ETA JUNE 2018

JUNE 2018

For The Technical And Production Professionals

ETA EXCLUSIVE: Interview with Pangdemonium's James Tan

REVIEW

Robe Jams out with City65

KNOWLEDGE HUB: Static VS Dynamic Video Mapping EXHIBITION REVIEW: SLV Symposium

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

THE NEW REFERENCE POINT

w w w . r o b e . c z

57

IN THIS ISSUE

61

VOL 19 ISSUE 6 JUNE 2018

04

FIRST WORDS

06

NEWS

47-52

KNOWLEDGE HUB

47 Tuning and Setup of a Sound System 48 Wireless - Transmission Lines: Part One

25

EVENTS CALENDAR

50 Building Your Audio System ‒ Choosing Speakers and Amps 52 Static vs Dynamic Video Mapping

26

VIDEO FILES

27 34-36

ENNOVATIONS

EXHIBITION REVIEW

34 Prolight + Sound Guangzhou 2018

53-60

LIVE

53 SINGAPORE: Pangdemonium Deploys Clear-Com Freespeak II Wireless Intercom System 54 MIDDLE EAST: Going Mega for Israel 70th Independence Day Celebrations 56 PHILIPPINES: Solid Video Excels at ASEAN Summit 57 CHINA: VUE China Kicks Off Expanded Market Presence at Grammy Fest

36 Inaugural SLV Symposium Shows Potential

58 SINGAPORE: Robe Catching The Beat

43

INTERVIEW

46

BIZTALK

60 AUSTRALIA: Optocore Networks Gold Coast Commonwealth Games

James Tan: Lighting Design in Theatre a Collaborative Process

How Can Stress Negatively Affect Teams?

61 13 Questions With... CARLA SEPULVEDA

THE LAST PAGE

FIRST WORDS

4

ETA - June, 2018

MA Lighting and Avolites recently joined forces to take action against counterfeit products. The Anti-counterfeiting campaign took place at Prolight + Sound Frankfurt and closer home at the GET Show. Both consoles are popular and so it is not a surprise that companies shamefully copy their design. Kudos to both companies for taking strong action. I am more pleased that they managed to get this done at the GET Show with the co-operation of the show organisers.

Some counterfeit manufacturers in China have long copied MA Lighting and Avolites' products, and a large number of them are located in Guangzhou. The GET Show - held in Guangzhou - is now one of the most important international industry shows attracting visitors from all over the world, and recently became a “must-go” annual appointment.

The support of the GET show in respecting international patents and copyrights follows the directions by the government of the People's Republic of China, who set higher goals for the local manufacturing industry with their “Made in China 2025” plan.

Franco Zaghini, director of business development for MA Lighting, and Avolites' sales director Koy Neminathan led the team to negotiate with counterfeit manufacturers on the show floor and asked them to withdraw all displayed infringing products.

A total of 9 companies were caught infringing the copyright. The companies involved were: YEL - Yel Intelligence Technology Co. Ltd., YPL - Guangzhou Yunpeng Lighting Equipment Co., F-LINE - Guangzhou Fine Line Performing Equipment Co. Ltd., GUODA - Guangzhou Guoda Electronic Technology Development Co. Ltd., HB Lighting - Guangzhou HB Lighting Equipment Co. Ltd., LIV Lighting - Guangzhou LIV Lighting Equipment Co. Ltd., XFC - Guangzhou Xun Fei Optoelectrionic Equipment Co. Ltd., ZNL - Guangzhou Zunneng Stage Equipment Co. Ltd., Taurus Light Co. Ltd. It is frustrating that copyright infringements continue in the industry and this is partly fuelled by some in the industry purchasing the counterfeit products with open eyes.

Hopefully actions such as those taken by MA Lighting and Avolites and the essential support of exhibition organisers will see the practice stopped.

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

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

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Shankar Venugopal ART / LAYOUT

shankar@creativecult.in

CREATIVE

CULT

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

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

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NEWS

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ETA - June, 2018

MALAYSIA

Amanplex Appointed to Distribute Bose Professional Solutions

Amanplex Indah Sdn Bhd has been appointed by Bose Professional Systems Division to represent its solu ons in Malaysia Ahmad Yuzami, Head of Sales & Product at Amanplex is thrilled with the appointment. “Bose products are highly recognised and sought a er in the high-end consumer segment. We believe with such a strong name recogni on and Ahmad Yuzami of Amanplex flanked by (L) reputa on, there is an Yusof Ahmad and (R) Chris an Liebenberg opportunity to target the professional segment with the brand's professional solu ons.”

“Bose has shown that it is in touch with the pulse of the industry with the solu ons that the company has introduced. The company has a full-fledged R&D team and they come out with products that addresses the needs of the industry. Product lines such as the F1 and RoomMatch had been driving the Bose Professional business for some me but the company has recently branched into tour sound with ShowMatch and conference segments with the introduc on of the ControlSpace EX systems through their extensive research to address challenges faced by professionals in the industry. Bose offers engineered systems for complex se ngs and here is where we see opportuni es.”

“I would say that our targets are feasible. Our focus is on a distribu on model where we work with a network of dealers throughout Malaysia. We are fortunate in the sense to have actually iden fied and partnered with niche dealers, some of whom are the industry leaders for specific niche markets. This way we know that the customers of certain segments will be provided with the best of service from our dealers who have over the years gained a reputa on for their exper se in those segments.”

Amanplex will also be providing technical sales support with the added benefit of the Bose Asia office located in Singapore readily available should there be a need.

“One of the biggest market for us is the Houses of Worship segment with our tradi onal offering. With the launch of the new MSA12X steerable array the entry barrier o en associated with Steerable Array solu ons becomes a li le more affordable for new projects.

We are even able to rival point source solu ons in rela on to price point with our new steerable array and this excites us as we see good opportunity for us,” says Ahmad.

Ahmad Yuzamir is no stranger to Bose solu ons as he has working experience with Bose solu ons for nearly 13 years. “I am very familiar with Bose and the team currently overlooking the SEA market comprises of a vibrant and good mix of knowledgeable veterans of the industry and enthusias c younger individuals, providing reliable and great support. There are off course challenges that lay ahead but the opportunity to work with a company that is at the forefront of technology and innova on makes us happy and confident that we will be able to penetrate and ul mately serve the Malaysian market effec vely with quality solu ons.”

Yusof Ahmad, PRO Territory Manager, BOSE Professional Systems Division, ASEAN and Korea, adds, “Amanplex was appointed because of the people behind it. With the ght communica on and collabora on that we're having, the possibili es are going to be boundless'.

Amanplex can be reached at +60380758990 and those interested can follow the company on Facebook: h ps://www.facebook.com/amanplexindah/ h ps://pro.bose.com

AUSTRIA

Siemens Shows Off Laser-Mapping Skills at EANM “A new dimension of precision“: This was the message at the Siemens Healthcare GmbH presenta on during EANM in Vienna.Four full colour, high power laser systems with 25 wa s of output power were used to create a 360-degree laser mapping during the world premier of “Biograph Vision“ under full trade show ligh ng condi ons.

The advantages of laser projec ons are clear par cularly during challenging show environments such as trade shows – these include: Ÿ Cost efficiency Ÿ Brilliant colours Ÿ Unbeatable image brightness www.tarm.de www.siemens.com ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

NEWS

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ETA - June, 2018

CHINA

VUE Establishes Deeper Roots in China VUE Audiotechnik recently announced the next evolu on of VUE China, a Shanghai-based independent distribu on company with an enhanced technical sales and support opera on for the Mainland China, Macau and Hong Kong Mr. Gu (le ), President of the newly markets. On hand for the expanded VUE China, and Ken Berger, announcement will be VUE CEO, in Jiashan, China, March, 2018 VUE founder and CEO, Ken Berger, and Mr. Gu, president of the new VUE China.

The newly formed, VUE China will assume responsibility for all sales, technical support and marke ng from the prior VUE-owned VUE China organiza on. While independently owned and operated, VUE China will remain closely linked to VUE corporate and will play a key role in the Company's long-range global growth plans.

Repor ng to Berger, William Xu, formerly VUE sales manager, will take on the expanded role of corporate representa ve, and func on as the main liaison between VUE headquarters and the expanded Shanghai-based VUE China support team.

growth trajectory in one of the most cri cal pro audio markets on the planet. I'm thrilled to have Mr. Gu and the Shanghai team as long-term partners in vaul ng VUE to new levels of presence, support and technical leadership in China.”

With an extensive background in pro audio sales, an alreadyestablished Shanghai-based distribu on and support infrastructure, and na onwide network of 100+ reps, Gu is sure to add immediate momentum to VUE's Chinese market growth. And with deep financial backing, Gu plans to add addi onal talent to the Shanghaibased team in the coming months.

"VUE is a young brand but growing very fast against others in the industry,” said Gu. “I'm honoured to have such a strong, long-term connec on with VUE headquarters, and we are already establishing top- er levels of exposure and service to match VUE's outstanding technical innova on and product performance. My team is excited to bring an even brighter future for VUE in the Chinese pro audio market, and to making China a key component of the brand's global growth.”

Gu demonstrated this commitment to market leadership with a charter sponsorship of the third session of the China Performance Industry Associa on Awards on March 25, 2018, in Shanghai.

A ended by several hundred of the City's choreography elite, the session focused on best prac ces in ligh ng, staging, and audio; VUE's CEO, Ken Berger, was a featured presenter at the event.

And to secure a foo ng in the Chinese touring market, VUE China deployed a VUE al-12 system at the April 30th world debut of Grammy Fest where headline act Pharrell Williams played to a soldout crowd of more than 20,000 at the Chang-yang Music Theme Park in Beijing.

VUE CEO, Ken Berger, introduces the VUE leadership team to Shanghai entertainment industry leaders at the third-annual China Performance Industry Association Awards on March 25, 2018

According to Berger, the expansion is perfectly med given the recent upswing in VUE's worldwide profile and product line adop on.

“This is the ideal alignment of some incredible talent, passion for the VUE brand, and breakaway adop on of VUE technology,” lauded Berger. “Through significant investment, the new VUE China will deliver deeper resources, expanded technical support and sales, and unprecedented market coverage to put VUE on an en rely different ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

VUE China President, Mr. Gu and Pharrell William's FOH engineer, Kyle Hamilton, at soundcheck for Grammy Fest, 2018 in Beijing; April 30, 2018

www.vueaudio.com

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NEWS

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ETA - June, 2018

AUSTRALIA

Staging Connections winners at MEA National Awards

The who's who of the mee ngs and events sector celebrated a year of great achievements together at the Adelaide Conven on Centre; the Awards are the culmina on of the MEA Na onal Conference from 6-8 May, 2018.

Staging Connec ons won the pres gious award for their superb execu on of the Asian Paints Privilege Club Conven on 2017 – accepted by an ecsta c events team.

The impressive incen ve event was acknowledged by industry peers as a true testament to the team's crea ve produc on capabili es in a highly compe ve field. Asian Paints welcomed over 1,000 delegates par cipa ng in 12 events across mul ple loca ons. The event included amazing stages, hos ng lively entertainment and stunning mul media projec ons. The President's speech was brought to life via mo on sensing technology and gesture control.

This accolade recognises Staging Connec ons' ongoing dedica on to producing outstanding business events, as well as their significant contribu on to the Australian event industry.

Commen ng on the win for Special Event of the Year, Staging Connec ons Managing Director Tony Chamberlain, gave high praise to the dedicated and passionate team.

“I want to congratulate the en re events team involved in the crea on of this event from concept to execu on. Our client allowed us to push the boundaries and implement technologies their audience hadn't seen before.

This award will inspire us to con nue to elevate our service offerings and strive to exceed expecta ons,” said Chamberlain.

The highly-coveted MEA Awards are judged by a panel of independent industry leaders to celebrate excellence and best business prac ce in the mee ng and events industry. The aim of the MEA Industry Awards is to encourage event professionals to excel in achieving their business and personal goals. www.stagingconnec ons.com

APAC

Louis Teo Joins LITEC as Sales Director for APAC To augment the growth of LITEC around the world, Louis Teo has been appointed Sales Director for the Asia Pacific region. Louis is a welcome addi on to the LITEC Louis Teo with Litec MD Fabio Prada sales team, having more than two decades of experience within the pro audio, ligh ng, staging and special effects sectors.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

He has witnessed first hand the development of many brands within the APAC countries and has in mate knowledge of how entertainment industry products are developed and manufactured.

Louis brings a profound understanding of the APAC market, and a deep well of prac cal experience with industry products, that will serve the ever-expanding needs of customers within the Asia Pacific region and help push the LITEC brand forward.

Louis can be reached at louis.teo@litectruss.com or +65 8118 6665. www.litectruss.com

NEWS

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ETA - June, 2018

INDONESIA

Showtime for NEXO @ Indonesia's Largest Pro Sound Expo ASIIS Indonesia put NEXO's STM Series modular line array at the centre of their display at the recent SMEX in Surabaya City, the largest pro light and sound expo in Indonesia.

With nearly 30,000 visitors to the Surabaya Music Expo, this was a great opportunity for Andy Mulya Su kno and his team to include the STM Series, featuring the M46 main module, in the public shoot-out, where the surprisingly compact STM modules came out on top in terms of clarity, power and precision.

With support from the produc on company Enam Sembilan, ASIIS set up the STM rig with a small hang of 6x STM M46 main cabinets

over a ground-stacked bank of 6x S118 sub-bass units, the whole powered by NXAMP4x4 TD Amplifier/Controllers.

The flagship of the NEXO large-format loudspeaker category, STM is a modular design which can use combina ons of four elements; M46 main cabinet, M28 omnipurpose main or downfill cabinet, B112 bass cabinet and S118 sub-bass cabinet.

Rental companies can use all four elements to create one of the most powerful line array systems currently available, or they can use different combina ons to handle small shows and corporate events.

The configura on can vary different elements depending on which programme material; jazz or orchestral material can be handled with just Main and Sub-bass cabinets, which can be boosted for rock and metal performances by the incorpora on of Bass cabinets and extra Sub-bass.

SMEX also marked the launch of the new ASIIS Chain Store in Surabaya City, a region where ASIIS and NEXO hold a commanding posi on in the market. www.nexo-sa.com

GLOBAL

Testing the New disguise HDMI 2.0 VFC Card with Lightware MX2-8X8-HDMI20-Audio A new standard recently introduced to the market is HDMI 2.0, to which most manufacturers are in the process of adop ng, but the number of AV products on the market like the MX2-8X8-HDMI20Audio from Lightware, which truly delivers full compa bility with this standard, are quite limited.

Lightware's new MX2-8X8-HDMI20-Audio matrix was the first HDMI 2.0 compa ble hardware Lightware introduced and the matrix recently started shipping in full produc on for customer orders in early 2017. This compact and low noise matrix switcher delivers uncompressed 4K UHD resolu on at 60Hz with 4:4:4 colorspace and has many features which make it a fine choice for many commercial and corporate integra on applica ons with addi onal focus on suppor ng rental & staging.

There are already a good amount of equipment on the market which claim to support HDMI 2.0 specifica ons including ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Full 4K UHD 4:4:4 max resolu on, but in real struggles to perform accordingly, especially in demanding, professional setups.

The UK based company disguise created professional media servers to play huge video content across massive canvases, in the toughest of live environments. The output signals of the servers can be changed to accommodate to the actual show or project as needed, with the help of their Video Format Conversion (VFC) cards.

The disguise device range has recently been complemented with a new, HDMI 2.0 compa ble VFC card, which have been tested for signal quality and integrity with the Lightware MX2-8X8-HDMI20Audio matrix.

The tes ng concluded with a posi ve result, the disguise unit with the HDMI 2.0 VFC card has performed to the specs delivering faultfree HDMI 2.0 signal and working error-free together with our MX28X8-HDMI20-Audio matrix. lightware.com

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ETA - June, 2018

AUSTRALIA

Illuminating the Heart of the 2018 Commonwealth Games Village The most anticipated international multi-sport event held in Australia in a decade – the XXI Commonwealth Games – took place on the Gold Coast between 4 and 15 April 2018

The 2018 Commonwealth Games Village – the latest urban renewal project of the Gold Coast - became a temporary home for over 6,600 athletes and team officials who came to Australia from all over the globe.

The ULA Group partnered with Elite Event Technology to illuminate the main common outdoor areas of the Village to help create a vibrant, dynamic and fes ve atmosphere within this unique site during the Games.

The brand new complex of the Commonwealth Games Village developed on the 29-hectare site – provided residen al, retail, recrea on, dining and medical facili es for the athletes and officials during the 11 days of this high profile interna onal spor ng event.

The Village is very patrio c and the a en on to Aussie detail is so impressive. The overall design is all about the colour and represents Queensland in the very nicest way, with the residen al villages called Rainforest, Reef, Outback, Beach, Surf and Sunset.

The whole idea of incorpora ng temporary mood ligh ng to the complex was to highlight the colours and playfulness of the Village and the Games even during the dark and provide a perfect place for the athletes to celebrate the wins and success of their na onal teams.

For Elite Event Technology, with the recent Investment to the new Acme Ligh ng outdoor fixtures, this was a great opportunity to test these IP65 rated fixtures in Queensland's unpredictable weather condi ons. The team used 56 Acme Outdoor Tour Pixel 1010 Bars to illuminate facades of various buildings within the complex, running different colour pa erns and colour themes each night between dusk and dawn.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

One of the nicest features of the 2018 Commonwealth Games Village is the Village Heart, a white sculpture with ver cal fountain.

