and provides an immersive soundstage with precise imaging. Offering a broad sweet spot and neutral frequency response, the new range of JBL MkII Studio Monitors deliver a crystal-clear representa�on of the musical mix—revealing subtle details, even when listening off-axis.

They are available in three different models op�ons: •

The 5" 305P MkII offers a remarkable sound and is perfect for smaller workspaces.

With Jonita Gandhi and leading percussionist, composer Taufiq Qureshi joining stalwarts suchas Sivamani, Niladri Kumar, Ranjit Barot and Kabir Café, the galaxy of HARMAN India’s celebrated brand ambassadors is even more radiant and wider spreading across the musical milieu in the country.

Jonita is an Indo-Canadian playback ar�st, with a number of Bollywood tracks to her credit, including in movies such as Ae Dil Hai Mushkil, Chennai Express and Highway. She regularly performs at concerts of A. R. Rahman, Amit Trivedi, Sonu Nigam, Pritam and Salim–Sulaiman. Taufiq Qureshi, an ace percussionist of India and an acclaimed composers recognized for his path-breaking and trend-se�ng work, as a performing ar�ste and as composer/arranger.

Taufiq has been ably successful at taking the nuances of tradi�onal rhythms of India to an alternate form of World Music and offering it to a larger audience of all age groups and from different parts of the world.

The new Harman Professional India endorsees: (left) Jonita Gandhi; (right) Taufiq Qureshi ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

43

EXHIBITION REVIEW JULY 2018

“We are delighted to welcome Jonita Gandhi and Taufiq Qureshi,

Jonita is a new age musician and YouTube sensa�on with a huge

both phenomenal ar�sts, as the newest brand ambassadors of

following. Taufiq is a leading contemporary world percussionist who

HARMAN Professional; their associa�on with HARMAN will give us an

is renowned for adop�ng global percussion instruments in his

opportunity to connect with emerging musicians and their fans

composi�ons.

around the world.” said Prashant Govindan – Senior Director for HARMAN Professional, India and SAARC. HARMAN has always

The HARMAN Live Arena this year had Sivamani, Louis Banks, V.

encouraged new age ar�sts who love experimen�ng and we strive to

Selvaganesh, Kabir Café, Ranjit Barot and Niladri Kumar enthralling

design and develop superior audio technologies like the new JBL

the crowds with their performances.

Studio Monitors so music makers can create and share their art the way they intended,” he added. “This is our mission that we pursue with great passion every day.”

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44

EXHIBITION REVIEW JULY 2018

Hi-Tech Audio Brings ETC to India, Eyes Entertainment Market A proper and thorough training on how to use the systems is essen�al for the customers to understand the way these systems should be handled and put into use to be able to get best and longterm results, maintained Vasant.

"Training customers on how to use ETC products generally delivers great long-term results," says Smallman. "India should benefit from a sustained, structured training approach which will be facilitated by both Hi-Tech Audio Systems and ETC.”

In one of its biggest brand addi�ons in recent �mes, Delhi-based Pro Audio solu�ons distribu�on and integra�on major Hi-Tech Audio Systems has brought on theatrical ligh�ng and rigging technology solu�ons major ETC. The significant development came to the fore at the recently concluded PALM Expo 2018 in Mumbai, showing up with some of the company’s latest and popular solu�ons.

“Hi-Tech Audio is a renowned brand in India, with an impressive track record, competence and market presence in India. We believe we found a right partner for a right market,” said the ETC execu�ve Sam Smallman who was seen busy explaining the ETC systems to the thronging crowds at the PALM event.

According to Vasant Kumar, Systems Integrator at ETC, the plan revolves around consistent, quality contact with poten�al customer base and offering the best support in both pre and post-sale instances. “The overriding theme of the strategy is educa�on & contact,” says Vasant Kumar. “We know through experience in other markets that if we can explain what ETC products can do in comparison to the compe��on and we demonstrate how this will benefit the customer we will generally make good sales.”

While presen�ng the product ranges at industry pla�orms like tradeshows provides exposure as well as access to the market, it doesn’t provide the opportunity to explain the product performance in controlled environments, which is why focused demo programmes become essen�al, maintains Smallman. This can happen either at HiTech facility or the customer’s place or even a generic road show format where the two companies can invite the market makers to experience the systems, and benefit from it all.

The company also believes in knowledge dissemina�on through technology sessions on various pla�orms so that the market knows how the company has been enriching the domain with its solu�ons.

“That is an important driver of growth,” maintains Smallman.

The company showcased a range of products at the PALM. They included the Gio@5, a very compact and portable but powerful and feature-rich console, ColorSource Series (20, 40) consoles, dedicated cyclorama ColorSource CYC, and LED luminaires- ColorSource Linier, PAR and SPOT. “We have been part of Palm Expo from the �me of its incep�on. It’s the biggest pla�orm in the country to meet new prospec�ve clients, connect with end users and promote new product lines,” says Managing Director of Hi-Tech Audio Systems Rajan Gupta. “This year we have exhibited new brands ETC ligh�ng fixtures and Clear-Com for the first �me at our booth. The response was incredible among the visitors. We feel extremely gra�fied.”

While the American enterprise is very strongly posi�oned in theatrical and architectural ligh�ng as well, besides live entertainment, the ini�al focus is on entertainment market- at least for the coming two-three years to begin with, explains the execu�ve. “We would want go in a very phased and structured manner.”

According to the ETC execs, the company has intends to approach Indian market with four major objec�ves- Training, tradeshows, product demos, and technology sessions.

Hi-Tech Audio's Demo Cube at PALM 2018.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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KNOWLEDGE HUB JULY 2018

THE ALEX SCHLOESSER COLUMN

Data Sheets and Other Fairytales I want to try something different for this issue's column. As I have men�oned before, I find myself spending a lot of �me these days on checking and verifying performance data for gear. I have recognized that I need to do this much more o�en than in the past. This is not about the good old days (which never really were that good anyway), but a lot of Companies in Pro Audio have learned to use the Data Sheets for marke�ng purposes and to many sales people the messaging is equal to: You can say what you want, and never need to proof what you claim.

I do see a need for staying vigilant, so that we all can be on top of this and not fall vic�m to some silly claims, that have no meaning in the real world. For reference, I will use one example and I would like to encourage you all to go about those ma�ers rather cri�cal in the future.

Let’s look at some of the ac�ve Loudspeaker models out there right now. The availability of cheaper amplifica�on allows ac�ve systems (systems with DSP and Amplifica�on on board) to be much more affordable. Allow me one example here.