This original sculpture was modelled on the Natural Arch in the nearby Numinbah Valley behind the Gold Coast, where water cascades down the limestone and glow worms appear at night.

Twelve Acme Stage PAR 400 Zoom IP fixtures were strategically posi oned around the sculpture to bring it to life with beau ful saturated colours and purposely programmed ligh ng schemes, with the green and gold theme being one of the most popular.

The whole Commonwealth Games Village project was guided by environmentally sustainable design principles, encompassing environmental, social and economic ini a ves and received a full 6 Leaf Enviro Development Mixed Use accredita on form the Urban Development Ins tute of Australia for its ecosystems, waste, energy, water, materials and community. The Parklands project has also achieved a 6 Green Star Communi es pilot ra ng from the Green Building Council Australia, the equivalent to “World Leadership” in sustainability.

The 2018 Commonwealth Games were a great success, with Australia topping the medal table for the fourth me in the past five Commonwealth Games, winning 80 gold medals and 189 medals in total. www.ulagroup.com

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ETA - June, 2018

HONG KONG

MegaPointes on Top in Hong Kong & Macau

Top One Design Engineering recently made their first Robe purchase, meant to further the cause of bringing world class ligh ng and event design - with an emphasis on crea vity and innova on - to a diversity of sectors in the region including live and corporate events.

Top One is also the first Hong Kong rental company to have these latest Robe luminaires in stock - 24 x MegaPointes and 60 x LEDBeam 150s – and that is because Kurt likes to offer the latest trending products in the rapidly changing world of entertainment technology.

Kurt and technical director Sam Hui had been keeping an eye on both of these Robe products for some me, they explained, and were “blown away“ with the first demonstra on which was organised by Raymond Wong from Robe's HK distributors, Arc Source.

“The MegaPointe has far superior func ons in both quan ty and quality when compared to other lights in a similar class,” says Kurt, highligh ng the anima on wheel and prisms in par cular.

However it was the incredibly light 26Kg weight of the fixture which made this purchase a “no brainer” for the company to service their busy ra of work.

The LEDBeam 150 was also chosen as ideal for its small size and footprint together with “a seriously powerful punch and its superior colour performance and mixing”.

Almost immediately the lights were delivered, they went straight out on The GREAT Fes val of Innova on, staged at the Asia Society Centre in Admiralty, in the explosives store of the old Victoria Barracks to be precise, a carefully restored heritage site now transformed into a buzzing cultural, ar s c and intellectual hub for the city.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The MegaPointes and LEDBeam 150s were used in four main areas at The GREAT Fes val: 10 x LEDBeam 150s li ed the light levels along the Red Carpet and Recep on areas; 12 x Mega Pointes and six LEDBeam150s lit the Main Stage; six MegaPointes and six LEDBeam150s were deployed in the Landscape Theatre cocktail area, and six MegaPointes and 10 x LEDBeam150s lit foliage and other areas of the Roo op Terrace.

They were in ac on again recently in MacPherson Stadium for the MacPherson Fes val x Siu Fay 'Love for the En re Life' concert featuring Patrick Lui and other special guests.

Ligh ng designer MaKaWai Mamui of AriesFlare Studio posi oned 13 x MegaPointes and 26 LEDBeam 150s on the trusses, and another nine MegaPointes on the floor, all of which provided some stunning looks and effects.

Kurt, Sam and the Top One team are all ecsta c with the purchase.

“The ligh ng scheme for The GREAT Fes val looked really amazing using these fixtures,” declared Sam. Talking more generally about Robe as a brand, Kurt comments, “We feel that Robe has a lot of heart, and we really respect that the products are all made in-house and that so much me and effort goes into maintaining the quality standards”.

Top One Design Engineering is one of the busiest ligh ng design and supply companies in Hong Kong and the Asia Pacific region. With over 25 years of combined experience in the events industry, they bring huge knowledge as well as a fresh and invigora ng approach to ligh ng and visual concepts, producing bespoke ligh ng designs and solu ons for a lively mix of events. www.robe.cz

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ETA - June, 2018

SOUTH EAST ASIA

DPA Microphones Boosts its Presence in Singapore and Thailand with Two New Appointments DPA Microphones has appointed Acous c & Ligh ng Systems to

a company with a strong heritage and unique technology, DPA has

handle the distribu on of its en re product range in Singapore and

definitely created a dis nc ve brand iden ty in the market.

Thailand. And, in a move that will allow it to get even closer to its

Furthermore, it also offers discreet solu ons to a wide range of end

customer base in the live, PA and MI markets, DPA has also

users whose demand for high quality microphone products is

appointed Arcadia Tech as a direct dealer in Singapore.

growing all the me.”

Ken Kimura, Managing Director of DPA's APAC Office, says: “We are

Mr. Yeo adds that this is the first me A&L Singapore and Thailand

excited to have both companies looking a er DPA and are confident

have worked with a major microphone manufacturer and both

this move will benefit more professional users in the regional audio

teams are looking forward to promote the DPA product range and

community as our upgraded mics with the CORE by DPA Technology

the latest microphone techniques.

is being introduced in both territories.”

“The support of DPA's Hong Kong office, together with our own

Headquartered in Malaysia and with offices in Singapore, Indonesia

exper se and understanding of local culture, will enable us to take

and Thailand, Acous c & Ligh ng Systems is one of the most

the DPA brand for a new height in our areas,” he says. “A&L ac vely

prominent Audio Visual and Ligh ng companies in South East Asia.

par cipates in local pro audio events and exhibi ons such as

Established in 1993 as a live sound company, A&L has expanded over

Broadcast Asia, where we will definitely showcase DPA. We have also

the years to encompass broadcast and, more recently, the corporate

invested in demo kits so that we can showcase directly to clients at

AV sector where it sees plenty of poten al for growth.

their preferred venues.”

Commen ng on the appointment of his company as a DPA direct dealer, Arcadia Tech's managing director, Ron Koh, says: “DPA has always been a standard to look up to when purchasing microphones and with today's requirement for content, quality audio products such as DPA are always going to be in demand from independent content creators who are always looking to get their hands on the latest professional tools and upgrades.”

Eugene Yeo and Glenn Lin of Acoustic and Lighting Systems

Eugene Yeo, the Singapore-based General Manager of A&L, believes DPA has great poten al in the region because its high quality product range covers so many different market sectors – from live sound and theatre, to broadcast, recording, film, installa on, house of worship and the corporate market.

“We strive to work with brands that can add value to our own brand por olio, but also to the general pro audio community,” he says. “As

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Ron Koh of Arcadia Tech

Mr. Koh adds that he is very excited about DPA's latest products such as the new CORE preamps.

“How do you improve an already great sounding microphone? That was my ini al thought when I first heard about CORE,” he says. “But, as with every great company, DPA Microphones con nues to innovate and bring out products that just get be er and be er.” www.dpamicrophones.com

LIVE EVENTS & VENUES

NEWS

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ETA - June, 2018

THAILAND

MediaVision Invests in Robert Juliat Merlin When the company decided to invest in some new followspots, Robert Juliat's Merlin 2500W HMI touring followspot was to provide the perfect solu on. Merlin's powerful output and 3°-12° zoom range makes it wonderfully suited for venues of all sizes – an invaluable quality for rental houses which supply many types of event – and its rugged construc on allows it to cope with high levels of use and transporta on between venues.

(R-L) MediaVision's Joe Thanaruch, Robert Juliat CEO François Juliat and Joe Norasate Somboonwong of Lightsource at Prolight+Sound 2018 with some of RJ's large portfolio of followspots

MediaVision of Thailand has invested in a pair of Robert Juliat Merlin followspots, supplied by RJ's exclusive distributor for the region, Total Solu on Marke ng Pte Ltd, as a valuable addi on to its rental inventory.

MediaVision provides high quality equipment and services for live music, K-Pop, EDM and both local and interna onal concerts, as well as corporate events and conferences, and prides itself on se ng new standards by inves ng in state-of-the-art tools, backed by knowledge and a commitment to its clients.

“We chose the Merlin a er Total Solu on brought it to our a en on in late 2016. We needed a followspot that was reliable and versa le enough to adapt to the many demands of a rental company,” says MediaVision's Joe Thanaruch. “Robert Juliat's reliability and buildquality is well-known, and Merlin turned out to be surprisingly lightweight for a followspot of its size. We were also happy that it proved easy to use with no complica ons. But the real selling point for us was Merlin's internal power supply which makes it so easy to transport and set up at every event and venue. Finally, we have always trusted Total Solu on's a er-sales service and reliable support for many years which made our purchasing decision very easy.

“Our technicians and operators are already familiar with Robert Juliat's other range of followspots. But now a er having the chance to use Merlin on some shows we all agree that the Merlin is not only reliable and easy to use, but its light output is extremely good with a nice even beam. We are very happy with them.” www.mediavision1994.com robertjuliat.com

APAC

Adamson Welcomes New Education & Support Coordinator for APAC Region Adamson Systems Engineering is pleased to announce the appointment of Ayumi Hanano as Educa on & Support Coordinator for the Asia-Pacific region.

In her new role, Hanano will be assis ng Adamson's APAC team with technical support and is now the first point of contact for all training inquiries and ini a ves in the region.

“Ayumi has already proven herself to be Ayumi Hanano, Adamson Education & Support a valuable addi on to our diverse Coordinator, APAC interna onal team,” says David

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Dohrmann, Adamson's Technical Director for the APAC region.

“She's incredibly smart, a strong brand ambassador, and will be a major asset as we con nue gaining trac on in the Asian markets and increase our global focus on educa on and training.”

Hanano has already overseen the delivery of Adamson's Applied Cer fica on training for hundreds of a endees in several countries and will soon begin presen ng Adamson's recently launched Advanced Cer fica on training as well. She'll also be spearheading technical support for Adamson partners and users throughout the region.

Born in Japan but spending some her forma ve years in Birmingham, U.K., Hanano returned to her na ve country in her

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mid-teens. She realized her penchant for live audio produc on rela vely early was mixing shows while s ll a ending uppersecondary school.

Her professional Ayumi Hanano (2nd from left) providing career began onsite support to Adamson users with an FOH engineering posi on at well-known jazz venue Mo on Blue Yokohama, a branch of Blue Note Japan. From there, she freelanced

in several reputable jazz venues throughout Yokohama and Tokyo while also touring several countries as an FOH engineer with a wellknown Japanese singer-songwriter.

“I'm very happy to be working with Adamson and its network of partners and end users throughout the Asia-Pacific region,” says Hanano. “I know first-hand from my years as an engineer that Adamson's reputa on for premium audio reinforcement and worldclass support is well deserved. I look forward to helping audio professionals get the best possible performance from their Adamson systems in any applica on, and growing Adamson's overall profile in the important markets we serve.” adamsonsystems.com/en

SOUTH EAST ASIA

ChamSys Appoints Electronics & Engineering as Distributor for Singapore and Malaysia “We are constantly working to improve our product offering to our clients not just in the fields of audio but also video and ligh ng. I am confident that the addi on of ChamSys to our product por olio will play a significant role in our expansion plans in the ligh ng product segment.” commented Gary Goh, Deputy Managing Director, Electronics & Engineering Pte Ltd. Plans are already in the works for more product workshops and trainings, star ng with a workshop conducted by founder Chris Kennedy himself. We will of course soon have our service engineers trained in providing a er-sales service and repairs for Chamsys users in Singapore and Malaysia.

Gary Goh from E&E with Aziz Adilkhodjaev from ChamSys

ChamSys has recently appointed Electronics & Engineering Pte Ltd (E&E) as their Distributor for both Singapore and Malaysia. Formed in April 2003 with the mission to u lise and bring the latest technology developments to the Professional Ligh ng Market, their ul mate aim was to provide high performance, reliable and cost effec ve products.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Aziz Adilkhodjaev of ChamSys said, “We are honoured to start working with E&E. Gary Goh, was introduced to me by a mutual friend, and I was very impressed with the company's ethos and approach to the business. I am looking forward to many years of coopera on between our companies and I wish E&E many more years of success and prosperity.” www.enepl.com.sg

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

@yamaha_proaudio_official

www.yamaha.com/proaudio

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INDONESIA

RIVAGE PM7 Impresses Indonesian Engineers on Pre-Launch Tour Two days previously, the system had been used to mix the Front of House sound for Glenn Fredly at The Pallas, a spectacular live music venue and restaurant in Jakarta. Although it was the first me Fredly's FoH engineer Eddy Jacobus had used the system, his verdict was “It's the best - the sound is great, very natural and the workflow is iden cal to RIVAGE PM10. I especially like the emula ons of the Rupert Neve Sound Designs processors, which are a great shortcut to a really good sound.”

Kampoeng Jazz Fes val

On 21st May, Yamaha Indonesia held its official launch event for the new RIVAGE PM7 digital mixing system. Before this, sound engineers in different ci es were able to work with the system on a pre-launch tour of four specially-chosen showcase events. Their response? Very impressed!

The audio rental company for both shows was Jakarta-based DSS Sound System, whose owner Donny Hardono added, “Over these two events it quickly became obvious that the features, premium plug-ins and the 96kHz sampling rate of RIVAGE PM7 mean that it easily sa sfies the needs of sound engineers.”

Taking place during two weeks in late April and early May, RIVAGE PM7 was able to demonstrate its flexibility and reliability in Indonesia's tropical climate, being used at the Interna onal Kampoeng Jazz Fes val in Bandung, the Bali Blues Fes val, a concert by popular Indonesian R&B singer/songwriter Glenn Fredly and the annual Surabaya Music & Mul media Expo (SMEX).

The comments from engineers who were able to get 'hands on' with the system were extremely posi ve, with the audio quality, premium plug-ins, ease of use and price point all the focus of par cular praise.

Visitors hearing about the different features sets of the console

The next stop on the Indonesian tour was four days of hands-on demonstra ons at the annual SMEX expo, which a racted 15,000 visitors. Here comments included “The DSP resources are amazing, you can insert the plug-ins everywhere on the input and output channels”, “The workflow is completely familiar”, “It has such a musical sound” and “RIVAGE PM7 is really cool to use!”

The final pre-launch showcase was the Bali Blues Fes val, where it was deployed with a Yamaha CL5 on FoH, mixing a variety of Indonesian and interna onal blues / rock ar sts.

The RIVAGE PM7 and PM10 worked in tandem at the Kampoeng Jazz Fes val

At the Interna onal Kampoeng Jazz Fes val, the RIVAGE PM7 was working with a RIVAGE PM10 system to mix a variety of different jazz styles, from very tradi onal to modern. Audio engineer Irham Bilal enjoyed his first experience with the system, saying “I was very pleased to experience RIVAGE PM7. The plug-ins are remarkable, overall I thought it was fantas c. I hope to spend more me on it to really get to know all the features.”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“Like other Yamaha digital consoles, the RIVAGE family is really user friendly and easy to operate. The premium plug-ins are really very helpful for every sound engineer,” said engineer Teddy Sapta. Fellow engineer Agus Bim added, “The sound is great and I was really impressed by the number of plug-in op ons that can be used on every channel.”

With the promo onal tour over, the official Indonesian launch of RIVAGE PM7 took place in Jakarta, with 80 audio professionals from rental companies, broadcasters, houses of worship, sales companies and other businesses invited to a comprehensive demonstra on and hands-on sessions.

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EVENTS

CALENDAR

25

2018

Jun 06 – 08 | Conference Programme starts on Jun 02 InfoComm Interna onal 2018 Venue: Las Vegas, USA Jun 06 – 08 | Conference Programme starts on Jun 05 IAAPA Asian A rac ons Expo 2018 Venue: Hong Kong Conven on and Exhibi on Centre, Hong Kong The Bali Blues Fes val

Once again, a endees were very complimentary about the system, with many posi ve comments made about the sound quality of the RPio and RioD2 preamps, the Rupert Neve Sound Designs Silk processing and plug-ins, the advanced Centralogic user interface, the channel capacity and the collec ve benefits of the sound quality, hardware quality and features compared to the system's price point.

The Yamaha team at the official Indonesian launch of RIVAGE PM7. 'Chick” Hirai is on the le of the picture

“As soon as the RIVAGE PM7 system was delivered, we headed straight out on the 'test drive' tour,” says Chihaya 'Chick' Hirai, Senior General Manager at Yamaha Music Indonesia. “Even under the boiling sun in Bali, RIVAGE PM7 did a great job without any problems whatsoever. Throughout the tour, engineers had no trouble opera ng it, even though they had never seen it before. The tour proved that RIVAGE PM7 is an excep onally reliable system, both in terms of its durability and ease of opera on.”

He con nues, “It also received a very enthusias c welcome and many enquiries at the official launch event. We are certain that RIVAGE PM7 will be chosen for many Indonesian concerts and other live events in the near future. www.yamahaproaudio.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Jun 09 – 12 | Guangzhou Interna onal Ligh ng Exhibi on Venue: China Import and Export Fair Complex, Guangzhou, China

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

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June 26 – 28 | ConnectechAsia (CommunicAsia 2018) Venue: Marina Bay Sands, Singapore

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Jun 28 – 30 | Summer NAMM 2018 Venue: Nashville, TN

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Aug 22 – 24 | Integrate Venue: ICC Sydney, Darling Harbour

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

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Sep 05 -07 | InfoComm China Chengdu Venue: Western China Interna onal Expo Center

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Sep 18 – 20 | InfoComm India 2018 Venue: Bombay Exhibi on Centre, India

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Sep 23 – 25 | Prolight + Sound Middle East Venue: Dubai World Trade Centre

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Oct 19 – 21 | Conference and training programmes start on Oct 15 Live Design Interna onal (LDI) Venue: Las Vegas Conven on Centre, USA

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COLORado Solo Batten Sneak Peek Get a glimpse of CHAUVET's new COLORado Solo Batten! This very versatile IP65 fixture is engineered with 12 individually controllable square sections that appear seamlessly together as a single homogenized wash, but can also create an endless variety of colour control and pixel mapping effects.

A Message From Tori Kelly ‒ Shure Off The Beaten Track Grammy-nominated U.S. singer-songwriter and Shure artist Tori Kelly is calling on bands, singers, and solo musicians to enter the global mobile recording contest “Off the Beaten Track.” Artists from 15 locations around the world are invited to compete for a trip to Los Angeles with a professional recording session at Capitol Studios in Hollywood, California.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

INORI - PRAYER- Impressive face mapping Talk about a throwback! Featuring popular dance duo AyaBambi, this art piece utilises real time tracking and face projection mapping with the aid of DynaFlash, a high-speed projector that can achieve 8-bit-level image projection at up to 1,000 fps. DynaFlash was jointly developed in 2015 by the Ishikawa Watanabe Laboratory at the University of Tokyo and Tokyo Electron Device.

Cirque Robe 2018 ProLight + Sound show!

Missed out on what Robe had to offer during the recent Prolight + Sound show? Fear not, we've got the video right here! Be prepared to ooh and ahh as Robe pulls out all the stops, bringing ‒ we kid you not ‒ a real live circus experience to the showfloor.

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Elation Smarty Hybrid - Compact Hybrid with Stage Smarts!

Ela on Professional is pleased to announce launch of the new Smarty Hybrid, a compact yet full-featured CMY colour-mixing Spot/Beam/Wash hybrid moving head with stage smarts thanks to innova ve and highly efficient “FLEX” lamp technology.

Building on the success of the company's Pla num range of moving heads, Ela on has worked closely with Philips engineers to further improve Pla num lamp technology. The result is a new longlife Philips Pla num FLEX 200 lamp that sits at the heart of the Smarty Hybrid. The 'smartly' designed discharge lamp/ballast package produces an impressively high output for such a compact fixture while performance remains resourcefully economical with a lamp life of 6,000 hours, double that of other fixtures in its class.

The Pla num FLEX 200 lamp is dimmable via the internal ballast, which not only dims the lamp electronically but offers a Hiberna on Mode that reduces power to the lamp when not in use, resul ng in lower power consump on. The lower internal heat produced extends the life of not only the lamp but all internal components of the fixture.

Compact hybrid One of the most compact and lightweight hybrid ligh ng fixtures on the market, the Smarty Hybrid has flexible use as a spot, beam, or wash light. Designed for the wide variety of professional stage applica ons, the fixture's Pla num FLEX 200 lamp can emit up to 14,000 lumens while only consuming a maximum of 480W. Ou i ed with a motorized zoom with auto-focus, beam angle range differs in Beam and Spot mode with gobo projec on focus realized from 2.0° - 20° under Beam mode and 3.0° to 25° in Spot mode. No hotspot is visible in Spot mode. The Smarty Hybrid also includes a

frost filter for a flat field wash effect, making it a truly versa le hybrid fixture.

Plenty of design op ons The Smarty Hybrid's full-featured design includes plenty of colour and graphics op ons. It offers a full CMY colour mixing system plus linear CTO colour correc on with an extra 13 dichroic colours including UV and CTB colour correc on for even greater colour choice and colour correc on op ons. A variety of useful graphics are housed in two gobo wheels, one with 8 rota ng, interchangeable glass gobos and the other with 12 sta c-stamped metal gobos.

A host of effects and beam manipula on can be achieved via 8- and 16-facet independent rota ng prisms and a motorized focus can be engaged for further effect. The Smarty Hybrid also houses a highspeed shu er for fast strobe effects (1-18fps) with smooth, full-range dimming possible all the way down to zero. Mul ple CMY colour, gobo, and prism macros have been included for programming ease.

Control and connec on convenience The Smarty Hybrid is controllable via 2 DMX modes (20 / 34 channels) and supports RDM (Remote Device Management), Art-NET, and sACN protocol. The fixture can also receive wireless DMX via the integrated Ela on E-FLY system. The Smarty Hybrid includes a 6bu on touch control panel with a full-colour 180° reversible LCD menu display with ba ery backup that makes for easy naviga on through DMX and manual se ngs. The Smarty Hybrid includes a host of other standard features like 5-pin DMX In/Out and PowerCON True 1 In/Out connec ons along with Art-Net and sACN support via RJ45 EtherCON In/Out connec ons. The fixture also houses a universal switch-mode power supply for use anywhere in the world. www.ela onligh ng.com

'Dim-To-Warm' LED Technology Introduced with New Saber Spot Release ADJ is pleased to announce the expansion of its Saber Spot Series of compact LEDpowered spot fixtures with the addi on of the new Saber Spot DTW. Building on the success of previous units in the range, the new model features innova ve 'dim-towarm' technology, which simulates the dimming characteris cs of tradi onal filament-based light sources.

A potent 15-Wa warm white LED powers the Saber Spot DTW, while its built-in ACL ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

(Advanced Collimator op c Lens) produces a ght 20-degree beam of light. This makes the fixture suitable for table-spo ng, retail displays and illumina ng performance stages. Despite its powerful output, the unit is extremely compact, which makes it ideal for use in venues with low ceilings or other situa ons where space is limited.

The LED produces an output of 726 LUX (measured at 3M) and has a color temperature of 3100K. However, a second LED element is also built in to the light-source, which is less bright than the primary LED, and has a 1900K (amber) color temperature. Using the fixture's pioneering 'dim to warm' feature this secondary LED

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element is introduced at the lower dimming se ngs, which creates the appearance of the incandescent glow associated with halogen lamps as they are turned on and off. The Saber Spot DTW is therefore ideal for any situa on where the authen c feel of tradi onal filament-based ligh ng is required but with all the advantages of LED, such as low power consump on, long lamp life and low heat.

A pair of interchangeable frost filter lenses are supplied with the fixture, allowing its beam to be diffused for situa ons where users require a wider (45-degree) or ghter (10-degree) light source. The LED has a 10,000 hour life expectancy and offers flicker free opera on (3.6KHz refresh rate), making it suitable for situa ons that involve video recording or live streaming. The flexible fixture also offers variable speed strobing (1 – 20Hz) as well as five selectable dimming curve op ons.

The Saber Spot DTW is extremely compact and lightweight, weighing just 2.6 lbs. / 1.2 kgs. and measuring 3.5” x 6.75” x 3.5” / 88 x 170 x 87mm (LxWxH). The casing is so small, in fact, that there isn't room on the back panel for all the input and output connec ons. Therefore the 3-pin XLR input and output sockets are provided on short trailing pigtail cords.

The power input and output sockets are mounted to the back panel itself, taking the form of professional-grade locking powerCON sockets. These can be used to link together the power supply for mul ple Saber Spot DTW fixtures, minimizing the number of cables needed for a lightshow and therefore reducing setup mes and making for neater installa ons. Up to 22 fixtures can be linked at 120V, while as many as 71 units can be connected to a single power supply in a 230V system.

Inheri ng the sleek casing design of the other Saber Spot models and also offering the same flexible scissor bracket, the Saber Spot DTW is

a versa le fixture suitable for use in a wide variety of situa ons. It's bracket locks into place by plas c thumbscrews located on either side, and can serve either as a floor stand or hanging bracket. The main body is constructed from tough molded plas c, while the scissor bracket is powder-coated metal.

An on-board 4-bu on LCD menu display makes it easy to set up standalone opera on, with 0-100% dimming, or address the fixture for DMX control. Three channel modes are supported (1, 2 and 4), allowing remote control of the fixture from any DMX-512 hardware or so ware system.

“With their compact design and powerful LEDs, the exis ng models in the Saber Spot Series have proved extremely popular over the past year,” comments ADJ USA's Na onal Sales Manager, Alfred Gonzales. “Therefore we are very pleased to now be introducing a brand new model, the Saber Spot DTW. This innova ve fixture offers the same slimline design as the other units in the series but with the addi on of cu ng-edge 'dim-to-warm' technology that I know will appeal to many ligh ng designers for situa ons where they want to achieve an authen c filament lamp look but with all the heat and power saving advantages of LED.” The Saber Spot DTW joins two exis ng models, the Saber Spot WW and Saber Spot RGBW. The WW model features a standard warm white LED and boasts a razor sharp 4-degree beam angle, while the RGBW varia on features a 4-in-1 quad color LED source that allows for smooth red, green, blue and white color mixing.

The new Saber Spot DTW is shipping now from ADJ subsidiaries and official distributors worldwide. www.adj.com

FANTEK & WORK Lifters to Include Enhanced Dynsys Overload Limiting System FANTEK and WORK LIFTERS, commercial compe tors in the manufacture of tower-format industrial li ers, have announced they will be incorpora ng an enhanced version of the exis ng Dynsys overload limi ng system in their future products.

Dynsys is a patented safety feature developed to protect operators by preven ng top-loading (telescopic) and front-loading li ers li ing under overload condi ons, in accordance with the stringent requirements of the EU-wide safety regula on DIN 56950, an important part of the DGUV V17/18 Health & Safety (Industrial Accident Preven on) regula ons.

Un l now, if li ers incorpora ng Dynsys are overloaded, user control of torque is blocked. With the improved Dynsys v1.2 system, FANTEK and WORK li ers will addi onally be prevented from raising anything above Level 0. At the same me, the operator will be given

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

immediate visual feedback to inform them that their tower is excessively loaded, making it impossible for them to miss the poten ally dangerous state of their li er and keeping them safe.

“We all need safety standards, especially in the realm of industrial li ing technology,” comments CSO of Equipson Juan Jose Vila. “The problem is that le alone, companies some mes have a tendency to create their own proprietary standards. But here are two rival companies agreeing to jointly adopt a new technology in the interests of everybody's safety. Far from this pu ng them both at a commercial disadvantage, everyone benefits — not least li er operators, who will be safer using products incorpora ng Dynsys v1.2” Dynsys v1.2 safety technology will be introduced on all new FANTEK and WORK li ers produced from 2018 onwards. www.workli ers.com

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FLEX RS1: More than a Videowall Processor Create blended layouts for projectors of different resolu ons, cascade mul ple RS1 units for more than 4 screen outputs.

Apply rota on to any or all projector, mix projec on & panels in a single display.

FLEX RS1 videowall processor offers rota on & blending for crea ve layouts for Flat screens and projec on. Input 4K UltraHD to 4 displays devices. Each output can be scaled and rotated to any angle or resolu on. Outputs are synchronised with limitless arrangement and posi oning of the displays using RGBlink's free, Xpose so ware solu on.

Key features include: Ÿ

Ÿ

4 Screen Videowall Processor FLEX RS1 creates user defined video-wall layouts, for 4 screens, arranged in tradi onal or ar s c layouts. Screens are synchronised and can be overlapped or separated, outputs are independently scalable.

Projec on Edge Blending

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Ÿ

Cascade Mul ple Units Combine mul ple RS1 units to create complex screen layouts with many screens. Even cost-conscious clients can use the RS1 for the best deployment cost. It is also possible to create mul ple video-walls on a single Rs1.

Ÿ

4K Input Resolu on

Ÿ

Display 4K sources on four HD displays without resolu on loss for op mum image quality. Rotate outputs in 1 Degree increments, each screen can be angled & scaled independently.

Ÿ

Xpose Control

Ÿ

Control, Configure & Manage your system with the free Xpose so ware. Available for Windows, Mac OS, Linux, Android, iOS. We also offer an open API to allow integra on in to any control pla orm.

www.rgblink.com

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Barco XDL laser projector As part of its ongoing commitment to providing innova ve products for the fixed install and event markets, Barco is introducing a whole new range of laser projectors, the XDL. Designed specifically for very large venues and events, the XDL is powerful, offering stunning Rec. 2020 colour, super-crisp images, remarkable contrast and na ve 4K resolu on up to 120Hz. The XDL will be launched to coincide with InfoComm 2018.

The current market trend is clearly moving towards crea ng higher impact experiences. To deliver that result, professionals demand increased colour performance and contrast. The XDL series offers unparalleled brightness compared with other laser projectors – up to a massive 75k lumens - that provide images with extraordinary colours from a single unit. So professionals can play with bigger screens resul ng in higher impact experiences while removing complexity from installa ons. Ÿ Ÿ Ÿ Ÿ Ÿ

Barco XDL laser projector for large venues Rec 2020 colours Up to 75K lumens Na ve 4K resolu on up to 120Hz Superior 3D performance

For Barco Product Manager Stefan Vandemaele, the new projectors offer two powerful benefits to large events: superb images and power. “With the XDL series, we have been able to combine the best of two worlds,” he says. “Extraordinary colours thanks to a laser light source known from our Flagship cinema projector and state-of-theart image processing from our best-selling UDX events projector.

Easy to set up and use Installing one projector is always easier than having to install several and create blends to produce the brightness required in the environment. It means less equipment to transport and makes setup far less complicated. XDL speeds up the installa on process by reducing cable hassle and alignment me. The projectors provide an excep onal lens shi of up to 100% allowing for versa lity in installa on. The images are easily matched to the projec on surface with the on-board real- me warping and blending feature. And thanks to their modular design, servicing becomes a breeze.

Lower running costs, smart investment When it comes to TCO, the XDL is a smart investment. Companies that already own Barco XLD+ lenses will be able to reuse them on the XDL projectors. Leveraging a laser light source, image flicker and lamp-related costs and maintenance (such as lamp replacements) are eliminated. Compared to xenon projectors, the XDLs also consume 40% less power and ensure minimum down me. What's more, the XDL input is already 8K-ready which makes it a futureproof investment. www.barco.com/en

Audix microphone presets now available for Allan & Heath Qu series digital mixers Audix has announced a collabora on with Allan & Heath, a leading maker of digital mixers, on a new range of presets for the Allan & Heath Qu series of compact digital mixers.

The new ProFactory mic presets cover a wide range of popular Audix models, including the SCX25A condenser vocal microphone, the D2, D4, D6, and i5 dynamic instrument microphones and the OM series of dynamic vocal microphones, and will help Qu users of all abili es quickly achieve great results with the popular Audix products.

“Audix microphones and Qu mixers is an incredibly popular combina on for bands and engineers alike”, comments Jonathan Umfleet, Audix Product Manager. “These factory approved presets ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

are a super-convenient way to get great sound at record speed, with the reassurance of having dedicated PEQ presets for each individual mic model.”

Audix engineers worked closely with Allan & Heath to ensure that the se ngs were op mized for each mic paired with Qu's acclaimed AnalogiQ Preamps.

Allen & Heath Product Manager, Keith Johnson commented, “Our Qu ProFactory Presets have proved a real hit, par cularly with bands and volunteer operators looking for the perfect star ng point for EQing their favourite mics. We're delighted to be working with Audix to extend the preset library to cover many of their leading mics.”

The presets are available now as a free download from the Qu series product pages on the A&H website. audixusa.com

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Meet Ayrton MiniBurst, the Mini Spinning Graphic Strobe Ayrton's new MiniBurst is an extremely powerful graphic strobe which received its world premiere at Prolight+Sound 2018 last month; it is the next luminaire to undergo the miniaturisa on treatment of Ayrton's highly successful Crea ve Solu ons range.

MiniBurst follows in the small but mighty footsteps of MiniPanelFX by presen ng designers with a quarter-sized version of its big brother, MagicBurst™, which was the first strobe fixture to be produced by Ayrton. However, MiniBurst's compact dimensions belie its capabili es as it s ll dazzles in terms of output, crea ve possibili es and price point.

Equal in physical size to MiniPanel-FX, MiniBurst's 192mm x 192mm square face contains 960 mono-chip, daylight-white LED sources grouped into 16 pixels on a 4 x 4 matrix. Its dimensions makes it extremely easy to integrate into ligh ng rigs of all sizes, yet it is capable of emi ng up to 60,000 lumens, with a flicker-free output that is perfect for all TV and video applica ons as well as live performance.

Exhibi ng Ayrton's famed con nuous pan and lt and extremely accurate posi oning, MiniBurst's graphic capabili es are evident in the individual control of speed, dura on and intensity of every single pixel. Each unit also comes with built-in pa ern effects with speed and fade controls for fast and easy scenic applica ons.

With DMX512 control, RDM compa bility, and local or stand-alone control, including master/slave modes, MiniBurst is as versa le and crea ve as its full-blown counterpart, MagicBurst, which wowed the industry when was launched at Prolight+Sound 2016 as the first high-power graphic LED strobe with con nuous, unlimited pan and lt.

“The feedback we have received already from ligh ng designers following the release of MiniBurst at Prolight+Sound is that they really like the small dimensions of the unit which is very easy to integrate into their designs and into their ligh ng rig,” says Ayrton's Global Sales Director, Michael Althaus. “MiniBurst is small enough to be slo ed into almost any ligh ng posi on as well as proving extremely effec ve when used en masse in banks or walls, alone or in combina on with MiniPanel-FX.” They say 'Great things come in small parcels', and MiniBurst is about to prove it! www.ayrton.eu

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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Studer by HARMAN Debuts Powerful, Cost Effective Vista 5 Black Edition HARMAN Professional Solu ons has announced the immediate availability of the Studer Vista 5 Black Edi on console.