Let’s consider a 12” Woofer, 1” Compression driver ac�ve P.A. speaker box with a claimed maximum SPL of 136 dB. I will not name any brand or model, but check around and you will easily find a few who claim to be right there in this ballpark. Now let’s debunk this statement together. For the sake of the argument I will consider that this loudspeaker has a very decent woofer and also a high-quality compression driver and that the Amplifier will deliver all the power, that it is promising. This alone is already more than what I have seen in most cases.

If you use the best and most powerful available drivers available right now, you will get to individual max SPL of around 132 in the LF and about 131 in the HF theore�cally, so not so far off the claimed 136 dB. However, the calculated max SPL above is only happening in an idealized and calculated environment and also not in broad band response. The woofer in a wooden cabinet will perform different and it will have to pay a SPL price because of cabinet volume and port compression and maximum excursion of the cone. Realis�cally (trust me I have done the numbers), this cabinet will do maximum of around 120 dB SPL down to 50 Hz. When you look at the technical specifica�ons and if the manufacturer is decent enough to release this data for your review, you will find that this system could either a. “Theore�cally” do that max SPL and what good has a “theore�cal” max SPL ever done for you? This also includes the recently more o�en seen phrase “Calculated maximum SPL” and I have no idea who has come up with that useless and stupid performance specifica�on.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The b. op�on would be that the cabinet would produce this kind of SPL at a very specific frequency over a extremely short period of �me (before going up in flames). I hope that I don’t need to go into detail about the lack of good that this is going to do for you in your rela�onship with your client and the performer. I want to be able to use and read data sheets, so that I can use this data for my simula�ons and for planning of projects. If data sheets are no longer trustworthy, then my job will get much more complicated. Please don’t go out and support or repeat those silly and stupid statements, there are no “alterna�ve facts” …..

I do see a need for staying vigilant, so that we all can be on top of this and not fall vic�m to some silly claims, that have no meaning in the real world.

Alex will be offering some Systems Tuning Worskhop around Asia and if you are interested to participate in one please email Alex on dates and location. Alex is reachable at alex@asaudio.de

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THIS SEGMENT IS BROUGHT TO YOU BY disguise

Media Servers Device Control What devices are there?

Most media servers have the ability to talk with external devices, such as Matrices, video switchers, rou�ng equipment, OSC devices, Midi devices, DMX devices and more. In reality, there isn’t really a limit to the number of devices we are talking about, many different protocols exist for device integra�on, some open and some proprietary and this makes the topic of device integra�on a vast subject. In this ar�cle, we will limit our scope to common devices used with Media Servers.

media server by sending a telnet command at a specific �me, that tells the matrix to change from its current preset, to preset 5.

The structure of that command, may look something like this – PRST \$\r\n Specified commands are usually covered in the technical documenta�on of the device, as well as the media server.

In this example, our discussion will primarily be around Matrices and

Device best prac�ces

video switchers, so we can look in more detail at how these pieces of

When using remote device control in a show cri�cal environment, it is

equipment may benefit from integra�on with your media server.

important to keep that environment in mind at all �mes. In an ideal scenario, the devices should be located close to, or preferably in the

What can devices do?

Ul�mately, a device receives data from; or sends data to – the media server which, in a lot of scenarios, becomes the central hub for all of this device data. What the device can do specifically, depends on the device itself as well as the protocol it uses to communicate with external equipment as well as the exposed func�onality that can be controlled remotely.

In terms of video switchers & matrix devices, common func�onality o�en consists of – •

Rou�ng of inputs to outputs

•

Remote EDID management

•

Triggering/recalling presets

•

Remote startup & shutdown

•

Remote monitoring of device health

Almost always, these devices also have the op�on of being controlled from their own GUI (graphical user interface), which could be a local piece of so�ware or so�ware accessed from a web browser.

Device protocols There are two types of device protocol, open protocols, such as Telnet and UDP or a proprietary protocol that is specific to a device manufacturer. For proprietary protocols, it is usually necessary to get a custom so�ware feature made in the media server to send or receive this protocol from the device.

With both types of protocol, the devices usually has a set of commands exposed that perform certain func�ons remotely. So, for example, you could trigger the matrix to recall preset 5 from the �meline of your ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

same rack space as the media server to ensure easy troubleshoo�ng between systems. Show cri�cal devices should run on UPS power, just like the media server itself. And any control networks used for the devices should be isolated as to not disrupt other networks (such as media transfer, Art-Net control or Automa�on).

Devices that interface with the media server, should always be drawn into system diagrams, so it is clear what rela�onship the device has to the media server and where it sits in the wider system.

To learn more about device integra�on, consult your media server technical documenta�on. h�ps://www.disguise.one

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

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

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

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

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

Organized by:

A project of:

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KNOWLEDGE HUB JULY 2018

ALL ABOUT WIRELESS BROUGHT TO YOU BY

SEVENTH INSTALLMENT

Transmission Lines: Part Two by Hayden Leiper

Welcome to the seventh instalment of All About Wireless, brought to you by SHURE. In this issue, we will con�nue our focus on transmission lines, examining the importance of impedance matching, the effect of standing waves, and the implica�ons of transmi�ng RF over fibre op�c cables.

In wireless microphone and IEM systems, we generally do not need to

To achieve the best possible performance from an IEM system, it is important to ensure that the signal power output from a transmi�er or ac�ve combiner is transferred to the transmit antenna with minimal loss. It is equally important to ensure that the low power signals detected by receive antennas in wireless microphone systems are transferred to the receiver or distribu�on amplifier without suffering further a�enua�on. Maximum power transfer occurs when the load impedance is equal to the source impedance.

to the source, so they too must be matched in impedance to avoid the

consider the impedance specifica�on of the hardware used as equipment is manufactured to the 50-ohm standard. However, we do need to carefully consider the specifica�on of the coaxial cables used to connect system components. Coaxial cables themselves present a load genera�on of standing waves. Therefore, it is best prac�ce to use 50-ohm coaxial cables in wireless microphone and IEM systems.

If source and load impedances are not matched, for example if a 75-ohm TV antenna were used in a wireless microphone or IEM system, a por�on of the signal rela�ve to the magnitude of the impedance difference will be reflected at the point of impedance change. These reflec�ons mix with the incident signal to produce sta�onary voltage and current waveforms in the transmission line, diminishing the power transferred. In prac�ce, this typically manifests as a reduc�on in system opera�ng range.

Example voltage standing wave generated by using a 75-ohm cable in an IEM system

Standing waves can also be caused by damaged cables, even if the Example power transfer curve for a source resistance of 0.8 ohms

From the point of impedance change, the reflected voltage waveform will propagate out of phase with the incident voltage waveform.

Voltage nodes occur at the 0 and 180-degree points of the incident carrier waveform. Voltage an�nodes occur at the 90 and 270-degree points. In the case of a short circuit, where 100 percent of the incident signal will be reflected, the increased voltage present at the an�nodes may permanently damage the dielectric and destroy the cable.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

specified cable impedance matches that of the connected system components. The dielectric material may be compressed if the cable is bent in too �ght a radius, caught in a road case lid, or driven over by a forkli�, for example. The outer sheath of the cable may recover from the damage, making the compression of the underlying dielectric difficult to spot. The compressed dielectric will alter the impedance of the cable, causing a por�on of the signal to be reflected at the point of damage. Poor system range is o�en a�ributed to faulty transmi�ers or

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KNOWLEDGE HUB JULY 2018

required at both ends of the transmission line. These convertors are ac�ve devices, so power is required for their opera�on. Fibre op�c cable does not carry DC, so mains power is required at each convertor loca�on. This may be inconvenient, or impossible, to provide. The inability of fibre op�c to carry DC also means that ac�ve antennas cannot be powered by a receiver or distribu�on amplifier, necessita�ng the use of a Bias-Tee to inject DC at the ac�ve antenna loca�on.

Depending on the fibre op�c system used, there may also be some considera�ons regarding RF power handling and noise ingress via the convertor connec�on points. Field termina�on of fibre op�c cables is also more challenging than coaxial cable termina�on.

This concludes our examina�on of transmission lines. Next month, we will begin looking at sources of noise and the effect of noise on system Bending a coaxial cable in too tight a radius can compress the dielectric

receivers, but in most cases the hardware is not to blame. Standing waves in damaged 50-ohm cables are an overlooked but common cause of reduced opera�ng range in wireless microphone and IEM systems.

Despite the recommenda�on to use only 50-ohm coaxial cables in wireless microphone and IEM systems, 75-ohm cables can perform adequately in certain situa�ons. In prac�ce, the length of a coaxial cable influences its electrical characteris�cs. When a source is connected to a load via a short coaxial cable, the specified cable impedance is of li�le consequence as the load impedance dominates the circuit. The cable itself is, effec�vely, electrically transparent. As a rule-of-thumb, any cable less than a quarter wavelength in length may

performance. We will also iden�fy a few key techniques for op�mising the signal to noise ra�o in challenging environments.

About The Shure Audio Ins�tute In today’s world of constantly evolving technology and innova�ve design, it is necessary that audio professionals are provided with up-to-date technical insights and training in these rapidly evolving fields.

The Shure Audio Ins�tute is an educa�onal and networking pla�orm for systems integrators and consultants, retailers, the pro audio industry and Shure end users including musicians and engineers. With a variety of online video courses and instructor lead workshops, Shure provides deep exper�se and prac�cal skills on technical, sales and product solu�ons.

be considered short.

Hayden Leiper is an Electroacous�c Engineer with If using a 75-ohm coaxial cable to transmit a 600MHz signal, the cable

15 years’ experience in the professional audio

would need to be less than 12cm long to remain electrically

industry. Currently employed as a Technical

transparent in a 50-ohm circuit. Therefore, it is possible to use short

Consultant with Shure Asia Limited, Hayden's

75-ohm patch cables to cascade RF between receivers without severely

current responsibili�es include wireless and

degrading system performance. Whilst it is not recommended, the

audio systems Applica�ons engineering support;

electrical transparency of short coaxial cables allows the engineer to

authoring, edi�ng, publishing, and presenta�on

make an informed choice regarding the use of 75-ohm cables in wireless microphone and IEM systems. Long 75-ohm coaxial cables are

of educa�onal materials for the Shure Audio Ins�tute; and support of

o�en used accidentally, and do work to a degree, but the standing

training seminars, webinars and educa�onal programs conducted by

waves generated within the cable degrade system performance

Shure Asia’s channel partners.

somewhat.

For more informa�on on the training opportuni�es offered in your area, The use of fibre op�c instead of coaxial cable can be advantageous in

please visit

applica�ons where very long transmission lines are required. The lower cost of fibre op�c cable and the avoidance of excessive signal loss make fibre op�c an a�rac�ve alterna�ve. There are, however, a few poten�al disadvantages to be aware of. Coax to fibre convertors are

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

www.shure.com/asia

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KNOWLEDGE HUB JULY 2018

HARMAN EDUCATIONAL SERIES PART 6

Building your Audio System – Configuring the Monitor Systems Welcome back to Building your Audio System series. In our last 5 columns, we learnt about why having a good PA is important, and the different factors that goes into considera�on when choosing the right microphone, mixer, signal processor, speakers and amps. In this month’s series, we are going to delve deeper into se�ng up and configuring the systems.

Any musician, singer or sound engineer knows the importance of monitor mix which can make or break a live show. A�er all, it’s very difficult to sing on pitch or play in �me if you can’t hear yourself or your fellow musicians clearly. In the next three-part series, we’ll explore best prac�ces for monitor mixing from a single console and provide �ps and tricks to improve workflow and communica�on with the ar�st. In this first installment of the series, we will cover the basic steps in the signal chain and configura�on of the board. Second Installment will teach you how to get rid of feedback and get through sound check with the band and the final one will guide you on five processes that will improve your monitor mixes. Let’s get started!

The Basics

Many wedge monitors are passive, which means they need to be driven by an external amplifier, such as the Crown XLS Series.

First, let’s explore some monitor mixing basics. At most venues, the setup is as such where the stage is usually located behind the PA speakers. And for the performers to hear themselves, on-stage wedge monitors to project a specially tailored monitor mix that can be adjusted to each musician’s liking is required. Bigger tours and na�onal acts typically employ a full-�me monitor engineer, who mixes on a dedicated monitor console on stage to facilitate communica�on between the engineer and band. But in smaller clubs and venues (which is our focus this round), it’s common for the monitors to be mixed by a single engineer who’s simultaneously mixing front-of-house on the same console.

For new engineers and seasoned veterans alike, managing both the FOH and monitor mixes can be challenging—even on a good day. Let’s look at some techniques that can help you streamline the process and deliver the best possible mixes for both the performers and the audience.

Technical Setup For simplicity, the following steps assume that you’ll be mixing a standard four-piece rock band on monitor wedges from the FOH mixing board, but these techniques can be applied to larger or smaller setups.

Let’s trace the necessary steps in the signal path from the source to the wedge. First, you need a microphone (or DI) on stage feeding an input on your mixing console.

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Powered floor monitors like the JBL Eon Series integrate the amp into the speaker enclosure.

If the channel fader for each input is used to adjust the main FOH mix, then how do you send different mixes to the monitors? An auxiliary send is a separate bus that allows you to sum mul�ple channels to one monitor mix or FX device.