Built upon the tradi on of the massively successful Studer Vista 5 M3 mixing console, the new Vista 5 Black Edi on brings even more advanced capabili es to the pla orm with the addi on of the industry-leading Studer Infinity Core processor.

Studer Vista Black Edi on consoles were designed to deliver the flexibility and advanced features of Vista mixing surfaces to a more cost-conscious market, bringing Studer's legendary sound quality to even more applica ons, including radio and TV broadcast, OB trucks, houses of worship, performing arts, and more. “The response to the Studer Vista 1 Black Edi on has been very strong,” says Mark Hosking, Director, Broadcast Sales at HARMAN Professional Solu ons. “The larger Vista 5 Black Edi on opens up more poten al applica ons offering the same sleek look but in a scalable mixing system. And because it is built upon the Infinity Core processing engine, it can deliver full processing redundancy in a very cost

effec ve, yet full featured console with the sound quality our customers expect from Studer products.”

The Studer Vista 5 Black Edi on is available in 22, 32 and 44 fader sizes, and supports an op onal TFT meter bridge. The console's features include Studer's unique Vistronics interface and FaderGlow technology, as well as the Infinity Core's advanced capabili es such as Dynamic EQ plug-ins and full Core redundancy with up to 1000 MEQs (Mono Equivalent Channels. The Vista 5 Black Edi on supports any of Studer's range of Infinity Core products, including the Infinity Core 300, 600 and 1000, as well as the new Studer Infinity Core Commercial off the Shelf (COTS) solu on. This TI friendly solu on allows customers to run Studer's real- me audio processing on their own server hardware just by adding a standard PCIe Infinity CoreLink card.

“We are excep onally excited to bring the Studer Vista 5 Black Edi on to market,” says Hosking. “The combina on of advanced features and compelling price point make this an excellent solu on for a wide range of applica ons in today's market.” pro.harman.com

Optocore Festival Box Allows All Protocols to Tunnel Over the Same Fiber With the fes val season fast approaching, Optocore chose the recent Frankfurt Prolight+Sound Show to launch its new Fes val Box, which celebrated its world premiere with a well-a ended press launch.

Having already proven the versa le fiber based technology in the broadcast industry — marketed through its close technology partner Maciek Janiszewski presents BroaMan — Optocore has responded rapidly the Festival Box to the growing demand from the live sound community for a more elegant and efficient signal transport system.

The Fes val Box is based on the BroaMan Repeat48WDM media converter, which uses Repeat48-2Fiber modules at its source. This provides several specific models with different conversion op ons, such as: Ÿ 12 duplex SFP slots mul plexed into a quad fiber Ÿ 6 duplex SFP slots mul plexed into a duplex fiber Ÿ 6 duplex SFP slots plus 12 BNC (which can be used for 3G-SDI and coax MADI) ports Ÿ 24 BNC ports Ÿ 12 BNC ports The standard SFP modules allow any protocol to tunnel over the same fiber.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Explaining the design ra onale to the assembled press, Optocore Applica ons Engineering Manager, Maciek Janiszewski, said, “We have called it the Fes val Box because it is perfect for fes val situa ons when mul ple bands are appearing, each sound engineer bringing different consoles, and running Maciek Janiszewski with Optocore different protocols to the stage founders, Tine Helmle and Marc Brunke box.

“All can now be transported using just a single duplex fiber, thereby saving a tremendous amount of cabling between FOH and Stage.”

And because the SFP op cal module transceivers are hot-swappable they can simply be exchanged to meet any demand.

In conclusion, Janiszewski summarises the benefits to produc on companies by saying, “What makes this so perfect for the rental market is that the Fes val Box supports all fiber protocols as well as Cat5 Ethernet-based standards or even HDMI – it doesn't need to 'know' the protocol, it will just pass it transparently. The customer can use the SFP flavour of choice to achieve simple connec vity.” www.optocore.com www.tsm-int.com

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dLive V1.7 Firmware Adds Shure Wireless Control, Prime I/O and Routing Flexibility Allen & Heath has released dLive V1.7 firmware, code name Sennen, a major feature upgrade for its flagship digital mixing system. Key enhancements include support for Shure's Axient Digital, ULX-D and QLX-D wireless systems, extended rou ng and patching capabili es, plus support for the forthcoming PRIME I/O modules.

Thanks to a collabora on between Allen & Heath and Shure, V1.7 firmware allows engineers to enjoy the convenience of monitoring and controlling up to 45 Axient Digital, ULX-D and QLX-D Shure wireless systems from a dLive surface. Key wireless informa on, including mutes, signal level and ba ery bars, is visible from Bank screens, allowing mul ple channels to be monitored at the same me. More detailed informa on, including RF frequency, device name and peak indicators, can be accessed by selec ng the Preamp tab on an individual wireless channel. Receiver gain and mutes can also be controlled direct from the dLive touchscreen, or from a laptop running dLive Director so ware.

V1.7 introduces extended rou ng and patching op ons for dLive users to explore. Inputs can now be routed to Matrices for finetuning of speaker cluster contribu ons in larger venues. Mixes can be patched to the PAFL External Input and vice-versa, allowing mul ple ways of crea ng technician chat channels, and mixes can be patched to inputs for advanced processing.

V1.7 firmware also supports the recently unveiled PRIME I/O modules. Using the very latest converter and component technology, PRIME Input and Output modules are designed to harness the full poten al of dLive's 96kHz XCVI FPGA core, delivering next-level audio quality for cri cal live, broadcast and studio applica ons.

PRIME modules exploit I/O converter technologies op mised for higher sampling rates to provide audiophile transparency without undermining latency or bandwidth.

Allen & Heath's Product Manager for dLive, Ben Morgan explained, “Every one of our so ware releases is powered by our dLive user community. dLive V1.7 Sennen delivers a ra of features designed to speed workflow, along with much-requested integra on with Shure's popular wireless systems.”

The firmware can be downloaded here www.allen-heath.com

ChamSys Announces New QuickQ Console The new ChamSys QuickQ series of consoles is designed to put more powerful ligh ng control in the hands of students, theatre/house of worship volunteers, and programmers, regardless of experience level or budget. Even established professionals will find the quick and easy console to be a valuable tool for running smaller-scale shows.

Available in three models, QuickQ consoles feature an intui ve smartphone-like interface, and a conveniently large 9.7” touchscreen.

Helpful prompts and videos accelerate the learning process, making it easy even for inexperienced users to set up, program and operate the console.

Among the console's user-friendly features are easy-to-understand bu ons and faders, simple colour selec on menu, readily accessible intensity control tools, and finger p controlled zooming and scrolling.

The versa le QuickQ consoles keep users connected, with built in WiFi capabili es that allow it to be controlled from a tablet or phone, both of which can also serve as a second external monitor. Plus, the console comes with free downloadable offline QuickQ programming so ware for Mac and Windows, including a fully rendered MagicVis visualiser.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

QuickQ users can also program their designs on a computer, save them on a flash drive and load them onto the console. Show files can be saved on the console and replayed via the consoles' simple cue/chase system for playback.

All QuickQ console models use ChamSys' extensive and con nuously updated personality library with over 22,000 fixtures. The consoles support RDM, allowing them to detect, patch and configure RDM compliant fixtures without the need to address and set the mode manually for every fixture. QuickQ consoles use the new QuickQ so ware, and their show files are compa ble with the more advanced MagicQ show files, which enables users to progress freely throughout the ChamSys range.

The three models in the QuickQ series are: QuickQ 10 – Supports 1 universe, features dedicated hue and satura on control encoders for controlling LED and tradi onal conven onal fixtures and 20 fixture faders.

QuickQ 20 – Having all of the features of the QuickQ 10, the QuickQ 20 supports 2 universes and includes 4 A ribute Encoders for controlling moving lights.

QuickQ 30 – With all of the features of the QuickQ 20, the QuickQ 30 has 40 fixture faders and supports 4 universes. www.chamsys.co.uk

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Prolight + Sound Guangzhou 2018: standing out from the crowd for audio and visual integration

Prolight + Sound Guangzhou 2018 recently presented the world's audio and ligh ng industries with largest edi on in its history, a er a total of 75,993 visitors (+2.7%) flocked to Area A of the China Import and Export Fair Complex for the four-day event.

Shining a spotlight on the recent growth of system integra on in the areas of audio, ligh ng, communica on, conferencing and KTV, were a total of 1,300 exhibitors from 25 countries and regions (+4%).

A endees gathered across 130,000 sqm of exhibi on space under 13 halls and in the Y-Channel area, which closed their doors on 13 May a er an overwhelmingly successful show.

Ms Judy Cheung, Deputy General Manager of Messe Frankfurt (Shanghai) Co Ltd, was delighted with the immediate outcomes of the 2018 edi on: “With the show's refined approach in product zoning and offerings, it is very encouraging to see the growth in visitors and exhibitors this year. The con nued happiness of our par cipants is testament to the show's commitment in responding to the industry's transforming needs.”

The growing visitor figure for this year also came with good interna onal presence. In fact, the top registered visi ng countries and regions were India, Taiwan, Hong Kong, Indonesia, Malaysia, Korea, Thailand the USA, Russia and Singapore. Specific buyer delega ons also included two interna onal groups – the Entertainment Equipment and Digital Communica ons Technology Associa on (Taiwan), and the Broadcas ng Equipment Industry Associa on (Korea).

On the busy show floor, buyers were par cularly impressed with the strong level of industry convergence amongst exhibitors, with system integra on currently a hot topic across China's pro audio and ligh ng markets. Many key interna onal audio and ligh ng brands could be found across all of the halls, including Absen, Bosch, Bose, d&b ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

audiotechnik, Harman Interna onal, Kvant, Madrix, Pangolin, SE Audiotechnik, Sennheiser, SGM, Shure, Yamaha and many more.

Both exhibitors and visitors alike were impressed with the broad collec on of companies, as well as the new and innova ve products at their booths.

At the same me, the concurrent fringe programme for Prolight + Sound Guangzhou 2018 helped raise the bar even further for informa on exchange under the umbrella of audio and visual integra on. A consistently packed audience took part in one of the most an cipated aspects of the show – the PLSG Annual Training Course. The conference area covered technical skills for large-scale outdoor events, techniques for system designers and engineers, the latest concepts for successful music fes val produc on and much more.

Another unique part of the fringe programme was the Outdoor Line Array, which gathered 34 interna onal and domes c professional audio brands to showcase the quali es of their audio systems in real me. Visitors were able to sample first-hand some of the most advanced audio technology in the market, which helped create a more complete sourcing pla orm. Feedback proved that the show is very beneficial in represen ng both leading global brands and Chinese brands under one roof, par cularly through the live demonstra ons.

Up next, Prolight + Sound Guangzhou will be held on 24 – 27 February 2019 once again in Area A of the China Import and Export Fair Complex in Guangzhou, con nuing its journey as a leading pla orm for the audio visual, professional light and sound industries in China. www.prolightsound-guangzhou.com

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EXHIBITOR COMMENTS “System integra on for the audio and visual markets is an unstoppable trend, and in China the work in this field has only just begun. The country has a big and ever-changing market, and they are looking for products with more advanced technologies and more features. Prolight + Sound Guangzhou is crucial in bringing companies from different countries together in one place, to help everyone learn what quality means to different people. During the show, we've connected with poten al clients who are interested in our stage management solu ons, including visitors from China, Vietnam, Indonesia, the UK and more.”

Cameron O'Neill, Director – APAC, Riedel Japan KK, and Mr Hans Liu, Product Manager, Salzbrenner Stagetec Media Technology (Beijing) Co Ltd

VISITOR COMMENTS “I am a distributor from India a ending the show to source new and innova ve speakers, audio mixers, microphones and more from Chinese OEM suppliers. It is very important for me to visit Prolight + Sound Guangzhou because I can check the reliability of brands and discover some of their new products on offer. I already spoke at length with five different exhibitors – mainly audio mixers from China. I am very happy with what I have seen so far and there is a big possibility that I will place an order a er the show.”

Amit Jain, Managing Director, Stallion Exim, India

“I am a ending Prolight + Sound Guangzhou with 36 members of our associa on, mostly from the performance, produc on and broadcas ng sectors. We are here to look for audio and visual equipment related to each of these business fields. Our trip this me is quite successful, as there is a broad selec on of imported and exported brands on offer, which is a major characteris c of the show. In the past, we needed to go to the European shows to learn new technologies and meet with interna onal brands, but now we can also find them all here in China.”

Frank Wang, Chairman, Entertainment Equipment & Digital Communica ons Technology Associa on, Taiwan

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“Prolight + Sound Guangzhou is a very important fair for us to promote our range of products in China. This week, we are showcasing our 'ControlSpace EX' conference solu ons products, which is part of a market we are proac vely trying to penetrate here. Also, at this show we can see more and more interna onal brands. Total solu ons in audio and visual are a clear trend for the industry in China, and the offerings at the show help demonstrate this future direc on of the industry. We're also very happy with the quality and quan ty of visitors.”

Joyce Tang, Marke ng Manager, Bose Professional, Bose Electronics (Shanghai) Company Limited

“Prolight + Sound Guangzhou allows me to look for new solu ons in professional audio and ligh ng, as well as to discover the latest industry developments and technologies. I'm par cularly amazed by the ligh ng hall, because there are a high number of Chinese brands who are producing some really advanced equipment, for example in the areas of laser projec on and LED displays. During the week, I have enjoyed the dedicated zoning, as well as the areas for audio branding for interna onal brands. It helps buyers navigate much easier. I'm also astonished by the scale, visitor flow and product variety.”

Nai Kong Lee, Music Director, Door Music Studio, China

ments

Fringe programme com

“In terms of event safety, places like the UK generally have more experience and opportuni es to deal with large-scale events in the safest manner possible. In the past, they have been forced to deal with more poten ally dangerous situa ons. However, gravity works the same all over the world, and mistakes come at the same cost everywhere. This means that educa onal programmes such as the PLSG Training Course are vital for the Chinese market to learn how to avoid disasters during public events. It's great that we have the chance to teach the audience here in Guangzhou how to provide the safest possible situa ons for the en re entertainment industry.”

Tim Roberts, Director, The Event Safety Shop Ltd, Speaker of PLSG Annual Training Course

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Inaugural SLV Symposium Shows Great Potential The inaugural Sound, Light and Visual Symposium (SLV Symposium) launched with great fanfare in late April – organised by TeamGrey, supported by UnUsUaL Produc ons and Asia Music City, was held from 24 to 26 April at the Quill Conven on Centre in Kuala Lumpur's Quill City Mall.

Kenneth Ang, Managing Director of Team Grey Group, said: “We realised that many in the Sound, Light and Visual industry do not have the opportunity to upgrade their knowledge due to me constraints”, adding that the symposium would act as a strong event that would re-energise the industry.

The SLV Symposium's key objec ve was to run training workshops and seminars that are current and relevant to the industry for par cipants from all over South East Asia. Booths showcasing various industry-related equipment and so ware were also set up for exhibi on goers to visit.

ETA believes that if the organisers keep to their objec ve of bringing in knowledge upgrading programmes, the exhibi on has the poten al to be a congrega on point for the industry in South-East Asia.

Exhibit Highlights

Dante Level 3 gets strong interest

The team at Ligh ng Controls Pte Ltd

Audinate Director of Worldwide Support John Falkowski with Systems Integra on Publisher, Thomas Richard Prakasam

Systems Integra on Asia organised the Dante Level 3 training during the exhibi on. The one day training was held on 24 April and was conducted by John Falkowski, Director of Worldwide Support, Audinate. The training saw around 90 delegates mainly made up of personnel from Malaysia and Singapore with a sprinkling of individuals from Philippines, Indonesia and Vietnam.

“We are pleased to be able to bring in the Level 3 training to the industry. We had previously brought in level 1 and 2 training to South-East Asia and Level 3 completes the picture. I believe delegates benefited from the training,” said Thomas Prakasam, Publisher, Systems Integra on Asia magazine.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Ligh ng Controls Pte Ltd, in its maiden foray into the scene in Kuala Lumpur, Malaysia, embarked on a new beginning with new products, showcasing the Highlite Infinity Chimp 100 and 300 ligh ng consoles from the Netherlands.

With 2/4 universes as standard, the Infinity Chimp 300 boasts a large inbuilt touchscreen, and features tracking/non-tracking and ease of use – a ligh ng user can easily learn to control the console within a day.

They also displayed the Realizzer ligh ng visualiser so ware from Germany. This simula on so ware works with any ligh ng console desk that has a DMX or Artnet protocol, and is ideal for the simula on of ligh ng show with an extensive library for furniture and truss.

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Bose introduced its S1 Pro, a mul posi on PA system with four unique aiming posi ons: Monitor, Speaker Stand, Elevated and Tilt-back – all supported by Auto EQ. Key features of the speaker system include a threechannel mixer with volume controls and signal indicators, reverb, Bluetooth streaming and ToneMatch processing.

The speaker also has a dedicated line output for expansion to other systems, as well as a rechargeable lithium-ion ba ery. The lightweight, ultra-portable enclosure is designed to transport effortlessly using the convenient carry-handle.

the K2 mo on control console, which allows the operator to “click and drag” to move objects on the screen within a 3D world instead of having to type posi ons into a table, and also gives instant feedback to the object's posi on in rela on to other moving items.

The Venus X7 RGBlink showed its Venus X7, an HDCP-compliant, scalable and extendable rou ng and video wall processor that is configurable and able to support a variety of input/output and windowing capabili es.