The number of separate monitor mixes is dependent on

the number of auxiliary sends on your console and you’ll probably want to keep one or two post fader aux sends open for reverb FX. Boards with at least six aux sends are ideal, allowing for four pre-fade monitor mixes and two post-fade FX sends. Using a pre-fade aux send, the signal is sent through a graphic EQ to remove feedback-prone frequencies, (we’ll cover this in the second part of this series) before it ul�mately hits the amplifier and comes through the stage monitor wedge.

To complete the basic monitor setup, place each monitor wedge 180 degrees off-axis to the nearest vocal microphone to acous�cally reject feedback. Next, make sure the monitor sends are configured to pre-fader so adjustments can be made to the main mix, while the monitor mix remains at a consistent level. Set the volumes of your main fader and sends using pre-recorded music as a level reference, walking on stage to personally check that each monitor is working and numbered correctly with matching output levels.

What’s Next?

In the second installment of this series, we’ll talk about how to minimize the poten�al for feedback, improve your communica�on skills, and establish a workflow that is effec�ve and efficient for a successful sound check. Do you use a different configura�on when se�ng up your monitor mixes? Let us know how you go about planning the se�ngs at HPro.APAC@harman.com. We would love to hear from you!

If you would like to visit us at our HARMAN Professional Solu�ons APAC Experience Centre in Singapore, drop us an email to fix up an appointment.

Visit us for more informa�on at h�p://pro.harman.com HARMAN Professional Solu�ons APAC Experience Centre 108 Pasir Panjang Road, Level 2, Golden Agri Plaza, Singapore 118535

LIVE EVENTS & VENUES

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MIDDLE EAST

Robe MegaPointes are a Credit to Isracard Event

Working for production company MPLive, light architects Cochavi & Klein produced another of their show-stopping lighting designs for a huge event staged in Pavilion 2, Tel Aviv, Israel’s biggest venue.

Upstage and downstage trusses were rigged above the stage, primarily to light the bands.

A major special feature was a spectacular 60 metre long S-shaped gold chandelier, a piece of light art central to ligh�ng the environment and constructed from two 10 metre diameter half-circles connected by a 30 metre run of straight truss, populated with a run of gold tubes and XXL squirrel-cage bulbs.

The eight BMFL Spots were used upstage at the back for beam work and effects behind the bands, with the eight BMFL Blades downstage providing �ght and accurate key ligh�ng u�lizing the shu�ers.

The Spiiders were posi�oned for doing cross and side ligh�ng onstage from the two most downstage ‘city’ towers.

The format was a gala dinner for around 2500 people, a live show featuring a star-studded line up of popular Israeli talent onstage including Infected Mushroom and others, culmina�ng in a party. Eran Klein operated the lights working closely with stage designer Omer Israeli, Cochavi & Klein’s project manager Dor Aichner and video designer Rubi Saa� of Studio Vega.

Omer and Eran chose Robe moving lights to deliver serious impact and effects, with 12 x Mega Pointes - used for the first �me live in Israel – plus 30 x Pointes, six Spiiders, eight BMFL Blades, eight 8 x BMFL Spots and three Pa� 2013s on the rig.

Cochavi & Klein was asked on-board on the strength of their impressive por�olio and reputa�on for bringing fresh crea�vity and innova�on to visual stage and performance concepts. MPLive approached them a�er consul�ng with the event’s technical producer, Itamar Bar Shavit.

Pointes were rigged on top of the ‘city’ towers, with the MegaPointes deployed in a line behind the musicians.

The vast Pavilion 2 venue is 120 metres long, 60 metres wide and has a 19 metre throw distance from the roof – great news for LDs, but also meaning that only the most powerful fixtures will make an impact. This was reason number one for Omer and Eran’s choice of Robe.

They created all the bold, raucous, ‘in-the-face’ looks, huge dynamic scenes and fluid movements filling the air with a lively mix of aerial effects and beam-tas�c WOW factors, o�en receiving audible gasps from the audience as the lightshow ramped up!

The stage was set up along the long side of the room to help make the space more in�mate, with the furthest away tables on raised pla�orms for improved site lines from the far reaches.

The MegaPointes created great ambience and atmosphere for the different acts appearing onstage, they brought added depth and dimension and they were so bright, reports Eran … that they had to tweak the intensity down!!

Omer’s idea was to have a futuris�c ‘digital city’ stage design, complete with video skyline comprising 10 different height and width towers, each part-filled with video panels for a more random appearance. To compliment this, the ligh�ng needed to be amplified to fill the vast areas, reaching out and ensuring that guests felt the energy and a connec�on to the stage ac�on ... rather than si�ng isolated in a cavernous room.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The Pointes and MegaPointes were the workhorse fixtures of the show.

These were the first – and at the �me the only – MegaPointes in Israel, so Eran fully enjoyed being the first LD to be able to give them a serious road test! They were posi�oned at three different heights to add maximum drama to the performance space and were also the only lights on the stage deck, facilita�ng mul�ple bold, beau�ful looks that ensured each of the different ar�sts stood out.

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Eran took a li�le while to get used to the sheer scope of func�onality available with the MegaPointes, but once a bit familiar with the fixtures, he really op�mised!

“I think it’s the first ‘hybrid’ fixture with no compromise in any of the three modes – spot, beam and wash” he stated, adding “the spot capabili�es of the MegaPointe are finally what all designers have been an�cipa�ng! It’s like the hybrid concept has suddenly jumped into HD!”

Eran, Omer and Rubi worked hard on bringing the ‘future city’ concept to life onstage, and when it came to the show, both Eran and Rubi’s experience of improvisa�onal opera�ng shone through with ligh�ng and video. They actually had a lot of fun in co-ordina�ng and energising this for the bands and ensuring the music was vibrantly showcased by the technology.

A�er this ini�al show experience, he’s thoroughly looking forward to using and exploring MegaPointes in much more depth.

“It’s a great way to work” enthused Eran, “we follow each other on-the-fly with colours, intensity, shapes, speed, etc. … it’s all about bringing the right vibes into the space”.

Assis�ng in that vibe engineering were technical producer Itamar Bar Shavit and ligh�ng crew chief Haim Makim.

Other ligh�ng fixtures included sun strips, strobes, magic blades, and blinders. Ligh�ng, sound and rigging for the event was supplied by one of the leading Israeli rental companies, Simul Argaman.

LED screens were supplied by ScreenLED, staging by Irgunei Bamot and the bespoke chandelier was constructed by Sami Chandelier to Omer & Eran’s specifica�on.

The biggest challenge from a ligh�ng perspec�ve was in delivering an interes�ng contemporary design that was larger than life to fill the space, yet cosy and glamorous enough to make a 250 table gala dinner feel comfortable for the guests.

Photo credits to Tomer Foltyn.

With only 24 hours in which to get in and set up, everyone in all departments had to work super-fast and as a �ght team onsite.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

www.robe.cz

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AUSTRALIA

Bigger, Brighter than Ever: TDC Shines at Vivid Sydney 2018 Vivid Sydney celebrated its 10th anniversary this year with TDC, who provided large-scale projection mapping and technology.

Vivid Sydney is the world’s largest fes�val of light, music and ideas. It

experts have been behind the scenes bringing the stunning light

takes place annually, and features immersive light installa�ons with

projec�ons to life, se�ng new standards in projec�on technology and

performances from local and interna�onal ar�sts as well as an ideas

mapping design.”

exchange forum featuring public talks and debates from leading crea�ve thinkers.

TDC provided video services and innova�on to over 10 sites for Vivid Sydney this year. There is record breaking projec�on across the major precincts at 10 loca�ons: Sydney Opera House, Customs House, ASN Co, The Old ES Bank and Police Sta�on, Government House, Museum of Contemporary Art, Cadmans Co�age, Chatswood Concourse, Samsung – “The Night. Reimagined.” and the Sydney Harbour Bridge South Pylon.

“TDC Live View feedback systems are deployed everywhere, allowing real �me monitoring,” said Alex Rendell, Technical Projects Manager at TDC. “Projec�ons were finalised mostly in the pre-produc�on phase, so everything is built before we turn up on site - which reduces down �me,” said Pete Lynn, Head of Crea�ve Projec�on at TDC. “TDC has been a supporter of Vivid Sydney for many years,” added Michael Hasse�, Founder and Managing Director of TDC. “Our technical ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

10 years, 10 sites - Vivid Sydney projec�on highlights The centrepiece of Vivid Sydney 2018 was Metamathemagical, which saw celebrated Australian ar�st Jonathan Zawada commemorate Vivid Sydney’s tenth anniversary with the crea�on of a site-specific artwork that transformed the world-renowned Sydney Opera House sails into a series of kine�c digital sculptures.

Laser-projected images were delivered onto the 9,000 square metre sails for the first �me, thanks to TDC’s investment in the latest projec�on technology. These are brighter, capable of more uniform and be�er controlled light output for a crisper image. The projectors featured 4K/UltraHD resolu�on (four �mes the number of pixels of HD), and delivered 138,240,000 pixels to the sails – equivalent to four IMAX screens – with startling clarity and colour fidelity.

“In crea�ng the Sydney Opera House projec�ons project, a 3D model was constructed and by using a disguise media server we were able to visualise the content playback with the animators in the preproduc�on

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Breathtaking images of deep space from NASA projected onto the sails of The Concourse performing arts centre

phase,” said Steve Cain, Head Enginner & Media Server Specialist at TDC. “This is the world’s best media server and calibra�on technology and it is so reliable and robust. I used a collec�on of features that disguise media servers offer, such as Texture Masking, Deforma�on Layers, Projector Calibra�on and Colour Shi� op�ons. Also the real �me work flow let me sit with the Jonathan Zawada and colour grade the content live on the sails of the Sydney Opera House. We also used the Mul� Editor feature, to allow a couple of us to line up the building simultaneously reducing the projector line up �me to just a few hours.”

“This year, we designed a new outdoor projector housing solu�on that was resistant to high winds, and that could operate reliably close to salt water and at low temperatures,” explained Anthony Pellizzari, Technical Projects Manager at TDC. Another highlight of the event was Snugglepot and Cuddlepie at Sydney’s Customs House, which used projec�on provided by TDC to showcase the adventures of two characters with whom Australian children have been growing up with since author May Gibbs created them a century ago. Ample Projects adapted the amazing visuals.

Royal Botanic Garden

Photonic State at Government House presented a new challenge for TDC because it required mul�ple projector posi�ons. The architecture of the building, with its large towers, also made significant technical demands.

“Early on in the project, we undertook a projec�on study and 3D model so that the show could be created in the 3D world,” said Lynn.

“The model was then worked on by students from training and voca�onal educa�on provider, TAFE NSW.”

Fun facts about tech As well as using laser projec�on on the iconic sails for the first �me, other highlights of TDC’s involvement in crea�ng the wide-ranging spectacular included: • • • • • • •

Over 30 technical staff working full �me 70 video projectors, with brightness up to 40,000 lumens 20 million pixels - equivalent to over 60 IMAX screens Total light output of 1,750,000 ANSI lumens brightness 11km of projec�on 22 media servers Three different automa�on pla�orms servers running on unique so�ware code • 20km of signal and power cables • All sites remotely monitored with real�me “TDC Live View” remote repor�ng 24/7 • To ensure energy efficiency, equipment was powered every night but on-standby during the day Vivid Sydney is owned, managed and produced by the NSW Government’s tourism and major events agency Des�na�on NSW and, in 2017, a�racted a record-breaking 2.33 million a�endees to the celebra�on, delivering AU$143 million of visitor expenditure into the NSW economy. www.tdc.com.au

Australian artist May Gibbs’ iconic gumnut babies Snugglepot and Cuddlepie are featured in a projection on Customs House in Circular Quay for Vivid Sydney.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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NEW ZEALAND

HARMAN Professional Solu�ons Delivers An Award-Winning Audio Experience at APRA Silver Scroll Awards

Strawberry Sound select JBL VTX Series speakers and Soundcraft Vi Series consoles to power wide range of performances

Strawberry Sound recently deployed a complete sound reinforcement

VTX V20 line array system and Soundcra� Vi Series consoles to deliver a

system by HARMAN Professional Solu�ons at Dunedin Town Hall for the

superb audio experience.

2017 APRA Silver Scroll Awards.

“Planning for a show like this can be very challenging from an audio The APRA Silver Scroll Awards is an annual music awards ceremony

perspec�ve,” said David Craig, Audio Produc�on Manager, Strawberry

recognizing the achievements and success of New Zealand-based music

Sound. “It is a corporate awards show, yet we are s�ll handling a number

creators. Since 1952, the Australasian Performing Rights Associa�on has

of live bands and ar�sts throughout the evening. The PA system needed

awarded a single Silver Scroll each year to songwriters and ar�sts across

to deliver crisp and intelligible speech as well as the power and dynamics

all genres of music, including The Naked And Famous, Bic Runga,

of a live band. The VTX system enabled us to provide incredible sound

Unknown Mortal Orchestra and more. This year, the highly coveted

quality and completely balanced coverage at Dunedin Town Hall. And

Silver Scroll Award was given to pop superstar Lorde and the

because we used JBL’s extremely useful HiQnet Performance Manager

songwriters behind the hit “Green Light.”

and LAC Line Array Calculator so�ware to design the system beforehand, minimal changes were required once we were in the venue.”