Features include:

Total Solu ons showcased MA Ligh ng's dot2, a compact range of modular ligh ng control solu ons designed for smaller and mid-sized projects and venues. With an Intui ve Graphical User Interface and direct fixture control, the dot2 promises easy opera on for users.

Other key features include Store Look for users to capture their design, an intui ve opera ng style to suit different types of users, free onPC and 3D visualiser so ware, Direct Hints in mul ple languages and other specialist features for various ligh ng disciplines.

Kinesys ELEVATION system The distributor also displayed the ELEVATION system from Kinesys , which included the LibraCELL load measuring shackle and featured ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Ÿ

Seamless switching 32 x 32 matrix/router

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Up to 64 megapixels output splicing

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DSK and Chromakey features

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OSD text overlay feature for sub tling and messaging

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Redundant Hot Swap Power Supply op on

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SmartSlot modular design – the Venus X7 has eight input and eight output slots which can contain a user-specified module of any signal type, and can be configured with up to 32 inputs and 32 outputs across a range of signal types

RGBlink solu ons on display Panasonic chose to house a more selec ve display of its products, introducing some new concepts to visitors including their dome

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projec on, which consisted of combining a projector with a reflec ve dome to ensure wide coverage and an extra “wow” factor for their audience.

They also introduced their range of cameras (including the AKUC4000, their latest 4K studio camera) in a bid to give rental companies a more complete feel of what the industry had to offer, with a complete solu ons display from capture to display using projectors.

Key features of the AK-UC4000 include a newly-developed large 4.4K sensor that allows for ultra-high-defini on resolu on, high sensi vity, low noise and a wide dynamic range, as well as Chroma c Aberra on Compensa on (CAC) which u lises communica on between the lens and camera to deploy for a sophis cated algorithm that automa cally compensates for the registra on error caused by lens chroma c aberra on, minimising circumjacent blur.

Panasonic also showcased their LinkRay technology, which delivers mobile content by enabling ordinary smartphones to read IDs sent from LED transmi ers, such as displays, signboards and spotlights, and to connect to associated mobile content. End users connect to content quickly, easily and securely for a simple, fast, intui ve and impac ul end user experience.

The E&E booth during the SLV Symposium Electronics & Engineering Pte Ltd brought a host of brands to the show floor: EAW with their Redline and RADIUS series The Redline series is adapted to be budget-friendly and suitable for events ranging from corporate events to fes vals. The RL12 and RL15 twoway ac ve trapezoidal enclosure both offer perfectly consistent direc vity via Beamwidth-Matched Crossovers on 90°x60° userrotatable horns, and include a complete on-board 1,250-wa biamplified electronics package mated to customised precision transducers. The RL18S ac ve subwoofer features DynO algorithms that op mise the power transfer from amplifiers to transducers to

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

audience to op mize headroom and integrity of sound at maximum output.

The RADIUS series brings unique and intelligent features together with EAW's acous cal design to deliver solu ons for rental firms and system integrators. Smart features like Op Logic also dras cally cut down on setup and tuning me for sound engineers.

Powerso Audio X Series Comprising of the X4 and X8, Powerso Audio's X Series innovates the concept of the amplifier pla orm, by implemen ng a new system of channel rou ng, a new universally-compa ble three-phase power supply and a full-featured DSP. The X Series na vely supports AES3, two redundant Dante by Audinate digital streams and analog inputs, providing up to 4 different selectable input sources per channel.

Mackie Thump Series The Thump Boosted Advanced Powered Loudspeakers introduced during the Symposium built on the Thump Series' powerful performance, offering maximum versa lity and flexibility with wireless streaming, control, and linking plus powerful channel processing. The Thump 12BST and 15BST offer an all-new amplifier design with Dynamic Bass Response technology that allows for faster transient response. Both speakers are also linked to the Thump Connect control app for iOS and Android, and users can stream music directly into the system with a Bluetooth-equipped device.

Allen & Heath – SQ-5, SQ-6 and dLive The SQ-5 is powered by the XCVI 96kHz FPGA engine, which delivers high resolu on audio quality, ultra-low latency of <0.7ms, variable bit depth for ul mate precision and noise performance, mix coherency down to the sample, and the sheer power to handle high channel / mix counts and ample FX / processing. It also has 16 onboard preamps and 8 stereo FX engines with dedicated return channels and access to the acclaimed RackExtra FX library.

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The SQ-6 features 24 onboard mic preamps, plus 8 stereo FX engines with dedicated return channels and access to the renowned RackExtra FX library, and is suited for in-ear monitor setups, providing 12 stereo mixes (configurable as groups or auxes), whilst Automa c Mic Mixing makes it an excellent choice for conferences, panel talks and more.

As Allen & Heath's flagship digital mixing system, the dLive S Class was created for professional touring, broadcast and premium installa on, while the dLive C Class makes the power of dLive available in an accessible, compact format, making it ideal for corporate AV, houses of worship, regional rental companies and theatres.

ChamSys – MQ500 and Mq80 The MagicQ MQ500 Stadium is a new control console from ChamSys designed to operate at the highest level of show control.

The MQ500 Stadium enables shows to be designed from concept to reality including ligh ng, media, LED and scenic design. Features include dual mul touch displays in full HD with adjustable viewing angle and gesture support, inbuilt MagicVis 3D visualiser with high quality beam and gobo rendering, and an intensity wheel and 100mm split crossfaders for theatre control, and incorporates 42 fader and executor playbacks for live busking.

The MagicQ MQ80 supports 24 universes direct from the console, and has a large central touch screen that provides easy access to all MagicQ features and display and selec on from full ligh ng plots. The MQ80 features an inbuilt power supply and UPS with locking Powercon connectors that accept voltages from 110V to 240V AC, and outputs all universes direct over Ethernet using Art-Net I, II or III, Pathport, or Streaming ACN with no need for network nodes.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Mahajak Trio brought an array of HARMAN products, including: Ÿ

The JBL EON ONE, a compact 10” bass-reflex subwoofer with a unique patent-pending speaker configura on and JBL Direc vity Control Geometry that op mises the spacing and angle of driver to ensure consistent direc onality. The EON ONE also boasts Bluetooth streaming audio.

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The JBL EON ONE Pro, a portable, ba erypowered, linear-array PA system that allows for 6 hours of performance without recharging.

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The Soundcra Vi1000, a 96-channel Compact Digital Mixing Console that is ideal for smaller touring projects, rental companies, corporate AV applica ons, as well as music venue, theater and HOW installa ons. The Vi1000 runs on a SpiderCore DSP engine, which mixes FPGA and DSP technology in a unique combina on that maximizes I/O rou ng and DSP mixing capability and also includes dedicated Lexicon mul -effects processing chips.

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The 308P MkII 8" Two-Way Studio Monitor, which features Patented Image Control Waveguide for detailed imaging, dual integrated, custom Class-D amplifiers provide 112 wa s of power for high output and dynamic range, and flexible connec vity with balanced XLR and 1/4" TRS inputs, +4dBu / 10dBV input-sensi vity switch and adjustable volume control.

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Mar n Ligh ng's Rush CS Series, a colour LED cove ligh ng system designed to illuminate interior walls and other indoor spaces.

Available in both wide and graze op ons in varying lengths, integrators can install up to 10 meters on a single Power Supply Unit (PSU). To power the units, the RUSH CS Series uses a hybrid power and data cable system that reduces wiring and installa on costs by using a single cable for both power and data. Ÿ

Sennheiser with its Digital 6000 – compa ble with dozens of capsule heads and antenna op ons, the two-channel receiver features intermodula on-free design that guarantees sufficient channels that can be relied upon, even in very narrow frequency ranges, and two Dante sockets for redundant networks or daisy chain cabling. It also works with the Sennheiser Digital Audio Codec (SeDAC), which users might recognise from the brand's Digital 9000 series.

The Digital 6000

The d&b booth during the SLV Symposium d&b audiotechnik showed its SL Series, including the GSL8 and GSL12, which are loudspeakers that share the same ver cal direc vity, size, footprint, weight, rigging and driver complement.

The 2-Way ac ve design features two 14" LF drivers, two side firing 10” LF drivers combining to create a low frequency headroom which couples towards the front to increase the LF output and cancels towards the rear by applying cardioid techniques. The GSL12 has a wider horizontal dispersion pa ern of 120° which is also maintained down to 45 Hz. The SL Series is also comprised of the SL-SUB and SL-GSUB – the SLSUB is equipped with compa ble flying fi ngs, while the SL-GSUB is for ground stack use only. The SL-SUB and SL-GSUB extend the bandwidth of a GSL system down to 30Hz as well as delivering a significantly increased SPL headroom. The SL-SUB and SL-GSUB can be deployed in conven onal le and right ground stacked setups as well as in distributed sub arrays to achieve an even venue specific coverage pa ern.

Acous c & Ligh ng System also brought in a range of brands and products, including:

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Sennheiser's evolu on wireless G4 Sennheiser also introduced its evolu on wireless G4, the fourth genera on of its evolu on wireless series. The focus was on the ew 300 G4, the brand's most flexible solu on for Business and Educa on due to its flexible applicability and broad UHF frequency range. With switchable transmission power of up to 50 mW and the increased switching bandwidth of up to 88 MHz, the ew 300 G4 covers all kinds of mul -channel setups for any kind of event indoors or outdoors, and is remote controllable with Sennheiser's so ware solu ons.

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the brand's B Blinded, it can be used as a warm washlight ot strobe fixture, and is suitable for all weather use.

Beyerdynamic showed visitors its MM1 Measurement Microphone – key features include linear frequency response, omnidirec onal polar pa ern, 2.1mms latency, calibrated open circuit voltage, and narrow tubular construc on that minimises the microphone's influence on the soundfield.

The Acous c & Ligh ng booth, featuring Clay Paky products

Prolyte Group brought products such as its Verto truss, which joins sec ons by a rota ng coupler system. Its structure resembles that of the standard H30V truss, and is designed as an addi onal system to aid with silent connec on and reduced assembly me.

Clay Paky with its Axcor 300 range, which was first introduced at last year's LDI exhibi on in Las Vegas. Comprising of the Axcor Spot 300, the Axcor Beam 300 and the Axcor Wash 300, the fixtures u lise a white LED light engine, with the equivalent rated power of a 300W discharge lamp fixture. The range is suitable for use in theatres, television studios or smaller venues where space is limited, or where weight restric ons may exist. In addi on, their low heat emission means they can be used in ghter spaces, and in closer proximity to set pieces and other fixtures.

The various Proly Chain Hoist Systems were also displayed at the booth.

The AED booth – can you spot the golden Clay Paky Sharpy?

AED Group presented a range of Luxibel solu ons, including the B Narrow, which is aimed to be an alterna ve to most “mid-class” light fixtures. The spot has a 150W white LED engine and u lises a narrow glass op c to ensure high output, even at longer distances. It also features a so rubber coated finish that does not generate reflec ons.

They also featured the B Blinded1, which is the first real LED single point blinder on the AV market – created as the “li le brother” to

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Prolyte showcased a full range of Doughty products Admiral and Doughty products were also showcased, consis ng of Admiral Staging Essen als such as the new Snake Cable Guide, which

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accommodates enough cables for power and signal, and has pivo ng hinges that ensure the cables can be smoothly bent while keeping a minimal diameter.

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A unique dedicated public events space, open to public and local performances

Admiral also introduced their ramp support. Part of the brand's staging essen als, the Admiral ramp support allows users to easily build a ramp of either 4 or 6 metres using standard round stage-legs.

Other features include three different supports to choose from depending on the length and height of the required ramp.

Besides the products displayed, Prolyte also took the chance to share for the first me about entertainment financing with Entertainment Finance Group, a financial group that specialises in financing for entertainment.

The entertainment lease offers financing solu ons for a large variety of products including sound systems, audio and video, ligh ng, truss, rigging and hoists – all at fair and flexible lease rates.

Guests-of-Honour officially launching the Superstar Radio Sta on AMC also launched its first joint Ticke ng Hub and in-mall Superstar Radio Sta on in partnership with Quill City Mall. The cke ng hub will be a one-stop hub for fans to purchase ckets of shows across the region, and also physically collect their ckets. Major cke ng agents such as TicketCharge Malaysia, APACTix Singapore and SISTIC Singapore will be selling their ckets and promo ng their events exclusively via this cke ng hub.

Roland showcased its brand-new video switches – The V-1HD supports professional composi ng effects such as picture-in-picture and keying allowing for graphic insets, tling or even “green screen” ideal for news broadcast or corporate training produc ons, and has 4 HDMI input connectors compa ble with a variety of equipment.

The VR-50HD mul -format AV mixer integrates an audio mixer, video switcher, mul -viewer touch screen and USB video/audio streaming into a stand-alone device, and is suitable for schools, churches, council mee ngs, corporate events, sports, trainings, or any other live event.

The SLV Symposium also heralded the official launch of Asia Music City (AMC), a new Music Lifestyle Integrated Hub located within Quill City Mall. AMC promises to be a Music, Sound, Ligh ng and Video professional's dream, with facili es including: Ÿ

The largest recording studio in Malaysia

Ÿ

An exclusive lounge for work, rest and entertainment for Ar stes, VVIPs and AMC Corporate Partners

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Local celebri es were invited to give the newly-opened Superstar Radio Sta on a try The Superstar Radio Sta on has a conceptual open-view glass design and features of an actual radio studio, making it the first radio sta on that is equipped to conduct live interviews with celebri es, with their fans able to watch the interview live.

AMC is expected to be completely up and running by the second half of 2018.

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Ligh ng Design in Theatre a Collabora ve Process An ETA exclusive! We sit down with Pangdemonium's Ligh ng Designer in Residence James Tan, who won the Best Ligh ng award for Dragonflies at The Straits Times Life Theatre Awards, and he talks about the ins and outs of ligh ng for theatre.

Photo credit: Wesley Loh

Congratula ons on winning Best Ligh ng! How did you feel about being nominated for the award?

I was quite surprised, because I was expec ng it to come from another show maybe? The set for Dragonflies is very bare, and the ligh ng served the very primary purpose of ligh ng the scene, whereas for other shows that we have done, we have a built-up set so the set is be er lit in that regard. That was what surprised me about ge ng the nomina on for Dragonflies.

What were some of the challenges that you faced while working on Dragonflies?

I think the biggest thing was that right from the get-go, Tracie – our director – wanted rain in the show. So the biggest challenge was to light the rain, but the trouble was that it was a play so the actors are ac ng in the scene and at the same me it was supposed to be raining, so do we light the rain or light the actors?

was very bare – there was no built-up set, so it was basically a circular-shaped stage, and nothing was raised up except for the aircondi oner which was wri en in the script. I decided to use the MDG hazer because I felt that it was important to be able to see the beam of light, so that they can with the colours used tell the me of day, because it was specifically wri en in the script – this is day me, this is the HDB flat in the evening and so on.

We had to get crea ve – it's not like a concert where you deliberately throw beams of light to make an epic-looking look, it's not really that case so I had to be very cau ous because I knew that I was using the MDG and the MDG is a very good hazer that has got very small par cles, and certain choices have to be made. There was the use of a lot of 5Ks, 2Ks, maybe a group of medium-flood lamps, Par64s from a par cular angle.

We also custom-made some gobos from GOBOLAND so that we could, for example, use the Mac 700 spots to create a box area so that we could close in, like for a scene at the immigra ons checkpoint, the main area where (the characters) were in the interviewing room, and there was a separate area on the stage where there was the colleague of the immigra on officer who was checking the bags. So through the use of these rectangle gobos we could clearly sculpt out the space but light the scene very well.

Tell me about how you lit the rain – you men oned earlier that it was a challenge?

According to James, ligh ng the rain in Dragonflies was the biggest challenge So that was the challenge – how to make the rain light properly so that it looks natural, not like a fountain in Changi Airport. And the set ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

So I thought I was very well prepared, we had a lot of 5Ks, backlights, I think we had like four sets of 5K backlights, and a lot of 2.5K fresnels that were rigged onto ladders. So maybe the ladders spanned across three rings – they're actually for audience members si ng by the side. If you look at the audience sea ng in a theatre, it's fanned out so the audience is actually si ng in a li le horseshoe or semi-circular manner. Naturally, people si ng in the centre will be able to see the rain very well because it's well-lit by the 5Ks, but then people from the sides tend to be unable to get such a good view of the rain.

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So that's why I decided to put two rows, like three sets of fresnels that were from the side throw. But even with that in mind, either the rain became too bright and the scene wasn't well-lit enough, or the lights from the rings (par cularly those on the ladders) were hi ng onto the legs. So we had to take out an hour a er we had our tech run to work out all the cues, to just specifically turn on the rain without any actors onstage. Tracie, myself and Wai Yin, the set designer, we sat down and tweaked those seats to make sure that more people would be able to see the rain, but it wouldn't be overpowering. It was really about fine-tuning it, we didn't expect it to be so difficult!

Were there any pieces of equipment that stood out during the produc on?

role, like we're supposed to light the rain so that it looks like rain, and not lights through rain, and then it's important the audience takes home what the story's message is.

I'm not degrading concerts because there's a lot of live programming, there's a lot of use of ligh ng beams, which is close to what musicals do, but in theatre we have a li le more me in the space to sculpt the looks, and we do cue stacking, and the shows run for a period of me so there's a lot of up-keeping in rela on to that. There's a li le magic we have to do to bring out the li le moments onstage. There's a lot more a en on to detail that we have to pay.