In addi�on to the presenta�ons of numerous awards in several categories, the 2017 APRA Silver Scroll Awards also featured live cover

The JBL system deployed by Strawberry Sound included a main hang of

performances of many of the nominated songs. In order to ensure

six VTX V20 line array speakers per side and three VTX G28 subwoofers

world-class audio quality for presenta�ons and performances alike, the

per side in cardioid configura�on. The team also included six ground

show’s producers hired live produc�on company Strawberry Sound to

stacked JBL VT 4886 speakers for stage fills and two VT 4886 front fills.

provide a sound reinforcement system and mixing solu�on capable of

For stage monitoring, Strawberry Sound provided seven monitor mixes,

suppor�ng the pres�gious ceremony. Strawberry Sound u�lized a JBL

using JBL SRX 712 two-way speakers. The en�re system was powered by Crown I-Tech HD Series amplifiers.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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LIVE JULY 2018

Accomplished sound engineer Kevin Benne� was hired to mix monitors and a�er being given a choice of several consoles, he selected the Soundcra� Vi2000 for its workflow, audio quality and feature set. The Soundcra� Vi2000 helped Benne� deliver great-sounding monitor mixes for a wide range of performers.

“I was given the op�on to use a number of different consoles and I decided to go with the small-format Vi2000,” said Benne�. “This was my first opportunity mixing on the Vi2000, and now I’m proud to say it’s my go-to console. First off, the audio quality is superb and I can work very quickly with it. The interface is easy to navigate and the whole thing is extremely dependable—and my love of the built-in BSS DRP901ii Dynamic EQ really sweetens the deal!”

thank Strawberry Sound for trus�ng HARMAN solu�ons to deliver legendary audio quality for this pres�gious event, and we thank our New Zealand partner JANDS NZ, now called JPRO for their loyalty, exper�se and customer-focused service.” www.pro.harman.com

At front of house, FOH engineer Chris Tate u�lized a Soundcra� Vi3000 console to support a wide range of musical performances and ensure smooth transi�ons between speeches by presenters and recipients.

The Vi3000’s built-in MADI interface also facilitated the streamlined distribu�on of all input channels to the television and radio broadcast mixers.

“Working with mul�ple bands and ar�sts at the Silver Scroll Awards kept me on my toes, but mixing on the Vi3000 console made my life a

“Working with mul�ple bands and ar�sts at the Silver Scroll Awards kept me on my toes, but mixing on the Vi3000 console made my life a lot easier,” said Tate.

lot easier,” said Tate. “With the Vi3000’s unique workflow makes opera�ons a breeze, including changing show cues, so� patching channels and arranging �e lines. It’s also very easy to clock-sync with other devices which, when combined with the built-in MADI outputs, made for a very efficient audio distribu�on solu�on for handling the live mix and broadcast mixes simultaneously.”

“We are pleased to see the con�nued growth of Strawberry Sound as a produc�on company, with the ability to provide state of the art sound equipment for large scale events,” says Nicholas van Dyk, audio specialist with New Zealand JBL and Soundcra� distributor JPRO (formerly known as JANDS NZ).

“We’re thrilled to be a part of the 2017 APRA Silver Scroll Awards recognizing the best musical talent in New Zealand,” said Ramesh Jayaraman, VP & GM, HARMAN Professional Solu�ons, APAC. “We

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“I was given the op�on to use a number of different consoles and I decided to go with the small-format Vi2000,” said Benne�. “This was my first opportunity mixing on the Vi2000, and now I’m proud to say it’s my go-to console.

58

LIVE JULY 2018

CHINA

Adamson Gets Shanghai Shaking at EDC China 2018

Line-up features some of the biggest names in EDM, and Real Music knew they wouldn’t settle for anything but the best.

Adamson E-Series system on kineticFIELD stage at EDC China 2018

A�er much an�cipa�on from EDM fans in the world’s most populous

Stephan Themps, FOH engineer for Mar�n Garrix, says that Adamson’s

na�on, the now-iconic Electric Daisy Carnival presented its first-ever

E-Series has become his favourite system to mix on. “Adamson delivers

Chinese edi�on from April 29-30, 2018 in Shanghai. To ensure a

maximum impact every �me – crystal clear with punchy bass and plenty

world-class experience befi�ng the fes�val and its headliners –

of headroom, which is precisely what we want,” he says. “Our last

including deadmau5, Mar�n Garrix, Hardwell, and Disclosure – every

experience with Adamson and Real Music at the ISY Fes�val was

stage featured an audio solu�on from Adamson Systems Engineering.

flawless, and this �me, they knew exactly what we needed for a great show.”

The tens of thousands of fans that poured into the Shanghai Interna�onal Music Park over EDC’s two-day run were treated to sets

The kine�cFIELD system was built around Adamson’s E-Series, with the

by monsters of the genre across four stages: the instantly-recognizable

main PA comprised of 15 E15 three-way, true line source cabinets and

kine�cFIELD main stage, which was shipped from overseas; the slightly

three E12 three-way, full range cabinets per side. The side arrays were

smaller circuitGROUNDS; the bassPOD for low end lovers; and the

slightly smaller, with 12 E15s and three E12s per side. Kicking out the low

Boombox Art Car. For both PA and monitoring, it was all Adamson on

end were six flown E218 subwoofers per side, plus 36 E219s and 12 T21s

every stage thanks to the company’s exclusive Chinese distributor, Real

groundstacked at the front of the stage. Finally, Adamson’s compact

Music.

S-Series was deployed for front fills and in the VIP area, as well as in the DJ booth, with stacks of three S10 two-way, full range cabinets atop two S119 subs keeping the DJs in the mix.

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LIVE JULY 2018

Hardwell onstage with Adamson S-Series monitor system at EDC China 2018 The circuitGROUNDS system was also anchored by the E-Series, with

The bassPOD and Boombox stages were each built around Adamson’s

main arrays of 12 E15s per side and ou�ill arrays of six E12s per side.

S-Series, which packs the proven tour-grade performance of the E-Series

Bass came courtesy of eight flown E119s per side along with a

into a more compact cabinet.

complement of 36 E219s on the ground. Again, S10s were deployed for front fill and in the DJ booth atop a pair of S119 subs.

Over the past two decades, Insomniac Events’ Electric Daisy Carnival has grown into one of the biggest music fes�val brands on the planet. In addi�on to the flagship event held every year in Las Vegas, EDC has hit major ci�es like Tokyo, Mexico City, Sao Paulo, and now, Shanghai.

“In the EDM world, it doesn’t get any bigger than the Electric Daisy Carnival,” begins Zhen “Richie” Wang, President of Real Music. “This line-up featured some of the biggest names in popular music, and we knew they wouldn’t se�le for anything but the best. As far as we’re concerned, Adamson is the best, and we heard the same from several FOH engineers over the course of the event.” h�ps://www.adamsonsystems.com/en/

Adamson E-Series system on kineticFIELD stage at EDC China 2018 ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

60

LIVE JULY 2018

SINGAPORE

The Claypaky Scenius Unico Provides Eye-opening Effects for Katy Perry’s Concert The Show Company supplied 120 Claypaky Scenius Unico fixtures for the performance.

Singapore-based show produc�on and equipment hire company The

A�er discussion with Associate LD, Eric Marchwinski, Halpin chose the

Show Company (ShowCo), supplied 120 Claypaky Scenius Unico fixtures

Claypaky Scenius Profile alongside the newest addi�on to the Scenius

for mega-star Katy Perry’s dynamite performance at the Singapore

range, the Scenius Unico as the key fixtures in the Witness rig.

Indoor Stadium as part of her current worldwide tour Witness: The Tour.

“The Scenius Unico has a wide applica�on as a spot, wash and beam with great framing capabili�es,” says Joseph Gan, Director of ShowCo,

The singer’s Singapore show was hailed as ‘one of the grandest

technical partner for the tour in Singapore. ShowCo invested in the

Singapore Indoor Stadium had ever witnessed’ by online music

Scenius Unico fixtures ahead of the show date to ensure that Halpin’s

magazine Bandwagon. Designed by produc�on designer Es Devlin and

ligh�ng team did not have to se�le for less than ideal alterna�ves.

ligh�ng designer Baz Halpin, who also produced the tour, Witness

“Discussion about inves�ng in the Scenius Unico fixtures started some

hooks in audiences with its whirlwind of rich video content, large-scale

�me ago and the Katy Perry show was the deciding factor in making that

props and wide-eyed ligh�ng effects, delivered in part by the powerful

next step,” he says.

capabili�es of the Claypaky Scenius Unico.

For Halpin, ShowCo’s investment was gratefully received. “It’s important “The produc�on is large format and makes a bold statement with its

when designing a world tour, where the en�re system is not travelled,

enormous ‘eye-shaped’ LED screen,” says Halpin, “I wanted to make

that you are able to replicate the design with the correct, original

sure that the ligh�ng design complemented not just the screen’s shape,

fixtures in order to preserve the designer’s original intent,” he says.

but was also able to compete with the incredible amount of light

“Making swaps is never ideal and because of the unique versa�lity of the

emi�ng from it.”

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61

LIVE JULY 2018

Scenius range it was wonderful to be able to replicate this design in

Witness: The Tour, the fourth concert tour by Katy Perry, is in support of

Singapore with the original fixture choices.”

her fi�h studio album Witness (2017). The tour began on September 19, 2017 and is scheduled to end on August 21, 2018 in Auckland, New

“Alfonso Zarakate from Claypaky was extremely helpful in turning things

Zealand. Following the Singapore Indoor Stadium show on April 8, 2018,

around so quickly and ensuring the fixtures were delivered to us ready

the tour is currently comple�ng its European leg.

for the Katy Perry show,” says Gan. “This is not something that a lot of manufacturers are able to do and it was a great team effort from

www.claypaky.it

Claypaky.”

Halpin’s design calls for large amounts of the single fixture type arranged in 140� (43m) spans across the ‘upper lid’ of the produc�on’s central eye-shaped video screen. Of selec�ng the Scenius Unico for the task, he says, “We needed a fixture with enough flexibility to act as a key light, wash light and beam effect light, all at once. The Scenius fixtures are wonderfully versa�le and have enough punch to stand up to the LED screen behind.

“I have used Claypaky fixtures for a long �me now and I am con�nuously impressed with the commitment to innova�on from the brand. I have used large quan��es of Scenius Unicos, Scenius Profiles and Claypaky Mythos2s on all my tours this year.”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“I wanted to make sure that the ligh�ng design complemented not just the screen’s shape, but was also able to compete with the incredible amount of light emi�ng from it.” says Halpin

62

CASE STUDY JULY 2018

Astro Spa�al Audio Takes Audience Inside Tommy’s World for New Produc�on of The Who’s Masterpiece Innovative localisation of sound effects, including an orchestra that pans around like a pinball machine, are integral to a production now running at Colorado’s Denver Center for the Performing Arts Theatre

The brainchild of The Who’s guitarist and primary songwriter, Pete

To deliver this all-encompassing sonic vision Travis was certain “from

Townshend, Tommy – a rock opera that tells the story of a deaf, dumb

day one” that he wanted to incorporate immersive audio with

and blind boy who achieves a personal breakthrough when he becomes

localised sound effects into his sound design. He had experimented

an expert pinball player – was first performed on stage in 1969.

with several immersive systems on previous projects, but it was his

Featuring some of Townshend’s best-loved songs, including ‘Pinball

experience as an audience member of The Band’s Visit – David

Wizard’ and ‘See Me, Feel Me,’ Tommy has enjoyed remarkable crea�ve

Yazbek’s acclaimed new musical that opened on Broadway in

longevity as a staple of The Who’s live repertoire, as well as mul�ple

November 2017, which makes extensive use of the Astro Spa�al Audio

theatrical and touring produc�ons and a celebrated film directed by

(ASA) solu�on – that convinced him he had iden�fied the most

Ken Russell.

appropriate technology.

For the musical component of the new produc�on currently being

“I was really blown by the use of the ASA system – and I wasn’t even

staged at Colorado’s Denver Center, director Sam Buntrock and sound

si�ng in a par�cularly good seat!” recalls Travis. “The Band’s Visit is a

designer Ken Travis had several mo�va�ng ideas in mind. “This is not to

very different, more in�mate show than Tommy, but the audio

cri�cise some of the more recent stage produc�ons, but we wanted to

localisa�on was fantas�c and really contributed to the overall effect of

get away from a synth/keyboard-heavy sound and get back to guitars –

the produc�on.”

in effect, ‘to put The Who back on stage’,” says Travis. “We wanted an energy and a rawness that audiences would closely associate with The

In a ma�er of weeks Travis had taken delivery of ASA hardware and

Who.”

begun to get to grips with its methodology of conver�ng audio signals

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63

CASE STUDY JULY 2018

into audio objects. The core of the ASA solu�on, the SARA II Premium

Implemented as part of a notably high-end sound system that also

Rendering Engine – a 3U road and rack ready processor offering up to

includes Meyer Sound UPQ self-powered loudspeakers and a DiGiCo

128 MADI or 128 Dante configurable network pathways at

SD10 console, the ASA solu�on was mastered by Buntrock in “less than

48kHz/24-bit resolu�on – u�lises extensive metadata a�ached to each

two weeks – we were opera�ng on a fairly �ght schedule. We did have

audio object. The result is a precise calcula�on of that object's posi�on

some low-end and panning issues, but nothing that we couldn’t resolve,

within virtual 3D space, processed in real-�me up to 40 �mes per

and in any case we had superb support from ASA, with a programmer

second for each individual object, as well as that object's acous�c

flying in from Berlin to help support and realise my ideas. They have

effect on the virtual space around it. The result for the engineer is a

been extremely helpful.”

three-dimensional audio canvas on which to play.