Ligh ng design in theatre is a very collabora ve process – you have to deal with the other elements like costumes, set, mul media and sound. A lot of things need to work together.

I think it's always nice to use the VL 1100 spot fixtures (Vari Lite 1100 TSD) in Victoria Theatre (VT), because compared to a lot of the theatre spaces in Singapore that's the only space that has it and what we can do is – it's actually an incandescent profile mover that we can do framing with, so that acts as a supplement and it's always good for a rig like that, because it becomes useful for specials that need mul ple placements, and it's very versa le, it's very quiet – which is good for theatre. Although it's not the newest technology – for concerts you kind of make do with what the rental has, but for theatre you make do with what the theatre owns – and that was what VT had. So that one definitely stood out.

Also the GOBOLAND gobos worked well with the limita ons of what we had, because the venue only had Mac 700 wash and 700 spots, and some VL 1100, and the rest were the TW-1 wash fixtures.

Tell us more about ligh ng for stage.

In theatre we're more par cular about colour choices, I think it's important that the lights don't take away the a en on from the storytelling. In theatre it's very important that we play the suppor ve Photos credit: Sarah Tang

How long have you been a ligh ng designer?

I've been a ligh ng designer for 15 years, and I worked with Tracie for many years before she and Adrian started Pangdemonium. That was back with The Li le Company, that is under SRT, and I was s ll in NUS then – so I started designing when I was an undergrad.

James had to get crea ve in using ligh ng to support the produc on's message ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Working as an undergraduate in ligh ng crew really opened my eyes as to what ligh ng could do, I did ligh ng for the guitar club and other small shows that the other CCAs would do. At the same me, the Esplanade opened and I saw that they wanted casual ligh ng

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“The mechanism is dead, the technology is dead... It's up to a good ligh ng designer to put life into such new technology and make it work for what the produc on is.”

technicians so I signed up. While working on this I got to know a lot of theatre prac oners because the designers would come into the venues and work on the shows. I also signed up for an internship with The Necessary Stage, and it was through these three that I got to meet a lot of designers who would some mes ask me to help them with shows, and I eventually got to design my own shows.

Ligh ng Inventory for Dragonflies Commissioned by Singapore Interna onal Fes val of Arts (SIFA) 2017

Intelligent Ligh ng Fixtures/A achments Mar n Mac TW-1 X 12 Mar n Mac 700 Profile X 4 Mar n Mac 700 Profile (ADD - Goboland Blacksteel Collec on Model: Rectangle 100%) X 4

How do you think ligh ng has evolved over the years?

Vari Lite 1100 TSD (Tungsten ERS w/Dimmer) X 5

I think we've progressed in leaps and bounds as compared to, say, 2010! Ligh ng rigs are becoming lighter now, thanks to the emergence of colour changing abili es that are not scrollers. In the past we used to use scrollers and had to deal with pre-se ng the colours and the 21 colours that we have. Now it's like endless choices. Of course old-school ligh ng designers will say that incandescent source is be er, and I see why they say it. It's like when you blow out a candle, there's always that last glow that is very beau ful.

ETCS4 Profile 19Deg with Seachanger (Dichroic CMY Colour Mixer) X 19

But as a designer I think it's very important to embrace new technology, but also to make it work for what the produc on is. I want to make sure that I am up-to-date with new technology, but the thing is that the mechanism is dead, the technology is dead. It's up to a good ligh ng designer to put life into such new technology and make it work for what the produc on is, through the use of colour mixing, through the use of focus, manipula ng gobo pa erns and so on.

ETCS4 Profile 26Deg X 09

All in all, how would you describe your journey so far as a Ligh ng Designer?

It's hard work, I had to work as a technician/designer a er I graduated from NUS, while everyone else had a “real” job, and it took a while for my parents to understand the life of a freelancer.

Ini ally that was difficult, trying to earn enough money to jus fy the degree that I was holding.

But I've met many beneficiaries, a lot of people who recognise my love for what I do and have helped me along the way, so I'm really very lucky to have met the right people at the right me.

Dragonflies was staged at Victoria Theatre from 18 May to 3 June 2018.

ETCS4 Profile 26Deg with Seachanger (Dichroic CMY Colour Mixer) X 15

Conven onal Ligh ng Fixtures ETCS4 Profile 10Deg X 04 ETCS4 Profile 14Deg X 12 ETCS4 Profile 19Deg X 01 ETCS4 Profile 36Deg X 36 James Thomas Par64 VNSP X 07 James Thomas Par64 NSP X 10 James Thomas Par64 MFL X 21 RJ 710 10°-25° Zoom Profile X 12 RJ 611 11°-26° Zoom Profile X 12 RJ 613 28°-54° Zoom Profile X 12 RJ 614 16°-35° Zoom Profile X 06 RJ 5kw Fresnel LE Cin'K 350LF X 06 RJ 2kw Fresnel LE Cin'K 350LF X 02 RJ 1.2Kw Fresnel 310HF X 26

Accessories & Console MDG Atmosphere Fog Machine X 01 Doughty T51601 Shadow Neutron X 02 City Theatrical Stackers Tapered Half Top Hats (Flocked) X 06 Grand MA 2 X 01

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

BIZTALK

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How Can Stress Negatively Affect Teams? by Gregory P. Smith our daily lives. Many studies have been carried out on selfcompassion, which involves recognizing that imperfec on is part of the human condi on, being as kind to ourselves as we would to a loved one, and being mindful of our emo ons and feelings.

Some of the many documented benefits of self-compassion include decreased stress hormones, greater empowerment, learning, and inner strength. Even if we have an unempathe c or controlling boss, for instance, being accep ng of our own work (without being selfindulgent or closed to feedback) is a vital way to keep a calm, mindful state, which can make us more produc ve both individually and as part of a team.

Workplace stress assessments are o en carried out to help teams perform at an op mal level. Much can be achieved when organiza ons iden fy possible sources of stress, which can include a controlling management style, lack of job security, or an excess of responsibility matched with li le control over goals, roles, or procedures.

Stress can nega vely affect teams by making workers feel overwhelmed, fa gued, or unable to concentrate on the tasks at hand. Although job stress needs to be reduced through important organiza onal changes (e.g. the reduc on of micromanagement, ensuring the right balance between effort/reward balance, offering greater flexibility – to men on just a few approaches), can workers try to reduce stress to the greatest extent possible, by embracing a more produc ve mindset?

Is it Possible to View Stress in a Posi ve Light?

Health psychologist, Kelly McGonigal gave a well received TED talk in which she shared a fascina ng idea: the harmful effects of stress could arise because we perceive stress so nega vely. She said, “Your heart might be pounding, you may be breathing faster… but what if you viewed them as signs that your body was energized and it's preparing you to meet this challenge.”

In the talk, she pointed to research undertaken at the University of Wisconsin-Madison, which found that those who believed stress affected them nega vely, had a 43% increase risk of death.

Meanwhile, those who lived with high levels of stress but did not see this as affec ng their health, were among those least likely to die.

The findings prompt us to try to see the symptoms of stress as our body's aim to bring us up to the some mes difficult tasks at hand, both physically and mentally.

Can Self-Compassion Reduce the Unrealis c Expecta ons that Lead to Stress?

Another useful way to deal with stress is to exercise more selfcompassion when it comes to ra ng our performance at work and in ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The Role of Mindfulness in Personal and Professional Happiness Focusing on the 'now' allows us to solve problems in the present rather than thinking too long about a problem. Of course, mindfulness, the ability to keep the mind in the present moment, has benefits which are farther-reaching. Studies have shown that mindfulness based ac vi es such as yoga and medita on are useful at ba ling depression, anxiety, PTSD, and other mental condi ons, since they are able to lower cor sol levels through a combina on of breathing and mind-body control.

Mindfulness enables us to tackle personal, as well as professional stress through skills such as pranayamic breathing, which can take as li le as five minutes, but which has a powerful effect on lowering our heart rate, breathing rate, and stress levels.

We have men oned just a few ways that individual employees can take to reduce work-induced stress, though it is evident that las ng change must come from an organiza onal level. To make a difficult work experience (which may be temporary) easier, build up skills such as reframing how you think about stress and engaging in mindful pursuits, which will put even the most stressful situa ons into greater perspec ve.

TTI's Stress Quo ent assessment measures individual and workplace stress in seven index factors, including Demands, Effort/Reward Balance, Control, Organiza onal Change, Social Support and Job Security. While individuals and teams may not experience high levels of stress in each index, the assessment can measure how it's impac ng day-to-day affairs.

Greg is the President and “Lead Navigator” of Chart Your Course Interna onal, an organiza onal development firm located in Chapel Hill, NC. He shows people how to accelerate workplace performance and build organiza ons that a ract, engage and retain their workforce. He has wri en eleven books including, Fired Up! Leading Your Organiza on to Achieve Excep onal Results.

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THE ALEX SCHLOESSER COLUMN

Tuning and Setup of a Sound System This topic is important for me since more than 30 years now and thinking about squeezing anything useful into a page seems like a ridiculous a empt. So here we go: In my early years in the industry, doing any kind of proper tuning work included very expensive gear, which was difficult to afford.

To use parametric equalizers versus Graphic equalizers was something you needed to be a half god for. Things have changed for good.

I recognize that a lot of my colleagues globally now only believe in what they see on some computer screen and they rely on informa on, which they rarely verify and of course colorful pictures from simula on programs are nice and make our job look more professional. If you don't understand what your so ware is showing you, you will not be able to read the colorful pictures properly. This is a challenge and teaching about this has become a business in our industry. I have also found that I spend a lot of me verifying data and performance for gear that I use and the reason that I some mes buy expensive stuff is, that I trust those manufacturers, that when they charge me all this money, they will deliver something decent.

However, the best set of tuning tools has been given to you for free and you should be er make good use of it. If it looks good on the screen, but it sounds poor in the venue, what are you going to do?

Your ears are your most trusted and reliable partner and you should keep them in good shape and treat them with respect. Together a good set of ears and a decent piece of measurement so ware will give you all that you need these days.

I do believe that the “Tuning” of a system really is only 20 % of ge ng a good result and as much as it sounds silly, making sure your gear is fully func onal is far more important than tuning it to death. I have come up with some simple steps for myself on this task: Ÿ

Check all your systems and drivers in the system and check it each me you use it

Ÿ

Choose the right gear for the right applica on, there is no “one size fits all”!

Ÿ

Find the best possible posi on for each system and put the system in place properly

Ÿ

Point and aim your systems as exact as possible, you can never correct via EQ what you have screwed up acous cally.

Some mes a “wedge” or a “ lt shot” can do wonders.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Ÿ

Make sure that your crossover frequencies and levels between systems are set correct

Ÿ

Time align / tune the system so that Delay, Phase and Frequency response are even

Once you get the first four points right, the last two are straight forward. Since me constraints are a permanent problem in our industry it also helps that you can do the system check and selec on of gear before the job already. We learn so much about the last parts, that many mes we are missing out on the earlier four. In the past 31 years I have saved my job too many mes by finding some broken gear, which I was assured is working fine. If you are also passionate about this topic, I will be offering some System Tuning workshops around Asia and if you want to par cipate in one, please watch out for dates and loca ons near you. For any further informa on on dates and loca ons, please send a PM to alex@asaudio.de

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ALL ABOUT WIRELESS BROUGHT TO YOU BY SIXTH INSTALLMENT

Transmission Lines: Part One by Hayden Leiper Welcome to the sixth instalment of All About Wireless, brought to you by SHURE. In this issue, we will focus on transmission lines, beginning with an explana on of coaxial cable impedance and why 50-ohms is the standard in RF systems, followed by a review of cable loss specifica ons.

Coaxial cable is an unbalanced transmission line manufactured in a range impedance values. It is typically constructed with a copper core conductor and braided copper or aluminium foil shield, separated by a dielectric material. The copper core conductor carries the current, while the shield is at ground poten al to minimise the radia on or recep on of RF signals, caused by the cable itself ac ng as an antenna.

to the square root of the total distributed inductance divided by total capacitance.A common 50-ohm RG8A/U cable, for example, may be specified as having an inductance of 241.9nH and a capacitance of 96.76pF per metre. 241.9nH divided by 96.76pF is equal to 2500, the square root of which is 50, so the characteris c impedance is 50ohms. Moving away from this theore cal model, the equa on for calcula ng actual impedance is slightly different, but the result is the same.

Actual Impedance = (138 / √k) * log (d1 / d2) Where : k = rela ve permi vity of dielectric d1 = inner diameter of shield d2 = outer diameter of core conductor The same RG8A/U cable is constructed with a polyethylene dielectric, the rela ve permi vity of which is equal to 2.3. The inner diameter of the shield is equal to 7.24mm and the outer diameter of the core conductor is equal to 2.03mm. Actual impedance is therefore equal to 138 divided by the square root of 2.3, mul plied by the log of 0.00724 divided by 0.00203. Again, the result is 50, so this is actually a 50-ohm cable.

The two most common impedance ra ngs encountered are 50-ohm and 75-ohm. 50-ohm cables are typically used for audio RF systems, and 75-ohm cables for video distribu on. These two cables types look exactly the same, so how is one designed to present 50-ohms of impedance and the other 75-ohms? To understand this, we first need to examine the concept of 'characteris c impedance'.

The characteris c impedance of a coaxial cable may be defined as the resistance that it would present to a source if it were infinitely long. This concept is best visualised as a theore cal electrical circuit of infinite series inductance and parallel capacitance, the values of which are determined according to the ra o of core conductor to shield diameter. The characteris c impedance of the cable is equal

Theoretical circuit model representing three infinitely small sections of coaxial cable

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Impedance is therefore independent of cable length; rather, it is a characteris c of the cable materials and cross-sec onal dimensions.

This is why it is so important that coaxial cables aren't physically compressed or bent in too ght a radius. Doing so would change the ra o of the core conductor to shield diameter, which will alter the impedance value. The ques on now is, why did 50-ohms become the standard impedance value for RF circuits?

It can be proven mathema cally that for an ideal coaxial transmission line with an air dielectric, an impedance of 77-ohms provides the lowest signal loss, while 30-ohms provides the highest power handling. 50-ohms is a good compromise between these 77-ohm and 30-ohm ideals. In a real cable, some material is required to keep the core conductor physically separated from the shield. As is the case with the RG8A cable in our previous example, polyethylene is commonly u lized for this purpose. Conveniently, with a polyethylene dielectric, minimum signal loss can be achieved at roughly 50-ohms impedance if the ra o of core conductor to shield diameter is carefully calculated, and this is why 50-ohms has become the standard impedance value in RF systems.

Signal loss is typically specified as a dB value per unit length, per frequency. No ce the difference in the electrical characteris cs of each cable type listed in the table. For example, over a 30m cable

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length, RG85 exhibits 6dB more loss at 200MHz and almost 15dB more loss at 800MHz compared to RG8! This is an important specifica on to be aware of, as excessive cable loss can severely impair system performance.

Type of Cable RG85C/U (Belden 8262) RG8X/U (Belden 9258) RG213/U (Belden 8267) RG8/U (Belden 9913)

Loss @ 200M Hz (30m ) Loss @ 800M Hz (30m ) 7.5 dB

18.5 dB

4.5 dB

12 dB

2.7 dB

7.1 dB

1.8 dB

3.9 dB

Loss specifications for commonly used coaxial cable models

Unlike impedance, signal loss in coaxial cables is propor onal to cable length. The purity of the copper used, and the cross-sec onal area of the core, both contribute to the resistance of the conductor, resul ng in some signal loss. The dielectric material can also cause some signal loss, although this only becomes a serious considera on at frequencies in the Gigahertz range. At frequencies most commonly used in professional audio applica ons, the 'skin effect' is the primary contributor to coaxial cable signal loss.

The skin effect is the tendency of a high frequency AC signal to become distributed such that the current density is largest near the surface of the conductor. Quality cable made from high-purity copper is able to support greater current density at the conductor surface, resul ng in less signal loss per metre. The severity of the skin effect increases with frequency, which is why we see greater loss values specified at higher frequencies.

Cable loss of less than 3dB is usually acceptable. However, if more than 3dB loss is expected, either an ac ve antenna such as the Shure UA874, or an in-line RF amplifier such as the Shure UA830, can be u lized to compensate. Belden model 9913 RG-8/U coaxial cable, for example, is specified as having 11.8dB loss per 100m at 700MHz. For a system using two Shure UA874 ac ve antennas, if the A antenna is connected via a 100m 9913 cable and the B antenna is connected via 50m 9913 cable, the integrated RF amplifiers on the UA874 antennas should be set to +12dB and +6dB respec vely.

Note the difference in the recommended amplifier gain se ngs. As the cable connec ng the B antenna is half the length, cable loss is only 5.9dB at 700MHz. Line amplifica on should only be used to compensate for cable loss, so gain se ngs may be different between the A and B antenna lines, depending the cable type and length used.

Line amplifiers should not be relied upon to amplify weak signals to usable levels as this approach also amplifies noise, usually yielding undesirable results due to the poor signal to noise ra o.

Next month we will con nue to focus on transmission lines, examining the importance of impedance matching and the effect of standing waves.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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 ever-expanding fields. The Shure Audio Ins tute is an educa onal and networking pla orm for systems integrators and consultants, MI retailers, the Pro Audio industry and Shure end users such as musicians and engineers. Our selec on of online and instructor-led workshops and seminars communicate Shure's profound exper se encompassing technical, sales and marke ng, products and solu ons.

For more informa on on the training opportuni es offered in your area, please visit www.shure.com/asia Hayden Leiper is an Electroacous c Engineer with 15 years' experience in the professional audio industry. Currently employed as a Technical Consultant with Shure Asia Limited, Hayden's current responsibili es include wireless and audio systems Applica ons engineering support; authoring, edi ng, publishing, and presenta on of educa onal materials for the Shure Audio Ins tute; and support of training seminars, webinars and educa onal programs conducted by Shure Asia's channel partners.

KNOWLEDGE HUB

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HARMAN EDUCATIONAL SERIES PART 5

Building your Audio System ‒ Choosing Speakers and Amps, Welcome back to Building your Audio System series. In our last 4 columns, we learnt about why having a good PA is important, the different factors that goes into considera on when choosing the right microphone, mixer, and what to take note about for the signal processor. In this sec on, we will discuss the next important pieces you'll need for a great PA system: speakers and amps!

With so many op ons in the market, it can be a daun ng process when you are deciding which speakers and amps to purchase for your PA System. In the sec ons below, we look at providing you with a few checkpoints that will aid you in analyzing your needs, narrow the field and the right setup you will require.

Size, Power, Features A major factor in determining what type of PA you'll need is whether you're going to be using the system strictly for a music band rehearsal, Although they add a lot of bulk to your system, subwoofers—such as this powered JBL EON618S—can make a huge difference in how your music impacts the audience.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

or whether you'll be taking it on live events as well. If it's the former, you can get by with lower power and smaller speakers. However, if you are going to use it for live events, you'll need a more substan al system.

The type of events is also a key considera on. If the bulk of events are driven by speeches versus the bulk of events where you will have live band performances, you will see the la er requiring a bigger and more powerful system, where it can reproduce substan ally more low-end informa on. One way to manage this, will be to purchase a mid-range PA system, where you can further supplement your main speakers with a subwoofer or two. Subs are the only way to get that chest-thumping bo om-end that makes kick drums and bass notes sound huge.

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There are several ways to integrate a subwoofer into your system, but one easy method it is to feed only certain instruments, usually the kick and bass, from an aux output of your mixer. Assuming you have a way to carry them—subs are big and heavy—they can make a major difference in your sound. Plus, you can always leave them home if you're playing a small venue.

Watch Y our Headroom Venue size is also important. Is the event happening in small clubs, large clubs or outdoor shows? Obviously, the bigger the venue, the more power you'll need. The goal is to have enough power in reserve so that your speakers don't distort, even when there are loud peaks in the music. This is what is referred to as “headroom.” Having enough headroom is a must for clean, distor on-free sound. To es mate how much power you'll need for your system, check out these guidelines from Crown Ac ve vs. Passive Speakers Ac ve (aka “powered” speaker technology has come a long way, and now represents a convenient, affordable and space-saving op on for PA systems. Having powered speakers means you don't have to carry around separate power amps. It also means you have the freedom to upgrade your speakers down the road, without worrying about compa bility with power amps in terms of ohms

is rated for, at the same ohm ra ng. For example, a speaker that can handle 500W at 8 ohms should be powered by an amp that puts out 1000W at 8 ohms. This provides enough headroom to cleanly handle peaks. Power amps generally have built-in limiters, which also help with peak management. Most power amps have two channels, but offer the op on to be run in “bridged” mode, which allows you to couple those two channels and double the power output.

PA to Go The quality of your PA system can have a huge impact on your show or rehearsal. It's as important to the success of your act as your

(which measure electrical resistance and power handling. You can

personal instruments and amplifiers. When shopping for a PA, put in

purchase a powered speaker with the confidence that the manufacturer has carefully matched the amplifiers and speakers in it.

needs of your group. Make sure you have enough headroom and

Ac ve speakers give you as close to a plug-and-play experience as you can have in a PA system. Most are pole-mountable, so it's easy to put them on speaker stands that raise them high enough to cover the venue. Many ac ve speakers are also designed as wedge shaped monitors, so you can point them up at you from the floor.

Amped Up

the me and energy to research and buy a system that will meet the leave open the poten al for expanding your system. You'll be glad you did.

Now that we've got all our arsenal of gear for our events, it's me to get set up. Stay tuned for the next installment of this series, where we'll look at how to configure our systems. If you have any ques ons about choosing the right speakers and amps for your PA system, drop us an email at HPro.APAC@harman.com or fix an appointment to visit us at our HARMAN Professional Solu ons APAC Experience Centre in Singapore.

The Crown XLi 3500 is an affordable amp that can give you 1000W per channel @8 ohms or 2700W @8 ohms in bridged mode.

Convenient as ac ve speaker systems are, some will argue that you'll get be er performance and more flexibility from non-powered speakers and separate power amps. If you're in the market for such a setup, it's important to work closely with your dealer to make sure you're ge ng compa ble gear.

The general rule of thumb is that you want a power amp that can put out about twice as much con nuous power as your passive speaker ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Visit us at h p://pro.harman.com for more informa on.

HARMAN Professional Solu ons APAC Experience Centre 108 Pasir Panjang Road, Level 2, Golden Agri Plaza, Singapore 118535

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THIS SEGMENT IS BROUGHT TO YOU BY disguise

Static vs Dynamic Video Mapping In our previous ar cles, we talked about 3D workflow best prac ces as well as different projector calibra on processes. In this next ar cle, we will look more at the prac cal applica on of different mapping types to use in conjunc on with the 3D workflow most industry standard media servers use.

warped if the right type of mapping is not used for the scenario.

Note how the screen that is rotated away from the mapping has slight pixel stretch, whereas the other two screens (which remain parallel to the mapping) do not have pixel stretch.

Previous to the integrated 3D workflow, video content was produced for the projectors perspec ve, rendered out and played back from the media server. In this inherently 2D workflow, changing the projector posi on on site made for last minute content changes to suit the new projector posi on. When working with a 3D workflow, there's no need to do this as the media server is aware of where projectors, screens, objects such as props and ligh ng fixtures are in the 3D world and is able to re-calculate content output taking into account the changes in projector posi on.

Consequently, video mapping on a pla orm that uses an integrated 3D workflow, also comes with significant crea ve & technical benefits.

Sta c mapping Generally speaking, sta c mapping is when the object & video content is fixed together, meaning if the screen moves around – the video content will remain fixed to the screen. Similar to how wallpaper gets fixed to a wall. A sta c mapping will usually use proper es such as a canvas size (in pixels), a list of screens where the canvas content will be copied to as well as further op ons such as clip, crop and fit to canvas to control how content that is not pixel perfect gets sampled. Note that when screens are rotated, the content is also rotated with them.

Dynamic mapping can be considered significantly more powerful than sta c mapping when used in the correct way. Whereas sta c mapping fixes content to the screen, dynamic mapping places content in 3D space, and only assigned screens that fall within it's frustum will be affected by it. The significant benefit of this kind of mapping is that the screens can move around feely within the defined mapping frustum and re-sample the video content in real me – enabling integra on with Tracking & Automa on systems quite seamlessly and without affec ng content crea on. The drawback of the dynamic mapping type is that content can become

Combining both mapping types There are situa ons where it may be useful to combine both mapping types together. For example, you have an image you want to display on a screen at all mes (for example a company logo), but you want to move that screen around within a dynamic mapping to change the background underneath the logo based on where the screen sits in 3D space. This is a good example of the two mapping types. You would use a sta c mapping for the logo and a dynamic mapping for the background. This way the logo remains fixed, but the background will change as the screen moves around.

Conclusion Both sta c & dynamic mappings have their use cases – there are mes when sta c mapping is more useful over dynamic and vice versa. Ge ng the mapping process right is extremely important because if you don't, all the me & resources spent by the content crea on team, will go to waste. Care should always be taken to choose the right kind of mapping for the situa on at hand, failure to do so can result in content not fi ng screens properly, or appearing at an incorrect resolu on and aspect ra o. www.disguise.one

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SINGAPORE

Pangdemonium Theatre Company Deploys Clear-Com Freespeak II Wireless Intercom System calling flow. It's excellent that we had coverage in all areas of the theatre, from backstage to dressing rooms to the control booth and spo er's gallery.”

The Pangdemonium Theatre Company, which performed at the Singapore Drama Centre Theatre, rented a Clear-Com FreeSpeak II wireless intercom system — consis ng of eight wireless beltpacks, eight wired beltpacks and a base sta on — to ensure accurate and mely communica on during live theatrical performances throughout the en re theatrical complex, from back of house to front of house.

Founded in 2010 by Adrian and Tracie Pang, Pangdemonium's mission is to tell stories that are challenging, inspiring, relevant, accessible, and above all, of the highest ar s c, entertainment and produc on value. The company also ac vely nurtures new talent by crea ng opportuni es for aspiring ar sts and technical prac oners to work in a professional and nurturing environment.

“Communica on at the Singapore Drama Centre was seamless,” said Adrian Pang, co-ar s c director of Pangdemonium Theatre Company.

“The intercom system was crystal clear, even with a full house of people with wireless devices. The Clear-Com's FreeSpeak II definitely delivered.”

The FreeSpeak II system allowed Pangdemonium to wirelessly and quickly pair its beltpacks to the base sta on and create isolated groups to keep communica ons as efficient as possible.

“On our produc on of Fun Home, we had mul ple moving wagons requiring coordina on of the stage crew with cues coming from front of house,” explained Tracie Pang, co-ar s c director of Pangdemonium Theatre Company. “We were able to create 'groups' so the stage crew could communicate with each other and solve issues in real me, without interrup ng the Stage Manager's cue-

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

FreeSpeak II operates in mul ple worldwide, licensefree frequency bands: 1.897-1.933GHz and 2.4GHz. This high performance wireless intercom system is designed for extensive communica on in largescale opera ons. Its ability to maintain a strong and con nuous wireless connec on across an expansive coverage area while providing crystal-clear digital audio makes FreeSpeak II the ideal wireless roaming intercom solu on.

“The best thing is that the belt packs are easy to use and quick to pair with the base sta on, and the 18 hours of standby me is great,” said Tracie Pang. “We had crystal clear audio and could connect the FreeSpeak II system to the venue's exis ng Clear-Com 2wire partyline intercom with no issues.”

As the person that relies on the intercom system the most, the stage manager is the ul mate authority on whether a system truly meets the needs of a produc on.

“The comms on Fun Home were great,” said Cat Andrade, stage manager for Fun Home. “With the Clear-Com system, we never had a problem with sound. You could always hear other people clearly without fiddling with the levels. The packs were streamlined and not at all bulky. It was great that we could put the God mic through the comms too; much easier than having a handheld mic and trying to juggle all those things. Plus, I could call 'hold' and 'stops' a lot faster.

The headsets were also lightweight and comfortable. I would definitely encourage the use of Clear-Com FreeSpeak II system for future shows.” www.clearcom.com

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MIDDLE EAST

Going Mega for Israel 70th Independence Day Celebrations The rear of the structure was rigged with mul ple LED screens, and there were also projec ons across the massive field-of-play area.

Ronen designed his ligh ng rig and chose fixtures taking on-board all these parameters together with what was needed to achieve his imagina ve goals and communicate the emo on of the occasion to the audiences.

A fine balance between precision and high-impact effects was required to enhance the range of atmospheres needed and the sheer dynamics of the two hour show.

Very bright sources were the only op on, both for the throw distances and to hold their own against the high levels of LED at the back.

Ronen Najar is a ligh ng designer used to working under some pressure, and for the 2018 Israeli Independence Day (Yom Ha'atzmaut) Opening Ceremony on Mount Herzl, Jerusalem, he needed those steely nerves as part of the crea ve team helping to commemorate a historically significant moment in Israel's history, … the 70th anniversary of the 1948 Declara on of Independence.

He also needed a fixture that could be shu ered – hence the BMFL WashBeams – for moments like the torch ceremony, speeches, the flag transfer and the military bands sec on. All of this was juxtaposed with a programme of banging and jubilant dance 'produc on' numbers full of bouncing cast members, mobile props and punctuated with strategic fireworks and pyro cues.

Ronen chose to use 55 x Robe MegaPointes and 68 x BMFLs - a combina on of Spots and WashBeams - to illuminate the vast performance area built around the tomb of Theador Herzl, founder of modern poli cal Zionism, at the top of the Mount of Remembrance, the site of Israel's na onal cemetery and a res ng place for the country's war dead.

The shu ers were also essen al in ensuring that ligh ng didn't interfere with any of the projec ons.

The event was organised by the Culture Ministry and broadcast live on all Israeli TV channels.

It was also a ended by an invited audience of 7,500 who this year saw a cast of 1500 perform a specially devised show directed by Ran Zahor. This was a mixture of official ceremonial elements – including the ligh ng of 12 torches to represent the 12 tribes of Israel and an address by Yuli-Yoel Edelstein, Speaker of the Knesset – inter-spliced with a high energy entertainment spectacle.

A 25 x 40 metre box truss was flown above the centre of the performance space, suspended on sky hooks from two giant cranes supplied by Yehuda's Cranes. Their elegant masts were extended to 50 metres (from a total poten al reach of 70 metres) and the load heavy duty trussing, ligh ng fixtures and LED video border - was picked up on 12 points and trimmed at 18 metres above the show floor.

“It is always a great honour to work on this show” were Ronen's first comments on the event, which he has lit for the last 10 years. This year, addi onal budget was made available in view of the 70 year landmark which was ploughed into crea ng a landmark show.

The set design by Nitzan Refaely was the first visual element to be finalised. This year it comprised a large structure incorpora ng the tomb in the centre towards the front. Behind this a slope with a walkway was created and covered in projec on screen material, brought alive by images from 15 x 25K Epson laser projectors.

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Flying this part of the rig from the cranes was an inspired piece of rigging engineering that ensured fantas c, clean sight lines.

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In addi on to these, two large scaffolding gantries were built at the front of the field-of-play adding more ligh ng and audio posi ons and the backs of the three sea ng tribunes were also u lized.

The MegaPointes were all posi oned on the stage set and used for high impact back ligh ng and high clarity gobo projec ons skimming the floor and stunning aerial effects blas ng up into the night sky.

The BMFL Spots and BMFL WashBeams were deployed across all the other ligh ng posi ons and were used for mul ple tasks, from key ligh ng for the speeches and torch-bearers, the military parade sec ons of the show, to washing the performance area with rich colours, some secondary gobo projec ons and for specials and highligh ng specific sec ons throughout the performance.

“They were the perfect powerful mul -purpose fixture for the occasion,” stated Ronen, who is well known for his fresh and innova ve visual approach.

The show and the 13-camera telecast benefi ed from Ronen's television experience and needed a skilful combina on of several ligh ng disciplines which he delivered with thought and effect.

It was the first me Ronen had u lised MegaPointes on one of his shows … as they have just recently arrived in Israel. These and the rest of the ligh ng plus the audio system were supplied by the Simul Argaman Group.

Ronen has designed many lightshows for large ceremonies and the challenge is always me. On this one, they lost three nights of programing me due to rain, so everything was compressed into three all-night sessions, which is not a lot for a show of this scale and complexity.

The many magic visual moments included a flo lla of 300 remote controlled pixel-drones – “shoo ng stars”, a system being developed

by Intel – which performed a choreographed sequence forming shapes and symbols in the sky, like a constella on of twinkling stars zipping about.

Ronen worked intensely with two assistant LDs, Jonathan Frixo and Ma Murray and they used a grandMA2 pla orm, Ronen's choice as the most flexible and stable control solu on.

In addi on to the Robes, he used some other moving lights and a selec on of carefully posi oned generics.

The event's camera director was Amir Ukrainitz and the playback video content was produced by Shay Bonder. Video and projec on was supplied by ScreenLight and AVS respec vely, the stage set was built by Bimot 88 and the rigging contractors were Gader Vagan.

“The MegaPointe is amazing!” declared Ronen, “I love the intensity, the colours are incredible, the focus is excellent and the gobos crisp and clear.” While he didn't employ a vast number of fast movement chases on this event, he commented that the speed of this func on also impressed him.

They flawlessly created the myriad of big beam and aerial effects he wanted. “They are very drama c! In the past to create this amount of drama onstage and in the air on a show like this … you'd have to use xenons!”

Robe's Israeli distributor Danor Theatre and Studio Systems was instrumental in ensuring that enough MegaPointes were made available in me for this premium event … as it is one of the most indemand luminaires worldwide. Danor's Erez Hadar commented, “We are very pleased that MegaPointes were spec'd by Ronen for this show … it is great to have as a reference and it is thanks to the whole team at Robe for helping us make this happen”.

BMFLs have been a favourite for the last four years, since he first used them, and it was the second me – a er last years' Maccabiah Games OC - he has used the WashBeam version on a major show.

“They are the brightest fixture on the market, the colour temperature and CRI is spot-on for TV, the shu ers are essen al and they are simply a great luminaire for environments where you need the punch and flexibility”.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Independence Day is preceded by Memorial Day, a me set aside for reflec on and remembrance of all those who have died serving their country in the armed forces. Memorial Day starts at sunset the day before, and morphs into the celebratory vibes of Independence Day at the same me 24 hours later.

The Independence Day Opening Ceremony on Mount Herzl led this transi on, star ng at 8 p.m., and as this show closed, par es started up all over the country, with every city, town, village and community going into celebra on mode through the night and well into the next day.