Travis was s�ll fine-tuning cues “an hour-and-a-half before people walked “I am not keen on sound that draws a�en�on to itself, so I only wanted

in,” but all the hard work paid off – the Denver Center produc�on has

to u�lise localisa�on where it was ar�s�cally informed by the story,”

been highly acclaimed and the crea�ve team is hopeful that it will

says Travis. ASA is also used dynamically as the drama of the

transfer to other venues in the near-future. He is also excited by the

produc�on intensifies, “so we have a few small ‘flashes’ – such as the

possibility of applying ASA to other projects, no�ng that “I feel there is a

music appearing to come from a small radio on-stage at one point –

lot more to explore with this system – crea�vely, it opens up a lot of

before we get to ‘Pinball Wizard’.”

opportuni�es.”

There’s no doub�ng that this is a set-piece moment of the Denver

Photo credit: AdamsVisCom

Center show. “We treat the orchestra like it’s a pinball machine, so for example the guitars playing those massive power chords are mirrored

www.astroaudio.eu

by the flippers whacking the pinball around the room, while the Hammond B3 [organ] sounds like it’s coming from the lights on the machine,” says Travis. “In rehearsals I mapped out the whole song with the click track, then once we got into the theatre we linked up to �mecode, hit ‘go’ and it worked flawlessly first �me.” So much so, in fact, that “everyone started laughing, it was that good!”

But it’s not just about the big moments – localisa�on is also deployed to exquisite effect in quieter sec�ons, such as the French horn that maps the actors’ movements around the stage during ‘It’s A Boy’. In each case, Travis and Buntrock weighed up the poten�al contribu�on to the overall narra�ve arc of using ASA – “we really weren’t precious about it,” says Travis, “and we didn’t want it to feel superfluous. So some songs are very pared down, and there are others where we thought ‘let’s have some fun’ – and we did!”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“I was really blown by the use of the ASA system – and I wasn’t even si�ng in a par�cularly good seat!” recalls Travis. “The Band’s Visit is a very different, more in�mate show than Tommy, but the audio localisa�on was fantas�c and really contributed to the overall effect of the produc�on.”

64

ON THE JOB JULY 2018

Gearhouse Broadcast On The Ball with Shure Axient Digital and Clear-Com The frene�c pace of the

Andrew routed all

Rugby Sevens and Tens

incoming audio through a

compe��ons sees

DSP unit that automixed

stripped-down teams

the wireless mics before

compe�ng in a gala

outpu�ng to a

atmosphere with lightning

Clear-Com Eclipse PiCo 36

fast-halves and quick

port matrix. Audio was

turnarounds between

fed from there to the

games. To spor�ng audio

referee’s in-ear-monitors,

and comms provider

the TV broadcast, and to

Gearhouse Broadcast, this

Clear-Com V-Series Lever

means having around 40

Panels in the coaches’

referees fi�ed with wireless

boxes. The mics from The

mics and monitoring,

Clear-Com Lever Panels

sending audio to broadcast and the coaches, and receiving audio back

were then fed back through the Eclipse PiCo into the DSP and back out

through their in-ear monitors, all with one minute to changeover ac�ve

to the coach’s ears.

frequencies between games. In this mission-cri�cal environment, Gearhouse relies on Shure Axient Digital wireless and Clear-Com

Gearhouse’s rapid adop�on of the new Shure Axient Digital wireless

matrices to make sure no-one misses a call.

system has bought instant advantages. “Last season we were using Shure’s top-of-the-line analogue UHF-R system,” Andrew elaborated.

“The Rugby Sevens at Sydney’s Allianz Stadium were 79 games across

“As soon as we swapped over, I could immediately hear the difference.

three days, and the Rugby Tens at Brisbane’s Suncorp Stadium were 40

I couldn’t believe the quality - it’s amazing. And the way Axient Digital

games in two days,” reported Andrew Henderson, OB Supervisor at

manages its frequencies, I’m ge�ng a lot less interference.”

Gearhouse Broadcast. “At the Sevens, we had 40 referees that had to be wired for comms. Each ref had a Shure PSM 1000 receiver for listen

Another huge bonus for Gearhouse is the ease of set-up. “Allianz

and a Shure Axient Digital AD1 bodypack transmi�er fi�ed in their

Stadium is very big, and we were located at the top at the radio boxes,

vests. Each game saw six refs on the field, with the main ref mic always

almost the furthest point from the field,” con�nued Andrew. “We had

open. The two assistant and two goal refs and the sideline manager all

two paddles just outside the radio box on a couple of handrails, and

had push-to-talk bu�ons. The coaches had Clear-Com talkback panels

we didn’t have dropout all weekend - I couldn’t believe it. The

so they could speak to the referees if they thought they needed to

broadcast crew asked me how I was covering the field. They all

review a decision.”

thought we were running RF over fibre to mul�ple antennas, they were so happy with the quality.”

As you’d imagine in central Sydney and Brisbane, the RF environment was busy. “There was a lot of background RF, and a lot of RF on-site,”

Gearhouse Broadcast has now built 15 kits built with Shure Axient

added Andrew. “But Axient Digital frequency management is really

Digital and Clear-Com Eclipse PiCo, and will be ge�ng heavy use out

good; Shure’s Wireless Workbench so�ware scans the area and does

of them in the upcoming seasons of the AFL and Super Rugby. “We

the hard work for you. I changed one frequency before we started and

took on Axient Digital at the end of last year’s AFL season, and it’s the

that was it for the dura�on. We couldn’t allow everyone to have their

best radio mic system ever I’ve ever used in terms of both audio and

own frequency, so we ran two groups managed out of Wireless

RF quality,” concluded Andrew.

Workbench. For each game, we loaded a new file and pushed it to the receivers. There was about one minute between each game, so we were restricted with �me and turnarounds. We had 12 frequencies live at any �me, with all of the in-ear-monitors on same frequency.”

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www.jands.com.au