Photo credits : Louise S ckland www.robe.cz

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PHILIPPINES

Solid Video Excels at ASEAN Summit Se ng up an Interna onal Media Centre is akin to building a fully func onal TV sta on from scratch – except that you're racing against me and have only one shot at choosing the right equipment

A Sony XDCAM camera captures in ac on one of the many events in the 31st ASEAN Summit in Manila, Philippines

Two weeks was all Solid Video had to transform 9,000 sq. m. at the World Trade Center in Manila, Philippines into an Interna onal Media Centre (IMC) for the 31st ASEAN Summit. The 6-day event

Solid Video pulled out all the stops to equip the IMC with a full suite of advanced Sony equipment ranging from HD system cameras, remote studio cameras, XDCAM camcorders, mul -format switchers, mobile recorders, 3LCD projectors and more.

“It's no secret that many of the world's best news organiza ons use

which was held in November 2017 featured over 20 world leaders.

Sony products and technology,” Said Nestor Baloro, Head of

Established in 1984, Solid Video is no stranger to being thrust in the

Marke ng and Engineering at Solid Video Corpora on. “By equipping

spotlight. Part of the Solid Group, it began its journey as a small department handling broadcast equipment sales and rentals.

Through the years, it has transformed itself into a leader in providing project management and turnkey broadcast solu ons to a wide range of clients including TV sta ons, produc on houses, churches and independent producers. It also supported various agencies of the Philippines government to set up important regional events

the IMC with Sony, many of the TV sta ons simply relied on our feeds provided directly to their booths. There was no need for them to deploy addi onal produc on crew.”

Another point highlighted by Baloro on Sony's selec on for the summit was its wide range of equipment. “Sony allowed us to choose the right product for the right task. For instance, the main briefing room was equipped with a 4-cam set-up u lizing the PXW-X400 in a

including the ASEAN Summit in 2006 and the APEC Summit in 2015.

system camera configura on with an MVS-3000A switcher. High

Solid Video's impeccable set up of the IMC at the 2015 APEC Summit

security mee ng venues meanwhile u lized the versa le compact

established the gold standard for IMCs in the country.

robo c camera the BRC-H900. To capture heads of state arriving, we deployed the HDC-1700 mounted on our fleet of OB vans. By working

For the 31st ASEAN Summit, Solid Video made World Trade Center a

closely with Sony, we helped deliver the best of Philippines to the

hub for local and interna onal journalists covering the summit's

world.”

various events, which were held at the WTC as well as other venues across the city. The IMC included 100 broadcast booths, 60 media rooms, a master control room, a 2,000-seat main briefing room, 3 large LED walls and booking centres for interviews and live video feeds.

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www.sony-asia.com

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CHINA

VUE China Kicks Off Expanded Market Presence at Grammy Fest, Beijing al-class line array system powers Recording Academy's first des na on musical fes val

easy to set up, and delivered consistent coverage across the 350-foot deep audience field, in spite of some challenges posed by the stage configura on.

In keeping with its commitment to mirror VUE's soaring worldwide market posi on in the Mainland Chinese market, the newly expanded VUE China deployed the VUE al-Class line array system at the world debut of GRAMMY Fes val in Beijing on April 30, 2018.

GRAMMY-winner Pharrell Williams, mixed by Kyle Hamilton on the VUE rig, headlined the one-day, nine-act fes val on his very first visit to China in front of a crowd of more than 30,000 at the outdoor Chang-yang Music Theme Park. Other acts included DAYA, Macy Gray, Phoenix, Carly Rae Jepsen, James Bay, OneRepublic and two Chinese singers William Chan and Nicholas Tse. Shanghai-based VUE China partnered with produc on company Wuhan Blues to provide the system set up.

“We were forced to fly each cluster 10 feet higher than originally planned to do the eventual placement of the video elements,” explained Kirkland. “When you're flying most line arrays, an addi onal 10 feet in ver cal distance would pose a coverage challenge in such a large field, but thanks to their Beryllium compression drivers and high-frequency diaphragms, the al-class was s ll able to deliver much cleaner high-frequency content and cleaner/louder sound throughout the field. In fact, we averaged 105 dB broadband, a-weighted, and had plenty of level to spare. Let's just say nobody asked for more volume.”

Kirkland u lized System VUE to insert subwoofer array delays to achieve 90-degree dispersion from the ght-packed cluster of 28 subwoofers. “Thanks to SystemVUE, we were able to access every amplifier on each subwoofer enabling us to enter individual delay mes into each sub and to also monitor a total of 64 devices from the FOH console. It worked perfectly.”

VUE product used on-stage for Pharrell Williams included a total of eight model al-8 line array elements and two model hs-221 ACM subwoofers. Configured as a pair of side fill monitors, the speakers were stacked four al-8's each atop of one hs-221 subwoofer per side.

Kyle Hamilton, on a break between Kendrick Lamar's The “Damn” Tour and his latest “The Championship Tour”, mixed Pharrell William's headline act on the VUE rig. Now an al-class veteran a er the 36show North American leg of the tour, Hamilton was s ll impressed with the system's performance.

Situated on one of two side-by-side 95-foot-wide stages, the VUE rig included two clusters of 23 al-12s, a chest-thumping 28 hs-221 subs stacked in front of the stage, and 12 al-8s ground-stacked atop the hs-221s for front fill. According to Greg Kirkland, VUE's technical sales manager who was on-site for the event, the al-class array was ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“The thing that con nues to amaze me with the al-class is its fidelity,” lauded Hamilton. “The highs on the al-12s are clear and clean and totally transparent. It was so cool to deliver Pharrell's firstever Chinese performance, and to do it on a rig that I've said from the very beginning was going to change the en re game.” www.vueaudio.com

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SINGAPORE

Robe Catching the Beat

This is the music fes val's second year since its launch in 2017 Power is also a considera on on the site as they have to use generators, so being able to use LED fixtures allowed the generator size to be smaller, and conserve diesel – a bonus for the environment and the show budget!

The strong natural tree se ng also played a part in the look of the stage. Craig wanted to keep the sides of the stage uncovered and feature the intricate branches and leaf forma ons, pulling them into the picture. This approach also helped the stage to appear much bigger!

The 4-legged ground support was trimmed at 7 metres to maintain rectangular form to the stage, and 2 and 3 metre drop bars were used on the back ground support truss and 2 metre ones on the mid The Fort Gate at Fort Canning Hill in Singapore provided a stunning

ground support truss, which enabled lights to be more dynamically

backdrop for the 2018 City65 Music Fes val. The loca on, renowned

posi oned. Each drop bar was rigged with two Robe Linees and one

for its lush greenery and expansive lawns has become a hub for

pixelPATT.

cultural and crea ve ac vi es and a venue of choice for many outdoor events.

Craig Burridge was asked to co-ordinate the Main Stage produc on

Three LEDWash 600s were on both the mid and front trusses, with two more each side on the downstage edges of the floor, u lised as the main band washes.

and ligh ng design for the one day event by organisers Michael Spinks and Rachel Mason from City65 Music Pte Ltd. The main stage line-up featured five diverse bands, three playing in daylight and the final two in the dark, for which Craig used 50 Robe fixtures - 24 x Linees, 10 x ColorStrobes, 6 x PixelPATTs and 10 x LEDWash 600s posi oned prominently on the rig.

The venue is managed by the Na onal Parks, and there are some strict rules and regula ons designed to protect the environment. No produc on elements can be within 2 metres of any tree, so the 9 metre wide by 8 metre deep stage was allocated a space between two, right in front of a 'heritage tree' which “made a fantas c backdrop” explained Craig.

He had a free crea ve hand with the design with a few important prerequisites including that it was a func onal and prac cal space for

Four Robe ColorStrobes on the front truss made highly effec ve

the bands and audio / backline crews to achieve quick changeovers.

blinders and Craig posi oned two more on the ground behind the

This meant leaving the stage floor rela vely clear.

stage to illuminate the heritage tree and make it pop out.

In addi on to this, his aesthe c goal was to provide three dis nct but

Chosen for these tasks for their brightness and superior colour

related visual themes that would work for the diverse genres of

mixing facili es, they are also waterproof!

music covered by the final three bands on the bill – hard rock / metal, indie jazz and progressive rock respec vely.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The spectacular tree measures 7 metres wide at the base - with mul ple trunks - and 20 metres high and is very drama c. Being able

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to light it with just one fixture a side meant that all the shadows and

he chose all-white ligh ng with lots of beams created from this

its intricate form were beau fully illuminated.

punchy selec on of fixtures.

Four 2-metre sec ons of ver cal truss on the deck were each

They were followed by co-headliners, neo-vintage soul band The

populated with three Linees and a ColorStrobe.

Steve McQueens which were lit primarily in pastel shades. By now it

The flown Linees and the pixelPATTs were all hung on 2m & 3m drop

with abstract flowing shapes that morphed and moved with the

was ge ng darker so the Linees and PATTs were used to fill the space

bars, and used for eye-catching effects.

groove.

LEDWash 600s are one of Craig's go-to luminaires. He covered the

Co-headliners Addy Cradle closed the show with an intensive prog

essen al stage posi ons effortlessly with the ten fixtures and the was able to zoom in or out and highlight the musicians with the floor based ones, as well as wash out and saturate the stage with colour.

Linees were selected as a non-standard fixture! Rather than use

rock performance which Craig lit with lots of saturated colours onto the tree and from the flown LEDWash 600s, with the floor-based LEDWash 600s contras ng in warm or cold whites, while the Linees produced big asymmetric sta c looks interspersed with pixel chases

'tradi onal' beams which Craig feels have been done to oblivion, he

and layers of different shapes.

instead used the Linees in full pixel mode 3 but programmed as a

Craig has been using Robe products in his work for some me and

light source rather than video mapped).

really likes all the Robe products he's seen and used in recent years.

He likes the "blade" look of the Linee beams when they are all in a

The ligh ng equipment was supplied by Singapore rental company

ght zoom, giving a “wide flat slice of light that is very different from

CSP Produc ons. “They were brilliant” stated Craig, “really going the

a typical round beam”.

extra miles to get it all up and working when me was really ght”.

His favourite Linee effects are a pan / rotate with a single pixel beam,

Craig had just one evening of on-site programming.

and having the fixtures at angles where the wide swath of light is created by all the cells being in a sharp zoom. Another one is a wide zoom look for total satura on of the air on a stage or in a space. The

The event was a big success and generated lots of posi ve comments about the look and vibe. The general percep on is that City65 Music Fes val is a local band fes val that matches the produc on values of

Linees worked excellently with the pixelPATT chases.

The pixelPATTs were also placed to work as a stand-alone visual

any of the big interna onal fes vals staged in the country.

effect, rather than to light up the stage, and Craig spent considerable

“The Robe fixtures were a big part of making it look really

me programming chases so they appeared to rotate or move le / right and up / down. They proved “great for the pastel pale e looks I

outstanding,” concluded Craig.

ran for one of the headliners”.

Photo credits to Peter Win n.

Craig operated all the ligh ng himself using a WholeHog FullBoar3.

www.robe.cz

For third on the bill metal band Terminal Cry, who played in daylight, ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

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AUSTRALIA

Optocore Networks Gold Coast Commonwealth Games

The Opening and Closing Ceremonies for the Sydney 2000 Olympic Games in their na ve country propelled the company onto the world stage other integra on loca ons. The fibre lengths ranged from 75m to 900m.

The drive racks comprised more than 50 Optocore devices, including 17 x DD32R-FX, 8 x DD4MR-FX, 1 x DD2FR-FX, 12 x X6RFX-8AE/8MI, 6 x X6R-TP-8MI/8LO, 4 x X6R-TP-16MI, 6 x X6P 16 In, 4 x X6P 8AE/8MI, 2 x X6 16 Out. These fed a large L-Acous cs K2 / KS28 sound reinforcement system from DiGiCo SD5 and SD9 digital consoles. Addi onal MADI signal transport was carried out via RME and DirectOut M.1k2 MADI rou ng matrices.

As official audio supplier for the Opening and Closing Ceremonies of the Gold Coast 2018 Commonwealth Games, Norwest Produc ons again relied on a large Optocore op cal fibre network for site wide signal distribu on — as they have globally on many occasions in the past.

A er again successfully winning a compe ve bid, the produc on company worked alongside event organisers, Jack Morton Worldwide, to overcome the challenges of the 25,000-capacity stadium. Norwest project manager, Andrew Marsh, again gave his reasons for adop ng an Optocore solu on. “The ability of Optocore to operate interchangeably on both mul mode and single mode fibre allowed us to effec vely u lise our inventory and operate over long distances.”

Added patch/systems engineer John Wa erson, “The load in had to be implemented to a ght schedule, and the ability to configure and line-check in the warehouse and simply plug the fibres in on site was key to fulfilling this.”

In addi on to Andrew Marsh and John Wa erson, Norwest's team included Ian Shapco (FOH mix engineer / PA designer); Chad Lynch (FOH Systems / FOH Eng 2); Ian Cooper (Patch/ Systems Engineer - Closing); Ma Whitehead (Patch/Systems).

The Gold Coast Games came to an emo onal conclusion as the flag was passed to Birmingham, host of the 2022 edi on. For Norwest, this year's event follows closely behind the Opening & Closing Ceremonies of the South East Asian Games in Kuala Lumpur last year, in which the produc on company also placed the audio on an Optocore fibre ring.

Norwest bolstered their exis ng inventory of Optocore converters for the occasion, adding quan es of X6R-FX-8AE/8MI, X6R-TP-16MI, DD32R-FX and DD4MR-FX interfaces — both for this and other projects. “Since we have taken to using Optocore as both our main and backup network on large special events we recently decided to proceed with another sizeable purchase from the 'R' FX range,” Marsh explained.

In addi on to offering pris ne, dual redundant signal distribu on over huge distances, the deployment of Optocore offered DiGiCo desk integra on with current firmware and access to increased monitoring capabili es in the recent Optocore so ware releases.

The design itself comprised an Optocore dual redundant ring network of decentralized devices in the form of a 17-node network, all duplicated in a main/backup system, at points including the Speaker Posi ons, Show Control, Stage, Patch, RF/IEM, Broadcast,

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ETA - June, 2018

13 Questions With... CARLA SEPULVEDA What do you do as a job?

I'm a freelance Live Sound Engineer and Ar st Manager. As a Sound Engineer I specialize as an FOH and Monitors operator.

If you weren't doing this job, what do you think you would be doing?

I am a Bassist and I used to perform live for a living years ago before focusing full me on sound. Ge ng back to music performance is always my back up plan.

Is your job the same one you thought you would do as a child?

I always had a passion for music and sound since I was young, but I never thought I'd make a living out of it. Music has always been a part of me and through it I found my way to the world of professional audio, with which I fell in love with the minute I got to know it.

Highlights and low points of your job?

By the end of a show a er working long hours, the sa sfac on of a job well done by doing what I love is the most rewarding feeling. It's also very exi ng and an honour for me to be part of a team that makes a project happen and for it to be successful. The low point is that it is not very glamorous as we are o en sweaty, red and not looking great throughout the gig. It is a very demanding job, which doesn't allow space for errors and expecta ons are always very high.

Favourite or most memorable event?

Lollapalooza. This was in South America, Chile 2014. I loved working in this fes val because of the amazing team that was involved, as well as having some of my favourite musicians on stage. The professionalism from all teams and produc on made the job very enjoyable and all in all it was simply a great experience in all aspects.

What's your favourite movie or film?

More than a movie, I would say my favourite film is 'Sound City' documentary by Dave Grohl. It shows so much passion for the industry and for music, which makes it really inspiring.

What's the best part about being you?

I've shaped my life to be the way I wanted ever since I was a teenager, even if that meant at mes disbelief or no support from people around me. This has brought me to do what I love most for a living and travel a lot, for leisure and for work. I do not like rou ne, ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

and the diversity and freedom I've achieved in my life so far I think is the best part of being me.

Favourite country to visit and why?

Thailand will always be my favourite, as I love the culture, the weather and the beaches. Also, the medita on and mys cal/spiritual aspect of the country always intrigues me. Over the years I've made good friends, which is another reason of why I love visi ng.

If you had one superpower, what would it be and why?

Teleporta on – With this power I could travel the world whenever I wanted to, visit loved ones and probably save a lot on airfare. Also, it would be convenient for 'short trips' like going from FOH to the stage in a millisecond and back, that could be very useful.

Three people alive or dead that you'd love to have dinner with?

1. Dave Rat, from Rat Sound Systems, for his crea vity and success.

2. Steven Tyler, from Aerosmith, for the years he's been on the road and his amazing talent.

3. Kelly Slater, pro-surfer, to hear from him how to be successful beyond limits.

Favourite food and why?

Strawberries, the organic kind, they are simply delicious.

What's a book or movie (or even a person) that's shaped you?

I read Steppenwolf by Hermann Hesse when I was about 13 years old.

It sure shaped me as I felt quite iden fied with the internal duality of the main character in which on one side he's a free-spirited, open minded, fun-seeking person and on the other he's an intellectual who struggles with all the issues of humanity. This makes him become a hopeless and lonely man and doesn't drive him anywhere good. In my case, it made me realise that we must find balance within ourselves when we have this kind of duali es, and not to get too upset if the world is going in the wrong direc on or not to go over the top with the fun things in life. Basically, not to take life extremely seriously and make sure to stay healthy and in balance.

If you had one wish for the industry, what would it be?

I'd like it to be more progressive towards women. When I got started in this industry I would rarely come across female colleagues, however that is changing now. This is great as it's leading to a more homogeneous industry, which is star ng to contribute in a big way to the development of it. I would like to see next, women as role models, I think we don't have enough so far.